How to go from Birmingham to Girona ?
Like many travellers, you're looking for the cheapest transport offers to travel from Birmingham to Girona? Usually, this is not an easy task and you'll have to browse multiple sites to compare all deals.
Thanks to your multimodal search engine Vivanoda, you'll find on the same site all fares for buses, carpooling, trains and flights to get to Girona. Simply enter your travel date to Girona and Vivanoda does the rest. Finally, use the filters and sorting options to refine the results.
To reach your destination from Birmingham, you will travel with Jet2.com, bmi Regional, National Express, Ryanair, Norwegian Air Shuttle, SNCF, Blablacar or Renfe by buses, carpooling, trains or flights.
Unfortunately you will not be able to travel from Birmingham Girona only by coach. However, you'll be able to take other lines by ridesharing, train or plane to reach your final destination Girona.
Remember to arrive at the bus station in Birmingham at least 15 minutes, or even 30 minutes, before the posted departure time. Finally, present your ticket to the staff of OUIBUS, MegaBus, ALSA, National Express or FlixBus who will allow you to put your suitcases in the trunk and then board.
Once the bus has arrived at Girona, check and collect your belongings so as not to forget anything.
Is there a direct train for the Birmingham-Girona route?
No, unfortunately no train line allows to go from Birmingham to Girona without making any changes.
The railways Arriva Trains Wales, CrossCountry, Renfe and SNCF are the companies that you may travel with for your trip to Girona.
Book your Birmingham Girona flight well in advance to get the best prices. Most of the time, this is the number one yield management rule: cheapest price are available long time before departure (this targets leisure customers who are used to booking early).
Be flexible with your dates of travel to Girona. Prices vary along the time depending many factors including the date and time of travel. So you'd better be able to have a 2- or 3-day flexibility to book your trip.
Which airlines operate the Birmingham to Girona flights ?
This flight is scheduled by only one airline: Ryanair.
Ridesharing is a new way of travelling allowing people to share Birmingham-Girona car journeys with others. This helps reduce travel costs for both the driver and the passenger, and also reduces the impact on the environment.
On the contrary to other means of transportation, carsharing doesn't provide to travellers a defined scheduled. This means that when looking for Birmingham-Girona rides, you'll be more likely to find ones if you search only three days in advance (and not two months). This is more a lastminute solution to go to Girona.
When you book a ride between Birmingham Girona, you'll set directly with the driver how he can pick you up. You can pay online, so you don't need to give any money to your driver.


With a sad heart this post brings the news that we laid the oldest living descendant of the Murosky and Bukowski families, Arthur Murosky, to rest on February 21, 2015. With snowflakes falling, surrounded by the canopies of old growth trees members of our family joined to lay him to rest alongside his beautiful bride Mary Eugenia McDonald in the peaceful, quiet serenity of Wintergreen Gorge Cemetery.
"I met Jean at the Wilson Library in 1936. We were both getting books.
I would hang out at the library and walk the girls home."
They married on August 9, 1941 at St. John's Church in Erie, Erie County, Pennsylvania.
"I plant marigolds all round the edge to keep the bunnies away"
"I sure caused a lot of trouble"
The memories that will always stay with me are the ones that started me on this genealogy journey. At one point after my Grandmother had died I recall asking about our family tree - Grandpa sat with me and told me all he knew. His grandparents names, his aunts, uncles and cousins. He pronounced Murosky in the old Lithuanian way. He patiently answered all of my questions as I followed him around the house on numerous visits with a notebook making notes. Grandpa also connected me with his cousins and my grandmother Mary Eugina's cousins. Through these individuals the foundation of the family tree slowly came together.
One of my most distinct memories is one the days I went to visit him. I was returning his original wedding photos I had borrowed to make copies of. After putting the photographs back in the drawer in my grand-grandmother's old bedroom I turned to see Grandpa standing in the door way with a large cardboard box. He handed me the box saying this is for you. I asked him what was in the box and with a twinkle in his eye he told me to look. The box contained a large portion of his mother's photo collection. Together we looked at the old black and white photographs - a mix of loose photographs and my great-grandmother's albums. The box included photos from the Bukowski and the Murosky sides of the family. Grandpa was able to identify many people in the photographs. I recorded the names on scraps of paper that we slid behind the photographs. With the photographs came stories...of his brother Edward who served in Alaska during World War II...of the two day Polish weddings....of the trips to Forest City to see family when he was a child....of his Aunt Margaret who moved to Erie from Wilkes Barre, Pennsylvania...of his cousin Arthur Gaczkowski who died young in the late 1920's. That day I told him that in time I would make sure that these old photographs would be shared with the greater family.
I have always felt these old family photographs are treasure to be shared. Today that meaning rings true.....perhaps because the old photographs are a reminder that those that we love may have departed this life but they will never be forgotten. Their memories and their spirit live on and the old photographs in that moment remind us that those memories have in deed become treasure.
Harry Anthony Murosky, age 4, in during a family trip to Forest City, Pennsylvania.
Arthur Murosky was my paternal grandfather. He was born April 13, 1919 in Erie, Pennsylvania. His father, Anthony Harry Murosky, Jr. was born in Forest City, Pennsylvania the son of Lithuanian immigrants before relocating to Erie. His mother, Helen Tillie Bukowski, was the daughter of Polish immigrants. Grandpa Art spent all of his 95 years in Erie, Pennsylvania. He married the beautiful Mary Eugenia McDonald on August 9, 1941 and they had ten children together. He passed away on February 16, 2015 at age 95.


In 669 B.C.E., the Mayan people erected a stela at Tortuguero near present-day Tabasco, Mexico. Originally a T-shaped structure, the stela now exists in seven, badly damaged pieces. One of these fragments, the right wing, bares the only known Mayan description of the 2012 prophecy.
Translating the information contained on the stela has been difficult. Much of the stone has eroded away, and removed important glyphs that could fill in valuable details about the 2012 predictions. However, most scholars believe that the inscription points to December 21, 2012 as the end of the present baktun, or Great Cycle of man, as recorded by the Mayan Long Count Calendar. According to the stela, the deity Bolon Yokte will play a critical role in the completion of this cycle.
The image of Bolon Yokte is important in deciphering the Mayan 2012 prediction. Bolon Yokte represented many aspects such as war, conflict, and the underworld. Because of these correlations, many people have assumed that the Tortuguero stela depicts a time of great suffering. However, a closer inspection of the role of Bolon Yokte reveals other possibilities.
A common motif in Mayan iconography is that of the Tree of Life. For the Mayans, the tree represented the stable center of the world. Its roots, trunk, and branches bound together the three realms of the underworld, earth, and heavens. Often in these depictions, a jaguar paw is shown at the base of the Tree of Life. Recently, some scholars have argued that the jaguar paw represented the deity Bolon Yokte as the physical representation of the axis of the world.
Bolon Yokte can also be found on many artifacts that depict the Mayan creation story. His presence in these stories suggest that he was also considered a god of creation. Putting these three aspects of the god together reveals a very different interpretation of the Tortuguero stela and the Mayan 2012 prediction.
As the Great Cycle comes to completion, the fourth age of man will pass from the earth. In this context, Bolon Yokte represents the force of destruction that will remove the present age of ego and materialism. However, time does not stop at the end of the Great Cycle. A new Long Count will begin, ushering in the fifth age of man. Bolon Yokte transforms from a god of the underworld to a god of creation. Through him, humanity is reborn into an age of greater consciousness and spiritual awakening. As the axis of the world, Bolon Yokte remains to observe the new age of man until the next Long Count comes to an end.
The ancient Mayans did not predict the end of the world on December 21, 2012. Instead, they foresaw a time of great change, ushered in by their god Bolon Yokte. Modern Mayans teach that it is our responsibility, as witnesses to this great transition, to repair the imbalances of the earth and our own spirits. By accomplishing this, we lay a strong foundation for the next Great Cycle.


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^ "Double vision: the joys of twin-projection cinema". British Film Institute. Retrieved 2015-12-01.
Performance art is a performance presented to an audience within a fine art context, traditionally interdisciplinary. Performance may be scripted or unscripted, random or carefully orchestrated. The performance can be live or via media, the performer can be present or absent and it can be any situation that involves four basic elements, space, the performers body, or presence in a medium, and a relationship between performer and audience. Performance art can happen anywhere, in any type of venue or setting, the actions of an individual or a group at a particular place and in a particular time constitute the work. Performance art is a contested concept, any single definition of it implies the recognition of rival uses. As concepts like democracy or art, it implies productive disagreement with itself, the meaning of the term in the narrower sense is related to postmodernist traditions in Western culture. The ideal had been an ephemeral and authentic experience for performer, the widely discussed difference, how concepts of visual arts and concepts of performing arts are utilized, can determine the meanings of a performance art presentation.
It therefore can include action or spoken word as a communication between the artist and audience, or even ignore expectations of an audience, rather than following a script written beforehand, some kinds of performance art nevertheless can be close to performing arts. Performance artists often challenge the audience to think in new and unconventional ways, break conventions of traditional arts, and break down conventional ideas about what art is. Some artists, e. g. the Viennese Actionists and neo-Dadaists, prefer to use the terms live art, action art, actions, as genres of performance art appear body art, fluxus-performance, action poetry, and intermedia. Performance art activity is not confined to European or American art traditions, notable practitioners can be found in Asia, Performance artists and theorists point to different traditions and histories, ranging from tribal to sporting and ritual or religious events. There are accounts of Renaissance artists such as itinerant poets putting on performances that could be said to be ancestors of performance art.
Western cultural theorists often trace performance art activity back to the beginning of the 20th century, to the Russian constructivists, Dada provided a significant progenitor with the unconventional performances of poetry, often at the Cabaret Voltaire, by the likes of Richard Huelsenbeck and Tristan Tzara. Russian Futurist artists could be identified as precursors of performance, such as David Burliuk, abstract expressionism and Action painting preceded the Fluxus movement and the emergence of Performance Art. Performance art was anticipated, if not explicitly formulated, by Japans Gutai group of the 1950s, in the late 1960s Earth artists as diverse as Robert Smithson, Dennis Oppenheim, Michael Heizer and Carl Andre created environmental pieces that predict the performance art of the 1970s. Works of conceptual artists in the early 1980s, like Sol LeWitt, who converted mural-style drawing into an act of performance by others, were influenced by Yves Klein and the Earth artists as well.
A happening is a performance, event, or situation meant to be considered art, usually as performance art. The term was first used by Allan Kaprow during the 1950s to describe a range of art-related event or multiple events, Happenings occur anywhere and are often multi-disciplinary, with a nonlinear narrative and the active participation of the audience. Key elements of happenings are planned but artists sometimes retain room for improvisation and this new media art aspect to happenings eliminates the boundary between the artwork and its viewer. Allan Kaprow first coined the term happening in the spring of 1957 at an art picnic at George Segals farm to describe the art pieces that were going on. The first appearance in print was in Kaprows famous Legacy of Jackson Pollock essay that was published in 1958, Happening appeared in print in one issue of the Rutgers University undergraduate literary magazine, Anthologist. The form was imitated and the term was adopted by artists across the U. S. Germany, and Japan.
Jack Kerouac referred to Kaprow as The Happenings man, and an ad showing a woman floating in outer space declared, Happenings are difficult to describe, in part because each one is unique and completely different from one another. Another definition is, a purposefully composed form of theatre in which diverse alogical elements, Kaprow was a student of John Cage, who had experimented with musical happenings at Black Mountain College as early as 1952. Kaprow combined the theatrical and visual arts with discordant music and his happenings incorporated the use of huge constructions or sculptures similar to those suggested by Artaud, wrote Botting, who compared them to the impermanent art of Dada. A happening explores negative space in the same way Cage explored silence and it is a form of symbolism, actions concerned with now or fantasies derived from life, or organized structures of events appealing to archetypal symbolic associations. A Happening of the performance will have different outcomes because each performance depends on the action of the audience.
Cooper Hewitt, Smithsonian Design Museum is a design museum located in the Upper East Sides Museum Mile in Manhattan, New York City. It is the museum in the United States devoted to historical. Its collections and exhibitions explore approximately 240 years of design aesthetic, the Cooper Hewitt Museum was founded in 1896. It was originally named Cooper Union Museum for the Arts of Decoration and it fell under the wing of the Cooper Union for the Advancement of Science and Art. In 1895, the granddaughters of Peter Cooper, Sarah Cooper Hewitt, Eleanor Garnier Hewitt and Amy Hewitt Green, the museum would take its inspiration from the Musée des Arts Décoratifs, Paris. The museum would serve as a place for Cooper Union students, Cooper Union trustees provided the fourth floor of the Foundation Building. It was free and open three days a week, the three sisters served as directors until Sarah Cooper Hewitt died in 1930. After her death, four directors were appointed to run the museum, constance P.
Hare served as chair. In 1938, Edwin S. Burdell became the director of the Cooper Union, the board of directors was abolished and an advisory council was established. Eventually the museum and art started to distance themselves from one another in regards to programming. Other departments of the Cooper Union were making financial demands and the Cooper Union announced that they would close the museum and this led to the museum being closed on July 3,1963. Public outcry was strong against the closing, a Committee to Save the Cooper Union Museum was formed by Henry Francis Du Pont. The American Association of Museums developed a study about the future of the museum. Negotiations began between the Cooper Union and the Smithsonian Institution, on May 14,1968, the New York Supreme Court approved the agreement and the museum fell under ownership of the Smithsonian. July 1,1968, it was transferred to the Smithsonian. The following year,1969, it was renamed as the Cooper-Hewitt Museum of Decorative Arts, in October of that year, Lisa Taylor became the Director.
Morse College, known on campus as The Big M, is one of the twelve residential colleges at Yale University, built in 1961 and designed by Eero Saarinen. It is adjacent to Ezra Stiles College, the current Head of College is Catherine Panter-Brick. The Associate Head of College is Mark Eggerman, joel Silverman is the Dean of Morse College. In his report on the year 1955-56, Yale President A. Whitney Griswold announced his intention to add at least one residential college to the system Yale had launched only two decades earlier. We have the colleges so full that community life, education, even sanitation are suffering and this news bred wild rumors about four or five new colleges being added to Yales system. Nothing substantial was announced until the spring of 1959 when Eero Saarinen 34 was chosen as the architect, the Old Dominion Foundation, established by Paul Mellon 29, provided money to build two radically different colleges, which would alleviate the growing strain on the older colleges. Morse College is a structure built on an odd, angular site with many design features that are reminiscent of Tuscan villages.
This resulted, notoriously, in two rooms which had walls, none of which was long enough to put the bed against. However, right angles have been reintroduced into the architecture of Morse College after renovation in 2010, the college provides several amenities to its resident Morsels. The fourteen-story main tower provides a view of all of New Haven. The colleges common areas include air hockey, ping-pong, foosball, a quieter atmosphere is found in Erickas Room, a space filled with comfy couches, a TV, and board games. Erickas Room memorializes Ericka Bishop,97, who was killed by a driver just prior to the start of her junior year in Morse. Morse has an adjacent twin residential college named Ezra Stiles which is similar and was built at the same time. The two distinct colleges share a dining hall, over which runs a public walkway to the Payne Whitney Gymnasium. Architecturally and Stiles differ from their predecessors by having more space per student. Morse College freshmen are housed exclusively in the historic Durfee Hall and it is known for its unique housing quarters, 80% of which are singles—the highest percentage of any freshman housing.
The Governor Nelson A. Rockefeller Empire State Plaza is a complex of several state government buildings in downtown Albany, New York. The complex was built between 1965 and 1976 at a total cost of $2 billion. It houses several departments of the New York State administration and is integrated with the New York State Capitol, completed in 1899, among the offices located at the plaza are the Department of Health and the Biggs Laboratory of the Wadsworth Center. Riding with the princess through a section of the city known colloquially as the Gut and he said, theres no question that the city did not look as I think the Princess thought it was going to. Rockefeller conceived the design of the complex with architect Wallace Harrison in flight aboard the governors private plane. Rockefeller doodled his ideas in pen on the back of a postcard and they used the vast scope and style of Brasilia and Chandigarh as models. The massive scale was designed to be appreciated from across the Hudson River, paying for the construction of the plaza was a major problem, since a bond issue for an Albany project would almost certainly have been disapproved by the statewide electorate.
During repayment, the state guaranteed the principal and interest payments in the form of rent for a plaza that was officially county property, ownership was to be transferred to the state in exchange for regular payments in lieu of taxes. Control of the issues gave Corning and party boss Daniel P. OConnell influence when dealing with the Republican governor. The bonds were paid in 2001 and the state assumed ownership, the state obtained possession of the 98. 5-acre site on March 27,1962 through eminent domain. Demolition of the 1,200 structures began in the fall of 1962, the official groundbreaking was on June 21,1965. The initial cost estimate was $250 million, the project was plagued by delays. Unrealistic schedules set by the state forced contractors for parts to interfere with each other during work. The difficult working conditions caused some of the contractors to successfully sue the state later, the first building to be completed was the Legislative Office Building in 1972, and the last was the Egg in 1978.
A chair used by Abraham Lincoln when he visited the Cooper Union in 1860. This is before it was reupholstered in 1949.
The 1967 exhibition "Treasures from the Cooper Union."
Grave-digger, by Viktor Vasnetsov, 1871.
Grave template, topped with the handle of a scythe. Church of St. Michael, Garway, England.
Hamlet and the Gravediggers, by Pascal Dagnan-Bouveret.
Metal tree sculpture titled Graft, by artist Roxy Paine in the National Gallery of Art Sculpture Garden in Washington, D.C.
Jim Dine, surrounded by photographers, at the inauguration of his work Walking to Borås (behind him on the left), May 16, 2008.
Students sitting near water feature, installed in 2010.


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His trainer, Gym Jones founder Mark Twight, who closely monitored Cavill throughout his Man of Steel training, waited for his client to lean forward and dump the bar to the ground. Instead, Cavill did something that Twight�a man not easily impressed�would remember forever.
I�ve been busy with the new home and didn�t have time to finish Episode 62. Please accept this Brief in the interim.


Luciano Berio was born on October 24, 1925, at Oneglia, on the Italian Riviera. His father, an organist, gave him his first music lessons. He later studied with Ghedini, Giulini and Dallapiccola. He is internationally renowned as a composer, conductor, and teacher. He has taught, among others, at Darmstadt, at Harvard, and at the Juilliard School of Music (from 1965 to 1971) where he founded the Juilliard Ensemble. In 1953, he founded Milan's Studio di Fonologia, the journal Incontri musicali, and organized, under the same name, a series of contemporay music concerts which lasted four years. He has received numerous awards, as the Prix de la Fondation européenne de la culture, the Sibelius Prize, and the Italia Award in 1966 and 1975. From 1973 to 1980, he was director of the electro-accoustic department of IRCAM. From 1975 to 1977, he was Artistic Director of the Israel Chamber Orchestra and of the Accademia Filarmonica Romana. He has been living in Italy since 1980.


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Freedom of expression is absolute. So long as no one is put in harms way, as Americans we can express whatever ideas we like. Sounds good, right? In reality, there are always going to be people who believe it is their right, no, mission, to make sure that points of view not consistent with their own are not allowed to be heard. This is frequently a result of religious and/or political ideology, as we've seen recently in New York, and is probably just as frequently a product of conflicts in commercial interests (three sides of the same coin as I view it).
Artists are easy targets for all three of the types of censorship noted above. The ridiculous mess in Brooklyn is an unfortunate example of a combination of political, religious and economic threats against the free expression of an artist. I won't belabor the details here because I suspect I'd be preaching to the choir. What I'm actually here to do is tell you about a gallery in Seattle which has a primary mission of providing artists with an uncensored, non-juried venue to express themselves as they wish.
elebrating its eleventh year in October as a completely volunteer, artist run, not-for-profit entity, the Art/Not Terminal Gallery is unique in the Seattle art scene. It is not necessary for the gallery to pander to the pressures of political correctness faced by traditional commercial galleries and publicly funded art venues, nor are its members captive to the "vision" of a single curator.
This isn't to say that a visit to the A/NT is like visiting a house of ill repute. There are a wide range of serious, talented artists who enjoy the freedom to decide what they will show and how it will be presented. Many of the members do produce art that is not accepted by the mainstream, and the A/NT is really the only place in town to show this work.
Additionally, the A/NT is a great place for people to test the waters when they are just starting out an art career. The gallery accepts ANY work from ANYONE, without jury. You could display paintings by your cat if you wished. In my opinion, this is the greatest service provided by the gallery, as well as its biggest liability. The opportunity for the inexperienced artist to get a feel for the public display of his/her art in an attractive gallery space is almost unheard of. If you are just starting out, I'm sure you know what I'm talking about. How many doors have been rudely shut in your face? Kind of disheartening isn't it? Most of the time it doesn't really matter if your work is good or not. If you don't have the "in", you're probably always going to be an "outsider".
As I mentioned, theA/NT welcomes you. All of you, no matter how out-there your art or ideas. As a result, the gallery is often a mixed bag of really cool, progressive art, and more "pedestrian" (to quote Seattle Sidewalk)type hobby art. This is the liability I mentioned. Because you never know what you're going to get here, sometimes the gallery gets less respect than it deserves from the local "in" crowd, as well as the community as a whole.
That opinion is changing. Because the gallery is all volunteer, it is only as vital as the energy put into it by the membership. There is currently, I believe, a critical mass of artistic talent, creative energy and administrative skill that has been combining to make the gallery an "in" place to be an outsider. Sales of art are way up and participation from the membership, old and new, is at a level that hasn't been seen in several years.
In the last year, the gallery has expanded its usable space to include a huge subterranean space available for monthly rental. Built in the 1920's, and recently finished out, the space is a virtual cavern of pipes, concrete, old growth timbers and dungeon atmosphere. This is probably the coolest art space in Seattle and since people are discovering it, it is booked solid 8 months in advance for a variety of private and gallery sponsored art shows. The basement also serves as the location of 3 weekly life-drawing sessions with professional models. These have become very popular and are open to anyone who would like to participate.
Gallery volunteers have also built a website at http://www.antgallery.org, where members can display their work online. The website is a great resource for you to learn more about how the gallery operates and how to get involved, as well as information on future shows and events.
The main gallery areas are where the general membership (i.e.: anyone who chooses to participate) and the monthly "featured artist", who is drawn randomly from a pool of qualifying members, display their artwork. To qualify as an active member, you must volunteer at least 6 hours a month at the gallery when showing work, with a choice of volunteer duties available. Many active members volunteer more than the minimum 6 hours and are the real backbone of the success of the gallery. A Board of Directors, which is elected annually by the general membership, transacts the business of the gallery.
Ok, the most frequently asked question, "what's with the name?" When the gallery was first established in 1988, it was intended as a one-month show in a recently abandoned bus terminal. As it seemed like a good idea, the original members decided to keep the space open after that first month, and laid out the same general ground rules the gallery currently operates under. In those early months, people would come into the space looking for the bus terminal. The response to a particular visitor with limited English skills "…art, not terminal…" stuck. The gallery has since moved to new digs on Westlake Ave in downtown Seattle.
Many thanks to Rick Santiago and artbabyart.com for the opportunity to brag on our gallery. If you're in the Seattle area, please drop in and see what we're doing, or to anyone, please visit our website at http://www.antgallery.org.


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Cardi B Released Without Bail, Ordered to Stay Away From Alleged Victims of Strip Club Assault
Belcalis Almanzar aka Cardi B, September 2018 (Steven Ferdman/WireImage)
The judge issued an order of protection for the two strippers who claim Cardi organized an attack against them in August
By Madison Bloom and Matthew Strauss
In October, Cardi B was charged with two misdemeanor counts of reckless endangerment and one misdemeanor count of assault after allegedly ordering an attack at a Queens, New York strip club in August. Today (December 7), Cardi appeared in a Queens court where the judge declined to set bail, allowing her to leave on her own recognizance, according to the Associated Press and the Queens District Attorney. The judge also ordered Cardi not to have any contact—in person or on social media—with the alleged victims in the case, providing them with an order of protection. Her next court date is scheduled for Thursday, January 31, 2019.
Pitchfork has contacted representatives for Cardi B and the Queens District Attorney.
The alleged incident involves two bartenders at Angels Strip Club in Queens, New York who claim that Cardi ordered her associates to attack them with bottles and chairs, according to TMZ. In an October statement to the Associated Press, Cardi's attorney Jeff Kern said that he is "aware of no evidence" that Cardi "caused anybody any harm."
TagsLegalCardi BRap
Migos' Quavo Shares New Takeoff Tribute Song "Without You"
Listen to Sauce Walka's "Without You": The Ones
Lana Del Rey Details New Album, Pushes Back Release Date
Boston Calling 2023 Headliners: Foo Fighters, Queens of the Stone Age, Paramore, and Yeah Yeah Yeahs
Lou Reed's Writings on Martial Arts Set for Release, With Laurie Anderson Foreword
Dolly Parton, Belinda Carlisle, Cyndi Lauper, Gloria Estefan, and Debbie Harry Release New Song "Gonna Be You"
Listen to Jah$tar's "She Said Don't Move!": The Ones
By Amari Newman

redpajama_set_name: RedPajamaCommonCrawl


This week's Sunday audio post continues along our theme of hosting effective meetings. How much time did you spend in meetings this past week? What does next week look like?
This 10 minute audio, focuses in on 7 tips for more effective hosting, and facilitation of virtual meetings. Many of these tips are also relevant in holding in person meetings as well.


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Q: Do I must implement BaseObservable for Two-way data binding in Android? I know I can implement One-way data binding either Observable fields or LiveData.
1:  The sample code implement Two-way data binding with Observable fields, can I implement Two-way data binding with LiveData? Is there a sample code written with Kotlin?
2:   I have read the artical, it seems that I must implement BaseObservable for Two-way data binding with Observable fields. Do I must implement BaseObservable for Two-way data binding if I can use LiveData to implement Two-way data binding?

A: The first question's answer is Yes. You can use LiveData in two-day data binding. I also used LiveData in two-way data binding. This article helped me much.
The second question's answer is LiveData by itself is a lifecycle-aware Observable. So you don't need to implement BaseObservable.

redpajama_set_name: RedPajamaStackExchange


text:
CSU-ERFSA was founded in 1985 in response to threats and attempts to reduce or eliminate CSU retirees rights, privileges and benefits and to support the activity of retired faculty and staff as continuing members of the California State University community. Anyone who has retired from the CSU system and is receiving a pension from CalPERS based on that service is eligible to join CSU-ERFSA.
Since its founding in 1985, CSU-ERFSA (formerly CSU-ERFA) has centered its activities on the protection and enhancement of retiree benefits. A few of its accomplishments include:
(1) Leading the development of the PERS Long Term Care Partnership option.
(2) Being instrumental in stopping the use of $2 billion from PERS pension supplemental funds to offset the state budget. These funds might be used to lessen retiree losses due to inflation .
(3) Supporting adoption of Proposition 162, the Pension Protection Initiative, which was a result of the combined efforts of CSU-ERFSA and a coalition of senior groups. It was approved by the California voters and is now part of the California Constitution (Art. XVI, Sect. 17).
(4) Keeping a close watch on the investment and use of PERS funds because legislative action and court decisions could diminish the intended effect of Proposition 162.
(5) Successfully supported adoption by the CSU Board of Trustees of a resolution recognizing Emeritus faculty as continuing members of the academic community.
(Visit our accomplishments page to view a more detailed list of CSU-ERFSA accomplishments on behalf of its members and all CSU retirees.)
The Association publishes a newsletter, the Reporter, four times a year. This journal keeps members informed about pending legislation in the state legislature and Congress, as well as actions of public executive officers, the office of the CSU Chancellor, and the Board of Trustees that could affect member benefits, rights, or privileges. CSU-ERFSA also sends those members who request it a yearly pocket calendar that includes important addresses of CSU-ERFSA officers, campus retiree organizations, and members of the PERS Administrative Board.
The State Council is the governing body of CSU-ERFSA. It includes CSU-ERFSA officers, executive committee members-at-large, delegates from campus affiliated organization, nine at-large delegates, chairs of CSU-ERFSA's standing committees, and ex officio members. The State Council meets usually meets twice a year.
The Executive Committee is comprised of the CSU-ERFSA president, vice president, secretary, treasurer, past president, executive director, the editor of the Reporter, the CSU-ERFSA webmaster, and four at-large members.
In addition, CSU-ERFSA currently has five standing committees, an archivist, and liaisons to the California Faculty Association and the CSU Academic Senate.
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10 CINEMONTAGE / SUMMER 2015 MEMBERSHIP OUTREACH by Stephanie Brown and John Vitale O ver the last few years, at all of the various Membership Outreach Committee's events (roundtables with scripted and unscripted television editors/assistants/music editors and Partnerships in the Editing Room sessions, including editorial teams and associate producers), the Guild membership has expressed alarm at the lack of mentorship opportunities and on-the-job training in post-production today. Traditionally, mentoring naturally occurred within the workplace, with the seasoned professionals taking time out to bestow upon their crew the philosophy, skills, techniques and guidance of the craft. Over time, with the advancement of technology, condensed schedules and more demands placed upon each working member, these opportunities have become fewer and fewer — to the point where mentoring now seems to be available only to a lucky few. Mentorship is built upon trust among all Editors Guild classifications. Building a good working relationship with another member allows for the sharing of years of experience, ensuring that our next generation of members continues to learn the talents of their predecessors. Mentors feel a sense of pride watching their "mentees" succeed when presented with the chance to upgrade to a higher classification. This also allows for consistency in the way our craft is being performed. Let's get the conversation going again and hopefully put mentoring back into the workplace. Members should be encouraged to ask themselves, "Who was my mentor? Who have I mentored?" Answering the questions of assistants or other crew working under you is the beginning of the learning process. Our days are busy, but we need to think of creative ways to fit in opportunities to mentor. Find the time — whether it's a 15-minute lesson or a two-hour tutorial. If we make mentoring a part of all of our days, it will improve morale, help break up the extremely long days we all work and bring all Guild members closer together. Most importantly, this can foster community. Being in a union is about supporting one another. As an example, the Membership Outreach Committee's recent panel last May — featuring editors, assistant editors and associate producers working in the half-hour television format — was an informative discussion about relationships between the editing suite and management. The focus was on how to work as a cohesive unit to accomplish common goals. Two main points that came out of the panel: communication and camaraderie. All parties involved must be willing to communicate with each other about issues and finding solutions to address them. And all the panelists agreed that the key to successful working relationships is camaraderie. The three editors on the panel said that they loved interacting with their assistants and asking them for their thoughts and opinions about cuts. Feedback not only was needed, but encouraged. Which brings us back to the point of mentorship. All on the panel valued mentorship and said they made sure it happened within their cutting room. However, it was said, the interest had to be mutual. Editors need to know that their assistants are interested in being mentored. But also, the editors need to take the time to make sure it happens. To read CineMontage's coverage of the panel, see the website-exclusive article "Managing Post for TV Sitcoms" at www.editorsguild. com/FromTheGuild.cfm?FromTheGuildid=513. The Membership Outreach Committee wants to create a real opportunity for mentoring and is considering starting a pilot program, a Master Class of sorts. Experienced members proficient in their craft would teach a class and those who enroll would actually do the work, and then receive constructive criticism from the teacher. This may not be as ideal as on-the-job mentoring, but it's a start; the goal is to create an atmosphere where there is one-on-one feedback. The program will not be limited to picture editors and assistants, but would encompass all the job skills that our members perform. What are your thoughts and opinions about a mentoring program? Would you be interested in teaching a Master Class? Contact the Membership Outreach Committee at outreach@editorsguild.com or join us at the I AM THE UNION Facebook page (www.facebook.com/groups/iamtheunion/) to tell us, to offer suggestions for future panels and events or to ask questions. We welcome your input. f Whatever Happened to Mentorship? Our days are busy, but we need to think of creative ways to fit in opportunities to mentor.


This project was the other one that I tweaked at the retreat last weekend. Michele had created this project with the Web Wishes stamp set. We had been joking about "frog princes" and when I realized that this project included Dentyne Ice cinnamon gum AND the All Wrapped Up stamp set was sitting right next to me, the wheels in my twisted head started turning.
I started with a 5 3/4 x 4 inch piece of Real Red cardstock.
The Basic Black cardstock is measured at 2 1/4 x 3 3/4 inches.
The Confetti White cardstock is measured at 2 x 3 1/2 inches.
I stamped the jar image using Basic Black ink. ***If you want the image to pop a bit more, you could stamp with VersaMark ink and sprinkle with Black Embossing Powder and emboss it with a Heat Tool.
I used the "masking technique" with the frogs, so they didn't look like they overlapped each other. The directions may seem a little overwhelming at first, but once you execute the masking technique the first time, it's a breeze the next time you do it.
Here's a quick run-down on how to do the masking techniue, which I got from Stampin' UP's Stampin' Ideas and Techniques portion of their web site.
You can view Stampin' UP!'s finished project HERE.
Here's my finished project, with the gum pulled up.
I stamped a bunch of frogs, using my frog mask, to fill up the jar. To color them in, I swiped color from the Stampin' Write Markers on the plastic lid of the stamp set and used the Aquapainter to dilute the marker ink and use it as paint. For the two greens that I colored the frogs in with, I used Green Galore and Old Olive.
To draw the lips on the frogs, as well as the hand lettering for the "Pucker Up!" at the top of the project, I used the fine point tip of the Real Red Stampin' Write Marker.
I created a little bit of shadowing and dimension under and on the sides of the jar with the Bashful Blue Stampin' Write Marker and the Aquapainter.
I adhered the project together on one of the sides with SNAIL Adhesive.
I then punched a hole through both sides at the top of the project using the 1/4 inch hole punch. I cut two pieces each of Black and Red Gingham Ribbon at 14 inches long.
I threaded the ribbon through both holes and placed the gum (make sure to take it out of the original sleeve it came in) on the ribbon and pushed it down into the project, then tied a double knot in the ribbon pretty close to the top of the project. You don't want to do it too tight so that the gum doesn't budge, but you also don't want to do it too loose or the gum will slide around too much. I did my knot about 1/4 inch above the packet of gum.
1) Stamp the image with a VersaMark Pad.
2) Use sponge daubers to apply the pastel color directly to the ink. If you have a finely designed image, you can use a Q-tip (I find that the cheap dollar store Q-tips work best, as their heads are woven much tighter than the Q-tip brand......they're horrid on your ears, but work GREAT with our Stampin' Pastels.
***TIP***: Use a Pastel Eraser (2 erasers for only $2.50!!!!) to erase any unwanted color.
***TIP***: To avoid smearing, gently dab the chalk rather than rubbing it across the image.
For the background on the Tempting Turquoise card base, I used the VersaMark ink to create a tone-on-tone background.
Supplies: Bud Basics and Wonderful Words stamp sets, Tempting Turquoise, Green Galore and Whisper White Cardstock, VersaMark ink, Basic Black ink, Tempting Turquoise and Green Galore Stampin' Pastels.
Baby Wipes are my newest favorite stamping accessory!
On the 2005 Stampin' UP cruise, baby wipes and reinkers were introduced as an all-new technique. I LOVED it from the moment I saw it demonstrated at the Technique Showcase! I've been playing around with baby wipes, re-inkers, chalks and more since then.
The Bud Basics set is one of my all-time favorites right now. Total bummer that it's going to be unavailable after August 31st (so if you've been eyeing it for a while, NOW is the time to order it). SU gave us this set, along with the Jumbo Basics Outline Wheel, as our freebie on this year's cruise to the Mexican Riviera (back in March). I hope, hope, HOPE this set and the wheels make it into next year's catalog.
Anyway.........I've been having a ton of fun with this set, and with some great colors.
1) Fold a baby wipe in quarters.
2) Place one dot each of 2-4 different color ink refills (aka: re-inkers) in a horizontal line on the baby wipe.
3) Swipe your baby wipe across the Glossy cardstock.
Yup, it's THAT easy. You can re-swipe the opposite direction to create your own plaid, as well as tap the cardstock with your baby wipe to created a mottled effect. You can also put your color on in a swirling motion for an even funkier look.
Make sure that you let your ink dry on the Glossy cardstock before touching it. You don't want any unnecessary fingerprints on there.
I used a sponge dauber to add some extra color around the edges of my cardstock to give the edges some definition. I also stamped the flower image on Glossy cardstock. I used the sponge daubers again with Apricot Appeal to sponge around the edges of the glossy cardstock that I stamped the flower image on, as well as used the dauber to put a spot of color in the center of the flower.
Supplies: Bud Basics and Sincere Salutations stamp sets, Pretty in Pink, Certainly Celery and Summer Sun ink refills, Apricot Appeal, Pretty in Pink, Certainly Celery, Regal Rose and Basic Black Classic Stampin' Pads, Apricot Appeal, Certainly Celery and Glossy White cardstock, sponge daubers, baby wipe.
To follow up the post below this one, here's one of the projects we created at the July Class, with instructions under the picture. Click on the picture for a larger view.
This card was created using the Heated Pearls Technique (the strip of textured blue and green on the left side of the card).
Heated Pearls is A LOT of fun! I did it for a swap for last year's cruise to the Western Caribbean and I think I smelled too much heated glue....that kept me away from this technique for over a year. Now that my brain cells have regenerated themselves, I was up to the challenge again.
I found a great layout using another set over at SplitCoastStampers and used the layout concept that Amy05 created. She has another cool Heated Pearls Sample using the same set as her first sample....the VERY awesome Nature Prints set from the Stampin' UP Summer Mini Catalog.
1) Mix together regular school glue and Turquiose Pearl Ex.
2) Use a paintbrush to spread the Turquoise colored glue onto a piece of cardstock (I used Whisper White for this card).
3) Sprinkle Spring Green Pearl Ex in random places on top of the Turquoise colored glue.
4) Use a heat tool (embossing gun) to heat the glue. Don't worry about the bubbles....that's supposed to happen.
5) Once the glue stops bubbling, your Heated Pearls are done.
Here's another variations of this technique over at SplitCoastStampers Tutorials done by Beate Johns.


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One of the breakout stars of Captain Marvel has been Goose, the orange cat that befriends Nick Fury. Goose has captured the hearts and minds of the internet, with nerd culture embracing the cat as one of their own.
Members of the Carol Corps, the corner of the Marvel fandom that supports Carol Danvers and Captain Marvel, who have read the comics, however, know something else. Goose, like her comic book counterpart Chewie, is most likely an alien species called a Flerken.
Chewie (renamed to Goose for the film) is Carol's partner in crime, part pet, part co-pilot. Carol even names her after Chewbacca, the pilot character in the Star Wars universe.
As a result, there are a few things about Chewie that might hint at what could happen in Captain Marvel and Avengers: Endgame.
Let's break down why Goose not only deserves her own poster but deserves more attention than people have been giving her. Read on for our theory about just how the Kree, the cosmic universe, and Carol Danvers will fit into Avengers: Endgame and beyond.
In the comics, the Flerken is an alien species who just happens to look like a cat. Rocket Racoon points out that Carol's cat Chewie is a Flerken upon meeting her in space. and even tries to kill her. Carol refuses to believe him… until Chewie lays 117 eggs in the ship and Carol is forced to leave her behind in a galactic rescue center.
In the movie, they've changed her name to Goose putting special emphasis on the military and the Air Force in particular. Even if Disney owns the rights to Star Wars changing her name to Goose is smart. Goose could serve as a link to Carol's history, intentionally or otherwise. As a pilot, she probably enjoyed movies like Top Gun, or at least, someone close to her did.
The theory of "why Goose is extremely important" has to do with the pocket dimensions. Chewie's body contains pocket dimensions and the Flerken can use them to teleport to different locations.
Science-wise, pocket dimensions do actually exist and are the product of cosmic inflation. Cosmic inflation postulates that the universe is constantly expanding in the aftermath of the Big Bang. This expansion would overlap and create different pocket dimensions where time will move differently.
In Marvel, Chewie uses these pocket dimensions to store eggs. Chewie also uses teleportation, moving through pocket dimensions to get back to Carol's ship. The Flerken is a danger to others, but it does have a nifty little ability that could connect a number of other threads in the MCU at large. After all, the Flerken's pocket dimensions could be of any size and shape. The Flerken's pocket dimensions won't be the first time we've encountered "alternate dimensions" and time travel either.
Let's go over the facts. We have a Flerken that can connect to pocket dimensions and possibly teleport. We have a woman who has been gone for the past 20 years in the MCU. Sam Jackson, aka Nick Fury, let it slip that Carol can time travel. What if Goose, an animal who plays a small role in the comics but has its own poster is the reason Carol can time travel?
Hear us out. If Goose can pop through alternate dimensions and Carol can time travel, is Goose helping her pop in and out of dimensions? Since everyone has pointed out that Goose is a Flerken, a being that can move in and out of time and space – bending physics – is Goose crucial to Carol being able to get to the Avengers in Avengers: Endgame?
There's a big flaw in this theory. In the comics, Chewie only teleported itself back to Carol. There's nothing to indicate that the Flerken-cat could teleport more than one being. This is a part of the MCU however, and that could easily be changed. It would fulfill a lot of fans' dreams to have Carol pop out of time and space being led by her cat.
Goose is obviously important to the MCU. Even if the character is just a cute little gag for the poster, Marvel never does anything haphazardly. Since Sam Jackson shared that Carol can time travel -and she doesn't have that ability in the comics – Goose could be the source of that. As to how the cat can travel, there's one big pocket dimension that connects every dimension: The quantum realm.
If Goose can access the quantum realm to lay eggs and travel through, it's not a huge stretch to take Carol along. Especially if the two form a grudging partnership.
Either way, Goose has stolen the show.
The cute orange cat from the trailer has stolen the hearts and minds of audiences, and the movie is not even out yet. From shirts to toys, Goose is Carol's right-hand cat. It's no mystery. Everyone loves cats. The focus on Goose, however, is interesting. Could Marvel be hiding a major story element in plain sight behind a cute facade? Only time will tell.
What do you think of Goose? Share your thoughts with us in the comments below.


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Horror as boy, 15, knifed to death in street
Linda Patrick Friday, 3 May 2019 Edit this post
A teenager was stabbed to death in the latest killing on London's streets as new figures reveal that five young people are knifed in the cap...
A teenager was stabbed to death in the latest killing on London's streets as new figures reveal that five young people are knifed in the capital every day.
The 15-year-old, named locally as Tashaun Jones, was found critically injured in Hackney shortly before 9pm last night. He was the eighth teenager to have been stabbed to death in the capital this year.
Minutes later, a second boy, aged 16, was found with knife wounds a few hundred yards away.
He was taken to hospital with injuries that were not said to be life-threatening. Detectives believe the two stabbings — yards from Stoke Newington's high street — were linked and are investigating possible gang involvement.
Tashaun — also known as Eird — was an Arsenal fan. His grandfather said: "This is a difficult time... we are suffering."
His friends said he loved music and dreamed of being a professional producer. The family laid flowers at the scene today and sobbed and hugged each other.
A 26-year-old man was also stabbed in a clash near Camden Underground station early today. He was treated at the scene in Camden Road shortly after midnight before being taken to hospital in a critical condition.
The bloodshed came as Scotland Yard revealed that 1,768 young people aged under 25 were stabbed in the past 12 months in London. It means that, on average, nearly five young people suffer knife injuries every day in the capital, although police point out the number has fallen on the previous 12 months when it topped 2,000. The Met said this meant there were 311 fewer victims in the past 12 months, and described the figures as "extremely encouraging".
Today a huge cordon extended around the murder scene in Somerford Grove and a police tent covered the spot where Tashaun fell.
Met Commissioner Cressida Dick today described the murder as "just a terrible, terrible incident". She said the two victims were with a group of other boys and possibly a girl and that there had been "some sort of confrontation with another group" during which the 15-year-old was fatally stabbed and the other boy injured.
A mother of two said: "I heard the poor boy's sister screaming. The police were keeping her back and she was shouting, 'that's my brother, my brother'. It was heartbreaking to hear."
A shop worker today said he had tried to help one of the victims who staggered into his store. Abdullah Maruf was working at the Elif Food Centre when the boy ran in with blood pouring from a wound in his back. He said: "He was screaming and crying, 'help me, help me'. There was a wound in his back, there was a lot of blood. He looked very scared and was obviously badly wounded. I tried to calm him down. He was so young, like a child.
"I called the ambulance and was waiting with him. We were all in shock, I have never seen anything like it."
Police imposed Section 60 powers across Hackney last night to allow officers to search people without suspicion amid fears of gang retaliation attacks.
Mayor Sadiq Khan tweeted: "I am deeply saddened by the fatal stabbing of a 15-year-old boy in Hackney. My thoughts are with his family and loved ones.
"This horrific violence has absolutely no place on our streets."


Markets covered by this analysis include the US, Japan, the five major EU markets (France, Germany, Italy, Spain, and the UK), and the Rest of World (RoW) markets, which includes all other countries. This analysis includes a discussion of products, current/forecast markets, competitors, and opportunities in the markets for breast cancer diagnostic and therapeutic devices. Diagnostic device segments covered by this analysis include mammography, MRI, ultrasound, molecular breast imaging, PE mammography, tomographic optical breast imaging, RF imaging, and biopsy. Treatment devices covered by this analysis include lumpectomy, breast irradiation systems (eg EBRT, APBI, brachytherapy, IORT, and stereotactic radiotherapy), and minimally invasive ablation devices.
The global market for breast cancer diagnostic and treatment devices is anticipated to see moderate, single-digit growth throughout the forecast period covered by this analysis (2017-22). Growth in unit sales is being driven by the increasing prevalence of breast cancer, increased accessibility to breast cancer imaging and diagnostic technologies, and availability of new breast-conserving treatment options. Global product sales are projected to expand at a compound annual growth rate (CAGR) of 6.2% during the 2017-22 forecast, increasing from approximately $4,417.3m in 2017 to an estimated $5,968.0m in 2022.


This Office Safety course provides learners with an introduction to the common safety hazards that can be found in an office environment. The course explains how to identify health and safety risks and details what office workers can do to prevent their work tasks and behaviours from causing harm.
All low-risk workplaces, including offices, contain health and safety hazards that need to be carefully controlled. As an employee, it's important to have an awareness of the risks so that dangers can be identified and action can be taken to prevent injury or ill-health.
This Office Health and Safety course is suitable for anyone who works in an office workplace, including managers, supervisors, full-time and part-time employees. The course is designed at an introductory level and so no pre-requisite training or knowledge is required.
Employers have a legal responsibility to ensure that their workers are trained in health and safety matters and this course will help you to comply with that responsibility. This requirement applies to employees of all levels, including part-timers and work experience staff.
Introduction to Office Health and Safety - including statistics, benefits of health and safety, health and safety law, employer and employee responsibilities and types of office hazards.
Stress, Welfare Provisions and First Aid – including work-related stress, mental health, noise, lighting and heating, workplace first aid and recording accidents.
Understand why health and safety rules and regulations are important for office workplaces.
Recognise their health and safety responsibilities and understand where common office safety hazards can be found.
Understand how to prevent and manage slips, trips and falls in the office.
Know how to use electrical equipment safely and prevent workplace fires from starting.
Understand the importance of carrying out manual handling and chemical handling activities with care.
Know how to set up a desk or computer workstation ergonomically so as to prevent discomfort.
Understand more about how to prevent workplace stress.
Understand the first aid requirements of an office and recognise why it's important to report workplace accidents and injuries.
The online assessment is taken on completion of the training material. You will be asked 15 multiple choice questions with a pass mark of 80%. The answers are marked automatically so that you'll instantly know whether you passed. If you don't pass don't worry! You can take the test as many times as required with no extra charge.


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Reviews » DVD Video Reviews » Mr. Vampire (Remastered)
Mr. Vampire (Remastered)
International - Yesasia.com // Unrated // June 22, 2005 // Region 0
List Price: $15.49 [Buy now and save at Hkflix]
Review by Carl Davis | posted July 29, 2005 | E-mail the Author
Mr. Vampire (1985) is nothing short of a Hong Kong classic, an Old School action comedy with a generous dose of horror to boot. Produced by the legendary Sammo Hung, it arrived on the scene in time to signal the renewed vigor of the Hong Kong film industry, released the same year as Jackie Chan's Police Story and predating John Woo's A Better Tomorrow which would really kick things into high gear. Director Ricky Lau states in an interview on the disc that stakes were high as the film's budget skyrocketed during production and would need to recoup a lot at the box-office. As it turned out, the film did so well that it spawned so many sequels and imitators (including Mr. Vampire 2), each of varying degrees of quality, which was even impressive by Hong Kong standards.
Taoist sifu (teacher) Gau (the amazing Lam Ching-Ying) has been asked by the wealthy Yam family to rebury their patriarch, as poor "feng shui" is depleting their fortune. Upon unearthing the old fellow, it seems that 20 years spent underground has had no ill effects upon the corpse, except for its razor sharp blue fingernails and its insatiable lust for blood. That's right, the elder Yam has turned into a vampire. Gau realizes this and entrusts his assistants to affix various spells and charms on the casket to prevent the monster from getting loose. As the film demonstrates, the placement of parchment bearing spells, or even symbols drawn in blood, on the creatures' foreheads paralyze them instantly. But Gau's assistants, Choi and Chou, are a couple of bumblers who make a crucial mistake that releases the undead Yam.
Choi gets himself bitten by the ill tempered ghoul and must then dance on sticky rice to try and draw out the vampirism. Meanwhile his partner-in-crime Choi is seduced by a ghostly vixen and as if that's not bad enough, once dead bodies start turning up a dim-witted constable arrests Gau under suspicion of murder. After an absolutely hilarious and breathtaking fight scene in the jailhouse, Gau's name is cleared and he can get back to saving his assistants and putting the elder Yam to rest… for good. In order to do this, he must first face the female ghost who's bewitched Chou. During their climactic showdown sifu Gau, in true Hong Kong fashion, even has to fight her disembodied head. The finale includes more hopping ghouls, spiritual kung-fu, slapstick comedy and hair-raising predicaments than any ten films combined and still packs one helluva punch even after 20 years.
It's amazing how well this film has withstood the test of time. While much of the physical humor and stunts will always be timeless, even the crude wirework and physical effects look good in this age of "bullet time" and ever increasing CGI special effects. Lam Ching-Ying's amazing physical presence on screen also plays a big part in the films popularity, although Lam himself felt typecast by the role of Gau, playing similar characters (in no less than eight sequels and knock-offs of Mr. Vampire) in close to 15 films before his untimely death, at the age of 45, from liver cancer in 1997.
The DVD:
Picture: This is the digitally remastered edition and it clearly shows. Fortune Star released both versions of this film and have greatly improved upon every aspect of this edition. The film is presented in a 1.78:1 anamorphic widescreen transfer. The print looks like it could have been struck yesterday, with a clean, clear picture and rich colors. There is a little grain, but that is probably due to the type of film stock used.
Audio: There are four audio tracks included on this DVD. A Cantonese Dolby Digital 5.1 Surround Track, a Cantonese DTS track, a Mandarin Dolby Digital 5.1 Surround Track and the original Cantonese 2.0 Stereo track. I listened to the Cantonese 5.1 track and it was phenomenal. The dialogue and sound effects were crisp and the music was very atmospheric and sounded better than ever.
Extras: Extras include an interview with Director Ricky Lau, a photo gallery and two trailers for the film: the remastered theatrical trailer and a newly edited "Americanized" trailer, which is much shorter.
Conclusion: It's about time that this keystone of '80s Hong Kong cinema finally received the DVD treatment it deserved. While it was great to have the film in all it's restored glory, as well as the insightful interview with Ricky Lau, I still wished that Fortune Star could have gotten their hands on some of the other extras I've seen floating around for this release. Specifically I am talking about a video tribute piece to Lam Ching-Ying that Sammo Hung and Chin Siu-ho produced and has been included on other releases of this film. That's just nitpicking though, as this presentation is just the thing to please longtime fans of the film and attract the curious. Highly Recommended.
Find the lowest price for 'Mr. Vampire (Remastered)'


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Q: How to Apply Corner Radius to LinearLayout I want to make a layout with a rounded border. How can I apply a radius of a particular size in a LinearLayout?

A: try this, for Programmatically to set a background with radius to LinearLayout or any View.
 private Drawable getDrawableWithRadius() {

    GradientDrawable gradientDrawable   =   new GradientDrawable();
    gradientDrawable.setCornerRadii(new float[]{20, 20, 20, 20, 20, 20, 20, 20});
    gradientDrawable.setColor(Color.RED);
    return gradientDrawable;
}

LinearLayout layout = new LinearLayout(this);
layout.setBackground(getDrawableWithRadius());

A: You can create an XML file in the drawable folder. Call it, for example, shape.xml
In shape.xml:
<shape
    xmlns:android="http://schemas.android.com/apk/res/android"
    android:shape="rectangle"   >

    <solid
        android:color="#888888" >
    </solid>

    <stroke
        android:width="2dp"
        android:color="#C4CDE0" >
    </stroke>

    <padding
        android:left="5dp"
        android:top="5dp"
        android:right="5dp"
        android:bottom="5dp"    >
    </padding>

    <corners
        android:radius="11dp"   >
    </corners>

</shape>

The <corner> tag is for your specific question.
Make changes as required.
And in your whatever_layout_name.xml:
<LinearLayout
    android:layout_width="fill_parent"
    android:layout_height="wrap_content"
    android:orientation="vertical"
    android:layout_margin="5dp"
    android:background="@drawable/shape"    >
</LinearLayout>

This is what I usually do in my apps.

A: Layout
<LinearLayout
    android:id="@+id/linearLayout"
    android:layout_width="300dp"
    android:gravity="center"
    android:layout_height="300dp"
    android:layout_centerInParent="true"
    android:background="@drawable/rounded_edge">
 </LinearLayout>

Drawable folder  rounded_edge.xml
<shape
xmlns:android="http://schemas.android.com/apk/res/android">
    <solid
        android:color="@android:color/darker_gray">
    </solid>
    <stroke
         android:width="0dp"
         android:color="#424242">
    </stroke>
    <corners
         android:topLeftRadius="100dip"
         android:topRightRadius="100dip"
         android:bottomLeftRadius="100dip"
         android:bottomRightRadius="100dip">
    </corners>
</shape>

A: You would use a Shape Drawable as the layout's background and set its cornerRadius.
Check this blog for a detailed tutorial

A: Try using the Glide module for working with images. You need implement it like this:
implementation 'com.github.bumptech.glide:glide:4.12.0'
annotationProcessor 'com.github.bumptech.glide:compiler:4.12.0'

Here is my use case in a Fragment. This is where I get the URL of image from the constant. Then I set the corner radius to 16. And then I set the resulting background in my LinearLayout:
        Glide.with(this).load(Constants.FLAT_IMAGE).apply(RequestOptions.bitmapTransform(
        RoundedCorners(16)
    )).into(object :
        CustomTarget<Drawable>() {
        override fun onLoadCleared(placeholder: Drawable?) {
            super.onLoadStarted(placeholder)
        }

        override fun onResourceReady(
            resource: Drawable,
            transition: Transition<in Drawable>?
        ) {
            binding.llPromoDreamFlatImage.background = resource
        }
    })

This way you can set the background image as a picture or a color with rounded edges for the LinearLayout. Here is my example:
        <LinearLayout
        android:id="@+id/llPromoDreamFlatImage"
        android:layout_width="match_parent"
        android:layout_height="420dp"
        android:layout_marginTop="35dp"
        android:layout_gravity="center"
        android:gravity="center"
        >


text:
Title:Anlotinib Inhibits Cell Proliferation, Migration and Invasion via Suppression of c-Met Pathway and Activation of ERK1/2 Pathway in H446 Cells
Author(s): Xiali Tang, Ying Zheng, Demin Jiao, Jun Chen, Xibang Liu, Shan Xiong* Qingyong Chen*
Department of Pulmonary and Critical Care Medicine, The 903rd Hospital of PLA, Hangzhou, Zhejiang,China
Keywords: Anlotinib, small cell lung cancer, H446, c-met, ERK1/2, cell proliferation.
Background: Small Cell Lung Cancer (SCLC) represents the most aggressive pulmonary neoplasm and is often diagnosed at late stage with limited survival, despite combined chemotherapies. The purpose of this study was to investigate the effect of anlotinib on SCLC and the potential molecular mechanisms.
Methods: Cell viability was assessed by CCK-8 assay to determine the adequate concentration of anlotinib. Then, effects of anlotinib on cell apoptosis, cell cycle distribution, migration and invasion were analyzed by flow cytometry, PI staining, wound healing assay and transwell assay, respectively. The protein expression of c-met and ERK1/2 pathways in H446 cells were assessed by western blot analysis.
Results: In this study, we found that anlotinib significantly reduced the cell viability of H446 cells, induced G2/M cell cycle arrest and decreased invasion and migration of H446 cells. Futhermore, we also found that anlotinib could suppress c-met signal transduction and activate the ERK1/2 pathway in H446 cells. More importantly, c-met was involved in the effects of anlotinib on migration and invasion in H446 cells.
Conclusion: Taken together, our results demonstrated that anlotinib was a potential anticancer agent that inhibited cell proliferation, migration and invasion via suppression of the c-met pathway and activation of the ERK1/2 pathway in H446 cells.
Tang Xiali , Zheng Ying , Jiao Demin , Chen Jun , Liu Xibang, Xiong Shan *, Chen Qingyong *, Anlotinib Inhibits Cell Proliferation, Migration and Invasion via Suppression of c-Met Pathway and Activation of ERK1/2 Pathway in H446 Cells, Anti-Cancer Agents in Medicinal Chemistry 2021; 21(6) . https://dx.doi.org/10.2174/1871520620666200718235748
Current Cancer Therapy Reviews
Current Cancer Drug Targets
Recent Patents on Anti-Cancer Drug Discovery
Clinical Cancer Drugs
Cutting Edge Therapies for Cancer in the 21st Century
Controversies in Neuro-Oncology
Cancer Preventive and Therapeutic Compounds: Gift From Mother Nature
Frontiers in Clinical Drug Research - Anti-Cancer Agents


Laws Governing Charitable Organisations In India: Charities can be formed in multiple ways and may be subject to various acts of legislation. The right of all citizens to form associations or unions is guaranteed by the Constitution of India, Article 19(1)(c). "Charities and charitable institutions, charitable and religious endowments and religious institutions" is a subject of the Concurrent list of the Seventh Schedule to the Constitution of India, where both the Centre and the States are competent to legislate and regulate charitable organisations. Under Schedule VII of the Indian Constitution, the subject 'Trust and Trustees' finds mention at Entry No.10 in the Concurrent List and 'Charities & Charitable Institutions, Charitable and religious endowments and religious institutions' find place at Entry No.28 of this list.
The legal framework for the charity sector in India is quite complex with a number of different acts of legislation governing it in their own way. There are three basic legal forms of charitable entities under Indian law: trusts, societies, and section 25 companies. The legal framework governing the charitable institution will depend on the form of business organization the charitable institution takes. There is no comprehensive central law for legal incorporation of nonprofit organizations which applies to trusts, registered societies and section 25 companies alike.
If the charitable institution is formed as a Public Trust, it will be governed by the Public Trust Act applicable in the relevant State. However, if no Public Trust Act exists in that state, then the applicable legislation will be the Indian Trusts Act 1882. Indian Trusts Act 1882 deals with private family trusts and becomes applicable where there is no State act.
If the charitable institution is formed as a Society, it will be governed by the Societies Registration Act, 1860. The charitable institution can also be formed as a non-profit company under section 25 of the Companies Act, 1956.
Apart from the above legislations, the Income Tax Act 1961 will be applicable to charitable institutions. And in the case of foreign contributions to these charitable institutions, the Foreign Contribution (Regulation) Act, 2010 will be applicable. Apart from the above, various laws are applicable to Trusts, Societies and Wakfs.
Also, various State Laws are applicable to Charitable Institutions. For example, all public charitable trusts in the state of Maharashtra are governed by the Maharashtra Public Trusts Act, 1950. The same Act, with minor changes, is also operational in the state of Gujarat. Rajasthan, too, has a Trusts Act of 1959, while Madhya Pradesh had an Act of 1951. In certain southern states like Andhra Pradesh, there are endowment Acts, while a number of northern and north-eastern states in India have no trust Act at all. Even the capital of India- New Delhi-has no trust Act.
3) Public Trusts Acts of various states in India.
(c) through explicit mention in entries made in the Seventh Schedule.
Entry 43 – "Incorporation, regulation and winding up of trading corporations, including banking, insurance and financial corporations but not including co-operative societies".
Entry 44 – "Incorporation, regulation and winding up of corporations, whether trading or not, with objects not confined to one State, but not including universities".
Entry 32 – "Incorporation, regulation and winding up of corporations, other than those specified in List I, and universities; unincorporated trading, literary, scientific, religious and other societies and associations; co-operative societies".
Entry 28 – "Charities and charitable institutions, charitable and religious endowments and religious institutions".
Since forming Associations is a Constitutional right under Article 19(1)(c) of the Indian Constitution, it is quite feasible to set up a non-profit/voluntary organisation without any kind of registration or recognition under any of the entries mentioned above. In fact, some of the community based organisations like village committees, small religious groups and many Resident Welfare Associations function in this manner. However, when it comes to claiming exemptions under the Income Tax Act, 1961 and for availing of other benefits from the Government, there is insistence on formal registration.
If you have any suggestion regarding "Laws Governing Charitable Organisations In India" then please tell us via below comment box….


I'm just a guy living in California who happens to really enjoy Disney history, lore, legend, and theme parks. I'm always eager to share my Disney stories, ideas, tips and tricks with anyone who also loves Disney. And I love hearing what other Disneyphiles think, too! If you'd like to get in touch with me via social media or e-mail use the links below.
All follows & likes are greatly appreciated and if you're a Disney nut, too, I'll almost definitely follow you back and leave fun replies/comments for you!


text:
és una psiquiatra francesa experta en victimología.

El 1978, es va doctorar en medicina a Bordeus, on també va aconseguir un certificat de segon grau d'etnologia, en l'opció de la Etnopsiquiatria, el 1974. És també psicoanalista i psicoterapeuta familiar, especialitzada en la teràpia de assetjament psicològic o assetjament moral, terme desenvolupat per ella i que ha estat adoptat pels legisladors francesos i belgues i acceptat a Espanya i Japó. És victimòloga, diplomada en 1994 a l'American University, Washington DC. i professora de Victimologia en la Universitat de París Descartes, exercint també com a investigadora associada.

Hirigoyen va realitzar un curs sobre assassins en sèrie amb l´FBI quelcom que la va ajudar a reconèixer un tipus de perfil psicològic, el «pervers» que pot considerar-se un parent proper de «l'assetjador moral». Es va diplomar l´any 1995 a la Universitat René Descartes, París V. La seva tesi es va ocupar de la violència psicològica i es va titular «La destrucció moral, les víctimes del pervers narcisista».

El 1998 va publicar «L'assetjament moral.: la violència perversa a la vida quotidiana», assaig sobre la possibilitat de destruir a algú només amb paraules, mirades o insinuacions i que va arribar a vendre més de 450000 exemplars i va ser traduït a 24 llengües . El 2001 va publicar «L'assetjament moral: La violència a la feina» i va ser una peça clau en la nova llei francesa sobre l´assetjament moral a la feina del gener del 2002. El 2005, va publicar «Mujeres maltratadas» i va assessorar el Govern francès de Chirac en la llei que penalitzava els maltractaments a les dones. El 2007, va publicar «Les nouvelles solitudes», assaig sobre la soledat, desitjada o no, en la societat del nostre temps. El 2012, va publicar «Abus de faiblesse et autres manipulations», sobre les manipulacions que es donen en la societat moderna. El 2019 va publicar «Les narcisse ils ont pris le pouvoir», assaig sobre el narcisisme en la societat actual.

Referències

Vegeu també
 Assetjament laboral
 Assetjament familiar
 Boris Cyrulnick

Enllaços externs

 Hirigoyen en Acoso moral

Psiquiatres francesos
Psicòlegs francesos
Persones del Sarthe

redpajama_set_name: RedPajamaWikipedia


text:
Melbourne Art Trams hit the tracks
With just over a week to the start of the 2014 Melbourne Festival, the first of the Art Trams have hit the tracks at a launch held on Wednesday 1 October.
The first tram in a series of eight, renowned street artist, Rone has brought a distinctly Melbourne flavour – bringing the vibrant, layered aesthetic of Melbourne's laneway culture to the main thoroughfares of the city.
Rone is a well-known figure of Melbourne's street art scene with his work becoming a familiar sight on the streets of the city. One of his most striking works is the nine-storey high mural L'Inconnue De La Rue (The unknown girl of the street) at 80 Collins Street in Melbourne's CBD.
Melbourne's Art Trams program is a partnership between the Victorian Government (through Arts Victoria), Yarra Trams and the Melbourne Festival that transforms Melbourne's iconic trams into large-scale mobile public artworks. The program was launched last year and is a new take on the fondly remembered Transporting Art scheme which saw 36 artists paint trams between 1978 and 1993.
The first Art Tram will operate on Essendon Routes 55, 57, 59 and 82, with its location being able to be tracked using Yarra Trams mobile app tramTRACKER (for iPhone or Android), by typing tram number 209 into the myTram feature.
Seven more Art Trams will be launched over the coming weeks and will remain on Melbourne's tram network for the next six months, featuring the work of: Jeff Makin, Gabriella Possum Nungurrayi, Kristin Headlam, James Cattell, Christian Thompson, Janine Daddo, and Callum Croker.
For more information, visit: www.melbournefestival.com.au/trams or www.yarratrams.com.au for details.
Image: Heidi Victoria, Minister for the Arts; Rone, Tram Artist; Clément Michel, Yarra Trams Chief Executive Officer; and Josephine Ridge, Creative Director Melbourne Festival – courtesy of Yarra Trams
On the Couch with Anouk van Dijk
Pants Down Circus – Rock


text:
Kabusa Böcker var ett bokförlag grundat år 2002. Kabusa var under sin verksamhetstid Västsveriges största allmänutgivande förlag.

Kabusa är en plats i sydligaste Sverige där förlaget startade. Kabusa Böcker gav ut såväl svensk som översatt skönlitteratur för vuxna och barn, deckare, fack- och presentböcker. Inom förlagsgruppen fanns också Styxx Fantasy, Kopparmärra och Charlie by Kabusa. Förlaget försattes i konkurs 15 jan 2018.

Underförlag
Kabusa hade tre imprints: Styxx Fantasy med science fiction- och fantasyutgivning, Charlie by Kabusa med utgivning inom hbtq och genus samt Kopparmärra för Göteborgslitteratur.

Charlie by Kabusa
Charlie by Kabusa startades 2010 efter att det tidigare queerförlaget Normal förlag lades ner och tog vid starten över de titlar som skulle ha getts ut där under hösten 2010 om Normal inte hade avvecklat verksamheten.
Namnet Charlie är en blinkning åt Margareta Subers roman från 1932 med samma namn. Boken, som ursprungligen gavs ut av Bonniers, anses vara en av de första som tog upp lesbisk kärlek. Normal gav ut den 2005. Charlie har bland annat gett ut Lill-Marit Bugges och Anna-Lena Brundins bok Marja och Agneta – the story of True Love.

Styxx Fantasy
Styxx Fantasy var ett imprint inriktat på fantasy, science fiction och skräck för barn, ungdomar och vuxna. Imprintet startades 2010 och hade sitt säte i Göteborg.

Kopparmärra
Kopparmärra, vars namn syftade på statyn Kopparmärra, var ett imprint med fokus på böcker om Göteborg.

Referenser

Ej längre existerande svenska bokförlag
Företag i Göteborg
Företag bildade 2002
Kultur i Göteborg


When people think about Miami Beach, one of the first things that comes to mind are the gorgeous views of the Atlantic Ocean and Biscayne Bay. Avid boaters and water enthusiasts love to live so close to the water and have Miami Beach waterfront homes with easy access to the ocean and bay. Fortunately for buyers seeking ocean access, and amazing views, Miami Beach has quite a few of these Miami Beach waterfront properties. If you're interested in seeing what Miami Beach has to offer, then take a look at some of the most ocean accessible homes in Miami Beach.
This impressive modern Miami Beach waterfront residence located at 2305 Lake Avenue, Miami Beach, FL 33140 can be found in the Sunset Islands neighborhood of Miami Beach. This Sunset Islands waterfront home was created by sought after architect Ralph Choeff and builder Todd Glaser. This 8 bedroom, 9 bath, home is situated on a large lot that offers wide water views. The home offers 10,090 square feet of living space, which includes a 2-bedroom attached cottage, maid's quarters, and a 1-bedroom detached guest quarters. The Miami Beach waterfront home also offers an exercise space and a custom-built garage. The light-filled home has stunning views of its ground level reflection pools. Listed at $19,500,000 this Miami Beach waterfront home offers avid boaters rare dock accommodations for a yacht over 100 feet in size, as well as 150 feet of waterfrontage.
Road waterfront homes offers elegant living, and establishes a new standard for sophisticated design in Miami Beach. This 7 bedroom, 9 bath, home offers dramatic wide bay views and a modern layout. The home offers 15,000 square feet of living space, and features impact sliding glass walls throughout. The sensational, lushly landscaped backyard offers a pool, a deck, an outdoor bar, and a covered patio. Listed at $29,000,000 this Miami Beach waterfront home offers avid boaters a private dock and deck for easy take offs and returns.
This attractively remodeled Miami Beach waterfront home located at 4330 North Bay Road, Miami Beach, FL 33140 can be found in North Bay Road neighborhood of Miami Beach. This North Bay Road waterfront home includes a chef's kitchen with a breakfast nook, a formal dining room, and a formal living room. This home has 8,066 square feet of living space that offers sweeping water views throughout. This waterfront home features an impeccable master suite with large walk-in closets, a spacious bathroom, and a sitting area. The grounds of the home are beautifully landscaped and feature a pool, sitting areas, and covered terraces.
Listed at $16,900,000 this Miami Beach waterfront home offers buyers a private dock and 133 feet of waterfrontage.
If you are interested in Miami Beach waterfront homes, please contact us at pobiakproperties.com, and we will be more than happy to show you these gorgeous Miami Beach waterfront homes showcased here, as well as many others. We will dedicate our time and efforts to helping you find your Miami Beach waterfront dream home.


text:
<?php

namespace Pterodactyl\Http\Controllers\Api\Remote\Servers;

use Illuminate\Http\Request;
use Illuminate\Http\Response;
use Pterodactyl\Models\Server;
use Illuminate\Http\JsonResponse;
use Pterodactyl\Http\Controllers\Controller;
use Pterodactyl\Repositories\Eloquent\ServerRepository;
use Pterodactyl\Events\Server\Installed as ServerInstalled;
use Illuminate\Contracts\Events\Dispatcher as EventDispatcher;
use Pterodactyl\Http\Requests\Api\Remote\InstallationDataRequest;

class ServerInstallController extends Controller
{
    /**
     * @var \Pterodactyl\Repositories\Eloquent\ServerRepository
     */
    private $repository;

    /**
     * @var \Illuminate\Contracts\Events\Dispatcher
     */
    private $eventDispatcher;

    /**
     * ServerInstallController constructor.
     */
    public function __construct(ServerRepository $repository, EventDispatcher $eventDispatcher)
    {
        $this->repository = $repository;
        $this->eventDispatcher = $eventDispatcher;
    }

    /**
     * Returns installation information for a server.
     *
     * @return \Illuminate\Http\JsonResponse
     *
     * @throws \Pterodactyl\Exceptions\Repository\RecordNotFoundException
     */
    public function index(Request $request, string $uuid)
    {
        $server = $this->repository->getByUuid($uuid);
        $egg = $server->egg;

        return new JsonResponse([
            'container_image' => $egg->copy_script_container,
            'entrypoint' => $egg->copy_script_entry,
            'script' => $egg->copy_script_install,
        ]);
    }

    /**
     * Updates the installation state of a server.
     *
     * @return \Illuminate\Http\JsonResponse
     *
     * @throws \Pterodactyl\Exceptions\Repository\RecordNotFoundException
     * @throws \Pterodactyl\Exceptions\Model\DataValidationException
     */
    public function store(InstallationDataRequest $request, string $uuid)
    {
        $server = $this->repository->getByUuid($uuid);

        $status = $request->boolean('successful') ? null : Server::STATUS_INSTALL_FAILED;
        if ($server->status === Server::STATUS_SUSPENDED) {
            $status = Server::STATUS_SUSPENDED;
        }

        $this->repository->update($server->id, ['status' => $status], true, true);

        // If the server successfully installed, fire installed event.
        if ($status === null) {
            $this->eventDispatcher->dispatch(new ServerInstalled($server));
        }

        return new JsonResponse([], Response::HTTP_NO_CONTENT);
    }
}

redpajama_set_name: RedPajamaGithub


text:
Q: Mangle public variable names with UglifyJS I have code similar to this:
(function (global) {
    var MyObject = function (arg1, arg2) {
        this.publicVar = arg1;
        this._internalVar = arg2;
    };
    MyObject.prototype = {
        publicFunc: function (param) {
            return param + this._internalVar;
        }
    };
    global.MyObject = MyObject;
}(window));

Can I somehow get UgilfyJS to mangle _internalVar because it is not intended to be used outside of this scope? I know it can be done with closure compiler using advanced compression etc but I'm using anvil to build and uglifyjs to minify.

A: To protect _internalVar , I tried
(function (global) {

    var MyObject = function () {};

    MyObject.prototype = (function(){

        var _internalVar = 2;

        return {
             publicVar: 1,
             publicFunc: function (param) {
                return param +' '+ _internalVar;
            }
        };

    })();

    global.MyObject  = MyObject;

}(window));

and tried to access
console.log(  ( new window.MyObject()).publicVar  );

which print 1
console.log(  ( new window.MyObject())._internalVar  );

which is undefined
console.log( ( new window.MyObject()).publicFunc('value') );

which print value 2
for more information please check http://addyosmani.com/resources/essentialjsdesignpatterns/book/#modulepatternjavascript


Dr. Atif Rahman is a clinical academic, specialised in child and adolescent psychiatry, with an interest in the mental health of women and children in developing countries. In his early career he trained at the Institute of Psychiatry, Rawalpindi, Pakistan, and the Manchester Scheme for Training of Overseas Doctors. He was awarded the Wellcome Trust Training Fellowship in Clinical Epidemiology, completing his Masters in Research in 2001 and PhD in 2003 from the University of Manchester. He conducted a cohort study in rural Pakistan and his work was one of the first to demonstrate the link between maternal depression and poor infant growth. In 2004, he was awarded the Wellcome Trust Research Career Development Fellowship in Tropical Medicine (2004 - 2007). He developed and tested community-based complex interventions for maternal depression and child development in Pakistan, successfully completing the largest trial of a psychological intervention to be conducted in the developing world. He was appointed to the chair of child psychiatry at the University of Liverpool in January 2008. He continues to be active in the field of international mental health. His main areas of research are parental mental health and its impact on child development, early interventions to promote child development, and the community management of intellectual disability.


Certain small businesses that offer health benefits are eligible for a health care tax credit. These vary depending on the tax-exempt tax status of the organization and employer contribution toward health benefits.
The Small Business Health Care Tax Credit is designed to encourage small businesses and small tax-exempt organizations to offer health insurance coverage for their employees. The credit is targeted specifically to help businesses and organizations that employ moderate- and low-income workers.


Positioned in the heart of Lorne's most exclusive residential precinct and presenting a panoramic outlook beneath the magical blue gums. This tri level home features 5 spacious bedrooms, large open plan dining/kitchen/living area and ample off street parking. A stunning outdoor landscape provides the final compliment to this superb holiday home.
Off Road Driving, Barbecue, Mountain Biking, Trail bike riding, Bushwalking, Cycling, Driving, Fishing - Beach, Exercising, Golfing, Photography, Shopping, Sightseeing, Surfing, Swimming, Tennis, Walking, Whale Watching.
Active, Aussie Lifestyle, Beach, Fishing, Golf, Relaxation, Shopping, Water based, 18-35's, Adult Getaway, Family.


After reading Play with Paint together, Trevor and I decided we wanted to try making stamps from yarn. The book suggested making a simple swirl or a geometric shape. We took it a step further.
Begin by sketching your design on chipboard. Once you are happy with your design, cut pieces of yarn to match the pencil lines you've drawn. Then, trace the pencil lines with white glue and apply the yarn.
When all the yarn is in place, press it firmly into the glue.
This is the hardest part: let your design sit, untouched, overnight.
Use a foam brush to apply paint to your design. Trevor chose a grey boat and mast, and blue water and flag.
Carefully press your stamp onto paper. Lift straight up to reveal your design.
Want to see mine? No surprise - it's a bunny.
I stamped it three times, adding more paint each time. I LOVE how it turned out.
Trevor loved this project so much that he continued making stamps. Each one got better and better. His flower is beautiful.
And so is his tree.
What a fun project, all inspired by a randomly selected book! This is exactly what makes Library Roulette so awesome.
Sooooooooo awesome!! They look AMAZING!!!
I would have never thought to stamp with yarn. Love this idea. Perfect for my preschooler too. Thank you for posting this!
WOW Cindy! Your images look so cool! I love how your bunny turned out, and all of Trevor's creations look amazing! I need to read "Play with Paint" now!!!!!
These are so cool! I really love all of the stamps that the two of you made. Y'all are so crafty!
That's really neat. I'll have to do that with granddaughter in the future. thanks. Love Trevors creations.