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text:
International fashion model, Tolani Enwereji reveals secret to successful modeling
News/Politics
kreativity
Afrikan Science / Philosophy
Young Afrikan
Turkey-based Nigerian supermodel, Omotolani Victoria Enwereji popularly known as Tolani Enwereji, has said one of the secrets of becoming a successful supermodel, is confidence and having a good charisma, the pretty chocolate beauty said this while encouraging young Nigerians who might wants to build up a career in modeling. In her words, good look or good body is not enough, to guarantee your success in the industry. I want them to know this, the secret to modeling is not just about your looks or body, it is your confidence, charisma that attracts the big fish, be positive and energetic. Stay true to yourself and career, don't let anyone make you feel less of yourself, be proud of your skin colour and you'll get to the top. Slow and steady we are all going to get there".
The Abia state born also speaks on what she thinks about the Nigerian modeling industry and top supermodel that inspires her, "I think Nigerian modeling industry is a broad fashion continent underestimated, I mean there are so many international record breaking models from Nigeria, but we are yet to acknowledge that professionally. Within the next few years, the Nigeria modeling industry will be recognized globally and a force for reckon with as long as we have people ready to put in the work, as for those that inspire me, I will say, Gigi and Bella Hadid, Leonie Anderson, Adut Akech" she noted. On her relationship status and what would love to change about herself, she said, "I am definitely single and not searching. I want to focus more on myself and my career. I wanna be independent before taking letting a partner into my life. "I do not know, I'm quite content with myself and I believe I am a work in progress. Besides, why would anyone want to change something about themselves? she questioned.
Born in the 1990s, Tolani started her modeling career by participating in a beauty pageant where she emerged the Miss Independence for Peace Nigeria. Having started her career locally, the ex-beauty queen took a bold step, by taking her brand to the global level. She's worked with various renowned fashion brands and graced the runway with her peers at Mercedes Benz fashion week Istanbul, Mercedes Benz fashion week Tbilisi, Splash fashion, Arab fashion week, Accra fashion week and so on. She has also worked with world famous brands – Fenty beauty, Ysl beauty, Splash, Rami Kadi, Amato and featured in several Vogue magazines in France, Germany, Mexico and Spain. The 22-year-old fashion model who is now based in Turkey and works with one of the top modeling agencies in the country, decided to give back to the society that supported her from the start by donating part of her proceeds to various Charity homes in Nigeria, she also launched her own clothing line "The Brand Definition", she is also into Agriculture where she provides food items to the less privileged Nigerians.
Stop paying lip service to alternative medicine for coronavirus cure, association tells FG
Sam Turpin Shares Stunning Visuals for 'Sahara Flow'
7 Phenomenal West African Architects You Need to Know
Aware International School Student Wins Creative Writing Contest
Liberian Scholar Launches Book on Dual Citizenship
Your Guide to Purchasing your First Artwork
10 Angolan Fashion & Beauty Influencers You Should Be Following in 2021
Copyright 2018 Youngafrikan. All Rights Reserved.

redpajama_set_name: RedPajamaCommonCrawl


text:
businessAirlines
American Airlines looking to 'right-size' the company and staffing levels for the fall and 2021
With demand slowly returning for the key summer travel months, airlines are trying to figure out how to shrink to meet demand.
In this photo taken on May 9, 2019 an American Airlines passenger jet approaches Ronald Reagan Washington National Airport, in Arlington, Virginia.(BRENDAN SMIALOWSKI / AFP via Getty Images)
By Kyle Arnold
1:14 PM on May 19, 2020 CDT
American Airlines will need to "right-size" the company heading into fall and 2021 as it deals with the continuing damage to air travel from the COVID-19 pandemic, chief financial officer Derek Kerr told an investor conference Tuesday.
Looking at several more months of depressed leisure travel and a longer recovery for business customers, Kerr said "everything that we do from a cost perspective is under review at this point in time," including future staffing.
"What we have to do is we have to right-size the airline from a cost perspective, to make sure that what we find next year is cash positive," Kerr said. "We are going to look at all of this staffing in the fall, all the staffing next year."
The return of the "right-size" term signals how airlines are going to cut down on massive costs with a fraction of the customers they had a year ago. Its use was common in the industry during the Great Recession and was synonymous with layoffs, pay cuts and slashed benefits.
In recent weeks, leaders at Irish carrier Ryanair and Colombia's Avianca have said they will need to "right-size" their airlines to survive the COVID-19 pandemic and economic downturn that came along with it. United Airlines said last week that it would only need 3,000 of its 25,000 flight attendants in June, Reuters reported.
Why is American Airlines still running a 29-mile flight? The CARES Act requires it
Kerr's remarks came during a Wolfe Research investor conference that was held virtually due to social distancing needs. He also outlined how the Fort Worth-based airline is burning through about $70 million a day during the second quarter to navigate the COVID-19 crisis.
"American's not going away, so you can you can take that one off the list," he said.
American is focused on securing a $4.75 billion loan from the federal government on top of the $5.8 billion in grants and loans it already received, Kerr said.
"Realistically, we can't expect that things are going to be back to normal in six or even 12 months," Kerr said. "While we can't control the pandemic, the economy or customer demand, we can take meaningful measures to control our spending and conserve cash."
American Airlines has over 130,000 employees, including more than 30,000 in Dallas-Fort Worth. CEO Doug Parker has said the company will "go into the fall with more team members than we have work for," but his management team is trying hard to avoid involuntary furloughs.
So far, more than 39,000 employees have taken some kind of voluntary leave or early retirement and the company has said more employees will need to do that in the future.
Passengers are slowly coming back, but not enough to justify the industry's nearly 750,000 employees. About 244,000 people passed through Transportation Security Administration security checkpoints at airports Monday, the agency reported.
American Airlines has also seen an increase in passengers along with a reduced number of flights. Kerr said load factor, or the percentage of seats filled, is up to 35% so far for May, compared with 15% in April.
Southwest Airlines says passengers are slowly coming back after 2 months of negative demand
Southwest Airlines is adding more flights in June and says it expects passengers to start coming back after more than two months after the COVID-19 pandemic decimated the aviation industry.
Analysts and unions have said furloughs, wage cuts and layoffs could come in the fall when airlines are no longer bound by no-layoff rules tied to the $50 billion for airlines in the Coronavirus Aid, Relief, and Economic Security Act.
It's not a problem that's unique to American among U.S. carriers. Southwest CEO Gary Kelly has also been warning furloughs could be possible if there isn't an uptick in travel.
Even with the prospects of staffing cuts lingering over the fall months, Allied Pilots Association president Eric Ferguson said Tuesday at the same conference that American is being genuine about trying to save jobs by funding voluntary leave programs and early retirements.
"Mr. Parker has said it's his goal to avoid involuntary furloughs and American Airlines is putting its money where its mouth is right now," said Ferguson, who represents about 15,000 pilots at American. "I think with the continued use of those types of tools, we'll be able to keep the airline, perhaps not idled, but at a reduced thrust level to come back when demand comes back."
American Airlines trying to rebuild global flight network, despite a 'prolonged decline in demand'
As travel demand starts to recover slowly from the COVID-19 induced downturn in the United States, Fort Worth-based American Airlines is also trying to rebuild its entire flight network to reflect the new realities of travel.
Kyle Arnold. Kyle Arnold is the aviation writer for The Dallas Morning News, covering airlines, air travel and the aerospace industry. He previously worked as a business journalist for the Orlando Sentinel, Tulsa World and The Monitor in McAllen. He is a University of Washington graduate.
kyle.arnold@dallasnews.com /bykylearnold kylelarnold
Top Business Stories
A Dallas-based generic drug startup bearing Mark Cuban's name just came out of stealth
D-FW expected to be a top U.S. home market in '21
Four more deals kick off shortened holiday week for North Texas firms on the hunt
Tyler Technologies strikes $98 million deal with state of Texas to keep using its court filing software
Business Briefing
Become a business insider. Get the latest headlines delivered to your inbox every weekday.


Richard Drehmer is an accomplished artist, choosing oil as his medium. Mr. Drehmer is best known for his stunning landscapes, but he is also well experienced in sea scapes and still-life.
Take a moment to browse his gallery and you will discover why his works are so well received. Many of Mr. Drehmer's paintings are also available in high quality giclee print.
Mr. Drehmer has recently relocated near Fredrick, Maryland. Click the link to read more about the artist.
For prices or ordering, visit the contact page.


Bringing a contemporary twist to Brussels' most loved street-food icons was the one goal Cédric set himself to when opening Fernand Obb. And though you'll surely spot the word "fricadelle" in big letters on the black menu, this is gastronomy we're talking about, miles away from the fricadelles you might have had in Brussels' most authentic fritkots.
But this is not just about the fricadelle. Next to it on the board, you'll find shrimp croquettes – the exact same ones who've won the award of best shrimp croquettes in Brussels just a few months ago -, cheese croquettes, "américain", all sorts of burgers, and even some home-smoked Scottish salmon served with its pistolet (11€).Pair the whole thing with some "ouille ouille" spicy sauce, and you'll reach Belgian food heaven. But though the food is great and everything is homemade, Fernand Obb insists on remaining accessible to everyone. The whole concept of the place is to serve authentic food, and to remain authentic to its beloved customers. Here, true old-timers blend in with the younger crowd, with families joining in the weekends. And in the summer, the whole lot sits together in the sunny garden at the back, and enjoy their shrimp croquettes with a glass of white from Tarzan.
Symbolic references from the area have been included everywhere, from the colourful tile painting of a water carrier – Saint-Gilles' symbol -, to the name of the place itself. Obb comes from the old local expression "Ob Bruxelles", formerly used to refer to Saint-Gilles. And Fernand, you might ask? Well it's the name of Cédric's cat, nothing less.


Our technicians are ABYC certified and trained on all systems we represent. We excel in air conditioning units, stabilizers, water makers, filtration systems, battery chargers and bow thrusters. Our services cover all electrical, mechanical or hydraulic operating system on your boat, from new or repairing systems.
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text:
Your browser does not implement the audio element.
Maher Daniel
arab electronic
canadian electronic
Biography San Francisco born DJ and Producer Maher Daniel has been gaining substantial recognition in the past few years in the techno and house scene. His career started to propel when he secured his first residency in his hometown of Montreal at the Stereo Nightclub, opening for some of the most recognized artists including Sasha, Ricardo Villalobos and Richie Hawtin. Growing up in Montreal with Canada's now seemingly ever growing underground scene proved to be the gateway to see some of the worlds best DJ's at the cities venues every weekend. However it wasn't until more recently the Canadian made the move to Barcelona, using the city as a base to grow his network and develop his career. His first notable inception into the scene was with his release on John Digweed's label Bedrock, with a remix of Tone Depths ''Rumblefish'' which sat at No.1 for over two and a half months in the techno charts. This was soon followed by ''Big Bad Clay'' which again went to No.1 in the Tech House charts along with his ''3rd Time Is A Charm'' EP hitting No2 – both of which were released on Rejected. After his release success on many huge labels including All Day I Dream, Bedrock, Get Physical, Leftroom, Rejected and My Favorite Robot, Maher has played at some of the best venues in the world from Fabric in London to Treehouse in Miami not to mention festivals including ADE and BPM. Through his connections in Montreal and later moving to Barcelona, his friendship with the team at No.19 has now progressed into a working partnership. In turn Maher has released original tracks on many of the hugely successful No.19 compilations, his own EP's, played with them worldwide and this year we will see him doing a remix for Art Department. 2015 looks set to be another year to look out for Maher Daniel, with a selection of remixes on some of the best labels in the business, and continuing to work with and support No.19 – expect to see much more from this talented Canadian producer. Bookings NA/SA/ASIA : supreet@thebullittangency.com / Ryan@thebullittagency.com Bookings EU: Luke@nge-booking.com Bookings Spain: Danikoala@dskonnect.com


At Thermoflex, our goal is to buck the trend. Welcome to the future of automotive accessory development and production.
Thermoflex offers floor mat systems for all types of cars and trucks. Our floor mats are injection molded from recyclable Thermoplastic Elastomers (TPE).
In an effort to shield the entire interior floor, Thermoflex also manufactures cargo area protectors. These parts range in depth from a shallow, 1/2″ mat to a deep 6″ tray. Unlike a vac-formed part, our cargo protectors are injection molded.
Thermoflex produces a wide variety of splashguards, bumper guards, hitch plugs, and other custom-built production and accessory parts to suit a variety of needs and applications. Whatever the need, Thermoflex makes parts that look good, and are built to last for the life of the vehicle.
Thermoflex has long distinguished itself as a company that is willing and able to innovate and create new and exciting opportunities for OEM parts that have never existed, some of which have upended longstanding paradigms.


mercedesbenzvietnam.com -Bmw Cycles Some making of pictures from the UCC Garage. Here is Edgar Heinrich, Head of Design BMW Motorrad discussing with Ronna Norén and Ola Stenegard, H.ead of Vehicle Design and Creative Director Heritage BMW Motorrad.
Bmw Cycles es bmw motoguzzi. A-J Cycle Motorcycle Repair and Sales Shop specializes in BMW and MOTOGUZZI. new and used bikes, and accessories. Stop by and chat with Allan and Dave. Take a ride!
A&s bmw motorcycle parts. Whether you ride a classic R65 BMW Motorcycle or a brand new K1600GTL, R1200GS or C650GT, A&S BMW Motorcycles is the best place on the web to buy BMW Motorcycle parts and accessories!
Sydney's no 1. motorbike sales dealership. WELCOME TO PROCYCLES. Procycles is one of Sydney's most established, iconic motorbike sales dealerships with a 40-year history. Our original store is located in Hornsby servicing Sydney's North.


text:
Basketball ups win streak to finish Southwestern Showdown
Junior Quentin Scott dribbles around Jackson State players to get open and shoot a basket Nov. 18 at Strahan Arena.
Cade Andrews, Sports Reporter
Texas State men's basketball finished the Southwestern Showdown undefeated and moved to a four-game win streak with a 69-55 victory over Hartford on Saturday at Strahan Arena.
The win puts the Bobcats at 6-2 on the season.
Senior guard Nijal Pearson led the team with 15 points, followed by sophomore guard Alonzo Sule with 14 points to match his 14 rebounds. Sophomore guard Mason Harrell rounded out the top scorers for the Bobcats with 12 points.
Texas State shot 45.5% from the field and held Hartford to 33.3%. The Bobcats has the edge against the Hawks in points in the paint (26-14), bench points (32-19), and points off turnovers (18-7).
Texas State will play its final nonconference game on the road vs. Houston at 7 p.m. Dec. 4 at the Fertitta Center.
Stay updated on everything Texas State men's basketball by following the team on Facebook, Twitter, and Instagram.
If you liked this story, consider supporting student media through a donation or by signing up for our weekly newsletter.
Viewed 79 times, 1 visits today
Cade Andrews, Author
Section 230 of the Communications Decency Act states that "No provider or user of an interactive computer service shall be treated as the publisher or speaker of any information provided by another information content provider" (47 U.S.C. § 230). This means The University Star is protected as a platform and cannot be held liable for user-submitted comments. Additionally, The University Star retains CDA immunity while editors reserve the right to take down comments for any reason. Editors also reserve the right to refuse to take down comments that are not profane or libelous. By submitting comments to The University Star, commenters agree they have read and understand this policy.
You must be registered in order to comment.
Bobcats sweep Louisiana road trip with fourth straight win
Bobcats just fall to Ragin' Cajuns despite dominating first half
Holle twins' efforts not enough for tight conference loss
Pearson breaks all-time scoring record in comeback win
Texas State turns around conference play with two straight wins


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text:
<?xml version="1.0" encoding="UTF-8"?>
<faqs>

        <entry>
            <question>
                <![CDATA[ Which Pro features are currently available? ]]>
            </question>
            <answer>
                <![CDATA[
Pro features available:

Fragment Cache Extension

Genesis Extension

WPML Extension

Full Site Delivery (FSD)

Cache Statistics

                    ]]>
            </answer>
        </entry>
        <entry>
            <question><![CDATA[ How do I enable Pro mode on a site that is not registered, i.e a site that was not used for purchase such as local development site?]]></question>
            <answer><![CDATA[

Add define('W3TC_PRO_DEV_MODE', true) to wp-config.php and resave the license key.

            ]]></answer>
        </entry>

        <entry>
            <tag>cdn-fsd-maxcdn</tag>
            <question><![CDATA[ How do I set up Full Site Delivery (FSD) with MaxCDN? ]]></question>
            <answer><![CDATA[

Select CDN provider of your choice in a "Full site mirroring" group of "CDN type" dropdown on "General Settings" page, select MaxCDN there.

Go to "CDN" page.

Click "Authorize" button

Type in API key of your account. You can obtain by following a link in a popup. Opening that link will you will be prompted for your MaxCDN login and password.
                        Select Zone from the list or choose "Add new" to create new zone (type in some friendly name of zone in that case)

In a zone setup form you will be notified with the settings required for zone. Tou have only 1 editable field is IP address of your Wordpress host. W3 Total Cache tries to guess it, but its not possible to know that in all possible cases.

You get success page with information about DNS changes. Now you need to change record of your wordpress host from IP address and replace it to CNAME to specified hostname.

It works

            ]]></answer>
        </entry>
        <entry>
            <tag>cdn-fsd-cloudfront</tag>
            <question><![CDATA[ How do I set up Full Site Delivery (FSD) with CloudFront? ]]></question>
            <answer><![CDATA[

Select CDN provider of your choice in a "Full site mirroring" group of "CDN type" dropdown on "General Settings" page, select CloudFront there.

Go to "CDN" page.

Click "Authorize" button

Type in Access Key and Secret Key of your account.

Select Distribution from the list or choose "Add new" to create new zone (type in some friendly name of zone in that case - that will not be visible anywhere except your AWS control panel)

In a distribution setup form you will be notified with the settings required. Tou have only 1 editable field is alternative hostname of your Wordpress host. For example if your have myblog.com website with A record pointint to 1.2.3.4 IP, create another one origin.myblog.com DNS record with A record pointint to 1.2.3.4 IP and type in "origin.myblog.com" in this form.

You get success page with information about DNS changes. Now you need to change record of your wordpress host from IP address and replace it to CNAME to specified hostname.

It works

            ]]></answer>
        </entry>
        <entry>
            <question><![CDATA[ How do I get CloudFront Dynamic Caching to work with full site delivery (FSD)? ]]></question>
            <answer><![CDATA[

            First enable Browser Cache and disable "Expires" header. This is because CloudFront does not cache properly
            when "Expires" headers are set. When using CloudFront and full page caching there are no purging of cached pages when posting
            new posts etc. Cache invalidations in CF is limited per month and also takes up to 15 minutes to complete.

Since there is no purging and you want to people to be able to comment it is recommended to use a hosted
            commenting software, such as FaceBook Comments or Disqus. If you do not use this comments are not
            shown after they been posted or approved.

            Main step to get CloudFront full page caching working is to have your site on a different domain than the
            one you want your visitors to see. So you should install or configure your site so its on a separate domain,
            for example wp.example.com. You will then later configure example.com so its used by CloudFront.

How to configure CloudFront on AWS:

Go to AWS Console

Click "Create Distribution"

Select "Web"

Click "Continue"

Enter wp.example.com into "Origin Domain Name"

Enter CustomWWW-example.com into "Origin ID"

Set Origin Protocol Policy to HTTP Only (CloudFront will connect to my origin using only HTTP).

Select "Allow HTTP Methods" - GET, HEAD, PUT, PATCH, DELETE, OPTIONS

Select "Forward Query Strings" - Yes

Enter example.com (the domain that your visitors will type into their browser) into
            Alternate Domain Names(CNAMESs)

Set logging to "On"

Enter "webserverlog-example.com" into "Bucket for logs"

Enter "stats-logs/" into Log Prefix

Enter "CDN for example.com" into Comment.

Click "Create Distribution"

Configure DNS

Add new CNAME recored for example.com that points to the Domain Name that belongs to the distribution you created previously.

How to configure W3 Total Cache:

There are two methods to configure W3 Total Cache CDN. Origin Pull "CloudFront" or "Generic mirror". If you want to be able to invalidate URLs from within WordPress you need to use the CloudFront option.
            If you do not configure an CDN the wrong URLs will be used when linking to CSS, JS and other files.

Configure CloudFront:

Select Origin Pull (Mirror) Amazon CloudPront on General Page

Go to the CDN page.

Enter your AWS credentials

Enter example.com as an CNAME

Save Settings

Configure Generic Mirror:

Enter example.com into "Replace site's hostname with:"

Save Settings

            ]]>
            </answer>
        </entry>

            <entry>
                <question><![CDATA[ What is required for the Genesis Extension to work? ]]></question>
                <answer><![CDATA[
You need to enable Fragment Caching and use a theme based on Genesis.
 ]]></answer>
            </entry>

            <entry>
                <question><![CDATA[ When I enabled Genesis Extension with EDD, WooCommerce or other similar plugins, my cart,
            checkout and/or other dynamic elements no longer get updated. How do I fix that? ]]></question>
                <answer><![CDATA[

You need to go the Genesis Extension settings page.
                    There you will a textbox called "Excluded single pages / posts:" there you need to enter the pages
                    that should not be cached by the fragment caching. The exclude textareas support regular expressions
                    so if the pages that are to be excluded are similar you can most likely enter one
                    expression that covers all your pages. For information on regular expression you need to search.

                    If you have anything dynamic in your widgets area, the sidebar, then you'll need to disable the sidebar caching, or enter pages that should not have their sidedar cached.

                    ]]></answer>
            </entry>

    <entry>
            <question><![CDATA[ How do I implement fragment caching? ]]></question>
            <answer><![CDATA[

Fragment caching adds new functionality to the WordPress Transients <acronym title="Application Programming Interface">API</acronym>:

Adds support for grouping transients both per blog and site wide

Adds support for manual flushing of registered transient groups

Adds support for action based flushing of registered transient groups

Adds support for caching filters and actions

To make the plugin aware that you group transients see code examples below:

                    add_action('w3tc_register_fragment_groups', 'my_plugin_register_groups');

                    function my_plugin_register_groups() {
                    	//blog specific group and an array of actions that will trigger a flush of the group
                    	w3tc_register_fragment_group('my_plugin_', array('publish_post'), 3600);
                    	//If using MultiSite Network/site wide specific group and an array of actions that will trigger a flush of the group
                    	w3tc_register_fragment_group_global('my_plugin_global_', array('edit_site'), 3600);
                    }
                    function my_plugin_flush_group() {
                    	//manually flush group.
                    	w3tc_fragmentcache_flush_group('my_plugin_');
                    }

                    //Set transients
                    function on_some_event() {
                        if (false === get_transient('my_plugin_some_key'))
                            //my_plugin_ prefix is the group name we registered earlier
                            set_transient('my_plugin_some_key', 'blog specific value');
                        if (false === get_site_transient('my_plugin_some_key'))
                            //my_plugin_site_ prefix is the group name we registered earlier
                            set_site_transient('my_plugin_site_some_key', 'site wide specific value');
                    }

                    // Cache action example
                    add_action('theme_post_loop', 'cache_theme_post_loop_start',-999999999);
                    add_action('theme_post_loop', 'cache_theme_post_loop_end', 999999999);

                    /**
                     * Start outputbuffering
                     */
                    function cache_theme_post_loop_start() {
                        w3tc_fragmentcache_start('example1', 'examples', 'theme_post_loop');
                    }

                    /**
                     * Store the output buffer .
                     */
                    function cache_theme_post_loop_end() {
                        w3tc_fragmentcache_end('example1', 'examples', false);
                    }

                    // Cache filter example
                    add_filter('theme_filter', 'cache_theme_filter_start',-999999999);
                    add_filter('theme_filter', 'cache_theme_filter_end', 999999999);
                    /**
                     * Start filter buffering and return filter result
                     */
                    function cache_theme_filter_start($data) {
                        return w3tc_fragmentcache_filter_start('example_filter1', 'examples', $hook, $data);
                    }

                    /**
                     * Store the filter result and return filter result.
                     */
                    function cache_theme_filter_end($data) {
                        return w3tc_fragmentcache_filter_end('example_filter1', 'examples', $data);
                    }

			]]></answer>
        </entry>

</faqs>

redpajama_set_name: RedPajamaGithub


IDENTIFICATION — The wheel bug is an assassin bug that preys on insects that include aphids, hairy caterpillars, fall webworms and sawflies. It injects a paralyzing toxin into its victims. Don't handle it — its bite can hurt!
HOW TO ATTRACT IT — The best way to attract beneficial insects like wheel bugs to your garden is to limit your use of pesticides. These ugly insects are good to have around — so don't squish any you see!
We've all read those handy tips about using do-it-yourself home remedies for the garden using items you have around the house.
The summer flowers of 6-ft.-tall jewelweed range from clear yellow to red orange and open in clusters of one to three flowers each at the leaf axils.


Instantly add some 'Parisian Chic' to your home with the Avignon Louis style Armchairs.
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text:
Q: Displaying OBJ files with color I am reading .obj files for my program, and doing curvature computations on them. The present .obj files are triangle meshes, with vertices and faces. They don't have any associated .mtl file. Based on the curvature, I have to assign a color to each vertex, and they are different for all the vertices. I want to display the .obj file now, but I want the vertices to be colored based on the color I assign to them. What is the best way of displaying such a file?
Initially I thought of writing my own .mtl file and modify my input .obj file as well. But as the number of vertices are of the order of ~50000, each having its own color, specifying a .mtl file with ~50000 materials seems to be very daunting indeed.
I read somewhere that .ply files can handle colors more easily, but am not sure how to go about doing this.
Thanks in advance for any help. I am a newbie when it comes to visualization.

A: I believe that saving mesh with vertex colors in PLY file format is much easier, and you will get one file containing everything: triangles, vertices and colors.
For that one has to specify in PLY file header after
element vertex _numVertices_
property float x
property float y
property float z

3 additional properties for RGB vertex colors:
property uchar red
property uchar green
property uchar blue

where uchar means one unsigned char per color component.
Then in the body of PLY, each vertex will be represented by 3 float vertex coordinates and 3 uchars for vertex RGB color.
One of the implementation is in MeshLib, see
/// saves in .ply file
MRMESH_API tl::expected<void, std::string> toPly( const Mesh& mesh, const std::filesystem::path& file, const Vector<Color, VertId>* colors = nullptr,
                                                  ProgressCallback callback = {} );
MRMESH_API tl::expected<void, std::string> toPly( const Mesh & mesh, std::ostream & out, const Vector<Color, VertId>* colors = nullptr,
                                                  ProgressCallback callback = {} );

redpajama_set_name: RedPajamaStackExchange


From shoving that last bottle of sunscreen in your suitcase, to running to catch your flight home, we've got you covered. Read on for our summer travel tips.
Keep an open mind about where you are planning to stay. It can be easy to get a little spendy in the summertime. Save some money by checking out Airbnbs or hostels in the area.
You can also cut back on cash by doing your research. Book your flights early and compare ticket prices with tools like Google Flights and Skyscanner.
Pack top to bottom. By organizing your suitcase in order of what clothes you'll need from the top of your body down, you'll be sure to pack enough of every item.
Pro-tip: pack a change of clothes in your carry-on. Don't risk lost luggage affecting your vacation.
Traveling with kids? Pre-make activity books in binders including coloring pages, crossword puzzles, blank papers, and stories, to keep them occupied. Keep the book a surprise so it's a special airplane or car activity.
Don't crowd your itinerary. Chances are, you'll want a little downtime on your vacation. So leave some extra time to recharge: take a nap, read on the beach, or grab a snack.
No vacation before the vacation. Create a list of tasks that need to be completed before your trip. Your family can help check items off, so that no one is left asking, "Who closed the garage?" on the way to the airport.
Prep your home for your vacation by setting up automated locked doors, MySmartBlinds for privacy and security settings, and an energy-saving thermostat. Your home will take care of itself for you.


text:
Peter Wright Net Worth and Darts Prize Money
© petersnakebitewright / Facebook
How much does Peter Wright earn as a darts professional?
The career of "Snakebite" Peter Wright
First titles and high prize money
Darts world champion 2020
Run-in music: "Don't Stop The Party" by Pitbull
As PDC World Champion 2020, Peter Wright is one of the best dart players in the world. With his crazy and unusual hairstyles and the associated outfits, the Scot is one of the crowd's favorites and inspires the masses in Germany as well. He has been playing at a consistently high level for years and has become an integral part of the top 10 in the world rankings. Snakebite could already get one in his career Darts prize money of 4.11 million euros earn. In addition, there is also high sponsorship money and the big money from the dart exhibitions, where the players are paid as crowd pullers for show tournaments. The cherished Peter Wright's net worth is € 4.5 million.
Peter Wright started playing darts at the age of 13. He played in local English leagues for a long time before joining PDC member in 2004 would. But the big breakthrough should be a few years away. Due to the good performance in 2009, Snakebite qualified for the PDC World Championship for the first time, but was eliminated in the first round against Michael van Gerwen. Since this year he has been represented at every Darts World Cup.
The Scot won his first PDC title in 2012 at the Players Championship series in Ireland. The following year he won another title and played his way to the final in the 2014 Darts World Cup, where he lost again to Michael van Gerwen. However, he stroked £ 100,000 in prize money one.
In 2013 Peter wanted to end his darts career due to the financial situation. After the World Cup final in 2014 (prize money: 100,000 pounds), however, the great career should really take off. He won other small PDC titles in the following years before his first in 2017 Major title at the UK Open (Prize money: 70,000 pounds) in the final against Gerwyn Price. (In 2015 & 2016 he was already in the final).
At the PDC World Series, Peter Wright was able to secure the "German Darts Masters 2017" (prize money: 20,000 pounds) and the following year the "Melbourne Darts Masters" (prize money: 20,000 pounds). In 2019 he won the World Cup of Darts (prize money: 35,000 pounds) and again the German Darts Masters, where he prevailed in the final against the German Gabriel Clemens (prize money: 20,000 pounds).
At the Darts World Cup 2020, Snakebite made it to the final for the second time in his career. After 2014 he played again for the cup against Michael van Gerwen and this time should emerge as the winner. He received a staggering £ 500,000 in prize money.
The year 2020 also got off to a very strong start with the victory in "The Masters" (prize money: 60,000 pounds). Due to Corona, numerous darts tournaments were canceled and so only two more smaller wins on the PDC Pro Tour could be booked in 2020. At the Darts World Cup in 2021, the 3rd round against Gabriel Clemens was over.
Photos: © petersnakebitewright / Facebook
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Welcome to Chennai Woodlands.. The most modern facilities in India are here to double up your celebrations. The Chennai Woodlands have state of the art Banquet Hall which combine elegance and technology. Luxurious, Stylish and Multifunctional contemporary spaces which can host up to 100 people make them ideal for any event from large scale corporate conferences, product launches, fashion events to more intimate dinners, birthday parties, weddings or boardroom discussions. Dining at Chennai Woodlands Vegetarian Restaurant is as breezy and easy as everything else around here. And freshness is the buzzword for everything - from the ingredients to the recipes, from the presentations to the experience, from the ambiences to the up-to-you mealtimes.Chennai Woodlands got the best Party Halls,Function Halls,Banquet Halls,Wedding/Marriage Halls and Sumangali A/C Halls in Chennai.Experience Right Now !!


text:
Willie Ruff, Jazz Eminence and Master Storyteller, Tells All at Yale Art Gallery | WNPR News
Standard / by Bash Daily Group Archive Feed / September 4, 2014 / No Comments
http://wnpr.org/post/willie-ruff-jazz-eminence-and-master-storyteller-tells-all-yale-art-gallery
Willie Ruff, Jazz Eminence and Master Storyteller, Tells All at Yale Art Gallery
Willie Ruff, the celebrated French horn player and double bassist, venerable Yale School of Music professor, founder/director of Yale's prestigious Duke Ellington Fellowship Program, award-winning author, documentarian, historian, linguist, ethnomusicologist, and voracious autodidact, is a man of so many intricate, smoothly running, coolly calibrated cerebral parts that he is, indeed, one of the jazz world's true Renaissance figures.
One of the greatest gifts of this soft-spoken, unflappably cool gentleman and scholar, who's originally from Sheffield, Alabama, is his natural-born talent for storytelling. His 1992 memoir, A Call to Assembly, which won the coveted Deems Taylor Award for excellence, is aptly subtitled, The Autobiography of a Musical Storyteller.
Ruff's smooth storytelling skills enliven any topic of his choosing, whether it be profound social issues or the meaning of the blues. His story lines flow like a fluent, lyrical Lester Young solo. Especially when he's recounting his picaresque life story, a narrative rooted in his dramatic transformation from dirt-poor, ninth-grade dropout to renowned, globe-trotting jazz missionary, educator and performer.
As a hip jazz intellectual, Ruff's constantly surprising bag of tours de forcehas included multilingual lectures at conservatories, delivered in Russian in Moscow, and most famously in Mandarin in Shanghai. Hiscommentaries were a prelude to concert performances by the universally acclaimed Mitchell/Ruff Duo, a more than a half-century alliance with his close friend and longtime musical partner, the virtuoso pianist Dwike Mitchell, who died last April at 83.
At Shanghai Conservatory, Ruff, the consummately charming, cosmopolitan master storyteller and lecturer, even dared to try out a joke in Mandarin on the native, Mandarin-speaking audience. Happily, the erudite Yale professor's quip drew appreciative laughter. Maybe it was because his listeners were so enthralled by this engaging African American academic/musician explaining to them the African roots of American jazz, expressed in fluent Mandarin, no less.
What propels Ruff, aside from his insatiable curiosity about virtually everything, is the sheer joy of doing what he loves to do.
Ruff, who speaks eight languages, will stick to his native tongue and his first linguistic love, English, as he delivers a multimedia talk at 5:30 pm on Thursday, September 4, in the lecture hall at the Yale University Art Gallery at 1111 Chapel Street in New Haven. Illustrated with historic film clips and vintage recorded material, the lecture, which is free, is titled, "A Cinematic Excursion through the American Jazz Century." It's part of the gallery's exhibition, "Jazz Lives: The Photographs of Lee Friedlander and Milt Hinton," which closes Sunday, September 7.
A jazz and photography connoisseur's delight, the Yale photo show features fresh ways to view jazz and its practitioners through its evocative black-and-white images by Friedlander, a highly original, iconic American photographer, and Hinton, a legendary bassist whose open access to jazz greats brings a candid, intimate ambiance to his photo portraits.
What initially sparked the gallery talk was Ruff's close relationship with Hinton. It goes back many years when Ruff, who was then a young undergrad at Yale, traveled with a woodwind quintet from the New Haven campus to New York City to make a recording accompanied by a jazz trio for Epic Records. "We had worked on the woodwind quintet material on our campus," he said, "and a record deal was made. We had no idea who was going to be in the jazz rhythm section until we arrived at the recording studio. We were elated to discover that it was Milt Hinton on bass, Jo Jones on drums, and Billy Taylor on piano. Later on, I did a lot of recording with Milt as a session player in New York."
To illustrate his recollections of Hinton, Ruff unearthed footage of the great bass player on YouTube, including clips chronicling his famous stint with the Cab Calloway Orchestra, one of the most famous ensembles of the Big Band Era.
Another major theme of the gallery talk, which may include autobiographical elements from Ruff's hardscrabble youth in Alabama on through his worldwide triumphs with the Mitchell/Ruff Duo, focuses on the centennial of the publication of W.C. Handy's "St. Louis Blues," a powerfully influential classic in American popular music.
Ruff grew up not far from Handy's birthplace in rural Alabama. He recalls quite vividly the day that the great American composer, powerhouse publisher, and Harlem Renaissance grandee visited the small, segregated schoolhouse he attended in the 1930s. "Handy came to our school when I was in second grade," Ruff said, "and talked to us, and played his trumpet as we sang. …He told us how difficult his life had been, particularly after he let it be known to his family that he wanted to be a musician."
To illustrate his reflections on Handy, Ruff tracked down a fascinating radio recording on which the songwriter, known as "The Father of the Blues," recounted a life-shaping incident from his own early, small-town school days when he was warned against the evils of pursuing a musical career. "You can hear Handy on this tape speaking in his own distinctive voice," Ruff said. Altering his voice to sound like Handy's, he recited the words heard on the ancient recording:
I couldn't tell the story of the St. Louis Blues without including the moment when our school teacher down in Florence, Alabama, called the class to order, and instead of beginning our reading lessons, asked each of us what we wanted to be in life.
Some said doctors, lawyers, merchants, and several other trades. When he came to me, I said, "I want to be a musician." He read me a lecture, and told me that music would lead me to the gutter; that musicians are idlers and dissipated characters; and wrote my father a note, which, when my father — who was a preacher — read it, said to me, "Sonny, I would rather follow you to your grave than to see you be a musician."
Reverting to his own speaking voice, Ruff said, "Now, that's the coldest advice I ever heard!"
During Handy's visit to Ruff's schoolhouse more than seven decades ago, the awestruck youngster not only hung on to the old sage's every word, but, best of all, even got to shake the godlike figure's hand before he departed. "All of us who were identified as musically inclined," Ruff said of this early brush with greatness, "were permitted to line up, and shake the hand that wrote the St. Louis Blues. I was never the same boy again. It ruined my life, but I forgive him."
For his gallery talk, Ruff could riff on the enlightening, liberating impact that both his military service (he enlisted at 14, lying about his age) and his education at Yale (where he went on the GI Bill) had on him. Or he could shift gears and discuss his vital connections with the Ellington Fellows he's brought to Yale since 1972, a legion of jazz and cultural superheroes ranging from Dizzy Gillespie and Duke Ellington to Marian Anderson and Paul Robeson.
Ruff could chat about running his own jazz club, called The Playback, in New Haven. A fabled piece of the Elm City's distinguished jazz history, The Playback had a glorious three-year run on Winchester Avenue, bringing in a continuous stream of jazz greats including Stan Getz, Marian McPartland, Slam Stewart, Roy Eldridge (a frequent guest), and a then-young, brilliant pianist named Horace Silver, who Ruff said was also a soulfully-swinging tenor saxophonist.
In retrospect, one of the great historic moments for The Playback occurred when Ruff presented a young, unknown singer named Aretha Franklin. Ruff was asked to give Franklin the gig, as a favor, by the legendary producer John Hammond, a Columbia Records potentate, and discoverer of talents ranging from Count Basie and Billie Holiday to Bruce Springsteen.
Drawn from Ruff's personal experiences, his anecdotes and reflections on the famous and the obscure spring to life thanks to his pitch-perfect ear for dialogue, irrepressible sense of humor, and novelist's eye for the telling detail. Plus, there's the polymath's ability to put everything in context as when, for example, he explains why he's so mad about the 17th-century mathematician and astronomer Johannes Kepler, Gregorian Chants, Igor Stravinsky, Charlie Parker, and the Renaissance composer Carlo Gesualdo.
Ruff's narrations and explications are presented clearly and gracefully. It doesn't matter whether he's explaining what makes a Duke Ellington composition work aesthetically, or on a deeply personal level, discussing the profoundly inspirational influence that the heroic Tuskegee Airmen had on him as a poor, motherless child growing up in the racist Old South of the 1940s, earning a pittance by plowing farmland behind a mule.
One of eight children, Ruff was born on Labor Day, 1931 (an appropriate birth date for a lifelong striver) into crushing poverty in a modest four-room house with no electricity. Not long after Ruff was born, his father skipped out, heading north to Chicago to get a job, leaving Willie's mother behind to raise the family on the $5.00 a week she earned as a maid. As if this weren't already too much to bear, Ruff's mother died when he was only 12.
Despite this Dickensian-like, worst-of-times childhood, it always seems to be the best of times for the upbeat, high-energy Ruff, especially when he's working on his next project, as with his upcoming lecture at Yale, which has his creative juices flowing. With the talk's multimedia format — a prototype that Ruff plans to expand on, and tailor for a variety of media and venues, including lecture halls, classrooms, radio, and streaming TV — the musical maven can take his act out on the road, using digital age resources to complement his timeless storytelling gifts.
What propels Ruff, aside from his insatiable curiosity about virtually everything, is the sheer joy of doing what he loves to do. It's a jubilant feeling of deliverance that he experienced even as young man just beginning his journey, illustrated by a typical diamond-in-the-Ruff anecdote.
"My very first year at Yale there was a little club on Dixwell Avenue called the Monterey," Ruff recalled, "where some of the Hartford jazz crowd would also come, musicians like drummer Walt Bolden and bassist Joe Calloway. This one night, who walked into the club to perform but the singer Betty Roche. Everybody had turned out, because they knew Betty's performance of 'Take the A-Train' with Duke Ellington. I thought, here I am, at only 19, just five blocks from the Yale campus, playing bass on the bandstand with the great Betty Roche in New Haven, Connecticut. I said to myself, I believe in miracles." Information: artgallery.yale.edu and (203) 432-0600.
Magical Potions of Creole Soul
Etienne Charles, the red-hot groovemeister of Afro-Caribbean creole soul — cooking with everything from calypso to reggae to Haitian seasonings — leads his searing sextet at 7:30 pm on Saturday, September 6, as the headliner for the Main Stage lineup at the free Northampton Jazz Festival. A hip alchemist, Charles serves earthy, eclectic potions laced with soulful soupcons of everything marvelous from Motown to Marley tapped from his bubbling cauldron of a CD, Creole Soul.
Starting at 11:00 am on Hampton Avenue behind Thorne's Market, the festival's major event also features trombonist Steve Davis at 2:45 pm; pianist/vocalist Champian Fulton at 4:15 pm; and the swaggering saxophonist Seamus Blake at 5:45 pm. Information:northamptonjazzfestival.org.
Jazz Fest Touts Tolerance
Joined by such stalwarts as vocalist Antoinette Montague and trumpeter Ricky Alfonso, the noted singer/producer/activist Nicki Mathis presents the admission-free Many Colors of a WOMAN Jazz Festival at 8:00 pm on Saturday, September 6 at Faith Congregational Church in Hartford.
Along with its advocacy of a world free from sexism and racism, the festival is noted for its diverse, quality musical fare which features, among many assets, trombonists Bill Lowe and Deborah Weisz. Information: (860) 547-0820.
Please submit press releases on upcoming jazz events at least two weeks before the publication date to omac28@gmail.com. Comments left below are also most welcome.
Next Hudson Valley Jazz in Spotlight for Fifth Annual Festival: DownBeat Magazine
Previous In Cabaret Show, Acclaimed Actor Portrays the Triumph of Jazz Great Charles Mingus | KQED Arts
I greatly appreciate being on your emailing list and receiving all of the wonderful and exciting news from the jazz world that you regularly put out.
Niels Lan Doky, Pianist / Composer


text:
Q: Mechanize Unsupported Scheme after form submit I follow the Mechanize guide, but can't submit form.
My idea is to get invoice by a query through Telegram bot. Since there is a captcha I thought that I could read captcha image src with Mechanize to send that image through Telegram. Than, I would input digits that I can see on image and send in back to Mechanize to fill second input field.
Code:
require 'mechanize'

agent = Mechanize.new

agent.user_agent_alias = 'Windows Chrome'

page = agent.get('https://ercdmd.ru/?gpay')

form = page.forms.first

form.gpay_abon = '04-0000000000'

captcha_url = "https://ercdmd.ru/captcha.php?time=#{Time.now.to_i}000"

p captcha_url

captcha = gets.chomp

form.captcha = captcha

page = agent.submit(form, form.buttons.first)

Output:
/home/vagrant/.rvm/gems/ruby-2.1.0/gems/mechanize-2.7.5/lib/mechanize/http/agent.rb:177:in `block (2 levels) in initialize': Mechanize::UnsupportedSchemeError (Mechanize::UnsupportedSchemeError) from /home/vagrant/.rvm/gems/ruby-2.1.0/gems/mechanize-2.7.5/lib/mechanize/http/agent.rb:645:in `call' from /home/vagrant/.rvm/gems/ruby-2.1.0/gems/mechanize-2.7.5/lib/mechanize/http/agent.rb:645:in `resolve' from /home/vagrant/.rvm/gems/ruby-2.1.0/gems/mechanize-2.7.5/lib/mechanize/http/agent.rb:234:in `fetch' from /home/vagrant/.rvm/gems/ruby-2.1.0/gems/mechanize-2.7.5/lib/mechanize.rb:1323:in `post_form' from /home/vagrant/.rvm/gems/ruby-2.1.0/gems/mechanize-2.7.5/lib/mechanize.rb:584:in `submit' from parser.rb:26:in `<main>'


text:
Not the end of the Internet, but you can see it from here.
Denying Epiphany
Reviewed By Bruce Snider
Otremba's are poems of rigorous looking. In most, a speaker coolly observes a work of art, a person or animal, the poems' tensions emerging in part from the speaker's struggle for knowledge and connection.
"One doesn't need to enjoy the thing, only mean it," writes Paul Otremba in "Offices," a poem from his debut collection, The Currency. It's a line that expresses the split between feeling and knowing, two of lyric poetry's central concerns. In this way, Otremba locates himself squarely within the lyric tradition, his work exploring the self in all its extreme interiority, attempting to, as Harold Bloom has said, "enlarge a solitary existence." In The Currency, however, the relationship between feeling and knowing is a fraught one; no easy Keats-ian epiphanies here. In fact, Otremba's poems more often explore the uncertainties of observation and apprehension, the destabilizing effects of perspective and the derangements of feeling.
As an instinctive observer, Otremba has a natural interest in visual art: paintings, sculpture, film, even tattoos. These subjects unify the book, as do his formal control and emotional composure. Otremba's are poems of rigorous looking. In most, a speaker coolly observes a work of art, a person or animal, the poems' tensions emerging in part from the speaker's struggle for knowledge and connection. For Otremba, "looking" is a form of knowing, or at least an attempt at it, and the observer is as much a part of the subject as what's observed. Consequently, the watching "eye" haunts the book. As he writes, "How can I know/ the eye without its names?" ("Gray Windows"), or "as when my father/ handed me the knife (my eye/ floating dimly in the stains)" ("Cleaning-House"), or "…its orange light skimmed, my eye/ snagging against the surfaces" ("The Birds"). The eye, an organ of perception, is usually described separate from its body, the source of all feeling. As an image, therefore, the disembodied "eye" not only makes concrete the book's obsession with looking, but also foregrounds the speaker's inability to "feel" the world as clearly and deeply as he "sees" it.
This tension plays itself out dramatically in "Rest Stop," one of the book's few narrative poems. Here, Otremba tells the story of a disenchanted couple ("Our anger had become just another thing we couldn't commit to") who pull into a rest stop where another couple have stopped. A woman in the parking lot looks on while "the serpentine, tattooed arms of her boyfriend" probe their car's overheated engine. Initially, the speaker registers apathy, but when the woman's son goes missing, the speaker is quickly drawn into the unfolding drama:
When we heard their voices becoming clearly
a name, we knew it was a mother
and father calling, what we all fear.
These were the kind of people who could lose
a child: frantic, almost chiding the boy,
who must only be playing a child's trick.
Behind a tree, he became the tree, and his face
contained all faces of children emptying
from sedans.
Here, the missing child humanizes the couple. The woman is now a mother like all mothers, her son's suffering the suffering of all children. This, in turn, leads to a complex recognition that brings together the mother in the parking lot with his traveling companion:
and when I looked from the mother to the woman
I was with, what looked back was inconsolable.
Trickster, not the boy but the angel,
don't come to make good on your promise,
your dark reprimand.
The above turn unites the couples and mythologizes their pain, which now takes on Biblical connotations, human suffering as scriptural punishment, God and the fallen angel. It's a classic lyric strategy, the inflation of human experience through story and myth. Significantly, however, this inflation is quickly reversed:
….There was no angel.
And the boy was found down by the dog park.
Over the small, round rise of her stomach,
he rested his arm, the inked coils of a snake.
Paradoxically, "Rest Stop" denies the speaker's epiphanic moment even as the final image—the boyfriend's tattooed arm over the woman's seemingly pregnant stomach—invokes the serpent and, thus, the fall of man and the birth of human suffering. In this way, the poem both refutes and extends its Biblical conceit. The grammatical ambiguity of the final "he," allows the reference to operate on several levels, referring to the boyfriend but also to the woman's son and the trickster Angel. It's an ambiguous move, denying the myth's literal truth but affirming its figurative power. In the end, the narrative provides a sophisticated map of the speaker's psychological drama, a failed struggle for connection as he attempts to access intense feeling.
This struggle takes on even more explicit religious dimensions in "Surfing for Caravaggio's Conversion of Paul," in which the speaker searches online for a painting depicting the moment when Saul of Tarsus, on his way to Damascus, hears Christ's voice and is struck blind by divine light. Significantly, it's a moment of religious transformation, one from which the speaker remains distant. The speaker informs us that he's looking up the painting because he's been "reading a poem/ about a poem about a Caravaggio". The degrees of separation here are important as, once again, the speaker struggles to bridge the vast distances between knowing and feeling. Although he announces," "I don't have to go to Italy/ to stand in line for a conversion," he also quickly reaffirms his skepticism:
Are the brushstrokes authentic, or the light?
Or the salvation (which doesn't share
a root with "salivate" or "salve"),
something saintly? No, he's still
only Saul.
Despite the painting's power, the speaker remains unconvinced by Saul's transformation, so he searches online for another version:
…But Caravaggio painted
another version, and in this frame here,
nowhere near Santa Maria del Popolo,
it's over, and the new convert weeps—
out of shame? because his shirt's torn
open exposing his loose breasts?—
or he isn't weeping at all behind his hands.
The new version, however, leaves the speaker in the same quandary. What's the truth of religious conversion? How does one pierce the mystery to understand and even experience it oneself? As he concludes:
If I were closer, I wouldn't understand
more about why he covers his eyes,
because with a click it's a throttled Isaac
staring out, ignoring both knife and canvas.
With a click of the mouse, the speaker replaces Caravaggio's Saul with Caravaggio's Isaac as portrayed in his painting "The Sacrifice of Isaac." An image of religious conversion is replaced with an image of religious sacrifice, rebirth with death, salvation with victimization. The shifting image captures the contradictory impulses of religious experience, reintroducing Otremba's recurring images of blindness and sight, looking and not looking. The speaker cannot understand the transformative experience of faith, "because" he cannot reconcile its destructive impulse as embodied in the victimized Isaac. Notably, this experience is mediated by the computer, a tool of modern science, of the skeptical mind, a tool for thinking, not for feeling.
In some ways, it's tempting to think of Otremba as a failed ecstatic poet, a man who longs for but can never fully experience transformative feeling. In the end, however, what's remarkable about The Currency is that it provides such a vivid record of this inner struggle. While it's true that at times Otremba indulges too readily in the use of conventional lyric images—bruised light (Vigil), a "blossom-heavy" branch (Icarus)—these moments are almost always tempered by an equally precise and unsentimental gaze. In fact, it's easy to wish sometimes that the poems would drop their veneers of composure to express the feeling held at bay by the observing eye or to at least dramatize the reach for feeling more dynamically. But perhaps it's that restraint that most convincingly embodies the poet's struggle. Ultimately, the book presents an at times bleak but always complicated vision of the mind struggling to apprehend the world that contains it. And the reader is left with, if nothing else, the chance to engage the expressive power of art, "a small grace" ("The Currency"), Otremba tells us, but a grace nonetheless.
Read "Recitation," a new poem by Paul Otremba in Rumpus Original Poems.
Bruce Snider is the author of The Year We Studied Women, winner of the Felix Pollak Prize in poetry. A former Wallace Stegner fellow and Jones Lecturer at Stanford University, his poetry has appeared in The American Poetry Review, Ploughshares, Ninth Letter, and PN Review. More from this author →
Tags: Books, Bruce Snider, Paul Otremba, Reviews
Filed Under: Features & Reviews, Reviews, Rumpus Original


text:
Korean film directors venture for sci-fi anthology with 'SF8'
8-episode sci-fi blockbuster to stream on OTT, TV platforms
By Choi Ji-won
Published : Jul 8, 2020 - 20:28 Updated : Jul 9, 2020 - 10:24
Directors and lead cast members of upcoming series "SF8" pose for pictures during a press conference held in CGV Yongsan I'Park Mall in Seoul on Wednesday. (Wavve)
Everything about the upcoming series "SF8" -- a sci-fi anthology series which will be streamed via streaming platform Wavve and TV channel MBC -- is new.
Under the collaboration of major TV channel network MBC and the Directors Guild of Korea, eight filmmakers from the association teamed up with production company Soo Film to helm each episode of the eight-part sci-fi anthology. After a year and half long haul of production, "SF8" will be released through local over-the-top platform Wavve on Friday.
Ahead of its premiere, the directors and lead cast members of each of the episodes attended a press conference in Seoul, Wednesday.
According to director Min Kyu-dong, who helmed the project, the upcoming series is a new mid-form anthology production of eight stand-alone episodes, each ranging around 50-minute in duration.
"I wanted to make a chance for (young directors) to create a new form of sci-fi content, in which they can talk about their own stories," Min, who directed the episode "The Prayer" said during the press conference.
In response to the set's comparison to the mega-hit British sci-fi series "Black Mirror," Min said, "While 'Black Mirror' takes place inside a single universe created by the same screenwriter, we have different directors for each episode revolving around different subjects and audiences will be able to choose which episode to watch according to their preferences."
"SF8" poster (Wavve)
Featuring Lee Yoo-young and Ye Soo-jung, episode "The Prayer" shows an unlikely human dilemma faced by a caretaking artificial intelligence robot, whereas "Manxin" from veteran director Roh Deok draws a society blinded with misled belief in an AI fortune-telling service. Actor Lee Dong-hui and newly-wed actress Lee Yeon-hee teamed up with Roh. Director Han Ga-ram's "Blink" draws the teamwork of a human investigator, played by Lee Si-young, and an AI robot, taken up by Ha Jun, in resolving a murder case. In rookie director Kim Ui-seok's "Empty Body," veteran actress Moon So-ri stars as a mother who tries to revive her dead son by combining part of his brain with AI.
Rising star actors Kim Bo-ra and Choi Sung-eun star in director Lee Yun-jeong's "Joan's Galaxy," a disaster piece that shows a new form of class division. Singer-turned-actors Uee and Choi Si-won partner in director Oh Ki-hwan's futuristic rom-com "Love Virtually." Another singer who recently embarked on her acting career, Hani of girl band EXID will star as a star game broadcaster who gets entangled in a virtual world in director Jang Cheol-soo's "White Crow." Director Ahn Guk-jin's "Baby It's Over" is an apocalyptic fantasy-romance piece starring actors Lee David and Shin Eun-soo.
According to the directors, all the eight episodes were produced with the same amount of budget, which -- although the amount was not specified -- in total was lower than the average budget of a small commercial film.
"While commercial film productions usually involve diverse conflicting interests that inevitably limit the directors' freedom as a creator, (with 'SF8'), we had more independence in production," director Roh said. "Although there were physical limits, I think we went through the process of discovering what we can do inside those boundaries."
"We have a stereotype that sci-fi productions usually come with visual spectacles. But with 'SF8,' we wanted to make a story that gives the viewers something to think deeply about," Min said.
By Choi Ji-won (jwc@heraldcorp.com)


On 15 September 2016 the British government issued a public apology for the death of Ahmed Jabbar Kareem Ali, an Iraqi teenager who drowned after being forced into a river by British soldiers.
Eight days later Prime Minister Theresa May attacked "vexatious claims" being brought against armed forces.
Yesterday we examined that official narrative, and how some of the UK's media promoted it. Today we tell the story of Ahmed Jabbar Kareem Ali.
Sir George Newman, chair of the Iraq Fatalities Inquiry (IFI), investigated Ali's death. The Inquiry was set up in 2013 to examine unresolved questions about some of the deaths of Iraqi civilians at the hands of British forces and is one of the processes which the Mail, the Sun and the Telegraph have campaigned to bring to an end.
British Army soldiers on the banks of the Shatt Al Arab waterway in Basra, Iraq. Press Association/Lewis Whyld. All rights reserved.
The IFI found that Ali, a 15 year old boy, with three other Iraqi civilians, was arrested in Basra on suspicion of looting by members of the Irish Guards on 8 May 2003.
The soldiers put the four Iraqis in a Warrior armoured car and drove them to the Al-Zubair bridge on the Shatt Al Basra canal. Once there, they ordered the Iraqis out of the vehicle and into the water.
It was supposed to be a form of rough and ready punishment, a tactic called 'wetting', designed to deal with increasing looting in the city. The British forces couldn't cope with the problem. They didn't have the manpower or the facilities for detaining looters. Instead they resorted to humiliation.
One of the soldiers testified before the inquiry that after the three Iraqi men and Ali were forced into the river, he saw the "'boy" then suddenly go under the surface, come up and then go under again. The boy didn't reappear. None of the soldiers went in after him. They got back into the Warrior and left. Ali drowned, his body recovered from the river by his father two days later.
Sir George questioned the soldiers and examined the evidence. He concluded that the actions of the four Guardsmen amounted to "a clumsy, ill directed and bullying piece of conduct, engaged in without consideration of the risk of harm to which it could give rise". He said '"there was a manifest failure to take action to save the life of Mr Ali".
Sir George also indicated that the general treatment of looters in Basra required further investigation.
He referred to evidence given by Captain Niall Brennan, one of the Operations officers in the Irish Guards at the time Ali died.
Sir George reported that Brennan was "aware that one of the methods for dealing with looters was throwing them into one of the waterways". It was a routine mode of punishment. And Brennan stated that his commanding officer "would have been aware of the practice".
The implication was that the treatment, clearly in breach of the Geneva Conventions, may have been known about or sanctioned by senior military personnel. Sir George announced that he intended to look further into the matter and any other cases of other Iraqis alleged to have died in circumstances similar to the death of Ahmed Ali.
Iraqi children in Hyyaniah, Basra in Southern Iraq, throw stones at British soldiers. Press Association/Richard Mills. All rights reserved.
How did the government respond to Sir George's report?
Prime Minister Theresa May gave no comment. Two weeks later, her conference speech contained no sense of contrition, commitment to investigate, openness to learning lessons. Instead, she attacked the very people who sought to expose wrongdoing and hold government to account.
Tomorrow, a former policeman turned Territorial Army soldier tells of children as young as 10 locked up by British troops.


The measurements web service returns measurements for metrics relating to station data quality. This is the primary query interface for MUSTANG users.
target IU.ANMO.00.BH1.M SEED Network, Station, Channel, Location and Quality codes separated by periods. Use -- for 'blank' location codes. When using target to specify channel options, omit SNCLQ Filter parameters (network, station, location, channel and quality).
net[work] IU Specify SEED network code as part of a SNCLQ Filter when not using target. If a virtual network code is specified, the sta[tion] term is ignored, but loc[ation, cha[nnel] and qual[ity] codes are honored.
sta[tion] ANMO Specify SEED station code as part of a SNCLQ Filter when not using target.
loc[ation] 00 Specify SEED location code as part of a SNCLQ Filter when not using target. Use -- for 'blank' location codes.
cha[nnel] BH1 Specify SEED channel code as part of a SNCLQ Filter when not using target.
qua[lity] M Specify SEED quality indicator as part of a SNCLQ Filter when not using target. Most metrics are calculated using M quality data. (Latency metrics operate on D and R quality data.) The URL Builder no longer includes a text box for specifying quality, defaulting to "any".
orderby start Sort the results by column name. To specify the sort order (default is ascending), append _asc or _desc to the column name (e.g. orderby=start_asc). When multiple orderby specifications are included (e.g. &orderby=sta&orderby=start or &orderby=sta,start), sorting will be performed in the order listed.
Including the channel or location code pair in the channel options (e.g. II.EFI.30:10.LDO:LHZ.M) will match measurements with this channel or target name exactly.
Including a single location or channel code (e.g. II.EFI.30.LDO:LHZ.M) will match all measurements where that code is included in the pair (location code pairs 30:00 and 30:10 in the case of pressure_effects measurements for II.EFI).
Regular expressions are also supported in matching. The expression channel=BH matches measurements having channels BH1 or BH2.


text:
Volume 119 >> Issue 42 : Friday, September 17, 1999
200 U.S. Personnel Will Join Forces Helping in East Timor
By Roberto Suro and Colum Lynch
THE WASHINGTON POST -- WASHINGTON
President Clinton on Thursday authorized some 200 U.S. military personnel to assist an Australian-led multinational force that will try to restore order in East Timor, while the United Nations prepared an emergency airdrop of food rations to thousands of civilians who have sought refuge in remote woodlands.
"I have decided to contribute to the force in a limited but essential way, including communications and logistical aid, intelligence, airlifts of personnel and material, and coordination of the humanitarian response to the tragedy," Clinton said.
Speaking to reporters at the White House, Clinton said about half the U.S. personnel would serve on the ground in East Timor. The rest will be posted either in Darwin, Australia, which will serve as a staging area, or on ships offshore. Initially, the U.S. role will be to help transport troops and equipment from other nations to Australia, Pentagon officials said.
Operating under a U.N. Security Council mandate, the force is expected to total some 7,500 troops, with Australia providing about half the total, Clinton said. Portugal, New Zealand, Thailand, the Philippines and other Asian and European nations also pledged contributions.
At the Pentagon, Navy Vice Adm. Scott Fry told reporters the U.S. forces would be ready to move in 48 hours and that the administration had agreed to consider requests by Australia for additional personnel or equipment. "The door has got to stay open," he said.
The largest and most sensitive U.S. contribution will be an intelligence team of about 50 people who will gather and analyze information about the Indonesian military and the pro-Indonesian militias that began a rampage after losing an Aug. 30 referendum on independence for the former Portuguese colony. The U.S. team will operate a Navy EP-3 electronic surveillance aircraft based in Darwin, and in East Timor it will run a secure communications center connecting the peacekeeping force with intelligence agencies from contributing nations, said a senior Pentagon official.


Adapted from the classic book and following film, Around the World in 80 Plays takes you to a world of opportunity. Players can travel the world searching for great fortunes.
Wild symbols replace and symbol except feature triggers and full height symbols.
The player has 3 lives and has to pick from 4 Chinese Vases to find the key to a watchtower with cash prizes.
The Player picks coins from a pile. The coins may reveal other coins, gems or amulets. The Skull Amulet ends the feature.


TecInteractive supply video conferencing equipment, interactive whiteboards, digital signage and room booking systems to businesses and schools/universities throughout the UK.
Although we didn't design the website, we created a number of the new pages and sections.
Working with copy which was supplied to us, we produced a 12 page Guide to Meeting Technology which is offered as a free download from their website.


text:
Q: Link color not changing with parallax scroll I'm creating a parallax website which has a nav. When the page scrolls down, the nav changes its color. Bow when the page loads the navigation background color is transparent and when the page scrolls down it turns into white.
The links are meant to have color #BBB9BE and hover color #3F4474 on the white background color, but it's showing the same color and hover color on the transparent background, which means my else statement is not working properly. What's the issue here?
var a = $(".navbar-default").offset().top;
$(document).scroll(function() {
  if ($(this).scrollTop() > 10) {
    $('.navbar-default').css({ "background": "#fff" }).addClass('after-scroll- nav-border');

    $('.navbar-default .navbar-nav>li>a:hover, .navbar-default .navbar-nav>li>a:focus ').hover(function() {
      $('.navbar-default .navbar-nav>li>a:hover, .navbar-default .navbar-nav>li>a:focus ').css({ "color": "#3F4474" });
    }, function() {
      $(".navbar-default .navbar-nav>li>a:hover, .navbar-default .navbar-nav>li>a:focus").css({ "color": "#BBB9BE" });
    });
  } else {
    $('.navbar-default').css({ "background": "transparent" }).removeClass('after-scroll-nav-border');

    $('.navbar-default .navbar-nav>li>a:hover, .navbar-default .navbar-nav>li>a:focus ').hover(function() {
      $('.navbar-default .navbar-nav>li>a:hover, .navbar-default .navbar-nav>li>a:focus ').css({ "color": "#fff" });
    }, function() {
      $(".navbar-default .navbar-nav>li>a:hover, .navbar-default .navbar-nav>li>a:focus").css({ "color": "#BBB9BE" });
    });
  }
});

A: You're missing some words in your question so I'm not sure if I understand completely. Firstly, there's a space between after-scroll- nav-border, this might be your problem. And as another commented mentioned, you're creating the .hover() event every time the page scrolls.
Secondly, instead of using .hover() have you considered using a pure CSS solution? Something like this:
JS
var a = $(".navbar-default").offset().top;
  $(document).scroll(function(){
    if($(this).scrollTop() > 10)
    {
      $('.navbar-default').addClass('after-scroll-nav-border');
    }
    else
    {
      $('.navbar-default').removeClass('after-scroll-nav-border');
    }
  }

CSS
.navbar-default {
  background: transparent;
}

.navbar-default.after-scroll-nav-border {
  background: #ffffff;
}

.navbar-default .navbar-nav>li>a {
  color: #bbb9be;
}

.navbar-default .navbar-nav>li>a:hover,
.navbar-default .navbar-nav>li>a:focus {
  color: #ffffff;
}

.navbar-default.after-scroll-nav-border .navbar-nav>li>a:hover,
.navbar-default.after-scroll-nav-border .navbar-nav>li>a:focus {
  color: #3f4474;
}

On page load the default styles will be used (#bbb9be text, #ffffff hover). You're already adding a class of after-scroll-nav-borderonce the page is scrolled past 10, so by creating another set of styles rooted on that class you get your desired colour changes without any unnecessary JS.
I hope I understood your question correctly.


text:
Program Notes (pdf)
Perfume de Gardenias, the debut feature by queer Afro-Puerto Rican multidisciplinary artist Macha Colón, comes to REDCAT after its world premiere at the 2021 Tribeca Film Festival. Colón knits a whimsical tale of motherly love and sisterhood tinted with black humor and sparkled with lavish doses of Caribbean imagery. Isabel is a loving and witty elderly widow with plenty of caring left to give. Soon after she decorates an exuberant and very personal funeral for her late husband, she's enlisted by Toña—a power player in the neighborly gossip milieu—into producing custom-made and one-of-akind funerals for the local parishioners of a middle-class barrio in Puerto Rico. Perfume de Gardenias puts caregiving at the center of the frame while picturing a candid take on the cycle of life and death, the relevance of mourning rituals, and the importance of companionship. This provocative reflection on death and mourning, featuring veteran actress Luz María Rondón in her first moviestarring role, offers a playful and darkly comic perspective on Puerto Rico.
In person: Macha Colón
Colón's gaze is as authentic as it is original as she dares to poke fun at the sacred and profound in a deeply Catholic culture; humor that, in the end, helps to broaden our understanding of death, mourning, andthe meaning of life itself.
Blackfilm.com


Procrastinating buying gifts is one of my specialties, but the good news is that I already have my wrapping ideas ready to go! After doing this project, we have become pom pom obsessed in the office (just wait, there are more in furture posts) so I just had to include a few in in my gift giving. Read on for supplies and few quick tips, and head over to American Eagle's blog for more!
Pom poms – Embellish your printed wrapping by gluing on pom poms. A simple upgrade that makes your present infinitely more fun!
Puff – Use this tutorial to create a bright gift topper. Group a bunch together for maximum impact.
Letter stamps – Instead of using wrapping paper, try white butcher's paper and use letter stamps to create a personalized message or pattern with letter stamps and ink.
Pom pom trim– You can NEVER have enough pom poms! Outline your gifts in the festive trim for a pop of color.
This post is part of a Holiday DIY collaborating with American Eagle Outfitters. Thank you so much for supporting my amazing sponsors who make I SPY DIY possible!
Your wrapping is absolutely delightful! It's so playful, fun and exciting; exactly what Christmas should be! I just got some letter stamps so will be using them this holidays.
This looks vibrant and fun!
I Love those colors! I get so tired of seeing so much red and green during the holidays and these colors you chose are so fun!
The pom poms are so adorable!!
Check out my gift guide for women's coats today on the blog.
This is a wonderful idea! I've been getting crafty with presents and nothing would accent them better than these DIY wrapping ideas!
Love these ideas a lot, and the photos are to die for. Yum!


At some point while owning a vehicle, you will need to replace a bulb unless you're a very lucky so-and-so. It's impossible to say how long a bulb lasts, but the most common reason for a failed bulb is moisture, which can even be caused by grease from your hands. At Energized we stock high quality bulbs, such as Osram, Ultra and Phillips.
There are no products matching the selection. Click here and try again.


text:
$11 bn believed to be stashed abroad by Pakistanis
By IANS | Bharat Defence Kavach | Publish Date: 3/19/2019 2:42:53 PM
Islamabad: The Imran Khan government believes that Pakistani nationals having more than 152,500 offshore bank accounts could have stashed away $11 billion abroad, the media reported on Tuesday."The number (of offshore accounts) is mind-boggling. So is the amount involved and the names of account holders," Dawn news quoted Hammad Azhar, the Minister of State for Revenue,as saying at the Lahore Chamber of Commerce and Industry (LCCI) here on Monday.
"All of these offshore account holders are resident Pakistanis and more than half of the hard currency stashed away by them is undeclared. Many of them do not have legitimate, documented business. "That should be enough to underscore the scale of tax evasion (in the country). We wouldn't have to beg if we could bring this money back home," he claimed, saying the offshore account holders were being watched by the Federal Board of Revenue (FBR).
The information about the offshore bank accounts of Pakistani nationals was shared with the government by the Organisation for Economic Cooperation and Development (OECD).Around 400 account holders are believed to have cash of $1 million or above in their accounts and the FBR has so far been able to recover $1.2 million from only one individual.
Former Finance Minister Ishaq Dar had claimed earlier that Pakistani nationals had stashed a whopping $200 billion in Swiss accounts but never gave the source of his information, Dawn news said. Based on his claim, the ruling Pakistan Tehreek-i-Insaf party had promised to recover this money after coming to power. The Prime Minister has also set up the Asset Recovery Unit for this purpose.
Imran Khan government,Pakistani,stashed,media
CCEA okays Rs 1,320 cr Sahjanwa-Dohrighat rail link
2 killed in Mumbai building collapse
Delhi Police arrests JeM terrorist from Srinagar
Imran Khan to seek Trump's help on Kashmir


Soft fabrics with side hems make panel track a chic alternative to traditional curtains. Choose from shimmering light effects, shiny fabrics, burn- out techniques, jacquard weaves and exclusive designs in a variety of transparencies.
Hard fabrics with no side hems give a sleek and modern appearance. Nature inspired structures, abstract stripes and industrial metal looks, reflect the current trends in interior design.
Combine several fabrics in a panel for a playful effect. These can be different colours or as an example an ausbrenner combined with a colour.
Nature inspired structures, abstract stripes and industrial metal looks, reflect the current trends in interior design.
A surprising effect you get with a trim at the end of the on fabric in shiny white, gray, black or aluminium finish laminate. You can also choose from fine wood or aluminium decorated.
An unusual and contemporary design effect featuring a plate on the fabric in a shiny white, grey or black. You can also choose from a fine wood or an aluminium finish laminate, available in 20 and 40mm with six different styles to choose from.
Move your panel blinds without effort.


Hope is open to receiving any children as potential school students, both Tanzanian and international, on an entirely non-discriminatory basis. Hope makes provisions for and accommodates wherever possible the partaking of all children whose families desire their enrolment. Whenever there is interest during the academic year, our management welcomes the prospective family for an informal discussion. When required, our Academic Coordinator then supplies internal assessment material to evaluate the child's current stage of development, including language and reading capacity, and finally assigns a classroom accordingly, which is most often aligned with the child's age.
All our lessons are taught in English. We offer Kiswahili classes as one of our afternoon Electives, so that students receive instruction on Tanzania's national language once per week. Throughout each Hope classroom, all-school assemblies, and for all other written and spoken communication, English is our primary language used by all Hope members.
As a school, teachers are encouraged to use Backwards Design as a curriculum planning tool. This encourages well-rounded lesson planning and evaluation aligned with goal-setting and progression. The aim is for all learners to finish each school year prepared for the standard of the next by adding age-appropriate rigour and critical thinking skills per term. Central to this curriculum design are Hope's pedagogical values for creativity, curiosity and character. Our approach therefore remains flexible and adaptable, guided by expertise and in the interest of maximising the academic, mental, physical, emotional and social growth of each student.
Our educational aims and longer-term objectives underpin our application to become a Cambridge school. Principally, we hope to wholly adopt a comprehensive curriculum that will best serve our capable students through providing coherent and cohesive, rigorous, in-depth and thought-provoking learning experiences. Our goal is for every one of our children to be prepared for success as learners and leaders anywhere in the world as achieved through utilising a stable, renowned Cambridge foundation. By equipping each student with internationally recognised A*-C level IGCSEs in English, Maths, Science, IT and Global Perspectives as a minimum standard by the age of 16, we aim to propel our learners into further education and/or sufficient employment opportunities in Tanzania and beyond.


Describe the educational and informational objective of the program and how it meets the definition of Core Programming. This program is aimed at healthy development of children making projects that positively impacts them. They are taught about Spanish, math and English materials, while learning about how to think creatively to solve different challenges.
Describe the educational and informational objective of the program and how it meets the definition of Core Programming. That's "Will" as in "willpower" and "Dewitt" as in "do it" - and themes in this friendly, energetic program are all about determination. Kids can relate to likable, elementary-aged Will, and they'll get a kick out of his comic sidekick Dewitt, a talking frog who frequently reinforces important points with the help of costumes, accents, lively songs, and kid-friendly quips. And with every episode, young viewers may just learn a lesson or two about taking action and solving problems, viewers will learn at an early age that they, too, can see positive results in life if they "just dewitt." The show provides nice examples of a loving family and steadfast friendship, and kids who watch will learn important lessons in self-confidence, patience, and more.
Describe the educational and informational objective of the program and how it meets the definition of Core Programming. Three thousand years ago in the Moonlands, the evil Shadow Magi Agram was sealed inside the planet's Core by the Core Glyph and the Dreamstones which provided its power. Now he plans to escape by using his Shadow Geysers to weaken his prison in order to bring the Moonlands under his control, and only a Magi known as the "Final Dreamer" can stop him. A young boy from Earth, Tony Jones, is summoned into the Moonlands as he is believed to be this Final Dreamer. He joins forces with the apprentice Magi, Edyn, and the Shadow Stalker, Strag, on a mission to gather the Dreamstones before Agram is set free. Using the Book of Elders, the three travels through the Moonlands while combating the forces of Agram and gaining an ever-growing collection of Dream Creatures from the Moonlands that they visit. Magi-Nations characters teach good morals of courage, honor, and loyalty, as well as being a great adventure.
Describe the educational and informational objective of the program and how it meets the definition of Core Programming. Noonbory teaches preschoolers social lessons about sharing, patience, and teamwork, friendship and appreciation for people's unique talents through episodes following the loveable Lucky, a very small superhero with a very big heart. The characters learn that their powers are more effective when they join forces, reminding kids that people's individual skills are to be celebrated and are made to complement each other. The villainous characters' antics are little more than pranks; they wield non-threatening "weapons" like strong puffs of air that blow the borys aside.
Describe the educational and informational objective of the program and how it meets the definition of Core Programming. The Doodlebops combines music and dancing, with fun stories to help preschoolers increase their self-confidence, as well as encourages physical activity. The show reinforces significant pro-social values, such as cooperation, teamwork, trying one's best and facing fears all conveyed in the fast and fun Doodlebops' style by band members Deedee, Rooney and Moe.
Describe the educational and informational objective of the program and how it meets the definition of Core Programming. The program had an educational focus, combining lessons of a pro-social nature with those of more general educational value. Educational topics covered included identifying shapes, learning words and letters in both English and Spanish, counting and basic math. Social topics were also covered, such as good sportsmanship, the importance of being a good friend, overcoming obstacles such as jealousy or fears and getting along with siblings. Emmy and Max commonly embark on adventures with their anthropomorphic friends, conquering fears or achieving goals in spite of any obstacles preventing them from doing so.
Describe the educational and informational objective of the program and how it meets the definition of Core Programming. Will & Dewitt. That's "Will" as in "willpower" and "Dewitt" as in "do it" - and themes in this friendly, energetic program are all about determination Kids can relate to likable, elementary-aged Will, and they'll get a kick out of his comic sidekick Dewitt, a talking frog who frequently reinforces important points with the help of costumes, accents, lively songs, and kid-friendly quips. And with every episode, young viewers may just learn a lesson or two about taking action and solving problems, viewers will learn at an early age that they, too, can see positive results in life if they "just dewitt." The show provides nice examples of a loving family and steadfast friendship, and kids who watch will learn important lessons in self-confidence, patience, and more.


What do you want your Engagement session to look like? There are so many different Las Vegas locations that help us capture the essence of Sin City or the surrounding nature.
Do you want to capture iconic Las Vegas architectural landmarks and neon signs on the Strip in the background?
Looking for a quiet place in the desert, a previous gold mine town, or ghost town?
Red rocks at Valley of Fire?
We can even get snow sometimes nearby at Mt. Charleston in the Spring Mountains National Recreation Area.
Or would you rather choose a location that's meaningful to you? A restaurant where your first date was, your favorite bar, or a park you often visit together?
If you need a suggestion, I have a list of Engagement location suggestions. Hopefully, this will give you some ideas and help you plan.
Besides location, you should also consider specific activities you like to do as a couple. It makes the experience really personal when you can add that little extra. You can bring your iPad to play your favorite music to create a fun-filled energy. Perhaps a romantic picnic on a blanket with flowers and a food basket would be more your style. If you have dogs and cats, a photo session with pets is always fun. You could also consider the following: posing with a classic car, images with an old suitcase in the train station, having a drink in your favorite bar, salsa dancing, a session on the basketball court, a Mad Men-styled Engagement Session… Maybe you have exclusive access to some special, unique location? Photographing a flash mob surprise Engagement Session is on my bucket list!
As you can see, there are lots of options to choose from when it comes to Las Vegas Engagement Photography. Whichever location you pick, it should be an environment that works for your style and personality.
Once the location is chosen, I can suggest the best time for the session based on the season, weather, and the location itself.
• Unlike weddings, we have much more flexibility choosing the timing for Engagement sessions. This means we can work within the best light, which is about an hour before sunset. Las Vegas wedding photographers refer to this time of day as the "golden hour." It provides a beautiful soft glow on your face, resulting in flattering portraits. Early morning hours, around sunrise, also produce an amazing lighting effect.
• Weekdays are always preferred. This is because weekends are usually booked for weddings, especially during the peak season.
• Also, many of the great locations are crowded with people on weekends. Weekdays allow for more privacy and freedom.
• If you're having a destination wedding, you can schedule your Engagement session when you visit Las Vegas to plan your wedding.
• The exact date of your session will depend on the location and time of the year. At Nelson ghost town, the sun goes behind the mountains before it goes behind the horizon. This means you lose light before the sun actually sets. Therefore, it's good to start the session a little bit earlier in that location.
• If you haven't been in Las Vegas during the summer, it can be difficult to imagine the weather. The temperature can rise up to 120ºF during the hottest months. Since it's so hot, we do not do any sessions during the day in summer.