The coastal drive to Wujal Wujal on the Bloomfield River and beyond is an unforgettable experience, full of spectacular views, creek crossings, secluded beaches, a rainforest archway, majestic plants, unexpected wildlife and history.
The Bloomfield Track is one of the most scenic short four wheel drives in Queensland and a must-do for four wheel drive travellers, whether self-driving or experiencing a little extra through a local four wheel drive tour company.
The track begins at Cape Tribulation and winds its way north through the Daintree Rainforest, crossing many creeks in the process; then it ends at the aboriginal community Wujal Wujal.
Many local authorities recommend that the journey should be undertaken in a four-wheel-drive vehicle, however recent upgrades have been undertaken (including the construction of bridges at the Bloomfield River and Woobooda Creek crossings in 2014/15, as well as paving works on the Cowie and Donovan Ranges) that make the road more suitable for some two-wheel-drive vehicles, provided that they are driven with care in dry weather only.


Greek death metal vehicle NECRONOVOROUS debuts with foul and sickening death metal, is that flattering? Doomy overtones and firm roots in the early nineties are promised. The blurred artwork may bring on connotations if days gone, but what about the music?
With a guitarist/vocalist called Archfiend DevilPig my expectations lower. The info recommends this album to fans of AUTPSY, ASPHYX and DEATH, the latter sounds intriguing. The rest of the guys in the band are apparently known as Shiteater, drums, Grave Defiler, bass, and Soul Extractor, lead guitar. There is actually hope for this fiendish and messy lot. They may not win any prizes, but there are some interesting grooves in the likes of the excellent "The Flesh That Smiles", the headbanging inducing "Malignant Entrapment" and the Stockholm influenced "The Vilest of All Dreams". They lose pace around the middle with "Mind Lacerations" and "Deathknells", which sort of almost equals the score. This will not be known as the grittiest and most eyed debut of all time, but they will have some followers.


text:
High Sierra is een Amerikaanse film noir uit 1941 onder regie van Raoul Walsh.

Het scenario is gebaseerd op de gelijknamige roman (1941) van W. R. Burnett.

Verhaal

Als bankrover Roy Earle wordt vrijgelaten uit de gevangenis, maakt hij kennis met de criminelen Red en Babe. Hij leert ook de knappe danseres Marie kennen. Roy, Red en Babe willen samen een hotel overvallen. Op weg naar Californië leert Roy Velma kennen. Terwijl Marie verliefd wordt op Roy, raakt hijzelf geïnteresseerd in Velma. De overval op het hotel loopt mis en Roy vlucht met Marie de bergen in.

Rolverdeling

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|||Marie
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|||Babe
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|||Red
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|||Doc
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|||Pa
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|||Healy
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|||Mevrouw Baughmam
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|||Jake Kranmer
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|||Ma
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|||Louis Mendoza
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|||Big Mac
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|||Mijnheer Baughmam
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|||Blondje
|}

Externe link

Film uit 1941
Amerikaanse film
Misdaadfilm
Film van Raoul Walsh
Film naar een werk van W.R. Burnett

redpajama_set_name: RedPajamaWikipedia


One man is in custody following the seizure of a .38 Smith and Wesson revolver, two .38 cartridges and two 9 millimetre rounds of ammunition on Fourth Street in Kingston 12 on Monday.
The Denham Town Police report that about 3:30 p.m. a team was on an operation in the area when they saw a man acting in a manner that aroused their suspicions.
The police say he was accosted and searched and the firearm along with the ammunition found in his possession.


text:
Russia's Energy Ministry Says Grid Is Safe, Despite Report on U.S. Cyberattacks
Category: Headlines, TopStories
Russian officials have said that the country's energy infrastructure is safe, days after a New York Times article detailed U.S. cyberattacks on Russia's electric grid.
Citing anonymous sources, the report published Saturday details escalating efforts by the U.S. to hack Russia's power grid. The article said the U.S. strategy was enacted in response to reports of Russia hacking into American infrastructure, as well as a preventive measure against Russian interference in the 2018 midterm elections.
Russia's Energy Ministry told Interfax Monday that the country's power grids have "a high level of protection" and that systemic efforts are underway to protect Russian technology and equipment from U.S. cyberattack.
"There are no serious concerns [of the U.S. disrupting Russia's energy infrastructure]," Yevgeny Lifshitz, a member of the State Duma Committee on Information Policy, later told the state-run RIA Novosti news agency.
"The country's power grid has the necessary security systems so that even the most unfavorable scenario would lead to only short-term interruptions."
Russian observers have said that the reported cyberattacks represent an escalation that could further damage bilateral relations, while state-run television has described the attacks as a provocation.
Andrei Soldatov, a Russian journalist and security services expert, told The Moscow Times that the U.S. strategy signals "a clear escalation."
Ivan Danilov, a columnist at RIA Novosti, said that The New York Times reported "with commendable honesty and enthusiasm" but added that "they did not even bother with the thought that such actions [cyberattacks] represent a gross violation of international law."

redpajama_set_name: RedPajamaCommonCrawl


text:
Specializzato nella rana, ha vinto la medaglia di bronzo nei  rana alle Olimpiadi di Atene 2004 e di Pechino 2008.

Palmarès
Olimpiadi
Atene 2004: bronzo nei  rana.
Pechino 2008: bronzo nei  rana e nei  rana.

Mondiali
Montreal 2005: bronzo nei  rana.
Roma 2009: argento nei  rana.

Europei
Berlino 2002: argento nella  misti e bronzo nei  rana.
Madrid 2004: argento nei  rana, nei  rana e nella  misti.
Eindhoven 2008: argento nei  rana e bronzo nei  rana.
Budapest 2010: oro nella  misti, argento nei  rana e bronzo nei  rana.

Europei in vasca corta
Riesa 2002: argento nei  rana.
Fiume 2008: oro nei  rana e argento nei  rana.
Istanbul 2009: bronzo nella  misti.

Giochi del Mediterraneo
Tunisi 2001: argento nei  rana e bronzo nella  misti.
Almerìa 2005: oro nei  rana e nei  rana.

Altri progetti

Collegamenti esterni


Anna of Delta Park Project, famous for their funny pop culture podcast and a LOST (the TV show) has started a book club. First up in Allende's The House of the Spirits, soon to be followed by Hotel New Hampshire, The Year of Magical Thinking, and The Executioner's Song, all of which are on my someday lists, so I may join up. Link: Anna's Book Club – a monthly book club podcast.


text:
The Newsletter 69 Autumn 2014
A Vedic expert Sankaranarayan Akkithiripad from Kavapra Mana.
Vedic chanting in Kerala
Natalia. A. Korneeva
On 7 November 2003 the United Nations Educational, Scientific and Cultural Organization (UNESCO) declared the Tradition of Vedic Chanting (India) a Masterpiece of the Oral and Intangible Heritage of Humanity. According to Indian tradition, four Vedas – the Ṛgveda (hymns), the Yajurveda (sacrificial formulas), the Sāmaveda (chants) and the Atharvaveda (magical formulas) – are considered to be nonhuman in origin (apaurus·eya), beginningless (anādi) and eternal (nitya). This awareness prompted Brahmins of India to create unique methods for their preservation and transmission without even changing any of the accents. These methods are based on sophisticated mnemonic techniques and rely on different versions of repetitions.
Along with the two main powerful Vedic traditions (the Western tradition: Maharashtra, Saurashtra, Varanasi – and the Southern tradition: Tamil Nadu, Andhra Pradesh, Mysore) several isolated traditions have also survived: White Yajurveda tradition in Tamil Nadu; the rare Atharvaveda tradition of the Śaunaka recension in Saurashtra; the Paippalāda recension in Orissa; and the tradition of Malayalam-speaking Nambudiri Brahmins in Kerala.
The Nambudiri (Nampūtiri, Namboodiri, Namboothiri) tradition is rather different from other traditions. The Vedic recensions that Nambudiris follow are considered to be more ancient than other surviving versions, most of them not found anywhere else in India.1 Along with the Āśvalāyana school, the Nambudiri Ṛgveda is of the Śaṅkhāyana (Vāskala) recension, which is called Kaus· ītaki in Kerala and now not found anywhere else in India. The Nambudiri Yajurveda is of the Taittirīya recension, but follows the closely related sūtras of Baudhāyana and Vādhūla, which is uncommon in the rest of South India, where the Taittirīya recension is rather common. The Nambudiri Sāmaveda belongs to the Jaiminīya recension and except for in a couple of isolated Tamil villages has not been found anywhere else. See Staal, F. 1961. Nambudiri Veda Recitation, The Hague: Mouton, p.53; Staal, F. & J. Levy. 1968. The Four Vedas: The Oral tradition of Hymns, Chants, Sacrificial and Magical Formulas, NY: Asch Records, p.3; Staal, F. 1983. Agni: The Vedic Ritual of the Fire Altar, Delhi: Motilal Banarsidass, Vol. I, pp.171-172. The ways in which the Nambudiris have preserved their Veda recitations, through their unique mnemonic techniques, have managed to conserve a number of distinctive and ancient features. It is a relatively small, but self-sufficient tradition, as it does not require officiating priests from elsewhere when rituals require several kind of priests.2 Staal, F. 1983. Vol.1, p.171. Professor J.F. Staal studied this unique tradition profoundly and presented it in numerous works, including the outstanding Agnicayana Project – a unique documentary of the twelve-day Vedic śrauta ritual performed by Nambudiri Brahmins in 1975. A detailed illustrated description of this ritual was published in two massive volumes with audio and video recordings and the articles of leading scholars on the subject.3 Staal, F. 1983. Volumes I-II. In 1999 the Calicut (Kozhikode)-based voluntary non-profit-oriented forum of Nambudiris launched the website: www.namboothiri.com. The 750-page site, with the objective of documenting Nambudiri traditions, is administered by Dr P. Vinod Bhattathiripad4 I am obliged to Dr P. Vinod Bhattathiripad who read the draft of this paper and made several important corrections. I am also happy to acknowledge him and other organisers of the 6th International Vedic Workshop (January 2014, Kozhikode) and the cultural tour that followed the workshop (www. ivw2014.org) for the opportunity to become acquainted with the unique traditions of Nambudiris. and has members from all over the world.
The Nambudiri Brahmins of Kerala
Kerala is the region of Malayalam-speaking people in the southwest of India, on the Malabar coast. The Western Ghats formed a natural barrier to contacts from the rest of India and created the conditions for developing a unique culture, which preserved many archaic elements, while developing or adapting customs and rituals its own way.
The Nambudiri Brahmins of Kerala are rather small in number; they are still isolated from other Brahmins of India and differ from them in a number of customs, including marriage rituals, and their sense of purity and pollution. The Nambudiri Brahmins observe unique orthodox religious practices and have an influence over the social life and culture of the Malayāl ˙ īs (citizens of Kerala). The majority of Nambudiri Brahmins live in the countryside, outside the villages, and are considered refined and aristocratic, connoisseurs of literature, music and traditional arts.5 Staal, F. 1983. Volume I, pp.167-168. Their peculiar system of inheritance determined, until 1933, that the eldest son inherited all family property and could only marry a woman of his own caste. This ruling worked to preserve the Nambudiri distribution of land (keeping it undivided); living as landed aristocracy left them more time for rituals, literature, and the arts.
Not all Nambudiri Brahmins were required to follow Vedic studies. Out of the ten Nambudiri classes (Aadu, Edu, Bhiksha, Picha, Othu, Saanthi, Adukkala, Arangu, Panthi, Kadavu), only the first five needed to memorise Veda and learn Vedic chanting, while the other five were exempted from Vedas for the purpose of attaining other skills. For instance, the Cāttira Nambudiris (or to be clearer Adukkala and Arangu classes) engaged in military training and studied the use of weapons. The As· ṭavaidyas – physicians (belonging to the Panthi class) – specialised in Ayurvedic medicine and studied the medical manual As·ṭāṅgahṛdaya of Vāgbhaṭa.
The Nambudiri tradition of Vedic recitations, their rituals, mnemonic techniques, and so forth, form an uninterrupted living tradition, handed down orally from father to son, from teacher to student. As a living tradition, it demonstrates the differences between tradition and texts.6 Ibid, p.2.
In danger of extinction
The Nambudiri Sāmaveda (chanting) tradition in Kerala is nearly extinct. There are now only four elderly Nambudiri Brahmins from two families who have learned Sāmaveda by heart the traditional way, and who can chant all the modes followed in Kerala: Ṛk (in Kerala it is called Ārcika), Sāma (or Grāmageya), Candrāsyāma (or Āraṇyaka), Ūha and Ūsāṇi.7 Neelakandhan, C.M. 2007. 'Ṛgvedic tradition of Kerala and Kadavallur Anyonyam', in Neelakandhan & Ravindran (eds.) Veda Society and Modernity, Kadavallur Anyonyaparishath Publications, see p.4.
In light of the danger that after these rather old Nambudiri Brahmins the Nambudiri's Sāmaveda chanting tradition of Kerala will become extinct, the School of Vedic Studies at the Sree Sankaracharya University of Sanskrit (in Kalady) has undertaken and successfully completed a project to preserve the Kerala Sāmaveda tradition in 95 hours of audio/video documentation. The entire project has been published on CDs and is available for study and reference from the University Library. Another project proposes to convert recordings into interactive CDs – the text in Sanskrit with English translation, transliteration, graphics and index of the Mantras.8 Ibid; also see Neelakandhan, C.M. & K.A. Ravindran (eds.) 2010. Preservation Techniques of the Ṛgveda Chanting of Kerala, Kalady, Kerala: Sree Sankaracharya University of Sanskrit, p.7.
The Nambudiri Sāmaveda tradition in Kerala is of the Jaiminīya recension. This recension is also followed by Tamil Brahmins, originating from the neighbouring state of Tamil Nadu, but who re-located to Kerala long ago. Their village Kodunthirapully near Palakkad on Kerala's border with Tamil Nadu is a typical ancient Tamil Brahmin settlement (agrahāra). Most of these Tamil Brahmins use handwritten copybooks with the Sāmaveda text in Malayalam script.
Tamil Brahmins from village Kodunthirapully near Palakkad.
The Nambudiri Ṛgveda tradition in Kerala has two schools, which differ only in a small number of mantras and syllables in some modifications of repetitions (vikṛtis). Each school had its own training centre (maṭham), one at the heart of Thrissur town and the other in the village of Thirunaavaaya on the banks of river Nila. The Thrissur maṭham is active; children learn Vedic chanting at this school. The Thirunaavaaya maṭham is not active; member families initiate their children into Vedic chanting in their own homes or send them to the Thrissur maṭham where they are trained in the Thirunaavaaya school style.
In early times Nambudiri boys began the study of reciting the Veda with saṃhitā-pāṭha 9 The Vedic texts are presented in two versions: the saṃhitāpāṭha and the pada-pāṭha. Saṃhitā means 'conjunction', 'continuity'; the saṃhitā-pāṭha – the continuous text in which the phonological alterations (sandhi) apply between words. Pada means 'word'; the pada-pāṭha – 'word-for-word' text in which alterations (sandhi) are decomposed into separate words. The pada-pāṭha is a base for other modifications. at home and were only admitted to the Brahmasvam maṭham for learning higher modes of chanting. However, with the weakening of the tradition almost all learning processes have moved into the Trissur Brahmasvam maṭham. Moreover, if previously only the Ṛgveda (hymn) recitation was studied here, now the traditional training extends to the Yajurveda (sacrificial formulas) and the Sāmaveda (chanting). The students begin their traditional study at the age of seven or eight and for four years are taught the complete saṃhitā-pāṭha, studying from early morning to evening. Then they are admitted to general school and alongside modern education continue their traditional Vedic learning in the mornings, evenings and holidays. They study pada-pāṭha, krama-pāṭha and other higher modes of chanting that are practised in Kerala, namely jaṭā-pāṭha and rathā-pāṭha, which take another 12–15 years.10 Neelakandhan, C.M. & K.A. Ravindran (eds.) 2010. pp.11-12.
During the period of Vedic study students must undergo rigorous activities and observe many strict rules. They bathe early in the morning and in the evening; in the morning they practise Sūrya Namaskāra or Sun Salutations, etc. In addition to the austerities, a number of particular vows are taken. Some vows can last up to a year, during which time the pupil has to restrict even his daily food. These austerities are common to all the Vedas.11 Neelakandhan, C.M. 2007. P.9.
The techniques
To memorise so much information – more than 10,500 mantras and different modes, with accents and tones – Nambudiri Brahmins have used different methods from ancient times, most of which were transmitted orally in Malayalam and Sanskrit. Some of them were published in Malayalam; some exist in manuscript form. In 2010, the Sree Sankaracharya Sanskrit University in Kalady published some of them in Sanskrit, in addition to several previously unpublished treatises, in the book Preservation Techniques of the Ṛgveda Chanting of Kerala.
At the beginning of a pupil's training (during the first six months), the accents are taught by an unusual method. The teacher physically moves the pupil's head with his right hand, in the following way: head straight – the udātta (raised accent, accented syllable), downward – the anudātta (syllable preceding the udātta, not-raised, not-accented), head to the right – the svarita (syllable following the udātta, sounding), to the left – the pracaya ('accumulated' accent). [See video 1]
The class always begins with the recitation of the sacred syllable Om by the teacher, followed by the students. During the next stage of the training the accents are stressed by placing the hands into particular positions (mudras): the hand up – the udātta, down – the anudātta, to the right – the svarita, to the left – the pracaya. [See video 2]
For the Ṛgveda recitation and the chanting of the Sāmaveda, Nambudiris use two sets of mudras or hand gestures. The Ṛgvedic mudras, besides stressing the accents, are used to indicate the ends of words of the pada-pāṭha or 'word-for-word' recitation, which clarifies obscure places in the text. The Sāmavedic mudras represent musical accents and phrases and are used less than the Ṛgvedic mudras.
Pupils learn the saṃhitā-pāṭha and the pada-pāṭha without knowing Sanskrit grammar or the rules of sandhi12 Sandhi – see note 9. – they learn these rules through practice involving the body. It should be noted that oral memory has a high somatic component and from all periods of time, across cultures, we have indications that traditional composition has been associated with hand activity.13 Ong, W.J. 1982. Orality and Literacy: The Technologizing of the Word, London: Methuen, pp.65-66. According to Indian tradition, an endless mechanical repetition provides error-free memorisation.
The Nambudiris also follow unique techniques, which differ from mnemonic techniques elsewhere in India. Some of them are practised at traditional contests in the ceremonial chanting of the Ṛgveda (as Kadavallur Anyonyam in Sri Ramaswamy Temple at Kadavallur, Trissur District) and in various rituals. One traditional technique is called vāram. In this 'exercise', Nambudiris show their mastery of dividing the Ṛgveda text into asṭakas, adhyāyas and vargas,14 Along with the conventional division of the text of the Ṛgveda into maṇḍalas, anuvākas, sūktas and mantras or ṛks, Nambudiris also use another division of the Ṛgveda into asṭakas, adhyāyas, vargas and mantras for the purpose of memorisation and recitation (the colloquial pronunciation is aṭṭam for asṭaka and varkam for varga). their mastery of mudras, and mastery of reciting by heart the Vedic passages. During the vāram two participants randomly choose a ten ṛks sequence using twelve small stones placed in an eight stone circle with four stones inside the circle. One participant touches a stone in the outer circle; another participant then, without looking, touches a different stone in the same circle. By counting from the first to the second stone, they achieve the number of asṭaka. In the same way they choose adhyāyas. The vargas are chosen from the stones inside the circle. The third Nambudiri recites the chosen sequence of ṛks. [See video 3]
Two students of the Trissur Brahmasvam Matham (the younger with his mother)
Scholars of the Veda
As was stated at the beginning of the article, according to Indian tradition, the Vedas are non-human in origin, beginningless and eternal; this means that people could never hope to understand them fully. Perhaps this is the reason that, along with the oral tradition of preserving and transmitting the sounds of the Vedas, there has been no similar tradition of preserving and transmitting the meaning of the Vedas. Over time, the meaning of the ancient Vedic language has been partially lost. The interpretation of the Vedas developed another great intellectual tradition that has influenced all Indian culture. But, as pointed out by Frits Staal, the main purpose of reciting and repeating the Vedas is their preservation and transmission – not studying or researching – and without this "scholars of the Vedas would have nothing to be scholars of."15 Staal, F. 1983. Volume I, pp.30-31.
Natalia Korneeva, independent research scholar, Moscow. natankor@gmail.com.
All photos and videos in this article were taken in traditional Brahmin villages in Kerala visited during the cultural tour following the 6th International Vedic Workshop (January 2014, Kozhikode).


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Suburban housewife Agnes (Kelly Macdonald) is given a jigsaw puzzle for her birthday. She pops it open in a free moment and quickly puts together all 1,000 pieces. Then she takes it apart and does it again. Realizing instantly that she has a unique skill set, she travels into Manhattan to get more puzzles, stumbling upon a flyer looking for a puzzle competition partner. This brings her into the world of Robert (the charming Irrfan Khan), a wealthy puzzle king looking for a doubles partner. He instantly sees the potential, and not only in Agnes' ability to put pieces together. He sees her for the funny, smart, beautiful person she hasn't been able to express to too many people. And then things get complicated.


points out that these facilities are perfect pathogen incubators producing trillions of pathogens that escape by air transmission, by chicken transporters, by flies and by contaminated people including neighbors of these facilities who most probably are the source of contamination in hospitals and clinics.
But perhaps long term the corn feed used by and the untreated manure from these facilities which is 40 times the waste produced by humans in the US is even more problematic. The only two chicken CAFO's ever tested in Maryland showed nitrate levels as high as 80 mg/L or 200 times the normal background level for nitrate in the principle Delmarva well drained upland aquifer (see reference # 44). USGS quantifies nitrate pollution from manure at 35% of Delmarva nitrogen pollution, second only to corn production at 59% (see reference #33). Corn used as CAFO feed and manure generated by CAFO's are the major nitrogen pollution sources in the great Midwest creating the oxygen dead zone and species loss in the Gulf of Mexico (see reference #31). Forcing any living creature to live a life in these facilities coupled with the health and environmental effects is a National disgrace which is well past time to fix (see Food inc. reference #15 and Pew Commission report Reference #1).
This entry was posted on February 22, 2010 at 5:52 pm and is filed under Health, Pathogens, Uncategorized.	You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


text:
Address & Getting Here
Young Staatsoper
Vienna Opera Ball
Make your Debut
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Margarita Gritskova
Margarita Gritskova was born in 1987 in St. Petersburg. Aside from singing, she also learned piano in her hometown, and later studied in the St. Petersburg Conservatoire. She is a prizewinner of numerous competitions, among others the Luciano Pavarotti-Competition in Modena and the Concurso Internacional de Canto Villa de Colmenar in Spain. In 2010, she was a finalist at the Operalia Competition. Among others, she was Carmen under the direction of Mariss Jansons in St. Petersburg; furthermore she sang at the Festival de Opera de Tenerife, at the Summer Festival in St. Moritz, at the Hungarian Staatsoper, the Opera de Quebec, the Salzburg Festival, at the Deutschen Oper am Rhein, in Monterrey (Mexico), Oviedo, London, at the Salzburg Festival, the Rossini Festival in Wildbad and the Schleswig-Holstein Festival. In 2009, she became a member of the ensemble of the Nationaltheater Weimar. At the Wiener Staatsoper, where she is now an ensemble member, she gave her debut in 2012 as Tebaldo (Don Carlo) and has since also sung among others, Idamante, Sesto, Dorabella, Smeton, Rosina, Cenerentola, Tisbe, Fjodor, Bersi, Maddalena, Mascha (Tri Sestri), Krista (Vec Makropulos).
Events with Margarita Gritskova
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This training expands upon a basic understanding of reinforcement and introduces the learner to additional aspects of reinforcement. It provides an understanding of motivating operations and specifically reviews the two effects of establishing operations and abolishing operations. The classifications of reinforcement are reviewed to highlight the importance of using pairing to establish new conditioned reinforcers. The learner is exposed to four schedules of reinforcement (i.e., fixed ratio, variable ratio, fixed interval, and variable interval) and to ways that the schedules of reinforcement can be used during teaching. Additionally, schedule thinning and ratio strain are reviewed.


text:
Search NCHS
Search NCHS All CDC
National Center for Health Statistics
NCHS Data on Drug-poisoning Deaths
About NCHS
Drug-poisoning death rates, by state and the District of Columbia
Challenges and Future Opportunities
NCHS Fact Sheet, October 2018
PDF Version pdf icon[PDF – 287 KB]
The National Center for Health Statistics (NCHS) is the nation's principal health statistics agency, providing data to identify and address health issues. NCHS compiles statistical information to help guide public health and health policy decisions.
Collaborating with other public and private health partners, NCHS uses a variety of data collection mechanisms to obtain accurate information from multiple sources. This process provides a broad perspective on the population's health, influences on health, and health outcomes.
NCHS drug-poisoning data
Poisoning is the leading cause of injury death in the United States. Drugs—both pharmaceutical and illicit—cause the vast majority of poisoning deaths.
NCHS uses the National Vital Statistics System (NVSS) to monitor deaths due to drug poisoning (overdose). NVSS collects mortality information from death certificates in all 50 states and the District of Columbia. NCHS identifies the number of drug-poisoning deaths from the underlying cause of death on death certificates. Multiple causes of death are used to identify deaths involving specific drugs. In 2016, approximately 15% of death certificates for drug-poisoning deaths lacked information on the specific drugs involved.
From 1999 to 2016, drug-poisoning death rates more than tripled, from 6.1 per 100,000 to 19.8 per 100,000. In 2016, there were 63,632 deaths due to drug poisoning. Provisional estimates for 2017 suggest an increase to 72,287 drug-poisoning deaths.
In 2016, the age-adjusted rate for drug-poisoning deaths for males (26.2 per 100,000) was almost double that of females (13.4).
From 1999 to 2016, the age-adjusted rate of drug-poisoning deaths increased from 8.2 per 100,000 to 26.2 per 100,000 for males, and from 3.9 per 100,000 to 13.4 per 100,000 for females.
Who is most at risk?
From 1999–2016, the drug-poisoning death rates increased for all age groups.
In 2016, the drug-poisoning death rates were highest for persons aged 35–44 (35.0 per 100,000), 25–34 (34.6), and 45–54 (34.5).
In 2016, the age-adjusted death rate was 25.3 for non-Hispanic white persons, 17.1 for non-Hispanic black persons, and 9.5 for Hispanic persons.
image icon
1Significant increasing trend from 1999 to 2016 with different rates of change over time, p < 0.001.
22016 rate for male was significantly higher than for female, p < 0.001.
SOURCE: NCHS, National Vital Statistics System Mortality File.
Deaths per 100,000 population varied by state. In 2016, the four states, and the District of Columbia, with the highest age-adjusted drug-poisoning death rates were:
West Virginia (52.0)
Ohio (39.1)
New Hampshire (39.0)
District of Columbia (38.8)
Pennsylvania (37.9)
NOTE: Drug-poisoning death rates are age-adjusted deaths per 100,000 standard population.
SOURCE: NCHS, National Vital Statistics System, 2016.
Drug-poisoning death rates by opioid category
The rate of drug-poisoning deaths involving natural and semisynthetic opioids, which include drugs such as oxycodone and hydrocodone, increased from 1.0 in 1999 to 4.4 in 2016.
The rate of drug-poisoning deaths involving methadone increased from 0.3 in 1999 to 1.8 in 2006, then declined to 1.0 in 2016.
The rate of drug-poisoning deaths involving heroin increased from 0.7 in 1999, to 1.0 in 2010, to 4.9 in 2016.
The rate of drug-poisoning deaths involving synthetic opioids other than methadone, which includes drugs such as fentanyl, fentanyl analogs, and tramadol, doubled from 2015 to 2016. The rate increased from 0.3 per 100,000 in 1999 to 1.0 in 2013, 1.8 in 2014, 3.1 in 2015, and 6.2 in 2016.
1Significant increasing trend from 1999 to 2016 with different rates of change over time, p < 0.05.
2Significant increasing trend from 1999 to 2006, then decreasing trend from 2006 to 2016, p < 0.05.
SOURCE: NCHS, National Vital Statistics System, Mortality.
Improve reporting of the specific drug(s) involved in drug-poisoning deaths on the death certificate.
Enhance capacities to search the cause-of-death description on the death certificate for drug mentions.
Work with medical examiners and coroners to improve timeliness of reporting drug-poisoning deaths.
Improve automated cause-of-death coding systems for faster reporting.
Explore opportunities to link electronic death records to electronic health records.
Develop capacity to support monthly reporting of drug-poisoning deaths.
For more information about NCHS, visit https://www.cdc.gov/nchs.
For more information about NVSS, visit https://www.cdc.gov/nchs/nvss.htm.
View Page In:pdf icon
Page last reviewed: November 5, 2018, 05:25 PM
Content source: CDC/National Center for Health Statistics
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text:
16 − six =
A Giant's Dilemma
A long time ago, in the dense forest of Vindhyas, there lived giant who was gifted with a special power to assume any form at his will. As fancy as it may sound, the giant was apparently disgusted with his life. He desired to put an end to it. However, there was a problem.
This story is a part of RISHI TALES (Volume 1) by U. Mahesh Prabhu with Foreword by Dr David Frawley.
The book is available on Amazon.com for $9.99 and Amazon.in for INR 200.00
Whenever he tried to commit suicide, he had to assume his own original form. That was the law. In his own form, he was so tall and strong that a jump from a hilltop meant hopping down from a veranda. The water of the deepest river proved inadequate for him to take a dip.
As days passed, his disgust for life increased. He wept and howled. But that only scared away the beasts and birds.
One day he came across a rishi who happened to be meditating. Without caring for consequences, he awakens the rishi from his trance and narrates his sorrow.
On listening to the giant, the rishi retrospect for a while before saying, "I can understand your pain. The age of giants is over. I wonder if there would be even half a dozen giants left in all the forests and hills of the world. But, I can see from my intuition that you are blessed with a long life. All I can do is to let you take birth as some other creature. Until the end of that life – which will cover the remaining span of your life as a giant – this way you won't feel so desolate and disgusted. Tell me whether you would like to be born as an elephant, or a lion, or a tiger, or a human being."
"What do you suggest, wise sire?" asked the giant to the rishi.
"Take a human birth. The human beings are the foremost of all creatures," said the rishi.
The giant said that he would like to go and live in the human society for some days before taking a final decision. The sage approved of the idea.
The giant took a human form and reached a town whose chieftain was famous for his heroism. One day when this chieftain was roaming about in the outskirts of the town, the giant greeted him and said, "The people speak so much about your valor! Are you really that brave?"
"Brave? Haha! It is a pity that there are no giants these days. That is why I cannot get a chance to crush them and win the glory of another Vikramaditya," he boasted.
Instantly, to the chieftain's horror, the giant assumed his real form and commanded him to walk around him thrice with hands folded and to bow down to him.
The chief guard shivered like a cat in the rain and did as commanded.
"So, this is what you humans call valor!" remarked the giant before leaving.
Soon he reached another town. Assuming the form of a charming young man, he met a wealthy merchant. He knew that the merchant was looking for an eligible young man to marry his daughter.
"I am poor, but I am of your caste and I am quite educated. Will you give your daughter in marriage to me?" he asked.
"Not to a poor man," said the merchant, adding "I love my daughter so much that I will give her only to a prince."
"Really?" roared out the giant as he assumed his real form.
"I understand that your ship is sailing in the sea. I'm going to sink it," said the giant.
"Please, giant sire, I agree to your proposal," faltered out the merchant.
"Haha!" laughed the giant while leaving. "This is the extent of your love for your daughter!"
He walked, looking an ordinary man, to another part of the town. Before a landlord's house, there was a gathering. Some singers were singing devotional songs while the landlord, his eyes closed, sat chanting Lord's name.
After the session was over and people dispersed, the disgusted giant went closer to the landlord and said, "You have chanted the Lord's praise, so long. Would you mind once abusing him?"
"How dare you propose such a grotesque thing to a sincere devotee like me? Can I utter a word of abuse against the Lord even for my life?" shouted the landlord.
The giant assumed his original form. "If you don't abuse the Lord, I am going to choke you!" he said bringing his fearful hands nearer to the landlord's throat.
"I'll abuse the Lord, I'll abuse the Lord, I'm at your command!" shrieked the landlord in panic.
The giant laughed. "This is the extent of human devotion!" he murmured and left the town.
Straight he returned to his forest and stood before the rishi.
As the sage looked up affectionately, the giant said, "Revered sir, my trip to the human localities proved quite disappointing." He then narrated his experiences at length.
"So, my child, what would you like to become?" asked the rishi.
"Well, grant me human life!" said the giant.
"Are you sure?" asked the rishi, smilingly.
"Yes, because the human beings, despite their shortcomings, are never tired of life. They always build new hopes, new dreams, and new expectations. As a human being, I will not feel bored with life. Besides…." The giant paused.
"What is besides, my child?" queried the rishi.
"It is only among humans that rishis like you are possible." replied the giant.
1 responses on "A Giant's Dilemma"
Suresh AnanthuniMarch 4, 2018 at 6:23 amLog in to Reply
Very Nice.Really human beings are great,but i think a gaint is needed to make aware the present humans what they are really meant for and what they are really capable of.Thanks for sharing.


The much awaited Tunnel Guru Dns for Android is now available for all users both old and new users and it is called SlowDNS. This is working with MTN , just like the PC version. Just follow the screenshot below to set it up.
After setup click connect and if successful you should get the next screenshot below.
Now you can power all apps on your Android device e.g Whatsapp, BBM etc. Please take note that to browse unlimited you need to upgrade your account Click here to upgrade.
NOTE: 1. Your device does not need Rooting for you to be able to use SlowDNS.
but if your Tunnel Guru account is already on premium then just input the username and password on SlowDNS.
Don't forget to DOWNLOAD Netinfong Android App so you can reach us easily.
What of for pc user?
PLEASE ANYONE WHO IS NOT CLEAR ON THIS, DON'T HESITATE TO ASK QUESTIONS.
Thanks Chris Just tested mine with MTN.
Nooo na Anonymous! Its wrking this is what am using and as long as that of PC is wrking without Mb, why won't that of Android wrk.
My slow dns doesn't have any premium server just two free servers, please?
Anonymous 8:05pm ya sorry I 4got to mention that. At first after connecting successfully with freeID, disconnect slowdns and close it, then reopen it. Premium server will be added.
Ya weldone to those who have connected successfully.
What about glo?can it work with it?
Pls chris i am unable to download the slow dns from pc/laptop. What can i do?
pls chris, how can i make it power my ucbrowser, youtube and other apps? its only working with google search, thats 4 etisalat.
Thanks Anonymous you are right. you can comment with ur name so we know u beta.
3race u can try that of mtn.
John D is this really u? Mehnnn welcome bck bro! Me and every other person missed ur presence. Hope u brought back goodie as oo. Mehnn gud 2 hv u bck man and thnks for the info.
If I have an existing data plan will it work? And can I use it to download as well?
Anonymous it will work and you can download.
Settings have been updated and new version released, if you have any questions, pls feel free to comment.
Anonymous 8:59am sorry we don't have that here.
Oga Chris u 1 kill me oo.. Am blazing with this.
how does one power all apps in his android phone? any settings for that or you just connect and all app are powered. thank u.
Ifeanyi once you connect it poweers all apps.
do we need to subscribe to access it?
and can this work on bbz10?
Anonymous 7:50pm yes it works on z10. yes you have to pay for an unlimited plan.
Anonymous 8:52pm make sure u re using v2.2.2 and enter ur own username and password. if not it will keep telling that.
Anonymous ya thats y. of course you cant login to a premium server if you are a free user.
i can't login into my tunnel guru account. why?
Preye you have to tell which error you get b4 I can tell why you can't login.
Anonymous 11:32am yes still wrking, but not as good as that of MTN.
Thnks boss I can confirm this is wrking.
if I upgrade 2 premium acc will it mak d speed faster than free acc or dey both d same?
Is there any extra setting cos it isn't powering my apps. Yes I'm using a premium account, help.
What does "warning answer not received" mean? And "DNS engine initialized"?
Anonymous 9:14am ok welcome to netinfo. Replace 10.199.212.120 with 8.8.8.8 and change Txt response not encoded with NULL for etisalat u can't tether it directly. Expect u do some little technical wrk.
Anonymous 8:44am there is no other settings, besides which app is it powering?.
Aleex ya less congestion and unlimited data, if u need to tether to ipad, might not be possible, except some small technical wrk done.
What of andriod 2.3 users?
Anonymous 3:22pm sorry about the speed you are getting there, over here everything is fine. means its ur location.
Anonymous 2:05am let me know if you are a premium user.
Anonymous, sorry but the new and stable settings is exclusive only to premium users.
Ok Mr Unkown are u a premium user?
Ooh sorry but the new fast mtn settings is only for those who upgrade their accounts.
Mr unknown yes I know, but things have changed, those who upgrade are the ones who will browse with the faster settings.
Ok Chris you remain the best. Thanks for the settings u gave me e fast die.
Anonymous 8:54pm there is nothing wrong with the settings above, just try and reconnect.
does it download & stream videos....??
Yes Anonymous. Its does that.
Nice wrk in here keep it up.
Anonymous ok ya if ur BBq10 can install android apps then this settings wil work for u.
bros chris it didnt work for my BBQ5 wgat should ido pls?
Anonymous what error did it tell u?
Anonymous 12:55am No its not for iphone, but for Android devices.
Anonymous 7am, wow! thats a whole lot happening, all of that cant be happening at the same time. hmmm something is actually wrong somewhere.
Anonymous you have to explain to me the issue, so i knw how to help.
Mr unkown sorry about that. Could jst be a small fault from ur end. Restart slowdns that shuld fix. All servers are okay from here.
Oyela you can get my mobile number from the Contact us page and call me up.
Anonymous 3:13pm alright thnks too.
I just got a new android, tried everythin on the screen, yet not succesful for over 5days now. Is this DNS still working? Or must I be a premium user b4 it will even connect at all?
Anonymous yes its still working and sorry about the issues you are having. can you state exactly the error you get or your exact issue.
Fanozine my contact details can be found on the Contact us page.
Oga Chris good day. Please does upgrading to Premium increase the speed like Your-freedom does? if yes, by how much?
Anonymous 24th. Yes it does increase the speed. well by how much you will get to knw.
Anonymous 12:48pm pls you paid to who and when? By the way what error mssg did u receive??
Anonymous 9:29pm, if u say u are tired of it and is not working well for you. Please i would advice, don't force ur self trying to use it. Just subscribe for a normal data plan from any network at once.
That's what I have been using now. That's way better!
Walahi I de enjoy ur services die for Abuja keep it up.
INFO: Greetings to everyone, i know DNS can be slow when trying it in a location that has low signal strength to power a DNS protocol, yes i can confirm that bcus i hv also tested it in locations that had poor network and bliv me if i was in anyone shoes i will complain.
But then when i try these out with good network signals bliv me u wont know if this is free browsing or paid connection. If you take a closer look at the screenshot above when i was connected u will see that my received data is upto 227mb, that alone should confirm to you its working well.
mr chris odu waali u are d best in d world only u many people ask question and u answer them amazing thats good one from nigeria in short u are d best.pls i want to go 4 premium acc slow dns pls is d pakage still working till now.
Famozine yes oo he is 1 in a million ever since I started following this site my browsing life has changed and he is trust worthy.
Famozine thnks for the kind words and i will continue doing my best.
Yes its still working i can confirm that.
Anonymous 6:21pm thanks too for the kind words..
Ok Mike i can remember you now, in respect to your earlier comment pls did u expect to have Mb or credit on ur sim card and then be browsing free without MTN touching it in these modern time?? Hmmm i hope not. Anyway call me or PING me ur case needs special treatment and is a small one.
Oga Chris thnks finally got mine connected after we spoke last night.
Anonymous 26th. ok u re welcome.
Mr Kennose, ok Noted will look into that.


All our Visitors & Members receive a warm welcome at Great Lever and Farnworth Golf Club and we invite you to come and try our fantastic course. We can cater for all abilities whether it be beginners or professionals and we pride ourselves on our flexibility to meet the individual or groups needs. Check out our latest Society Offers Available below or we can tailor a package to suit your day.


The Pokemon anime is packed with a bunch of funny faces! those happen to be my favorite part! The best ones seem to come from team rocket, and the epic crossed eyes that pops up so much! Who makes your favorite funny faces? What episode did it come from? All of these are to be answered in the next post on this thread!????


This chapter provides a workable operationalization of health capabilities, and seeks a shared standard of health based on the demands of social justice and the right to health in terms of health equity. The health capability paradigm offers a trans‐positional conception of health that reflects the 'view from everywhere'. This chapter delineates the relationship between health capabilities, health functionings, health needs and health agency, introducing shortfall in equality —— deviations of individuals or groups from a standard —— as a means for judging public policies affecting health. It emphasizes that although many factors influence health, health policy is one of the most important determinants; thus there is need for efficiency in health policy, and for joint clinical and economic solutions to achieve optimal levels of health and reduce inequalities in individuals' capabilities to be healthy. It argues for a differential allocation of resources to mitigate shortfall inequality. It critically analyzes the ethics of the social determinants of health and surveys and responds to criticisms of the capability approach.


text:
Low wages, little savings among many Utah families
Better Utah in the News, Education, Equality, News, Taxes
Source: The Spectrum
By many measures, Utah maintains the nation's healthiest economy, with unemployment below the national average, some of the fastest job growth in the U.S. and a reputation for both hard-working employees and high rates of entrepreneurs.
But like the rest of the U.S., the state still has large numbers of families stuck struggling in low-wage jobs, with little savings and few prospects for a more stable financial future, according to a new report from the nonprofit advocacy group Prosperity Now.
In its annual scorecard on the prosperity of Americans, the group measures 37.2 percent of Utah households as being liquid asset poor, meaning they have little money saved up and could fall into poverty after just three months if they lose a job or suffer another significant income loss.
"It's clear that far too many Utahns are stuck in economic limbo. They may be getting by, but they aren't getting ahead," said Andrea Levere, president of Prosperity Now.
The report shows 28.7 percent of state households having failed to set aside any savings for emergencies in the past year, and 21.1 percent of households experienced income volatility from month to month, often from irregular job schedules and lack of steady income.
Nearly a quarter of Utah jobs — 23.9 percent — are in low-wage occupations.
In addition, households of color face greater obstacles. On average, the state's minority population is twice as likely to live below the poverty line as their white counterparts, and are much less likely to own a home or other assets that help long-term financial stability. Less than half of minority households — 48.7 percent — own homes, compared to 72.7 percent of white, non-Hispanic households, according to the report.
Despite those issues, the state still ranked 4th overall among the 50 states compared in the report, an increase from an 8th-place ranking last year.
The state received an "A" for financial assets and income, thanks primarily to having the highest state rate of households with savings accounts — 88.1 percent — and the lowest rate of income inequality among households, with the richest households making 3.8 times the incomes of the lowest income households, compared to a national average of richer households making 4.9 times what their lower-income peers make.
By many traditional measures, Utah's economy is humming, especially compared to most other states.
The state's unemployment rate went up two-tenths of a percentage point in June, to 3.4 percent, according to the Department of Workforce Services, but it remained a full percentage point below the national average.
In addition, the state is adding jobs at the fastest rate in the country, with 49,200 new positions reported over the past 12 months, a 3.4 percent increase. Eight of 10 private industry groups measured reported net job increases.
"Utah's economy remains on solid footing," said Carrie Mayne, chief economist at the DWS, in her assessment of the monthly figures.
"While the unemployment rate showed a slight uptick, the expansionary trend in jobs means today's job seeker will likely become tomorrow's job holder," she said.
The state also received an "A" for education finances, mostly because of relatively low average college graduate debt — $18,873 — and a low rate of college graduates with debt — 41 percent.
But the state also ranks near the bottom in a number of key measures, especially on healthcare and health insurance, with some of the nation's worst uninsured rates for children and minorities and among the lowest percent of jobs that offer health insurance — just 40.7 percent of Utah employers offer insurance, compared to a 45.7 percent national average.
The state also shows some of the largest discrepancies in the country between races, with minority households struggling to enjoy the prosperity of their white household peers.
The report also dings Utah for not allocating enough funding to microenterprise development and to workforce development programs.
"This report highlights some bright spots in our state," said Josh Kanter, president of the Salt Lake City-based think tank Alliance for a Better Utah. "But those bright spots don't tell the full story. We need to keep working to create a broad-based economy that allows Utah families to not only get by but to prosper."
The full 2017 Prosperity Now scorecard is available online at scorecard.prosperitynow.org.
Read article here.


The research project Decisions and Justification in Child Protection Services (CPS) focuses on how decisions and interventions in Norway's Child Protection Services (CPS) are to be understood as justificatory practices that express interpretations of the principle of the Best Interest of the Child (BIC).
The project is organised into seven work packages (WPs) which adhere to this main objective.
WP1 focuses on how BIC and related values influence norms of justification in Norwegian CPS with decisions made in relevant similar services in other countries.
WP2 explores how decisions on BIC regarding minority families reflect cultural differences and values related to ethnic background and social and economic factors.
WP3 looks at justifications of care orders made by the County Social Welfare Boards.
WP4 focuses on the CPS's work with parents and other welfare organisations in families where the parents have serious psychological or addiction problems.
WP5 studies family council conferences, an alternative model for decisions in CPS compared to proceedings that are more traditional.
WP6 scrutinizes justifications for CPS-interventions separating new-borns from parents.
WP7 analyses justifications of decisions and interpretations of BIC found in WP1-6, in light of critical philosophy and criteria for sound justification.
The project uses qualitative methods: individual and group interviews, observations, document analysis and in-depth literature studies. The research aspires to implement methodological principles in which participation is considered a method in itself. The project is tailored to strengthen research-based education, service-improvement, innovation and user-participation.
Users of services, students, collaborating academics, agencies and professionals from the practice field will be involved throughout the research.
The results will be shared in the Norwegian community of teachers and researchers in the field, and provide a novel knowledge base applicable to a range of educational programmes and academic institutions in Norway and comparable countries.


text:
Q: Some questions about bazel concept I am learning Bazel and confused by many basic concepts.
    load("//bazel/rules:build_tools.bzl", "build_tools_deps")
    build_tools_deps()      //build_tools_deps is macro or rules?

    load("@bazel_gazelle//:deps.bzl", "gazelle_dependencies")
    gazelle_dependencies()  //what about the @ mean exactly? where is the bazel_gazelle ?
    native.new_git_repository(...) //what about the native mean?

What definition is called a function? what definition is a rule?

A: A macro is a regular Starlark function that wraps (and expands to) rules.
def my_macro(name = ..., ...):
    native.cc_library(...)
    android_library(...)
    native.genrule(...)

Think of macros as a way to chain and group several rules together, which allows you to pipe the output of some rules into the input of others. At this level, you don't think about how a rule is implemented, but what kinds of inputs and outputs they are associated with.
On the other hand, a rule's declaration is done using the rule() function. cc_library, android_library and genrule are all rules. The rule implementation is abstracted in a regular function that accepts a single parameter for the rule context (ctx).
my_rule = rule(
  attrs = { ... },
  implementation = _my_rule_impl,
)

def _my_rule_impl(ctx):
  outfile = ctx.actions.declare_file(...)
  ctx.actions.run(...)
  return [DefaultInfo(files = depset([outfile]))]

Think of actions as a way to chain and group several command lines together, which works at the level of individual files and running your executables to transform them (ctx.actions.run with exectuable, args, inputs and outputs arguments). Within a rule implementation, you can extract information from rule attributes (ctx.attr), or from dependencies through providers (e.g. ctx.attr.deps[0][DefaultInfo].files)
Note that rules can only be called in BUILD files, not WORKSPACE files.
@ is the notation for a repository namespace. @bazel_gazelle is an external repository fetched in the WORKSPACE by a repository rule (not a regular rule), typically http_archive or git_repository. This repository rule can also be called from a macro, like my_macro above or build_tools_deps in your example.
native.<rule name> means that the rule is implemented in Java within Bazel and built into the binary, and not in Starlark.

redpajama_set_name: RedPajamaStackExchange


text:
/* A module for directives */
var gnaPromiseDirectives = angular.module('gnaPromiseDirectives', ['gnaPromiseServices', 'messengerServices']);

/* Creating a new directive */
gnaPromiseDirectives.directive('gnaPromise', function($interval, $q, gnaPromiseService, messengerService) {
  return {
    restrict: 'EA',
    scope: {},
    template: '
' +
              '
Api Services
' +
              '' +
              '<input id="{{ service.id }}" class="radio-custom" name="radio-group" type="radio" ng-checked="service.serviceName == 0">' +
              '{{ service.text }}' +
              '' +
              '
' +
              '
' +
              '

MOD	TIME

' +
              '

{{ mod }}	 {{ interval }} ms

 ' +
              '
' +
              '
Generar Numero Aleatorio
' +
              '
 {{randomNumber}}
',
    link: function (scope, element, attrs) {

      var intervalPromise, button, SERVICE_OK, SERVICE_ERROR, SERVICE_DELAY, newGenerationBlocked;

      init();

      function init() {

        // DOM
        button = element.find('.btn');

        // VARIABLES
        SERVICE_OK = 0; SERVICE_ERROR = 1; SERVICE_DELAY = 2;
        allowNewGenerations();

        // SCOPE
        scope.mod = attrs.mod;
        scope.interval = attrs.interval;
        scope.randomNumber = '-';
        scope.serviceSelection = gnaPromiseService.getWorkingServiceUrl();
        scope.services = [
          { id: 'service-up', text: 'OK', serviceName: SERVICE_OK },
          { id: 'service-down', text: 'ERROR', serviceName: SERVICE_ERROR },
          { id: 'service-delay', text: 'DELAY', serviceName: SERVICE_DELAY }
        ];
        scope.$on('$destroy', function () { $interval.cancel(intervalPromise); intervalPromise = undefined; messengerService.popMessage('info', 'Exit Generation', ''); });
      }

      function allowNewGenerations(){ newGenerationBlocked = false; }
      function blockNewGenerations(){ newGenerationBlocked = true; }
      function isNewGenerationBlocked() { return newGenerationBlocked; }

      scope.generateRandomNumber = function() {

        if (intervalPromise == undefined){
          // We trigger the interval
          intervalPromise = $interval(function() {

            if (!isNewGenerationBlocked()){

              // Lets use that to know if we wait for a long time
              var wait = undefined;

              /***********/
              /* PROMISE */
              /***********/
              promiseService = gnaPromiseService.startService(scope.mod, scope.serviceSelection);

              // We just made a new call, so we block passible calls triggered by the $interval
              blockNewGenerations();

              // The Resolve Reject and Notify
              promiseService.then(function(randomNumber) {
                messengerService.popMessage('info', 'Operation Success', '');
                wait = undefined;
                scope.randomNumber = randomNumber;
                // We got the response from the server. We can continue calling it
                allowNewGenerations();
              }, function(reason) {
                messengerService.popMessage('error', 'Server error', reason);
                // We got the response from the server. We can continue calling it
                allowNewGenerations();
              }, function(update) {
                if (intervalPromise != undefined) {
                  console.log(wait);
                  if (wait == undefined) { messengerService.popMessage('warning', 'Delay', 'Don´t panic!, still working...'); wait = 'long'; }
                  else if (wait == 'long') { messengerService.popMessage('warning', 'Delay', 'Yeah...this is taking long...'); wait = 'super long'; }
                  else { messengerService.popMessage('warning', 'Delay', 'But don´t panic! We´ll get it!'); }
                }
              });
              /***********/
              /***********/
              /***********/

            }

          }, scope.interval);
          // And turn the button into the stop button
          button.text('STOP');
        }
        else {
          // We stop the interval
          $interval.cancel(intervalPromise);
          intervalPromise = undefined;
          // And set the original text of the button
          button.text('Generar Numero Aleatorio');
          // We clear up possible messeges
          messengerService.popMessage('info', 'Stopping Generation', '');
        }
      };
      scope.seclectService = function(service) {
        if (service == SERVICE_OK) { scope.serviceSelection = gnaPromiseService.getWorkingServiceUrl(); }
        if (service == SERVICE_ERROR) { scope.serviceSelection = gnaPromiseService.getErrorServiceUrl(); }
        if (service == SERVICE_DELAY) { scope.serviceSelection = gnaPromiseService.getDelayServiceUrl(); }
      };
    }
  };
});

redpajama_set_name: RedPajamaGithub


text:
50k Movies
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The Umbrella Academy Season 1 Episode 3
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Worried their mother is hiding something, Luther and Allison call a family meeting. Cha-Cha and Hazel catch a big break in their hunt for Five.
Serie: The Umbrella Academy
Guest Star: Peter Outerbridge
Episode Title: Extra Ordinary
Air Date: 2019-02-15
In the dark, early days of a zombie apocalypse, complete strangers band together to find the strength they need to survive and get back to loved ones.
A chilling anthology series featuring stories of people in terrifying situations inspired by true historical events.
Reporter Camille Preaker confronts the psychological demons from her past when she returns to her hometown to investigate the murders of two young girls.
A heart-in-your-throat drama, Red Line begins with the mistaken shooting of a black doctor at the hands of a white cop and unfolds from the perspective of each of the…
A tough, brilliant senior resident guides an idealistic young doctor through his first day, pulling back the curtain on what really happens, both good and bad, in modern-day medicine.
A troubled war veteran is assigned to protect a controversial politician who may be the target of a terror plot.
Genre: Crime, Drama, War & Politics
The Doom Patrol's members each suffered horrible accidents that gave them superhuman abilities — but also left them scarred and disfigured. Traumatized and downtrodden, the team found purpose through The…
Set in 1832 West Yorkshire, England and inspired by the true-story and coded journals of Anne Lister, this series follows her attempt to revitalize her inherited home, Shibdhen Hall. Most…
The story of the mysterious and brilliant Jack Parsons in 1940s Los Angeles as by day he helps birth the discipline of American rocketry and by night is a performer…
Secrets of the Zoo
With nearly 6,000 veterinary cases and well over 100 births each year, the team at the Columbus Zoo has no shortage of incredible drama.
Based on the stories of Stephen King, the series intertwines characters and themes from the fictional town of Castle Rock.
When a dark secret from this past threatens to be exposed, unorthodox and brilliant medical examiner, Doctor Daniel Harrow, must use all his forensic skills to keep it buried forever.
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Babygirl, trust me, you're gonna wanna be high for this. Look me in the eyes, you don't wanna be alone. Blame it on the night, blame it on this place. Just don't blame it on me. Open up your mind. The clocks don't work, you don't have to check the time. And if they don't let you in, you know where to find me.


Home Enews Eminem's World Record For Most Words In One Song Has Been Broken By MC Harry Shotta!
Eminem's World Record For Most Words In One Song Has Been Broken By MC Harry Shotta!
MC Harry Shotta has shocked the world by breaking Eminem's world record for most words in one song. While not officially recognized yet, MC Harry Shotta has demolished the record originally set by Detroit rapper, Eminem's song "Rap God". Eminem's song had a very impressive 1560 words on his song, but MC Harry Shotta had beat that record by 200 words with his song "Animal" which had 1771 words! This six minute song by MC Harry Shotta has a pretty similar cadence as Eminem's song "Rap God". MC Harry Shotta's delivery in general has a lot in common with Eminem as you can see there is obviously some sort of influence involved.
MC Harry Shotta Explained the process of writing "Animal" : "The process is a long-winded one but we know the word count is more than Eminem and hopefully they'll recognize that."
The "Animal" Rapper also made sure to make it clear that there is no beef between him and Eminem.
"This is purely about pushing our art and having some fun."
Hopefully the record becomes official soon, so it'll give Eminem a reason to come out of hiding and return with a Rap God part 2!


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Directions : Hwy 95 to Bullhead Parkway. East on Camino Real.


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New Zealand Senior Men
The New Zealand Senior Men's team represents AFL New Zealand as its premier team and plays against the touring AFL Academy in April each year as well as participating in the International Cup every three years.
The New Zealand national side were last winners of the International Cup in 2005 defeating Papua New Guinea in the grand final played at the MCG in front of 30,000 people.
New Zealand Senior Men's team is open to all male players currently playing in the AFL New Zealand Premiership or with a club in Australia.
New Zealand U18
Is for players turning 18 or younger at the time of selection of the wider squad at the end of November each year and currently playing in the AFL New Zealand Youth Competition, Local Club or the AFL New Zealand Premiership. These players will be looking to take the next step through their U18 experience targeting the New Zealand Seniors the following year. Those selected in the New Zealand U18 team tour Melbourne, Victoria May each year. This tour includes being hosted by the Mornington Peninsula Junior Football League, associating with clubs of all levels, playing against a local team and attending an AFL fixture.
AFL New Zealand Academy Level 2
Is for players continuing their New Zealand representative pathway with their next step New Zealand U18 or New Zealand Seniors. Players of the AFL New Zealand Youth competition turning 16 the year the competition commences are eligible for selection in the AFL New Zealand Academy Level 2 squad. With a two match series against a touring Australian team April of each year.
Is for players that are new entrants to New Zealand representative pathway. Players of the AFL New Zealand Youth Competition turning 15 and younger the year the competition commences are eligible for selection in the AFL New Zealand Academy Level 1 squad. With a two match series against a touring Australian team April of each year.
New Zealand U18 Youth Girls
The New Zealand U18 Youth Girls is for players selected from a series of Combine testing, trials, participation in the AFL New Zealand Youth Competition and AFL New Zealand Academy who turn 18 or younger in the year the Youth competition commences. Those selected in the New Zealand U18 Youth Girls will play a two match series against a touring Australian side April of each year. Several of these players will be working towards selection in the AFLW U18 National Championships in Australia, May of each year.
The Youth Girls debuted against the touring Australian Youth Girls team in October 2013 in a three match series. This series was repeated in early October 2014, with a further tournament taking place against the Woomeras, Australia's best female indigenous players in December 2014 and 2015.The New Zealand Kahu Youth Girls were last winners in their successful series campaign against Mornington Peninsula Youth Girls, April 2017 played at Wellingtons Hutt Park.
Talent identification is conducted through Secondary School Programmes and the AFLNZ Youth Competition.
If you would like to learn more about the AFL New Zealand High Performance Programme, Secondary School Programmes or how you can play AFL and represent New Zealand, please get in touch with Rebecca Smith, AFLNZ Youth and Female Development Manager, rebecca.smith@aflnz.co.nz or 021 308 277.
History makers: The 2017 New Zealand U18 Youth Girls were the first team to win a national campaign series in New Zealand.


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Set for release on June 25, Judgment is the latest title from Sega's acclaimed Ryu Ga Gotoku Studio (generally known in the West as Yakuza Studio). While it does share some similarities with the Yakuza games, such as their satisfying combat system, play spots and strong narrative, Judgment is actually quite different: It's a legal thriller, casting the player as private detective Takayuki Yagami as he investigates a series of murders on the seedy streets of Kamurocho.
IGN Japan awarded the game a score of 8.8 when it was released in Japan in December, praising its "superior legal suspense" and "top-notch action entertainment".
Meanwhile, the Yakuza series continues to pick up steam in the West, while a number of ports of older titles for PS4 and PC have continued to win new fans at home and abroad. Now that beloved protagonist Kazuma Kiryu's layered story has been concluded with Yakuza 6: The Song of Life, a brand new title – currently dubbed Shin Ryu Ga Gotoku, or New Yakuza – is under development with a whole new cast, led by rough-and-ready low-level gang member Ichiban Kasuga.
That sure is a lot of games, and we wanted to know new details about all of 'em – so we sat down at Sega's shiny new Tokyo office with Yakuza Studio head Toshihiro Nagoshi, who devised both the Yakuza series and Judgment; Kazuki Hosokawa, Judgment's producer; and Daisuke Sato, a producer on the Yakuza series who was also a producer on Judgment. Let the Q&A commence.
IGN: What was the original reason behind developing Judgment as a spin-off to the Yakuza series?
Hosokawa: At the time when we first came up with the idea for Judgment, we had already made six mainline Yakuza games. We felt that we had found our studio's strong suit, but it also felt like time for a new challenge – something with a new scenario and new characters while we also continued the Yakuza series. It just so happened that Nagoshi and I both felt the same way at the same time, and so we started to discuss the idea in more detail. That was the birth of Judgment.
Nagoshi: It's not really a spin-off – after all, the characters from Yakuza do not appear in Judgment, and while it's set in the same city district of Kamurocho, we wanted to make something different. And since Kiryu's part of the Yakuza series had come to an end, this was a chance to do something I'd wanted to do for a while. I'm very satisfied with it.
IGN: What are the key differences in Judgment that set it apart from a Yakuza game, and what are the similarities it shares?
Hosokawa: The genre is quite different – Judgment has suspense and mystery elements, and has you solving a puzzle as the drama unfolds. While the Yakuza series invites players to immerse themselves in an immoral world, Judgment is based on the detective genre, which has a much broader appeal. The game experience itself may be similar, but you will get something totally different from playing it.
IGN: Judgment may not feature any characters from Yakuza, but the town of Kamurocho has a big presence in both games. Why did you use that at the setting this time?
Hosokawa: We wanted to have a protagonist who has a deep connection with the city around him. We had the choice between placing this character into a whole new location, or using Kamurocho – the city we have spent many years building. Cost and scheduling were factors, of course, but also after 15 years of enhancements, Kamurocho has become a location that we are familiar with. I was a little worried that fans may be fed up of seeing the same location again, but at the same time, I thought it would suit the character and make the game much more fun to play.
IGN: Over the past few years, Sega has been closing the gap to bring Western releases out sooner. The Western release of Judgment is only about 6 months later than Japan. What is the thinking behind this strategy, and what have been the challenges?
Hosokawa: Fans in the West would always ask Sega after each Yakuza release, 'When will you bring this game to our country?!' In the past we had to start the localization process after the Japanese version was already complete, which made it impossible to close that gap. With Judgment, we started localizing parts of the game about a year before the Japanese release, so that we were working in parallel, and that helped us reduce that lag to just six months.
Nagoshi: To be honest, in terms of scheduling, a simultaneous worldwide release is actually possible. It's not that difficult. But from a business perspective, the Western market is so big that it takes time to properly forecast the sales data, and to be honest this is what causes the delay – it just can't be helped. But if Judgment sells well overseas then we will have the data so that if we do end up making a sequel, it may become possible to consider a simultaneous worldwide release next time.
IGN: Judgment is the first Yakuza Studio game since Yakuza 1 to get a fully voiced dub in the West. What was the reasoning behind that decision? Will future games get the same treatment?
Nagoshi: The Yakuza series has finally reached a point in the West where we have a consistent fan base, even for the older titles, and the games are well received well critically, which I'm really happy about. Adding fully localized voice acting was one response to that, as a way to give the fans a new way to enjoy our game.
Hosokawa: When Sega of America asked whether we could localize the voices for Judgment, I was interested to try to see whether we could achieve it. But we're also localizing the lip-sync, which really felt like a challenge! It's expensive too, but we're doing it. If we hadn't had to change the character of Hamura right at the end (LINK TO NEWS STORY), the localization would be mostly finished by now. We're pretty much in QA now.
Nagoshi: If the voice dub helps to attract even more fans to our games, our motivation will continue to rise, and we can make even better games. I can't say much about whether New Yakuza will be dubbed, but it will be a brand new experience, which means the development costs are higher, so we have to think carefully about how to spread those costs.
IGN: The Yakuza series finally started coming to PC in 2018. What was the impact of that, and will Judgment come to PC?
Hosokawa: Releasing the games on Steam made the barrier to entry much lower, and we gained players who don't own a PS4. As for Judgment, we have not yet decided, but we are considering other formats. It's not impossible, but I can't say either way.
IGN: Is there a possibility we'll ever see a Yakuza game on Nintendo Switch?
Nagoshi: No plans at the moment.
IGN: You're also bringing more of the older titles to PS4, so that the entire mainline series can be played on Sony's current platform. Yakuza 1 and 2 – originally released on PS2 – got full remakes dubbed Kiwami, whereas the PS3 versions of 3, 4 and 5 are being remastered instead, improving their HD graphics. What can you tell us about that?
Sato: We've gained so many new fans of the Yakuza series since the PS4 came out, and they don't necessarily own a PS3, so we brought these games to PS4 so that they can play the full series. However, the Kiwami games took a full team about one year each to rebuild each game and add new mechanics. If we did the same with 3, 4 and 5, that would be another three years, and we'd prefer to use that time to make entirely new games like Judgment and New Yakuza, so instead we decided to make remasters of those games.
IGN: The Yakuza series was originally devised to appeal to Japanese gamers, and was not expected to sell in the West. However, the games now score highly overseas and have built a strong fan base. How do you explain the series' recent Western success?
Hosokawa: You'll always have things that get lost in translation, and Yakuza could have gone that way, but I think the game was made to such a high standard that it was able to overcome those cultural boundaries. While it has a very local flavor, the players who tried it found a well-made game, and began to spread the word.
IGN: Have later games in the series taken Western audiences more in mind?
Hosokawa: I don't think it's changed at all, really. We'll never understand at a gut level which parts of our games will appeal to players in North America or players in Europe. Instead, we are better off thinking about the cultures we understand – Japan and Asia – and creating a game that will satisfy them. In doing so, I believe that some players in the West – not all of them, but the ones who are interested – will enjoy the games too.
IGN: You have announced that the upcoming Yakuza game dubbed New Yakuza will be a very different experience from previous Yakuza games. In what ways will it differ?
Sato: I can't go into detail yet, but in the near future we'll be able to reveal something that will make you think, 'Wow, that really does look different'. The continuity of the previous titles in the series still stands. We still have the Tojo Clan and the Omi Alliance yakuza organization, and when the game is released it will be set the appropriate number of years after the previous games. Unlike Judgment, this will be a continuation of the Yakuza series. But as for what's new about it, you'll just have to wait and see.
IGN: Has the experience of creating Judgment influenced the main Yakuza series in any way?
Sato: Yes, of course. Judgment's engine is a customized version of Yakuza 6's Dragon Engine. Some of the customizations are specific to Judgment, but we improved the engine as a whole as well, particularly in terms of graphics rendering and the workflow elements that you can't see on screen but that improve the development. These will be brought forward to future games.
IGN: Since Judgment is set in Kamurocho, will any characters or locations that were created for that game be brought into New Yakuza?
Sato: Well, you may see some of the same shops and bars, and if we can use some of the characters in a way that feels natural, it's possible that we'll see those appearances. I don't intend to force it though. Judgment and Yakuza are separate series.
IGN: Now that Kazuma Kiryu's story has come to an end, New Yakuza features a new protagonist, Ichiban Kasuga. Do you see his story lasting as long as Kiryu's epic seven-game saga?
Nagoshi: I'm not sure. We're trying hard to make him a character people enjoy and whom they will want to see more of. We haven't planned several games ahead, but simply that fans will like him enough to want more.
IGN: When you are creating a new protagonist, what qualities do you look for to set him or her apart?
Sato: Kasuga is the polar opposite of Kiryu. They're both strong men, but Kazuma Kiryu is a taciturn person who doesn't speak without reason. He starts out in a coveted position within the yakuza, albeit an ill-fated one; he is seen as having a future within the yakuza, and we see him fall from grace and start a life of hardship. But even then, he has good friends who believe in him. On the other hand, Ichiban Kasuga starts out with absolutely nothing. He is not respected as a yakuza; he was born and raised on the streets of Kamurocho without any parents – well, Kiryu is also an orphan. But nobody looks up to Kasuga at all. He has to work his way up from rock bottom. We're aiming for a character who contrasts starkly with Kiryu. I hope players will come to love him.
IGN: You have been holding auditions in Japan for actresses to play New Yakuza's female lead. Will she be a playable character?
Nagoshi: I can't say much. She is a character who is important to the story, but she's not the heroine. She's central to the story.
Sato: We are advertising it as an audition for the female co-star, rather than the heroine. There is a heroine, but she is a separate character alongside Ichiban Kasuga, and the audition is for a third member of their group.
IGN: You have done auditions in the past to recruit members of the public for Yakuza games, which is a really interesting way to involve your fans. I attended one of the auditions for Miss Yakuza 5 as press years ago, and some of them really worked hard to win a place in the game. Presumably, those auditions worked out well. If you're doing something similar again this time?
Nagoshi: The audition this time was a suggestion from the staff, and I wasn't all that interested in doing it, because I didn't want us to repeat ourselves. If we were going to do something like that, it had to be something different. That's why the character this time is more central to the story, so it would be something new.
Sato: In the past, we held auditions for women to play hostesses, and those characters were not essential to the story. This time the character will interact with the central cast, so it's a more central role. The audition is open to professionals and amateurs alike, and we're hoping that this will be the launchpad for a lasting acting career, so we will be testing their acting skills as part of the process.
IGN: SEGA has put Sonic, Bayonetta and Joker in Super Smash Bros. Any chance Kiryu will make an appearance? Majima would make a great echo fighter.
Nagoshi: I don't think (Smash Bros director Masahiro) Sakurai is interested, haha. If he asked I'd say yes, but I don't think he wants them!
IGN: He has characters like Snake in there – it's not so dissimilar, right?
Nagoshi: Nah, that's different. Even if they're both killers, they're pretty different.
Sato: I think it would be very interesting (to put Kiryu in Smash Bros). He could pick up a bicycle out of nowhere to whack opponents with, haha. There are so many strong characters in Smash Brothers, I wonder whether Kazuma Kiryu could defeat them!
IGN: Is there anything else you'd like Western readers to know about Judgment or the Yakuza series?
Nagoshi: I've been very happy with the reception of Judgment in Japan, and other games by Yakuza Studio tend to be similarly well received overseas, so I think Western fans will enjoy Judgment, too. In a way, it's a very 'game-like' game – the story has weight, but it's a videogame at heart. Most games tend to be either deadly serious or completely absurd, but to me, the thing that unites Yakuza and Judgment is that they contain both of those sides, and that both sides are of equal importance. It's like a Simon Pegg movie, like Hot Fuzz – when I watch a movie like that, I think the quality of the story, the casting, his love for cinema as a medium permeates everything. He doesn't only want to make people laugh, he also wants to show his love for film, and so he puts everything he has into it. For me, my medium is videogames, and I want people to get all different kinds of enjoyment out of playing Yakuza and Judgment. I hope players overseas will feel that way when they play our games.
-Direct link to the article.


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Who I Am (Live at Red Arrow Studio
JL Fulks
Jeffrey Lynn Fulks Jr. also known as JL Fulks, is a American Singer-Songwriter and Professional Guitarist. He is known for his Versatile Approach to the guitar, his captivating songs, and smooth vocals. JL is a Berklee College of Music Alumni and a Award Winning Artist. He has shared the stage and opened for such names as: Johnny Winter, Robert Randolph & The Family Band, Doyle Brandhall ll, Donovan Frankenreiter, Atlanta Rhythm Section, Tinsley Ellis, Tab Benoit, Matt Schofield, Chris Duarte, Mac Arnold and the Plate Full of Blues, Brandon Santini, and many more. In 2013 he hit the blues music circuit with world renowned Blues Harmonica Player Brandon Santini. He toured the Midwest and performed at several major blues festivals before starting his own career. In 2016, JL & his blues trio won South Florida's Regional Blues Challenge and made it to the Semi-Finals at the International Blues Challenge in Memphis, TN. Shortly after he released his self written and produced EP "On Down The Road" featuring award winning Blues Artist Matt Schofield. The EP charted in three charts on the Roots Music Report and received many great reviews and plays worldwide. In October of 2016 JL was nominated for two International Music & Entertainment Awards: Blues Song of The Year (You & I), and Blues Artist of The Year. JL won Blues Song of The Year and performed the winning song at the Tucker Theater in Murphreesboro, TN for the 2016 IMEA Awards. In 2018 JL won two International Music & Entertainment Awards: Blues Artist of The Year & Music Video of The Year (The Way She Makes Me Feel). JL is currently endorsed by Heritage Guitar Inc., GHS Strings, Mojo Hand FX, and Cusack Music. He is also touring nationwide and is planning to start touring internationally in 2019. JL's booking is currently managed by Jim Nestor at Bluzpik Media Group. JL's latest release entitled 'Who I Am' is in the Country / Americana genre and features many great songs such as "Who I Am", "Hold On Tight", and "Cold Mountain Stream". It is now available on all major online music platforms. Aside from music JL Fulks is also a avid Kayak Angler, Fly Fisherman, YouTuber, and Videographer. In May of 2018 JL launched his Vlog "Road Angler TV" which is dedicated to Music, Fishing, Kayaking, & Adventure. As of April 2019, JL has joined forces with popular Kayak company, Vibe Kayaks and he is a part of their Pro Fishing Team. JL is currently based out of South Florida but will be relocating to Nashville, TN in Spring of 2019.
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Drifting, Meihan Sportsland and fast-paced 1980's-esque music. This video has the lot!
Check out this great video from ZESTINO TV that follows three drivers as they fulfil their lifelong ambition to drift at the mighty Meihan circuit.


You're a franchisor who's renting commercial space. If your landlord agrees, you can sublet your commercial space to a franchisee. A Sublease by Franchisor is the agreement between the franchisor and franchisee to formalize the arrangement.
You are a Franchisee that purchased a Franchise and need to sublease space from a Franchisor.
You are a Franchisor who has just franchised a unit and agreed that Franchisee is to sublease a certain location that you have already leased out for such purpose.
If you're a franchisor who's rented commercial space and you want to let a franchisee sublease it from you, make sure the landlord's on board - that's often legally required. Or if you're the franchisee, and have a franchisor in your corner, you may want to lease space from them. One of the reasons you got into franchises was for the support. If your franchisor has commercial space available to sublet, that's one less big thing for you to worry about. A Sublease by Franchisor can benefit both the landlord and tenant.
More than just a template, our step-by-step interview process makes it easy to create a Sublease by Franchisor.
Ready to make your Free Sublease by Franchisor?
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text:
module WhosGotDirt
  module Requests
    module Entity
      # Requests for companies from the CorpWatch API.
      #
      # By default, name and address queries will match complete words only in
      # the same order as in the query, tokens less than three characters long
      # will be ignored, and MySQL's [stopwords](http://dev.mysql.com/doc/refman/5.0/en/fulltext-stopwords.html)
      # will be ignored. If `substring_match` is `1`, queries will match within
      # words as well as complete words, at a severe performance penalty.
      #
      # @example Supply an API key.
      #   "corp_watch_api_key": "..."
      #
      # @example Find entities by IRS Employer Identification Number (EIN).
      #   "identifiers": [{
      #     "identifier": "911653725",
      #     "scheme": "IRS Employer Identification Number"
      #   }]
      #
      # @example Find entities by SEC Central Index Key (CIK).
      #   "identifiers": [{
      #     "identifier": "37996",
      #     "scheme": "SEC Central Index Key"
      #   }]
      #
      # @example Find companies by SIC code.
      #   "industry_code": "2011"
      #
      # @example Find companies by SIC sector.
      #   "sector_code": "4100"
      #
      # @example Match within words on name and address queries.
      #   "substring_match": 1
      #
      # @example Find companies by country code.
      #   "country_code": "US"
      #
      # @example Find companies by country subdivision code.
      #   "subdiv_code": "OR"
      #
      # @example Find companies with SEC filings in a given year.
      #   "year": 2005
      #
      # @example Find companies with SEC filings in or before a given year.
      #   "year>=": 2003
      #
      # @example Find companies with SEC filings in or after a given year.
      #   "year<=": 2007
      #
      # @example Find companies that appear as "filers" in SEC filings or as
      # subsidiaries ("relationships") only.
      #   "source_type": "relationships"
      #
      # @example Find companies with three direct descendants in a hierarchy.
      #   "num_children": 3
      #
      # @example Find companies with two direct ancestors in a hierarchy.
      #   "num_parents": 2
      #
      # @example Find companies within the hierarchy of another company.
      #   "top_parent_id": "cw_7324"
      class CorpWatch < Request
        @base_url = 'http://api.corpwatch.org/%<year>s/companies.json'

        # Returns the URL to request.
        #
        # @return [String] the URL to request
        def to_s
          params = convert
          if params.key?(:year)
            "#{base_url % params.slice(:year).symbolize_keys}?#{to_query(params.except(:year))}"
          else
            "http://api.corpwatch.org/companies.json?#{to_query(params)}"
          end
        end

        # Converts the MQL parameters to API-specific parameters.
        #
        # @return [Hash] API-specific parameters
        # @see http://api.corpwatch.org/documentation/api_examples.html#A17
        def convert
          match('company_name', 'name')
          equal('limit', 'limit') # default 100
          equal('index', 'page', transform: lambda{|v| (Integer(v) - 1) * (Integer(input['limit'] || 100))})

          input['identifiers'] && input['identifiers'].each do |identifier|
            case identifier['scheme']
            when 'IRS Employer Identification Number'
              equal('irs_number', 'identifier', input: identifier)
            when 'SEC Central Index Key'
              equal('cik', 'identifier', input: identifier)
            end
          end

          input['contact_details'] && input['contact_details'].each do |contact_detail|
            if contact_detail['type'] == 'address' && (contact_detail['value'] || contact_detail['value~='])
              output['raw_address'] = contact_detail['value'] || contact_detail['value~=']
            end
          end

          # API-specific parameters.
          equal('key', 'corp_watch_api_key')
          # http://api.corpwatch.org/documentation/api_examples.html#A35
          equal('sic_code', 'industry_code')
          equal('sic_sector', 'sector_code')
          equal('substring_match', 'substring_match', valid: [1])
          # http://api.corpwatch.org/documentation/api_examples.html#A36
          equal('country_code', 'country_code', transform: lambda{|v| v.upcase})
          equal('subdiv_code', 'subdiv_code', transform: lambda{|v| v.upcase})
          equal('year', 'year')
          equal('min_year', 'year>=')
          equal('max_year', 'year<=')
          equal('source_type', 'source_type')
          equal('num_children', 'num_children')
          equal('num_parents', 'num_parents')
          equal('top_parent_id', 'top_parent_id')

          output
        end
      end
    end
  end
end


GDT honours Jim Brandenburg in recognition for his extraordinary contribution to nature photography.
On the occasion of the 25th Nature Photography Festival in Lünen, this year on 28 October Jim Brandenburg has been honoured with the Fritz Steiniger Award, the most prestigious prize the GDT awards for extraordinary contribution to nature photography.
Promoting issues of nature conservation through expressive photography has always been a major concern to him. An extraordinary talent, whose images and films continue to enrich the world significantly.
This US-citizen's biography, born in Minnesota in 1945, is as impressive as the man himself. If you were to describe him in three words only, it probably would be curiosity, empathy and modesty. An extraordinary talent, whose images and films continue to enrich the world significantly.
Jim Brandenburg's photographic career is closely linked to National Geographic Magazine, which had him employed as a photographer for more than three decades. His numerous books have gained international fame, inspiring an entire generation of nature photographers. With "Chased by the Light" he created a milestone of landscape photography, and the cover picture of his book "Brother Wolf" has become an icon of nature photography.
During the course of his life, Jim Brandenburg has received a multitude of awards for his work in photography and journalism. BBC Wildlife Magazine and the Natural History Museum in London chose him as Wildlife Photographer of the Year and the National Press Photographer's Association (NPPA) twice awarded him the title Magazine Photographer of the Year. Four of Brandenburg's images are part of a unique collection that represents the 40 most important nature photographs of all time, chosen by members of the International League of Conservation Photographers (iLCP).
Professor Fritz Steiniger was one of the founding fathers of the GDT, who had significant influence on the society's development throughout its first years. Dedicated to his memory, the GDT named its most supreme award Fritz Steiniger Award, which is given away for special contribution to nature photography. The first photographer to receive the award in 1986 was Herbert Erich Maas. Over the years, he was followed by Heinz Sielmann, Fritz Pölking, Horst Niesters, Frans Lanting, Klaus Nigge, Dietmar Nill, Winfried Wisniewski, Hannu Hautala and Steven Dalton.