text:
BIKANER- The city gets its name from Rao Bika, a Rajput of the Rathor clan, who founded it in 1488 AD. From its small origins, today it has developed into the fourth largest city in Rajasthan. If ever beauty has bloomed in a desert, it has been at Bikaner. The imposing palaces, beautiful and richly sculptured temples of red and yellow sand stones display some of the finest creations of Rajput civilization. Bikaner retains the medieval grandeur that permeates the city's lifestyle. More readily called the camel country, the city is distinguished for the best riding camels in the world.
Bhandasar Jain Temples
Bhandeswar Jain Temple is a fifteenth century temple and is the oldest monument of Bikaner. The temple is decorated with rich mirror work, frescoes and gold leaf paintings.
Camel Breeding farm
It is a farm engaged in research on camels. It is located about 8 km from Bikaner. This is one of its kind institutes in India. The farm is complex of cables stables and enclosures and buildings. One can enjoy camel ride or ice cream made of camel milk. The farm permits tourists at certain hours of the day. It is interesting to watch camel calves gamboling around and also camels returning from a day out in the desert. It is also known as Camel Breeding Farm and was established in 1984 by the central government.
Deshnok Karni Mata Temple
Deshnok is a small village situated 32 kms south of Bikaner city along the Jodhpur Road. It is a pilgrim centre of Karni Mata – said to be an incarnation of Goddess Durga-who lived here in the 14th century and performed many miracles. The temple here is famous for the approximately 20,000 Black Rats that live, and are revered in, the temple. Out of all of the thousands of rats in the temple, there are a few white rats, which are considered to be especially holy. Sighting them is a special blessing and visitors put in extensive efforts to bring them forth, offering prasad, a sweet holy food.
Devikund
Government Museum
Initially the museum was established in a red sandstone building near the Lallgarh Palace by Maharaja Ganga Singhji to celebrate his golden jubilee reign in Bikaner. Later Maharaja Karni Singhji constructed a larger building and the Ganga Golden Jubilee Museum was shifted to it in the year 1954. The collection includes 71 stone sculptures, 10 inscriptions, 192 miniature paintings, 124 terracotta's, 27 metallic objects, 574 arms, 22241 coins and 1108 objects of local art, craft and textiles.
It is an unassailable fortress, which has never been conquered. Built in 1593 A.D. by Raja Rai Singh, one of the most distinguished generals in the army of Emperor Akbar, the fort is a formidable structure encircled by a moat. It is one of the few major forts in Rajasthan which is not built on a hilltop. The modern city of Bikaner has developed around the fort. The main entrance to the fort is Karan Pol [gate] that is east facing. Next to it is the Suraj Pol meaning the Sun gate. The fort situates in it some very magnificent palaces like Anup Mahal, Ganga Niwas and Rang Mahal or palace of pleasure.
Prachina Fort
It's a museum located in the great Junagarh Fort. The museum is dedicated to royal costumes, textiles and accessories. 'Poshaks' or the ladies ensemble displayed are perhaps the last remnants of the traditional designing styles and workmanship. The museum also reveals a study of changing cultural settings in its display of family portraits of the former rulers. Changes inspired by the western influences appear strikingly. The vivid glimpses of legacy that survived in contemporary Bikaner are also visible.
Sadul Museum
Part of the Lallgarh Palace has been converted into a luxury hotel and a museum known as Shri Sadul Museum. This museum was donated by His highness Maharaja Dr. Karni Singh Ji to Maharaja Sri Ganga Singhji trust Bikaner. Princess Rajyashree Kumari, chairperson of the trust played a very important role in the establishment of this museum in 1972. The museum covers the entire first floor of the palace and contains well preserved old photographs and trophies of wildlife.


text:
Beyond Sex and Gender Difference in Funding and Reporting of Health Research
Author: Hankivsky, Olena
Author: Springer, Kristen W.
Author: Hunting, Gemma
Background Understanding sex and gender in health research can improve the quality of scholarship and enhance health outcomes. Funding agencies and academic journals are two key gatekeepers of knowledge production and dissemination, including whether and how sex/gender is incorporated into health research. Though attention has been paid to key issues and practices in accounting for sex/gender in health funding agencies and academic journals, to date, there has been no systematic analysis documenting whether and how agencies and journals require attention to sex/gender, what conceptual explanations and practical guidance are given for such inclusion, and whether existing practices reflect the reality that sex/gender cannot be separated from other axes of inequality.Methods Our research systematically examines official statements about sex/gender inclusion from 45 national-level funding agencies that fund health research across 36 countries (covering the regions of the EU and associated countries, North America, and Australia) and from ten top-ranking general health (the top five in "science" and the top five in "social science") and ten sex- and/or gender-related health journals. We explore the extent to which agencies and journals require inclusion of sex/gender considerations and to what extent existing strategies reflect state of the art understandings of sex/gender, including intersectional perspectives.Results The research highlights the following: (a) there is no consistency in whether sex/gender are mentioned in funding and publishing guidelines; (b) there is wide variation in how sex/gender are conceptualized and how researchers are asked to address the inclusion/exclusion of sex/gender in research; (c) funding agencies tend to prioritize male/female equality in research teams and funding outcomes over considerations of sex/gender in research content and knowledge production; and (d) with very few exceptions, agency and journal criteria fail to recognize the complexity of sex/gender, including the intersection of sex/gender with other key factors that shape health.Conclusions The conceptualization and integration of sex/gender needs to better capture the interacting and complex factors that shape health—an imperative that can be informed by an intersectional approach. This can strengthen current efforts to advance scientific excellence in the production and reporting of research. We provide recommendations and supporting questions to strengthen consideration of sex/gender in policies and practices of health journals and funding agencies.
Sex differences
Sex/gender
Scientific reporting
Health journals
Hankivsky, O., Springer, K.W. & Hunting, G. Beyond sex and gender difference in funding and reporting of health research. Res Integr Peer Rev 3, 6 (2018). DOI: 10.1186/s41073-018-0050-6.
Res Integr Peer Rev
Funder: Canadian Institutes of Health Research (CIHR)
document.pdf 2.33 MB

redpajama_set_name: RedPajamaCommonCrawl


Currently viewing the tag: "saraswati"
Gayatri Devi is an incarnation of Saraswati Devi, symbolising the shakti (strength) and dev (quality) of Knowledge, Purity and Virtue. Includes several audio extracts of the Gayatri Mantra which will help in correct pronunciation. Audio by Ravi Shankar, Ratan Mohan Sharma, Pandit Jasraj.
The spirit of Navaratri – a festival of nine (-nava) nights (-ratri) is a vibrant reminder to us of the power of the feminine in our lives. One aspect of the feminine is shakti – often described as power, or energy. The significance of shakti is perhaps explained best by the two words Shiva-Shakti. Shiva is the potential, Shakti is the energy that enables the realization of that potential.


text:
Russians To Honour Hockey History By Playing Bandy Exhibition
The Russians did not start playing Canadian style hockey until the late 1940s. By the mid 1950s they dominated the world tournaments. How did they do it so fast?
Part of the reason is many of the players had been playing a similar sport for many years prior. That sport was bandy.
Bandy is a hockey-like game play on an ice surface the size of a soccer field. The players use skates and sticks that are very similar to field hockey sticks. Teams of 11 players aside try to put a ball - not a puck - into a net that is much larger than a hockey net.
Now comes news out of Russia that the Russian Olympic team (well, the KHL players only as the NHL players will not be available yet) will honour their hockey history and its bandy origins by playing a game of bandy. They will travel to the city of Kazan. The local KHL team, AK Bars Kazan, played an exhibition game against the local bandy team a couple of years ago, and were beaten handily.
The game will be played a couple of weeks prior to the Sochi Olympics.
Bandy is still played today, with Russia, Sweden and Finland being world powers. Canada does have a team, while even Somalia is interested in becoming a world power.
Here is a good YouTube video about Bandy:
Labels: 2014 Olympics, Bandy, Sochi 2014


text:
int ExtractBbox( CStudioHdr *pstudiohdr, int sequence, Vector& mins, Vector& maxs )
{
	if (! pstudiohdr)
		return 0;

	if (!pstudiohdr->SequencesAvailable())
		return 0;

	mstudioseqdesc_t	&seqdesc = pstudiohdr->pSeqdesc( sequence );

	mins = seqdesc.bbmin;

	maxs = seqdesc.bbmax;

	return 1;
}

//-----------------------------------------------------------------------------
// Purpose:
//
// Input  : *pstudiohdr -
//			iSequence -
//
// Output : mstudioseqdesc_t
//-----------------------------------------------------------------------------

extern int g_nActivityListVersion;
extern int g_nEventListVersion;

void SetEventIndexForSequence( mstudioseqdesc_t &seqdesc )
{
	if ( &seqdesc == NULL )
		 return;

	if ( seqdesc.numevents == 0 )
		 return;

#ifndef CLIENT_DLL
	seqdesc.flags |= STUDIO_EVENT;
#else
	seqdesc.flags |= STUDIO_EVENT_CLIENT;
#endif

	for ( int index = 0; index < (int)seqdesc.numevents; index++ )
	{
		mstudioevent_t *pevent = (mstudioevent_for_client_server_t*)seqdesc.pEvent( index );

		if ( !pevent )
			 continue;

		if ( pevent->type & AE_TYPE_NEWEVENTSYSTEM )
		{
			const char *pEventName = pevent->pszEventName();

			int iEventIndex = EventList_IndexForName( pEventName );

			if ( iEventIndex == -1 )
			{
				pevent->event_newsystem = EventList_RegisterPrivateEvent( pEventName );
			}
			else
			{
				pevent->event_newsystem = iEventIndex;
				pevent->type |= EventList_GetEventType( iEventIndex );
			}
		}
	}
}

mstudioevent_for_client_server_t *GetEventIndexForSequence( mstudioseqdesc_t &seqdesc )
{
#ifndef CLIENT_DLL
	if ( !(seqdesc.flags & STUDIO_EVENT) )
#else
	if ( !(seqdesc.flags & STUDIO_EVENT_CLIENT) )
#endif
	{
		SetEventIndexForSequence( seqdesc );
	}

	return (mstudioevent_for_client_server_t*)seqdesc.pEvent( 0 );
}

void BuildAllAnimationEventIndexes( CStudioHdr *pstudiohdr )
{
	if ( !pstudiohdr )
		return;

	if( pstudiohdr->GetEventListVersion() != g_nEventListVersion )
	{
		for ( int i = 0 ; i < pstudiohdr->GetNumSeq() ; i++ )
		{
			SetEventIndexForSequence( pstudiohdr->pSeqdesc( i ) );
		}

		pstudiohdr->SetEventListVersion( g_nEventListVersion );
	}
}

//-----------------------------------------------------------------------------
// Purpose: Ensures that activity / index relationship is recalculated
// Input  :
// Output :
//-----------------------------------------------------------------------------
void ResetEventIndexes( CStudioHdr *pstudiohdr )
{
	if (! pstudiohdr)
		return;

	pstudiohdr->SetEventListVersion( g_nEventListVersion - 1 );
}

//-----------------------------------------------------------------------------
// Purpose:
//-----------------------------------------------------------------------------

void SetActivityForSequence( CStudioHdr *pstudiohdr, int i )
{
	int iActivityIndex;
	const char *pszActivityName;
	mstudioseqdesc_t &seqdesc = pstudiohdr->pSeqdesc( i );

	seqdesc.flags |= STUDIO_ACTIVITY;

	pszActivityName = GetSequenceActivityName( pstudiohdr, i );
	if ( pszActivityName[0] != '\0' )
	{
		iActivityIndex = ActivityList_IndexForName( pszActivityName );

		if ( iActivityIndex == -1 )
		{
			// Allow this now.  Animators can create custom activities that are referenced only on the client or by scripts, etc.
			//Warning( "***\nModel %s tried to reference unregistered activity: %s \n***\n", pstudiohdr->name, pszActivityName );
			//Assert(0);
			// HACK: the client and server don't share the private activity list so registering it on the client would hose the server
#ifdef CLIENT_DLL
			seqdesc.flags &= ~STUDIO_ACTIVITY;
#else
			seqdesc.activity = ActivityList_RegisterPrivateActivity( pszActivityName );
#endif
		}
		else
		{
			seqdesc.activity = iActivityIndex;
		}
	}
}

//=========================================================
// IndexModelSequences - set activity and event indexes for all model
// sequences that have them.
//=========================================================

void IndexModelSequences( CStudioHdr *pstudiohdr )
{
	int i;

	if (! pstudiohdr)
		return;

	if (!pstudiohdr->SequencesAvailable())
		return;

	for ( i = 0 ; i < pstudiohdr->GetNumSeq() ; i++ )
	{
		SetActivityForSequence( pstudiohdr, i );
		SetEventIndexForSequence( pstudiohdr->pSeqdesc( i ) );
	}

	pstudiohdr->SetActivityListVersion( g_nActivityListVersion );
}

//-----------------------------------------------------------------------------
// Purpose: Ensures that activity / index relationship is recalculated
// Input  :
// Output :
//-----------------------------------------------------------------------------
void ResetActivityIndexes( CStudioHdr *pstudiohdr )
{
	if (! pstudiohdr)
		return;

	pstudiohdr->SetActivityListVersion( g_nActivityListVersion - 1 );
}

void VerifySequenceIndex( CStudioHdr *pstudiohdr )
{
	if ( !pstudiohdr )
	{
		return;
	}

	if( pstudiohdr->GetActivityListVersion( ) < g_nActivityListVersion )
	{
		// this model's sequences have not yet been indexed by activity
		IndexModelSequences( pstudiohdr );
	}
}

#if !defined( MAKEXVCD )
bool IsInPrediction()
{
	return CBaseEntity::GetPredictionPlayer() != NULL;
}

int SelectWeightedSequence( CStudioHdr *pstudiohdr, int activity, int curSequence )
{
	VPROF( "SelectWeightedSequence" );
#ifdef CLIENT_DLL
	VPROF_INCREMENT_COUNTER( "Client SelectWeightedSequence", 1 );
#else // ifdef GAME_DLL
	VPROF_INCREMENT_COUNTER( "Server SelectWeightedSequence", 1 );
#endif

	if (! pstudiohdr)
		return 0;

	if (!pstudiohdr->SequencesAvailable())
		return 0;

	VerifySequenceIndex( pstudiohdr );

	int numSeq = pstudiohdr->GetNumSeq();
	if ( numSeq == 1 )
	{
		return ( GetSequenceActivity( pstudiohdr, 0, NULL ) == activity ) ? 0 : ACTIVITY_NOT_AVAILABLE;
	}

	return pstudiohdr->SelectWeightedSequence( activity, curSequence );
}

// Pick a sequence for the given activity. If the current sequence is appropriate for the
// current activity, and its stored weight is negative (whatever that means), always select
// it. Otherwise perform a weighted selection -- imagine a large roulette wheel, with each
// sequence having a number of spaces corresponding to its weight.
int CStudioHdr::CActivityToSequenceMapping::SelectWeightedSequence( CStudioHdr *pstudiohdr, int activity, int curSequence )
{
	// is the current sequence appropriate?
	if (curSequence >= 0)
	{
		mstudioseqdesc_t &seqdesc = pstudiohdr->pSeqdesc( curSequence );

		if (seqdesc.activity == activity && seqdesc.actweight < 0)
			return curSequence;
	}

	if ( !pstudiohdr->SequencesAvailable() )
	{
		return ACTIVITY_NOT_AVAILABLE;
	}

	if ( pstudiohdr->GetNumSeq() == 1 )
	{
		AssertMsg( 0, "Expected single sequence case to be handled in ::SelectWeightedSequence()" );
		return ACTIVITY_NOT_AVAILABLE;
	}

	if (!ValidateAgainst(pstudiohdr))
	{
		AssertMsg1(false, "CStudioHdr %s has changed its vmodel pointer without reinitializing its activity mapping! Now performing emergency reinitialization.", pstudiohdr->pszName());
		ExecuteOnce(DebuggerBreakIfDebugging());
		Reinitialize(pstudiohdr);
	}

	// a null m_pSequenceTuples just means that this studio header has no activities.
	if (!m_pSequenceTuples)
		return ACTIVITY_NOT_AVAILABLE;

	// get the data for the given activity
	HashValueType dummy( activity, 0, 0, 0 );
	UtlHashHandle_t handle = m_ActToSeqHash.Find(dummy);
	if (!m_ActToSeqHash.IsValidHandle(handle))
	{
		return ACTIVITY_NOT_AVAILABLE;
	}
	const HashValueType * __restrict actData = &m_ActToSeqHash[handle];

	AssertMsg2( actData->totalWeight > 0, "Activity %s has total weight of %d!",
		activity, actData->totalWeight );
	int weighttotal = actData->totalWeight;

	// failsafe if the weight is 0: assume the artist screwed up and that the first sequence
	// for this activity should be returned.
	int randomValue = 0;
	if ( actData->totalWeight <= 0 )
	{
		Warning( "Activity %s has %d sequences with a total weight of %d!", ActivityList_NameForIndex(activity), actData->count, actData->totalWeight );
		return (m_pSequenceTuples + actData->startingIdx)->seqnum;
	}
	else if ( actData->totalWeight == 1 )
	{
		randomValue = 0;
	}
	else
	{
		// generate a random number from 0 to the total weight
		if ( IsInPrediction() )
		{
			randomValue = SharedRandomInt( "SelectWeightedSequence", 0, weighttotal - 1 );
		}
		else
		{
			randomValue = RandomInt( 0, weighttotal - 1 );
		}
	}

	// chug through the entries in the list (they are sequential therefore cache-coherent)
	// until we run out of random juice
	SequenceTuple * __restrict sequenceInfo = m_pSequenceTuples + actData->startingIdx;

	const SequenceTuple *const stopHere = sequenceInfo + actData->count; // this is a backup
		// in case the weights are somehow miscalculated -- we don't read or write through
		// it (because it aliases the restricted pointer above); it's only here for
		// the comparison.

	while (randomValue >= sequenceInfo->weight && sequenceInfo < stopHere)
	{
		randomValue -= sequenceInfo->weight;
		++sequenceInfo;
	}

	return sequenceInfo->seqnum;

}

int CStudioHdr::CActivityToSequenceMapping::SelectWeightedSequenceFromModifiers( CStudioHdr *pstudiohdr, int activity, CUtlSymbol *pActivityModifiers, int iModifierCount )
{
	if ( !pstudiohdr->SequencesAvailable() )
	{
		return ACTIVITY_NOT_AVAILABLE;
	}

	VerifySequenceIndex( pstudiohdr );

	if ( pstudiohdr->GetNumSeq() == 1 )
	{
		return ( ::GetSequenceActivity( pstudiohdr, 0, NULL ) == activity ) ? 0 : ACTIVITY_NOT_AVAILABLE;
	}

	if (!ValidateAgainst(pstudiohdr))
	{
		AssertMsg1(false, "CStudioHdr %s has changed its vmodel pointer without reinitializing its activity mapping! Now performing emergency reinitialization.", pstudiohdr->pszName());
		ExecuteOnce(DebuggerBreakIfDebugging());
		Reinitialize(pstudiohdr);
	}

	// a null m_pSequenceTuples just means that this studio header has no activities.
	if (!m_pSequenceTuples)
		return ACTIVITY_NOT_AVAILABLE;

	// get the data for the given activity
	HashValueType dummy( activity, 0, 0, 0 );
	UtlHashHandle_t handle = m_ActToSeqHash.Find(dummy);
	if (!m_ActToSeqHash.IsValidHandle(handle))
	{
		return ACTIVITY_NOT_AVAILABLE;
	}
	const HashValueType * __restrict actData = &m_ActToSeqHash[handle];

	// go through each sequence and give it a score
	int top_score = -1;
	CUtlVector<int> topScoring( actData->count, actData->count );
	for ( int i = 0; i < actData->count; i++ )
	{
		SequenceTuple * __restrict sequenceInfo = m_pSequenceTuples + actData->startingIdx + i;
		int score = 0;
		// count matching activity modifiers
		for ( int m = 0; m < iModifierCount; m++ )
		{
			int num_modifiers = sequenceInfo->iNumActivityModifiers;
			for ( int k = 0; k < num_modifiers; k++ )
			{
				if ( sequenceInfo->pActivityModifiers[ k ] == pActivityModifiers[ m ] )
				{
					score++;
					break;
				}
			}
		}
		if ( score > top_score )
		{
			topScoring.RemoveAll();
			topScoring.AddToTail( sequenceInfo->seqnum );
			top_score = score;
		}
	}

	// randomly pick between the highest scoring sequences ( NOTE: this method of selecting a sequence ignores activity weights )
	if ( IsInPrediction() )
	{
		return topScoring[ SharedRandomInt( "SelectWeightedSequence", 0, topScoring.Count() - 1 ) ];
	}

	return topScoring[ RandomInt( 0, topScoring.Count() - 1 ) ];
}

#endif

int SelectHeaviestSequence( CStudioHdr *pstudiohdr, int activity )
{
	if ( !pstudiohdr )
		return 0;

	VerifySequenceIndex( pstudiohdr );

	int maxweight = 0;
	int seq = ACTIVITY_NOT_AVAILABLE;
	int weight = 0;
	for (int i = 0; i < pstudiohdr->GetNumSeq(); i++)
	{
		int curActivity = GetSequenceActivity( pstudiohdr, i, &weight );
		if (curActivity == activity)
		{
			if ( iabs(weight) > maxweight )
			{
				maxweight = iabs(weight);
				seq = i;
			}
		}
	}

	return seq;
}

void GetEyePosition ( CStudioHdr *pstudiohdr, Vector &vecEyePosition )
{
	if ( !pstudiohdr )
	{
		Warning( "GetEyePosition() Can't get pstudiohdr ptr!\n" );
		return;
	}

	vecEyePosition = pstudiohdr->eyeposition();
}

//-----------------------------------------------------------------------------
// Purpose: Looks up an activity by name.
// Input  : label - Name of the activity to look up, ie "ACT_IDLE"
// Output : Activity index or ACT_INVALID if not found.
//-----------------------------------------------------------------------------
int LookupActivity( CStudioHdr *pstudiohdr, const char *label )
{
	VPROF( "LookupActivity" );

	if ( !pstudiohdr )
	{
		return 0;
	}

	for ( int i = 0; i < pstudiohdr->GetNumSeq(); i++ )
	{
		mstudioseqdesc_t &seqdesc = pstudiohdr->pSeqdesc( i );
		if ( stricmp( seqdesc.pszActivityName(), label ) == 0 )
		{
			return seqdesc.activity;
		}
	}

	return ACT_INVALID;
}

#if !defined( MAKEXVCD )
//-----------------------------------------------------------------------------
// Purpose: Looks up a sequence by sequence name first, then by activity name.
// Input  : label - The sequence name or activity name to look up.
// Output : Returns the sequence index of the matching sequence, or ACT_INVALID.
//-----------------------------------------------------------------------------
int LookupSequence( CStudioHdr *pstudiohdr, const char *label )
{
	VPROF( "LookupSequence" );

	if (! pstudiohdr)
		return 0;

	if (!pstudiohdr->SequencesAvailable())
		return 0;

	//
	// Look up by sequence name.
	//
	for (int i = 0; i < pstudiohdr->GetNumSeq(); i++)
	{
		mstudioseqdesc_t	&seqdesc = pstudiohdr->pSeqdesc( i );
		if (stricmp( seqdesc.pszLabel(), label ) == 0)
			return i;
	}

	//
	// Not found, look up by activity name.
	//
	int nActivity = LookupActivity( pstudiohdr, label );
	if (nActivity != ACT_INVALID )
	{
		return SelectWeightedSequence( pstudiohdr, nActivity );
	}

	return ACT_INVALID;
}

void GetSequenceLinearMotion( CStudioHdr *pstudiohdr, int iSequence, const float poseParameter[], Vector *pVec )
{
	if (! pstudiohdr)
	{
		Msg( "Bad pstudiohdr in GetSequenceLinearMotion()!\n" );
		return;
	}

	if (!pstudiohdr->SequencesAvailable())
		return;

	if( iSequence < 0 || iSequence >= pstudiohdr->GetNumSeq() )
	{
		// Don't spam on bogus model
		if ( pstudiohdr->GetNumSeq() > 0 )
		{
			static int msgCount = 0;
			while ( ++msgCount < 10 )
			{
				Msg( "Bad sequence (%i out of %i max) in GetSequenceLinearMotion() for model '%s'!\n", iSequence, pstudiohdr->GetNumSeq(), pstudiohdr->pszName() );
			}
		}
		pVec->Init();
		return;
	}

	QAngle vecAngles;
	Studio_SeqMovement( pstudiohdr, iSequence, 0, 1.0, poseParameter, (*pVec), vecAngles );
}

float GetSequenceLinearMotionAndDuration( CStudioHdr *pstudiohdr, int iSequence, const float poseParameter[], Vector *pVec )
{
	pVec->Init();
	if ( !pstudiohdr )
	{
		Msg( "Bad pstudiohdr in GetSequenceLinearMotion()!\n" );
		return 0.0f;
	}

	if ( !pstudiohdr->SequencesAvailable() )
		return 0.0f;

	if ( iSequence < 0 || iSequence >= pstudiohdr->GetNumSeq() )
	{
		// Don't spam on bogus model
		if ( pstudiohdr->GetNumSeq() > 0 )
		{
			static int msgCount = 0;
			while ( ++msgCount < 10 )
			{
				Msg( "Bad sequence (%i out of %i max) in GetSequenceLinearMotion() for model '%s'!\n", iSequence, pstudiohdr->GetNumSeq(), pstudiohdr->pszName() );
			}
		}
		return 0.0f;
	}

	return Studio_SeqMovementAndDuration( pstudiohdr, iSequence, 0, 1.0, poseParameter, (*pVec) );
}

#endif

const char *GetSequenceName( CStudioHdr *pstudiohdr, int iSequence )
{
	if( !pstudiohdr || iSequence < 0 || iSequence >= pstudiohdr->GetNumSeq() )
	{
		if ( pstudiohdr )
		{
			Msg( "Bad sequence in GetSequenceName() for model '%s'!\n", pstudiohdr->pszName() );
		}
		return "Unknown";
	}

	mstudioseqdesc_t	&seqdesc = pstudiohdr->pSeqdesc( iSequence );
	return seqdesc.pszLabel();
}

const char *GetSequenceActivityName( CStudioHdr *pstudiohdr, int iSequence )
{
	if( !pstudiohdr || iSequence < 0 || iSequence >= pstudiohdr->GetNumSeq() )
	{
		if ( pstudiohdr )
		{
			Msg( "Bad sequence in GetSequenceActivityName() for model '%s'!\n", pstudiohdr->pszName() );
		}
		return "Unknown";
	}

	mstudioseqdesc_t	&seqdesc = pstudiohdr->pSeqdesc( iSequence );
	return seqdesc.pszActivityName( );
}

int GetSequenceFlags( CStudioHdr *pstudiohdr, int sequence )
{
	if ( !pstudiohdr ||
		 !pstudiohdr->SequencesAvailable() ||
		sequence < 0 ||
		sequence >= pstudiohdr->GetNumSeq() )
	{
		return 0;
	}

	mstudioseqdesc_t &seqdesc = pstudiohdr->pSeqdesc( sequence );

	return seqdesc.flags;
}

//-----------------------------------------------------------------------------
// Purpose:
// Input  : *pstudiohdr -
//			sequence -
//			type -
// Output : Returns true on success, false on failure.
//-----------------------------------------------------------------------------
bool HasAnimationEventOfType( CStudioHdr *pstudiohdr, int sequence, int type )
{
	if ( !pstudiohdr || sequence >= pstudiohdr->GetNumSeq() )
		return false;

	mstudioseqdesc_t &seqdesc = pstudiohdr->pSeqdesc( sequence );
	if ( !&seqdesc )
		return false;

	mstudioevent_t *pevent = GetEventIndexForSequence( seqdesc );
	if ( !pevent )
		return false;

	if (seqdesc.numevents == 0 )
		return false;

	int index;
	for ( index = 0; index < (int)seqdesc.numevents; index++ )
	{
		if ( pevent[ index ].Event() == type )
		{
			return true;
		}
	}

	return false;
}

int GetAnimationEvent( CStudioHdr *pstudiohdr, int sequence, animevent_t *pNPCEvent, float flStart, float flEnd, int index )
{
	if ( !pstudiohdr || sequence >= pstudiohdr->GetNumSeq() || !pNPCEvent )
		return 0;

	mstudioseqdesc_t &seqdesc = pstudiohdr->pSeqdesc( sequence );
	if (seqdesc.numevents == 0 || index >= (int)seqdesc.numevents )
		return 0;

	// Msg( "flStart %f flEnd %f (%d) %s\n", flStart, flEnd, seqdesc.numevents, seqdesc.label );
	mstudioevent_t *pevent = GetEventIndexForSequence( seqdesc );
	for (; index < (int)seqdesc.numevents; index++)
	{
		// Don't send client-side events to the server AI
		if ( pevent[index].type & AE_TYPE_NEWEVENTSYSTEM )
		{
			if ( !(pevent[index].type & AE_TYPE_SERVER) )
				 continue;
		}
		else if ( pevent[index].Event_OldSystem() >= EVENT_CLIENT ) //Adrian - Support the old event system
			continue;

		bool bOverlapEvent = false;

		if (pevent[index].cycle >= flStart && pevent[index].cycle < flEnd)
		{
			bOverlapEvent = true;
		}
		// FIXME: doesn't work with animations being played in reverse
		else if ((seqdesc.flags & STUDIO_LOOPING) && flEnd < flStart)
		{
			if (pevent[index].cycle >= flStart || pevent[index].cycle < flEnd)
			{
				bOverlapEvent = true;
			}
		}

		if (bOverlapEvent)
		{
			pNPCEvent->pSource = NULL;
			pNPCEvent->cycle = pevent[index].cycle;
#if !defined( MAKEXVCD )
			pNPCEvent->eventtime = gpGlobals->curtime;
#else
			pNPCEvent->eventtime = 0.0f;
#endif
			pNPCEvent->type	= pevent[index].type;
			pNPCEvent->Event( pevent[index].Event() );
			pNPCEvent->options = pevent[index].pszOptions();
			return index + 1;
		}
	}
	return 0;
}

int FindTransitionSequence( CStudioHdr *pstudiohdr, int iCurrentSequence, int iGoalSequence, int *piDir )
{
	if ( !pstudiohdr )
		return iGoalSequence;

	if ( !pstudiohdr->SequencesAvailable() )
		return iGoalSequence;

	if ( ( iCurrentSequence < 0 ) || ( iCurrentSequence >= pstudiohdr->GetNumSeq() ) )
		return iGoalSequence;

	if ( ( iGoalSequence < 0 ) || ( iGoalSequence >= pstudiohdr->GetNumSeq() ) )
	{
		// asking for a bogus sequence.  Punt.
		Assert( 0 );
		return iGoalSequence;
	}

	// bail if we're going to or from a node 0
	if (pstudiohdr->EntryNode( iCurrentSequence ) == 0 || pstudiohdr->EntryNode( iGoalSequence ) == 0)
	{
		*piDir = 1;
		return iGoalSequence;
	}

	int	iEndNode;

	// Msg( "from %d to %d: ", pEndNode->iEndNode, pGoalNode->iStartNode );

	// check to see if we should be going forward or backward through the graph
	if (*piDir > 0)
	{
		iEndNode = pstudiohdr->ExitNode( iCurrentSequence );
	}
	else
	{
		iEndNode = pstudiohdr->EntryNode( iCurrentSequence );
	}

	// if both sequences are on the same node, just go there
	if (iEndNode == pstudiohdr->EntryNode( iGoalSequence ))
	{
		*piDir = 1;
		return iGoalSequence;
	}

	int iInternNode = pstudiohdr->GetTransition( iEndNode, pstudiohdr->EntryNode( iGoalSequence ) );

	// if there is no transitionial node, just go to the goal sequence
	if (iInternNode == 0)
		return iGoalSequence;

	int i;

	// look for someone going from the entry node to next node it should hit
	// this may be the goal sequences node or an intermediate node
	for (i = 0; i < pstudiohdr->GetNumSeq(); i++)
	{
		mstudioseqdesc_t &seqdesc = pstudiohdr->pSeqdesc(i );
		if (pstudiohdr->EntryNode( i ) == iEndNode && pstudiohdr->ExitNode( i ) == iInternNode)
		{
			*piDir = 1;
			return i;
		}
		if (seqdesc.nodeflags)
		{
			if (pstudiohdr->ExitNode( i ) == iEndNode && pstudiohdr->EntryNode( i ) == iInternNode)
			{
				*piDir = -1;
				return i;
			}
		}
	}

	// this means that two parts of the node graph are not connected.
	DevMsg( 2, "error in transition graph: %s to %s\n",  pstudiohdr->pszNodeName( iEndNode ), pstudiohdr->pszNodeName( pstudiohdr->EntryNode( iGoalSequence ) ));
	// Go ahead and jump to the goal sequence
	return iGoalSequence;
}

bool GotoSequence( CStudioHdr *pstudiohdr, int iCurrentSequence, float flCurrentCycle, float flCurrentRate, int iGoalSequence, int &nNextSequence, float &flNextCycle, int &iNextDir )
{
	if ( !pstudiohdr )
		return false;

	if ( !pstudiohdr->SequencesAvailable() )
		return false;

	if ( ( iCurrentSequence < 0 ) || ( iCurrentSequence >= pstudiohdr->GetNumSeq() ) )
		return false;

	if ( ( iGoalSequence < 0 ) || ( iGoalSequence >= pstudiohdr->GetNumSeq() ) )
	{
		// asking for a bogus sequence.  Punt.
		Assert( 0 );
		return false;
	}

	// bail if we're going to or from a node 0
	if (pstudiohdr->EntryNode( iCurrentSequence ) == 0 || pstudiohdr->EntryNode( iGoalSequence ) == 0)
	{
		iNextDir = 1;
		flNextCycle = 0.0;
		nNextSequence = iGoalSequence;
		return true;
	}

	int	iEndNode = pstudiohdr->ExitNode( iCurrentSequence );
	// Msg( "from %d to %d: ", pEndNode->iEndNode, pGoalNode->iStartNode );

	// if we're in a transition sequence
	if (pstudiohdr->EntryNode( iCurrentSequence ) != pstudiohdr->ExitNode( iCurrentSequence ))
	{
		// are we done with it?
		if (flCurrentRate > 0.0 && flCurrentCycle >= 0.999)
		{
			iEndNode = pstudiohdr->ExitNode( iCurrentSequence );
		}
		else if (flCurrentRate < 0.0 && flCurrentCycle <= 0.001)
		{
			iEndNode = pstudiohdr->EntryNode( iCurrentSequence );
		}
		else
		{
			// nope, exit
			return false;
		}
	}

	// if both sequences are on the same node, just go there
	if (iEndNode == pstudiohdr->EntryNode( iGoalSequence ))
	{
		iNextDir = 1;
		flNextCycle = 0.0;
		nNextSequence = iGoalSequence;
		return true;
	}

	int iInternNode = pstudiohdr->GetTransition( iEndNode, pstudiohdr->EntryNode( iGoalSequence ) );

	// if there is no transitionial node, just go to the goal sequence
	if (iInternNode == 0)
	{
		iNextDir = 1;
		flNextCycle = 0.0;
		nNextSequence = iGoalSequence;
		return true;
	}

	int i;

	// look for someone going from the entry node to next node it should hit
	// this may be the goal sequences node or an intermediate node
	for (i = 0; i < pstudiohdr->GetNumSeq(); i++)
	{
		mstudioseqdesc_t &seqdesc = pstudiohdr->pSeqdesc(i );
		if (pstudiohdr->EntryNode( i ) == iEndNode && pstudiohdr->ExitNode( i ) == iInternNode)
		{
			iNextDir = 1;
			flNextCycle = 0.0;
			nNextSequence = i;
			return true;
		}
		if (seqdesc.nodeflags)
		{
			if (pstudiohdr->ExitNode( i ) == iEndNode && pstudiohdr->EntryNode( i ) == iInternNode)
			{
				iNextDir = -1;
				flNextCycle = 0.999;
				nNextSequence = i;
				return true;
			}
		}
	}

	// this means that two parts of the node graph are not connected.
	DevMsg( 2, "error in transition graph: %s to %s\n",  pstudiohdr->pszNodeName( iEndNode ), pstudiohdr->pszNodeName( pstudiohdr->EntryNode( iGoalSequence ) ));
	return false;
}

void SetBodygroup( CStudioHdr *pstudiohdr, int& body, int iGroup, int iValue )
{
	if (! pstudiohdr)
		return;

	if (iGroup >= pstudiohdr->numbodyparts())
		return;

	mstudiobodyparts_t *pbodypart = pstudiohdr->pBodypart( iGroup );

	if (iValue >= pbodypart->nummodels)
		return;

	int iCurrent = (body / pbodypart->base) % pbodypart->nummodels;

	body = (body - (iCurrent * pbodypart->base) + (iValue * pbodypart->base));
}

int GetBodygroup( CStudioHdr *pstudiohdr, int body, int iGroup )
{
	if (! pstudiohdr)
		return 0;

	if (iGroup >= pstudiohdr->numbodyparts())
		return 0;

	mstudiobodyparts_t *pbodypart = pstudiohdr->pBodypart( iGroup );

	if (pbodypart->nummodels <= 1)
		return 0;

	int iCurrent = (body / pbodypart->base) % pbodypart->nummodels;

	return iCurrent;
}

const char *GetBodygroupName( CStudioHdr *pstudiohdr, int iGroup )
{
	if ( !pstudiohdr)
		return "";

	if (iGroup >= pstudiohdr->numbodyparts())
		return "";

	mstudiobodyparts_t *pbodypart = pstudiohdr->pBodypart( iGroup );
	return pbodypart->pszName();
}

const char *GetBodygroupPartName( CStudioHdr *pstudiohdr, int iGroup, int iPart )
{
	if ( !pstudiohdr)
		return "";

	if (iGroup >= pstudiohdr->numbodyparts())
		return "";

	mstudiobodyparts_t *pbodypart = pstudiohdr->pBodypart( iGroup );
	if ( iPart < 0 && iPart >= pbodypart->nummodels )
		return "";

	return pbodypart->pModel( iPart )->name;
}

int FindBodygroupByName( CStudioHdr *pstudiohdr, const char *name )
{
	if ( !pstudiohdr )
		return -1;

	int group;
	for ( group = 0; group < pstudiohdr->numbodyparts(); group++ )
	{
		mstudiobodyparts_t *pbodypart = pstudiohdr->pBodypart( group );
		if ( !Q_strcasecmp( name, pbodypart->pszName() ) )
		{
			return group;
		}
	}

	return -1;
}

int GetBodygroupCount( CStudioHdr *pstudiohdr, int iGroup )
{
	if ( !pstudiohdr )
		return 0;

	if (iGroup >= pstudiohdr->numbodyparts())
		return 0;

	mstudiobodyparts_t *pbodypart = pstudiohdr->pBodypart( iGroup );
	return pbodypart->nummodels;
}

int GetNumBodyGroups( CStudioHdr *pstudiohdr )
{
	if ( !pstudiohdr )
		return 0;

	return pstudiohdr->numbodyparts();
}

int GetSequenceActivity( CStudioHdr *pstudiohdr, int sequence, int *pweight )
{
	if (!pstudiohdr || !pstudiohdr->SequencesAvailable() )
	{
		if (pweight)
			*pweight = 0;
		return 0;
	}

	Assert(sequence >= 0 && sequence < pstudiohdr->GetNumSeq());
	mstudioseqdesc_t &seqdesc = pstudiohdr->pSeqdesc( sequence );

	if (!(seqdesc.flags & STUDIO_ACTIVITY))
	{
		SetActivityForSequence( pstudiohdr, sequence );
	}
	if (pweight)
		*pweight = seqdesc.actweight;
	return seqdesc.activity;
}

void GetAttachmentLocalSpace( CStudioHdr *pstudiohdr, int attachIndex, matrix3x4_t &pLocalToWorld )
{
	if ( attachIndex >= 0 )
	{
		const mstudioattachment_t &pAttachment = pstudiohdr->pAttachment(attachIndex);
		MatrixCopy( pAttachment.local, pLocalToWorld );
	}
}

//-----------------------------------------------------------------------------
// Purpose:
// Input  : *pstudiohdr -
//			*name -
// Output : int
//-----------------------------------------------------------------------------
int FindHitboxSetByName( CStudioHdr *pstudiohdr, const char *name )
{
	if ( !pstudiohdr )
		return -1;

	for ( int i = 0; i < pstudiohdr->numhitboxsets(); i++ )
	{
		mstudiohitboxset_t *set = pstudiohdr->pHitboxSet( i );
		if ( !set )
			continue;

		if ( !stricmp( set->pszName(), name ) )
			return i;
	}

	return -1;
}

//-----------------------------------------------------------------------------
// Purpose:
// Input  : *pstudiohdr -
//			setnumber -
// Output : char const
//-----------------------------------------------------------------------------
const char *GetHitboxSetName( CStudioHdr *pstudiohdr, int setnumber )
{
	if ( !pstudiohdr )
		return "";

	mstudiohitboxset_t *set = pstudiohdr->pHitboxSet( setnumber );
	if ( !set )
		return "";

	return set->pszName();
}

//-----------------------------------------------------------------------------
// Purpose:
// Input  : *pstudiohdr -
// Output : int
//-----------------------------------------------------------------------------
int GetHitboxSetCount( CStudioHdr *pstudiohdr )
{
	if ( !pstudiohdr )
		return 0;

	return pstudiohdr->numhitboxsets();
}

redpajama_set_name: RedPajamaGithub


text:
Tik-Tok of Oz
by L. Frank Baum
Chapter 9: "Ruggedo's Rage is Rash and Reckless"
Source: Baum, L. F. (1914). Tik-Tok of Oz. Chicago: Reilly and Britton.
Keywords: 20th century literature, american literature, books of oz, children's literature, fantasy, l. frank baum
Baum, L. (1914). Chapter 9: "Ruggedo's Rage is Rash and Reckless". Tik-Tok of Oz (Lit2Go Edition). Retrieved January 19, 2022, from https://etc.usf.edu/lit2go/23/tik-tok-of-oz/184/chapter-9-ruggedos-rage-is-rash-and-reckless/
Baum, L. Frank. "Chapter 9: "Ruggedo's Rage is Rash and Reckless"." Tik-Tok of Oz. Lit2Go Edition. 1914. Web. <https://etc.usf.edu/lit2go/23/tik-tok-of-oz/184/chapter-9-ruggedos-rage-is-rash-and-reckless/>. January 19, 2022.
L. Frank Baum, "Chapter 9: "Ruggedo's Rage is Rash and Reckless"," Tik-Tok of Oz, Lit2Go Edition, (1914), accessed January 19, 2022, https://etc.usf.edu/lit2go/23/tik-tok-of-oz/184/chapter-9-ruggedos-rage-is-rash-and-reckless/.
The way taken by the adventurers led up hill and down dale and wound here and there in a fashion that seemed aimless. But always it drew nearer to a range of low mountains and Files said more than once that he was certain the entrance to Ruggedo's cavern would be found among these rugged hills.
In this he was quite correct. Far underneath the nearest mountain was a gorgeous chamber hollowed from the solid rock, the walls and roof of which glittered with thousands of magnificent jewels. Here, on a throne of virgin gold, sat the famous Nome King, dressed in splendid robes and wearing a superb crown cut from a single blood-red ruby.
Ruggedo, the Monarch of all the Metals and Precious Stones of the Underground World, was a round little man with a flowing white beard, a red face, bright eyes and a scowl that covered all his forehead. One would think, to look at him, that he ought to be jolly; one might think, considering his enormous wealth, that he ought to be happy; but this was not the case. The Metal Monarch was surly and cross because mortals had dug so much treasure out of the earth and kept it above ground, where all the power of Ruggedo and his nomes was unable to recover it. He hated not only the mortals but also the fairies who live upon the earth or above it, and instead of being content with the riches he still possessed he was unhappy because he did not own all the gold and jewels in the world.
Ruggedo had been nodding, half asleep, in his chair when suddenly he sat upright, uttered a roar of rage and began pounding upon a huge gong that stood beside him.
The sound filled the vast cavern and penetrated to many caverns beyond, where countless thousands of nomes were working at their unending tasks, hammering out gold and silver and other metals, or melting ores in great furnaces, or polishing glittering gems. The nomes trembled at the sound of the King's gong and whispered fearfully to one another that something unpleasant was sure to happen; but none dared pause in his task,
The heavy curtains of cloth-of-gold were pushed aside and Kaliko, the King's High Chamberlain, entered the royal presence.
"What's up, Your Majesty?" he asked, with a wide yawn, for he had just wakened.
"Up?" roared Ruggedo, stamping his foot viciously. "Those foolish mortals are up, that's what! And they want to come down."
"Down here?" inquired Kaliko.
"How do you know?" continued the Chamberlain, yawning again.
"I feel it in my bones," said Ruggedo. "I can always feel it when those hateful earth-crawlers draw near to my Kingdom. I am positive, Kaliko, that mortals are this very minute on their way here to annoy me—and I hate mortals more than I do catnip tea!"
"Well, what's to be done?" demanded the nome.
"Look through your spyglass, and see where the invaders are," commanded the King.
So Kaliko went to a tube in the wall of rock and put his eye to it. The tube ran from the cavern up to the side of the mountain and turned several curves and corners, but as it was a magic spyglass Kaliko was able to see through it just as easily as if it had been straight.
"Ho—hum," said he. "I see 'em, Your Majesty."
"What do they look like?" inquired the Monarch.
"That's a hard question to answer, for a stranger assortment of creatures I never yet beheld," replied the nome. "However, such a collection of curiosities may prove dangerous. There's a copper man, worked by machinery—"
"Bah! That's only Tik-Tok," said Ruggedo. "I'm not afraid of him. Why, only the other day I met the fellow and threw him down a well."
"Then some one must have pulled him out again," said Kaliko. "And there's a little girl—"
"Dorothy?" asked Ruggedo, jumping up in fear.
"No; some other girl. In fact, there are several girls, of various sizes; but Dorothy is not with them, nor is Ozma."
"That's good!" exclaimed the King, sighing in relief.
Kaliko still had his eye to the spyglass.
"I see," said he, "an army of men from Oogaboo. They are all officers and carry swords. And there is a Shaggy Man—who seems very harmless—and a little donkey with big ears."
"Pooh!" cried Ruggedo, snapping his fingers in scorn. "I've no fear of such a mob as that. A dozen of my nomes can destroy them all in a jiffy."
"I'm not so sure of that," said Kaliko. "The people of Oogaboo are hard to destroy, and I believe the Rose Princess is a fairy. As for Polychrome, you know very well that the Rainbow's Daughter cannot be injured by a nome."
"Polychrome! Is she among them?" asked the King.
"Yes; I have just recognized her."
"Then these people are coming here on no peaceful errand," declared Ruggedo, scowling fiercely. "In fact, no one ever comes here on a peaceful errand. I hate everybody, and everybody hates me!"
"Very true," said Kaliko.
"I must in some way prevent these people from reaching my dominions. Where are they now?"
"Just now they are crossing the Rubber Country, Your Majesty."
"Good! Are your magnetic rubber wires in working order?"
"I think so," replied Kaliko. "Is it your Royal Will that we have some fun with these invaders?"
"It is," answered Ruggedo. "I want to teach them a lesson they will never forget."
Now, Shaggy had no idea that he was in a Rubber Country, nor had any of his companions. They noticed that everything around them was of a dull gray color and that the path upon which they walked was soft and springy, yet they had no suspicion that the rocks and trees were rubber and even the path they trod was made of rubber.
Presently they came to a brook where sparkling water dashed through a deep channel and rushed away between high rocks far down the mountainside. Across the brook were stepping-stones, so placed that travelers might easily leap from one to another and in that manner cross the water to the farther bank.
Tik-Tok was marching ahead, followed by his officers and Queen Ann. After them came Betsy Bobbin and Hank, Polychrome and Shaggy, and last of all the Rose Princess with Files. The Clockwork Man saw the stream and the stepping stones and, without making a pause, placed his foot upon the first stone.
The result was astonishing. First he sank down in the soft rubber, which then rebounded and sent Tik-Tok soaring high in the air, where he turned a succession of flip-flops and alighted upon a rubber rock far in the rear of the party.
General Apple did not see Tik-Tok bound, so quickly had he disappeared; therefore he also stepped upon the stone (which you will guess was connected with Kaliko's magnetic rubber wire) and instantly shot upward like an arrow. General Cone came next and met with a like fate, but the others now noticed that something was wrong and with one accord they halted the column and looked back along the path.
There was Tik-Tok, still bounding from one rubber rock to another, each time rising a less distance from the ground. And there was General Apple, bounding away in another direction, his three-cornered hat jammed over his eyes and his long sword thumping him upon the arms and head as it swung this way and that. And there, also, appeared General Cone, who had struck a rubber rock headforemost and was so crumpled up that his round body looked more like a bouncing-ball than the form of a man.
Betsy laughed merrily at the strange sight and Polychrome echoed her laughter. But Ozga was grave and wondering, while Queen Ann became angry at seeing the chief officers of the Army of Oogaboo bounding around in so undignified a manner. She shouted to them to stop, but they were unable to obey, even though they would have been glad to do so. Finally, however, they all ceased bounding and managed to get upon their feet and rejoin the Army.
"Why did you do that?" demanded Ann, who seemed greatly provoked.
"Don't ask them why," said Shaggy earnestly. "I knew you would ask them why, but you ought not to do it. The reason is plain. Those stones are rubber; therefore they are not stones. Those rocks around us are rubber, and therefore they are not rocks. Even this path is not a path; it's rubber. Unless we are very careful, your Majesty, we are all likely to get the bounce, just as your poor officers and Tik-Tok did."
"Then let's be careful," remarked Files, who was full of wisdom; but Polychrome wanted to test the quality of the rubber, so she began dancing. Every step sent her higher and higher into the air, so that she resembled a big butterfly fluttering lightly. Presently she made a great bound and bounded way across the stream, landing lightly and steadily on the other side.
"There is no rubber over here," she called to them. "Suppose you all try to bound over the stream, without touching the stepping-stones."
Ann and her officers were reluctant to undertake such a risky adventure, but Betsy at once grasped the value of the suggestion and began jumping up and down until she found herself bounding almost as high as Polychrome had done. Then she suddenly leaned forward and the next bound took her easily across the brook, where she alighted by the side of the Rainbow's Daughter.
"Come on, Hank!" called the girl, and the donkey tried to obey. He managed to bound pretty high but when he tried to bound across the stream he misjudged the distance and fell with a splash into the middle of the water.
"Hee-haw!" he wailed, struggling toward the far bank. Betsy rushed forward to help him out, but when the mule stood safely beside her she was amazed to find he was not wet at all.
"It's dry water," said Polychrome, dipping her hand into the stream and showing how the water fell from it and left it perfectly dry.
"In that case," returned Betsy, "they can all walk through the water."
She called to Ozga and Shaggy to wade across, assuring them the water was shallow and would not wet them. At once they followed her advice, avoiding the rubber stepping stones, and made the crossing with ease. This encouraged the entire party to wade through the dry water, and in a few minutes all had assembled on the bank and renewed their journey along the path that led to the Nome King's dominions.
When Kaliko again looked through his magic spyglass he exclaimed:
"Bad luck, Your Majesty! All the invaders have passed the Rubber Country and now are fast approaching the entrance to your caverns."
Ruggedo raved and stormed at the news and his anger was so great that several times, as he strode up and down his jeweled cavern, he paused to kick Kaliko upon his shins, which were so sensitive that the poor nome howled with pain. Finally the King said:
"There's no help for it; we must drop these audacious invaders down the Hollow Tube."
Kaliko gave a jump, at this, and looked at his master wonderingly.
"If you do that, Your Majesty," he said, "you will make Tititi-Hoochoo very angry."
"Never mind that," retorted Ruggedo. "Tititi-Hoochoo lives on the other side of the world, so what do I care for his anger?"
Kaliko shuddered and uttered a little groan.
"Remember his terrible powers," he pleaded, "and remember that he warned you, the last time you slid people through the Hollow Tube, that if you did it again he would take vengeance upon you."
The Metal Monarch walked up and down in silence, thinking deeply.
"Of two dangers," said he, "it is wise to choose the least. What do you suppose these invaders want?"
"Let the Long-Eared Hearer listen to them," suggested Kaliko.
"Call him here at once!" commanded Ruggedo eagerly.
So in a few minutes there entered the cavern a nome with enormous ears, who bowed low before the King.
"Strangers are approaching," said Ruggedo, "and I wish to know their errand. Listen carefully to their talk and tell me why they are coming here, and what for."
The nome bowed again and spread out his great ears, swaying them gently up and down and back and forth. For half an hour he stood silent, in an attitude of listening, while both the King and Kaliko grew impatient at the delay. At last the Long-Eared Hearer spoke:
"Shaggy Man is coming here to rescue his brother from captivity," said he.
"Ha, the Ugly One!" exclaimed Ruggedo. "Well, Shaggy Man may have his ugly brother, for all I care. He's too lazy to work and is always getting in my way. Where is the Ugly One now, Kaliko?"
"The last time Your Majesty stumbled over the prisoner you commanded me to send him to the Metal Forest, which I did. I suppose he is still there."
"Very good. The invaders will have a hard time finding the Metal Forest," said the King, with a grin of malicious delight, "for half the time I can't find it myself. Yet I created the forest and made every tree, out of gold and silver, so as to keep the precious metals in a safe place and out of the reach of mortals. But tell me, Hearer, do the strangers want anything else?"
"Yes, indeed they do!" returned the nome. "The Army of Oogaboo is determined to capture all the rich metals and rare jewels in your kingdom, and the officers and their Queen have arranged to divide the spoils and carry them away."
When he heard this Ruggedo uttered a bellow of rage and began dancing up and down, rolling his eyes, clicking his teeth together and swinging his arms furiously. Then, in an ecstasy of anger he seized the long ears of the Hearer and pulled and twisted them cruelly; but Kaliko grabbed up the King's sceptre and rapped him over the knuckles with it, so that Ruggedo let go the ears and began to chase his Royal Chamberlain around the throne.
The Hearer took advantage of this opportunity to slip away from the cavern and escape, and after the King had tired himself out chasing Kaliko he threw himself into his throne and panted for breath, while he glared wickedly at his defiant subject.
"You'd better save your strength to fight the enemy," suggested Kaliko. "There will be a terrible battle when the Army of Oogaboo gets here."
"The Army won't get here," said the King, still coughing and panting. "I'll drop 'em down the Hollow Tube—every man Jack and every girl Jill of 'em!"
"And defy Tititi-Hoochoo?" asked Kaliko.
"Yes. Go at once to my Chief Magician and order him to turn the path toward the Hollow Tube, and to make the tip of the Tube invisible, so they'll all fall into it."
Kaliko went away shaking his head, for he thought Ruggedo was making a great mistake. He found the Magician and had the path twisted so that it led directly to the opening of the Hollow Tube, and this opening he made invisible.
Having obeyed the orders of his master, the Royal Chamberlain went to his private room and began to write letters of recommendation of himself, stating that he was an honest man, a good servant and a small eater.
"Pretty soon," he said to himself, "I shall have to look for another job, for it is certain that Ruggedo has ruined himself by this reckless defiance of the mighty Tititi-Hoochoo. And in seeking a job nothing is so effective as a letter of recommendation."
This document was downloaded from Lit2Go, a free online collection of stories and poems in Mp3 (audiobook) format published by the Florida Center for Instructional Technology. For more information, including classroom activities, readability data, and original sources, please visit https://etc.usf.edu/lit2go/23/tik-tok-of-oz/184/chapter-9-ruggedos-rage-is-rash-and-reckless/.
Lit2Go: Tik-Tok of Oz


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HNSA Ships to Visit: Listed by Location Listed by Name Listed by Type Overnight Programs Find Ships With a Map
Knowledge Base: How to Find Ship Info Manuals & Documents Historic Sound & Video Operations Handbook
About HNSA: Associate Members Introduction Activities Membership Donate Anchorwatch Newsletter Job Postings Awards Bylaws Contact HNSA Search hnsa.org
Support HNSA: Membership Donate
USS HORNET (CV-12)
Class: Essex Aircraft Carrier
Launched: August 30, 1943
At: Newport News Shipbuilding Co., Newport News, Virginia
Commissioned: November 29, 1943
Modernized and re-commissioned: September 11, 1953 at New York Naval Shipyard, Brooklyn, New York.
Beam: 101 ft. at waterline, 192 ft. at angled deck
Draft: 30 ft.
Displacement: 41,200 tons fully loaded
Armament: WW II: 90 aircraft, 12 5"/38 cal, reduced postwar to 4 5"/38 cal., 8 3"/50 cal., 40 mm and 55 20 mm guns
Aircraft Carrier Hornet Museum
707 W. Hornet Ave
Pier 3, Alameda Point
Email (for overnight encampments): [email protected]
http://www.uss-hornet.org
http://www.usshornetassn.com/
Latitude: 37.772631, Longitude: -122.302852
Google Maps, Microsoft Bing, Yahoo Maps, Mapquest
The veteran Essex-class carrier USS Hornet (CV-12, CVA-12, CVS-12) is the eighth and most distinguished namesake in a long line of U.S. Navy warships with proud naval histories, beginning with the first Hornet in 1775. The second Hornet assisted the Marines in the decisive battle of Derna (near Tripoli) with a devastating bombardment of the citadel, an action which ended the Barbary Wars. Third Hornet, under the legendary Captain Lawrence, sank the British warships Peacock and Penguin in the War of 1812. Seventh Hornet (CV-8) took the Doolittle Raiders to Tokyo, helped with the Battle of Midway, and was sunk in October 1942, defending Guadalcanal in the Battle of Santa Cruz.
The eighth Hornet (CV-12) had an extraordinary combat record in WW II, engaging the enemy in the Pacific in March 1944, just 21 months after the laying of her keel and the shortest shakedown cruise in Navy history (2 weeks). For eighteen months, she never touched land. She was constantly in the most forward areas of the Pacific war - sometimes within 40 miles of the Japanese home islands. Her pilots destroyed 1,410 enemy aircraft and over one million tons of enemy shipping. Her planes stopped the Japanese super-battleship Yamato and played the major part in sinking her. She launched the first strikes in the liberation of the Philippines, and in Feb. 1945, the first strikes on Japan since the Doolittle raid in 1942. The "Grey Ghost" participated in virtually all of the assault landings in the Pacific from March 1944 until the end of WW II, earning 9 battle stars and the Presidential Unit citation.
In 1969, Hornet recovered the Apollo 11 space capsule containing astronauts Neil Armstrong and Buzz Aldrin - the first men who walked on the moon - and Michael Collins. A short time later, she recovered Apollo 12 with the all-Navy crew of "moon walkers". The F/A 18 fighter plane is named after this distinguished ship.
USS Hornet is a National Historic Landmark and a State Historical Landmark. The ship is located on the east side of San Francisco Bay. A "Living Ship" demonstration is presented on the 3rd Saturday of each month. The ship is host to patriotic events and is also available for private parties.
Apollo 11 Astronauts Speak with President Nixon Aboard USS Hornet.
Return to the HNSA Home Page.
Copyright © 1997-2008, Historic Naval Ships Association.
Legal Notices and Privacy Policy


text:
Q: pendingIntent not sending extras, despite the flags My pendingIntent is carrying no extras to the service, despite the flags I put in the intent or the pendingIntent itself.
DrawerActivity.class:
@Override
public void registerAlarmTask(Calendar time, String title, int iconId) {

    int requestId = (int) System.currentTimeMillis();

    Intent intent = new Intent(this, AlarmReceiver.class);
    intent.putExtra("title",title);
    intent.putExtra("icon", iconId);
    intent.setFlags(Intent.FLAG_ACTIVITY_SINGLE_TOP);
    intent.setAction("alarm");
    PendingIntent pIntent = PendingIntent.getBroadcast(this, requestId, intent, PendingIntent.FLAG_UPDATE_CURRENT);
    AlarmManager alarm = (AlarmManager) getSystemService(ALARM_SERVICE);

    Calendar newTime = Calendar.getInstance();
    newTime.set(Calendar.MINUTE, time.get(Calendar.MINUTE)-1);

    alarm.set(AlarmManager.RTC_WAKEUP, newTime.getTimeInMillis(), pIntent);
    Log.w(TAG, "Alarm created! " + newTime.toString());
}

And the StartCommand method from NotificationService:
@Override
public int onStartCommand(Intent intent, int flags, int startId) {

        NotificationCompat.Builder nBuilder = new NotificationCompat.Builder(this);
        Log.w(TAG, "Icon ID: " + intent.getIntExtra("icon", 404) + " / Title: " + intent.getStringExtra("title"));
        nBuilder.setSmallIcon(intent.getIntExtra("icon", R.drawable.ic_event_new));
        nBuilder.setContentTitle(intent.getStringExtra("title"));
        nBuilder.setContentText("A partida irá começar em instantes...");
        nBuilder.setTicker("Sua partida no Destiny está prestes a começar!");
        nBuilder.setAutoCancel(true);

        NotificationManager nManager = (NotificationManager) getSystemService(Context.NOTIFICATION_SERVICE);
        nManager.notify(0, nBuilder.build());

    Log.w(TAG, "Notification Service started!");
    Toast.makeText(this, "Notification Service started!", Toast.LENGTH_SHORT).show();

    return super.onStartCommand(intent, flags, startId);
}

The extras from the intent are always null, no matter the requestId, intent flags or pendingIntent flags i put.
Any tip in where I'm doing wrong? I've searched a lot, but found no answer.
Regards,
Lucas Sene

A: Like Mike M. said in the comments, I just forgot to pass the Intent extra from the BroadcastReceiver to the Service. Yes, a silly mistake...
Thanks for all comments!

redpajama_set_name: RedPajamaStackExchange


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Investigating disciplinary concerns: getting it right
Penningtons Manches Cooper LLP
United Kingdom October 22 2019
A recent Employment Appeal Tribunal (EAT) decision highlights some important principles in managing disciplinary cases.
Dr Dronsfield, a professor at the University of Reading, had a sexual relationship with one of his students. This was a disciplinary issue but under the university's rules, he could be dismissed only if his conduct was held to be 'immoral, scandalous or of a disgraceful nature incompatible with the duties of office or employment'.
A senior academic and an HR business partner investigated the matter, with a view to preparing a report for the disciplinary decision-maker. In their initial draft investigation report they expressed the opinion that there was no evidence that Dr Dronsfield's conduct had been immoral, scandalous or disgraceful. But this conclusion was not theirs to draw – it was a matter for the decision-maker. The university's in-house lawyer reviewed the draft report and the wording was removed from the final version. Dr Dronsfield was later dismissed by an independent decision-maker, and appealed unsuccessfully. During the internal process he had sight of the original draft documents so was aware of the amendments.
He brought a claim of unfair dismissal, and after his claim was unsuccessful, appealed to the EAT. His main argument was that it was not reasonable for the draft report to have been amended, and that the intervention of the in-house lawyer was unfair.
The EAT dismissed his claim. It held that it was fair and reasonable to have the in-house lawyer advise the investigators, particularly taking into account the error which had been made in the first draft: any question as to whether there were sufficient grounds to dismiss should have been left for the decision-maker.
This case is a useful reminder as to the differing roles of the investigator and the decision-maker in a disciplinary process. Investigators have to form opinions on the facts: but decisions relating to the outcome of the process should be left to the manager responsible for the outcome
Penningtons Manches Cooper LLP - Paul Mander
Laser lipolysis carries hidden dangers, says clinical negligence specialist *
Tough decisions: juggling strategic choices *
Tough decisions for housing providers: juggling strategic choices *
Doing good at every level: charities and ESG investing *
New code of practice on data sharing provides helpful guidance for charity sector *
Related United Kingdom articles
Investigations: getting the balance right *
Dronsfield v. University of Reading *
Disciplinary investigation reports: Getting the balance right *
Where to draw the line: HR's role in disciplinary decisions * - USA
Southern District of Ohio dismisses two suits challenging university sexual misconduct proceedings * - USA
Bernd Schlenther
Senior Manager: Central Risk Unit
Customs Risk Management & Intelligence Division
"I use the newsfeeds to follow legislative changes and industry trends relevant to my division. I find the articles to be of a good quality and the topics are well researched and presented in a very user-friendly format."


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Call for Early Careers - RDA 15th Plenary
04 November 2019 - 14:30 to 03 February 2020 - 17:00
RDA Europe is offering up to seven grants of maximum €2400 to Early Career European Researchers & Scientists working with data to attend the 15th RDA Plenary meeting, to be held in Melbourne, Australia, 18 - 20 March 2020
The RDA Europe Early Career programme is now an established platform for early career researchers to share ideas, experiences and practical advice, while learning what leading data scientists and practitioners are currently working on. This programme has offered grant winners the opportunity to engage directly with and support the work of RDA Working and Interest Groups, to learn and contribute, and become a part of the RDA global data sharing community.
RDA Europe aims for balanced distribution of grants across all European regions and strongly encourages applicants from EU13 countries in this final call for Early Careers and Experts available under the RDA Europe 4.0 project. EU13 countries are: Bulgaria, Croatia, Cyprus, Czech Republic, Estonia, Hungary, Latvia, Lithuania, Malta, Poland, Romania, Slovakia and Slovenia.
Interested candidates are invited to fill in the application form, linked below, in order to apply for the programme. Please review the details below before you apply. The successful applicants will be offered financial support to participate in the 15th RDA Plenary and will be:
Required to display a poster summarising their studies and areas of interest during the plenary meeting;
Assigned to a working or interest group and expected to attend group meetings;
Asked to take notes and provide a summary of the group's meeting for internal use by the group members;
Required to write a publishable summary about the 15th RDA Plenary meeting to be posted as a blog / news piece on the RDA website, referencing the applicant as the author directly.
The applicants should satisfy the following criteria:
Currently engaged in Bachelor, Masters, PhD or Postdoc studies - note that applicants must be enrolled in a higher education study course or within maximum 5 years after completing a PhD in the case of Postdoc studies;
Study is conducted in a higher education or research institution based in one of the EU Member states or Associated countries (for reference please consult http://ec.europa.eu/research/participants/data/ref/h2020/grants_manual/hi/3cpart/h2020-hi-list-ac_en.pdf);
Studies are of relevance to RDA Recommendations or Outputs and cover at least one of the Working or Interest Groups.
Further criteria and conditions:
Previous Early Career programme winners should not re-apply.
It is not possible to apply for both the Early Career support programme and the Expert support programme in the same round.
RDA Ambassadors are not eligible for the Early Career support programme.
Members of RDA governance bodies (TAB, OAB, Council & Secretariat) are not eligible for the Early Career support programme.
People working on the RDA Europe 4.0 project (i.e. funded as a core partner, as a node or seconded personnel) are not eligible for the Early Careers grants.
Evaluation and selection
Applications will be evaluated by a group of external expert evaluators, according to the following criteria:
Area of interest, relevance of their work to RDA activities and foreseen benefits (criterion weight 60%);
Proficiency in English (good knowledge of English will be required to generate content) (criterion weight 20%);
Understanding of the European Data Infrastructures landscape, including initiatives such as the European Open Science Cloud; the FAIR data movement; knowledge of the Open Science agenda, and how these intend to evolve in Europe (criterion weight 20%);
Evaluation will also consider the following criteria to establish balanced and diverse participation and distribution of grants:
Geographical balance
Preference given to candidates who have not already previously received RDA funding
Preference given to candidates in underrepresented fields within RDA
RDA Europe aims for balanced distribution of grants across all European regions and strongly encourages applicants from EU13 countries in this final call for Early Careers available under the RDA Europe 4.0 project. EU13 countries are: Bulgaria, Croatia, Cyprus, Czech Republic, Estonia, Hungary, Latvia, Lithuania, Malta, Poland, Romania, Slovakia and Slovenia.
The Early Career support programme will offer up to seven grants of maximum €2400 to support participation at this Plenary Meeting.
What costs can be reimbursed?
For reimbursement of ECR grants, the University of Göttingen cost accounting practices apply. The following costs are eligible:
Flights, trains and public transport to and from the conference venue (Economy fares only)
Maximum five nights accommodation in Melbourne
Hotel costs are reimbursed up to €158 per night (excluding breakfast)
Conference fee (Early Bird rate)
Costs for Licensed Taxis are eligible only if public transport is not available
No daily allowance
Maximum total costs reimbursed will be €2400.
How will costs be reimbursed?
Costs will be reimbursed after successful participation in the activity. Successful applicants will need to complete the form for 'Travel expense reimbursement of invited/dispatched staff members' from the University of Göttingen, and attach original receipts. This must be submitted to the University of Göttingen within 30 days after travel.
Katharina Mueller
rda.europe-grants@sub.uni-goettingen.de
Deadline and Notifications
Interested candidates are invited to complete the online application form by 3 February 2020, 17:00 CET. We aim to notify all candidates of the outcome of their application on the 21st of February 2020.
Please use the form linked below to submit your application. If you cannot see the form, please login / register.
Launch Calls - 5 November 2019
Call closes - 3 February 2020
Notification of results - 21 February 2020
Latest update 5 November 2019


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Юртинское муниципальное образование — муниципальное образование со статусом городского поселения в Тайшетском районе Иркутской области России. Административный центр — поселок Юрты.

Демография
По результатам Всероссийской переписи населения 2010 года
численность населения муниципального образования составила 5301 человек, в том числе 2480 мужчин и 2821 женщин.

Населенные пункты
В состав муниципального образования входят населенные пункты
 Юрты

Примечания

Муниципальные образования Тайшетского района
Городские поселения Иркутской области

redpajama_set_name: RedPajamaWikipedia


� Build a top bar hive Keeping Bees Using the Top-bar Beekeeping Method With growing concerns about colony collapse disorder and the resulting decline in the number of pollinators, gardeners might consider maintaining a top-bar hive of honeybees simply to increase vegetable and fruit yields through better pollination.... � Build a top bar hive Keeping Bees Using the Top-bar Beekeeping Method With growing concerns about colony collapse disorder and the resulting decline in the number of pollinators, gardeners might consider maintaining a top-bar hive of honeybees simply to increase vegetable and fruit yields through better pollination.
First of all you can get the plans as a free PDF download. How to build a top bar hive (PDF) I also filmed my experiences building the top bar hive and decided that the internet had room for one more �how to build a top bar hive� video. I like to think that I approached a few of the construction elements a bit simpler than Dave, or at the very least in a way that made sense to me and... Instructions below are for making what is called a �top bar hive� (also called a Warre hive), which is the simplest type of hive to build and deal with. Tools and Materials You will need the following to make your hive, along with basic DIY skills.
28/03/2015�� This is Part 2 of building a top bar horizontal beehive. You can download the design plans on my website for you own beehive build project. Facebook: https://www tintin et le secret dhergé pdf Here's a how to video on building a new top bar beehive using thermally treated poplar. You can also print the complete design plans, and parts list which is posted below to build your own hive. You can also print the complete design plans, and parts list which is posted below to build your own hive.
9/01/2014�� In response to your question of Aug 5, 2013; The top bar hive is indeed sloped on the sides. The width of the top and bottom as well as the overall depth of the box are varied according to local weather considerations. Warmer climates dictate wider and shallower hive boxes than would be acceptable in a cooler climate for the reason Dave mentioned. The TBH boxes are opened from the top � sword coast adventures pdf download Whether you choose a side entrance, end entrance or top entrance, put your entrance at one end of the hive�not in the middle, or if in the middle use a follower to make that entrance �front.�.
� Build a top bar hive Keeping Bees Using the Top-bar Beekeeping Method With growing concerns about colony collapse disorder and the resulting decline in the number of pollinators, gardeners might consider maintaining a top-bar hive of honeybees simply to increase vegetable and fruit yields through better pollination.
6/06/2011�� For anyone having questions about what a "top bar" is, in a usual Langstroth form of hive, the comb is built in frames. That is to say it has wood all around it. Top bar hives use only the top piece of wood, called the top bar. Some have a pair of side bars, but if there's a bottom bar, then it's no longer a TBH, but rather a frame hive.
The following tables break down the Kenya top-bar hive into its individual components and provide instructions on how to cut and build those components. Lumber in a store is identified by its nominal size, which is its rough dimension before it�s trimmed and sanded to its finished size at the lumber mill.


Just over 100 kilometres west of Toronto lies Kitchener, considered one of the most charming cities in the province and a delightful home for new residents. The history of the city dates back to 1784, as the land was a gift following the American Revolution. Since then, Kitchener has become a center for the arts, multicultural hub and wonderful place to raise families in the greater Toronto area.
According to the 2011 Canadian Census, the population in Kitchener was just over 219,000, but according to the city's website, the number is likely closer to 233,000 when you factor in temporary residents like students. The population grew by 7.1 percent between 2006 and 2011, according to City-Data, showing that many people are looking to call Kitchener their new home.
The Waterloo Region Museum is a must-see if you are new to the area. This is the largest community museum in Ontario and has numerous local galleries as well as exhibits from across the globe. One of the biggest attractions at the museum is the Doon Heritage Village, a 60-acre parcel that replicates what life was like in the Waterloo area in the early 20th century. The main exhibit gallery is also a delight, as it traces the history of Kitchener and the surrounding communities from First Nation peoples to the earliest European settlements in the 1800s.
The city's website calls Victoria Park "the jewel of our city," and it's hard to disagree with the title. The space hosts many community events throughout the year, including the Kitchener Blues Festival, the K-W Multicultural Festival and the Christmas Fantasy. Year round you can enjoy public art, flower gardens, winter rinks, a boathouse restaurant on the lake and access to the Iron Horse Trail if you are feeling active.
With the Conestoga Parkway running straight through the city, getting around by car with your Kitchener moving company is a breeze. However, if you would rather sit back and let the agents do the heavy lifting for you, try some of the services offered from Allied Van Lines.
You can fly into Region of Waterloo International Airport, which is 19 kilometres from the city centre, and have all of your belongings safely shipped to your new home with Allied's vehicle transportation service. There are many more amenities that you can enjoy with Allied including box and furniture inventory, full-service shipping and cleanup and unpacking services.


text:
Q: Magento2 How to change the price of configurable product as zero in product view page using js? I want to show the configurable product price as zero instead of minimum price in product view page until options are selected. When all option of the product are selected then  only price has to change. Please help me how to do this by using jQuery in Magento 2?
In below image minimum price of the product is visible but i want zero in that place.


text:
Narrator: Gideon Wagner
Audiobooks Narrated by Gideon Wagner
Browse audiobooks narrated by Gideon Wagner, listen to samples and when you're ready head over to Audiobooks.com where you can get 3 FREE audiobooks on us
Poems for Men
Author: Percy Bysshe Shelley, Rudyard Kipling, William Ernest Henley Narrator: Ghizela Rowe, Gideon Wagner, Richard Mitchley Release Date: November 2020
Do men need poems?Is the gender of brawn and 'can-do' really a candidate for honeyed verse?Obviously yes. Through the centuries men seem to dominate the writing of poetry. From books of epics to quatrains of love poetry it seemed to be a man's world. His domain.But take away the stirring deeds of adventure and much of what remains was written in the admiration or pursuit of women.A volume purely for men, to show other facets of their personalities and characters seems to be an obvious choice. One verse fits all is, in fact, far removed from the truth.Men needs words. They need support, understanding as well as goals, ambition and structure. They need purpose, desire; the need to love and be loved.
Fifty Shades of Love
Author: Elizabeth Barrett Browning, Lord Byron, William Shakespeare Narrator: Ghizela Rowe, Gideon Wagner, Richard Mitchley Release Date: October 2020
The most enduring and popular theme of poems and poets is that of love. Can anyone think of a poet who has not in inky lines described their pursuit of love, their hopes for love, their loss of love, their unrequited love, their love of love ..... No.The language of poetry is mysterious but yearns to capture the essence and all aspects of its subject. In 'Love' it finds a difficult mistress. Individual poems can capture individual moments but has any one poem found within its lexicon the formula for the attainment of love? Again, the answer is 'No'.Love changes, its rhythms pause and pulse on the tiniest of things and the biggest of thrills. Within its shades all other feelings, all other emotions, gently reside, waiting for their moment.In these fifty poems the many, many shades of love reveal themselves.....
Fifty Shades of Slumber
Author: Dante Gabriel Rossetti, James Joyce, Robert Louis Stevenson Narrator: Ghizela Rowe, Gideon Wagner, Richard Mitchley Release Date: October 2020
Sleep. That most mysterious of times. The unconscious hours.Everyone needs it. Whether it's the recommended eight hours, forty winks, cat naps, power naps or other shades of blissful slumber. Sleep offers a respite from the rigors and challenges of the day. A chance for the brain to process what has happened and bring rest and recuperation before the cycle of daytime activity begins again.Also, perchance to dream or, if we are unlucky, the visitation of nightmares.But for some people sleep does not come easy. These can be wakeful hours of frustration or tedium where closing the eyes does not bring the closing of the mind and the slumber so keenly wanted.Part of the problem, in this increasingly frenetic 24/7 world is that we seem reluctant or unable to switch off enough to recuperate; we might miss something. But slumbered hours bring gains in health that far outweigh transitory loss.Our poets from Kipling and Swinburne through Hafiz, James Joyce, Edgar Allan Poe and a pillowful of others explore the wish to rest, to close the eyes and reside in the land of nod.
The Fireside Poets
Author: Henry Wadsworth Longfellow Narrator: Ghizela Rowe, Gideon Wagner, Richard Mitchley Release Date: May 2020
This group of 19th Century American poets was the first to rival their British counterparts in popularity.Gathered around their New England roots they were also known as the Schoolroom or Household poets, and comprised of Henry Wadsworth Longfellow, William Cullen Bryant, John Greenleaf Whittier, James Russell Lowell and Olivier Wendell Holmes Senior. Occasionally Ralph Waldo Emerson was included although his poetic philosophy differed in some key aspects. Each of these poets lived long and productive lives ensuring the longevity of the movement into the early 20th century. Their activities in the academic world, newspapers, the diplomatic service and lecture tours ensured they were constantly in the public eye. Their essential discipline was focused on domestic themes and morality. At the time one of the primary sources of entertainment for the family was to be gathered around the fireplace whilst poems were read.The Fireside Poets did not write for the sake of other poets or critics or for posterity. Instead they wrote for a contemporary audience of general readers. They were mass communicators. Today the Fireside Poets, along with the equivalent British poets of Victorian times, is still regarded as essential verse.
The Poetry of Herman Merville
Author: Herman Melville Narrator: Ghizela Rowe, Gideon Wagner, Richard Mitchley Release Date: May 2020
Herman Melville was born in New York City on August 1st, 1819, the third of eight children. At the age of 7 Melville contracted scarlet fever which was to permanently diminish his eyesight. At this time Melville was described as being "very backwards in speech and somewhat slow in comprehension."His father died when he was 12 leaving the family in very straitened times. Just 14 Melville took a job in a bank paying $150 a year that he obtained via his uncle, Peter Gansevoort, who was one of the directors of the New York State Bank.After a failed stint as a surveyor he signed on to go to sea and travelled across the Atlantic to Liverpool and then on further voyages to the Pacific on adventures which would soon become the architecture of his novels. Whilst travelling he joined a mutiny, was jailed, fell in love with a South Pacific beauty and became known as a figure of opposition to the coercion of native Hawaiians to the Christian religion. He drew from these experiences in his books Typee, Omoo, and White-Jacket. These were published as novels, the first initially in London in 1846.By 1851 his masterpiece, Moby Dick, was ready to be published. It is perhaps, and certainly at the time, one of the most ambitious novels ever written. However, it never sold out its initial print run of 3,000 and Melville's earnings on this masterpiece were a mere $556.37.In succeeding years his reputation waned and he found life increasingly difficult. His family was growing, now four children, and a stable income was essential. With his finances in a disappointing state Melville took the advice of friends that a change in career was called for. For many others public lecturing had proved very rewarding. From late 1857 to 1860, Melville embarked upon three lecture tours, where he spoke mainly on Roman statuary and sightseeing in Rome. In 1876 he was at last able to publish privately his 16,000 line epic poem Clarel. It was to no avail. The book had an initial printing of 350 copies, but sales failed miserably.On December 31st, 1885 Melville was at last able to retire. His wife had inherited several small legacies and provide them with a reasonable income.Herman Melville, novelist, poet, short story writer and essayist, died at his home on September 28rh 1891 from cardiovascular disease.
The Poetry of Youth
Author: George Meredith Narrator: Ghizela Rowe, Gideon Wagner, Richard Mitchley Release Date: May 2020
Today perhaps we all agree that youth is spoilt, ill-disciplined and in search of constant, and instant, gratification. No matter how much we love them, our children, as they mature from child to youth, are pampered. A century ago, and even further back, even the most privileged of youth was rarely indulged. In this volume we look at those years of youth through the eyes and pens of classic poets. They reveal times of hardship, of fear, of love and loss. But youth is idealistic, ready to change the world….but usually ending up in the service of others, be it parents, or patrons, or employers, from a career in trade to the slaughter of war. Life is difficult, a sometimes grim monotone and, it seems, only occasionally splashed with the colour of love, of beauty and ambition.However, one thing we can be certain of though is that these verses speak not only from the head but from the heart.
The Poetry of Charlotte Mew
Author: Charlotte Mew Narrator: Ghizela Rowe, Gideon Wagner, Richard Mitchley Release Date: May 2020
Charlotte Mary Mew was born on 15th November, 1869 in London to professional parents – her father was responsible for the design of Hampstead Town Hall.Charlotte, one of seven children; three of whom died in early childhood, was educated at Lucy Harrison's School for Girls and attended lectures at University College, London.In 1898 her father died but failed to make provision for the family. Her mother, anxious about the family's social standing, did not want that known even though there was heavy ongoing expense for two other siblings who were in mental institutions.However for Charlotte helping to support this overhead and her mother and sister, Anne, meant that her ambition to be a paid writer must now become a reality. Initially this meant prose - her poetry was to gestate until later in life.During this time Charlotte and Anne made a pact never to marry for fear of passing on insanity to their children.As a writer Charlotte was a modernist, resisting the shackles of Victorian society's suffocating demands on behaviour especially for women. Despite her diminutive figure and dainty feet, she wore trousers, kept her hair short, smoked roll ups, was a Lesbian and tried to appear masculine.Her difficult family life, although her close relationship with Anne was a constant source of comfort and companionship until her death in 1927, was coupled with rejection in her personal life but also provided inspiration for her wonderfully insightful and original poetry that you can read here.Despite her fans including Thomas Hardy, Virginia Woolf and Siegfried Sassoon, Charlotte's works have been shamefully neglected. With your help we hope to put that right with this collection of her best poems.Charlotte Mew died on 24th March in 1928 and was buried at Hampstead Cemetery.
The Poetry of Ralph Waldo Emerson
Author: Ralph Waldo Emerson Narrator: Ghizela Rowe, Gideon Wagner, Richard Mitchley Release Date: May 2020
Ralph Waldo Emerson was born in Boston, Massachusetts on May 25th, 1803, the son of Ruth Haskins and the Rev. William Emerson, a Unitarian minister. Emerson was the second of five sons who survived into adulthood.His father died before Emerson was eight and the young boy was raised by his mother and other female members of the family.Emerson's formal schooling began at the Boston Latin School in 1812 when he was 9. In October 1817, at 14, Emerson went to Harvard College. He did not excel as a student but was elected Class Poet in his senior year which required him, as was the custom, to present an original poem on Harvard's Class Day, a month before his graduation on August 29th, 1821. In 1826, faced with poor health, Emerson went to seek out warmer climates and eventually to St. Augustine, Florida, where he took long walks on the beach, and began writing poetry. Initially Emerson made his living as a schoolmaster, then went to Harvard Divinity School which had opened in 1816. Emerson met his first wife, Ellen Louisa Tucker in 1827, and they married when she was 18. They moved to Boston, but Ellen was already sick with tuberculosis. Emerson was now offered the post of junior pastor by Boston's Second Church and he was ordained in January 1829.Ellen died at the age of 20 in February 1831, after uttering her last words: "I have not forgot the peace and joy." Emerson was devastated and visited her grave in Roxbury daily. He also began to question his faith and began to disagree with the church's methods, and this eventually led to his resignation in 1832. On November 5th, 1833, he made the first of an eventual total of some 1,500 lectures, 'The Uses of Natural History', in Boston.He married Lidian Jackson on September 14th, 1835 and the couple moved to Concord. They would have four children.Over the following decades a remarkable career would emerge. He would become renowned as an essayist, lecturer, philosopher, and poet who led the transcendentalist movement of the mid-19th century. In January 1842 Emerson's first son, Waldo, died of scarlet fever. Emerson wrote of his grief in his classic poem 'Threnody' ("For this losing is true dying") published in his 1847 collection 'Poems'. His poetic work is often overshadowed by the other facets of his career but there is no doubt that its contribution was immense. He remains one of the linchpins of the American romantic movement. Indeed, his works, from essays to poems, have greatly influenced the thinkers, writers and poets that have followed him. Ralph Waldo Emerson died of complications from pneumonia on April 27th, 1882 at the age of 78 in Concord, Massachusetts.
The Poets of the 19th Century - Volume 3
Author: Henry Wadsworth Longfellow, John Keats, Rudyard Kipling Narrator: Ghizela Rowe, Gideon Wagner, Richard Mitchley Release Date: May 2020
This is a Century for the history books. The Chinese curse of living in interesting times could not be more suited.A small island continued its expansion across the globe bringing both good and evil in its march. Empires clashed. Revolution shook many. The Industrial Age was upon us.Poets spoke up against slavery bringing social and political pressure upon an abominable horror. It was also the Age of the Romantics; Shelley, Keats, Byron lyrically rapture. Tennyson, Arnold, Browning rode a century of sweeping change of dynamism and great verse.
A Poem A Day. Spring - The Season in Verse
Author: D H Lawrence, Henry Wadsworth Longfellow, Lord Byron Narrator: Ghizela Rowe, Gideon Wagner, Richard Mitchley Release Date: May 2020
In meteorological terms Spring begins on March 1st and runs through to May 30th. Nature transforms the landscape, colours the skies and begins her epic journey of renewal and offerings. Colour, energy and beauty all abound.Here, each and every day is celebrated with distinct and separate verse; Some poems commemorate the day it was written, others the birth or death of the writer or a particular significant moment that engages poet with date and verse. Our classic poets wax lyrical on each and every day.
A Poem A Day. Summer - The Season in Verse
Author: Algernon Charles Swinburne, Charles Dickens, W N Yeats Narrator: Ghizela Rowe, Gideon Wagner, Richard Mitchley Release Date: May 2020
Our second season and Nature thrills the world with her mastery of the landscape and its ever-changing hues. Fruits and vegetables grow to perfection. People busy themselves with work and ready themselves for play. They dot the land, visit the shores and swim in its rivers, lakes and seas and much, much more besides.Here, each and every day is celebrated with distinct and separate verse; Some poems commemorate the day it was written, others the birth or death of the writer or a particular significant moment that engages poet with date and verse. Once more our classic poets describe the unfolding days…..
A Poem A Day. Autumn - A Season in Verse
Author: Jalaluddin Rumi, Percy Bysshe Shelley, Robert Louis Stevenson Narrator: Ghizela Rowe, Gideon Wagner, Richard Mitchley Release Date: May 2020
A time for harvest. The rich bounty of grain and fruit given by Nature ensures she has prepared everyone for the coming rigors. One last splash of rich, mature colour as everything ripens; colours of glory and then the slow release of her yearly mantle. Here, each and every day is celebrated with distinct and separate verse; Some poems commemorate the day it was written, others the birth or death of the writer or a particular significant moment that engages poet with date and verse. Our classic poets have much to say in myriad ways….