text:
commentary, Power Rangers
Power Rangers: The End of an Era. And the Possibility of a New One?
The two part finale of Power Rangers RPM airs this Saturday on ABC (for those lucky enough to have an ABC affiliate that actually airs the series).
RPM is the 17th (yes, 17th) season of the Power Rangers franchise. And while the series is far from the peak of its popularity in the mid-90s, it is still a big draw in countries around the world like Germany (where full season DVD sets have been released) and the Philippines (where a dubbed version airs every weekend). Not to mention, the action figures by Bandai still fly off the shelves.
But RPM's finale this Saturday not only means the end of what many fans are calling one of the best seasons yet, but it could also be the end of the Power Rangers as we have known it.
The Power Rangers burst into American pop culture in 1993 airing on Fox Kids until 2002. Disney then took over the series, first making it the marquee show on ABC Family's morning block, then moving the series to its Toon Disney channel while also airing repeats on ABC's Saturday morning block. Many ABC affiliates either aired the series in odd timeslots or not at all.
During the Disney era, cancellation rumors persisted every year, but they never came to fruition until this year. Disney rebranded Toon Disney as Disney XD, a network for boys 6-12, the target demo of Power Rangers. Instead of the series becoming a major part of the new venture, there was no trace of it when the network was launched.
There was no word on where or when Power Rangers RPM would premiere. A full, rough-cut trailer popped up online in February exciting fans with its unexpected content, and finally Disney announced the new season would air exclusively on ABC Kids Saturdays beginning in March.
So okay, it would only air on ABC. No big deal.
Until an article is published in the New Zealand Herald on the day of the RPM premiere quoting Production manager Sally Campbell saying "at this stage we will not be shooting another season."
Former RPM executive producer Eddie Guzelian, who was let go midway through production of the season, told RangerCast that he was told "flat out" that Jungle Fury was to be the last season and that he had nothing to lose by being "ambitious" and to "swing for the fences," which is exactly what he did… and then apparently got fired for it.
Fast forward to October when Bandai issues a press release announcing a "new" Power Rangers toy line based on the first season of the series, which will begin airing remastered episodes in 2010.
So as of Christmas Eve 2009, there will be no new Power Rangers produced in the near future. But really, for all we know Disney announces next Summer that production will begin on Power Rangers Card Sharks based on the 2010 Sentai series to air in 2011.
Still, this pause can provide Disney the opportunity to reset the Power Rangers franchise which has proven to still make lots of money worldwide and can make even more money if Disney actually puts in some extra effort.
It is very interesting reading Eddie Guzelian's interview because it seems as though Disney really was aiming for a different kind of Power Rangers, a sort of reboot that would appeal to older audiences while keeping the main demo, kids, entertained.
RPM has been a huge step in the right direction; everything from the post-apocalyptic setting prompting dire, more dramatic story to a reinvigorated production to actually being able to actually say the word "die" (twice!) in an episode, none of which was present in a season before.
With the huge popularity of PG and PG-13 action/fantasy film franchises out there like Transformers, the new Star Trek and even Lord of the Rings and Harry Potter show that it is possible to create something that can appeal to all ages and whole families while being credible in the industry and be a big money maker (which is all a big conglomerate cares about right?).
Power Rangers has all the makings of just that. A big reboot or reimagination along the lines of what NBC Universal has done with its "reimaginations" could really take Power Rangers to the next level. NBCU has had varying success; from the hailed Battlestar Galactica to the widely panned Bionic Woman as well as the polar opposite productions of the captivating Tin Man and the lackluster Alice.
An interesting comparison to make is how SciFi and Ronald D. Moore took a kitschy 1980s cult show and turned it into an Emmy and Peabody Award winning series. Power Rangers, which draws laughs and jokes even from fans, can go down a very similar route.
Take the current season of RPM. If you haven't, watch the first episode "Road to Corinth," and then imagine it as a primetime series, even on SyFy. Imagine it with half the effort and budget of a show like Battlestar Galactica or on NBC, the Bionic Woman and Knight Rider re-dos. Shockingly outstanding already the way it is produced, a primetime treatment of the first episode could draw much attention from even non-science-fiction fans.
Kids and adults alike are enjoying Comic-con-worthy projects, and Comic-con itself is quickly losing its "nerdy" image and becoming a trendy annual event for the general public.
Power Rangers in the right hands… in dedicated, devoted, and caring hands, could make that leap to the next level very easily. 2010's reairing of Mighty Morphin could just reinforce the laughs and jokes by having a cheaply produced 1990s series airing almost two decades later as if it was shiny and new. But it could also bring back the nostalgia for fans that grew up with the series and give Disney that opportunity to make the most of this (at the very least) one year hiatus and think about the profitable and very viable options they have with the franchise.
Eddie Guzelian and 2nd half executive producer Judd Lynn (Power Ranger veteran) seemed to have the right idea. RPM was a huge step in the right direction. But if Disney can open their eyes, they can make that leap and usher in a new era for Power Rangers. A bright future, though still just a dream for fans including myself, is possible. And I have hope.
← Power Rangers RPM – 30: End Game
Power Rangers RPM – 31 and 32: Danger and Destiny – Finale →
2 thoughts on "Power Rangers: The End of an Era. And the Possibility of a New One?"
chuck p says:
Ive been a fan for almost 15 years now im turning 18 and im a fan until I die. you speak for all fans and I pledge you
Why thank you chuck p!


Indeed, the new Learning Commons is meant to help students prepare for further education and the workplace by fostering collaboration, presentation, and digital learning.
Need a quiet place to work? It can accommodate that, too.
The design thinking that went into the Commons was four years in the works, and included consultation with students to determine what they wanted and needed in a learning space.
The booths are reminiscent of a diner, and provide perfect capabilities for face-to-face discussion and group work. The modern feature of being able to charge your devices simultaneously is one of many tech-forward elements.
The Commons is made up of differentiated spaces demarcated by low shelving which keeps an open-concept feeling while allowing for privacy. The addition of large windows facing the school's courtyard allows stimulating natural light to pour into the space. There's a green room for shooting photo and video content, presentation spaces, quiet-study areas, and comfortable furniture that encourages students to make use of the Commons any time of day. If students need help with research, are looking for a book recommendation, or working on tech project, a teacher or library technician is standing by to assist.
Transforming learning environments to ensure they are making the best use of space within schools is a key element of Grand Erie's Multi-Year Plan. Projects such as Waterford's Learning Commons' renovation improve environmental conservation and energy, while creating a safe, welcoming space that allows the traditional library model to evolve to meet 21-century competencies.


text:
// ---------------------------------------------------------------------------------------------------
// <copyright file="CopyTestDataModel.cs" company="Elephant Insurance Services, LLC">
//     Copyright (c) 2015 All Right Reserved
// </copyright>
// <author>Vyom Sharma</author>
// <date>2015-06-12</date>
// <summary>
//     The CopyTestDataModel class
// </summary>
// ---------------------------------------------------------------------------------------------------

namespace Elephant.Hank.Resources.Models
{
    using System.Collections.Generic;

    /// <summary>
    /// The CopyTestDataModel class
    /// </summary>
    public class CopyTestDataModel
    {
        /// <summary>
        /// Gets or sets the FromTestId
        /// </summary>
        public long ToTestId { get; set; }

        /// <summary>
        /// Gets or sets the FromTestId
        /// </summary>
        public long FromTestId { get; set; }

        /// <summary>
        /// Gets or sets the TestDataIdList
        /// </summary>
        public List<long> TestDataIdList { get; set; }

        /// <summary>
        /// Gets or sets a value indicating whether [copy all].
        /// </summary>
        public bool CopyAll { get; set; }
    }
}

redpajama_set_name: RedPajamaGithub


He was speaking at Fortune's CEO Initiative forum. Cook also spoke about why he feels that his job extends beyond just making products and into making a difference in societal problems.
In about a month, Apple will report on how it did during this current financial quarter. Tim Cook thinks this is a waste of time.
"We report every 90 days because it's a requirement. If I were King for a Day, 90 day earnings would be just flushed. They're a remnant of a different day and time," is how he put it.
With a company like Apple, it's not hard to see the value of long-term investing. Ten years ago, Apple's share price was trading around $25. Fast forward to today, and it's at $185. When that's taken into account, the fact that it was at $194 a few weeks ago is immaterial.


I'm starting this post, not knowing exactly what I want to say.
Usually when that happens I end up writing forever and never 'landing the plane,' so to speak. Somehow, if I don't map out my train of thought, and organize in my head the bullets I need to cover, I can meander down an interminable road of language without ever stumbling over a point.
But then, maybe this topic doesn't need a point.
No, I'm not writing about Britney Spears. I'm actually writing about babies. And more specifically OTHER people's babies. It seems like a whole crop of 2nd babies have hit my industry in a hurry. Most of those having them had their first less than 2 years ago.
While I was "ooooohing" and "aaawwwwwwwing" over their announcements, something struck me.
Every one of my friends who has announced their second child have been men.
Having a baby won't even be a hiccup in their progress up the corporate ladder or toward the sweet life where money grows on trees and retirement is an eventuality.
The story for most women (emphasize MOST) isn't as sunny.
How many women do you know who've left their company immediately after their leave ends? I'm not talking about the lucky few who can afford to stay home with their children. That luxury just isn't a reality for most people.
And then, yesterday, I realized how I would finish this post. My twitter stream blew up with commentary on the newly released Forbes Top 100 Powerful Women list.
The controversy? Included on each woman's profile are her marital status and number of children.
Perhaps it is a testament to the kind of thought-leaders I follow (progressive) and the women I find inspiring (feminists), but without exception the comments were negative, ranging from Rachel Simmon's (twitter.com/@RachelJSimmons) *Heavy SIGH* to outright outrage.
On this topic, I break the line of solidarity.
Some people just need something to fight against.
Don't get me wrong, I absolutely see the disparity between the report on People and the report on Women. But instead of insulting me, it inspires me. I have no more respect for a powerful woman with 5 kids than for a powerful woman with no kids. I do, however, feel totally empowered to know that my ambition to raise genius, charismatic, world leader children AND be a rain-maker for my family's finances is not an anomoly. Oh and I won't be alone in doing so.
He falls for those behind him — a caution against the stumbling stone.
I think the brouhaha over the inclusion of marital status and children is missing the forest for the trees.
Why don't they include marital status and number of children for men? Maybe because it is assumed that any successful man has a family behind him. Maybe because men who don't marry are viewed as high-risk to companies and untrustworthy as politicians. How do you think gay men feel about the dues to the inner circle of the boy's club? Is it fair? No.
But at the risk of stating the obvious – life isn't fair.
In a country where 50% of marriages end in divorce, machismo bullsh#t runs counter to successful women outearning their mates, and motherhood starts sometimes decades later than it did 50 years ago, I think having a marriage and a family is significant ESPECIALLY if you're also curing, saving, leading, or entertaining the WORLD.
Rather, I see the diversity on the list in nationality, age, industry, skin color, marital and parenthood status as a win for us regular-folk women. Can't we all find something to relate to? Be inspired by?
What do you think? Did I miss the point or did they?


text:
package image

import (
	"archive/tar"
	"encoding/json"
	"errors"
	"fmt"
	"os"
	"time"

	"github.com/concourse/atc"
	"github.com/concourse/atc/db"
	"github.com/concourse/atc/resource"
	"github.com/concourse/atc/worker"
	"github.com/pivotal-golang/lager"
)

const imageMetadataFile = "metadata.json"

//go:generate counterfeiter . TrackerFactory

type TrackerFactory interface {
	TrackerFor(client worker.Client) resource.Tracker
}

// ErrImageUnavailable is returned when a task's configured image resource
// has no versions.
var ErrImageUnavailable = errors.New("no versions of image available")

var ErrImageGetDidNotProduceVolume = errors.New("fetching the image did not produce a volume")

type MalformedMetadataError struct {
	UnmarshalError error
}

func (err MalformedMetadataError) Error() string {
	return fmt.Sprintf("malformed image metadata: %s", err.UnmarshalError)
}

type Fetcher struct {
	trackerFactory TrackerFactory
}

func NewFetcher(trackerFactory TrackerFactory) Fetcher {
	return Fetcher{
		trackerFactory: trackerFactory,
	}
}

func (fetcher Fetcher) FetchImage(
	logger lager.Logger,
	imageResource atc.ImageResource,
	signals <-chan os.Signal,
	identifier worker.Identifier,
	metadata worker.Metadata,
	delegate worker.ImageFetchingDelegate,
	worker worker.Client,
	workerTags atc.Tags,
	customTypes atc.ResourceTypes,
) (worker.Image, error) {
	tracker := fetcher.trackerFactory.TrackerFor(worker)
	resourceType := resource.ResourceType(imageResource.Type)

	checkSess := resource.Session{
		ID:       identifier,
		Metadata: metadata,
	}

	checkSess.ID.Stage = db.ContainerStageCheck
	checkSess.ID.ImageResourceType = imageResource.Type
	checkSess.ID.ImageResourceSource = imageResource.Source
	checkSess.Metadata.Type = db.ContainerTypeCheck
	checkSess.Metadata.WorkingDirectory = ""
	checkSess.Metadata.EnvironmentVariables = nil

	checkingResource, err := tracker.Init(
		logger.Session("check-image"),
		resource.EmptyMetadata{},
		checkSess,
		resourceType,
		workerTags,
		customTypes,
		delegate,
	)
	if err != nil {
		return nil, err
	}

	defer checkingResource.Release(nil)

	versions, err := checkingResource.Check(imageResource.Source, nil)
	if err != nil {
		return nil, err
	}

	if len(versions) == 0 {
		return nil, ErrImageUnavailable
	}

	cacheID := resource.ResourceCacheIdentifier{
		Type:    resourceType,
		Version: versions[0],
		Source:  imageResource.Source,
	}

	volumeID := cacheID.VolumeIdentifier()

	err = delegate.ImageVersionDetermined(volumeID)
	if err != nil {
		return nil, err
	}

	getSess := resource.Session{
		ID:       identifier,
		Metadata: metadata,
	}

	getSess.ID.Stage = db.ContainerStageGet
	getSess.ID.ImageResourceType = imageResource.Type
	getSess.ID.ImageResourceSource = imageResource.Source
	getSess.Metadata.Type = db.ContainerTypeGet
	getSess.Metadata.WorkingDirectory = ""
	getSess.Metadata.EnvironmentVariables = nil

	getResource, cache, err := tracker.InitWithCache(
		logger.Session("init-image"),
		resource.EmptyMetadata{},
		getSess,
		resourceType,
		workerTags,
		cacheID,
		customTypes,
		delegate,
	)
	if err != nil {
		return nil, err
	}

	isInitialized, err := cache.IsInitialized()
	if err != nil {
		return nil, err
	}

	versionedSource := getResource.Get(
		resource.IOConfig{
			Stderr: delegate.Stderr(),
		},
		imageResource.Source,
		nil,
		versions[0],
	)

	if !isInitialized {
		err := versionedSource.Run(signals, make(chan struct{}))
		if err != nil {
			return nil, err
		}

		err = cache.Initialize()
		if err != nil {
			return nil, err
		}
	}

	volume, found := getResource.CacheVolume()
	if !found {
		return nil, ErrImageGetDidNotProduceVolume
	}

	imageMetadata, err := loadMetadata(versionedSource)
	if err != nil {
		return nil, err
	}

	return resourceImage{
		volume:   volume,
		metadata: imageMetadata,
		resource: getResource,
		version:  versions[0],
	}, nil
}

type resourceImage struct {
	volume   worker.Volume
	metadata worker.ImageMetadata
	resource resource.Resource
	version  atc.Version
}

func (image resourceImage) Volume() worker.Volume {
	return image.volume
}

func (image resourceImage) Metadata() worker.ImageMetadata {
	return image.metadata
}

func (image resourceImage) Release(finalTTL *time.Duration) {
	image.resource.Release(finalTTL)
}

func (image resourceImage) Version() atc.Version {
	return image.version
}

func loadMetadata(source resource.VersionedSource) (worker.ImageMetadata, error) {
	reader, err := source.StreamOut(imageMetadataFile)
	if err != nil {
		return worker.ImageMetadata{}, err
	}

	defer reader.Close()

	tarReader := tar.NewReader(reader)

	_, err = tarReader.Next()
	if err != nil {
		return worker.ImageMetadata{}, errors.New("could not read file from tar")
	}

	var imageMetadata worker.ImageMetadata
	if err = json.NewDecoder(tarReader).Decode(&imageMetadata); err != nil {
		return worker.ImageMetadata{}, MalformedMetadataError{
			UnmarshalError: err,
		}
	}

	return imageMetadata, nil
}


Freddie our vintage Ice Cream Cab was once a very loyal Cab that was used to drive around the streets of London, every day for almost 16 years. The Cab grew old and tired and was ready to retire, but we loved it so much that we could not let it go. That's when we decided to completely transform the London cab into the beautiful and totally unique ice cream cab you see today.
"Hello, my name is Tom and I have worked as a London Cabbie for all my professional life. I have met some wonderful people and have loved every minute of it. It was late one summers evening after a long, hard days work and I suddenly had a craving for a real traditional ice cream. It was then that the idea dawned on me! Could it be possible? That I could transform my loving London Cab into a 'one of a kind' ice cream van? "
This was where the journey began. I started conducting endless research and wondered if we could ever make it possible to serve award winning ice cream from a piece of iconic British history. One thing was so important, we needed to keep our beloved cab as true to itself as possible and wanted to take great care and attention in transforming it into the beautifully reconstructed vehicle you see today.
We are so very proud of our little cab and we hope that it brings you as much enjoyment that it brings us.
We are an inspired and passionate family run business, and our aim is to provide a flawless service, full of energy and nostalgia.


Stone Brewing World Bistro & Gardens, the brewery's Escondido drinking and dining spot.
On Friday, Stone Brewing will take orders for the first in its new series of sour ales, Stone Mission Warehouse Sour: Sauvignon Blanc.
Welcome to the world of sours, Stone. What took so long?
In the last 10 years, sour beers have gone from curiosities to mainstays. The roster of local breweries producing excellent sours is long: Council, Pure Project, Societe, Bitter Brothers, Green Flash, Karl Strauss and Ballast Point, just to name a few.
Stone's been noticeably absent from this arena. There have been a few exceptions, including one-offs from the brewery's Liberty Station outpost, for instance, but no regular offerings from the brewery. .
The Mission Warehouse series marks a dramatic new direction, then and follows on the heels of the tart Berliner weisse recently introduced by Stone's Berlin brewery, White Ghost.
No matter what the reason, it's nice to see Stone devoting its considerable skill and passion in this area.
Using aged Cali-Belgique as its base, the introductory sour ale (10.7 percent alcohol by volume) is made with sauvignon blanc grapes. Four-packs of 11.2 ounce bottles, priced at $32, can be ordered at https://bit.ly/2Fjg1ve.
Peter joined The San Diego Union-Tribune in 1984. A native Californian who grew up in Encinitas, Rowe is a graduate of UC Berkeley and Northwestern University. He is past president of the National Society of Newspaper Columnists and a former Fulbright scholar. He has won a few journalism awards, but would trade them all for a chance to avenge his 1994 "Jeopardy!" loss. Married to a terrific woman who has saved him from errors in writing and in life, he has three sons. At the U-T, Rowe writes profiles and features and is even paid to review beers, which hardly seems fair.


This week's Telegraph column, with some handy visual aids.
Morning, everyone. Sorry if I don't make much sense this week. I'm quite tired. Haven't been sleeping. Had a spider in my flat. And when I say a spider, I don't mean one of those piddly little ones the size of a ladybird. I mean a creature that looked like something from a Greek myth. Half spider, half horse. I could practically have saddled the hairy, eight-legged freak and ridden it to work.
I can't now though because it's dead. After several days of dancing around one another – the mini minotaur crept from my bathroom, to the stairs outside my bedroom, to a patch of carpet right outside my bedroom – I found the biggest book I owned and dropped it on of it. Sorry, Bill Oddie. Enough was enough. The book in question was Selena Hastings' biography of Evelyn Waugh and I haven't been able to move it since because of the spider corpse underneath, so a young, slightly cross-looking Evelyn is still gazing up at me from the floor.
Which brings me to the point – can I leave the book there for my cleaner to deal with or not? What is it acceptable to ask your cleaner to do, and what is wholly unacceptable?
My nice cleaner Iwona comes every Monday, so before I leave for work I remove my earplugs from my bedside table and hide them in my knicker drawer because I feel it's a bit much for her to have to touch or even look at what resembles a pair of brown, shrivelled raisins. There is usually, however, a pile of washing up in my kitchen sink which she deals with. My dad disproves of leaving washing up for the cleaner. He used to insist we washed up everything before our cleaner came, as if leaving out a smeary plate was rude but leaving out a pile of boxers to be ironed was not. Priorities, I suppose.
I carried out some top research on this topic by quizzing a couple of colleagues. It's absolutely fine to ask a cleaner to dust, mop, make beds and pick up 462 pizza leaflets from the door mat, they decided. But overflowing ashtrays you have to deal with yourself, said one. And it's feral to leave a grubby loo for them, said another. 'I pick my dirty clothes up from the floor and put them in the laundry basket for her,' said someone else, quite proudly. Not quite Jesus sacrificing himself on the cross but there we go.
Course there can be language barriers which make it even harder for Brits already crippled by social anxiety at the thought of having to ask someone to clean up after them. If your cleaner is Polish, say, and speaks no English, then not only do you have to ask her (or him, we're not sexist here), to dust the top of the television, you might even have to mime this dusting action for her (or him). And you end up feeling a bit Basil Fawlty.
Perhaps the general rule of thumb should be 'Would you be ashamed if a friend saw this?' If you've left dirty socks all over your bedroom floor or used teabags on the kitchen counter (guilty), then maybe have a quick whip-round, chisel the socks from the floor, lob the teabags in the bin and so on.
As for the spider, I emailed the owner of the cleaning agency to see if Iwona was arachnophobic or not. If she is, I wrote, then I will get rid of the book. 'If she isn't, then I might just leave it there for Iwona on Monday morning, if that's alright?' At the time of writing, I hadn't heard back. So Evelyn Waugh is still lying on the floor and, I must say, he's looking fairly peeved about it.


text:
First FDA-Approved Treatment for Pediatric Lupus
FDA approves Benlysta IV (belimumab), the first treatment for pediatric lupus
(RxWiki News) The US Food and Drug Administration (FDA) has approved a new medication to treat lupus in children.
The FDA first approved belimumab in March of 2011 for adults with lupus. Benlysta IV (belimumab) has now been approved for patients as young as 5.
Benlysta is the only medication approved for both adults and children with lupus (short for systemic lupus erythematosus or SLE). Additionally, this drug represents the first time the FDA has approved a treatment specifically for pediatric lupus.
One in five individuals with SLE is diagnosed before age 20. Fifteen percent of those currently living with this disease are considered pediatric — a total of between 5,000 and 10,000 children.
SLE is an autoimmune disorder that has no known cause or cure. It affects 5 million people worldwide and is most common in young women (ages 15 to 44).
Lupus is a chronic (lifelong) illness. It consists of periods during which patients experience more active symptoms known as "flare-ups." These flare-ups alternate with times when the disease is present but symptoms are silent.
Often, lupus symptoms in children can be more severe than symptoms in adults. In the 1950s, children who were diagnosed with lupus had a 30 to 40 percent survival rate. Modern treatment modalities are targeted to help children with lupus lead lives that are as normal as possible.
Anyone with lupus can have problems with various parts of the body, such as the skin, joints and internal organs (kidneys, lungs, etc.). Children may accumulate more damage because they must live longer with the disease, and their organs are still developing when affected by SLE.
Leading researchers believe SLE to be a result of overproduction of and too much activity by B-cells, a type of white blood cell. Belimumab is believed to work by inhibiting this overstimulation.
The FDA's decision to approve Benlysta for pediatric patients was based on data from the PLUTO study. This study followed patients between 5 and 17 years of age who had a lupus diagnosis for one year. It found that a decreased number of disease flare-ups occurred in children who received the medication when compared to those who did not.
Belimumab is not a cure for lupus in children or adults. It is intended to treat the disease by managing symptom flare-ups and minimizing organ damage.
Safety data from treating children with Benlysta was consistent with that derived from adult studies. Nausea, diarrhea and fever were the most common adverse reactions.
A warning comes on the package of Benlysta for potential mortality, serious infections, hypersensitivity and depression. These serious events occurred rarely in adults treated with Belimumab.
Medscape, "FDA OKs First Treatment for Pediatric Lupus" American College of Rheumatology, "Systemic Lupus Erythematosus (Juvenile)" Boston Children's Hospital, "Lupus" American College of Rheumatology, "ABSTRACT NUMBER: 2867 Efficacy and Safety of Intravenous Belimumab in Children with Systemic Lupus Erythematosus" Image Courtesy of Mohamad Faizal Ramli | Dreamstime
Rx for Children with Rare Disorder Approved
Testosterone Capsule Gets FDA Green Light
New Depression Treatment Nears FDA Approval
Cancer Meds in 2015: A Year in Review
Arthritis the Natural Way
Treating Children's Sinus Infections
What You Need to Know About Lupus
Balancing Life with Lupus
How to Spot Illness in Your Child
Lupus is a chronic inflammatory disease that occurs when your body's immune system attacks your own tissues and organs. Inflammation caused by lupus can affect many different body systems including the joints, skin, kidneys, blood cells, b...
More about Lupus
ChickenpoxLupusWhooping CoughEczemaAcute Disseminated EncephalomyelitisPsoriatic ArthritisBone CancerMuscle Soft Tissue CancerDown SyndromeLeukemia
BelimumabBenlystaZolgensmaOnasemnogene abeparvovec-xioiHydroxychloroquinePlaquenilQuineproxHydrocortisoneNeosporin EczemaProctozone HC

redpajama_set_name: RedPajamaCommonCrawl


text:
The Subway Chronicles: Scenes From Life in New York
Metro Blues, or How I Came to America, by Boris Fishman
Here is a delightful collection of New York stories by veteran straphangers—both known and unknown—dedicated to that amazing underground network. Along with expected accounts of the unsavory run-ins with weirdoes and stink bombs during the usual subway commute (e.g., Daniels Parseliti's "Porno Man and I Versus the Feminist Avenger and Displaced Anger Man"), many of these authors offer poignant memories of riding the trains over the years, such as Jonathan Lethem's account of haunting the eponymous station in "Speak, Hoyt-Schermerhorn" as a white, liberal-middle-class kid immersed in a fringe area of crime and poverty. "Parnassus Underground" by Patrick Flynn recalls joyfully the meaty reading the author was able to accomplish during long workday commutes from the Bronx, before he moved and (to his literary despair) shortened his travel time. Robert Lanham's "Straphanger Doppelgänger" records the chilling encounter between two commuters of uncanny resemblance who have observed each other over a long period. Most gratifying are the historical details worked into many of the essays, such as the comparison between Russian and New York underground railroads as noted by Boris Fishman in "Metro Blues, or How I Came to America." This is a clever collection gathered by Cangro from her Web site, thesubwaychronicles.com.
Metro Blues, or How I Came to America
In October, 2004, on the eve of the New York subway centennial, the Czech-born photographer Peter Peter published a survey of the system called "The Subway Pictures." The images are marvelously spare, the camera concerned with little besides the often extraordinary attributes of ordinary subway riders. Peter's approach makes sense: The most noticeable thing about the New York subway is the people who ride it. Otherwise, it's pretty unremarkable down there — nondescript station walls, orderly MetroCard lines, battleship-gray train cars delivering passengers from one place to another.
If you're looking for a less purely utilitarian experience, the subway's aesthetics don't encourage it. There are the imaginatively whimsical, if diminutive, Arts for Transit installations — the "Lariat Seat Loops" around the station columns at 33rd Street; the nearly two hundred silhouettes of New Yorkers "Carrying On" at Prince Street — and the inevitable curlicues of graffiti. For the most part, however, a New York subway ride, for all its heat and overcrowding, is the height of functionalist banality, and the city's inhabitants are largely sanguine about the experience.
Eighteen years ago, on my first trip down below, this was a shock. Just days before, my family had completed a three-month immigration to New York from the Soviet Union. Before departing, in September, 1988, on a westbound train from Minsk, my hometown and the capital of what is now independent Belarus, we traveled to Moscow to arrange our immigration papers. Minsk, which had been occupied by the Nazis, was virtually leveled during World War II, which gave its post-war satraps a clean slate to reconstruct the city according to the architectural dictates of socialist realism. Stadium-sized concrete boxes squatting on concrete pillars in enormous windswept plazas became its most distinguishing feature. Its thoroughfares — eight lanes wide to accommodate Soviet tanks in case of "imperialist aggression" by the Americans — made the homicidal circle around the Arc de Triomphe seem like a country road.
The train from Minsk arrived at Moscow's appropriately named Belorussky Depot, which has two adjacent namesakes, belonging to two different lines, that are part of Moscow's subway system (metro, from the French metropoliten, in Russian). In a kind of reversal of Vladimir Nabokov's 1938 short story "A Visit to the Museum," where a stroll through a provincial French museum transports a Russian emigre to a pre-Soviet Russia, I felt like the train from Minsk to Moscow's Belorusskaya Stations essentially airlifted me from an otherworldly, post-apocalyptic Soviet wasteland to a museum. In one of the Belorusskayas (in Russian, metro station is female, whereas intercity depot is male), the pylons of the station-hall were finished with rose and black marble; the chessboard-square floor was marble as well. In the other Belorusskaya, which was lit by vase-shaped lanterns made of glass and marble, the ceilings arched toward decorative bas-reliefs, the central one featuring twelve motifs from Belarussian life. The passageway between the two stations contained a monumental sculpture commemorating anti-Nazi resistance in Belarus during WWII. As we shuttled between the passport agency, an uncle's apartment where we were staying, and sites in the city, though, the Belorusskayas would come to seem like some of central Moscow's humblest stations.
At Ploshchad' Revoliutsii (Revolution Square), dozens of bronze statues anchored the curved portals (made of red, black, and light-gold marble) leading from the center hallway to the train platform. They formed a narrative of Soviet progress, from Civil War soldiers strapped with ammunition belts; engineers with building plans; laborers with hydraulic drills; and farmers working with wheat to scholars poring over books; parents playing with children; and students tracing the contours of the USSR on a globe. The aboveground entrance to Krasnye Vorota (Red Gates), where the ancient gates to the city of Moscow once stood, was a futuristic series of concentric semicircles expanding from the ground with modernist flair; from the side, the structure resembled a giant telescope, rising, submarine-like, from below. Komsomolskaya (after Komsomol, the Communist Youth League), one of the first stations built, had side balconies dressed in brown-gold marble and soaring columns with Corinthian cornices decorated with hammer-and-sickle designs and red stars.
I was awestruck.
The Moscow metro was the Soviet Union's consciously created self-creation myth. Built in the 1930s, the system presented the recently established leaders of the new Soviet state with the unique opportunity of an institution that could be Soviet from scratch, without any of the ideological compromises required by existing, pre-Soviet structures. The project's leaders knew that the metro would be built with Western technology — Moscow was the fifteenth metro system in the world, a half-century behind Glasgow; perhaps more importantly, the three Soviet engineers who had experience with subway tunneling all happened to be in jail for "economic sabotage." But if the means had to be borrowed from the West, the meaning would be entirely Soviet. The Moscow metro would demonstrate the singularity and supremacy of the Soviet experiment through the one element that London, Berlin, and New York had neglected: its appearance.
The grandiosity of the task seems only more staggering considering the meager means at the state's disposal. Metroproekt, the system's original architecture and planning bureau, lacked office space two years into the project. Facing a shortage of concrete, administrators demolished four Moscow churches, the historic Church of Christ the Savior among them. The construction of the first station, Sokolniki, in November, 1931, proceeded with a workforce of twelve (!) men hacking uselessly at the frozen topsoil with pick-axes and shovels, in possession of neither the pumps to clear the water-logged soil nor even a building plan showing where they would dig next. Their excavations regularly burst water mains and sewer pipes and damaged the foundations of nearby buildings. Exercising the Soviet apparatchik's mandatory disdain for accountability, Nikita Khrushchev — then the chief assistant to Lazar Kaganovich, the Commissar of Transportation and director of metro construction — decided that residents would not be informed unless their buildings were about to collapse. In one case, a ground-floor tenant was asleep one night when tunnelers working beneath her building came too close to the surface, her bed plummeting as the earth opened up from below. (She escaped without injury.)
Kaganovich and Co. kept going. In 1934, the metro consumed a fifth of the city's budget, with station aesthetics reportedly claiming 75% of that amount. Bronze, brass, rare woods, and crystal for the chandeliers — not to mention twenty three types of marble — were rushed from the Urals, Siberia, the Caucasus, and Belorussia. "The Metro should be built so that it is beautiful," said Kaganovich, who personally managed the twelve architectural studios he established for the project, whose architects were ordered to spend "at least 40% of their time creating high quality decorative work," according to a government document. The commemorative 1936 publication "The Architecture of the Moscow Metro," put it more poetically: "[I]n every piece of marble lies the soul of a new man."
This marble was meant to "move [the new man of Moscow] through the city ideologically as well as physically," as another official assessment had it, and the stations fulfilled this double duty — ideological enlightenment by means of aesthetic grandeur — with spellbinding effect. Mayakovskaya, built in 1938 as part of a second line of stations, featured columns lined in green-pink marble and stainless steel, but, even more strikingly, a ceiling panorama of miniature mosaics tiled into 36 oval cupolas. In one, jets soared protectively over the Kremlin; in another, Soviet athletes pursued world records; elsewhere, a lean, muscular woman directed an enormous tractor through a field of grain, a red kerchief at her neck and the Soviet flag at her back. Mayakovskaya was so sumptuous that, in November, 1941, when the war had made aboveground gatherings risky, the Soviet leadership celebrated the 24th anniversary of the Bolshevik Revolution there. "It is the first subway in which beauty has been attempted," marveled Harold Denny, the New York Times reporter in Moscow. By 1936, official Soviet literature commonly referred to the stations as "palaces."
Even more uniquely, popular devotion did not have to be decreed from above. Though subsequent lines — a second was built in the late 1930s; a third during World War II; and the fourth mostly in the 1950s — favored occasionally kitschy monumental propaganda over the sleek, spare modernism of the first line (a certain amount of formal experimentation was still possible in the early 1930s), Muscovites developed an affection for the metro prompted by few other Soviet institutions. Its opulence and reliability — "It's one of the few things in Russia that works," as a Moscow curator of an exhibit about the metro remarked in 1994 — evoked loyalty even when the awesome fraud of the Communist experiment had made irredeemable cynics of virtually the entire Soviet population.
In the early days, there was a sense of personal investment: 75,000 people helped build the metro, with another 100,000 volunteering on weekends without pay. In later years, it became the rare place where the Soviet citizen, otherwise forced to live a double life of faked enthusiasm, could for a moment feel a harmony between his private and public self; where even the Soviet dream remained alive (and, these days, where pensioners made obsolete by the rapacity and amnesia of the post-Soviet order feel less unwanted). In the humiliating, divisive struggle that was aboveground life, Soviet citizens pillaged every imaginable aspect of the state — the state had denied them any sense of ownership, and, in any case, gave them few other means of survival — but they treated the metro like a museum.
I doubt I registered much of the metro's ideological symbolism when I visited; at the age of nine, it struck me as a wonderland, a monument to beauty. It was a place where a government had elected to honor the heart and soul on par with politics and profit, though I wouldn't understand the uniqueness of this kind of worldview for years. There was nothing about my homeland that I would lack more after moving to the United States.
I spent my initial tour of the New York subway system somewhat perplexed; where was everything? Where were the chandeliers and bas-reliefs, the sepulchral, pious stillness?
The masterminds of the New York subway had also imagined their system as a landmark of civic art — a testament to New York's increasing prominence in world affairs. William Barclay Parsons, the chief engineer, toured European stations with an eye for design; August Belmont, the main private financier, set aside half a million dollars for station decoration. (Notably, Belmont, like the other great booster of the subway, former Mayor Abram S. Hewitt, was an unabashed Brahmin disdainful of the recent influx of immigrants partly for whose benefit the subway was being built. The subway was expected to disperse the unsanitary slums where immigrants crowded because less dense parts of the city weren't easily reachable.)
C. Grant LaFarge, the architect, decided on classical gravitas; New York's elites were too nouveau riche to appreciate the art-nouveau experimentation of the Paris and Vienna systems. Some of the results were quite striking: the City Hall station featured chandeliers, Romanesque vaults of Guastavino tile, and skylights of leaded glass. The Astor Place station received a kushk, a cast-iron and glass kiosk modeled on entrances to the Budapest subway. For the station at 72nd Street and Broadway, LaFarge designed a lovely Flemish Renaissance control house. More than a dozen stations featured decorative panels, Norman brick wall bases, faience or terra-cotta cornices, and wide ornamental moldings and rosettes on the ceilings. At Astor Place, the ceramic mosaic depicted a beaver, an acknowledgment of John Jacob Astor's fortune in furs. At Clark Street in Brooklyn, there was a festive mosaic of a church spire, trees, and two steamships, in a nod to the nearby wharves. (In general, however, most of the stations were so relatively unadorned that, when the subway opened, some city eye doctors publicly expressed concern about the glare produced by the blindingly white walls as the trains sped by.)
On October 27, 1904, recently elected Mayor George McClellan inaugurated the new system by steering a wagonload of VIPs from City Hall toward Harlem. Some of the mandarins were skeptical. One of the passengers regretfully noted that the ceiling was the color of a battleship: "If there was a Russian Admiral on this train he'd pull out his revolver and pump holes in that ceiling!" the next day's New York Times recorded him saying. A visiting Congressman from Chicago was even more critical: "You ride like the wind, but it smells like a cellar."
The ride's biggest disappointment flashed by outside the car: three-foot commercial advertisements in cheap tin frames leaned against the station walls for mounting by workmen, who had already drilled massive holes into LaFarge's delicate tilework. There was the Coke Dandruff Cure, Evans Ale ("Live the Simple Life"), and, should the ale cause problems, Hunyadi Janos, "A Positive Cure for Constipation." McClellan was outraged, but capitalism would carry the day: the ads, arranged by Belmont, stayed, as they guaranteed a modest return of the subway's bonded debt.
In the first days, riders seemed to resent the eyesore as well, turning the ads toward the wall or tipping them over, but they gave up soon enough. There was, in the end, nothing extraordinary about the subway, a piece of technology subject to the laws of aboveground life just like any other fixture of their lives. This was evident, as the New York Times reported with a little surprise, even on the subway's first day: "It was astonishing, though, how easily the passengers fell into the habit of regarding the Subway as a regular thing. While the crowds above were still eagerly watching the entrances to see men emerge, were still enthralled by the strangeness of it all, the men on the trains were quietly getting out at their regular stations and going home, having finished what will be to them the daily routine for the rest of their lives. It is hard to surprise New York permanently."
This was a sign of things to come. By 1905, workers were already removing the elegant kushks — they obstructed views of traffic and blocked the sidewalk. (The Astor Place kiosk visible today is actually a recreation.) The City Hall station closed in 1945 due to inadequate use and structural shortcomings. Future subway expansions — a second stretch of construction, from 1907 to 1913, brought the subway to the outer boroughs, and a third, from 1932-1940, multiplied the routes — featured largely functional station designs without much concern for aesthetics. (Though a ubiquitous ad urged New Yorkers to take the subway to Flushing Meadows for the 1939 World's Fair, it would be the Moscow metro's Mayakovskaya station that would win the Fair's Grand Prix.) By the 1960s, the original LaFarge mosaics from the first line were disappearing, as part of renovations, as well. Even before, they'd been virtually ignored. When, in 1957, a subway rider called the Transit Authority public relations office to inquire about the mosaics, the TA publicity man was baffled: "What mosaics? In our subway?"
In 1936, a group of left-wing artists sponsored by the Works Progress Administration (WPA) had tried to alter the subway's appearance. "Here, in the largest, richest, most complex and interesting city in the world, the subjects of the decorative plaques are a beaver, a ferry boat and the cupola of City Hall!'" the group's chairman exclaimed to the press. Disparaging New York subway aesthetics as unimaginative and unsuited to the task of uplifting the weary rider — the Moscow subway was approvingly cited as a counterexample — the artists produced proposals for socially conscious artworks celebrating subway construction and pillorying the capitalist rat race. City fathers were horrified: "Never have I seen such uncanny, uncouth and unkempt men and women as these pictures portray, in the agony of their horrible huddle under the ground," a deputy mayor remarked. The idea went nowhere.
Graffiti artists besieged the system in the 1970s, both as vandalism by an urban underclass stymied by the growing gap between rich and poor and as a means of artistic expression, and, in 1985, with the Arts for Transit program, the Metropolitan Transit Authority finally realized that station aesthetics were essential to creating the impression of a safe and reliable subway. But, after those early years, there were no significant top-down attempts to endow the system with cultural significance, with meaning beyond its function as a form of transport. (What few attempts there were always came from well outside the establishment.) America wasn't really the place for that sort of thing.
In 2000, I returned to the former Soviet Union for the first and only time since my family left. In my first years in the United States, I had studiously neglected my heritage; I was working hard to become an American. Eventually, my background became less threatening, and I started re-discovering Russian culture, even majoring in Russian literature in college. A return was inevitable. I would spend the summer of 2000 working for the American embassy in Moscow.
Once in Moscow, I didn't have to wait long for a Proustian frisson: Entering the metro on the way from Sheremetyevo airport, I nearly buckled from the scent of the escalator lubricant. A commentator on the Moscow-metrophiles' website metro.ru mentions its "melancholy escalators," and, as risible as such comments may seem to foreign riders, I experienced the encounter more deeply than I had been touched in more than a decade of American life. That smell was an ineffable, olfactory distillation of… home.
The following weeks were less welcoming. I wasn't as impressionable as I had been in 1988, and, Moscow, always known for a capital's self-importance and coarseness, had become furious. The intervening years of political and economic exploitation by small bands of corrupt political insiders had produced humiliating, divisive inequality; the metro was as stunning as I remembered, but the faces in the cars were haggard, embittered, and quick to violence. I was maligned as a Jew; a traitor who had abandoned his country; an imperialist whose embassy residence had been sacrilegiously built on what was once the Czar's hunting grounds. There were plenty of moments like that first step into the subway, but, for the most part, Moscow was a place forced to endure sadistic privation by a coterie of princes who reaped the nation's riches and demonized outsiders for their citizens' hardships. Exiting a metro car on the way to work one morning, I — trained by what is more or less a ritual of the New York subway — offered to help a young woman with a baby carriage at the bottom of a long stairway. She stared at me with dull surprise. "Nobody does that anymore," she said.
In an ode to the Moscow metro published in the Swiss newspaper Neue Zurcher Zeitung, Victor Pelevin, the Russian novelist, wrote: "[The metro's aboveground] station entrances look like tiny mausoleums, but, at the same time, Lenin's mausoleum looks like a metro entrance. Actually, the entire metro, which has long been named after Lenin, is a virtual mausoleum — the mausoleum of an idea, the mausoleum of the future, the mausoleum of a dream."
The Soviet Union is certainly extinct, but I would disagree with Pelevin's broader point. The Soviet idea is far from dead, perhaps because, catastrophically, it's a quintessentially Russian idea that pre-dated the Soviets by many centuries. I saw it in the Moscow metro in 2000 and you can see it just as easily almost anywhere you look in Russia today, whether you see the oligarch Mikhail Khodorkovsky imprisoned after a show trial for daring to challenge the Putin political machine, or Duma parliamentarians urging the ban of Jewish organizations on the grounds of their adherence to a religion "anti-Christian and inhumane, whose practices extend even to ritual murders."
Russia has almost never belonged to the Russian people; rather, its bounty has historically been hoarded by a select few who exploited the motherland's name to rally the citizenry to the frequently catastrophic causes they conjured. For all its otherworldly beauty, the Moscow metro, which was built on the backs of ordinary men and women — who were requisitioned for the task like serfs but nonetheless believed in its promise with all their hearts — doesn't belong to its people. It belongs to an eternal idea of Russian supremacy that happily swallows its own. The state actually imagines this cult of Saturn-like self-immolation to be essential to that idea's vitality. One can't imagine graffiti artists widely using the Moscow metro as a canvas either for socioeconomic frustration or artistic expression, or a municipal agency encouraging contemporary artists to improve station design. The Moscow metro is a museum, and don't you dare touch anything.
No, graffiti art and Arts for Transit, however banal they may have initially seemed to foreigners like myself, could only happen in New York. Here, municipal benefactors who openly disdain immigrant interlopers build transit systems partly for their benefit, whereas in Russia the nation's leaders pretend to build in the name of the people while in reality leaving them with nothing. The Muscovites may love their subway more than New Yorkers, but they own it less.
There was no frisson at the A subway platform after disembarking at John F. Kennedy Airport from Moscow that 2000 summer, but there was something equally meaningful. The gray car slowly rumbled into view and came to a halt with a sclerotic sigh. It wasn't much to look at. But it was mine.
Brooks, Michael W. "Subway City: Riding the Trains, Reading New York." New Brunswick, NJ: Rutgers University Press, 1997.
Couture, Andrea M. "Moscow Metro: A Look Back and Forward," Mass Transit, May, 1994, p. 22.
Fischler, Stan. "The Subway: A Trip Through Time on New York's Rapid Transit." Flushing, NY: H & M Productions II Inc., 1997.
Hood, Clifton. "722 Miles: The Building of the Subways and How They Transformed New York." Baltimore: The Johns Hopkins University Press, 1993.
O'Donnell, Anne K. "The Moscow Metro, or The Experience of Socialist Realism Underground." Unpublished senior thesis, Princeton University, Princeton, NJ, 2002.
Here is a delightful collection of New York stories by veteran straphangers–both known and unknown–dedicated to that amazing underground network. Along with expected accounts of the unsavory run-ins with weirdoes and stink bombs during the usual subway commute (e.g., Daniels Parseliti's "Porno Man and I Versus the Feminist Avenger and Displaced Anger Man"), many of these authors offer poignant memories of riding the trains over the years, such as Jonathan Lethem's account of haunting the eponymous station in "Speak, Hoyt-Schermerhorn" as a white, liberal-middle-class kid immersed in a fringe area of crime and poverty. "Parnassus Underground" by Patrick Flynn recalls joyfully the meaty reading the author was able to accomplish during long workday commutes from the Bronx, before he moved and (to his literary despair) shortened his travel time. Robert Lanham's "Straphanger Doppelgänger" records the chilling encounter between two commuters of uncanny resemblance who have observed each other over a long period. Most gratifying are the historical details worked into many of the essays, such as the comparison between Russian and New York underground railroads as noted by Boris Fishman in "Metro Blues, or How I Came to America." This is a clever collection gathered by Cangro from her Web site, thesubwaychronicles.com.


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Since the start of their career, Purakau Productions has been committed to producing a high standard of published work. They have published a set of historical storybooks (in Te Reo Maori and English) for use as recommended reading resources in New Zealand schools, as well as a number of upcoming articles earmarked for scholarly journals currently in peer review. There is also the possibility of a PhD thesis beginning in early 2023.
Publications: Publications
HONGI'S HIKOI: A TRIO OF TRAVELLERS (ENGLISH) AND TE HIKOI A HONGI: TOKOTORU RATOU (TE REO MAORI).
A set of historical story books produced for New Zealand Secondary school students, which focus on the 1820 journey to England by Hongi Hika, Waikato, and CMS Missionary Thomas Kendall.
Translated into Ngapuhi mita (dialect) by Quinton Hita, this set of books is a quality resource for use in both kura kaupapa and mainstream schools.
School distribution details and dates will be available soon, as will general sale details.
https://fb.watch/epQwUKnC9q/
THREE BUSTS AND A CAPE - THE ADVENTUROUS LIFE OF HONGI HIKA
Oceanic Art Society Journal Volume 25, Issue 1
This article is a combination of a public presentation and an interview, focussing on Hongi Hika's 1820 journey to England, a comparison of three carved wooden busts purported to be of Hongi himself, as well as current research focusing on the woven cloak which Hongi gifted to King George IV.
https://www.oceanicartsociety.org.au/three-busts-and-a-cape-the-...
MOKA TE KAINGAMATAA - BIOGRAPHY
'Moka Te Kainga-mataa', URL: https://nzhistory.govt.nz/people/moka-te-kainga-mataa, (Ministry for Culture and Heritage), updated 13-Oct-2017
This is an academic biography about Ngapuhi (Māori) chief Moka Te Kaingamataa.
This is an online resource utilised by New Zealand History Online, an initiative overseen by the NZ Ministry for Culture and Heritage.
https://nzhistory.govt.nz/people/moka-te-kainga-mataa
HONGI HIKA: A PORTRAIT
This is an academic journal article focusing on the 1820 journey to England by Māori chief Hongi Hika; his role in assisting the compilation of a Māori-English dictionary at Cambridge University, his introduction to the Peerage in the House of Lords, and his audience with King George IV.
Additionally, it contains a detailed comparison of the three carved wooden busts purported to be of Hongi himself.
Journal of Museum Ethnography, No 32 June 2019. pp. 209-224
https://www.academia.edu/44678597/Hongi_Hika_A_Portrait
HONGI'S KAKAHU: RANGATIRA TO ROYALTY
Research Paper/Journal Article, with an expected publication date of June, 2023.
This journal article/research paper has come out of a proposed academic study, in the form of a doctoral (PhD) thesis; which focuses on the meeting between Maori chief Hongi Hika and King George IV, who met at Carlton House on 13th November 1820.
This article encompasses three aspects of this meeting, these being: a) the practice of 'tuku' or reciprocal gifting and its importance within Maori society, b) a never-before-published description of the gifts exchanged between the two leaders, and c) a detailed study, focusing on the woven flax kakahu; which Hongi gifted the King, and which is now in the collection of The British Museum.
It is envisaged that this will be published by June 2023, which is dependent on the author being able to examine a number of taonga (artifacts) which he has not yet viewed due to Covid travel restrictions.
TE TAIAHA O HONGI: TRACING TAONGA
A research paper/journal article focusing on the locating, identifying, and examination of, a taiaha (Maori fighting staff) which is believed to have belonged to Hongi Hika, which he took to England in 1820.
Expected publication date is December 2023.
An interactive historical novel seen through the eyes of influential Maori chief Moka Te Kaingamataa; focusing on the events in Aotearoa New Zealand from 1800 through to the 1860s, including intertribal warfare, European contact, trade, politics, the Musket Wars, the Declaration of Independence, the Treaty of Waitangi, the Northern Wars, and the New Zealand Land Wars.
Moka refused to sign the Treaty on principle, and is most likely the first Maori activist.
The novel itself is expected to be completed by December 2023, with the accompanying video content (re-enactments, interviews, waiata, etc) to be completed by August 2024.
The project as a package, is expected to be released by January 2025.


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Watch the Weeknd and Ariana Grande Perform "Save Your Tears" at 2021 iHeartRadio Music Awards
A live collaboration of their remix of the After Hours single
By Madison Bloom
The Weeknd and Ariana Grande, May 2021 (Kevin Mazur/Getty Images for iHeartMedia)
The Weeknd and Ariana Grande teamed up to perform at the 2021 iHeartRadio Music Awards tonight (May 27). The Weeknd and Grande sang a live rendition of their remix of After Hours' "Save Your Tears." Watch it happen below.
This past Sunday, the Weeknd performed "Save Your Tears" at the Billboard Music Awards. The performance involved the singer dodging a fleet of cars (manned by stunt drivers). He also hinted that the end of the After Hours era is over. Plus, earlier this month, the Weeknd performed "Save Your Tears" at the BRIT Awards alongside Oneohtrix Point Never.
Revisit "6 Takeaways From the Weeknd's New Album, After Hours" on the Pitch.
TagsTVVideoThe WeekndAriana GrandePop/R&B


Preheat a skillet and spray with cooking spray.
Time to multi-task! Cut the English muffin in two and place in the toaster.
Place the Bacon on a paper towel on a plate and microwave for ~1.5 minutes.
Pour the egg beater into the skillet. Cook omlette style (a few minutes on each side). Scrambling is okay, but it makes for a messier sandwich! Sprinkle with salt and pepper.
Remove the English muffin from the toaster, and top one side with the egg beaters. Place the cheese slice on top of the egg (the heat from the egg will melt the cheese), and top with the bacon (broken into 3 pieces). Top with remaining half of muffin.


text:
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd">

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TransactionManager
</TITLE>

<META NAME="date" CONTENT="2013-12-06">

<LINK REL ="stylesheet" TYPE="text/css" HREF="../stylesheet.css" TITLE="Style">

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transaction

Class TransactionManager<KEY,VALUE,RETURN>

java.lang.Object
  transaction.TransactionManager<KEY,VALUE,RETURN>

public class TransactionManager<KEY,VALUE,RETURN>
extends java.lang.Object

An object used to easily instruct Transactions

Author:

Balazs Pete

Constructor Summary

TransactionManager(ShallowLock<java.util.Map<KEY,VALUE>> data)

          Create a new TransactionManager

Method Summary

 void
abort(java.lang.String transactionId)

          Abort the specified Transaction

 void
commit(java.lang.String transactionId)

          Commit the Transaction corresponding to the specified id

 void
execute(TransactionContent<KEY,VALUE,RETURN> content)

          Create and execute the input TransactionContent

Methods inherited from class java.lang.Object

clone, equals, finalize, getClass, hashCode, notify, notifyAll, toString, wait, wait, wait

Constructor Detail

TransactionManager

public TransactionManager(ShallowLock<java.util.Map<KEY,VALUE>> data)

Create a new TransactionManager

Method Detail

execute

public void execute(TransactionContent<KEY,VALUE,RETURN> content)
             throws FailedTransactionException

Create and execute the input TransactionContent

Parameters:
content - The content to execute

Throws:

FailedTransactionException - Thrown if transaction creation or execution failed

commit

public void commit(java.lang.String transactionId)
            throws InconsistentDataException

Commit the Transaction corresponding to the specified id

Parameters:
transactionId - The id of the transaction to commit

Throws:

InconsistentDataException - Thrown if there is no transaction with the input id

abort

public void abort(java.lang.String transactionId)

Abort the specified Transaction

Parameters:
transactionId - The id of the transaction

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Driving Notes • May 10, 2019 • by Paul Clinton
BMW is offering its 330i as the base model of its seventh-generation 3 Series sedan.
Photo by Kelly Bracken.
BMW has revamped its 3 Series lineup in recent years. Gone are the 320i, 328i, and 335i entry-luxury sedans. The diesel-powered 328d xDrive? Also a thing of the past.
Its seventh-generation 3 Series sedan, which is built on the G20 platform, streamlines the choices for corporate drivers to two gasoline options — the 330i powered by an inline-four cylinder and 340i xDrive powered by an inline-six cylinder.
The 2019 330i arrived this spring with noticeable improvements in handling, technology, and styling over the previous-generation F30 car.
Driving Dynamics: A Sporty Return
From the jump, the 330i introduces itself with an appealing look, and it's a large vehicle. It measures 185.4 inches long, which is 3.5 inches longer that the v vehicle it's replacing. At 71.9 inches wide and 56.8 inches tall, it's also 0.6 inches wider and 0.5 inches taller.
The 2019 330i is a much sportier driver than its immediate predecessor, and improvements to the steering and handling are noticeable. Drivers hoping to have a little more fun can add the M Sport package that includes a sportier suspension, 19-inch wheels, and Variable Sport Steering. Those of us who drove the 3 Series in its heydey of the 1990s to early 2000s still may miss the hydraulic steering, yet this model's electric power steering is definately improved.
Three driving modes include Sport, Comfort, and Eco Pro. EPA-rated fuel economy comes in at 36 mpg on the highway, 26 mpg in the city, and 30 mpg for combined driving.
Interior and Technology Updates
The 330i's interior brings an air of familiarity with its stylish minimalism, and the vehicle adds some advanced technology featured in the Drivers Assistance Pro bundle with semiautonomous features such as Extended Traffic Jam Assistant and Active Driving Assistant Pro. The sedan also adds parallel and perpindicular parking assist, as well as back-up assistance with a 360-degree birdseye view.
The 3 Series remains BMW's entry luxury sedan, and buyers seeking a smaller car would likely opt for the 2 Series or 4 Series coupes. The 330i starts at $41,245, and can be optioned to a nearly $60,000 model. Front-wheel drive is standard, which we tested, and xDrive all-wheel drive remains an upgrade.
2019 BMW 330i Specs:
Engine: 2.0L turbo I-4 (255 hp, 295 lb.-ft.)
Transmission: 8-speed automatic with manual mode and paddle shifters
All-wheel drive: Optional xDrive
Cargo space: 17 cu.-ft.
Related Photos: BMW's 2019 3 Series
Paul Clinton
Senior Web Editor
Paul is the senior web editor for Automotive Fleet, Fleet Financials, Government Fleet, Green Fleet, Vehicle Remarketing, and Work Truck. He has covered police vehicles for Police Magazine.
Read more about BMW 2019-MY BMW 3 Series Luxury Sedans
The 4x4 Jeep Gladiator is powered by the 3.6L Pentastar V-6 engine. A 3.0L EcoDiesel V-6 will be available in 2020. The body-on-frame pickup can tow up to 7,650 pounds and has a steel bed with a 1,600-pound payload capacity.


On Saturday, October 27, 2018, a man shot into the Tree of Life Synagogue killing 11 people and wounding many others. Eliminating any doubt about the motive of the attack, the man was heard shouting calls for genocide against Jews in the course of the attack.
Furthermore, his social media accounts displayed a clear anti-jewish animus for their alleged conspiring to bring refugees into the United States at the expense of white people. In the aftermath of this tragedy, there was an overwhelming outpouring of support for the victims including over $250,000 raised by the Muslim community.
Without a doubt, these responses send a positive message regarding the generosity and compassion of our community to those who have been wronged. Though we cannot change the tragic nature of the events in Pittsburgh, the aftermath of these events represents a genuine opportunity to build inter-communal solidarity and action that we need so much more of.
When it comes to Muslim-Jewish relations, there is naturally hesitation due to concerns revolving around injustices towards the Palestinians and the role American Jews play in maintaining American support of Israel despite such oppression. Of course, there is no excuse for supporting injustice and oppression in any part of the world, including in Palestine.
At the same time, it is important to understand not to attribute the evils committed by the state of Israel to the Jewish community at large. Furthermore, there is plenty of room for engagement and collaboration on matters wholly unrelated to Palestine which need not be abandoned because of it.
Indeed, we are expected to cooperate with others in good causes, so there should not be any hesitation in collaborating with Jews in community service projects such as feeding homeless people.
Additionally, such collaboration does not imply that we support Israel any more than it implies that they support Palestine. Unfortunately, such petty guilt-by-association reasoning has taken root in some quarters of the Muslim community.
When Rashida Tlaib won her congressional primary on August 7th, Muslims were, by enlarge, pleased by this, yet there were some who had misgivings. Without a doubt, the selection of Palestinian-American Muslims woman to be the nominee for U.S. Congress inspired many Muslims to think more optimistically about the future, but almost immediately after her election, she was the victim of baseless accusations questioning her loyalty to the Palestinian cause.
The claim was that because she had been supported by the pro-Israel organization Jstreet, she supported military aid to Israel because J Street supports such military aid. Of course, the feebleness of such claims are so apparent as not to even deserve comment; nevertheless, some people naively bought into it.
Rather than allowing Tlaib to demonstrate her convictions in Congress, they chose to cast aspersions on her reputation based on nothing more than the positions of people who happen to support her. If we expect to make a genuine impact, we cannot accommodate such an erroneous mentality.
When it comes to dealing with anti-Semitism, Muslims can do this most effectively by demonstrating that it is possible to stand up for the rights of Jews whilst not compromising their own principles and beliefs.
In addition to supporting victims of hate crimes such as the members of the Tree of Life Synagogue in Pittsburgh, we should be proactive in collaborating with others on issues of shared concern even with people who we do not agree with. Of course, this does not entail abandoning the plight of the Palestinians or other oppressed groups of people.
Rather, we must understand the basic point that agreeing with others on a particular cause or issue does not entail support for all that they believe. Indeed, if we acted on such a mentality, we would do nothing with anyone besides ourselves. When we can do this, we will have taken a crucial step towards reducing hatred in racism in all of its forms, including anti-semitism.


Below are answers to questions regarding rental of the arena, Dos Equis Beer Garden, or Casino Arizona Pavilion.
12% of the gross tickets sales versus a mutually agreed upon minimum. All staffing and expenses are additional charges.
4% of the gross ticket sales versus a mutually agreed upon minimum. Tickets are sold through Ticketmaster.
First time promoters are required to forward a non-refundable deposit of $20,000 prior to tickets going on sale.
First time promoters are required to provide at least four business references.
Promoter must provide, from a company with an AM Best rating of at least A-, a minimum $1,000,000.00 commercial general liability policy. The City of Phoenix, Phoenix Arena Development and The Phoenix Suns must be named additional insureds. Please review the contract for full requirements and deadline information.
First time promoters must provide signed artist contracts prior to tickets being placed on sale.
Signed building license agreements must be received prior to tickets on sale.
The arena will vend all merchandise. The split is 70% to the artist and 30% to the arena.
The arena will schedule all staff including security, police and stagehands through either in-house or contract means.
Click here for Talking Stick Resort Arena tech specs.
$5,000 – Full payment due in advance of event. Availability is dictated by Talking Stick Resort Arena event schedule.
Click here for tech specs for the Casino Arizona Pavilion.
For booking information please contact Ralph Marchetta, (602) 379-2000 or Sarah Schock, (602) 379-2075.


text:
Apple reportedly made custom country-specific Apple Watch bands for the 2020 Summer Olympics
Evan Selleck ∙ September 28, 2020
In light of the coronavirus pandemic, the 2020 Summer Olympics have been delayed to 2021. And when the games arrive, Apple may also launch new, exclusive bands for the Apple Watch.
Courtesy of Twitter user and serial leaker @l0vetodream (via MacRumors), we have a first look at what appears to be country-specific bands for the Apple Watch. The leaker shared a couple of different bands, both with red color schemes, but one's for Denmark and another for the games' host country, Japan. Each Sport Loop is designed to be immediately recognizable for each country's flag.
But, as you can see in the pictures, there are also abbreviations for each country on the underside of the bands, too. "JPN" for Japan and "DEN" for Denmark.
This is not the first time Apple has done something like this. Back in 2016, for the Summer Olympics in Rio de Janeiro, the company launched a variety of country-specific bands for those Summer Games. Japan, Jamaica, Great Britain, the United States, China, Brazil, New Zealand, South Africa, and other countries all had customized bands to choose from.
Unfortunately for anyone who actually wanted those bands, getting one proved difficult. That's because Apple only put them on sale in one physical Apple retail store, and that was in Rio de Janeiro. They retailed for $49, but even if they weren't overly expensive, finding one was difficult. We don't know how Apple planned on selling these new custom options, but it's possible it would have done the same thing in Japan.
Whether or not Apple is still planning on launching these straps remains to be seen, too. With the 2020 Summer Olympics postponed until late July of 2021, it's possible these bands never see the light of day.
If you could buy new custom, country-specific Apple Watch bands inspired by the Summer Olympics, would you?
Tags Apple Watch News Rumors


text:
@interface GridManager ()

@property (nonatomic, strong) NSMutableArray *currentRowXValues;
@property (nonatomic, strong) NSMutableArray *elements;
@property (nonatomic, strong) NSMutableArray *frames;

@end

@implementation GridManager

- (instancetype)init {

    if (self = [super init]) {

        self.currentRowXValues = [NSMutableArray array];
        self.elements          = [NSMutableArray array];
        self.frames            = [NSMutableArray array];
    }

    return self;
}

- (void)reset {

    [self.currentRowXValues removeAllObjects];
    [self.elements removeAllObjects];
    [self.frames removeAllObjects];
}

- (void)prepare {

    for (int i = 0; i < self.rowHeights.count; i++) {

        [self.currentRowXValues addObject:@(_edgeInsets.left)];
    }
}

- (CGSize)contentSize {

    CGFloat width  = 0;
    CGFloat height = 0;

    for (int i = 0; i < _currentRowXValues.count; i++) {

        CGFloat currentX = [_currentRowXValues[i] floatValue];
        width < currentX ? width = currentX : 0;
    }

    width += _edgeInsets.right;
    height = [self yPositionByRow:_rowHeights.count - 1] + _rowHeights.lastObject.floatValue + _edgeInsets.bottom;

    return CGSizeMake(width, height);
}

- (void)addElement:(NSNumber *)width {

    [_elements addObject:width];

    // Get the minX & minRow.
    CGFloat   minX   = CGFLOAT_MAX;
    NSInteger minRow = 0;
    for (int row = 0; row < _currentRowXValues.count; row++) {

        CGFloat currentX = [_currentRowXValues[row] floatValue];

        if (minX > currentX) {

            minX   = currentX;
            minRow = row;
        }
    }

    // Create frame.
    CGRect frame = CGRectMake(minX == _edgeInsets.left ? minX : (minX += _gap),
                              [self yPositionByRow:minRow], width.floatValue, _rowHeights[minRow].floatValue);
    [_frames addObject:NSStringFromCGRect(frame)];

    // Update minX.
    [_currentRowXValues replaceObjectAtIndex:minRow withObject:@(minX + width.floatValue)];
}

- (CGFloat)yPositionByRow:(NSInteger)row {

    CGFloat y = 0;

    for (int i = 0; i < row + 1; i++) {

        if (i == 0) {

            y += _edgeInsets.top;
            continue;
        }

        y += [_rowHeights[i - 1] floatValue] + _gap;
    }

    return y;
}

- (NSArray *)allElements {

    return _elements;
}

- (CGRect)frameByIndex:(NSInteger)index {

    return CGRectFromString(_frames[index]);
}

- (NSArray *)allFrames {

    return _frames;
}

@end


As soon as the 1966 flood is mentioned, most Florentines recall the mud-covered streets, the tired smiles of the young Mud Angels and the wounded works of art carried away from the churches and museums. Then there is Cimabue's Crucifix.
The Crucifix, which due to its exceptional character had survived intact and in perfect condition for almost 700 years, in the days of the flood became "a last manifestation of the Apocalypse," according to Giuseppe De Micheli, director of Opera di Santa Croce. That single image quickly became the universal symbol of the Florentine flood.
Yet, with the crucifixion, also comes a story of resurrection. After a painstaking restoration by Opificio delle Pietre Dure lasting 11 years, the Crucifix, with a staggering loss of 55 per cent of its painted surface, was returned to Santa Croce in a civic celebration in 1976. Shortly afterwards, for the first and probably last time, Cimabue embarked on a world tour, organized by Italian IT company Olivetti, with scheduled stops in New York, Paris, London, Madrid and ending in Munich in the fall of 1983.
Cimabue was dying. And he was taking with him, by ransacking the museums and churches, entire centuries of works of art, damaged, split, unrecognizable, on which the mud, water and oil had inflicted damage at random, in death's cruel embrace.
The 1982 photographs from the exhibit at The Metropolitan Museum, taken as the Crucifix was hand-carried through the main door of the museum (measuring 14.5 x 13.5 feet, it was too large to enter through the side entrance), disconcertingly resemble the photos of Italian soldiers who had carried the masterpiece to salvation in 1966, out of the gates of Santa Croce and far from the Arno to the higher grounds of the Boboli Gardens.
The exhibition, which opened in New York on September 6 and ran until November 11, 1982, proved a great success. According to a letter scribed by the Met's president Philippe de Montebello, dated September 23, 1982, the exhibit had already been seen by almost 15,000 visitors.


text:
Q: Which would be the best design pattern in Unity for this problem? I have a black object that supplies power to purple ones. Purples can't connect with each other without the power coming from the black one. Also there is a range parameter decides whether connect or not. I'm just learning about design patterns and I want to know which one would be better in this situation. Can you suggest me a pattern to use? I'm using line renderer for the connections by the way.
Picture below is just a representation of the game, the actual game will be 3d.

The actual game looks like this. Dark purple one is the power supplier and the pink ones are conductors that are rotating around the yellow object and can be put on the grid cells one by one.

A: You aren't looking for a design pattern. You are looking for an Algorithm. Below is one I use for pathfinding in Unity. You'll have to adapt it a bit to suite your specific code.
https://github.com/Cornelis-Personal/AStar_CSharp
It is called the A* (A Star) Algorithm and it is very common with these sorts of problems.

redpajama_set_name: RedPajamaStackExchange


Last week, the heavily guarded, invitation-only Davos was more like a ghost town. This was from a lack of attendance and a sudden interest in saving money.
Is the U.S. economy about to get socked with a brutal recession? Danielle DiMartino, former Advisor to the President of the Dallas Federal Reserve, says this nightmare scenario could already be in motion.
With an overpriced stock market looming, trade disputes with China, bond yields and real cash rates low, retirement investors are looking for alternatives.
2019: Retirees Rushing to Safety?
America's retirees are facing a scary future. Millions of retirees across the United States have too much money going out, and not enough coming in.
Goldman Sachs has just issued a market alert this week saying the U.S. economy is due to slow. They are urging investors to diversify now.
Netflix Inc. is getting killed at the stock market box office. This is the first time investors have seen a "death cross" for Netflix since 2016.
Retirement investors were dealt a blow on Monday when the Dow Jones dropped 600 points. "The market is enduring a very serious correction" says Cramer.
Today's election is a big day for the future of our country. While gold doesn't take political sides, we still salute our remarkable electoral system.
Many Americans are feeling mighty spooked by the big spike in stock market volatility and the headlines don't help at all.
Black Monday Remembered: -23% in one day…?
This week marks the 31st anniversary of Black Monday, a singularly awful stock market event that has provided an important lesson to investors ever since.
Every American should know the facts: our nation's debt is ballooning at an alarming rate. Why is the deficit growing so fast?
Stock Alert: Does Rising Volatility Mean a Market Top?
Consider for a second… there are very few under the age of 30 or 35 that have any memory or understanding at of what a serious stock market event is like.


text:
BitcoinExchanges
Bitcoin is accepted by Japanese Luxury Car Dealer
L'Operaio (Japanese luxury car dealer) is now accepting Bitcoin as a payment manner from customers which use bitFlyer cryptocurrency wallet
09 April 2018	1542
According to bitFlyer`press report by, bitFlyer customers can spend above to 100 million yen, approximately $940,000 in order to purchase cars at L'Operaio. The users need to fulfil the only condition - to perform the transaction with the help of the wallet that is suggested by the firm.
As bitFlyer has claimed, the transaction arrangement will only take a "few seconds". Three (3) Tokyo trades in Setagaya, Nerima and Aoyama have already begun accepting Bitcoin with prospects to develop the feature to all dealership stores in the future.
bitFlyer is one of the largest cryptocurrency exchanges in Japan. The partnership will be begun with 26 dealerships, but the two enterprizes are aimed on expanding it to include in the future 550 more locations.
The exchange was granted a European Union payment institution license in January of this year, making it the most acquiescent virtual currency exchange in the world. It has also cooperated with Bic Camera, the domestic electronic retail giant, to accept Bitcoin payments following a successful path of the last year. The tendency is certainly being adopted, with one of Japan's largest electronics retail chains Yamada Denki also accepting Bitcoin payments using bitFlyer's point-of-sale (PoS) payments foundation.
The customers of L'Operaio will have to download and use bitFlyer's mobile wallet application, which is available in iOS and Android to make acquisition up to 100 million yen, or just under $1 million, using Bitcoin.
BitcoinExchangesBlockchain
Bitwise to Withdraw Bitcoin ETF Application
The application was filled a year ago, company met with regulator 8 times and prepared more than 500 pages of documents
Bitwise Asset Management, a digital asset management company, has withdrawn an application to launch a Bitcoin-linked exchange-traded fund (ETF).
On Tuesday, Bitwise sent a notice to the US Securities and Exchange Commission (SEC), where it announced that it had made such a decision "in the public interest and investor protection."
We did indeed withdraw the application. This is a procedural step, and we intend to refile our application at an appropriate time.
Matt Hougan
Global head of research at Bitwise
He also noted that his firm is currently "working hard" to answer the SEC questions in the 112-page commentary on the initial application.
We remain fully committed to the development of a bitcoin ETF.
Bitwise has applied for the launch of the Bitcoin ETF in January 2019. Since then, the company met with the regulator eight times and prepared 500 pages of documentation with arguments in favor of approving its proposal.


Kerkythea Render Engine. Please fill in your data to the following form to have access to Kerkythea download links. Material Libraries. Antique Mirrors. Kerkythea Render Engine. Material Libraries. Antique Mirrors · Basic Glasses · Basic Plastics · Ceramic Tiles · Bricks - Jag · Illuminants · Metals and Car Paints. The materials libraries that I have downloaded are those containing metals and to my simple way of thinking applying one of those metals to the.
20 Oct Go to jcclubmaker.com and under downloads, click on Resources. Scroll down and you'll find Material Libraries among other things. Let's. Download Section. The Kerkythea Forum can be found here if you have any questions about the program. Right click on your materials and 'Send to library'. KT Material library containing 5 miscellaneous materials from Lis textures. the file on your disk and afterwards run Kerkythea and File > Install Library to open.
31 Aug Can anyone help me figure out how to add Kerkythea libraries? If you have KT installed, you can simply install the material libraries inside KT. Join Scott Onstott for an in-depth discussion in this video, Importing Kerkythea material libraries, part of SketchUp: Rendering Using Twilight. are there any plans of creating a user contributed materials library for Kerkythea materials library Microstation materials library? Reply. 25 Sep Is it possible use materials form Kerkythea? materials folder and paste it into Twilight Plugin's materials folder beside the other libraries there. 7 Jan Okay, as I explore further into Twilight Render, I'm trying to find out how to use Kerkythea materials and the deep editor & so on. Every time I try.
27 Nov I'm trying to import materials from Kerkythea into Sketchup library, unsuccessfully. I'm doing as follows: with the Sketchup open, I'm going in. 16 Jun Kerkythea Materials. Post Basically you go to file>install library, select the downloaded zip file and the rest should be done by Kerky. 0. Gai. A set of 20 high-quality materials to dress your models (+8 variations, making it a total of 28), with high Please use the links below to download the library. 13 Jul Kerythea Material download from here: (original link) Sintra's Decorative Metals Library; [url=jcclubmaker.com?p.


If you think that choosing the best lumia 530 is easy you are very wrong. Many manufacturers constantly compete for your wallet and release dozens of models every month. If you do not want to waste your whole day on picking the best lumia 530, simply use our top list!
marketplace is our favorite place for online shopping. We created the list of the best lumia 530 using this website. It allowed us to easily compare hundreds of products and quickly define the best lumia 530 on the market.
Lightweight and durable; slim-fit low profile case provides the protection you need for your valuable device, while adding minimal bulk or weight. Precise cutouts for your device's features and ports allow for easy access and full functionality of your device. Form-fitting, thermoplastic polyurethane (tpu) shell provides ultra durable protection, shielding your device from harmful bumps and scratches.
How expensive should a good lumia 530 be?
Obviously, a good lumia 530 cannot be very cheap. If you want to buy a decent product, you should not be trying to save money on it. We recommend you to order the best models from our list of the best lumia 530if you can afford it.
High quality, durable tpu brings a smooth sleek form and prevents attracting lint, dust and oils. Minimalistic cover designed to protect your nokia lumia 530. Protective case allows full access to all ports, buttons and features without hindrance. Slim fit and lightweight design prevents unnecessary bulk making it easy to take in or out of a pocket. Frosted finish adds color and personality while giving a matte look.
What exactly did you take into consideration while making the list of the best lumia 530?
We considered so many factors that it is nearly impossible to tell you about all of them. Believe us, we did not forget about anything. Price, material, user score, and other characteristics of lumia 530were used to create this TOP list. We tried our best to help you choose the best lumia 530!
Built to be extremely tough and durable; accident prone to big drops and tumbles. Textured design and silicone materials provide for a more enhanced device grip and tactile feel. Locking kickstand feature ideal for watching videos, browsing the web and reading in horizontal or vertical positions. Designed tough with a dual layer system of shock absorbing silicone and outer reinforced tough polycarbonate plastic. Precise cutouts for all given ports thus keeping device functionality to a maximum.
How to find out whether is lumia 530 that I am buying is good?
Marketplace provides a myriad of convenient features to help you compare and choose lumia 530. It also aggregates thousands of reviews from people all over the world. Always read them before choosing a lumia 530!
Do good lumia 530require a lifetime warranty?
Companies that make lumia 530offer all kinds of warranties for any taste. Usually, cheap models have only a 6-month warranty or do not have it at all. Average users recommend choosing a lumia 530 with a two-year warranty, but we believe that the five-year warranty is much better and safer. At the same time, our team would not recommend you to buy models with a lifetime warranty since the vast majority of them is significantly overpriced.
What are the risks of buying a lumia 530 online?
Why would be buying a lumia 530 online dangerous? Marketplace is nearly always on the buyer's side during the conflicts resolution. Getting a refund is very easy and only takes a couple of hours. You and your money are completely safe — there is no need to worry. Try to order a lumia 530 from our rating list yourself — this website is very convenient thanks to myriads of user reviews, so you will definitely like it.
What did you do to create the TOP list of lumia 530?
We compared over a hundred of lumia 530from various manufacturers. To make our buying guide as honest as it is possible, we took into consideration all the important characteristics, such as price, weight, material, assembly quality, and many more. If you want to find the best lumia 530 for the least amount of money, our TOP list will be very useful for you.


Anyway, while browsing through youtube the other night, I found this video from the Denmark entry in 2007 by a group called DQ. (I don't think it's what you're thinking of, ice cream lovers. I think if you listen to the words, it must be for "Drama Queen".


text:
Q: Creating more than one user while provisioning azure linux vm via CLI I'm trying to create a linux virtual machine on azure via terraform and my requirement is to setup multiple user accounts on OS. I'm relatively new to Azure Cloud and went through some basic documentation but couldn't find what i was looking for.
I want to automate the process either via terraform or shell scripting by taking advantage of azure-cli. If anybody has anything relevant to my use case or point me towards direction for any alternative way to achieve this task then that would be much appreciated.
Thanks,

A: To create more than one user in the provisioning time of the VM in Azure, you can use the cloud-init file to achieve that. Add the user in the cloud-init file like this:
#cloud-config
users:
  - default
  - name: user1
    groups: sudo
    shell: /bin/bash
    sudo: ['ALL=(ALL) NOPASSWD:ALL']
    ssh-authorized-keys:
      - ssh-rsa AAAAB3<snip>
  - name: user2

For more details about the settings of the user, see Users and Groups in Cloud-init.
The create the VM through the Azure CLI:
az vm create \
  --resource-group myResourceGroup \
  --name centos74 \
  --image OpenLogic:CentOS:7-CI:latest \
  --custom-data cloud_init_add_user.txt \
  --generate-ssh-keys

And the result of the test on my side here:

More details about the steps, see Use cloud-init to add a user to a Linux VM in Azure. I suggest you can do this in the Azure Cloud Shell.


text:
Mombaroccio (Mombarocc in dialetto gallo-piceno) è un comune italiano di  abitanti della provincia di Pesaro e Urbino nelle Marche.

Storia
Dominio della Chiesa, fu dato in feudo ai marchesi d'Este, passò a Rimini e fu sotto le signorie dei Malatesta, degli Sforza e dei Della Rovere. Nel 1543 castello e territorio divennero feudo dei Del Monte. Infine il cardinale Gabrielli lo incluse nella legazione di Pesaro e Urbino.

Monumenti e luoghi d'interesse
 Mura quattrocentesche con camminamento e torri;
 Porta Maggiore, collegata a palazzo Del Monte;
 Chiesa di San Marco: sul portale un leone marciano del sec. XV;
 Chiesa dei Santi Vito e Modesto, con una tela di scuola baroccesca;
Convento del Beato Sante
Museo della civiltà contadina, con oggetti appartenenti al periodo che va dal XVIII secolo agli anni 70 del XX secolo
 Municipio, all'interno vi si conserva la prima opera del pittore forsempronese Giovan Francesco Guerrieri, una tela raffigurante una Madonna con Bambino.

Società

Evoluzione demografica

Etnie e minoranze straniere
Secondo i dati ISTAT al 1º gennaio 2021 la popolazione straniera residente era di 160 persone e rappresentava il 7,8% della popolazione residente. Invece le comunità straniere più numerose (con percentuale sul totale della popolazione straniera) erano:

Marocco, 29 (18,13%)
Romania, 26 (16,25%)
Moldavia, 22 (13,75%)
Albania, 21 (13,13%)
Ucraina, 12 (7,50%)

Stemma
L'attuale stemma è stato adottato l'8 settembre 2000 con Decreto del Presidente della Repubblica su richiesta del Consiglio Comunale nella seduta del 10 giugno 2000. Il decreto presidenziale dice testualmente:

I simboli:
 Sei colli stilizzati: 5 colli rappresentano i castelli dalla cui confluenza è nato Mombaroccio: Monte il Ferro, Monte Calvo, Monte san Giovanni, Monte Arrigo e Mombaroccio stesso. Non si hanno notizie del sesto colle, potrebbe essere il Monte Marino, anche se qui non vi era un castello.
 Biroccio: tipico carro agricolo marchigiano (tradizione contadina del territorio). Mombaroccio, infatti, era luogo di scambi posto al confine tra la valli del Foglia e del Metauro. Vi erano probabilmente presenti botteghe per riparare i birocci che transitavano.
 Gigli: i gigli, la banda rossa trasversale e il colore blu dello sfondo sono simboli e colori araldici della famiglia Del Monte, Marchesi vissuti a Mombaroccio tra il 1500 e il 1600.
 Tre stelle: le tre stelle richiamano nel numero i tre gigli dello stemma Del Monte. Ipotesi: stelle simbolo di protezione.
 Ramo di Quercia e ghiande: simbolo di forza, robustezza e solidità
 Ramo di Alloro: simbolo di gloria, sapienza e saggezza
 Corona turrita e fiocco tricolore: fanno parte degli ornamenti esteriori previsti per un comune

Economia

Artigianato
Tra le attività economiche più tradizionali e diffuse vi sono quelle artigianali, come la rinomata arte del ricamo e della tessitura finalizzata alla realizzazione di tappeti e di coperte di lana, con temi e motivi richiamanti il mondo pastorale.

Amministrazione

Sport

Calcio
Il Real Mombaroccio, la squadra locale, disputa la terza categoria marchigiana.

La società ha anche un settore giovanile, partendo dai più piccoli "I primi calci", fino agli "Esordienti".

Il paese è uno degli storici esponenti della Palla Tamburello con una propria società locale. Disputa i campionati federali italiani FIPT anche a livello giovanile.

Note

Voci correlate
 Convento del Beato Sante

Altri progetti

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


text:
Doyle Lawson & Quicksilver
Ticket Sales Closed for this show!
Show has been cancelled.
Ticket Price: $34.00 - $50.00
Show Type: Bluegrass
General Admission - $34.00 (plus fees)
Gold Section - $50.00 (plus fees)
With nearly 40 albums to their credit, Doyle Lawson & Quicksilver have multiple Grammy, Dove, ICM, IBMA and SPBGMA Award nominations, and are 7-time winners of IBMA's Vocal Group of the Year. Lawson is reigning SPBGMA Mandolin Player of the Year, and Doyle Lawson & Quicksilver are the reigning Inspirational Country Music Association (ICM) Vocal Group of the Year, crowned in October 2012 at Nashville's Schermerhorn Symphony Center, on the heels of Lawson's induction into the International Bluegrass Music Hall of Fame at the Ryman Auditorium on September 27, 2012.
A native Tennessean, Lawson was honored in February 2012 by Governor Bill Haslam and the State of Tennessee for his contributions to the state and America through his music (Senate Joint Resolution 467).
Lawson was heralded by journalist Craig Havighurst as "one of music's lions" following his band's performance at the 2011 IBMA Awards Press Conference in Nashville. Of Doyle Lawson & Quicksilver's performance — which garnered three standing ovations from a sold-out crowd in Nashville — Havighurst wrote: "There was no question who was going to close the show. Doyle Lawson is one of music's lions at this point, and when he came out in perhaps the most beautiful western jacket I've ever seen… he was a holy vision. … When DLQ, in quartet mode, nailed the final chorus of the a cappella gospel song "He Made It All Right," I swear we were mainlining the holy spirit. You know how the word awesome gets overused and misused? Here's where it applies." (http://www.musiccityroots.com/passionate-precision)
Legendary in the Bluegrass genre and called a "mandolin virtuoso" with "perfectly silken harmony" by The New York Times, Doyle Lawson broke new ground in 2011 with a benchmark Children's Hospital and Arena Tour, the first tour of its kind in any genre, combining National Anthem performances at major sporting arenas with performances for boys and girls at Children's Hospitals in the same cities or regions. Doyle Lawson & Quicksilver performed for nearly 108,000 people during six games in 2011 alone — not including Live broadcast audiences for the NBA and NCAA games — as well as for countless children, families, and staff in visits to children's hospitals. DLQ sang their first NASCAR Anthem in 2012, kicking off Sprint All-Star Weekend at Charlotte Motor Speedway, NASCAR's second largest track with 165,000 screaming fans, as they performed the National Anthem for NASCAR's Education Lottery 200 in May, with other superstars on hand for the weekend including Tim McGraw and Blake Shelton. Pretty impressive numbers and company from the little boy from Kingsport, who grew up to be a LEGEND.