text:
Joe Manganiello Confirmed to Return as Deathstroke in Zack Snyder's Justice League
By Nobelle Borines | More Articles Hoarder of Fantasy Books and Stephen King Wannabe
There is little doubt that fans are already hyped up over Jared Leto's return as Joker in Zack Snyder's Justice League. However, the Clown Prince of Crime isn't the only villain who is expected to be back in the Snyder Cut. It has been confirmed that Joe Manganiello is joining the reshoots for the highly anticipated director's cut.
Fans have already suspected that Manganiello will appear in the Justice League Snyder Cut after he appeared on a Twitch live stream with the Slade Wilson hair. Luckily, it didn't take long before Collider confirmed that the True Blood actor will shoot new scenes for the film.
Manganiello only appeared briefly in the theatrical cut of Justice League, showing up in the post-credits scene alongside Jesse Eisenberg's Lex Luthor. His return as Deathstroke, as well as the confirmation about Leto, has led to speculations that we will be seeing more people on that boat to form the Injustice Society. However, it has not yet been revealed whether Eisenberg will be back to the movie.
For now, some believe that Manganiello will be shooting new scenes with Ben Affleck to explain why Slade decided to meet up with Luthor in the first place. Will there be a major action sequence between Deathstroke and Batman? Stay tuned for more updates on this story.
The Justice League Snyder Cut reshoots will also bring back Amber Heard as Mera and Ray Fisher as Cyborg. The extended movie (or series) has not yet been given an official release date. However, it is expected to premiere on HBO Max by Summer next year.
Related: Black Adam Reportedly Wants 'Sam Rockwell' Type to Play Doctor Fate
Nobelle Borines can be described as a heavy-metal pop culture geek, like a weird combination of Supernatural's Sam and Dean Winchester. She enjoys reading horror and fantasy novels when she isn't writing about the different fandoms around the world. Nobelle is currently working on a scary book but is too scared to let you read it just yet
@Nobelle Borines | [email protected]
Moon Knight: Which Villain is Ethan Hawke Playing in MCU Series?


text:
Log Cabin Chronicles
All you need to know about Canada
[EDITOR'S NOTE: My friend Maria Francesca alleges that these astute questions about Canada were posted on an International Tourism Website. I cannot prove this assertion but the answers have the ring of truth.]
1.	Q: I have never seen it warm on Canadian TV, so how do the plants grow? (UK)
A: We import all plants fully grown and then just sit around and watch them die.
2.	Q: Will I be able to see Polar Bears in the street? (USA)
A: Depends how much you've been drinking.
3. Q: I want to walk from Vancouver to Toronto - can I follow the railroad tracks? (Sweden)
A: Sure, it's only Four thousand miles, take lots of water. . .
4. Q: Is it safe to run around in the bushes in Canada? (Sweden)
A: So it's true what they say about Swedes.
5. Q: It is imperative that I find the names and addresses of places to contact for a stuffed Beaver. (Italy)
A: Let's not touch this one.
6. Q: Are there any ATMs (cash machines) in Canada? Can you send me a list of them in Toronto, Vancouver, Edmonton and Halifax?(UK)
A: What did your last slave die of?
7. Q: Can you give me some information about hippo racing in Canada?(USA)
A: A-fri-ca is the big triangle shaped continent south of Europe. Ca-na-da is that big country to your North . . . oh forget it. Sure, the hippo racing is every Tuesday night in Calgary. Come naked.
8. Q: Which direction is North in Canada? (USA)
A: Face south and then turn 90 degrees. Contact us when you get here and we'll send the rest of the directions.
9. Q: Can I bring cutlery into Canada? (UK)
A: Why? Just use your fingers like we do.
10. Q: Can you send me the Vienna Boys' Choir schedule? (USA)
A: Aus-tri-a is that quaint little country bordering Ger-man-y, which is. . . oh forget it. Sure, the Vienna Boys Choir plays every Tuesday night in Vancouver and in Calgary, straight after the hippo races. Come naked.
11. Q: Do you have perfume in Canada? (Germany)
A: No, WE don't stink.
12. Q: I have developed a new product that is the fountain of youth. Can you tell me where I can sell it in Canada? (USA)
A: Anywhere significant numbers of Americans gather.
13. Q: Can I wear high heels in Canada? (UK)
A: You are an American politician, right?
14. Q: Can you tell me the regions on British Columbia where the female population is smaller than the male population? (Italy)
A: Yes, gay nightclubs.
15. Q: Do you celebrate Thanksgiving in Canada? (USA)
A: Only at Thanksgiving.
17. Q: Are there supermarkets in Toronto and is milk available all year round? (Germany)
A: No, we are a peaceful civilization of Vegan hunter/gatherers. Milk is illegal.
18. Q: Please send a list of all doctors in Canada who can dispense rattlesnake serum. (USA)
A: All Canadian rattle snakes are perfectly harmless, and can be safely handled and make good pets.
19. Q: I have a Question about a famous animal in Canada, but I forget its name. It's a kind of big horse with horns. (USA)
A: It's called a Moose. They are tall and very violent, eating the brains of anyone walking close to them. You can scare them off by spraying yourself with human urine before you go out walking.
20 Q: I was in Canada in 1969 on R+R, and I want to contact the girl I dated while I was staying in Surrey, BC. Can you help? (USA)
A: Yes, and you will still have to pay her by the hour.
21 Q: Will I be able to speak English most places I go? (USA)
A: Yes, but you will have to learn it first.
Home | Stories | Features
Copyright © 2002 John Mahoney/Log Cabin Chronicles/07.03

redpajama_set_name: RedPajamaCommonCrawl


Whyalla, SA/Aus. 31st October 2015. 25 Supercharged Outlaws cruised into the seaside city of Whyalla recently to content the Whyalla Steel City Drag Club Supercharged Shootout event. Billed as the biggest regional outlaw event in Australia, the fans were treated to a spectacle of wild blown drag racing with South Aussie Gary Busch taking the title after New South Welshman John Ward lit up the reds on the start line. To make matters worse for Ward, Busch had experienced mechanical problems on the line and was unable to complete the pass but still managed to pick up the win courtesy of Wards red light.
This was the final twist to an event that was packed with highlights and no doubt one event the large gathering of spectators will long remember. In another win for the local drag racing fraternity a proposed Tri Series was announced with Mildura's Sunraysia Drag Racing Club along with Swan Hill Drag Racing Club joining with Whyalla to host the 3 round series that will see an annual Whyalla round in October, a Mildura round over the powerfest Easter Weekend with Swan Hill hosting a round in either January/February once their brand new facility has been completed. Exciting times ahead for Supercharged Outlaw racing in the region.
We were lucky enough to be track side for the Whyalla round and captured the following vision for your enjoyment.
Thinking of having a bet on the Melbourne Cup?
Whyalla Steel City Drags shared Sunraysia Drag Racing Association's post.
Whyalla Steel City Drags changed their profile picture.
Whyalla Steel City Drags shared Sunraysia Drag Racing Association's photo.
Whyalla Steel City Drags shared 660 Drag Racing Series's post.
Whyalla Steel City Drags shared Whyalla Steelcitydragclub's photo.
Photo - Another shot of Super Gas S/G 4130, Peter Datson. Day-1 of the Nationals, Sydney Dragway.
Photo - Day-1 at the Nationals, Sydney Dragway. Super Gas S/G 4130, Peter Datson from SA.
The South Australian Divisional Council will be holding an open forum on the proposed merger between S/ST and Super Sedan. It will be held on Tuesday the 18th of November 2014 at the Northgate Community and sports Club, Rowe Ave, Northfield, 7pm sharp. All Super Street licence holders, along with any and all other licence holders and full members are welcome to attend. This forum will be conducted in a professional manor. It will be chaired by the Divisional Director, Howard Browne. All questions and queries will be heard respectfully and without bias. This is the members chance to put there views, opinions and solutions to ANDRA in a formal manner. Food and drinks available at the bar. Please share on Facebook and spread the word, not everyone is on Facebook.
Whyalla Steel City Drags shared Darren Shaw Photography's album: Untitled Album.


text:
Buy Prosperity
Prosperity Game Rules
You're the leader of a great nation that is currently expanding. Over the course of the seven decades covered by the game, you will have to invest in infrastructures and industries, provide your country with energy and finance the mercurial forces of research in order to remain competitive.
But prosperity has a price. You owe it to future generations to leave them a healthy world. Pollution lurks, but will you be able to limit it?
Players will score prosperity points on a regular basis throughout the game, and, at the end, the player with the most points will be the winner.
1 Research board
4 individual boards (double sided),
64 Pollution discs (black),
20 cubes (of four colors: blue, red, green, and yellow),
35 banknotes (10 of 50€, 20 of 100€, and 5 of 500€),
60 Technology tiles.
Place the Research board in the middle of the table.
Sort the Technology tiles according to the decade on their back: 1970, 1980... Place the tiles with no dates face- up next to the Research board at the beginning of the game: the Research level of the tile will correspond to the board's Research level; if the tile's Research level is written on the left (in blue), place it to the left of the board (energy tiles); if the tile's level is written on the right (in green), place it to the right of the board (ecological tiles).
Shuffle the tiles of each decade face-down. Then make a deck starting with the 2030 tiles at the bottom of the pile, followed by the 2020 tiles... and ending with the five 1970 tiles at the top of the deck.
Each player chooses a color and takes an individual board. For a first game, place the board so that the silver country is visible. For the following games, all players (or only the more experienced ones at the table) can decide to play with the black country showing (more difficult).
Each player takes 1 banknote with a value of 100€ as well as 5 cubes of their color. They place one cube on their score track, one cube on the lowest square of each of the two tracks of the Research board, and the remaining two cubes on the red square of the Energy and Ecology tracks of their individual boards (representing the energy and ecological totals of their country at the start of the game).
Each player places 8 discs on the round spaces of their Pollution track, starting at the bottom. The discs and money left are placed next to the board, in reserve.
A first player is chosen randomly; that player will start the game.
Game Elements
Technology Tile Example
A Back of the tile and decade (here, 2030)
B Area and level of the tile (here, Ecology 6)
C Scoring symbol (white-bordered, here, Prosperity)
D Energy Impact (here, -2)
E Ecological Impact (here, -1)
Note: the background color of a tile indicates which type it is (in this case, infrastructure).
Individual Board
A Country (Silver: Normal - Black: Difficult)
B Tile spaces
C Energy track
D Ecology track
E Reminder of possible actions
F Reminder of the final scoring
G Pollution track
Notes : At any point during the game, the symbols visible on the individual board of a player correspond to the current development of their country. These will be important at the beginning of each player's turn for scoring.
The Energy track is used to indicate the total between the positive and negative energy symbols on an individ- ual board. The Ecology track is used to indicate the total between the positive and negative ecology symbols on an individual board.
Research Board
A Score track (one per player)
B Energy Research track
C Ecological Research track
D Research level
E Starting energy tiles
F Starting ecological tiles
G Reminder of tile prices
The game takes place over a period of time spanning seven decades (1970, 1980... 2030). In total, there will be 36 turns. During a turn, the active player will draw a Technology tile, apply its effects and perform two actions. Then play will proceed to the next player.
On a turn:
1. Technology Tile
The active player draws the Technology tile at the top of the deck and announces the scoring symbol (white-bordered on the tile). Starting with the active player, going clockwise, all players tally the called-out symbol.
Energy: if their energy total is positive, the player gets 50€ for each positive level. If their total is negative, the player must pay 100€ or add a disc to their Pollution track for each negative level.
Ecology: if their ecological total is positive, the player removes one disc from their Pollution track for each positive level. If there are no more discs left on their track, they gain 50€ for each disc they still needed to remove. If their total is negative, the player adds a disc to their Pollution track for each negative level.
Note: when a player removes a pollution disc, the one removed is the one on the highest space of the track.
When a player adds pollution discs, they fill each space starting with the bottom. An unlimited number of discs can be stacked on the last space (triangle-shaped).
Capital: for each Capital symbol on their individual board, the player gets 100€.
Research: for each Research symbol on their individual board, the player moves their marker one square forward on one of the Research tracks. If they have multiple Research symbols, a player can freely decide to split their move between the two tracks.
Prosperity: the player moves one space on their score track for each Prosperity symbol visible on their individual board (including those visible on the Pollution track).
Important: as long as there is at least one disc on the last space of their Pollution track (triangle- shaped), the player has polluted too much: the player scores no Prosperity points.
The active player then places the drawn tile next to the Research board, depending on the type and level of the tile (as in step 2 of the setup).
Example: Blue is in the situation detailed above.
in case of an Energy tally, the player must pay 200€, or pay 100€ and add a pollution disc, or add two pollution discs,
in case of an Ecology tally, they'll remove 2 pollution discs,
in case of a Capital tally, they'll get no money (no visible symbols),
in case of a Research tally, the player will move forward five spaces in total on the Research tracks,
in case of a Prosperity tally, the player moves 3 points on the score track (two symbols on tiles, and one on Pollution track).
2. Actions
The active player performs 2 actions. A player can perform two different actions, or the same one twice. The possible actions are:
a. Revenues: the player takes 100€ from the bank.
b. Cleanup: the player removes the highest disc from their Pollution track.
c. Research: the player moves forward one square on one of the Research tracks.
d. Tile purchase: the price of a tile is calculated by comparing the position of the desired tile with that of the player's marker in the Research track linked to that tile:
if the tile is at the same Research level as the marker, the tile costs 100€,
if the tile is at a higher level than that of the marker, the tile costs a basic 100€, plus 100€ for each extra level,
if the tile is at a lower level than that of the marker, its price is 50€ (no matter what the level of the tile may be).
Example: on their turn, Yellow performs Research as their first action and thus reaches level 3 in Ecology. As their second action, they purchase the Hydrogen vehicles (level 4) and pay 200€ (100€ plus 1 extra Research level).
Once a player has paid for their tile, it is placed on their individual board, either on an empty space or on a space already occupied by another tile. The placement rules are as follows:
a Powerplant tile (pink background) must be placed on a pink square,
a Supply tile (yellow background) must be placed on a yellow square,
a Transport tile (green background) must be placed on a green square,
an Infrastructure tile (blue background) must be placed on a blue square,
the other tiles are Special tiles. A Special tile isn't placed on an individual board. It gets discarded after its effect is applied: gain 1 Prosperity point, gain 2 Prosperity points, or remove 3 Pollution discs.
Some blue spaces of an individual board can only be occupied if the transport has been previously built. Thus, green squares containing "Unusable space" symbols must be covered by a transport tile of some sort for Infrastructure tiles to be placed later.
After having placed their tile, the player adjusts the energy and ecology totals of their individual board according to the symbols of the new tile (and possibly of those of the covered tile, the effects of which are canceled).
Example: a player covers their Coal-Fired Power Station with an Oil Fired Power Station. That player increases their energy total by 2 (the Oil station produces 4 energy instead of 2), and reduces their ecology total by 1 (as the Oil station increases pollution by 2 instead of 1).
Example: a player covers their Green Belt with Toll roads. Their ecology total goes down by 2 (they lose the positive symbol of the Green belt and add a negative symbol). But now they'll be able to use the spaces leading from the Toll roads to build infrastructures.
Note: At any time, the players can recalculate their energy and ecology totals to check that they haven't made a mistake.
Once a player has performed both of their actions, play proceeds to the next player, going clockwise, and a new turn begins...
The game ends at the end of the turn of the player who has drawn the last Technology tile. A final scoring for each symbol, in the following order, is then made:
2* Energy: the energy total is tallied twice, as described previously.
2* Ecology: the ecology total is tallied twice, as described previously.
Capital : Capital gets tallied once, as described previously. The players then discard their money. For each full 300€ discarded, they gain one prosperity point. Any excess money is kept as a possible tie-breaker.
Research: each player moves a number of spaces in both Research tracks equal to the number of Research symbols visible on their individual board. For each track, the player with the highest marker scores 3 Prosperity points, the second player scores 1 point.
In case of a tie for the first place, all leading players gain 2 points (and no points are awarded for second place). In case of a tie for second place, none of the tied players gain points.
Prosperity: the Prosperity symbols are tallied once, as described previously.
Once the final tally is made, the player with the most Prosperity points on the score track is the winner.
In case of a tie, the money still in the players' possession is used for breaking ties.
Note: a player isn't limited to 50 Prosperity points. If a player goes beyond that amount, their marker returns to the start with an added 50 points their score.
Some Tips
The tiles linked to energy research (on the left of the Research board) have a Capital and Energy focus. Tiles linked to ecological research (on the right of the Research board) have a Research and Ecology focus.
For each decade (1970, 1980..)., there are 5 tiles, and each symbol will be tallied exactly once. In 2030, there is a sixth tile (with a Prosperity tally).
Depending on the tallies already made during a decade, you can deduce the tallies still to come and plan your actions accordingly.
Prosperity symbols are key to winning the game. Don't leave it too late to develop them.
Controlling Pollution is an important part of this, to uncover additional Prosperity symbols there - and above all to avoid reaching the last space which voids all Prosperity scores.


text:
4. Sunday of Lent
27 March 2022 Molde
Joshua 5:9a, 10-12: On the morrow of the Passover, they tasted the produce of the land.
2 Corinthians 5:17-21: For anyone who is in Christ, there is a new creation.
Luke 15:1-3, 11-32: Your brother was dead and has come to life.
Today we keep Lætare Sunday, a little over halfway through Lent. There's a festive expectancy in our liturgy. The Church likens Lent to a pilgrimage. Today we stand on a promontory with a view on Jerusalem. We rejoice in the distance already covered. We rejoice that our destination is in sight. In the collect we pray for grace to 'hasten towards the solemn celebrations to come.' There has to be a spring in our step.
Our reading from Joshua contextualises our expectation. For forty years the people have wandered in the desert, living on manna. It is a sufficient but monotonous nourishment, made real to us through our own deprivations during Lent. On the morrow of the Passover the Israelites ate, finally, 'of the produce of the land'. It was proof that they had come home and were no longer vagabonds.
We, too, are called home. The word 'home' has a sweetness unmatched by any other word. Our home is not necessarily where we come from. Think of Israel: the men and women who came home to the Promised Land had never seen it before; they were born abroad. Many of you gathered here will have had similar experiences. The home you have made for yourself is premised on a departure, in some cases a painful departure, from an original home that no longer feels like home.
Where am I at home? Where do I belong? These questions are crucial for us humans. They're not always easy to answer.
The Gospel describes a home from three different points of view. The younger son sees home as a resource to which he is entitled. He wants his patrimony. It is striking that he says to his father: 'Give me what is mine.' It isn't, in fact, his. It is his father's. The inheritance would normally be dispensed when the father dies, but he is alive and well. The son says, then: Let's settle accounts now, as if you were already dead, so that I can live as I please. Home, to him, is something he wants to leave behind.
Let's not judge the youngster too harshly. Who among us hasn't, as a teenager, felt the pull of the wide world? What we have grown up with seems limited and small. We wish to enter the land of possibility, uncertain, perhaps, of where it is placed on the map, but certain that it is elsewhere. We needn't burden the younger son with an Oedipus complex, as if his desire were to murder his father. He is a bird eager to stretch its wings. Home appears to him like a cage.
The father lets him fly. It is admirable, and gives us a sense of how he understands home. For the father, home is a place of freedom that facilitates choose. The fact that he still, after many years, keeps a look-out for his exiled son indicates how much the leave-taking cost him. But he exercises no coercion.
What a sacrifice it can be for a mother or father to find that one's child wants to move away, and to accept this decision without reproach!
The eldest son's attitude to home is, of the three, the most complex. He is no adventurer. He stays where he has always been. That is also a choice. But he takes no responsibility for it. That is what makes him unhappy. In his heart of hearts he is bitter. He says: 'Here I am, toiling away, and no one thanks me for it. I don't want anything else, but I don't want this either.' The eldest son embodies a latent depressions that is widespread nowadays. It springs from the sense of being imprisoned in a situation that nonetheless I do nothing to change. I give myself up instead to a dubious satisfaction: I think of myself as the victim of circumstances.
No wonder the oldest son is provoked by his brother's return home. His existence is based on a notion of life as something closed and determined, something to be endured, be it with gritted teeth. His father and brother live differently. Both of them give proof of inner freedom.
For one who is enclosed in a perception of being the subject of great wrongs, others' freedom is unendurable.
The younger son reconsiders his choices. He does something brave and mature: he judges himself. He says: 'I have acted wrongly; I will ask for pardon. I thought subsistence was mine by right; now I see that it is in fact a gift. I wish to receive it gratefully.' The father, too, is open. He renounces any claim to reparation. He says: 'My son's freedom, which pulled him away from me, has brought him back. My son does not belong to me. But I am glad that he chooses to be with me.'
For the older son, this approach is unintelligible. His working hypothesis is that everything in this world is calculable. So he retreats into a sulk. His behaviour is a warning to us. Let's not go down that road, opting out, upset because no one affirms our self-importance, angry because others get what we consider they do not deserve. Were we to get what we deserved, most of us, in fact would be in trouble.
The parable's purpose is to explain that in the Lord's providence nothing is deserved; all is grace, thank God. Grace is offered us all; but in order to receive it, we must be made gracious. That involves letting go of the illusion that life ought to respond to our demands. If we do let go, we shall slowly but surely notice the growth within us of a deep, pure joy. It expresses certainty that God is our Father who loves us in our poverty with unconditional love. Only then shall we have an idea of what Easter stands for. And we shall do all we can to live in a way that reflects the liberating mystery of grace.
Caravaggio's account of the story conveys the eldest son's suspicion — and what fine feathers he carries in his cap even though he has spent the day 'out in the field'.


text:
Q: Inheritance and isinstance I just noticed that
isinstance(myob, MyClass)

does not only return True when myob is an instance of MyClass but also if myob is an instance of a class that inherits from MyClass.
To be more clear, consider the following:
class Book(object):
    def __init__(self, cover)
        self._cover = cover

class Novel(Book):
    def __init__(self, cover, category):
        Book.__init__(self, cover)
        self._category = category

When instanciating Novel as follows:
novel = Novel('hardcover', 'police')

then
print(isinstance(novel, Book))

and
print (isinstance(novel , Novel))

both print True.
Why is that so? In my sense, novel is a Novel instance, not a Book one...
Also, relevant to this :
In order to get the "grand-mother" (sic) class, I do:
print(novel.__class__.__bases__)

Is there a more direct way?

A: This transitive behavior is how it should work intuitively ...
>>> class Text:
...:    pass
...:
...:
>>> class Book(Text):
...:    pass
...:
...:
>>> class Novel(Book):
...:    pass
...:
...:
>>> n = Novel()
>>> isinstance(n, Novel)
>>> True
>>> isinstance(n, Book)
>>> True
>>> isinstance(n, Text)
>>> True

... because a Novel is-a Novel, but also is-a Book and is-a Text.
If you want to know whether a class (or instance of a class) is a direct ancestor of another class, you can use the __subclasses__ method of class objects.
>>> Text.__subclasses__()
>>> [__main__.Book]
>>> Book.__subclasses__()
>>> [__main__.Novel]
>>> Novel.__subclasses__()
>>> []
>>>
>>> Novel in Text.__subclasses__()
>>> False
>>> type(n) in Text.__subclasses__()
>>> False
>>> Novel in Book.__subclasses__()
>>> True
>>> type(n) in Book.__subclasses__()
>>> True

edit: YourClass.__bases__ also gives you all direct parent classes.
>>> Novel.__bases__
>>> (__main__.Book,)

A: Inheritance is "is a" relationship - if Duck inherit from Bird then obviously a duck (instance of Duck) is ALSO a bird (instance of Bird), so the behaviour you observe is really the expected one (and this holds for all class-based OOPLs).
If you want to check the exact type of an object, you can get it using type(obj) - which will return the class of object - and do an identity test against the desired class, ie:
obj = 42
print(type(obj) is int)

redpajama_set_name: RedPajamaStackExchange


text:
Release Date: 2016Rating: 12Stream: NetflixDuration: 2h 3mGenre/Style: Drama, Romance
The power of Love knows no boundaries and will always find a way. This incredible true story outlines a couples battle to overturn racist laws, so they can be free to make their life together as Husband and Wife.
Loving is a beautifully restrained portrayal of the struggles faced by Richard and Mildred Loving. This couple are deeply in Love, but once they marry they find themselves in prison. The laws of Virginia during the 1960's stated that interracial marriage was against the law. Their love never fails and support for them pushes them all the way to the supreme court. Their triumph in 1967 changed the lives of millions forever and the day is now remembered as Loving Day.
The beautiful focus in this film is firmly on the couple involved. The audience is given a close up intimate view of their loving connection, the backbone to the story. Director and writer Jeff Nichols does a wonderful job with this. Where other directors would have overly dramatised this tale, Nichols keeps the focus firmly where it should be. The incredible cinematography captures the emotions perfectly, all the scenes of the Loving couple are remarkably touching.
With such a powerful story, it is fair to say that the two lead actors did an outstanding job. Playing the roles of Richard and Mildred Loving, they display a real connection that is totally convincing. Joel Edgerton, one of the most underrated actors around gives another Oscar-worthy performance. Irish actress Ruth Negga is incredible as Mildred, she was rightly nominated for an Oscar and should have won. The other standout in the cast is Michael Shannon, playing a photographer from Life magazine.
This movie tackles the horrors of race inequality really well. It manages to pull a whole range of reactions from the viewer, ranging from disgust to tears of happiness. Yes, it is a very powerful tale. But if you are looking for a true love story, that has substance, then this is it. This film is a brilliant choice to watch on Netflix for some real Loving.
Biographical Drama Romance
Powerful Story
Beautifully Restrained
Outstanding Lead Performances
Ruth Negga should have won an Oscar
Adult Beginners
The Land Of Steady Habits
R.I.P.D


text:
<?php
/**
 * The template for displaying the footer.
 *
 * Contains the closing of the #content div and all content after
 *
 * @package sparkling
 */
?>

				<?php get_sidebar( 'footer' ); ?>

					<?php if( of_get_option('footer_social') ) sparkling_social_icons(); ?>

						<?php sparkling_footer_links(); ?>

						<?php echo of_get_option( 'custom_footer_text', 'sparkling' ); ?>
						<?php sparkling_footer_info(); ?>

<?php wp_footer(); ?>

redpajama_set_name: RedPajamaGithub


Developers will be all ears when Esri staff explain what's coming in ArcGIS 10.2.
Where can you attend a technical session one hour and play a game of killer dodge ball the next?
The Esri International Developer Summit (DevSummit) returns to Palm Springs, California March 25-28, mixing learning with fun in a stimulating but relaxed environment. The technical sessions will sharpen your application development skills while the Esri DevSummit Hackathon on March 24-25 will get your competitive juices flowing. If you enter, you will have 24 hours, data from Riverside County, California, and free food to fuel you in the race to build the best application. Win and you will soon be up on stage, presenting your application to the DevSummit audience.
Many technical sessions will zero in on application development.
Esri welcomes developers from all disciplines whose fluency in programming languages has the potential to accomplish extraordinary things. No matter your level of expertise, you will soon learn how far even a limited knowledge of coding can take you these days.
Up to 20 of the most popular sessions will be repeated on March 28 after the Closing Session.
The Plenary Session on March 26 will include demonstrations of what's new in this month's ArcGIS releases as well as what's coming in ArcGIS 10.2. Esri software architects and thought leaders will preview new enhancements that support private clouds, 2D and 3D dynamic image processing, and real-time streaming of data.
Esri technologist Rex Hansen discusses how to develop a game plan with DevSummit attendees.
Don't miss the keynote by usability guru Jared M. Spool, founder of the consulting and research company User Interface Engineering. In his talk Anatomy of Design Decisions, he will describe five different decision styles and how each will affect your designs. Spool will speak at 8:30 a.m. March 27.
Get ready, get set, and go to Speed Geeking from 3:30 p.m. to 4:30 p.m. March 25. In less than one hour, 26 Esri staffers will demonstrate the latest ArcGIS tools. There will be no time for a break!
Sometimes, all it takes to transcend an obstacle is to borrow ideas from your peers. The user presentations from 1:00 p.m. to 5:00 p.m. on March 27 will teach you how developers have tackled challenges large and small using ArcGIS and Esri resources.
Your supervisor will want to know what you will have learned when you get back from the summit. Please ask Esri staff to draft a road map for your next project, including sketching out a workflow and jotting down some of the resources you will need. The staff will be expecting you to ask! Also, the Demo Theater presentations and Meet the Teams gathering will give everyone the opportunity to get together. Esri technologists will help you formulate a sensible plan to execute your development ideas. You will learn everything from how long your projects will take to what software and hardware you will need.
The Balls, last year's dodge ball tournament winners, gloat about their triumph. Yes, that's a necktie headband.
It's not all work and no play for creative developers. There will be a social at the GIS Solutions EXPO from 4:30 p.m. to 7:30 p.m. March 25. And be sure to stop by and Meet the Teams from 6:30 p.m. to 8 p.m. March 26 at the Renaissance Hotel Pool and attend the DevSummit party from 5:30 p.m. to 9 p.m. March 27.
You can wear off some of those calories at the Dev Eat Dev Dodge Ball Tournament during the DevSummit party. The top prize this year for the winning team members will be a free ticket to the 2014 DevSummit. Plan your team name and costumes in advance.
This event is your opportunity to see what's on the horizon, discover powerful tools and resources, and meet people who've accomplished spectacular feats with surprising ease. Join us to stimulate your mind and replenish your innovative spirit.
Keep up with what's happening before and during DevSummit via Facebook or follow #devsummit on Twitter.


text:
William Tyndale (também chamado de Tindall ou Tyndall; Gloucestershire, Inglaterra, c. 1484 -  perto de Bruxelas, Dezessete Províncias, 6 de outubro de 1536), foi um estudioso inglês, que se tornou uma figura de liderança na Reforma protestante nos anos que antecederam sua execução. Ele é conhecido como tradutor da Bíblia para o inglês, influenciado pelas obras de Erasmo de Rotterdam e Martinho Lutero.

Uma série de traduções parciais para o inglês foram feitas a partir do século VII em diante, mas o furor religioso causado pela Bíblia de Wycliffe no final do século XIV levou à pena de morte para qualquer pessoa encontrada em posse não licenciada das Escrituras em inglês, embora as traduções estivessem disponíveis em outras línguas europeias importantes.

Antecedentes
Tyndale viu a publicação da gramática hebraica de Reuchlin em 1506. A língua grega estava disponível para a comunidade acadêmica europeia pela primeira vez em séculos, por receber intelectuais de língua grega e textos vindos após a queda de Constantinopla em 1453. Notavelmente, Erasmo compilou, editou e publicou as Escrituras Gregas em 1516. A Bíblia Alemã de Lutero apareceu em 1522.

Tradução da Bíblia e suas consequências
A tradução de Tyndale foi a primeira Bíblia em inglês a extrair diretamente de textos hebraicos e gregos, foi a primeira tradução em inglês a aproveitar as vantagens da prensa móvel, a primeira das novas Bíblias em inglês da Reforma e a primeira tradução em inglês a usar Jeová ("Iehouah") como o nome de Deus, conforme preferido pelos reformadores protestantes ingleses. Foi considerado um desafio direto à hegemonia tanto da Igreja Católica quanto das leis da Inglaterra que mantêm a posição da Igreja. Em 1524, com o apoio de ricos comerciantes de Londres, foi para a Alemanha, completando sua tradução do Novo Testamento no ano seguinte. Para isso, Tyndale leu as traduções para o latim feitas por Erasmo de Rotterdam e também as de Lutero, para o que aprendeu alemão. A sua tradução foi impressa em Colônia, com as primeiras edições sendo contrabandeadas para a Inglaterra em 1526. Tyndale também iniciou uma tradução do Antigo Testamento, mas foi preso antes de terminar.

Uma cópia de The Obedience of a Christian Man de Tyndale (1528), que alguns afirmam ou interpretam para argumentar que o rei de um país deveria ser o chefe da igreja daquele país e não o Papa, caiu nas mãos do rei inglês Henrique VIII, fornecendo uma justificativa para quebrar a Igreja na Inglaterra da Igreja Católica em 1534. Em 1530, Tyndale escreveu The Practyse of Prelates, opondo-se à anulação de Henrique de seu próprio casamento, alegando que isso infringia as Escrituras. Fugindo da Inglaterra, Tyndale buscou refúgio no território flamengo do imperador católico Carlos V. Em 1535, Tyndale foi detido e encarcerado no castelo de Vilvoorde (Filford) fora de Bruxelas por mais de um ano. Em 1536, ele foi condenado por heresia e executado por estrangulamento, após o que seu corpo foi queimado na fogueira. Sua última oração foi que os olhos do rei da Inglaterra fossem abertos; isso pareceu encontrar seu cumprimento apenas um ano depois, com a autorização de Henrique VIII para tradução da Bíblia de Mateus, que era em grande parte obra do próprio Tyndale, com seções ausentes traduzidas por John Rogers e Miles Coverdale.

A tradução da Bíblia feita por Tyndale foi usada em traduções inglesas subsequentes, incluindo a Grande Bíblia (1539) e a Bíblia dos Bispos (1568), autorizadas pela Igreja da Inglaterra. Em 1611, após sete anos de trabalho, os 47 estudiosos que produziram a Bíblia do Rei Jaime e se basearam significativamente no trabalho original de Tyndale e nas outras traduções que descendiam dele. Conseqüentemente, o trabalho de Tyndale continuou a desempenhar um papel fundamental na disseminação das idéias da Reforma por todo o mundo de língua inglesa e, eventualmente, por todo o Império Britânico. Em 2002, Tyndale ficou em 26º lugar na enquete da BBC com os 100 maiores britânicos.

Trabalhos impressos
Embora mais conhecido por sua tradução da Bíblia, Tyndale também foi um escritor e tradutor ativo. Além de focar nas maneiras como a religião deveria ser vivida, ele se concentrava nas questões políticas.

Fontes

 .

 .
 .,
 .

 .

 .

 .

Ligações externas

 .

 .
 The Tyndale Society.

 William Tyndale's Bible
 tyndalebible.com

Reforma Protestante
Tradutores da Inglaterra
Tradutores da Bíblia
Pessoas executadas por heresia
Acadêmicos da tradução
Tradutores da língua grega antiga
Pessoas executadas pelo fogo

redpajama_set_name: RedPajamaWikipedia


This means that battery packs need only have three output connectors: battery power ground, the 1- Wire interface. Offer TSM1052- 5HD ST from Kynix Semiconductor Hong Kong Limited. TSM1052 Datasheet See all Technical Docs. ST Code of Conduct Tsm1052. 6 magnetica ic tsm1052 application note yageo capacitor sek 105 tsm1052clt: - l6562 flyback led design. Limited Engineering samples available Preview: Menu Products Explore tsm1052 product portfolio.
STMicroelectronics TSM1052: 1 023 538 available from 23 distributors. TSM1052 – Charger IC SOT- 23- 6 from STMicroelectronics. Explore Integrated Circuits ( ICs) on Octopart: the fastest source for datasheets pricing, specs availability. The TSM1052 is a highly integrated solution for SMPS applications tsm1052 requiring a dual control loop to perform CV ( constant voltage) and CC ( constant current) regulation. Product Overview. Tsm1052 Simulators and Models. As Power Supply Power Management L6562A TSM1052 AN2711: datasheet 15 W offline TRIAC dimmable LED driver pdf: Download : As tsm1052 Power Supply , Power Management L6562A TSM1052 AN2711: 15 W offline TRIAC dimmable LED driver pdf: Download : As Power Supply Power Management TSM1052 EVALTSM1052 VIPER12A VIPER12A- E AN2448.
13007a datasheet datasheet quote on part number: Datashee Engineering samples available Preview: Surface 13007a datasheet Crystals 5. To see what cookies we serve set your preferences please read the ST Cookies Policy. The TSM1052 integrates a voltage reference ,- ed open- drain outputs), two op amps ( with a low- side current sensing circuit. MtronPTI reserves the right to make changes to the product s tsm1052 and service s described herein without notice. 6 datasheet ef12. Product is in volume production only to support customers ongoing production. 2 Current control The current loop is controlled via the second trans- conductance operational amplifier , the sense resistor Rsense the optocoupler. Product is in design stage Target: The voltage reference along tsm1052 one op amp, is the core of the voltage tsm1052 loop; the current sensing circuit the other op amp make up the current control loop. tsm1052 The voltage reference along with tsj1052 op amp, is the core of the tsm1052 control loop; the current sensing circuit the other op amp make up the current control loop. The Tsm1052 is ideal for space- shrunk datasheet applications such as adapters , housed in one of the smallest package available chargers. Information is sent to/ from the DS2438 over a 1- Wire interface so that only one wire ( ground) needs to be connected from a central microprocessor to a DS2438. This is a highly integrated solution for SMPS applications requiring a dual control loop to perform CV and CC regulation. Product is in volume production only tsm1052 support customers tsm1052 production. Tsm1052 datasheet.
The voltage reference along with one op amp is. An MCU operates with sequential logic, so the control of an application. The TSM1052 is a Constant Voltage Constant Current Controller for battery chargers adapters. TSM101 datasheet triacs, TSM101 datasheets, TSM101 circuit : STMICROELECTRONICS - VOLTAGE , alldatasheet, Semiconductors, Datasheet search site for Electronic Components , diodes, CURRENT CONTROLLER, integrated datasheet circuits, , datasheet, TSM101 pdf other semiconductors. The control equation verifies: Equation 2 where I is the desired limited current , V lim control loop example with I Note: The Rsense resistor should be chosen taking into.
TSM1052 – Charger IC SOT- 23- 6 from STMicroelectronics. Pricing and Availability on millions of electronic components from Digi- Key Electronics. February Rev 11/ 1515TSM1052Constant voltage and constant current controllerfor battery chargers and adaptersFeatures Secondary- side constant voltage and constantcurrent control datasheet search, datasheets, Datasheet search site for Electronic Components and Semiconductors, integrated circuits, diodes and other semiconductors. TSM1052_ 08 Constant Voltage and Constant Current Controller for Battery Chargers and Adapters Constant voltage and constant current controller for battery chargers and adapters.
TSM Datasheet( PDF) – STMicroelectronics. Media Subscription Media Contacts. The external components tsm1052 to complete the two control loops are: Getting started with eDesignSuite.
an2840 evlvip17- 5wchg: viper17hn evlvip17- 5wchg viper17hn tsm1052 tsm1052 magnetica transformer 1802. 0006 teapo sek cecl- 102k magnetica transformer ef12.


text:
var pageTracker = _gat._getTracker("UA-3021667-1");pageTracker._trackPageview();
Aureole etc.
Golden Age singers
Nimbus on-line
Faure songs
Charlotte de Rothschild (soprano);
Founder: Len Mullenger
Classical Editor: Rob Barnett
Crotchet AmazonUK AmazonUS GREAT CONDUCTORS - Mengelberg
Richard WAGNER (1813 � 1883)
Tannhauser Overture (1845) - (1)
Lohengrin Prelude to Act 1 (1850) - (1)
Die Meistersinger Overture (1868) - (1)
Siegfried Forest Murmurs (1876) - (2)
Engelbert HUMPERDINCK (1854 � 1921)
Hansel and Gretel Overture (1893) - (2)
Richard STRAUSS (1864 � 1949)
Don Juan Op. 20 (1888) - (1)
Gustav MAHLER (1860 � 1911)
Symphony No. 5 - Adagietto (1902) - (1)
Concertgebouw Orchestra of Amsterdam(1)
Philharmonic Symphony Orchestra of New York (2)
Willem Mengelberg
(1) Recorded in the Concertgebouw, Amsterdam, 9/5/32 Tannhauser, 10/6/27 Lohengrin, 13/11/40 Meistersinger, 8/11/38 Don Juan, May 38 Mahler and in Carnegie Hall, New York 14/12/28 Siegfried, & Leiderkranz Hall, New York, 14/1/30 Humperdinck. ADD
NAXOS 8.110855 [69.27]
Every now and then life throws up little surprises. They�re usually unpleasant. However, not always. If you�re old enough, cast your mind back to the days of LP. The old 78 r.p.m. repertoire mostly seemed to be left languishing in the archives, only rarely to be dusted off and given a whirl as part of some history lecture, or cherished by a few "wind-up gramophone" enthusiasts. Who�d have thought that the new dawn, whose rays were diffracted into a spectral blaze by the shiny surface of a small silver disc, would lead to an explosion of interest in those cobwebby old 78s?
Of course, a goodly part of the reason lies in the technology. In the LP era, there wasn�t much we could do to a scratchy old 78 except make a scratchy old LP out of it. The only real advantage was the longer playing time. But the CD wasn�t just a CD, it was the tip of an iceberg, an iceberg crystallised from zillions of 0s and 1s. Music became part of the Computer Revolution, and almost overnight there were shed-loads of things we could do to change the sound of that scratchy old 78. Yes, I said "change". Whether it�s an improvement depends solely on the artistry of the transfer engineer.
Attitudes precipitated into layers. Layers became schools of thought. We are now swimming in a sea of alternatives. At one extreme are the absolute "non-interventionists", intent on reproducing the best available source materials as faithfully as possible. Regretfully, considering the purity of their intentions, I have to admit that these folk are really only turning scratchy old 78s into scratchy old CDs. At the other extreme come the absolute "interventionists", who use any and every technological means to derive the purest possible sound from their source materials. With less regret, I feel that these folk, having chucked out all the bathwater - and blow-dried the bath - end up with a baby perfect in every way, so long as you overlook the absence of any distinguishing facial features and the odd arm or leg.
The real "transfer artist" is one who firstly distinguishes between the baby (signal) and bathwater (noise), secondly considers carefully what of the bathwater can be chucked out without significant damage to the precious infant, and thirdly is consummately self-critical. It seems to me that by far the trickiest problem faced by the transfer artist is that of getting rid of unwanted scratch and hiss without losing the ambience, the reason being that the two dwell together in the same domain. This brings us to another point: it�s not only what you take out, but also what you put in! If you have a particularly noisy source, removing enough of the noise to render the recording "listenable" may also obliterate the recording�s ambience, leaving it as dry and airless as an Ancient Egyptian tomb. What do you do? One answer is to add a synthesised ambience - hopefully not any old ambience, but one created using a knowledge of the original recording venue.
Obviously, the above merely skates over the surface of the subject, but hopefully I�ve said enough to convince you that the entire undertaking is (a) very tricky, (b) nowhere near cut-and-dried, and (c) to some extent involves "meat" and "poison". In fact, different transfer artists - or even the same transfer artist - can produce different results, all of which nevertheless can be considered equally "good". Like everything else in this business, other than disasters, there are no absolutes!
Naxos must be feeling highly satisfied to have obtained the services of Mark Obert-Thorn, who has an enviable reputation gained largely whilst working for such luminaries as Biddulph and Pearl. Not to put too fine a point on it, he is considered by many to be one of the best. As the booklet note explains, he considers himself a "moderate interventionist". I would use the term "minimalist", because his aim is to maximise the message with the minimum of messing.
The "producer�s note" by Obert-Thorn provides a fascinating insight into the problems and techniques of the transfers of this particular series of recordings, whilst Ian Julier�s exemplary booklet note elucidates the historical context of the musical performances. However, if you want information about the music itself, then you�ll have to look elsewhere, which I suppose is fair enough given the "historical recording" context and the particular repertoire.
As the conductor of the Concertgebouw Orchestra from 1895, Willem Mengelberg worked with and earned the friendship and respect of both Strauss and Mahler. He carried a torch for Mahler�s music in particular, celebrating his silver jubilee at the Concertgebouw with a "complete" cycle of the symphonies. Like Mahler, he was attracted by the vigour of the New World, devoting a proportion of his time to the New York Philharmonic from 1923 onwards. These recordings are a sort of "glass" through which we can look "darkly", through Mengelberg to Mahler and Strauss. More "clearly", we can experience something of the considerable conducting powers of Mengelberg, who is himself a legendary figure.
The recordings also provide a sequence of snapshots of performing practice, as it developed between 1926 and 1940. The two New York recordings of 1928 and 1930, embedded within the European sequence, further permit us to appreciate the stylistic differences between Europe and America, and arguably the influence of the latter on the former. Seeing as the booklet tells us a fair bit about these things, I am frankly puzzled why the CD isn�t set out in chronological order. For that you need to programme the track sequence 7, 2, 4, 5, 1, 6, 3 - which is exactly what I did.
Playing the last track first, I thus began at the very beginning (a very good place to start!), and entered a musical kitchen - a murky place filled with the sounds of sizzling sausages, and strings sloshing around everywhere ladling lots of soupy slurs and slides. My immediate reaction was to grab a nice, crisp tangy apple and go out for a breath of fresh air. Yet, as Mahler�s enchanting Adagietto unfolded, I surprised myself. First of all, how quickly I shoved the sizzling sausages into the back of my mind: it was as if the hissing were the mists of time clearing before my gaze. There�s a particular frisson, the same sort of tingle I got when I stood atop the castle at Tintagel and got to thinking that King Arthur�s feet had probably occupied the self-same spot, then that somewhat more recently so had Arnold Bax�s feet when he had observed "the wide distances of the Atlantic ... on a sunny but not windless summer day." The day I was there, we were shortchanged only in the "wind" department. My, oh my, I bethought myself, it can be quite catching, this "historical recordings" malarkey!
Just to ram it home, I soon felt my attitude to those slurs shifting: it was like caressing a cat, and the cat was purring. I found myself reflecting on the unanimity of the slurring - this wasn�t just habitual but practised playing, a deliberate choice presumably intended to express deeply romantic sentiments. Yet further, this playing was so mobile: Mengelberg presses the music forward with ardour and urgency. The recent "discovery" (by Gilbert Kaplan, unless I�m mistaken) of the "real" tempo of this movement turns out to be no more than a "re-discovery", of a tempo that has simply been lost, drowned in a (des)pond of ever more languorous latter-day lassitude. Finally, I wondered, could this have been how Mahler himself would have conducted it?
Murky the recording remained, but Obert-Thorn in his note did warn us about this. Nevertheless the instrumental parts are all at least discernible, including the harp, and even the basses provided you don�t expect miracles regarding reproduction of the rumbly end of the spectrum.
On to track 2, and Wagner�s prelude to Lohengrin. Recorded, a little over a year down the line, at a higher signal level, the hiss is marginally less noticeable and the music correspondingly less murky. Suddenly, in the rarefied atmosphere of Wagner�s intertwining strings, I was less sure about those slurs slipping and sliding within the layers of the texture: unlike the Mahler this music isn�t "romantic" with a small "r" but "Romantic" with a whopping great capital "R"! I now found myself pondering the fact that, although there are shedloads of slurs, they aren�t by any means being used to join up all the dots. Hmm. The tempo, though, feels spot on, steady but purposeful, with Mengelberg weighting the woodwind then the brass against his strings to build the noble climax with respectful gravitas. It�s a pity that the high strings in the closing bars are afflicted by some "warbling" distortion, but never mind, I can live with that for music-making like this.
Track 4, the Forest Murmurs, comes 18 months later and a couple of thousand miles further west. The hiss is more evident at the start, largely because it is set against the hushed oscillations of only the lower strings. Although there is a slight "lumpiness" in the sound (is this perhaps a microphone with a kinky response?), I was amazed at how clearly everything came through: you can hear the glockenspiel a real treat! You are also aware of every little vortex in the almost pervasive eddying of the strings. The gradual accumulation of electricity is marvellously moulded by Mengelberg and finely spun by the NY players, so that by the time the trilling of the "birds" is heard, they seem to be calling from beyond a curtain of thrilling strings. It is immediately obvious that the Americans have far less truck with swooning, although to be fair they have fewer opportunities in this music. However, the string soli do indulge themselves, so dare I suggest that the reason there�s much less corporate sliding is that the NY strings are less proficient than their COA counterparts?
From New York also comes Humperdinck�s Hänsel und Gretel Overture. Setting off at a forthright pace, Mengelberg colours in the textures with some luminously balanced parts. Towards the end of the introduction you can hear the deep bass line winding beneath the high woodwind. When the trumpet-led dance tune kicks in, it doesn�t half kick: the accents are razor-sharp, standing out like spikes from the rather plummy sounds beneath. By the time that the strings glide in, Mengelberg has got the music motoring along nicely, and from then on I was increasingly swept up by the counterpoint between the playful skipping and the sombre, chorale-like music which, although it increases in power and menace, never overpowers the delightful dancing. Again, string slurs are deployed sparingly, discreetly and (I have to admit!) with skill and immaculate good taste!
Back over the Pond, in the warmer, "Olde Worlde" acoustic of the Concertgebouw, Mengelberg produced an almost flawless Tannhäuser Overture. Right from the off, there�s a gratifying "roundness" to the sound, from the crisp top right down to the black basement. In fact, when the strings first come in, the strength of the bass is plain to hear although, as you might expect, it also sounds a bit woolly. Overall, the sound of the orchestra is projected with considerable clout. Where so many conductors nowadays make the opening Pilgrims� Chorus music sound more like something to which un faun might doze of a sultry après-midi, Mengelberg makes a march out of it. His spine-tingling exhibition of elastic tempo seemed possessed of such perfection that I was almost relieved to find something to carp about: just descending from the first climax, he suddenly speeds up, then gradually eases back again, without any apparent rhyme or reason. It�s the one awkward gear-change in the whole piece, and it sticks out like a sore thumb! Mind you, it�s only a brief incident, so don�t let it put you off hearing what is a riveting performance.
The once-pervasive string portamenti are reined in, reserved for those places where they make the most point. I wonder, had Mengelberg maybe learnt something while he was over in New York? Once more I was struck by the convincing "concert hall" balance. The strings were at the front where they should be, and their often skittering lines were never drowned out, not even by the pungent brass or the terrific horn descant in the coda. All that thundering, pious majesty, and there they were, still fizzing with the hang-over of the central erotic fantasy!
It�s a six-year gap to the next item: Strauss�s Don Juan. Technology didn�t move as fast back then: if anything the hiss levels seem higher, although I realise that this depends on many factors, not least of which are the quality of the pressings available and the particular judgements of the transfer artist. As in Tannhäuser, the rear ranks cut through from behind the curtain of strings. You can feel the contributions of the harp, some really rasping brass, and the glockenspiel in particular is a joy to behold! Having said that, there are occasions where a soloist seems spotlit in the grand old CBS manner of the 1960s - one brief clarinet solo nearly had my eye out! The horns� "big tune", punched with a deal of zeal, suffers from some overload, a "sputtering" of the sort I recall horns having a talent for on quite a few recordings, even in the days of LP.
The reining in of portamento continued apace, to the extent that here, in a line that you�ve come to expect might be festooned with these expressive garlands, it�s only when you think there isn�t going to be one that up it pops! Mengelberg�s is no middle-aged lecher, but a youthful Lothario brimming with "get it up and go", notably at the reprise of the horn tune. Like most performances, this explodes onto the scene with enormous breadth. However, unlike most it doesn�t dwell on its own sumptuousness but almost immediately begins to accelerate. The music gains momentum, whirling ever wilder right through the climax and up to the moment of disaster, where to all intents and purposes it is felled by the trousers slipping down round its own ankles. The very end is terrific (literally!) - behind a gauze veil of hiss we can clearly make out the sound of the Don being damned to Hell!
I wondered about the woman who had interrupted the 1939 live Concertgebouw recording of Mahler�s Das Lied von der Erde with her "Deutschland über alles, Herr Schuricht". I�d have thought that she might have turned up for this 1940 Concertgebouw recording of Wagner�s Meistersinger Overture to pronounce, albeit with a more approving emphasis, "Deutschland über alles, Herr Mengelberg". Well, I can carry on wondering, because she didn�t - and did us all a favour because we have been bequeathed a superb performance and recording. This is music that all too often sounds overblown and even just plain boring. Mengelberg proves that it�s no fault of Wagner�s, as he imbues the music with bags of forward propulsion, producing a proper processional full of "pomp" rather than merely being "pompous". At his crackingly well-judged basic tempo, the martial theme crackles with energy and through his infinite elasticity he finds shades of intrigue that are often just smoothed over these days.
The upper strings come across as a bit scratchy, but so what? It is otherwise a wonderfully rounded sound, with some particularly pleasing perspectives - like the comical vision of the apprentices trotting and prancing in the middle distance! There are details apparent in this transfer that I�ve never noticed in modern recordings, so it�s more of a pity that some of the "wool" couldn�t have been scraped off the basses� bottoms! Still, it�s authentic, I suppose, and that�s what matters here. To clinch the deal, and fully justify your reprogramming of the track sequence, right at the end you can marvel at how Mengelberg brings the orchestra almost to a dead stop, before surging onwards into the final peroration. Such bare-faced audacity, but by golly it works!
It�s pretty obvious throughout, but most obvious in the Strauss, that Mark Obert-Thorn is not exactly what you�d call one of the "zero tolerance" school of Total Hiss Eradication. There is much evidence of "thinking" ears at work, especially in view of the remarkable clarity of the sound. Of course, unless you already have experience of other engineers� efforts at reviving the same originals or, ideally, possess pristine copies of the original 78s themselves, it isn�t exactly easy to judge the true quality of Obert-Thorn�s work in putting these remarkable documents back where they belong - in the public�s ears. Although for curiosity�s sake I�d love to hear what they sounded like before he�d applied his own brand of spit �n� polish, when it comes to the crunch it doesn�t really matter, does it? Unless, that is, you�re a latter-day equivalent of those "wind-up gramophone" enthusiasts, in which case you�ll be buying this CD regardless of anything I say.
Paul Serotsky
John Phillips previously reviewed this recording:
This issue is superb. Mengelberg, long out of fashion because of his alleged Nazi leanings during the Second World War is at last coming out of the shade. There are numbers of companies now making his recordings available on CD. Most of the conductor�s recordings (those recorded in Holland), were made by the German Telefunken Company, and originally released on either Columbia or Telefunken who at the time were at the forefront of recording technology. In the past, there were some dire transfers of these wartime recordings, but the present CD has been made from immaculate copies of the original shellac discs. It has also been subject to very mild processing, such that the sound quality, given its age, is incredible.
The transfer engineer is Mark Obert-Thorn and he has made new re-masterings from source material from U.S. and U.K. pressings. One of the problems with releases which were not originally laid down on tape is the level of background noise from the shellac discs. This is dependant upon the condition of the 78s and this series from Naxos is characterised by exceptionally truthful transfers. This is due to good quality originals, and this release is no exception. Although his producer�s note makes various disclaimers on the recording quality, one must remember that he is the expert and what may sound unacceptable to him, is perfectly OK for us.
Irrespective of the age of the recordings, done over a 14 year period, the quality of the transfers is excellent and Naxos is to be congratulated on the sound which Mr Obert-Thorn has coaxed out of the originals.
The German recordings are generally superior to the U.S. ones, but the intending purchaser need not be put off by this, as both are excellent in tonal quality and clarity of sound (always given their age). On this disc, we have all of Mengelberg�s Wagner recordings with the exception apparently of a Ride of the Valkyries and The Flying Dutchman Overture, recorded earlier than most of the current issues.
The Adagietto from Mahler�s 5th is interesting in that it is the premiere recording of the movement, made only 15 years after the first performance. At the time, Mengelberg and his Dutch players were the premiere Mahler Ensemble in the world. This performance shows how far we have moved over the years � current playing times up to 11 minutes for this movement are contrasted with 7.09 here.
Mengelberg�s conducting style will be well known to any collector intending to buy this release, and these recordings are true to this style. There is excitement in the playing, some of it perverse, with swooping portamenti always done to perfection with a large body of strings. These are. always done in service of the music - it is just that this style of playing does not resemble current practice. The performance of Tannhauser is staggering in this respect.
There is a corporate spirit to the playing, which few other ensembles could match at the time. Indeed the orchestra was at a peak of playing when these recordings were made. If you enjoy different listening experiences, try this issue. You will be captivated and it may tempt you to explore further releases in this series. At the Naxos prices you can�t go wrong, and the transfer quality is better than it ever has been.
see also review by Jonathan Woolf
Gerard Hoffnung CDs
Donate and get a free CD
Musicweb sells the following labels
Acte Préalable
CDAccord
Cameo Classics
Hallé
Northern Flowers
Toccata Classics
Subscribe to our free weekly review listing


If you're a seasoned Napa Valley visitor, you probably feel that there's nothing new or exciting about wine tours. Even if you've never been to Napa, you may not be all that excited about visiting a winery and tasting different vintages. All that will change when you check out these unique and unusual wine tours on your next visit.
The beautiful Jervis Caves sits underground, making for an incredibly unique experience. Tour guides will lead you through the cool caves, alongside the underground spring, and into the Crystal Room. This is an experience unlike anything else you'll find at Napa, and is a must-see for anyone who loves wine and natural geology.
The Francis Ford Coppola Winery offers more than just a place to see grapes and taste wine. There's 3600 square feet of swimming pools, film memorabilia and a taste of Hollywood tucked away in the Napa Valley for you to enjoy. With a variety of tasting rooms and even "cabins" by the pool, you can plan a whole day of enjoying this wine tour.
The Sterling Vineyards has the only aerial tram in the Napa Valley. The tram travels from the parking lot to the top where the winery is located. When you step onto your gondola, you're greeted with a glass of wine to enjoy while you wander through the winery on a self-guided tour.
Throughout your wanderings, you'll encounter additional wine tastings. Finish your tour sitting on the terrace and enjoying the view of the valley from on high.
Hall Wines gives visitors a real Napa Valley experience. Owner Kathryn Hall has curated a world-class art collection with displays both inside and outside of the main buildings. Not only can you view sculptures, oil paintings, the famous Chandelier Room and elegant appointments, but you can also gain a thorough education about winemaking. A visit to Hall Wines is an incredible way to get to know the deeper side of winemaking.
Harvest time is the best time to visit Grgich Hills Estate. When you come, you'll learn about how wine is made — right from the field to table. You may even get to process some grapes yourself!
At Grgich Hills Estate, you can stomp grapes just like they did in the old country: with your own two feet. Then, taste a flight of 3 wines and get a t-shirt to take home with your grapey footprints on it! Experience this unique vineyard experience from Labor Day through Halloween.
Wine tasting is just the beginning in the beautiful Napa Valley. Book your accommodations today with Napa Valley Hotel & Suites and explore the adventurous side of life in this beautiful region!


Meet Amal Medlij, Coordinator for Minority Students at Ariel University.
She speaks openly and honestly about her experience attending Ariel University, which is over the "Green Line", so-called occupied territories.
Imagine that. An Arab learning in a university among people we are being told are "racist, violent extremists." And being accepted.
Because the truth has a way of finding its way out.


Using this method, you will resolve the issue of Windows 8. This specific working system came to general availability in Oct 2013. This tool improves your device performance and runs your device smoothly. Volume Activation is, therefore, a product activation technology that is being used, amongst other products for activating Windows 8. Microsoft has the right on these product Keys.
You can download full version of this window totally free which gives you from Microsoft Windows. It provides you the security to keep your Windows fully activated. But to avoid the use of Keygen products because these are not the legal product keys. The main problem is that Windows 8 product keys cannot be used for the activation of windows 8. Now there are no need for any manual intervention so let the program to the rest in the background.
It offers you the new and familiar desktop, Task and the startup button. So it is not possible for everyone that at the same time different users open the corresponding aperture at the same time and use the same slot at the same time for activation. Lifetime Genuine Activation : You can get life genuine activation with the use of this application while it provide lifetime activation keys when you once install this program in your system. Also, a strong network connection must be available. This version id full registered and active.
This software is very friendly to its users. This software has online and offline operating-system activation. Such technology allows Volume Licensing customers to automatically carry out the activation process in a transparent and end-user friendly way. One of the satisfactory matters about this application is that there are many models some version does no longer assist a selected product key. They must be followed strictly and if possible the maximum requirement should be chosen over the minimum requirements. The product key is secure to aid regarding fraud protection.
Because the Product keys work like a password for the Windows. If you try to install the Windows 8. You should back up your data and all the information that is important to you. The whole way of the Windows activation finishes in a remarkably less time. Just place the order and input your email address at the time of placing the order.
The product keys are vital for the software. Although it designed for their Windows users for activate their Windows 8. Now you have no need for activate your Windows with complex procedure you can get easy way to activate your Windows fully. This window is very high rated and have very positive reviews. How to use Windows 8.
This is latest version which have lot of new features. When Windows 8 had released — many were surprised. It does not have any trial version but entirely triggers the Windows 8. It takes only few seconds in offline mode and activate your Windows fully. With the use of this activator your can activate your Windows for lifetime. Now with activated, Windows 8. You can get more benefits with the use of Microsoft products.
On this page you can find information about how to activate Windows 8. So better to avoid this situation get the registered product keys by purchasing from Microsoft. For setting the setup, there is a need of its Activator. If you have installed the new version of Window 8. Windows 8and Windows 7 customers can improve to the current 8. You can easily activate your Windows by follow some procedure that is as follows. Then this can be used for activation of Windows by different people your colleagues, family members, and Your friends just to care not use at the same time by different people.
They are no more working properly. It cannot be used against other windows versions like Windows 8 and Windows 7 Etc. Auto Activation : Activation of Windows are very easy with the help of this program within few mouse click than you can get fully activated Windows. Key Features of Windows 8. You can make your system licensed in several ways, either using a working license key or downloading Windows 8. Whenever we reinstall the same windows, the merchandise key will automatically be employed.
It is very easy to use. But avoid obtaining the Free Version because it contains viruses and can damage your software. Once you activate your Windows with the sue of this application than you can get fully your system and get speedy system. But a higher dimension for the screen resolution is advisable How to Update Windows 8 to Windows 8. You can only enjoy the best features of Windows 8. It makes your windows registered.


text:
Loveline  is the tenth album by the American soul/R&B group Tavares, produced by Alan Abrahams and released in 1981 on the Capitol label. It is the last album that Tavares recorded for Capitol after a nine-year association which covered their whole recording career to that date. The group moved to RCA for their last two albums.

Loveline is Tavares' second successive album to fail to register on either the pop or the R&B top 100.

The incipit of the song Loveline is very similar to the Alton McClain and Destiny's 1979 hit "It Must Be Love".

Reception
Billboard described the album as a "well-paced collection of driving, mid-tempo rhythm numbers and soft, expressive ballads." The magazine also wrote that their singles capture the dynamics of their previous singles.

Track listing
 "Keep On" (Kashif, Paul Laurence) - 3:40
 "Turn Out the Nightlight" (Bunny Hull, Andrew Woolfolk) - 4:45
 "Better Love" (Charles Fearing, Laythan Armor) - 4:44
 "God Bless You" (Brenda Russell) - 4:50
 "Touché" (Laythan Armor, Alan Abrahams, Charles Fearing) - 3:40
 "Loveline" (Kashif, Paul Laurence) - 4:25
 "Don't Want to Fool You" (Brenda Russell) - 5:45
 "House of Music" (Sandy Linzer, Doug James) - 4:25
 "Right Back in Your Arms Again" (Al Jarreau, Patrick Henderson) - 3:45
 "Right On Time" (Kashif) - 3:35

Singles
 "Turn Out The Nightlight" (US R&B #45)
 "Loveline" (US R&B #47)

References

Tavares (group) albums
1981 albums
Capitol Records albums


text:
Q: Django- Creating a log for any changes in any model data i.e creation, updation and deletion? So i have been given a task to create a Activity Log page which shows the changes that have happened to any model data i.e either it is created or updated or deleted.
My solution is to create a Activity model and store the changes following way-
1- override the save method and delete method and then save in Activity model or
2- use signals and then save it the Activity model.
the Activity model right now contains only these fields-
performed_on,
performed_by,
type_of_operation- Creation, Updation, Deletion
Is there any other better way to achieve this??

A: You can take look at https://github.com/jjkester/django-auditlog for logging model changes. Maybe use the app are get ideas on how to do it yourself. I have used it for history tracking and seems to work fine.


Wait! By clicking out of this page, you'll forfeit the chance to learn about this powerful solution for your health.
Or click Read Transcript to read about this solution instead.
Japanese scientists discover new artery-scrubbing enzyme.


The Le Creuset Pocket Model Corkscrew is a self-pulling corkscrew, with a revolving handle that turns effortlessly with just one finger. The multi-use design features a retractable stainless steel foilcutter and bottle opener. The handle is designer to detach and stores inside body to protect the screw. Features a hand-sharpened, triple-coated stainless steel screw. The cork guides ensure stability and vertical cork removal. 5-year warranty.


text:
Chyna Hussle
Tanisha Foster Remembers Nipsey Hussle On His Birthday
Tanisha Foster remembers Nipsey Hussle on what would have been his 34th birthday. Get the scoop.
Tanisha Foster Slams $500K GoFundMe Campaign
Tanisha Foster publicly slams a fake GoFundMe campaign seeking to raise $500,000 on her behalf. Get the scoop.
ICC LIVE: Toontown Throwdown, R. Kelly's Arrest, Tanisha Foster & More (Video)
Watch as Xaviera discusses the top stories in entertainment and celebrity news during her Facebook LIVE Chat.
Tanisha Foster Ordered To Attend AA Meetings, Faces Jail Time In DUI Case
Tanisha Foster received good news and bad news when she attended court on Thursday for a bench warrant hearing. Get the scoop.
Tanisha Foster Is Ready To 'Rise To The Occasion' As She Heads To Custody Hearing For Emani
Tanisha Foster, the mother of Nipsey Hussle's eldest child, Emani Asghedom, says she's ready to "rise to the occasion" for her daughter.


text:
The Lowland
Author(s): Jhumpa Lahiri
Location(s): Kolkata (Calcutta), Rhode Island
Genre(s): Fiction
Era(s): 1960s to modern
From Subhash's earliest memories, at every point, his brother was there. In the suburban streets of Calcutta where they wandered before dusk and in the hyacinth-strewn ponds where they played for hours on end, Udayan was always in his older brother's sight.
So close in age, they were inseparable in childhood and yet, as the years pass – as U.S tanks roll into Vietnam and riots sweep across India – their brotherly bond can do nothing to forestall the tragedy that will upend their lives. Udayan – charismatic and impulsive – finds himself drawn to the Naxalite movement, a rebellion waged to eradicate inequity and poverty. He will give everything, risk all, for what he believes, and in doing so will transform the futures of those dearest to him: his newly married, pregnant wife, his brother and their parents. For all of them, the repercussions of his actions will reverberate across continents and seep through the generations that follow.
Epic in its canvas and intimate in its portrayal of lives undone and forged anew, The Lowland is a deeply felt novel of family ties that entangle and fray in ways unforeseen and unrevealed, of ties that ineluctably define who we are. With all the hallmarks of Jhumpa Lahiri's achingly poignant, exquisitely empathetic story-telling, this is her most devastating work of fiction to date.
The Shadows of Men
The Lighthouse Keeper's Daughter
Jasmine Skies
Interpreter of Maladies
Whereabouts
Lead Review
She observes the small moments of adapting to a new country particularly beautifully… Cool, measured and beguiling writing (The Times)


text:
Shiawassee
National Wildlife Refuge | Michigan
Comprehensive Conservation Plan
Refuge conservation plans are called "comprehensive conservation plans" (CCPs). The purpose of a CCP is to specify a management direction for the refuge for the next 15 years. The goals, objectives, and strategies for improving refuge conditions—including the types of habitat we will provide, partnership opportunities, and management actions needed to achieve desired conditions – are described in the CCP. The Service's preferred alternative for managing the refuge and its effects on the human environment, are described in the CCP as well.
Shiawassee National Wildlife Refuge's CCP was completed in 2001.
Habitat Management Plan
The Habitat Management Plan, a step‐down plan of the refuge's Comprehensive Conservation Plan (see above), provides more precise guidance for habitat management on the refuge's existing land base. It will help facilitate thoughtful and explicit planning for habitat objectives and management actions. Additionally, the Habitat Management Plan will inform the refuge Inventory and Monitoring Plan and Annual Habitat Management Plans.
Click "Learn More" below to download a copy of the Habitat Management Plan.
National Wildlife Refuge System Improvement Act
National Wildlife Refuge System Improvement Act of 1997: The NWRS Improvement Act defines a unifying mission for all refuges, including a process for determining compatible uses on refuges, and requiring that each refuge be managed according to a CCP. The NWRS Improvement Act expressly states that wildlife conservation is the priority of System lands and that the Secretary shall ensure that the biological integrity, diversity, and environmental health of refuge lands are maintained. Each refuge must be managed to fulfill the specific purposes for which the refuge was established and the System mission. The first priority of each refuge is to conserve, manage, and if needed, restore fish and wildlife populations and habitats according to its purpose.
Alert - Wildlife Drive:Opens July 15th on Limited Schedule
Shiawassee National Wildlife Refuge is a critical migration stopover site for waterfowl.
Shiawassee Home


text:
Bob Jones High School Unveils New Uniforms
by: Maxie Gardner
Posted: Oct 23, 2013 / 08:13 AM CDT / Updated: Oct 23, 2013 / 08:13 AM CDT
MADISON, Ala. (WHNT) – Bob Jones High School and Discovery Middle School joined together for an evening of music and entertainment Tuesday night.
Nearly 2,000 people gathered for performances by The Discovery Middle School Marching & Jazz Bands; the Bob Jones Marching Patriots, Jazz Band and Dance Line; and Dance Trance Huntsville-Madison.
The Marching Patriots headlined the night with two separate shows as a way to present their new uniforms. One from the full marching band, the other from a smaller competition group.
The goal for the evening: to raise money to help the Bob Jones band go to the Outback Bowl in Tampa, Fla. and the Discovery band's planned trip to Orlando, Fla. in the spring.
If you'd like to see more pictures from the evening, click here.
by Kelley Smith / Jan 20, 2021
DECATUR, Ala - The youngest person ever elected to the Decatur City Council was rushed to the hospital during a public meeting Tuesday. Hunter Pepper is crediting a firefighter's quick thinking for helping him during this medical emergency.
A live stream of Tuesday's public meeting and work session shows Pepper, who was 18-years-old when he was elected this summer, rubbing his head and abstaining from votes. About an hour through the meeting, a representative from Decatur Utilities was giving testimony about the rate change. When the camera panned back to the council members, Hunter Pepper was gone.
by Nexstar Media Wire and The Associated Press / Jan 20, 2021
WASHINGTON-- Federal regulators have authorized emergency use of another COVID-19 treatment, the anti-inflammatory drug baricitinib, to be used in combination with a drug already used to treat severely ill, hospitalized patients.
The Food and Drug Administration on Thursday cleared the new use for Eli Lilly's pill baricitinib plus remdesivir for hospitalized adults and children two years and older requiring oxygen or ventilation therapy.


text:
Q: Simple way to algorithmically identify a spike in recorded errors We need an early warning system. I am dealing with a server that is known to have performance issues under load. Errors are recorded in a database along with a timestamp. There are some manual intervention steps that can be taken to decrease the server load, but only if someone is aware of the issue...
Given a set of times that errors occurred, how can I identify the beginning of a spike in errors (in real time)? We can calculate periodically or on each error occurrence.
We are unconcerned about occasional errors, but don't have a specific threshold. I could just notify someone any time we get, say, three errors in five minutes, but I'm sure there's a better way...
I'd like to be able to adjust the sensitivity of the algorithm based on feedback from the sysadmins. For now, they'd like it to be fairly sensitive, even though we know we can expect some false positives.
I am not a statistician, which I'm sure is obvious, and implementing this needs to be relatively simple with our existing tools: SQL Server and old-school ASP JScript. I'm not looking for an answer in code, but if it requires additional software, it probably won't work for us (though I welcome impractical but ideal solutions as a comment, for my own curiosity).

A: It has been 5 months since you asked this question, and hopefully you figured something out. I'm going to make a few different suggestions here, hoping that you find some use for them in other scenarios.
For your use-case I don't think you need to look at spike-detection algorithms.
So here goes:
Let's start with a picture of the errors occurring on a timeline:

What you want is a numerical indicator, a "measure" of how fast the errors are coming. And this measure should be amenable to thresholding - your sysadmins should be able to set limits which control with what sensitivity errors turn into warnings.
Measure 1
You mentioned "spikes", the easiest way to get a spike is to draw a histogram over every 20-minute interval:

Your sysadmins would set the sensitivity based on the heights of the bars i.e. the most errors tolerable in a 20-minute interval.
(At this point you may be wondering if that 20-minute window length can't be adjusted. It can, and you can think of the window length as defining the word together in the phrase errors appearing together.)
What's the problem with this method for your particular scenario? Well, your variable is an integer, probably less than 3. You wouldn't set your threshold to 1, since that just means "every error is a warning" which doesn't require an algorithm. So your choices for the threshold are going to be 2 and 3. This doesn't give your sysadmins a whole lot of fine-grained control.
Measure 2
Instead of counting errors in a time window, keep track of the number of minutes between the current and last errors. When this value gets too small, it means your errors are getting too frequent and you need to raise a warning.

Your sysadmins will probably set the limit at 10 (i.e. if errors are happening less than 10 minutes apart, it's a problem) or 20 minutes. Maybe 30 minutes for a less mission-critical system.
This measure provides more flexibility. Unlike Measure 1, for which there was a small set of values you could work with, now you have a measure which provides a good 20-30 values. Your sysadmins will therefore have more scope for fine-tuning.
Friendly Advice
There is another way to approach this problem. Rather than looking at the error frequencies, it may be possible to predict the errors before they occur.
You mentioned that this behavior was occurring on a single server, which is known to have performance issues. You could monitor certain Key Performance Indicators on that machine, and have them tell you when an error is going to happen. Specifically, you would look at CPU usage, Memory usage, and KPIs relating to Disk I/O. If your CPU usage crosses 80%, the system's going to slow down.
(I know you said you didn't want to install any software, and it's true that you could do this using PerfMon. But there are free tools out there which will do this for you, like Nagios and Zenoss.)
And for people who came here hoping to find something about spike detection in a time-series:
Spike Detection in a Time-Series
The simplest thing you should start by doing is to compute a moving average of your input values. If your series is $x_1, x_2,...$, then you would compute a moving average after each observation as:
$M_k = (1 - \alpha) M_{k-1} + \alpha x_k$
where the $\alpha$ would determine how much weight give the latest value of $x_k$.
If your new value has moved too far away from the moving average, for example
$\frac{x_k - M_k}{M_k} > 20\%$
then you raise a warning.
Moving averages are nice when working with real-time data. But suppose you already have a bunch of data in a table, and you just want to run SQL queries against it to find the spikes.
I would suggest:

*

*Compute the mean value of your time-series

*Compute the standard deviation $\sigma$

*Isolate those values which are more than $2\sigma$ above the mean (you may need to adjust that factor of "2")

More fun stuff about time series

*

*Many real-world time-series exhibit cyclic behavior. There is a model called ARIMA which helps you extract these cycles from your time-series.

*Moving averages which take into account cyclic behavior: Holt and Winters

A: +1 for Statistical process control, there's some useful information here on Step Detection.
For SPC it's not too hard to write an implementation of either the Western Electric Rules or the Nelson Rules.
Just make a USP in SQL server that will iterate through a data set and ping each point against the rules using its neighbouring points. Maybe sum up the number of errors by hour (depending on your needs).

This kind of relates to a question I posted on Stack Overflow a while back (have just penned  a quick answer if it helps): Statistical Process Control Charts in SQL Server 2008 R2

A: A search for Online detection algorithms would be a start.
More information located on stackoverflow: Peak Dection of measured signal
A python implementation of a naive peak detection routine is to be found at github

A: You may want to look at statistical process control. Or time series monitoring. There are tons of work in this direction, and the optimal answer probably depends a lot on what exactly you are doing (do you need to filter out yearly or weekly seasonalities in load before detecting anomalies etc.).


Last week a Wall Street Journal editorial revealed the incorrigible hypocrisy with which conservatives have long suffered. Conservatives, of course, have long suffered this malady with respect to domestic policy given their ardent devotion to Social Security, Medicare, foreign aid, and other welfare-state programs even while decrying the left's devotion to socialism.
But this particular WSJ editorial revealed the incorrigible conservative hypocrisy with respect to foreign policy.
Why is that sentence funny?
Because it also describes ever single U.S. president for the last 100 years!
Every president from Woodrow Wilson through today has made a career of intervening abroad and seeing if the world lets him get away with it. Indeed, the central feature of the U.S. government for the last 100 years has been and continues to be empire and foreign interventionism.
Why is that point humorous?
Because the U.S. government, with the full support of conservatives, has also been intervening in both Syria and Venezuela! Thus, the Journal could just as easily have stated that "Putin pulls a U.S. in Syria and Venezuela," except, well, for one thing: The regimes in both countries invited Russia into their countries. The U.S. government, on the other hand, is intervening in both countries illegally with the intent of ousting both regimes from power and installing pro-U.S. regimes in their stead.
The Journal pointed out Russia's intervention in Crimea and Ukraine. Not surprisingly, the Journalfailed to point out that after the end of the Cold War, NATO, that old Cold War-era dinosaur controlled by the U.S., proceeded to absorb former members of the Warsaw Pact and was threatening to absorb Ukraine, which would then have put U.S. forces on Russia's border. In the eyes of conservatives, that sort of interventionism just doesn't count because it's U.S. interventionism.


Three action-packed days. 100 informative sessions. 1,000 fellow SirsiDynix users.
Join us in warm, sunny Lake Buena Vista, Florida March 3rd, 4th and 5th for the 2010 version of the SirsiDynix COSUGI Executive Track Conference. This comprehensive three day information and training extravaganza will have you pumped and ready for an outstanding year ahead. You'll get the latest news and product developments from SirsiDynix leaders, while industry movers and shakers share their knowledge and insight.
You'll also have the opportunity to socialize and network with your peers, and actually kick back and relax a bit, too. And don't miss the gala SirsiDynix shindig on Wednesday night. Mark your calendar now, start packing your suitcase…and don't forget the sunscreen. We look forward to seeing you in Florida!
You don't want to miss the chance to connect. For the Full 2010 COSUGI Executive Track Schedule click here.
Register now for COSUGI 2010!
For more information about the entire conference, visit the conference home page.


text:
Bastille Blows Us Away on BBC Radio 1 – Live Lounge
Incredibly talented and full of chemistry, is there anything Bastille can't do?
Earlier last week, Bastille hit up the BBC Radio 1 Live Lounge to essentially knock our socks off.
No strangers to the radio show, Bastille serves up another memorable performance, with "Send Them Off!"– their latest single off their new album WILD WORLD.
But as we know from previous BBC Live Lounge sessions, no jam sesh is complete without a cover performance. And who better to do so, than Bastille?
In case you didn't know it already, the band has covered an array of songs including Miley Cyrus'"We Can't Stop", TLC's "No Scrubs", and a mashup between Michael Jackson's "Earth Song" and Pulp's "Common People".
So of course, they killed it once again with a 3-part mashup between MØ's "Final Song", Craig David's "7 Days" and Europe's "The Final Countdown."
If your a new Bastille fan or a returning one, we highly recommend their latest album, Wild World:
alternative Bastille Pop Rock
Osheaga Artist Spotlight: Aurora,Coeur De Pirate, & Bastille