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Mr. Speaker, I am proud to report that after three years of hard work, informing, petitioning, cajoling, my Motion No. 19 and its previous incarnation, Motion No. 238, calling on the government to lift visitor visa requirements for the new EU member states of the Czech Republic, Estonia, Hungary, Latvia, Lithuania, Poland and Slovakia, was finally implemented in its entirety.
Nineteen years ago the Iron Curtain came down and, finally, a week ago Canada's visa curtain came down as well. It is immensely gratifying that this Easter will be the first that families and friends from Poland, Hungary, the Baltic states, Slovakia and the Czech Republic will be able to visit their loved ones in Canada, and all it will take is the purchase of a plane ticket.
It is rare for the contents of an opposition private member's motion to be adopted in its entirety by the government. I am humbled by the support I received in the thousands of communications and petitions from individuals in diaspora organizations throughout Canada.
Together we were many and we made it happen.


text:
What do military chaplains do
What do Army chaplains do?
The Army chaplain is a qualified religious leader dedicated to serving Soldiers and families. Chaplains provide ministry worldwide, accompanying Soldiers and families as they carry out their units' missions in both peace and war. Chaplains are charged to nurture the living, care for the wounded and honor the fallen.
Do military chaplains fight?
Chaplains are in the military — but they do not fight in combat . Chaplains may not be deliberately or indiscriminately attacked and, unless their retention by the enemy is required to provide for the religious needs of prisoners of war, chaplains must not become POWs.
What rank is a military chaplain?
In the American Army chaplains use the military page 29 titles though they are commissioned as lieutenants and are familiarly known as 'Chappie'.
Do military chaplains go through basic?
Chaplains do not go through Basic Combat Training. Commissioned Officers are the managers, problem solvers, key influencers and planners who lead Enlisted Soldiers in all situations. Leadership Course, which is a 12-week course taught at Fort Jackson, S.C.
Can chaplains carry guns?
Not usually. Chaplains are non-combatants and as such are not supposed to be targeted by the enemy or carry weapons . However it has happened in the past and is still happening. Some U.S. chaplains have even received combat training.
Does a chaplain have to be religious?
Every chaplain must have a Master's of Divinity degree and have an ecclesiastical endorsement by a religious group. What this means is that before chaplains are allowed on active duty they must first be educated, trained, and recognized as a religious leader for some type of church or faith group.
You might be interested: When to salute during military funeral
What religion are military chaplains?
While the vast majority of chaplains represent Christian denominations, the armed services commissioned its first Buddhist chaplain in 2004, while the military named its first Hindu chaplain in 2011.
Can military chaplains get married?
Also asked, can chaplain marry you? Base chaplains offer a complete variety of marriage choices, including religious (almost any denomination), non-religious, casual, civilian-formal, and military -formal. If the wedding is conducted by a military chaplain , there is never a fee.
Do chaplains get deployed?
Chaplains are few and far between in a given area of operation. Given that there are so few chaplains deployed , and even fewer of any single denomination, they will travel the battlefield — sometimes an entire region command will be under the care of a single chaplain .
Is it hard to become a military chaplain?
What is the hardest part about being a chaplain ? One of the most challenging parts of being an Army chaplain is the demands shat it will place on a family. Serving in the military itself can be overwhelming to a family.
Do Catholic military chaplains get paid?
As far as pay , diocesan priests get to keep their military stipends and salaries because they do not take vows of poverty. Most Catholic military chaplains only serve for a few years active duty and then stay on as reservists back in their home diocese or wherever their religious superior assigns them.
How does one become a chaplain?
Chaplains usually need tertiary qualifications as well as certification or training in pastoral care. To become a chaplain you could either complete a formal degree in theology, psychology or counselling, or have degree-level qualifications and experience in a field such as welfare, combined with on the job training.
You might be interested: Which nation was ruled by a military junta
What is a military chaplain called?
Chaplains are usually addressed as "Padre" /ˈpɑːdreɪ/, never by their nominal military rank. The senior Church of England chaplain is ranked within the church hierarchy as an archdeacon – he or she holds the appointment of Archdeacon for the Army whether or not he or she is also the Chaplain -General.
How much do chaplains make in the military?
The top 10 percent earn more than $68,000 , while the bottom 10 percent earn less than $33,000 . For a more generous income in the field, the median army chaplain salary is higher, at $90,000 per year, with the top 25 percent earning more than $120,000 and the bottom 25 percent earning less than $42,000 per year.
How much do reserve chaplains make?
Salary satisfaction How much does a Chaplain make at U.S. Army Reserve in the United States? Average U.S. Army Reserve Chaplain yearly pay in the United States is approximately $39,777, which is 17% below the national average.
What does bas mean in the military
How much is the vortex military discount

redpajama_set_name: RedPajamaCommonCrawl


When's the Last Time You Tested your Business Back-Ups?
Data protection is a central element of the data management strategy for all modern business owners. A proactive and well-thought-out business continuity plan is something that all system and data administrators must embrace. A layered and proactive data protection strategy really can mean the difference between disaster and recovery.
When it comes to creating a strategic business continuity plan, data and application backups are one of the most important elements. The reasons for implementing reliable backup solutions are endless – software bugs, failed hardware, and user mistakes are just some of the ways business data can be unintentionally altered or deleted. Furthermore, there's also the persistent risk of malicious activity and attempts to destroy, steal, or encrypt business data by cybercriminals or disgruntled former employees.
Data Protection Insurance: Don't Just Backup, Test!
Here's the thing when it comes to backups for business: if you don't test them regularly to ensure they're working in all the ways they're supposed to, you're only doing half the job. The last thing any business owner wants is to implement backups and wait until there's an actual data disaster to see if they work. That's why regular testing of backups for software, hardware, and everything in between is absolutely critical.
When a data disaster hits, it can be overwhelming and stressful for business owners. Worrying about whether or not backups are going to work should be the last thing that professionals have to deal with in a crisis situation. Backups are designed to offer peace of mind, and – if implemented correctly and tested regularly – they can make all the difference in a data crisis.
The key to testing backups is to run a sort of drill and see if the backups successfully restore data. For a long time, this process was limited, tedious, and time-consuming. When there was a physical server for each application a business used, data restoration had to occur on additional hardware. Furthermore, the environment could only be restored in a very limited way, meaning a full restore of an entire business network rarely happened.
However, as virtualization continues to dominate the business technology market, backup testing and restore processes have become much easier to deploy. Virtualization allows company data and applications to be centralized and organized in a more streamlined manner. For the many businesses who operate using this kind of centralized virtual machine (VM), recovery from backup is easier to execute.
You'll validate that the restore processes you've put in place work – peace of mind is priceless.
You'll create a benchmark to ensure that the recovery process can be completed as intended – this will help you develop recovery time objectives (RTO) for future reference.
Regular testing process and results can be shared with business teams to show that application recovery targets can be met, or perhaps reviewed if the process uncovered imperfections.
Testing Backups: What Programs and Hardware Should I be Testing?
This is likely the most common concern for business owners – will I be able to recover individual files from my backup? The reality is, file backup processes are easy to deploy on both physical and virtual servers in addition to backups of file servers. It really just comes down to recovering data by file type. There are plenty of tools to automate this process, which we'll explore in more detail later on.
For businesses who rely on virtual machines, implementing and testing backups is critical. This aspect is obviously specific to virtual environments as opposed to physical ones. Recovering a virtual machine is relatively easy because everything is centralized. However, consideration must be made for where the VM to be powered back on will be recovered.
Attempting to recover the VM in the same production environment creates technical issues like network IP conflicts and SID conflicts in Windows systems. The best strategy is to restart the VM in an isolated environment using the subnet on the hypervisor. Also, it's important to keep in mind that recovering VMs with new IDs can have impacts on applications and licensing – be proactive and consult with your software providers for terms and conditions.
As noted, physical server recovery is more complex and testing will vary based on the how different platforms are configured. Furthermore, recovering applications to the running hardware requires an outage – meaning businesses carry out these tests less frequently. Though daunting, if you're on a physical set up, it's critical to schedule the time for testing to ensure hardware can be recovered effectively in the case of a disaster.
Depending on the backup tools that business owner deploy, specific data recovery can be an option and should be tested for efficiency as well. For example, if a user has data backed up at the application level (rather than the entire VM), that data can be restored and accessed in an isolated environment as well.
Software applications are the core of a company's digital operations. However, testing application backups can be challenging – especially for larger business teams. Application backup testing requires an understanding of the relationships between individual VMs and physical servers. However, it can be done, and as with some of the previous recovery types, it's best done in an isolated environment and on a separate network.
It's no secret that the more extensive the testing, the higher level of risk – however, testing data backups can be an amazing tool for providing reassuring, measurable results. Determining the right test scenario depends on the backup and restore tools that have been put in place. Having a strong understanding of what you want your backups to do in the case of an emergency will make the testing process more efficient.
Setting a Schedule: How Often Should You Test Your Business Backups?
We get this question from our clients all the time – "Now that we have backup solutions in place, how often should we be testing them?" If we're being honest, in an ideal world, testing should occur after every backup to ensure that the latest data has been successfully secured.
However, we know for busy professionals like our clients, this isn't the most time-effective or reasonable option. So, business owners must strike a balance between the potential impacts of losing data and the effort required to feel consistently confident in their backups.
As part of a regular routine – say monthly or bimonthly. Choose a frequency, set a schedule, and deploy backup tests for all hardware and applications on a regular interval.
Whenever there are a major application or hardware changes. This includes any kind of software update or patch as well as new or different devices. These tests should be more complex to account for a major application or device changes. Use updates and patches as reminders for strategic backup testing.
Whenever there is a significant change to application data. If any business application has a regularly scheduled import of data from an external source, schedule a test restore to occur after the data has been transmitted.
Whenever you've restored data. It may seem excessive or redundant to run a backup test on a VM, device, or application that you've just recovered, but it will ensure that the newly restored program is properly backed up moving forward.
Restore testing can be made much easier using automation tools. At a base level, this can include scripting the restore for individual files. However, there are software tools available that aid in more complex and comprehensive testing procedures. Many of these tools are built directly into backup & disaster recovery software.
Many of these tools completely automate the testing process and allow restores to occur without affecting the production environment. There are countless ways for business owners to take advantage of backup and data recovery tools – the key is researching the best tools to suit the individual backup needs of each business. Taking the time to understand the backup needs of the entire business network is the first step – then, businesses can invest in applications or support to optimize backup testing procedures.
In an increasingly Cloud-based business environment, with more and more companies making use of containers, backup testing will continue to evolve. Using the public Cloud to backup, test, and recover applications is a huge plus when it comes to cutting on-premise costs. This represents an entirely new domain for backup testing that will no doubt reveal new challenges and opportunities.
However, no matter what the future brings, the premise remains the same: Setting up backups and testing them regularly should be understood as a responsibility, not an option. Ensuring that recovery processes are implemented correctly and run according to a schedule will always be your secret weapon against unexpected data disasters.


text:
Zambello, Francesca (1956- )
The Francesca Zambello collection consists of professional material, manuscripts, printed material, correspondence, scrapbooks, video recordings, audio recordings, and other material.
Professional material in the collection primarily consists of files and portfolios regarding plays produced and/or directed by Zambello; these contain costume sketches, set designs, scene charts, character sketches, research materials, set photographs, sound cues, scripts, scene breakdowns, notes, librettos, schedules, set props, casting, clippings, correspondence, programs, scores, and photocopied books. Also present are individual model and technical photos for sets, costume and set design sketches, press packets, press kits, notes, casting lists, research, schedules, contact lists, notebooks, and subject files.
Manuscripts in the collection include material for scripts, libretti, script outlines, and musical scores. Titles include Lady in the Dark, by Moss Hart and Ira Gershwin; Napoleon, by Andrew Sabiston and Timothy Williams; An American Tragedy, by Tobias Picker and Gene Scheer; The Little Prince, by Rachel Portman and Nicholas Wright; Modern Painters, by David Lang and Manuela Hoelterhoff; King David, by Alan Mencken and Tim Rice; and several others.
Printed material in the collection includes various programs, magazines, booklets, brochures, fliers, newsletters, clippings, reviews, and posters.
Correspondence in the collection consists of several personal and professional letters, dating from 1993 to 2006.
Scrapbooks in the collection include several items regarding various productions; these mainly consist of press clippings.
Video recordings in the collection include several VHS cassette recordings of various productions, dating from 1993 to 2005; also present are three video discs of productions; titles include Amahl and the Night Visitors, The Bartered Bride, Dialogue des Carmelites, Don Giovanni, Emmeline, Guerre et Paix, Les Troyens, The Little Prince, Napoleon, Of Mice and Men, 48 Preludes and Fugues, The Queen of Spades, La Traviata, Turandot, La Vaisseau Fantome, and Death Takes a Holiday.
Audio recordings in the collection include many cassette and compact disc recordings of various productions, dating from 1999 to 2004. Titles include An American Cantata, An American Tragedy, Death Takes a Holiday, Goya, Les Troyens, The Little Prince, Little Women, Napoleon, Phantom, Rachel Portman Compilation, The Ramayana, War and Peace, West Side Story, Winnie-the-Pooh, and Lady In the Dark.
Other items in the collection include memorabilia, legal material, and financial material.
1. Zambello, Francesca
1. Women's Studies Collections -- Drama, Film, and Television Subject Guide
2. Music Collections Subject Guide
3. Theatre and Film Subject Guide
4. LGBT Subject Guide
5. Opera Subject Guide
6. Helen Deutsch Research Section


Keep an eye on a number of Virginia legislative bills that are sure to reduce your spendable income. Some of these bills are a done deal and only require Gov. Mark Warner's signature. On the other hand, a few are definitely worthwhile and can actually save you a buck or two.
House Bill 536 will allow the Board of Game and Inland Fisheries to establish an annual hunting stamp. The stamp will be required of anyone who hunts on lands leased by the department. The cost of the stamp will be the same as the cost of an annual resident hunting license, currently $12.
That's a new tax any way you slice it, and it will double the license costs of those who make use of such public lands. The bill passed the Senate and now goes to Warner.
House Bill 301 would authorize the Board of Game and Inland Fisheries to revise fees for hunting, trapping, fishing and motorboat registration through its own regulation process. The fees could not be changed more than once every three years, and any increase or decrease in a fee could not be for more than $5.
This bill passed the Senate and if Warner goes for it, I can guarantee you the Department of Game and Inland Fisheries will raise fees faster than a runaway train. And as far as decreasing the license cost is concerned, dream on. It will never happen.
Senate Bill 198 would require any person licensed to hunt bear to also obtain a $4 bear damage stamp. The moneys collected from the stamp will be deposited into the newly created Bear Damage Stamp Fund. The fund would be used to compensate landowners for damages to their property caused by bears.
This bill will be carried over until the 2005 legislative session, but it will be tried again and eventually will cost you money.
On the good side, House Bill 1452 would establish a special combined fishing license for persons who want to fish in freshwater and saltwater. If a person purchased this license, there would be no need to buy the current individual freshwater or saltwater licenses. The cost of such a license would be $19.50 for residents and $37.50 for nonresidents. Of the $19.50 resident cost, $7 would be paid into the Virginia Saltwater Recreational Fishing Development Fund, $12 into the Game Protection Fund and 50 cents to a Virginia Marine Commission sales agent. This bill also would establish a trip license that allows persons to fish in all inland and tidal waters for five successive days.
The bill passed the Senate. It will now go to the governor for his consideration.
For more information about your legislators and how to contact them, visit the Virginia General Assembly Web site, www.legis.state.va.us. You also can contact the Assembly's Constituent Viewpoint Comment line toll-free at 800/889-0229.
Brauer keeps on winning — Former world champion bass angler Denny Brauer of Camdenton, Mo., won the Bassmaster Tour at Lake Eufaula, Ala., and a check for $101,500 on Sunday. Brauer, a veritable bass fishing legend on the pro tour, won the event by a mere 3 ounces over the nearest challenger, Idaho's Bink Desaro. Brauer's tournament bass total weighed 76 pounds, 14 ounces.
Though he was disappointed, Desaro had plenty of consolation. In addition to the $38,000 second-place purse, his final day's catch of 24 pounds, 5 ounces was the largest of the day, earning him an additional $1,000. And if that weight holds out for the remainder of the tour and the Bassmaster Elite 50 series, Desaro will qualify for the $160,000 Busch Shootout Tournament on a mystery lake in September.
Desaro also earned an additional $1,000 from Purolator for bringing in a 7-4 lunker on the final day of competition.
Brauer credits a Strike King pro model jig with a 3X Chunk trailer for most of his tournament bass catches.
Galyan's Adventure Tour 2004 — Saturday at Fair Lakes and Sunday at Washingtonian Center, at Galyan's sporting goods stores, 11 a.m. to 7 p.m. both days. Paddle a kayak in a 16,000-gallon pool, take a mountain bike for a spin, master obstacles on the motorized scooter course, pitch a tent, or take a shot in the paintball range. It's free. Information: 703/803-0300 Virginia, 301/947-0200 Maryland.
Flyfishing class — Sunday, 1 p.m., Davidsonville (Md.) Family Recreation Center. Learn all about equipment, flies and entomology and receive hands-on fly-casting instruction. The cost is free to club members, but nonmembers must pay $20. If you have your own fly-fishing rod and reel, bring it. Outfits will be available for casting. Information: Bob Smith, 410/544-4411, or Mike Price, 410/320-0080.
Eastern Shore fishing class — April 3, 8:30 a.m. to 3:30 p.m., at Chesapeake College, Wye Mills, Md. Outdoors writers Keith Walters and Bill Burton will teach anglers where, when and how to find the Eastern Shore's best fishing. The $49 cost includes lunch. To register, call the college's Continuing Education Department, 410/822-5400.
Striper shore fishing contest — April 3, at Sandy Point State Park, near Annapolis. The Capital Longcasters sponsor this rockfish event on the shores of the Chesapeake Bay. First place is guaranteed $500. All stripers must measure 18 inches or more. Registration ends March 31. Entry details at longcasters.org.
How to catch striped bass — April 10, 8:30 a.m. to 3:30 p.m., at Chesapeake College, Wye Mills, Md. Learn rockfish techniques from trolling to chumming, casting to bait fishing. The $49 cost includes continental breakfast and lunch. To register, call the college's Continuing Education Department, 410/822-5400.


text:
Q: Custom Observable List implementation, notifying consumers of changes I have created a custom ObservableList implementation for a list of TreeItems. My custom implementation can listen to various notifications from inside my app (using OSGi EventAdmin), and update itself accordingly. I then expect its consumer (a TreeView widget) to be updated with the changes to the list. However, I can't see how to notify the consumer.
In the ObservableList subclass I am implementing addListener(ListChangeListener), which I would expect to get called when the object is added to the widget. However it is never called; I have no listeners thus no apparent way to notify anyone when the list changes. I must be missing something.
Here is a snippet from my TreeItem implementation, which returns an instance of my ObservableList in response to a getChildren call:
    @Override
    public ObservableList<TreeItem<DataObject>> getChildren() {
        if (needChildren) {
            needChildren = false;
            children = new MyObservableList();
        }
        return children;
    }

Here is an abridged version of my custom ObservableList implementation, which simply wraps an FXCollections.observableArrayList and adds an OSGi event handler. I listen to changes on the internal list so that I can pass those changes on to my listeners.
    public class MyObservableList implements ObservableList<TreeItem<DataObject>>, EventHandler {
    private List<ListChangeListener<? super TreeItem<DataObject>>> changeListeners = new ArrayList<>();
    private List<InvalidationListener> invalidationListeners = new ArrayList<>();
    private ObservableList<TreeItem<DataObject>> theList;
    private int size;

    public MyObservableList() {
        theList = FXCollections.observableArrayList();

        theList.addListener(new ListChangeListener<TreeItem<DataObject>>() {
            @Override
            public void onChanged(Change<? extends TreeItem<DataObject>> change) {
                fireValueChangedEvent(change);
            }
        });
    }

    @Override
    public int size() {
        return theList.size();
    }

    @Override
    public boolean isEmpty() {
        return (size == 0);
    }

    @Override
    public boolean contains(Object o) {
        return theList.contains(o);
    }

    @Override
    public Iterator iterator() {
        return theList.iterator();
    }

    @Override
    public boolean remove(Object o) {
        return theList.remove(o);
    }

    @Override
    public boolean addAll(Collection c) {
        return theList.addAll(c);
    }

    @Override
    public boolean addAll(int index, Collection c) {
        return theList.addAll(index, c);
    }

    @Override
    public void clear() {
        theList.clear();
    }

    @Override
    public TreeItem<DataObject> get(int index) {
        return theList.get(index);
    }

    @Override
    public int indexOf(Object o) {
        return theList.indexOf(o);
    }

    @Override
    public int lastIndexOf(Object o) {
        return theList.lastIndexOf(o);
    }

    @Override
    public ListIterator listIterator() {
        return theList.listIterator();
    }

    @Override
    public ListIterator listIterator(int index) {
        return theList.listIterator(index);
    }

    @Override
    public List<TreeItem<DataObject>> subList(int fromIndex, int toIndex) {
        return theList.subList(fromIndex, toIndex);
    }

    @Override
    public Object[] toArray(Object[] a) {
        return theList.toArray(a);
    }

    @Override
    public void addListener(ListChangeListener<? super TreeItem<DataObject>> listChangeListener) {
        changeListeners.add(listChangeListener);
    }

    @Override
    public void removeListener(ListChangeListener<? super TreeItem<DataObject>> listChangeListener) {
        changeListeners.remove(listChangeListener);
    }

    @Override
    public boolean addAll(TreeItem<DataObject>... treeItems) {
        return theList.addAll(treeItems);
    }

    @Override
    public boolean setAll(TreeItem<DataObject>... treeItems) {
        return theList.setAll(treeItems);
    }

    @Override
    public boolean setAll(Collection<? extends TreeItem<DataObject>> treeItems) {
        return theList.setAll(treeItems);
    }

    @Override
    public boolean removeAll(TreeItem<DataObject>... treeItems) {
        return theList.removeAll(treeItems);
    }

    @Override
    public boolean retainAll(TreeItem<DataObject>... treeItems) {
        return theList.retainAll(treeItems);
    }

    @Override
    public void remove(int i, int i2) {
        theList.remove(i, i2);
    }

    @Override
    public Object[] toArray() {
        return theList.toArray();
    }

    @Override
    public boolean add(TreeItem<DataObject> dataObjectTreeItem) {
        return theList.add(dataObjectTreeItem);
    }

    @Override
    public boolean containsAll(Collection<?> c) {
        return theList.containsAll(c);
    }

    @Override
    public boolean removeAll(Collection<?> c) {
        return theList.removeAll(c);
    }

    @Override
    public boolean retainAll(Collection<?> c) {
        return theList.retainAll(c);
    }

    @Override
    public TreeItem<DataObject> set(int index, TreeItem<DataObject> element) {
        return theList.set(index, element);
    }

    @Override
    public void add(int index, TreeItem<DataObject> element) {
        theList.add(index, element);
    }

    @Override
    public TreeItem<DataObject> remove(int index) {
        return theList.remove(index);
    }

    @Override
    public void addListener(InvalidationListener invalidationListener) {
        invalidationListeners.add(invalidationListener);
    }

    @Override
    public void removeListener(InvalidationListener invalidationListener) {
        invalidationListeners.remove(invalidationListener);
    }

    private void fireValueChangedEvent(ListChangeListener.Change<? extends TreeItem<DataObject>> change) {
        for (ListChangeListener<? super TreeItem<DataObject>> listener : changeListeners) {
            listener.onChanged(change);
        }
    }

    @Override
    public void handleEvent(Event event) {
        // Here I add or remove TreeItem<DataObject> instances to the list based on event.
        //
        // At this point, onChanged() gets called above in my listener, but my changeListeners list is empty. There is
        // no one to pass the Change on to.
    }
}

Thanks for any help.

A: I figured out what's going on here after looking through the JavaFX source.
It turns out that the listening on the ObservableList of children is all set up in the TreeItem itself, not the TreeView as I had somehow assumed. This means that any subclass of TreeView that overrides getChildren() must call super.getChildren() and add its children to the resulting list. This means that using a custom ObservableList implementation is not possible as TreeItem is hardcoded to use FXCollections.observableArrayList() to create the list.
I am taking a different approach to this now where I call super.getChildren(), add my children, and then instantiate another object that holds a reference to that list and does all of my app's event handling business, operating on the list as needed. So my getChildren() method looks something like this now.
private MyEventHandler eventHandler;
private ObservableList<TreeItem<DataObject>> children;

@Override
public ObservableList<TreeItem<DataObject>> getChildren() {
    if (needChildren) {
        needChildren = false;
        children = super.getChildren();
        eventHandler = new MyEventHandler(children); // handles app events
    }
    return children;
}

redpajama_set_name: RedPajamaStackExchange


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text:
'Like nobody you'd ever met': Family, friends remember beloved victims killed in shootings Monday
David Zalubowski/AP
Mourners gather outside the door of a tattoo parlor along South Broadway, Tuesday, Dec. 28, 2021 in Denver, one of the scenes of a shooting spree that left six people dead—including the suspected shooter Monday evening—and left two more people wounded. The spree spread from the core of Denver to the western suburb of Lakewood where the suspect was shot and killed by police near a busy intersection in a bustling shopping district. (AP Photo/David Zalubowski)
By: Stephanie Butzer , Pattrik Perez
Following multiple shootings Monday evening that ended with six people dead, including the suspect, and three injured in Denver and Lakewood, family and friends are starting to share their beloved memories of the victims.
The gunman harbored extremist views and had a history of psychiatric episodes, multiple law enforcement sources confirmed with ABC News Tuesday.
"This is the holiday season. To have this type of spree take place is not normal for our community," said Denver Police Chief Paul Pazen. "We cannot lose sight of the victims in this, the people that are still fighting for their lives, including a Lakewood agent."
If you would like to help the victims, we have a list of ways here.
Alicia Cardenas
On Tuesday morning, Alfredo Cardenas told Denver7 his daughter, Alicia Cardenas, 44, was one of the two women killed at Broadway and 1st Avenue, which was where the string of shootings began. He said Alicia was his only daughter.
Cardenas family
Alicia owned Sol Tribe Tattoo & Piercing, which is nearby. According to her bio page on the company's website, she was a "proud Indigenous artist born and raised in the city who's been working in the Denver body modification industry for nearly her entire life." She was passionate about volunteering and giving back to her community, the website reads.
"She was a beacon of light for an enormous number of marginalized people, a fierce warrior and leader," said her friend Aloria Weaver.
READ MORE: Denver's tattoo community mourns loss of two women killed in Denver-Lakewood mass shooting
Weaver created a GoFundMe to support Alicia's 12-year-old child.
Angel Macauley, who owns Femme Fatale Intimates a few doors down from Sol Tribe, said Alicia was a huge part of the block.
"It's just such a senseless act of violence that you just wouldn't think would happen so close to where we are," she said.
Macauley called Alicia a "firecracker" and "leader" with a "powerful voice."
"She was just such an impact on women, the Native community — I'm hoping that her art continues to live forever," she said.
Alfredo Cardenas said his daughter owned her first tattoo shop when she was 19 years old and then moved into the new space, where she had worked for 15 to 20 years. It has a "tremendous reputation," he said.
She was like nobody you'd ever met, he said.
"Very gregarious, very friendly, but she was a very determined person," he said. "She knew where she was going."
She was also a mural artist, he said, and there are multiple art murals around town with her name on them.
"She was a real leader in her community. A lot of people look to her for advice and information about tattooing and a lot about the hygiene of tattooing and she kind of pioneered that," Alfredo Cardenas said. "But she had friends all over the world. She literally has gone all over the world, well, over over the oceans anyway, giving workshops on tattoo hygiene and that sort of stuff. She will be very sorely missed."
Just spoke with the father of one of the victims of last night's shooting spree. He identified her as Alicia Cardenas, 44. She's the owner of Sol Tribe Tattoo Piercing on Broadway and 1st in Denver. She leaves behind a 12-year-old daughter. @DenverChannel pic.twitter.com/ZRiEh2BB1i
— Pattrik Perez (@PattrikPerez) December 28, 2021
Alfredo Cardenas said his son came by his home in the middle of the night and told him he had heard about a shooting on social media.
"There's a real tight community amongst the tattoo people and he was in connection with them," Alfredo Cardenas said.
She served on the board of directors for the Association of Professional Piercers up until her death.
Alfredo Cardenas said he is struggling to absorb the fact that his daughter had been killed.
"It's a shock to everybody," he said. "It was obviously senseless."
She leaves behind a 12-year-old child, her father said.
Alyssa Gunn-Maldonado
The other two people shot at 1st and Broadway were identified as a Sol Tribe artist who is in the ICU (Denver7 is not identifying him) and his wife Alyssa Gunn-Maldonado, 35, who died of her injuries.
She is remembered for her impact on the tattoo and yoga community.
A verified GoFundMe was created for the family to help with funeral costs, medical bills and support for the couple's son.
Her husband is expected to survive his injuries.
Danny Scofield
Lucky 13 Tattoo
Danny Scofield, 38, was shot and killed at Lucky 13 Tattoo, located in the 1500 block of Kipling in Lakewood. He was a tattoo artist at the shop.
He went by Dano Blair.
In an Instagram post, the shop described him as "an awesome human being, a great father, son and brother."
Cody McLaughlin, Scofield's ex-wife, said he loved everyone no matter what their story was or where they were from. He was a family man, she said.
"He was a part of a really big community, in the tattoo community," she said. "He touched a lot of lives."
She said the suspect "robbed us of a beautiful soul." Scofield leaves behind three children.
You can contribute to the two verified GoFundMe accunts set up to support him. Click here for one, and here for the second.
Sarah Steck
Submitted by Steck family
Sarah Steck, 28, was working as the hotel clerk at the Hyatt House in Lakewood Monday night when the suspect entered the hotel and shot her multiple times.
"Colleagues and guests knew Sarah for her infectious laugh and her love of kittens, art and music — especially Blink-182," Andra Alvarez, general manager of the Hyatt House Denver/Lakewood at Belmar, said in a statement. "But most of all, Sarah loved her boyfriend, family and friends. We will miss her terribly, and our hearts go out to Sarah's family and friends as well as the families and friends of all the victims of the horrific act of violence that occurred on Dec. 27, 2021."
She was transported to the hospital, and passed away from her injuries Tuesday.
Ryan Steck, Sarah's brother, spoke out for the first time in a statement to Denver7. It says in part: ""Sarah ... was just an all around great human being as well as a role model to a bunch of people including me. She was a beautiful and kind loving person. A girl who would go out of her way to help out a person in need without hesitation. Sarah was the best big sister I could have ever asked for. Truly a beautiful soul gone too soon. My family and I send our condolences to the other victims families in this tragedy."
A verified GoFundMe has been set up to help Steck's family.
"She was loved and touched so many peoples lives," the GoFundMe reads.
Michael Swinyard
The Denver Office of the Medical Examiner identified Swinyard as the person who was killed along the 1200 block of N. Williams Street in Denver.
He was 67 years old.
The above section will be updated as family and friends choose to share stories of the victims.
Denver Police Chief Paul Pazen and John Romero, public information officer with the Lakewood Police Department, provided an update on the shooting Monday evening, and Lakewood provided a follow-up press conference on Tuesday afternoon. They said the suspect's motivation for the shooting isn't clear yet. They also stressed that there is no threat to the public.
The shootings began around 5:25 p.m. Monday, when the suspect shot three people near 1st Avenue and Broadway in Denver. Two of the injured people — who have since been identified as Alicia Cardenas and Alyssa Gunn-Maldonado — were killed and Gunn-Maldonado's husband was injured, police said. Both women died at the scene.
At 5:31 p.m., police responded to call of a man trying to get into a home at W. 6th Avenue and Cherokee Street. The suspect shot at the residents, but nobody was injured. The suspect may have set a nearby van on fire.
Afterward, Denver police were dispatched at 5:45 p.m. to a third shooting at One Cheesman Place on the north side of Cheesman Park, where one man was pronounced deceased. He was later identified as Michael Swinyard.
A glass door was shattered in a shooting on Dec. 27, 2021 at One Cheesman Place. A man was killed at this location amid a string of fatal shootings in Denver and Lakewood.
Police identified the vehicle associated with all three shootings around 8th Avenue and Zuni Street at 5:49 p.m. Police pursued the driver and one officer exchanged gunfire with the suspect, police said. No officers were injured in this shooting. The suspect driver disabled a police car with his gun and fled into Lakewood on Interstate 25, police said.
At 5:58 p.m., Lakewood police received a call about a shooting at Lucky 13 Tattoo, located along the 1500 block of Kipling. Officers responded and a person — who has since been identified as Danny Scofield, 38 — was pronounced dead at the scene, police said.
Police were able to gather a description for the suspect and the vehicle, and Lakewood police spotted it in the Belmar shopping area a short time later.
Lakewood police tried to contact the driver, but the suspect shot at police, who returned fire, police said.
Investigators recover evidence from a window frame outside an Xfinity store Tuesday, Dec. 28, 2021, in Lakewood, Colo., one of the scenes of a shooting spree that left several people dead—including the suspected shooter Monday evening—and left a few more people wounded. The spree spread from the core of Denver to the western suburb of Lakewood where the suspect was shot and killed by police near a busy intersection in a bustling shopping district. (AP Photo/David Zalubowski)
The suspect then fled on foot into the shopping area, menaced a business with a firearm, and retreated into the Hyatt House at 6:10 p.m. The suspect had a brief conversation with a person at the front desk and then shot a hotel clerk several times before fleeing again, according to police. The hotel clerk was taken to a hospital, and died from her injuries Tuesday. She was later identified as Sarah Steck, 28.
After leaving the hotel, the suspect was confronted by an officer, identified Wednesday as Lakewood Agent Ashley Ferris, around S. Vance Street and W. Alaska Drive. Ferris ordered the suspect to lower his weapon, but the suspect instead opened fire, striking her in the abdomen, police said. Ferris was wearing a vest. Even after being injured, the she composed herself and returned fire, striking and killing the suspect, police said.
Ferris, who has been on the force for three years, was transported to a hospital for surgery. She is expected to make a full recovery, but will need several surgeries.
The suspect was pronounced dead at the scene. He had been on law enforcement's radar, Denver Police Chief Paul Pazen said. Two investigations — in 2020 and early 2021 — did not result in state or federal charges. He harbored extremist views and had a history of psychiatric episodes, multiple law enforcement sources told ABC News.
According to the Denver Department of Excise and Licenses, the suspect was never licensed as a tattoo artist or a body artist.
Police said they believe the victims and suspect knew each other, and that the gunman was targeting at least some of his victims.
The front house manager of the Rock Wood Fire Pizza in Belmar, Tyler Gunderson, said he stepped out the back door and heard gunshots around 6:15 or 6:30 p.m. — right as Monday Night Football started, he said.
"The tables were already flipped and people were running toward the back," he recalled.
He said his staff helped move people into the back of the restaurant, where they hid in bathrooms, the beer cooler and upstairs.
Leftover police tape is wrapped around a pole to block off the sidewalk by a pizza parlor Tuesday, Dec. 28, 2021 in Lakewood, Colo., near one of the scenes of a shooting spree that left five people dead—including the suspected shooter Monday evening—and left three more people wounded. The spree spread from the core of Denver to the western suburb of Lakewood where the suspect was shot and killed by police near a busy intersection in a bustling shopping district. (AP Photo/David Zalubowski)
The area was on lockdown for a few hours, Gunderson said. The customers were the first to leave once authorities gave an all-clear.
"I'm amazed by how my staff reacted," he said. "And some of the customers — everybody kind of held their stuff together. None of my staff was crying or freaking out during it. They all were making sure customers were OK. Once everything died down, we gave everybody waters and gave them some to-go food that wasn't going to be delivered, obviously."
He said he wants to tell Belmar customers that it's still a safe area to visit.
"Everyone did what we could to keep everybody safe. And you know, love to everybody, man," Gunderson said.
This is a developing story. Stay with Denver7 for updates.


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VIEWS ON FILM
Welcome all film buffs. Enjoy a vast list of both long and short reviews. All reviews posted by myself, Film Critic Jesse Burleson. Also on staff is my colleague and nephew, Film Critic Cole Pollyea. He also has his own blog titled, "ccconfilm.blogspot.com". We welcome your feedback and comments. Let VIEWS ON FILM guide you to your next movie. Rating System: ****Stars: A Classic ***Stars: Good **Stars: Fair *Star: Poor No Stars: Terrible, a waste of time.
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Noah 2014 * * * Stars
Director: Darren Aronofsky
Rated PG-13
Rating: * * * Stars
Cast: Russell Crowe, Jennifer Connelly, Ray Winstone, Emma Watson
If I knew I was going into the theater to watch a bunch of huge, robotic rock caricatures roam the Earth, I'd probably avoid buying a ticket. But I stuck around to experience some good old fashioned fire and brimstone. So without further adieu, I give you the latest biblical release to filter into multiplexes all across the country this March. Ah, let there be Noah!
Darren Aronofsky directs and whether or not you believe in his vision being complete hooey, is hearsay. Noah's visuals, said director, and the actors offer to make you think otherwise. Now granted, all of the factors just mentioned, are combined to sell you the audience, every scene in its 2 hour plus running time. Why? To make you believe that this is actually how it went down.
Along with subjugating an interesting slant on the Old Testament, Noah also has the luxury of having one of the world's finest movie moguls playing the title character. As God's handily chosen one, Russell Crowe delivers an assured, brilliant performance. He's the go-to thespian for anything biblical or for a better word, historical. His ultimate weapon is his voice. Mr. Crowe undoubtedly has to have one of the greatest acting voices in the history of cinema. I mean I would literally pay this guy to just sit down and read a menu, or a phone book, or heck, even the ingredients on a can of soup. As expected, he is perfectly cast which is another way of saying that there's no other actor who could inhabit this role (expect for maybe the late, great Charlton Heston). And thankfully, he's backed up by a surrounding group of supporting players that almost never hit a false note.
Now as a kid, I remember the story of Noah. It's essentially about a man who is told by God to build a huge contraption to hold all animals in two's. He must do this because a flood is coming that intends to end the world as we know it. In this 2014 version, there were a lot of things I didn't see coming. I didn't know that a conflict would arise between good and evil. That role belongs to Ray Winstone who plays Tubal-cain. He's essentially the villain and well, as a youngster, I never knew that villains existed in Noah's plight. Winstone does a solid job as well as the rest of the cast including Jennifer Connelly and Emma Watson. Connelly, matching Crowe scene for scene, also gives a powerhouse performance as his wife. She has a moment of Oscar glory that might have come too soon in the year. It arrives toward the film's last quarter and maybe voters will remember it come December. Then there's Sir Anthony Hopkins playing a weird, underutilized character as Noah's grandfather. His screen time feels like a couple of cameos. Dare I say that his role came off as comedic rather than serious (he sure had an appetite for some wild berries).
Performances aside, if there was one guy who had to take on the reins of bringing the concept of Noah to life, I'm glad it's Aronofsky. He's a visionary filmmaker who first caught my eye with 2000's Requiem for a Dream. He channels a little residue from that film into this one by way of certain cuts and images. His vision for Noah is salty and psychedelic, dark and dreary, and for the most part, modernized. His visuals are sumptuous while his storytelling ability (the film's only weak point) has seen better days. And as bold a director as he is, he still finds time to include an educational, visual feast that feels a little out of place. At I guess 2-3 minutes, it involves Crowe narrating the first chapter of Genesis a la the planetarium scene from 2000's Mission to Mars (I didn't see that coming).
Basically Aronofsky's Noah isn't perfect because it establishes characters and situations without a lot of buildup. Things tend to drag a bit especially in the first hour. Added to that, Noah throughout has a fumbled structure with small portions of incoherency. Finally, I felt at times like I was watching Crowe in Gladiator mode (how did Noah learn to fight so well) or taking in scenes filtered right out of 2007's Transformers. Oh yeah and there were times where I thought I was trapped in the world of Lord of the Rings (it's a scene where evil soldiers are trying to get into the ark which is barricaded by the rock creatures mentioned in the first paragraph). Anyway in spite of all this, Noah gets by when the proceedings come down like a sledgehammer in the third and final act. In fact, Noah excels in this act the most when all the animals and humans are already tucked away safely in the ark. The film then gets some legs as it prepares you for a supremely dark detour that you are about to take as an audience member.
Bottom line: Aronofsky's direction although skewed, is brilliant and unique. I'm proud of his effort even though it's a little kooky in a way that might dissuade your average churchgoing type. Yes, this March release has flaws but it succeeds by not playing it safe. It's one of those movies where if you think you know where things are headed, you might just be wrong in your assessment. To end this review, I'll leave you with this interesting factoid: according to Aronofsky's harrowing vision, there is one scene taking place near the film's conclusion, who's outcome cements itself to be the reason why all of us humans still exist. Well all I have to say is thank God for that (no pun intended)!
Written by Jesse Burleson
Posted by VIEWS ON FILM at 10:36 PM No comments:
Sabotoge 2014 * * 1/2 Stars
Director: David Ayer
Rating: * * 1/2 Stars
Cast: Arnold Schwarzenegger, Sam Worthington, Josh Holloway, Terrence Howard
After taking a 7 year hiatus from the world of acting (as we all know, he became the Governor of California), Arnold Schwarzenegger has had the sad misfortune of losing a lot of his box office clout. His new film Sabotage opened today and I'm not sure that it has a chance of setting the world on fire (ticket receipt wise of course). I do know this though, as a DEA commander overseeing a bunch of high strung, highly volatile (did I mention gun toting) DEA task force operatives, Arnie gives probably one of the best performances of his career. Instead of spouting off one-liners and offing tons of bad guys, he decides to provide a more dramatic, more deepened turn here. He dons an interesting haircut and a grizzled look. And oh yeah, he still remembers to chomp on cigars throughout (it's an iconic image anyway so why not). In hindsight, this is not your typical Schwarzenegger flick. It's like nothing you've ever seen him in before. What surprised me is that the complexity of his role is something that I hadn't witnessed since his bout in 1990's Total Recall.
Featuring big name actors who look almost unrecognizable in their parts (Sam Worthington and Josh Holloway come to mind) and an extremely effective use of Atlanta based locales, Sabotage begins with Arnold's character John "Breacher" Wharton. The opening frame shows him watching a snuff film of his wife being tortured. I can't give anything else away only to say that this is the main plot element that ties the whole running time together. In the next couple of frames, we meet his crew of misfits. They are all in dire need of a shower. Added to that, they are hard up, emotionless, arrogant foot soldiers primed to make money infiltrating a drug cartel safe house. When an interrogation occurs, pushers are murdered, and the money somehow goes missing, there is a federal investigation followed by a killing spree targeted at everyone in Wharton's crew. The investigation in question, is headed by officer Caroline Brentwood (effectively played by Olivia Williams). I read a review in which a critic labeled Sabotage as a whodunit. I would agree with that only to say that when the culprits are revealed, the suspense factor is lazy and lacking. The so-called whodunit element happens too quickly and I expected more from an aggressive screenwriter like David Ayer.
Speaking of Ayer (he also serves as director), his script as expected, goes over the top with its outlandishness and frequent use of the F word. It does some of the actors justice only to fail most of the others. There are times where it settles down to tell a story. By then it's too late. The filth on screen dominates the proceedings and causes things to not elaborate as they should. The plot when you think about it, is relatively thin even for an Ayer-like picture. He opts for the extreme gore factor along with some offensive dialogue causing everything else to take a back seat. The horrific ways in which people die in this movie don't seem relative, they just seem you know, for show.
Then there is the ending which resembles a modern day Western. It felt abrupt and quick minded. I wanted more since I'm again, familiar with Ayer's work. As a writer, he likes to prolong his conclusions like in Street Kings and Training Day. With Sabotage, he provides his normal trademarks as a director only to somewhat hold back a bit. If anything, he accomplishes the feat of squeezing out a solid performance from Schwarzenegger which to my chagrin, almost saves the proceedings.
In conclusion, the definition of the word sabotage is as follows: to deliberately destroy, damage, or obstruct something especially for military or political use. The film safe to say, accomplishes this by glorifying violence and the bludgeoning, disturbing images that result from it. If anything, see it as a welcoming back party for every one's favorite Austrian, AAARRRNNOLLD! Here's hoping that "he'll be back" for something better cinematically in the future.
Posted by VIEWS ON FILM at 5:42 PM No comments:
God's Not Dead 2014 * * * Stars
Director: Harold Cronk
Cast: Shane Harper, Kevin Sorbo, Jim Gleason, Dean Cain
As a film that is overly religious, Altmanesque (minus the overlapping dialogue), and structured almost similar to 2005's Crash (which was I believe was inspired by Robert Altman himself), God's Not Dead is a March release that presents the debate of Christianity vs. agnosticism. In other words, the major conflict here involves a college student trying to convince a philosophy class that God is real whereas the professor of said class believes that God well, does not exist. As things progress, other characters eventually filter in, their lives intersect each other ever so slightly, and events finally conclude with a chance meeting at a concert involving a popular Christian rock band.
Now if you haven't taken in a viewing, know this: God's Not Dead is controversial, will allow for debate, and despite its PG rating, might sensitize an audience with its subject matter (doesn't matter if you're 10 years old or 80 years old). Whether or not that's a good or bad thing, I still found the film to be very well done, well paced, and well acted (especially by the leads being Kevin Sorbo and Shane Harper). It hasn't however, gotten a very wide release and at times, resembles a TV movie or something you would show as educational fodder in church classrooms. But it's as intelligent and thought provoking as anything to come out so far in 2014. And the fact that it wasn't another shoot em' up, another cartoon, or another lowbrow comedy was very refreshing to me.
Filmed entirely in Baton Rouge, Louisiana and featuring a cameo involving members of TVs smash hit, Duck Dynasty, God's Not Dead focuses on law student Josh Wheaton (played impressively by Shane Harper). He's a devout Christian, a loyal boyfriend, and overly smart (yet at times, timid). When he's warned about taking a philosophy class taught by a stern, set in his ways professor named Radisson (played with a searing glare by Kevin Sorbo), Wheaton decides to go against the grain and take this agnostic teacher to task (using at times, a power point presentation). He challenges Professor Radisson to a debate on whether or not God is real. This all happens because Josh won't sign a note saying that he denounces God's existence so that he can continue to take said class like everyone else.
As a highlight, there are three to four key scenes between these two actors that are very powerful. Added to that, the secondary characters mentioned earlier, also contribute to the story as well. They are all connected through 1-3 degrees of separation by the protagonist (Wheaton) and the antagonist (Radisson). One of them is a writer who finds out that she has cancer thereby trying to find solitude with God. Another character belongs to an old fashioned family who alienates her because of her beliefs. Finally, there is a nasty businessman played by veteran Dean Cain (Mark). He has a perfect life yet admits that he's a bad person and wonders why he hasn't been taken from the world yet (his mother is dying of dementia and is as good as any human being who has ever lived).
In conclusion, God's Not Dead comes off as a little preachy. It does at times, project itself as a public service announcement or an infomercial posing as a movie. However, just when you're not expecting it, the film sneaks up on you and packs an emotional wallop. A couple of the character portrayals are very heartbreaking and this is the glue that holds things together. The script, which has the collaboration of five writers, walks a tight wire between cleverness and textbook reading material. It's okay though because the actors pull you through, the story lines thread naturally, and the aspect of epiphany fully arises. God's Not Dead is no masterpiece but it's worth a solid recommendation. It's "not" playing at a whole lot of theaters right now so if you are in its cinematic vicinity, you should give it a serious look-see.
The Single Moms Club 2014 * * 1/2 Stars
Director: Tyler Perry
Cast: Nia Long, Wendi McLendon-Covey, Amy Smart
Life can be tough, especially for a single mom. In fact, what happens when you get five of them together forming a support group to get through life's everyday ups and downs? Why, you get the generically titled The Single Moms Club of course and it's the latest of many Tyler Perry films that have inhabited local multiplexes in the last few years.
Filmed almost entirely in Atlanta, Georgia and showcasing scenes of females conversing that are the equivalent to a taping of The View (if that's your thing), The Single Moms Club is proof that maybe Hollywood might have ran out of ideas for cinematic fluff in general. Now from the opening frame, we are immediately introduced to May (Nia Long), Hillary (Amy Smart), Lytia (Cocoa Brown), Esperanza (Zulay Henao), and Jan Malkovich (Wendi McLendon-Covey). These are all women who are either currently separated, divorced, or have baby daddies who were never around (except for Esperanza's who's played by Eddie Cibrian and he's the ultimate Nazi ex-husband). Added to that, their kids don't like them very much and blame them for not fully being present in their daily lives. Somehow by sure kismet (otherwise there wouldn't be a valid running time), all of said kids go to the same school, get in trouble at the same time, and all face harsh penalties as students. When the principal of their private school calls all the moms in for a meeting, these five completely different women are forced to organize a fundraiser or else their offspring will be expelled (what a weird form of punishment). What ensues is a bond of sisterhood that ultimately betters all of their future existences and as the plot requires, helps them find new relationships in the form of significant others.
The acting, well it's fair as long as everyone doesn't say whatever pops in their heads. I mean, you could tell during some scenes that the actors/actresses paused as if they didn't remember their lines and had to gulp, improvise. I could hear crickets in background. You know not literally, but in my head (I hate when that happens).
Overall, once I finished taking in a midday viewing, I realized that The Single Moms Club came off as a very uneven viewing experience. The film drips with sentimental goo and shifts its tone from funny, to uncomfortable, to flat out depressing ever so quickly. There are some heartfelt moments between members of the cast (especially amongst the mothers, the sons, and the daughters) that are effectively powerful. But with an underdeveloped conclusion, some embarrassingly bad line riffing from the actors as mentioned earlier (especially during the outtakes at the end), and a demeaning label that seems saddled to their roles, it was difficult to call this thing inspiring.
In hindsight though, I didn't find The Single Moms Club to be a bad film. I just found it to be almost mean-spirited, too coincidental, and vaguely aloof. Let me put it this way, it's a "club" worth checking out only if you avoid going to all the meetings.
12 Years a Slave 2013 * * * Stars
Rating: * * * Stars (Click on the rating link to see Cole's on site review)
Cast: Chiwetel Ejiofor, Michael Fassbender, Lupita Nyong'o
Written by Cole Pollyea
12 Years A Slave plays like two different films altogether: the first half, a deadening dull depiction of the misfortunes of living life as a slave, and the second half, a captivating, harrowing depiction of how truly awful and unimaginably painful it was for Solomon Northrup and all of the slaves that suffered as he did. It's a long, long movie, and while it is, overall, a hard hitting, thought provoking, saddening yet rewarding motion picture, there is a lot of noticeable irrelevance in the screenplay that takes us in circles and bores us for a great deal of its running time. Do I agree with its Best Picture win? No, personally, I believe that there were a multitude of great films this year that fit the expectations of a Best Picture caliber film and deserved the award over this (being Dallas Buyers Club, American Hustle, or Nebraska). But that's not the case; the Academy chose, and here I am putting forth my opinion on possibly the most graphic, mean-spirited slave motion picture out there: 2013's Best Picture winning 12 Years A Slave.
Solomon Northrup was a freeman. He played the violin and had a beautiful family that he loved, but once abducted and sold into slavery, the struggle to prove himself to be the freeman he was without the aid of the only people who could help was futile and long-lived. This movie is aggravating for the longest time; the above mentioned repetitive, uninteresting first half of the film is enough to turn some viewers away. It shows what it has to, but there is no captivation or zest to the proceedings until about the halfway mark, when it takes a turn that was in my best interest.
Steve McQueen and the writers of this film then transform 12 Years A Slave into a haunting motion picture that I consider to be, possibly, a compilation of some of the most emotionally wrenching, hard-to-swallow scenes of all time. Appearing in an iconic, pivotal role was Brad Pitt (that's right) who plays a construction worker that believes in the liberation of blacks. He voices his own opinion that, as I took it, marked a turning point in this movie, and I can't thank him more.
Lupita Nyong'o won an Oscar for her work here, and I can say that I was deeply affected by her performance. It's a sad, sad world that she lives in, and she, along with the screenplay writers and other cast members, couldn't deliver that point any more thoroughly. She emotes to an applaudable level and, as a result, I was moved and shook. I'm not sure if she really prevailed over Jennifer Lawrence in American Hustle for the award, but her performance was definitely more crucial to the film she was in than that of Lawrence's. Chiwetel Ejiofor was nominated for Best Actor too. While he gives a performance that keeps the film afloat (and is good), he is nowhere near as great as the other nominees for that award, so I wasn't surprised to see the film fall short in that area. Albeit, though, there were a number of scenes that he owned; this was taken note of.
Part of the reason this movie was so hard-hitting, though, was the prowess of Michael Fassbender, the brutal, unrelenting plantation owner who stretches the boundaries of what it means to be a horrible human being. I found myself disgusted, angry, and involved because of his performance, and this is one of the reasons that I found this movie to be "saved" by the powerful second half, to which he contributed a great deal.
I didn't quite love 12 Years A Slave like I did so many other Oscar Nominees of its year. I recognize the fact that it's an important historical documentation of the life of Solomon Northrup, and an accurate depiction of such, but it just didn't move me as much as, say, Nebraska. Looking at it as a whole, though, it is as follows: a long, meaty historical film, a sometimes-dull, sometimes-interesting look at slave life, a best picture winner, and a film that I will revisit merely for the intention of seeing again. Again, though, with a year full of such great movies, I don't quite agree with its win.
Need for Speed 2014 * * 1/2 Stars
Director: Scott Waugh
Cast: Aaron Paul, Dominic Cooper, Imogen Poots
Based on one of the most popular video game franchises of all time and disregarding things like the safety and decency of human life, Need for Speed hit theaters last Friday with what I believe to be mixed results. Since this is Aaron Paul's transition from his TV stint in Breaking Bad to his first starring role here, we'll just call this flick "Braking Not So Bad" (ha ha). Anyway, everyone meaning the actors, the director, the assistant director, the script supervisor, and the stunt men probably had a lot of fun making this sort of combination of 1981's The Cannonball Run, 2000's Gone in Sixty Seconds and 1968's Bullitt (as a homage, there's a showing of Bullitt in a drive-in theater where Need for Speed first takes place). The audience, well they might be rolling their eyes at the inane script only to be glowing in the presence of some of the greatest car chase scenes ever filmed (by a stunt man turned director no less). As an illogical crash and bash/speed trip extravaganza, a dumbed down fantasy, and something that will really enthrall a gear head or a pack of video game-hungry teenage boys, Need for Speed is ultimately an okay film that could have been a lot better. As I just mentioned, there are some amazing, realistic, heart pumping drag races and some cool souped-up automobiles. But miscast actors and a flimsy, clunky script kept me at arm's length from recommending it.
Directed by Scott Waugh who filmed some harrowing, in-motion war scenes with Act of Valor and featuring stellar car stunts without the beleaguered enhancement of CGI, Need for Speed examines the character of Mount Kisco, NY's, Toby Marshall (Aaron Paul). He's a down on his luck mechanic who races on the side. When he gets a shot at building a car with his other buddy mechanics to pocket $500,000 dollars, Marshall thrives at the chance. He can get out of debt and keep his shop running. After he then rebuilds a sweet Mustang brought to him by a rich IndyCar racer named Dino Brewster (portrayed by Dominic Cooper who plays the villain, wears all black, and does a lot of sneering), they both along with Marshall's friend Little Pete (Harrison Gilbertson), decide to race for money and a whole lotta bragging rights. In said race, Little Pete dies, Marshall gets pinned for the crash (even though he wasn't involved) and winds up serving two years in prison for manslaughter. When he gets out of prison, he's bent on revenge. He can clear his name by going to California and winning a race sponsored by a recluse millionaire named Monarch (played by Michael Keaton). Dino, who's Marshall's main rival in said race (called the De Leon), sends his henchmen to try to stop him so he can't make the 45 hour cross country trip.
Of note: When Paul's character goes to prison, it's sort of a joke. Within barely a scene, he's already out and he meets up with his friends who are all set to get behind him. The whole sequence of him being incarcerated is so muted and nonchalant, it doesn't even feel like he was even there. Then, there's the fact that his auto shop cohorts all follow him to California. A couple of them travel by car and it's like they're almost one step ahead of him. He's supposedly the fastest driver but you wouldn't know it. Finally, there's the long arm of the law which seems so incoherent to every speed junkie involved. They bite the dust on more than one occasion trying to chase down Toby (and the other dangerous drivers). They're paper thin just like Toby's parole officer who I guess, never even existed.
Flaws aside, I knew what I was getting into when I decided to take in a screening of Need for Speed. I mean, I didn't expect to see stellar acting in a movie of this genre but throughout the proceedings, it literally bordered on atrocious (with the exception of veteran Michael Keaton). Added to that, the screenplay which causes the actors (especially Paul) to almost pause between every line, is lazy and juvenile. I don't know who to blame, the people doing the line readings or the writers (there are two of them and they're brothers, how neat). In all honesty, I'd have to flip a coin in order to decide. Imogen Poots has charisma as the token love interest, but her character seems a little underdeveloped. And Paul's character's supporting cast delivers dialogue that's the movie equivalent of nails on a chalkboard. I read somewhere where a critic said that their only contribution to Need for Speed, is to follow Paul's Toby around like lap dogs and provide some comic relief. I'd say that's pretty accurate. The only problem is that none of the things they say come off as funny.
Now in the lead, Aaron Paul from what I've read, is supposedly a pretty good actor (I'm one of the few people who has never seen one episode of Breaking Bad). However, in what is supposed to be his first starring role (and I guess his first breakout role), he plays Toby Marshall with a lack of confidence. It's as if he's not sure that he's ready to headline his own movie. He channels his inner Ryan Gosling, his inner Ryan O'Neal (from 1978's The Driver) and the late Steve McQueen. And despite the fact that he has good screen presence and a solid actor's voice, Paul still manages to be a more robotic version of the trio of movie stars just mentioned. Then there's Michael Keaton. His screen time is interesting and without hardly interacting with anybody, he still manages to give "Speed's" strongest performance. He doesn't have any scenes with any of the other actors despite the fact that his Monarch is the film's voice. I love Keaton but I'm thinking that behind the scenes, he might have came in for one day of shooting, probably didn't even meet the cast or talk to anyone, filmed his role in one room, and probably got a huge paycheck (lucky son of a gun). He hams it up and he's not too shabby. With this screen turn and his portrayal of a rickety CEO in RoboCop, it kinda feels like he's really back this time. Just a thought.
Overall, this bad boy clocks in at 2 hours plus. It's overloaded with a plethora of battered car chase scenes and races. Some of them cater to the plot while others feel more like a greatest hits collection than a thread to an actual movie (the sequence where there is an exchange of gasoline between cars traveling at mach speeds is pretty interesting). If I had to categorize this March release, I'd say that it's one part silly, one part preposterous, and two parts adrenalized. In truth, Need for Speed is a mixed bag but it's not the clunker (no pun intended) that most critics make it out to be. If anything, embrace what's in motion and try to ignore the cringe-inducing dialogue. Bottom line: Need for Speed is not such a bad way to kill two hours. But it's a vehicle (get it) that truly "needs" some reshoots.
Posted by VIEWS ON FILM at 11:31 AM No comments:
The Lego Movie 2014 * * * Stars
Director: Phil Lord, Christopher Miller
Cast: Will Arnett, Elizabeth Banks, Alison Brie
It's obvious that a group of intelligent individuals sat down and came up with the idea for The Lego Movie. That shows in the screenplay. It's also obvious that moviegoers were very receptive to their style of filmmaking. That shows in the notably high Rotten Tomatoes score of 96%. And when you throw in cutting edge animation and notable voiceovers, the end result is a kids' movie that deserves a spot on the DVD shelf.
With that being said, it's important to recognize the fact that I wasn't blown out of my seat by this movie. Don't get me wrong, it's a good flick, but through my eyes, it wasn't as great as it was cracked up to be. I suppose that I was predisposed to its alleged excellence, and in turn, I was let down by its, for lack of a better term, mediocrity.
We're thrown into the life of Emmet, a guy who strives to be "normal" and no different than "average" because, as its taken, the society revolves around this expectation of people. When he's mistaken for the "most extraordinary person in the world", he sets out on the adventure of his life to "save the world" with a multitude of friends including the funniest character in the whole movie, Batman.
As it sounds, The Lego Movie is creative. It stretches boundaries of animation that make us think, and along the way, it incorporates some genuinely funny moments that make it a memorable (enough) moviegoing experience. It really isn't a hilariously comedic film, to my dismay, but it delivers time after time and it, overall, is worthy of your family's viewing. Something to consider too, is that even if you don't love it, the kids will. Its charisma is simply too much to shy away from at a young age.
Mr. Peabody & Sherman 3D 2014 * * * Stars
Director: Rob Minkoff
Cast: Ty Burrell, Max Charles, Ariel Winter
A rollicking good time is what you'll have if you check out the latest animated time travel adventure, Mr. Peabody & Sherman 3D. Based on a segment featured in the 1960's cartoon series The Rocky and Bullwinkle Show, this flick has about as much energy as five animated ones put together. In fact, the whole running time is fused with a large amount of ADHD. But no need to worry, you'll still embrace the characters, the story which masquerades as being educational, and the blessed, technical skill helmed by director Rob Minkoff (The Lion King, Stuart Little). In other words, this is a kids movie that excels in the computer-animation department. Added to that, I just recently saw it in 3D and that only made the proceedings much more fuller and to a degree, much more richer as well.
Featuring the voices of Ty Burrell (TV's Modern Family) and Lesile Mann (This Is 40, Knocked Up), "Peabody" is one of those films that doesn't really have a beginning. As things start with some narration by you guessed it, Mr. Peabody (a pint-size dog with glasses), you say to yourself, "what have I missed" or "what has already happened". The opening shot shows his high-rise mansion in New York City. Then, there is a flashback to his early dog days (ha ha) when he describes himself as a dog who wasn't like other dogs. More intelligent, less catered to the demands of an owner who wants a frisbee retrieved, and not as loving as most pets, Mr. Peabody eventually becomes a genius, a scholar, and an inventor of time travel. He also decides to adopt a son (I know a dog adopting a human being as his child, just go with it) named Sherman (voiced by Max Charles). Together, they go back in time in a sphere-like machine that travels at intense, warp speeds.
Of note: I reviewed an animated flick last year with Free Birds. Whereas that November release dealt with getting in a time machine and going back to the first Thanksgiving, this one takes it a step further by having the main characters going back to the Trojan war, back to the actual time when the Mona Lisa was painted by da Vinci, and back to the actual happenings during the French Revolution. And as with most time travel outings, something always has to go wrong with the quote unquote, "time continuum". Mr. Peabody and Sherman 3D is no exception. In fact, I have always found most time travel vehicles confusing. It's always hard to follow the elements and have faith that everything comes out correct. If you can get past that minor hiccup in small doses here (along with a silly, cliched, sort of confusing ending), then you'll be fitfully entertained. "Peabody" has a sparkle to it, a pep in its step, and in moderation, it has equal parts adult and kid humor (within the last 20 minutes, look for an unexpected, funny reference to the 1960 classic Spartacus).
Ultimately though, I couldn't quite understand the reasoning behind the PG rating. I mean, in my lifetime, I've seen much darker, more intense G fare than this. There is maybe one scene in the first half (a engagement ceremony in Ancient Egypt) that might come off as disturbing. Otherwise, this is an animated exercise that can be viewed by kids of all ages. With swooping camerawork and 3D effects that give you your money's worth, Mr. Peabody & Sherman 3D is pure bliss. The current list of best films from 2014 is short but I assure you, this one is predominantly on it.
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Search VIEWS ON FILM
My Favorite Theaters
If you are ever in the vicinity of Southwest Michigan or Northwest Illinois, check out a flick at two of my favorite movie theaters. They are Loma Theatre in Coloma, Michigan and Buffalo Grove Theatre in Buffalo Grove, Illinois. Click on the links for showtimes:
Loma Theatre
Buffalo Grove Theatre
Jesse Burleson
My name is Jesse Burleson and I have a love for film. I've been reviewing movies on and off since 2003 (my first writing gig was for my company newsletter) and it is my pleasure to share my views (good or bad) with you. My work is featured in this blog and ccconfilm.blogspot.com. I also have a vast amount of reviews posted in the audience sections of Rotten Tomatoes, the audience/critic sections of IMDb, and MovieSnackx.com. And in addition to having over 250 of them posted online, I am also featured on YouTube with a host of video chats of older and newer films as well.
I was born and grew up in St. Joseph, Michigan. Now I am based out of Chicago, Illinois. The first film I ever saw was Star Wars in 1977. I was only three and my father took me to a drive-in theater to see it. My favorite film of all time is Boogie Nights followed by Aliens, Apocalypse Now, E.T. The Extra Terrestrial, Pulp Fiction, Se7en, and The Shawshank Redemption. Thank you for viewing my site and feel free to comment on any of the reviews. My blog is viewed all over the world and I'm grateful to all of the readers who have made a visit. Thanks again and as always, happy movie going!
2019 Film Ratings
A Haunting at Silver Falls: The Return *
A Violent Separation * * *
Abduction * * 1/2
Against the Clock * 1/2
Alita: Battle Angel * * 1/2
American Hangman * * *
An Affair to Die For * * 1/2
Apollo 11 * * * *
The Beach Bum * * 1/2
Beneath the Leaves * * 1/2
Berserk * *
Breakthrough * * *
Captive State * *
The Challenger Disaster *
Cold Pursuit * * 1/2
Crawl * * *
Crypto * *
Domino * * 1/2
Escape Room * * *
Glass * 1/2
The Intruder * *
John Wick: Chapter 3 - Parabellum * * *
The Kid * * *
Long Shot * * 1/2
Ma * * *
Men in Black: International * 1/2
Miss Bala * * * 1/2
Pet Graveyard * *
Pet Sematary * * 1/2
The Poison Rose * *
Rocketman * * 1/2
Serenity * * *
Spider-Man: Far From Home * * * 1/2
Trading Paint * 1/2
Triple Threat * *
Vault * 1/2
We Die Young * * *
What Men Want * *
Zoombies 2 * *
Last Five Films Viewed By Jesse
Crawl * * * Stars 2019
Vault * 1/2 Stars 2019
Greta * * * 1/2 Stars 2018
Spider Man: Far From Home * * * 1/2 Stars 2019
A Haunting at Silver Falls: The Return * Star 2019
Total Pageviews For VIEWS ON FILM (Worldwide)
The Wilde Wedding 2017 * 1/2 Stars
Director: Damian Harris Year: 2017 Rated R Rating: * 1/2 Stars Cast: Glenn Close, John Malkovich, Patrick Stewart Ex-wives, ex-husband...
Overdrive 2017 * * 1/2 Stars
Director: Antonio Negret Year: 2017 Rated PG-13 Rating: * * 1/2 Stars Cast: Scott Eastwood, Ana de Armas, Gaia Weiss Earlier this y...
Stronger 2017 * * Stars
Director: David Gordon Green Year: 2017 Rated R Rating; * * Stars Cast: Jake Gyllenhaal, Tatiana Maslany, Miranda Richardson It's ...
I, Tonya 2017 * * * 1/2 Stars
Director: Craig Gillespie Year: 2017 Rated R Rating: * * * 1/2 Stars Cast: Margot Robbie, Sebastian Stan, Allison Janney I, Tonya is ...
Last Flag Flying 2017 * 1/2 Stars
Director: Richard Linklater Year: 2017 Rated R Rating: * 1/2 Stars Cast: Steve Carell, Bryan Cranston, Laurence Fishburne Last Flag Fl...
Sand Castles 2014 * * * Stars-(Reissue) Goshen, Indiana Premiere
Director: Clenet Verdi-Rose Year: 2014 Rated NR Rating: * * * Stars Cast: Jordon Hodges, Anne Winters, Randy Spence, Clint Howar...
The 15:17 to Paris 2018 * * Stars
Director: Clint Eastwood Year: 2018 Rated PG-13 Rating: * * Stars Cast: Spencer Stone, Anthony Sadler, Alek Skarlatos The 15:17 to Par...
Winchester 2018 * * Stars
Directors: The Spierig Brothers Year: 2018 Rated PG-13 Rating: * * Stars Cast: Jason Clarke, Helen Mirren, Sarah Snook The setting is ...
A Bad Moms Christmas 2017 * 1/2 Stars
Directors: Scott Moore, Jon Lucas Year: 2017 Rated R Rating: * 1/2 Stars Cast: Mila Kunis, Kristen Bell, Kathryn Hahn Nothing can be s...
Daddy's Home 2 2017 * 1/2 Stars
Director: Sean Anders Year: 2017 Rated PG-13 Rating: * 1/2 Stars Cast: Mark Wahlberg, Will Ferrell, Mel Gibson Daddy's Home 2 is ...
Current Year Releases
Video Vault (69) 2012 (11) 2011 (4) 1974 (3) 1981 (3) 1984 (3) 1991 (3) 1999 (3) 2002 (3) 1978 (2) 1986 (2) 1987 (2) 1988 (2) 1989 (2) 1995 (2) 1997 (2) 1998 (2) 2001 (2) 2007 (2) 1951 (1) 1968 (1) 1972 (1) 1973 (1) 1977 (1) 1979 (1) 1980 (1) 1982 (1) 1983 (1) 1985 (1) 1994 (1) 1996 (1) 2000 (1) 2005 (1) 2008 (1) 2009 (1)
Non-Stop 2014 * * * Stars


text:
NAMD (NAnoscale Molecular Dynamics) — бесплатная программа для молекулярной динамики, написанная с использованием модели параллельного программирования Charm++, обладающей высокой эффективностью распараллеливания и часто используемой для симуляции больших систем (миллионы атомов). Программа была создана совместно Группой Теоретической и Вычислительной Биофизики (TCB) и Лабораторией параллельного программирования (PPL) из Иллинойсского университета в Урбане и Шампейне.

Программа была анонсирована в 1995 г Нэльсоном и др. как параллельная программа для молекулярной динамики, включающая интерактивное моделирование, связанное с программой визуализации VMD. Программа поддерживает мультипроцессорность, возможность использовать для расчетов графические процессоры (технология CUDA).

См. также
 CHARMM
 GROMACS
 VMD
 Charm++
 LAMMPS

Примечания

Ссылки
 Страница проекта на сайте группы TCB
 Страница проекта на сайте группы PPL
 Использование NAMD на GPU
 NAMD - описание в Виртуальной Вики-лаборатории

Программное обеспечение для молекулярной динамики

redpajama_set_name: RedPajamaWikipedia


text:
package scray.jdbc.sync.tables

import slick.jdbc.JdbcProfile
import scala.concurrent.ExecutionContext.Implicits.global
import scray.querying.sync.JobInfo
import java.sql.PreparedStatement
import java.sql.ResultSet
import scray.querying.sync.State
import slick.sql.FixedSqlAction
import java.util.ArrayList
import scala.collection.mutable.MutableList
import scala.collection.mutable.ArrayBuffer
import scala.collection.mutable.ListBuffer

trait DriverComponent {
  val driver: JdbcProfile
}

/**
 *  SyncTableComponent provides database definitions for SyncTable table
 *  and some statements to manipulate data.
 *
 *  No semantic checks are made to protect from manipulating wrong data.
 *
 *
 */
class SyncTableComponent(val driver: JdbcProfile, val dbSystemId: String = "BISDBADMIN", val tablename: String = "TBDQSYNCTABLE") {
  import driver.api._

  case class JDBCSyncTable(
    jobname: String,
    slot: Int,
    versions: Int,
    dbId: String,
    tableID: String,
    batchStartTime: Option[Long] = None,
    batchEndTime: Option[Long] = None,
    online: Boolean,
    state: String,
    mergeMode: Option[String] = None,
    firstElementTime: Option[Long] = None)

  class SyncTableT(tag: Tag) extends Table[JDBCSyncTable](tag, tablename) {
    def jobname = column[String]("CJOBNAME", O.SqlType("varchar(100)"))
    def slot = column[Int]("CSLOT")
    def versions = column[Int]("CVERSIONS")
    def dbId = column[String]("CDBID")
    def tableID = column[String]("CTABLEID")
    def batchStartTime = column[Option[Long]]("CBATCHSTARTTIME")
    def batchEndTime = column[Option[Long]]("CBATCHENDTIME")
    def online = column[Boolean]("CONLINE")
    def state = column[String]("CSTATE")
    def mergeMode = column[Option[String]]("CMERGEMODE")
    def firstElementTime = column[Option[Long]]("CFIRSTELEMENTTIME")

    def * = (jobname, slot, versions, dbId, tableID, batchStartTime, batchEndTime, online, state, mergeMode, firstElementTime) <> (JDBCSyncTable.tupled, JDBCSyncTable.unapply)
    def pk = primaryKey("pk_a", (jobname, online, slot))
  }

  val table = TableQuery[SyncTableT]

  /**
   * Create database schema
   */
  def create = table.schema.create

  /**
   * Register job in database.
   */
  def registerJobStatement(jobInfo: JobInfo[_, _, _]) = {

    // Statements to set start values in sync table
    def createSyncTableBatchEntries(slotIn: Int) = {
      table.insertOrUpdate(
        JDBCSyncTable(
          jobname = jobInfo.name,
          slot = slotIn,
          versions = jobInfo.numberOfBatchSlots,
          dbId = dbSystemId,
          tableID = getBatchJobName(jobInfo.name, slotIn),
          online = false,
          state = State.NEW.toString()))
    }

    def createSyncTableOnlineEntries(slotIn: Int) = {
      table.insertOrUpdate(
        JDBCSyncTable(
          jobname = jobInfo.name,
          slot = slotIn,
          versions = jobInfo.numberOfOnlineSlots,
          dbId = dbSystemId,
          tableID = getOnlineJobName(jobInfo.name, slotIn),
          online = true,
          state = State.NEW.toString()))
    }

    val statements: ListBuffer[FixedSqlAction[Int, NoStream, Effect.Write]] = ListBuffer.empty[FixedSqlAction[Int, NoStream, Effect.Write]]

    // Create sync table statements with start values for a given job
    0 to jobInfo.numberOfBatchSlots - 1 foreach { slot =>
      statements += createSyncTableBatchEntries(slot)
    }

    0 to jobInfo.numberOfOnlineSlots - 1 foreach { slot =>
      statements += createSyncTableOnlineEntries(slot)
    }

    statements
  }

  def startJobStatement(jobInfo: JobInfo[_, _, _], slot: Int, online: Boolean) = {
     val row = table.
      filter(_.jobname === jobInfo.name).
      filter(_.online === online).
      filter(_.slot === slot).
      map(_.state)

      row.update(State.RUNNING.toString())
  }

  def completeJobStatement(jobInfo: JobInfo[_, _, _], slot: Int, online: Boolean, completionTime: Long) = {
     val row = table.
      filter(_.jobname === jobInfo.name).
      filter(_.online === online).
      filter(_.slot === slot).
      map(row => (row.state, row.batchEndTime))

      row.update((State.COMPLETED.toString(), Some(completionTime)))
  }

  def getRunningJobStatement(jobInfo: JobInfo[_, _, _], online: Boolean) = {
    table.
      filter(_.jobname === jobInfo.name).
      filter(_.online === online).
      filter(_.state === State.RUNNING.toString()).
      result
  }

    /**
   * Return batch job row with the newest time stamp
   */
  def getLatestCompletedJobStatement(jobInfo: JobInfo[_, _, _], online: Boolean) = {
    table.
      filter(_.jobname === jobInfo.name).
      filter(_.online === online).
      filter(_.state === State.COMPLETED.toString()).
      sortBy(_.batchEndTime.desc).
      take(1).
      result
  }

  private def getBatchJobName(jobname: String, nr: Int): String = { jobname + "_batch" + nr }
  private def getOnlineJobName(jobname: String, nr: Int): String = { jobname + "_online" + nr }

}

redpajama_set_name: RedPajamaGithub


text:
Als lid van het team onafhankelijke olympische atleten deden vier sporters mee aan de Olympische Zomerspelen 2012 in Londen, Verenigd Koninkrijk. Ze kwamen daar uit onder de olympische vlag.
 Na de opheffing van de Nederlandse Antillen in 2010, kon vanwege gewijzigde IOC-regelgeving, Curaçao als afhankelijk land niet meer een eigen nationaal olympisch comité inschrijven. De olympische deelnemers van de Nederlandse Antillen konden ervoor kiezen om voor of Aruba of Nederland of als "onafhankelijk olympisch atleet" deel te nemen.
 De Zuid-Soedanese marathonloper Guor Marial, vluchteling in de Verenigde Staten, mocht ook meedoen als onafhankelijk olympisch atleet. Zuid-Soedan was een jaar eerder onafhankelijk geworden maar had nog geen eigen nationaal olympisch comité.

Deelnemers en resultaten
(m) = mannen, (v) = vrouwen

Atletiek

Judo

Zeilen

 * dsq = gediskwalificeerd (zwarte vlag)

 Onafhankelijk deelnemer
2012


Two and a half weeks into the trip and it's still wet and miserable. Summer happened last Saturday. The sun came out. So did the shorts and short-sleeved tops, revealing an unsightly amount of bare lily-white skin. I'm still cringing.
We did manage to get out a couple of times, first to Dubllin Castle to see the art exhibition 'Coming Home: Art & the Great Hunger' a visual interpretation of the Famine with artworks from the 1830s to the present.
The Great Hunger (1845-52) was the worst demographic catastrophe of nineteenth-century Europe. The conflicting need to remember and the desperate need to forget, result in an extraordinarily moving exhibition… Curated by Niamh O'Sullivan.
The second exhibition, 'Caution! Fragile – Irish Glass – Tradition in Transition' was at the National Museum of Ireland in Collins Barracks. This place was an absolutely fascinating treasure trove. We went for the glass exhibition but there was so much more. We spent hours there but still didn't see all of the exhibits, about thirty, so I hope we get the chance to go back.
We also got to catch up with some family and friends.
This entry was posted in Art Galleries, Castles, Dublin, Exhibitions, Museums by Driving Australia. Bookmark the permalink.


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2 Devices supported at a time.
There are 650 servers are available all over the world.
Totally 24 locations are available.
Please share your experience and review about FaceTime VPN listed above. Alternative you can also suggest other good provider if any.


I used SB-Facebook events (2.5 version) with my Joomla 3.0.15 and it worked well. Last week the plugin was invisible in the Frontend and produced a backend error. I fixed that with my old backup an it works again, but the backend error is still there.


In 2009 Steve Kilbey undertook his Garage Sutra. A man, a 12 string guitar, a laptop, a computer program and some divine intervention. The Garden of Gilgamesh, Ancient World and Nineveh are reminiscent of ancient times. A summer in Sumer or Babylonia perhaps? Yes Steve is still still carrying a torch for his era. Giving out songs as Vishnu gives out planets, every song here is a self contained universe. Playful digital prisms containing darkness and light, containing, in his words – utter nonsense, yet the listener will discover most poignant utterings. This is as valid a solo album as Steve has ever made. Stand back, listen and be transported.


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This page was last modified 12:09, 8 July 2010 by Bill Horne.