text:
Q: How to recursively merge inherited json array elements? I have the following json file named CMakePresets.json that is a cmake-preset file:
{
  "configurePresets": [
    {
      "name": "default",
      "hidden": true,
      "generator": "Ninja",
      "binaryDir": "${sourceDir}/_build/${presetName}",
      "cacheVariables": {
        "YIO_DEV": "1",
        "BUILD_TESTING": "1"
      }
    },
    {
      "name": "debug",
      "inherits": "default",
      "cacheVariables": {
        "CMAKE_BUILD_TYPE": "Debug"
      }
    },
    {
      "name": "release",
      "inherits": "default",
      "binaryDir": "${sourceDir}/_build/Debug",
      "cacheVariables": {
        "CMAKE_BUILD_TYPE": "Release"
      }
    },
    {
      "name": "arm",
      "inherits": "debug",
      "cacheVariables": {
        "CMAKE_TOOLCHAIN_FILE": "${sourceDir}/cmake/Toolchain/arm-none-eabi-gcc.cmake"
      }
    }
  ]
}

I want recursively merge with * the configurePresets elements that inherit themselves for a specific entry name. I have example a node with name arm and want to have resulting json object with resolved inheritance. The parent has the name stored inside .inherits of each element. arm inherits over debug which inherits over default.
I could write a bash shell loop that I believe works, with the help of Remove a key:value from an JSON object using jq and this answer:
input=arm
# extract one element
g() { jq --arg name "$1" '.configurePresets[] | select(.name == $name)' CMakePresets.json; };
# get arm element
acc=$(g "$input");
# If .inherits field exists
while i=$(<<<"$acc" jq -r .inherits) && [[ -n "$i" && "$i" != "null" ]]; do
   # remove it from input
   a=$(<<<"$acc" jq 'del(.inherits)');
   # get parent element
   b=$(g "$i");
   # merge parent with current
   acc=$(printf "%s\n" "$b" "$a" | jq -s 'reduce .[] as $item ({}; . * $item)');
done;
echo "$acc"

outputs, which I believe is the expected output for arm:
{
  "name": "arm",
  "hidden": true,
  "generator": "Ninja",
  "binaryDir": "${sourceDir}/_build/${presetName}",
  "cacheVariables": {
    "YIO_DEV": "1",
    "BUILD_TESTING": "1",
    "CMAKE_BUILD_TYPE": "Debug",
    "CMAKE_TOOLCHAIN_FILE": "${sourceDir}/cmake/Toolchain/arm-none-eabi-gcc.cmake"
  }
}

But I want to write it in jq. I tried and jq language is not intuitive for me. I can do it for example for two (ie. countable) elements:
< CMakePresets.json jq --arg name "arm" '
   def g(n): .configurePresets[] | select(.name == n);
   g($name) * (g($name) | .inherits) as $name2 | g($name2)
'

But I do not know how to do reduce .[] as $item ({}; . * $item) when the $item is really g($name) that depends on the last g($name) | .inherits. I tried reading jq manual and learning about variables and loops, but jq has a very different syntax. I tried to use while, but that's just syntax error that I do not understand and do not know how to fix. I guess while and until might not be right here, as they operate on previous loop output, while the elements are always from root.
$ < CMakePresets.json jq --arg name "arm" 'def g(n): .configurePresets[] | select(.name == n);
while(g($name) | .inherits as $name; g($name))
'
jq: error: syntax error, unexpected ';', expecting '|' (Unix shell quoting issues?) at <top-level>, line 2:
while(g($name) | .inherits as $name; g($name))
jq: 1 compile error

How to write such loop in jq language?

A: Assuming the inheritance hierarchy contains no loops, as is the case with the example, we can break the problem down into the pieces shown below:
# Use an inner function of arity 0 to take advantage of jq's TCO
def inherits_from($dict):
  def from:
    if .name == "default" then .
    else $dict[.inherits] as $next
    | ., ($next | from)
    end;
  from;

def chain($start):
  INDEX(.configurePresets[]; .name) as $dict
  | $dict[$start] | inherits_from($dict);

reduce chain("arm") as $x (null;
  ($x.cacheVariables + .cacheVariables) as $cv
  | $x + .
  | .cacheVariables = $cv)
| del(.inherits)

This produces the desired output efficiently.
One advantage of the above formulation of a solution is that it can easily be modified to handle circular dependencies.
Using recurse/1
inherits_from/1 could also be defined using the built-in function recurse/1:
def inherits_from($dict):
  recurse( select(.name != "default") | $dict[.inherits]) ;

or perhaps more interestingly:
def inherits_from($dict):
  recurse( select(.inherits) | $dict[.inherits]) ;

Using *
Using * to combine objects has a high overhead because of its recursive semantics, which is often either not required or not wanted.  However,
if it is acceptable here to use * for combining the objects, the above can be simplified to:
def inherits_from($dict):
  recurse( select(.inherits) | $dict[.inherits]) ;

INDEX(.configurePresets[]; .name) as $dict
| $dict["arm"]
| reduce inherits_from($dict) as $x ({};  $x * .)
| del(.inherits)

A: Writing a recursive function is actually simple, once you get the hang of it:
jq --arg name "$1" '
    def _get_in(input; n):
        (input[] | select(.name == n)) |
        (if .inherits then .inherits as $n | _get_in(input; $n) else {} end) * .;
    def get(name):
        .configurePresets as $input | _get_in($input; name);
    get($name)
' "$presetfile"

First I filter only .configurePresets then in a function I get input[] |  select(.name == n) only the part I am interested in. Then if .inherits if it has inherits, then .inherits as $n | _get_in(input; $n) take the name in inherits and call itself again. Else return else {} end empty. Then that is * . merged with the result of input[] | select(.name == n) - the itself. So it recursively loads all the {} * (input[]|select()) * (input[]|select()) * (input[]|select()).

redpajama_set_name: RedPajamaStackExchange


The Lavit was originally set up by a group of artists wanting to promote an interest in art in 1963. Currently, the gallery shows the work of over 400 artists, introducing many new artists to Cork audiences. It is a non-profit organisation which is dedicated to promoting the work of local and national artists.
The Lavit Gallery presents City Paintings by Patricia Burns.
In this body of new work Burns explores the parts of Cork city where she lives and works. Using these parts of the city she produces a series of paintings focusing on themes of home, yet contrasts that with the mystery and potential to be found in small places painted in a winter light.
There is a familiarity to these places, and yet, no distinct features of their location are immediately apparent. Composed of partial roof-tops, a tree, perhaps a telephone wire, Burns perfectly captures the feeling of walking home on a winter evening, from the glow of a streetlight to the chill in the air.
Born in Dublin, Patricia Burns studied Fine Art at Dublin Institute of Technology and Crawford College of Art + Design, Cork. Recent solo shows include November Paintings, Taylor Galleries, Dublin (2014); Hinterland – The Glen Paintings, Garter Lane Arts Centre, Waterford (2012) and Triskel Arts Centre, Cork (2011). Burns' work is represented in corporate and private collections throughout Ireland and in the public collections of AIB Group, AXA Insurance, Ballinglen Arts Foundation, OPW / State Art Collection, and others. She lives and works in Cork city.
The Lavit Gallery is delighted to showcase a selection of new work, from Cork based artist, Maurice Desmond.
Maurice Desmond was born in Co. Louth and studied at the Limerick School of Art. He exhibited regularly at the Oireachtas shows and the Irish Exhibition of Living Art, where he won a first prize in 1969. Two decades later, he had three solo shows at the Triskel Arts Centre in Cork in the 1980s. From early years painting nudes from his time on Sherkin Island and waterfalls in Monard Glen, over the years the palette has darkened and the subject matter has been refined to minute variations on a single theme. Critics have described his work as having a brooding presence and a classical feel.
He has participated in a vast number of group shows both nationally and internationally and solo shows in the Hallward Gallery in Dublin and the Vanguard in Cork. His work is included in major Irish collections including the Crawford Art Gallery, the University of Limerick, the Arts Council, the collection University College Cork and AIB collections.
Ita Freeney, Water's Edge, Oil on Linen, 30 x 40cm.
The Lavit Gallery is delighted to present a solo exhibition of works by artist, Ita Freeney. Outer Edges opens 23rd May and continues until Saturday 22nd June. An artist talk will take place in the gallery Saturday 8th June, 11.00am, all are welcome.
This exhibition of subtle atmospheric paintings includes a series of views out from or towards Glounthaune, Marino Point, Aghada, East Ferry, Cobh and Little Island – observed and studied at different times of day, in different seasons and from different vantage points. The block of buildings of Marino Point were of particular interest as their form changed constantly in different atmospheric conditions. Prominent lyrical, airy, ephemeral grey blue tones of sea and sky are contrasted and anchored by more graphic, vertical urban motifs.


On a crisp, sunny Spring morning, we set off to climb the highest point of the You Yangs - Flinders Peak.
A steady climb of 450 steps and some steep pathways led to the place where Matthew Flinders once stood, surveying the land below.
The new Spring growth was appearing, out of seemingly impossible nooks and crannies of granite boulders and wildflowers were popping up all over the place.
When the urge hit to stop and go find a cafe instead take a breather, some inspiration from this boulder made us keep going. Thanks, Rock!
Another word of encouragement came from some hikers coming back down, who told us to look out for a koala on our right.
Sure enough, there he was - in the best seat in the house, a gum overlooking the fields to Geelong and Westernport Bay. He woke up for a few minutes to say Hi to us, before nodding off again. Tough gig.
We also found the second best seat in the house. But I didn't stop - that Rock had guilted me. Keep Going, I did.
...to the city of Geelong and its industrial estates and harbour, and the green and gold fields between us.
We stopped at the second lookout on the way down, where we admired the geoglyph of Bunjil, the eagle.
1500 tonnes of rock were used to create the form of the mythical bird, completed in 2006.
Back at the carpark - we had a quick rest before heading off for a picnic at Serendip Sanctuary. I'll tell you about that in the next post.
P.s. The facilities at the Lower Carpark are a much better choice than the long drop at the Turntable.


YEREVAN. – I'm not at all a supporter of returning to the semi-presidential system of government, National Assembly President Ararat Mirzoyan on Tuesday told reporters at the parliament of Armenia.
To note, the Armenian National Congress Party has proposed to hold a nationwide constitutional referendum on returning to a semi-presidential system of government in the country.
"I believe that we need to move forward," Mirzoyan added. "We [Armenia] now have a parliamentary system [of government], and we need to do everything for the establishment of that system.
"Constitutional amendments are possible, albeit I believe that not such large-scale amendments that we return the country from parliamentary to semi-presidential [system of government]. There is a constitutional amendment on our agenda; the frame is currently being clarified.


The phaser and tricorder i'm a little dissapointed in, but they might grow on me = C- The toy Enterprise looks great = A+!
I'm excited about Mattel producing that Barbie's Romulan Dream House.
Star Trek Merchandise Reaches for Kid Market Paramount let J.J. Abrams remake Star Trek largely to get it back on the pop culture radar. Sure, they also want to be buried in box office cash, Tribble-style. But, when most of the toys sold by your biggest franchise are bought by and for adults, you got trouble. So, Abrams' new Trek is hyped up and action-packed for kids. He even cast kids in the film's lead roles. That opens the door for every studios' favorite kind of merchandising -- toys that appeal to perky, movie-loving kids who won't shut up about them until they're purchased. It wouldn't be a sci-fi blockbuster without action figures, and Playmates is introducing a full series of new Trek designs, complete with prerequisite play sets (above). For the girls, there are Star Trek Barbies coming. Featuring Kirk, Uhura and Spock (right), the figures include phaser and communicator accessories. There's no word yet on whether Mattel is planning a version of Barbie's Romulan Dream House. Finally, there is a little merchandising news for adult Trek fans. According to the Indianapolis Star, a Norwegian report has Paramount releasing the first three Star Trek films on Blu-ray in 2009.
Worf & Jadzia for sure!
I'm sad that he is gone. He was the best Trek movie villian ever!!!
I'm really looking forward to seeing the Phaser as well.
They look retro and yet not. I think they are too cool for school.
Vegas electronics show offers sneak peek at new Star Trek movie goodies. January 9, 2009 - Who'd a thunk that the 2009 Consumer Electronics Show in Las Vegas, Nevada would be the first place in the world to reveal three popular props from the J.J. Abrams theatrical reboot Star Trek. But sure enough while walking back from a dinner between the Venetian and The Palazzo hotels, this reporter spotted an Intel display running the film's trailer. Even more exciting was the contents of a little Plexiglas case just to the right of the monitor. Inside were three of the actual movie props used during shooting of the film. They were Dr. McCoy's Medical Tricorder, Kirk's Communicator, and Uhura's Communication's Unit. The look of the brushed metal pieces remained true to their original series counterparts, yet had a modern flare about them. But don't take my word for it -- see for yourself!
Actually, that is exactely what I did with the Star Wars: The Clone Wars toys at McDonald's last year. You end up paying about half the price of the meal and just get the toy.
May 8, 2009 In February 2008, Paramount announced they would move Star Trek from its December 25, 2008 release date to May 8, 2009. The move was not due to the end of the WGA strike, but because the studio felt more audiences would see the film during summer rather than winter. The film will still be practically finished by the end of 2008. Paramount's decision came about after visiting the set and watching dailies, as they realized the film could appeal to a much broader audience. Even though the filmmakers liked the Christmas release date, Damon Lindelof acknowledged it would allow more time to perfect the visual effects.


text:
Q: Performance impact of table join base on column data type I want to ensure that I don't negatively impact query performance based on schema design for BigQuery.  I have two tables which I need to perform a join.  The column that I will use to join the tables could be of type INTEGER or STRING.  STRING would be easier in my case as it wouldn't require any new validation within our code base to ensure all values are of type INTEGER.  But I don't want to join on a type STRING, if query performance will be significantly worse than running the join on an INTEGER type column.
Is there a large performance difference in BigQuery when the join is on type STRING vs type INTEGER?
---Update 10/16---
I ran some basic analysis to test this, here are the results:
Using public dataset, users table has 10M rows and posts table has 31M rows
Join on Integer: 2.78 sec elapsed, 318.1 MB processed (avg over 10 runs)
Join on String 6.77 sec elapsed, 137 MB processed (avg over 10 runs)
-- Join on Integer Query
SELECT count(*)
FROM `bigquery-public-data.stackoverflow.users` u
JOIN `bigquery-public-data.stackoverflow.stackoverflow_posts` p
  on u.id = p.owner_user_id
WHERE RAND() < 2

(Where clause added to avoid cache)
-- Join on String
SELECT count(*)
FROM 'bigquery-public-data.stackoverflow.users' u
JOIN 'bigquery-public-data.stackoverflow.stackoverflow_posts' p
  on u.display_name = p.owner_display_name
WHERE RAND() < 2

(Where clause added to avoid cache)

Surprisingly, JOIN on STRING appears to perform worse than INTEGER.

A: No, you won't see any significant difference. Go with the schema that is more natural for your use case.

A: I am super late to the party here. Came across this question while trying to optimise a join in BigQuery.
The docs suggest that using INT64 will indeed be quicker:
https://cloud.google.com/bigquery/docs/best-practices-performance-compute#use_int64_data_types_in_joins_to_reduce_cost_and_improve_comparison_performance


This project included the renovation of 6,777 SF, Vose Hall, a 50-year old brick building, housing the University's chemistry department. The facility was stripped down to the structure and refitted with entirely new duct work, lighting, cabling, wiring, lab casework and equipment. Interior spaces were reconfigured to accommodate the current academic programs and included new finishes throughout. Other modifications that included a new mechanical system and equipment, new windows and additional insulation will improve energy efficiency. Modifications to improve handicapped accessibility and fire safety were included as well. The renovation was completed for the 2008-2009 academic year.


text:
Joan Alexandra Molinsky, known professionally as Joan Rivers, was an American comedian, actress, writer, producer, and television host. She was noted for her often controversial comedic persona—heavily self-deprecating and sharply acerbic, especially towards celebrities and politicians.
My love life is like a piece of Swiss cheese. Most of it's missing, and what's there stinks.
Don't cook. Don't clean. No man will ever make love to a woman because she waxed the linoleum. "My God, the floor's immaculate! Lie down, you hot bitch."
I hate Tom Cruise... In TV interviews Tom laughs inappropriately and much too vociferously at non-humorous declarative statements, which is ironic because in real life he can't take a fucking joke at all. All you have to do is make one simple, little, harmless, innocuous aside like, 'The Scientology spaceship was late today; it had to stop by Fire Island to pick up Tom Cruise,' and he has a pack of lawyers at your door faster than Katie Holmes can say, 'No, really, he loves me in that way, I swear.'
All Quotes & Jokes
Trending comedians
List of all comedians
© 2011-2020 scomedy.com

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Some questions about the factorization of an ideal and its extension in a ring of integers. Let $K\subset L$ be two number fields and let $I,J\subset \mathcal{O}_K,$ two ideals. I know that the ring of integers of a field is a Dedekind domain, and so I have the unique factorization in prime ideale for its ideals. My questions are: how are related the factorizations of $I$ in $ \mathcal{O}_K,$ and $I\mathcal{O}_L,$ in $\mathcal{O}_L?$ If $I\mathcal{O}_L,$ lies over
$J\mathcal{O}_L,$ how can I prove that $I$ lies over $J?$ I can factor them in $\mathcal{O}_K,$ say
$$I=P_1^{a_1}...P_r^{a_r}\quad J=Q_1^{b_1}...Q_s^{b_s}$$
I also know that the primes which figure out in the factorizations of the two ideal extensions are those who lie over the ideals.  Probably the answer is quite simple, but I'm stuck..


Encounter great blue herons, American coots and sora rails at Rogers Reservoir Conservation Area. This 68.3 hectare site is a great place to watch nesting birds, cast a fishing line, and cycle along trails which are part of the Nokiidaa Trail system linking the Towns of Aurora, Newmarket and East Gwillimbury. The concrete lock and its swing bridge are remnants of a 'Ghost' Canal System built and abandoned in the early 1900's – without ever having been used.
Rogers Reservoir is situated just north of Newmarket. Parking is available in lots off Green Lane or the 2nd Concession (Main Street North).


The moral and political debates around medical intervention in fertility are highly contentious; women these days are encouraged to believe they can have it all, balancing powerful and highly influential careers, with the maternal desire to care for their children. And in the last 50 years the balance of power in the family has become increasingly equal – with fathers gradually becoming more involved in the process of pregnancy and maternity leave. Yet, as this new play by Effie Samara suggests having a baby is something that still happens solely to a woman and considers how much power she should have to use medical practices to control that process.
Antonia is a very successful and highly-respected surgeon, dedicated solely to her job at the cost of her relationships, but entirely satisfied with her life. She believes in the supreme right of medicinal practice to be used whenever necessary, even when a patient has refused treatment. Yet, encountering a young mum in the park one day she begins to want a child of her own, and unable to conceive with her husband begins to look for alternative donors – even to the fellow doctor she is accusing of malpractice.
This eighty minute play is told as a series of fairly short episodes maintaining a brisk and engaging pace throughout. It takes a short while for the audience to piece together the various parts of the story and how the characters relate, but Samara's script shrewdly trusts the viewer's intelligence to work out the chronology while taking note of the various debates. Dissolving between the public lecture where Antonia is verbally abused by angry female voices and the events of the past is nicely managed, giving the play a useful structure. And it uses sound and lighting effects cleverly to suggest the drama of the emergency room, a tube carriage and a local park.
Cate Cammack's Antonia is a fascinating mass of contradictions, blending the haughty arrogance of a senior surgeon with a slightly infantilised kowtowing to her own mother that offers an interesting backstory. She's not a figure you like exactly, although there are moments that elicit a great deal of sympathy, but her absolute certainty in her own judgement is admirable whether or not you agree with it, and Cammack nicely brings all these elements out in her performance.
Alice Haig gives distinction to multiple rôles including the young woman who is convinced to change her child's name and the frighteningly domineering mother prepared to take extreme action to punish Antonia for giving in to the weakness of her femininity by wanting a child. Andrew Nolan plays both Antonia's husband James and her colleague Patrick wryly suggesting the interchangeability of the men in her life – although it is never entirely explained how Patrick knows Antonia's mother.
Baby is full of interesting debates about a woman's right to control her body and to use any medical option available in which to do so, and it certainly has its controversial moments. Yet although we see Antonia stand by her choices regardless, the play itself isn't quite brave enough to leave us with a universal judgement on any of these issues. It's always engaging but by shying away from a bold statement, it leaves you a little unsatisfied at the end. Nonetheless, Samara has written a play full of pertinent questions about what it means to be a mother in modern society and how much of a right it should be.


text:
Find Is There A Radioshack In Oak Ridge Tenn 2022
Fortunately is that as of today RadioShack. Is There A Radioshack In Oak Ridge Tenn… has actually formally been bought by Retail Ecommerce Ventures (REV), giving the distressed company a new lease on life. The downside, a minimum of for folks like us, is that there are no immediate strategies to return the renowned electronic devices seller to its brick-and-mortar roots. As the name indicates, REV concentrates on online retail, having previously revamped the Web presence of other insolvent organizations such as Pier 1 Imports and Dressbarn.
While the press release does not outright preclude the possibility of new physical RadioShack places, it's clear that REV thinks the future of retail isn't to be discovered in your regional strip mall. As the US mulls even more lockdowns in reaction to the continuing COVID-19 pandemic, it's difficult to disagree. There will be millions of bored kids and adults looking for something to do throughout the long winter nights, and an electronic kit or more shipped to their door might be simply the thing.
REV says they prepare to relaunch the rather dated RadioShack website just in time for the business's 100th anniversary in 2021. Since this composing the site currently states that sales have actually been momentarily stopped to enable stock restructuring, though it's unclear if this is directly related to the buyout or not. Getting an accurate count of how much product the company still has on hand after shuttering most of their physical places in 2017 certainly sounds like something the brand-new owners would want to do.
Like the majority of you, we have fond memories of the Golden era of RadioShack, back before they believed selling televisions and phones was somehow a great idea. To their credit, they did try and rekindle their relationship with hackers and makers by asking the neighborhood what they 'd wish to see in their stores. However all of us understand how that story ended. While it doesn't look like this news will get us any closer to having an area store that stocks resistors, there's a particular convenience in understanding that RadioShack books and sets will still be around for the next generation.
RadioShack's shambling remains were given another jolt of life today when they were purchased by another company that plans to relaunch the once-great merchant as an online-focused brand name.
The store's remains were acquired by Retail Ecommerce Ventures (REV), a startup founded in 2019 that's been scooping up brand names from other faded retail giants too, including Pier 1, Modell's Sporting Goods, Dressbarn, and more. REV says RadioShack's website currently has "strong existing sales and sales capacity," and the business is "positive" it can further raise awareness of the brand name globally.
REV claims it's effectively turned around other business it's launched as online brands. The Wall Street Journal reported that Dressbarn more than doubled its income in between the second and first quarter of 2020.
RadioShack was established in 1921 and became a retail staple in the '80s and '90s for anybody looking to grab tech essentials. REV didn't say whether those RadioShack licenses would stick around. Is There A Radioshack In Oak Ridge Tenn
REV states it will "soon relaunch" RadioShack's site. For those of you still clinging on to fond memories of the store, there'll be a familiar sufficient place to go when you desire to purchase costly HDMI cable televisions and knockoff headphones.
Find Deck Radioshack 2022
Find Llaveros De Dragon Ball Radioshack 2022


text:
Verizon to Give Buyouts to 10,400 Employees in Restructuring
Scott Moritz
Dec 10 2018, 9:03 PM Dec 11 2018, 6:22 AM December 10 2018, 9:03 PM December 11 2018, 6:22 AM
(Bloomberg) -- Verizon Communications Inc. said 10,400 employees, or about 6.8 percent of its total staff, were accepted for voluntary buyouts as the company looks to trim $10 billion from costs and retool for 5G wireless technology.
The exit packages were available to as many as 44,000 Verizon employees, according to the statement. The buyout is the company's second-largest, after a 2003 offer in which 21,600 employees accepted severance packages.
The move comes five months after Hans Vestberg took over from Lowell McAdam as chief executive officer at the largest U.S. wireless carrier. Vestberg, who spent his entire career at communications-equipment maker Ericsson AB before coming to New York-based Verizon in April 2017, is making network technology a priority throughout the company.
"For those who were accepted, the coming weeks and months will be a transition," Vestberg wrote in a letter to employees. "For the entire V Team, there will be opportunities to work differently as we prepare for the great things to come at Verizon."
Verizon aims to capitalize on its network investment and gain a lead in new 5G services while its competitors are challenged by merger integration. Its largest rival, AT&T Inc., also is preparing a 5G network, but it's been busy turning itself into a media conglomerate. And T-Mobile US Inc. is seeking approval for its $26 billion takeover of Sprint Corp.
As part of the revamp, Verizon has also scaled back on its media and advertising ambitions. Earlier this year, the company shut down its Go90 mobile-video operation. It also tacked Verizon Media Group in front of the name of its Oath unit, which contains online properties AOL and Yahoo.
Investors gave a lukewarm reaction to the buybacks, signaling that they may have been looking for deeper cuts. Shares fell 1 percent to $57.09 at 11:40 a.m. in New York. The stock was up 9 percent for the year as of Friday.
The staff reduction is part of a four-year, $10 billion cost-cutting program that McAdam announced last year. Employees were told Monday that they were approved for the buyouts, which were capped at 60 weeks of salary and bonuses, and given departure dates depending on the work they were involved with. Some workers will leave by year-end and others as late as June.


In 2017, Cyprus and Denmark will host the institution of the European Capital of Culture. Pafos was designated European Capital of Culture for 2017. Aarhus is the city in Denmark sharing the title with Pafos. The managing authority of the ECoC competition in Cyprus is the Ministry of Education and Culture of the Republic of Cyprus. The European Capital of Culture is one of the most important initiatives of the European Union in the sphere of culture, which enhances cultural dialogue and promotes cultural cooperation.
Cyprus participates in the new programme "Creative Europe" for the period 2014-2020. The "Creative Europe" Programme replaces the "Culture 2007-2013" Programme and the "MEDIA" and "MEDIA Mundus" Programmes. The new programme supports artists, culture professionals and cultural organizations in fields such as fine arts, publishing, cinema/audiovisual, television, music, cultural heritage and electronic games, in order to work in other countries and to develop the necessary skills in the digital era. By increasing the dissemination of European cultural projects in other countries, the programme will also promote cultural and linguistic diversity.
In Cyprus, there will be Creative Europe Desks (Culture Desk and MEDIA Desk) with the general aim of facilitating cultural and creative organizations in relation to the Creative Europe programme. The general task of running the Desks will be assigned to a Co-ordinating Body of the Creative Europe programme.
As of 1 January 2011, the Ministry of Education and Culture participates in the Cultural Routes programme and in the Administrative Council of the Enlarged Partial Agreement on Cultural Routes (EPA) of the Council of Europe, which was launched in April 2011.
According to the Cultural Routes programme, the concept of cultural routes is a very important tool for the development of intercultural dialogue, rapprochement of cultures, sustainable development, promotion of cultural tourism, but also facilitation of European integration. The project leaders for cultural routes, which have been awarded with the title of European Cultural Routes, receive the Council of Europe certification in this respect. The program aims to promote ethical and responsible tourism, with respect to local communities and their cultural identity and individuality.


Why Do You Need Sump Pump Services in Mulberry, FL?
Sump Pump Services in Mulberry– Many people have never heard of a sump pump, but if you live in an area that gets a lot of precipitation, a sump pump can prevent a lot of problems. This pump is placed under the ground in your yard in a deep hole that helps collect water, preventing it from flowing into your home or damaging your plant life. More than 60% of homeowners in the United States will experience some kind of water problem on their property, and using sump pump services is the fastest and most effective way to remove the water before it floods the house.
At William Dustin Septic, we provide sump pump services to residential and commercial properties. We offer service 24 hours a day, 7 days a week, so we can respond quickly to your emergency. We also provide service to flooded septic systems, including drain fields, eliminating the worry and frustration of dealing with a flooded yard. We will deal with all sump pump issues in Mulberry, Florida quickly and effectively!
We offer sump pump services throughout Central Florida, including Mulberry, Lakeland, Auburndale, Polk City, Plant City, Winter Haven, Lake Alfred, Lake Wales, Bartow, and Haines City, FL.


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Home » Lifestyle » Liam Hendriks signs with White Sox in priciest free-agent deal
Liam Hendriks signs with White Sox in priciest free-agent deal
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Liam Hendriks is the new owner of the biggest free-agent contract of MLB's offseason.
And the White Sox have a new closer, after agreeing on Monday night to sign Hendriks to a three-year deal with an option for a fourth year and $54 million guaranteed, according to multiple reports.
Hendriks, 31, has been of the league's best closers over the past two years. The right-hander posted a 1.79 ERA and 0.897 WHIP with 39 saves, 161 strikeouts and 24 walks over 110 1/3 innings for the Athletics since the beginning of 2019. He was an All-Star in 2019 and in 2020 was voted the Mariano Rivera AL Reliever of the Year.
The Mets were among the teams that had shown interest in Hendriks, The Post's Mike Puma reported in December. Instead, the White Sox landed him on a deal that surpasses the four-year, $40.6 million contract the Mets gave catcher James McCann.
The White Sox's deal with Hendriks is for three years and $39 million, with a $15 million option or buyout for the fourth year, according to multiple reports.
Hendriks, the Australian who has been designated for assignment four times and most recently in 2018, was the top reliever on the market. Brad Hand and Trevor Rosenthal are among the top relief arms still unsigned.
The White Sox have been among the most active teams this winter, trading for pitcher Lance Lynn, signing outfielder Adam Eaton and now landing Hendriks. He will replace Alex Colome, who saved 12 games for Chicago last season.
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Couscous looks like a grain but is actually pasta. It is fully cooked and just needs to be rehydrated, hence the quick preparation time. For a heartier dish, add some chopped cooked chicken, beef or lamb to the finished dish.
Heat 2 tablespoons of olive oil in a large non-stick skillet. When hot, add the zucchini rounds. Season with 1/2 teaspoon salt and 1/4 teaspoon pepper. Cook, stirring occasionally, until the zucchini rounds are nicely browned on both sides, about 8 to 10 minutes. Remove from heat.
Meanwhile, in a medium saucepan combine 1 tablespoon of olive oil, paprika, chile powder and the stock or water. Heat until the liquid comes to a boil, and then pour in the couscous while whisking. Bring the liquid back to a boil, cover the pot and turn off the heat. Leave the couscous to re-hydrate for at least 5 minutes.
Once the couscous has re-hydrated (it is hot and no longer crunchy), use a fork to separate the grains and then add the couscous to the vegetables in the skillet. Toss well, and then add the juice from half of the lemon. Taste and add more salt, pepper and lemon as desired.
Serve the couscous warm or at room temperature. If you like, squeeze some lemon into the yogurt and serve the citrus yogurt as a sauce on the side.


Peroni is the Peroni company's original brand and is said to be "the most widely consumed beer throughout the Italian Peninsula." Red label Peroni is darker in colour and more full-bodied than Peroni Nastro Azzuro. Brewed with malted barley, corn, hop pellets and hop extract.
(sample bottle best before Jul/17, Padova) Clear, coppery golden amber with thin 0ff-white head.
Light bready malt, caramel/brown sugar, lemon and faint black pepper.
Light to medium-bodied with high carbonation. Faintly sweet, caramel, brown bread and grassy hops.
There's a distinctive sweet caramel breadiness to this beer that millions of Italians have acquired – it's the country's best-selling beer. Best enjoyed ice cold.


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Machine Music's Albums of the Decade: Aaron Turner talks Wavering Radiant and the demise of ISIS
This is the FIFTH installment of the Albums of the Decade series of interviews. For the rest of the series go HERE.]
Artist: ISIS
Album: Wavering Radiant
Label: Ipecac Recordings
Favorite Song: "Stone to Wake a Serpent"
The Bare Bones: Released a decade ago, Wavering Radiant was the fifth studio album of post-metal/sludge pioneers, ISIS. The album was not only a radical melodic departure for the band, introducing clean-sung vocals and sleeker production, but it would prove to be the band's final output, with ISIS calling it quits in 2010.
The Beating Heart: I've always been aware of a tendency in my writing to focus on my own personal experience, and I have been just as aware of how off putting that is for some readers. And I accept and respect that. But for me, as for many ISIS fans over the years, Wavering Radiant retains a bittersweet spot in my life. It is both a peculiar, challenging album, that for years has divided fans who either love its cleaner aesthetic or hate it. For the record, I have always loved it. But more importantly it has attained that somber spot for being the band's last statement before it abruptly broke up, leaving a post-metal-sized hole in many a heart. For me this experience was especially wounding as the Waving Radiant tour was the only time I was even close to seeing the band live, only to skip the show, and rue that decision for the rest of my life (a fact referenced as the reason for my being "disgruntled" at the beginning of the interview).
And so this interview with Aaron Turner is a chance to get some closure for that gaping wound. For the first time since the band broke up, Aaron, who obviously has been keeping himself very busy in the interim, was willing to sit down and reflect on that traumatic moment in the band's history. To reflect on Wavering Radiant as an album, but also to discuss the growing tensions that album manifested and that eventually led to the band's disillusionment and putting the breaks to his legendary label, Hydra Head Industries. So, it's safe to say this is a very special conversation for me, one that proved informative, moving, and painfully honest on anything from ISIS' musical direction, the relationships within the band, and the importance of communication, whether in art or in life.
Before getting to the interview itself, I'd just like to remind any who are interested that a) this is a part of an ongoing exploration of my albums of the decade and that the project's landing page can be found here; b) that recommendations, interviews, and much more can be found at the blog's Facebook page; the new Instagram account; Spotify (playlists galore), and c) more timidly, perhaps, that if you're down to contribute to whatever it is I am doing here, you can check out my Pateron page. There's a lot of cool stuff about to happen there very soon. Enjoy.
The band broke up, and you picked up the pieces quite early, whether through the projects with Faith or later with Sumac. And, just to sum up, this is our third interview. The first one was an interview with you and Faith [Coloccia, Turner's partner both in music and in life] about Mamiffer, and I guess I tried to slide in some ISIS questions, but you weren't having it.
Yeah [laughs].
And then the second interview was about your project with William [Fowler Collins, Turner's partner in Thalassa], and that had nothing to do with ISIS at all. And all the while the disgruntled ISIS fan in me was waiting to pounce.
[Laughs]
So here goes. And I guess my first question…. A lot of the preliminary stuff I usually do in interviews, we've already done that, so we're not going to go there. So my first question is going to be: how come you think you're ready to talk about it now?
Well, just referencing what you did in other interviews, I've always been annoyed when journalists want to talk about my past, especially about ISIS, when it's something like Thalassa or Mamiffer. I understand it a little more when it's something like Sumac or Old Man Gloom where there's some stylistic crossover, but generally speaking, especially with Mamiffer, which is totally Faith's band, ISIS has nothing to do with that. She's already saddled with the unfortunate baggage of being in a band with me and having people want to focus on my past rather than her present, and that's something that we generally squash very early on, trying to steer people away from the typical expected thing where people want to focus on the accomplishments of a man versus the efforts of a woman that are being overshadowed by that. So, especially in that context, I tried to avoid it.
More specifically, I think the end of ISIS was very difficult for me, even the last couple years of the band, I had so many conflicted feelings about what we were doing creatively and also how we were getting along personally, I just felt like I wanted to leave that behind. So, while I understand people wanting to talk about that and how it also contextualizes what I do now, I have also really tried to push conversations toward what's happening now. Because for me that's what's more relevant, and if people are interviewing me for what I'm doing now I would much prefer to talk about that than what I did in the past, which for every year that goes by decreases in relevance for me. That's a roundabout way of saying I'd rather not talk about ISIS [laughs]. There is a lot in that that's deeply woven into the course of my life and I'm also happy that the music has continued to have a life after the band, and that's it has meant a lot to a lot of people, that's something that I am very grateful for, regardless of if I actually want to talk about it or not.
And then the last piece of this is that when we disbanded there was a group discussion about how we were going to present it. And it was difficult for everybody to get on the same page there, because we all felt differently about split and why it was happening and how it was happening, so we chose this very diplomatic route of giving a very generalized answer as to why we were splitting. And so in the aftermath of that I was stuck to that, and when people asked me about what happened at the end I didn't feel really comfortable really delving into the details too much, I was trying to be very diplomatic about it.
But, at this point everybody has moved on and has gone on to do other things and I think that some of the residual pain that was there when we split has dissipated, and so it's a little bit easier now to speak more candidly about the band in general and also about the years that led up to our eventual split.
Do you feel like the Caleb benefit had anything to do with it? [a show organized following the death of Old Man Gloom bass player Caleb Scofield that featured an ISIS reunion under the name Celestial]
No, not in terms of me being able to discuss it. I mean, obviously the Caleb benefit was the reason we came back together to play our music again. But as far as whether or not I'm willing to discuss, it didn't really have much to do with that specifically.
So, I don't want to make too much of it, but I'm pretty sure this is the first time you've spoken about why the band broke up, at least not in the context of Wavering Radiant.
And I went back to some of the interviews you gave following the break up, and a lot of them are about creative differences and complementing – and I would like to hear if that was an honest assessment – or being happy that Wavering Radiant was your final hurrah because you described it, I think, as a very democratic, collective album, more of a communal effort to hone your sound. So, that's the diplomatic aspect of that. But, even if I can't live inside your head, I'd have to be blind to miss what everyone in the band was doing after the breakup and to not notice how vastly different all those things were.
I think that's very telling, and I think that anybody that has really paid attention could decipher what the creative differences were just by listening to what everyone was doing afterwards. We went in different directions. And to some extent those creative contrasts were what made ISIS effective at times, the fact that everybody did have different ideas and pushed and pulled in different directions created a complexity in our sound and some dynamics that I think were ultimately pretty interesting.
As far of the diplomacy in terms of how we presented the story at the end of the band, that was partially accurate. It was accurate in that we said in our statement, basically, that we had said all we could say as a collective, that was very much true. If we had tried to write another record we wouldn't of had the choice of breaking up it just would have imploded on its own accord.
The component of speaking about creative differences, that was very real as well. When we started the common goal was pretty unified. And at that point some of us are still in our late teens and early twenties, so our creative personas and our personalities were still in these very formative, transitional periods. So it was easier, I think, at that point to put differences aside and just plunge into this collective effort. But as we grew older and our tastes became more specific and more divergent, it became harder and harder to find that common ground and find a way to make it work.
To reference the first part of your question, about whether or not I'm glad that Wavering Radiant was our last record – I'm glad it was our last record because, as I said, I don't think we could have written another one. I don't feel good about it as a final statement for the band. It's definitely not my favorite record we made. I can't disentangle it from the difficulty that I experienced in making it. So, for me, though I'm glad that other people have gotten something out of some of the ISIS records that I don't feel really good about, which would be the last two….. I'm glad they exist for the people who enjoy them. For me, personally, I wish Panopticon had been the last record [laughs]. To put that bluntly.
I… I don't know to what extent I should be inserting my own experience, but, fuck it. I think that for me, as a listener, I always liked that album because it was different. But there are two things that jump out when I think of Wavering Radiant. One of them is the production, because that album is way sleeker. Not overproduced, but in ISIS terms, a lot more produced.
Yeah, that's for sure.
And I think that may date it, a bit. It sounds like a 2000s album, in other words.
Yeah. I mean, I have qualms about just about every aspect, so, yeah, the production was an issue for me for sure.
And the other thing I wanted to say is…. It's interesting that sometimes band that have disparate initial artistic impulses within the band. So there's that album where everyone is trying to figure out what their role is, and then there's that album in which everything coalesces beautifully, usually the second or third album…
And then they kind of hit it and go on a roll. And in a way I can see how Wavering Radiant can be seen as a kind of tragic figure in that continuum, because it could be seen as the moment where it's not a band anymore, just a collection of people, everyone doing their part – "I like that part so that part will be there and then the part you like will come next." Do you see what i mean?
ISIS, pictured shortly after the release of Wavering Radiant, 2009. Photo credit: Faith Coloccia
Yeah, Yeah. And it was that to some extent. I think there was a greater sense of cohesion in the earlier records and by the time we got to Wavering Radiant it was very much people playing a role. Like "I want to do this, and this part matches with what everyone else is doing," but it wasn't so much, at least from my perspective, about what felt right as it was about what made sense logistically. And to me that's kind of the antithesis of why I wanted to play music. It wasn't about what was in key or what seemed right or what seemed like a song, it should have been about what felt good, what felt emotionally resonant and what, in a lot of ways, even felt dangerous or precarious. I think the playing and the style of Wavering Radiant was very comfortable, it was like we knew what we were doing, we knew what we were good at as a band, not as individuals and we just did that. It was kind of like refining a template that we had already set out two or three records prior versus pushing ourselves to really do something different.
This may be a general question, and you may not feel comfortable answering it, but do you feel that's an inevitable process?
I don't, no, I don't. I do think that it's an inevitable process for some bands, and I do think that it could be especially difficult for a band like ISIS, where we started the group at a young age, we hadn't developed really mature, developed ways of communicating and thus we became locked into a particular way of operating as a unit and with each other. And in my experience as an adult playing with other adults, your willingness to communicate openly with others increases as you become more defined as a person. That's obviously a gross generalization and everybody's experiences are different, but the way ISIS related with each other was pretty much set out from the first two or three years we were a band, and it didn't change much from that. And I think that was a big stumbling block for us, we weren't able to work past those immature male ways of communicating in a very passive-aggressive fashion, so everybody's true feelings about what was happening were often veiled. And that made it difficult for us to really push creatively, because we couldn't get past that personal communication block.
I think there are plenty of examples of artists, both individuals and bands, that continued to grow and evolve over time. I don't think that's the norm, it's definitely more often the case that people establish some sort of status quo and they just kind of ride it out. But there are examples of those who continue to push themselves and those ending up often being the people I find the most intriguing and drawn towards. And I think there's a willingness to fail there that needs to be an inherent part of the process to create successful art.
You already stated that you started the band very young, do you think any of this was impacted by the fact that you became quite visible at a young age? Meaning that the band did well while you all were young?
Yes, I definitely think that was part of it. A lot of our choices about what we did were kind of based off of that. For instance you referenced the production a while back. The more our records sold the more our record labels were willing to give us to record our records, and so I feel that had a very palpable impact on the way we did things. The making of the our first couple of EPs and even Celestial was very…. I think there was a deep sense of urgency in the process that translated into the recording of those albums. We had a limited amount of time and we really just had to go for it. And when it got to the point of the last couple of records, where we were spending three or four weeks in the studio, it just took all the urgency out of it. Though the sounds themselves might have been pristine and resulting in these very well-balanced mixes, I think the overall impact and visceral quality were lost as a result.
There was also some turmoil in the group about how we were going to do things, what we should or shouldn't do, based on the idea that this was a "career." And I remember having these very tense discussions based on, you know, we're offered tours with certain bands, big bands, and some people were like "Yeah this is what we need to do, to step it up," and other people were like "No! This band sucks, and we're not doing that!" And so that definitely become a thing, where what we had wasn't enough or we needed to have more, and I think that that was definitely an issue that ended up being a pretty divisive thing in the end.
I don't know if this is a separate issue or maybe entwined with what you just said, but, speaking for myself, I function differently when I'm being watched…
Yeah, that's absolutely an inherent human truth, I don't think that that's…. I mean, some people are definitely more affected than others by that, but I don't think that anybody can say that they are entirely unaffected by being observed.
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Do you feel like that played a role as well? I mean, when I write whatever I write, part of me knows or expects no one to read it and there's a sense of freedom in that. But once I think I have an audience then all these weird anxieties start creeping in. Did that play out?
Hard to say. Like I said, we didn't talk that openly about a lot of things – how we felt about the band – and most of our feelings just had to be guessed at by one another. And oddly enough a lot of the ways we felt about being in a band with each other and how it ended and all that didn't come out until way after the fact. So I can't really say how it affected us as a band. I do think that there was definitely a bigger sense of freedom early on and that could have partially been because, at least for the first five or six years, we just felt like nobody gave a shit so we could basically do whatever we wanted.
Again, it's hard for me to speak for the group I just to speak to my own experience. The years from basically around 2003 or 2004 through the end of the band were probably some of the worst years of my life. I was in a really awful relationship with a woman who was just really not good for either of us. I smoked a shit-ton of pot to try and numb myself from that and even from some of the things in ISIS that were really bothering me. And I think that the more that relationship went on, and the more pot that I smoked, and the more ISIS moved away from what I wanted it to go, the more I shut down and checked out. So, though I was aware we were playing bigger shows and selling lots of records, a lot of my ability to be present in my experience and perceive what was going on, and even think about what was happening, was really diminished. So my thinking about what other people were thinking about the band wasn't really at the forefront of my mind as much as it might have been if I had had a clearer head, I suppose.
So, yeah. I mean, it's impossible to deny that knowing we had an audience and a following impacted us, but to what degree that changed our music, or led to the dissolution of the band? It's hard to say.
In what way is whatever that happened with the band a kind of cautionary tale for you, about how not to do things, and does it in anyway inform the kind of choices you make now with your band?
Yeah it absolutely does. The biggest thing for me was never to compromise again. And I don't mean in the way that I have to be this dictatorial leader of a band that just controls every aspect of what we do. At the same time I just felt that I am never again going to go through the process of making a record with other people if I am not, you know, 95 percent behind the music that's being made. And a lot of the time what was happening for me in ISIS in the final years of our being together was just kind of keeping my mouth shut in order to keep the peace, and settling for things that I didn't necessarily feel good about just so we can move forward, and because I was petrified of confrontation. I'm still not great with confrontation or speaking up when I'm having problems with things, that's definitely a whole pattern I've been trying to break because it just didn't lead me anywhere good in my personal life or my creative life. So, I think that was the biggest factor for me – not to do anything that I'm not fully invested in because it's just not worth doing. Life is too short, relationships with people that you play with are too important to sacrifice for that kind of complacency.
I think that the other thing, that is a little more specific in terms of aesthetics, was that ISIS became more and more like a rock band, and part of the thing that became difficult for me, especially in the last four or five years, is that I felt that we were just going out on tour, or that I was going out on tour, and just doing these rote performances of our songs rather than treating the music as this living, breathing entity that was recreated and rebuilt from night to night. And I realized, and this was in conversations with Faith that I had while it was going on as well as in the aftermath, that I was just being a performer rather than a musician, and that for me is a very important distinction as well. I don't want to go out there and just do this thing as a job, I want it to be this very relevant, very immediate thing that I am deeply immersed in, as much as possible, at all times. It can't be just this thing of going out and playing the songs the way they're "supposed" to be played.
So, that was really crucial for me. I just realized that I let myself go down that path with other people until I had reached a point where I could no longer go on, that I was unhappy with what we were doing, and that I was essentially doing it just to not piss other people off. And that is not a good tradeoff. It also led to some pretty deep fractures in my long-term relationships with those guys. I mean, there had always been some volatility in the group from the get go. At the same time, we were all really good friends on a lot of levels when we started playing together, and by the end of our playing together it was just like we didn't want to be in the same room with each other a lot of the time. And that's just not worth it. It's not worth it keeping a group going if you're going to end up disliking your friends.
I remember, I think this was in the Thalassa interview, that sometimes musicians in general, but I think you were speaking about yourself specifically, have a problem communicating like normal human beings…
[Laughs] Yeah.
And this may be a simplification of the argument, but that what they sometimes do in order to communicate is play in bands. Because they don't go to parties, they don't do THAT, they play in a band. And whatever it is that goes on between those people at that time, that's a meaningful form of communication. So, in a way, I feel like what you're saying is that if you don't evolve past that point then that magic will stop. That at some point you're going to have to learn to communicate with people beyond just jamming with them. So the music needs to evolve but you need to evolve as a person too.
Yeah, well I think both things exist. You can be great friends and play with them and you can continue playing with them just because you like them as people, and that is a totally valid reason for playing music. At the same time there are plenty of examples of really vital music that's made by people who have awful interactions with each other, and that's also a valid thing too. If your end goal is art for art's sake, that's fine, that's just not for me. I need to have a balance of good interpersonal relationships and successful musical results. For me I think that deepens the overall experience, when one enriches the other.
And just to delve a little bit deeper into that…. Especially with young men, I think the ability to communicate openly and the skill of speaking and articulating yourself, and especially talking about feelings, is not only underdeveloped in our culture it's almost taboo in a lot of ways. So, with all these guys in ISIS, we came together, and I would like to say that our interest in aggressive music had something to do with our background, the pain we experienced as young people growing up in tumultuous households. I think that was part of what brought us together, the need to deal with that stuff. We weren't able to talk about it, we were able to write music together that helped us express those feelings and maybe helped us understand one another or understand why we were drawn together. And I think there is a kind of telepathic communication that arises when there's good chemistry in a musical group, and we definitely had that, at times, and for a good period of years.
At the same time that did wane as time went one, and there were a lot of factors involved in that. So, I think it is possible to have one without the other, I think it's difficult to sustain it, especially with the same group of people over a long period of time. And at this stage of my life, you know, people are adults, people often have jobs outside of the band, people are parents and partners, and there's just not enough room in that kind of life to have these creative things that are really dysfunctional. It's just not worth the sacrifice anymore. I mean, when you're young and it doesn't matter that you lose your job when you go on tour, or your relationship dissolves if you leave for more than a couple of weeks at a time, those kinds of facets of life are more expendable. But as you get older then the music kind of has to be worth it. And if you're going to spend time with people, for me, it has to be people that I enjoy being around, otherwise it's just like "I'd rather be at home making music on my own or with Faith or spending time with my child." Because life is short and too precious to waste on music that isn't vital or being around people that just make my blood boil.
For the artists I speak with for this series I try and see whether or not that moment in time we're reflecting on holds a kind of interest. But for me personally, this is a recap of the last 10 years of my life, and a lot has happened in those 10 years. And so it's interesting for me to reconsider a lot of these albums and see where I am with these albums. And one question that I ask repeatedly, and I like that there's a repeating structure, even though this interview is very different in many ways, but what I usually ask is something like "you've grown, time has past, but what about that albums is still something you're proud of?" But I think we've established that you don't like Wavering Radiant.
So what I would like to ask is about any influence from that album on Sumac. Because when Sumac came out I was very surprised. Because I think the setup in a lot of peoples' minds was "Cool, he's back making distorted heavy music, this will be the new ISIS."
And it wasn't. It felt much more aggressive.
And it felt much more in your face. And one of the things that highlights that is your vocal style. All of which is to say is that I think there's a hint of that on Wavering Radiant. There are moments on that album in which you sound like you do in Sumac. So I guess the revised version of the "are you still proud" question is: Out of the rubble of Wavering Radiant, was there an aesthetic lesson your took away with you to Sumac, which I guess is ISIS' distant cousin?
Yeah, well, that's a tough one. I should say that I don't disavow Wavering Radiant as a whole, I can hear things on that record that I think are good ideas, and there are even parts of it that I would say I almost could enjoy [laughs]. This is hard for me to answer because I am quite close with some of the guys in the band still and I know that we have very different opinions about this. And i'm trying hard to be honest about my feelings without hurting somebody else's feelings and hopefully, whether they read it or not, we have a solid enough relationship at this point that this kind of stuff isn't really going to rock the boat, so to speak.
This is tangential to our question, but as ISIS's music became more melodic I felt like doing the more severe harsh vocals didn't make as much sense. And there were, and there are, a lot of different kinds of music that I enjoy that employ melodic vocals. And some of those things that were influential on what I was trying to do vocally in ISIS. That all said, I was never really comfortable singing melodically in ISIS. I get it, I tried it, I pushed myself, there are some vocal melodies in different songs that I think are pretty good. But I just didn't like doing it, especially when I had to do it live I always felt like…. Not like it was forced exactly, but it was just like "This doesn't feel natural to me." I think it's good to push myself, I like trying new things. Yet at the same time there's a difference between doing something that feels like it's a risk and being willing to see whether or not it works, versus doing something that seems, again, like it's the right thing to do. So, I think that in some way I thought it seemed like the right thing to do, to add clean vocals to what ISIS was doing, but in retrospect I totally wish I had not done that. In fact I think the dichotomy of harsh vocals in conjunction with a lot of melodic music can be really really interesting, more so, to me, than what's become almost an awful template in a lot of modern heavy music, which is brutal vocals over harsh stuff, melodic vocals over clean stuff. That's come to have a really bad connotation for me. That's not to say that there aren't exceptions, but overall I think we all know where that trajectory led to [laughs]. And it wasn't good.
At the time we were making Wavering Radiant I was listening to a lot of really harsh stuff.
Both noise music, which had been a fascination for a while, but especially a lot of black metal stuff. And that had started with me maybe around 2005, but it had reached a point of obsession by the time Wavering Radiant was made. I wasn't necessarily trying to graft that aesthetic into what ISIS was doing, because that would have been distasteful, to say the least, and also in some way disingenuous. But at the same time that kind of atmosphere and that kind of feeling was what I was really personally feeling at the time we were working on that record, so there were moments in various songs where I felt like "OK, it's appropriate to color this section really darkly, both in terms of the lyrics and the savagery of the vocal delivery. And also even in some parts the atmospheric background textures that I made. So all of those things, all of those parts of the record that I really delved further into the darkness, to put it kind of hamfistedly, is definitely where I felt the most connected to the music and also kind of the launchpad for where Sumac began.
A lot of what I wrote for Sumac initially was along the lines of what I had wanted to do in ISIS for some time and also partially what I have envisioned for us even as far back as maybe Oceanic. But I could never conjure that stuff or if I came up with things that were more along those lines they just fell flat when I brought them to the group. So it was a seed that didn't really germinate until much later and into a very different context. I guess there were tendrils of that poking out here and there in the overall framework of Wavering Radiant.
Speaking as a simplistic listener, I would say that the first Sumac album sounds like: "I'm Aaron Turner, I've been holding back for a decade now, fuck y'all"
And I think that it would not be unreasonable to say that that Aaron Turner was to an extent present in Wavering Radiant because he was frustrated.
Because I think you can hear it there. It was just that the final coming out of that frustration was in that first Sumac album, like a valve was being opened.
I think that's definitely at least partially the case. I think, just talking about lessons learned, sometimes you have to go through certain things in order to find out what you don't want. I mea, theoretically most people are hoping that they're doing what they want with their creative work, or even in their relationships, but sometimes you really have to do something for a while to figure out that that's not what you want to do [laughs]. And that's really what it comes down to with the last two ISIS records. I was trying really hard to find a perspective on the work that would allow me to embrace it entirely, while another part of me was kind of segregated off to the side, knowing that this wasn't the right path for me and screaming out to do something different [laughs], to put it in a very literal way.
So, yeah. That part of me was there, but as I said to you a few minutes ago, I was kind of shut off from my life, and in a lot of ways I was shut off from my own interior voice. And I can't blame ISIS for that, in fact it's quite possible that I could have had an influence on the music that ultimately would have helped me feel better about it, then and now, if I had been in better contact with my own interior voice at the time when all that stuff was going on. If I had fought for what I really wanted, if I had known what I really wanted, I think certainly things could have been different. That's not to say that ISIS would have ever sounded like Sumac, or that it would have helped us have a greater longevity, but I do think that I could have done things differently, and I do think that that apathetic attitude that I had back then really was a big part of the problem as well, as much, or more, as the group dynamic.
I think I have one last question. So, in my mind, and I may be wrong, ISIS breaking up was also the end or the start of a kind of coma phase for Hydra Head Records. Those two may not be connected, but they feel connected. So I guess I'd like to ask: a) is there a connection? And b) Hydra Head has been operating at a very slow pace, but do you ever conceive yourself going back to where Hydra Head was, in terms of activity?
Some of it is coincidental and some of it is intentional. There were a few things that coincided with each other. I got out of that long-term relationship that I had been in with this woman who was awful and dysfunctional and crushed my soul [laughs]. I finally made the decision that I didn't want to do ISIS anymore. And then my partnership with the other guy who I had been doing Hydra Head with for years, kind of reached a breaking point. And all of that had happened within a two-year span. So again, some of it was coincidental, but I think part of it was just like that voice inside me that I had suppressed was finally going "Alright, enough is enough." And consciously and unconsciously I made steps to change my life, and a lot of that meant dissolving, altering or, in some cases, incinerating these relationships that I had had with people with whom I was doing these things with. And it was a hard transition for me, and I'm sure it wasn't easy for some of the other people involved too. And I think that that was very important for me.
Hydra Head and ISIS had both started off as these very chaotic and open enterprises, and it was pretty much just about doing these things for the sake of doing them. And then as the years went on they both turned into careers, for better or for worse. I would say overall that Hydra Head ultimately is easier for me to wrest with than what happened to ISIS, I feel generally good about at least the artistic aspects of Hydra Head. At the same time, there were a lot of missteps with both. I made a lot of poor decisions, I didn't do a very good job in communicating with a lot of the very important, central people who were involved in both and I suffered and so did the output, the functionality of these things.
And, again, part of this has to do with the context. Hydra Head and ISIS started in Boston, both moved to Los Angeles. The early years in Los Angeles were basically OK for me and then the longer I lived there the more oppressive the environment became. So along with getting out of this relationship that I was in, stopping ISIS, and the radical downshift with Hydra Head, I also moved out of L.A. So I kind of made all the biggest life decisions that I could within a couple of years of each other. And, again, some of that was unconscious and some of it was very intentional.
So, I don't need to be doing the same things that I was doing when I was 19, 20, 25, 35, you know? My life is just different, I want it to be different, and I need different things now. And running a label is not what it was for me back then – I was deeply immersed in that on a daily basis and now I have become quite a bit more selfish in terms of what I want to focus on. I want to focus on my family, I want to focus on my own work, and I want to run a label kind of the way I did when Hydra Head first started, where I found people who were doing things I liked, that I thought were important, but I didn't want to be the vehicle for other people's ambitions. I don't want to have to provide people with crazy video budgets or how to devise marketing strategies, I want to be able to focus on just making records for people whose work I believe in and doing it on a small scale while still trying to facilitate as much as I can on a reasonable level.
קטגוריה : Albums of the Decade, Interviews
תגיות : aaron turner, hydra head records, isis, post metal, sumac
← קוראים לבלוג הזה מאשין מיוזיק ולפוסט הזה קוראים: ״המלצות״
Machine Music Merch for Patreons →


text:
EBC's situation contested in public hearing
|By MCat
After the recent changes and government interference, former members of the Brazilian public broadcaster met with Parliament to debate its current situation.
Last week, 19 October, the governments' interferences with the Empresa Brasileira de Comunicação (EBC) were subject of a debate during a public hearing for the Commission of Financial Oversight and Chamber Control (Comissão de Fiscalização Financeira e Controle da Câmara) joined by the commissions of Culture (Cultura -CCULT), Participatory Legislation ( Legislação Participativa -CLP) and Human Rights and Minorities (Direitos Humanos e Minorias – CDHM).
The commission discussed the provisional measure announced by the government, led by Michel Temer, in light of the article 19 of Law 11.652/08. The Article ensures that the CEO of EBC has a fixed term of four years that doesn't coincide with the country's presidential election, in order to limit political interference in maintaining the public broadcaster's independence. However, the provisional measure overrides these laws and has already led to the dismissal of the ex-president Ricardo Melo as well as the elimination of the Board of Trustees, leading to profound changes within the organisation and taking it further away from the public and closer to the government.
"Today the president can change the chairman of the EBC whenever he wants, he can change the editorial line anytime he wants," said Melo during the public hearing. "That is [when] public broadcasting became official (state) broadcasting."
Melo stressed the importance of the EBC as an independent broadcaster for the public and a vital instrument in the democratisation of information, noting how media in Brazil is highly concentrated and dominated by five or six families. To him, the creation of the EBC "was a step forward from the point of view of the democratic accomplishments by the Brazilian society, which guarded and preserved the media landscape – fleeing the purely commercial interests."
According to Melo, the broadcaster was targeted because it doesn't respond to the government and doesn't fulfill its needs, nor those of the market. Many employees were recently dismissed from the company for having political opinions contrary to those of the current government. Melo also added that these deep transformations are happening against people's will and without the necessary visibility for higher ranking personnel to form strong oppositions against them.
"There is no public system anymore, it was abolished without being contested first," he said.
Jorge Solla, a member of Parliament, noted that there was opposition within the Camera but this wasn't enough to cause significant repercussions. "They have dominion over the economy, the media and the judiciary," he said.
According to him, the government's intervention is an attempt to control the media at large and avoid any strong disagreement with Temer's mandate.
The rapporteur of the provisional measure, Senator Lasier Martins, said he will defend the idea that the EBC is a public broadcaster, not a governmental outlet.
"I do not believe that President Michel Temer is against the transformation of EBC in a governmental institutions, where the predominant, decisive interest is the interest of the Brazilian citizens…We are going to fight a lot. It cannot be a government broadcaster" – Senator Lasier Martins.
On the same day, the Commission established a joint committee of senators and representatives to review the proposal and assess its validity against the law. However, more will need to be done in order for the EBC to remain truly independent.
"It is more than clear that there is an intention, not only intent, a fierce stand against social progress and progress there has been in the Brazilian society in the last 13 years," Melo said.
Header image: Sugar Loaf Mountain with radio towers, Rio de Janeiro. Credits: anthony_goto/Creative Commons
Further measures undermine public media in Brazil
The government's decision to wipe out…
The future remains uncertain for public service media in Brazil
The future of public media in Brazil is…
PSM Weekly | 19-25 Oct 2016
New PSB in Israel may never see the light of the day


Police say suspect has information about the organiser of Judith Tebbutt's kidnapping and her husband's killing.
Police have arrested a Kenyan suspected of aiding the armed men who kidnapped a British tourist and killed her husband on the remote island resort of Kiwayu island, near the border with Somalia, according to an official.
David and Judith Tebbutt had arrived at the Kenyan resort during the day on Saturday and were attacked in their room shortly after midnight.
Stephen Ikua, the government administrator of Kenya's Lamu West district, said on Tuesday that a suspect in custody was believed to have information about the organiser of Judith Tebbutt's kidnapping and her husband's killing.
He said the organiser was a Kenyan who operated in Somalia and had links to the armed Somali group al-Shabab.
Al-Shabab, which aims to topple Somalia's government, has threatened to attack Kenya on several occasions.
Ikua said he thought the group may have fled to Somalia with Tebbutt, but he was not aware of any communications with the kidnappers.
He declined to give further details, citing ongoing investigations.
London's Metropolitan Police said on Tuesday some of its officers were working with Kenyan authorities.
London police said the force had sent a "small team" to Kenya but declined to say how many officers were in the country. They said that Kenyan authorities remained the lead investigators.
Armed security officers patrolled the resort on Monday, with guards posted on the white-sand beach, fringed by palm trees.
A massive manhunt for the woman's abductors has been beefed up by police search boats and helicopters, according to an AFP reporter travelling on a boat through the area.
"Our forces have been out since Sunday doing everything possible to rescue her," Aggrey Adoli, the regional police commander leading the search, said.
"We have also appealed to members of the public in this area to work closely with us."
Kiwayu island and the surrounding area is one of Kenya's top luxury holiday destinations and favoured by celebrities, despite being close to the border with war-torn and drought-struck Somalia.


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text:
Home » Fall 2009
Understanding Hunger in Oregon
Food insecurity hides in plain sight throughout Oregon.
By: Rachel Robertson
Lush, green, fertile. Oregon is a land of plenty. A decade ago, when the USDA reported Oregon ranked among the highest in the nation for hunger and food insecurity, many did not believe it.
Bruce Weber and Mark Edwards were among the puzzled. How could it be that many Oregonians were failing to meet their basic food needs when the poverty rate for Oregon was merely average?
"It hooked us," said Weber, director of the rural studies program at Oregon State University. While state legislators argued about the numbers, Weber and Edwards set out to learn how the USDA had measured hunger.
The data showed that more people in Oregon than in most other states agreed with statements such as: "We couldn't afford to eat balanced meals," or "I lost weight because there was no money for food." The survey asked 10 questions (18 for households with children). Three positive responses classified a household as "food insecure" and more than five (or more than seven for households with children) indicated a household had very low food security—commonly known as hunger.
Edwards, an associate professor in sociology at OSU, and Weber looked closely at the questions, how they were asked, and who was interviewed. Were the people surveyed representative of the state? Their answer was yes. But then, who are these people and why are they hungry?
"A reaction that some express about hunger is that these people choose unwisely," Edwards said. But do Oregonians make poor decisions more often than other people? "Unless you have a theory about how nutty Oregonians are, it doesn't make sense."
Others suggest that cultural problems such as methamphetamine use are to blame for high hunger in Oregon. Edwards points to a time when hunger rates went down after a successful campaign to increase enrollment in the food stamp program. "It's hard to imagine methamphetamine use went down," he said. "Culture just doesn't change that fast, but economics does, as we've all experienced lately."
According to the Oregon Food Bank, the number of requests in Oregon for emergency food boxes for the last half of 2008 was 14.7 percent higher than in the same time period in 2007. Some counties have seen devastating increases, such as Clatsop (40.4 percent) and Harney and Malheur (36.6 percent).
"Some people coming to the food pantries were previously food donors," said Sharon Thornberry, an Oregon Food Bank community resource developer. "So who's hungry? It can be anybody at this point."
The Benton County Food Security Task Force wanted answers and hired OSU anthropologists Joan Gross and Nancy Rosenberger to probe myths about who suffers from hunger in Oregon. The two gathered details from 79 low-income households in the rural areas of Adair and Alsea.
Although one description cannot fit all of the hungry families in Oregon, Gross and Rosenberger found that most of the people they talked to did not come from generations of poverty.
"Several people had middle-class jobs and then—kaboom—a health emergency plummeted them into food insecurity," Gross said.
Although food would normally be an essential item, for families in crisis sometimes it cannot be. "You have to pay utilities or your electricity gets shut off; if you don't pay your mortgage you lose your house. But food you can always squeeze. And that's what we saw—food as a flexible expense," Gross said.
"A lot of hungry people have jobs," Edwards said. "If you look at the households with very low food security, 90 percent of them are employed."
Unemployed families rarely sit around waiting for handouts, the researchers found. Gross was stunned by the amount of work one woman did as the volunteer coordinator for a local gleaning group—gathering unsalable items from grocery stores, bakers, farmers' markets, and farm fields. "She worked more than 40 hours a week just picking up food here and there," Gross said.
Some families take care of foster children or others who need help. One family took in 23 people over the years. Most would rather support themselves than accept government assistance. And it was less shameful to rely on a social network for help—a meal at a relative's house or a ride into town by a neighbor—than dependence on the food pantry.
Sharon Thornberry has the perspective of once being homeless and now works with low-income families with the Oregon Food Bank. Thirty years ago, when she hit rock bottom, she said it was still possible to come out of poverty.
"It's not that simple anymore, it takes a lot more money, especially here in Oregon. In the 1950s and 60s one minimum-wage job, not two, would support a family of four at about 110 percent of the cost of living. Now you're lucky if two minimum-wage jobs come close to even 60 or 70 percent of the real cost of living," she said.
For the OSU scientists, all part of the Rural Studies Program, there are still mysteries to solve.
They wonder whether the seasonality of jobs in Oregon plays an important role in the state's high food insecurity rates. And although boosting enrollment in food stamp programs worked for a while, it's not enough, they maintain, and only structural economic changes will make a difference.
"Ultimately, we have to ask if we are the kind of society that we want to be. If not, what can we do to make us all collectively better off?" Weber said.
Students tackle hunger
Food insecurity—not having enough healthy food to thrive—affects 12.4 million children in the United States. That statistic motivated a group of Oregon State University students to spend their 2009 summer touring the nation to learn first-hand how some groups are tackling the problem of hunger. They traveled more than 6,000 miles to cities including San Francisco, Phoenix, Raleigh, and Boise to learn about programs that were particularly innovative. Along the way, the students volunteered in soup kitchens and food banks.
"The goal of the project was to explore innovative ways to end child hunger," said Sandy Neubaum, associate director of OSU's Austin Entrepreneurship Program and faculty adviser to the travelling group of students. The next step was to use what they learned locally. So they completed their summer with the "Hunger in the Homeland Tour" to 24 locations across Oregon, learning and lending a hand along the way. One of their stops was on the OSU campus, not the first place that comes to mind when you think about hungry communities. Graduate student Sarah Cunningham recognized this hidden problem when she began to study food insecurity in youth. It seemed to Cunningham that students who received free and reduced-fee lunches during their public school years might still need assistance after high school and not know where to find it.
"We think if you're in college you must be well off," said Cunningham, but that's not the case anymore. Many more people go to college, and that makes for a more diverse group."
When OSU anthropology professor Joan Gross approached Cunningham about starting a food pantry on campus sponsored by Ten Rivers Food Web, Cunningham was ready for the challenge. Two years later, she's formed the student-run OSU Food Group to run the pantry in Snell Hall, registered it as a member of the Oregon Food Bank, and raised funds for its continued operation.
Published in: Food Systems, Economics, Health
A Fork in the Road
Dinner in Oregon
Habitat for Locavores
The 100-Mile Diet
Fresh Frontiers
Nutrition Education Reaches People Where They Live
Edible Education
Out of the Classroom and into the Garden
Master Gardeners Bloom in the Metro Area
Honoring Those Who Feed Us
Food for Thought Curriculum
Sonny Ramaswamy


text:
package edu.internet2.middleware.shibboleth.common.config.attribute.resolver.dataConnector;

import java.util.List;
import java.util.Map;

import javax.xml.namespace.QName;

import org.springframework.beans.factory.support.BeanDefinitionBuilder;
import org.springframework.beans.factory.xml.ParserContext;
import org.w3c.dom.Element;

/**
 * Spring bean definition parser for configuring an computed ID data connector.
 */
public class ComputedIDDataConnectorBeanDefinitionParser extends BaseDataConnectorBeanDefinitionParser {

    /** Schema type. */
    public static final QName TYPE_NAME = new QName(DataConnectorNamespaceHandler.NAMESPACE, "ComputedId");

    /** {@inheritDoc} */
    protected Class getBeanClass(Element element) {
        return ComputedIDDataConnectorFactoryBean.class;
    }

    /** {@inheritDoc} */
    protected void doParse(String pluginId, Element pluginConfig, Map<QName, List<Element>> pluginConfigChildren,
            BeanDefinitionBuilder pluginBuilder, ParserContext parserContext) {
        super.doParse(pluginId, pluginConfig, pluginConfigChildren, pluginBuilder, parserContext);

        if (pluginConfig.hasAttributeNS(null, "generatedAttributeID")) {
            pluginBuilder.addPropertyValue("generatedAttribute", pluginConfig.getAttributeNS(null,
                    "generatedAttributeID"));
        } else {
            pluginBuilder.addPropertyValue("generatedAttribute", "computedId");
        }

        pluginBuilder.addPropertyValue("sourceAttribute", pluginConfig.getAttributeNS(null, "sourceAttributeID"));
        pluginBuilder.addPropertyValue("salt", pluginConfig.getAttributeNS(null, "salt").getBytes());
    }
}

redpajama_set_name: RedPajamaGithub


Papaya Seeds IMP2 is a smaller fruit than Malaysia 1 Foot Papaya and is is almost globe to pear shaped. Weighing about 1 kilo, Improved No.2 Malaysia Papaya is also celebrated by professional growers having great quality taste, tender orange red flesh.
3. Place the soil tray under the sun.


Victorian French Handmade Metis Linen Table Center Doily with Roses lace cutwork . Made of white metis linen( linen woven with cotton).
Gorgeous original romantic piece to set on a Table or a piece of furniture !