text:
Chris Masters Interview
in 2006-2010, Interviews
NZPWI had the privilege of sitting down with former WWE star "The Masterpiece" Chris Masters over coffee, croissants and CNN early Tuesday morning.
Masters made a name for himself in WWE with the Masterlock Challenge, which proved nearly unbreakable and left a who's who of Superstars in its path.
Since departing WWE, Chris has wrestled in Australia, Europe, Japan and will be stepping into the ring this Thursday at NZWPW Power Play 6.
Masters spoke to NZPWI's David Dunn about his time in WWE (and the possibility of returning), his favourite matches, pre-match rituals and much more.
David Dunn: I'm here with "The Masterpiece" Chris Masters. Chris, thank-you very much for taking the time out of your day to do this interview with me.
Chris Masters: It's a pleasure being here in New Zealand. Nice to meet you.
Nice to meet you too! [laughs] Is this your first time out to this part of the world?
Ah, yeah. I've been to Australia before but never New Zealand, ever.
When did you come to Australia last? Besides this weekend, of course.
It was about a year and a half ago. Perth, Australia.
Oh yeah, was that with WWE?
Yes it was a tour that consisted of… we went to Bankok, Thailand, Singapore and then the last night was in Perth, Australia. Worked "The Nature Boy"…
Yeah, Good match.
Big match!
How's your schedule this time compared to being on a WWE tour?
Ah… it's been a lot more 'lax as far as; with WWE it's every day, y'know? Every day, next town, next city, next country sometimes. With this specific tour – I was in Europe before this actually, I've been on tour all month, but it's been great – I've had a lot more time to be able to see about three extra days in Perth outside of the show day, I've had like two extra days in Adelaide outside the show day, in Sydney I had one extra day. That just doesn't happen with the WWE schedule. So it's been cool, I've been able to get out in every place, see the nightlife, do some touristy stuff, go to the gym, everything! So it's been… it's a good schedule. Even today I'll have some free time, so…
Get my workout in.
Yeah. [laughs]
You started wrestling at such a young age, when did you decide that you wanted to be a pro wrestler?
When I turned 16 I wanted to… I decided, because it was basically the only thing I liked, or only thing I loved for that matter, y'know what I mean? I'd just read wrestling magazines through first and second period and eventually I just kinda figured maybe this is what I should do.
Fair enough, fair enough. In your career in WWE you've been involved in some historic matches. You had the Elimination Chamber at New Year's Revolution, you've been in a Royal Rumble, wrestled at WrestleMania; what's been your favourite match that you've had in your career?
Definitely the one with, ah… the one at WrestleMania was cool, but getting to work with Shawn Michaels was really cool, like that being my first kind of program or feud. I grew up watching that guy. He was actually… the first guy I ever watched when I was a kid as far as getting into pro wrestling was The Ultimate Warrior, unfortunately. But after he had come and gone, come and gone and then finally eventually left, I started appreciating Shawn Michaels' work as a heel and followed him throughout… basically all the way up into my teens until I eventually got into the business myself. So, it was very fulfilling working him, Ric, all these guys before they retired. Y'know what I mean?
'Cause some people will never get to say they got to work the person that they grew up emulating or grew up putting on that pedestal.
Alright, so talking to Chris Masters the fan for a moment, what's your favourite match that you've seen?
Oh, I'm a big fan of that match I just saw… I didn't watch the WrestleMania this past year. I haven't watched wrestling pretty much since almost I left really, but I did stop to watch the Shawn/'Taker match with one of my friends and it was amazing, I just gotta say. I cant really get past that one right now. Those guys did a hell of a job.
I've read on your website that you appeared in some television commercials as a child, and also in Beauty and the Beast on TV…
With the success that Dwayne Johnson and John Cena have had in the acting world, have you considered moving back into acting?
Yeah, but I mean not serious. I mean, I live in LA and I'm sure the opportunity, if the opportunity was there, if it's ever there I'm sure it will present itself. But I just… I dunno. I stay focused on one thing at a time and I still don't think I'm done with wrestling. I mean, I can try to do some acting on the side but I wouldn't really feel… I wouldn't get the overall gratification and fulfillment of what I'm doing right now as far as just to continue wrestling individually – go back to WWE for a second time knowing what I know now. So, that's just something for down the line. I don't really know. I don't know.
So, you just mentioned heading back to WWE for a second time…
That's a goal of yours, definitely?
Well, yeah. You gotta figure, I'm 26 years old. I broke in, I was on Raw when I was… about 20 years old was when I debuted. So, my whole goal was to get in there as young as possible, but at the same time I didn't have the maturity. There's a lot of stuff, a lot of responsibility that I wasn't ready for, but, y'know… hindsight is 20-20 and now six years later I've really changed a lot as a person so I think that it'd only benefit me to put that as my immediate goal for the not so distant future.
Have you considered wrestling for TNA at all?
I love to perform, so I won't rule out anything in terms of TNA, WWE, anywhere. As of right now I've really enjoyed – well, again, like I was telling you earlier – booking myself out as an independent contractor. I look at life, this life, in terms of chapters, as far as a book and this is just… I never paid dues, I never worked indies. I went straight through the system, got signed, went to OVW, went to WWE. So this is probably something that's going to be a useful tool for me down the line in terms of humility, humbling, and also at the same time just giving me some time to see what the rest of the world has to offer in terms of pro wrestling.
Since you left WWE you've wrestled for Antonio Inoki's IGF in Japan, and most recently you've been over in Australia with the AWF. How do you find the different international crowds compare; what are the fans like?
In Japan they take it… they sit there and they're not as rowdy. It's like, they sit there and they really kind of watch it in terms of… they'll sit there with their arms folded across their lap watching and then, once they see something that they get into or the guys do something cool then, then they come up, they show appreciation and then they go back to their seated position with their hands folded. It's kinda interesting watching them, I mean they just look at it really like a sport and they're not there shouting names. They're not as vulgar I guess as some of the American and Australian crowds, who see not as much the sporting side, and more the entertainment side – not that there's anything wrong with either one.
I find them both interesting. I guess I'm a little more used to the vulgar, more vocal American style of wrestling fan, but I dunno. They're all real interesting. I've always loved going to Europe 'cause… America gets it so much more than everybody else that when you go to places outside of America you kind of see how much they get fired up. They're a little more starved for it so… even Australia, working the shows I did, those crowds were amazing. They were just so fired up 'cause they might not have seen wrestling in a year live. So definitely, working outside the US can be really fun.
How do you get yourself in the right zone before a big match? Do you have any backstage rituals or things like that?
At this point, now, I just get warm. I mean, I got some bands and… I never had any injuries 'til the last – serious injuries – 'til the last year and a half. And the last year and a half… I dislocated my elbow in my last WWE match, actually. I was gonna be out four months. Coincidentally I ended up just getting released around that time. But and then most recently I tore my pec. on the right side, so, now for me it's just working up a little sweat, getting warm and getting my joints loose. Also in terms of just going out there just getting you breathing properly – a lot of people don't pay much attention to you breathing – but if you inhale deep, exhale deep, it's a calming mechanism.
And finally, what can fans expect to see from you this Thursday at NZWPW Power Play 6?
Oh! I don't really know necessarily. I think it's definitely going to be a good show, I think it's gonna be a lot of fun. I've never been to New Zealand so I think… I'm expecting a good energy. I hope it's good and the people are happy with whatever I can give them this Thursday. I got the injury I gotta tend to, but at the same time, I mean, I've worked this whole tour and everything's been feeling good. I'm starting to get some confidence back as far as feeling like I can go out there and work a little bit.
Well, I'm definitely looking forward to it. That concludes this interview so thank-you very much for your time, Chris Masters.
It was a pleasure talking to you!
Tags: Chris MastersNZWPWPower PlayShawn MichaelsTNAWWE
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A: Using quotation marks on the attribute name solves your problem.

A: Set-ADUser $users -Replace @{'msIIS-FTPRoot'='NewTEXT'}

redpajama_set_name: RedPajamaStackExchange


• We estimate that volunteers added over two billion hours to Canada's work effort in 2017.
• This volunteer contribution is valued at $55.9 billion in 2017—equivalent to 2.6 per cent of GDP.
Each day, Canadians in every region of the country contribute both their time and money to help and improve the well-being of their communities. Financial contributions from millions of people across the country benefit important causes, including the successful operation of shelters, service organizations, and food banks. Also, contributions help to ensure that universities, research institutes, and hospitals can make key advances in scientific, medical, and other research areas. But in addition to donations, volunteering provides many important services that affect the lives of Canadians—supporting Canadians in need and contributing to sports, arts, cultural, and environmental causes are just some examples.
This briefing focuses on the multifaceted benefits to individuals, organisations, communities, and society when Canadians volunteer their time. Services provided by volunteers not only help to strengthen and empower individuals and communities, but also benefit the volunteers and their employers by expanding their experience, skills, and social and business networking opportunities.
The contribution of volunteering to Canada's economy generally goes unmeasured. While Statistics Canada tracks the contribution of donations and of the non-profit sector to overall economic activity, these estimates do not include the value of non-monetary transactions. As such, the contributions of volunteers are not captured in the national accounts. But even though volunteers are unpaid, their contribution provides tangible benefits and services to many Canadians, making it appropriate to estimate the value of these services.
According to Statistics Canada, in 2013, there were 12.7 million Canadians, or 43.6 per cent of the population, aged 15 years and older who did volunteer work. Younger Canadians had high volunteer participation rates, but those aged 55 and over contributed a much higher number of hours on average. As such, and not surprisingly, the 55-and-over cohort contributes disproportionately to total volunteer time.
For the full research study, click here.
The Conference Board of Canada is the foremost independent, objective, evidence-based, not-for-profit applied research organization in Canada. We are experts in publishing, disseminating research, economic analysis and forecasting, helping people network, running conferences, developing individual leadership skills, and building organizational capacity. We are independent from, but affiliated with, The Conference Board, Inc. of New York, which serves nearly 2,000 companies in 60 nations and has offices in Brussels and Hong Kong.
Volunteer Canada was established to provide national leadership and expertise on volunteer engagement to increase the participation, quality, and diversity of volunteer experiences. Since 1977 they have collaborated closely with volunteer centres, businesses, non-profit organizations, government and educational institutions to promote and broaden volunteering. Their programs, research, training, tools, resources and national initiatives provide leadership on issues and trends in Canada's volunteer landscape.
This study was made possible through funding provided by Investors Group in collaboration with Volunteer Canada. The findings and opinions expressed herein are those of the authors. The research was conducted by Kip Beckman, Principal Economist, and Pedro Antunes, Deputy Chief Economist, at the Conference Board. The findings and opinions expressed herein are those of the authors. The authors thank Paula Speevak, President and CEO, and Katrielle Ethier, Membership and Outreach Officer, at Volunteer Canada for their helpful comments and suggestions.


China's Futuristic Library Has The Sleekest Interior Along With 1.2 Million Books!
Even though most of us love books but there is no harm in admitting that libraries aren't really the most preferable places to read and that is mainly because of how boring their overall infrastructure is. However, this library at Binhai Cultural District In Tianjin defies all perceptions linked with a conventional library.
The highly futuristic looking and huge library is designed by Dutch design firm MVRDV, along with the collaboration of Tianjin Urban Planning and Design Institute (TUPDI). It has been named as "The Eye of Binhai" because when people glance at the interior of the building from above, the spherical auditorium in the center gives a perception of a giant eye staring back at the spectators. The library is stacked up five floors high and covers a vast area of 34,000 square metres. And naturally, such a huge space can hold up a million of books in it but if we were to be exact with the figure then there is room for as many as 1.2 million books in this ultra-modern library.
The walls of the library hall have been painted with bookshelves with books on it from ceiling to the floor, giving a true perception of the potential of the library to hold so many books in it. However, the real books have been placed in several other rooms. The library also includes a reading area, lounge areas, computer and audio rooms as well as meeting spaces in it.
So, wander away in "The Eye Of Binhai" if you wish to lose yourself in the world of history, literature and much more.


Long story short: Taylor proposed on the doorstep where we first kissed!
Long story long: The week before this happened, Taylor and I had made plans to go get sushi on my night off of work. I was suspicious because he said he made reservations which we don't go to many places with reservations, but he did a pretty good job convincing me it was happening several months away. So, fast forward to Tuesday, our sushi date; around 3 o'clock, Taylor called me on the phone and asked for me to come help him take stuff out of his car, which is a normal thing because this is almost a daily occurrence helping him take musical instruments. I notice as I am walking down the stairs that the door is unlocked, but he is just standing out there; so, I opened the door – now before I answered the door I was mid straightening my hair, one side of my head was in a pony tail the other in a bun, and had no make up on – and as I opened the door I noticed in Taylor's hand was one of those Whataburger numbers, with the number 18 on it, and I am thinking "what is happening? We ate a few hours ago; why does he have that?", while I am thinking this I later came to find out he was saying, "I want every moment with you to be as special as the first time I kissed you…" and then he got down on one knee and said "Will you marry me in 2018?" while he holds up the Whataburger sign and the box with the ring.
I could hardly believe this was happening; honestly, I literally said a few times "Is this really happening!?" And of course, after all the "Is this really happening!?", I said Yes!
So I am still thinking we are going to get sushi, but he told me that was not really the plan; he had made reservations else where. Taylor had brought me somewhere much better than sushi; he took me to the Reunion Tower in Dallas where we dined on the best food we have ever eaten.
I can't remember the name of the cocktail, but I know it had basil & lemon!
For those of you who don't know what Reunion Tower is, it is a super fancy tower with a ball (the dining area) that spins really slow. So, all through dinner we looked out at the beautiful scenery of Dallas.
Next stop was to one of my favorite dessert spots, Sprinkle's Cupcakes. Taylor got his usual and I of course got something lemon, lemon blueberry to be exact. It was amazing.
Taylor planned the perfect proposal & I wouldn't have asked for it any other way! I can't wait to spend the rest of my life with my best friend.
I'm so glad you wrote this. What a lovely way to be asked. You knew it was going to happen but this was so wonderfully random it could really be a surprise. Good job, Taylor. We will be there, hopefully the Lineclan can make it. Now fun would that be?
But if not then an LA party will be planned!
Yeah he did such a good job. I can't wait for everyone to come out and celebrate!


text:
Employee benefits Alert
View Author March 2010
The COBRA health care subsidy that was originally enacted in the American Recovery and Reinvestment Act of 2009 (ARRA) and extended in the Department of Defense Appropriations Act, 2010 (DOD Act) has been further extended by the Temporary Extension Act of 2010 (TEA).
ARRA Subsidy and DOD Act Extension
With the original ARRA subsidy, "assistance-eligible individuals" were entitled to elect COBRA coverage by paying only 35 percent of any COBRA premium for up to nine months of COBRA coverage. The ARRA COBRA subsidy was originally set to expire December 31, 2009, so that covered employees who were involuntarily terminated (and their eligible dependents) after that date would not have been eligible for the subsidy. The subsidy was extended by the DOD Act for covered employees who were involuntarily terminated (other than for gross misconduct) on or before February 28, 2010. In addition, the DOD Act extended the subsidy period from nine months to 15 months.
TEA Subsidy Extension
The most recent COBRA subsidy extension now applies to covered employees involuntarily terminated (other than for gross misconduct) on or before March 31, 2010. The subsidy period remains at 15 months. The employer sponsoring the health plan can continue to claim an offsetting credit against its payroll taxes for the reduction in the amount of premium that must be paid by an assistance-eligible individual. The new law applies to both private sector and public sector employers.
Reduction in Hours Followed by Involuntary Termination
The new law creates a special rule for an employee who loses group health plan coverage due to a reduction of hours but continues to be employed. If the employee is later terminated involuntarily on or after March 2, 2010, the involuntary termination is treated as the COBRA qualifying event for election and subsidy purposes. Therefore, the employee is entitled to elect COBRA coverage and to apply for the subsidy after the involuntary termination. This special rule applies even if the employee had already lost coverage due to the earlier reduction in hours (which would have been the usual COBRA qualifying event), and even if the employee had not already elected COBRA coverage after the reduction in hours or had elected COBRA coverage and later dropped it. However, the employee's total COBRA coverage period, as well as the subsidy period, is calculated from the date of the earlier reduction in hours (the usual COBRA qualifying event).
For example, an employee whose work is reduced to a part-time level below the minimum hours required for plan coverage, and whose employment is later terminated completely, would be eligible to elect COBRA and apply for the subsidy after the later termination. However, the employee's maximum period of COBRA coverage and the subsidy period would be dated from the original reduction to part-time work.
The plan administrator is required to notify employees who are affected by the special rule - i.e., those who previously lost group health plan coverage due to a reduction in hours and who are involuntarily terminated on or after March 2, 2010. We would expect that for most employers, the required notice may be sent out by their insurers or third-party administrators. However, employers will have to contact their insurers and third-party administrators to identify the individuals who are affected by the special rule and make certain that an appropriate notice is sent in a timely manner.
Under the TEA, an employer's reasonable determination that an employee was involuntarily terminated is determinative, as long as the employer maintains supporting documentation, including an attestation by the employer of involuntary termination.
If the supporting documentation is not maintained, then the Department of Labor can override the employer's determination. The TEA also allows the Department of Labor to seek penalties of up to US$110 per day from an employer or insurer that fails to follow an overriding determination from the Department of Labor within 10 days.
To determine whether a particular individual is subject to the special rule under the TEA for reduction in hours followed by involuntary termination, or for further information regarding changes to the COBRA health care continuation coverage laws that were enacted by the ARRA, the DOD Act and the TEA, please contact your principal Squire Sanders lawyer or one of the individuals listed in this Alert.
Carol F. Dakin Cleveland
Carl A. Draucker Cleveland
Gregory J. Viviani Cleveland
Tax Strategy & Benefits

redpajama_set_name: RedPajamaCommonCrawl


I followed from a distance your collaboration with Darcy, and though I can't comprehend the magnitude of your loss, I send my heartfelt support.
And the story about the cat is amazing.
You two gals were so Blessed to have each other. I'm truly moved to read your story.
I don't know you or her, but this made me cry. What a lovely, wonderful tribute.
Charity, this is a wonderful, heartbreaking, heartwarming tribute to Darcy. I'm sure her family will treasure every word, and bring them smiles when they're lost in grief.
Darcy was one of the most genuinely nice people I had the privilege of knowing, if only online. She was kind, thoughtful, and just really awesome. I wasn't anywhere near as close to her as you (or so many other folks) were, but the world is a much lesser place without her in it. Your tribute was lovely and I'm so sorry for your loss.
Thank you, Connie. I appreciate your kind words.
Thank you for stopping by and thank you for your kind words.
Thank you so much, and thank you for stopping by.
Thank you, Helen. Sara's (Darcy's daughter) best friend read a version of this at the memorial service on Saturday.
Thank you, M. She truly was as wonderful in real life as she was online.
I was so sad to hear this news last week. My only experiences of Darcy were from a distance, but I always appreciated her bright presence and deep affection for all of us flawed human beings. She will be sorely missed. Thank you for this beautiful tribute; thank you, too, for this list of links to her writing. I am so sorry for your loss.
This was a beautiful tribute to Darcy. She was such a truly amazing person. I have never met anyone who was as full of love as Darcy. I know that she would have loved the words you have written here & would also have insisted that she really wasn't all that great, that she was just like everyone else and trying her best to be a good person. I don't think she every truly realized how amazing of a person she was or how profound her influence was on those around her.
Thank you so much. She was such a bright presence.
Thank you. It's just like you say: she would've insisted that she wasn't all that great–and then we would've argued about that.
What a heart felt tribute she saw it. I truly believe that people that "can finish your sentences" will be a part of you forever as she is to us as we read the novels she was part of us! And your cat she was shock at first to see Darcy but much like the kiss on the cheek from a loved one when they pass. I truly believe that and what a TREMENDOUS GIFT you have left of her! All her words of comfort, love and happiness when you became one as you wrote. Thank you for sharing.
Karen, thank you so much for your kind words. I do appreciate them.
I've read this last year when I first discovered your books. It still brings tears to my eyes. Such a lovely tribute. A truly blessed friendship.
Thank you for your kind words. I still miss her so much.


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Cost-effective and energy-efficient: In the ULTRAVEG project funded by the EU, a system has been developed which can improve drying rates and lower energy consumption during the dehydration process of dried products. And their taste? As good as in conventional production.
Bremerhaven, August 31, 2010. Dried foods are popular, healthy, and offer many advantages for the mass production of food - not least cheaper transportation costs, longer storage life and ease of use. However, modern drying methods prove costly, time-consuming, and labour/energy-intensive. There is therefore a need to provide SMEs in the dried food sector in the EU with a technology which will help them to remain competitive in the global market. New technologies are needed which can significantly reduce drying time and save energy costs. The ULTRAVEG project focuses on the development of a High Power Ultrasound system for low-cost, effec-tive and top-quality drying of fruits and vegetables.
During its final meeting on 31st August 2010, hosted by Gefriertrocknung Greven GmbH, Germany, one of the project partners, the ULTRAVEG consortium demonstrated its achievements to industry and the press. ULTRAVEG has shown very promising results which can move the current state of the art in food drying to a new level.
On the basis of scientific work and process development carried out at the Department of Food Biotechnology and Food Process Engineering of the Technische Universität Berlin, two ULTRAVEG prototypes have been built by Innovació i Recerca Industrial i Sostenible, Spain, and tested for use during conventional drying processes. At ttz Bremerhaven, a combination of hot dry air and ultrasound has been tested in a chamber. Additionally, ttz Bremerhaven performed sensory evaluation tests with the processed goods and analysed them chemically. Development work has not yet been fully completed and the technology will be further improved and adapted for use on a larger scale. It can however be concluded that the future uptake of the technology within the dried food industry will benefit European competitiveness and innovation, employment, the environment, and consumers at large.
High Power Ultrasound (HPU) for the dehydration of porous materials seems to be very effective in processes in which heat-sensitive materials such as foodstuffs must be treated. HPU is a safe and environmentally friendly, efficient and economical technology. High-intensity ultrasonic vibrations are capable of affecting mass transfer processes with the result that the drying rate of materials is increased, thus allowing lower temperatures or shorter treatment times. Since it is not a replacement for current drying techniques, the ULTRAVEG system is designed in such a way that it can readily be used in conjunction with existing drying processes. "This gives especially small and medium-sized companies the opportunity to implement the new technology at moderate costs. It is very important for us to see our research results actually being used in real-life business", said Claudia Krines, R&D Director of the Food Technology Department at ttz Bremerhaven.
Fullwell Mill Ltd., which is a UK-based company established in 1992 that has been involved in the processing and manufacturing of a wide range of organic, fair trade and health foods, including dried foods and snacks.
Gefriertrocknung Greven GmbH, which was established in 2001 in Germany and is providing dried fruits, herbs and vegetables to the food-processing industry.
Aktive Arc Sarl, which is a supplier of consulting services and equip-ment in the field of new and innovative ultrasonic technologies.
HEBOLD Mixing and More GmbH, which was established in 1925 in Germany and specialises in the manufacture of machinery, dryers, mixing plants, batch mixers, continuous mixers, heat exchangers and valves for the food and pharmaceutical industries.
The RTD performers in ULTRAVEG are the Department of Food Biotechnology and Process Engineering of the Technische Universität Berlin, Germany, Innovació i Recerca Industrial i Sostenible from Spain, and ttz Bremerhaven, Germany.
Within the ULTRAVEG project a system has been developed which can improve drying rates and lower energy consumption during the dehydration process of dried products.


Despite calls for electronic, virtual, digital libraries without walls, the walled variety are still being built, some of them massive. This book explores the reasons for this contradiction by examining several notable new library facilities around the world to see how modern expectations for libraries are being translated into concrete and steel. More and more libraries are looking at change not as a dreaded hazard but as an opportunity that can itself be seized to strengthen the library in the areas of mission, technologies, facilities, funding, and organizational structure.
Thirteen libraries are discussed—by a librarian or administrator who worked on the project. Each author writes about the design and building concerns that were particularly relevant to that library: philosophy, political issues, or any other concerns that affected planning, building, and services in the new facility. Introductory and concluding chapters identify underlying values and themes, tying everything together. The unique combinations of issues, constraints, and opportunities show how libraries are planning to fit into the approaching era of virtual information delivery.
"interesting photographs are interspersed throughout the work, which is highly recommended for library architects. It will also be of interest to public and academic librarians"—Library Journal; "excellent"—ARBA; "valuable"—Journal of Documentation; "examines the directions libraries are likely to take in the future"—American Libraries; "provide[s] fascinating insights…recommend[ed]"—Feliciter; "useful"—Technicalities.


"Force Majeure Event" shall mean any event that is beyond our reasonable control and shall include, without limitation, sabotage, fire, flood, explosion, acts of God, civil commotion, or any kind, riots, insurrection, war, acts of government, computer hacking, unauthorized access to your mobile or storage device, crashes, breach of security and encryption.
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EPFM is a 6-6-6 community-based, graduate medical education training program committed to teaching and training full-spectrum family medicine physicians. Prior to the 2018 - 2019 academic year, we were a dually-accredited program (AOA and ACGME) and now we are an ACGME Osteopathically Recognized program. We are affiliated with the University of Washington School of Medicine and Pacific Northwest University of Health Sciences.


The Finals are this Sunday 7/22/18 at Ultimate Arena.
11:00 AM, Women's Open division: North Oakland vs Livonia City FC.
1:00 PM, Men's O-40: Livonia vs Drita.
3:00 PM, Men's O-40: Carpathia vs Canton Celtics.
5:00 PM, Men's Open division: Force FC vs MI Sporting.
©2019 Michigan Premier Soccer League / SportsEngine. All Rights Reserved.


text:
Q: Query optimation for insert to database I need a solution to insert a lot of rows in concurrent time in my sql DB.
I have a rule, that everytime I insert to my transaction table, I need a unique ID that's composed by currentTime+transactionSource+sequenceNumber. my problem is, when I test my service using Jmeter, the service is down when the concurrent insert process is up to 3000 rows. the problem relies on, the duplication of the unique ID I generate. so, there are some duplications. in my assumption, the duplication happen because a previous insert process hasnt finished, but there's another insert process. So,it generates unique ID duplication.
Can anyone give me suggestion in what the best way for doing this? Thank you.

A: MySQL has three wonderful methods to ensure that an id is unique:

*

*auto_increment columns

*uuid()

*uuid_short()
Use them!  The most common way to implement a unique id is the first one:
create table t (
    t_id int auto_increment primar key,
    . . .
)

I strongly, strongly advise you not to maintain your own id.  You get race conditions (as you have seen).  Your code will be less efficient than the code in the database.  If you need the separate components, you can implement them as columns in the table.
In other words, your fundamental problem is your "rule".  And there are zillions of databases in the world that work perfectly well without such a rule.

A: Why don't you let the database handle the insert id and then update the row with a secondary field containing the format you want ? If you have dupplicates, you can always append the row id to this identifier so it will always be unique.


text:
Nam K-W, Kim TJ, Lee JS, Kwon H-M, Lee Y-S, Ko S-B, et al. High Neutrophil-to-Lymphocyte Ratio Predicts Stroke-Associated Pneumonia. Stroke. 2018
Medical and neurological complications, including pneumonia, are found to be major causes of death and morbidity after stroke. Stroke-Associated-Pneumonia (SAP) incidence in stroke units ranges from 3.9% to 44%. Several clinical risk factors and predictive models for SAP have been studied. In this article, the authors' goal is to demonstrate the relationship between the neutrophil-to-lymphocyte ratio (NLR) and SAP in acute ischemic stroke patients, as a novel biomarker predictor.
This article is based on a consecutive stroke registry in two large centers in Korea, in which the authors evaluated acute ischemic stroke patients who were admitted within seven days of the onset of symptoms. SAP was defined according to the modified Centers for Disease Control and Prevention criteria. Final results showed SAP rates of 9%, which is similar to previously reported. In addition, the SAP group had a significantly higher NLR than those of the non-SAP group (3.87 [2.09-6.66] versus 2.35 [1.59-3.81], P < 0.001). Furthermore, using a multivariate logistic regression analysis, the NLR [adjusted OR (aOR) = 1.55; 95% confidence interval (CI), 1.14-2.10, P = 0.005] remained significant after adjusting confounders. Another relevant finding of this article is the increased prediction power of NLR after A2DS2 score addition. The area under the curve of the A2DS2 score was 0.838 (0.816–0.859), which was increased after the NLR was combined with the A2DS2 score (0.858 [0.837–0.878]; P=0.047). Finally, the authors found a close correlation between the NLR and pneumonia severity, length of hospital admission, three months mRs score, discharge NIHSS score and 30-day mortality rate.
It is well known that post-stroke immunosuppression triggered after ischemic brain damage is related to the development of SAP. The originality of this paper is first NLR assessment in an SAP sample, and the ability of mentioned NLR in high-risk SAP patients selection, which could provide clues for further studies about preventive antibiotic therapy. The easy and handy NLR performance allows an extensive use of this study's results in daily clinical practice to select high-risk patients to begin intervention in time.
Up to now, multiple clinical and laboratory risk factors for SAP have been identified; however, the identification of NLR as SAP biomarker predictor supports the previously described stroke induced immunosuppression. Although further studies are needed, the added predictive value of NLR to A2DS2 score sets an important screening tool for SAP patients.
October 31st, 2018|clinical|0 Comments


text:
Q: Snake game grid system I am currently stuck trying to create a grid for my controllable snake to move around. Currently. I am using a resolution of 1024x768 and would like the snake to move between a 16x16 grid (64x48 resolution)
So far the snake just moves pixel by pixel at a set speed.
I'll paste the .cpp and .hpp files below which i think are relevant to where i need to implement the code. If anyone could provide any suggestions/code that would be great!
snake.cpp
#include "snake.hpp"

#include <cstdlib>

void Snake::move()
{
    switch(direction_){
    case Direction::North:
        position_.y += 1;
        break;
    case Direction::East:
        position_.x += 1;
        break;
    case Direction::South:
        position_.y -= 1;
        break;
    case Direction::West:
        position_.x -= 1;
    }

    if (position_.x < 0) position_.x = 63; else if (position_.x > 63) position_.x = 0;
    if (position_.y < 0) position_.y = 47; else if (position_.y > 47) position_.y = 0;
}

void Snake::render(prg::Canvas& canvas) const
{
    canvas.drawCircle(getPosition().x * 16, getPosition().y * 16,16,prg::Colour::WHITE);
}

void Snake::changeDirection(Direction new_direction)
{
    direction_ = new_direction;
}

snake.hpp
#if !defined SNAKE_HPP
#define SNAKE_HPP

#include <prg_interactive.hpp>

enum class Direction {
    North = 1, East, South, West
};

struct Position final {
    int x{0}, y{0};
    Position(int ix, int iy) : x{ix}, y{iy} {}
};

class Snake {
public:
    virtual ~Snake() {}
    virtual void move();
    void render(prg::Canvas& canvas) const;
    void changeDirection(Direction new_direction);
    const Position& getPosition() const {return position_;}
    void setPosition(const Position& position){ position_ = position;}

 private:
    Direction direction_ {Direction::North};
    Position position_ {0,0};
};

    class PlayerSnake : public Snake,
                        public prg::IKeyEvent {
    public:
        PlayerSnake();
        virtual ~PlayerSnake();
        bool onKey(const prg::IKeyEvent::KeyEvent& key_event) override;
};

#endif // SNAKE_HPP

play_state.cpp
#include "play_state.hpp"
#include "ai_snake.hpp"
#include "player_snake.hpp"
#include <iostream>

const size_t MaxShapes {5};
const unsigned int MaxScale {5};

bool PlayState::onCreate()
{
    snakes_.push_back(new AISnake);
    snakes_.back()->setPosition(Position(100,100));
    snakes_.push_back(new PlayerSnake);
    snakes_.back()->setPosition(Position(50,50));

    double x, y;
    for(unsigned shape = 0;shape < MaxShapes;shape++)
    {
        x = (double)(rand() % prg::application.getScreenWidth());
        y = (double)(rand() % prg::application.getScreenHeight());

        shapes_.push_back(Square({x, y}));

    }
    return true;
}

bool PlayState::onDestroy()
{
    return true;
}

void PlayState::onEntry()
{
    prg::application.addKeyListener(*this);
    game_timer_.start();
}

void PlayState::onExit()
{
    prg::application.removeKeyListener(*this);
    game_timer_.stop();
}

void PlayState::onUpdate()
{

}

void PlayState::onRender(prg::Canvas& canvas)
{
    const std::string text = "";

    canvas.blitFast(
        background_,
        canvas.getWidth() / 2 - background_.getWidth() / 2,
        canvas.getHeight() / 2 - background_.getHeight() / 2
    );

    prg::uint text_dims[2];
    prg::Font::MASSIVE.computePrintDimensions(text_dims, text);
    prg::Font::MASSIVE.print(
      canvas,
      prg::application.getScreenWidth() / 2 - text_dims[0] / 2,
      prg::application.getScreenHeight() / 2 - text_dims[1] / 2,
      prg::Colour::RED,
      text);

    for(const auto snake : snakes_) {
    snake->render(canvas);
    }

    for(Shape shapes : shapes_) {
    shapes.render(canvas);
    }
}

bool PlayState::onKey(const prg::IKeyEvent::KeyEvent& key_event)
{
    if(key_event.key_state == KeyEvent::KB_DOWN) {
        switch(key_event.key) {
        case KeyEvent::KB_ESC_KEY:
            prg::application.exit();
            break;

        }
    }
    return true;
}

void PlayState::onTimer(prg::Timer& timer)
{
    for(auto snake : snakes_) {
        snake->move();
    }
}

play_state.hpp
#if !defined PLAY_STATE_HPP
#define PLAY_STATE_HPP

#include <prg_interactive.hpp>
#include "snake.hpp"
#include "square.hpp"
#include <list>

//Example of forward declaration of Snake class
class Snake;

class PlayState final : public prg::IAppState,
                        public prg::IKeyEvent,
                        public prg::ITimerEvent {
public:
    PlayState() = default;
    bool onCreate() override;
    bool onDestroy() override;
    void onEntry() override;
    void onExit() override;
    void onUpdate() override;
    void onRender(prg::Canvas& canvas) override;

    bool onKey(const prg::IKeyEvent::KeyEvent& key_event) override;
    void onTimer(prg::Timer& timer) override;

private:
    //Snake* snakes_[2] {nullptr,nullptr};
    std::list<Snake*> snakes_;
    prg::Timer game_timer_ {0, 1000 / 30, *this};
    const prg::Image background_ {prg::ImageFile("resources/images/border.bmp").load()};

        std::vector<Shape> shapes_;
};

#endif // PLAY_STATE_HPP

player_snake.cpp
#include "player_snake.hpp"

//PlayerSnake Implementation
//
PlayerSnake::PlayerSnake()
{
    prg::application.addKeyListener(*this);
}

PlayerSnake::~PlayerSnake()
{
    prg::application.removeKeyListener(*this);
}

bool PlayerSnake::onKey(const prg::IKeyEvent::KeyEvent& key_event)
{
    if(key_event.key_state == KeyEvent::KB_DOWN) {
        switch(key_event.key) {

        case KeyEvent::KB_LEFT_KEY:
            changeDirection(Direction::West);
            break;
        case KeyEvent::KB_RIGHT_KEY:
            changeDirection(Direction::East);
            break;
        case KeyEvent::KB_UP_KEY:
            changeDirection(Direction::North);
            break;
        case KeyEvent::KB_DOWN_KEY:
            changeDirection(Direction::South);
            break;
        }
    }
    return true;
}

player_snake.hpp
#if !defined PLAYER_SNAKE_HPP
#define PLAYER_SNAKE_HPP

#include "snake.hpp"
#include <prg_interactive.hpp>

#endif //PLAYER_SNAKE_HPP

A: You snake is initially set out of bounds:
snakes_.push_back(new AISnake);
snakes_.back()->setPosition(Position(100,100));
snakes_.push_back(new PlayerSnake);
snakes_.back()->setPosition(Position(50,50));

Because in the move function, you limit the snake to (64, 48) as the maximum location.  The x position 100 is past the limit.  The y positions are past the limit.
You may want to set them at different locations based on the MAXIMUM_WIDTH and MAXIMUM_HEIGHT constants (see my comments):
Snake AISnake;
AISnake.setPosition(MAXIMUM_WIDTH / 4, MAXIMUM_HEIGHT / 4);
snakes_.push_back(AISnake);
Snake PlayerSnake;
PlayerSnake.setPosition(MAXIMUM_WIDTH * 3 / 4,
                        MAXIMUM_HEIGHT * 3 / 4);
snakes_.push_back(PlayerSnake);

Also note that in the above code fragment, there is no dynamic memory allocation.  The variables (snakes) are defined locally and copied into the snakes_ container.  This means that there is no need to worry about memory leaks or memory management (like when to delete the memory occupied by the snake).
More Out Of Bounds
Some places, you use the screen dimensions for the boundaries, others, you use a hard coded value:
x = (double)(rand() % prg::application.getScreenWidth());
y = (double)(rand() % prg::application.getScreenHeight());

You need to decide whether the game board occupies the entire screen dimensions or is a fixed size.  If you keep the above statements, you should test the positions to verify they are within the game borders.
If this is a GUI application, you need to decide on a fixed size game board or a board set to the size of the window or expanding to the entire screen.  For a fixed size board, you should consider a "viewport" design.  This means that the window is a view or port showing a small portion of the board (the board is bigger than the window).
Separation of Screen Vs. Board
You should separate the concepts between a logical board and the physical screen.  This concept lets you adapt the board to the screen without affecting any other modules.
For example, the Board draws onto the screen.  A Board cell may have different pixel dimensions depending on the screen resolution.  However, a part of the snake will always occupy at least one Board cell.  So the snake movement doesn't depend on the screen resolution, only the Board dimensions.
By placing the objects, Board and Screen, in separate files, you can change the screen dimensions without having to recompile any of the snake or main files.


Cork Noticeboard : 100% cork noticeboard or picture frame.
Pinboard is a cork noticeboard, moulded into the shape of an ornate picture frame. Use it to frame a single photograph and then slowly expand your display by pinning other important information around it, it's so nice it almost makes you want to make sure you only cover up as much as is necessary, helping you stay organised and up-to-date.
Noticeboards. We've all got them, mottled brown rectangles dangling from our walls. Considering their only purpose is to be seen, to be a constant reminder that at any second we might need that 4 year old train ticket, they're not very nice to look at are they? Dragging them then out of the past and forcing them into the future by poking them in the back encouragingly with a drawing pin, we've improved them no end.


InVEST: interactive and visual edge selection tool for constructing evolutionary trees.
InVEST is an interactive and visual tool for constructing evolutionary trees from an ordered list of edges. In this paper it is shown that many methods for constructing evolutionary trees reduce to the edge selection problem. Furthermore, through a simulation study, it is shown that noninteractive methods for edge selection often perform poorly and can conceal alternative solutions. InVEST allows the user to interact with and explore an ordered list of edges facilitating the incorporation of user domain knowledge into the evolutionary tree construction process.


text:
Heartbeat (ハートビート) is a compilation album released by the Sonic Groove record label. The album carries various songs by past and present artists who have been under Rising Production's various labels, including Da Pump, Lead, w-inds and Arisa Mizuki.

The album contains an alternate version of Da Pump's "U.S.A", which gained mass popularity in 2018, despite low expectations upon release.

The album garnered a Christmas release on December 25, 2019.

Information
Heartbeat is a compilation album released by the Sonic Groove record label on December 25. 2019 to correspond with the Christmas holiday. The album features artists that are currently, or had been, under the Vision Factory label. These include Daichi Miura, Lead, w-inds, MAX and Folder5.

Along with original tracks, the album featured a few remixes that had been updated for a 2019 release. Those that were given a modernized remix were MAX's songs "Tora Tora Tora", "Give me a Shake", "Tacata'" and "Ride on time", and DA PUMP's song "U.S.A".

All of the songs on the album were rearranged and compiled to create a non-stop mix, beginning and ending with DA PUMP's "U.S.A".

Track listing

References

External links
Official Release News

2019 compilation albums
Avex Group compilation albums

redpajama_set_name: RedPajamaWikipedia


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Since the inception of the original Socom in 1996, it has set the standard for tactical/utility knives. Over the years, improvements have been made, making the Socom more adaptable to different environments. The Socom has a distinct handle shape that molds to your hand. Dual thumb studs. Includes a glass breaker, tip-down carry pocket clip, lanyard hole, a free floating liner lock and super smooth action. Once again back for 2018 with some new upgrades!
This model features a black anodized 7075-T611 aluminum handle with grip inserts. Two tone black/satin finished M390 stainless steel single edge clip point blade. Bead blasted hardware, glass breaker, and pocket clip. The pocket clip is marked with the Microtech logo. The blade is marked with the Microtech logo, model information, production date, and serial number. Brand new in box.


Welcome to Blasco Creative…representing a talented group of over 40 illustrators specializing in a range of medium: scratchboard, digital, cut paper, acrylic, oil, 2-D and 3-D and a variety of styles: photo-realistic, sci fi, children's publishing, editorial, still life. Blasco Creative's range of talent makes finding THE illustrator for your project an easy assignment. Blasco Creative enjoys a strong client base including advertising agencies, pharmaceutical companies, toy companies, magazine and book publishers, sporting goods manufacturers and distributors, and websites. Please visit our website at www.blascocreative.com. As you browse, you will recognize why Blasco Creative should be your destination website for illustration needs. You'll view up to 95 images for each artist, and we can send you additional images if needed. Our artists are featured in The Workbook, Theispot, and The Directory of Illustration and the sourcebook Play.


text:
Chomping at the Bits
Posted on March 30, 2011 April 11, 2012 by Jessica Hilo
A cavalcade of tastes collided at the Third Annual Edible Book Festival held at Santa Barbara City College's Luria Library.
The Edible Book Festival is an international event that celebrates Jean-Anthelme Brillat-Savarin, the father of modern gastronomy and famed French author of Physiologie du gout.
The event was founded in 2000 by Béatrice Coron and Judith Hoffberg, an art librarian and curator whose collection of books resides, in part, at UCSB.
The competition at City College was born a grassroots effort. "The festival is a celebration of culture, food, books and creativity," librarian Elizabeth Bowman told Channels Newspaper. "The purpose is to get people interested in books, to bring people into the library, and to just have some fun."
Fun and frenzy laced this year's competition, with poor weather, last-minute arrivals, and a dental condition afflicting one of the judges stampeding their way through Bowman's office.
"We have somebody who was making a sugar sculpture and it fell apart because the humidity is terrible," Bowman recounted after a series of visitors calmed to a trickle. "One woman has been here with her cake for four hours. I hope she had lunch."
"In the first year, no one knew what to expect…now they know and the expectations are high," Bowman recounted. "Last year we forgot the plates and forks…this year we're a little bit more organized. It's still seat of the pants because it's just fun," she chuckled. "[But] it's still a very low key, fun, encouraging, no pressure event."
Then, suddenly: "Oh, Catch-22 just had a little accident," Bowman charged exasperatedly, sweeping from her half-seated position to attend to a drooping piece of pastry.
Enthusiasm surrounding this year's competition was palpable. Though it only boasted a roster of 43 entrants, the contest saw many students, staff, faculty, and retired faculty submissions in the final, water-logged hours.
Despite the last minute entries, Bowman assured us that contestants have been planning tirelessly over the past year. "People who were here last year have been thinking about it. They'll go to the front desk and ask for suggestions of books or say, 'Here's my book can you think of how I can do it?'"
"I was going to do something by myself, but I figured as a team effort we could get a lot more accomplished. It was still a long process," detailed Sybille Kroemer, a culinary arts student. "We started on Saturday and we worked pretty much continuously every night. We were up until about 1am last night. And then I got up at 3:30am to finish it."
Kroemer and partner Jackie Woo went through several iterations before submitted their ornate cake clothed in water-colored fondant (based on Stieg Larsson's The Girl with the Dragon Tattoo). "I'm exhausted, but it was worth it. It was a lot of fun…I've learned a lot from this process. Jackie and I are already planning next year."
"I made John drive to Albertsons last night to buy shredded wheat," said Pegeen Soutar, artist behindJack and the Beanstalk, to a friend, as husband John stood in tow. "The little ones [weren't] going to cut it." Soutar and her son Josh created quite a stir with their installation of passion fruit-flavored marshmallow clouds and almond cake, which stood nearly two-feet in height.
"It's cool what they can do," said SBCC student, Ashley Medina, dazed by the flurry of activity whirling around her. "I liked the train [Murder on the Orient Express], it looks pretty cool."
"The reason I pick a teacher, a student, and an alumni," said Bowman on her selection of contest judges, "is because they all bring a different perspective. But they have to come to consensus. Sometimes it's very hard."
Sometimes the judges don't come to a consensus at all, opting to create new categories to reward contestants for their innovation and creativity.
This year's stock, largely vying for the 'punniest' award, were not as fortunate.
2011 Winners:
Highest Literary Merit: Murder on the Orient Express
Best Visual Presentation: Jack and the Beanstalk
Most Appetizing: Treasure Island
Most Nutritious: One Fish, Two Fish, Red Fish, Blue Fish
Most Easy: Alice in Wonderbreadland
Funniest/Punniest: If You Give a Pig a Pancake
Great Books: Catcher in the Rye
Best Collaborative Creation: Middle March
Inspired by the 2011 SBCC Reads Book: The Immortal Mitosis
Least Appetizing (category addition): Naked Lunch
Best in Show: The Girl with the Dragon Tattoo
Posted in NewsTagged Edible Books, Santa Barbara City CollegeLeave a comment
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text:
Scripts (documents) (17)
Programs (documents) (14)
Documentary films (20)
Documentary television programs (19)
Radio broadcasting (18)
Documentary videos (12)
Historical museums (9)
Smithsonian Institution. Office of Telecommunications (14)
Smithsonian Productions (10)
Goodman, Benny (Benjamin David) (4)
National Museum of American History. Office of the Director (4)
Smithsonian Press/Smithsonian Productions (4)
DeVincent, Sam (3)
Diller, Burgoyne (3)
Electricity and Modern Physics, Division of, NMAH, SI. (3)
Lipchitz, Jacques (3)
Metropolitan Museum of Art (New York, N.Y.) (3)
Miller, Henry, 1891- (3)
National Air and Space Museum (3)
National Museum of American History. Division of Community Life (3)
Seeger, Pete (3)
Smithsonian Institution. Anacostia Community Museum (3)
Whitney Museum of American Art (3)
Zorach, William (3)
Archives Center, NMAH, SI. (2)
Ayer (N W) Incorporated. (2)
Batten, Barton, Durstine, and Osborn (2)
Benjamin, Karl (2)
Biddle, George (2)
Brasser, Ted J. (2)
Castelli, Leo (2)
Community Life, Div. of, NMAH, SI (2)
Davis, Stuart (2)
DeMallie, Raymond (2)
Decca (recording company). (2)
10th Naval District Steel Band (1)
Afro-Caribbean cults (1)
Almerico, Tony, 1905- (1)
Animal sounds (1)
Appalachians (People) (1)
Arikara Indians (1)
Art in universities and colleges (1)
Ast, Anita (1)
Audio Engineering Society (1)
Big Shell Band (1)
Blackfoot Indians (1)
Boston Chorale (1)
Harlem (New York, N.Y.) (3)
Hollywood (Los Angeles, Calif.) (2)
Amazon River Region (1)
Annapolis (Md.) (1)
Appalachian Region (1)
Baja California (Mexico : Peninsula) (1)
Barbuda (1)
Benítez (Venezuela) (1)
Bronx Park (New York) (1)
Brooklyn (New York, N.Y.) (1)
Carr's Beach (1)
Eastern Transvaal (South Africa) (1)
Query: Television scripts
300 records — Page 6 of 30
Musical History, Division of (NMAH, SI)
Ellington, Duke, 1899-1974
The collection documents Duke Ellington's career primarily through orchestrations (scores and parts), music manuscripts, lead sheets, transcriptions, and sheet music. It also includes concert posters, concert programs, television, radio, motion picture and musical theater scripts, business records, correspondence, awards, as well as audiotapes, audiodiscs, photographs, tour itineraries, newspaper clippings, magazines, caricatures, paintings, and scrapbooks.
Oral history interview with Nazaret Cherkezian
Cherkezian, Nazaret, interviewee
2 audiotapes (reference copies).
The Smithsonian Institution Archives began its Oral History Program in 1973. The purpose of the program is to supplement the written documentation of the Archives' record and manuscript collections with an Oral History Collection, focusing on the history of the Institution, research by its scholars, and contributions of its staff. Program ...
Production Records
Smithsonian Productions
This accession includes the records of Laura T. Schneider, Audio-Visual Production Specialist, primarily documenting her work on "Dream Window: Reflections on the Japanese Garden," an educational film to acquaint American audiences with the historical and cultural significance of Japanese Gardens and their importance to Japan's landscape; and ...
Smithsonian Institution. Office of Telecommunications
17.9 cu. ft. (16 record storage boxes) (5 film boxes)
This record unit consists of 16mm motion picture films produced by the Office of Telecommunications (OTC) and its predecessors, the Smithsonian Museum Service, the Office of Public Information, and the Office of Public Affairs. Also included are films created by outside producers in collaboration with OTC. Included are black and white and...
This accession consists of records created and maintained by Karen Loveland, Director of Special Projects for the Office of Telecommunications, documenting the planning, development, and execution of film, video, and television productions for general release, for accompaniment to exhibitions and exhibition halls, for training, and for televis...
Allen Balcom Du Mont Collection
Du Mont, Allen B. (Allen Balcom), 1901-1965
Electricity and Modern Physics, Division of, NMAH, SI.
While the collection is focused rather specifically on the development of television in America, including technical details, legal proceedings, marketing and advertisement, and manufacturing, it is also a rich source for the history of American advertising, work cultures, sales, and entertainment. There is also information about radio, mostly in p...
Nam June Paik Papers
Paik, Nam June, 1932-2006
SAAM.NJP.1
Smithsonian American Art Museum, Research and Scholars Center
The archive is comprised of the papers of the artist (his writings, notes, scores, plans and designs, photographs and assorted print ephemera), his library (books, magazines, trade catalogs, etc.), as well as three dimensional artifacts from his studio (objects, toys, televisions, radios, the artist's desk, etc.) and over 200 videotapes (the artist's single-channel videotapes, installation videotapes, and videotape records of performances and interviews).
Paul Ryan papers
Ryan, Paul, 1943-
AAA.ryanpaul
The Paul Ryan papers measure 19.7 linear feet and document Ryan's education and career as a pioneering video artist, theorist, writer, and educator. Records include school records, family papers, correspondence, writings, project files, video recordings, teaching files, printed materials, scattered photographs, and artwork by others. Organizational records are also found for the Earthscore Foundation, Earth Environmental Group, the Gaia Institute, and the Raindance Corporation, among others. The bulk of Ryan's professional work is documented in his writings and project files.
Curatorial Records
National Museum of American History. Division of Community Life
This accession consists of the curatorial records of Carl H. Scheele during his tenure as Associate Curator in Charge and Curator in the Division of Postal History, 1964-1977; Curator in the Division of Community Life, 1978-1987; and as Curator Emeritus, 1987-1989. Materials primarily include correspondence, memoranda, and notes documenting ...
Insect Zoo History Files
National Museum of Natural History, Office of Education and Outreach
This accession consists of records documenting the development, transformation, management, marketing, and activities of the O. Orkin Insect Zoo. Materials include correspondence, memoranda, handbooks, scripts, label text, concept outlines, architectural drawings, floor plans, specifications, brochures, original artwork, videotapes, audio...


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text:
Q: pickle error when serialize cython class with lambda I use pickle and dill for follow lambda function and work fine :
import dill
import pickle

f = lambda x,y: x+y
s = pickle.dumps(f)

or even when used in class, for example:
file

foo.py

class Foo(object):
    def __init__(self):
        self.f = lambda x, y: x+y

file

test.py

import dill
import pickle
from foo import Foo

f = Foo()
s = pickle.dumps(f)  # or  s = dill.dumps(f)

but when build same file with format .pyx (foo.pyx) using cython, can't serialize with dill, pickle or cpickle, get this error :

Traceback (most recent call last):
    File "/home/amin/anaconda2/envs/rllab2/lib/python2.7/site-packages/IPython/core/interactiveshell.py", line 2878, in run_cod
      exec(code_obj, self.user_global_ns, self.user_ns)
    File "", line 1, in
      a = pickle.dumps(c)
    File "/home/amin/anaconda2/envs/rllab2/lib/python2.7/pickle.py", line 1380, in dumps
      Pickler(file, protocol).dump(obj)
    File "/home/amin/anaconda2/envs/rllab2/lib/python2.7/pickle.py", line 224, in dump
      self.save(obj)
    File "/home/amin/anaconda2/envs/rllab2/lib/python2.7/pickle.py", line 331, in save
      self.save_reduce(obj=obj, *rv)
    File "/home/amin/anaconda2/envs/rllab2/lib/python2.7/pickle.py", line 425, in save_reduce
      save(state)
    File "/home/amin/anaconda2/envs/rllab2/lib/python2.7/pickle.py", line 286, in save
      f(self, obj) # Call unbound method with explicit self
    File "/home/amin/anaconda2/envs/rllab2/lib/python2.7/site-packages/dill/_dill.py", line 912, in save_module_dict
      StockPickler.save_dict(pickler, obj)
    File "/home/amin/anaconda2/envs/rllab2/lib/python2.7/pickle.py", line 655, in save_dict
      self._batch_setitems(obj.iteritems())
    File "/home/amin/anaconda2/envs/rllab2/lib/python2.7/pickle.py", line 669, in _batch_setitems
      save(v)
    File "/home/amin/anaconda2/envs/rllab2/lib/python2.7/pickle.py", line 317, in save
      self.save_global(obj, rv)
    File "/home/amin/anaconda2/envs/rllab2/lib/python2.7/pickle.py", line 754, in save_global
      (obj, module, name))
  PicklingError: Can't pickle . at 0x7f9ab1ff07d0>: it's not found as foo.lambda

setup.py file for build cython

setup.py

from distutils.core import setup
from Cython.Build import cythonize

setup(ext_modules=cythonize("foo.pyx"))

then run in terminal:

python setup.py build_ext --inplace

Is there a way ?

A: I'm the dill author.  Expanding on what @DavidW says in the comments -- I believe there are (currently) no known serializers that can pickle cython lambdas, or the vast majority of cython code. Indeed, it is much more difficult for python serializers to be able to pickle objects with C-extensions unless the authors of the C-extension code specifically build serialization instructions (as did numpy and pandas).  In that vein... instead of a lambda, you could build a class with a __call__ method, so it acts like a function... and then add one or more of the pickle methods (__reduce__, __getstate__, __setstate__, or something similar)... and then you should be able to pickle instances of your class. It's a bit of work, but since this path has been used to pickle classes written in C++ -- I believe you should be able to get it to work for cython-built classes.

A: In this code
import dill
import pickle

f = lambda x,y: x+y
s = pickle.dumps(f)

f is a function,
But in another code
import dill
import pickle
from foo import Foo

f = Foo()
s = pickle.dumps(f)
# or
s = dill.dumps(f)

f is a class


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This fancy hasp adds style and function to the front of any box. Hasp and included 1205 catch are easily applied. Uses 2 #15 escutcheon pins or #2 screws available in our ecommerce store. Please Note: Hasp and Catch combination only available Online.


I got inspired yet again from someone in the class.
I started riffing on how there must be something special or interesting about the way she learns (3rd House) and pondering what conjunctions of different asteroids could mean.
And then I realized (my aha moment!) that the Goddesses, that Juno, Ceres, Vesta, and Pallas are simply different facets of the feminine soul (whether we are male or female). Same for the Moon and Venus.
Moon showing what we need to feel secure, and Venus showing what excites us, and Juno showing our fidelity and truth, and Pallas showing our wise mind, and Vesta showing our devotion and personal ritual, and Ceres showing our wandering, our travel, in search of self (in the body of the daughter, Persephone).
So the question (which I posed earlier) isn't WHICH Goddess are you because you are all of them.
Here In NeptuneLand: What's Your Ideal?
i'm leaning more towards/feeling more Pallas/Vesta these days. Despite the fact that Palls it makes some heartbreaking bad aspects, I am trying to make the most of that kind of energy. Do think their was any significance to the fact that she was virgin? Like, she was a fully grown women but never really got to experience herself ~in that way~ making it 'easier' for hang with the boys?


text:
Evatran Completes More Than 1,500 Hours of Wireless EV Charging Trials
July 30, 2013 • by Staff
Electric vehicle technology company Evatran announced that it has logged more than 1,500 hours of charging time on its Plugless L2 EV Charging System, which was installed across the country through its Apollo Trial Program. Over 15 installations are now complete, with the final installations slated for mid-August at UC Davis and the City of Sacramento.
Participants, from car rental agencies to corporate campuses to utility providers, of the program used their own Chevrolet Volts and Nissan LEAFs and were asked to provide feedback on the system, including logging daily usage routines and providing qualitative feedback on the user-interface and functionality of the system. The result: convenience over traditional plug-in applications, participants said.
The first participants included Google, Hertz Rent-a-Car, Duke Energy and Clemson University, with installations in the Spring of 2012. The second phase of the program, which began in May 2013, included additional installations at each of the original partners' locations, as well as new installations at SAP, SPX Service Solutions (now installation partner Bosch), the Los Angeles Department of Water and Power, DTE Energy, the City of Raleigh, Idaho National Laboratory, and Argonne Laboratories.
Reservations for the Plugless Level 2 EV Charging System opened in June at www.pluglesspower.com, with the first shipments to individual EV owners expected in August. The system is currently available for LEAF and Volt models, though Evatran is working to bring the technology to other EV models in the future.
Read more about Evatran battery charging system


The New Musical Development Collective, which has been founded to address the lack of diversity amongst musical theatre writers and poor offering of development initiatives, has a home at Theatre Royal Stratford East.
Theatre Royal Stratford East will mentor and support the participants of the new organisation's Musical Theatre Lab, who have been selected following an open call for applications; they include Zara McFarlane, Amber Hsu, Stu Barter, Firdos Ali, Nikki Burnhope, Shireen Mula, Joe Von Malachowski and David Austin Grey.
Each will receive a £1,000 payment, masterclasses and workshops, a work-in-progress sharing at The Other Palace, an excerpt sharing at Theatre Royal Stratford East, a 12-month membership to Mercury Musical Developments, free tickets to Theatre Royal Stratford East productions and access to hot desks and rehearsal rooms.
Theatre Royal Stratford East artistic director Kerry Michael said, "musical theatre is a key priority for Theatre Royal Stratford East, being an art form that has the power to bridge gaps across cultures and develop new audiences. We are excited to support and mentor the New Musical Development Collective with our shared vision to break new ground with British musicals.
"As an organisation that has always had musical theatre development as one its cores, we are excited to share our knowledge and expertise with the NMDC as they respond with us to the rallying call for new British musicals."


Radio program 『Second foreign language with Keiichiro Shibuya×Kohichiro Shima』 have a subtitle 「"knowledge useless immediately" will start on October 21.
They talk about the things that they interested in: Music, Literature, Social and Culture, for example, Michel Houellebecq, Takashi Matsumoto, and Socrates and Praton etc.
And Keiichiro Shibuya composes a new song for this program.
We can go on a trip in a tableau of 270*480 of Kuroda Aki. It seems to go into the cave of Lascaux. Space city to drift between space-time, matter to flow. The memory that appears and depressed, fades away. It is deep and slips in darkness lightly.
The Danish Royal Family are going to see it!
The Vocaroid Opera "THE END", proved to be a great success all over the world will be held in Hamburg, Germany and Aarhus in Denmark in this August.
The Aarhus Festival they will perform in is the biggest festival in the Europe, expected that more than 30,0000 visitors come.
Keiichiro Shibuya and Hatsune Miku will perform in the opening GARA Festival, The Danish Royal Family are going to see it.
The Vocalic Opera "THE END" will be will be held in Hamburg, Germany and Aarhus in Denmark in this August.
A public recording for "NAVIGATION" will be held in Rethink Books, Fukuoka. Keiichiro Shibuya, Kaie Murakami, Shin Suzuki and Koichiro Shima, the chied editor of "Kettle" will talk about the rules of success for loves and works.
Welcome the local peoples and the others. You can get radical talks, and hints from the members in the forefront in the each industries.
Keiichiro Shibuya will performance in Hiroshima international peace art festival "2016 ONE DREAM".
The grand piano which he plays has been bombed with an atomic bomb dropped on August 6, 1945 in Hiroshima.
This event is broadcasted live with "Antia's Way" of Times square.
Keiichiro Shibuya play a set by the real-time programming only using rhythm box TR-808 in this time. Through the stimulating contest of talent to sit astride with various genres, I would like you to feel the future of the music scene in Japan.
Artists: JIMIHENDRIXXX (a.k.a Keiichiro Shibuya) performs on 14 May(sat).
"PIGALLE" has presentation for the collectionon of 2016/17 AW at Tokyo ahead of the world.
With this, Keiichiro Shibuya performs at the presentation. He prays sets a piano and a computer in the space of the presentation. He creates music on the spot.
J-WAVE's spring new program "AVALON" will start on April 4. "AVALON" written as a this radio program's theme music is sold from more than 30 digital distribution stores which is cooperating with TuneCore JAPAN – for example, iTunes, more, and LINE MUSIC and so on. And later, high-quality sound will sell from OTOTOY.
Until now, he have never tried to compose the sound of radio program. Keiichiro Shibuya produces all about the sound of the radio program to the theme music ending, sound logo and a jingle.
Full version of this theme music that makes full use of the digital technology including the synthesizer, and was made is delivered.