I'm intrigued by practice. I like exploring the what and the why and the how of those things we find ourselves invested in. In fact, the first book I wrote was a workbook exploring devotional practice and it is a topic that I think about on the daily as I perform my regular rituals of magick and devotion. As part of my practice as an herbalist, I often reflect on why I do what I do and how I do it, not only as part of my continuing education as a wellness practitioner, but in order to make adjustments to my practice as I grow in my ability to serve others and their healing. Such reflection is part of my practice of engaged herbalism, which is an herbalism that is strongly rooted in the development of relationships between plants, peoples, and creatures. Practicing an engaged herbalism allows me to maintain and grow my ability to engage and re-engage those I am working with on their healing journey and to always be re-connecting with the wisdom of our plant kindred.
As a teacher of herbalism and magick, I have come to find that the concept of engagement, if understood early on, can prevent student overwhelm which can lead to a stagnation or abandonment of their studies. For the more experienced practitioner, engaged herbalism can help to prevent burnout and compassion fatigue.
Let's start with understanding what engaged herbalism is not before exploring why it can be so useful.
An herbalism of quick cures and magic pills.
An herbalism that sees plants as inert and spiritless.
An herbalism that treats the body as a compartmentalized machine in need of repair.
An herbalism that is infallible and always right.
An herbalism that is divorced from social and environmental justice.
An herbalism of the long view and the journey of wellness.
An herbalism that sees plants as wise, complex, and generous of spirit.
An herbalism that interacts with the body as a profound and intricate physical vessel of consciousness and experience.
An herbalism that is curious, ready to try again, and always open to learn more.
An herbalism that is firmly rooted in social and environmental justice.
Your relationship with plants, those you serve, and your own sweet self will change continuously throughout your practice as an herbalist. Through engaging with all of these relationships, we're better able to keep up with the shifts and swings of our sacred (and sometimes challenging, let's be honest) interconnectedness. The idea of what herbalism is and who you are as an herbalist will change. Your relationship with individual plants will change. How you make medicine, formulate, and ingest your brews will change. Create space for change from the get-go and you'll have a built-in system for dealing with some of the more difficult challenges that come your way through your practice.
If you know that your relationship with herbalism, plants, and people will always be in a state of change you give yourself a whole heck of a lot more room to grow. You won't always feel like the total beginner. Latin binomials will not always be a mysterious realm of antiquity. Those bitter tasting herbs you couldn't stand at first may well become a familiar and craved taste (yeah, bitters!). You'll recognize that you and who you are relating to is changing and you are continuing to grow into yourself. Most importantly, when we allow ourselves room for change we recognize that we have all the time we need for change. You have all the time you need to learn how to engage with plants in a way that sings to your soul and enlivens the communities you serve.
Inclusivity, the idea that there is room for everyone at the table, is foundational in my practice. The art of inclusivity is two-fold - one must learn to be inclusive to others in a way that is love and justice-centered and one must also learn to be inclusive to oneself in the same way. While the conversation of how to create an inclusive practice is for another blog post, I will say that there is a deep need for better inclusivity skills in the Traditional Western Herbalism (TWH) community of North America. There needs to be more voices of color, queer perspectives, multi-abled, class diverse, gender variant and many other sounds and songs invited to the table within TWH gatherings and conferences (though I do recognize and celebrate the smaller festivals doing just that such as the California Women of Color Herbal Symposium - heck yeah!).
At it's core inclusivity is learning to engage yourself and the world around you with compassionate curiosity. Inclusivity is also about learning to recognize when you are imposing your beliefs, your stories, and ways of beings on others. The last bit is especially important to learn when working with others in a practitioner-client relationship as it can be easy for our own stories and experiences to block the view of the needs and stories of another.
At the same time, inclusivity must be practiced on a inward and personal level where we engage and excavate those stories, beliefs, and systems of power imposed on us. When I was taking my first couple of herb classes, for example, I nearly abandoned the idea of becoming an herbalist when I was introduced to the weight-and-volume method of creating extracts because it involved a bit of math. Sounds ridiculous, right? But I had been told a story for years and years by teachers that some kids - like me - aren't smart enough for math (what an awful inclusivity fail). So, having not examined the story of being a numberless mongrel in my life yet, I thought that if herbalism involved math I therefore must not be qualified to be an herbalist. I had uninvited myself to the table and it took a few years to invite that little kid who got overwhelmed by numbers back home. Fortunately, my fear of calculations did not put me off from practicing as an herbalist (and I developed a few techniques for the number intimidated to calculate their tinctures as a result) and I make sure in my classes to keep an eye out for these moments when students might feel like they have hit an impasse of intimidation. It is my responsibility to create a classroom and consulting space that I am not only able to notice when intimidation or overwhelm is occurring but that folks feel empowered enough to speak up and ask for help, a break, or a moment of "don't worry we all get confused by this stuff sometimes" affirmation.
Inclusivity matters because we learn to listen to that which has remained hidden - whether this is something within us that we have hidden from ourselves or something that we do not see in others because we (often from a place of privilege) get in our own way. If you are someone who is confused by or perhaps balks at the idea of inclusivity as foundational to herbalism, consider this: as herbalists, many of us value and treasure wild weeds that are often disdained, rooted out, and poisoned by the general non-plantfolk public. Yet, we have been invited by these tenacious plant kindred to learn of their healing gifts and, in turn, we have included them in our hearts, sharing their wisdom with others. By working that inclusivity muscle we have engaged our herbalism and come out the better for it. (Sidenote: I'm currently reading Invasive Plant Medicine by Timothy Scott and it's great! The book explores topics of inclusivity and migration within the context of plant medicine as well as a practical materia medica for these often undervalued plants.) Engaged herbalism leads to better inclusivity which creates more opportunities for healing - everyone gets their fill of nourishing plant wisdom when we know how to get to the table.
Make sure to turn inspiration into insight.
Now here is where a lot of students (and long-term practitioners!) get stuck. It can be so very easy to be head-over-heals in love and inspired by the romance of herbalism. A deeper relationship with the earth, the fragrance of grinding herbs with a mortar and pestle, the ancestral connections, and the sense of rebellion that comes with taking charge of your wellness. Jars are bought, herbs are collected, we consider changing our names to something more earthy like Seedwizard, we buy the best harvesting knife, oh and one of those woven baskets for drying herbs! The inspiration to practice herbalism can be intoxicating, but without a foundation to grow on, the energy is quickly spent as the reality of the practice of herbalism settles in. Yes, there is the romance and the heady scent of an herb garden, but there is also moldy herbal oils, stubborn health imbalances that no tincture seems to help, terrible tasting teas, and the frustration of feeling like one knows some things but not enough things about herbs and how to use them to be really effective. I have been there myself, clever ones, wondering where the spark of inspiration has gone in my herbal practice.
What I have discovered is that inspiration is a spark that craves the wax and wick of insight to keep burning. Inspiration starts the journey and reinvigorates the path from time to time, but if we do not give inspiration a place to take root it can fly off leaving us feeling like we've failed somehow. To keep inspiration, I have found that you have to learn how to allow it to grow into insight. We may have been inspired to use herbal medicine to reconnect to our wellness, but insight is when we suddenly realize that we get the same chest cold at the same time every year which started when our mother passed away and that perhaps there is some underlying grief we need to explore. Insight is a sign of growth and that we are engaged in our practice. Through insight we pay attention to why we are inspired and what our inspiration brings. Insight is realizing that we can and should always be learning more about ourselves and the world, giving ourselves the freedom to do just that. Ultimately, the inspiration to get well leads us to the insight of how to do it.
How do you practice your herbalism?
Is it engaged? Ecstatic? Enchanted? Funky? Revolutionary? Under-the-cover-of-darkness? Let me know in the comments below how you describe your herbal practice.
One more thing… I wanted to point out that the first part of the title of this post To Know is a reference to the Witch's Pyramid, also known as the Four Pillars of the Magus or the Powers of the Sphinx. The other three traditional pillars are To Dare, To Will, and To Keep Silent. Modern additions to the pyramid have been made adding a fifth point such as To Weave or To Desire. The Witch's Pyramid is an important part of my magickal practice and I'll be incorporating it's philosophy into forthcoming posts about life as a practicing herbalist. For those wanting to go more in-depth, I explore the Witch's Pyramid and it's relationship to creating ritual in a podcast series in the Lunar Apothecary - I invite you to check it out.
Wherever your herbal studies may take you, I hope you always find yourself returning home to the knowledge of you - expansive, microscopic, complex, and wondrous you.
We respect your privacy and will not share your information with anyone no matter how engaging they are.


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Grow Your YouTube Channel
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The supervisory board of Adidas AG has appointed Martin Shankland to the executive board as board member responsible for global operations effective March 4, 2019. He succeeds Gil Steyaert, who has left the executive board to pursue new career opportunities externally.
Shankland (Australian, 47) joined Adidas in 1997. Since 2017, he has led Adidas emerging markets as managing director, setting up the organization for sustainable success across the Middle East, Turkey, India and Africa.
Prior to that, Shankland was managing director Adidas Russia/CIS for 17 years. Under his leadership, Adidas Russia/CIS developed an extensive own-retail network for both the Adidas and Reebok brands. He started at Adidas as finance director for Adidas Russia/CIS.
At the same time, Landau thanked Steyaert for his many years of successful service with the company. Steyaert (French, 56), has worked at adidas since 1999 in local and regional roles with increasing responsibility.


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Q: Use external database with local multisite I am trying to connect my local wordpress multisite to my staging database. It works perfect when I am not on a multisite but with the multisite I can't find a way to change the value of the main domain url...
I have tried altering the define( 'DOMAIN_CURRENT_SITE', 'mywebsite.local' ); but it doesn't work.
Any idea on how to go about developing locally a multisite while sharing the database with the staging environment?
Edit
To make it work on a single site install I just alter a bunch of constant to change the main directories url like so:
$domain = 'mywebsite.local';
$directory = 'subdirectory' // only when needed;

define( 'WP_SITEURL',       $domain . $directory );
define( 'WP_HOME',          $domain . $directory );
define( 'WP_CONTENT_DIR',   $_SERVER['DOCUMENT_ROOT'] . $directory . '/wp-content' );
define( 'WP_CONTENT_URL',   $domain . $directory . '/wp-content' );
define( 'WP_PLUGIN_DIR',    $_SERVER['DOCUMENT_ROOT'] . $directory . '/wp-content/plugins' );
define( 'WP_PLUGIN_URL',    $domain . $directory . '/wp-content/plugins' );
define( 'PLUGINDIR',        $_SERVER['DOCUMENT_ROOT'] . $directory . '/plugins' );

Thanks for your help!

redpajama_set_name: RedPajamaStackExchange


"Star of NBC's "The Office" Rainn Wilson and his wife Holiday Reinhorn will take up residency in Baileys Harbor this summer as a part of the third Door Kinetic Arts Festival. Wilson will be working on his screenplay based on the life of writer Stetson Kennedy and his mission to bring down the Ku Klux Klan, while Reinhorn will lead a writer's workshop and host a book signing. The six day event offers artists across the spectrum an opportunity to collaborate on different projects, but festival producer Alan Kopischke admits Wilson and Reinhorn are the biggest names to attend the event that is growing with prestige."
Do Vince Lombardi and Alexander Hamilton connect?


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Men Without Women
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The Memory Police
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The Sound Of Waves
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translated by Lorin Stein I met Reda on Christmas Eve 2012, at around four in the morning. He approached me in the street, and finally I invited hi...
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A Wild Sheep Chase
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translated by Stephen Snyder He is a brilliant maths professor with a peculiar problem--ever since a traumatic head injury seventeen years ago, he ...
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The Elephant Vanishes
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Kafka On The Shore
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The Decay Of The Angel
As the dramatic climax of The Sea of Fertility, The Decay of the Angel brings together the dominant themes of the three previous novels: the meanin...
translated by Margaret Jull Costa After killing his brother Abel, Cain must wander for ever. He witnesses Noah's ark, the destruction of the Tower ...
Death At Intervals
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A Country Doctor's Notebook
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Within A Budding Grove
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The Explosion Chronicles
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Thirst For Love
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The Temple Of The Dawn
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After The Banquet
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translated by Amanda Love Darragh Igor is confident his old Soviet policeman's uniform will be the best costume at the party. But he hasn't gone fa...
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The Year Of The Death Of Ricardo Reis
Back in Lisbon after sixteen years practising medicine in Brazil, Ricardo Reis wanders the rain-sodden streets. He longs for the unattainably arist...
The Elephant's Journey
translated by Margaret Jull Costa For two years Solomon the elephant has lived in Lisbon. Now King Dom Joao III wishes to make him a wedding gift f...
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All The Names
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Cocktail party and crosstalk
crosstalk, noise reduction
The cocktail party problem is one of the oldest problems in the arena of signal processing. The problem is describes as follows: in a cocktail party there are many people talking. All their voices are mixed in the air and the people listening will hear all the voices blended together. Nevertheless, in most cases, the human brain can focus on the voice of a specific speaker while ignoring all other voices so basically the human brain estimates individual source from the mixture of all sources. In electronics this scenario is called crosstalk in which a transmitted (voice) signal in one channel creates undesired effects/disruptions in other channels. The first question that comes into mind is how can an artificial brain (a.k.a. AI – artificial intelligence) perform similarly and separate the mix of all audio signals to the different sources (a.k.a. source separation problem).
The cocktail party introduces a big problem to AI algorithms. AI algorithms can efficiently identify and extract a human voice from a noisy environment containing non-human sounds like dog barks or music. But, when it comes to identifying and extracting a specific human voice from a mixture that contains other human voices things get complicated for a single-source AI algorithm.
So, how does our brain solve the problem? Our brain uses multiple input signals that help it identify and extract a single conversation from all the rest. In addition to analyzing the audio it will also use information like: the direction of each voice which is estimated using our two ears, it might also use basic lip reading based on input it gets from our eyes etc. As we can see solving this problem requires more than a single input and only an artificial brain that was trained to handle multiple input signals can solve this problem. The Noise Firewall solves the cocktail party problem using a similar technique. The Noise Firewall listens to multiple audio signals coming from multiple directions then it correlates them in real time and identifies the physical location of each speaker, builds a Noise Map and extracts the voice of a single speaker.
To summarize, artificial intelligence algorithm that listens to a single audio channel will be able to easily extract human voice from a noisy channel that contains non-human sounds. But, when it comes to complex scenarios like the cocktail party in which you have crosstalk of multiple people talking a more advanced algorithm is required. Such an algorithm, like our brain, should be be able to process multiple input signals and use them in order to identify and extract a single conversation from the rest.
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Sorry, what?


I have been studying health and wellbeing as part of my university degree recently and it has been a real eye opener to the problem of children being overweight and obese. One thing contributing to this is the advances in technology (I was shocked to read that the average child in the UK spends 6 hours in front of a screen per day) and obviously food plays a part. I am not the healthiest foodie mummy but I encourage my children to eat a balanced diet with the occasional treat. I have shared a typical weekend with the boys and what they eat which will hopefully inspire you and give you a good idea of a routine for them. The boys are 6 and 9 years old but if you are interested I will do a post about what my 23 month old step-daughter eats in an average weekend too, please comment below if you would like to see that.
Tea is a little later than usual as we have a long drive back to Derby but tonight Ste has made us 'Pizza Crumpets' for tea. We picked up some large sized crumpets and spread some tomato puree mixed with a little tomato ketchup on them and added grated cheese, hot-dog slices and me and Leo had some Worcestershire sauce to top them off. They were delicious and the boys loved them! The boys had some squash to drink with this.
Leo chose an Oreo hot chocolate and Riley had a choc-banana milkshake (using the powdered Nesquik in milk, I just added a spoonful of each). They also both had four chocolate coins from their Christmas stash.
Breakfast today was waffles served with strawberries and banana and some chocolate sauce. I had this too and we all wolfed it down, delicious. The boys had a yoghurt drink with this and a cup of squash. I generally leave a jug of squash on the side for them so they can fill up and drink throughout the day.
Riley asked to have one of his kinder eggs from Christmas so I let him have this for a snack and Leo has a chocolate lolly penguin.
Today we have come into town to do a bit of shopping and we decide to have lunch in BB's cafe in the Intu Derby centre. Leo has a large sausage roll with some cheese and onion crisps and Riley chooses a tuna and sweetcorn sandwich with some ready salted crisps. They both have a fruit shoot and eat every bit (apart from a couple of bits of crust from Riley.
We have taken the boys bowling for a treat and let them have a small slush puppy each while we are there.
Tea tonight is spaghetti bolognaise. I don't use a jar but make my own sauce.
I brown the mince and then throw in an onion and a coupke opf cloves of garlic. Add the ingredients shown above (I do it to taste, you may want to add slightly more or less of the ingredients), stir together and simmer for twenty minutes.
I served this with linguine pasta and garlic bread. The boys had a yoghurt each after this and drank a smoothie.
Tonight Riley chose a choco-banana milkshake again and Leo had a white chocolate and strawberry hot chocolate.
I made a cooked breakfast this morning. Riley had a sausage and tomato ketchup sandwich and Leo had bacon, sausage, chopped tomatoes and bread. They both had a smoothie to drink.
We went to meet the boy's cousin at a play centre and they had a jug of juice to drink while they played.
Roast dinner time! The boys ate roast chicken, roast potatoes, carrots, leeks, Yorkshire puddings and stuffing. Leo has gravy but Riley doesn't. Both have squash with their dinner and afterwards have one of the chocolate caramel cupcakes Leo made with me while I cooked dinner.
Hope this has been a helpful and interesting post to read. As I said above, please let me know if you would like to see a similar post on what my 23 month old stepdaughter eats in a weekend too.
For more fab and budget friendly meal ideas check out this new blog I have recently come across – I Prefer Cooking – yummy recipes to feed your family for under £1.50!


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HomeBuilding Homes for Injured VeteransVeteran Home RecipientsHubert Gonzales
Sgt Hubert gonzales
Spring Branch, TX
Mission Accomplished on Sept. 21, 2018
A native of the Philippines, Hubert Gonzales saw a goodness in the United States and the American people that drove him to serve in the military. He joined the Marines shortly after graduating high school and loved the brotherhood.
He met his wife Fiona after his first deployment to Iraq in 2006. By the time he deployed again, this time to Afghanistan in 2011, their firstborn daughter, Rosebella, was only ten days old.
On March 31, 2011, Sergeant Gonzales, an Infantry squad leader, was conducting operations with the 1st Battalion, 5th Marines, in Sangin, Afghanistan, when he stepped on an improvised explosive device (IED). The blast resulted in severe damage to Sgt Gonzales' left leg. After years of dealing with intense pain and surgeries, Hubert opted to have the leg amputated for a better quality of life.
Now medically retired, Hubert is studying physical therapy rehabilitative science at the University of Incarnate Word in San Antonio. He is planning to work at Brooke Army Medical Center as a physical therapist to help other injured Veterans in their recovery. "I would like to give back to our wounded Heroes that are coming back injured from overseas. With my experience as a limb salvage for three years and now an amputee, I would be able to provide more than just care to them," he says.
When he's not studying, Hubert enjoys spending time outside with Fiona and their two children. He also volunteers at a senior living community near his school and a program that assists disabled children in playing sports. Though Hubert is making progress on his goals, living in a home that was not adapted to his injuries caused him much stress. His wheelchair did not fit in the bathroom in his previous home, requiring him to hop on one foot to get into the shower. Additionally, he could not reach many of the appliances in his kitchen while in his wheelchair. Receiving a specially adapted custom Homes For Our Troops home makes Hubert's daily routine easier, giving him more energy for school and activities. He is now able to bathe without obstacles in the roll-in shower, and easily prepares meals for his family using pull-down shelves and roll under sinks.
Hubert chose to build his home in Texas for the good school districts, health care facilities, and the rural feel of the area. Hubert says he and his family feel incredibly lucky to have received an HFOT home. "HFOT's donors and supporters are changing lives. For every home that is built, a Veteran and his or her family are getting a new lease on life," he says.


Assistance League founder, Anne Banning, always felt that it was fine to serve youth, but better to let youth serve.
Today Assistance League is proud to continue to encourage and provide volunteer opportunities for today's youth. Assisteens of Temecula Valley was formed in 1992 and membership is open to boys and girls in grades 7-12. The aims of participation are to develop a sense of community responsibility, self-reliance, personal responsibility, poise, public speaking and leadership skills.
Develop an awareness of the needs of others through community service.
Develop and foster leadership and self-reliance.
Develop and promote personal responsibility with strong ethics and values.
Introduce new experiences to stimulate intellectual growth and cultural appreciation.
Assisteens' raise money to fund their philanthropic programs by staffing the thrift shop counter on designated Saturdays.
Peter Rabbit – An event held off site for Temecula & Murrieta Head Start preschool children. Includes petting zoo, train rides, egg hunt, treats, games, a new book, and pictures with Peter Rabbit and Eyore.
Operation School Bell® Support – Financial support of Assistance League's Operation School Bell program. This program provides new school clothing to identified at-risk children in Southwest Riverside County.
Membership is open all year for teens in grades 7 through 12. The Assisteens year is from June 1 through May 31.
Assisteens are required to serve a total of 30 hours per year.
Meetings are held the second Wednesday of each month (except July, August & December).
Social activities are determined by grade level.
The Annual Meeting is held in May; Awards, Installation of Officers and Senior Recognition.
In June, Assisteens have the opportunity to participate in an Assisteens conference enabling teens from across the country to share ideas with each other.


RUGGIERO JACLYN is a Medicine (Physician, Including M Ds & D Os) licensed to practice in New York. The address on file for RUGGIERO JACLYN is HOUSTON TX. This doctor license is current. The license was granted 05/10/2010 and expired on 08/31/2015.
Are you familiar with RUGGIERO JACLYN's work?


text:
package com.scwang.smartrefresh.header.waveswipe;

import android.animation.Animator;
import android.animation.ValueAnimator;
import android.content.Context;
import android.graphics.Canvas;
import android.graphics.Paint;
import android.graphics.Path;
import android.graphics.RectF;
import android.os.Build;
import android.support.annotation.ColorInt;
import android.util.Log;
import android.view.View;
import android.view.ViewTreeObserver;
import android.view.animation.AccelerateDecelerateInterpolator;
import android.view.animation.BounceInterpolator;

/**
 * @author amyu
 *         <p>
 *         波と落ちる円を描画するView
 */
public class WaveView extends View implements ViewTreeObserver.OnPreDrawListener {

    /**
     * {@link WaveView#mDropCircleAnimator} のDuration
     */
    private static final long DROP_CIRCLE_ANIMATOR_DURATION = 500;

    /**
     * {@link WaveView#mDropBounceVerticalAnimator} のDuration
     */
    private static final long DROP_VERTEX_ANIMATION_DURATION = 500;

    /**
     * {@link WaveView#mDropBounceVerticalAnimator} と {@link WaveView#mDropBounceHorizontalAnimator}
     * のDuration
     */
    private static final long DROP_BOUNCE_ANIMATOR_DURATION = 500;

    /**
     * {@link WaveView#mDisappearCircleAnimator} のDuration
     */
    private static final int DROP_REMOVE_ANIMATOR_DURATION = 200;

    /**
     * 波がくねくねしているDuration
     */
    private static final int WAVE_ANIMATOR_DURATION = 1000;

    /**
     * 波の最大の高さ
     */
    private static final float MAX_WAVE_HEIGHT = 0.2f;

    /**
     * 影の色
     */
    private static final int SHADOW_COLOR = 0x99000000;

    /**
     * 円のRadius
     */
    private float mDropCircleRadius = 100;

    /**
     * すべてを描画するPaint
     */
    private Paint mPaint;

    /**
     * 画面の波を描画するためのPath
     */
    private Path mWavePath;

    /**
     * 落ちる円の接線を描画するためのPath
     */
    private Path mDropTangentPath;

    /**
     * 落ちる円を描画するためのPath
     */
    private Path mDropCirclePath;

    /**
     * 影のPaint
     */
//  private Paint mShadowPaint;

    /**
     * 影のPath
     */
    private Path mShadowPath;

    /**
     * 落ちる円の座標を入れているRectF
     */
    private RectF mDropRect;

    /**
     * Viewの横幅
     */
    private int mWidth;

    /**
     * {@link WaveView#mDropCircleAnimator} でアニメーションしてる時の円の中心のY座標
     */
    private float mCurrentCircleCenterY;

    /**
     * 円が落ちる最大の高さ
     */
    private int mMaxDropHeight;

    private boolean mIsManualRefreshing = false;

    /**
     * 落ちる円の高さが更新されたかどうか
     */
    private boolean mDropHeightUpdated = false;

    /**
     * {@link WaveView#mMaxDropHeight} を更新するための一時的な値の置き場
     */
    private int mUpdateMaxDropHeight;

    /**
     * 落ちてくる円についてくる三角形の一番上の頂点のAnimator
     */
    private ValueAnimator mDropVertexAnimator;

    /**
     * 落ちた円が横に伸びるときのAnimator
     */
    private ValueAnimator mDropBounceVerticalAnimator;

    /**
     * 落ちた縁が縦に伸びるときのAnimator
     */
    private ValueAnimator mDropBounceHorizontalAnimator;

    /**
     * 落ちる円の中心座標のAnimator
     */
    private ValueAnimator mDropCircleAnimator;

    /**
     * 落ちた円を消すためのAnimator
     */
    private ValueAnimator mDisappearCircleAnimator;

    /**
     * 帰ってくる波ののAnimator
     */
    private ValueAnimator mWaveReverseAnimator;

    /**
     * ベジェ曲線を引く際の座標
     * 左側の2つのアンカーポイントでいい感じに右側にも
     */
    private static final float[][] BEGIN_PHASE_POINTS = {
            //1
            {0.1655f, 0},           //ハンドル
            {0.4188f, -0.0109f},    //ハンドル
            {0.4606f, -0.0049f},    //アンカーポイント

            //2
            {0.4893f, 0.f},         //ハンドル
            {0.4893f, 0.f},         //ハンドル
            {0.5f, 0.f}             //アンカーポイント
    };

    private static final float[][] APPEAR_PHASE_POINTS = {
            //1
            {0.1655f, 0.f},         //ハンドル
            {0.5237f, 0.0553f},     //ハンドル
            {0.4557f, 0.0936f},     //アンカーポイント

            //2
            {0.3908f, 0.1302f},     //ハンドル
            {0.4303f, 0.2173f},     //ハンドル
            {0.5f, 0.2173f}         //アンカーポイント
    };

    private static final float[][] EXPAND_PHASE_POINTS = {
            //1
            {0.1655f, 0.f},         //ハンドル
            {0.5909f, 0.0000f},     //ハンドル
            {0.4557f, 0.1642f},     //アンカーポイント

            //2
            {0.3941f, 0.2061f},     //ハンドル
            {0.4303f, 0.2889f},     //ハンドル
            {0.5f, 0.2889f}         //アンカーポイント
    };

    /**
     * 各AnimatorのAnimatorUpdateListener
     */
    private ValueAnimator.AnimatorUpdateListener mAnimatorUpdateListener =
            new ValueAnimator.AnimatorUpdateListener() {
                @Override
                public void onAnimationUpdate(ValueAnimator valueAnimator) {
                    WaveView.this.postInvalidate();
                }
            };

    /**
     * Constructor
     * {@inheritDoc}
     */
    public WaveView(Context context) {
        super(context);
        getViewTreeObserver().addOnPreDrawListener(this);
        initView();
    }

    /**
     * Viewのサイズが決まったら {@link WaveView#mWidth} に横幅
     * {@inheritDoc}
     */
    @Override
    protected void onSizeChanged(int w, int h, int oldw, int oldh) {
        mWidth = w;
        mDropCircleRadius = w / 14.4f;
        updateMaxDropHeight((int) Math.min(Math.min(w, h), getHeight() - mDropCircleRadius));
        super.onSizeChanged(w, h, oldw, oldh);
    }

    /**
     * 描画されてから {@link WaveView#mMaxDropHeight} を更新する
     * {@inheritDoc}
     */
    @Override
    public boolean onPreDraw() {
        getViewTreeObserver().removeOnPreDrawListener(this);
        if (mDropHeightUpdated) {
            updateMaxDropHeight(mUpdateMaxDropHeight);
        }
        return false;
    }

    @Override
    protected void onDraw(Canvas canvas) {
        super.onDraw(canvas);
        //引っ張ってる最中の波と終わったあとの波
//    canvas.drawPath(mWavePath, mShadowPaint);
        canvas.drawPath(mWavePath, mPaint);
        if (!isInEditMode()) {
            mWavePath.rewind();
            //円が落ちる部分の描画
            mDropTangentPath.rewind();
            mDropCirclePath.rewind();
        }
        float circleCenterY = (Float) mDropCircleAnimator.getAnimatedValue();
        float circleCenterX = mWidth / 2.f;
        mDropRect.setEmpty();
        //円の座標をRectFに保存
        float scale = (Float) mDisappearCircleAnimator.getAnimatedValue();
        float vertical = (Float) mDropBounceVerticalAnimator.getAnimatedValue();
        float horizontal = (Float) mDropBounceHorizontalAnimator.getAnimatedValue();
        mDropRect.set(circleCenterX - mDropCircleRadius * (1 + vertical) * scale
                        + mDropCircleRadius * horizontal / 2,
                circleCenterY + mDropCircleRadius * (1 + horizontal) * scale
                        - mDropCircleRadius * vertical / 2,
                circleCenterX + mDropCircleRadius * (1 + vertical) * scale
                        - mDropCircleRadius * horizontal / 2,
                circleCenterY - mDropCircleRadius * (1 + horizontal) * scale
                        + mDropCircleRadius * vertical / 2);
        float vertex = (Float) mDropVertexAnimator.getAnimatedValue();
        mDropTangentPath.moveTo(circleCenterX, vertex);
        //円の接点(p1,q),(p2,q)
        double q =
                (Math.pow(mDropCircleRadius, 2) + circleCenterY * vertex - Math.pow(circleCenterY, 2)) / (
                        vertex - circleCenterY);
        //2次方程式解くための解の公式
        double b = -2.0 * mWidth / 2;
        double c =
                Math.pow(q - circleCenterY, 2) + Math.pow(circleCenterX, 2) - Math.pow(mDropCircleRadius,
                        2);
        double p1 = (-b + Math.sqrt(b * b - 4 * c)) / 2;
        double p2 = (-b - Math.sqrt(b * b - 4 * c)) / 2;
        mDropTangentPath.lineTo((float) p1, (float) q);
        mDropTangentPath.lineTo((float) p2, (float) q);
        mDropTangentPath.close();
        mShadowPath.set(mDropTangentPath);
        mShadowPath.addOval(mDropRect, Path.Direction.CCW);
        mDropCirclePath.addOval(mDropRect, Path.Direction.CCW);
        if (mDropVertexAnimator.isRunning()) {
//      canvas.drawPath(mShadowPath, mShadowPaint);
        } else {
//      canvas.drawPath(mDropCirclePath, mShadowPaint);
        }
        canvas.drawPath(mDropTangentPath, mPaint);
        canvas.drawPath(mDropCirclePath, mPaint);
    }

    @Override
    protected void onDetachedFromWindow() {
        if (mDisappearCircleAnimator != null) {
            mDisappearCircleAnimator.end();
            mDisappearCircleAnimator.removeAllUpdateListeners();
        }
        if (mDropCircleAnimator != null) {
            mDropCircleAnimator.end();
            mDropCircleAnimator.removeAllUpdateListeners();
        }
        if (mDropVertexAnimator != null) {
            mDropVertexAnimator.end();
            mDropVertexAnimator.removeAllUpdateListeners();
        }
        if (mWaveReverseAnimator != null) {
            mWaveReverseAnimator.end();
            mWaveReverseAnimator.removeAllUpdateListeners();
        }
        if (mDropBounceHorizontalAnimator != null) {
            mDropBounceHorizontalAnimator.end();
            mDropBounceHorizontalAnimator.removeAllUpdateListeners();
        }
        if (mDropBounceVerticalAnimator != null) {
            mDropBounceVerticalAnimator.end();
            mDropBounceVerticalAnimator.removeAllUpdateListeners();
        }
        super.onDetachedFromWindow();
    }

    private void initView() {
        setUpPaint();
        setUpPath();
        resetAnimator();

        mDropRect = new RectF();
        setLayerType(View.LAYER_TYPE_SOFTWARE, null);
    }

    private void setUpPaint() {
        float density = getResources().getDisplayMetrics().density;
        mPaint = new Paint();
        mPaint.setColor(0xff2196F3);
        mPaint.setAntiAlias(true);
        mPaint.setStyle(Paint.Style.FILL);
        mPaint.setShadowLayer((int) (0.5f + 2.0f * density), 0f, 0f, SHADOW_COLOR);

//    float density = getResources().getDisplayMetrics().density;
//    mShadowPaint = new Paint();
//    mShadowPaint.setAntiAlias(true);
//    mShadowPaint.setShadowLayer((int) (0.5f + 2.0f * density), 0f, 0f, SHADOW_COLOR);
    }

    private void setUpPath() {
        mWavePath = new Path();
        mDropTangentPath = new Path();
        mDropCirclePath = new Path();
        mShadowPath = new Path();
    }

    private void resetAnimator() {
        mDropVertexAnimator = ValueAnimator.ofFloat(0.f, 0.f);
        mDropBounceVerticalAnimator = ValueAnimator.ofFloat(0.f, 0.f);
        mDropBounceHorizontalAnimator = ValueAnimator.ofFloat(0.f, 0.f);
        mDropCircleAnimator = ValueAnimator.ofFloat(-1000.f, -1000.f);
        mDropCircleAnimator.start();
        mDisappearCircleAnimator = ValueAnimator.ofFloat(1.f, 1.f);
        mDisappearCircleAnimator.setDuration(1); // immediately finish animation cycle
        mDisappearCircleAnimator.start();
    }

    private void onPreDragWave() {
        if (mWaveReverseAnimator != null) {
            if (mWaveReverseAnimator.isRunning()) {
                mWaveReverseAnimator.cancel();
            }
        }
    }

    public void manualRefresh() {
        if (mIsManualRefreshing) {
            return;
        }
        mIsManualRefreshing = true;
        mDropCircleAnimator = ValueAnimator.ofFloat(mMaxDropHeight, mMaxDropHeight);
        mDropCircleAnimator.start();
        mDropVertexAnimator = ValueAnimator.ofFloat(mMaxDropHeight - mDropCircleRadius,
                mMaxDropHeight - mDropCircleRadius);
        mDropVertexAnimator.start();
        mCurrentCircleCenterY = mMaxDropHeight;
        postInvalidate();
    }

    public void beginPhase(float move1) {
        onPreDragWave();
        //円を描画し始める前の引っ張ったら膨れる波の部分の描画
        mWavePath.moveTo(0, 0);
        //左半分の描画
        mWavePath.cubicTo(mWidth * BEGIN_PHASE_POINTS[0][0], BEGIN_PHASE_POINTS[0][1],
                mWidth * BEGIN_PHASE_POINTS[1][0], mWidth * (BEGIN_PHASE_POINTS[1][1] + move1),
                mWidth * BEGIN_PHASE_POINTS[2][0], mWidth * (BEGIN_PHASE_POINTS[2][1] + move1));
        mWavePath.cubicTo(mWidth * BEGIN_PHASE_POINTS[3][0],
                mWidth * (BEGIN_PHASE_POINTS[3][1] + move1), mWidth * BEGIN_PHASE_POINTS[4][0],
                mWidth * (BEGIN_PHASE_POINTS[4][1] + move1), mWidth * BEGIN_PHASE_POINTS[5][0],
                mWidth * (BEGIN_PHASE_POINTS[5][1] + move1));
        //右半分の描画
        mWavePath.cubicTo(mWidth - mWidth * BEGIN_PHASE_POINTS[4][0],
                mWidth * (BEGIN_PHASE_POINTS[4][1] + move1), mWidth - mWidth * BEGIN_PHASE_POINTS[3][0],
                mWidth * (BEGIN_PHASE_POINTS[3][1] + move1), mWidth - mWidth * BEGIN_PHASE_POINTS[2][0],
                mWidth * (BEGIN_PHASE_POINTS[2][1] + move1));
        mWavePath.cubicTo(mWidth - mWidth * BEGIN_PHASE_POINTS[1][0],
                mWidth * (BEGIN_PHASE_POINTS[1][1] + move1), mWidth - mWidth * BEGIN_PHASE_POINTS[0][0],
                BEGIN_PHASE_POINTS[0][1], mWidth, 0);
        postInvalidateOnAnimation();
    }

    public void postInvalidateOnAnimation() {
        if (Build.VERSION.SDK_INT >= 16) {
            super.postInvalidateOnAnimation();
        } else {
            super.invalidate();
        }
    }

    public void appearPhase(float move1, float move2) {
        onPreDragWave();
        mWavePath.moveTo(0, 0);
        //左半分の描画
        mWavePath.cubicTo(mWidth * APPEAR_PHASE_POINTS[0][0], mWidth * APPEAR_PHASE_POINTS[0][1],
                mWidth * Math.min(BEGIN_PHASE_POINTS[1][0] + move2, APPEAR_PHASE_POINTS[1][0]),
                mWidth * Math.max(BEGIN_PHASE_POINTS[1][1] + move1 - move2, APPEAR_PHASE_POINTS[1][1]),
                mWidth * Math.max(BEGIN_PHASE_POINTS[2][0] - move2, APPEAR_PHASE_POINTS[2][0]),
                mWidth * Math.max(BEGIN_PHASE_POINTS[2][1] + move1 - move2, APPEAR_PHASE_POINTS[2][1]));
        mWavePath.cubicTo(
                mWidth * Math.max(BEGIN_PHASE_POINTS[3][0] - move2, APPEAR_PHASE_POINTS[3][0]),
                mWidth * Math.min(BEGIN_PHASE_POINTS[3][1] + move1 + move2, APPEAR_PHASE_POINTS[3][1]),
                mWidth * Math.max(BEGIN_PHASE_POINTS[4][0] - move2, APPEAR_PHASE_POINTS[4][0]),
                mWidth * Math.min(BEGIN_PHASE_POINTS[4][1] + move1 + move2, APPEAR_PHASE_POINTS[4][1]),
                mWidth * APPEAR_PHASE_POINTS[5][0],
                mWidth * Math.min(BEGIN_PHASE_POINTS[0][1] + move1 + move2, APPEAR_PHASE_POINTS[5][1]));
        //右半分の描画
        mWavePath.cubicTo(
                mWidth - mWidth * Math.max(BEGIN_PHASE_POINTS[4][0] - move2, APPEAR_PHASE_POINTS[4][0]),
                mWidth * Math.min(BEGIN_PHASE_POINTS[4][1] + move1 + move2, APPEAR_PHASE_POINTS[4][1]),
                mWidth - mWidth * Math.max(BEGIN_PHASE_POINTS[3][0] - move2, APPEAR_PHASE_POINTS[3][0]),
                mWidth * Math.min(BEGIN_PHASE_POINTS[3][1] + move1 + move2, APPEAR_PHASE_POINTS[3][1]),
                mWidth - mWidth * Math.max(BEGIN_PHASE_POINTS[2][0] - move2, APPEAR_PHASE_POINTS[2][0]),
                mWidth * Math.max(BEGIN_PHASE_POINTS[2][1] + move1 - move2, APPEAR_PHASE_POINTS[2][1]));
        mWavePath.cubicTo(
                mWidth - mWidth * Math.min(BEGIN_PHASE_POINTS[1][0] + move2, APPEAR_PHASE_POINTS[1][0]),
                mWidth * Math.max(BEGIN_PHASE_POINTS[1][1] + move1 - move2, APPEAR_PHASE_POINTS[1][1]),
                mWidth - mWidth * APPEAR_PHASE_POINTS[0][0], mWidth * APPEAR_PHASE_POINTS[0][1], mWidth, 0);
        mCurrentCircleCenterY =
                mWidth * Math.min(BEGIN_PHASE_POINTS[3][1] + move1 + move2, APPEAR_PHASE_POINTS[3][1])
                        + mDropCircleRadius;
        postInvalidateOnAnimation();
    }

    public void expandPhase(float move1, float move2, float move3) {
        onPreDragWave();
        mWavePath.moveTo(0, 0);
        //左半分の描画
        mWavePath.cubicTo(mWidth * EXPAND_PHASE_POINTS[0][0], mWidth * EXPAND_PHASE_POINTS[0][1],
                mWidth * Math.min(
                        Math.min(BEGIN_PHASE_POINTS[1][0] + move2, APPEAR_PHASE_POINTS[1][0]) + move3,
                        EXPAND_PHASE_POINTS[1][0]), mWidth * Math.max(
                        Math.max(BEGIN_PHASE_POINTS[1][1] + move1 - move2, APPEAR_PHASE_POINTS[1][1]) - move3,
                        EXPAND_PHASE_POINTS[1][1]),
                mWidth * Math.max(BEGIN_PHASE_POINTS[2][0] - move2, EXPAND_PHASE_POINTS[2][0]),
                mWidth * Math.min(
                        Math.max(BEGIN_PHASE_POINTS[2][1] + move1 - move2, APPEAR_PHASE_POINTS[2][1]) + move3,
                        EXPAND_PHASE_POINTS[2][1]));
        mWavePath.cubicTo(mWidth * Math.min(
                Math.max(BEGIN_PHASE_POINTS[3][0] - move2, APPEAR_PHASE_POINTS[3][0]) + move3,
                EXPAND_PHASE_POINTS[3][0]), mWidth * Math.min(
                Math.min(BEGIN_PHASE_POINTS[3][1] + move1 + move2, APPEAR_PHASE_POINTS[3][1]) + move3,
                EXPAND_PHASE_POINTS[3][1]),
                mWidth * Math.max(BEGIN_PHASE_POINTS[4][0] - move2, EXPAND_PHASE_POINTS[4][0]),
                mWidth * Math.min(
                        Math.min(BEGIN_PHASE_POINTS[4][1] + move1 + move2, APPEAR_PHASE_POINTS[4][1]) + move3,
                        EXPAND_PHASE_POINTS[4][1]), mWidth * EXPAND_PHASE_POINTS[5][0], mWidth * Math.min(
                        Math.min(BEGIN_PHASE_POINTS[0][1] + move1 + move2, APPEAR_PHASE_POINTS[5][1]) + move3,
                        EXPAND_PHASE_POINTS[5][1]));

        //右半分の描画
        mWavePath.cubicTo(
                mWidth - mWidth * Math.max(BEGIN_PHASE_POINTS[4][0] - move2, EXPAND_PHASE_POINTS[4][0]),
                mWidth * Math.min(
                        Math.min(BEGIN_PHASE_POINTS[4][1] + move1 + move2, APPEAR_PHASE_POINTS[4][1]) + move3,
                        EXPAND_PHASE_POINTS[4][1]), mWidth - mWidth * Math.min(
                        Math.max(BEGIN_PHASE_POINTS[3][0] - move2, APPEAR_PHASE_POINTS[3][0]) + move3,
                        EXPAND_PHASE_POINTS[3][0]), mWidth * Math.min(
                        Math.min(BEGIN_PHASE_POINTS[3][1] + move1 + move2, APPEAR_PHASE_POINTS[3][1]) + move3,
                        EXPAND_PHASE_POINTS[3][1]),
                mWidth - mWidth * Math.max(BEGIN_PHASE_POINTS[2][0] - move2, EXPAND_PHASE_POINTS[2][0]),
                mWidth * Math.min(
                        Math.max(BEGIN_PHASE_POINTS[2][1] + move1 - move2, APPEAR_PHASE_POINTS[2][1]) + move3,
                        EXPAND_PHASE_POINTS[2][1]));
        mWavePath.cubicTo(mWidth - mWidth * Math.min(
                Math.min(BEGIN_PHASE_POINTS[1][0] + move2, APPEAR_PHASE_POINTS[1][0]) + move3,
                EXPAND_PHASE_POINTS[1][0]), mWidth * Math.max(
                Math.max(BEGIN_PHASE_POINTS[1][1] + move1 - move2, APPEAR_PHASE_POINTS[1][1]) - move3,
                EXPAND_PHASE_POINTS[1][1]), mWidth - mWidth * EXPAND_PHASE_POINTS[0][0],
                mWidth * EXPAND_PHASE_POINTS[0][1], mWidth, 0);
        mCurrentCircleCenterY = mWidth * Math.min(
                Math.min(BEGIN_PHASE_POINTS[3][1] + move1 + move2, APPEAR_PHASE_POINTS[3][1]) + move3,
                EXPAND_PHASE_POINTS[3][1]) + mDropCircleRadius;
        postInvalidateOnAnimation();
    }

    /**
     * @param height 高さ
     */
    private void updateMaxDropHeight(int height) {
        if (500 * (mWidth / 1440.f) > height) {
            Log.w("WaveView", "DropHeight is more than " + 500 * (mWidth / 1440.f));
            return;
        }
        mMaxDropHeight = (int) Math.min(height, getHeight() - mDropCircleRadius);
        if (mIsManualRefreshing) {
            mIsManualRefreshing = false;
            manualRefresh();
        }
    }

    public void startDropAnimation() {
        // show dropBubble again
        mDisappearCircleAnimator = ValueAnimator.ofFloat(1.f, 1.f);
        mDisappearCircleAnimator.setDuration(1);
        mDisappearCircleAnimator.start();

        mDropCircleAnimator = ValueAnimator.ofFloat(500 * (mWidth / 1440.f), mMaxDropHeight);
        mDropCircleAnimator.setDuration(DROP_CIRCLE_ANIMATOR_DURATION);
        mDropCircleAnimator.addUpdateListener(new ValueAnimator.AnimatorUpdateListener() {
            @Override
            public void onAnimationUpdate(ValueAnimator animation) {
                mCurrentCircleCenterY = (float) animation.getAnimatedValue();
                postInvalidateOnAnimation();
            }
        });
        mDropCircleAnimator.setInterpolator(new AccelerateDecelerateInterpolator());
        mDropCircleAnimator.start();

        mDropVertexAnimator = ValueAnimator.ofFloat(0.f, mMaxDropHeight - mDropCircleRadius);
        mDropVertexAnimator.setDuration(DROP_VERTEX_ANIMATION_DURATION);
        mDropVertexAnimator.addUpdateListener(mAnimatorUpdateListener);
        mDropVertexAnimator.start();

        mDropBounceVerticalAnimator = ValueAnimator.ofFloat(0.f, 1.f);
        mDropBounceVerticalAnimator.setDuration(DROP_BOUNCE_ANIMATOR_DURATION);
        mDropBounceVerticalAnimator.addUpdateListener(mAnimatorUpdateListener);
        mDropBounceVerticalAnimator.setInterpolator(new DropBounceInterpolator());
        mDropBounceVerticalAnimator.setStartDelay(DROP_VERTEX_ANIMATION_DURATION);
        mDropBounceVerticalAnimator.start();

        mDropBounceHorizontalAnimator = ValueAnimator.ofFloat(0.f, 1.f);
        mDropBounceHorizontalAnimator.setDuration(DROP_BOUNCE_ANIMATOR_DURATION);
        mDropBounceHorizontalAnimator.addUpdateListener(mAnimatorUpdateListener);
        mDropBounceHorizontalAnimator.setInterpolator(new DropBounceInterpolator());
        mDropBounceHorizontalAnimator.setStartDelay(
                (long) (DROP_VERTEX_ANIMATION_DURATION + DROP_BOUNCE_ANIMATOR_DURATION * 0.25));
        mDropBounceHorizontalAnimator.start();
    }

    public void startDisappearCircleAnimation() {
        mDisappearCircleAnimator = ValueAnimator.ofFloat(1.f, 0.f);
        mDisappearCircleAnimator.addUpdateListener(mAnimatorUpdateListener);
        mDisappearCircleAnimator.setDuration(DROP_REMOVE_ANIMATOR_DURATION);
        mDisappearCircleAnimator.addListener(new Animator.AnimatorListener() {
            @Override
            public void onAnimationStart(Animator animator) {

            }

            @Override
            public void onAnimationEnd(Animator animator) {
                //アニメーション修旅時にAnimatorをリセットすることにより落ちてくる円の初期位置を-100.fにする
                resetAnimator();
                mIsManualRefreshing = false;
            }

            @Override
            public void onAnimationCancel(Animator animator) {

            }

            @Override
            public void onAnimationRepeat(Animator animator) {

            }
        });
        mDisappearCircleAnimator.start();
    }

    /**
     * @param h 波が始まる高さ
     */
    public void startWaveAnimation(float h) {
        h = Math.min(h, MAX_WAVE_HEIGHT) * mWidth;
        mWaveReverseAnimator = ValueAnimator.ofFloat(h, 0.f);
        mWaveReverseAnimator.setDuration(WAVE_ANIMATOR_DURATION);
        mWaveReverseAnimator.addUpdateListener(new ValueAnimator.AnimatorUpdateListener() {
            @Override
            public void onAnimationUpdate(ValueAnimator valueAnimator) {
                float h = (Float) valueAnimator.getAnimatedValue();
                mWavePath.moveTo(0, 0);
                mWavePath.quadTo(0.25f * mWidth, 0, 0.333f * mWidth, h * 0.5f);
                mWavePath.quadTo(mWidth * 0.5f, h * 1.4f, 0.666f * mWidth, h * 0.5f);
                mWavePath.quadTo(0.75f * mWidth, 0, mWidth, 0);
                postInvalidate();
            }
        });
        mWaveReverseAnimator.setInterpolator(new BounceInterpolator());
        mWaveReverseAnimator.start();
    }

    public void animationDropCircle() {
        if (mDisappearCircleAnimator.isRunning()) {
            return;
        }
        startDropAnimation();
        startWaveAnimation(0.1f);
    }

    public float getCurrentCircleCenterY() {
        return mCurrentCircleCenterY;
    }

    /**
     * @param maxDropHeight ある程度の高さ
     */
    public void setMaxDropHeight(int maxDropHeight) {
        if (mDropHeightUpdated) {
            updateMaxDropHeight(maxDropHeight);
        } else {
            mUpdateMaxDropHeight = maxDropHeight;
            mDropHeightUpdated = true;
            if (getViewTreeObserver().isAlive()) {
                getViewTreeObserver().removeOnPreDrawListener(this);
                getViewTreeObserver().addOnPreDrawListener(this);
            }
        }
    }

    public boolean isDisappearCircleAnimatorRunning() {
        return mDisappearCircleAnimator.isRunning();
    }

    /**
     * @param radius 影の深さ
     */
    public void setShadowRadius(int radius) {
//    mShadowPaint.setShadowLayer(radius, 0.0f, 2.0f, SHADOW_COLOR);
        mPaint.setShadowLayer(radius, 0f, 0f, SHADOW_COLOR);
    }

    /**
     * @param radius 影の深さ
     */
    public void setShadow(int radius, int color) {
        mPaint.setShadowLayer(radius, 0f, 0f, color);
    }

    /**
     * WaveView is colored by given color (including alpha)
     *
     * @param color ARGB color. WaveView will be colored by Black if rgb color is provided.
     * @see Paint#setColor(int)
     */
    public void setWaveColor(@ColorInt int color) {
        mPaint.setColor(color);
        invalidate();
    }

    public void setWaveARGBColor(int a, int r, int g, int b) {
        mPaint.setARGB(a, r, g, b);
        invalidate();
    }
}

redpajama_set_name: RedPajamaGithub


Students use creative tools in the Seesaw app or website to complete classroom activities like "Kidspiration word sort"
Take a screen shot of your Kidspiration word sort. Crop your photo. Then upload in this activity from camera roll.


Keeping up to the demand for digital content on mobile devices, Aircel has now launched the Roz Ek Kahani Vikram Ki Zubani VAS.
Aircel has announced the launch of the Roz Ek Kahani Vikram Ki Zubani exclusive audio value added services that will provide variety of stories created by filmmaker Vikram Bhatt. Subscribers can access the content by dialling 51515. Users can currently listen to Krishna stories in Hindi and English and will be available in other languages soon. The service would be charged at Rs. 30 per month or Rs. 2 per day. The company will be introducing other genres shortly.


Dr Philipp Köker explains why the success of the far-right 'Alternative for Germany (AfD)' in Sunday's election is cause for concern, but far from heralding a crisis for German democracy.
Angela Merkel emerged as the winner of yesterday's federal elections in Germany. As expected, her coalition of Christian Democrats (CDU/CSU) topped the polls with 33.5% of the vote while the Social Democrats (SPD), led by Martin Schulz, trailed behind at 20.5% (the worst result since 1949). However, the most interesting point of the election was always the competition between the four smaller parties, which at times appeared to be tied at around 10% each.
In the end, the differences were small but significant – the Free Democrats (FDP) more than doubled their 2013 result and re-entered parliament after a four-year break, while the Greens and the leftist DIE LINKE were unable to boost their numbers. Most notably, however, the formerly anti-Euro turned xenophobic far-right 'Alternative for Germany' (AfD) entered the Bundestag for the first time. Having polled just below the 5% threshold at its first attempt in 2013, the AfD now emerged as the third largest party with 12.6%.
The AfD's success is certainly cause for concern, given that it is the first time since 1949 that a far-right party will sit in Germany's federal parliament. However, its success must also be seen in a comparative context.
After the last 'grand coalition' of Christian Democrats and Social Democrats in 2005-2009, smaller parties likewise effectively channelled public discontent and benefitted electorally from the losses of the major parties. Exit polls also showed that the majority of AfD voters cast their vote out of protest, not because they were persuaded by the views of its leadership.
Furthermore, German politicians – bar some representatives of the Christian and Social Union (CSU) – have also stood firmly by the government's decision to accept more than 1m refugees.
In contrast to the UK, where Conservatives and Labour alike adopted the populist anti-immigration rhetoric of UKIP, German parties have not stooped down to the AfD's level.
Moreover, the AfD is rife with in-fighting between various factions –the party's founder Bernd Lucke left in 2015 and Frauke Petry, who led the challenge against Lucke in 2015, just announced her intention to set up her own party group in parliament. This puts the AfD in stark contrast to other, more disciplined far-right parties in Europe, e.g. the Austrian Freedom Party (FPÖ), which could win 25% in the general election on 15 October 2017.
Thus, the potential for a far-right resurgence in Germany is limited – in terms of both electoral support and party organisation. The AfD's success is a warning shot, but is not yet heralding a crisis for German democracy.
Dr Philipp Köker is Senior Research Fellow in Politics and International Relations and deputy director of the Centre for European Studies (CEFEUS) at Canterbury Christ Church University.


text:
Section 92 of the Constitution Act, 1867 () is a provision in the Constitution of Canada that sets out the legislative powers of the legislatures of the provinces of Canada.  The provincial powers in section 92 are balanced by the list of federal legislative powers set out in section 91 of the Constitution Act, 1867.  The dynamic tension between these two sets of legislative authority is generally known as the "division of powers".  The interplay between the two lists of powers have been the source of much constitutional litigation since Confederation of Canada in 1867.

The Constitution Act, 1867 is the constitutional statute which established Canada.  Originally named the British North America Act, 1867, the Act continues to be the foundational statute for the Constitution of Canada, although it has been amended many times since 1867.  It is now recognised as part of the supreme law of Canada.

Constitution Act, 1867

The Constitution Act, 1867 is part of the Constitution of Canada and thus part of the supreme law of Canada.  It was the product of extensive negotiations by the governments of the British North American provinces in the 1860s. The Act sets out the constitutional framework of Canada, including  the structure of the federal government and the powers of the federal government and the provinces.  Originally enacted in 1867 by the British Parliament under the name the British North America Act, 1867, in 1982 the Act was brought under full Canadian control through the Patriation of the Constitution, and was re-named the Constitution Act, 1867.  Since Patriation the Act can only be amended in Canada, under the amending formula set out in the Constitution Act, 1982.

Text of section 92

Section 92 reads:

{{block indent|
{{block indent|2. Direct Taxation within the Province in order to the raising of a Revenue for Provincial Purposes.}}

{{block indent|

Section 92 is found in Part VI of the Constitution Act, 1867, dealing with the distribution of legislative powers.

Amendments

Section 92 has been amended once since the Act was enacted in 1867.  Section 92(1) originally gave the provincial legislatures the power to enact laws to amend the constitutions of the provinces, other than the office of the Lieutenant Governor.  Section 92(1) was repealed as part of the Patriation of the Constitution.  The provincial power to amend the provincial constitution is now found in section 45 of the Constitution Act, 1982.  The exception with regard to the office of the Lieutenant Governor is now found in s. 41 of the Constitution Act, 1982.

Background and interpretation

The interplay between the list of provincial powers in section 92, and the corresponding list of federal powers in section 91, has been one of the most heavily litigated issues since Confederation in 1867.  The relationship between the federal and provincial powers is generally referred to as the "division of powers", meaning federalism issues, not separation of powers.

Both the provincial powers and the federal powers are stated to be exclusive, not concurrent.  A subject matter which falls within provincial legislative jurisdiction therefore does not come within federal jurisdiction, and vice versa.  Canadian constitutional analysis uses the term ultra vires as shorthand for a matter that is outside the jurisdiction of a government, and intra vires for a matter that is within the jurisdiction of a government.  Related constitutional doctrines such as paramountcy and inter-jurisdictional immunity are also used to assess the constitutionality of a law under the division of powers.

Although some of the Fathers of Confederation, such as John A. Macdonald, favoured a strong central government, other Fathers of Confederation, such as Oliver Mowat, were more inclined to broader provincial powers.  Quebec has traditionally favoured stronger provincial powers.  In the late 19th century and early 20th century, the Judicial Committee of the Privy Council, the highest appellate body of the British Empire, issued a series of decisions which expanded provincial powers at the expense of federal powers.

 Other sources of provincial jurisdiction
Section 92 is not the only source of provincial legislative authority, as there are other provisions of the Constitution Act, 1867 which confer legislative power on the provincial legislatures:

Section 92A, enacted by the Constitution Act, 1982, gives the provinces jurisdiction over natural resources in the Province;

Section 93 gives the provinces jurisdiction over education, including jurisdiction over denominational and separate schools in some provinces;

Section 94A confirms provincial jurisdiction over old age pensions and supplemental benefits, even when the federal Parliament has legislated in the area;

Section 95 gives the provinces jurisdiction over agriculture and immigration, subject to concurrent federal jurisdiction over those subjects.

There is also section 45 of the Constitution Act, 1982'', which gives the provincial legislatures the power to amend the provincial constitutions.

References

Constitution of Canada
Canadian Confederation
Federalism in Canada

redpajama_set_name: RedPajamaWikipedia


text:
Auction Results | All | Political & Historic Memorabilia
Lock of George Washington's hair sold at auction for $35,000
A lock of President George Washington's hair, originally owned by the family of Founding Father Alexander Hamilton (Image: Lelands Auctions)
A lock of U.S President George Washington's hair once owned by the family of Alexander Hamilton has sold at Lelands Auctions for $35,000.
The historic hair was attached to a card with sealing wax, and had been gifted to a family friend by Hamilton's third son James (1788 – 1878).
James Hamilton's accompanying letter, dated March 1871, presented the hair to a Miss Eleanor G. Collins with the message ""[a] lock of the Illustrious Washington… as a mark of my respect and regard for you."
Although it may seem unusual today, hair was once considered a touching gift and the lock illustrated the close ties between Washington and Hamilton, two of America's most significant Founding Fathers.
Washington's hair was evidently a treasured possession of the Hamilton family, and it had remained in their collection for over 70 years since the President's death in 1799.
Hamilton (right) served as one of Washington's (left) most important military assistants during the American Revolutionary War (Image: National Heritage Museum, Lexington, MA.)
According to Lelands, the lock had originally sold in 1992 during the auction of a private historical autograph collection.
However, as the sale was hosted by a rare coin specialist rather than an established autograph company, it escaped the attention of many collectors at the time.
The sale became famous within the hobby for having "fallen through the cracks", with numerous rare and important artifacts flying under radar of museums, institutions and top collectors.
But this time round the lock drew much more attention, due in large part to the success of Lin-Manuel Miranda's 2015 musical 'Hamilton'.
Although he played a vital role in the shaping of U.S history, it wasn't until the show became a Broadway smash, winning countless awards along the way, that Alexander Hamilton became a truly household name.
His remarkable life story saw him journey from a poor orphan in the West Indies to George Washington's right-hand man during the War of Independence, and finally one of the Founding Fathers of the United States.
"The modern relevance of this piece is inestimable with the world famous theatrical production of the play 'Hamilton' by Lin-Manuel Miranda," said the auction house.
"[Alexander Hamilton's] standing in our culture has been raised to a whole another level bringing this major historical relic along with it."
The lock of hair had previously sold in June 2018 at Christie's in New York, where it realized $11,250. The result of last week's sale meant it had more than trebled in value in the space of just eight months.
In recent years the market for historic locks of hair has seen a surge in popularity amongst collectors, with some seeking a piece of history more intimate than an autograph.
Major sales have included a lock of Confederate General George Custer's hair which sold in 2018 for $12,500; a large clump of John Lennon's famous mop-top from 1966, which sold in 2016 for $35,000; and a lock of David Bowie's platinum blonde hair from 1983, which also sold in 2016 for $18,750.
Posted in: Auction Results, Political & Historic Memorabilia
Tagged: Alexander Hamilton, George Washington, hair, Leland's Auctions
Chinese vase discovered in attic after 20 years sells for over $750,000
Sworders' 'Out of the Ordinary' sale offers a taste of the unusual
General Custer's hair sells for $12,500 at Heritage Auctions
Lock of George Washington's hair found in college library
The 10 Weirdest Auction Sales of 2019


From hundreds of entries submitted to the Festival, join us for the film screening of Space to Explore, Facing Sunrise, and Ascending Afghanistan.
Natalie Panek has spent her life focused on her biggest dream – to be the first to set foot on another planet. In the sky high arches and pinnacles, breathtaking views, and a canopy of stars in Moab, Utah it's easy to believe that all the adventure you need is right here on earth.
Follow the first female Afghan mountaineering team as they navigate their first expedition and fight for recognition as athletes amongst their country, culture and families. Warning: contains graphic violent content, we recommend that viewers be over the age of 13.
Natalie Panek* has spent her life focused on her biggest dream - to be the first to set foot on another planet. In the sky high arches and pinnacles, breathtaking views, and a canopy of stars in Moab, Utah it's easy to believe that all the adventure you need is right here on earth.
Follow the first female Afghan mountaineering team as they navigate their first expedition and fight for recognition as athletes amongst their country, culture and families.
Warning: contains graphic violent content, we recommend that viewers be over the age of 13.


Three sharp new serif families have been released by Parachute®. They complement the award-winning Centro Serif family. Altogether, they offer a diverse selection of cuts for demanding editorials. The full scale type system includes condensed, extra condensed and compressed variations. They are overpowering and quite expressive at display sizes but highly readable at small sizes. An ideal choice for newspapers and magazines.


Most of the reasons to have a Will have to do with what happens if you don't have one and that often will depend on what province you reside in. Each provincial government has its own Wills and Estate legislation which also provides for the rules regarding intestacy. The following are some of the reasons to have a Will and what could result without one.
Your Will affords you the opportunity to give clear instructions as to whom will receive your wealth. It also allows you to make bequests of certain items such as family heirlooms which you may wish to leave to a specific individual. For those who wish to leave funds to a charity, the Will allows you to do this. Without a Will, this opportunity may be lost. The bottom line is that you make the call. Dying without a Will means that the provincial government will make the determinationon how your estate is to be distributed depending on the intestacy laws.
For example, if there is a spouse and children, the spouse will usually receive a specified amount. That amount can vary between $200,000 and $300,000 depending on the province. Any amounts over that are, for most provinces, split between the children and the spouse. The amounts due to the children, however, are not received by them until they reach the age of majority. Up until then, those funds are administered by the provincial government. If you reside in Alberta or Manitoba the children receive nothing, and all goes to the spouse.
If you die without a spouse and without children, then the assets will be left to parents, siblings, nieces and nephews, in that order. The government will receive all if there are no relatives. And remember those family heirlooms that you could dictate to whom they went in your Will? Without a will those and other similar assets will most likely have to be sold so the estate can properly be distributed.
The task of the Executor is to administer the estate and ensure that the testator's wishes are carried out. Without a Will, there is no Executor, and an administrator must be appointed by the government. Usually, this will be the spouse, but if the spouse is not willing or capable then someone else will have to be found to carry out this function. Regardless, the result usually will be unnecessary delays and increased expenses.
In administering estate assets, the role of an Executor also helps to ensure that there is no loss of estate assets due to lack of oversight prior to the assets being distributed.
British Columbia, Saskatchewan, Manitoba, North West Territories and Nunavut recognize common law marriages where the parties have lived together for more than two years. In these jurisdictions common law spouses have the same rights as a married spouse. In all other provinces, however, they are not recognized and as a result are entitled to nothing. There may be exceptions where a dependency claim can be made to the courts, but that could prove to be expensive and result in significant delays. It also could result in other family members making objections to the court. With a properly drafted Will, the rights of a common law spouse are protected.
Having the choice as to who will look after your children should you die is an extremely important reason to have a Will. This is especially true in the case of a common disaster involving both parents. Consider the unimaginable scenario in which the decision as to who should be the guardian of your children was left to the courts.
A Will affords you the opportunity to leave concise instructions regarding your funeral arrangements. Dying without a Will or with no clear directive could cause stress and family discord.
Estate planning, including a properly drafted Last Will and Testament, may result in tax savings. On the other hand, dying intestate will see this opportunity lost and administrative costs increased.
It is unfortunate that many Canadians do not have a Will. While there may be some circumstances where a Will is not necessary, for those Canadians who are married and have children, a Will is vital and should not be overlooked. Ideally, a Will should be drafted by a lawyer who is acquainted with all the technical requirements and contingencies that come into play.
If you are without a Will, talk to a lawyer who can assist you as soon as you can.
This article is intended to provide general information and should not be considered legal, tax or financial advice.


text:
HE chief gives strategy update
Highways England's chief executive Jim O'Sullivan has revealed the latest route strategy documents for the strategic road network are to be published next month with a network report due in the autumn.
The government-owned company is preparing the ground for its second Road Investment Strategy (RIS 2), covering its multi-billion five-year budget from 2020-2025.
The 18 route strategies – covering the entire network and divided into areas such as East of England and M25 to Solent – form the foundation of the RIS 2.
Speaking at a Westminster Forum conference in London this week, Mr O'Sullivan said: 'Route strategies are due out in March. They are our best and most informed view of what our 18 routes on our network need. We are looking for comment on those routes over the summer and we will be producing a network report into the autumn.'
A strategic economic growth plan is also due to be published in March, Mr O'Sullivan said.
He also revealed he hopes to introduce a system he called 'swim lanes' for the future investment plans, which would provide individual five-year funding programmes for different disciplines to support contractors with more investment stability.
'We are working in RIS 2 towards what I like to call swim lanes, so a five-year programme of maintenance, a five-year programme of capital renewals, of smart motorways, of new schemes and on top of that flagship schemes.'
You can read more about it on the Transport Network.
Highways England maintenance strategy


It's another blissful anniversary to one of Nigeria's finest disc jockey DJ Jimmy Jatt. Born Oluwaforijimi Adewale Amu, the premium DJ has over 25 years of experience in the music industry as a disc jockey.
Today DJ Jimmy Jatt turned 52, and several colleagues are celebrating his achievements as regards DJing in the country.
A beautiful cake relating to his trade was made in his honour.


text:
Ivan Drago: Creed 2 | What happened after Rocky 4?
In this latest Creed segment, Rocky's protege, Adonis Creed, faces Russian Viktor Drago, the son of his father's killer, Ivan.
And yes, appearing in a Rocky movie for the first time since Rocky 4 (1985), Dolph Lundgren will reprise his role as the infamous Drago.
Ivan Drago of the Rocky series is one of the most iconic movie bad guys in history so it's no surprise he's getting as much buzz as Creed's star characters, Balboa and his protege, Adonis.
We saw him in the very successful, extremely entertaining Rocky 4 and he's back 33 years later.
Drago was a 20-something boxing champion and Olympic gold medalist from the Soviet Union who had been groomed to fight from childhood. In fact, the 'Soviet killing machine' was, according to Russian experts, the most perfectly trained athlete ever and invincible in the ring.
So what happened to Ivan Drago after killing Apollo Creed and subsequently losing to Rocky Balboa in Rocky 4?
Perhaps Creed 2 will shed some light for us but here is what we know so far...
Drago went from hero to goat very quickly. He became an outcast after losing to Balboa and his life was sent into a tailspin.
Heavily favored against the much smaller Balboa in the most-watched boxing event ever, the Soviet's loss was the quintessential embarrassment to the USSR who boasted to the world they'd created an unbeatable fighting machine. Following the loss, he was likely rejected by his countrymen and never able to shake that "betrayer" stigma.
Moreover, we also know his son, Viktor, comes from modest means so the elder Drago has probably been living in semi-poverty following his KO loss to Rocky 33 years ago.
Earlier this month, Lundgren shared more details about what to expect from Drago this time around:
"He's lost everything -- his country, his wife, his respect and he's been living as an outcast when we find him," he told Celebtainment.
"The only thing he has that's worth anything, apart from his drive for redemption, is his son who is another heavyweight fighter."
An angry man
Forget that Drago are Rocky are probably something like 60 and 72, respectively, right now. Drago wants a piece real bad, even if Rocky is physically ill and still battling cancer.
And when questioned if Drago and Rocky fight again, Lundgren offered a mysterious reply.
"You'll have to see the picture but there is a surprise in that realm I would think, yes."
"That's all I can say."
IVAN DRAGO
ROCKY MOVIES


text:
Q: Why does deleting a file on a USB stick not free up space? I have an HP pen-drive that has 16GB space. If I add a file to it, and then I delete that file, the free space of that deleted file doesn't get applied. The only way I've found to see that space as available again is by deleting the partition and doing it all over again!
Why is this? Any clue?
I've used KDE Partition Manager to create the NTFS partition.

A: In Nautilus, use the 'Show Hidden Files' option off the 'View' menu.
You should then see the '.Trash' folder. You can now Shift+Delete that folder, freeing up the space.

A: I have found that nautilus changed behaviour sometime in the last year from actually deleting files on removable media to putting them into a hidden directory named .Trash or similar in the top-level directory of the media.
This is great for "oops"es, but did catch me unawares the first time I "deleted" 2GB of a 4GB thumb and still had no extra space.
I didn't explore if Empty Trash was available or worked, I just rm -rf the offending directory.

A: To avoid all this, try using the shift+delete functionality. This way, deleted files do not go to trash.
This is described in How to delete files bypassing trash

A: I have seen this happen a couple of times; I have solved this by ejecting the USB key. Then nautilus then goes and soft of commits the changes you made to the USB stick. weird I know, but it seems to have worked for me.


text:
Q: Performance characteristics of core.logic with many finite domain constraints I'm learning relational programming in miniKanren and I decided to implement a time scheduling system. Basically, it boils down to three relations over finite domain.
First, there is a time strip that has a start, duration, end and occurs in a space:
(l/defne stripo
  "Defines time strip relationship. Time strip start must be before end, and have a duration."
  [work] ([[start duration end _]]
          (fd/+ start duration end)))

Then, there is a happens-before relation on a list of strips (which is a list of 4-element lists). This is a pairwise relationship between end and start of two events:
(l/defne happens-beforo
         "Defines a happens-before relationship between consecutive time strips in a list."
         [elements]
         ([[]])
         ([[a]])
         ([[a b . d]]
          (l/matche [a b] ([ [_ _ e _] [s _ _ _] ] (fd/<= e s)))
          (happens-beforo (l/llist b d))))

Lastly, there is a non-overlap relationship that states that two time strips cannot overlap when they share the same space:
(l/defne non-overlappo
  "Two time strips must not overlap in time, if they share the same space"
  [a b]
  ([[_ _ _ sp1] [_ _ _ sp2]]
   (l/conde
     [(l/== sp1 sp2)
      (l/conde
        [(happens-beforo [a b])]
        [(happens-beforo [b a])])]
     [(l/!= sp1 sp2)])))

I can run very long queries for chains of happens-beforo relationships, thousands of time strips are fine. The problem starts arising when I constrain the space of those time strips. This is a function that does it:
(l/defne constrain-spaceo
  "This constraint will assure that all time strips within the argument
  obey non-overlapping relationship with each other. Quadratic."
  [strips]
  ([[]])
  ([[w . ws]]
   (let [space' (l/defne space' [c a]
                  ([_ []])
                  ([_ [f . d]]
                   (non-overlappo c f)
                   (space' c d)))]
     (l/all (space' w ws) (constrain-spaceo ws)))))

For a list of strips q, it establishes a non-overlappo relationship between each two elements. Since it is a bi-directional relation, it is less than n^2.
When I use constrain-spaco for as little as 10 strips, the search time blows up and I am not able to produce any results.
So far I've been experimenting with ways to reduce this time, and it seems that it is related to the amount of strips competing for one space, regardless of how many strips there are in total. If I create two sets of strips, one in space 0 and the other in space 1 and apply constrain-spaco on the whole list of strips, then the time is the sum of the times of calculation of these strips separately.
My question are:

*

*why does the amount of finite domain constraints impact the time so much? I was under the impression that the amount of constraints helps with search time.

*Is there any way to lower the search time? Perhaps change the data representation?


"Mandinka" was written by Irish singer Sinéad O'Connor. It was released as the third single from her debut album, "The Lion And The Cobra". The single was released in December 1987 peaking at #6 in Ireland, and #17 in the UK.


It's true! I'm playing bass in Temperance League and this coming Thursday, April 25 and we are opening for the one and only Bob Seger and The Silver Bullet Band. Thanks to Bruce Hazel and all those who helped put on this amazing bill.
Notes: Temperance League opens for the mighty Bob Segar & The Silver Bullet Band!


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A large leaf-mimicking katydid (Tettigoniidae) from the Amazon Basin of Peru shows the coloration of a diseased or damaged leaf.
The brown phase of the female Bolivar's katydid (Tettigoniidae), a leaf mimic from the Amazon rainforest of Peru. The brown form of the male of Bolivar's katydid (Tettigoniidae), a leaf mimic from the rainforests of the Peruvian Amazon.
A green leaf-mimicking mantis (Choeradodis sp.) from the tropical forests of the Peruvian Amazon. A leaf-mimicking moth in the leaf litter of an Amazon rainforest in Peru. A superb leaf-mimicking katydid (Tettigoniidae) from the Amazon rainforests of Peru with markings that imitate decay spots.
A Peruvian leaf-mimicking katydid (Tettigoniidae) whose wings, like the leaves of many tropical forest trees, end in an apparent "drip-tip." The spectacular startle and eyespot display used as a secondary defense by the leaf-mimicking peacock katydid (Tettigoniidae) found in the Amazon rainforests of Peru. The Java Walking Leaf from Indonesia, one of the most spectacular of all leaf-mimicking insects.


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Many of us use the holiday season to reflect upon the activities of the past year. Personally, I enjoy doing this while contemplating what the future may hold for me, my family, my friends, and my company. The Thanksgiving holiday, in particular, is a great reminder to take into account all of life's blessings as part of that process.
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