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HomeApplications & TechnologyThe AI, Data & Analytics Network Aligns with the A&G Community in Search of Synergies
The AI, Data & Analytics Network Aligns with the A&G Community in Search of Synergies
February 4, 2021 Holt Hackney Applications & Technology, From the Editor 0
Seth Adler
Boundless energy only scratches the surface when describing , the Editor-in-Chief of The AI, Data & Analytics Network. The words Intuitive and determined also come to mind.
All of the above qualities have helped serve as the foundation for growth of the Network, which recently partnered with IASA Global and A&G as the two side co-promote each other's events and find synergies between their respective communities.
For the Network, that means raising awareness of the AI & Data Democratization Live event April 27-28. Meanwhile, Seth and his team will promote IASA Global's Business Innovation Leadership and Technology (BILT) conference series.
Kicking things off, we thought it might be useful to Interview Seth, the transcript of which follows.
Question: What is the AI, Data & Analytics Network, and what is your role?
Answer: The AI, Data & Analytics Network is a community of global corporate enterprise AI, Data and Analytics executives. We're proud to say that our community is responsible for remarkable industry innovation day-in and day-out. I'm the Editor-in-Chief of the Network. Through research with top-level executives in the space, I set and manage the content strategy and direction for the site.
Q: How has the pandemic affected the network?
A: As we are digital natives, the pandemic has shed light on what we do and how we do it. It's our job to bring together the AI, Data and Analytics community at a top-level to ensure that true thought-leadership and knowledge sharing occurs in the space. As executives continue to attempt to outpace disruption, we're providing real-time information to ensure that they can benchmark against other leading organizations in the space.
The way we see it, if industry innovation is the sun, at our best, we are the moon. We provide the gravitational pull to generate the tidal force that lifts all boats. (The boats being global corporate enterprise businesses.)
Q: What are its major initiatives for 2021?
A: Our top priority is always to continue the conversation with our community to ensure we remain on the bleeding edge of what's happening in the space. We bring people together around content. We post new content on a near-daily basis, usually written by our amazing Editor, Elizabeth Mixson. We also regularly host webinars and publish reports on key content areas. And quarterly, we host virtual events to provide an opportunity for the community to gather and discuss key initiatives in the space.
Q: What AI trends do you expect to see in 2021?
A: The centrifugal-trend-force is that Enterprise AI Democratization is happening. There are plenty of business-led technologies that have been implemented which feature embedded machine learning components. We're also seeing the rise of the Enterprise AI Platform providing AI tools to citizen developers throughout global corporations.
Q: What has been your path?
A: Throughout my life, my purpose has been to bring people together around content. I ran the theatre at Ithaca College. I brought the circus to town with the former Greatest Show on Earth- Ringling Bros. and Barnum & Bailey. And I produced music events in the basement of the famed-now-closed CBGB. Now, I bring people together around content for the AI, Data & Analytics Network, the Intelligent Automation Network and the Cyber Security Hub.
Q: Was there anyone in particular who was instrumental in your career in technology, a mentor?
A: Early on in my business-to-business content career I had the honor of meeting Tim Berners-Lee, Vinod Khosla, Buzz Aldrin, and Douglas Adams, respectively. They weren't mentors, but they each certainly helped shape the way that I understand technology.
A Passion to Make Architecture Count
Next-Generation Enterprise Architecture Tools Will Make You Rethink Your Approach to Digital Transformation—for the Better


Cloth covered polystyrene case for electric guitar, with accessory pocket and back strap.
The Boston Softcase Electric Guitar Case CEG-250 is a sturdy, lightweight soft case with polystyrene filling coated with a soft fabric layer. The CAC-250-D is suitable for electric guitars. It is a form-fitting case in which your guitar can rest comfortably. The neck and bridge are protected and secured by the recesses at the top. At the top you will find an accessory box with space for your music or tablet. You can wear the CEG-250 with either the help from the two included and also removable shoulder straps or simply through the nylon carrying handles which help protect the hands from cuts with the leatherette handle which also combines with velcro straps.
The Boston Softcase Electric Guitar Case is a great alternative to a hard shell case as it offers almost the same protection but is only a fraction of the weight and is substantially cheaper.


text:
Monday 20 July 2015 1:20 pm
International Monetary Fund and European Central Bank confirm Greece payment
By: Emma Haslett
Greece has paid off its arrears to the International Monetary Fund (IMF) and the European Central Bank (ECB) today after it became the proud recipient of a €7.16bn (£5bn) emergency bridging loan from the European Union today.
European markets clised slightly higher, with the FTSE 100 closing 0.2 per cent up, Dax 0.53 per cent up and Cac 0.35 per cent up.
Greece's payment to the ECB was confirmed by the bank in a tweet early this evening stating the debt had "been repaid".
The country owed a total of €4.2bn to the bank – as well as €600m its government owes to the Greek central bank.
In a statement earlier today, IMF director of communications Gerry Rice confirmed the payment.
"As we have said, the fund stands ready to continue assisting Greece in its efforts to return to financial stability and growth," he said.
The last chunk of cash from the bridging loan – another €300m-odd – will go to an escrow account designed to act as a guarantee to the non-Eurozone countries which are sending cash to Greece through the European Financial Stability Mechanism.
The news comes after Greek banks reopened this morning, although consumers in Athens are still subject to withdrawal limits – but rather than the €60 (£40) a day they've been limited to over the past few weeks, that figure has increased to €420 a week. However, transfers of money abroad and cashing cheques are still banned.
At the same time, new rules including a VAT hike from 13 per cent to 23 per cent came into force.
Despite the good news, European markets didn't seem convinced that this heralded the beginning of the end of the Greek crisis. The FTSE 100 rose a modest 20 points, or 0.3 percent, in lunchtime trading, while the Cac 40 was up 40 points or 0.8 per cent and the Dax was up 112.7 points, or one per cent.
Connor Campbell, a financial analyst at Spreadex. suggested markets are aware "everything isn't hunky-dory".
Greek Prime Minister Alexis Tsipras still faces an "uphill battle" to hold on to his job, and Greece must still negotiate a bailout loan worth as much as €86bn.
"That will likely take weeks to materialise, meaning the already arduous Greek saga is set to enter one of its more prolonged moments of speculation," said Campbell.
Negotiations could be slowed by disagreements between those at the table over the possibility of a writedown on Greece's debt. While both Greece and the International Monetary Fund (IMF) have urged lenders to reduce its debt burden, over the weekend German Chancellor Angela Merkel showed reluctance.
"Greece has already been given relief," she said in an interview with German broadcaster ARD.
"We had a voluntary haircut for the private creditors and we then extended maturities once and reduced interest rates.
"Once the first successful review of the programme to be negotiated has been completed, then exactly this question will be discussed – not now, but then."
Greek debt crisis
Greek General Election: Syriza ahead in latest poll by fine margin
Greek debt crisis: Tsipras tries to calm fears over Syriza defeat
Greek crisis: Syriza party splits in two ahead of snap polls in September
Greek debt crisis: Poll puts Syriza in second place just behind New Democracy for first time since January
Say what? Greek GDP revised up to 0.9 per cent
Syriza's poll lead narrows ahead of Greek election on 20 September
Greek debt crisis: Pro-Grexit group Popular Unity to take mandate to create Greek coalition as New Democracy misses deadline
Greek debt crisis: Rebel Popular Unity party make last ditch bid for power following split from Syriza

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: a function within if else statement not working? My function seem not to work and I am not sure why. It should return true or false but it doesnt. I am trying to calculate if the value is lower than 0 and if so return false, true otherwise.

function tickets(peopleInLine){
    // ...
    var twentyfive = 0;
    var fifty = 0;
    var hundred = 0;

    function checkforsales() {
      if ((twentyfive < 0) || (fifty < 0) ||  (hundred < 0)) {
          return false
      } else {
              return true
      }
    }

    for (let i = 0; i < peopleInLine.length; i++) {
      if(peopleInLine[i] === 25) {
          twentyfive = twentyfive + 25;

      } else if (peopleInLine[i] === 50) {
          fifty = fifty + 50;
          twentyfive = twentyfive - 25;
          checkforsales();

      } else {
          hundred = hundred + 100;
          checkforsales();
      }
    }
}

console.log(tickets([25, 100]));

A:

 function tickets(peopleInLine){
    // ...
    var twentyfive = 0;
    var fifty = 0;
    var hundred = 0;

    function checkforsales() {
    if ((twentyfive < 0) || (fifty < 0) ||  (hundred < 0)) {
        return false
    } else {
            return true
        }

    }

    for (let i = 0; i < peopleInLine.length; i++) {
    if(peopleInLine[i] === 25) {
        twentyfive = twentyfive + 25;

    } else if (peopleInLine[i] === 50) {
        fifty = fifty + 50;
        twentyfive = twentyfive - 25;

    } else {
        hundred = hundred + 100;
    }
  }

  return checkforsales();

}

console.log(tickets([25, 100]));

You need to return checkforsales function as below
 function tickets(peopleInLine){
    // ...
    var twentyfive = 0;
    var fifty = 0;
    var hundred = 0;

    function checkforsales() {
    if ((twentyfive < 0) || (fifty < 0) ||  (hundred < 0)) {
        return false
    } else {
            return true
        }

    }

    for (let i = 0; i < peopleInLine.length; i++) {
    if(peopleInLine[i] === 25) {
        twentyfive = twentyfive + 25;

    } else if (peopleInLine[i] === 50) {
        fifty = fifty + 50;
        twentyfive = twentyfive - 25;

    } else {
        hundred = hundred + 100;
    }
  }

  return checkforsales();

}

redpajama_set_name: RedPajamaStackExchange


Long-acting barbiturates include phenobarbital (Luminal®) and mephobarbital (Mebaral®), both of which are in Schedule IV. Effects of these drugs are realized in about one hour and last for about 12 hours and are used primarily for daytime sedation and the treatment of seizure disorders.
Get the Prescription Drug Booklet for more information.
… need to continue taking the medication) on another barbiturate medication and are going to stop taking the … Phenobarbital is in a class of medications called barbiturates. It works by slowing activity in the brain.
Drug Fact Sheet Depressants Overview Includes barbiturates (barbs), benzodiazepines (benzos) and sedative-hypnotics. Depressants will put you to sleep, relieve anxiety and muscle spasms, and prevent seizures.
I could have sworn I've visited this website before but after going through a few of the articles I realized it's new to me. Regardless, I'm definitely happy I stumbled upon it and I'll be bookmarking it and checking back regularly!


text:
600 Embarcadero San Francisco, CA 94107
400 N. Vermont Ave.
San Juan Pueblo, NM 87566
505-852-4291 x304 (Tel)
811 N. Elm Street
100 Turk Hill Road
Brewster, New York 10509
2510 N. Hobson Ave.
N. Charleston, SC 29405
Clearly not your typical developers and construction crew. Abe Irizarry, Mimi Silbert and John Ridley: "We can do it!"
Mimi Silbert thanking Bank of America Chairman Tom Clausen for the loan to Delancey Street.
Because of our people, our mission, and our approach which goes against the traditional grain of solving social problems, struggle is at the core of our being. None of our achievements, either with individual residents, or with Delancey Street as an organization, has happened without a great deal of struggle. Positive change means taking risks and involves 2 steps forward, 2 to the side, 1 backward, and forward again. Growth and change are not smooth sailing for any person. Because those of us at Delancey Street are self-destructive, we have a particularly hard fight with the part of ourselves that wants to give up, to hide our feelings in drugs or alcohol, to hold grudges rather than learn to forgive, to rationalize and blame rather than admit our own mistakes and fix them. Similarly, as an organization, we continue to struggle with every accomplishment we see, sometimes in different ways, although no less today than when we started. Because of our people's past, we've had "Not In My Backyard" battles in most new cities we've entered. Despite the fact that our first dispute in Pacific Heights was amicably settled and our Police Chiefs and Mayors always wrote accolades about us as neighbors, filled with statistics of crime going down wherever we lived, "NIMBY" struggles continued. For example, in New York, in 1980, we purchased property from a bank as an estate sale with the proceeds benefiting the local hospital. Not only was Delancey Street picketed, as were the bank and the realtor who made the sale, but the poor hospital that was receiving the money from the sale had baby carriages in front of it with signs saying, "I'm ashamed to say I was born in this hospital." We have had struggles with most bureaucracies because we don't fit the traditional ways they expect organizations to operate. For example, although virtually all of our residents enter as drug addicts and leave no longer using drugs, we have no staff of drug counselors and so we don't fit the criteria of government agencies overseeing substance abuse programs. Because our residents teach as well as learn in our business training schools, it took years of struggles with bureaucracies to finally get recognized as a vocational training school.
A few of the struggles we've engaged in over the years, we lost. A neighborhood in Imperial Beach, CA objected to our living there with such intensity that we actually decided not to move in. And of course, nothing is more painful, especially in the midst of a struggle, a full out tug-of-war with self-destruction and anger and drugs, than a life lost.
With some of our struggles we were rescued by the courage and talent and goodwill of others. While trying to build our home on the Embarcadero, there were many times we thought our whole organization would go down because we put everything Delancey Street had behind this process. For example, after finally securing a long term lease with the city, we discovered that although the city supported some low income housing in the plan for the new waterfront neighborhood, the state wouldn't allow it by law on our site. Assemblyman John Burton, who had passed the law 30 years prior, spent an entire year working tirelessly with the State Lands Commission until he found a way for low income housing to be built on our site. Later, as President Pro Tem of the California Senate, Burton successfully fought back bills which would have disallowed ex-convicts to be hired in certain key fields (like truck driving), which not only would have destroyed some of Delancey Street's training programs, but would have put up even more impossible barriers for people re-entering society from prison. Also in building our new home in San Francisco, we were turned down for a loan by our bank, followed by 8 "community minded" bank turn-downs, unless we were willing to get a "real developer" instead of Mimi Silbert, and get the building built by "real professionals" instead of teaching our own people to build their own home. We sold one of our older buildings so we could begin construction. One day while working in the pouring rain underground with only 5 Delancey guys who had ever actually worked on any construction job in their lives, and without a penny left in our coffers, Bank of America's Chariman Tom Clausen and Vice Chairman Dick Rosenberg took a leap of faith, gave us a $10 million dollar unsecured line of credit to be repaid in four years (we repaid it in 3½ years) and we were on our way to success in building our new home.
Our first short-lived restaurant.
Some struggles we've been winning by the fortitude and courage of our residents who come together as one and work to become the best of themselves to prove we can make lemonade from lemons. When we leased a small space in San Francisco in the 1970's to open a restaurant, we struggled valiantly to make it work. It took us some years to get a wine and beer license and yet, despite our few years of success, our landlord tripled our rent, asked us for a full liquor license and we lost the lease in the 80's. Although devastated because the restaurant was our most visible contact point for people to come to know Delancey Street, we celebrated this failure by having a 3 day long Halloween party where we gave away free food to anyone who came by, and swore that one day we would own our own restaurant. Years later we pushed that dream into reality and we included building a restaurant as well as a café bookstore as part of our new home on the Embarcadero. In Brewster, New York, we became such good neighbors that not only did the picketing stop, but we were eventually given the "key" to the city for our good works there.
Cesar Chavez, Mimi Silbert and Jimmy Herman.
Trying to put together this web site was alien to us because we work with people and not technology. We struggled for four years and it would not have happened except for the patience, diligence and talent of Mark Gallini and Michael Beard at GHI Design in Philadelphia, PA.
Many if not most of our struggles, particularly for social justice, will continue for generations. The important thing we learn in Delancey Street is that we must all give up our angers and biases against each other, work together and pool our resources not only for individuals to make new lives and for Delancey to continue, but to join forces with others in the many struggles we all face for social justice. For example, since our inception the Delancey family joined forces with Cesar Chavez, Dolores Huerta and the struggles of the Farm Workers. We have walked with them, and with other heroes like Jimmy Herman, the long time President of the International Longshoreman and Warehouse Unions, as well as with local hotel and restaurant workers and other groups and people who are continuing to struggle for jobs, health care, housing, and the other simple rights of America's poor and its middle class to be able to live with enough resources to feel the promise and pride of their own hard work. Our struggle continues against the three strikes law and the barriers to re-entry for convicts (there are some places where ex-convicts still don't have the right to vote: how can we ever expect them to feel a positive part of citizenry without that basic right?). We understand these struggles remain and require continued commitment.
But with some struggles won, some lost, many remaining, the struggle for success at Delancey Street is always rewarded whenever a resident can turn around a formerly destructive life. It is realized when Delancey opens a new door through which hundreds more can follow to gain access to opportunities. It is rewarded every time a new entrepreneurial venture is developed and managed by formerly unskilled residents without a university professor showing us how to do a business plan or without a professional coming in to manage the top levels. The struggle is rewarded every time a resident reunites with his or her children breaking the cycle of poverty, violence, drugs and crime.
From the beginning, Delancey has opened many new doors. Like the door that let the first ex-felon be admitted to practice law. Or serve on a school board. Or get a real estate license. Or vote. Or the lives of the thousands of graduates, once outside of society, who are now productive tax paying citizens with careers in business, sales, construction, trucking, and even law enforcement. While Delancey successes are enormously rewarding, the true struggle is for a just society and people in it who lead clean lives with purpose and integrity, and that struggle never ever stops.
Leah Garchik (San Francisco Chronicle, 04/25/08)
Chapter in book, Billionaire Who Wasn't. How Chuck Feeney Secretly Made and Gave Away a Fortune (Perseus Books Group, Philadelphia, PA, 2007)
"State Prisons Revolving Door: Stepping Back Into Society" (Los Angeles Times, 11/03)
"Delancey Street criminal rehabilitation center urged for San Diego" (The San Diego Union-Tribune, 09/22/94)
"Crime and Transformation" (Creation Spirituality, Autumn 1994)
"Before Three Strikes One Last Chance" (Who Cares, Summer 1994)
"In the New Ball Game, These Two Would Have Struck Out" (The New York Times, 03/94)
"Delancey chief voices dissent at L.A. summit" (San Francisco Examiner, 02/08/94)
"Wrong Way To Get Tough" (The New York Times, 01/94)
"Delancey and Bank of America" (San Francisco Business Times, 06/88)
"BofA loan saves Delancey Street" (San Francisco Pro, 06/88)
"Bank Saves Delancey Street Triangle" (San Francisco Examiner, 06/88)
"The Greatest Risk of All" (Houghton Mifflin Company, Boston, 1988)
"Dr. Silbert asks change in correction system" (West County Times, 06/87)
"Delancey Street wants to build South of Market" (San Francisco Examiner, 06/07/85)
"Delancey Street says goodbye to greed" (San Francisco Examiner)
"Ex-cons Who Teach Cops Trade Secrets", (Parade Magazine, 09/24/78)
"Ex-Expert Reveal Shoplifting Guile" (Independent Jorurnal, 04/75)
"Supervisors to Ponder Definition of a Family" (San Francisco Chronicle, 04/12/73)
"Uneasy Neighbors" (San Francisco Chronicle, 04/09/73)
Delancey Street on Sunday Morning with Charles Kuralt (CBS) - 12/88 (RealMedia)
20/20 - "The Power of Mimi" (12/89 - Quicktime)


Photographs show the musicians, while recordings let you listen to the tambourines, Cretan lyres, lutes, pottery drums, and clarinets on display. Not only that, but this museum is steps from the excellent Platanos taverna, so you can alternate the pleasures of food, drink, and music. When we were here, an elderly Greek gentleman listened to some music, transcribed it, stepped out into the courtyard, and played it on his own violin! The shop has a wide selection of CDs and cassettes.


text:
Dungowan Station is a pastoral lease that operates as a cattle station in the Northern Territory of Australia, approximately  south of Darwin.

The property occupies an area of  and is currently owned by the Consolidated Pastoral Company. The station is run in conjunction with Newcastle Waters Station which is located  away. Over 13,000 head of cattle graze the property with approximately 5,000 claves being branded each year. It was owned in the 1980s by The Hon Charles Sweeney QC, an Australian pastoralist and  later Chief Justice of Tuvalu, a major interest of whom was water security. He was a relative of Michael and Paul Vandeleur who owned Mataranka Station.

Approximately  of pastoral country was burnt out by a fire that burnt for over a week. A large portion of Dungowan Station, most of Birrimba Station, some of Murranjai and a little of Killarney Station were burnt out.

The rare and sexually fluid bush tomato Solanum plastisexum ("Dungowan bush tomato") grows nearby.

See also
List of ranches and stations

References

Pastoral leases in the Northern Territory
Stations (Australian agriculture)

redpajama_set_name: RedPajamaWikipedia


EL: You've just finished a new novel, Stealing Fatima. What's the premise? Is there any connection to your first novel, Leaving Pico?
Frank Gaspar: Stealing Fatima is set in the same mythical Provincetown, a Portuguese-American fishing village, art colony, and vacation spot. The time, however, is more nearly contemporary as opposed to Leaving Pico, which was set fuzzily during the late Eisenhower years. Stealing Fatima unfolds during a fuzzy time as well, but rather than cite a president, I'd say more toward the end of the reign of Pope John Paul the second. Readers of Leaving Pico will spot a few familiar names and places, but it's hardly a sequel. A junkie priest confronts a host of mysteries. They are in some ways everyone's mysteries, but Provincetown is a very particular place, and the Portuguese and gay communities there are very particular communities. Everything gets a little crazy. If you look at the book's Epigraphs you'll see that I wanted Nathaniel Hawthorne to meet Jose Saramago.
EL: What are the differences between writing a first novel and a second?
FG: Yes, there were great differences in the actual writing of Leaving Pico and Stealing Fatima. I'm not sure I can say what they are! Leaving Pico was laboriously designed with an inset story intended to link the present-day Portuguese-Americans of this small town with the glory days of the Portuguese explorations of the fifteenth century. I find the book funny. I mean Columbus and Vasco da Gama wind up as rivals on the same ship. A boy's grandfather takes a few scraps of history and adventure novels and concocts a completely plausible Portuguese hero, the family's direct ancestor (making the Carvalhos the princes of America!) who beats Columbus to the new world by a year. There is turmoil and heartbreak in the poor family of course, and it's woven together in parallel worlds, so to speak. Some people, however, read it as a simple coming of age novel—or quasi autobiography, though it's neither. It was very hard to write. It took years, literally, to find the voice and point of view, and to finesse the inset story. Okay, so Stealing Fatima was very hard to write and it took years, literally, to find the voice and point of view. But by this time I had learned some mechanical tricks. Like using different colored paper for different drafts, keeping an organized process notebook—just little things like that. I hit a slough after the first year or so and turned to poems, writing what became Night of a Thousand Blossoms. Then I put myself back to work and stayed away from poems, which was hard for me, and kept at the novel. I don't know where any of these characters came from. The early drafts were so very different. A ghostly Gerard Manley Hopkins was there at first! Once the Virgin Mary peeked in, she seemed to be everywhere (sort of) and there was no getting her back out. There were some hard times through that, but I wrote daily through most of them. The book went through great changes. Huge character shifts, strange plot twists. It's a dark book that is full of (I hope) light. It exhausted me. I'm still tired from it.
EL: Besides enjoyment, what do you hope the readers take with them from Stealing Fatima? What do you want leave the reader with?
FG: Questions. What really happened? How do all these conflicting (and conflicted) wills add up? What is "miraculous" in the age of sub-atomic particles? What is possible to know? How does Provincetown (well, the mythical town in the book) keep reinventing itself into something so utterly crazy and wonderful, no matter what forces act upon it. It'd be great if one reader somewhere lays Stealing Fatima down after the final sentence and feels like he or she has read a poem.
EL: Who do you read? Who influences your work?
FG: Well, that's a big, wonderful question. I can't think of many books I've read that haven't in some way shown me something. Sometimes you find something marvelous and life-changing, and you write toward that. Sometimes you find something dreadful or merely over praised, and you write away from that. It all seems like a great conversation to me, all the voices and worlds colliding in the big world of literature. I have old favorites that I revisit: Dickens, Dickinson, Pessoa, Rilke, Conrad, Melville, Hart Crane, Tennessee Williams, Jane Austin. Some contemporary novelists that I greatly admire are Kent Haruf, Mary Gordon, Alice McDermott, Cormac Macarthy, Shirley Hazzard, and John McGahern. In five minutes I would give you an entirely different list. I try to read everything.
EL: Do you have advice for emerging writers?
FG: Write every day and read every day. Think of yourself as a professional. Let all your other activities revolve around reading and writing. Read everything—novels, stories, plays, poems, theory, criticism. If this is hard for you to do, then it might mean that the writing life is not for you. If you love this sort of thing, then it doesn't seem like work. Or it seems like work of the highest possible calling.
EL: What should students look for in a writing program?
FG: Writing programs aren't magic. They can't turn you into a writer. Only you can do that. But that being said, programs are important in getting you around people who actually write and publish. You get to absorb what they do and how they stand in the world, and you can use this as a measure of your own stance. Of course you learn technique, and you workshop your poems and chapters with your peers, and that is a valuable experience. You develop community. You find out whose advice to trust. We are lucky here in the L.A. area with so many fine programs, both traditional and low-residency. And Long Beach City College has been a place where anyone could come and build his or her skills for transfer to a university, for grad school, or for personal growth. I think the two things I came away with from my writing program (U.C. Irvine) were, first, to read every day professionally: poetry, criticism, novels—everything, across all time periods and cultures. The second was to write every day professionally no matter what else was going on in my life. These are ideals, of course, but ideals that are within everybody's reach if they are serious. In a sense you have to create yourself as a writer, and writing programs can give you a strong start in doing that.
EL: What's your process? What happens when you write?
FG: I read and write all the time. I have regular habits and schedules, and against those I play irregular habits and anti-schedules. I have a room that I like to call my studio in my more obnoxious moments. It's full of books and papers and the tools for writing. I write in notebooks and on computers—and every once in a while on one of the old typewriters I have sitting around the house, just to hear that rhapsodic clack, clack, clack of the steel keys. Sometimes when I write I am in a trance-like state (as I often am when I am in the grocery store or taking out the trash, so it's not a big deal). Sometimes my head is firing like lightning bugs and things get all fused together. It's all fun, even the hard rewriting, in its fashion.
EL: Much of your previous work seems to have been influenced by Provincetown, where you were born, and the Portuguese community there. How does this continue to influence you?
FG: Isn't there an old saying, "You can take the boy out of the town, but you can't take the town out of the boy"? I think that's how it goes. Provincetown was a magnificent, magical place to grow up in, and its geography is the contour of my psyche. I didn't choose it. It just is. I don't mean to imply that I was always happy there. There was a very dark side to my growing up there too. But I think having artists and writers all around, and being part of a very reclusive yet exuberant ethnic group were both important in making me whatever strange creature that I am. I'll always see the world through the eyes of that skinny, dazzled kid that I was. I seem to be able to live with that.
EL: I've heard you speak about becoming the writer that writes the poem or novel you want to write. Could you expand on that? What does one do to become that writer?
FG: My wise-guy answer to that is always, "move your feet." I first heard that idea of becoming the writer who writes the work from Stanley Kunitz. He talked about swimming away from overturned boats. You have to keep growing and changing, and this most of the time means through an act of will. If you don't have the tools to make the poem or novel you want to make, then you must acquire them. If you don't have the muscle you must build it. If you don't have the will, you must will yourself to become a person that has that will. When I start speaking sentences like that last one, I know I've said enough.
EL: You've quoted the Ginsberg line, "write your mind," many times in class. Is writing your mind a result of "becoming the writer" or does one have to write his/her mind in order to become the writer they want to be? Perhaps both?
FG: Hmm. Maybe both. But for me, writing your mind is not interesting unless you have cultivated and groomed a mind that is worth writing. This isn't a very democratic idea. A mind isn't interesting simply because it is one. It gets back to reading and writing and living in a certain way that promotes inner growth. I find there's always will and choice involved.
BIO: Frank X. Gaspar is the author of two novels: Leaving Pico (Hardscrabble Books 1999), a Barnes and Noble Discovery Award winner, a Borders Book of Distinction, and winner of the California Book Award for First Fiction; and his most recent novel, Stealing Fatima, which is forthcoming this November, 2009. He has published four collections of poetry: The Holyoke, re-issued in 2007, Night of a Thousand Blossoms (Alice James Books, 2004, and named by Library Journal as one of the twelve best poetry collections of the year), A Field Guide to the Heavens (1999 Brittingham Prize) and Mass for the Grace of a Happy Death (1994 Anhinga Prize for Poetry). He is the recipient of numerous awards including a National Endowment for the Arts Fellowship, three Pushcart Prizes, and a California Arts Council Fellowship. His poetry is widely anthologized and appears in Best American Poetry of 1996 and 2000. Born in Provincetown, Massachusetts, he now lives in Southern California and teaches at Long Beach City College.


What is The Salvation Army's Home Sweet Home program?
Home Sweet Home seeks to reach out to newly homeless families or those at risk of imminent homelessness from Gwinnett County and lead them not only to stable housing and self-sufficiency, but also fully impact their lives in a positive and caring manner.
The vision of The Salvation Army's Home Sweet Home program is to meet the needs of homeless families by providing an immediate avenue back to independent living. This will be accomplished by providing in-home case management in a holistic manner that serves to educate and empower families, to help them regain ties to the community and sustain permanent, stable housing.
Why is the Home Sweet Home program needed?
There are currently an insufficient number of housing programs that work to serve as a safety net to the working poor who find themselves one flat tire, one missed day of work or one bout of illness away from becoming homeless. What has been totally missing is an emergency program that would place families directly in housing as opposed to merely offering them a few days in a hotel. Home Sweet Home seeks to fill this gap! Through Home Sweet Home, families who are at the onset of homelessness will receive immediate and compassionate emergency assistance to divert them from the mired cycle of long-term homelessness, hopelessness and isolation.
How does Home Sweet Home positively impact and transform lives?
Each applicant family to The Salvation Army's Home Sweet Home program is asked about their spiritual needs and concerns during a compassionate intake process. All participants will be invited and encouraged to participate in all corps community programs and worship opportunities. While these activities are never forced upon our clients we work very hard to create a welcoming path to Christ for all our client families. Home Sweet Home will treat our client families with dignity and respect and provide them with the support and services needed so that they might rise to their full potential. Because homelessness can be a disease of isolation and our goal is to break through that isolation by embracing families in our loving corps community. We feel strongly that Home Sweet Home is one of the many ways that we are answering the Lords' call to go to the least of these.
The Salvation Army is eternally grateful for the support of Gwinnett County for helping us to make Home Sweet Home a reality. We welcome community members to contact us with any questions, to learn more about this program or they are if interested to participate in the many volunteer opportunities.
Thank you for helping The Salvation Army reach out to your community and neighbors – together we can truly impact and transform the lives of families in crisis!


text:
package org.lwjgl.openxr;

import javax.annotation.*;

import java.nio.*;

import org.lwjgl.*;
import org.lwjgl.system.*;

import static org.lwjgl.system.MemoryUtil.*;
import static org.lwjgl.system.MemoryStack.*;

/**
 * Receives active interaction profile for a top level path.
 *
 *
Description

 *
 *
The runtime must only include interaction profiles that the application has provided bindings for via {@link XR10#xrSuggestInteractionProfileBindings SuggestInteractionProfileBindings} or {@link XR10#XR_NULL_PATH NULL_PATH}. If the runtime is rebinding an interaction profile provided by the application to a device that the application did not provide bindings for, it must return the interaction profile path that it is emulating. If the runtime is unable to provide input because it cannot emulate any of the application-provided interaction profiles, it must return {@link XR10#XR_NULL_PATH NULL_PATH}.

 *
 *
Valid Usage (Implicit)

 *
 *

 *
{@code type} must be {@link XR10#XR_TYPE_INTERACTION_PROFILE_STATE TYPE_INTERACTION_PROFILE_STATE}

 *
{@code next} must be {@code NULL} or a valid pointer to the next structure in a structure chain

 *

 *
 *
See Also

 *
 *
{@link XrActionSuggestedBinding}, {@link XR10#xrGetCurrentInteractionProfile GetCurrentInteractionProfile}, {@link XR10#xrSuggestInteractionProfileBindings SuggestInteractionProfileBindings}

 *
 *
Layout

 *
 *

 * struct XrInteractionProfileState {
 *     XrStructureType {@link #type};
 *     void * {@link #next};
 *     XrPath {@link #interactionProfile};
 * }

 */
public class XrInteractionProfileState extends Struct implements NativeResource {

    /** The struct size in bytes. */
    public static final int SIZEOF;

    /** The struct alignment in bytes. */
    public static final int ALIGNOF;

    /** The struct member offsets. */
    public static final int
        TYPE,
        NEXT,
        INTERACTIONPROFILE;

    static {
        Layout layout = __struct(
            __member(4),
            __member(POINTER_SIZE),
            __member(8)
        );

        SIZEOF = layout.getSize();
        ALIGNOF = layout.getAlignment();

        TYPE = layout.offsetof(0);
        NEXT = layout.offsetof(1);
        INTERACTIONPROFILE = layout.offsetof(2);
    }

    /**
     * Creates a {@code XrInteractionProfileState} instance at the current position of the specified {@link ByteBuffer} container. Changes to the buffer's content will be
     * visible to the struct instance and vice versa.
     *
     *
The created instance holds a strong reference to the container object.

     */
    public XrInteractionProfileState(ByteBuffer container) {
        super(memAddress(container), __checkContainer(container, SIZEOF));
    }

    @Override
    public int sizeof() { return SIZEOF; }

    /** the {@code XrStructureType} of this structure. */
    @NativeType("XrStructureType")
    public int type() { return ntype(address()); }
    /** {@code NULL} or a pointer to the next structure in a structure chain. No such structures are defined in core OpenXR. */
    @NativeType("void *")
    public long next() { return nnext(address()); }
    /** the {@code XrPath} of the interaction profile path for the {@code topLevelUserPath} used to retrieve this state, or {@link XR10#XR_NULL_PATH NULL_PATH} if there is no active interaction profile at that top level user path. */
    @NativeType("XrPath")
    public long interactionProfile() { return ninteractionProfile(address()); }

    /** Sets the specified value to the {@link #type} field. */
    public XrInteractionProfileState type(@NativeType("XrStructureType") int value) { ntype(address(), value); return this; }
    /** Sets the {@link XR10#XR_TYPE_INTERACTION_PROFILE_STATE TYPE_INTERACTION_PROFILE_STATE} value to the {@link #type} field. */
    public XrInteractionProfileState type$Default() { return type(XR10.XR_TYPE_INTERACTION_PROFILE_STATE); }
    /** Sets the specified value to the {@link #next} field. */
    public XrInteractionProfileState next(@NativeType("void *") long value) { nnext(address(), value); return this; }
    /** Sets the specified value to the {@link #interactionProfile} field. */
    public XrInteractionProfileState interactionProfile(@NativeType("XrPath") long value) { ninteractionProfile(address(), value); return this; }

    /** Initializes this struct with the specified values. */
    public XrInteractionProfileState set(
        int type,
        long next,
        long interactionProfile
    ) {
        type(type);
        next(next);
        interactionProfile(interactionProfile);

        return this;
    }

    /**
     * Copies the specified struct data to this struct.
     *
     * @param src the source struct
     *
     * @return this struct
     */
    public XrInteractionProfileState set(XrInteractionProfileState src) {
        memCopy(src.address(), address(), SIZEOF);
        return this;
    }

    // -----------------------------------

    /** Returns a new {@code XrInteractionProfileState} instance allocated with {@link MemoryUtil#memAlloc memAlloc}. The instance must be explicitly freed. */
    public static XrInteractionProfileState malloc() {
        return wrap(XrInteractionProfileState.class, nmemAllocChecked(SIZEOF));
    }

    /** Returns a new {@code XrInteractionProfileState} instance allocated with {@link MemoryUtil#memCalloc memCalloc}. The instance must be explicitly freed. */
    public static XrInteractionProfileState calloc() {
        return wrap(XrInteractionProfileState.class, nmemCallocChecked(1, SIZEOF));
    }

    /** Returns a new {@code XrInteractionProfileState} instance allocated with {@link BufferUtils}. */
    public static XrInteractionProfileState create() {
        ByteBuffer container = BufferUtils.createByteBuffer(SIZEOF);
        return wrap(XrInteractionProfileState.class, memAddress(container), container);
    }

    /** Returns a new {@code XrInteractionProfileState} instance for the specified memory address. */
    public static XrInteractionProfileState create(long address) {
        return wrap(XrInteractionProfileState.class, address);
    }

    /** Like {@link #create(long) create}, but returns {@code null} if {@code address} is {@code NULL}. */
    @Nullable
    public static XrInteractionProfileState createSafe(long address) {
        return address == NULL ? null : wrap(XrInteractionProfileState.class, address);
    }

    /**
     * Returns a new {@link XrInteractionProfileState.Buffer} instance allocated with {@link MemoryUtil#memAlloc memAlloc}. The instance must be explicitly freed.
     *
     * @param capacity the buffer capacity
     */
    public static XrInteractionProfileState.Buffer malloc(int capacity) {
        return wrap(Buffer.class, nmemAllocChecked(__checkMalloc(capacity, SIZEOF)), capacity);
    }

    /**
     * Returns a new {@link XrInteractionProfileState.Buffer} instance allocated with {@link MemoryUtil#memCalloc memCalloc}. The instance must be explicitly freed.
     *
     * @param capacity the buffer capacity
     */
    public static XrInteractionProfileState.Buffer calloc(int capacity) {
        return wrap(Buffer.class, nmemCallocChecked(capacity, SIZEOF), capacity);
    }

    /**
     * Returns a new {@link XrInteractionProfileState.Buffer} instance allocated with {@link BufferUtils}.
     *
     * @param capacity the buffer capacity
     */
    public static XrInteractionProfileState.Buffer create(int capacity) {
        ByteBuffer container = __create(capacity, SIZEOF);
        return wrap(Buffer.class, memAddress(container), capacity, container);
    }

    /**
     * Create a {@link XrInteractionProfileState.Buffer} instance at the specified memory.
     *
     * @param address  the memory address
     * @param capacity the buffer capacity
     */
    public static XrInteractionProfileState.Buffer create(long address, int capacity) {
        return wrap(Buffer.class, address, capacity);
    }

    /** Like {@link #create(long, int) create}, but returns {@code null} if {@code address} is {@code NULL}. */
    @Nullable
    public static XrInteractionProfileState.Buffer createSafe(long address, int capacity) {
        return address == NULL ? null : wrap(Buffer.class, address, capacity);
    }

    /**
     * Returns a new {@code XrInteractionProfileState} instance allocated on the specified {@link MemoryStack}.
     *
     * @param stack the stack from which to allocate
     */
    public static XrInteractionProfileState malloc(MemoryStack stack) {
        return wrap(XrInteractionProfileState.class, stack.nmalloc(ALIGNOF, SIZEOF));
    }

    /**
     * Returns a new {@code XrInteractionProfileState} instance allocated on the specified {@link MemoryStack} and initializes all its bits to zero.
     *
     * @param stack the stack from which to allocate
     */
    public static XrInteractionProfileState calloc(MemoryStack stack) {
        return wrap(XrInteractionProfileState.class, stack.ncalloc(ALIGNOF, 1, SIZEOF));
    }

    /**
     * Returns a new {@link XrInteractionProfileState.Buffer} instance allocated on the specified {@link MemoryStack}.
     *
     * @param stack    the stack from which to allocate
     * @param capacity the buffer capacity
     */
    public static XrInteractionProfileState.Buffer malloc(int capacity, MemoryStack stack) {
        return wrap(Buffer.class, stack.nmalloc(ALIGNOF, capacity * SIZEOF), capacity);
    }

    /**
     * Returns a new {@link XrInteractionProfileState.Buffer} instance allocated on the specified {@link MemoryStack} and initializes all its bits to zero.
     *
     * @param stack    the stack from which to allocate
     * @param capacity the buffer capacity
     */
    public static XrInteractionProfileState.Buffer calloc(int capacity, MemoryStack stack) {
        return wrap(Buffer.class, stack.ncalloc(ALIGNOF, capacity, SIZEOF), capacity);
    }

    // -----------------------------------

    /** Unsafe version of {@link #type}. */
    public static int ntype(long struct) { return UNSAFE.getInt(null, struct + XrInteractionProfileState.TYPE); }
    /** Unsafe version of {@link #next}. */
    public static long nnext(long struct) { return memGetAddress(struct + XrInteractionProfileState.NEXT); }
    /** Unsafe version of {@link #interactionProfile}. */
    public static long ninteractionProfile(long struct) { return UNSAFE.getLong(null, struct + XrInteractionProfileState.INTERACTIONPROFILE); }

    /** Unsafe version of {@link #type(int) type}. */
    public static void ntype(long struct, int value) { UNSAFE.putInt(null, struct + XrInteractionProfileState.TYPE, value); }
    /** Unsafe version of {@link #next(long) next}. */
    public static void nnext(long struct, long value) { memPutAddress(struct + XrInteractionProfileState.NEXT, value); }
    /** Unsafe version of {@link #interactionProfile(long) interactionProfile}. */
    public static void ninteractionProfile(long struct, long value) { UNSAFE.putLong(null, struct + XrInteractionProfileState.INTERACTIONPROFILE, value); }

    // -----------------------------------

    /** An array of {@link XrInteractionProfileState} structs. */
    public static class Buffer extends StructBuffer<XrInteractionProfileState, Buffer> implements NativeResource {

        private static final XrInteractionProfileState ELEMENT_FACTORY = XrInteractionProfileState.create(-1L);

        /**
         * Creates a new {@code XrInteractionProfileState.Buffer} instance backed by the specified container.
         *
         * Changes to the container's content will be visible to the struct buffer instance and vice versa. The two buffers' position, limit, and mark values
         * will be independent. The new buffer's position will be zero, its capacity and its limit will be the number of bytes remaining in this buffer divided
         * by {@link XrInteractionProfileState#SIZEOF}, and its mark will be undefined.
         *
         *
The created buffer instance holds a strong reference to the container object.

         */
        public Buffer(ByteBuffer container) {
            super(container, container.remaining() / SIZEOF);
        }

        public Buffer(long address, int cap) {
            super(address, null, -1, 0, cap, cap);
        }

        Buffer(long address, @Nullable ByteBuffer container, int mark, int pos, int lim, int cap) {
            super(address, container, mark, pos, lim, cap);
        }

        @Override
        protected Buffer self() {
            return this;
        }

        @Override
        protected XrInteractionProfileState getElementFactory() {
            return ELEMENT_FACTORY;
        }

        /** @return the value of the {@link XrInteractionProfileState#type} field. */
        @NativeType("XrStructureType")
        public int type() { return XrInteractionProfileState.ntype(address()); }
        /** @return the value of the {@link XrInteractionProfileState#next} field. */
        @NativeType("void *")
        public long next() { return XrInteractionProfileState.nnext(address()); }
        /** @return the value of the {@link XrInteractionProfileState#interactionProfile} field. */
        @NativeType("XrPath")
        public long interactionProfile() { return XrInteractionProfileState.ninteractionProfile(address()); }

        /** Sets the specified value to the {@link XrInteractionProfileState#type} field. */
        public XrInteractionProfileState.Buffer type(@NativeType("XrStructureType") int value) { XrInteractionProfileState.ntype(address(), value); return this; }
        /** Sets the {@link XR10#XR_TYPE_INTERACTION_PROFILE_STATE TYPE_INTERACTION_PROFILE_STATE} value to the {@link XrInteractionProfileState#type} field. */
        public XrInteractionProfileState.Buffer type$Default() { return type(XR10.XR_TYPE_INTERACTION_PROFILE_STATE); }
        /** Sets the specified value to the {@link XrInteractionProfileState#next} field. */
        public XrInteractionProfileState.Buffer next(@NativeType("void *") long value) { XrInteractionProfileState.nnext(address(), value); return this; }
        /** Sets the specified value to the {@link XrInteractionProfileState#interactionProfile} field. */
        public XrInteractionProfileState.Buffer interactionProfile(@NativeType("XrPath") long value) { XrInteractionProfileState.ninteractionProfile(address(), value); return this; }

    }

}

redpajama_set_name: RedPajamaGithub


text:
Bennett Williams ready to step into bigger role for Illinois
Illinois wide receiver Mike Dudek catches a touchdown pass during the game against Ball State on Sept. 2 at Memorial Stadium. Dudek is getting ready for his senior season.
Quentin Shaw
By Gavin Good, Assistant sports editor
Filed under Football, Men's Sports, Sports
Bennett Williams came into his freshman season at Illinois without too much fanfare, but he quickly established himself as a presence in the secondary, starting seven games and appearing in 11.
He led the team with three interceptions, ranked second in the Big Ten in tackles for freshmen (64) and was the first true freshman to start at safety in a season opener since 1980.
Williams knows the expectations are higher this year.
"Last year when I came in, not a lot of people knew who I was," Williams said. "Now I have some accolades, a little bit of (publicity), but nothing changes for me. I'm just going to do the same thing; I'm going to work hard this year. Expectations are going to be raised, but I'm not living up to anyone else's, I'm living up to mine."
He's confident he can do just that, now having a full offseason in the program under his belt. With his freshman year, spring practices and eventually summer camp, the Campbell, California, native feels he's making significant strides with his game.
Last season, the Illini went 2-10, not winning a game in the Big Ten Conference. Williams said the team needs to bring consistent energy and not cut any corners this season.
"That was something that a lot of our guys, I think, did last year," Williams said. "It's something that a lot of the guys will do if they think they can get away with it. When you do everything the right way, have that integrity, you'll see it pay off. The whole team, if we buy into that, not cutting corners and doing everything right, it'll show on the field."
Dudek "about at 100 percent"
After wide receiver Mike Dudek played his first snaps of college football in 981 days, scoring on a 16-yard touchdown against Ball State, he went on to catch 24 passes for 262 yards the remainder of the season.
The year was cut short by injury struggles — something Dudek is familiar with, having dealt with two ACL surgeries that caused him to miss the 2015 and 2016 seasons. He appeared in seven contests, starting six. He also returned punts for the Illini, averaging 10.8 yards per return.
"Last year, I was almost there, but I wasn't fully there," Dudek said. "I think just the mental aspect, then the soreness, building up on me."
With Dudek's senior season before him, he is expected to play a large role in the Illinois receiving corps, which returns Ricky Smalling, who led the Illini with 510 receiving yards, and Louis Dorsey, a tight end who led the team with 3 touchdowns and racked up 395 yards.
Dudek said that despite most of his fellow receivers being younger, the unit can be a quality group this season.
Dudek said his dad nearly always asks him about his knee when talking on he phone. On Monday, night Dudek said he didn't.
"We were talking about today being our first practice, and we're always talking about football and not one time did he bring up my knee," Dudek said. "Towards the end of the conversation I was like, 'Dad, you realize you didn't ask me about my knee?' That was probably the first time in three years that he hasn't asked me about my knee when we talk about football."
Two years with Lovie
The two-year anniversary of Lovie Smith's hire as head coach of Illinois was Wednesday. Smith is 5-19 in his two seasons at the helm of the program.
Despite the lack of positive results on the field, the program is going to look different than it has so far in Smith's time.
In progress is the construction of new practice facilities, and on Monday the athletic department received a seven-figure donation for the project, which is set to be completed in 2019. Last month, Stu and Nancy Lovesick donated $5 million.
"I'm excited about what's happened in the past, but there's so much excitement about these next years as we move forward with our program, so many good things happening around here," Smith said. "We had a big gift donated to our facility, just seeing the work that's being done out there right now with the physical building."
@itsallG_O_O_D
Grad transfers Imatorbhebhe, Peters commit to Illinois
Illini add Dalevon Campbell to class of 2019
Roundtree suffers spinal cord injury
Illinois prospect dies in deadly party shooting
Illinois quarterback Rivers enters transfer portal
Patterson uses Trinity Catholic background for Illinois recruitment
Allegretti selected by Kansas City Chiefs in NFL Draft
Illinois Staff using Catapult Tech
Illinois looks forward to fall
Illini prepare for upcoming season


text:
Additional Information on Ellen DeGeneres
* DeGeneres began her pursuit of a comedy career in 1981 by performing at local clubs and coffee houses. Her first big show-business break came in 1986, when the producers of The Tonight Show starring Johnny Carson—acting on a tip from Jay Leno—booked DeGeneres for an appearance on Carson's program. DeGeneres subsequently began making regular appearances on the talk-show circuit, including The Late Show with David Letterman, The Oprah Winfrey Show, Larry King Live, and Good Morning, America. From 1994-98 she starred in the prime-time television sitcom bearing her name, Ellen. And in April 1997, DeGeneres's character became the first lead in any sitcom to openly acknowledge her homosexuality on air.
* In a 1994 television role, DeGeneres played a character who berated a white police officer for allegedly disrespecting nonwhite immigrants who were passengers in her (DeGeneres's) car. Said the DeGeneres character: "We are citizens of the U.S. of A., and just because her two little children happen to have a darker shade of skin doesn't give you the right to question their nationality or harass my friend or treat us like we're some type of second-class citizens. We are human beings, dammit, and we are doing nothing but exercising our God-given right to life, liberty, and the pursuit of happiness."
* DeGeneres dated actress Anne Heche from 1997-2000, and later (in 2004) became romantically involved with actress Portia de Rossi, whom she eventually married in California on August 16, 2008.
* In 2003 DeGeneres lent her voice to the animated film Finding Nemo. That same year, she launched her own daytime variety show, Ellen, which continues to air on NBC television.


text:
Difference between revisions of "Is It Fall Yet?"
Revision as of 02:16, 2 September 2011 (edit)
m>JPAGC
m (changed position on information on edited version)
Revision as of 02:19, 2 September 2011 (edit) (undo)
(Some minor edits)
After the premiere, "Daria", "Jane", "Quinn", "Tom", and "Trent" answered fans questions in an MTV online chat (see External Links). According to Jane, she and Daria weren't invited to the film's premiere party.
After the premiere, "Daria", "Jane", "Quinn", "Tom" and "Trent" answered fans questions in an MTV online chat (see External Links). According to Jane, she and Daria weren't invited to the film's premiere party.
The cast uses three celebrities: [[Carson Daly]] (David), [[Bif Naked]] (Alison), and [[Dave Grohl]] (Daniel Dotson).
The cast uses three celebrities: [[Carson Daly]] (David), [[Bif Naked]] (Alison) and [[Dave Grohl]] (Daniel Dotson).
A large number of cuts were made when this episode was aired on [[Noggin / The N]], removing both bad language and almost the entire Jane/[[Alison]] subplot. The latter left the film damaged, as it was now missing Jane's part of the story: the thing that helps lead her to forgive Daria.
DeMartino chucking the sink through the camp's window so he can escape is a tip of the hat to ''One Flew Over The Cuckoo's Nest'', where Chief Bromden does the same thing with a water fountain.
The question DeMartino poses to Quinn at the end of the episode "What is [http://en.wikipedia.org/wiki/Manifest_destiny Manifest Destiny]?" is the same question he asked of Daria on their first day at Lawndale in [[Esteemsters]].
Alison is the sole character to be confirmed as non-heterosexual in ''Daria'''s entire run, and unfortunately follows the "predatory lesbian/bisexual" stereotype: we're probably not likely to see IIFY? (and thus late-S4 or S5) repeated on [[Logo]]...
Alison is the sole character to be confirmed as non-heterosexual in ''Daria'''s entire run, and unfortunately follows the "predatory lesbian/bisexual" stereotype.
The original end credits song - "I May Hate You Sometimes" by The Posies - was not included on the videos or DVDs due to cost reasons. However, a different licensed song - "Sixteen and Confused" by Parade of Losers - ''was'' used, instead of a new generic track or the Daria theme.
===Edited versions by Noggin===
When shown later in the United States on the network known as [[Noggin|The N]], it appeared in an edited form. Much of the plot involving [[Alison]] was removed, including two full scenes and most of a third scene. (It's debatable whether this plot was removed due to its lesbian context. However, given the adult themes of those scenes, including underage drinking, it's likely that similar scenes with a male suitor would also have been excised). Other edits include removing a number of potentially offensive words (including damn and suck) and lines (such as the announcement of voluntary urine testing).
When shown later in the United States on the network known as [[Noggin|The N]], it appeared in an edited form. Much of the plot involving Jane and Alison was removed, including two full scenes and most of a third scene. (It's debatable whether this plot was removed due to its lesbian context. However, given the adult themes of those scenes, including underage drinking, it's likely that similar scenes with a male suitor would also have been excised). Other edits include removing a number of potentially offensive words (including damn and suck) and lines (such as the announcement of voluntary urine testing).
===Daria and Quinn's Reading Material===
Is It Fall Yet?
Production Number N/A
Original Airdate August 27th, 2000
Special Guest Voices Carson Daly
Written By Glenn Eichler
Peggy Nicoll
Directed By Karen Disher
Guy Moore
Is It Fall Yet? is the first Daria TV movie. It was first aired on August 27, 2000.
Is It Fall Yet? was written by Glenn Eichler and Peggy Nicoll. It is often abbreviation on message boards as IIFY?
The movie covers events during the summer between Daria Morgendorffer's junior and senior years of high school, after the episode "Dye! Dye! My Darling" and before "Fizz Ed". At 59 minutes duration, the movie is roughly equivalent to 3 'normal' episodes.
2.1 Edited versions by Noggin
2.2 Daria and Quinn's Reading Material
3 On the DVD set
4 Is It Fall Yet? and Fanfic
5.1 On Is It Fall Yet?
5.2 Fanfiction Related to Is It Fall Yet?
This episode, , represents a major test of Daria's and Jane's friendship. This follows Tom Sloane's pulling the "friend switch," having been Jane's boyfriend before going out with Daria.
The episode finds Jane going to Ashfield, an artists' colony with college students, where both her commitment to her ideals and her perception of herself are tested.
Daria, by contrast, is forced to volunteer at the Okay To Cry Corral, a camp for troubled youth, run by Timothy O'Neill, with the less-than-able assistance of the also-troubled "Uncle" Anthony DeMartino. There she meets Link, an anti-social child who Daria attempts to help. At the same time, she begins her relationship with Tom and has difficulty dealing with his family and affluent lifestyle.
Quinn, upset with her performance on a standardized test, takes the shocking step of trying to improve her test scores by hiring a tutor, David Sorenson. At first, she blows off David's efforts, but when he threatens to leave, she starts to take it seriously. However, as Quinn improves in her studies, she has a stunning epiphany regarding herself and her tutor.
Other sub-plots include Mack working in an Ice Cream Truck and trying to find time to be with Jodie, Kevin and Brittany working as lifeguards, and Jake attempting (and often failing) to determine the difference between a joke and a serious statement.
The cast uses three celebrities: Carson Daly (David), Bif Naked (Alison) and Dave Grohl (Daniel Dotson).
DeMartino chucking the sink through the camp's window so he can escape is a tip of the hat to One Flew Over The Cuckoo's Nest, where Chief Bromden does the same thing with a water fountain.
Daria and Quinn are both stated (by Helen and Daria respectively) to hide their real selves behind masks for fear of what would happen if their real selves were shown. While this concept had been raised in both "Quinn the Brain" (Quinn) and "Psycho Therapy" (both, with Daria casually admitting to it), this is the first time it was made explicit that both of them are using the same tactic.
The question DeMartino poses to Quinn at the end of the episode "What is Manifest Destiny?" is the same question he asked of Daria on their first day at Lawndale in Esteemsters.
Alison is the sole character to be confirmed as non-heterosexual in Daria's entire run, and unfortunately follows the "predatory lesbian/bisexual" stereotype.
The original end credits song - "I May Hate You Sometimes" by The Posies - was not included on the videos or DVDs due to cost reasons. However, a different licensed song - "Sixteen and Confused" by Parade of Losers - was used, instead of a new generic track or the Daria theme.
Edited versions by Noggin
When shown later in the United States on the network known as The N, it appeared in an edited form. Much of the plot involving Jane and Alison was removed, including two full scenes and most of a third scene. (It's debatable whether this plot was removed due to its lesbian context. However, given the adult themes of those scenes, including underage drinking, it's likely that similar scenes with a male suitor would also have been excised). Other edits include removing a number of potentially offensive words (including damn and suck) and lines (such as the announcement of voluntary urine testing).
Daria and Quinn's Reading Material
During the lanyards session, Daria starts reading Fifth Business by Robertson Davies (misspelt "Roberson" in the animation).
Daria tells Link that as a child, she was a fan of George Orwell. (This turns up again in "Camp Fear")
Daria references Henry James novels when talking about how awkward she felt around the Sloane's.
To cover up being in Daria's room, Quinn pretends she's borrowing Daria's copy of A Journal of the Plague Year.
On the DVD set
On the Daria DVD set Daria: The Complete Animated Series, Is It Fall Yet? is not placed chronologically with the episodes. If you wish to watch everything in order, then after Dye! Dye! My Darling, go to the Final Disc in the set, "Extras", and you will find the movie there under "Extras", and then "Movies". After watching it, you can return to the disc you were on and watch Fizz Ed.
Is It Fall Yet? and Fanfic
On Is It Fall Yet?
Summary of Is It Fall Yet? at Outpost Daria
Transcript of Is It Fall Yet? at Outpost Daria (includes sections removed in later showings)
Is It Fall Yet? on Wikipedia
Post-Movie Chat Transcript
Fanfiction Related to Is It Fall Yet?
"Daria's Addition" by TAG (toward the story's end)
"Is It Doom Yet?" by Richard Lobinske
"The Van Ride," by Medea42
This article is a stub. You can help DariaWiki by expanding it.
Dye! Dye! My Darling (413)
Daria Episodes
"Is It Fall Yet?"
(First Daria movie;
No official episode number assigned)
Fizz Ed
Retrieved from "https://dariawiki.org/w/index.php?title=Is_It_Fall_Yet%3F&oldid=13871"


A properly working garage can allow for easy access in and out of the garage, as well as protect your home and vehicles from intruders, burglary, and environmental damage. Obviously you need garage door repairs when it doesn't lift or close properly, but other indicators may be more difficult to detect. Having a professional like the experts at Tri-State Garage Services conduct regular garage door inspections is key to properly maintaining a fully functioning garage and preventing bigger problems in the future. If you suspect there is a problem with your garage door, give us a call immediately so we can diagnose the problem, fix it efficiently, and save you precious time and money.
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Silver Springs is a series of romance novels written by romance, contemporary, historical romance, and romantic suspense author Brenda Novak. Novak sold her first novel, and the rest is history. Many of the author's books have won or been shortlisted in contests such as the Bookseller's Best, the National Reader's Choice, the Award of Excellence, the Write Touch, and the Beacon Award. Brenda Novak lives in Sacramento with her husband and their five children.
Brenda Novak began her Silver Springs series in 2017 when Finding Our Forever the first book in the series was published. Other books series Novak has authored include Whiskey Creek series, The Last Stand and Fairham Island series.
Finding Our Forever is the first book in Brenda Novak's Silver Springs series. The New York Times bestselling author welcomes her fans to the small town of Silver Springs where dozens of surprises wait around the year. It is a story about a woman trying to discover her past and after spending most of her time trying to locate the whereabouts of the biological mother and finds that she owns a school for troubled kids.
Cora Kelly moved to Silver Springs to work as a teacher at the New Horizon Boys Ranch and also to connect and get to know her biological mother. Cora had struggled with the decision for a long time and still had not informed her adopted family or friends for she did not want to come out as non-appreciative or giving wrong impressions to her adoptive parents.
On her first day in this small town- the day of her interview, she meets Elijah Turner- her biological mother's adopted son. The two are instantly attracted to each other, but the professional relationship keeps Cora from welcoming such a thought.
Working together, the two crosses path more often until they give in to their temptation and have a physical relationship- but that never works. The two have such an easy time together- they spend their time off together, they felt comfortable in each other's company, and their relationship soon evolves into something more intimate.
As Cora investigates for the truth, she has to battle her personal demons- she doesn't whether she should reveal her real identity and also she tries not to hurt her adoptive parents.
Brenda Novak does a beautiful job in characterization. All the characters both the main and the supporting characters are all well and richly crafted. Cora, the heroine is a smart woman who's trying to find answers to her past. She makes every single move with a reason and loves her work as an art teacher. Then, there's Elijah the man whom Cora is instantly attracted to-least to say; they are attracted to each other. He is a nice man- to his family, to the boys at the school and also to Cora. The first things we see in him are past trauma, baggage, and the resolution not to get committed to a person. Such traits might spell a bunch of headaches for the main characters and also the readers- but fortunately, none of these negatively affected his personality. He sometimes gets sad, but this does not negatively change his present character. He is a good man, he's got trust issues like any other man, he gets vulnerable, but he healthily handles all his problems.
Finding Our Forever will have the same impacts on you that all Brenda Novak's books have. It's a book that once you start reading, you'll find it impossible to put down. The author takes you on a heart-pounding emotional roller coaster ride and never lets goes. The suspense will leave you on the edge of your seat- asking questions such as- Will Aiyan ever find out the truth about Cora? Will Eli learn the truth? You're going to be perusing pages quickly waiting for our heroine Cora to reveal her secret finally.
In No One but you, the second book in Silver Springs series we meet Sadie trying to make ends meets after a divorce. Her waitress job isn't bringing enough cash to cater for bill let alone securing custody of her son- a battle she doesn't want to lose. Desperate to make ends meet, Sadie accepts a job offer to help Dawson Reed- a man who had been accused of killing his adoptive parents. Joining the man in his abandoned farm seems a risky affair, but Sadie has run out of options.
Dawson Reed has given the small town all the reasons to be wary, but the truth is that he's innocent of all the charges against him. All he wants is to leave the past behind him and fix the family farm so that he can bring his sister back home where she belongs. As Dawson and Sadie's relationship develop into something more intimate, Sadie discovers that there's more to Dawson that the evil man everyone else sees.
No One But You is an excellent second installment in Silver Springs series by Brenda Novak. Plot creation and characterization are all brilliantly done. Despite the hell, Sadie undergoes- an ex-husband, who abuses her, we see a woman who is capable of fighting for everything and against everything for her son and for living in freedom. You'll admire her courage with which she faces life. It is in her that we can see the true feminine strength, in that iron will, in that great heart of gold and in her way of loving and surrendering.
On the other hand, there's Dawson, a man who'll leave every reader enchanted. He is a guy who has already lived his nightmare and tries to lift what he got, while a whole town is against him. Honorable and with a big heart, he is one of those charismatic characters for his sweetness, for his courage and his way of fighting against adversity.
If we add these two, and two secondary and charming characters, we have a story that could be endearing, but as we all have a very bad that although we can imagine where it goes, really have a terrible time, and that makes us dance as soon as we arrive end to that glorious ending. Why in Nothing like you, we are simply going to find a fair, beautiful and sighing ending.


text:
The Living Dead
They do not think that they will disappear / into the amusement park / of nothingness.
Poetry by Salgado Maranhão, translated from the Spanish by Alexis Levitin
The dead are alive—
waxen scarecrows
of rotten joy.
The dead are laughing
in the broken mirror (their teeth
hollow; their eyes
like dried out pods).
They do not think that they will disappear
into the amusement park
of nothingness. On the contrary,
this is where they are. In the fitness centers
of the soul; in the three branches
of insanity.
Don't search for them in cemeteries,
for there lie nothing but gravestones
and frozen capsules.
Seek them in secret
villainies, in the funk of discord.
Without the passage of blood
and the flame that welcomes
raw sentiments,
they are free to wound,
because a shell is all they are.
Now, they can be a plus, post-
human like a chip.
Salgado Maranhão
Salgado Maranhão has won of all of Brazil's major poetry awards and toured the United States five times, presenting his work at over one hundred colleges and universities. In addition to fourteen books of poetry, he has written song lyrics and made recordings with some of Brazil's leading jazz and pop musicians. He has published four collections of his work in English: Blood of the Sun (Milkweed Editions, 2012), Tiger Fur (White Pine Press, 2015), Palavora (Dialogos Books, 2019), and Mapping the Tribe (Spuyten Duyvil, 2020). A fifth collection, Consecration of the Wolves, is coming out from Bitter Oleander Press in 2021.
Alexis Levitin
Alexis Levitin has published forty-six books in translation, mostly poetry from Portugal, Brazil, and Ecuador. In addition to four books by Salgado Maranhão, his work includes Clarice Lispector's Soulstorm and Eugénio de Andrade's Forbidden Words, both from New Directions. He has served as a Fulbright Lecturer at the Universities of Oporto and Coimbra, Portugal; The Catholic University in Guayaquil, Ecuador; and the Federal University of Santa Catarina in Brazil. He has held translation residencies at the Banff Center in Canada; The European Translators Collegium in Straelen, Germany (twice); and the Rockefeller Foundation Study Center in Bellagio, Italy.
http://www.alexislevitin.org
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