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Home / Policies / Section 04: Human Resources Policies and Procedures / Staff Employment Classifications – Policy
4-31: Staff Employment Classifications – Policy
This policy describes the various classifications of staff employees at Santa Fe Community College (SFCC or College).
This policy applies to all employees who are hired by SFCC, except for faculty, adjunct faculty, and student workers. Please refer to Policy 4-44 Employment of Faculty.
The College embraces the philosophy that its employees are its primary asset and therefore uses its best efforts to establish a working relationship with each employee that is stable and predictable. Thus, the College seeks to hire and retain all employees with clear terms and expectations.
Employment contract Refers to the agreement by which certain employees who are not considered Regular Employees or Faculty are employed by SFCC. Employees who are typically hired by an employment contract include executive level directors, employees in sensitive positions; and any other employee which the College proposes to hire as a contract employee because the circumstances warrant.
Executive Director/Vice President A staff administrator who reports directly to the President.
Employee – Sensitive Position Includes any employee reporting directly to the President, members of the President's cabinet and any other employee who, due to the nature of his or her position, is most appropriately hired under an Employment Contract.
Good Cause Shall include, but not be limited to, dishonesty, misconduct, the refusal or unwillingness to perform employment duties and responsibilities, insubordination, prolonged absence of more than three (3) days from duty without the consent of the College, conduct that involves moral turpitude or reflects poorly on the public image of the College or interferes with its educational mission, and any violation of local, state or federal law or violation of College policy. A reduction in force also constitutes good cause for termination (Policy 4-40 Special Circumstances Employment Actions).
Probationary Employee An employee who has been hired to fill a regular full or part-time position who is working in the position during a probationary period. Refer to Policy 4-39: SFCC Employment of Regular Employees for further description.
Employee – Regular Hired to fill a regular full- or part-time position and who has successfully completed his or her probationary period. Regular Employees have an expectation of continued employment and may be terminated only for good cause. Regular Employees are eligible to apply for any position posted as internal to SFCC employees only.
Employee – Term Hired to work in a grant funded position or with a specific term of employment.
Employee – Temporary An employee hired to fill a full- or part-time, non-permanent position for a specified period.
Temporary Assignment Means a supplemental job for a current employee.
Probationary and Regular Employees
An employee is initially hired as a Probationary Employee, and serves a Probationary Period. The Probationary Period is one year from date of hire or upon date of transfer if made within the initial Probationary Period. However, if the employee has attendance, conduct or performance deficiencies during the Probationary Period, the supervisor may, in lieu of termination, extend the employee's Probationary Period for up to six (6) additional months with a documented performance improvement plan and with the approval of the Executive Director of Human Resources. A Probationary Employee does not have an expectation of continued employment and his or her employment may be terminated with or without cause and with or without notice. A decision to terminate a Probationary Employee is not subject to appeal or review except pursuant to the Policy 4-3 Employee Concerns and Complaints for a violation of College policy. Probationary Employees are not eligible for Earned Educational Leave.
Once the Probationary Employee has successfully completed the Probationary Period, the employee will be considered a Regular Employee. As a Regular Employee, the employee has an expectation of continued employment and may only be terminated for good cause, including as a result of a Reduction in Force. In the event of a College-initiated reclassification of a position into a different employee type, the new classification of the position with similar duties will govern the probationary period.
Staffing assignments and job duties are in the sole discretion of the College. The College reserves the right to transfer a Regular Employee to another assignment based upon the staff member's qualifications and the needs of the College, as determined by the President, in consultation with the Executive Director of Human Resources. If a Regular Employee declines to accept a new assignment, that refusal shall be considered that Regular Employee's resignation. Please refer to Policy 4-3 Employee Concerns and Complaints.
A Regular Employee may challenge his or her termination for disciplinary reasons pursuant to Policy 4-2 Employee Corrective Action and Disciplinary Action. The employee may challenge their termination as a result of a Reduction in Force pursuant to Policy 4-40 Special Circumstances Employment Actions.
Term Employees
Term Employees are hired to work in a grant funded position or with a specific term of employment. Term Employee positions are grant-funded, federally-funded or other third-party-funded positions with assigned "begin and end-dates" representing the current term of the funding cycle. Position "end-dates" may be extended by the Hiring Authority contingent upon renewed funding.
If funding is discontinued, the Term Employee position will be deactivated, and employment will be terminated. A decision to terminate a Term Employee, based on discontinuation of funding, is not subject to appeal or review, nor is it subject to the Reduction in Force as per Policy 4-40 Special Circumstances Employment Actions.
The College has the right to keep a term employee at the conclusion of their term of employment and moved to regular employee status.
Temporary Employees are employed on an as-needed basis to fill a non-permanent position for a specified period in a specified position in accordance with the procedures set for in Hiring Policy 4-32. As such, they do not have an expectation of continued employment and their employment may be terminated with or without cause and with or without notice. A decision to terminate the employment of a Temporary Employee is not subject to appeal or review except pursuant to the SFCC Employee Concerns and Complaints Policy 4-3 for a violation of College policy.
Full-time Executive Directors/Vice Presidents who report to the President shall serve on one-year contracts. The President's executive administrative assistant and the Governing Board's executive administrative assistant also serve on a one-year contract. These contracts may be renewed at the discretion of the president.
Temporary Assignments
All employee types are eligible for temporary assignments which would not change their primary classification.
Except as otherwise specifically stated in the terms of their Employment Contracts, all individuals hired under the terms of an Employment Contract are considered "at-will" Contract Employees. An employee hired under the terms of an Employment Contract may be terminated as authorized by the terms of that employee's Employment Contract. Nothing in College policy is intended to create an expectation of continued employment, or "property interest," or other rights or privileges, except those that are expressly granted within the terms of the Employment Contract for such employees.
Generally, the College may terminate a Contract Employee with or without cause and with or without notice. However, the terms of any given Employment Contract may provide for notice prior to termination or non-renewal, severance pay, or even provide that the employee in question may not be terminated except for good cause. In all cases, the terms of the Employment Contract shall be controlling. The decision to not renew or to terminate an Employment Contract is not subject to formal review, unless provided for in the terms of the Employment Contract. No Contract Employee has a right to renewal of their Employment Contract, unless the terms of that Employment Contract specifically grant such a right.
Relationship to Other College Policies
All staff, including Probationary and Regular Employees, are required to follow all College policies and procedures, including the SFCC Code of Conduct. Regular Employees are subject to Corrective Action and Discipline pursuant to Policy 4-2.
All Contract Employees are required to follow all College policies, including the SFCC Code of Conduct. However, such policies and procedures do not constitute an express or implied contract and are not part of the Employment Contract. All Contract Employees are subject to discipline for violations of College policy or applicable law, including oral and written reprimands and suspensions. Such discipline is not subject to review except pursuant to SFCC Employee Concerns and Complaint Policy 4-3 for a violation of College policy. The SFCC Employee Concerns and Complaints Policy 4-3 may be used by anyone who has an Employment Contract with SFCC, excluding those retained under professional-service agreements performed by independent contractors, such as consultants.
The President, through the Executive Director of Human Resources and Professional Development/EEO Officer and the Office of Human Resources, shall be responsible for enforcing Human Resources procedures and policies. The Office of Human Resources shall work with the different departments and offices to comply with this policy and develop procedures that will enforce this policy regarding awareness, prevention, and remediation.
Policy 4-2 Employee Corrective Action and Disciplinary Action
Policy 4-32 Hiring
Policy 4-40 Special Circumstances Employment Actions
Policy 4-44 Employment of Faculty
SFCC Governing Board approved: 4/24/02
Revised and Governing Board approved: 8/5/03
Revised and Governing Board approved: 6/22/16


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Education Week's blogs > College Bound
Caralee Johnson Adams has worked as a journalist for nearly 25 years, covering education, health, parenting, and other issues. She received her journalism degree from Iowa State University and her master's degree in political science from the University of New Orleans.
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Key Role for Data in Work With Disconnected Youth
By Kimberly Shannon on December 21, 2012 9:40 AM
From guest blogger Kimberly Shannon
As Diploma Plus expanded its network of schools to support students at risk of dropping out of school, it developed a series of data tools to ensure that each of its locations was tracking progress and providing the services each participant needed. It now serves over 3,400 students, and uses the tools it has developed to inform program improvement and professional development. The program, based in Boston, is one of three working with disconnected youth around the country that is being highlighted in a new report about the role data can play in improving and expanding services.
The report, entitled Beyond the Numbers: Data Use for Continuous Improvement of Programs Serving Disconnected Youth, done by the American Youth Policy Forum, explores the use of data in programs that serve out-of-work and out-of school youth between the ages of 14 and 24, who are often called "disconnected youth."
The analysis consisted of case studies of three such programs: Roca, an organization in Massachusetts that seeks to move high-risk youth into educational, employment, and life skills programming; Our Piece of the Pie, a youth development agency in Hartford, Connecticut that helps young people access educational, employment, and personal skills; and Diploma Plus, a national network of public schools for at-risk students.
The study points to three main indicators of success shared among the organizations. The first indicator is a "clearly articulated theory of change," or an outline that shows what the organization would like to change, how it will make the change, and what the outcome will be.
For example, the organization Our Piece of the Pie uses the web-based software Efforts to Outcomes to track participant data based on a set of outlined short-term, intermediate-term, and ultimate outcomes. These outcomes are reached through the building of relationships between participants and youth development specialists. "We know that what makes a difference in people's lives and what makes them change and move forward is the relationships they build," said OPP President and CEO Bob Rath in a webinar on Tuesday. The relationship-based model is also a key element of Roca's theory of change.
The second common element of success identified in the study is that the data used reflects the mission of the program. Roca, for instance, which also uses the Efforts to Outcomes software, excludes any data that is not relevant to its three-phase "High Risk Intervention Model," and "capable of providing funders a complete view of its impact on youth, while at the same time, preserving ETO as a valuable and functional database for staff," according to the report.
The third shared indicator of successful use of data is that the organization shows a commitment to professional development among staff members who work with and collect data. Diploma Plus designates "implementation coaches," who are responsible for collecting data and engaging members of their school communities in professional development on creating performance-based assessments.
Bob Rath agrees with this method of transparency in data among staff members. Programs must "use data as a flashlight, not as a sledgehammer," he said. He often finds it can be helpful to have a "written agreement in terms of data sharing."
Roca not only shares data with staff members, but also with police officers. "One of the things that has really helped me," said director of programming Dana Betts, "is getting the police to know actually what we're doing and the work that we're doing." This gives police the opportunity to see when young people who may have had a history with crime are making progress.
After Five-Year Run, College Bound Blog Sunsets
Preparing Students for Reality of College With Advice and Inspiration
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Range of Summer Experiences Can Benefit High School Students
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Select a Month... July 2015 June 2015 May 2015 April 2015 March 2015 February 2015 January 2015 December 2014 November 2014 October 2014 September 2014 August 2014 July 2014 June 2014 May 2014 April 2014 March 2014 February 2014 January 2014 December 2013 November 2013 October 2013 September 2013 August 2013 July 2013 June 2013 May 2013 April 2013 March 2013 February 2013 January 2013 December 2012 November 2012 October 2012 September 2012 August 2012 July 2012 June 2012 May 2012 April 2012 March 2012 February 2012 January 2012 December 2011 November 2011 October 2011 September 2011 August 2011 July 2011 June 2011 May 2011 April 2011 March 2011 February 2011 January 2011 December 2010 November 2010 October 2010 September 2010 August 2010 July 2010 June 2010 May 2010 April 2010

redpajama_set_name: RedPajamaCommonCrawl


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Our lab is very active in research and outreach. Below is a list of happenings from lab members, including recently published papers, presentations of research given at local, state, and national meetings, and outreach conducted in and around Des Moines. Please contact Dr. Levi for more information on any of the Lab News items. And please visit our Photo Album page for pictures of many of these news items!
February 12: Peter had the opportunity to meet with Martin O'Malley, former governor of Maryland, and provide an "Iowa response" to his presentation on water quality efforts in the Chesapeake Bay.
January: Peter joined a small group of Drake faculty and students in Uganda where we have on-going collaborations with a regional health center ~2 hours outside of Kampala. In addition to collecting numerous samples for microbial analyses, Peter was excited to see Lake Victoria and the Nile – and narrowly avoided slipping in to the latter at Intinde Falls just because he wanted to touch the water. See our Research page for more information about our on-going analyses.
November 3: Peter was invited to present his research on urban stream restorations at a streambank stabilization workshop hosted by the Iowa Storm Water Education Partnership (ISWEP) and Iowa Rivers Revival.
September 21-22: Peter coordinated with other scientists and policy-makers from across the state to host a Safe Drinking Water Symposium at Drake. The symposium included speakers that visited from throughout the United States to present on diverse topics — from public health and source water protection to water treatment practices and emerging contaminants. A post-symposium video available here summarizes many discussions that occurred over the two days.
September 6: Katie VanDooren, a second-year SEEL member, started analyzing our water samples from the lower Raccoon River project today. The analysis is being conducted in partnership with the analytical lab at Des Moines Water Works, where Katie is working with lab technicians to analyze the samples of various solutes, including nitrate, chloride, and phosphate.
August 28: The Fall semester has started at Drake. Peter is teaching Limnology, the ecology of freshwaters, which has an associated lab. He's also teaching Water Resources & Policy, a science-policy integration course.
July 26 – August 3: Peter co-led a nutrient cycling workshop at Aarhus University in Aarhus, Denmark, with his previous post-doc advisor, Tenna Riis. Workshop attendees included graduate students and post-docs from universities throughout Denmark.
July 9-11: A dozen volunteers, many from Central Iowa Paddlers, joined us for three days of intensive sampling on the Raccoon River. Despite the heat, it was a fantastic few days on the water – and we collected an impressive snapshot of water quality across nearly 80 river miles. We couldn't have done it without our citizen science volunteers – Kim, Doug, Doug's nephew, Steve, Dan, Maria, Tom, Chris, John, Robin, Bret, and Don. Thank you!
June 4-8: Peter attended and presented at the annual meeting of the Society for Freshwater Science, held this year in Raleigh, North Carolina.
May 13: We wished our three seniors well today during Drake's commencement. Kaitlin will be teaching English in China, Thomas has a position in conservation, and Megan will be conducting research in Panama. Congratulations!
May 9: The Raccoon River Watershed Association funded a Research & Education grant submitted by Katie, Emily, and Peter. The research will further explore the spatial and temporal dynamics of water quality in the lower Raccoon River watershed.
April 6: Peter was invited the Department of Biology at Central Michigan University (Mount Pleasant, MI) to present and discuss his research. Though the trip was short, he had many invigorating conversations about water-related issues in the Great Lakes and Midwest regions.
March 4: Katie and Peter presented at the Life in the Raccoon River, an annual meeting hosted by the Raccoon River Watershed Association.
February 26-28: Thomas Ehlinger, a senior in the lab, will be presenting a poster at the annual Upper Midwest Stream Restoration Symposium in LaCrosse, WI. His poster is titled "Can land conservation improve ecosystem health of streams in Central Iowa?" Thomas received a fellowship from the Dean's Office to register and travel to the meeting. On Tuesday the 28th, Dr. Levi will give a presentation at the symposium titled "Can we tailor nutrient management river-by-river? An analysis of long-term trends of multiple solutes in multiple watersheds of Milwaukee, WI".
November 1: Dr. Levi presented a talk titled "Nitrogen: Streams, Society, and Statewide Impact" at the Iowa Science Center as part of their Cafe Scientifique program that fosters communication between scientists and the community.
October 25: Dr. Levi participated in an all-day workshop hosted by the U.S. Army Corps of Engineers to discuss environmental flows along the Des Moines River. Participants included professionals with expertise in water quality, fisheries, engineering, and hydrology.
October 7: Senior Thomas Ehlinger was awarded a STAR (Student Travel and Research) grant from the Dean's Office to present his research at the annual Upper Midwest Stream Restoration Symposium in LaCrosse, WI (February 2017).
October 5: Dr. Levi moderated a panel on the social, economic, and ecological value of Iowa's freshwater resources during the 8th annual Heartland Global Health Conference. The panelists included Bill Stowe (CEO of Des Moines Water Works), Matt Russell (Sustainable Agriculture Coordinator, Drake Law School), Dr. Michael Haedicke (Drake University), and Dr. Andrew Graham (Grinnell College).
September 30: Angela Bowman, a PhD student at Iowa State, visited Dr. Levi's Hydrology class to discuss her NASA-funded research. She uses satellite data to forecast flood crests – a very timely lecture given the floods in Cedar Rapids earlier in the week!
September 29: Thomas and Katie presented an update on their summer research to members of the Polk County Conservation Board, the agency that oversees Chichaqua Bottoms Greenbelt.
September 5: We welcomed junior Josh Novack to the lab with Labor Day fieldwork in the Raccoon River basin. Dr. Levi, Katie, and Josh collected sediments and water at various sites for an all-day denitrification assay the following day.
August 30: We welcomed Kaitlin Lacek to our lab with a full day in the field, sampling the South, Middle, and North Raccoon River.
August 29: Classes started today at Drake. Dr. Levi is teaching Hydrology (ENSP 150), which includes a lab. In addition, he's teaching a lab titled Principles of Geology (ENSP 042).
August 17: Dr. Levi and several co-authors from Denmark had a paper titled Microbial community diversity and composition varies with habitat characteristics and biofilm function in macrophyte-rich streams published in Oikos.


text:
layout: base
title:  'Statistics of AUX in UD_Khunsari-AHA'
udver: '2'
---

## Treebank Statistics: UD_Khunsari-AHA: POS Tags: `AUX`

There are 1 `AUX` lemmas (2%), 1 `AUX` types (2%) and 1 `AUX` tokens (1%).
Out of 11 observed tags, the rank of `AUX` is: 9 in number of lemmas, 9 in number of types and 9 in number of tokens.

The 10 most frequent `AUX` lemmas: دار

The 10 most frequent `AUX` types:  دارُن

The 10 most frequent ambiguous lemmas:

The 10 most frequent ambiguous types:

## Morphology

The form / lemma ratio of `AUX` is 1.000000 (the average of all parts of speech is 1.051724).

The 1st highest number of forms (1) was observed with the lemma "دار": دارُن.

`AUX` occurs with 3 features: <tt>Number</tt> (1; 100% instances), <tt>Person</tt> (1; 100% instances), <tt>Tense</tt> (1; 100% instances)

`AUX` occurs with 3 feature-value pairs: `Number=Sing`, `Person=1`, `Tense=Fut`

`AUX` occurs with 1 feature combinations.
The most frequent feature combination is `Number=Sing|Person=1|Tense=Fut` (1 tokens).
Examples: دارُن

## Relations

`AUX` nodes are attached to their parents using 1 different relations: <tt>aux</tt> (1; 100% instances)

Parents of `AUX` nodes belong to 1 different parts of speech: <tt>VERB</tt> (1; 100% instances)

1 (100%) `AUX` nodes are leaves.

The highest child degree of a `AUX` node is 0.

redpajama_set_name: RedPajamaGithub


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Mujdei (, plural: mujdeie) is a spicy Romanian sauce. It is made from garlic cloves crushed and ground into a paste, salted and mixed energetically with vegetable oil (almost always sunflower oil). Depending on regional preferences and the dish it is served with, lemon or other ingredients may be added. The result is a white sauce with a strong garlic flavor, varying in consistency from a thick paste to a runny sauce. In some parts of Romania mujdei is made out of cream, ground garlic, and salt. Sometimes ground garlic, salt, little water, oil and paprika powder.

It is served with a variety of dishes, including fried fish, fried or grilled chicken or pork, rasol, and fried potatoes.

The word is derived from "must de ai", akin to the French «mousse d'ail» that is, 'must or mousse of garlic'.

See also
 Agliata – an Italian garlic sauce
 Skordalia - a similar Greek garlic dip
 Aioli
 Garlic sauce
 List of dips
 List of garlic dishes
 List of sauces

Notes and references

Romanian sauces
Garlic dishes
Romanian words and phrases

redpajama_set_name: RedPajamaWikipedia


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Outlaw – The Legend of Robin Hood
Sam Hart
Tony Lee
UK publisher / ISBN: Walker Books - 978-1-40630-887-7
North American Publisher / ISBN: Candlewick Press - 978-0-76364-400-0
Categories: Adventure, All-Ages, Period drama
Review by Karl Verhoven
Surely every British kid has a basic awareness of Norman era adventurer Robin Hood, as every generation has their own TV reinterpretation. These prioritise the adventurous legend, and in Outlaw Tony Lee has taken this several steps forward in the first of his 'Heroes and Heroines' collaborations with Sam Hart.
Lee's is a thorough extrapolation around the myth of Robin Hood. It's not the traditional adaptation starting in Sherwood Forest, but instead begins with the young Robin witnessing a hold-up and the subsequent fate of the outlaw. Some among the more familiar Merry Men are shown as former colleagues from the Crusades, and Robin's own crusade is placed in the context of both greed-based social cleansing and hallucinogenic vision. Lee even takes the time to explain the name Robin Hood.
The adventure is combined with well crafted characterisation. Robin is a sardonic and dashing heroic archetype as might be expected, but a shred of nobility remains within the Sheriff of Nottingham, and he's far from the spluttering idiot usually seen on TV, while Guy of Gisburn is a malevolent presence. Maid Marian doesn't hang out in the forest, and while being true to the myths requires her presentation as a captive woman, Lee ensures this is accompanied by a noble spirit "I am a ward of King Richard himself and I will not be spoken to like that!" Several of the primary supporting cast have a surprise revelation within. This isn't to say that Lee discards the beats of what's sustained the tale of Robin Hood through the centuries. All expected elements are present and correct, but Lee constructs foundations around them all the way to a punch the air feelgood conclusion.
It's readily apparent that Hart is a very good artist, but his illustrative method for Outlaw involves picturing the cast in perpetual shade, their faces frequently hidden and much other detail rendered murky by an excess of black ink. This would just about work if he'd considered light sources, but he hasn't, so we have scenes such as Robin addressing his troop in broad daylight atop a log in a forest clearing, yet somehow his face is still covered in shadow. Whether intended to instill a mood and misguidedly taken too far, or a method of avoiding detail rather than any style, it lessens much of the emotional depth. The art's further diminished by Hart's chosen colourist Artur Fujita, whose work consists of variations of a single shade, primarily green or purple, used for an entire spread. Effective on individual pages, it creates a uniform dull sheen sustained for an entire book.
The art very much works against Lee's sprightly script, but there's still much to enjoy for any child who appreciates a rollicking good adventure.
Like this? Try these
Frank Bellamy's Robin Hood
Eagle Classics: Fraser of Africa
Frank Bellamy's King Arthur and his Knights


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In just over a month, the fourth season of RuPaul's Drag Race All-Stars hits VH-1, so, in anticipation of the new round of challenge-filled episodes, Momma Ru and the network recently announced the lineup of queens returning in December: Monét X Change, Latrice Royale, Trinity Taylor, Farrah Moan, Valentina, Monique Heart, Jasmine Masters, Naomi Smalls, Gia Gunn, and Manila Luzon.
RuPaul's Drag Race All-Stars season 4 premieres Friday, December 14th, at 8:00 PM EST on VH-1.
And be sure to check out the individual shots of the cast below!


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Interview with ANDY SUMMERS
Composer, author, photographer and, first and foremost, guitarist, Andy Summers could be called a Renaissance man if most of his interest didn't seem to revolve around art and if what he does wasn't so contemporary, and "Harmonics Of The Night" – the master's latest album – is a testament to that. This also means seeing the veteran only as a former member of THE POLICE is a criminal underestimation of Summers' manifold talents, which was why this scribe tried to avoid digging into the band's stories during our conversation, a chat lasting twice as long as Andy planned and touching on much more interesting subjects.
– Andy, "Harmonics Of The Night" is based on your photo exhibition…
Well, not based on it but yeah, I had this exhibition in Montpellier, in the South of France – in a beautiful building! – and I thought it was my opportunity this time, because it was ahead of the start date, to make some music to go with the exhibition. I'd had to many, many photographic exhibitions around the world and usually I forget it and think, "You know I could have special music" – but it never comes to mind, so I usually get not great music. (Laughs.) Nothing to to do with photography. But of course, I'm a musician, so this time I'd worked up to that idea, and when I came back from France I made that first track, just called "A Certain Strangeness" – which is basically one guitar, it's an improvisation. But I liked the sound of the guitar and everything, and I thought it was a good parallel to the photography, and so I did two things with it: we ran it on the loop in Montpellier, at that show, and I was quite pleased with the effect of the photography and music together – it seemed very natural for me – and it also was a sort of the inspiration to make the rest of the tracks for this album. I felt like, "Okay, this is it": it had a feeling and an attitude, and an emotional quality, so I could see that we were going to make an album with twelve tracks on it where that was a starting point. I developed it from there – I wish I could say it takes a lot of time, thousands of hours in the studio, and a lot of creativity. (Laughs.)
– With such an inspiration – and the presence of an album "Synesthesia" in your discography – would you call yourself a synesthete?
– So how does it work with your black-and-white imagery? How do you see the world through music and how do you express the world through music with images as its origin?
It's a good question and it's a big question – there's a lot to say about that and I'm writing about that today, about how I was very influenced as a kid of fifteen-sixteen-seventeen by watching all the great art-house movies at the time: Truffaut, Godard, Fellini, Bergman, Waida and so on, and so forth. It made a huge impression on me when I was that age, but I was a guitarist, not a film director. Later, I took up photography – but not like, "Oh, now I'm going to be a photographer!" I just got a camera – I think I bought a Nikon – and I was in New York, so I just started to take pictures – not very well in the beginning but I studied a lot and, you know, I did question it: I've gone crazy about photography – where did this come from? And as I thought about it, I thought: it's because of all those movies I saw as a teenager – they planted themselves in my head just like American jazz did – and so I had this kind of atmosphere, ambience from my teenage years, which really are your formative years. It blossomed later for me, because I was so intent on trying to be a great guitarist; then, later, I was obviously in a different place – actually, I was on the road in the U.S. – and I had to find something to do, and there was photography, so I developed it.
And you develop yourself with it: you develop your photographic skills, you develop your eye, you develop your aesthetic – partly from studying, looking at a lot of photographs, which as I said came to me because I was so crazy about all these great black-and-white movies. That's why I really liked black-and-white imagery more than color – at that particular time, because colors got so much better in the last few years, and now there's the incredible iPhone 13 which I've just got – and I found black-and-white to be very powerful and more like hyperreality. So I just went along and slowly learned buy just taking pictures of dogs or old ladies and I started developing an aesthetic like "How can you put abstraction and surrealism in your photograph?" And that's what I did. I started to shoot all kinds of make-up imagery and see if I could create a surreal image, the sort of photographs that, for instance, Man Ray, a great American photographer who worked in France in 1930s, did. All these things about photography crowded into my mind, and because I musically studied everything – played classical guitar for years, listened to a lot of great contemporary avant-garde music and, obviously, jazz – by the time I got to pick up a camera, there was a band called THE POLICE, and I was fully loaded with various aesthetics and was on the road all the time, wandering around a lot of cities in America and Europe, so I'd get out on the street and see if I could make interesting photography. But I'm not going to say that I would get off stage, take a photograph, play the guitar, take a photograph, play the guitar and so on! (Laughs.)
– There's one image of yours that fascinates me: this yellowish picture of a Ku Klux Klan member – the photo accompanied by a poem about ice cream, a strange combination of this sinister thing and this innocent thing.
The picture that's coming to my mind that I think you're talking about is a picture I shot about eighteen months ago in Spain during the Semana Santa Festival, which is a holy week there, and that guy is not a bad guy, is not a Ku Klux Klan (laughs) – he looks like it but he's not, because he's in black: he's called a Nazareno. In Seville, they have these incredible processions with a lot of these people, and I have some very powerful photographs that I shot there. I don't know which one you've seen but my best one is of a crowd of them all in their giant hoods: I lay on the ground and I got some incredible photographs! So there was a set of poems that I wrote with photographs – I was doing that on social media for a while, and I posted about seventy of them and I thought about making it into a book – and that's what that was: a quirky, strange idea to combine an ice cream with a Nazareno.
– And I thought that was quite controversial, although I never thought of you as of one who thrives on controversy. So do you try and avoid conflict and controversy or you find in inspirational?
As a person and as an artist, I don't think you seek controversy unless you're doing it for some… unless there would be controversial life: for instance, there was an artist [Andres Serrano] who did "Piss Christ" a few years ago – it was a photographer, actually – and he got some shit for it. I don't personally need to seek out controversy for the sake of it – I'm a famous guy, I was in a very famous rock band! I mean, if you seek controversy to become famous, I am – I don't need it: I just want to do my work and do it very well. Sometimes it's interesting as an artist to do something that's provocative, which is a different word, that has some shock value – why not? Maybe you can say that about all the images I shot of Nazarenos because they're religious figures, so you're starting to stray into that territory there, but seeking controversy just to be famous is kind of stupid. It's a waste of your artistic time.
– You started as a blues guitarist…
No, I didn't. I started as a jazz guitarist.
– But what about your work with Zoot Money?
That was the first band I was in. It was a wonderful band, and Zoot was a great performer – still is. That was rhythm-and-blues, because that's what we did at that time. We didn't write songs – we copied Ray Charles, James Brown and people like that: that's all the kind of material we did in those days, and it was very popular.
– Would you say that it's a natural thing for some guitarists to stay in this rhythm-and-blues framework and for the other, like yourself and Allan Holdsworth, to progress to proper jazz?
Yeah. As a kid I could play it all. I grew up trying to copy Wes Montgomery, Kenny Burrell, Jimmy Raney, Grant Green… I was interested in jazz – you know, Miles, Coltrane, Mingus – that's what I was into, and it was a much hipper way, because in England at that time the rock scene had developed rock – we didn't even call it that; it was rock 'n' roll from America; we didn't use the term "rock" then – and nobody really knew anything about American blues, so the hippest thing, the coolest thing was just try and play jazz. So when I was fourteen, fifteen, sixteen, my ears were trained by listening for hours on end to American jazz guitar players and trying to understand their solos and their lines, and that's what I developed. And then I was in a band where it was very different, and I was more playing almost like rhythm guitar, R'n'B rhythm guitar. And then the blues scene developed in London, and people like Clapton came out of the woodwork, and the American blues singers took off, but my heart was in jazz – I liked Thelonious Monk, not Howlin' Wolf! (Laughs.) So I liked American music, but my ear was always more for jazz, and so my chops, my guitar technique is fluid, because I can play anything. But blues is very simple to me and was not that interesting to me when everybody copied Eric back in those days; it's too much simpler music to play because it's based on a five-note scales, and I had come way past that, so my natural interest went to more harmonically advanced music than the three-chord blues. That's just what I was, and eventually I went to college in America where I played classical guitar and studied more and more how to play piano, so I became a different sort of musician.
Where it all came to fruition, if you like, was in THE POLICE, because when I met up with Sting we had very similar backgrounds: we both had been exposed to THE BEATLES, THE ROLLING STONES, British pop music, American pop music, but we both also loved Brazilian music, bossa nova and jazz. Sting came from a jazz-fusion group called LAST EXIT, so when we came together we both had a lot of harmonic knowledge – that was a sort of exterior to pop music per se. But we were rock band, and that's all we had to do, so all the stuff we knew had to go somehow into the framework of being an aggressive rock band, which was what THE POLICE did. But you can tell that was different by the way we played songs like "Roxanne" which started off as bossa nova and it's got more interesting chords, or "Walking On The Moon" where the opening chord is not something you do in a pop group, and so on and so forth. In a way it was a perfect blend of musical sensibilities put into another framework, and what you've got is a band with soul-centric pop records. (Laughs.)
– You mentioned that you studied classical guitar. How important was that to your development as a musician?
That was pretty important because I started to develop right-hand technique – before that I'd played with a pick and not a lot with my fingers, and I liked to play sometimes with no pick at all, with just fingers. That gave me a lot! Harmonic knowledge, composition, technique – playing nylon-string guitar… I think for me it fused very well with my love of jazz guitar, so it worked perfectly for me. I mean I never became a full-on classical guitarist – it's very difficult to make a living that way – and my life went differently, but again, even in THE POLICE Sting played a little bit of classical guitar, and that was another thing we had in common, as he really liked it. But I like to play electric guitar and nylon-string guitar, I'm not much of a steel-string guy: that's me, and I don't really feel like doing anything or trying for anything else anymore. If you go through your life playing the guitar and go, "Oh, I should be playing this! Oh, I wanna do that!" I don't really feel like that – I like my own playing now and I'm comfortable with it. (Laughs.)
– How did your work with THE POLICE enrich your understanding of pop music?
I don't think it's necessarily enriched it – that's not the word that I would use. Pop music is pretty simple stuff, and we had three musicians together that made something very special – not an unusual combination of people but the magic came out of that. Of course, I know what a good song, a good tune is – I grew up with THE BEATLES and everything else – and Sting had a very strong gift as a songwriter, and so that's the way it went: "Okay, now I'm in this band, and we're doing pop music, so let's see if it all works together" – and we put all these songs together.
– Did you ever feel that you were wasting your talent on this great, but still pop, music? It brought you fame and fortune, sure, but what about purely musical angle?
You can't answer that, you can't say, "Oh, I wish I hadn't done it!" because it wasn't like that – that would be just sour grapes. Man, I was playing with great people! With a fantastic, talented singer and songwriter, and a great drummer. It was a very exciting band, a great band to play in. I didn't sit around and go, "Ooh, fuck! I wish I was doing jazz, not this shit! I'm not doing that!" (Laughs.) We were the most popular band in the world for years! You can't imagine what that was like, for sure. We had hit record after hit record. Once you get into something like that, you keep trying to make it happen, to keep it going because it was such a success. After that, after the end of THE POLICE, I started returning to the stuff I was growing up with, and happily so – I played all over the world doing it.
– While we're on a subject of three, what with that band being a trio: why do you consider your latest albums a trilogy if you had instrumental records before?
You know what? The trilogy thing is bullshit! I said it to some journalist – or it didn't even come from me, and some journalist said that – "Oh, so it's a trilogy," and I went, "Well, if you want…" Then, it's somehow been picked up and repeated: "Trilogy, trilogy, trilogy," and I was like, "Right, fuck it, it's a trilogy." But I wasn't actually thinking that. It's a nice, a kind of a neat thought, but I wasn't going, "Oh, what now? I have to make a trilogy" – it wasn't my plan. I just tried to make my music, but one thing that must be said is that I made all these records alone, with no one else; I played all instruments, so these records move in a nice way from one to another. "Trilogy" as a word is flag of convenience – people and media like that – but I can write something different next time: maybe it's going to push me into not doing that sort of layered tracks that I do and doing something very simple.
– Did you, while working alone, miss the dynamics that interaction with other people brings – or did you feel liberated on your own?
Oh, these records are complex – there's a lot to this, and it takes time: you can't knock this out in one afternoon. There are quite complicated compositions, with lots of layers and little electronic sounds, and this, and that, and it takes time to find all the parts. You have to be in a certain place to do that, so they don't come in one minute; and most of these were sort of composed in the studio – it's not like I wrote out a manuscript, went in and then just played it, it wasn't like that at all. The approach for me is to usually start a track by finding its sound, a fresh sound where I go, "Ooh, that's kind of inspiring! Give me a tempo, give me 32 bars of a click" – and then I listen and try to play on it, and something starts to happen, you know: the brain starts working, the fingers start moving. And then, "Okay, I'll try this. Um, no, I'll try to put this over it," and you build it until something seems to hold, and then you've got the first building block, and then you proceed on from there and try and create a composition that has parts and the structure. There's almost like… yeah, it's not composing on the spot, but it does take time. That's why the typical way of working for me is to get a number of pieces going – say, five or six – and I work on one for a while and then I go, "Okay, it's not for today on that – that goes somewhere else," so you don't burn out on the track. It's a very simple studio technique: don't burn out! Don't listen to it for three days, and then you come back and you go (clicks fingers), "Got it! I know where to go! Now I've got it!" It's a creative process.
When I do these records, I like to be very much in the studio mind set and stay with it until I come out the other end. I bring my guitars, my gear, my effects – and I know what I'm doing. I have someone to help, I have an assistant and an engineer, but that's what it is: it's very lonely, very lonely… So I do! I miss playing with a band! I'm so used to it. And I'm thinking, as we talk about trilogy and being in the studio, one of the things that I found is: say, I write a composition and then get some guys, like a bass player and a drummer, come in to play it, they may not interpret it the way I want it interpreted and they change the shape of it – and I don't like that. I've experienced it a few times, and I go, "Eh, it came out differently than I was expecting. It's not quite what I wanted." But I play the drums, and of course I can play the bass, and I have got a great feel, so I can now put it all down myself, but I do think that maybe I would like to try doing a record that I can do in two days: work out all the compositions up front, tune in and put it down quickly, with a great bass player and drummer – there's a couple of guys I'm thinking of – so I might go a different route. There are so many ways you can do things when you've got many ideas.
– You say that every musician interpret your music differently to what you envisioned…
They do!
– …but still you invite to work with you such bassists as Abraham Laboriel, Jimmy Haslip and Tony Levin, who always sound like themselves, even though they play for the song. So you do want their individual input, don't you?
I do! That's why I would ask for these guys – because I know they can play on a very high level and they may add something to it. So I teach them the song and say, "This is what we've got, and I'm thinking about this kind of a feel for it," and they would absolutely be able to do it and they may bring something extra to it, because they're inspired players. I only want to play with the greatest players, but I am thinking, "Okay, I'm going to have twelve tracks on the next record, and I'm going to know them very well, and then I'll get the guys in and we'll see if we can do it quite quickly." But I'll have to make sure that the writing is strong. You don't want to have… not really, say, expensive musicians come in and to go, "Well, I'm not sure what I want to do" – you want to be prepared, you want to have everything ready, and then, "Let's try it this way." You need you to do two or three takes and be very much into your playing. The records we've been talking about are, as I mentioned, layered and complex, but I'd like to do something that I could just play with a trio, something very open.
– With a trio – or as a part of a trio?
I'll be a part of a trio but, obviously, I'll be the leader. I found that I really like playing in a trio, as you know, because I like the openness of the guitar sound with a double bass and drums. When there are keyboards, you've got a whole other set… it's usually in conflict with the guitar.
– Everyone is exposed in a trio, so it pushes you to the limit, right?
Yeah, you've got to be out of cover, but I'm used to that because I played for years in THE POLICE and other bands as a trio – I always went out on my own in a trio.
– Still, you have an array of duo records, starting with the two that you laid down with Robert Fripp. And maybe it's my mind playing tricks, but I see a link between "Image And Likeness" and "Painting And Dance" from those albums and your photography and the current album. So can we say that you're continuing what you started way back then?
Yeah, I think it's who I am. Even on those early Fripp records, you can see the sort of sensibility that was there – that was outside of THE POLICE because I felt it very strongly, and by the time I got to whenever I made those records I was feeling not like "Ooh, I can't stand playing this music anymore!" but sometimes I thought, "There's more. I have more than just playing behind the singer." When I, for some reason, chose to make those duo records with Fripp, it was a way to get out some of that more arty kind of music – not just pop music but instrumental pop. There was the opportunity, and those albums were very successful and ahead of their time.
– You said, "opportunity": so it could have been not Fripp but somebody else?
Maybe! I felt like I wanted to, but Fripp and I go back a long way – we're from the same town in England – and I've known him since I was fourteen. (Laughs.) Of course, he's a famous guitar player, and I was very famous too, so there was an attraction. Our first record [1982's "I Advance Masked"] got into Top 60 in "Billboard": for a weird instrumental record like that it's amazing. In fact, right now they're bring them out again, as a box set, so they've got a new life at the moment.
– How different was working with Fripp to working with John Etheridge a couple decades later?
Oh, very different! Robert is not a jazz player at all – he plays the way he plays, KING CRIMSON style: that's what he does – you wouldn't play blues or bossa nova with Robert; that's not his thing – he has other things. But John is a great guitar player, a virtuoso who really is a jazz guitar player but can play everything. We're really good mates; we went all around the world together doing fusion, a different kind of music.
– Both John and you worked with SOFT MACHINE, at different times, but you never recorded with this band, correct?
I never did, no. John is in SOFT MACHINE now, but I came to America with SOFT MACHINE [in 1968] and then left; they dropped me in New York, and I came to L.A. and joined THE ANIMALS. So that's a different life story.
– Speaking of jazz: of all your records, there's one that stands out. So what's different about "Peggy's Blue Skylight"?
I'm playing the music of Mingus on it. This was a difficult record to do, because it was a such a big set-up: I had Debbie Harry on it, I had this JAZZ PASSENGERS group from New York, I recorded with THE KRONOS QUARTET from San Francisco – I did a lot of different things on there. That was a kind of a big project to handle for me. And I had a very good recording engineer/producer [Eddie King] with me who helped me get through it, because I had to be the player and a peer with all these other people, so it was complicated. For instance, to do something like that with THE KRONOS QUARTET, I had to find this guy [Sy Johnson] in New York, which I did track down through Sue Mingus who'd been married to Charlie Mingus, and he agreed to write the string quartet [arrangement] for the piece called "Myself When I Am Real" which was, in my opinion, semi-successful – partly because of the way KRONOS wanted to record and the way I would have preferred to have done it. That was a great, but complicated, record to make – it took time flying around the United States. (Laughs.)
– Another jazz classic you covered, with Etheridge, was "Nuages" by Django. I seem to hear the Reinhardt influence on a few of your compositions as well, but you didn't mention him among the artists you love.
No, we all love Django – no question about it! – and there's a school of guitar players who all are Django freaks: gypsy jazz guitar is eternal – it would just go on and on – and there are all these maniacs who just want to try and play like Django. Of course, it was incredibly impressive when I heard him as a kid and thought, "Oh my god! How could you play like that? With just two fingers! That's phenomenal!" But I liked American jazz guitar playing, and I liked the looseness of American jazz drummers, while Django – (imitates vigorous strumming) thrum-thrum-thrum-thrum-thrum – had very tight rhythm, which I found I don't really like, I find it kind of square, kind of corny, and it's pushing you all the time. He was a genius, and it's incredible what he played, but I never liked that strumming style, that rhythmic accompaniment.
– You prefer something more ethereal and abstract – if these are the right words?
Yeah, American jazz feel… I mean why play that gypsy jazz rhythm when you could play with a wonderful drummer like Kenny Clarke? That's where I felt comfortable when I listened to all these records by players like Kenny Burrell, Wes and Grant Green. It's bebop that came out of American '40s and '50s and into the '60s when it started to change, and that was the feeling I like to play against. I like (imitates midtempo playing) ding-ding-ti-ding-ding (laughs). There's a feeling!
– But "Metal Dog" was rhythmically rather tight and heavy – much heavier than "Harmonics Of The Night"! So intensity feels good sometimes?
Oh no, you want it! You want dynamics: sometimes you want to hardly be playing any rhythm at all and other times you want to be pushing, pushing it, because it's more exciting. When you want to take off and try and play with fire and passion, that's exciting, and you want to see the musicians do it – it's almost like a great athlete that you can actually play at speed.
– Do you find that instrumental records are evocative enough? I mean you had vocals on "XYZ" and then started to progress towards pure instrumental music. So you can fully express yourself without words?
Yes, I do feel that. I think words get in the way. I'm not a big pop song lover; pop songs sound corny to me. There is some great stuff, but I feel like I'm an instrumentalist, and that's what I want to be, and that's what I am. I don't feel like I need to start singing – I'm a bit old for that now anyway: it's too late.
– Looking back at your creative life, do you see highs and lows – or there was a climb and then a plateau?
(Laughs.) I would say that I'm probably all insecure about it… I feel like I've made a lot of great records, but I don't think they necessarily all have gotten the recognition they deserve. But I try to push into fresh territory and make my own music that doesn't sound like anybody else: that's what I'm interested in and that's what drives me. That's very satisfying to write a great piece of music and then to construct a track; all these records I've made were done with great care and attention, and they're important to me.


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Puls 4 is a terrestrial television channel in Austria. As its name implies, it is the fourth Austrian-wide full-service television channel, behind ORF eins, ORF 2, and ATV.

History
Puls 4 began as a local Vienna television station called "Puls TV". In 2007, ProSiebenSat.1 Media took over the station outright. On 28 January 2008, with the addition of a nightly newscast, the station relaunched as "Puls 4", Austria's fourth general terrestrial network.

Programming

Original
Austria's Next Topmodel
The Masked Singer Austria

Imported
America's Next Top Model
Miss Earth

Series

1600 Penn (2017)
The 4400 (2008, 2010)
Bis in die Spitzen, German version of Cutting It (2010)
Cagney & Lacey (2010)
Criminal Minds: Suspect Behavior (Criminal Minds: Team Red) (2014-2016)
CSI: Crime Scene Investigation (2011-2014)
CSI: Miami (2008–present)
CSI: NY (2012-2016)
Dawson's Creek (2009)
Diagnosis: Murder (Diagnose: Mord) (2008-2016)
Edel & Starck (2008, 2010)
Chavez Animiert, German dub of El Chavo Animado (2008-2011)
Fringe (Fringe - Grenzfälle des FBI) (2010-2012)
Highway to Heaven (Ein Engel auf Erden) (2008-2016)
King (2013-2014)
Law & Order
Law & Order: SVU
Magnum, P.I. (Magnum) (2009-2010)
Miami Vice (2009-2010)
Murder, She Wrote (Mord ist ihr Hobby) (2009-2017)
Numb3rs (Numb3rs - Die Logik des Verbrechens) (2008-2013, 2016)
Royal Pains (2011-2014)
Terra Nova (2012)
The Guardian (The Guardian - Retter mit Herz) (2008-2010)
The Shield (The Shield - Gesetz der Gewalt) (2008-2010)
The Wonder Years (Wunderbare Jahre) (2013-2014)

Sports

 UEFA Europa League
 UEFA Youth League
 NFL

Logos

References

External links

Television stations in Austria
Television channels and stations established in 2004
ProSiebenSat.1 Media
Mass media in Vienna
2004 establishments in Austria


Mr. Ryan is hindering the president's agenda on Obamacare repeal and building the wall. He needs to get with the program or step down and be counted with the dems.
Harold T. from Sedro Woolley, WA signed.
Speaker Ryan has turned out to be an IDIOT and the proverbial Snake in the grass, dump him and get on with the PROMISED actions! Remember Republicans WHY we voted for you!!!
The invasion on our southern border is a democrat plan to buy elections.
Mike V. from Dallas, TX signed.
Cynthia H. from Brighton, CO signed.
Marlene C. from Anthem, AZ signed.
It is the Federal Governments responsibility to protect our country. A border fence or wall will greatly move us forward to that end.
Build the wall across our ENTIRE SOUTHERN BOEDER !
Edna J. from Newhall, CA signed.
Joseph S. from Arvada, CO signed.
Darryl P. from Visalia, CA signed.
Just listening to Secretary Kelly at Washington University. They have already stopped over 250 TONS of Crack Cocain' heading into our Contry. This is scratching the surface. They have saved over 4,000 lives the illegal Coyotes dumped in our Desert. We must build the Wall to save lives. Only those that don't care about People and American People reject the Wall. They most likely are already addicted to these Tons of Drugs. BUILD THE WALL..
Joseph R. G. from Manchester, NH signed.
Protecting our Citizens from ILLEGAL entry of migrants should be a priority. My grandparents came to this country and had to learn to speak and write English in order to take their citizenship exam. They were proud to do so and became AMERICANS through the legal process. This should be the requirement for all those who want to live and work in the U.S.
Dennis S. from Tucson, AZ signed.


A person died in a crash just east of the QEII late Sunday evening.
Jun. 30, 2014 4:54 a.m.
At about 9 p.m. Red Deer Emergency Services responded to a single vehicle collision on 67th Street, west of Orr Drive.
One fatality was reported by Red Deer Emergency Services.
A section of 67th Street between Orr Drive and the QEII was closed for several hours as investigators surveyed the scene of the crash.


Bike to Work Day celebrations were held at 21 locations all around the state on Friday, National Bike to Work Day.
For a sampling of the morning's activities, see photos below from the celebrations at Hartford's Old State House, attended by 80 or more, and UConn Health Center. For photos of Stamford's Bike to Work Week events, click here.
And congratulations to members and bike to work pledgers Norman Stone of Southington and Amy Schwartz of West Haven, who won our random drawing for jackets from our friends at Patagonia!


With its soft sandy beaches, refreshing sea breezes and mesmerising sunsets, the Maldives is one of the best places in the world to enjoy a spa retreat. Those wanting to experience some personal pampering when on holiday should look to stay at a Maldives resort such as Anantara Veli Maldives which has its own luxurious spa. This well known resort also features charming Maldives bungalows and lets you enjoy the very best the country has to offer.
Spas provide plenty of opportunities for you to get in some serious rest and relaxation when in the Maldives. Many spas not only offer therapeutic beauty treatments but therapies based on Asian wellness practices such as Ayurveda as well. Such facilities as saunas, steam rooms, plunge pools and Jacuzzis help you unwind, while most wellness centres also have experienced therapists who offer a range of massages. The picturesque beaches and lush greenery that abound in most islands also provide the perfect backdrops in which to practice yoga or mediation as you seek to find balance for mind, body and spirit.


text:
Q: php - emergency shutdown command without wait I want to a create a php in my webpage, button press, as an emergency shutdown command to my local server.
I have the following php code that i am using right now. It is working but it is slow. I found the following post in stackoverflow and i was thinking if i can modify my code and use it.
I need on button press to immediately transfer to redirect page and on background to shutdown server.
My code:
<?php
session_start();
unset($_SESSION['valid']);
unset($_SESSION['timeout']);

header("Location: https://www.google.com/");
system('sudo /sbin/shutdown -h now');
?>

The stackoverflow post:
php exec command (or similar) to not wait for result

A: Updated my answer...
Perhaps adding a "&" at the end of your shutdown command might do the trick:
system('sudo /sbin/shutdown -h now &');
It pushes a command to the background on Linux systems and returns control to the shell immediately and continues to run the command in the background, this might also make your system() call be completed immediately.
Note that this does not guarantee the shutdown actually worked (i.e. perhaps an error was thrown on the server, you won't know that).
Also as ArSeN pointed out, this does not speed up the shutdown process itself, but will probably have the system() call be completed immediately and thus your script will continue to run (and redirect) while your server is being shut down.
Also as a side note: this is probably not a very secure thing to do ... why would you want the user that is running the webserver, also have control to be able to shutdown you entire server... That means that anyone with access to that script can shutdown the server ... or anyone with access to your webserver for that matter... if they find a security issue leak and are able to inject CLI commands, they'll also be able to shut down your server.

redpajama_set_name: RedPajamaStackExchange


Some work done to improve ESCI's old Hetzer. Part 2 will include the painting process!
The Oshkosh M-ATV or Mine Resistant Ambush Protected (MRAP) vehicle doesn't require a lengthy introduction to anybody interested in modern warfighting vehicles. It is a machine designed to cope with the IED threat, an impressive piece of kit that has been deployed with US troops operating in Afghanistan since 2009.


General Hospital (GH) spoilers tease that Peter August (Wes Ramsay) flew into town with an agenda in mind and as each day passes, it becomes clearer what that is. CDL reported first in our GH spoilers and this has since been confirmed on General Hospital that Nathan West (Ryan Paevey) is Cesar Faison's (Anders Hove) son with Dr. Liesl Obrecht (Kathleen Gati) – but looks certain that Peter August is Faison's son with WSB Agent Anna Devane (Finola Hughes).
General Hospital spoilers suggest this shouldn't come as an entire shock to long time savvy GH fans because if you remember back to the year 1990 and off and on throughout their history, there was definitely chemistry between Anna and Faison – but more often than not it was simply just a deep admiration of his work on Anna's part.
General Hospital history proves that Faison was obsessed with Anna Devane for decades, sometimes that obsession almost became his downfall. But GH fans who were watching back in 1990 and 1991 remember there are definitely times that Anna could have gotten pregnant by Faison and wouldn't have even known it. She was under his spell, all he had to do is say a phrase and she was all his. The timing would be perfect too!
A simple harvesting and in vitro development of the fertilized ovum would be child's play for a genius like Faison. So while Anna very possibly didn't give birth to Peter, she remains his biological mom. Of course the shock for Anna will be great when she eventually learns she a son, Peter August the traitor, no less!
General Hospital spoilers reveal that since Peter is really Anna's son too, that could help explain the very reason he is Faison's traitor. Dr. Britt Westbourne (Kelly Thiebaud), under pressure from Sonny Corinthos (Maurice Benard) and Jason Morgan (Steve Burton) admitted that the script, "The Severed Branch" spooked her father, causing him to flee town.
GH spoilers hint that being a traitor would definitely run in Peter's veins if he is indeed Anna's son because not only has Anna betrayed the WSB Agency on more than on occasion but her twin sister, Alexandra (Finola Hughes) was a traitor to the Agency and their country.
Sonny is convinced that Faison has another son, since Nathan definitely isn't the one who wrote the script, leaving all fingers pointing at Peter August primarily via the name Octavian, the writer of "The Severed Branch" and the son of Faison's character in the story. Octavian named himself Augustus when he assumed power as Emperor of Rome….
How do you feel about Peter August being the son of Anna Devane and Cesar Faison and how do you think Anna will react to the shocking news? Above all that, do you think Peter knows Anna is his mother?
General Hospital spoilers say it will be amazing to see Anna Devane and Dr. Liesl Obrecht go to battle on a different level, once Dr. O learns thay could both be sharing sons with Cesar Faison. Peter has become deeply embroiled with many residents in Port Charles while working for Drew (Billy Miller) and Sam Morgan (Kelly Monaco). Having Anna and Faison as parents will literally blow people's minds in Port Charles when the truth is revealed.
Peter August is pushing Lulu Falconeri (Emme Rylan) to pursue a story on her father, Luke Spencer's (Anthony Geary) history with Faison – how will she react when she learns the depths of his deception?
General Hospital spoilers reveal that when the truth of Peter's parentage comes out, it will have consequences far deeper than anyone anticipated. Be sure to tune into ABC's General Hospital (GH) to catch up on all the exciting stories happening right now. Check CDL General Hospital spoilers often for updates, news, rumors and spoilers!


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The Christie Challenge
By Henry Olsen
Chris Christie's victory has predictably ignited talk of his seeking the presidency. Before his backers start reserving the moving van, though, it's worth stepping back and calmly surveying what he's accomplished. For all his notoriety and political acumen, neither his political nor his policy victories are directly translatable to the national stage.
Christie's backers argue that his tremendous margin in a deep-blue state and his much-larger-than-normal support from blue-collar whites, women, and minorities show that his appeal transcends partisan boundaries. This contention, however, ignores the context in which those margins were obtained. Plenty of Republicans have done well in non-presidential elections among non-traditional GOP voters. Former New Jersey governor Tom Kean won nearly half of the black vote in 1985; former Jersey City mayor Bret Schundler won reelection in his heavily Democratic city because of his appeal among minorities. Neither result was a harbinger of future GOP success. Schundler was unable to transfer his city appeal to his statewide run for governor, and Kean's accomplishment remains merely a ripple in an otherwise stagnant sea of GOP support among blacks.
The similar experience of former governor William Weld in Massachusetts is useful to recall. In 1994, this fiscally conservative, socially moderate Republican won reelection with almost 71 percent of the vote. He carried every county in the state, including Boston's Suffolk County, in which he received 60.4 percent. National speculation grew that the GOP had a winner, and so Weld tried to take a step up to the presidency by challenging Senator John Kerry in 1996.
Weld lost that race by seven and a half points, 52.2 to 44.7 percent, and the race's geographic breakdown mirrored national election trends rather than those Weld had had in 1994. Weld lost Suffolk by over 30 points, getting barely 30 percent, and dropped over 25 points in most other counties. Voters who were willing to pull the lever for a Republican for a state reelection were unwilling to do so when national issues were thrust to the fore.
The real question Christie backers need to ask is whether Christie's New Jersey accomplishment translates well to the national level. On that score, I'd invoke ancient Scottish law and say the verdict is not proven.
Christie owes his state dominance and national fame to two acts. First, he limited public-employee pensions at a time of fiscal straits, thereby preventing large tax hikes that the bulk of voters would have had to bear. Second, he presided over a great catastrophe, Hurricane Sandy, with skill and compassion, turning from a fiscal lion into a socially responsible lamb.
The latter experience is unlikely to help Christie go national. Rudy Giuliani presided over a much more searing and nationally prominent catastrophe, 9/11, with similar calm, compassion, and aplomb. America's Mayor, however, found that such qualities did not lead to Republican primary votes because voters were looking for something else from a potential president. And that brings us to Christie's signature accomplishment, the pension battle.
As difficult as this battle was, it was politically easy compared with the national fiscal issues he will have to address. Public employees are a distinct minority in New Jersey; the taxes that would have had to be raised to pay for their benefits would have been borne by all. Christie showed courage in fighting the unions, but because he was addressing only compensation excesses rather than the programs themselves, he was able to rally the many—the voters—in opposition to the few.
At the federal level, the fiscal problem comes from the programs themselves. Any credible attempt to deal with our fiscal challenge without raising tax rates must involve persuading the many that restricting their own benefits is in their interest. That's going to be a hard battle and one utterly unlike any Christie has yet fought.
Furthermore, he will have to fight this battle on two fronts simultaneously, among Republicans angling to get to his right and Democrats angling to hold the center from the left. Each battle will pose a challenge the governor has not yet had to face.
The standard Republican argument on entitlements, which is made by establishment and base alike, stands Christie's New Jersey argument on its head. This argument—cut entitlements to avoid tax hikes on the well-off, which indirectly come back to hurt the many—is complicated and lacks immediate intuitive appeal to the swing voter. It makes the many appear to sacrifice on behalf of the few, and as such would immediately eliminate Christie's ability to obtain extra votes among non-traditional constituencies. This approach simply reestablishes traditional partisan lines and will cause Democratic-leaning groups to return to their party just as Massachusetts Democrats and independents returned to Kerry against Weld.
Christie cannot avoid this trap by simply invoking his purported ability to work across the aisle. Without a clear rationale as to why Democrats would submit to his will, Christie will be unable to explain either how he is substantively different from his competitors or how his plan works in behalf of everyone.
It will be relatively easy for his competitors to demonstrate this; all one needs to do is work through the ten-for-one question Byron York asked in the summer of 2011. York famously asked the 2012 GOP competitors if they would accept a deal that raised taxes $1 for every $10 in spending cuts. Not one candidate said he would. Should such a question be posed to Christie, he would have to break ranks—or else he would have to drop his contention that he can work with Democrats, as no one believes Democrats will deal without new revenue. But an opponent could then skewer him by asking why he thinks Democrats would take that deal, given the popularity of the programs he would have to cut. Without explaining how he can persuade average Americans that such a lopsided ratio would be in their interest and not in the interest of the rich, Christie's answer would have to be solely personal: His charisma and will would compel the Democrats to make a deal. That would be patently unpersuasive to both a primary- and a general-election audience.
Christie does have a powerful advantage that was in evidence in his New Jersey experience that would help him address this national dilemma, but it is not one he has yet brought forth. Christie has an unusual ability to connect with the common person because of his background and his manner of speech. As such, he is perhaps the only one of the major GOP contenders being bruited about who could conceivably rally mass public opinion behind a coherent center-right economic platform. But such ability does not come from the fighting Christie or the crisis leader, nor is it directly connected to the issues involved in the pension war: It comes straight from the average-Joe part of the Christie persona.
Christie's New Jersey success ultimately rests on the notion that he represents the aspirations of average New Jerseyites against the elites. Translating that to the national stage would necessarily require him to explain to Republican elites why they must sacrifice to deal with our fiscal woes. Subsidies for business and the upper middle class will have to be cut to simply maintain today's tax rates. Such translation would also apply to average Americans: Those who can afford to do more themselves will need to do so to avoid the tax hikes that could cripple our economy. Such a formulation would avoid the "many versus the few" trap the Democrats are waiting to deploy. Christie as the tribune for the common man would be defending the common good, asking the many to contribute for themselves.
Such an approach would draw on, but not simply repeat, Christie's New Jersey experiences. Common Man Christie can be angry at times and soft at times, so long as in each case the emotion is deployed on behalf of the many and not on behalf of the few.
Christie enthusiasts may want to believe that Christie need not learn anything new from his New Jersey experience or that the standard GOP economic playbook will fly if only we have an articulate messenger. But I think that deep down the governor knows this is what he'll have to do. And if we can see this Christie start to develop over the next year, then this November's reelection could be very consequential indeed.
Henry Olsen is a senior fellow at the Ethics and Public Policy Center.
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When you want to uninstall Cydia, there are a few ways to do this. You can either use something like iLexRat, Semi-Restore, or simply opt to restore to latest firmware via iTunes. But using Cydia Impactor, the process has been made even faster and simpler. Now you can choose to unjailbreak an iOS device without even having to connect your iPhone or iPad to a computer.
Thanks to Cydia Impactor, a recently released jailbreak tweak by Saurik, you can remove Cydia and all its related components and tweaks from the device. The end result would be you keeping the same iOS version while getting rid of jailbreak entirely.
Cydia Impactor is important to those who want to sell their iPhone or iPad to someone else, in factory settings. In addition to that, the device that used Cydia Impactor will be able to keep its ability to be jailbroken again, since the iOS version will not change.
Of course, you can always backup your Cydia tweaks before doing this, just in case if you you want to jailbreak your iOS device again and retain data of previously uninstalled jailbreak tweaks.
Using Cydia Impactor means that all of your applications, data, and Cydia will be removed and settings will be revert back to their default values.
This could take a while, so you will need to be patient. The wait time depends on how much data you've stored on the device. The removal process is similar to when you uninstall/install a jailbreak tweak, there will be a screen telling you what's going on.
Just like when you restore your iPhone or iPad from iTunes, once the process is done, you will be greeted with a 'Welcome message' and will need to go through the initial setup. This includes entering your iCloud credentials, selecting a Wi-Fi network, choosing whether you want to enable Siri and Location Services or not. Once you are through that, you will be able to have access to your Springboard.
The post How to unjailbreak iPhone or iPad using Cydia Impactor by Hawon Nguyen appeared first on WCCFtech.
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EEAS homepage > EEAS > Mogherini in Iran for inauguration ceremony of President Rouhani
Mogherini in Iran for inauguration ceremony of President Rouhani
High Representative Federica Mogherini arrived today in Tehran where she will attend the inauguration ceremony of President Rouhani in her capacity as Chair of the Joint Commission of the Joint Comprehensive Plan of Action – the international agreement on the nuclear programme of Iran.
High Representative Federica Mogherini arrived today in Tehran where she will, in her capacity as Chair of the Joint Commission of the Joint Comprehensive Plan of Action – the international agreement on the nuclear programme of Iran – , attend the inauguration ceremony of President Rouhani, who was elected to a second term in office in May 2017.
On this occasion, the High Representative will have bilateral meetings with Iranian dignitaries, including with President Rouhani and Foreign Minister Zarif. They will discuss the state of implementation of the nuclear deal and the broad scope of EU-Iran bilateral relations, as well as issues of relevance to the region, in particular how to peacefully solve existing conflicts and achieve a better regional environment.
Building immunity to disinformation
We need humanitarian access to Tigray as urgent first step towards peace in Ethiopia
JCPOA: Joint Commission of the JCPOA to meet in Vienna on 16 December A meeting of the Joint Commission of the Joint Comprehensive Plan of Action (JCPOA) will take place in Vienna on 16 December. The Joint Commission will be chaired on behalf of EU High Representative Josep Borrell by the Secretary General of the European External Action Service Helga Maria Schmid
EU-UN working together to address impact of climate change on peace and securitySix United Nations agencies and departments (UNEP, UNDP, UNHABITAT, PBSO, DPA and DESA), coordinated by the UN Framework Team for Preventive Action, have partnered with the European Union to help countries identify, prevent and transform tensions over natural resource as part of conflict prevention
Chair's statement following the 16 December meeting of the Joint Commission of the JCPOA A meeting of the Joint Commission of the Joint Comprehensive Plan of Action (JCPOA) took place virtually on Wednesday, 16 December. Under the terms of the JCPOA, the Joint Commission is responsible for overseeing the implementation of the agreement. The Joint Commission was chaired, on behalf of EU
Official inauguration of the restored Shali Fortress in the Siwa OasisH.E. Dr. Khaled El Enany, Minister of Tourism and Antiquities, H.E. Dr. Rania Al Mashat, Minister of International Cooperation, H.E. Dr. Yasmine Fouad, Minister of Environment, H.E. General Khaled Shoeib, Governor of Matrouh, and a delegation from the European Union (EU) Delegation to Egypt, as well


#NQAsocial NQAsocial is a very simple, one-click setup social network, written in Python and Bottle.py. It is intended to be portable to the point where one can both run a server and connect to one just about anywhere, on any computing device. This level of portablity is done by writing the server and all of its dependencies in pure Python, and creating the HTML pages served by it without any CSS. Examples of its utility include running a server on an iOS or Android device (via a Python app), and connecting to an NQAsocial site using simple browsers (e.g. Lynx or the browser that comes with a non-smartphone).	NQAsocial is licensed under the Mozilla Public License, version 2.0. Official Notice: This Source Code Form is subject to the terms of the Mozilla Public License, v. 2.0. If a copy of the MPL was not distributed with this file, You can obtain one at http://mozilla.org/MPL/2.0/. Note that NQAsocial automatically downloads bottle.py, and creates bottle.pyc - these are NOT available under the Mozilla Public License. For info about bottle.py's licensing, view the comments at the top of the bottle.py, or go to http://bottlepy.org/ .


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TANG PRIZE / Interview series: Tang Prize can match the Nobel Prize over time: academician
Taipei, Oct. 15 (CNA) The Tang Prize, a Taiwanese-founded international award, will "no doubt" eventually reach the status of the Nobel Prize because of its rigorous selection process and how it complements the Nobel Prize, a renowned scholar said recently.
"As long as it continues, I believe the Tang Prize will become the most important award in its respective fields in the future," said Academia Sinica Vice President Wang Fan-sen in an interview with CNA earlier this month, citing the Tang Prize's unique awards.
The four Tang Prize categories -- sustainable development, biopharmaceutical science, Sinology and rule of law -- are not covered by the Nobel Prize and actually complement the more established Nobel awards, Wang said.
He explained that the Tang Prize in biopharmaceutical science, for example, was different from the Nobel Prize in physiology or medicine in that the former emphasizes the pharmaceutical application of research and its direct impact on the improvement of human health.
Wang said the Nobel Prize was established during a "Euro-centric" and "science-centric" age, and issues related to Chinese history and civilization, for example, were not among its major concerns.
For Taiwan, Wang believes the Tang Prize "opens a door to the world" and encourages Taiwanese, who he said have long focused too narrowly on domestic issues, to take notice of important global ones.
"We are rejected by international organizations, but we also reject the world," he said.
The suggestions given to Taiwan by Tang laureates were also worth noting, Wang said, citing Yu Ying-shih, the laureate in Sinology, who cautioned Taiwan not to carelessly "throw away" its democracy.
The academician gave high marks for the first Tang Prize, but he recommended that the award's selection committee continue to expand and revise its database of individuals and institutions qualified to nominate candidates.
He also hoped more Taiwanese academics and institutions will nominate candidates for the next Tang Prize as they were "not enthusiastic enough" this time.
The reason for that, Wang suggested, is that many academic awards in Taiwan are organized by the government, and local academics are probably not used to nominating people for awards.
The Tang Prize Selection Committee, chaired by Nobel laureate Lee Yuan-tseh, sent out thousands of invitations to qualified individuals and institutions around the world, asking them to nominate candidates in the four prize categories.
Similar to the Nobel Prize, nominations for the Tang Prize are by invitation only. Winners of the first Tang Prize were selected by panels of judges convened by Academia Sinica, Taiwan's leading research institution, that comprised prominent researchers and scholars from Taiwan and abroad, including Nobel laureates.
The biennial Tang Prize, which comes with a cash prize of NT$40 million (US$1.32 million) and a research grant of NT$10 million, recognizes academic, scientific and social advances and contributions in the four categories.
It was established by Taiwanese entrepreneur Samuel Yin in 2012.
(By Chen Chih-chung and Christie Chen)ENDITEM/ls


"To get what you want, become who you are. It's never too late."
"After completely clearing my 2 year case of severe situational depression with EFT in 2009, using only the EFT manual, I felt compelled to learn as much about this remarkable tool as possible so that I could help myself and others.
This quest for knowledge very quickly led me into formal EFT training and certification through EFT Universe. What started as the simple urge to know more very quickly developed into a deep passion for not only healing work - but also for teaching others to heal and be healed.
I credit my 25 years of experience, from my previous career as a television writer-producer, for the speed and ease with which I have moved through the transition from Hollywood to healing; the work of a dramatic writer involves many of the same detective skills as the work of a meridian tapping practitioner and running countless writers rooms has proven to be a solid foundation for training rooms full of people in Clinical EFT.
But the impetus to pursue EFT owes itself to much more than the convenience of having enjoyed a prior career that offered complimentary skills.
From a very young age, I was drawn to both doing my own inner work and helping others with theirs. I believe that what I learned during two years of talk therapy with Dr. Aline LaPierre, co-author of "Healing Developmental Trauma" in the 1990s is partly responsible for the depth and speed of healing I was able to achieve when I first discovered EFT and I am dedicated to the ongoing development of myself as a person, a practitioner and a teacher through continuing exploration of complimentary modalities and practices.
One of these is mindfulness/meditation. My explorations in this direction continue to inspire new projects, having already led me to develop the Remindfulness App, an iOS app that sends little mindfulness practices, and One Mind Live a weekly worldwide live guided group meditation, co-created live each week with my co-host and composer, Stephen Fearnley.
An avowed "science girl" since long before a three year stint on a sci-fi show threw quantum physics at me on a daily basis, I am a keen follower of the latest research and findings on the science of tapping and I'm currently doing work on a film that is being made about the subject.
In addition to dipping my toe back into writing with that project, I am currently finishing up my first book, outlining the step-by-step program I used to lift myself out of my own depression and into a joyfully purposeful life using EFT.
If you are considering learning about or adding to your existing knowledge of Emotional Freedom Techniques and want the thoroughness and professionalism of EFT Universe training in Clinical EFT you will find my workshops fun, informative - and transforming.
My style is to combine humour and empathy with rigourous standards of practice as I guide you in discovering the best and most effective use of EFT for you and your unique life circumstances."
One of only 23 certified Clinical EFT trainers in the world, Naomi conducts Level 1 & 2 EFT Universe trainings in New South Wales and Western Australia.
Choose from a range of single and multi-session packages, in person or via Skype & Facetime, to suit your unique circumstances. Click through for client testimonials.
For iOS, the app that helps you remember to be mindful throughout your busy day. Available for iPad/iPhone/iPod on the iTunes App Store now.
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