text:
getFRUSH: The SCOOBY-DOO WHERE ARE YOU! Complete Collection + PEANUTS 70th Anniversary Holiday Collection Have Arrived
Cyrus Langhorne December 4, 2019 3:17 pm
getFRUSH
The holidays are officially here and while Disney+ and Netflix continue to go at each other's necks, Warner Bros. Home Entertainment has pulled through to make everyone's gift-buying that much easier.
Just in time for the winter fun, the production powerhouse has released both its Scooby-Doo, Where Are You! complete series collection and the Peanuts 70th anniversary holiday collection. Peep below for more details!
If you're struggling w/ those holiday gifts, look no further than @warnerbros @warnerbrostv new #ScoobyDoo #Peanuts collections! pic.twitter.com/SBtKiOGGKc
— SOHH (@sohh) December 4, 2019
Scooby-Doo, Where Are You! The Complete Series Limited Edition 50th Anniversary Mystery Mansion – Available Now on Blu-ray™
The mysteries never end – really. The new #ScoobyDooWhereAreYou full collection is jam-packed with awesomeness! pic.twitter.com/YfLAe3KBQk
Jinkies! Warner Bros. Home Entertainment salutes that lovable Great Dane, Scooby-Doo and the Mystery Inc. gang with the release of Scooby-Doo, Where are You!: The Complete Series Limited Edition 50th Anniversary Mystery Mansion. This release is packaged in an eye-catching, limited edition collectible mystery mansion giftset that includes all 41 episodes of the original series, Scooby-Doo! Where are You!, released on Blu-ray™ for the first time, as well as a Digital Copy of the series. This must-own box set has some fun extras. The set contains all-new HD content andScooby-Doo collectibles including an exclusive Scooby-Doo Funko keychain, and a mini Scooby-Doo Encyclopedia. Scooby-Doo, Where are You!: The Complete Series Limited Edition 50th Anniversary Mystery Mansion retails for $89.99 SRP.
Peanuts Holiday Collection 70th Anniversary Limited Edition – Available October 1, 2019 in a Collectible Blu-ray™ Giftset and Available Now on Digital
If you're really big into throwbacks, then the #Peanuts holiday collection is a must-own! Too classic! pic.twitter.com/1grEn3MtAH
Good grief! The legendary Peanuts comic strip turns 70 and to celebrate the occasion, Warner Bros. Home Entertainment will release a gorgeous, collectible Blu-ray™ giftset comprised of three iconic animated holiday specials packaged in a limited edition Snoopy doghouse giftset! Titled Peanuts 70th Anniversary Holiday Collection Limited Edition, this collection includes It's the Great Pumpkin, Charlie Brown, A Charlie Brown Thanksgiving and A Charlie Brown Christmas, as well as six additional Peanuts specials that are re-mastered/restored, plus brand-new special features. All nine specials are released on Blu-ray™ with a digital copy. This must-own box set comes with two additional, keepsake collectibles, including an exclusive Snoopy figurine and a Charlie Brown holiday book. This is a numbered, limited edition set with only 25,000 total sets available. It's the perfect idea for seasonal gift-giving! Peanuts 70th Anniversary Holiday Collection Limited Edition retails for $99.99 SRP ($141.00 in Canada). The six additional specials include: It's Magic, Charlie Brown, Charlie Brown's All-Stars, The Mayflower Voyagers, Play it Again, Charlie Brown, It's Christmastime Again, Charlie Brown and It's Flashbeagle, Charlie Brown.
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Cyrus Langhorne November 11, 2019 2:18 pm
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The body's nutritional health is determined by the sum of its nutritional state with respect to each needed nutrient. The state of nutrition is categorized into three; desired nutrition, undernutrition and overnutrition.
Maintaining a state of desired nutrition is the basis for establishing your nutrient needs and the diet plans to meet those needs. The common term malnutrition can refer to either overnutrition or undernutrition. Neither of these states is favorable to good health.
The state for a particular nutrient is desirable when body tissues have enough of the nutrient to support normal metabolic functions as well as surplus stores that can be used in times of increased need. A desired nutrition state can be achieved by eating essential nutrients from a variety of foods.
This occurs when your nutrient intake does not meet nutrient needs. During this state, stores are used up and therefore your health declines. Many nutrients are in high demand due to the constant state of cell loss and later regeneration in the body, such as in the gastrointestinal tract.
For this reason, certain nutrient stores are exhausted rapidly, such as for many of the B vitamins. In turn, a regular intake is needed. In addition, many women today do not consume enough iron to meet their monthly losses and eventually deplete their iron stores.
Once the availability of a nutrient falls sufficiently low, biochemical evidence, in which the body's metabolic processes slow or stop, appears. At this state of deficiency there are no outward symptoms, thus it is termed as subclinical. A subclinical deficiency can go on for some time before a doctor is able to detect its effects.
Eventually clinical symptoms will develop, sometimes taking many years, and may result in clinical evidence of a deficiency; perhaps in the skin, hair, nails, tongue, or eyes. Often clinicians do not detect a problem until a deficiency produces such results, such as in vitamin C deficiency.
Prolonged consumption of more nutrients than your body needs can lead to overnutriton. In the short run, for example 1 or 2 week, overnutrition may cause only a few symptoms such as stomach distress from excess dietary fiber or iron intake. But if kept up, some nutrients may increase to toxic amounts which can lead to serious disease.
For instance, too much vitamin A can have a negative effect especially in children and expectant women.
The most common type of overnutrition today is eccess intake of energy-yeilding nutrients. This often leads to obesity. Over time obesity then leads to other serious diseases such as certain forms of diabetes and cancer.
For most vitamins and minerals, the gap between desirable intake and overnutrition is wide. Thus even if you take a typical multivitamin and mineral supplement daily, you probably won't receive a harmful amount of any nutrient. The gap between optimal intake and overnutrition is narrowest for vitamin A, calcium, iron, copper, and other minerals.
Thus when you take nutritional supplements, keep a close eye on your total vitamin and mineral intake both from food and supplements to avoid toxicity.


text:
import re

from django import template
from django.core.cache import cache
from django.template import Node, Variable, VariableDoesNotExist
from django.template.loader import render_to_string

from treenav.models import MenuItem

register = template.Library()

tag_argument = re.compile(
    r'(\'|")?[a-zA-Z0-9_.-]+(=|\'|")?((\'|")?[a-zA-Z0-9_.-]+(\'|")?)?'
)

def parse_args_kwargs(parser, token):
    """
    Parser token content to positional and keyword arguments.
    """
    tag_name, arg_str = token.contents.split(" ", 1)
    args = []
    kwargs = {}

    for match in tag_argument.finditer(arg_str):
        arg = match.group()
        if "=" in arg:
            k, v = arg.split("=", 1)
            kwargs[str(k)] = v
        else:
            args.append(arg)

    return tag_name, args, kwargs

def get_menu_item(slug):
    cache_key = "menu-%s" % slug
    menu = cache.get(cache_key)
    if not menu:
        try:
            menu = MenuItem.objects.get(slug=slug)
        except MenuItem.DoesNotExist:
            menu = None
        cache.set(cache_key, menu)
    return menu

def new_context(parent_context):
    """Create new context rather than modifying parent context."""
    if "request" in parent_context:
        return {"request": parent_context["request"]}
    else:
        return {}

class CaktNode(Node):
    """
    Base Node for treenav template tags.
    """

    def __init__(self, *args, **kwargs):
        self.args = [Variable(arg) for arg in args]
        self.kwargs = dict([(k, Variable(arg)) for k, arg in kwargs.items()])

    def _prepare_template_names(self, menu):
        """
        Prepare a list of template names that will be check for an existing template.
        """
        template_names = []
        prefix, suffix = ("treenav", ".html")
        for ancestor in menu.get_ancestors():
            template_names.append(f"{prefix}/menuitem{suffix}")
            template_names.append(f"{prefix}/{menu.slug}{suffix}")
            prefix += f"/{ancestor.slug}"
        template_names.append(f"{prefix}/menuitem{suffix}")
        template_names.append(f"{prefix}/{menu.slug}{suffix}")
        template_names.reverse()
        return template_names

    def render(self, context):
        args = []
        for arg in self.args:
            try:
                args.append(arg.resolve(context))
            except VariableDoesNotExist:
                args.append(None)

        kwargs = {}
        for k, arg in self.kwargs.items():
            try:
                kwargs[k] = arg.resolve(context)
            except VariableDoesNotExist:
                kwargs[k] = None

        return self.render_with_args(context, *args, **kwargs)

    def render_with_args(self, context, *args, **kwargs):
        raise Exception(
            "%s does not implement render_with_args", self.__class__.__name__
        )

class SingleLevelMenuNode(CaktNode):
    """
    Renders the nth-level items of a named Menu model object.
    """

    def render_with_args(self, context, slug, level):
        level = int(level)
        menu = get_menu_item(slug)
        if not menu:
            return ""
        parent_context = context
        context = new_context(parent_context)
        root = menu.to_tree()
        if "request" in context:
            active_leaf = root.set_active(context["request"].META["PATH_INFO"])
        else:
            active_leaf = None
        if active_leaf:
            context["active_menu_items"] = active_leaf.get_active_items()
            if len(context["active_menu_items"]) <= level:
                return ""
            context["menuitem"] = context["active_menu_items"][level]
        elif level == 0:
            context["menuitem"] = root
        else:
            return ""
        context["full_tree"] = False
        context["single_level"] = True
        templates = self._prepare_template_names(context["menuitem"].node)
        return render_to_string(templates, context)

# Usage example:
# {% single_level_menu "main" 6 %}
@register.tag
def single_level_menu(parser, token):
    tag_name, args, kwargs = parse_args_kwargs(parser, token)
    return SingleLevelMenuNode(*args, **kwargs)

class MenuNode(CaktNode):
    """
    Renders the top-level items of a named Menu model object.
    """

    def render_with_args(self, context, slug, full_tree=False):
        # don't modify the parent context
        parent_context = context
        context = new_context(parent_context)
        menu = get_menu_item(slug)
        if not menu:
            return ""
        root = menu.to_tree()
        if "request" in context:
            active_leaf = root.set_active(context["request"].META["PATH_INFO"])
        else:
            active_leaf = None
        if active_leaf:
            context["active_menu_items"] = active_leaf.get_active_items()
        context["menuitem"] = root
        context["full_tree"] = "True" == full_tree
        template_names = self._prepare_template_names(root.node)
        return render_to_string(template_names, context)

@register.tag(name="show_treenav")
def show_treenav(parser, token):
    tag_name, args, kwargs = parse_args_kwargs(parser, token)
    return MenuNode(*args, **kwargs)

class RenderMenuChildrenNode(CaktNode):
    """
    Renders the children of the given MenuItem model object.
    """

    def __init__(self, item):
        self.item = template.Variable(item)

    def render(self, context):
        parent_context = context
        item = self.item.resolve(parent_context)
        context = new_context(parent_context)
        context["menuitem"] = item
        context["full_tree"] = parent_context["full_tree"]
        templates = self._prepare_template_names(item.node)
        return render_to_string(templates, context)

@register.tag(name="render_menu_children")
def do_render_menu_children(parser, token):
    menu_path = token.split_contents()
    return RenderMenuChildrenNode(menu_path[1])

class ActiveMenuItemsNode(CaktNode):
    def render_with_args(self, context, slug):
        parent_context = context
        context = new_context(parent_context)
        menu = get_menu_item(slug)
        if not menu:
            return ""
        root = menu.to_tree()
        if "request" in context:
            active_leaf = root.set_active(context["request"].META["PATH_INFO"])
        else:
            active_leaf = None
        if active_leaf:
            context["active_menu_items"] = active_leaf.get_active_items()
        return render_to_string("treenav/menucrumbs.html", context)

@register.tag()
def show_menu_crumbs(parser, token):
    tag_name, args, kwargs = parse_args_kwargs(parser, token)
    return ActiveMenuItemsNode(*args, **kwargs)

redpajama_set_name: RedPajamaGithub


text:
Q: Nested transactions and @@trancount count (issue with the practice question for 70-761) Got a practice question from Measure up and not sure if it is badly worded or I'm missing something regarding nested transactions.
Basically gives me a definition of a stored procedure and states

When the sp is run, what is the value of @@trancount?

I get that SQL Server only cares about the outer transaction but @@trancount should be 0 since everything is committed and if it fails everything is rolled back which would still be 0 but it is telling me it should be 1.
It doesn't specify in the code where the @@trancount is run but the wording suggest it is run after the sp is executed.
I ran the sp with some dummy data with @@trancount at the end and got 0.
Create Procedure dbo.up_CreateSalesInvoice
(
  @Date date,
  @customerID int,
  @stockItemID Int,
  @quantity int,
  @unitPrice decimal(8,2),
  @invoiceID int out
)
As
Begin
    Declare @retval int;
    Begin Transaction;
    Begin Try

        Begin Transaction;
        Insert into dbo.SalesInvoice (invoiceDate, CustomerID)
        Values (@date, @customerID);
        Set @invoiceID = Scope_identity();
        Commit Transaction;

        Begin Transaction;
        Insert into dbo.SalesInvoiceLine (InvoiceID, StockItemID, Quantity,
        UnitPrice)
        Values (@InvoiceID, @stockItemID, @quantity, @UnitPrice);
        Commit Transaction;

        Commit transaction;
        set @retval = 0;
    End try
    Begin catch
        Rollback Transaction;
        Set @retval = 1;
    End catch
    Return @retval;
End ;

Expect @@trancount to be 0 as there are no open transactions for it to count.

redpajama_set_name: RedPajamaStackExchange


There is a good reason why Gilbert and Sullivan operettas (or "operas" as they called them) are always with us. When well sung, well acted, well directed and elegantly staged, there are few works anywhere that provide greater entertainment for a wider audience, from schoolchildren to pensioners. No librettist ever offered wittier or more beautifully shaped lyrics, with more intricate rhyme schemes than W. S. Gilbert.
Last night's Patience, presented by Odyssey Opera under the direction of Gil Rose and staged by Frank Kelley, was simply a triumph, receiving the kind of audience response that would have delighted Gilbert and Sullivan themselves when the work first appeared in 1881.
What makes any Gilbert and Sullivan show work as well, as Patience does in this production is the presence of real singers who are also fine actors. That seems obvious enough, but many have been the productions of these works in which good comic actors have lacked the voice or good singers did not have the acting chops. Such was not the case in the Odyssey Opera production.
In the principal male roles of the rival poets Bunthorne and Grosvenor, Aaron Engebreth and Paul Max Tipton were perfect foils for one another in their different "aesthetic" styles. Engebreth was the moody and fitful poet, pretending to be aesthetic in order to attract a crowd of young female followers. His "poetic" mannerisms and his costume – an avocado velvet suit, long hair, with a long-stemmed flower in his hand – was gloriously parodistic, and funnier still when he explicitly reveals to the audience that he is phony. Tipton, as Grosvenor, plays his character's amour-propre for all that it is worth, made all the funnier because it seems to be essentially innocent on his part.
James Maddalena brings years of experience as a singing actor to the role of Col. Calverley, a sturdy British officer with all the sense of entitlement that come with the rank, yet amusingly confused about the ladies' passion for an aesthetic poet. He could run off the recipe for a Heavy Dragoon in Gilbert's complicated patter lyrics and in the next moment show he was fully in charge of his regiment. His second act attempt to try appearing aesthetic was a highlight.
Gilbert and Sullivan tenors all too often sound reedy and underpowered. This was not at all the case with Steven Goldstein, who filled the role of the Duke of Dunstable most happily, both in his lyric tenor, which had a lovely float, and in his stalwart acting as the smallest, yet socially most prominent, of the soldiers. The third of the officers, Major Murgatroyd, was smartly played by Sumner Thompson, whose voice and antics beautifully matched those of the other two officers.
Perhaps surprisingly, the biggest hit in the show was made by Janna Baty as Lady Jane. This would be no surprise to anyone who has heard her in previous performances here in which she showed both her vocal art and her remarkable acting ability. I particularly remember the tragic role of the Duchess, extremely challenging both musically and dramatically, in Thomas Adés's Powder Her Face in 2003, and the extremely funny performance of the widow Popova in William Walton's The Bear two years ago. The surprise comes because Lady Jane is one of those older female characters, of whom it is often said that Gilbert was cruel in their dramatic treatment. To be sure, Jane is considerably older than the other lovesick maidens of the chorus, yet she has a strength superior to any of them, and a common sense beyond theirs. And in the person of Janna Baty, the role of Lady Jane has an actress/singer who can play it for full strength and full comic effect.
was usually performed with the actress holding a double bass, or perhaps a cello, in order to mime the bass line of the orchestra, which is by turns both poignant and dramatic. Until this production, I had never seen Lady Jane actually play the cello while singing the number. It seems that Janna Baty studied cello as a girl, though she says she has not touched it for well over a quarter-century. Nonetheless, her determined performance on the instrument played right into the character of Lady Jane and made the number one of the highlights of the show. So overwhelming was the audience response that she actually broke character and returned to the stage to take a bow before the show could continue. And, amidst a cast received with great enthusiasm during the curtain calls, the response to her appearance was utterly ecstatic.
Frank Kelley, the stage director, is well known in Boston musical circles for many years of varied activity as a tenor. This was his first appearance as a director for Odyssey Opera, though he actually appeared in a singing role in the first opera of this Oscar Wilde-based season. But in Patience showed real talent in a new capacity, with an excellent sense of directing actors for comic effect and employing the space on the stage when there is a large mass of people moving around, as always happens with two choruses and soloists in a Gilbert and Sullivan production. Seeing this hitherto hidden talent revealed so effectively is one of the specific pleasures of this production.
Gil Rose's range as organizer and conductor of Odyssey Opera (as well, as of the Boston Modern Orchestra Project) is so well known that it hardly needs reporting here, except to say that once again he has chosen musicians of exceptional quality for the stage, as well as a first-rate orchestra of modest size (twenty-seven instruments — fourteen strings balanced by six winds, six brass, and one percussion) to play Sullivan's marvelous orchestrations. His theatrical timing, too, is also well known. In this performance, responding to audience enthusiasm, he allowed two encores, to the audience's delight: the duet of Bunthorne and Lady Jane, and the duet of Bunthorne and Grosvenor.
Choreography—both delicate and amusing—was by Larry Sousa. Dan Daly designed the two sets, both with an "aesthetic" feel to them. Costumes by Amanda Mujica, with hair and make-up designs by Rachel Padula-Shufelt equally captured the spirit of the piece with variety, charm, and wit. Christopher Ostrom did the lighting design.
It is a shame that Patience runs only twice because it should be seen by many, many people, especially audiences relatively new to the theater who may not know the work of Gilbert and Sullivan at all, and who would be amazed and delighted by effects produced in the old "simple" style of theatrical production, with only one set per act, and emphasis on the witty story, the brilliant words, and the ever-delightful music.
Patience was the perfect ending to an Oscar Wilde-based season that offered an opera based on his one novel, another setting a compact form of most famous play, and a third based on a short story. Finally we end with a work in which he was possibly parodied to some degree, and also involved in its marketing and fame.
But most of all, Patience was simply an utterly delightful evening in the theater, whether for Savoyards of long standing or newcomers to this brilliant repertory.
Ed. Note: A paragraph on the three soloists from among the "rapturous maidens" chorus accidentally deleted from the the original submission has been restored.
It is always a pleasure to see G&S performed by professionals, and this one was no exception. I am in almost total agreement with Steven Ledbetter on this review, though I have a few further observations.
First off, the orchestra was superb, and hearing a first-rate performance highlights how tricky Sullivan's seemingly effortless writing can be to play. Second, not only was Steven Goldstein spot on in his acting and singing, I got a chuckle out of the fact that the quality of his voice is so similar to that of…Frank Kelley! And third, yes, I have seen Lady Janes play the cello (the libretto does call for it, meaning presumably that the singer who first played the role could do so), and it's great that Janna Baty has that skill in her background (and she made the most of it). Oh, and did I mention, that Aaron Engebreth is simply the best Bunthorne I have ever seen?
My only quibbles with the production were that, first, while it's marvelous to have a real opera singer of James Maddalena's caliber taking the patter baritone role, doing G&S patter songs is a specialty in its own right, and Maddalena just couldn't spit out all those syllables with the clarity you get from lesser singers who train assiduously for this kind of part. And second, there were a couple of places where Kelley's direction undercut Gilbert's lyrics, as where Bunthorne is supposed to feign aloofness from his admirers, the better to counterpoint lines like "round the corner I can see/Each is bending on her knee." Here, Kelley had Bunthorne in the midst of the women, where he could not avoid paying attention.
Still, these are just quibbles, and if anyone has the slightest interest in seeing how G&S is performed when done properly, they should get to tonight's performance.
Janna Baty OWNED the stage with her every appearance but her big number was the crowning achievement. I have never seen a Lady Jane who began to approach what she achieved, her whole performance illuminated by joy in performing. Having written a role for her in the libretto of an opera some years ago, I also know her to be a great colleague.
My husband and I travelled from Roanoke Virginia to see our favorite opera performed, and the performance was more than vaut le voyage! My only sorrow is that we did not manage to connect with the other dear friends who attended the performance Friday night (and commented on the wonderful review).
Many thanks to Sara Heaton, Stephen Goldstein, and of course our Janna. I"m surprised you were surprised at her astonishing characterization of Lady Jane, Stephen! Janna can do ANYTHING, including play the cello brilliantly.
Many thanks to Odyssey Opera and to Gil Rose. Whatever Janna, surprisingly, cannot do, Gil certainly can!


Daytona International Speedway is hallowed ground for racers across the nation and while Rob Fuller, owner and driver of Rob Fuller Motorsports is entering his 25th year in racing, he will be making his driving debut at the famed speedway on Tuesday, Feb. 18 in the UNOH Battle At The Beach.
The non-points event combines the NASCAR Whelen Modified and Whelen Southern Modified Tours and is in conjunction with the first race of the season for the NASCAR K&N Pro Series East.
Fuller's sponsor, 15-40 Connection, will also make its debut at "The World Center of Racing" as the race team partnership extends to a second season. The non-profit is committed to raising awareness of the fact that cancer survival rates in teens and young adults ages 15 to 40 have barely improved since 1975 in large part because of delays in diagnosis. The group empowers individuals with knowledge that will save and improve lives through early cancer detection.
In addition to the historic moment of racing at Daytona for the first time, the start of the 2014 season marks Rob Fuller's 25th year in racing. Continuing his family legacy, Fuller has found success across many positions and aspects of the sport he grew up in. From racing quarter midget race cars at age 5 to becoming known as one of the fastest tire changers in NASCAR, Fuller has enjoyed a long career in motorsports and continues to build his family's legacy.
The UNOH Battle At The Beach race will be broadcast live on FOX Sports 2 on Feb. 18 starting at 7:00 p.m. ET. Radio broadcast partner, Motor Racing Network (MRN) will go on the air starting with a pre-race show at 6:45 p.m. with a live stream at MRN.com and simulcast on SiriusXM NASCAR Radio Ch. 90.
Coverage of the 48th Annual World Series of Asphalt Stock Car Racing at New Smyrna Speedway is available at newsmyrnaspeedway.org and speed51.com.


text:
Paskal & Urban Absolutes sound like the perfect invented band name.
But Alexander released under the moniker Paskal, as well as Adrian as Urban Absolutes, music long before the two got together in late summer 2009 to conquer new frontiers.
And as it is when two like-minded creative spirits join forces the sum is always much bigger than its mere addition. That's what also Sonar Kollektiv's A&R manager and member of Jazzanova, Alex Barck soon found out and it didn't take a lot of persuasiveness to sign the duo to his label in 2012.
Actually for Alex and Adrian this new home is exactly the environment where they feel at ease and want to get a move on. The love for electronic dance music between the poles of pop, downtempo and house is eventually what made Sonar Kollektiv one of the most prestigious label in the world over the last 16 years. A love shared by Paskal & Urban Absolutes unconditionally head over ears.
You can hear that on all of their numerous releases and remixes (f.e. also for Quintessentials, Farside Records, Peppermint Jam and Shaboom), as well as now especially on their debut album for Sonar Kollektiv. Despite the geographical distance (Alexander lives Berlin, Adrian in Düsseldorf) the twosome even intensified their collaborative work over the last few months and developed their very own signature sound. It's a sound you can distinctively observe that the communication isn't based on the internet rather on face- to-face contact, be it in Adrian's studio in Düsseldorf or at Alex' place in Berlin.
In these endless sessions music is created full of blood, sweat and tears.
Because, contrary to what you learned in school, one and one is not two, but: Paskal & Urban Absolutes.
Soundcloud / Facebook / Youtube / #Paskal&UrbanAbsolutes

redpajama_set_name: RedPajamaCommonCrawl


Earned the Middle of the Road (Level 14) badge! Earned the I'll Be Bock badge!
Chris L. is drinking a Baby Come Bock by Bear Republic Brewing Co.
Nick S. is drinking a Baby Come Bock by Bear Republic Brewing Co.
sean o. is drinking a Baby Come Bock by Bear Republic Brewing Co.
Mark F. is drinking a Baby Come Bock by Bear Republic Brewing Co.
Dan A. is drinking a Baby Come Bock by Bear Republic Brewing Co.
Daniel R. is drinking a Baby Come Bock by Bear Republic Brewing Co.
Bill C. is drinking a Baby Come Bock by Bear Republic Brewing Co.
Too much hops for a Bock.
Love the oak, creamy, malty sweetness, with a marzipan finish.
Bear Republic Brewing Co.: Cheers Chris!
Jack B. is drinking a Baby Come Bock by Bear Republic Brewing Co.
Oak aged dry hop bock. Yum!
Bear Republic Brewing Co.: Cheers Alexis!
Earned the Bar Explorer (Level 3) badge! Earned the Land of the Free (Level 19) badge!
dan is drinking a Baby Come Bock by Bear Republic Brewing Co.
jack d.: Great beer name!


text:
Q: jQuery Datatables - Return only first 5 rows in table from search I know I can filter the rows by:
var table = $('#example').DataTable();
//#column3_search is a <input type="text"> element
$('#column3_search').on( 'keyup', function () {
    table.columns( 3 ).search( this.value ).draw();
});

How do i return for example only the first 3 results out of this search?

A: Use the option pageLength
$('#example').dataTable( {
  "pageLength": 3
} );

or try adding page.len(3) before .draw() (doc: https://datatables.net/reference/api/page.len())
table.columns( 3 ).search( this.value ).page.len(3).draw();

Solution with a custom filtering (as in https://www.datatables.net/examples/plug-ins/range_filtering.html)

DataTables provide an API method to add your own search functions,
  $.fn.dataTable.ext.search. This is an array of functions (push your
  own onto it) which will will be run at table draw time to see if a
  particular row should be included or not.

Use
$.fn.dataTable.ext.search.push(
    function(settings, searchData, index, rowData, counter) {
      var maxIndex = 4;
      if (counter <= maxIndex) {
        return (true);
      }
      return false;
    }
  );

here I set maxIndex = 4 to include only the first 5 rows of the search results.
Demo here: https://jsfiddle.net/user2314737/nk0m2ekv/


text:
- Node 4.6.2

## v1.1.1

- If internal Mongo is used, send it to the background (`--fork` required a logfile that would just keep getting larger indefinitely)
- Add default `MONGO_URL` for internal mongod (fixes #22)
- Move `$STARTUP_DELAY` after the mongod startup and add details to the readme
- Send the `meteor build` warning about building as root to /dev/null (since some people have assumed this is an error and the build can take a long time in larger apps).  The warning is irrelevant in this case because all permissions are updated after the build and the app is then run by a non-root user.

## v1.1.0

- update meteor build script to use `METEOR_ALLOW_SUPERUSER` in the build.  Discontinues support of Meteor 1.4.2.  Please update to Meteor 1.4.2.1 if you are currently on 1.4.2
- allow optional install of Graphicsmagick using launchpad.conf - Thanks @un1x86! (#20)
- update gosu to 1.10

## v1.0.0

- Add Docker build versioning to CI build.  Every tag in the form `vX.X.X` will now create and push a new build on CircleCI and update the `:latest` tag. You can now use `jshimko/meteor-launchpad:latest` to always use the latest, or you can pin a specific version with `jshimko/meteor-launchpad:v1.0.0`.  See all available builds here: https://hub.docker.com/r/jshimko/meteor-launchpad/tags/

This is also the last/only version of Meteor Launchpad to support Meteor 1.4.2.  The [issue with using Meteor commands as root](https://github.com/meteor/meteor/issues/7959) introduced in 1.4.2 caused a big problem for this image because it meant the build scripts would _only_ work for Meteor 1.4.2 or later (long story).  [This fix in 1.4.2.1](https://github.com/meteor/meteor/pull/7975/commits/e4acc36f63f98243237b5e6b3e46b083822b95fd) addresses that problem and now allows this image to support any version of Meteor >=1.3 (except 1.4.2 - which you should definitely upgrade if you are using it).


text:
A Way Out es un videojuego de acción-aventura desarrollado por Hazelight Studios y distribuido por Electronic Arts. Es el segundo videojuego dirigido por Josef Fares, después de Brothers: A Tale of Two Sons. Fue anunciado en el E3 2017, y solo se puede jugar en línea o local en cooperativo a pantalla partida entre dos jugadores, sin posibilidad de jugarlo solo. Fue lanzado el 23 de marzo de 2018 para PlayStation 4, Xbox One y Microsoft Windows.

Jugabilidad
A Way Out es un videojuego de acción-aventura jugado desde la perspectiva de tercera persona. Está diseñado para ser jugado en cooperativo a pantalla partida, lo que significa que debe ser jugado con otro jugador tanto en línea como local. En el juego, los jugadores controlan a Leo y Vincent, dos convictos que escapan de prisión y deben evitar a las autoridades. Sus historias se desarrollan de forma individual, y deberán trabajar juntos para sobrevivir.

Los jugadores tienen la posibilidad de invitar a otro jugador, y este puede descargar la prueba gratuita del juego y así poder jugar gratis mientras el otro jugador esté conectado.

Desarrollo
El videojuego fue desarrollado por Hazelight Studios, un pequeño grupo de desarrolladores en Suecia dirigido por Josef Fares. La producción del videojuego se anunció en 2014 junto con la presentación de Hazelight. Fue desarrollado empleando mecánicas de captura de movimiento para hacerlo ver más real. Para centrarse en la dirección del videojuego, Fares, quien también es director de cine, canceló el rodaje de una película.

Recepción

Crítica
A Way Out fue recibido con críticas generalmente positivas por parte de los analistas de videojuegos.

El periodista Álvaro Castellano de la página 3DJuegos, comenta que «A Way Out es toda una alegría para quienes buscan algo diferente en el mundillo de los videojuegos, especialmente para los que buscan una experiencia que solo se puede disfrutar en cooperativo y que saca lo mejor del juego acompañado. El creador de Brothers: A Tale of Two Sons vuelve a sorprendernos con otra historia muy personal en la que lo que de verdad importa es eso, lo que se nos cuenta. Por el camino hay una jugabilidad no demasiado profunda, pero sí muy variada y perfectamente capaz de mantener nuestro interés durante las seis horas que nos llevará superarlo".

Sam Loveridge del portal GamesRadar opina que «A Way Out supera a los juegos cooperativos de una manera como nunca antes se había hecho, reuniendo a los jugadores para crear una historia bellamente contada que todos deben experimentar».

Colin Campbell de Polygon, destaca que «la capacidad de pasar tiempo con los personajes, y con mi compañero de jugador, es la mayor fortaleza de A Way Out, incluso si los detalles a veces carecen de dinamismo. A Way Out tiene muchas fallas, pero la falta de corazón no es una de ellas. Ver que el corazón se traduce en una experiencia de juego cooperativa hace que el viaje valga la pena».

Juan Rubio del sitio web Vandal, asegura que «el juego es una sorpresa constante, una experiencia variada con un ritmo acertadísimo y momentos para el recuerdo. Además, el concepto es muy original y la ejecución es excelente, y el poder jugarlo tanto online como offline con una única copia es la guinda del pastel».

Ventas
En abril de 2018, Hazelight Studios anunció a través de su cuenta de Twitter que A Way Out había logrado vender más de un millón de copias.

Referencias

Enlaces externos

Videojuegos de acción-aventura
Videojuegos cooperativos
Videojuegos de Electronic Arts
Videojuegos multijugador
Videojuegos para PlayStation 4
Videojuegos para Xbox One
Videojuegos para Windows
Videojuegos con motor Unreal Engine
Videojuegos de 2018
Videojuegos sobre la cárcel

redpajama_set_name: RedPajamaWikipedia


Shopping is a factor that lots of women enjoy. Window-shopping is a good activity. The woman takes her time and energy to change from one store to a different to evaluate and compare store prices. The majority of females do not require expert shopping tips because shopping is actually natural on their behalf. However, you'll find some that.
In my opinion shopping can be a talent. Girls have even made personal shopping employment where they're doing other people trying to find them and acquire paid out. Doing something already enjoy and achieving paid out to make it happen is actually an aspiration be realized for just about any personal shopper.
The mall is really a well-loved place where women visit buy clothes, shoes, jewelry, gifts, phones, and household items like bed mattress linen, bathroom rugs, containers, pans, and lamps. Women are passionate about the 2009 a while and delight in trading several hours and cargo of cash on buying items that peak their interest or that could fit.
People frequent certain occasions of year for gift items. Christmas, Birthday festivities, Valentine's, Easter time time, Mothering sunday and Father's day really are a couple of big day that needs trying to find family people, pals and co-workers. For birthday festivities, women search for their husbands, children or boyfriend. Birthday gifts change from books, clothing, games to health health spa treatment or eating at restaurants. Children's birthday gifts are simpler for girls to buy since they usually understand that toys, games, books, and clothing are what most children love anyway. Valentine's shopping includes flowers and chocolate additionally to some balancing out and about.
Christmas is when the majority of females spend their funds on family and pals. This is where commercial shopping meets bank card obligations. Women go all to purchase items for Gifts and do not consider the aftermath in the bills which follow. The following day of Thanksgiving is yet another large shopping day for a lot of American women. They awaken early every morning to sign up a extended kind of customers to purchase reduced items especially jewelry. This purchase prepares those to fill the Christmas gift wrappers and stay away of trading more earnings than necessary. It is usually amazing to check out women stampeding and pushing each other the moment the store entrance doors are opened up up.
Easter time time is principally bunnies, eggs, gourmet gourmet gift baskets and cards. The time has come of the season when women get sentimental and try Easter time time because of their children and also, since they love the summer season. Children prefer to fresh fresh paint eggs and possess egg-hunting contest. Women tends to buy the eggs making the gorgeous gourmet gourmet gift baskets and bunnies to produce their children look wonderful within the school event.
Mothering sunday and Father's day tend to be personalized. According to just what the woman's parent loves, that is what she'll search for. A parent or gaurdian may love diamonds, household goods, a mothering sunday card, gift certificates, flowers, along with other options. Fathers may like things like jewelry, apparel, gift certificates and even more. Each lady knows what her parents love and can shop regularly from time to time.


Our most recent snow storm finished this AM, light powdery stuff that is easy to shovel but not for making snow balls. We got about 10". The Arctic wind is coming in soon dropping our balmy 11 degrees F to minus 20 degrees F below zero tonight. Our wind chill is now minus 14 degrees F but it will fall to minus 40 degrees F below zero tonight. BURRRR!
I've gotten my shoveling done and now having a cup of hot cocoa.
I'd gladly take that cold off your hands if I could, it's fairly normal winter temperatures for us.
Instead we've got a few days of just barely below zero degrees C. The snow has become wet and heavy and it's very slippery outside. My sister even got light concussion slipping on the ice yesterday.
I'll take freezing cold and beautiful fluffy snow over this sweaty, slippery troll snot any day.
Now snow! But we got hail? This is pretty rare for my location.
It snowed lightly last week for me. It used to snow a lot more.
Nope, hasn't snowed at all this winter.
Only a dusting so far here in Midwest US.
We had lots of snow about a month ago. Now nothing. I'm not a fan of snow, so I hope it will stay like this for the rest of the winter.
Finally snowed some here today. Was pretty.
Yep. Looks like a snowstorm, today.
It hasn't snowed here since I moved here 15 years ago. According to weather records it hasn't snowed here since 1932. We did have a bit of a hail storm about 10 years ago that turned our grass white-ish with tiny hail balls, but never snow.
You are kidding ? I am in the northern UK, and have been snowed in for 48 hours now; it is chucking it down, and about 18 inches deep plus drifts. It is supposed to continue through the weekend.
I'm North West and while it's not that bad the kids have a day off school today.
It's not snowing right at this moment but there's a lot of snow around. I bet it'll still snow in May just like it did last year.
Yeah - I saw that Cumbria's not that bad. I'm on the edge of Northumberland, near Alston and - NO chance. I can't even see across our yard at the moment.
Speaking of which, it's possible that tonight it went all the way down to like -33°C here. In the morning it was -20°C.
Apparently my old home that I just moved away from a couple months ago just got snow. Well, snow in the hills/mountains, and then some hail in the actual urban areas.
The place I live now will probably never see snow. Which is fine with me, I don't do well in super cold weather.
We're expecting heavy snow this afternoon and into Friday morning. It's so bizarre, just yesterday it was 13 degrees and sunny. Plenty of people (myself included) were out and about in t-shirts!
More snow. And an earthquake (only a little one) yesterday. Another snow day for the kids so they're happy. How's it going over there @Fuzzbucket?
Lots of snow here. Expected to continue until Monday.


text:
Q: Chong Wei's B sample being tested
Chong Wei's B sample being tested, faces agonising wait for result.

What does the "being" means in the sentence above?
Is it means the sample is still testing?
Reference: thestar.com.my

A: Yes, it means that the sample is currently undergoing testing while Chong Wei waits.
It's a good example of journalism-ese.  News editors (even in the age of the internet) often need to shorten or abbreviate a statement so that it can fit into a given amount of space.  In this case the shortening is quite severe, so much so that someone unfamiliar with the story has a hard time figuring out what it is about.
In proper English this would be:

Chong Wei's B sample is being tested; until the result is released, he faces an agonizing wait.


text:
University of Michigan Museum of Zoology University of Michigan
About Animal Names
Browse Animalia
Lepus callotiswhite-sided jackrabbit
By Aarti Dharmani
Geographic Range
Communication and Perception
Economic Importance for Humans: Positive
Economic Importance for Humans: Negative
Lepus callotis ranges from southern New Mexico to northwestern and central Mexico. (Best and Henry, 1993; Hall, 1981)
Biogeographic Regions
Lepus callotis inhabit high plateaus at high elevations, including the grassy plains of southwestern New Mexico and the open plains of the southern Mexican tableland. They avoid hilly areas by selecting for level grassland topography with few shrubs. ("Grizmek's Encyclopedia of Mammals, Volume 4", 1990; Best and Henry, 1993)
Habitat Regions
savanna or grassland
Lepus callotis body length ranges from 432 to 598 mm, tail length from 47 to 92 mm, hid foot length 118 to 141 mm, and ear length from 108 to 149 mm. The forepaws have five toes while the back paws have four. All toes end in sturdy claws. Some sexual dimorphism is present; females are generally larger than the males.
The dorsal pelage of Lepus callotis is short and coarse. The color is pale ochraceous-cinammon color heavily mixed with black. The underparts are white with traces of colored patches in front of the thighs. The tail has black hairs tipped with white on the upper surface and is all white on the underside. The sides are distinguishable from other Lepus species in that they are pure white. The rump and thighs are also white and lined with a few black hairs. A median black line concealed by sooty, brownish, and white-tipped hairs divides the rump. The limbs are white, but their outer surface is stained a buffy color. The gular pouch is also buffy while the sides of the neck and shoulders become more ochraceous in color. The head is a cream buff color, mixed with black, with whitish areas around the sides of the eyes. The ears are covered with short yellowish brown hairs that are mixed with black anteriorly and white posteriorly. The apex of the ear is white-tipped. Below the apex of the ear is a tuft of black hair. The long fringes on the anterior edge of the ear are ochraceous buff while the fringes of the tip of the ear and posterior edge are white. The inner surface of the ear is almost bare except for a dusky spot on the posterior border. The nape is ochraceous buff in color.
The winter pelage of Lepus callotis is iron gray on the rump, back, and outside of the hind legs. The front of the hind legs and the tops of the feet are white. The front of the fore legs and top of the forefeet range from a pale gray to a dull iron-gray. The median black line of the rump is not strongly distinguishable and does not extend much further than the base of the tail. The top, sides, and tip of the tail are black while the underside is two-thirds white and one-third black. The top and sides of the head and back are dark-pinkish buff overlaid with black. The nape is usually black. The ears are dark bluff, black, and white. The front border of the ears are fringed with buff or ochraceous buff hairs, and the posterior border and tip are white. The underside of the neck is dark grayish bluff and the remaining underparts, including the flanks, are white. ("Grizmek's Encyclopedia of Mammals, Volume 4", 1990; Best and Henry, 1993; Hall, 1981)
Other Physical Features
homoiothermic
female larger
Range mass
2 to 3 kg
4.41 to 6.61 lb
Range length
432 to 598 mm
17.01 to 23.54 in
The breeding season of Lepus callotis is a minimum of 18 weeks, occurring from mid-April to mid-August. The average number of young per litter is 2.2. The young tend to have a soft, woolly coat in early life and attain sexual maturity at a rapid rate. Breeding in Lepus does not begin within the first calendar year following their birth. ("Grizmek's Encyclopedia of Mammals, Volume 4", 1990; Best and Henry, 1993; Nowak, 1999)
Key Reproductive Features
iteroparous
seasonal breeding
gonochoric/gonochoristic/dioecious (sexes separate)
viviparous
Breeding season
Breeding occurs from mid-April to mid-August.
Average number of offspring
Parental Investment
precocial
Most activity of Lepus callotis occurs during the night or at dusk, particularly on clear nights with bright moonlight. Their activity may be limited by cloud cover, precipitation, and wind, but temperature has little effect. The escape behavior consists of alternately flashing its white sides when running away. Lepus callotis, when escaping, make rather long, high leaps. When startled by a or alarmed by a predator, they leap straight upwards while extending the hind legs and flashing the white sides. In its resting position, a white-sided jackrabbit is camouflaged with its surroundings. The long hind legs and feet are adapted for speed, giving the animal lift and an ability to run in a zigzag fashion that surpasses its pursuers. The long ears serve to locate sound as well as regulate temperature when they are raised like a fan to catch passing breezes in hot conditions. The eyes, like those of most nocturnal animals or animals that are active at dusk, are laterally arranged, giving them a complete field of vision (360 degrees). As a result, approaching danger can be perceived in advance.
A conspicuous trait of Lepus callotis is its tendency to occur in pairs, usually one male and one female. They exhibit a pair bond that is most evident during the breeding season. After establishment of the pair bond, the male defends the pair from other intruding males. The purpose of such pair bonds may be to keep the sexes together in areas of low density. The members of the pair are usually within 5 meters of each other and run together when approached by intruders. The pair bond may not be broken during pregnancy.
Lepus callotis construct and utilize shelter forms averaging 37 cm in length, 18.3 cm in width, and 6.3 cm in depth. The shelter form is usually located in clumps of grass and surrounded by dense stands of tabosagrass. Lepus callotis may also occupy underground shelters, but this behavior is rare. Lepus callotis forages by chewing and pulling grass blades near the ground until they are either uprooted or broken off. The food is ingested by chewing the grass that is sticking out of the mouth, with the head raised and the body sitting in a crouched position. The forepaws are not used in feeding except to brace Lepus callotis against the ground as the grass is bitten off or uprooted. When eating sedge nutgrass, however, the forepaws are used to excavate the bulbous tubers, leaving behind oval foraging depressions in which fecal pellets are often deposited. ("Grizmek's Encyclopedia of Mammals, Volume 4", 1990; Best and Henry, 1993; Nowak, 1999)
Key Behaviors
terricolous
motile
Lepus callotis has three types of vocalizations. The alarm or fear reaction consists of a high-pitched scream. Another sound, emitted by males in a pair when approached by an outside intruding male, is a series of harsh grunts until the intruder leaves or is chased away. A third vocalization, consisting of a trilling grunt is heard during the sexual chase of Lepus callotis, however, it is not known which member of the pair makes this sound. ("Grizmek's Encyclopedia of Mammals, Volume 4", 1990; Best and Henry, 1993; Nowak, 1999)
Perception Channels
The diet of Lepus callotis consists primarily of grasses including buffalograss, tabosagrass, fiddleneck, wolftail, blue grama, vine mesquite, ring muhly, wooly Indian wheat, and Wright buckwheat. The significant non-grass item found in their diets was sedge nutgrass. (Best and Henry, 1993; Nowak, 1999)
Primary Diet
folivore
granivore
wood, bark, or stems
In general, various species of Lepus are used as food, and their fur may be used in manufacturing felt or for trimming gloves and other garments. No specific economic importance is noted for Lepus callotis. ("Grizmek's Encyclopedia of Mammals, Volume 4", 1990; Nowak, 1999)
body parts are source of valuable material
Species of Lepus that live in settled areas are often considered pests because of the damage they to crops, orchards, and young forest trees. No specific adverse economic effects are noted for Lepus callotis (Grizmek 1990; Nowak 1999).
Lepus callotis is considered endangered throughout its range in Mexico and southwestern New Mexico. Lepus callotis commonly comes into contact with agriculture. As a result, the overgrazing of domestic livestock may be one of the factors contributing to its decline and the apparent replacement by Lepus californicus, which has been highly adaptable to these habitat changes. Prospects for the survival of Lepus callotis in many parts of its range are considered poor. (Best and Henry, 1993; Nowak, 1999)
Near Threatened
US Federal List
No special status
Aarti Dharmani (author), University of Michigan-Ann Arbor, Phil Myers (editor), Museum of Zoology, University of Michigan-Ann Arbor.
living in the Nearctic biogeographic province, the northern part of the New World. This includes Greenland, the Canadian Arctic islands, and all of the North American as far south as the highlands of central Mexico.
uses sound to communicate
having body symmetry such that the animal can be divided in one plane into two mirror-image halves. Animals with bilateral symmetry have dorsal and ventral sides, as well as anterior and posterior ends. Synapomorphy of the Bilateria.
uses smells or other chemicals to communicate
animals that use metabolically generated heat to regulate body temperature independently of ambient temperature. Endothermy is a synapomorphy of the Mammalia, although it may have arisen in a (now extinct) synapsid ancestor; the fossil record does not distinguish these possibilities. Convergent in birds.
an animal that mainly eats leaves.
A substance that provides both nutrients and energy to a living thing.
an animal that mainly eats seeds
An animal that eats mainly plants or parts of plants.
offspring are produced in more than one group (litters, clutches, etc.) and across multiple seasons (or other periods hospitable to reproduction). Iteroparous animals must, by definition, survive over multiple seasons (or periodic condition changes).
having the capacity to move from one place to another.
native range
the area in which the animal is naturally found, the region in which it is endemic.
active during the night
specialized for leaping or bounding locomotion; jumps or hops.
breeding is confined to a particular season
remains in the same area
reproduction that includes combining the genetic contribution of two individuals, a male and a female
associates with others of its species; forms social groups.
uses touch to communicate
that region of the Earth between 23.5 degrees North and 60 degrees North (between the Tropic of Cancer and the Arctic Circle) and between 23.5 degrees South and 60 degrees South (between the Tropic of Capricorn and the Antarctic Circle).
Living on the ground.
tropical savanna and grassland
A terrestrial biome. Savannas are grasslands with scattered individual trees that do not form a closed canopy. Extensive savannas are found in parts of subtropical and tropical Africa and South America, and in Australia.
A grassland with scattered trees or scattered clumps of trees, a type of community intermediate between grassland and forest. See also Tropical savanna and grassland biome.
A terrestrial biome found in temperate latitudes (>23.5° N or S latitude). Vegetation is made up mostly of grasses, the height and species diversity of which depend largely on the amount of moisture available. Fire and grazing are important in the long-term maintenance of grasslands.
uses sight to communicate
reproduction in which fertilization and development take place within the female body and the developing embryo derives nourishment from the female.
young precocial
young are relatively well-developed when born
1990. Grizmek's Encyclopedia of Mammals, Volume 4. New York: McGraw Hill Publishing Co..
Best, T., T. Henry. 1993. Mammalian Species No. 442. The American Society of Mammalogists.
Hall, E. 1981. The Mammals of North America, Second Edition, Volume I. New York, Chichester, Brisbane, & Toronto: John Wiley & Sons.
Nowak, R. 1999. Walker's Mammals of the World, Sixth Edition, volume II. Baltimore & London: The Johns Hopkins University Press.
ADW Pocket Guides on the iOS App Store!
The Animal Diversity Web team is excited to announce ADW Pocket Guides!
Search in feature Taxon Information Contributor Galleries Topics Classification
Explore Data @ Quaardvark
Kingdom Animalia animals
Animalia: information (1) Animalia: pictures (22861) Animalia: specimens (7109) Animalia: sounds (722) Animalia: maps (42)
Phylum Chordata chordates
Chordata: information (1) Chordata: pictures (15213) Chordata: specimens (6829) Chordata: sounds (709)
Subphylum Vertebrata vertebrates
Vertebrata: information (1) Vertebrata: pictures (15168) Vertebrata: specimens (6827) Vertebrata: sounds (709)
Class Mammalia mammals
Mammalia: information (1) Mammalia: pictures (4389) Mammalia: specimens (6622) Mammalia: sounds (13)
Order Lagomorpha hares, pikas, and rabbits
Lagomorpha: information (1) Lagomorpha: pictures (137) Lagomorpha: specimens (38)
Family Leporidae hares and rabbits
Leporidae: information (1) Leporidae: pictures (96) Leporidae: specimens (29)
Genus Lepus common hares and jackrabbits
Lepus: pictures (35) Lepus: specimens (9)
Species Lepus callotis white-sided jackrabbit
Lepus callotis: information (1)
To cite this page: Dharmani, A. 2000. "Lepus callotis" (On-line), Animal Diversity Web. Accessed January 28, 2023 at https://animaldiversity.org/accounts/Lepus_callotis/
Disclaimer: The Animal Diversity Web is an educational resource written largely by and for college students. ADW doesn't cover all species in the world, nor does it include all the latest scientific information about organisms we describe. Though we edit our accounts for accuracy, we cannot guarantee all information in those accounts. While ADW staff and contributors provide references to books and websites that we believe are reputable, we cannot necessarily endorse the contents of references beyond our control.
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This material is based upon work supported by the National Science Foundation Grants DRL 0089283, DRL 0628151, DUE 0633095, DRL 0918590, and DUE 1122742. Additional support has come from the Marisla Foundation, UM College of Literature, Science, and the Arts, Museum of Zoology, and Information and Technology Services.
The ADW Team gratefully acknowledges their support.


Meryl Streep's self-professed addiction to "Big Little Lies" had the bonus of turning the Oscar-winning actress into a star of the HBO drama's second season.
"Veep" star Julia Louis-Dreyfus doesn't know who she'll support for president in 2020, but she is sure about who she won't.
Louis-Dreyfus was asked her political views while promoting the final, seven-episode season of her HBO series, which begins on March 31. "Veep" has won three Emmys for best comedy series and the series star won four best actress awards.
She's on location shooting a movie in Austria and said via satellite that she's constantly approached by people who ask her opinion on Trump. She says she doesn't hesitate to give an answer.
Makers of the "Free Solo" documentary about Alex Honnold's unaided climb up the rock face of Yosemite's El Capitan say they would have still made the film if Honnold had slipped and fell to his death.
Film editor Bob Eisenhardt said that he believed the film would have been completed to honor Honnold's memory.
The pulse-pounding film about his quest has been nominated for an Academy Award and been a box office smash in a strong year for documentaries, second only to "Won't You Be My Neighbor" in earnings.


text:
A Debate Out of Season
Bishops often speak about the virtue of "collegiality"—their desire to act and speak in one voice. The recent history of the Church illustrates problems arising from the expectation that individual bishops should subjugate their public message in favor of the USCCB. John Cardinal O'Connor and Bernard Cardinal Law were among the first bishops to challenge the demands of collegiality when they condemned Geraldine Ferraro's pro-abortion stance in the 1984 presidential campaign. They couldn't sit silently in the face of a vice-presidential candidate who constantly talked about her Catholic identity and misrepresented core teachings of the Church.
Other bishops have likewise spoken out in subsequent election seasons. The 2004 election was a particularly rowdy year for the bishops. I said at the time that it was a shame that this public discussion of Catholic participation in politics was happening during a presidential campaign. It would have been preferable to ask questions, such as those regarding reception of Communion by pro-abortion Catholic politicians, in a political off-year.
The opportunity for a more dispassionate reflection on and discussion of Catholics in politics comes with the publication of Catholics in the Public Square (Basilica Press) by Bishop Thomas J. Olmsted of Phoenix. The virtue of this book is not only that it is timely and well-written, but that it is short, making it an ideal tool for discussion groups in parishes, schools, and colleges.
Bishop Olmsted is to be congratulated for speaking publicly on a set of issues that have confused lay Catholics who want to be politically involved but remain faithful to Church teaching. He is uniquely suited to the task, having worked in the Vatican Secretariat of State for nine years and possessing a doctorate in canon law.
Bishop Olmsted does not avoid the central issue: He writes that there are "many issues upon which Catholics may legitimately differ. . . .However, there are other issues that are intrinsically evil and can never legitimately be supported. For example, Catholics may never legitimately promote or vote for any law that attacks innocent human life." Frankly, any attempt to provide Catholics guidelines for political action that does not address this basic distinction does not deserve serious attention, because it is avoiding the issue that has framed all the controversies of Catholics in politics since Roe v. Wade in 1973.
The excuse given by pro-abortion Catholic politicians since the 1970s has been their "conscience." They treated the notion of conscience as if it absolved them of any moral obligation they might reject. Bishop Olmsted drives a stake through the heart of that myth: "Before following our conscience, we must form it in accord with the voice of God. Our conscience is not the origin of truth. The truth lies outside us." This is the voice of a teacher, someone who knows how to put profound thought into accessible language. Catholics in the Public Square is filled with illuminating explanations of issues often made complex and convoluted by other commentators, most often those who want to avoid complying with Church teaching on the life issues.
Bishop Olmsted is not the only bishop who has decided to address key issues in a public way. Basilica Press is publishing an entire series of short books called "The Shepherd's Voice Series." Archbishop Jose Gomez of San Antonio has written A Will to Live, examining the ethical dilemmas of death and dying. Francis Cardinal Arinze has taken on a similar group of moral concerns in Draw Near to Me. I recommend calling Basilica Press today to order all three (888-570-5182).
Categorized as Bishops, CatholiCity 2007, Church, Culture, Ethics, Faith, Spirituality, Theology
Pavarotti, a Voice That Will Never Die
Pro-Life Physicians Have Fewer Malpractice Claims


text:
Home :: Space :: Library :: News :: 2014 :: November ::
Space Menu
China plans to launch about 120 applied satellites
People's Daily Online
(Xinhua) 13:28, November 11, 2014
ZHUHAI, Nov. 10 (Xinhua) -- China will launch around 120 more applied satellites to accommodate economic and social needs, a senior executive of China Aerospace Science and Technology Corporation said on Monday.
However, Yang Baohua, deputy general manager of the corporation, did not specify the period of time over which the launches will span.
The Chinese economy will continue to record relatively high growth, generating more demand for aerospace technologies, Yang said at an international aviation and aerospace forum held in south China's Zhuhai city.
'We will focus on building a self-controlled national space infrastructure that can operate continuously and stably for a long time,' Yang added.
China will launch about 70 remote sensing satellites to detect the near-Earth space environment and predict extreme events, according to Yang.
China will also launch about 20 communication satellites to meet communication demand in national security and public services.
In addition, China will launch about 30 navigation satellites to provide accurate and reliable global positioning and navigation services.


Do you have the Palermo Outdoor Dining set in Linen?
Thank you for your interest in the Palermo Modular Seating in Linen Finish. Unfortunately, the Palermo Dining Set in no longer available in the Linen Finish. Only the Palermo Rectangular Dining Table in Linen Finish (67972 LIN) is still available.
Are these pieces available in the dark bronze finish?
Thank you for your interest in the Palermo Modular Seating in Bronze Finish. This item is available in the bronze finish.
Are these cushion covers removable for washing?
I see that there is a zipper, but are they meant to be removable and is the fabric washable?
You can remove the cushion and wash but all you have to do in scrub spots with dish soap, hose off and then leave zipper open and let water drain.


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De Abarth 500 is een wagen van het Italiaanse automerk Abarth, gebaseerd op de Fiat 500. De wagen werd voorgesteld op het Autosalon van Genève in 2008. De 1.4 liter-motor met turbo in de Abarth 500 levert in de Esseesse uitvoering 160 pk waarmee de wagen een topsnelheid van 205 km/u behaalt. Nog voor hij in productie ging waren al 199 exemplaren verkocht.

Tot dusver werden ook al enkele varianten op deze wagen gemaakt, waaronder de "500 EsseEsse" en de "500C".

Van de Abarth 500 zijn er sinds de nieuwe introductie in Nederland de volgende aantallen verkocht: (bron: Fiat Nederland)
2008: 36
2009: 69
2010: 59
2011: 80

Externe link
 Abarth 500
 Officiële site Abarth Nederland
 Abarth forum

500


The Irish Fairy Door Company takes the privacy of its customers very seriously. We understand that you want to know how information about you is used, stored and shared. We understand the importance of protecting your personal information. Nobody wants to have their personal information sold or misused and we will never sell your personal information to anyone.
We collect information to deliver the products and services you request and to help improve your experience with The Irish Fairy Door Company. Some information that we collect from you can be used to identify you or can be reasonably used in connection with other information to identify you. This information is called "personal information" and includes your name, postal address, email address, phone number, and payment information.
You share personal information with us when you make an online purchase with us, when you sign up on our webiste, when you visit or post a comment on one of our social media pages, and when you contact us or request customer service.
The non-personal information that we collect may automatically be combined with other information that you provide and may be aggregated and used for statistical purposes. It helps us to improve our Website and to deliver better and more personalised products, services and advertisements. It also helps us to estimate how many people may be interested in certain products, store your user preferences allowing us to customise the Website to your individual interests, recognise you when you revisit our Website, and speed up your online experience with The Irish Fairy Door Company.
We have implemented measures designed to secure your personal information from accidental loss and from unauthorised access, use, alteration and disclosure. The Irish Fairy Door Company stores and processes your personal information on its computers and server in the Republic of Ireland. We protect your personal information by maintaining physical, electronic, and procedural safeguards in compliance with applicable IRE and EU regulations. All personal information that you may provide on any of Websites will be Secure Socket Layer (SSL) encrypted. The Irish Fairy Door Company also uses computer safeguards such as firewalls and data encryption methods to protect your information. Our Website hosting is with 'Best of Breed' ensuring every effort has been made to protect your data.
Unfortunately, no method of transmission over the Internet, or method of electronic storage, is 100% secure. Therefore, we cannot guarantee the absolute security of your information. Any transmission of personal information is at your own risk and The Irish Fairy Door Company is not responsible for the circumvention of any privacy settings or security measures contained on the Website.
Our Website may also contain small electronic files known as web beacons (also referred to as clear gifs, pixel tags and single-pixel gifs) that permit The Irish Fairy Door Company, for example, to count users who have visited particular webpages and can be used for other related website statistics, such as verifying our system and server integrity.
We consider our weekly emails to fall under the criteria of "legitimate interest" where upon the customer chooses to sign up to receive free weekly content with zero obligation of purchase. Occasionally, offer will be sent via email, however there is zero obligation of purchase to continue receiving free weekly content. You may opt out of receiving any, or all, of these communications from us by following the unsubscribe link in any of our emails.
We use Facebook, Twitter, Instagram and Pinterest tracking pixels to collect browser data, which we use to send personalised Facebook, Instagram, Twitter and Pinterest ads to users who have recently visited our website.
We will use your personal information to contact you with free weekly content emails and may use it to contact you with special offers that may be of interest to you. You may opt out of receiving any, or all, of these communications from us by following the unsubscribe link in any of our emails.
This Website does not knowingly collect or maintain personal information from, children under the age of 16. If we learn that we have collected or received personal information from a child under the age of 16 without verification of parental consent, we will delete that information. If you believe we might have any information from or about a child under the age of 16, please let us know via our contact form.
If The Irish Fairy Door Company is involved in a merger, acquisition, asset sale, bankruptcy or reorganisation, your personal information may be shared, as well as retained by us. By providing us with your personal information, you consent to that transfer.
If you wish to opt-out of receiving online communications from The Irish Fairy Door Company, our partners, or our third party providers, you can choose the unsubscribe link contained in the email and you will no longer receive communications.


The oldest child of H.I.H. Crown Prince Reza Pahlavi and H.I.H Yasmine Pahlavi, H.I.H. Princess Noor Pahlavi was born in Washington, DC in 1992. She graduated high school from The Bullis School in Potomac, Maryland in 2010. She graduated Georgetown University in 2014 in Washington, DC with a B.A. in Psychology.
H.I.H. Princess Noor Pahlavi currently lives and works in New York, NY.


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Dublin LifeStyleWhat's On?
The first ever Inglot Awards show to be a 'celebration' of make-up
by Rachel Darcy 09/03/2018
written by Rachel Darcy 09/03/2018
Ever since it entered onto the Irish beauty scene in 2009, Inglot have become a household name to anyone with a love of beauty across Ireland.
Jane Swarbrigg, alongside her mum Geraldine and brother Peter, were responsible for introducing Inglot to Ireland back in 2009 when they opened their first store in Liffey Valley.
Speaking to Dublin Gazette, Jane said: "It's amazing, I keep calling us the babies of the make-up industry here in Ireland, but after nearly nine years, I can't really call us babies anymore!"
Inglot have set an industry standard across Ireland, with their use of social media marketing, and creative make up artists within their stores being able to recreate any and all looks.
"Any look that a client brings into our store, say they see something on Instagram, it's important that our artists can recreate that. We have these trend Thursdays, where we encourage our artists to be as creative as they can – it's amazing what they can do, what all artists can do," Jane explained.
On March 26, the brand will host their first annual Inglot Award show in the Raddisson Blu Hotel in Dublin City, on a night that founder Jane Swarbrigg promises to be a 'celebration' of make up across the board, not just Inglot.
"It's going to be glamorous. I wanted to put something together to celebrate not just the Inglot family, but make up and undiscovered artists as a whole," she told Dublin Gazette. "I have a lot planned, there's set to be exciting entertainment and everything."
There will be 11 categories over all on the night, for Inglot Make-up Artists, artists with a high social media following, and artists who were previously with Inglot and since left.
The awards aren't just for artists either, with Jane saying there will be 200 tickets available for fans to attend on the night, as well as a special 'Inglot Addict' award for their biggest fan, as voted by the public.
The shortlist of those nominated is available now on inglot.ie, with voting open until this Sunday, March 11.
Jane Swarbrigg and Inglot are also delighted to announce that the Inglot roadshows are returning this March and will be taking place in new locations across the country.
The roadshows will provide expert tips and tricks. Tickets are €15 and available at www.inglot.ie
dublin city gazettedublin newsInglotInglot AwardsInglot Road ShowJane Swarbriggmake-upnewsRaddisson Blu Hotel
Rachel Darcy
Rachel D'Arcy is the online editor, and co-editor of style at Dublin Gazette. In addition to this, she also covers all things city centre, as the primary reporter for the Dublin Gazette: City Edition. Her email is rdarcy@dublingazette.com, and her direct line is 6516202.
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The FX Glow is a high-end level booster with a built in FX loop. That means that you can use it on your amps serial loop (to level boost your solo for example). At the same time you can add any modulation- or time based-effect (like a delay) with just one click through the FX loop.
Of course, you can use it directly on the input of your amp to boost the preamp and switch another effect like a phaser or a wah on its FX loop.
The FX Glow is a true bypass stompbox, that means that when you're not using it, it is out of your signal chain.


Turn a dining room or bedroom into a showplace with this prismatic crystal and gold semi-flush ceiling light.
This spectacular five-light ceiling fixture is a treasure to behold. The round, layered look is inspired by elegant Art Deco designs and features glistening prismatic crystals in rectangular metal frames enhanced with brilliant Luxor Gold finish. A great addition to your home from Metropolitan lighting.
14 3/4" high x 18 1/2" wide.
Includes five 75 watt G9 Xenon bulbs.
Add a touch of traditional elegance to your living space with this stunning raven bronze and sunburst gold semi-flush ceiling light.
This crystal ceiling light is perfect for adding sparkle and style to any room.


Taparia Tools Limited, an ISO-9001 accredited company started manufacturing hand tools in 1969 in India in technical collaboration with a reputed company by the name of A B Bahco of Sweden.
Taparia Tools has been since then consistently producing the hand tools in India with the technology of its collaborators and has since then been constantly improving the same. The company has a well laid out fully equipped factory located at Nashik and another expanded unit in Goa, approximately 600 kilometres from Mumbai. All the manufacturing facilities required for production of hand tools are under one roof, one location. Hand tools manufacturing is complicated involving high technology and labour intensive production process. The company's research and development department is manned by mechanical engineers and metallurgists.


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XOS Technologies expands sports content management service
The company allows sports content to be repurposed and monetized outside the sports stadiums and arenas through multiple distribution channels
Michael Grotticelli
XOS Technologies, the Florida-based provider of sports technology for college and professional teams, has expanded its integrated audio-video solutions for storing, accessing and displaying media content in sports venues and elsewhere.
In January, XOS launched the first online video syndication network focused exclusively on high school and college sports. The platform provided a new way for marketers to target and capture this sports audience.
Using XOS' "production solutions," the company can help clients repurpose sports content and generate revenue outside the sports stadiums and arenas through multiple distribution channels, including Web sites. And with its recent acquisition of Collegiate Images and relationships with major manufacturers and video board companies, XOS said it can help teams start implementing these new technologies. To date, XOS has completed more than 180 audio/visual and brand experience installations for sports teams.
"Let's say a player has just broken his school's single-game scoring record. Our clients now have the opportunity to quickly and easily call up the highlights from the last time that record was broken, as well as highlights from this player's career," said XOS Technologies' Bryan Bedford. "The possibilities are endless. Imagine a production studio that runs like a Google search and you'll start to understand the power of XOS' production solutions."
XOS serves more than 480 clients representing more than 900 teams in the NFL, AFL, CFL, NBA, WNBA, NHL, MLB, MLS, NCAA, NAIA and NASCAR. The company specializes in coaching solutions, facilities design and integration and fan interaction via the XOS Network and XOS Total Ticketing.
XOS Technologies helps schools monetize sports footage
Schools will have new opportunities to generate revenue with these untapped assets
Sports production technology
The concept of handling video clips as digital files that speed up the production process to get content to air quickly, can be easily shared, and sent
XOS Digital builds HD control room for Bradley University sports arena
The school will use the new fully integrated control room to produce content that will enhance the overall fan experience at games.
Bexel teams with XOS Digital to bring HD instant-replay technology to college sports telecasts
Bexel and XOS Digital have previously worked together with college A/V departments.
Pinnacle Sells Team Sports Assets to XOS Technologies
Pinnacle recently sold its Team Sports assets to XOS Technologies, developer of performance analysis products for sports teams. Team Sports is comprised of former coaches, players and general managers that manufacture sports-related media products. The terms of the deal have not been disclosed. Dan Aton, preside
Outdoor sports advertising shows growth potential
Arena Media Networks is sharing revenue with the individual teams and displaying ads at their arenas and stadiums
Google expanding services through acquisitions
Google understands the value of copyrighted content and is determined to put the pieces in place to ensure a good experience for everyone involved.
Latest technology helps sports venues keep fans in the seats
System integrators are seeing explosive growth in the implementation of A/V systems for sports venues.


After seeing the Offering in the 2011 Jensen cow sale we easily came to the conclusion that 947W was one of the very best Redeem daughters. We teamed up with Bar One Ranch...the Sprages to add this young donor to our Elite list of Donors. Ratio's of 109 for REA and 116 for IMF, Excellent EPD's and Profit Index's and a 103 nursing index on her first calf supports our observations of being one of the most pleaseing to look at young matrons that sale day.


The GrooveMonitor.exe process is an executable file of the GrooveMonitor Utility from Microsoft Corporation, which is embeded into the Microsoft Office 2007 enterprise edition and is used to work collaboratively with your colleagues, as documents that come under the Groove Service get synced with other versions in your colleagues' workspaces.
The GrooveMonitor.exe process is not an essential file to the system performance. Disabling it or enabling it depends on whether you use GrooveMonitor Utility in Microsoft Office or not.


The Skagerak vision is to create products that is ensured a long lifespan by virtue of its aesthetic and functional qualities. That is how they define sustainability. That things are made to last.
Skagerak Furniture and Accessories are a specialty of Salcombe Trading. As the preferred parter of Skagerak Furniture, Salcombe Trading can provide you with the entire UK range of Skagerak Furniture and Accessories for you and your home.
At Salcombe Trading, our comprehensive range of Skagerak products range from Garden Furniture and Skagerak Kitchen accessories, to Dining Tables and Skagerak Chairs.


Patient-derived intestinal organoids provide an excellent tool to unravel the multi-factorial mechanisms underlying ulcerative colitis (UC). Organoids develop from stem cell-containing intestinal crypts and recapitulate many features of the source tissue. However, it remains unclear whether ex vivo organoids retain the inflammatory character of their origin. To address this, we isolated crypts from both inflamed and non-inflamed regions of the colon, created organoids, and compared the transcriptome of whole biopsies, crypts and ex vivo cultured organoids.
Fresh biopsies from both inflamed and non-inflamed segments were obtained during endoscopy from eight patients with active UC (endoscopic Mayo sub-score of ≥2) and an accessible border of inflammation. Crypts were isolated and cultured as organoids for 4 weeks with weekly mechanical splitting. RNA was extracted from biopsies, crypts, and 1- and 4-week-old organoids. RNA sequencing was performed by Lexogen QuantSeq for Illumina. Differential gene expression and pathways were studied through DESeq2 and Ingenuity Pathway Analysis (FDR < 0.05).
Biopsies and crypts from inflamed regions showed separate clustering on principal component analysis (PCA, Figure) and significantly higher activation of inflammatory pathways, including antigen presentation (p < 0.01 and p < 0.001), interferon signalling (p < 0.05 and p < 0.001) and granulocyte adhesion (both p < 0.001) compared with non-inflamed biopsies and crypts. However, organoids derived from inflamed crypts lost part of their inflammatory character after 1 week in culture. Several inflammatory markers (IFN-γ [p = 0.01], IL-1β [p < 0.001], JAK1 [p < 0.001]), and pathways involved in antigen presentation (p < 0.005) and interferon signalling (p < 0.001) were significantly decreased after 1 week ex vivo culture compared with inflamed crypts. After 4 weeks in culture, organoids derived from inflamed and non-inflamed regions were indistinguishable in PCA clustering, and expression levels of inflammatory signalling pathways were not significant.
We conclude that ex vivo organoids lose their inflammatory transcriptional signature in culture. After 4 weeks in culture, organoids derived from inflamed and non-inflamed biopsies were no longer distinguishable. Therefore, it is not essential to obtain biopsies from inflamed regions to culture organoids from UC patients. We hypothesise that to mimic the inflammatory phenotype and create a physiological representative model, inflammatory components, and/or immune cells should be added to the ex vivo culture system.
Principal component analysis (PCA) shows separate clustering of biopsies and crypts from inflamed regions vs. non-inflamed regions. After 1 and 4 weeks, organoids of inflamed and non-inflamed origin cluster together and are no longer distinguishable.


`I was born in Mulhouse in 1952 in the Cité area. Now retired, I devoted my career to the Graphic Industries starting as an Apprentice at Arts-Graphiques DMC up to a Master in a German company. I would love to share my passion for this sector whose roots lie in textile history. I am very attached to my childhood home of Dornach and can bring the past here to life with age-old shops that no longer exist but were the backbone to the economy at the time.
As a teenager in our city, I played chess which has recently become popular again. I then devoted my time to hobbies such as railway modelling (I am a member of RAMCAS part of the Cité du Train), astronomy and photography. I have been passionate about electronics for the last 50 years and I wanted to make a career out of it. My dream came true: I became a radio engineer in the 20th century and spent several decades working in amateur radio.
My introduction to theatre in 1970 will be with me forever as it led me to the great Spanish poet Lorca and later Spain, my second home, where I've been holidaying regularly for a dozen years.
The end of 2011 was a turning point in my life: it's when I discovered writing and my first novel, dedicated to victims of the Madrid attacks in March 2004, was published in December 2012.


It's now widely known that businesses that invest in content marketing will achieve greater success with lead generation, brand awareness and customer engagement.
However, it can be somewhat of a dark art, and strategies that may have worked a year ago almost certainly can't be relied on now.
The US-based, and excellent resource, Content Marketing Institute (CMI) defines content marketing as "a strategic marketing approach focused on creating and distributing valuable, relevant, and consistent content to attract and retain a clearly defined audience — and, ultimately, to drive profitable customer action".
Released in late 2017, the CMI's report of the organisation's annual benchmarking survey of business-to-business content marketers shines some light on what successful content marketing looks like.
The top goals for the B2B content marketers who were surveyed were lead generation (80%), brand awareness (79%) and engagement (71%).
Before you dive in, ask yourself: what outcome is your organisation looking for? Until you have a clear idea of what results you want, you won't be able to meaningfully or methodically measure it.
Last year, Jayson DeMers, founder of SEO agency AudienceBloom, spoke to the importance of setting clearly defined goals before you begin.
"For example, how often do you want to publish? How many impressions do you hope to achieve with your first publication efforts, and how fast and high do you want them to grow?" DeMers wrote in Entrepreneur.
For "truly measurable results of content marketing efforts", the top metrics CMI respondents looked to were website traffic (42%), sales lead quality (34%), sales (30%) and higher conversion rates (27%).
Part of recognising the value of a content marketing strategy is to understand content marketing is not a static discipline; the digital landscape is constantly evolving.
In order to fully develop a workable strategy and truly reap the benefits of content marketing, aim to be constantly educating yourself in latest findings and trends in the industry.
Nudge publishes updates, case studies and research about successful native content campaigns.
While 72% of the best performing B2B content strategists were arguably modest in their assessment of their organisation having a "sophisticated or mature" content marketing strategy (possibly due to the ever-changing nature of the space), only 2% the least successful performers rated themselves as having a sophisticated strategy.
Successful content marketers understand the need to invest time in a larger strategy to garner visibility and gain professional traction and authority with an audience.
Of the organisations CMI surveyed that were most successful with content marketing, more than 90% indicated they were "very committed" to content marketing, with 80% saying they had a clear vision of what an "effective or successful content marketing program looks like".
Interestingly, 91% of respondents who reported the most successful strategies indicated they were realistic about what content marketing can achieve.
So before you go ahead and conceive a fantastical plan, what does a realistic content marketing strategy look like?
Details of how you will operationalise your content goals, taking into account the point of difference in your content when stacked up against competitors.
Successful content marketing is a slow burn; patience is crucial to seeing benefits from your efforts.
From the cohort of respondents with the most successful content marketing results, 77% agreed that their leadership team understands this and allows "ample time to produce results".
Consistency is also important, which includes scheduling regular content over time to gain familiarity and authority with your audience. Leaving large, unpredictable gaps between publishing new content will result in your audience losing interest.
Of the respondents who felt their organisation faced stagnancy in their content strategy, more than half of respondents thought "not enough time devoted to content marketing" led to this lack of success.
While it may be worth experimenting with different types of content and delivery channels in the beginning, once you determine where the greatest return on investment lies, stick to what works for your business.
It can be tempting to churn out large amounts of content to maintain a steady publishing schedule, but keep in mind that quality beats quantity every time.
Where possible, focus on creating unique, shareable content. If your resources are really skint, it is worth repurposing other content (with permission, of course, it's generally a copyright infringement to just copy and paste) that will create a conversation with your audience and create an interest in your brand.
The CMI survey shows content marketers believed blogs, email newsletters and social media content were the top three tactics most critical to their content marketing success in 2017, while 70% plan to create more original B2B content in future.
Nowadays, with such a breadth of competitors in the digital space and the importance of having a strong online presence, CMI's findings reflect the reality that there is no such thing as shortcuts or blind luck when it comes to brand awareness and engagement.
The biggest takeaway lesson? A solid content marketing strategy is no longer an optional investment for business success.
Take the time to experiment with what content yields the greatest interest in your business and keep your ear to the ground.


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Pace Environmental Law
Pace Environmental Law Review
Home > LAW > PELR > Vol. 38 > Iss. 2 (2021)
Addressing Correlations Between Gender-Based Violence and Climate Change: An Expanded Role for International Climate Change Law and Education for Sustainable Development
Achinthi C. Vithanage, George Washington University Law SchoolFollow
Achinthi C. Vithanage, Addressing Correlations Between Gender-Based Violence and Climate Change: An Expanded Role for International Climate Change Law and Education for Sustainable Development, 38 Pace Envtl. L. Rev. 327 (2021)
Available at: https://digitalcommons.pace.edu/pelr/vol38/iss2/4
Energy and Utilities Law Commons, Environmental Law Commons, Human Rights Law Commons, International Law Commons, Natural Resources Law Commons
Pace Environmental Law Review Online Companion
All Issues Vol. 40, Iss. 1 Vol. 39, Iss. 1 Vol. 38, Iss. 2 Vol. 38, Iss. 1 Vol. 37, Iss. 2 Vol. 37, Iss. 1 Vol. 36, Iss. 2 Vol. 36, Iss. 1 Vol. 35, Iss. 2 Vol. 35, Iss. 1 Vol. 34, Iss. 2 Vol. 34, Iss. 1 Vol. 33, Iss. 3 Vol. 33, Iss. 2 Vol. 33, Iss. 1 Vol. 32, Iss. 3 Vol. 32, Iss. 2 Vol. 32, Iss. 1 Vol. 31, Iss. 3 Vol. 31, Iss. 2 Vol. 31, Iss. 1 Vol. 30, Iss. 3 Vol. 30, Iss. 2 Vol. 30, Iss. 1 Vol. 29, Iss. 3 Vol. 29, Iss. 2 Vol. 29, Iss. 1 Vol. 28, Iss. 3 Vol. 28, Iss. 2 Vol. 28, Iss. 1 Vol. 27, Iss. 3 Vol. 27, Iss. 2 Vol. 27, Iss. 1 Vol. 26, Iss. 2 Vol. 26, Iss. 1 Vol. 25, Iss. 2 Vol. 25, Iss. 1 Vol. 24, Iss. 2 Vol. 24, Iss. 1 Vol. 23, Iss. 3 Vol. 23, Iss. 2 Vol. 23, Iss. 1 Vol. 22, Iss. 2 Vol. 22, Iss. 1 Vol. 21, Iss. 2 Vol. 21, Iss. 1 Vol. 20, Iss. 2 Vol. 20, Iss. 1 Vol. 19, Iss. 2 Vol. 19, Iss. 1 Vol. 18, Iss. 2 Vol. 18, Iss. 1 Vol. 17, Iss. 2 Vol. 17, Iss. 1 Vol. 16, Iss. 2 Vol. 16, Iss. 1 Vol. 15, Iss. 2 Vol. 15, Iss. 1 Vol. 14, Iss. 2 Vol. 14, Iss. 1 Vol. 13, Iss. 2 Vol. 13, Iss. 1 Vol. 12, Iss. 2 Vol. 12, Iss. 1 Vol. 11, Iss. 2 Vol. 11, Iss. 1 Vol. 10, Iss. 2 Vol. 10, Iss. 1 Vol. 9, Iss. 2 Vol. 9, Iss. 1 Vol. 8, Iss. 2 Vol. 8, Iss. 1 Vol. 7, Iss. 2 Vol. 7, Iss. 1 Vol. 6, Iss. 2 Vol. 6, Iss. 1 Vol. 5, Iss. 2 Vol. 5, Iss. 1 Vol. 4, Iss. 2 Vol. 4, Iss. 1 Vol. 3, Iss. 2 Vol. 3, Iss. 1 Vol. 2, Iss. 2 Vol. 2, Iss. 1 Vol. 1, Iss. 2 Vol. 1, Iss. 1


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Q: TryParse method returns different results I am trying to check a string has numbers or not using "TryParse" method. For number in string "101" it returns "True" and for number in string "20170119000004" it returns "False".
My code:
int n;
string maf_seq_no="";
maf_seq_no = "101";
Console.WriteLine(int.TryParse(maf_seq_no, out n)); //OUTPUT True
maf_seq_no = "20170119000004";
Console.WriteLine(int.TryParse(maf_seq_no, out n)); //OUTPUT False

Any idea why different output for numbers?

A: 20170119000004 is not a valid int value. The largest possible int value is 2147483647. That's why it's returning false.
If you want to check whether a string consists entirely of digits, you can use:
var isOnlyNumbers = RegEx.IsMatch(maf_seq_no, "^[0-9]+$");

A: If you simply want to check if a string is only composed of digits, you can do:
string str = "12345";
bool isAllDigits = str.All(char.IsDigit);

an int can be at max 2147483647 (but it can even be negative!), a long  9223372036854775807 (but it can even be negative!). There are unsigned versions that can contain bigger numbers, but still the maximum number of digits is "fixed"!

A: int.TryParse returns false for "20170119000004" because this value higher than int.MaxValue.
You can try long.TryParse for example.

A: It returns false because 20170119000004 is too large for an int (int32). An int's maximum value is 2147483647, or 231 - 1.
Use a long instead, its maximum value is 9223372036854775807 or
 263 - 1.


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