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MALRX
Advantage Large Cap Core Fund
Class K Class R Institutional Investor A Investor C Service
52 WK: 15.01 - 18.18
Invests at least 80% of its assets in equity securities or other financial instruments that are components of, or have market capitalizations similar to, the securities included in the Russell 1000® Index.
Benchmark (%) Index: Russell 1000 Index (Gross Total Return).

 Index returns are for illustrative purposes only. Index performance returns do not reflect any management fees, transaction costs or expenses. Indexes are unmanaged and one cannot invest directly in an index. Past performance does not guarantee future results.
Morningstar Category Avg. (%) Large Blend
28.78 13.26 9.78 12.03
763/1387 460/1203 404/1058 415/808
Lipper Category Avg. (%) Large-Cap Core Funds
314/715 157/617 115/524 136/370
29.15 2.63 8.55 29.15 49.18 65.12 215.75
Total Return (%) Total return represents changes to the NAV and accounts for distributions from the fund. 0.35 10.29 22.10 -5.39 29.15
Benchmark (%) Index: Russell 1000 Index (Gross Total Return)

 Index returns are for illustrative purposes only. Index performance returns do not reflect any management fees, transaction costs or expenses. Indexes are unmanaged and one cannot invest directly in an index. Past performance does not guarantee future results. 0.92 12.05 21.69 -4.78 31.43
Morningstar Category Avg. (%) Large Blend -1.07 10.37 20.44 -6.27 28.78
The Fund's returns prior to June 12, 2017 are the returns of the Fund when it followed different investment strategies under the name "BlackRock Large Cap Core Fund."
Advantage Large Cap Core Fund ($)
Cum. Fund Perf. Since Inception: 300.65
Size of Class (Millions) as of Jan 17, 2020 $1,444.4 M
Size of Fund (Millions) as of Jan 17, 2020 $2,878.6 M
Share Class launch date Dec 22, 1999
Morningstar Category Large Blend
Lipper Classification Multi-Cap Core Funds
Benchmark Index Russell 1000 Index (Gross Total Return)
CUSIP 09250J502
Turnover Percent as of Dec 31, 2019 151%
P/B Ratio The price to book (P/B) value ratio is a fundamental measure used to determine if an investment is valued appropriately. The book value of a company is a measure of how much a company's assets are worth assuming the company's debts are paid off. Negative book values are excluded from this calculation and holding price to book ratios over 25 are set to 25. as of Dec 31, 2019 3.63
P/E Ratio - Forward The forward price-to-earnings ratio is used to assess a company's valuation. To compute this ratio, the latest closing price is divided by the company's consensus mean EPS estimate for the next unreported fiscal year. The ratio represents a weighted harmonic mean of the forward price-to-earnings ratios of its holdings with negative values being excluded from the calculation. as of - -
Average Market Cap (Millions) The average size of the securities the fund invests in. as of Dec 31, 2019 $ 265,129.4 M
Alpha (3y) Compared to Russell 1000 Index (Gross Total Return).

Alpha is calculated at the portfolio level.

A measure of performance on a risk-adjusted basis. Alpha takes the volatility (price risk) of a mutual fund and compares its risk-adjusted performance to a benchmark index. The excess return of the fund relative to the return of the benchmark index is a fund's alpha. as of Dec 31, 2019 -0.05
R-Squared (3y) as of Dec 31, 2019 98.15
Beta (3y) as of Dec 31, 2019 0.99
Best 3-Month Return Over the Last 3 Years 3 months ending Mar 31, 2019 13.96%
Worst 3-Month Return Over the Last 3 Years 3 months ending Dec 31, 2018 -14.76%
Active Share Active Share measures the percentage of fund holdings that is different from the benchmark holdings at a point in time. It is calculated by taking the sum of the absolute value of the differences of the weight of each holding in a fund's portfolio versus the weight of each holding in a benchmark index and dividing by two. A fund that has no holdings in common with the benchmark will have an Active Share of 100%, and a fund that has exactly the same holdings as the benchmark considered will have an Active Share of 0%. Active Share levels can vary depending on the underlying benchmark and investment universe. Funds with more concentrated benchmarks or smaller investment universes will typically have lower Active Share. Active Share is not indicative of future performance or a measure of expected return deviation from the benchmark. as of Dec 31, 2019 45.89%
Net Expense Ratio The difference between gross and net expense ratios are due to contractual and/or voluntary waivers, if applicable. Any applicable contractual waiver will be terminable upon 90 days' notice. BlackRock may agree to voluntarily waive certain fees and expenses, which the adviser may discontinue at any time without notice. For this share class, the contractual waiver end date is Jan 31, 2021. 0.48%
Consistent Return Advantage Large Cap Core Fund received the following Consistent Return ratings for the 3-, 5-, and 10-year periods, respectively: 4 (617 funds), 5 (524 funds), and 4 (370 funds).<br /><br />Lipper ratings for Consistent Return reflect funds' historical risk-adjusted returns, adjusted for volatility, relative to peers.
Expense Advantage Large Cap Core Fund received the following Expense ratings for the 3-, 5-, and 10-year periods, respectively: 4 (321 funds), 4 (254 funds), and 4 (156 funds).<br /><br />Lipper ratings for Expense reflect funds' expense minimization relative to peers with similar load structures.
Preservation Advantage Large Cap Core Fund received the following Preservation ratings for the 3-, 5-, and 10-year periods, respectively: 4 (12,253 funds), 4 (10,475 funds), and 4 (7,095 funds).<br /><br />Lipper ratings for Preservation reflect funds' historical loss avoidance relative to other funds within the same asset class. Preservation ratings are relative, rather than absolute, measures, and funds named Lipper Leaders for Preservation may still experience losses periodically; those losses may be larger for equity and mixed equity funds than for fixed income funds.
Total Return Advantage Large Cap Core Fund received the following Total Return ratings for the 3-, 5-, and 10-year periods, respectively: 4 (617 funds), 4 (524 funds), and 4 (370 funds).<br /><br />Lipper ratings for Total Return reflect funds' historical total return performance relative to peers.
Overall Lipper Leaders ratings based on an equal-weighted average of percentile ranks for each measure over 3-, 5-, and 10-year periods (if applicable) and do not take into account the effects of sales charges for these categories (Consistent Return, Preservation, Total Return, Expense, and Tax Efficiency) as of Dec 31, 2019 out of 617, 12,253, 617, 321 and 617 Funds, respectively in Lipper's Multi-Cap Core Funds classification.
APPLE INC 4.51
MICROSOFT CORPORATION 4.15
AMAZON.COM INC 2.97
ALPHABET INC 2.61
MASTERCARD INC 2.04
FACEBOOK INC 1.75
BERKSHIRE HATHAWAY INC 1.73
JOHNSON & JOHNSON 1.68
EXXON MOBIL CORP 1.51
LOCKHEED MARTIN CORPORATION 1.40
Raffaele Savi
Raffaele Savi, Managing Director, is Co-CIO of Active Equity and Co-Head of Systematic Active Equity (SAE). He is responsible for BlackRock's North American, European, and Developed Market Equity Strategies. He is a member of the Global Operating and Human Capital Committees.
Prior to moving to his current role in 2010, Mr. Savi was the investment lead for the U.S. equity team within SAE. Mr. Savi's service with the firm dates back to 2006, including his years with Barclay's Global Investors (BGI), which merged with BlackRock in 2009. At BGI, Mr. Savi was global head of portfolio management for active equities. Previously, he was head of investments for European active equities. Mr. Savi joined BGI from Capitalia, where he was CEO of Capitalia Investment Management and previously Chief Investment Officer of Capitalia Asset Management. His industry experience includes serving as board member and advisor to several pension funds and investment companies. He was Adjunct Professor of Quantitative Finance at the University of Rome from 2002 to 2006.
Mr. Savi earned a degree in electronic engineering from the University of Rome in 1997.
Travis Cooke
Travis Cooke, CFA, Managing Director, is Head of North American strategies for the Systematic Active Equity division of BlackRock's Active Equities Group. In his current role, Mr. Cooke is responsible for US and Canadian long-only and long-short strategies for retail and institutional clients.
Mr. Cooke's service with the firm dates back to 1999, including his years with Barclays Global Investors, where he managed US strategies within the Alpha Strategies Group.
Mr. Cooke holds an MSc in finance from London Business School, and has been a CFA charterholder since 2001.
Richard Mathieson
Richard Mathieson, CA, Managing Director, is a member of the Systematic Active Equity (SAE) division within BlackRock's Active Equities Group. He is a Portfolio Manager responsible for global equity strategies.
Prior to this, Mr. Mathieson led the Investment Strategy team in EMEA for SAE. Mr. Mathieson's service with the firm dates back to 2002, including his years with Barclays Global Investors (BGI), which merged with BlackRock in 2009. Prior to rejoining BGI in 2008, Mr. Mathieson was an equity analyst for a specialist investment company focused on European financial stocks. Previously, he was with BGI as a senior portfolio manager, where he was responsible for managing both long-only and market-neutral strategies.
Mr. Mathieson qualified as a Chartered Accountant with PricewaterhouseCoopers in 2000, and holds a Bachelor of Accountancy from the University of Glasgow.
The portfolio holdings information shown for BlackRock Advantage Large Cap Core Fund (the "Fund") on this site are the portfolio holdings of Master Advantage Large Cap Core Portfolio (the "Master Portfolio"). The Fund is a "feeder" fund that invests all of its assets in the Master Portfolio, a mutual fund that has the same investment objectives and strategies as the Fund. All investments are made at the level of the Master Portfolio. The Fund's investment results will correspond directly to the investment results of the Master Portfolio. Because the Master Portfolio may have other investors, the percentage of the Master Portfolio held by the Fund may change from time to time. As of August 31, 2019, the Fund held 76.64% of the Master Portfolio.


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Aparna Chennapragada Net Worth | Bio, Family, Address, Career
Aparna Chennapragada is an individual who has become a celebrity by his charismatic works. Hard work has helped him rise to the top. His ascension to the ranks of the world's wealthiest people is directly related to this success. The way to reach here was not easy at all. Nowadays, people have started supporting his work and other things.
He has inspired millions of people throughout the world. He began his life with many struggles. But he made the right choice and worked hard to get popularity. Here, we'll talk about Aparna Chennapragada net worth, age, height, weight and more so stay with us.
What Is Aparna Chennapragada Net Worth?
Aparna Chennapragada is a billionaire and one of the world's wealthiest individuals. He will attain a new level of popularity in a few years. He has a diverse range of sources of income, which has enabled him to get to the top of the list of the most prominent celebrities in such a short period of time. This is what we know about Aparna Chennapragada net worth based on a recent study by Forbes and business insiders: He is worth more than a couple of million dollars. Aparna Chennapragada overall profits continue to grow daily, and he is gaining popularity on all sides.
He was born in the United States. His mother and father were not so much rich. Then Aparna Chennapragada was born, which was a very important time for them to be around. Managing his child's life was a must in order to get the money necessary to pay for his schooling.
Later, he moved to another city in order to get more education. As children, he and his brothers formed close bonds that lasted throughout their lives. He has been married for a long time, and everyone knows about it. In his family, he has just a few children, all of them are known by his surname.
It would appear that Aparna Chennapragada is a single person; nevertheless, he is actually married despite his public persona. His long-suffering wife is always willing to do everything he asks of her. Both of them are happy in their marriage and have done a lot of traveling together since they got married. We pray that they find lasting joy together and that they share the splendor of their love with the world.
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So tackling He earned a college degree while still in high school, which aided him in his career. He also earned a university diploma. During his time in school, he was able to learn a few additional things that have aided him in his later years. Throughout his career, Aparna Chennapragada has obtained a number of degrees from a variety of different fields in order to reach his current position.
After graduating from college, Aparna Chennapragada started his career as an entrepreneur. He had a very difficult time in the workplace. So difficult was life's management for him that he now seldom gets any shut-eye. He had no higher education and worked full-time in a clothing store. He determined upon contemplation that he would continue to use his managerial talents. Although he was aware that he had the skills needed to work as an executive assistant, he wasn't sure how to get the job.
He liked his company and got along well with his colleagues but wanted a more challenging role. He has begun the journey that will take him there even if he has not yet reached his objective. The whole world is familiar with this individual now. Thus, he completed his career goal and also reach to the many people.
Real Name Aparna Chennapragada
Nick Name Aparna Chennapragada
Relationship Info Not available
Parents Not available on Internet
Aparna Chennapragada has won multiple awards. This lovely person has acquired numerous degrees from world-renowned universities. He is so lucky to have also some epoch-making awards from various president and honorable person which is really impressive. It is quite frequent that he obtained the best from the human sector.
People from all around the world have come to recognize him only for his ability to entertain the younger generation. Furthermore, Aparna Chennapragada has earned a number of prestigious accolades, which is a source of great pride for him.
Aparna Chennapragada has made his phone number available on a variety of different places. The office phone number is the best way to get in touch. You also can contact with him through Facebook, twitter and email. He is presently living in the most prominent city, although it is not where he was born and raised. He has listed his personal and enterprise contacts, where you may send different forms of welcome supplies.
Phone Number: Update Soon
Facebook: Unavailable
Twitter: Update Soon
Snapchat: Not available on Internet
Aparna Chennapragada is a popular celebrity in the world. He had traveled a great distance to get here. His contribution to the media and the world's people is outstanding. Success cannot be gained in a short period; it takes a long way to reach at the successive point.
He has become a hero to the people who love him. He is not simply a well-known celebrity but also a kind human being. He has become a role model for young people because of how well he has done.

redpajama_set_name: RedPajamaCommonCrawl


hides the frightening and shrill reality of an increasingly Modi-led Hindu dominance of India," Tarigami said and accused BJP of creating a divide and intolerance not only in India but in Jammu and Kashmir as well.
He according to news agency CNS claimed that proxies of BJP in Jammu and Kashmir were hand in glove with Modi led regime when Article 35A was challenged in the Supreme Court. "BJP election manifesto of 2014 clearly stated that they stand for the annulment of Article 370. BJP harassed people to the extent that they want the time prior to 2014 back. The muscular policy of BJP for Kashmir changed the narrative. The lawlessness, random illegal arrests, raids and rights violations reached to its acme during BJP rule in Kashmir," Tarigami said while addressing a workers convention at Rest House Kulgam.
He said Modi's regime effectively encouraged – a saffron-clad army of Hindu activists who created havoc across country. "It's time for secular forces to join hands and keep BJP out of power. BJP destroyed institutions for vote politics. It spews venom against minorities and plays communal card to attract voters inimical to peace," he said.


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HomeCrimeKaduna explosion was caused by IED hidden in juice bottles – Police
Kaduna explosion was caused by IED hidden in juice bottles – Police
The police has revealed the cause of the explosion which occurred in Kaduna state on Saturday July 3.
Recall that the explosion in Badarawa area of the state, led to the death of a child and also left two others injured. A 7-year-old child was said to have died in the explosion, while those who sustained injuries are aged nine and seven.
The state police spokesperson, Muhammed Jalige said the explosion was caused by improvised explosive devices concealed in three bottles of a popular children's yoghurt drink.
Jalige said;
"Three children picked up the bottles, but unknown to them, they contained explosive substance. The children started playing football with the bottles; as a result, two of the bottles exploded injuring the three children.
"The victims were however rushed to Barau Dikko Teaching Hospital for treatment, where one of them died owing to injuries he sustained from the explosion.
"One of the victims was treated and discharged, while the third child is still receiving treatment.
"The Command's Explosive Ordinance Department (EOD) is carrying out a holistic forensic analysis of the device with a view to apprehending those responsible for this heinous act."
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Artist, tower, books: the memory theatre of Richard Cockle Lucas
Willis Fleming, Harry (2016) Artist, tower, books: the memory theatre of Richard Cockle Lucas. PhD thesis, Middlesex University.
PDF - Final accepted version (with author's formatting)
Restricted to Repository staff and depositor only
Download (188MB) |
Richard Cockle Lucas (1800-1883) has been remembered for forging a Leonardo and marrying a fairy. This distorting vision, juxtaposed with his protean versatility and originality, makes Lucas an awkward subject for historiography to get a hold on. Lucas was a sculptor, printmaker, photographer, model maker, architect, performer, writer. From 1854, at Chilworth near Southampton he constructed two idiosyncratic Towers, each as his home, studio, gallery, and observatory. Proceeding from the thematic frame of Lucas as a tower builder and dweller, this study makes the first integrated examination of Lucas as a multimedia artist. It identifies that at the Tower(s) a major shift occurred in his practice: the placing of himself within the subject matter of his art, together with a preoccupation with notions of self, mind, and consciousness. Through the disciplinary sight lines of cultural history and the history of architecture in its broadest formulation (after Dana Arnold and Andrew Ballantyne), the study draws on conceptions of the relationship between architecture and metaphysical thought, notably Frances Yates and Gaston Bachelard on, respectively, magical and poetic space. The study conceptualises the realm of Lucas's Tower and his 'monumental' books (scrapbooks and albums) collectively as a 'memory theatre'. Employing this occult paradigm and spatial metaphor, it argues that the Tower was a strategic enterprise of knowledge and inspiration, self-memory and self-realisation. Lucas's practice is found to raise intriguing questions about the dialectics between space, body, and mind in the nineteenth-century and beyond. Using Lucas's untapped archive and writings, the main body of the study offers a layered series of findings and speculations around the themes of: nature, the view, and the miniature model; symbolism, mysticism, and (meta)fiction; and providence, posterity, and intersubjectivity. In the process, it brings to light connections with other noteworthy histories, such as Lucas's work as a scale modeller for John Nash and with John Flaxman. In conclusion, the study suggests that Lucas is a significant and transitional creative figure who prefigured later developments and syntheses in the expanded and emerging fields of art and psychology. Finally, it exposes binary oppositions troubled by Lucas that persist through to the present-day within/between the natural sciences and the humanities, on issues of rationality, objectivity, truth.
A. > School of Art and Design
B. > Theses
Jennifer Basford
https://eprints.mdx.ac.uk/id/eprint/21400
Full text downloads (NB count will be zero if no full text documents are attached to the record)
Downloads per month over the past year


Botella, C., Perez-Ara, M. A., Breton-Lopez, J., Quero, S., Garcia-Palacios, A., Baños, R. M. (2016). In vivo versus augmented reality exposure in the treatment of small animal phobia: A randomized controlled trial. Plos One, 11(2).
Cummings, J. J., Bailenson, J. N. (2015). How immersive is enough? A meta-analysis of the effect of the effect of immersive technology on the user presence. Media Psychology, 18(1), 1-38.
Dascal, J., Reid, M., Ishak, W. W., Spiegel, B., Recacho, J., Rosen, B., Danovitch, I. (2017). Virtual reality and medical inpatients: A systematic review of randomized, controlled trials. Innovations in Clinical Neuroscience, 14(1-2), 14-21.
Kampmann, I. L., Emmelkamp, P. M. G., Hartanto, D., Brinkman, W P., Zijlstra, B. J. H., Morina, N. (2016). Exposure to virtual social interactions in the treatment of social anxiety disorder: A randomized controlled trial. Behaviour Research and Therapy, 77, 147-156.
Morina, N., Ijntema, H., Meyerbroker, K., Emmelkamp, P. M. G. (2015). Can virtual reality exposure therapy gains be generalized to real-life? A meta-analysis of studies applying behavioral assessments. Behaviour Research and Therap, 74, 18-24.
Mühlberger, A., Herrmann, M. J., Weidemann, G., Ellgring, H., Pauli, P. (2001). Repeated exposure of flight phobics to flights in virtual reality. Behaviour Research and Therapy, 29(9), 1033-1050.
Parsons, T. D., Rizzo, A. A. (2008). Affective outcomes of virtual reality exposure therapy for anxiety and specific phobias: A meta-analysis. Journal of Behavior Therapy and Experimental Psychology, 39, 250-261.
Rothbaum, B. O., Hodges, L., Anderson, P. L., Price, L., & Smith, S. (2002). Twelve-month follow-up of virtual reality and standard exposure therapies for the fear of flying. Journal of Consulting and Clinical Psychology, 70(2), 428-432.
Triscari, M. T., Faraci, P., Catalisano, D., D'Angelo, V., Urso, V. (2015). Effectiveness of cognitive behavioral therapy integrated with systematic desensitization, cognitive behavioral therapy combined with eye movement desensitization and reprocessing therapy, and cognitive behavioral therapy combined with virtual reality exposure therapy methods in the treatment of flight anxiety: a randomized trial. Neuropsychiatric Disease and Treatment, 11, 2591-2598.


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Q: Universal Equivariant Line Bundles Complex line bundles are classified by maps into the universal bundle $\gamma\rightarrow \mathbb{C}P^\infty$.  If I wanted to talk about $G$-equivariant line bundles over $X$, is there a corresponding universal equivariant line bundle?

A: Yes, and the construction is similar to the nonequivariant case. The difference is that you want to consider an "equivariant infinite complex projective space" instead of the usual infinite complex projective space of complex lines in $\mathbb{C}^\infty$.
Let $V$ be the direct sum of countably many copies of each irreducible complex representation of $G$, let $BU_G$ be the space of $1$-dimensional subspaces of $V$, and let $EU_G$ be the space of pairs $(\ell,v)$ where $\ell \in BU_G$ and $v \in \ell$ (here $BU_G$ and $EU_G$ have the obvious $G$-actions). Then $\pi:EU_G \longrightarrow BU_G$, $\pi(\ell,v)=\ell$ is a universal $G$-equivariant line bundle.
The construction of a universal complex $n$-plane bundle (work with the "equivariant infinite Grassmannian" of complex $n$-planes in $V$ instead) and a universal real $n$-plane bundle (take $V$ to consist of irreducible real representations in this case) for any positive integer $n$ follow analogously with the nonequivariant case.

redpajama_set_name: RedPajamaStackExchange


Need some add'l opinions on this. I've got the opportunity to switch out my 175CD ZS carbs on my stock 2500M w/ a set of HS6 SU's. My ZS carbs are fine, but I'm a fan of SU carbs and understand them. Is there any performance gain to be had w/ the switch to SU's or am I wasting my time & money?
I don't believe there is any performance gain with switching to the HS6 carbs. I'm a fan of the 175s and the Stroms have proven trouble-free. Any clearance issues with switching to the SUs?
Good question on clearance. I think I'm OK, but need to verify, thanks. I'm more partial to SU's but haven't had issues w/ the ZS carbs.
Speaking of carbs, I have thought about switching to SU's to try and cure a starting problem I have.
When I start my 2500M from cold, it starts right up. When it's up to temperature and I shut it off and wait about 5 minutes or so it is very hard to start and requires a lot of cranking to get it going. If it sits long enough (30-40 minutes) it starts right up. Once started, runs strong and smooth.
- Completely replaced carbs with a set of non-emission 175CD's that I bought at a flea market and throughly rebuilt (carefully adjusting float level) - absolutely no difference.
- Replaced plugs, wires, cap, cond. etc.
- Obviously, adjusted valves, timing, the usual stuff.
Incidentally, I understand the float bowls on SU's sit at a slightly incorrect angle when used on the TR-6 engine to permit smooth functioning of the float and must be modified slightly or a set of SU's from a certain Triumph sedan used. Anyone have experience with this?
My '74 2500M has HS6 installed by a former owner. I did rebuild them over the winter and I'm running BAE needles now.
Your symptoms do sound like vapor lock induced flooding but you sure have gone through almost all the right diagnostics I can think of. Is there any possibility that the venting of the float chambers is plugged. I'm guessing that those would normally be routed to the charcoal canister. Might pay to leave those lines open for a test.
If you go with HS6's, check out a post I made a while ago that you'll want to be aware of. You really must use the SU Insulator Block or risk a vacuum leak. Go here to see what i'm talking about.
I fixed the float chamber leveling problem by installing SU part numbers AUD1071 and AUD1070 float adadpters. I forget which one was on the front carb and which one was on the back carb but they're both level now.
By the way, ordering from SU in England was a breeze and the parts came within a couple of weeks.
Oh, and one more thing. I was able to install a standard TR6 air cleaner assembly to the HS6 setup. I had to make some small adapter plates which are almost invisible. Makes the installation look very factory. If you're interested, I can post some photo's.
Thanks all for the info. I think I'll keep the ZS carbs on the car as there is nothing to gain by a swap. I'll save the $$'s for the jet hot coating on the manifold.


(Matt Chandler) "The spouse of Christ cannot be adulterous; she is uncorrupted and pure. She knows one home; she guards with chaste modesty the sanctity of one couch. She keeps us for God. She appoints the sons whom she has born for the kingdom. Whoever is separated from the Church and is joined to an adulteress is separated from the promises of the Church; nor can he who forsakes the Church of Christ attain to the rewards of Christ. He is a stranger; he is profane; he is an enemy. He can no longer have God for his Father who has not the Church for his mother." —Cyprian, Treatise on the Unity of the Church, 6.


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package org.apache.heron.scheduler.client;

import org.apache.heron.proto.scheduler.Scheduler;

/**
 * Implementing this interface allows an object to manage topology via scheduler
 */
public interface ISchedulerClient {
  /**
   * Restart a topology on given RestartTopologyRequest
   *
   * @param restartTopologyRequest info for restart command
   * @return true if restarted successfully
   */
  boolean restartTopology(Scheduler.RestartTopologyRequest restartTopologyRequest);

  /**
   * Kill a topology on given KillTopologyRequest
   *
   * @param killTopologyRequest info for kill command
   * @return true if killed successfully
   */
  boolean killTopology(Scheduler.KillTopologyRequest killTopologyRequest);

  /**
   * Update a topology on given UpdateTopologyRequest
   *
   * @param updateTopologyRequest info for update command
   * @return true if updated successfully
   */
  boolean updateTopology(Scheduler.UpdateTopologyRequest updateTopologyRequest);
}

redpajama_set_name: RedPajamaGithub


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NWO grant Nadine Akkerman for Signed, Sealed, & Undelivered research
Nadine Akkerman and her co-applicant David van der Linden (University of Groningen) are thrilled that "Signed, Sealed, & Undelivered 2.0: Revealing Hidden Letters" was awarded an Internationalisation in the Humanities grant from NWO.
Image: Kick Smeets
This grant links an established public–private partnership – Signed, Sealed, & Undelivered – with important scientists and humanities scholars from six world-leading institutions: Leiden, Groningen, MIT, Oxford, Queen Mary University of London, and Yale. The collaboration brings together a group whose expertise ranges across history, languages, literary studies, material studies, conservation, curation, computational mathematics, and X-ray microtomography.
The Signed, Sealed, & Undelivered team was formed in 2014 to preserve, digitize, and edit the contents of a truly unique archive at the Museum voor Communicatie in The Hague: a 17th-century postmaster's trunk containing c. 2600 undelivered locked letters – including 600 whose seals have never been broken. The team has no intention to break these seals; instead they will experiment with non-invasive scanning techniques to read the letters without opening them. Thanks to a grant from Metamorfoze, the Netherlands' national program for the preservation of paper heritage, the team has digitized the opened letters in an innovative way so that both words and folds are visible. An NWO Added Value for the Humanities grant allowed the team to run test scans of the closed letters and to start the process of recording and interpreting the material features and contents of the opened letters – fascinating and unique records of everyday life from all over Europe.
The first NWO grant created the public–private partnership, allowing long-term work on the letters to begin. With the current Internationalisation in the Humanities grant, which will run for three years, the team seeks to further develop collaborative science and humanities methodologies for reading the 600 closed letters without breaking their seals, and to develop new international partnerships and cataloguing standards for complex collections of historical correspondence.
For further information see
- The project website of Signed, Sealed, & Undelivered
- Jana Dambrogio and Daniel Starza Smith on letterlocking
- MIT Libraries, letterlocking research
- Follow @letterlocking @misswalsingham and @dcvanderlinden on Twitter
Female Spies or 'she-Intelligencers': Towards a Gendered History of Seventeenth-Century Espionage
Visualizing Cryptographic Networks of Spies, Diplomats and Scientists, 1603-1701
English Language and Culture (BA)
Nadine Akkerman Professor Ancient British Literature


text:
/* eslint-disable new-cap */

test('something', function somethingTest() {
    var testRegex = VerEx().something();
    var testString = '';

    ok(!testRegex.test(testString), 'Empty string doesn\'t have something');

    testRegex.lastIndex = 0;
    testString = 'a';
    ok(testRegex.test(testString), 'a is something');
});

test('anything', function anythingTest() {
    var testRegex = VerEx().startOfLine().anything();
    var testString = 'what';

    ok(testRegex.test(testString), 'Contains anything');
});

test('anythingBut', function anythingButTest() {
    var testRegex = VerEx().startOfLine().anythingBut('w');
    var testString = 'what';

    ok(testRegex.test(testString), 'Starts with a w');
});

test('somethingBut', function somethingButTest() {
    var testRegex = VerEx().somethingBut('a');
    var testString = '';

    ok(!testRegex.test(testString), 'Empty string doesn\'t have something');

    testRegex.lastIndex = 0;
    testString = 'b';
    ok(testRegex.test(testString), 'Doesn\'t start with an a');

    testRegex.lastIndex = 0;
    testString = 'a';
    ok(!testRegex.test(testString), 'Starts with an a');
});

test('startOfLine', function startOfLineTest() {
    var testRegex = VerEx().startOfLine().then('a');
    var testString = 'a';

    ok(testRegex.test(testString), 'Starts with an a');

    testRegex.lastIndex = 0;
    testString = 'ba';
    ok(!testRegex.test(testString), 'Doesn\'t start with an a');
});

test('endOfLine', function endOfLineTest() {
    var testRegex = VerEx().find('a').endOfLine();
    var testString = 'a';

    ok(testRegex.test(testString), 'Ends with an a');

    testRegex.lastIndex = 0;
    testString = 'ab';
    ok(!testRegex.test(testString), 'Doesn\'t end with an a');
});

test('maybe', function maybeTest() {
    var testRegex = VerEx().startOfLine().then('a').maybe('b');
    var testString = 'acb';

    ok(testRegex.test(testString), 'Maybe has a b after an a');

    testRegex.lastIndex = 0;
    testString = 'abc';
    ok(testRegex.test(testString), 'Maybe has a b after an a');
});

test('anyOf', function anyOfTest() {
    var testRegex = VerEx().startOfLine().then('a').anyOf('xyz');
    var testString = 'ay';

    ok(testRegex.test(testString), 'Has an x, y, or z after an a');

    testRegex.lastIndex = 0;
    testString = 'abc';
    ok(!testRegex.test(testString), 'Doesn\'t have an x, y, or z after an a');
});

test('or', function orTest() {
    var testRegex = VerEx().startOfLine().then('abc').or('def');
    var testString = 'defzzz';

    ok(testRegex.test(testString), 'Starts with an abc or a def');

    testRegex.lastIndex = 0;
    testString = 'xyzabc';
    ok(!testRegex.test(testString), 'Doesn\'t start with an abc or a def');
});

test('lineBreak', function lineBreakTest() {
    var testRegex = VerEx().startOfLine().then('abc').lineBreak().then('def');
    var testString = 'abc\r\ndef';

    ok(testRegex.test(testString), 'abc,then a line break and then def');

    testRegex.lastIndex = 0;
    testString = 'abc\ndef';
    ok(testRegex.test(testString), 'abc, then a line break and then def');

    testRegex.lastIndex = 0;
    testString = 'abc\r\n def';
    ok(!testRegex.test(testString), 'abc, then a line break, then a space and then def');
});

test('br', function brTest() {
    var testRegex = VerEx().startOfLine().then('abc').lineBreak().then('def');
    var testString = 'abc\r\ndef';

    ok(testRegex.test(testString), 'abc, then a line break and then def');

    testRegex.lastIndex = 0;
    testString = 'abc\ndef';
    ok(testRegex.test(testString), 'abc, then a line break and then def');

    testRegex.lastIndex = 0;
    testString = 'abc\r\n def';
    ok(!testRegex.test(testString), 'abc, then a line break, then a space and then def');
});

test('tab', function tabTest() {
    var testRegex = VerEx().startOfLine().tab().then('abc');
    var testString = '\tabc';

    ok(testRegex.test(testString), 'tab then abc');

    testRegex.lastIndex = 0;
    testString = 'abc';
    ok(!testRegex.test(testString), 'No tab then abc');
});

test('withAnyCase', function withAnyCaseTest() {
    var testRegex = VerEx().startOfLine().then('a');
    var testString = 'A';

    ok(!testRegex.test(testString), 'Not case-insensitive');

    testRegex = VerEx().startOfLine().then('a').withAnyCase();
    testString = 'A';
    ok(testRegex.test(testString), 'Case-insensitive');

    testRegex.lastIndex = 0;
    testString = 'a';
    ok(testRegex.test(testString), 'Case-insensitive');
});

test('whitespace', function whitespaceTest() {
    var testRegex = VerEx().startOfLine().then('a').whitespace().then('z');
    var testString = 'a z';

    ok(testRegex.test(testString), 'a, then a space and then z');

    testRegex.lastIndex = 0;
    testString = 'a_z';
    ok(!testRegex.test(testString), 'a, then no whitespace and then z');
});

test('searchOneLine', function searchOneLineTest() {
    var testRegex = VerEx().startOfLine().then('a').br().then('b').endOfLine();
    var testString = 'a\nb';

    ok(testRegex.test(testString), 'b is on the second line');

    testRegex = VerEx().startOfLine().then('a').br().then('b').endOfLine().searchOneLine();
    testString = 'a\nb';
    ok(testRegex.test(testString), 'b is on the second line, but we are only searching the first');
});

test('sanitize', function sanitizeTest() {
    var testRegex = VerEx().startOfLine().then('$a^b\\c|d(e)f[g]h{i}j.k*l+m?').endOfLine();
    var testString = '$a^b\\c|d(e)f[g]h{i}j.k*l+m?';

    ok(testRegex.test(testString), 'Special character sanitization');
});

test('oneOrMore', function oneOrMoreTest() {
    var testRegex = VerEx().startOfLine().then('foo').oneOrMore();
    var testString = 'foo';

    ok(testRegex.test(testString), 'Contains \'foo\' at least once ');

    testRegex.lastIndex = 0;
    testString = 'foofoo';
    ok(testRegex.test(testString), 'Contains \'foo\' at least once in \'foofoo\'');

    testRegex.lastIndex = 0;
    testString = 'bar';
    ok(!testRegex.test(testString), 'Contains \'foo\' at least once');
});

test('multiple', function multipleTest() {
    var testRegex = VerEx().startOfLine().multiple('foo');
    var testString = 'foo';

    ok(testRegex.test(testString), 'Contains \'foo\' at least once');

    testRegex = VerEx().startOfLine().multiple('foo', 2);
    testString = 'foo';
    ok(!testRegex.test(testString), 'Should contain \'foo\' at least twice');

    testRegex = VerEx().startOfLine().multiple('foo', 2);
    testString = 'foofoo';
    ok(testRegex.test(testString), 'Should contain \'foo\' at least twice');

    testRegex = VerEx().startOfLine().multiple('foo', 2, 5);
    testString = 'foofoofoofoo';
    ok(testRegex.test(testString), 'Should be \'foo\' repeated two to five times');

    testRegex = VerEx().startOfLine().multiple('foo', 2, 5);
    testString = 'foo';
    ok(!testRegex.test(testString), 'Should be \'foo\' repeated two to five times');
});

test('word', function multipleTest() {
    var testRegex = VerEx().word();
    var testString = 'azertyuiopqsdfghjklmwxcvbn0123456789_';
    var i;
    var len;

    ok(testRegex.test(testString), 'Should match word');

    testString = '. @[]|,&~-';
    for (i = 0, len = testString.length; i < len; i++) {
        ok(!testRegex.test(testString[i]), 'Should not match word (' + testString[i] + ')');
    }
});

test('digit', function multipleTest() {
    var testRegex = VerEx().digit();
    var testString = '0123456789';
    var i;
    var len;

    ok(testRegex.test(testString), 'Should match digit');

    testString = '-.azertyuiopqsdfghjklmwxcvbn @[]|,_&~';
    for (i = 0, len = testString.length; i < len; i++) {
        ok(!testRegex.test(testString[i]), 'Should not match digit (' + testString[i] + ')');
    }
});


text:
How good is a $300 per head dinner in Auckland?
A chef from "the best restaurant in the world" has taken charge at Clooney in Freeman's Bay. Good news? Some of the local critics have raved, but, surprisingly, not all of them. So how good is this Jacob Kear really? And how good has he made the restaurant, and how much would you pay anyway?
I took A.A. Gill to Clooney once. Worst night of my restaurant life, more or less. I rang ahead to warn them he was an alcoholic, and they thanked me profusely but kept offering him food with alcohol in it. Gill was polite but did not touch it. In fact, he hardly ate anything, and although they fawned and fussed they didn't ever ask him if anything was wrong or could they fix him something more to his taste? The head chef was on his night off and decided not to come in. Only the most famous restaurant critic IN THE WORLD. And the most famously hard to please. I blushed for them. I chose Clooney because I thought it would be good.
Yes, I wrote about it. I don't think he ever did, and now he's died he never will. Clooney bounced back, winning awards, but it's never been truly popular. It has a wonderfully sophisticated dining room, designed by Fearon Hay; and the experience, as you settle into the rich brown banquettes, peer through the large open pass into the kitchen and watch the waitstaff gliding behind black-beaded screen curtains, always promises to be special.
But it never quite is. The reality, by evening's end, has always been less than the promise.
The dining room at Clooney. Photo Anna Kidman
In recent times, though, things have changed at Clooney. The boss, Tony Stewart, bought out his co-owners and is now fully in charge. Then, anxiously for all, he was hospitalised with a serious illness. He's good now, but he might not have been.
They lost their executive chef, Des Harris, who moved on to other things, and now they have a new one – Jacob Kear, a Japanese American who had been one of the famous Rene Redzepi's most important side men. Redzepi, the irascible owner-chef of Copenhagen's Noma, four-time winner of "best restaurant in the world". Redzepi, a man so driven he was embittered by every occasion on which Noma came only second.
The Copenhagen Noma is closed for now, but Redzepi and the brand endure. Kear worked with Redzepi in Copenhagen, has worked in LA and helped him set up Noma Tokyo. He still does special gigs with him. Then he came to New Zealand on holiday, loved it and wrote to all the top restaurants offering his services. Tony Stewart wrote back. So now here he is, a certifiable world-class star chef, doing the thing people in his industry do all over the world to the endless pleasure of us all: contributing his talents as an immigrant.
Is he really that good? Has he helped Stewart fix Clooney's problems? Peter Calder in the Herald on Sunday was delighted enough to give the new Clooney 4.5 out of 5. Jesse Mulligan in Viva went even further and laid down a perfect 10/10.
Metro magazine, so the rumours go, is less impressed. I hear Clooney will not be winning the supreme award in the Metro restaurant awards, to be announced tonight. Nor will it win the best fine-dining category nor even the award for best chef. That's, um… well, if it's true it looks a bit like somebody, on one side or the other, doesn't know what they're talking about. But who? [Update: As expected, Clooney did not win any prizes in the Metro Restaurant Awards announced on May 1.]
Jacob Kear, Clooney's new head chef. Photo Anna Kidman
I ate at Clooney last week. And straight up I'll say this: yes. Jacob Kear is cooking some of the best food I have eaten anywhere. It's a gift, a treasure, a night of fantastical flavours. Dish for dish it was the best meal of its kind I've eaten in Auckland.
But despite that, Clooney still doesn't quite work as a restaurant and I think I know why.
Clooney is now focused on degustation dining. That is, it serves a set tasting menu. I had 15 courses, several of them merely a mouthful. As well as the main dego there's a "pescatarian" option and a vegetarian one too, although the main dego has only one meat dish and a couple of fish so there's not much they change out.
There are wine matches and sake matches, for seven of the courses, or you can order your drinks separately. They have an excellent list. I asked for and took their advice, which was to start with champagne or a cocktail, to accompany the four "snacks" you get before the first matched dish, and then to have two sake accompaniments before switching to wine for the rest. It was a very good call.
I did ask the occupational-risk question: would it all end up as too much to drink? I added that I wasn't driving home. My waitstaffer told me I'd be fine with a Panadol before bed. Yes, I know, it's a tough job.
Two things about her answer. One, it's not quite an answer. Two, it immediately telegraphed what would turn out, for the most part, to be one of the new truths of Clooney: the waitstaff are not scared to be themselves. Clooney has learned the trick of service in a good fine-dining restaurant, which is that the staff should be just as warm and friendly as in a bistro. Talking about snacks instead of amuses bouches, that's another sign of the same thing.
"Tomato of the season" at Clooney. Photo Anna Kidman
And so it began. I ordered the hara-kiri, a sake cocktail they told me would go well with the snacks.
"Why hara-kiri?" I said. "It doesn't sound promising."
Turns out it's not because it will make you will feel like you've ritually disembowelled yourself with a large sword, although the sommelier did make the gesture. It's because it's red. Their little joke.
It was a great drink, with complex rhubarby flavours that didn't disguise the alcohol, easy to drink and served in an elegant Marie Antoinette coupé. A perfect cocktail, pretty much, and popular in the room, I was pleased to see.
The first snack was a single slice of nashi pear, served on a quite large bowl of crushed ice, flavoured with white sangria and garnished with three teeny tiny mint leaves. Get the idea? The mint was intense and the sangria gave depth to the fruit, but nashi has a tight, limited flavour and it wasn't entirely redeemed. Very good, not amazing. Not everything from Japan is amazing.
But the sparkling sake was: a richer, drier and far more complex bubbly than any actual champagne could ever be. And so were the three little dishes that followed, each beautifully served, all to be eaten with the fingers. Why don't more restaurants encourage us to eat with our hands? When you ask yourself, how will I pick that up, you're already thinking carefully about the food, which is a Good Thing.
The second mouthful was a small round hairy red ball, served on a bed of moss with a piece of pounamu for decoration. The shock of eating it was immense, because it was deep fried, with the taste and mouthfeel of chippies. I nearly laughed out loud.
Half a walnut tart, and by half I mean they'd made a tiny round tart and then cut it in half through its diameter. Just because, I suppose. Then two pieces of raw kingfish, seasoned with yuzu and other Japaneseness, each with a thin slice of soy-brined "watermelon radish" wrapped around. Everyone else in the world is doing sashimi the same as everyone else, but not here. This was so different. It had dabs of crème fraiche and wasabi and it was an invitation to rapture.
Which continued into the first dish proper: a chawanmushi or custard, with delicate slivers of tuatua and tiny crunchy balls of puffed rice. Genius, another round of laugh-out-loud delightful. We were an hour into the meal and I sat there thinking, Jesse Mulligan and your 10 out of 10, you're such a doofus. This is 12 out of 10, easy.
On it went, dish after sublime dish. Every wine match a winner too, even including an otherwise ridiculous orange wine from Black Barn (because pink is so passé, right?). The bread, a rice flour sourdough, was fabulous and the compote of tomatoes even fabulouser. Such intensity of flavour, and such a delight to look at too. A warm slice of crown pumpkin had me in another rapture; the wood-smoked eel with its airy avocado mousse, such a contrast, I could have eaten forever; a cauliflower concoction was held together with a thickly runny duck's egg yolk and the eating of it was like filling yourself up with rich, gooey happiness.
"Cauliflower, egg and parsley" at Clooney. Photo Anna Kidman
I had arrived hungry, which was a test, because if you eat little things over time, you just get hungrier. But I forgot about that very quickly. The service was fast and efficient, the food kept coming and kept astounding me, they played an insistent yet unobtrusive jazz, the room was comfortably warm and the lighting soft and focused, and for at least two hours, with my book completely neglected at my side, I ate and drank and watched the spectacle of a restaurant making people happy. I was in heaven.
I wish there wasn't a but. I really do. But there is. It's this: two hours was only halfway through.
It wasn't just that I started thinking, there's going to be a dud dish, omg, is it this one, is it this one? I conquered that fear, banished it to oblivion, although the dud dish, when it did come, was a real disappointment. It was the whole experience.
What's good about eating a degustation is the precision and care that chefs and servers and diners take with each dish and each mouthful of each dish; the way chefs are inspired to creative heights they might not otherwise reach; the way a single complex forkful forces you into a far deeper sensory appreciation of food and eating than anyone in their normal right mind would care to entertain.
What's bad about it is that it goes on far too long. Even at Noma Copenhagen, they advised diners the "dinner experience" would take a mere 2.5 hours.
I watched a couple in their forties dining with his parents, perhaps in their sixties, and it was clear the two couples would never have dreamed of spending so much passive time just sitting with each other. There were several couples on their own, each of whom began the evening with an excited light in their eyes, sitting close, enthralled by the specialness of it all. Couple by couple, I watched the light in their eyes go out.
Free tip: unless you're at the stage where you love talking to each other all night, do not subject your relationship to a four-hour degustation. And even then. Far better to go as a foursome who have a lot of catching up to do. Or go alone, as I did, because there's no social stress, they'll look after you brilliantly, and if you get bored between courses you can read a book or learn Japanese on your phone or something.
Why is this? It's not just that most people, one to one, eventually run out of things to say. It's that dego insists on respect. The room is quiet, the staff might be super friendly but they're also quiet, and you're meant to revere the food. It's like church.
And you wouldn't spend four hours on end in church. By the time I left, I really hoped all of those couples were going to go find a nightclub and dance their tits off. Except at the end of a four-hour dego, they probably felt more like just going home, crawling under the covers, filing the evening under "never speak of it again" and saying, more than a little sadly, goodnight love.
The semi-private long table at Clooney, with chef Jacob Kear (rear left) and manager/owner Tony Stewart (rear right). Photo Anna Kidman
Now the good news. From Tuesday through Thursday they do also offer normal a la carte dining, and on Sundays and Mondays a la carte is all they do. Mostly it's dishes from the dego menus, only at larger sizes.
A regular three-course meal in that lovely dining room from the kitchen of Jacob Kear? Oh yes, I'd eat that. Put it this way: did I want another mouthful of that eel, that pumpkin, that tomato dish? Oh hell yes. I'd love to go back and eat those things again. And more. Yes, I'm aware that after this I'll probably have to sneak in wearing a mask.
To be fair to Jesse, he went on a Sunday so that's why he decided 10/10.
Still, there were a couple of other problems. The sommelier and the sake sommelier are both grade A enthusiasts and their food matching skills are remarkable. Take their advice, I urge you. But the thing that seems to have passed them by is that, guys, we don't need the lecture. Both of them deliver a meandering account of the origins of each drink, including but not limited to the winery or brewery, the region, the type of grape or rice and a lot of "interesting facts I discovered". Boring? Even their mothers would be tested.
I'm so grateful the regular waitstaff didn't introduce the food like that. We'd have been there till midnight. I would have broken into the kitchen to steal a chef's knife and I would have done some damage with it.
The other thing, the only other thing really, was the beef. It was supposed to be wild venison, but supply is apparently erratic. Wild animals, who knew. So, with no venison the night I went they used "Australian wagyu", which has a marbled fattiness you won't find in deer meat, especially if it's been running from hunters in the hills. Yet the dish – all berries and beetroot and suchlike – was so obviously the venison dish with the meat swapped out, I thought, what?
In a restaurant dedicated to the delights that follow the precise creative matching of ingredients – a restaurant that charges a premium because, you know, we're paying for that skill – you just chucked a different piece of meat into the recipe, like suddenly none of that matters? What?
Because they do charge. It's not silly money like you'd pay overseas for this food. But it is $170 per head plus the drinks and stuff. With that cocktail and a coffee, it cost me, me on my own, $293.
Clooney isn't Noma. Nobody's expecting you to fetishise pine needles or eat live ants. Yes, they did that. Kear's food is exquisite but it's not radical: his dishes would fit the dego lineups of Auckland, especially at Merediths, Pasture and Kazuya.
There aren't any "airs", either: those light-as-light foams that taste like roast meat or whatever. No sauces served in a pipette, no tomatoes masquerading as chicken or vice versa: none of that sciencey silliness made fashionable by Ferran Adria at el Bulli. And thank god for that.
Head chef Jacob Kear and his kitchen staff at work at Clooney. Photo: Anna Kidman
Mostly, Kear's techniques conform to the traditional and once-again prevailing orthodoxy: choice of quality ingredients, flavour enhancement by reduction and semi-drying, very precise control of time and temperature. There is some evidence of "food technology" in some of the emulsions and flavour intensities, but it's all in the service of making ingredients the best versions of themselves, not transforming them into something else.
So is it Noma in a deeper sense? Noma is a made-up word, from the Danish nordisk, meaning Nordic, and mad, meaning food. Redzepi's quest was always to explore the possibilities of the local ingredients and, on the back of that, to reinterpret and reinvent a local cuisine. Noma celebrates Nordic food in a place that didn't previously much believe that it could be celebrated.
Kear is clearly applying those principles at Clooney. His menu belongs to the ubiquitous Pacific Rim cuisine: light, fresh, oriented to vegetables, seafood and good meat, spiced up with the flavours of Asia. In his case, as a Japanese American, those flavours are very strongly Japanese and he's also busily exploring the local (tuatua, the eel, a manuka infusion, horopito seasoning and so on). It's not the all-out commitment to Pacific localism of Michael Meredith at Merediths but it's far from the bland internationalism of all those restaurants that really want to be in San Francisco.
It's not unique to Auckland, either. Kazuya Yamauchi at the eponymous Kazuya on Symonds St applies his own exquisite culinary skills to a fusion of Japanese ingredients and French techniques, and he's more than capable of leaving diners gasping in admiration.
"Eel and avocado" at Clooney. Photo Anna Kidman
But still, what is Clooney? And why do dego at all? Because chefs love it? They get to show off: it's easier to be creative putting intricately prepped little things on a series of plates than serving a main course dinner. They get to control costs: everybody books and you know what they will eat, so there's not much wastage.
And they get to control the kitchen. Most of the work in a dego is in the prep, and then each little dish gets assembled. The stoves are not much used during service. So once you've trained your staff well you can, in theory, almost leave them to it. The night I went, Kear was far away, doing a Noma pop-up with Redzepi in Mexico. (Is that why beef in a venison dish, instead of serving a completely different dish? That might explain it, but it doesn't seem like a great excuse.)
None of those things is a customer-focused reason to do dego. Why do they do it? There is no good answer to this question.
So what is Clooney, and how good is it? It's not a 10/10 restaurant. Sorry Jesse.
It's got a 10/10 dining room, 10/10 drinks list and many 10/10 dishes. In that room, with that chef, it could be the coolest place in town and all it needs is for them to install a live jazz band – with a small dance floor, even – stop the sommelier lectures and pull their fingers out of their arses about making people sit in respectful quietness for four hours over dinner.
Is Jacob Kear the best chef in town? I haven't been round judging all the contenders in the last few months, so I don't know what I don't know. But I reckon we have about 20 top chefs in Auckland – chefs who are so creative and skilled I would really love to eat their food far more often – and Kear is definitely among the best of them.
But who do I think is the straight-up, hallelujah-inspiring, trance-inducing, deeply, deeply satisfying saviour of the stoves? Makoto Tokuyama at Cocoro is in the mix, and so are Ed Verner at Pasture and Tom Hishon at Orphans Kitchen, and so is Jacob Kear. But my actual favourite right now? That's Lek Trirattanavatin, the brilliant Thai chef at Saan on Ponsonby Rd. Honestly, do not deny yourself. And relish this: a night at Saan, even with all the Ponsonby chic, won't cost you $300 a head.
This story has been revised since original publication, to note the result of the Metro awards, to correct the score given by Peter Calder (4.5/5, not 9.5/10) and to correct the information about a la carte dining. As now stated above, while the focus remains on degustation, a full menu is also available Tuesday through Thursday. As originally stated, it is the only approach offered on Sundays and Mondays.
The Spinoff Auckland is sponsored by Heart of the City, the business association dedicated to the growth of downtown Auckland as a vibrant centre for entertainment, retail, hospitality and business.
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Years ago, in Route 66's prime, the roads were packed with vacationers, salesmen and entrepreneurs who drove up and down the back roads and highways chasing the American experience. Gas stations and motels were in fierce competition to get the attention and patronage of these weary travelers so many of them got creative.
So if you want to find a couple of these guys then consider your next road trip to be a dinosaur hunting expedition. You never know what you'll see on the back roads.


Sydney Carter's Lord of the Dance CD is a brilliant compilation that matches the finest work of this much-loved songwriter with some of the leading lights in contemporary music.
The distinguished musicians and performers appearing on the disc include Sarah-Jane Morris, Why?, Norma Winstone, The Kingdom Choir, Martyn Joseph, Whirling Pope Joan, Matt Redman, Ian Shaw, Isla Blair, Carrie and David Grant and The Swingle Singers. Sydney Carter himself reads two of his own poems.
It has been the inspiration of producers Craig McLeish and Jeremy Taylor to intertwine the most popular songs – and a few unfamiliar gems – with some of Carter's searching poetry. With great sensitivity, the essential religious content of his words, whether sung or spoken, has been faithfully preserved, along with a sense of the music's origins in folksong and dance. At the same time, Carter's universal message about matters of doubt and faith is proclaimed in terms of the plenitude of contemporary sound resources, and the rich plurality of musical styles that is the hallmark of our present age.
Produced and performed by Martyn Joseph at MJ's Attic. Martyn Joseph appears courtesy of Grapevine Records.
Recorded and mixed at Snake Ranch Studios, Chelsea. Engineer: Gerry O'Riordan. Sarah-Jane Morris appears courtesy of Irma Records.
Cover portrait © 1995 Hans Schwarz. Painted to celebrate Sydney Carter's 80th birthday. Reproduced by kind permission of the artist.


text:
The flaws of the unbanning of alcohol
Posted on June 8, 2020 June 25, 2020 by Online Editor
Alcohol runs freely once more as government declares an end to the hard ban on liquor.
By Bathandwa Magqaza
On Sunday night, 24th May 2020, fellow South Africans listened to President Cyril Ramaphosa's nation address with varying expectations. The President announced that a limited sale of alcohol would be allowed under Level 3, on conditional terms such as being restricted to home consumption as well as other control measures.
The government's decision assumedly comes after due consideration of the socio-economic matters of South Africa, the consequences that follow the implementation of alcohol sales and influence from the liquor industry that has been lobbying for the easing of sale regulations since the beginning of lockdown.
The ban on cigarettes alone cost the national purse R664-million in lost taxes over 29 days in April. Tax collection boss Edward Kieswetter told lawmakers, "the Covid-19 hard lockdown would cost South Africa R285-billion". Moreover, estimates from economists, the National Treasury to the South African Reserve Bank and the International Monetary Fund, show between one to three million job losses and the contraction of an already ailing economy of between 5.8% to 6.1% due to the Covid-19 hard lockdown.
According to Statistics South Africa, services for drug and alcohol-dependence are inadequate. The World Health Organization (WHO) ranked South Africa as the fifth highest in the world when it comes to alcohol consumption. Further research proved that, either the perpetrator or the victim was reported to have been under the influence of alcohol or drugs in 72% of sexual violence incidents taking place outdoors and 23.3% of incidents taking place at home. Therefore, it is indisputable that binge-drinking is the strongest proximate risk factor for violence against women and children.
If the State is indeed serious about mitigating, or perhaps annihilating Gender-Based-Violence (GBV), the limiting of access to alcohol seems to present a viable solution. Research by the WHO has shown that South Africa is a nation with a significant population of heavy drinkers and substance abusers and so for many citizens, the banning of alcohol is a welcome respite for a society often plagued by alcohol-related deaths and crimes. However, many South Africans have also acknowledged the fact that, what the president announced in his address on Sunday was a significant step in reopening economic activity. As queues formed outside the liquor stores on the 1st of June, South Africans can only wait and anticipate the potential consequences of bringing back booze in the time of a national disaster.


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Null Middle School Band
The Sound of the Stallions
Mr. Lea
Beginner Band FAQs
Choosing Your Band Instrument
How To Get A Band Instrument
Required Supplies and Preferred Brands
Charms Student/Parent Area
Charms Setup Instructions
Honor Band Rehearsal Calendar
Symphonic Band Rehearsal Calendar
Each instrument is unique and fun, but just like a sports team, not everyone can play the same position. Not everyone who "really wants" to play a certain instrument will be able to. Directors will look at a student's personality and physical characteristics to help determine the best instrument for each individual student. The student's choice will always be considered, but understand that it may not always be what is best for the student to be successful.
DO NOT immediately run out and get an instrument until you have met with the directors at the t NMS Band Instrument Drive so you are sure you have all the necessary information about quality brands and models and the list of required accessories to accompany the instrument. Do not buy used instruments from various sources such as pawn shops and eBay without consulting one of the Null Middle School Band Directors. Consider this purchase as important to your child's success as the purchase of a vehicle is to your family's safety. Take precaution in instruments whose history you are unaware of as there may be hidden defects (even in some new instruments, depending on brand).
You can hear what the instruments sound like here!
Family: Woodwind, Personality: Conscientious
Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening.
Physical Characteristics: Flute players should have a slight "frown" to the upper lip with NO tear drop shape in the middle. Flute tones are produced by being able to focus an extremely small airstream to an exact location on the tone hole. The teardrop-shaped lip will make it difficult to direct the air so precisely. Flute players should also have agile fingers for moving this multi-keyed instrument through a fast musical passage. Students with extreme overbites (receded jaw) should avoid choosing flute as this makes it difficult to produce quality sounds.
Other Considerations: Students with double-jointed fingers should avoid selecting flute as double-jointedness can cause lack of agility in the fingers.
Family: Woodwind, Personality: Focused
The clarinet uses a "single reed" and a mouthpiece to produce the sound. Willingness to purchase or rent a director-recommended clarinet is a MUST! Unfortunately, there are some clarinets on the market whose poor design and craftsmanship will make it next to impossible for your student to succeed. We can help you avoid that pitfall. Some clarinet students may be chosen to play Bass Clarinet as 7th graders.
Physical Characteristics: One necessity of clarinet tone production is the ability to make the chin flat. Orthodontia is okay, but if a student has an extremely rounded bottom row of teeth, the mouthpiece will be hard to place in the proper position for tone production.
Other Considerations: Instruction in clarinet can be meticulous. Students who are able to focus on and perform a detailed series of instructions could do well on clarinet. Students who have difficulty remembering a series of instructions should avoid playing clarinet.
Family: Woodwind, Personality: Studious
The oboe is similar in its appearance to a clarinet, but it is played using a "double reed" instead of a single reed and mouthpiece.
Physical Characteristics: Students with profound overbites or under bites would have EXTREME difficulties producing good sounds on the oboe since the embouchure (mouth position) requires equal pressure on both sides of the reed at the same placement.
Other Considerations: Because the oboe is such a difficult instrument to master, only students with high academic performance records will be considered. Students interested in playing oboe will rent their instrument from the school for $50/year to help cover cost of maintenance.
Family: Woodwind, Personality: Serious
The bassoon is to the oboe what the bass clarinet is to the clarinet. It is the larger, lower sounding version of the double reed instrument. However, bassoon students will not play oboe before switching, instead they will begin on the bassoon itself.
Physical Characteristics: A slight overbite is okay for students wishing to play bassoon, however, a student with an underbite should avoid bassoon. Agile thumbs is a necessity for playing bassoon proficiently as well as a medium or greater hand span.
Other Considerations: Like the oboe, the bassoon is such a difficult instrument to master. Students are required to maintain a supply of 3-4 high quality reeds at ALL times. Reeds can cost $10-15 each. The financial trade-off for having to take lessons and keep a stock of working reeds is that Null provides bassoons for students at a cost of $50 (maintenance fee) for an entire school year for routine maintenance.
Family: Woodwind, Personality: Mellow
The alto saxophone gives the impression of being both a brass and woodwind instrument, however it is indeed considered a woodwind instrument.
Physical Characteristics: Since the balance of the saxophone is maintained by the use of a neck strap, it is extremely important that students be able to sit up completely straight when asked to.
Other Considerations: Saxophone players are responsible for maintaining a working stock of 4 quality reeds. A box of 10 reeds can last (with proper care) up to 4 months. Alto Saxophone students will have the opportunity after their first year of instruction to audition for Tenor Sax or Baritone Sax based on their proven musical and behavioral abilities while in alto saxophone class.
Family: Brass, Personality: Confident
The trumpet (cornet is a smaller version) is the smallest member of the brass family. The sound on a trumpet is produced by vibrating the lips inside a small mouthpiece.
Physical Characteristics: While orthodontia is somewhat troublesome to a trumpet player, it is not impossible to make good sounds with braces. A slight overbite is okay, but an underbite can severely hinder progress on trumpet. Trumpet players come in all shapes and sizes.
Other Considerations: Trumpet parts usually have the melody (recognizable) part, therefore students who choose the trumpet should exhibit a confident demeanor, strong personality, and demonstrate a high level of self-motivation.
Family: Brass, Personality: Academic & Noble
The french horn sound is produced by vibrating the lips inside a small mouthpiece similar to a trumpet. Students with good musical ears should consider french horn.
Physical Characteristics: While orthodontia is somewhat troublesome to a french horn player, it is not impossible to make good sounds with braces. A slight overbite is okay, but an underbite can severely hinder progress on French Horn. The French horn's keys are manipulated with the LEFT hand.
Other Considerations: Because of the difficult nature of French horn notes (mentioned above), students should exhibit GREAT ability to match sung or played pitches by humming or singing. Perhaps this is a good instrument choice for students who have participated in piano lessons or honor choir groups. Null provides french horns for students at a cost of $50 (maintenance fee) for an entire school year.
Family: Brass, Personality: Analytical
Like the french horn, trombone players should have good "musical ears". The trombone is played like the other brass instruments (vibrating the lips inside a cup-shaped mouthpiece), but uses a slide instead of valves. The slide is not marked or notched and players rely on their muscle memory and hearing to tell if they are in the EXACT proper location. Students with good musical ears should consider trombone.
Physical Characteristics: While some might think that trombone players must have long arms, the truth is there are numerous accommodations that make it possible for students of all shapes and sizes to play. A slight overbite is acceptable, while an extreme under bite would hinder success. Trombone players should have slightly fuller lips than average.
Other Considerations: Great trombone playing takes good concentration and study.
Family: Brass, Personality: Artistic
The euphonium (you-PHONE-knee-yum) is sometimes known as the baritone. It is a member of the brass family and looks like a small version of a tuba. Its sound is similar to that of a trombone, but it uses valves like a trumpet instead of a slide.
Physical Characteristics: Euphonium players should have moderately full lips, but not too full. A SLIGHT overbite is okay, but an underbite would hinder a good sound. The euphonium requires a medium-sized hand span to reach the valves and students should have an above average lung capacity.
Other Considerations: Students with an above average amount of orthodontia will find the mouthpiece of the euphonium a bit more comfortable than trumpet or French horn. Null provides euphoniums for students at a cost of $50 (maintenance fee) for an entire school year, but students are required to purchase their own mouthpieces.
Family: Brass, Personality: Unique
While many believe the tuba is the largest instrument in the band and would be hard to physically manage, the tubas we use for beginners are ¾ size and easy to handle.
Physical Characteristics: Tuba players need to have full lips and a large lung capacity. While the size of the student doesn't matter too much, a long torso (upper body) helps a student reach the mouthpiece of the tuba while resting the bottom of the tuba on the edge of their chair or across the thighs.
Other Considerations: The tuba provides the musical foundation for the band and requires players that are self-motivated over-achievers. Students with a history of academic trouble should not consider tuba as we rely heavily on the ability of the tuba players to be consistently UIL eligible. Null MS provides tubas for students at a cost of $50 (maintenance fee) for an entire school year, but students are required to purchase their own mouthpieces.
Family: Brass, Personality: Coordinated & Organized
Just because you are always tapping on things does not mean you are a natural percussionist (drummer). In fact, the percussion section is the most select, hand-picked section of the band. ONLY students with the highest grades, lowest discipline problems, backgrounds in piano lessons, and extremely high gross and fine motor skills will be considered for percussion.
Physical Characteristics: Students should exhibit a great deal of coordination in gross and fine motor skills.
Other Considerations: The study of percussion includes bells, triangle, tambourine, maracas, claves, bells, xylophone, marimba, and timpani among many other instruments.
Remind text alerts
Use REMIND to safely receive texts from the band directors. Students and directors will never have access to each others phone numbers.
Enter "81010" for the phone number and text the following code for your class:
Honor Band: @nullhb
Symphonic Band: @nullsb
Concert Band: @nullcb
Beginner Band: @nullbb
Null Band Facebook
Follow Null MS Band on Twitter


English: habitational name from a place in Lancashire named Beesley, perhaps from Old English beos 'bent grass' + leah 'woodland clearing'.
Where is the Beasley family from?
You can see how Beasley families moved over time by selecting different census years. The Beasley family name was found in the USA, the UK, Canada, and Scotland between 1840 and 1920. The most Beasley families were found in the USA in 1880. In 1840 there were 47 Beasley families living in North Carolina. This was about 15% of all the recorded Beasley's in the USA. North Carolina had the highest population of Beasley families in 1840.
Use census records and voter lists to see where families with the Beasley surname lived. Within census records, you can often find information like name of household members, ages, birthplaces, residences, and occupations.
What did your Beasley ancestors do for a living?
In 1880, a less common occupation for the Beasley family was Keeping House. Farmer, Laborer and Farming were the top 3 reported jobs worked by Beasley. The most common Beasley occupation in the USA was Farmer. 49% of Beasley's were Farmers.
Census records can tell you a lot of little known facts about your Beasley ancestors, such as occupation. Occupation can tell you about your ancestor's social and economic status.
What Beasley family records will you find?
There are 3,000 census records available for the last name Beasley. Like a window into their day-to-day life, Beasley census records can tell you where and how your ancestors worked, their level of education, veteran status, and more.
There are 642 immigration records available for the last name Beasley. Passenger lists are your ticket to knowing when your ancestors arrived in the USA, and how they made the journey - from the ship name to ports of arrival and departure.
There are 1,000 military records available for the last name Beasley. For the veterans among your Beasley ancestors, military collections provide insights into where and when they served, and even physical descriptions.
You've only scratched the surface of Beasley family history.
What is the average Beasley lifespan?
Between 1941 and 2004, in the United States, Beasley life expectancy was at its lowest point in 1947, and highest in 2000. The average life expectancy for Beasley in 1941 was 64, and 71 in 2004.
An unusually short lifespan might indicate that your Beasley ancestors lived in harsh conditions. A short lifespan might also indicate health problems that were once prevalent in your family. The SSDI is a searchable database of more than 70 million names. You can find birthdates, death dates, addresses and more.


Such a fun way to kick off 2010's series of Loyalty Day activities!
A tie up between UP Los Baños and Boston Café gives birth to Caldi Cup 2010: The Boston Café-UPLB Loyalty Day Tennis Open on September 25 and 26 at the Baker Hall. Due to the outpour of interested participants, the Cup is extended until October 2 and 3.
Around 40-50 pairs will participate in the event which will include tennis enthusiasts, UPLB professors, staff, and students. A match between Chancellor Luis Rey I. Velasco and former UP President Emil Q. Javier is set to open the event. Likewise, the Department of Human Kinetics invited players from the Davis Cup to do demonstration games.
Caldi Cup is sponsored primarily by Boston Café, One Caldi Place. Its proprietors, both of whom are UPLB alumni, openly express that UPLB is very close to their heart. In addition, Boston is also known for partnering with university students' organization. Other sponsors include Activade and Jelly Belly.
According to organizers, this will not be the last partnership between UPLB and Boston Café in the field of sports awareness. Boston is looking forward to sponsoring marathons and basketball tournaments.


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Do you think your food delivery person samples your food? You may not be wrong survey says
July 30, 2019 at 3:47 pm CDT
Before you make that lunch or dinner order, consider this new survey.
Restaurant food supplier US Foods reached out to consumers and delivery people about their habits and pain points when it comes to ordering and delivering food through apps like DoorDash and Grubhub.
The group asked about how long people will wait for an order and how much they tip among other topics.
But one question and answer pair may be unnerving for those who are doing the ordering.
It seems that of the nearly 500 delivery drivers who took part in the survey, 28% of them had tried some of the food they were tasked to deliver, the "Today" show reported.
And it has been noticed by customers, with 21% of those receiving the meal think has been sampled before delivery, the survey found.
The delivery personnel worked for at least one third-party food delivery company and have a median age of 30.
US Foods asked 1,518 adults who use the same services.
Many of the customers surveyed said they would like a "tamper-evident label" on their food, Delish reported.
The survey showed UberEats is the most popular, with Grubhub, DoorDash and Postmates filling out the top four. It also found that people will, on average, wait about 40 minutes for an estimated delivery time, the survey found.
They're also willing to pay for the service. The average of how much when it comes to the delivery fee, service fee and a tip is about $8.50, US Foods found.
Delivery people also have shared their pain points when it comes to the job. Some said they are upset when it comes to customers not answering phones or how long it takes to get to the customer's location, but their worst complaints are a low or no tip and when the restaurant takes too long to make the meal.