I know that this is like whipping a dead horse and has probably been discussed on here many times over the years…but I can't see any reason that a top female pro couldn't compete on a coed tour in 14.1.
The break isn't a factor like 9-ball or 8-ball, and rotation. There aren't many shots that come up in 14.1 that you need a lot of strength for. I would bet a moderate sum that if the top 20 or so women only practiced and played 14.1 for six months to a year they would be just as competitive as the top men in a year.
I believe they could play one pocket at a pro level if they played and practiced it more also.
Ive always thought the women should be competing at the same level as men in any game, I really don't buy the break excuse.
People like Alex and Dennis, not to mention the young kids that are doing well make this hard to accept. I've heard the muscle denisty theory but I'm not convinced.
I think Jasmine is proving that iof you play with the guys all the time you will eventually reach the same level, Karen to a certain extent too has done well against the men.
I agree however that 14.1 completely takes the break "debate" out of the picture, I just tend to think that the ladies would probably play the same level as the men in any event, the break really isn't that big a deal.
I'm very much an open minded and equal viewed person, and I agree wholeheartedly, that there's no reason on this earth, to say that women shouldn't be able to compete at gamesa like Straight Pool, 1 Pocket, and Banks (15 or 9 ball banks), after all, when you get players like Jasmine, Jannette Lee, Alison Fisher, Jennifer Berretta, Karen Corr, etc, they are the perfect example of just jhow good the standard of womens pool is today, and I very much have the belief that they can give the men a run for their money, even more so, than these lame a$$ excuses, about break strength, etc, allows the ladies to show.
The people with the best breaks are not big people. It is not size that matters but technique. I have said for years that pool is one of the few sports where men and women can compete on an equal footing. Not that they do but they can.
IMO, Jasmin Ouschan is easily a better player at 14.1 than most male professional players and she is capable of competing with anybody, to include the top men. That is my opinion, I am sure there are those that will disagree - however I remember Jean Balukas tearing male players apart back in the day.
14.1 is a game where all you need is one good opening to start a big run. It is not a matter of male or female, but how we solve the puzzle of getting out. I had written an article quite a few years ago and it dealt with Male Vs Female problem solving/thinking. I modeled the article after a study I had seen about how men and women follow map directions differently and the information transferred over beautifully to pool - as it relates to patterns - problem solving - etc. I'll see if I still have it but it may have been lost when my last PC died.
I first met Jasmin at last year's world 14.1 championship. At first, like many others... all I thought was... wow, is she hot.
After I watched her play for about 15 minutes I thought.... oh my god, she's a killer. She beat some TOP-TOP male pro (i forget who) by running 75, safe, 75-out.
Can you imagine taking her into a poolroom before people knew who she was and trapping "WHOEVER" in a set of 14.1 (w/ them probably spotting her because she was a hot girl)?
I think unless you're a top echelon male pro, you're in for a long fight and most likely a headache in that game.


text:
Q: Connect an HTML Drop Down List to Cosmos DB I am looking to connect an HTML form to a Cosmos document rather than having static data.  Can anyone guide me in the right direction?  This is what I have for static data, I have a local db set up for testing.  Thanks for any assistance.
    var select = document.getElementById("ClosurePlanList"),
        arr = ["test1","test2","test3"];
        for(var i = 0; i < arr.length; i++)
        {
            var option = document.createElement("OPTION"),
            txt = document.createTextNode(arr[i]);
            option.appendChild(txt);
            option.setAttribute("value",arr[i]);
            select.insertBefore(option,select.lastChild);
        }

https://learn.microsoft.com/en-us/azure/cosmos-db/sql-api-nodejs-application#_Toc395783181

A: Pls tru the steps below :
Step 1 :Host a nodejs backend locally to query CosmosDB for you, try the code below :
var express = require('express');
const { CosmosClient } = require("@azure/cosmos");
var app = express();

app.use(function(req, res, next) {
    res.header("Access-Control-Allow-Origin", "*");
    next();
});

const endpoint = "<your cosmos db endpoint>"
const key = "<your cosmos db key>"
const dbId = "<DB ID/name>"
const containerId = "<container ID/name>"

app.get('/getData', function (req, res) {
    getData().then(
        (FeedResponse)=>{
            res.end(JSON.stringify(FeedResponse.resources));
        },
        (err)=>{
            console.log(err);
            res.end("err");
        });

})

 function getData(){
    const client = new CosmosClient({
        endpoint,
        key
      });

    const container = client.database(dbId).container(containerId);
    const options = {
        maxItemCount: 10000,
        maxDegreeOfParallelism: 1000,
        bufferItems: true
      };
    const query = "select c.id,c.name from c";

    return container.items.query(query, options).fetchAll();
}

var server = app.listen(8888, function () {
   var host = server.address().address
   var port = server.address().port
   console.log("Example app listening at http://%s:%s", host, port)
})

After you run it , you can get your cosmos db data from http://localhost:8888/getData .
Result from the nodejs backend :

This is the data I get from my cosmos db using the query in above code :

Step 2: Try the HTML code below to fulfill the options values of your select tag from cosmosdb :
<html>
<body>
    <div>
        Plan: <select id = "ClosurePlanList">
    </div>

</body>
<script>
    let xhr = new XMLHttpRequest();
    xhr.open('GET', 'http://localhost:8888/getData');
    var select = document.getElementById("ClosurePlanList");
    xhr.send();

    xhr.onload = function() {
      if (xhr.status != 200) { // analyze HTTP status of the response
        alert(`Error ${xhr.status}: ${xhr.statusText}`); // e.g. 404: Not Found
      } else { // show the result

        arr = JSON.parse(xhr.response);
        for(var i = 0; i < arr.length; i++)
        {
            var option = document.createElement("OPTION");
            txt = document.createTextNode(arr[i].name);
            option.appendChild(txt);
            option.setAttribute("value",arr[i].id);
            select.insertBefore(option,select.lastChild);
        }
      }
    };
</script>
</html>

Result :

Getting data from cosmosdb from static html page by js code directly is not recommanded as you could leak your cosmosdb credentials.
Hope it helps!

redpajama_set_name: RedPajamaStackExchange


text:
Drag Me To Hell: Collector's Edition
Shout Factory continues to bring the old school horror to the next generation through their Scream Facotry brand. The latest getting the Collector's Edition treatment is the Sam Rami's 2009 return to Horror Drag Me To Hell, but does it hold up or will it be a possession not worth exercising?
Drag Me To Hell follows Christine Brown, a loans officer at a bank that is worried about her lot in life. Worried that her boss will think less of her if she shows weakness, she refuses a time extension on a loan to an old woman, Mrs. Ganush, who now faces foreclosure and the loss of her house. In retaliation, the old woman place a curse on her which, she subsequently learns, will result in her being taken to hell in a few days time. With the help of a psychic, she tries to rid herself of the demon, but faces several hurdles in the attempt. These possession flicks more often than not fail to deliver, but Sam Rami set the tone for a cheesy fun side of the genre with his Evil Dead series. This film, while not as full of cheese felt like a return to that form and is a lot of fun.
I remember when this came out and he had just come off his run on Spider-man so fans weren't sure if he still had the horror bug in him, but he wasted no time showcasing his return to the genre. There isn't anything here that is scary or anything, but there are some moments that some will likely find creepy. There are so many moments that showcase the same style from the Evil Dead series, but with a clearly bigger budget. I loved that he went with so many silly chees moments here without going full on silly. The cast were fine, but nothing that really stands out. With a short run time it manages to not only squeeze in plenty of silly fun while wasting little time to get to the point all leading up to a satisfying end.
This is one of those films that isn't for everyone and I have to be honest I figured it wouldn't hold up at all, but I really had a great time. In addition to the film this edition features a ton of bonus content including interviews, trailers, featurettes and both theatrical and unrated versions of the film. Grab your copy of Drag Me To Hell Collector's Edition when it hits Blu-ray on February 13th from Shout Factory.
For more information or to order your copy head over to www.shoutfactory.com

redpajama_set_name: RedPajamaCommonCrawl


Why you should research Orphan company if you are interested to get a laptop?
Most of us would probably be unable to imagine life without a Orphan Laptops. It is one of the best things that ever happened in terms of invention on our time. It provides entertainment, a way to communicate with your friends and family, and it allows you to work from virtually any place in the world. All you need is internet connection. But how does one go about and actually purchase one? Well, there are a lot of stores online and there are a lot of different brands available. One of the biggest challenges is making a decision which one you should go with. There is a company called Orphan. They have not been around for a very long time, but it would seem that they are spreading quite a bit and will likely be quite known in the future. On top of many things, they also offer laptops on their store.
However, it is more than likely that the majority of people have never heard about them. Therefore, it is crucial to research any company that you are interested in buying from. Because you want to come out of the whole situation unscathed, which in this case would be spending your time and money wisely, it is important to know what you are dealing with here.
The reason we are writing this article is because we have tried this seller ourselves. And the result was that we were not disappointed. Everything was like the website promises. You can expect a quick delivery on your purchase. Unless, of course, it is an international order. Then you will need to wait for some time. But then again, the same can be said about virtually any place that you are buying from, right?
If what you have read so far has not convinced you, then feel free to look for more information on the internet. There may not be a lot of articles about it, but with a little bit of research you should be able to find praise here or there. Moreover, it would be a good idea as per usual to head over to social media and see what the people are saying about this whole venture there too. It would probably be best to go to the likes of Facebook and Twitter. Instagram or other platforms will likely not have anything related to this company and the laptops it is trying to sell.
So to sum it all up, if you are going to purchase a laptop from Orphan, feel free to do so. We have done it, and everything was fine. Moreover, there are positive reviews available on a lot of different places, which speak for themselves.
Top 5 Gaming Laptops $1000 or Less!


For decades, middleclass America has been the bastion of economic growth and activity. Today, the United States might be witnessing the fall of this segment as their debts shoot through the roof. The financial crisis has definitely hit ordinary Americans the hardest. But before you blame everything on the bankers, it should also be noted that over 100,000 middle-class families filed for bankruptcy every month since 2007.
Statistics shows that one in five Americans today is either unemployed or underemployed. One in eight is in foreclosure or default. And one in nine can't pay the minimum repayment required on their credit cards. People who are about to retire are also facing incredible challenges because the crisis has just wiped out more than $5 trillion on their wealth (savings and pensions). The list of blogs below highlights other developments that might signal the end of middleclass Americans.
The Rebel News, in the post "US Middle Class Hit Hard by Current Economic Vows", summarizes key findings that show the vulnerability of ordinary Americans. It also stated that classic lifesavers such as real estate ownership and higher education have lost its powers in the current condition. It has, in fact, become liabilities to the financial system.
Ronni @ Time Goes By wrote a post titled "Imagining Life without a Middle Class". He gives readers the big picture and the small picture. In the latter, he recounted that most people are spending most of their income on necessities. If this trend goes on, there will not be enough disposable income for any other activity.
Elizabeth Warren @ Huffington Posts compiled research statistics in the post "America without a Middle Class" that demonstrate the fall of the United State's middle market. Among the key figures that were showed include the comparison between productivity & compensation, income growth during boom times, and the median income of households.


text:
We Are Alive! September 26th, 2022 Trumpets
ironshield73
inWe Are Alive Tribe
Today, our family observed a special Sabbath, where we did no work and listened to teachings online. We blew the shofar to honor this special day.
Many people call this day "Rosh Hashanah" (head of the year), but biblically it's called "Yom Turuah" (Day of Shouting) Nowhere in the bible is the seventh month called a "new year".
On the first day of the seventh month hold a sacred assembly and do no regular work. It is a day for you to sound the trumpet." Numbers 29
Our sacred assembly was our family! Our regular work was ceased today (until sundown) and we sounded the trumpet.
Also called "Yom Hekasak", the concealed day. Because it's a new month, the moon is concealed in darkness. Because we don't know when exactly the new month begins, it's also the event that "no one knows the day or hour". It's possible that Heaven and earth will pass away on this day in the future.
Heaven and earth will pass away, but my words will not pass away, but concerning that day and hour no one knows, not even the angels of heaven, nor the Son, but the Father only. Matthew 24:36
Also called "Yom HaDin", the day of judgment. It's believed this is the day when the books in heaven are opened and our deeds are reviewed over the next ten days. After the ten days, a determination is made concerning the next cycle at the seventh month.
Also called "Yom HaZekarim", the day of commeration. This is from the scripture:
'On the first day of the seventh month you are to have a day of rest, a sacred assembly commemorated with shofar blasts.' Leviticus 23:24
We are remembering when the trumpet call announces the Jubilee year, every 50 years. There is some thought that this trumpet call THIS YEAR is the announcement of the forgiveness of debts, HaYovel, the Jubilee.
Today is also known as Resurrection day, the day of the Trumpet call of God:
For the Lord himself will come down from heaven, with a loud command, with the voice of the archangel and with the trumpet call of God, and the dead in Christ will rise first.
What an amazing thought, that the return of Messiah would be on this day someday, the heavens rolling up like a scroll, the stars falling like figs from a tree. A day unlike any other day in history.
Benjamin Turner: God fearer. Rooted in Messiah. Husband of @lturner. Father of six wonderful children. The guy behind the camera. Blockchain enthusiast.
Bless the Most High!
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We Are Alive Tribealivectpcenthive-enginearchonneoxianlassecashproofofbrainvyb


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life as a scrapper: CARD REPOST!!
OK I had 2 get a better pic of the card the other one was bugging me, So I went into my bathroom & turned on every light & got another pic & I'm happier with this one. A girls got 2 do what a girls got 2 do 2 get a good pic!!!
My description is below on the first one.
Totally amazing stuff Toni. Loving it all.
OMG!! this is just stunning!!! Love your "let it snow' LO below too!!
As always this is stunning, just love how you have been able to create what looks like a scrap page on a card, amazing and so soft and beautiful.
This is amazing!! Beautiful 3D details! I love it!
Another stunning creation from you. :o) Love everything about it!
Your scrap works are all gorgeous.
You put so many details into every LO and card, it's just amazing.
I thought the first picture was beautiful....but now it's stunning! I'd love to see this in person.
...what's it look like on the inside?
Wow Wow Wow, gorgeous card, Toni!!!!
So Rich with details ! BEAUTIFUL!
Beautiful Toni! Love your work!


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Layla and I bonded during the birth of her puppies. I had never been through anything like that with an animal, and I was proud and excited to be a part of it. The miracle of life! And the puppies were beautiful. So much fun… and so much poop. It was a crazy summer. Thank goodness I had gotten my teaching job and we were off for the summer to dedicate more time to them!
The babies grew, and grew, and grew some more. I am pretty sure, as I am writing this, that all four of them outweigh their mother by now, and they aren't even six months old yet. I love when the center gets an update on one of them. Abraham's new family sent a photo of him yesterday, and he is HUGE and beautiful!
The puppies created quite a stir on social media. They were four handsome boys, and we think the father was Great Pyrenees, so they will probably all end up being more than 100-pounders. Poor Layla, at only around 50 pounds… no wonder she was acting so crazy when we first got her! And then when they kept trying to nurse while all four were around 20 pounds, it was a hard time for her. We were sad to see the pups go, but after they were all adopted and out of the house, anyone could see that Layla was relieved to have some time to herself.
While the puppies were still around, Layla had to go stay with two different families when I went on trips in July. She acted so happy when we got her back, and we missed her! We really wanted to keep her, but I was still not planning to adopt another dog, or at least not anytime soon. Also, in the middle of all of this, she tried to burn my house down. She apparently was trying to get some pizza off the stovetop and turned on a burner, which then melted and caught a plastic pitcher on fire. The kids and I came home to a house full of black smoke and the smoke alarms going off.
Long story short, I put out the fire and sent all eight animals we had at the time (Ella, Olive, Hatter, Layla, and the four puppies) out the front door for the kids to collect them. We chose to be grateful rather than sad about the fire, as we came home in time, and everyone was safe! And it really wasn't Layla's fault. She was starving due to nursing those giant puppies! Plus, we got to live in a hotel suite for two weeks while our house got painted and fixed up.
Anyway, we thought another family was going to adopt Layla, and although we were sad, we knew it was a wonderful home and were happy for her. The kids and I talked it over as a family many times, and agreed that we could let Layla go, as we knew she would be happy and well-cared-for. As luck would have it, she ended up coming back to us, and we are honored that we get to be her forever family. She had her leg surgery, and she is healing well. She is happy and SO much a different dog than when we first met her. We are thankful for her, and grateful to Misty Eyes for everything they have done for her, and for bringing her into our lives!
That brings us up to four pets of our own now – two dogs and two cats – but we started fostering cats again in July as well. We have had up to five at a time (three right now). The litter boxes aren't so much fun, but otherwise, fostering brings us a whole lot of pleasure. Many people seem to think we are crazy, or they wonder what it is that we get out of it.
Do you get paid to foster? No. Misty Eyes Animal Center covers the food and vet services for the animals we take in. Some rescue groups don't do that. We are responsible only for giving the animals a loving home until they find their forever families, along with sometimes taking them to a vet appointment or to the center for their meet-n-greets or adoptions.
Why do you foster? Quite simply, we love animals. We want to help them. There is a great need for it, due to severe overpopulation, and we enjoy being part of the solution and saving lives.
Don't you want to keep them all? Yes and no. We love each and every animal we foster, and we definitely bond with some more than others. We keep each other in check. There have been times one of us really wants to keep a foster (and we did end up adopting three now), but then we remind each other of why we are doing this.
Aren't you sad when they get adopted? We have cried over a couple, especially when we first started, but we have shifted our way of thinking since then. We have chosen, rather than being sad at our loss, to be happy for the families who are so excited to adopt them. We love to talk about how thrilled the pets' new families are to have them, and what a great life they will have. And we love playing a part in rescuing them!
What is the best part of fostering? We are making a difference in something that is important to us! Each foster is another animal that we have helped to save from being in a shelter or producing more homeless pets.
We have also decided to spend more time volunteering with Misty Eyes Animal Center. I am the new "outreach program lead," and feel fortunate to be a part of the great things this growing organization is doing. Everyone involved in the rescue is a volunteer, and there are plenty of people who put in a whole lot more hours than I do.
Questions or comments? Email me at lhamilton9601@gmail.com.


Runny nose and sneezing! This can't be happening to me, right now. Our summer is coming to an end and my heart is saddened. I love the warmer sunny days. Swimming in the lake with our grandson and watching hubby throwing sticks for his dogs to chase. It really is hard to feel miserable when our summer has been fantastic. But I have a cold.
My friend summer is packing up to leave. Our early morning starts are darker and our evenings are shorter.
It started with my voice being low and husky. It never entered my mind that I had a cold coming on. My energy levels are low and I feel more tired than I usually am.
But as I reminisce about our beautiful summer I'm filled with warmth. Christmas day was warm and relaxing swimming in my grandson's swimming paddling pool.
My nose is running like a tap. I smother my face with moisturiser so my skin stays soft and subtle. I do detest dry and scaly skin.
As I ponder the changing of the seasons, I have to admit that I love the autumn colours of the leaves spread around our backyard. A change of fashion from light and breezy to warm and comfy.
I just wish I didn't have a cold.
I like the back and forth of good summer, bad cold. Hope your cold gets better soon. We are just finishing up winter here (hopefully). Snow again yesterday and for every day this week it appears.
The misery of a cold comes through as you bid farewell to summer. Those of us in the Northern Hemisphere are happy to say good-bye to winter, hello spring!


The Red Triangle is the name given to a 90-mile stretch of coastal area from the Golden Gate down to Monterey and extending to the Farallon Islands. Within its relatively small boundaries more than half of the world's Great White Shark attacks on humans have taken place. In a PBS feature on the Red Triangle it was described as "the shark-attack capital of the world." The Red Triangle is home to tens of thousands of elephant seals, sea lions, and sea otters, staples of a shark's diet. So swimmers and surfers in their wet suits are easily mistaken for seals since sharks have bad eyesight.
Over recent years, authorities have tracked a significant increase in the number of shark attacks but despite the danger, only one in ten shark attacks on humans are fatal. Sharks tend to taste-test their prey and generally spit out bone-filled swimmers and surfers. Surf boards are subject to tasting as well. Despite film depictions, Great whites are not always solitary predators, they often hunt and feed together. Additionally, just like whales, Great White Sharks migrate every year and predictably return to the same waters to feed, making October to January the most dangerous time for local surfers - just in time for the annual Mavericks surf competition.


text:
Congress' Latest Move to Extend Copyright Protection Is Misguided
Author: Lawrence LessigLawrence Lessig
Once again, Congress is poised to give away content in the public domain to special interests.
Alyssa Foote
Almost exactly 20 years ago, Congress passed the Sonny Bono Copyright Term Extension Act, which extended the term of existing copyrights by 20 years. The Act was the 11th extension in the prior 40 years, timed perfectly to assure that certain famous works, including Mickey Mouse, would not pass into the public domain.
Lawrence Lessig (@lessig) is the Roy L. Furman professor of law and leadership at Harvard University and founder of Equal Citizens. He was lead counsel in Eldred v. Ashcroft (2002).
Immediately after the law came into force, a digital publisher of public domain works, Eric Eldred, filed a lawsuit challenging the act. The Constitution gives Congress the power to secure copyrights "for limited times," for the express purpose of "promot[ing] Progress." Extending the copyright of an existing work, Eldred argued, could not promote anything — the work already exists. And repeated extensions of existing terms cannot be what the framers meant by "limited times."
The Supreme Court agreed to hear the challenge. I was lead counsel for the plaintiff. And in addition to our brief, a scad of creators who build upon the public domain, along with librarians, archivists, and economists, filed briefs in support of Eldred; Nobel Prize winner Milton Friedman agreed to sign the economists' brief only if the words "no brainer" were included.
Yet the court rejected our challenge to the law. Justice Ruth Bader Ginsburg was not convinced that Congress was addicted to term extensions. The most recent extension, the Court remarked, simply harmonized the term internationally. After the 1998 extension, there was no reason, the Court believed, to think that Congress would need to extend terms anymore. After all, with a term of 95 years for work created before 1976, and life of the author plus 70 years for work beginning in 1976, how much more time could possibly be needed?
Twenty years later, the fight for term extension has begun anew. Buried in an otherwise harmless act, passed by the House and now being considered in the Senate, this new bill purports to create a new digital performance right—basically the right to control copies of recordings on any digital platform (ever hear of the internet?)—for musical recordings made before 1972. These recordings would now have a new right, protected until 2067, which, for some, means a total term of protection of 144 years. The beneficiaries of this monopoly need do nothing to get the benefit of this gift. They don't have to make the work available. Nor do they have to register their claims in advance.
That this statute has nothing to do with the constitutional purpose of "promot[ing] Progress" is clear from its very title. The "Compensating Legacy Artists for their Songs, Service, and Important Contributions to Society Act" (or CLASSICS) is as blatant a gift without any public return as is conceivable. And it's not just a gift through cash; it's a gift through a monopoly regulation of speech. Archives with recordings of music from the 1930s or 1940s would now have to clear permission before streaming their musical content even if the underlying work was in the public domain.
Yet there is no registry of these owners anywhere. And while massive digital suppliers, such as Apple Music and Spotify, could probably afford to carry the burden, no public or non-profit website could even begin to bear the cost of assuring they were not committing a crime. The act doesn't harmonize American law with international law. Indeed, it creates more disharmony. No other jurisdiction creates a similar right anywhere. The act is simply a gift, paid for by further weakening the ability of archivists to keep our culture accessible. That's why more than 40 professors of intellectual property of all political stripes signed a letter this week asking Congress to reject the CLASSICS Act.
When a creative work is a century old, Congress should let it pass into the public domain. But at the very least, if Congress is so eager to give gifts to famous creators, it should require that the beneficiary at least record their claim in advance, in a public and searchable archive, so it is simple to know which rights must be cleared and how.
The WIRED Guide to Net Neutrality
Either way, it is finally clear that the Supreme Court's prediction that the copyright owners would be satisfied with the copyright protection provided by the Sonny Bono Act turns out not to be true. If this bill passes, we can expect other copyright owners to complain about the "unfairness" in the gift given to the creators of legacy recordings. And in the clamber to harmonize with this 144-year term, a swamp of extensions is certainly on the way.
No doubt, the beneficiaries of these gifts will be grateful to Congress, and show their gratitude in the campaign-finance-ways of Washington. Equally without doubt, this is not what a system meant to "promote the Progress of Science" was ever intended to be.
WIRED Opinion publishes pieces written by outside contributors and represents a wide range of viewpoints. Read more opinions here.
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#Congress
#Supreme Court


This past Saturday Vincent Bencivenga of Lawrence, Massachusetts, Josette Osorio of Haverhill and Mark Hatch of Methuen made a fake video of a stabbing during the Feast of the Three Saints festival in Lawrence. The trio used video cameras and a cell phone camera to record the event. Not realizing that the act was a spoof, people attending the festival called the police after observing Osorio wearing a black trench coat and carrying a machete that appeared bloody. When the police arrived Osorio and Bencivenga identified Hatch as the ringleader claiming that the fake stabbing video was his idea and that the intention of the three was to put it on YouTube. Hatch was apprehended a short time later after initially evading the police. Hatch was charged with Disorderly Conduct, Resisting Arrest, Making a False Police Report and Assault and Battery on a Police Officer. Osorio and Bencivenga were charged with Making False Reports to the Police and Disturbing the Peace. The cases are pending in the Lawrence District Court.
It is not often that I blog on the Crime of Disturbing the Peace in Massachusetts. While every Massachusetts Criminal Lawyer has at one time or another defended such accusations the crime is relatively minor and in my opinion used when the conduct of the accused is more of an annoyance than a crime. The punishment for a conviction of this crime supports this suggestion. Massachusetts General Laws Chapter 272 Section 53 provides for a maximum punishment of a fine of one hundred fifty dollars for a first time conviction of this crime. The proscribed behavior contemplates a person's "purpose to cause public inconvenience, annoyance or alarm, or recklessly creating a risk thereof. There is a tremendous amount of subjectivity associated with the Criminal Charge of Disturbing the Peace in Massachusetts. This in and of itself often prompts prosecutors to voluntarily dismiss these charges or to permit a resolution that does not involve a criminal conviction. This is particularly true where the defendants do not have criminal records and their actions or more consistent with a lack of judgment than with a criminal intent. All of this appears to be fitting for the defendants in this case.
The crime of Making a False Report to a Police Officer has a more sever potential punishment, one year in jail. The statute, Massachusetts General Laws Chapter 269 Section 13A contemplates such actions as an obstruction of justice. I have never seen this great a sentence imposed for a conviction of this crime. Usually, this charge is resolved by a dismissal or something less than a conviction if properly defended.
Finally, Resisting Arrest and Assault and Battery on a Police Officer have become relatively transparent criminal offenses in Massachusetts. Judges, prosecutors and defense attorneys all accept that often times police get a little aggressive when apprehending suspects. This is more so when flight or a chase is involved. The police get physical with the accused and then to protect themselves from a Civil Rights Lawsuit they accuse the defendant of Resisting Arresting and Assaulting them. Police officers need to be more careful in making these accusations these days. Everywhere you look there are surveillance and security video devices and a thorough Massachusetts Criminal Attorney will get the footage and mount his defense.
The Law Offices of Stephen Neyman, PC is committed to defending the accused no matter how serious the crime. Call us at 617-263-6800 or send us an email if you are in trouble. Our lawyers can help you.


The classic 1980s baseball game Bases Loaded is coming to the PS4. And it looks like Bases Loaded! But widescreen.
Via Inside, you can see in the above screenshot what the PS4 version will look like. Compare with a clip of the NES version below.
Bases Loaded was originally released in arcades, but as a kid, the NES version is what I remember most fondly. I loved Bases Loaded. I am very much looking forward to the PS4, which thankfully keeps the game's original look, when it's released in Japan this winter.
Fingers crossed it has the same theme song.


text:
#include "VideoWall.h"
#include <QApplication>
#include <QDesktopWidget>
#include <QEvent>
#include <QFileDialog>
#include <QGridLayout>
#include <QInputDialog>
#include <QKeyEvent>
#include <QMenu>
#include <QMessageBox>
#include <QMimeData>
#include <QtCore/QUrl>
#include <QtAV/AudioOutput.h>
#include <QtAVWidgets>

using namespace QtAV;
const int kSyncInterval = 2000;

VideoWall::VideoWall(QObject *parent) :
    QObject(parent),r(3),c(3),view(0),menu(0)
  , vid(QString::fromLatin1("qpainter"))
{
    QtAV::Widgets::registerRenderers();
    clock = new AVClock(this);
    clock->setClockType(AVClock::ExternalClock);
    view = new QWidget;
    if (view) {
        qDebug("WA_OpaquePaintEvent=%d", view->testAttribute(Qt::WA_OpaquePaintEvent));
        view->resize(qApp->desktop()->size());
        view->move(QPoint(0, 0));
        view->show();
    }
}

VideoWall::~VideoWall()
{
    if (menu) {
        delete menu;
        menu = 0;
    }
    if (!players.isEmpty()) {
        foreach (AVPlayer *player, players) {
            player->stop();
            VideoRenderer* renderer = player->renderer();
            if (renderer->widget()) {
                renderer->widget()->close(); //TODO: rename
                if (!renderer->widget()->testAttribute(Qt::WA_DeleteOnClose) && !renderer->widget()->parent())
                    delete renderer;
                delete player;
            }
        }
        players.clear();
    }
    delete view;
}

void VideoWall::setVideoRendererTypeString(const QString &vt)
{
    vid = vt.toLower();
}

void VideoWall::setRows(int n)
{
    r = n;
}

void VideoWall::setCols(int n)
{
    c = n;
}

int VideoWall::rows() const
{
    return r;
}

int VideoWall::cols() const
{
    return c;
}

void VideoWall::show()
{
    if (!players.isEmpty()) {
        foreach (AVPlayer *player, players) {
            player->stop();
            VideoRenderer* renderer = player->renderer();
            if (renderer->widget()) {
                renderer->widget()->close();
                if (!renderer->widget()->testAttribute(Qt::WA_DeleteOnClose) && !renderer->widget()->parent())
                    delete renderer;
                delete player;
            }
        }
        players.clear();
    }
    qDebug("show wall: %d x %d", r, c);

    int w = view ? view->frameGeometry().width()/c : qApp->desktop()->width()/c;
    int h = view ? view->frameGeometry().height()/r : qApp->desktop()->height()/r;
    if (view) {
        QGridLayout *layout = new QGridLayout;
        layout->setSizeConstraint(QLayout::SetMaximumSize);
        layout->setSpacing(1);
        layout->setMargin(0);
        layout->setContentsMargins(0, 0, 0, 0);
        view->setLayout(layout);
    }

    VideoRendererId v = VideoRendererId_Widget;
    if (vid == QLatin1String("gl"))
        v = VideoRendererId_GLWidget2;
    else if (vid == QLatin1String("d2d"))
        v = VideoRendererId_Direct2D;
    else if (vid == QLatin1String("gdi"))
        v = VideoRendererId_GDI;
    else if (vid == QLatin1String("xv"))
        v = VideoRendererId_XV;
    for (int i = 0; i < r; ++i) {
        for (int j = 0; j < c; ++j) {
            VideoRenderer* renderer = VideoRenderer::create(v);
            renderer->widget()->setWindowFlags(renderer->widget()->windowFlags()| Qt::FramelessWindowHint);
            renderer->widget()->setAttribute(Qt::WA_DeleteOnClose);
            renderer->widget()->resize(w, h);
            renderer->widget()->move(j*w, i*h);
            AVPlayer *player = new AVPlayer;
            player->setRenderer(renderer);
            player->masterClock()->setClockAuto(false);
            player->masterClock()->setClockType(AVClock::ExternalClock);
            players.append(player);
            if (view)
                ((QGridLayout*)view->layout())->addWidget(renderer->widget(), i, j);
        }
    }
}

void VideoWall::play(const QString &file)
{
    if (players.isEmpty())
        return;
    clock->reset();
    clock->start();
    foreach (AVPlayer *player, players) {
        player->play(file);
    }
    timer_id = startTimer(kSyncInterval);
}

void VideoWall::stop()
{
    clock->reset();
    killTimer(timer_id);
    foreach (AVPlayer* player, players) {
        player->stop(); //check playing?
    }
}

void VideoWall::openLocalFile()
{
    QString file = QFileDialog::getOpenFileName(0, tr("Open a video"));
    if (file.isEmpty())
        return;
    stop();
    clock->reset();
    clock->start();
    timer_id = startTimer(kSyncInterval);
    foreach (AVPlayer* player, players) {
        player->setFile(file); //TODO: load all players before play
        player->play();
    }
}

void VideoWall::openUrl()
{
    QString url = QInputDialog::getText(0, tr("Open an url"), tr("Url"));
    if (url.isEmpty())
        return;
    stop();
    clock->reset();
    clock->start();
    timer_id = startTimer(kSyncInterval);
    foreach (AVPlayer* player, players) {
        player->setFile(url);
        player->play(); //TODO: load all players before play
    }
}

void VideoWall::about()
{
    QMessageBox::about(0, tr("About QtAV"), QString::fromLatin1("<h3>%1</h3>\n\n%2")
                       .arg(tr("This is a demo for playing and synchronising multiple players"))
                       .arg(aboutQtAV_HTML()));
}

void VideoWall::help()
{
    QMessageBox::about(0, tr("Help"),
                        tr("Command line: %1 [-r rows=3] [-c cols=3] path/of/video\n").arg(qApp->applicationFilePath())
                       + tr("Drag and drop a file to player\n")
                       + tr("Shortcut:\n")
                       + tr("Space: pause/continue\n")
                       + tr("N: show next frame. Continue the playing by pressing 'Space'\n")
                       + tr("O: open a file\n")
                       + tr("P: replay\n")
                       + tr("S: stop\n")
                       + tr("M: mute on/off\n")
                       + tr("C: capture video")
                       + tr("Up/Down: volume +/-\n")
                       + tr("->/<-: seek forward/backward\n"));
}

bool VideoWall::eventFilter(QObject *watched, QEvent *event)
{
    //qDebug("EventFilter::eventFilter to %p", watched);
    Q_UNUSED(watched);
    if (players.isEmpty())
        return false;
    QEvent::Type type = event->type();
    switch (type) {
    case QEvent::KeyPress: {
        //qDebug("Event target = %p %p", watched, player->renderer);
        //avoid receive an event multiple times
        QKeyEvent *key_event = static_cast<QKeyEvent*>(event);
        int key = key_event->key();
        Qt::KeyboardModifiers modifiers = key_event->modifiers();
        switch (key) {
        case Qt::Key_F: {
            QWidget *w = qApp->activeWindow();
            if (!w)
                return false;
            if (w->isFullScreen())
                w->showNormal();
            else
                w->showFullScreen();
        }
            break;
        case Qt::Key_N: //check playing?
            foreach (AVPlayer* player, players) {
                player->stepForward();
            }
            break;

        case Qt::Key_O: {
            if (modifiers == Qt::ControlModifier) {
                openLocalFile();
                return true;
            } else/* if (m == Qt::NoModifier) */{
                return false;
            }
        }
            break;
        case Qt::Key_P:
            clock->reset();
            clock->start();
            foreach (AVPlayer* player, players) {
                player->play();
            }
            timer_id = startTimer(kSyncInterval);
            break;
        case Qt::Key_S:
            stop();
            break;
        case Qt::Key_Space: //check playing?
            clock->pause(!clock->isActive());
            foreach (AVPlayer* player, players) {
                player->pause(!player->isPaused());
            }
            break;
        case Qt::Key_Up:
            foreach (AVPlayer* player, players) {
                if (player->audio()) {
                    qreal v = player->audio()->volume();
                    if (v > 0.5)
                        v += 0.1;
                    else if (v > 0.1)
                        v += 0.05;
                    else
                        v += 0.025;
                    player->audio()->setVolume(v);
                }
            }
            break;
        case Qt::Key_Down:
            foreach (AVPlayer* player, players) {
                if (player->audio()) {
                    qreal v = player->audio()->volume();
                    if (v > 0.5)
                        v -= 0.1;
                    else if (v > 0.1)
                        v -= 0.05;
                    else
                        v -= 0.025;
                    player->audio()->setVolume(v);
                }
            }
            break;
        case Qt::Key_Left:
            qDebug("<-");
            clock->updateExternalClock(clock->value()*1000.0 - 2000.0);
            /*foreach (AVPlayer* player, players) {
                player->seekBackward();
            }*/
            break;
        case Qt::Key_Right:
            qDebug("->");
            clock->updateExternalClock(clock->value()*1000.0 + 2000.0);
            /*foreach (AVPlayer* player, players) {
                player->seekForward();
            }*/
            break;
        case Qt::Key_M:
            foreach (AVPlayer* player, players) {
                if (player->audio()) {
                    player->audio()->setMute(!player->audio()->isMute());
                }
            }
            break;
        default:
            return false;
        }
        break;
    }
    case QEvent::ContextMenu: {
        QContextMenuEvent *e = static_cast<QContextMenuEvent*>(event);
        if (!menu) {
            menu = new QMenu();
            menu->addAction(tr("Open"), this, SLOT(openLocalFile()));
            menu->addAction(tr("Open Url"), this, SLOT(openUrl()));
            menu->addSeparator();
            menu->addAction(tr("About"), this, SLOT(about()));
            menu->addAction(tr("Help"), this, SLOT(help()));
            menu->addSeparator();
            menu->addAction(tr("About Qt"), qApp, SLOT(aboutQt()));
        }
        menu->popup(e->globalPos());
        menu->exec();
    }
    case QEvent::DragEnter:
    case QEvent::DragMove: {
        QDropEvent *e = static_cast<QDropEvent*>(event);
        e->acceptProposedAction();
    }
        break;
    case QEvent::Drop: {
        QDropEvent *e = static_cast<QDropEvent*>(event);
        QString path = e->mimeData()->urls().first().toLocalFile();
        stop();
        play(path);
        e->acceptProposedAction();
    }
        break;
    default:
        return false;
    }
    return true; //false: for text input
}

void VideoWall::timerEvent(QTimerEvent *e)
{
    if (e->timerId() != timer_id) {
        qDebug("Not clock id");
        return;
    }
    if (!clock->isActive()) {
        qDebug("clock not running");
        return;
    }
    foreach (AVPlayer *player, players) {
        player->masterClock()->updateExternalClock(*clock);
    }
}

redpajama_set_name: RedPajamaGithub


Another recent review at the Japan Times : James C. Dobbins' Jōdo Shinshū . This is one of those books I never anticipate getting rid of, even though by now I probably own half of the Japanese books Dobbins cites as sources.
I also wrote a short piece for Néojaponisme about book cover design.
A Tour of Tokyo's Bookstores at AbeBooks. I didn't realize so many were using AbeBooks to sell.
Here's something else I was reading recently: "Translating the Zen Phrase Book ", by G. Victor Sōgen Hori. This is the translation that eventually got published as Zen Sand: The Book of Capping Phrases for Koan Practice , I assume (review here; introduction available here [pdf]). Pages 91 onwards are about the details of how Hori presents his translation; note that he provides a kundoku reading, which — I mean, I wonder if anyone is actually using these in their practice, reciting these incantations that are actually the result of semi-mechanically converting a line of written Chinese into a bare-minimum Japanese translation. And some of that Chinese would have wandered in from the Indic branch of IE, of course. Language is amazing.
The article on Ōkagami [literally "the Great Mirror"] offers "a point of some comparative interest" concerning mirrors, suggesting the telescope as the Western counterpoint for the mirror as a device for seeing from afar. As an imaginary vehicle for getting around in the past, the time machine might be of more use to the historian. The thing about mirrors is that they look at you while you look at them. They are portals (portholes?) to a wish-world, East or West, but the vision they offer is mirror-reversed, as one might learn by stepping Through the Looking Glass . They are privy to the secrets of our vanity, ready to be consulted on who is fairest, to lure the Goddess from her cave, or return her Medusan image to the stone. They are the essence of bronze culture, Sun Kings, and crazy houses, and far too potent to be left to mere historiographers.
Cranston also quotes a great " Companion bon mot" on p212: "If Sei Shōnagon did not exist, there would be no one to invent her."
I reviewed Christine M. E. Guth's Hokusai book for the Japan Times . Verdict: Hokusai. In the course of writing this review I also realized that Gustav Eckstein's Hokusai: Play in fourteen scenes is basically just a rip-off of Edward Strange's Hokusai: The old man mad with painting .
Completely unrelated, but here's something amusing I noticed in Margaret Mead's Coming of age in Samoa today. As far as I can tell from the context Mead is still talking about "the group of girls with whom I spent many months, the group of girls between ten and twenty years of age who lived in the three little villages on the lee side of the island of Tau."
In their use of language their immaturity was chiefly evidenced by a lack of familiarity with the courtesy language, and by much confusion in the use of the dual and of the inclusive and exclusive pronouns. These present about the same difficulty in their language as the use of a nominative after the verb "to be" in English.
This struck me as a very revealing comparison. I wonder if the similarities went deeper than Mead realized, in that the "confusion" she observed was actually just conflict between actual spoken Samoan versus some idealized form of the language that she had been taught was correct.
The children of this age already show a very curious example of a phonetic self-consciousness in which they are almost as acute and discriminating as their elders. When the missionaries reduced the language to writing, there was no k in the language, the k positions in other Polynesian dialects being filled in Samoan either with a t or a glottal stop. Soon after the printing of the Bible, and the standardisation of Samoan spelling, greater contact with Tonga introduced the k into the spoken language of Savai'i and Upolu, displacing the t but not replacing the glottal stop. Slowly this intrusive usage spread eastward over Samoa, the missionaries who controlled the schools and the printing press fighting a dogged and losing battle with the less musical k. To-day the t is the sound used in the speech of the educated and in the church, still conventionally retained in all spelling and used in speeches and on occasions demanding formality. The Manu'a children who had never been to the missionary boarding schools, used the k entirely. But they had heard the t in church and at school and were sufficiently conscious of the difference to rebuke me immediately if I slipped into the colloquial k which was their only speech habit, uttering the t sound for perhaps the first time in their lives to illustrate the correct pronunciation from which I, who was ostensibly learning to speak correctly, must not deviate. Such an ability to disassociate the sound used from the sound heard is remarkable in such very young children and indeed remarkable in any person who is not linguistically sophisticated.
I love this. Even in Mead's tropical idyll, there are peevers.
The source is Galumalemana Afeleti L. Hunkin's Gagana Sāmoa: A Samoan Language Coursebook .


Health care fraud and abuse is a national problem that affects everyone either directly or indirectly. National estimates show that billions of dollars are lost to health care fraud and abuse on an annual basis. These losses lead to increased health care costs and potential increased costs for coverage.
In an effort to be a part of the solution Village Care is committed to detecting, correcting, and preventing fraud, waste, and abuse and we encourage our contracted physicians, other healthcare providers, and business partners to also take steps to prevent, detect, and immediately correct any instances of FWA.
Fraud – is knowingly and willfully making material false statements or representations of facts that an individual knows to be false or does not believe to be true in order to obtain payment or other benefit to which one would otherwise not be entitled to.
Waste – is overutilization of services or other practices that, directly or indirectly, result in unnecessary costs to the healthcare system, including the Medicare and Medicaid programs.ii Waste is generally not considered to be caused by criminally negligent actions but rather by the misuse of resources.
Abuse – is the practice that directly or indirectly result in unnecessary costs or improper payments for services which fail to meet recognized professional standards of care. Payments received are the result of an individual or entity knowingly and/or intentionally misrepresenting facts to obtain payment.
The Health Care Fraud Statute makes it a criminal offense to knowingly and willfully execute a scheme to defraud a health care benefit program. Health care fraud is punishable by imprisonment up to 10 years. It is also subject to criminal fines up to $250,000.
Village Care has adopted training content published by the Centers for Medicare & Medicaid Services (CMS) that addresses this subject matter. For purposes of the relationships that contracted healthcare providers and business entitiesiii have with VillageCareMAX, this training, including all references and requirements related to Medicare Part C and Part D, applies to them as well. This includes our Medicare Part C & D (DSNP), and Medicare-Medicaid (FIDA) plans.
Contracted healthcare providers and business partners supporting Village Care's Medicare and/or Medicaid products must use CMS content to train their employees and those supporting them to meet certain contractual obligations of Village Care.
Who is the special investigation unit and what do we do?
The SIU includes a staff of trained professionals who carefully review all allegations of suspected fraud and abuse. This staff includes individuals with the following credentials: Accredited Healthcare Fraud Investigators (AHFI), Certified Fraud Examiners (CFE), Former OMIG, NYPD and MFCU Investigators and Certified Coders and Clinicians.
Special Investigations Unit's mission is to detect, investigate, prevent and recover the loss of corporate and customer assets resulting from fraudulent and abusive actions committed by providers, members, groups, brokers, and others. We may also recommend the prosecution of individuals /entities that have been found to have committed fraud.
The SIU is dedicated to detecting, investigating, preventing, prosecuting and recovering the loss of corporate and customer assets resulting from fraudulent and abusive actions committed by providers, subscribers, and employees.
Contact with relevant parties to gather information. This may include contacting members to get a better understanding of the situation. For example, we may contact a member to ask about a visit with his or her physician. We may ask the member to describe the services provided and by whom etc.
We may request medical, dental, or pharmacy records. This is done to validate that the records support the services billed. It's important that the provider submits all records requested in a timely manner in order for us to make a fair and appropriate assessment.
We may provide notification of suspected fraud and abuse to law enforcement and CMS, if applicable, including the appropriate Medicare Drug Integrity Contractor (MEDIC) for Medicare Part C (medical) and Part D (prescriptions), and any other applicable state and/or federal agencies.
You have the option for your report to remain anonymous. All information received or discovered by the Special Investigations Unit (SIU) will be treated as confidential, and the results of investigations will be discussed only with persons having a legitimate reason to receive the information (e.g., state and federal authorities, Village Care Legal Department, or other Senior Management).
To report any instances of Potentially Fraudulent activity you may contact the Hotline available 24/7 call 1-844-348-2664 or log in a ticket at villagecare.ethicspoint.com.
iii CMS designates these as first tier, downstream or related entities (FDRs).


text:
Review: Ballet 422
Jody Lee Lipes shapes the footage into an intimate symphony of poetically shaped bodies that contrast poignantly with uncertain faces.
Chuck Bowen
Photo: Magnolia Pictures
Ballet 422 possesses an aura of pared majesty. There isn't an ounce of fat on this documentary, and there's little explicit suggestion of backstage chaos, which is remarkable for a film that concerns the behind-the-scenes details of the creation of a new work for the legendary New York City Ballet. We're so accustomed to the clichés of tormented theater life that this self-assuredness, this occupation with the peacefulness of collaboration, comes as a bit of a shock to the system. Where are the egomaniacs and the brilliant, emotionally handicapped dancers who're desperate to prove themselves? Strikingly, it soon becomes evident that most of the tensions inherent in the presence of these sorts of personalities do, in fact, occupy the production that director and cinematographer Jody Lee Lipes has captured, but they're subsumed in the physicality of endless practices, in the daily patting on of makeup, and in the painstaking refinement of gestures that will serve as sharp through lines to the numbers. Lipes has an extraordinary eye for details that testify to the chasm between the said and the unsaid.
The film's subject is Justin Peck, a 25-year-old dancer and choreographer who's received what the press notes call an "unprecedented six commissions from the NYCB to date." The commission we see is called Paz de la Jolla, which is set to Bohuslav Martinů's Sinfonietta la Jolla and features three principal dancers. Little of this information is directly offered in the film, as we're encouraged to piece context together on the fly. Lipes understands, refreshingly, that it isn't a documentarian's job to pen a cinematic Wikipedia entry on a subject; what he offers is an immersion into a tightly guarded realm. The cinematography gives off a subtle heat, particularly the reds of the walls of the vast auditorium, and there are images that carry with them a wonderful, ineffable something that might be called "quotidian expressionism," such as a shot of a dancer laying on the stage in the foreground, her leg crooked in a hook, as the background of the empty theater suggestively dwarfs her with its mammoth legacy of expectation.
Lipes shapes the footage into an intimate symphony of poetically shaped bodies that contrast poignantly with uncertain faces. There's something particularly moving about Peck, who isn't haughty in the fashion of the stereotypical choreographer of our movie-fed dreams. Still very young, perhaps he hasn't grown into it yet, as his directions are often inflected with a slight questioning halt that his older collaborators are quick to affirm and clarify. Peck's still a dancer himself, and one can sense that he's torn between empathy for the difficulty of the craft and a desire to get the gestures he actually wants. For instance, one of the stars of the piece, a young blond woman, has difficulty replicating the movements that Peck wants from her elbows, and Lipes leaves the scene pointedly hanging, allowing it to casually embody the irresolution that accumulates on an elaborate, and quickly staged, production.
Lipes has probably taken a few notes on the films of Frederick Wiseman, as he shares with that great director an almost musical sense of the rhythms of contemplative quiet. Ballet 422 is aurally spare, which, as in Wiseman's films, serves to heighten our senses. We watch the faces of the dancers and notice their fleeting expressions of satisfaction or of mild rebuff, and we're able to speculate that a few of them might have a mild authority issue with working for someone who's essentially a peer. We catch the paternal concerns emanating from the older guard, particularly a conductor who wisely (yet sort of condescendingly) advises Peck to make friends with the potentially put-upon orchestra. There's an understanding in this film, as in most of the great movies about art's creation, of art as work, and of work as embodying every circular, compromising element of life.
Cast: Justin Peck, Alisha Heng, Tiler Peck, Sterling Hyltin, Amar Ramasar Director: Jody Lee Lipes Distributor: Magnolia Pictures Running Time: 75 min Rating: PG Year: 2014 Buy: Video
Review: Kathleen Collins's Losing Ground
Review: Black or White
Blu-ray Review: Girls: The Complete First Season on HBO Home Entertainment
New York Film Festival 2011: Martha Marcy May Marlene and Goodbye First Love


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Although it could cost a good deal of money to pump out your septic tank, it is nothing compared to what you will have to spend on cleaning up a backup of sewage or repairing or replacing your septic system. Knowing what tools and the proper way to use them will make you much better at plumbing. Before attempting any repairs, plan ahead, a mistake could make repairs even more costly. Don't use any colored tablets in your toilet. These products may well remove odors, but they can seriously damage the rubber pieces in the toilet, which can prevent your toilet from functioning correctly. If your home operates on well water and you notice pink or orange stains in your bathtub and other fixtures, this occurs when the water has too much iron. More information about Tub Drain Repair Abernathy Tx.
Like this article said, there are a lot of things that can happen to your plumbing. These issues can be small, or they can be big. Use the tips in the article above to deal with plumbing issues with less stress and confusion. You Can Teach Yourself To Handle Plumbing Problems Do you know much about the plumbing basics? What kind of skills do you possess? If you are not happy with your answers to these questions, check out the tips in the article below. Noisy pipes are an easy problem to fix. You must anchor any exposed pipes. Don't use any colored tablets in your toilet. These may deodorize, but they have the side effect of damaging the rubber in your toilet, which can prevent your toilet from functioning correctly. If you have a clogged toilet and a plunger is not helping to clear the blockage, and there is very little water in the basin, it's possible to resolve this by pouring warm water from a bucket directly into the toilet bowl from about waist level. Do this as often as necessary if the water level gets too low. Never use your hands in your garbage disposal to fix a problem.
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Have only had a few weeks, but love this bed so far Great value and looks super in the room.
BEST ANSWER: The Nathan Full Bed does require a box spring.
BEST ANSWER: The slats are removable but would be necessary for the structure of the bed.


text:
Q: Objeto no encontrado (R, principiante) Apenas aprenderé a usar lenguaje R pero tengo un error en las entradas
son ejemplos de internet:
my.name <- readline(prompt="Enter name: ")
my.age <- readline(prompt="Enter age: ")
# convert character into integer
my.age <- as.integer(my.age)
print(paste("Hi,", my.name, "next year you will be", my.age+1, "years old."))

Objeto 'my.name' no encontrado
nombre = readline(prompt = "tu nombre:")
edad = readline(prompt = "tu edad:")
print(paste("Mi nombre es", nombre, "y tengo", edad, años))

y obtengo

nombre = readline(prompt = "tu nombre:")
  tu nombre:edad = readline(prompt = "tu edad:")
  print(paste("Mi nombre es", nombre, "y tengo", edad, años))
  Error in paste("Mi nombre es", nombre, "y tengo", edad, años) :
    objeto 'años' no encontrado

Gracias por la ayuda

A: Por el error y lo que comentas, entiendo que estás usando Rstudio y el problema se debe a la forma en que estás ejecutando el código. Seguramente algo así:

Tienes el código, lo seleccionas y haces click en el botón "Run" o presionas ctrl  - enter, el problema es que este es un tipo de ejecución que ofrece Rstudio, en que las líneas se van ejecutando de a una para ir capturando el comando y la salida para mostrar todo en el panel de consola y el problema radica en que esta forma podríamos decir que "no es compatible" con las instrucciones que esperan un "input" justamente de la consola.
En estos casos, debes ejecutar el código, no linea por linea sino en "lote", para esto tienes el botón "source" o ctrl  - shift - S.


Austin Arnett steps foot in the Octagon again at UFC 234, facing Shane Young in a featherweight division attraction.
The featherweight prospect has competed over twenty times as a professional MMA fighter, but Arnett says the last win over Humberto Bandenay at UFC Fight Night Chile was the biggest win of his career.
"Yeah, definitely…probably was. I mean I would've liked to have gotten a finish, third round…I got pretty close there towards the end of the round. That would've made it a little bit better, finishing him off…getting a TKO or a submission or something. Just getting the win, obviously that was the biggest one," says Arnett in an exclusive interview with Fightful's James Lynch.
While Arnett considers the Bandenay win the biggest of his career, it was also the fighter's first win since joining the UFC roster in January of 2018.
Arnett has fought overseas for the majority of his UFC bouts and that experience has made weight cutting a breeze.
"Its gonna be basically the same, I hired Lockhart and Leith again. So they're gonna be over there handling that final week and that's just really nice having someone preparing your meals for you. Bringing it right to the room, not having to go out….find these restaurants, especially in different countries. It's a little bit harder…always, so I'm gonna hire them for that last week. Everything else is the same, I know how my body reacts with everything….with the flight now and I'll make weight no problem," says Arnett.
UFC 234 takes place on Saturday, February 9 from the Rod Laver Arena in Melbourne, Australia with Robert Whittaker and Kelvin Gastelum headlining. Fightful is providing live coverage of the event, with a post-show podcast.


text:
David William Thompson (21 juli 1994) is een Amerikaanse acteur. Hij speelde in diverse films en televisieseries, waaronder Fear Street Part One: 1994, Boardwalk Empire en Gotham.

Filmografie

Film
2011: Win Win, als Stemler
2012: A Christmas Story 2, als Flick
2013: Blue Ruin, als William
2015: Green Room, als Tad
2017: Coin Heist, als Greg
2017: The Outcasts, als nerd
2017: Public Speaking, als Alex
2017: New Money, als Chris
2018: Love Magical, als Donald
2021: Fear Street Part One: 1994, als Ryan Torres / Skull Mask

Televisie
2011: Onion News Network, als Kyle Johnson
2011: How to Make it in America, als tiener
2011: Unforgettable, als skater
2013: Fox Shortcoms Comedy Hour, als Kyle
2014: Boardwalk Empire, als loopjongen
2015: Unbreakable Kimmy Schmidt, als tamboer-majoor
2017: Rhinebrook, als Dan
2018: Gotham, als Jonathan Crane / Scarecrow
2020: The Boys, als Gecko
2021: Panic, als Daniel Diggins

Externe link

Amerikaans filmacteur
Amerikaans televisieacteur

redpajama_set_name: RedPajamaWikipedia


text:
package org.cen.robot.device.navigation;

import org.cen.geom.Point2D;

/**
 * Encapsulate a bezier move request.
 */
public class BezierMoveRequest extends NavigationRequest {

    private final Point2D destination;

    private final double d1;

    private final double d2;

    private final double angle;

    public BezierMoveRequest(Point2D destination, double d1, double d2, double angle) {
        super();
        this.destination = destination;
        this.d1 = d1;
        this.d2 = d2;
        this.angle = angle;
    }

    public double getAngle() {
        return angle;
    }

    public double getD1() {
        return d1;
    }

    public double getD2() {
        return d2;
    }

    public Point2D getDestination() {
        return destination;
    }

    @Override
    public String toString() {
        return getClass().getSimpleName() + "[destination=" + destination + ", d1=" + d1 + ", d2=" + d2 + ", angle="
                + angle + "]";
    }
}


My 10 year old son saw the game five nights at Freddy's at school and now can't sleep, this game is like a horror movie & I don't know how to get him past it. The school has blocked it on their computers now but the damage has been done. His anxiety before school has gone through the roof as well, with tears most mornings. Any suggestions how I can get this game out of his head? We have tried to explain its animation and not real etc I'm sleeping in his room each night so he gets some sleep.
Big hugs, I know the game as when DD was in Grade 2 she was asking to play it as 'all her friends' were. I looked it up and was shocked that anyone would let a child under 12 even look at it!
I taught a grade 3 class the year after and one of the children was so traumatised by playing it once they would be nearly in tears if another child so much as said the name of the game. Of course, some little $#%&s would try to taunt this child but I was zero tolerance. They'd say "but it's not that bad, blah blah etc" but I didn't care, its a scary game and has no place being discussed at school.
I struggled because while the school network blocked the game, kids could still access still shots of the characters with a Google search. So I had to stay pretty vigilant and the child knew they could always come to me if someone had searched it. Later in the year another child saw the game at their cousin's and again had almost the same reaction.
So firstly, your child's reaction is well within the realms of typical, especially if the child is also an anxious sort (like my kids).
It will take time for him to get over it. If it is persisting and not getting at all better after a month or so, I would seek the help of a psychologist. Things you could try is looking at videos of how (non-scary) video games are made, to really reinforce the 'not real' idea. Also, find something that he can replace the scary mental images with when they come into his head. At first this may involve him actually watching a particular show or video each time, but then he may be able to pull this up in his head after a while to replace the scary images. At school he could get a 'good' character keyring from a game/show/movie to keep in his pocket, so if he feels stressed he can hold it in his pocket without drawing any attention to himself.
I'd also make the teacher aware. I know sometimes kids are making some pop culture reference and it's so hard to keep up I'm not sure if I should be telling them to stop or not. So I always welcome parents or kids letting me know something isn't appropriate. Please don't let them dismiss it based on the fact that lots of kids play the game (lots of kids are allowed to play GTA too, it doesn't make it OK!) it is full of jump scares and as creepy as a Stephen King novel! Your child may want to work out a discrete 'cue' to give the teacher when feeling scared as it becomes very 'uncool' to talk about these things at 10yo. That way the teacher can be on board helping as well. Best of luck.
Thank you so much, that is really helpful.
6weeks old-can I make her sleep after night feed?
Sudden excessive sleep after a cold?


Here are some common questions and answers, if you have additional questions please do not hesitate to contact us.
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This depends on the specification, difficulty, queue schedules, freighting companies as well as holiday schedules. However it is safe to say that by air usually it is much faster than sea shipments. We average around 7 – 30 days after confirming orders.
This depends on the model that you are requiring. If we already have mold of the model you requires, the MOQ will reduce significantly. However, it really depends on models and requirements. Average MOQ is around 5 pieces for bigger items and at least 50 for small items.
We will then ask additional information about the tool, including drawings of the tools, material, machine type, condition, expected quality and quantity, then we will send a quotation for your approval. Once approved, then we will wait for your payment and then start manufacturing once we get your payment.
Yes you will, all invoices will be official from the company. If you have any other requests, please do not hesitate to contact your sales representative.


text:
Who is Guy Fieri and what does he do?
By Profile Slate Staff February 15, 2022
Born on the 22nd of January 1968, in Columbus, Ohio, he is one of America's famous restaurateurs, authors, game show hosts, and an Emmy Award-winning television personality from Ohio. What then is Guy Fieri net worth in20 21.
Guy Fieri net worth in 2021 is a subject of interest to many people out there who have always asked that question, but what is it that Guy Fieri net worth is of so much interest to many people?
Perhaps, his involvement in food is what has drawn the interest of many people who would want to know whether the food business is a profitable one or not.
Well, before we get into Guy Fieri's business, I must add that the food business is a lucrative one and Guy Fieri has found quite some fortune for himself in the food business.
Who is Guy Fieri, and what does he do?
Guy Fieri is the son of Lewis James Ferry and Penelope Anne Price. He became famous when he hosted various television programs on the Food Network.
Guy Fieri had plans to become a restaurateur when he was a child as he had developed a love for food and wanted to stay closer to the dream while he nurtures himself to become a restaurateur in the future.
Guy Fieri's father did not discourage him from his dream as he supported him in whatever that he wanted to become.
His father even constructed a special cart for ferrying and selling pretzels when he was just 10.
Guy Fieri's career as a restaurateur
Guy Fieri had six years of professional experience behind him when he made up his mind to open a restaurant along with Steve Gruber, his business associate.
Towards the end of 1996, he and his business partner started, 'Johnny Garlic's' in Santa Rosa, California followed by two more in Windsor and Petaluma, in 1999 and 2000 respectively.
The 'California Pasta Grill' address in Petaluma downed its shutters subsequently and in 2008, they opened their fourth restaurant in Roseville.
The business partners opened a 'Johnny Garlic's' restaurant in a new avatar in 2011 in Dublin, California.
Fieri took the initiative of opening a diner in New York City, a risky move, considering the fact that Big Apple was the most competitive market for restaurants in the US.
He named the restaurant, 'Guy's American Kitchen and Bar' that threw open its doors in New York City, in 2012.
The restaurant received negative press reviews with the New York Times scathingly criticizing the restaurant's opening.
Fieri decided to close his New York City restaurant by 2017 end, even though the diner featured on the 'top 100 independent restaurants' in the Restaurant Business's listing in terms of sales.
With all these restaurants scattered all around, one would expect that Guy Fieri net worth is quite a fortune.
Guy Fieri Net worth
Guy Fieri has found fortune with his plethora of restaurants.
As of 2021, Guy Fieri net worth is around $25 million.


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Having problems with your 2006 Ford Five Hundred ?
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COLUMBIA, S.C. -The spring is a great time to get out into your yard or garden armed with new plants and flowers from the Midland's Plant and Flower Festival. The Spring Plant and Flower Festival held annually at the South Carolina State Farmers Market in West Columbia will run April 19-22.
This four-day Plant and Flower Festival is the highlight of the spring as thousands of visitors from all over the state and region descend on the market looking for plants and flowers for their home gardens. Because of the wide variety of plants and lawn and garden décor for sale, visitors are encouraged to bring along a wagon or cart to carry their purchases. And comfortable shoes are a must!
"This is our signature event at the market and really kicks off our summer season," said South Carolina Commissioner of Agriculture Hugh Weathers. "Every year the turnout is even greater than the year before because it's a great place to find just what you need your lawn and garden."
The Market is located at 3483 Charleston Highway in West Columbia, convenient to Interstates 26 and 77, and as always the admission and parking are free. The hours are 8 a.m. to 6 p.m. Thursday through Saturday and noon to 5 p.m. on Sunday. The festival will be held, rain or shine, at the State Farmers Market.
Exhibitors are on hand selling a wide variety of plants, flowers, and yard décor. There will also be a booth for Clemson Extension's Master Gardeners to answer gardening questions, and members of the South Carolina Specialty Food Association selling their Certified SC products.
For more information, please visit http://agriculture.sc.gov. Also keep up with what's going on with South Carolina Department of Agriculture by following the SCDA on Twitter @certified_sc or Certified South Carolina on Facebook.


text:
Nepal earthquake: Death toll passes 4,400 as rescuers face challenges
By: Becca Mitchell , CNN Wire
KATHMANDU, Nepal (CNN) — More than 4,400 people dead. Over 8,000 injured. Eight million affected across Nepal. One million children urgently in need of help.
Those are the startling numbers that indicate the scale of the devastation from the huge earthquake that struck the Himalayan nation on Saturday.
And some of the grim figures are likely to get even worse as hopes of rescuing any more survivors diminish every hour.
Heartbreaking scenes of suffering and loss are playing out across this shell-shocked nation as it reels from its deadliest natural disaster in more than 80 years.
In Kathmandu, a capital city of shattered temples and toppled houses, some people paid their last respects to loved ones taken by the quake.
By the Bagmati river, which winds through the city, more than a dozen funeral pyres burned Monday.
As workers stoked the flames for the Hindu cremation ceremonies, some mourners shaved their heads — a traditional show of mourning from children who lose their parents.
Alongside their father, two teenage brothers from the Gurung family, Ishan and Iman, said goodbye to their mother, Ishara.
"We never imagined this would happen to us. This much pain," said Ishan, the elder of the two.
'Many people are crying'
Elsewhere in the city, many shaken residents are sleeping in the open — some have lost their homes, others are afraid to stay in buildings that may be vulnerable to aftershocks.
Large encampments of tents have sprung up in open areas, including a wide space belonging to the military in the center of the city that is typically used for parades. One of the grand gates to the field is now just a pile of rubble.
Kisnor Raj Giri, a 22-year-old man from Kathmandu who lost members of his extended family in the quake, said he was too scared to return home.
He is camping out at the military grounds with thousands of others even though frequent rain has made the nights an ordeal.
"Many people are crying, sharing their hardships," he told CNN on Monday evening.
The elements showed no mercy to the homeless masses on Tuesday as thunderstorms rumbled over Kathmandu — and more bad weather is forecast for the region in the coming days.
Official: Death toll expected to rise further
The death toll in Nepal stood at 4,352 Tuesday morning, according to the country's Home Ministry. Another 72 people died in India, while China reported 25 deaths.
Most of the casualty numbers in Nepal are believed to have come mainly from Kathmandu and the surrounding area. They are expected to climb further as information emerges from more remote areas.
"We have incomplete information, but we apprehend the death toll will go up," Nepalese Information Minister Minendra Rijal told CNN on Tuesday. "We cannot say by how much exactly."
The news agency Reuters cited Prime Minister Sushil Koirala as saying that the toll could reach 10,000 and that the country was "on a war footing" in its rescue and relief work.
Even as international aid pours into the country, overwhelmed hospitals are lacking vital medical supplies, people remain buried in the wreckage of buildings and rescuers are struggling to reach hard-hit rural areas near the quake's epicenter.
"The biggest problem is reaching these villages," Matt Darvas, an emergency communications officer for the humanitarian group, told CNN from Gorkha district, northwest of the capital, Kathmandu.
Villagers trapped, crushed in their homes
Darvas said he had been told of frightening levels of damage in villages in the surrounding region.
They included one where 35 out of 45 homes were destroyed and another where 70% of the houses had collapsed, trapping and crushing the people inside, most of them children and the elderly.
Even though aid groups and Nepalese officials are aware of critical situations in areas spread across Nepal's mountainous terrain, they face daunting challenges getting help to them.
"Some of those villages — several years ago, before there was vehicle transport — used to take seven days to reach. Roads are shut now to some of those villages, so we can only imagine how long it will take to get there," Darvas said Monday.
He said injured people who had been airlifted from some remote areas were often suffering from crush injuries, lacerations and dislocations.
U.N.: 1.4 million in need of food aid
The United Nations estimated that the disaster had affected 8 million people across the Nepal. More than 1.4 million people are in need of food assistance, the world body said in a situation report Monday.
UNICEF, the U.N. children's agency, said Sunday that nearly 1 million Nepalese children urgently need assistance.
Numerous aid groups and at least 16 nations rushed aid and workers to Nepal, with more on the way.
High-altitude rescue efforts have also been undertaken on the difficult terrain of Mount Everest, where the earthquake released deadly avalanches on Mount Everest.
Four U.S. citizens are among those who died on Everest, according to officials and relatives.
Damage to climbing infrastructure on the mountain, not to mention the overall situation in Nepal, means the climbing season is over for the year, climber Jim Davidson told CNN from the Everest base camp, where he was evacuated after spending two days on the mountain.
China has canceled all climbs on its side of the mountain, the official news agency Xinhua reported Monday.
CNN's Ivan Watson and Tim Hume reported from Kathmandu; CNN's Jethro Mullen wrote and reported from Hong Kong. CNN's Elizabeth Joseph, Pamela Boykoff, Manesh Shrestha, Sumnima Udas, Kristie LuStout, Anjali Tsui, Kunal Sehgal and Ingrid Formanek also contributed to this report.


Don't be afraid to brush up on your pastry skills, choux pastry is far easier than it looks. Topped with peppermint ermine buttercream, this is a fun take on a pastry classic.
Preheat oven to 190°C (fan forced). Line a baking tray with baking paper.
Place milk, water, sugar, salt, butter and Vanilla Bean Paste in a large saucepan and bring to a boil. Remove from heat and add flour mixing with a wooden spoon until combined. Return to stove over low heat and cook, stirring constantly until dough pulls away from the sides of the pan.
Transfer dough to the bowl of a stand mixer fitted with a paddle attachment. Mix on a medium speed for 3 minutes to cool the mixture down. Add eggs one at a time, allowing each egg to incorporate into the batter before adding the next.
Spoon batter into a piping bag fitted with a French tip or large round tip. Pipe 10cm logs onto prepared baking tray 3cm apart using scissors to cut the dough. Bake for 10 minutes before opening the oven door to let the steam escape. Bake for the rest of 30 minutes with the oven door slightly ajar with a wooden spoon.
Whisk together flour, sugar and salt in a medium saucepan. Add milk and whisk until combined. Place on low heat and allow the mixture to come to a boil, whisking continuously. Once boiling, cook for 2 minutes, remove from heat and whisk for a further minute. Quickly pour mixture into a clean, shallow bowl or tray, placing a layer of cling wrap directly onto the mixture to prevent a skin from forming. Allow to cool to room temperature.
Beat butter in stand mixer fitted with the whisk attachment for 5 minutes, or until fluffy and lightened in colour. Set aside.
Add cooled pudding a tablespoon at a time, mixing well after each addition. Once all the pudding has been added, add Peppermint Extract and Teal Food Colour and mix for another 3 minutes.
Whip icing sugar, cocoa, cream and Vanilla Bean Paste to firm peaks. Spoon into piping bag fitted with a 7-8mm round piping tip.
Using a small sharp knife pierce 2-3 holes in the bottom of each éclair. Fill eclairs by piping cream into holes.
Fill piping bag fitted with a large petal piping tip with buttercream and pipe ribbons onto eclairs. Top with Midnight Magic Sprinkles to serve.
A french piping tip helps the eclairs to rise evenly, if you do not have one, pipe out eclairs with a large round tip, take a fork and draw the tines lightly down the length of each éclair. The quick dusting of icing sugar will help encourage caramelisation on the outside of the pastry and let the éclairs puff up properly.
Poking a few holes in the bottom fresh from the oven allows any steam to escape while cooling, so they don't collapse or go soggy.
When making ermine buttercream, the pudding mixture must be completely cool before adding to butter or it will split.
Baked, unfilled eclairs can be frozen for up to a month. Simply thaw and refresh in the oven at 180°C degrees for 5-8 minutes before cooling and filling.


text:
FONDAZIONE KENTA
The Fondazione Kenta, founded by Marco and Giorgio Alverà together with their cousins in memory of Kenta Alverà, writer, art historian and women's rights activist, works as a platform for the promotion and study of the relationship between ethics and technology, to promote arts and scientific research, and to fight educational poverty.
From March 2019 the Foundation's activities are housed in Fabbrica Sassetti, a factory built in the 1930s in the Isola district of Milan.
The cultural program of the Fondazione Kenta will open with the event Alcova Sassetti during the Salone del Mobile in Milan from 7 to 14 April 2019. It will host a program of exhibitions, debates, performances and events with 20 international designers, as a continuation of an experiment proposed at the former COVA & G panettone factory for the 2018 Salone del Mobile (alcova.xyz/about).
The Fondazione Kenta, with the Creative Director Roberto Gerosa, will present during the year at Fabbrica Sassetti three photographic exhibitions, meetings and debates, a program of support for education and well-being sessions. At the Fabbrica, since 2018, Giorgio Alverà, musician, composes electronic music tracks produced with the technique of Sound Synthesis, utilising one of the most complete collections of modular synthesizers available. All the activities of the Foundation will be free of charge, in the spirit of contributing to the city and the district a space of tradition, inspiration and education with a quality cultural program.
FABBRICA SASSETTI
A large room on the first floor for exhibitions, meetings, music and dance performances; the entire ground floor divided between studios for artists, ceramics workshops, photography, music, and environments dedicated to yoga and therapeutic activities; and a temporary library, an exhibition gallery, and six rooms to host artists and students in residence: 4 floors, 19 rooms, a garden and a courtyard for over 1,000 square meters of multi-purpose spaces.
The Fabbrica Sassetti was a woolen yarn factory, founded in the 1930s in a hidden courtyard in the center of Milan, in the Isola district.
In the 1950s, the factory staff were active in neighborhood life, including the strenuous defense of the area from the construction of a six-lane highway that would have destroyed Isola.
This survival gives the unique character of this district of Milan, which is really like an island that is accessed via two bridges. Once inside, the urban chaos gives way to an atmosphere of peaceful serenity, and the latest architectural projects, realized among others by Stefano Boeri, Zaha Hadid and Arata Isozaki, have given a further push towards a new lifestyle attentive and sustainable.
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