text:
@interface KGKeyboardChangeManagerAppViewController()
@property (weak, nonatomic) UIView *keyboardFrameView;
@property (strong, nonatomic) id keyboardChangeIdentifier;
@property (strong, nonatomic) id keyboardOrientationIdentifier;
@end

@implementation KGKeyboardChangeManagerAppViewController

- (void)viewDidLoad{
    [super viewDidLoad];

    UIView *appFrameView = [[UIView alloc] initWithFrame:self.view.bounds];
    appFrameView.autoresizingMask = UIViewAutoresizingFlexibleWidth|UIViewAutoresizingFlexibleHeight;
    appFrameView.backgroundColor = [UIColor redColor];
    [self.view addSubview:appFrameView];

    UIView *keyboardFrameView =
    [[UIView alloc] initWithFrame:CGRectZero];
    keyboardFrameView.backgroundColor = [UIColor whiteColor];
    [self.view addSubview:keyboardFrameView];
    self.keyboardFrameView = keyboardFrameView;

    UITextField *textField = [[UITextField alloc] initWithFrame:CGRectMake(10, 10, 200, 32)];
    textField.borderStyle = UITextBorderStyleRoundedRect;
    textField.keyboardAppearance = UIKeyboardAppearanceAlert;
    [self.view addSubview:textField];
    [textField becomeFirstResponder];

    UIButton *resignButton = [UIButton buttonWithType:UIButtonTypeRoundedRect];
    [resignButton addTarget:textField action:@selector(resignFirstResponder) forControlEvents:UIControlEventTouchUpInside];
    [resignButton setTitle:@"Resign" forState:UIControlStateNormal];
    resignButton.frame = CGRectMake(220, 10, 56, 32);
    [self.view addSubview:resignButton];

    [self setupKeyboardObservers];
}

- (BOOL)shouldAutorotateToInterfaceOrientation:(UIInterfaceOrientation)toInterfaceOrientation{
    return YES;
}

- (void)setupKeyboardObservers{
    self.keyboardChangeIdentifier =
    [[KGKeyboardChangeManager sharedManager]
     addObserverForKeyboardChangedWithBlock:^(BOOL show, CGRect keyboardRect, NSTimeInterval animationDuration, UIViewAnimationCurve animationCurve) {
         __block CGRect keyboardFrameViewRect = self.keyboardFrameView.frame;
         keyboardFrameViewRect.size.width = CGRectGetWidth(keyboardRect);
         if(show){
             keyboardFrameViewRect.size.height = 0;
             keyboardFrameViewRect.origin.y = CGRectGetHeight(self.view.bounds);
         }else{
             keyboardFrameViewRect.size.height = CGRectGetHeight(keyboardRect);
             keyboardFrameViewRect.origin.y = CGRectGetHeight(self.view.bounds)-CGRectGetHeight(keyboardFrameViewRect);
         }
         self.keyboardFrameView.frame = keyboardFrameViewRect;

         [KGKeyboardChangeManager animateWithWithDuration:animationDuration animationCurve:animationCurve andAnimation:^{
             if(show){
                 keyboardFrameViewRect.size.height = CGRectGetHeight(keyboardRect);
                 keyboardFrameViewRect.origin.y = CGRectGetHeight(self.view.bounds)-CGRectGetHeight(keyboardFrameViewRect);
             }else{
                 keyboardFrameViewRect.size.height = 0;
                 keyboardFrameViewRect.origin.y = CGRectGetHeight(self.view.bounds);
             }
             keyboardFrameViewRect.origin.y -= 2; // poke the view up 2 pts so we can see it above the keyboard
             self.keyboardFrameView.frame = keyboardFrameViewRect;
         }];
    }];

    self.keyboardOrientationIdentifier =
    [[KGKeyboardChangeManager sharedManager] addObserverForKeyboardOrientationChangedWithBlock:^(CGRect keyboardRect){
        CGRect keyboardFrameViewRect = self.keyboardFrameView.frame;
        keyboardFrameViewRect.size.width = CGRectGetWidth(keyboardRect);
        keyboardFrameViewRect.size.height = CGRectGetHeight(keyboardRect);
        keyboardFrameViewRect.origin.y = CGRectGetHeight(self.view.bounds)-CGRectGetHeight(keyboardFrameViewRect);
        keyboardFrameViewRect.origin.y -= 2; // poke the view up 2 pts so we can see it above the keyboard
        self.keyboardFrameView.frame = keyboardFrameViewRect;
    }];
}

- (void)dealloc{
    [[KGKeyboardChangeManager sharedManager] removeObserverWithIdentifier:self.keyboardChangeIdentifier];
    [[KGKeyboardChangeManager sharedManager] removeObserverWithIdentifier:self.keyboardOrientationIdentifier];
}

@end


text:
Die Ständige Vertretung der Bundesrepublik Deutschland beim Europarat ist die diplomatische Vertretung der Bundesrepublik Deutschland bei dem Europarat (englisch: Council of Europe, französisch: Conseil de l'Europe) mit Sitz in Straßburg.

Lage und Gebäude

Die Ständige Vertretung befindet sich nur 1½ km vom Gebäude des Europarats entfernt am Ufer des Flusses Ill im Straßburger Stadtviertel Contades. Die Straßenadresse lautet: 6, Quai Mullenheim, 67000 Strasbourg.

Sie teilt sich ein zweigeschossiges Bürogebäude mit dem Generalkonsulat der Bundesrepublik Deutschland in Straßburg.

Auftrag und Organisation

Die Ständige Vertretung vertritt die Bundesrepublik Deutschland im Europarat und dessen Gremien (Europäischer Gerichtshof für Menschenrechte, Menschenrechtskommissar, Parlamentarische Versammlung sowie Kongress der Gemeinden und Regionen). Sie beobachtet die Entwicklungen in diesen Organisationen und berichtet darüber an die Bundesregierung. Sie bereitet ferner die hochrangige Teilnahme deutscher Delegierter in der Parlamentarische Versammlung des Europarates und dem Ministerkomitee des Europarates vor.

Sie stimmt sich zudem mit anderen Vertretungen vor Wahlen innerhalb der Organisationen und vor Beschlussfassungen ab. Sie unterstützt die Durchsetzung deutscher Initiativen oder Vorschlägen anderer Mitgliedstaaten, sofern Deutschland diese mitträgt.

Die Leitung der Ständigen Vertretung liegt bei einem Beamten des Auswärtigen Amts. Der Bedeutung entsprechend ist die Leiterstelle in der Besoldungsgruppe B 6 der Bundesbesoldungsordnung eingestuft.

Geschichte
Die Ständige Vertretung beim Europarat wurde am 2. November 1954 eröffnet.

Siehe auch

 Liste deutscher Auslandsvertretungen

Weblinks

 Homepage der Ständigen Vertretung
 Verzeichnis der Vertretungen der Bundesrepublik Deutschland im Ausland
 Ständige Vertretung beim Europarat auf Twitter

Fußnoten

Europarat
Europa in Straßburg
Europarat
Gegründet 1954
Organisation (Straßburg)

redpajama_set_name: RedPajamaWikipedia


text:
Former Brixmor Execs Indicted For Accounting Fraud
August 4, 2019 Dees Stribling, Bisnow National
Two former Brixmor Property Group executives, former CEO Michael Carroll and former Chief Financial Officer Michael Pappagallo, have been indicted for crimes allegedly committed during their tenures.
Wikimedia Commons/Tim Evanson
The two were charged with securities fraud for their participation in a scheme to "smooth" a key metric reported in Brixmor's public filings. The indictment, which was unsealed in early August, alleges Carroll and Pappagallo reported false figures for every quarter from Q3 2013 to Q3 2015.
During that period, Brixmor, which owns grocery-anchored shopping centers, experienced considerable fluctuation in same-store net operating income across its portfolio of more than 500 properties. The executives allegedly rejiggered the numbers so the NOI appeared more consistent from quarter to quarter.
"As alleged, the most senior executives at Brixmor engaged in a years-long scheme to cook the books and deceive the investing public," Deputy U.S. Attorney Audrey Strauss said in a statement.
The two have pleaded not guilty to charges of conspiracy, fraud and making false statements to the Securities and Exchange Commission, and they were each released on $1M bonds secured by their homes, Bloomberg reports.
The securities fraud, false filings charges and false certification charges each carry a maximum prison term of 20 years. The charge of conspiracy carries a maximum term of five years.
The executives allegedly had help executing their scheme from Brixmore former Chief Accounting Officer Steven Splain and Michael Mortimer, who was senior vice president for management accounting. Splain and Mortimer each pleaded guilty in July in U.S. District Court to one count of conspiracy to commit securities fraud and to making false filings with the SEC, and one count of securities fraud.
The accounting irregularities came to light more than three years ago, uncovered by the New York-based company's audit committee. At that time, Carroll and Pappagallo both resigned their positions.
Related Topics: REIT, Brixmor Property Group, Fraud, Michael Carroll, real estate fraud, Securities & Exchange Commission, Michael Pappagallo
Parler Users' Threats Spur Memo Urging AWS Data Center Staff To 'Be Vigilant' National Data Center National Data Center January 14, 2021
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redpajama_set_name: RedPajamaCommonCrawl


text:
Frances McDormand Under Wraps
–Frances McDormand covers the new issue of Vogue, and I actually looked it up to see if she's in the new Dune movie because otherwise this cover shoot makes no sense to me. She is not. In any case, she still deserves all the covers!
–Emma Stone is heading to TV. She'll star in the Safdie brothers' The Curse, which has been formally ordered to series at Showtime. The series from the Uncut Gems duo is described as a genre-bending comedy that explores how an alleged curse disturbs the relationship of Stone's character and her husband (Nathan Fielder) as they try to conceive a child.
-Merry Swiftmas! Prolific pop singer Taylor Swift announced this morning that she's celebrating her birthday by dropping another surprise album tonight. Considering how many folklore songs ended up on my Spotify Wrapped playlist, I'm very much looking forward to this.
-People are convinced that she's wearing a wedding dress in one of the album's promo pics.
–Ariana Grande gets teary in the trailer of her Netflix tour docu-film excuse me, i love you, which is set to drop Dec. 21.
–Ryan Reynolds got his mother to on an expletive-laden rant against Chris Hemsworth… but it's all for charity.
–Jon Bernthal is set to create and star in an Amazon drama called The Bottoms. I'm not even gonna look up what this show is about, because there's no way it lives up to what I'm imagining in my head.
–Pedro Pascal says his performance in Wonder Woman 1984 was partially inspired by Nicolas Cage. "With Wonder Woman, [Gal Gadot and Kristen Wiig] are doing the action, baby, and I'm doing the schm-acting! I am hamming it up!"
–Kelly Clarkson says her estranged husband, who was also her manager, defrauded her out of millions by charging exorbitant fees.
–Ellen Degeneres revealed that she's tested positive for covid, but so far her symptoms are very mild. The show has paused production until next year.
-Speaking of covid, Chris Evans was photographed doing his own covid swab…which seems weird.
-Dancing With The Stars' judge Carrie Ann Inaba also tested positive.
-iCarly is being rebooted with the original stars because Hollywood has run out of ideas.
-Whoa. Girls star Allison Williams is going to lead a remake of the Canadian drama Being Erica.
–George Clooney's new movie The Midnight Sky is just getting so-so reviews but it's on Netflix so we're all going to watch it anyway.
-The French Exit trailer stars Michelle Pfeiffer as an ex-wealthy widow and Lucas Hedges as her son.
The Golden Globes 2018 Red Carpet Makes A Statement with #TimesUp
This was the most unusual red carpet I've ever seen in my 10+ years of covering award shows. Every nominee and major star who walked the red carpet wore black in support of the #TimesUp movement in an effort to bring awareness to the cause. And that was great. As was the amount of famous women who brought activists as their dates (a move that was reportedly led by Michelle Williams).
But it wasn't without frustrations. As I worried about before the show, talking about fashion at all seemed to be frowned about — despite all the hard work the designers and stylists put into helping the stars make this statement. (This thread from the Go Fug Yourself ladies covers it more eloquently than I ever could.) And most frustratingly, the women seemed to be the only ones being asked about #TimesUp movement, putting the burden of solidarity totally on them, while men got the typical questions about their nominations and roles, which further made the movement seem more symbolic than transformative.
That being said, fashion-wise this might have been one of the best red carpets we've seen in a while. Perhaps because the gowns were all black, there seemed to be more focus on impeccable tailoring and stunning accents & accessories. Here are my 10 favourites of the night:
Saoirse Ronan has been knocking it out of the park during her Lady Bird press tour and at the start of this awards show circuit with her dedication to mixing it up and keeping it fresh. She looks sleek and cool in Atelier Versace.
Speaking of sleek and cool, this is a great look for Jessica Chastain. Her Armani Prive fit her like a glove.
Pants was a big theme of the night, whether it was skirts over pants (Christina Hendricks, Alison Brie) or just a straight up lady suit. I don't think anyone did it better than The Handsmaid's Tale star Alexis Bledel in Oscar de la Renta.
Gawd, is there anyone cooler than Tracee Ellis Ross? The black dress code didn't stop her from serving up a whole lotta look in Marc Jacobs.
I usually find Dakota Johnson a snoozefest at these things, but the back of her Gucci gown was stunning.
Gal Gadot is all business in a Tom Ford column dress and blazer. I felt like the slit was a slightly awkward length, but she still made it work.
Insecure's Issa Rae takes a dramatic plunge in this stunning Prabal Gurung gown with perfectly paired Lorraine Schwartz accessories.
Allison Janney proved black doesn't have to mean boring in this in Mario Dice with daring cutouts.
Viola Davis was her usual stunning self. She's pretty much the only person who can wear valor and still make me love it.
Allison Williams stretched the black dress code further than most in this Armani Prive with a colourful bodice.
Kim Kardashian Is "So Over" Her Taylor Swift Feud
-In her new Billboard cover story, Kim Kardashian tries to convince us that she doesn't want to talk about Taylor Swift anymore. Uh huh.
–Kim Kardashian was assaulted by the same creep who grabbed Gigi Hadid. Here's a history of his "pranks." Kim reportedly plans to press charges; I hope she finishes him.
–Benedict Cumberbatch interviewed Tom Hiddleston and refused to ask him about Taylor Swift. Jesus cripes, what kind of a Sherlock is this guy?!
–Taylor Swift and Calvin Harris are texting again? Ruh-roh.
-Girls is ending after this season and is wrapping up filming this week, which Allison Williams celebrated with some adorable Instagram posts.
-Oh, FFS. Now Johnny Depp is in talks to star in a remake of Murder On The Orient Express? Sigh.
-CW"s new superhero fight club segment is so good, I almost want to watch more of this instead of the actual shows.
-How did I not realize that Rami Malek was on the Gilmore Girls? "All I remember was that was the fastest talking show…and I don't have the most pace when I speak. I gently take my time."
-I keep forgetting that Janet Jackson is pregnant. Good for her?
-YouTube star Lilly Singh met Drake and it was as adorable as you'd expect. The "#ScarboroughTingSinceTimeG" hashtag wins everything.
-I am so, so fascinated by THR's story about how TV stars are getting rich at fan conventions. My brother and I once tried to calculate how much the average celeb makes at one of these things, and we clearly underestimated. I'd never judge the stars who attend or the people who regularly pony up hundreds of dollars for an autograph or photo, but there's definitely an assembly line feeling to that component of cons. I've gone to two and had a blast, but mostly stuck to the panels. I lucked out when I met Gillian Anderson but from all accounts, that was a fluke caused by extenuating circumstances and most attendees only get to talk to the stars for a minute or so (mere seconds during photo opps). In any case, to each their own but I could devour a whole series on the commodification of celebrity interactions.
-Meanwhile, Stephen Amell is super unhappy about how that article portrayed the experience.
-Designated Survivor got a full season pickup (I think last night's episode lost me), as did Speechless (which is surprisingly great. Minnie Driver FTW!)
-So glad to see Kate Middleton is enjoying our view.
-It tickles me to see Woody Allen's new Amazon series get terrible reviews.
–Jon Favreau is directing a new Lion King. Sigh.
-I saw Sandra Oh at TIFF and though I hated her movie, it reminded me how much I miss her. She just joined the cast of ABC's American Crime.
-Speaking of TIFF, I liked Kristen Stewart's Personal Shopper. I think. It's still percolating. In any case, here's the new trailer.
–Adam Driver plays a poetic bus driver in this new clip from Paterson.
George Clooney Prepares to Wed Amal Alamuddin
Gillian Anderson Talks Aging Gracefully


Wood Fireplaces and Stoves – venting must be terminated to the outdoors vertically.
Pellet Stoves – most are vented horizontally, directly through the wall to the outdoors.
Fireplace Inserts – most are vented vertically through the roof, via the existing chimney.
Fireplaces, stoves and fireplace inserts are available in many designs, ranging from traditional to modern. Check out the myriad of options here.


Rhode Island party punk act GYMSHORTS are clearly fed up with their moms and dads dicking them around. As such, they've shared a new video for their garage stomper "Hey Parents."
The video opens with the quartet being chastised by a dude dressed up as an older man. He warns them against doing any drugs, drinking or band practicing while he's out. Proving their lightly anarchic spirit, the band do all four as they deliver the song.
Watch the video for "Hey Parents" below.
GYMSHORTS are currently out on a big U.S. four, and you can see all their dates here.


In Thursday's "emergency" congressional oversight hearings, FBI Director James B. Comey was questioned about his Tuesday, June 5, Statement reporting the Bureau's conclusions from its long-pending investigation of Hillary Clinton's "Use of a Personal E-Mail System." Trey Gowdy, (R- SC), a former federal prosecutor, walked Comey through the lies that Clinton told his Benghazi Committee in October, which evoked an on- the-record FBI endorsement of several counts of a potential criminal indictment. One wonders whether the FBI will investigate whether Clinton intentionally lied to Congress at the same speed and level of competence that even non-lawyers on the oversight committee were able to effectively criticize about the FBI's first limited investigation of the subject.
After virtually framing the indictment of Clinton for lying to Congress, Gowdy then delivered a Socratic lesson to Comey on the subject of how such "f alse exculpatory statements" by Clinton, along with Clinton's pervasive and " complex scheme that was designed for the very purpose of concealing the public record" could have been used to prove her criminal intent for the email case.
Gowdy completed his attack on Comey's central evasion for not indicting Clinton by instructing him that intent is rarely proven by direct evidence, as Comey's Statement seemed to suggest. "You have to do it with circumstantial evidence," he said, such as that which Gowdy outlined in less than five minutes for Comey.
This initial examination of Comey by Gowdy and other committee members supports the suggestion that Comey's formal statement denying Clinton's criminal intent, quoted below, constitutes one of a series of "coincidental shams and deceptions deeply rooted in a corrupt political system." This sham includes the extended delay and timing of what appears to have been a superficial and artificially limited investigation, the unethical ex parte meeting between Comey's boss and Bill Clinton at the Phoenix airport, Obama's endorsement and campaign stop with Clinton timed to deflect attention from the FBI's criticism of her "carelessness," and then the very nature of the Statement itself, both its being made public and its straying beyond its proper duties and expertise, which is to investigate and prepare evidence of crime and not to either prosecute or instruct prosecutors on what the FBI thinks might be reasonable conduct for prosecutors.
The FBI does not prosecute, does not evaluate or fire prosecutors. It investigates. It is not its job to tell prosecutors how to do theirs, but rather provide the investigation needed for prosecutors to make legal decisions based on the facts. Jason Chaffetz (R- UT) called out(3:34) how unprecedented it was for Comey to go public with such a statement, and then also to do so about more than just the facts but also to pre-judge the legal questions about prosecution. A formal FBI opinion that what was otherwise a crime should not be prosecuted because of insufficient intent, was not only a misinterpretation of the law, as discussed below. It might also have potentially prejudiced any future prosecution the DoJ might decide to undertake.
This unprecedented announcement violated the general rule that one does not speak publicly about pending litigation because it can distort due process. It was dramatically improper. It is one reason why Comey should be fired.
It arose out of the context where Comey's boss had said she would abdicate to the FBI her duties to make the legal and political decision on the Clinton case, rather than simply recuse herself for her ethical lapse in holding an ex parte meeting with a target of the investigation. By making the legal decision rather than properly leaving the decision to DoJ lawyers, Comey clearly did a political favor not only for Loretta Lynch but also for Barack Obama. They otherwise would have had to take political responsibility for an unpopular political decision to effectively pardon one's endorsed successor with the agreement of the other's possible future employer.
Comey was able to make a political decision appear to be a technical decision, based on his peculiar views of the evidence necessary to prove intent. But as Gowdy has just begun to instruct Comey, this technical decision about intent failed to take proper account of the inferences to be drawn from the evidence that does show Clinton's intent to break the law. It was also a wrong interpretation of the law of intent, as discussed below.
For example, Clinton clearly intended to give classified information to her lawyers who did not have security clearances, as well as allowing her uncleared tech support to have access. Comey had no good answer for these facts. Among the many lapses of judgment that Comey defended he did not think it germane to an assessment of her intent that Clinton refused to be interviewed by the DoS inspector general. Comey's refusal to comment on the existence of a Clinton Foundation investigation suggests that, contrary to speculation, it was not part of the email investigation. But that would overlook a potential motive for Clinton's prioritizing the secrecy of her private affairs over the nation's secrets that would have been far more nefarious that the motives than Comey approves for prosecution, such as whistleblowing.
After reciting facts that have long been known to the public, and that contradicted lies told by Clinton, the FBI's operative finding delivered by Comey was that "we did not find clear evidence that Secretary Clinton or her colleagues intended to violate laws governing the handling of classified information." In the oversight hearing Comey did not demonstrate a full grasp on facts, such as who paid for Clinton's server. So his formula that he did not "find clear evidence" was less than convincing that he would have found it.


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text:
Organizer who refused to cancel Kintampo students excursion has gone mad-Eagle Prophet
The General Overseer of the God's Crown Chapel, Prophet Reindolph Oduro Gyebi, has revealed on Frontline on Rainbow Radio 87.5Fm that the man whose failure
led to the death of some students at the Kimtampo Waterfalls has been left partially mad.
Speaking to Kwabena Agyapong on Rainbow Radio 87.5Fm, the man of God said, when the prophecy came, there was a man -who he failed to mention the name- as being part of the organizers who refused to cancel the trip after he has been cautioned.
He told the host the man who was online at the time the prophecy came through him (Prophet Oduro), went to see another prophet who asked him to offer a sacrifice to God so he prays against the prophecy.
This man he spoke of then gave his prophet an offering of GHc1,000 with the hope of having the prophecy prayer against.
However, the prayer by his prophet failed and the rest was the death we witnessed at the waterfalls, he said.
Prophet Oduro, who is popularly referred to as Eagle Prophet disclosed to the host he received a call from a radio presenter in Kumasi to meet him over an emergency and when he got the venue for the meeting, he saw the man on his knees pleading for mercy and forgiveness because he failed to cancel the trip despite the warnings that came.
According to the prophet, the man confessed to him the spirits of the departed souls in the Kintampo disaster, were haunting him and he could not sleep.
"The man told me he could not sleep at night because the spirits of the dead persons were chasing him. The spirits were asking him why he failed to cancel the trip despite the prophecy that came to him, " he said.
Prophet Oduro was responding to a question on the need for people to take prophecies serious and pray about them rather than castigate prophets who are only servants of God.
For him, his duty as a prophet of God, is to communicate what God says and so, he would not be intimidated by the negative insults and attacks on him.
A total of 17 students of the Wenchi Methodist Senior High School were crushed to death by a tumbling tree during a rainstorm, few years ago at Kintampo.
What was meant to be a period of fun and excitement at the Kintampo Waterfalls turned tragic after some revelers largely students of Wenchi Methodist Senior High School in the Brong Ahafo Region were crushed to death after a huge tree tumbled into the water from the mountain.
The students were on an excursion to the Waterfalls in the company of some of their teachers.
Prophet Oduro prior to the incident prophesied and warned the organizers to cancel the trip.
However, his advice was ignored by the organizers.
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text:
tick, tick… BOOM! Review: Andrew Garfield gives one of the best musical performances of all-time in one of the best musicals of all-time.
Director(s): Lin-Manuel Miranda
Writer(s): Steven Levenson
Cast: Andrew Garfield, Robin de Jesus, Vanessa Hudgens
Synopsis: On the cusp of his 30th birthday, a promising young theater composer navigates love, friendship and the pressures of life as an artist in New York City.
Lin-Manuel Miranda might be one of the biggest names in theater… ever, akin to giants such as Andrew Lloyd Webber, Stephen Sondheim, and Jonathan Larson. Sondheim and Webber have been a master of their craft for as long as anyone can remember honestly, but for Jonathan Larson, his time sadly ended too soon. That didn't stop him from writing Rent, one of the most widely known and influential Broadway shows of all time. Rent would go on to be a cultural phenomenon in the late-90s/early-00s. It would win a Pulitzer and multiple Tony awards, but Larson would be absent from it all, passing away from an aortic aneurysm the morning of the first Off-Broadway preview of Rent.
While Rent might have been his most popular piece, tick, tick… BOOM! would be his most personal piece. Tick, tick… BOOM! is a semi-autobiographical journey of Jonathan Larson struggling with finishing his Rock Opera, days from one of the biggest moments of his theater life. He performed tick, tick… BOOM! for a few years as a Rock Monologue before finishing Rent. After his death, tick, tick… BOOM! was restructured into the 3 act musical that is most well known today.
So, it is no surprise that Lin-Manuel Miranda, a theater legend, would want to take on the project of reviving the story of a theater legend who never got to see the impact his art left on people. Miranda first got into Broadway with his work on In the Heights, which came after the run of both Rent and tick, tick… BOOM!. Miranda has come a long way from Broadway; he is 3/4 of the way done with an EGOT – currently with an Emmy, Grammy, and a Tony – and is becoming a staple when it comes to film musicals. After being a writer, actor, and producer for Broadway and Film, with tick, tick… BOOM!, he is taking his first steps into the director's chair.
Instead of steps, Miranda leaps into the story and the music with an amount of confidence that isn't usually shown with new directors. Just as Larson had a vision for his creations, Miranda has a vision for the film he wanted to make. This allowed Miranda to pull off one of the best stage to screen adaptations ever. This is an adaptation that is done so well, and fully utilizes the film medium to the highest high extent; to the point where – as someone who has never seen the stage musical – I don't know if the stage performance could be as good as this film.
Miranda does this by doing what so many musical adaptations forget when they translate from stage to screen, and that's using the new medium to expand on the story. Too many times these kinds of transitions fail because they are trying to display the same things people would go see the show for, and don't even attempt to do anything different or new. Whether it be in a pool, a diner, or just an empty amphitheater, Miranda captures every song and moment in a way that enhances what's being sung. It's this kind of visionary flair that helps tick, tick… BOOM! work the way it does, because with his theater background, Miranda can see things most directors can't. I am not sure if this type of directing can fully translate to anything that isn't an upbeat musical, but within this realm, Miranda was near perfect.
Told in Cabaret style, Jonathan Larson – played by Andrew Garfield in what is his best role, and maybe his most defining role – is both the narrator and the main subject at hand. Jon is performing his rock monologue version of tick, tick… BOOM! telling the audience of the show his story, just like how the play is performed in real life, except now, the audience gets to actually see these moments play out as the film is edited back and forth to match up with the story and performance. This causes Garfield to basically play two roles, and in both of them he becomes Jonathan Larson in a way that's never been seen from him before. Jonathan Larson is an anxious and determined genius with only a little over a week before two of the biggest days of his life: the workshop of his 8-year long project Superbia and his 30th birthday. Each of these moments are important for the life of Larson because, in his mind, his time is quickly running out. Garfield plays Larson as anyone who has ever had a dream of making something for not just themselves, but for the world to see. Larson is a writer – a great writer – and a visionary, but with every tick, tick, ticking of a clock he feels like his moment in time is fleeting fast. Garfield displays these idiosyncrasies of Jonathan Larson with a perfect manic charm. He is obsessed, just as any great creative has been, but he isn't obsessed with his work as much as he is obsessed with finishing his work.
Miranda and Garfield both team up in these music heavy scenes to create such a visually appealing look at stage on screen, and Garfield delivers on the vocal side of things just as much as the acting. Starting with the opener "30/90" – one of the best intro songs of any musical movie ever – you can feel the excitement pulsating through the screen. Another highlight for me was the song "Therapy" in which both Garfield and Vanessa Hudgens maniacally tell the story of an argument between Larson and his girlfriend Susan (Alexandra Shipp). The editing of this is spectacular, and again shows how Miranda used the medium of film to enhance the play. Weaving in and out of the fight with the narration of the song was purely genius, and one of my favorite musical moments ever. Even with a song like "Sunday," Miranda utilizes so much of the medium of film to get any fan of Broadway excited. Moments like these prove how strong Lin-Manuel Miranda's vision is as a director. One of the other stand-out music scenes was "Swimming" which includes a still manic Garfield giving choppy vocals – in a good way – to display the final straw breaking for Larson as a creative. This scene culminates in a gorgeous shot of Larson floating above the water as musical notes appear below him. It's visually enthralling and one of my favorite shots of the entire year.
The upbeat songs aren't the only thing Miranda and Garfield get right, as the ballads are just as engaging. On the song "Why," after a brief conversation with his friend Michael – played by an awards worthy Robin de Jesus – Garfield narrates his downfall. It's a magnificent piece of acting from Garfield and editing by Myron Kerstein and Andrew Weisblum. In "Why," Larson reflects on his past and the people around him. Sitting in an empty amphitheater, Garfield pours out his soul to a crowd of no one but himself. Someone who has always been trying to impress people and change the world is given the chance to sit alone and take in how the people around him have changed his life. It is a moment of self reflection and discovery that changed Jonathan Larson in the play, and probably in real life as well.
Because one of the great messages in tick, tick… BOOM! is how greatness can never come too late. It is never too late to follow your dreams and prove your worth. Lin-Manuel Miranda brings the stage to life in a way never seen before, and in a way that only a true theater nerd could have envisioned. Garfield gives one of the best musical performances ever, fully dissolving into the role in a way he has never done as an actor. Tick, tick… BOOM! will fill your heart with joy and music. If you don't know who Jonathan Larson was before this movie, by the time he turns 30, you'll know everything.
Grade: A+
2021 Film Rankings
Published by Jacob Throneberry
View all posts by Jacob Throneberry
andrew garfield, lin-manuel miranda, Musical, Netflix, Review, tick, tick tick boom, Vanessa Hudgens
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text:
Matilda The Musical at Palace Theatre
By Ben Brown
Everyone's favourite Roald Dahl book (and Danny DeVito film) Matilda is coming to Manchester this September in the form of the multi-award-winning musical from the Royal Shakespeare Company.
Inspired by the beloved book, and featuring original songs by Tim Minchin, Matilda The Musical is the story of an extraordinary little girl who, armed with a vivid imagination and a sharp mind, dares to take a stand and change her own destiny.
Premièring at the RSC's The Courtyard Theatre in Stratford-upon-Avon in November 2010, Matilda The Musical has travelled all around the world with productions on Broadway, the West End, and even as far away as Australia (where it managed to win every award under the sun).
The production is fantastic, and if you're a fan of the book, you're in for a treat. Harry Wormwood will have you laughing into your choc ice, and the scene with Bruce Bogtrotter eating that big chocolate cake is both technically and musically out-of-this-world good.
The production is now coming to the Manchester Palace Theatre from Tuesday 18th September until the 24th November. You can get your tickets below:
uk.matildathemusical.com/tour/
A Nation's Theatre
Royal Exchange Theatre announce Autumn & Winter Season Shows
Under The Market Roof: Theatre at Chorley Market


text:
\section{Introduction}

The last decade, roughly since the launch of the {\it Spitzer Space
  Telescope}, has been a remarkably productive time for the discovery
of high-redshift ($z \ga 1$) galaxy clusters.  This is due in large
part to {\it Spitzer}'s superb sensitivity to massive galaxies out to very
high redshift, but also to the maturation of Sunyaev-Zel'dovich (SZ)
effect surveys and increasingly sophisticated X-ray and radio active
galactic nucleus (AGN)-based surveys.  These techniques have
successfully identified galaxy clusters beyond $z>1$
\citep[e.g.,][]{rosati04, mullis05, stanford06, eisenhardt08, muzzin09,
  brodwin10, galametz10, brodwin13, zeimann13, reichardt13,
  hasselfield13, bleem15} and even at $z \ga 1.5$
\cite[e.g.,][]{fassbender11_sfr, santos11, stanford12, zeimann12,
  muzzin13, bayliss14, willis13, newman14}.

Despite their successes in discovering high-redshift clusters, deep
X-ray \citep[e.g.,][]{fassbender11, mehrtens12} and {\it Spitzer}\ surveys
\citep[e.g.,][]{eisenhardt08, papovich10, rettura14} are limited to
relatively small areas ($< 100$ deg$^2$), and thus do not probe the
volume required to meaningfully sample the high-mass end of the $z \ga
1$ cluster mass function.  The South Pole Telescope
\citep[SPT,][]{reichardt13, bleem15} and Atacama Cosmology Telescope
\citep[ACT,][]{hasselfield13} SZ surveys, though much larger, are
still limited to a few thousand square degrees, whereas the all-sky
{\it Planck} SZ survey \citep{planck13_SZ} is limited to $z < 1 $ due
to its large beam.

The Massive and Distant Clusters of {\it WISE}\ Survey
\citep[MaDCoWS,][]{gettings12, stanford14} is a new IR-selected
galaxy cluster survey based on the all-sky catalogs of the {\it
  Wide-field Infrared Survey Explorer} \citep[{\it WISE},][]{wright10}.
The combination of {\it WISE}\ infrared and Sloan Digital Sky Survey (SDSS)
DR8 optical photometry \citep{sdss_dr8} allows us to robustly isolate
galaxy clusters at $z \ga 1$ in the northern hemisphere. The first
spectroscopically confirmed MaDCoWS\ cluster, MOO\ J2342+1301 at
$z=0.99$, was reported by \citet{gettings12}.  The reader is referred
to that paper, along with the upcoming survey paper (Gonzalez et
al.~in prep), for a more complete description of the survey
methodology.

The current 10,000 deg$^2$ survey footprint is four times larger than
the SPT-SZ survey \citep{bleem15} and 1000 times larger than the area
of the IRAC Distant Cluster Survey (IDCS), in which the most massive
$z>1.5$ galaxy cluster known to date was found \citep{brodwin12,
  stanford12, gonzalez12}.  Given the unprecedented volume surveyed
{\it at high redshift}, the MaDCoWS\ sample should contain a large
number of very massive, distant clusters.

In this paper we present Combined Array for Research in
Millimeter-wave Astronomy\footnote{http://www.mmarray.org} (CARMA) 30
GHz observations of five\ $z \ga 1$ MaDCoWS\ clusters spanning a
range of infrared richnesses.  The spectroscopic confirmations for all
but one of these clusters are given in \citet{stanford14}.  In
\textsection{\ref{Sec: Data}} we present the MaDCoWS\ clusters,
including a (red sequence) photometric redshift measurement for
MOO\ J1014+0038, and describe the CARMA SZ observations.  In
\textsection{\ref{Sec: Masses}} we describe the measurements of total
Comptonization, from which we infer masses.  We discuss our results in
\textsection{\ref{Sec: Discussion}.  We assume a concordance
  $\Lambda$CDM cosmology with $\Omega_M = 0.3$, $\Omega_{\Lambda} =
  0.7$ and $H_0 = 70$ km s$^{-1}$ Mpc$^{-1}$.  {\it Spitzer}/IRAC and
  ground-based optical magnitudes are calibrated to the Vega and AB
  systems, respectively.

\section{Data}
\label{Sec: Data}
\subsection{CARMA Observations}

CARMA is an interferometer that consists of six 10.4~m, nine 6.1~m,
and eight 3.5~m telescopes, providing fields of view of FWHM 3.8\arcmin,
6.6\arcmin\ and 11.4\arcmin\ at 30 GHz, respectively.  All 23 telescopes
have 30 and 90 GHz receivers, while the 10.4~m and 6.1~m telescopes
have an additional 230 GHz receiver.  CARMA is equipped with two
correlators: an 8-station correlator with 7.5 GHz of bandwidth per
baseline (the ``wideband correlator'') and a more flexible correlator
that can be configured to correlate 23 stations with 2 GHz bandwidth
per baseline at 30~GHz (``spectral line correlator'').  To maximize
sensitivity, both correlators can be used simultaneously.

Clusters MOO\ J0012+1602, MOO\ J0319-0025 and MOO\ J1014+0038 were
observed when the 10.4~m and 6.1~m telescopes were in E configuration,
the 3.5~m telescopes were in SL configuration, and the signals were
processed by both correlators (``E+SL''). MOO\ J1155+3901 was observed
using the wideband correlator and the eight 3.5 m telescopes in the SH
configuration. MOO\ J1514+1346 was observed twice, first using the
eight 3.5~m telescopes in the SL configuration with the wideband
correlator and later with all 23 telescopes in the E+SL configuration
using only the spectral line correlator.  All observations were
centered around 31 GHz.

With the exception of MOO\ J1514+1346, cluster observations in the
E+SL configuration used the wideband correlator to process the
intermediate frequency (IF) signal from eight of the 6.1~m telescopes.
The synthesized beam formed by the 6.1~m $\times$ 6.1~m baselines is
approximately 1\arcmin, a resolution well matched to the angular size
of the SZ signal from these distant clusters. The wideband correlator
provides most of the sensitivity to the cluster signal in these
observations. The 23-element observations of MOO\ J1514+1346 lacked
the wideband correlator due to a hardware problem and were primarily
useful for confirming a point source that was not well detected by the
SL data alone. For the standard E+SL observations, the spectral line
correlations sample baselines from 0.35-12.0~k$\lambda$, while the wideband
correlations sample baselines from 0.65-4.0~k$\lambda$.

\begin{figure*}[bthp]
    \centering
    \subfloat{\plotone{fig1a.ps}}\\
    \subfloat{\plotone{fig1b.ps}}\\
    \subfloat{\plotone{fig1c.ps}}\\
    \caption{$8\arcmin \times 8\arcmin$ CARMA 30 GHz maps ({\it left
        column}) and $4\arcmin \times 4\arcmin$ optical/IR images
      ({\it right column}) of high-redshift MaDCoWS\ clusters.  The
      CARMA maps are in units of SNR in the SZ detection, which are
      negative to reflect the decrement.  The FWHM of the synthesized
      beams are shown in the lower left in each map.  The optical
      layers of the pseudo-color images are composed of $r$ and $z$
      images from Gemini/GMOS-N, with the exception of MOO\ J1014+0038
      for which we have these same bands from Magellan/IMACS.  The IR
      layer is IRAC 3.6 $\mu$m except for MOO\ J1155+3901, for which
      we use the {\it WISE}\ W1 band at 3.4 $\mu$m.  Contours of the SZ
      decrements in SNR are overplotted on the optical/IR images.  In
      all cases the least significant contour is SNR = $-1$ and the
      contours increase in significance by $\Delta$SNR = $-1$.  The
      locations of the emissive sources list in Table \ref{Tab: agn}
      are indicated with white boxes.}
\label{Fig: images}
\end{figure*}

\begin{figure*}[bthp]
    \centering
    \ContinuedFloat
    \subfloat{\plotone{fig1d.ps}}\\
    \subfloat{\plotone{fig1e.ps}}\\
    \caption{Continued.}
\end{figure*}

The CARMA observations, summarized in Table~\ref{Tab: sample}, used
the WISE centroid positions as the pointing and phase centers. The
data were reduced with a pipeline using MIRIAD \citep{sault95} similar
in function to the one described in \citet{muchovej07}.  After
filtering for bad weather and instrumentation problems, the data were
gain-calibrated using observations of bright, unresolved quasars
interleaved every 15 minutes between the cluster observations.  Flux
densities are calibrated against observations of Mars using the model
presented in \citet{rudy87}. The pipeline produces a set of
flux-calibrated visibilities of the cluster field.  The CARMA images
in Figure \ref{Fig: images} are created by combining
naturally-weighted $uv$ data from both correlators.  They are in SNR
units and a 2 k$\lambda$ cutoff is applied to the data to highlight
the cluster-sensitive baselines in the images.  Models fit to emissive
sources are removed (see \textsection\ref{Sec: sources}). The residual
maps are CLEANed inside a square box 3\arcmin\ on a side, centered on
the position of the map with the largest absolute value in SNR
units. CLEAN is allowed to proceed until the largest peak in the map
is 1.5 times the map RMS value.

\begin{deluxetable*}{lcccccc}
  \tabletypesize{\normalsize} \tablecaption{CARMA Observations of
    MaDCoWS\ Clusters \label{Tab: sample}} \tablewidth{0pt} \tablehead{
    \colhead{Cluster ID} & \colhead{R.A.} & \colhead{Decl.} &
    \colhead{UT Dates} & \colhead{CARMA Array} &     \colhead{Exp.~Time\tablenotemark{1}} &
    \colhead{Map RMS Noise\tablenotemark{2}} \\
    \colhead{} & \colhead{(J2000)} & \colhead{(J2000)} &
    \colhead{} &\colhead{}& \colhead{(hr)} & \colhead{(mJy)} } \startdata
  MOO\ J0012$+$1602 &  00:12:13.0 &   $+$16:02:15 &   2013 Sep 24; Oct 1,3,6  &   E+SL &  6.0 & 0.11   \\
  MOO\ J0319$-$0025 &  03:19:24.4 &   $-$00:25:21 &   2013 Sep 30             &   E+SL &  1.0 & 0.26   \\
  MOO\ J1014$+$0038 &  10:14:08.4 &   $+$00:38:26 &   2013 Oct 6-7            &   E+SL &  2.2 & 0.17   \\
  MOO\ J1155$+$3901 &  11:55:45.6 &   $+$39:01:15 &   2012 May 11-12          &   SH   &  7.2 & 0.33   \\
  MOO\ J1514$+$1346 &  15:14:42.7 &   $+$13:46:31 &   2013 Jun 1,3,5-7,9,11   &   SL   &  8.4 & 0.20   \\
                    &             &               &   2013 Aug 15             &   E+SL &  0.5 & 0.19
\enddata
\tablenotetext{1}{Total on-source exposure time, excluding overhead,
  calibrations and flagged (unused) data.}  \tablenotetext{2}{The map
  RMS noise is the mean noise within a 3.5\arcmin\ radius circle
  centered on the pointing center.}
\end{deluxetable*}

\begin{deluxetable}{lccc}
  \tabletypesize{\normalsize} \tablecaption{Emissive
    Sources \label{Tab: agn}} \tablewidth{0pt} \tablehead{
    \colhead{Cluster ID} &   \colhead{R.A.} & \colhead{Decl.}  & \colhead{Flux}  \\
    \colhead{} & \colhead{(J2000)} & \colhead{(J2000)} &
    \colhead{(mJy)}} \startdata
  MOO\ J0012$+$1602 & 00:12:14.39 &   $+$16:02:23.6     &    $1.91 \pm 0.07$  \\
  MOO\ J0319$-$0025 &      -      &         -           &    -  \\
  MOO\ J1014$+$0038 & 10:14:03.84 &   $+$00:38:26.0     &    $0.31 \pm 0.07$  \\
  MOO\ J1155$+$3901 & 11:55:44.36 &   $+$39:01:28.6     &    $0.72 \pm 0.33$  \\
  MOO\ J1514$+$1346 & 15:14:33.59 &   $+$13:52:47.3     &    $\,\,8.04 \pm 0.93$\tablenotemark{$\dagger$} \\
                     & 15:14:44.57 &   $+$13:46:34.8     &    $0.18 \pm 0.07$
\enddata
\tablenotetext{$\dagger$}{This is an extended radio source 6\arcmin\ NW of the
  phase center.  The flux was measured in an elliptical aperture with a
  16\arcsec\ semi-major axis and an axial ratio of 0.72.}
\end{deluxetable}

\subsection{Gemini Data}

All but one of these clusters (MOO\ J1014+0038) were observed with
the Gemini Multi-Object Spectrograph (GMOS) on Gemini-North.  Exposure
times of 15 min were obtained in the $r$- and $z$-bands to produce
color magnitude diagrams (CMDs) from which red-sequence members could
be selected for follow-up spectroscopic observations.  These images
are combined with IRAC 3.6 $\mu$m or {\it WISE}\ 3.4 $\mu$m images to make
the color images for four of the five\ clusters shown in Figure
\ref{Fig: images}.

These images were used to construct several of the masks, for both
Gemini/GMOS-N and Keck/DEIMOS, with which we spectroscopically
confirmed 20 MaDCoWS clusters to date, including four of the five\
in the present work.  \citet{stanford14} provide a full description of
the MaDCoWS spectroscopy.

\begin{figure}[bthp]
\epsscale{1.15}
\plotone{fig2a.ps}
\vspace*{0.15cm}
\plotone{fig2b.ps}
\caption{IRAC (upper panel) and optical (lower panel) color-magnitude
  diagrams (CMDs) for cluster MOO\ J1014+0038, based on IRAC and
  Magellan/IMACS data, respectively.  The red points show the galaxies
  that have colors consistent with the best-fit red sequence
  model. The vertical dotted lines are the $M*$ magnitudes in the 3.6
  $\mu$m and $z$ bands, respectively, at the best-fit photometric
  redshift. The dashed vertical line in the top panel is the detection
  limit in the IRAC data.  Using the method described in
  \citet{song12}, we find a best-fit photometric redshift of $1.27 \pm
  0.08$ is consistent with both CMDs.}
\label{Fig: cmd}
\end{figure}

\subsection{Magellan Data}

Cluster MOO\ J1014+0038 was observed on UT 2014 January 22 with the
Inamori Magellan Areal Camera and Spectrograph
\citep[IMACS;][]{dressler06} in the $g$, $r$ and $z$ bands for 2, 12,
and 12 minutes, respectively.  These data were reduced with the SPT
optical pipeline, as described in \citet{song12}, and the $r$ and $z$
images are combined with IRAC 3.6 $\mu$m to make the color image of
this cluster shown in Figure \ref{Fig: images}.

Photometric redshifts based on the cluster red-sequence were measured
from both optical and IRAC color magnitude relations, shown in Figure
\ref{Fig: cmd}.  The best-fit photometric redshift in both cases is
consistent with $z_{\rm ph} = 1.27 \pm 0.08$.  We have used this value
in converting the observed SZ decrement to a total mass.

\section{Analysis}
\label{Sec: Masses}

\subsection{Identification of Compact Radio Sources}
\label{Sec: sources}

Compact radio sources are a potential source of uncertainty in SZ
cluster mass measurements.  Since these synchrotron sources are often
variable, it is important to identify and remove their contribution
contemporaneously with the SZ measurement.  The long baselines of our
CARMA observations (up to 12 k$\lambda$) can identify compact emission
sources at high sensitivity.  We identify contaminating sources by
visual inspection of the long-baseline data and checking the 1.4~GHz
catalogs from the NRAO VLA Sky Survey \citep[NVSS,][]{condon98} and
the VLA Faint Images of the Radio Sky at Twenty-Centimeters
\citep[FIRST,][]{becker95}.  A radio source is jointly modeled with
the cluster signal if its flux is detected in the CARMA data at 3
$\sigma$ or greater, or if there is a source in the NVSS or FIRST
catalog. In the case that the source is only marginally-detected in
the CARMA data and present in a VLA catalog, its position is fixed and
only the flux is allowed to vary.  The simultaneous fit mitigates the
contamination of our significance and mass fits due to variable
emissive sources, as described below.

In MOO\ J1155$+$3901, which has a centrally located source of
emission detected at $\sim2.5\sigma$ in the CARMA data, there exists a
slight positive correlation between the measured $Y$ parameter for the
cluster and the point source flux. In the remaining 4 clusters, there
is no sign of covariance between the cluster parameters and other
source parameters.  The coordinates and beam-corrected fluxes of
compact radio sources identified toward each cluster are given in
Table \ref{Tab: agn}.

\subsection{SZ Decrement Significance}

To determine the significances of the observed SZ decrements, we
measure the difference in $\chi^2$ between a model of our observations
that contains no cluster with models (described in
\textsection\ref{Sec: masses}}) that do include a cluster. In the
cases where there is contaminating radio emission, models for these
point sources are fitted in both the cluster and no-cluster
models. The models are fit to the data in the $uv$-plane using a
Markov chain Monte Carlo routine, which correctly accounts for the
noise in our data from the heterogeneous CARMA array \citep[see,
e.g.,][]{plagge13}.

The resulting $\chi^2$ values are converted to significances in terms
of Gaussian standard deviations.  They range from 2.7 $\sigma$ to 9.5
$\sigma$ and are listed in Table \ref{Tab: masses}.  In fitting the SZ
cluster centroids, a uniform 1.5\arcmin\ radius prior centered on the
IR position is used.  For low significance decrements, negative noise
spikes can formally bias the SNR to higher values.  However, given the
strong prior of an IR-selected, confirmed cluster at the targeted
position, and the small number of independent beams ($<10$) over which
the SZ centroid is allowed to vary, we expect all of these decrements
to be robust.  Using an approximate analytical calculation of the
noise properties in our CARMA maps we conservatively estimate the
probability of false detection for the two least significant clusters
to be $\sim$8-10\%. The higher significance clusters have no
significant probability of false detection.

\subsection{SZ Mass Measurements}
\label{Sec: masses}
The mass estimates are produced following the method described in
recent CARMA papers \citep[e.g.][]{brodwin12}. Briefly, we
parameterize the SZ signal as a pressure profile that we integrate to
measure the integrated Compton $Y$ parameter.  We use a generalized
NFW pressure profile as presented in \citet{nagai07},
\begin{equation}
P(x) = \frac{P_0}{x^\gamma (1+x^\alpha)^{(\beta-\gamma)/\alpha}},
\end{equation}
where $P_0$ is the normalization, $x\equiv r/r_s$ is a dimensionless
radial variable, and $P_0$ and $r_s$ are allowed to vary.  The
power-law exponents are fixed to the ``universal'' values
(i.e.,~$\alpha = 1.0510$, $\beta = 5.4905$, and $\gamma = 0.3091$) of
\citet{arnaud10}. The cluster centroid and the positions and fluxes of
any coincident emissive sources are allowed to vary as well. There is
a strong degeneracy between $P_0$ and $r_s$ in the data, however the
resulting $Y$ parameter, as defined below, is well-constrained.

We integrate the derived pressure profile to a cutoff radius to
calculate the integrated $Y$ parameter,
\begin{equation}
Y_\Delta = \frac{1}{D_A^2}\frac{\sigma_T}{m_e c^2} \int_0^{r_{\Delta}} P(r/r_s) dV.
\end{equation}
To determine the cutoff radius, we enforce consistency with the
$Y_{SZ,500}-M_{500}$ scaling relation derived in \citet{andersson11}
by requiring that the chosen integration radius (and thus, mass) and
resulting $Y$ lie on the mean relation. We determine the final
integration radius iteratively, and the value of $Y$ typically
converges in roughly five iterations.  The $M_{500}$ values in
Table~\ref{Tab: masses} correspond to the derived values of $r_{500}$
in our cosmology.

\begin{deluxetable*}{llcrrccc}
  \tabletypesize{\normalsize} \tablecaption{SZ Properties of MaDCoWS\
    Clusters \label{Tab: masses}} \tablewidth{0pt} \tablehead{
    \colhead{ID} & \colhead{Redshift} & \colhead{Significance} &
    \colhead{$r_{500}$} &\colhead{$Y_{500}$} &\colhead{$M_{500}$} &
    \colhead{$M_{200}$\tablenotemark{1}} &   \colhead{$\Delta C_{\small \rm IR-SZ}$ \tablenotemark{2}} \\
    \colhead{} & \colhead{} & \colhead{($\sigma$)} &
    \colhead{(Mpc)} &\colhead{($10^{-6}$ Mpc$^{2}$)} & \colhead{($10^{14}$ $M_\odot$)} &
    \colhead{($10^{14}$ $M_\odot$)}& \colhead{(Mpc)}} \startdata
  MOO\ J0012$+$1602 &    0.944                 & 2.7 &  $0.56 \pm 0.07$ &  $7.6  \pm 4.6$ &  $1.4 \pm 0.5$    &  $2.2 \pm 0.8$ &  0.270    \\
  MOO\ J0319$-$0025 &    1.194                 & 6.6 &  $0.65 \pm 0.03$ &  $30.0 \pm 5.9$ &  $3.1 \pm 0.4$    &  $5.1 \pm 0.6$ &  0.194    \\
  MOO\ J1014$+$0038 &    $1.27 \pm 0.08$\tablenotemark{3}       & 9.5 &  $0.66 \pm 0.02$ &  $37.0 \pm 7.1$ &  $3.4 \pm 0.4$    &  $5.6 \pm 0.6$ &  0.142    \\
  MOO\ J1155$+$3901 &    1.009                 & 2.8 &  $0.69 \pm 0.06$ &  $26 \pm 11$    &  $2.9 \pm 0.7$    &  $4.7 \pm 1.2$ &  0.099    \\
  MOO\ J1514$+$1346 &    1.059                 & 3.2 &  $0.61 \pm 0.05$ &  $16.0 \pm 6.9$ &  $2.2 \pm 0.6$    &  $3.5 \pm 0.9$ &  0.282
\enddata
\tablenotetext{1}{$M_{200}$ masses were extrapolated from the measured
  $M_{500}$ masses using the \citet{duffy08} mass--concentration
  relation.}
\tablenotetext{2}{$\Delta C_{\small \rm IR-SZ}$\ is the offset between the IR and SZ positional centroids.}

\tablenotetext{3}{The fit for this cluster assumed a Gaussian redshift
  prior with $\sigma_z = 0.08$ centered on the photometric redshift of
  $z=1.27$.  Due to the flat angular diameter distance, the redshift
  independence of the SZ and the narrow evolutionary window, no
  scatter is imposed by the redshift uncertainty at the significance
  presented.}
\end{deluxetable*}
\color{black}

\subsection{SZ and IR Centroids}

The SZ and IR galaxy density centroids trace different physical probes
of the potential, namely the integrated pressure of the ICM and the
distribution of massive galaxies, respectively.  For individual
clusters these need not be coincident.  Indeed, recent work has
suggested that even X-ray and SZ centroids may be offset from each
other during a major merger \citep{zhang14}.

In Figure \ref{Fig: offset} we plot the angular offsets of the CARMA
SZ cluster centroids from the {\it WISE}\ IR cluster positions, taken as
the peaks in the wavelet detection map.  The SZ-IR offset is less than
300 kpc for all the clusters in this sample.  The error bars represent
the quadrature sum of the uncertainties in the CARMA and {\it WISE}\
centroids.  The CARMA positional errors, $\sigma_{\small \rm CARMA}$, determined in the
fit described in \textsection{\ref{Sec: masses}}, are jointly fit with
the positions and fluxes of the emissive radio sources.  The {\it WISE}\
centroiding precision is limited by finite gridding (15\arcsec/pixel)
in the {\it WISE}\ cluster search, and to a lesser extent, to confusion
caused by the relatively large {\it WISE}\ beam ($\sim 6\arcsec$).
However, the metric offsets caused by these technical factors should
be small ($\sigma_{\small \rm WISE}$\ $\la 50$ kpc) for these high-SNR cluster detections.

The larger offsets seen here are likely due to real differences
between IR galaxy density and SZ ICM centroids.  We estimate the
average residual positional offset, $\sigma_{\small \rm IR-SZ}$, by setting the reduced
chi-squared statistic equal to unity:
\begin{equation}
  \chi^2_\nu = \frac{1}{\nu} \sum_{\rm clusters}\left(\frac{\rm
      Offset}{\sqrt{\sigma_{\small \rm CARMA}^2 + \sigma_{\small \rm
          \it WISE}^2 + \sigma_{\small \rm IR-SZ}^2}}\right)^2 = 1,
\end{equation}
where $\nu$ is the number of degrees of freedom.  We find $\sigma_{\small \rm IR-SZ}$\ $ =
188.6$ kpc, shown as the filled circular region at the center of the
plot.  A similar result is obtained using IR centers defined by the
BCGs identified in follow-up IRAC imaging, confirming the IR-SZ offset
is not due to an unknown systematic in the {\it WISE}\ centering.

\begin{figure}[bthp]
\epsscale{1.15}
\plotone{fig3.ps}
\caption{Positional offsets between SZ and {\it WISE}\ IR cluster
  positions.  The errors bars include the positional uncertainties of
  the {\it WISE}\ and CARMA observations.  The average residual centroid
  difference, likely due to physical differences between the IR galaxy
  density and SZ ICM centroid measurements, is shown by the filled
  circle.}
\label{Fig: offset}
\end{figure}

\section{Discussion}
\label{Sec: Discussion}

We have presented SZ decrements and derived masses for five\
distant ($z\ga 1$), massive ($M_{\mbox{\scriptsize 200}} \approx 2 - 6 \times 10^{14}$
$M_\odot$) MaDCoWS galaxy clusters selected via their stellar mass
signatures in the {\it WISE}\ All-Sky data release. Four of these are
spectroscopically confirmed \citep{stanford14}, and we have presented
a reliable photometric redshift for the fifth derived from both deep
optical and {\it Spitzer}\ photometry.

The current MaDCoWS catalog is drawn from the 10,000 deg$^2$ overlap
between the {\it WISE}\ and SDSS surveys.  With the largest volume yet
surveyed at high redshift, we expect to find very rare, massive
clusters in the distant Universe.  Indeed, three of the clusters in
this preliminary CARMA pilot study have masses in excess of $M_{\mbox{\scriptsize 200}} >
4.5 \times 10^{14}$ $M_\odot$, among the most massive discovered to date
at $z\ga 1$.  More extensive characterization of the MaDCoWS sample is
underway with CARMA and other facilities, including an ongoing AO-13
{\it XMM-Newton} program targeting several of the clusters presented in
this work.

\begin{figure*}[bthp]
\epsscale{1.15}
\plotone{fig4.ps}
\caption{Comparison of the mass-redshift plane for MaDCoWS clusters
  with those of other wide-angle cluster surveys, including {\it
    ROSAT} \citep{Piffaretti11}, {\it Planck} \citep{planck13_SZ}, ACT
  \citep{marriage11, hasselfield13} and SPT \citep{reichardt13,
    bleem15}.  The SPT masses were computed using a slightly different
  scaling relation than the \citet{andersson11} relation adopted here;
  to more directly compare the MaDCoWS masses with the SPT sample the
  former should be increased by $\sim 8\%$ (L.~Bleem, priv. comm.).
  The MaDCoWS clusters are comparable in mass to the high-redshift
  SZ-selected clusters from SPT and ACT. This figure is adapted from
  \citet{bleem15}.}
\label{Fig: mass_z}
\vspace*{0.25cm}
\end{figure*}

Figure \ref{Fig: mass_z}, adapted from \citet{bleem15}, shows the
mass--redshift plane for the largest, wide-area cluster surveys to
date.  These include the {\it ROSAT} X-ray surveys
\citep{Piffaretti11}, composed of the NORAS \citep{bohringer00},
REFLEX \citep{bohringer04} and MACS
\citep{ebeling01,ebeling07,ebeling10} cluster catalogs, and the SZ
cluster catalogs from the {\it Planck} \citep{planck13_SZ}, ACT
\citep{marriage11, hasselfield13} and SPT \citep{reichardt13, bleem15}
collaborations.  The IR-selected MaDCoWS clusters presented in this
work, shown as orange hexagons, are similar to the high-redshift
clusters selected from the high-resolution SZ surveys (i.e., SPT and
ACT).  They are drawn from the massive cluster population at $0.9 < z
< 1.3$, and as ICM and/or weak lensing masses for the larger MaDCoWS
sample are measured, we should identify high-redshift ($z \ge 1$)
clusters even more massive than those seen to date in the smaller-area
SZ surveys.

In the near future, the MaDCoWS sample will be extended in both area
and redshift. The recent AllWISE data release \citep{cutri13} has
significantly more uniform sky coverage, with an average of twice the
exposure time over the previous all-sky catalog.  This should allow
the identification of massive galaxy clusters to $z \approx 1.5$.  Our
current search is also limited to the SDSS footprint.  With the
arrival of large optical surveys in, or extending to, the Southern
hemisphere, such as Pan-STARRS, VST and DES, our search area will soon
cover the bulk of the extragalactic sky.  This will enable the
discovery, within MaDCoWS, of the rarest, most massive clusters at $z
\ga 1$.

\acknowledgments We thank the anonymous referee for helpful comments
that improved the paper.  We thank L.~Bleem for providing the code and
data to produce Figure \ref{Fig: mass_z} and B.~Benson for helpful
conversations.  Support for CARMA construction was derived from the
Gordon and Betty Moore Foundation, the Kenneth T. and Eileen L. Norris
Foundation, the James S. McDonnell Foundation, the Associates of the
California Institute of Technology, the University of Chicago, the
states of California, Illinois, and Maryland, and the National Science
Foundation. Ongoing CARMA development and operations are supported by
the National Science Foundation under a cooperative agreement, and by
the CARMA partner universities; the work at Chicago was supported by
NSF grant AST- 1140019. Additional support was provided by PHY-
0114422.  This publication makes use of data products from the
Wide-field Infrared Survey Explorer, which is a joint project of the
University of California, Los Angeles, and the Jet Propulsion
Laboratory/California Institute of Technology, funded by the National
Aeronautics and Space Administration.  M.B., D.P.G., A.H.G.\ and
S.A.S.\ acknowledge support for this research from the NASA
Astrophysics Data Analysis Program (ADAP) through grant NNX12AE15G.
This work was supported by a NASA Keck PI Data Award, administered by
the NASA Exoplanet Science Institute.  This work is based in part on
observations made with the {\it Spitzer Space Telescope}, which is
operated by the Jet Propulsion Laboratory, California Institute of
Technology under a contract with NASA.  This work is based in part on
data obtained at the W.~M.~Keck Observatory, which is operated as a
scientific partnership among the California Institute of Technology,
the University of California and the National Aeronautics and Space
Administration.  The Observatory was made possible by the generous
financial support of the W.~M.~Keck Foundation.  Based in part on
observations obtained at the Gemini Observatory, which is operated by
the Association of Universities for Research in Astronomy, Inc., under
a cooperative agreement with the NSF on behalf of the Gemini
partnership: the National Science Foundation (United States), the
National Research Council (Canada), CONICYT (Chile), the Australian
Research Council (Australia), Minist\'{e}rio da Ci\^{e}ncia,
Tecnologia e Inova\c{c}\~{a}o (Brazil) and Ministerio de Ciencia,
Tecnolog\'{i}a e Innovaci\'{o}n Productiva (Argentina).  Data were
obtained in Program IDs GN-2013A-Q-44 and GN-2013B-Q-8.  This paper
includes data gathered with the 6.5 meter Magellan Telescopes located
at Las Campanas Observatory, Chile.

\newpage
\bibliographystyle{astron2}

redpajama_set_name: RedPajamaArXiv


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Our services and the securities we offer on services may not be suitable for all customers and, if you have any doubts, you should seek advice from an independent financial adviser.


I. Newsreel item on a children's May Day parade through Kent, 1st May 1918.
II. Newsreel item on the break-up of a pacifist meeting in Finsbury Park, London, May 1918.
III. Newsreel item on a Land Girl calling for volunteers in the middle of London, helping one lady to sign on, May 1918.
IV. Newsreel item on British soldiers helping refugees, including old ladies, onto a train for evacuation, near Béthune, Western Front, 10th-14th April 1918.
The children's banners show that they come from London or its suburbs. The procession passes two cars full of soldiers and one sergeant gets out and jokingly kisses the May Queen. The May Queen is later ceremonially crowned.
It is raining in the park. People in a large crowd wave at the camera. Mounted police move through the crowd and one man can be seen to be led away in handcuffs.


We are seeking a talented Senior Product Manager to join Zonar's agile product delivery team in our Technology Development Center in downtown Seattle. This role will center on maintaining market awareness and product portfolio management in the Passenger vertical.
The Senior Product Manager in this role will interface directly with Zonar customers, partners and Zonar senior leadership to identify and prioritize business opportunities in this space. You will become an expert in the passenger services market, building a deep understanding of challenges faced by customers in the vertical, as well as knowledge of key competitors and industry trends. The Senior Product Manager is responsible for defining opportunities and framing solutions that Zonar will provide to the marketplace.
You will focus primarily on student transportation with additional emphasis on the overall passenger transportation such as Shuttle services and Paratransit. You will have an opportunity to make a positive impact on communities as the solutions you define ensure that children make it to and from school safely each day; verify that the bus is being driven safely; the vehicle is in proper operating condition. You will one of Zonar's product leaders defining the next generation of solutions for this market.
This role requires a highly motivated and detail-oriented person who is comfortable working within a skilled technical environment. The ideal candidate customer-obsessed; has experience defining and launching products and services to business customers; a creative flare; strong problem-solving skills; excellent communication skills, an orientation toward collaboration, and a strong desire to contribute to Zonar's continued success.
Lead product management for student transportation services to develop product vision, detailed requirements and business cases (market size, ROI, revenue forecasts).
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Drive customer and partner feedback loops to develop product plans rooted in real customer demand.
Partner with customer care, sales, marketing, design, and the technology team to define and refine product plans.
Build compelling product strategies and roadmaps that delight customers, deliver strong revenue growth and excite our sales teams.
Partner with the development team to deliver Agile requirements (Use Cases and Epics), prioritize the product backlog), and collaborate cross-functionally on go-to-market and release plans.
Own and drive go-to-market strategies and plans including competitive analysis, pricing and packaging strategy, sales enablement, product marketing and demonstration tools, and customer feedback.
Define and measure Zonar success in the Passenger market, using key metrics to measure and track performance.


text:
Le Grand Prix automobile de Belgique 1946 est un Grand Prix qui s'est tenu sur le circuit du bois de la Cambre le 16 juin 1946.

Classement de la course

 Légende: Abd.=Abandon ; Np.=Non partant.

Grand Prix de Formule 1 de Belgique
Sport en Belgique en 1946
Formule 1 en 1946
Juin 1946
Événement sportif à Bruxelles


The standard of the industry for over 50 years! Noted for their cleanliness, compactness, permanency, and waterproof properties - remain firm and will not bend from the user's hand. Colors are true and in perfect relation to each other. Blend smoothly on paper and cardboard. All sticks 3-5/8 in. x 5/16 in., paper-wrapped. Nontoxic.


text:
Q: Iphone Application in languages other than English I am new iPhone application development. So please go easy with me :)
I want to write my application in Swedish. When i started writing my app, i hard coded the swedish words.
for example, in the for the navigationBar title (contact us)
self.title=@"Kontakta oss";

Is it permitted by Apple? What if the person reviewing my app in AppStore does not know Swedish. How does things work?
Sorry for being a noob here.
Help would be greatly appreciated :)

A: This should be perfectly fine. You just need an English description for the AppStore as well.

redpajama_set_name: RedPajamaStackExchange


Sara's been working with the MTV Staying Alive Foundation since 2003. She's responsible for our grant-giving programme, overseeing everything from selecting grantees to managing and fulfilling our grants. She also works closely on all the legal, financial and governance aspects of the Foundation.
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Laura manages the Foundation's portfolio of fundraising initiatives and events, working closely with the team, our corporate partners and supporters to develop new ideas to raise money. Before joining the team in 2015, Laura worked on international advertising campaigns and later in corporate fundraising at a national employment charity.
Abi manages our grants and social enterprise projects. She also works closely with the fundraising team and communicates the impact of the Foundation's work to a wider audience managing the blog and social media. Before joining the team she worked for a range of INGOs and has conducted anthropological and human rights related research.
Alistair is responsible for raising income from charitable trusts and foundations, to support MTV Staying Alive Foundation's content production and grant-giving programmes. Since 2007, he has worked in fundraising for a range of charities and higher education institutes, including Street Child, MicroLoan Foundation, and the University of Roehampton.
Richard is MTV Shuga's Director of Content and is ultimately responsible for the delivery of all aspects of the multi award winning campaign. He has 14 years experience working on award winning HIV/AIDS programming, events and training for the Staying Alive Foundation, UNAIDS and others. Richard also brings an excellent network of contacts from the continents creative communities.
Esther joined the team in 2013, from the FT, she currently manages all social media and digital elements for the MTV Shuga campaign. Producing a content strategy that elevates the core campaign messages across all social platforms and the Shuga website.
Chris is the Project Manager for MTV Shuga, working closely with the team to oversee the implementation of the campaign. With over eight years of working on media campaigns and TV production across Africa he is responsible for the planning and delivery of campaign elements in a timely manner and on budget.
Anita is the Marketing and Partnerships Manager for MTV Shuga Nigeria. With over 6 years' experience in PR, corporate branding and communication, she is responsible for sealing partnerships on behalf of MTV Shuga and supervising overall marketing campaigns in Nigeria.
Akriti is the Marketing and Partnerships Manager for MTV Nishedh, India. With over 4 years' of branding, content creation, sales and media marketing experience, she is responsible for managing partnerships on behalf of MTV SAF and supervising overall marketing campaigns in India.
Micha is responsible for supporting the senior team in all aspects of the MTV Shuga campaign, from developing research projects to producing on-air items such as promos and VTs.
Chair of the Staying Alive Foundation Board, Bill is a dedicated internationalist and music lover. As Chairman and Chief Executive of MTV Networks International, he oversaw its growing range of international channels and multimedia business operations. He has been active in a wide range of corporate social responsibility issues, most notably global health, leading MTV's global efforts to promote HIV/AIDS education. In 1998 he was named Ambassador for UNAIDS, and was the General Assembly keynote speaker at the 2010 Model UN, with Secretary General Ban Ki Moon.
Born in Uganda, Henry is a passionate HIV community activist with a long history of front-line service and research experiences with young people, immigrants and refugees living with HIV. He is a life-long learner, mentor and mentee through his Research Coordinator position at the AIDS Committee of Toronto (ACT) and Committee for Accessible AIDS Treatment (CAAT) in Ontario, Canada. His research initiatives are geared towards HIV-stigma reduction. He loves music and soccer (Arsenal in England).
Dr Purnima Mane is an internationally recognised expert of gender, health and development. She previously served as President & CEO of Pathfinder which develops ground-breaking programs on sexual and reproductive health in 20 countries and leads global advocacy on SRHR policies. Prior to that, she was UN Assistant-Secretary-General and Deputy Executive Director, UNFPA and also held senior leadership positions at UNAIDS, the Global Fund to Fight AIDS, Tuberculosis and Malaria, the Population Council and the World Health Organization She was an Associate Professor at the Tata Institute of Social Sciences, Mumbai and holds a doctoral degree from the Tata Institute of Social Sciences in Mumbai, India in women's studies.
Carl Folta is Executive Vice President of Corporate Relations at Viacom, lnc. where he manages the company's public affairs, corporate philanthropy and corporate events. He launched KNOW HIV/AIDS, Viacom's cross-platform public education campaign to eradicate ignorance about HIV and AIDS.
A women's rights advocate, blogger and writer, Mallah is an ex Staying Alive Foundation Grantee from Cameroon. Leading a team of young people, her organisation has delivered HIV/AIDS initiatives in partnership with unconventional institutions such as the church and traditional authorities. Mallah also serves as mentor to a current SAF grantee in her home country.
Dr Pinel is Director of SurGlobal, a special programme on health and sustainable development, hosted by the International Center for Sustainable Development (CIDES). She previously headed up the Reproductive Health Branch of the UN Population Fund. Before serving in that role, Dr Pinel worked for The Global Fund to fight AIDS, Tuberculosis and Malaria.
Garrett English is Senior Vice President of Production, MTV Music Specials and Events, where he is responsible for special programs such as the MTV Movie Awards and the MTV Video Music Awards. Prior to this, Mr. English worked at MTV Networks International and co-executive produced the Staying Alive Campaign from 2000 to 2004.
John Levene is a Managing Director in the Securities division of Goldman Sachs, New York. He's an active participant in Goldman Sachs Gives, a donor advised fund for senior employees. John has been an active fund raiser for the Foundation leveraging his relationships within the finance sector. He's taken a particularly keen interest in the Foundation's social enterprise program, helping to develop its core mission and visiting grantees in Rwanda and Uganda.
Mohita is a former Staying Alive grantee and co-founder of The Dove Foundation which raises awareness of HIV/AIDS among ricksaw pullers in India. Through the Dove, she and her team work actively with young people in the field of HIV/AIDS prevention, adolescent health, sexual & reproductive health rights and youth leadership. She has six years of development and managerial experience and has previously worked with FHI 360 and The Bill & Melinda Gates Foundation in India. She holds a degree in Commerce and an MBA.
Baron Peter Piot, MD, PhD, is Director of the London School for Hygiene and Tropical Medicine. Peter was previously Associate Director of the WHO's Global Programme on AIDS, Under Secretary-General of the UN from 1995-2008, and founding Executive Director of UNAIDS. Under his leadership, UNAIDS spearheaded UN reform by bringing together ten UN system organizations in the global AIDS response.
Tim Rosta is the founder and former Executive Director of LIFEbeat, a national non-profit organization dedicated to reaching America's youth with HIV prevention messages. Previously, Tim was the Senior Vice President of Integrated Marketing at MTV US.
Shawn is a renowned writer who began his career aged 20, after breaking his silence about living with HIV. Infected as a child through contaminated blood products used to treat his haemophilia, he released his memoir in 2006. He now travels with his wife Gwenn, educating college students on maintaining a healthy and positive lifestyle.


Watch the Winning Best Scene Screenplay Reading for February 2017.
Two armed, down-on-their-luck young hoods, a speeding streamliner, and a bad idea result in railway pandemonium not seen since the days of Butch Cassidy.
What is your best scene screenplay about?
Bedlam on the Rails is the true story of the last two moving train robbers in America. In 1949, Luman Ramsdell, 23, and Duke Ashton, 20, made a snap decision to rob the B&O Ambassador, the streamliner taking them to Ohio from Florida.
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About a year ago I was contacted by Wilson Casey, the author of the book Bedlam on the West Virginia Rails, interested in the possibility of turning his book into a movie. I read his book and finished a draft in a couple of weeks. After sending it to a few producers, and making revisions, this final version was completed in November of 2016. I'd say I've worked on it for nine months.
My novel, The Militarized Zone: What Did You Do in the Army, Grandpa? was published in November. Ive had eight or nine short stories published in print and online. In 2015, one of my screenplays won an award from Writer's Digest. Others have been runners-up, semifinalists and quarter finalists in various screenwriting contests.
As I read the book, it seemed like a natural for the screen. It was an interesting story with colorful characters, and, for a true story, a good plot and resolution.
Along with his own research, author Wilson Casey interviewed Luman Ramsdell over a period of about three years and wrote his story in Luman's words, which were great for the book. But in many instances the dialogue in conversations had to be modified to be acceptable for a screenplay. I'd say dialogue was the biggest challenge, since the events are written as they actually happened.
I'm a member of a veteran's group and help our older vets when we go on field trips. We're bringing the Moving Vietnam Wall to our area later this year. I volunteer in art classes at our local elementary school and I donate to animal protection charities.
You were open and willing to look at my material and your feedback was invaluable. I always wonder if my scripts hit the right points and by what you indicated in the feedback, I succeeded and I'm on the right track.


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Shea Hembrey and his interesting art and personality.
How do you stage an international art show with work from 100 different artists? If you're Shea Hembrey, you invent all of the artists and artwork yourself — from large-scale outdoor installations to tiny paintings drawn with a single-haired brush. Watch this funny, mind-bending talk to see the explosion of creativity and diversity of skills a single artist is capable of.


text:
Hymenoplia strigosa é uma espécie de insetos coleópteros polífagos pertencente à família Melolonthidae.

A autoridade científica da espécie é Illiger, tendo sido descrita no ano de 1803.

Trata-se de uma espécie presente no território português.

Referências

Ligações externas
 Hymenoplia strigosa - Biodiversity Heritage Library - Bibliografia
 Hymenoplia strigosa - NCBI Taxonomy Database
 Hymenoplia strigosa - Global Biodiversity Information Facility
 Hymenoplia strigosa - Encyclopedia of Life

Coleópteros polífagos de Portugal
strigosa
Coleópteros descritos em 1803


being thankful for what we have, and giving to others. The greatest thing about this season is seeing the kindness that carries over from stranger to stranger, and there has never been a more opportune time to teach our children about the importance of giving.
important for our children to see the root of humanity and miracles that result when we work together as it is to tell them about it. The spirit of giving that proliferates during the holiday season allows our children to bear witness to selfless acts of kindness on a larger scale and presents a great way to encourage them to take part.
Everyone has something to give. Whether it's time, money, or a talent – there is no contribution deemed too small to make a difference. Teaching children that they, too can make a difference will encourage them to do so, especially when they see the value in giving all around them.
Whether it's donating your time, items, money or talents, giving to those in need as a family can help your children experience the kindness that exists in our tumultuous world. Actively contributing with others helps children to feel like they are making a difference – and they are! And you are, too, not only as a member of society, but as a parent raising a kind-hearted citizen.
In September, the San Antonio Food Bank experienced a critical shortage. Help to replenish supplies for those in need or donate your time to make a difference. There's a little something for everyone at the Food Bank. Opportunities range from helping in the urban garden to sorting non-perishables, and they host a variety of events during the holiday season. For more information, check out https://safoodbank.org/ways-to-help/give-time-opportunities/.
A great way for children to volunteer their time and learn compassion is delivering meals to people who are homebound. For more information, visit: www.mowsatx.org/getinvolved or contact volunteer services at 210-735-5115.
Bring Christmas to children in need. Your family can help wrap gifts, be toy stockers, provide warehouse help and dress up Santas with the Elf Louise Christmas Project. There are opportunities for children of all ages. For more information, check out: http://elflouise.org/wp/volunteer-opportunities/.
Consider setting up an event in your community workplace, or host a party of your own, and encourage your children to help collect toys for children in need this holiday season. For more information, check out: https://san-antonio-tx.toysfortots.org.
Although the opportunity to volunteer with this organization is limited to ages 18 and up, your child can still make a difference in the life of a patient by donating items. To view a wish list of items and to arrange for a donation drop-off, please visit: www.christushealth.org/santa-rosa/childrens-hospital-of-san-antonio/giving-back/gifts.
Any Baby Can welcome family volunteers on a regular basis and/or to sponsor a family through their Holiday Giving program. For more information on these opportunities, visit: www.anybabycansa.org/volunteer/.
The Salvation Army offers a multitude of volunteer opportunities from food distribution to assisting children with special needs. For the holiday season, you can also volunteer to be an Angel Tree Toy Shop helper and help set up the Toy Shop for distribution by sorting and packing donated gifts. Check out www.salvationarmytexas.org/sanantonio/ for more information.
Volunteer as a family or group at SAMMinistries. There are many ways to make a difference here, from grounds upkeep to serving food and helping with special events. To find out more, visit: www.samm.org/get-involved/volunteer-opportunities/ or call contact Volunteer Services at 210-321-5639.
Each one of us has the ability to give to others. If volunteering your time or making a monetary donation is not possible for you right now, consider other ways in which your family can give. Do you have a special talent that could help others? Is there an elderly neighbor in your community who could use help with lawn upkeep? A parent whose significant other is deployed that can use help? A neighbor who would enjoy a baked treat, food, or maybe just a visit? A local church where you and your family can serve? However you choose to volunteer, the holidays are the perfect time to show your children what it means to be servant-hearted. The act of serving others does wonders for the soul. It confirms that we are all a part of something bigger and that together, we can accomplish great things. During this season, give your children the experience of selfless acts of kindness and watch how it molds them into compassionate adults.


We can all agree that this weather isn't making our morning commute any easier. Aside from the traffic and tube delays, there's now the "four-season day" to consider. How is a girl supposed to dress? Well, although we should take our mothers' advice and go weather-appropriate at all times, our go-to shopping sites and Instagram's most stylish are telling us otherwise. It's already all about summer out there in the retail world, and who are we to ignore it?
You know us—we're ones to break a fashion rule or two—so dressing a season ahead is standard procedure. It's not officially summer until 21 June, but our fashion friends are already wearing their favourite summery tops now. From one-shouldered beauties that'll have you dreaming of a holiday to the neckline that suits practically everyone, there are some major refreshes for 2019. Add to this the '90s style we all remember and this season's key shade and it's the, er, top summer tops edit we're more than ready to follow. Scroll down to see six summer styles you can wear already… Just add a coat.
Style Notes: We may associate the racer-vest top with the gym, and like the gym, tend to avoid it at all costs. But it's time to make it work for your everyday wardrobe and come to peace with this vest silhouette. Use it as a base to any spring/summer outfit and it becomes the sleek basic you didn't know you needed.
It's an easy way to try out the neon tren without looking like a highlighter pen.
See? Knitwear isn't just for colder months.
If you weren't convinced, you will be with this beauty.
Style Notes: As the days get longer and warmer, our sleeves usually get shorter. For those of you who tend to stay a bit more covered, or like us, you're just a fancy-sleeve fan, this one is for you. Reach for organza and sheer shirts/blouses and you'll be able to rely on them as the perfect layering device this time of year.
It counts as one of our five a day, right? Agreed.
You've most likely seen this one all over your Insta feed already.
Doesn't this just instantly put a smile on your face? Same.
Style Notes: It's a '90s favourite we cannot ignore. It's back and worn in far chicer formulas this time around, like with tailored separates such as oversized blazers and trousers. Additional note: Switch to shorts and shell necklaces for summer.
We're imagining this with light-wash denim and mules.
Wear with neutrals to make it look expensive.
Hello and welcome to our eveningwear wardrobe.
Style Notes: The scoop, the V, the high neck—heck, it's hard for even us to keep up with the latest neckline. Luckily there's one that's trending across designer to high-street brands: the square neck. Flattering on pretty much every chest size (hallelujah), I think you can see why this style is a surefire winner.
Zebra print is still one of our favourites.
Say yes, yes and yes to polka dots.
The puffy sleeves are so very 2019.
Style Notes: We can always rely on Courtney Trop to be one of the first to try out a new trend, and this time it's tie-dye. Surprisingly, the tops we all attempted to create with a few rubber bands and some home dye are back. Skip the DIY and shop our favourites below.
Subtle, wearable and under £20. Sold.
We told you last week, even supermodels have approved this new Ralph Lauren collection.
Trust Stella to create a banger.
Style Notes: There are so many shades (from lime to lemon) doing the rounds, but we're skipping the zesty hues to focus on Parma Violets shades. If it's lilac, it's likely we'll like it this season. Stick by this rule and you won't go wrong.
We're all for short-sleeved knits this time of year.
The ideal companion to a slip skirt.
It feels as good as it looks.
Now you've got your tops sorted, it's time to think about the slip skirts.


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