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Officials in Trudeau's office tried to pressure Jody Wilson-Raybould into directing prosecutors to settle corruption charges against the Montreal-based construction and engineering company out of court, the Globe and Mail reported Thursday, citing unnamed sources.
"All we've heard are allegations in a newspaper", Lametti, who replaced Wilson-Raybould when she was shuffled into the Veterans' Affairs portfolio last month, told CTV's Question Period host Evan Solomon. In return, the attorney general bears responsibility for decisions taken, and can't shift it to cabinet.
Conservative Leader Andrew Scheer said Trudeau's response was carefully crafted and legally vetted. On the matter of issuing directives to the director of public prosecutions (or "DPP"), the document says: "It is appropriate for the attorney general to consult with cabinet colleagues before exercising his or her powers under the DPP Act in respect of any criminal proceedings, in order to fully assess the public policy considerations relevant to specific prosecutorial decisions".
Singh also pointed out that the demotion of Wilson-Raybould was met with anger from important stakeholders including the Union of B.C. Indian Chiefs.
"Until we get answers we need to try every tool in the toolbox to try to pull those answers out of government", Cullen said. "This is not what we are seeing here", Mr. Scheer said.
Singh accused the government of sacrificing justice in the interests of a multinational corporation.
"Given the disturbing reports of political interference by the Prime Minister's Office in the functions of the Attorney General of Canada, and given the minister of Veterans Affairs recent comments that 'It is a pillar of our democracy that our system of justice be free from even the perception of political interference and uphold the highest levels of public confidence, the committee hold no fewer than four meetings", reads the motion.


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Headlines from China: Tibetan Director Pema Tseden's 'Jinpa' Awarded at Venice Film Festival
Sep 10, 2018 / Headlines From China /
The award ceremony of the 75th Venice Film Festival took place on September 8. Jinpa, a drama feature directed by Tibetan director Pema Tseden and produced by Wong Kar-wai, won Best Screenplay in the "Horizons" section. Read More
Headlines from China: Tencent's E-book Unit to Acquire New Classics Media for Up to $2.25 B
Aug 13, 2018 / Headlines From China /
On August 13, Tencent's e-book unit China Literature announces that the company is in a deal to acquire film & TV production company New Classics Media (NCM) for up to $2.25 billion. Upon completion of the acquisition, New Classics Media will become China Literature's wholly-owned subsidiary. Read More

redpajama_set_name: RedPajamaCommonCrawl


An exposition of hope, its meaning, how it differs from wishful thinking, how it impacts upon our life, and how it can be rekindled.
God provides hope as we look forward to the answer to our prayers. We see Him work little by little as we continue to speak words of praise and thanks. Hope sustains us until the answer comes.
As Christians, this city of peace is a very important location for prophecy. The amazing events that have already taken place in Jerusalem is incredible - but find out what's still going to happen there. It's amazing!
Installation of Assistant Pastor. How may a young woman make an impact? By acknowledging that it was God who brought her to this time and place, and by laying down her very life for the task.


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Sunrise and sunset times in Bairds Bay
Check out today's and tomorrow's sunrise and sunset times in Bairds Bay, South Australia, Australia, as well as the whole calendar for January 2023.
January 29, 2023. Current time: 4:35 pm (Australia/Adelaide timezone)
Day length: 13 hours, 49 minutes
4 hours, 4 minutes left for today's sunset in Bairds Bay
Tomorrow will be 1 minute shorter than today in Bairds Bay
Bairds Bay,
Time zone: Australia/Adelaide
January 2023 - Bairds Bay, South Australia - Sunrise and sunset calendar
Sunrise and sunset times, civil twilight start and end times as well as solar noon, and day length for every day of January in Bairds Bay.
In Bairds Bay, South Australia, the first day of January is 14 hours, 20 minutes long. The last day of the month is 13 hours, 46 minutes, so the length of the days gets 34 minutes shorter in January 2023.
Year distribution of sunrise and sunset times in Bairds Bay, South Australia - 2023
The following graph shows sunrise and sunset times in Bairds Bay for every day of the year. There are two jumps in the graph that represent the hour change for Daylight Saving Time (DST) in Bairds Bay, South Australia.
Kainton
Rocky Gully, New South Wales
Warracknabeal
Kalapa
Nunga
Costerfield


New York City Ballet in Angelin Preljocaj's 'La Stravaganza'.
Much of New York City Ballet's 2013-2014 season reflects a 'holding pattern'. That is, the programs consist of less than the usual quota of masterpieces within the company's historic repertoire, and more than the usual quota of repeated programs, presumably to cut costs. Nevertheless, the final week of the winter season featured more memorable performances from its outstanding dancers, including its current crop of super-soloists.
Translated from the Italian, 'la stravaganza' means 'extravagance'. But it can also mean 'craziness' or 'weirdness' or similar, depending on the context. To me, Mr. Preljocaj's "La Stravaganza", which premiered in 1997, fits neatly within the latter definition. Like "Spectral Evidence", his second piece for NYCB which premiered last season, it's a 'concept' dance. But unlike "Spectral Evidence", it doesn't work nearly as well because it doesn't say anything or have a point of view – it's just the visualization of a very weird idea.
Mr. Preljocaj imagines a culture clash between contemporary dancers and dancers from the 17th Century Baroque era. But he gives this idea, which itself is a reality twist, another twist – he also envisions the contemporary dancers moving to Baroque music (selections from Vivaldi), and the Baroque dancers moving to contemporary electronic music (from a potpourri of sources). On to this premise he concocts a ballet in which never the twain shall meet – except at times they do (whether in a dream or in 'real time' within the fantasy ballet is not clear), and at times one of the contemporary women is drawn to the Baroque dancers (or maybe to the electronic music to which the Baroque dancers are moving) but is forbidden to switch sides. Maybe the twain are never supposed to really meet. Or maybe they should, but can't. Or maybe she'll be vaporized if she really time travels. Whatever, it's strange and somewhat intellectually tickling, and at times lovely to watch unfold, but nothing more.
Weird concepts often have been translated into effective dances. Indeed, much of ballet can be seen as a visualization of strange concepts. But the double-twist of the idea, and the murky references to a potential reconciliation between the cultures, renders any 'read' on what Mr. Preljocaj is trying to say impossible. Although clarity of intent is not a requirement, the absence of it here converts an interesting visualization into a head-scratching puzzle. It could have been so much better. On February 25th, Sara Adams, Brittany Pollack, Gretchen Smith, Devin Alberda, Joseph Gordon, and Allen Peiffer were the 'contemporary' dancers, and Emilie Gerrity, Clair Kretzschmar, Lydia Wellington, Daniel Applebaum, Craig Hall, and Sean Suozzi were the Baroque-era dancers.
Maria Kowroski, Robert Fairchild, Adrian Danchig-Waring, and Joaquin De Luz performing in Peter Martins' 'Todo Buenos Aires'.
Mr. Martins' "Todo Buenos Aires" is considerably less complicated, and considerably more successful. The piece, which originally premiered in 2000, was revised to its current, expanded, form in 2005 (led at that re-premiere by guest artist Julio Bocca). It's all Argentine tango (to five different tangos by 20th Century Argentine composer Astor Piazzolla, who expanded and revolutionized the form by adding jazz and classical elements, resulting in a style known as 'nuevo tango') converted into ballet steps in a relatively standard ballet form of presentation. That is, although the emphasis throughout is on the tango's emotional passion and aggressive, testosterone-driven action, this sense is communicated through the music using ballet vocabulary, and in the context of a ballet divided into discrete segments into which one group of dancers or another dance (as pairs, trios, all male, or solo). It's not the tango, but it is. And it's not ballet, but it is. But whatever it is, it works – perhaps not with the finesse evident in Balanchine's "Western Symphony" (with respect to 'Western' American dance forms and music), but it's very entertaining. Maria Kowroski and Ashley Laracey, smoldering appropriately and matching each other in intense aloofness, shuttled between their respective partners Jared Angle and Robert Fairchild, and Adrian Danchig-Waring and Amar Ramasar. Joaquin De Luz, whether dancing solo or leading others, tied the piece together with extraordinary vitality and pizazz. The music, arranged by Ron Wasserman, was played with consummate skill by Kurt Nikkanen on violin, Steven Hartman on clarinet, Mr. Wasserman on double bass, Nancy McDill on piano, and JP Jofre on the essential instrument of the tango, the bandoneon.
The program was completed by "A Place for Us," performed by Tiler Peck and Robert Fairchild. It premiered last spring with the same leads, and, though superbly executed, is not one of Mr. Wheeldon's best efforts. Intended as a 'thank you' to Mr. Robbins, the piece structurally resembles "Other Dances". But to me the music (by Andre Previn and Leonard Bernstein) doesn't have the compositional substance to which dances, even brief duets, would naturally adhere in the way the Robbins dances do so naturally to the Chopin music he used. The music fades into the background, and the dances lose focus.
On the other hand, "DGV" is a memorable ballet, one of Mr. Wheeldon's finest efforts, and one that is thrilling to watch from beginning to end. On 27th, and except for a repeat performance by Megan Fairchild and Gonzalo Garcia as the second couple, the cast was different from that seen and reviewed several weeks earlier.
As the initial featured couple, Sara Mearns and Robert Fairchild assumed the roles that I previously saw performed by Teresa Reichlen and Craig Hall. Although I preferred what I saw as Ms. Reichlen's more crisp, less balletic, execution, Ms. Mearns, with Mr. Fairchild's attentive partnering, danced the role impeccably.
Equally fine was Brittany Pollack's execution of the role performed earlier this season by Ms. Peck. Although she appears taller than any of NYCB's ballerina speed demons, Ms. Pollack nevertheless seems to thrive on speed, dancing with engaging abandon to accompany her secure technique. I haven't seen her misfire in any role in which she's been cast since she was promoted to soloist last year. But the most significant cast change was evident in soloist Lauren Lovette's performance in the role danced previously this season by Ms. Kowroski.
Christopher Wheeldon's 'DGV Danse à Grande Vitesse'.
I was unable to see Ms. Lovette's "DGV" debut two weeks ago, but word travels fast. During intermission at the Royal New Zealand Ballet's opening night, a friend with whom I was speaking received a text from another friend who was attending NYCB that night. He wrote excitedly that Ms. Lovette had just killed the role. For those uninitiated in ballet-goer jargon, that means she nailed it – only more emphatically. Ms. Lovette, who seems to generate excited 'buzz' in whatever she dances, 'killed it' at Thursday's performance as well.
This role in "DGV" is almost painful to watch. It requires meticulous execution, but because it's unveiled slowly, it also looks particularly tortured and difficult to perform. There's no margin for error; it's either danced flawlessly, or it's not. With her extraordinary extensions and remarkable control, Ms. Kowroski dances the role perfectly; seemingly no one could dance it better. And perhaps no one can. But based on the performance on February 27th, Ms. Lovette already dances it extraordinarily well herself, and brings with it a personal style that makes her performance of it yet another particular and individual triumph.
Ms. Lovette is several inches shorter than Ms. Kowroski, but somehow her performance delivered the same physical impact. Her legs couldn't be as long as Ms. Kowroski's – but they looked as long. Her extension couldn't be as dramatic as Ms. Kowroski's – but it looked equally dramatic. And, aided by superb partnering by Mr. Hall, her control was equally remarkable. But more importantly, she added a personal quality that converted what usually comes across as a cold and mechanical role where technique is everything into a performance to appreciate based on it being danced by her. In the middle of this demanding role, which looked excruciating, Ms. Lovette broke the automaton barrier and smiled, either very pleased with her performance, Mr. Hall's partnering, that she had gotten through the toughest part, or, most likely, because that's just her infectious personality. It made her portrayal human, and gave it a quality of warmth I have not previously seen. And it prompted a text from me to a friend that I might be a little late leaving the theater in order to gather my socks – which Ms. Lovette had knocked off.
When she danced her first featured role in Mr. Wheeldon's "Polyphonia" three years ago, I observed that Ms. Lovette appeared small and pretty enough to be a cute soubrette, but also to be talented enough to be a lot more than that. With her stunning debut performances in both this role and that of the 'girl in apricot' in "Dances at a Gathering" a few weeks earlier, she accomplishes exactly what I saw in her then, perhaps more than any of the other roles that she has successfully assayed to date – excellence in roles that require dramatically different features of character as well as choreographic requirements. It also is indicative of, and demonstrative of, the extraordinary range required in a principal dancer.
The final ballet on the evening's program was "The Four Seasons," a crowd-pleasing piece that at the same time skewers and enhances, and perfectly visualizes, Vivaldi's score. I've seen Erica Pereira dance the lead in 'Winter' previously, and her natural effervescence continues to make her rendition particularly special.
I'd not seen Sterling Hyltin previously dance the lead in 'Spring,' so her portrayal was new to me – but her performance in this role proved no different from her performances in others that I've seen. I've written before that Ms. Hyltin adds a measure of individuality and intelligence to whatever she does – she thinks through every step and gesture. That's not exceptional – every professional dancer does that. But Ms. Hyltin doesn't think it through just to get the performance technically 'right', but to get it to conform to her independent idea of what the role should look like. She doesn't reinvent steps, she just executes them in a way that gives the role added meaning. So she did here, abetted by her partner Tyler Angle. The position of her head, hands and arms when she responded to some musical or visual stimulus communicated spring 'awakening' as much as anything in the steps, the music, or the set. This is not one of the more complex roles in her repertoire, but that doesn't seem to matter – as Ms. Hyltin often does, she made this role look just a little different, and made it look just a little better.
The portrayals in 'Summer' and 'Fall', by, respectively, Ms. Reichlen and Mr. Danchig-Waring, and Ms. Peck and Mr. Veyette, were fine performances, matching the excellent portrayals I had seen in these roles two weeks earlier. However, in the solo male lead in 'Fall,' Antonio Carmena was sufficiently puckish, but could not match the ebullience or crisp execution of Daniel Ulbricht in the same role.
A repeat performance of "Bal de Couture" completed the program, and was notable for the return of Chase Finlay following a lengthy period of injury recuperation. He partnered Ms. Lovette. His return, and their appearance on stage together, reawakened images in my mind of Farrell/Martins (which I've mentioned previously), and even in a lackluster ballet, illuminates NYCB's future. And it makes the imminent disappearance of the JR Art Installation on the Koch Theater's mezzanine floor, arguably this season's greatest new artistic success, a little less difficult to take.


We are welcoming applications from members of the community interested in serving on our Board of Directors. The application is linked here and may be emailed to Elaine Spacher, Executive Director, or mailed to the Nominating Committee at Tanglewood Nature Center, 443 Coleman Avenue Elmira NY 14903. Serving on the Board of Directors offers opportunities for expanding your network, exploring new professional skills ranging from budget management to personnel policies to investments, and ongoing professional development. Plus - it's rewarding to take a leadership role in protecting over 300 acres of land, and reaching over 35,000 people in five counties of NY and PA!
Committees generally meet once a month for an hour, and meeting times vary depending on the schedules of the committee members. Board members should plan for an average monthly commitment of about 2-4 hours preparing for Board meetings, reviewing minutes, and participating in committees, plus an significant annual time commitment in outreach and networking on behalf of Tanglewood - including attending and enjoying the annual fundraiser with your friends!
Fundraising- Responsible for planning and executing major fundraisers including the annual fundraiser (June 1st 2019 - Tanglewoodstock!) and the fall family festival Haunted Happenings.
Investment- Responsible for monitoring the Endowment and other funds, policy making and best practice.
Facilities- Responsible for maintenance of both buildings, all outbuildings and 250+ acres of land.
Human Resources- Responsible for maintaining personnel policies, hiring/firing and personnel budget.
Marketing- Responsible for finding new and exciting ways to put Tanglewood into the public eye, reminding people of the crucial work we do, and why we need support.
Membership- Responsible for monitoring and growing Tanglewood's membership base, from individuals and families to corporations.
Programs & Exhibits- Responsible for developing school and weekend programs as well as museum exhibits and animal decisions.
Nominating- This Committee is responsible for recruiting, interviewing and orienting new Board Members, and providing on-going education for the whole Board.


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Posted on June 17, 2011, in Writing and tagged desire, fantasy, fiction, forbidden, lust. Bookmark the permalink.	4 Comments.
I hear ya on this girl, although it is fiction or fantasy. I often imagine an encounter such as this in the huge library we have or some where similar.
I enjoy having thoughts such as this about complete strangers I see on my daily activities. Great post.


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Gettysburg Artillery
Union Artillery at Battle of Gettysburg
Army of the Potomac Artillery
As organized during the Gettysburg Campaign, June-July, 1863
Chief of Artillery: Brigadier General Henry J. Hunt
First Corps Artillery Brigade: Colonel Charles Wainwright
2nd Maine Battery- Captain James A. Hall
5th Maine Battery- Captain Greenlief T. Stevens, Lt. Edward Whittier
Battery E & L, 1st New York Light- Captain Gilbert Reynolds, Lt. George Breck
Battery B, 1st Pennsylvania Light- Captain James Cooper
Battery B, 4th US Artillery- Lt. James Stewart
Second Corps Artillery Brigade:Captain John G. Hazard
Battery B, 1st New York Light- Capt. James Rorty, Lt. Albert Shelden, Lt. Robert E. Rogers
Battery A, 1st Rhode Island- Capt. William A. Arnold
Battery B, 1st Rhode Island- Captain Fred Brown, Lt. Walter Perrin
Battery I, 1st US Artillery- Lt. George A. Woodruff, Lt. Tully McCrea
Battery A, 4th US Artillery- Lt. Alonzo Cushing, Sgt. Frederick Fuger
Third Corps Artillery Brigade: Capt. George E. Randolph, Capt. A. Judson Clark
Battery B, 2nd New Jersey Light- Capt. Judson Clark, Lt. Robert Sims
Battery D, 1st New York Light- Capt. George Winslow
4th New York Battery- Captain James H. Smith
Battery E, 1st Rhode Island Light- Lt. John K. Bucklyn, Lt. Benjamin Freeborn
Battery K, 4th US Artillery- Lt. Francis W. Seeley, Lt. Robert James
Fifth Corps Artillery Brigade: Captain Augustus V. Martin
Battery C, 3rd Massachusetts Artillery- Lt. Aaron Walcott
Battery C, 1st New York- Capt. Almont Barnes
Battery L, 1st Ohio Light Artillery- Capt. Frank Gibbs
Battery D, 5th US Artillery- Capt. Charles Hazlett, Lt. Benjamin Rittenhouse
Battery I, 5th US Artillery- Lt. Malbone Watson, Lt. Charles MacConnell
Sixth Corps Artillery Brigade: Colonel Charles H. Tompkins
Battery A, 1st Massachusetts- Capt. William McCartney
1st New York Indpnt Battery- Captain Andrew Cowan
3rd New York Indpnt Battery- Capt. William A. Harn
Battery C, 1st Rhode Island- Capt. Richard Waterman
Battery G, 1st Rhode Island- Capt. George Adams
Battery D, 2nd US Artillery- Lt. Edward Williston
Battery G, 2nd US Artillery- Lt. John Butler
Battery F, 5th US Artillery- Lt. Leonard Martin
Eleventh Corps Artillery Brigade: Major Thomas Osborn
Battery I, 1st New York Light- Captain Michael Wiedrich
13th New York Indpnt Battery- Lt. William Wheeler
Battery I, 1st Ohio Light- Capt. Hubert Dilger
Battery K, 1st Ohio Light- Capt. Lewis Heckman
Battery G, 4th US Artillery- Lt. Bayard Wilkeson, Lt. Eugene Bancroft
Twelfth Corps Artillery Brigade: Lt. Edward Muhlenberg
Battery M, 1st New York Light- Lt. Charles Winegar
Battery E, Pennsylvania Indpnt Light- Lt. Charles Atwell
Battery F, 4th US Artillery- Lt. Sylvanus Rugg
Battery K, 5th US Artillery- Lt. David Kinzie
Cavalry Corps Horse Artillery, 1st Brigade: Capt. James Robertson
9th Michigan Battery- Capt. Jabez Daniels
6th New York Battery- Capt. Joseph Martin
Battery B & L, 2nd US Artillery- Lt. Edward Heaton
Battery M, 2nd US Artillery-Lt. A.C.M. Pennington, Jr.
Battery E, 4th US Artillery- Lt. Samuel Elder
Cavalry Corps Horse Artillery, 2nd Brigade: Capt. John Tidball
Battery E & G, 1st US Artillery- Capt. Alanson Randol
Battery K, 1st US Artillery- Capt. William Graham
Battery A, 2nd US Artillery- Lt. John Calef
Battery C, 3rd US Artillery- Lt. William Fuller
Artillery Reserve: Brig. Gen. Robert Tyler, Capt. James Robertson
1st Regular Brigade: Capt. Dunbar Ransom
Battery H, 1st US Artillery- Lt. Chandler Eakin, Lt. Philip Mason
Battery F & K, 3rd US Artillery- Lt. John Turnbull
Battery C, 4th US Artillery- Lt. Evan Thomas
Battery C, 5th US Artillery- Lt. Gulian Weir
1st Volunteer Brigade: Lt. Col. Freeman McGilvery
Battery E, 5th Massachusetts Light- Capt. Charles Phillips
9th Massachusetts Light Battery- Capt. John Bigelow, Lt. Richard Milton
15th New York Indpnt Battery- Capt. Patrick Hart
Battery C & F, Pennsylvania Light- Capt. James Thompson
2nd Volunteer Brigade: Capt. Elijah Taft
Battery B, 1st Connecticut Heavy- Capt. Albert Brooker
Battery M, 1st Connecticut Heavy- Capt. Franklin Pratt
2nd Connecticut Light Battery- Capt. John Sterling
5th New York Indpnt Battery- Capt. Elijah Taft
3rd Volunteer Brigade: Capt. James Huntington
1st New Hampshire Light- Capt. Frederick Edgell
Battery H, 1st Ohio Light- Lt. George Norton
Battery F & G, 1st Pennsylvania Light- Capt. R. Bruce Ricketts
Battery C, 1st West Virginia Light- Capt. Wallace Hill
4th Volunteer Brigade: Capt. Robert Fitzhugh
6th Maine Battery- Lt. Edwin Dow
Battery A, 1st Maryland Light- Capt. James Rigby
Battery A, 1st New Jersey Light- Lt. Augustus Parsons
Battery G, 1st New York Light- Capt. Nelson Ames
Battery K, 1st New York Light- Capt. Robert Fitzhugh
Sources: Gettysburg National Military Park; Official Records of the Union and Confederate Armies
Recommended Reading: The Artillery of Gettysburg (Hardcover). Description: The battle of Gettysburg in July 1863, the apex of the Confederacy's final major invasion of the North, was a devastating defeat that also marked the end of the South's offensive strategy against the North. From this battle until the end of the war, the Confederate armies largely remained defensive. The Artillery of Gettysburg is a thought-provoking look at the role of the artillery during the July 1-3, 1863 conflict. Continued below.
During the Gettysburg campaign, artillery had already gained the respect in both armies. Used defensively, it could break up attacking formations and change the outcomes of battle. On the offense, it could soften up enemy positions prior to attack. And even if the results were not immediately obvious, the psychological effects to strong artillery support could bolster the infantry and discourage the enemy. Ultimately, infantry and artillery branches became codependent, for the artillery needed infantry support lest it be decimated by enemy infantry or captured. The Confederate Army of Northern Virginia had modified its codependent command system in February 1863. Prior to that, batteries were allocated to brigades, but now they were assigned to each infantry division, thus decentralizing its command structure and making it more difficult for Gen. Robert E. Lee and his artillery chief, Brig. Gen. William Pendleton, to control their deployment on the battlefield. The Union Army of the Potomac had superior artillery capabilities in numerous ways. At Gettysburg, the Federal artillery had 372 cannons and the Confederates 283. To make matters worse, the Confederate artillery frequently was hindered by the quality of the fuses, which caused the shells to explode too early, too late, or not at all. When combined with a command structure that gave Union Brig. Gen. Henry Hunt more direct control--than his Southern counterpart had over his forces--the Federal army enjoyed a decided advantage in the countryside around Gettysburg. Bradley M. Gottfried provides insight into how the two armies employed their artillery, how the different kinds of weapons functioned in battle, and the strategies for using each of them. He shows how artillery affected the "ebb and flow" of battle for both armies and thus provides a unique way of understanding the strategies of the Federal and Union commanders.
Gettysburg Artillery (Gettysburg Campaign): Army of Northern Virginia
Army of Northern Virginia
Gettysburg Artillery (Gettysburg Campaign): Army of the Potomac
Battle of Gettysburg : Infantry, Cavalry, Artillery, Weapons, and Tactics
Battle of Gettysburg : Strength of the Armies
Civil War Artillery and Cannon Weapons
Civil War Artillery and Cannon: Field, Garrison and Siege, and Seacoast
Civil War Artillery
American Civil War Artillery Organization
Civil War Artillery & Cannon: From Organization to Types to Projectiles to Battles
Recommended Reading: Civil War Artillery At Gettysburg (Paperback). Description: There were over 600 artillery pieces at Gettysburg. The guns were managed and operated by over 14,000 men. In three days over 50,000 rounds were fired. What impact did artillery have on this famous battle? How efficiently were the guns used, ie, tactics and strategy? What were the strengths and weaknesses on each side? This outstanding book answers the many artillery questions at Gettysburg. Using accessible descriptions, this work details the state of the art of this "long arm" as it existed at the time of the battle. It is an informative overview of field artillery in general while using the battle of Gettysburg to illustrate artillery technology. For it was Gettysburg when the artillery branch of both armies had matured to the point where its organization would stay relatively unchanged for the remainder of the conflict. Prior to Gettysburg, neither army had the "same mix of guns" nor, more importantly, the same structure of organization as it did at this battle. Continued below.
The effects were telling. This book is an artillery 'buff's' delight...The work meticulously examines the forming of the respective artillery arms of the two armies; the organization; artillery technology; guns; equipment and animals constituting that arm; ammunition; artillery operations; the artillerymen and, finally, actions of the guns on July 2 and 3....The work is perfect for someone seeking more data than found in most general histories of the battle...Nicely illustrated to supplement the text, the succinctly written technical details of ballistics, projectile composition and impact of technology for battlefield lethality will prove similarly useful and exciting for anyone captivated by the guns of Gettysburg. Cole explains the benefits and liabilities of each piece of artillery....His use of photographs, diagrams, and maps are excellent and integrate seamlessly into the text....Not only does it explain why events unfolded the way they did , it helps explain how they unfolded. No other modern book on Civil War artillery of this size is as detailed...as this book is generally...The author's broad approach to the whole subject of artillery tactics shine when he compares and contrasts several artillery incidents at Gettysburg that better explain what was going on at the time....This book is essential for all those interested in Civil War artillery, 19th century artillery, or just the battle of Gettysburg. I found Civil War Artillery at Gettysburg to be an informative and well written account of the 'long-arm' at Gettysburg. The book is very well-illustrated with maps and photos throughout. I thoroughly enjoyed this book and highly recommend it.
Recommended Reading: Cannons: An Introduction to Civil War Artillery. Description: The concise guide to the weapons, ammunition and equipment of Civil War artillery; includes more than 150 photographs, pictures and drawings. While this might look like a simple kids book/pamphlet on the cover, there is far more inside this extremely well illustrated guide. The author does a fine job providing a wide overview of the most important cannons of the American Civil War, textual summaries of each and sufficient details of their fundamental statistics. Continued below...
The amazing part is how much the author has fit between a mere 72 pages. This work is very inexpensive and should prove useful to anyone touring Civil War battlefields, interested in Civil War gaming, reenacting, or curious about civil war cannons.
Recommended Reading: Commanding the Army of the Potomac (Modern War Studies) (Hardcover). Description: During the Civil War, thirty-six officers in the Army of the Potomac were assigned corps commands of up to 30,000 men. Collectively charged with leading the Union's most significant field army, these leaders proved their courage in countless battlefields from Gettysburg to Antietam to Cold Harbor. Unfortunately, courage alone was not enough. Their often dismal performances played a major role in producing this army's tragic record, one that included more defeats than victories despite its numerical and materiel superiority. Stephen Taaffe takes a close look at this command cadre, examining who was appointed to these positions, why they were appointed, and why so many of them ultimately failed to fulfill their responsibilities. Continued below.
He demonstrates that ambitious officers such as Gouverneur Warren, John Reynolds, and Winfield Scott Hancock employed all the weapons at their disposal, from personal connections to exaggerated accounts of prowess in combat, to claw their way into these important posts. Once appointed, however, Taaffe reveals that many of these officers failed to navigate the tricky and ever-changing political currents that swirled around the Army of the Potomac. As a result, only three of them managed to retain their commands for more than a year, and their machinations caused considerable turmoil in the army's high command structure. Taaffe also shows that their ability or inability to get along with generals such as George McClellan, Ambrose Burnside, Joseph Hooker, George Meade, and Ulysses Grant played a big role in their professional destinies. In analyzing the Army of the Potomac's corps commanders as a group, Taaffe provides a new way of detailing this army's chronic difficulties-one that, until now, has been largely neglected in the literature of the Civil War.
Recommended Reading: Pickett's Charge--The Last Attack at Gettysburg (Hardcover). Description: Pickett's Charge is probably the best-known military engagement of the Civil War, widely regarded as the defining moment of the battle of Gettysburg and celebrated as the high-water mark of the Confederacy. But as Earl Hess notes, the epic stature of Pickett's Charge has grown at the expense of reality, and the facts of the attack have been obscured or distorted by the legend that surrounds them. With this book, Hess sweeps away the accumulated myths about Pickett's Charge to provide the definitive history of the engagement. Continued below...
Drawing on exhaustive research, especially in unpublished personal accounts, he creates a moving narrative of the attack from both Union and Confederate perspectives, analyzing its planning, execution, aftermath, and legacy. He also examines the history of the units involved, their state of readiness, how they maneuvered under fire, and what the men who marched in the ranks thought about their participation in the assault. Ultimately, Hess explains, such an approach reveals Pickett's Charge both as a case study in how soldiers deal with combat and as a dramatic example of heroism, failure, and fate on the battlefield.
Recommended Reading: Pickett's Charge: Eyewitness Accounts At The Battle Of Gettysburg (Stackpole Military History Series). Description: On the final day of the battle of Gettysburg, Robert E. Lee ordered one of the most famous infantry assaults of all time: Pickett's Charge. Following a thundering artillery barrage, thousands of Confederates launched a daring frontal attack on the Union line. From their entrenched positions, Federal soldiers decimated the charging Rebels, leaving the field littered with the fallen and several Southern divisions in tatters. Written by generals, officers, and enlisted men on both sides, these firsthand accounts offer an up-close look at Civil War combat and a panoramic view of the carnage of July 3, 1863.
Recommended Reading: Brigades of Gettysburg: The Union and Confederate Brigades at the Battle of Gettysburg (Hardcover) (704 Pages). Description: While the battle of Gettysburg is certainly the most-studied battle in American history, a comprehensive treatment of the part played by each unit has been ignored. Brigades of Gettysburg fills this void by presenting a complete account of every brigade unit at Gettysburg and providing a fresh perspective of the battle. Using the words of enlisted men and officers, the author and renowned Civil War historian, Bradley Gottfried, weaves a fascinating narrative of the role played by every brigade at the famous three-day battle, as well as a detailed description of each brigade unit. Continued below...
Organized by order of battle, each brigade is covered in complete and exhaustive detail: where it fought, who commanded, what constituted the unit, and how it performed in battle. Innovative in its approach and comprehensive in its coverage, Brigades of Gettysburg is certain to be a classic and indispensable reference for the battle of Gettysburg for years to come.


The girl without a face sat in a chair.
The walls, sporting streaks the color of dried blood, leered at her, but she could not see them.
The floor pushed itself up against the soles of her rough-shod feet, but she did not care.
The noise outside was deafening in its lusciously torrid invasion, but she could not hear it.
Colorless, she waited for the Imprinting.
She knew it would happen, because she felt it. She had always known. Inside, where it was dark, and moist, and silent.
The Imprinting would come suddenly and without warning. It would arise from all sides at once. Strangely cruel in its violent obscenity. Change everything forever. Make her forget. The Imprinting would give her a voice – one she could not choose. It would make her see things which were not really there. It would let her hear undiluted sounds of plundered senses and raped thoughts. It would come on its own, no one would force it. It was inevitable.
Blank, she shifted on the hard seat, waiting… and waiting again.
The Imprinting was free; it only cost her wings.
She couldn't use them inside anyways. She had never gone out of the room.
If it was even a room.


text:
Relays and Modules > Relays and Modules - Accessories and Optional Equipment > Communications Control Module > Component Information > Description and Operation > Audio Module (AUD) > Page 182
the MD module (MP1) (16/107) for mini discs
the CD module (MP2) (16/106) for compact discs.
The audio module (AUD) can generate simple sound signals which are used for example to warn the driver and passengers if there are problems. These
signals are transmitted from the infotainment control module (ICM) to the audio module (AUD).
When the audio module (AUD) has received optical signals on the MOST network, these signals are sent onwards as analog signals to the directly
connected front (16/4, 16/3) and rear (16/6, 16/5) loudspeakers. Certain versions of the control module have several directly connected components such
as front treble speakers (16/55, 16/56), D-post loudspeakers (16/58, 16/57), center loudspeaker (16/26) and headset sockets (16/111, 16/112). The
control module transmits analog signals to these components.
The microphone (16/77) is directly connected to the audio module (AUD). The microphone transmits analog signals to the control module.
When sound compensation is required, the infotainment control module (ICM) transmits sound compensation signals via the MOST network to the audio
module (AUD).
Certain versions of the audio module (AUD) can also generate a digital subwoofer signal from the signal transmitted to the audio module (AUD). This
signal is then transmitted via the MOST network to the subwoofer module (SUB) (16/79). The signal which is transmitted from the audio module (AUD)
to the subwoofer module (SUB) is a summated and filtered loudspeaker signal.
The bass speaker signals are transmitted from the audio module (AUD) on a dedicated channel on the MOST network.
When the MOST network starts after the ignition is switched on, the infotainment control module (ICM) transmits data to the audio module (AUD)
indicating whether or not there is a subwoofer module (SUB) available on the MOST network.
Selecting the sound source and track from the headset panel
There are two identical button arrangements (16/111, 16/112) on the headset panel, one for each socket. These buttons are used to change the sound
source and track.
When a button is pressed on the headset panel, the audio module (AUD) identifies which button it was. This signal is transmitted between the headset
panel and the audio module (AUD) on a directly connected cable. The audio module (AUD) (16/105) then sends the data onwards via the MOST
network to the infotainment control module (ICM) (16/1) which in turn transmits the data onwards to the selected sound source.
The sound sources which can be selected are:
radio (ATM) (16/110)
CD player (MP2) (16/106)
MD player (MP1) (16/107).
Diagnostic Functions
The control module has a built-in diagnostic system, Volvo Diagnostic, which continuously monitors internal functions as well as input and output
signals.
Diagnostic trouble codes (DTCs)
A diagnostic trouble code (DTC) is stored if the control module detects a fault. A fault which is detected in the most recent operating cycle is defined as


Home Auto Mania Are you ready for an EV?
Moscow (AP) – A Russian teenager has refitted his car to drive it backward, and got a shoutout from Tesla's CEO Elon Musk. But this didn't stop the police from stripping him of the car registration. The 18-year-old was stopped earlier this week driving the battered Lada backward.
he teenager showed in a video posted on social media that he had refitted the car, removing what was underneath the hood to where the trunk normally is, and reversed the driver's seat. The video, posted on Twitter by the Russian television station NTV, got a shoutout Monday from Musk's verified account who said, in Russian, that it was "awesome." Local police, however, were not impressed and fined the teenager for driving backward, illegal refitting the car and driving without insurance.
Takes a special type of person to become a policeman.


text:
Garcia, Gavin uncertain of Corvette C8.R's Daytona prospects
Corvette Racing's veteran stars, Oliver Gavin and Antonio Garcia, are positive about the new mid-engined C8.R's progress but are uncertain how it will perform relative to its GT Le Mans class opposition at this weekend's Rolex 24 at Daytona.
Gavin's full-time partner Tommy Milner set Corvette Racing's fastest time in Roar Before the 24 qualifying which decides garages and pit stalls, and he was encouragingly just 0.108sec off the top time in class, set by James Calado in the Risi Competizione Ferrari 488 GTE.
However, Gavin warned that the race will be several hours old before everyone gets an accurate picture of how the GTLM contenders match up.
"The C8.R is a brand new car and this is its first race outing," said the 2016 Rolex 24 winner. "We won't know where we are in respect to the competition, and they will be looking at us and figuring out where we're strong and where we're weak.
"You can pick up little bits and pieces during the Roar and even in the two or three practice sessions before the Rolex 24, but you never really get a great idea of where you're at until you get five hours or so into the race.
"But it always comes down to the last two hours. It would be quite remarkable if we could come right out of the box and be super-fast, super-reliable and have a successful weekend the first time out."
Two-time IMSA WeatherTech SportsCar Championship GT Le Mans title winner and 2015 Rolex 24 winner Garcia also sounded a note of caution.
"So far, the new Corvette has been quite decent in testing," said the Spaniard who is entering his seventh season with the legendary team. "It is still very early stages for this car.
"Even though we think we are ready, there are things that can come up. We must do everything we can to make sure we are as prepared as possible. Then we can see what we really have.
"Our testing has been a consistent evolution between track days and simulator work. We've been able to develop a plan to develop the car even though we weren't testing on the track. The correlation of data has been good. Everything that we have tested virtually is working in real life. That makes life a lot easier when you can use all your tools to improve.
"We continue to validate all the work we've done and what we find on the racetrack. We are on the right track."
While Gavin and Milner continue to be partnered by Marcel Fassler for the endurance races, Garcia not only is working with a new enduro extra – Nicky Catsburg – he also has a new full-time partner.
Jordan Taylor, who in 2017 won the IMSA Prototype title with the team owned by his father Wayne Taylor, and has two Rolex 24 wins to his credit, has moved to the GTLM class with Corvette, replacing Jan Magnussen.
This continues a relationship with the Doug Fehan-run team that stretches back to 2012, the first of six years in which Taylor raced a Corvette in the Le Mans 24 Hours. Partnering Gavin and Milner, he won the GTE Pro class at Le Mans in 2015.
"I'm excited to go back into GT racing with Corvette in GTLM with all-manufacturer teams and all-professional drivers," he said. "The class will get a lot of eyes on it with the first race for the C8.R.
"The race itself will be extremely difficult. I'll have to get used to looking in my mirrors again! In testing, I was reminding myself to check the mirrors leaving certain corners so I could get in the habit of doing it for the race.
"So I'm looking forward to it. Overall wins are fantastic, but a win is a win; you still get a Rolex watch no matter what class you're in! But for us in GTLM, the competition will be the same if not more difficult than in prototypes."
Source: David Malsher-Lopez
This entry was posted on January 21, 2020 by carbonhans. It was filed under 2020CorvetteC8Stingray, 2020MidengineCorvetteC8Stingray, C8 Corvette ZR1, C8 Z06, C8 ZR1, C8R, C8Z06, car, car of the year, carbon fiber, carbon fiber composite, carbon fiber extreme, carbon fiber product, cars, Corvette, Corvette Assembly Plant, Corvette C8, Corvette C8.R, Corvette GXE, Corvette Racing, corvette z51, CorvetteZ06, Daytona Beach, Daytona International Speedyway, F1, F1 champ, Hans deBot, IMSA, Iredell County, Lake Norman, Lake Norman, NC, Mark Reuss, Mary Barra, Mooresville, NC, National Corvette Museum, North Carolina, sportscar, supercar, Tadge Juechter and was tagged with 24 hours of Daytona, carbon, carbon accessories, carbon fiber, carbon fiber extreme, carbon fiber products, carbonfiber, carbonfiberextreme, carbonhans, cars, carshow, daytona, Daytona International Speedway, daytona prototypes, Hans deBot, imsa, Iredell County, Lake Norman, mark reuss, mary barra, Mooresville NC, North Carolina, Tadge Juechter.


Who provides the services described in this Financial Services Guide (FSG)?
This FSG applies from 1st October 2018 and remains valid unless a further FSG is issued to replace it. We may give you a supplementary FSG. It will not replace this FSG but will cover services not covered in this FSG.
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Find Senior Housing or Assisted Living in Brentwood and cities close by. Indepdendent, Assisted Living and Memory Care are also available in cities close by. We have hundreds of licensed homes at our finger-tips and can educate you and help you select the one that meets your needs. The descriptions below are a sample of what you will find in Brentwood. Call us for a personalized assessment and recommendations.


text:
La Premier League maltese 2013-2014 (ufficialmente BOV Premier League 2013-2014, per ragioni di sponsorizzazione) è stata la 99ª edizione della massima serie del campionato maltese di calcio. La stagione è iniziata il 17 agosto 2013 ed è terminata il 26 aprile 2014. Il Birkirkara, squadra detentrice del titolo, ha ceduto il titolo al , che si è laureato campione per la 22ª volta.

Regolamento
Il campionato è diviso in due fasi. Nella prima le 12 squadre si affrontano in un girone di andata e ritorno, per un totale di 22 giornate. Al termine, le prime 6 partecipano alla poule scudetto, mentre le ultime 6 prendono parte alla poule retrocessione.

Le due poule si svolgono con gironi di andata e ritorno, per un totale di 10 giornate. Le squadre partono con un numero di punti pari alla metà di quelli ottenuti nella prima fase (il numero è arrotondato per difetto, se ottengono un punteggio dispari).

La squadra campione di Malta è ammessa al secondo turno di qualificazione della UEFA Champions League 2014-2015.

La seconda e la terza classifica sono ammesse al primo turno di qualificazione della UEFA Europa League 2014-2015.

Le ultime due classificate della poule retrocessione sono retrocesse in First Division.

Squadre partecipanti

Prima fase

Classifica

Legenda:
      Ammesse alla poule scudetto
      Ammesse alla poule retrocessione

Note:
Tre punti a vittoria, uno a pareggio, zero a sconfitta.
Floriana: -6 punti.

Risultati

Poule scudetto
I punti conquistati nella prima fase vengono dimezzati

Classifica

Legenda:
      Campione di Malta e ammessa alla UEFA Champions League 2014-2015
      Ammessa alla UEFA Europa League 2014-2015

Risultati

Poule retrocessione
I punti conquistati nella prima fase vengono dimezzati

Classifica

Legenda:
      Retrocesse in First Division 2014-2015

Risultati

Verdetti
 Campione di Malta:
 In UEFA Champions League 2014-2015:
 In UEFA Europa League 2014-2015: ,  e
 Retrocesse in Prima Divisione:  e

Note

Collegamenti esterni

Calcio nel 2013
Calcio nel 2014
Campionato maltese di calcio

redpajama_set_name: RedPajamaWikipedia


text:
NHS Legislation
Postcode Lottery
Welsh Cancer Drugs Fund
The right treatment at the right time for cancer patients
Contact UsCase Studies
Jayne's Story
My Dad and my Brother live and work as farmers on their farm on the Herefordshire Powys borders. Dad's passion is his family and his work, and these are what he lives for. He has always said how fortunate he has been to have great health and a job he loves.
In November 2007, he was diagnosed with advanced kidney cancer. Dad had been fortunate that he'd been well until this point, and never really needed the NHS till then.
He had a palliative nephrectomy in December 2007 followed by oncology care.
His Oncologist explained that there are two palliative treatments available:
1. INTERFERON on the NHS
2. SUNITINIB (SUTENT) privately
When I asked Dad's Oncologist, 'Which drug would he choose if it was him or a member of his family with this diagnosis', he replied, ' Sunitinib', and continued to say that his job was to give the treatments available, and advised that Sunitinib is the most effective at this current time, according to the evidence, but was not available on the NHS as yet. It was awaiting NICE approval to determine if it would be available on the NHS.
The Oncologist advised that we discuss these options at home and when we'd made our decision , to phone his secretary so that treatment could start as soon as possible. Mum, Dad, my brother and myself met. We could only see that Sutent was the best choice but the financial burden was huge. We would take it one stage at a time. We didn't know if Sutent would be effective for Dad, but we had to give it a try. We knew we couldn't afford this drug long term, but we did not wish to waste precious time and thought it was best to get on with it, try the best drug (Sutent) first and go from there. We lived in hope that a) it was effective for Dad in reducing the metastatic disease and b) really hoped that NICE would approve it soon, as the clinical evidence was so good. It seemed unbelievable that NICE wouldn't approve it as how could it be morally ethical to license a drug which is clinically proven to prolong lives yet deny it on the NHS due to cost alone.
Dad's GP and Oncologist wrote to the Local Health Board (Powys) to request whether they would consider funding his treatment for his advanced renal cell carcinoma with Sutent. It was declined on the basis that it wasn't approved by NICE. We also involved Dad's local MP and a representative on the Welsh Assembly. In March 2008 my Mum saw Melissa Worth on Breakfast TV where she had won an appeal for a cancer patient. By coincidence, a friend of hers knew of somebody locally who Melissa Worth had worked with in trying to get a cancer drug funded. Mum decided to contact her. We wrote a letter and she agreed to help on a pro bono arrangement. We also saw Kate Spall on Breakfast TV who we emailed. She said she could also help and that inspired us to keep fighting. My Mum, my brother and myself took this on as Dad has enough to cope with.
In the meantime Melissa Worth had been approached by the Sunday Times who were running an article on co-payment. She asked Dad if he'd be willing to be participate which he did. From there, more media attention followed: local radio, regional and national news, Daily Telegraph, Daily Mail. They played a vitally key role in relaying the message re this outrageous cancer drug dispute.
Dad's CT scan on April 3rd 2008 showed fantastic results, the metastases in the lungs had shrunk. A repeat scan in July 2008 showed that Dad was in remission, was clearly benefiting from Sutent, tolerating any side effects well, and was continuing to be able to work as a farmer. His ability to keep working has been a saviour in how he has coped with his advanced kidney cancer.
Melissa Worth and Chloe Nulty appealed to Powys LHB, with input from Kate Spall, to review their decision re Sutent funding for Dad as it was working well and the scans were evidence to prove this. They also highlighted flaws in the LHB's previous decision making process of refusing Sutent for Dad. Undoubtedly Melissa Worth, Chloe Nulty (Halliwells Solicitors) and Kate Spall (Pamela Nortcott Fund) were the key members in this appeal. So also was our Oncologist who wrote a very individualised letter again to the LHB asking that they reconsider on the basis that Dad be treated as an exceptional case so that he could continue to work, as well as reinforcing all the clinical evidence re Sutent.
Finally on July 25th 2008 Melissa phoned up with the news: Dad had been granted funding, she had received an email from the LHB's solicitors. They had funded it on individual circumstances: Dad's scan results, the evidence provided by his Oncologist and the fact that it was continuing to be effective for the duration of time Dad had been on Sutent (6 months). At last Dad and Mum can get on with their lives, really enjoy their time now and not worry where the money will come from to fund this drug. It is horrific enough to live with the cancer diagnosis without all this strain and stress on top: it simply should not be.
© 2018 The Pamela Northcott Fund Website by The Web Hound


text:
Q: Sort feature in association endpoint in Spring Data Rest I have the following two resources, and their association;
@Table(name = "Item")
@Data
@Entity
public class Item {

    @ManyToOne
    @JoinColumn(name = "fk_wrapper")
    private Wrapper wrapper;

    @Id
    @GeneratedValue
    private String id;

    private Integer someValue;
}

and;
@Table(name = "Wrapper")
@Data
@Entity
public class Wrapper {

    @Id
    @GeneratedValue
    private String id;

    @OneToMany(cascade = CascadeType.ALL)
    @JoinColumn(name = "fk_wrapper")
    private List<Item> items;

    private String someField;
}

Then, first, I create a Wrapper;
POST http://localhost:8080/wrappers/
{
    "someField": "asd"
}

http://localhost:8080/wrappers/1 created, then I create two Item's, linked to this Wrapper;
POST http://localhost:8080/items/
{
    "someValue": "5",
    "wrapper": "http://localhost:8080/wrappers/1"
}

&
POST http://localhost:8080/items/
{
    "someValue": "7",
    "wrapper": "http://localhost:8080/wrappers/1"
}

After all this, when I call the endpoint http://localhost:8080/wrappers/1/items, I get the list of these two items, as expected, but what the trouble is that, I cannot seem to have a sorting feature on this endpoint. I seem to be able to sort in http://localhost:8080/items endpoint, but while fetching with association, there doesn't seem to be a sorting feature. Is this lack of sorting is intended, or am I lacking some configuration?

P.S. when I create a custom search method, for example;
@RepositoryRestResource
public interface ItemRepository extends JpaRepository<Item, String> {
    List<Item> findByWrapper_Id(@Param("id") String id, Sort sort);
}

Then I can use the sorting with http://localhost:8080/items/search/findByWrapper_Id endpoint, but too ugly imo, considering there is already an auto-generated endpoint.

A: Spring Data Rest doesn't support sorting on the associations.
You seem to have already found the best way to do what you need, according to the Spring Data Rest team - create a query for fetching the data you need. That will indeed support both pagination and sorting.
The reason why it's not supported has to do with the time when the queries are made to fetch the main resource (before the association endpoints are built) and the facts that the association endpoint makes use of the the loaded entity associations directly and that for supporting sort, a new query would need to be made anyway.
More detailed information can be found here:
https://jira.spring.io/browse/DATAREST-725?focusedCommentId=122244&page=com.atlassian.jira.plugin.system.issuetabpanels%3Acomment-tabpanel#comment-122244
Cheers!

redpajama_set_name: RedPajamaStackExchange


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Q: How to get rid of older mercurial heads? Hi I hope you can from my i/o tell how to proceed to merge everything to the latest update without losing my changes:
$ hg merge
avbryter: grenen 'default' har 4 huvuden - sammanfoga med en specifik rev
(kör 'hg heads .' för att se huvuden)
ubuntu@ubuntu:/media/Lexar/montao$ hg heads
ändring:     192:e571b17295e9
märke:       tip
förälder:    175:f50d4c4461e5
användare:   tekniklas
datum:       Sat Jan 08 04:45:07 2011 +0000
kortfattat:  twitter support added

ändring:     191:9e419ce3e7e1
användare:   tekniklas
datum:       Wed Mar 09 12:56:27 2011 +0000
kortfattat:  adsense maps

ändring:     159:f8d974793b12
förälder:    157:ef1d955b9236
användare:   tekniklas
datum:       Sat Dec 18 17:05:45 2010 +0000
kortfattat:  remove

ändring:     89:008a2ac46b4f
användare:   tekniklas
datum:       Sun Aug 01 07:10:40 2010 +0000
kortfattat:  classifiedsmarket/market/market_ad_preview.html

ubuntu@ubuntu:/media/Lexar/montao$

The latest version is good and I want to "lose" the older heads.
UPDATE. After proceeding with the tip this is the latest output from hg heads:
    $ LC_ALL=C hg heads
changeset:   195:fa7d0ec3760d
tag:         tip
user:        tekniklas
date:        Fri Mar 11 06:04:17 2011 +0000
summary:     searchbox

changeset:   192:e571b17295e9
parent:      175:f50d4c4461e5
user:        tekniklas
date:        Sat Jan 08 04:45:07 2011 +0000
summary:     twitter support added

changeset:   159:f8d974793b12
parent:      157:ef1d955b9236
user:        tekniklas
date:        Sat Dec 18 17:05:45 2010 +0000
summary:     remove

changeset:   89:008a2ac46b4f
user:        tekniklas
date:        Sun Aug 01 07:10:40 2010 +0000
summary:     classifiedsmarket/market/market_ad_preview.html

EDIT, current issue status is:
$ LC_ALL=C hg heads
changeset:   195:fa7d0ec3760d
tag:         tip
user:        tekniklas
date:        Fri Mar 11 06:04:17 2011 +0000
summary:     searchbox

changeset:   192:e571b17295e9
parent:      175:f50d4c4461e5
user:        tekniklas
date:        Sat Jan 08 04:45:07 2011 +0000
summary:     twitter support added

changeset:   159:f8d974793b12
parent:      157:ef1d955b9236
user:        tekniklas
date:        Sat Dec 18 17:05:45 2010 +0000
summary:     remove

changeset:   89:008a2ac46b4f
user:        tekniklas
date:        Sun Aug 01 07:10:40 2010 +0000
summary:     classifiedsmarket/market/market_ad_preview.html

ubuntu@ubuntu:/media/Lexar/montao$ LC_ALL=C hg --config ui.merge=internal:local merge 195
abort: merging with a working directory ancestor has no effect

A: Nowadays you can close your branches (anonymous or not) with:
hg commit --close-branch -m "Closing branch."

You need to be in the branch you want to close before doing it.
I think that closing branches is better than merging it discarding changes because have a better meaning. When closing you said "This changes aren't useful any more", when merging you said "I like the changes but they are already included manually" (but maybe is what you wanted).
You can see this related question Mercurial: beheading a head or this one if you don't want/can't update Can you close a Mercurial branch without updating to it first?.

A: Mercurial is about building a permanent history of your work, so none of its normal usage modes include "getting rid" of old heads.
The most Mercurial-like way to do this is to merge that head in selecting nothing from it.
hg update tip
hg --config ui.merge=internal:local merge 191 # keep my files

Found here.
That will eliminate that head, selecting nothing from it.
Other options that actually remove it from history include just doing:
hg clone -r tip myrepo mynewrepo

Which gets you a new clone that has only your newest head and its ancestors (not its sibling heads) which you can replace your old repo with if you like the result.
That's generally inferior if you buy into the keep-everything-forever model (I do) and doesn't work at all if other people already have clones fo your repo.

A: You can close your old branches. See article from official wiki.

A: Try to merge with lastest remote head and then push your commit
hg merge
hg commit -m 'merge'
hg push


Discussion in 'College Football Stars' started by dolphins15, Jul 9, 2018.
Andrew Wingard (SR) 6'0" 210 Wyoming. He has put up monster production. He has 367 career tackles. 22.5 TFLs, 15 PBUS, 5 FF, 3 sacks and 8 INTS. On the NFL radar and an All American candidate.
Tanner Muse (JR) 6'2" 225 Clemson. Started 9 games and was 3rd on the team in tackles with 64. He had 63 yard fumble recovery for a TD.
Ben DeLuca (JR) 6'0" 201 Charlotte. Led the team in total tackles. He has 170 career tackles with 12 PBUs, 6 FF, and 2 INTS.
Jake Gervase (SR) 6'1" 212 Iowa. He had 58 total tackles to go with 9 PBU's and 3 INTS.
Justin Tranquill (JR) 5'11" 188 Western Michigan. Started the first two games then suffered a season ending injury. He has 107 career total tackles.
Jacob Theineman (SR) 6'1" 210 Purdue. Last season he had 80 total tackles with 5 TFL, 2 sacks, and 2 INTS.
Brody Hoying (JR) 5'11" 203 Eastern Michigan. First team All-Mac. He has 103 career total tackles with 11 TFL, 4 FF, 2 INT with 1 TD.
Robbie Grimsley (SR) 6'0" 193 North Dakota State. He was a FCS State 2nd Team All American. He has 221 career total tackles, 26 PBU's, 3 FF, 3 sacks and 11 INTS.
Awesome looking forward to this years crop of DBs!
Iowa DB Brandon Snyder should return this year as well. He tore his ACL in spring practice last season and came back too quickly. I believe he only suited up for one or two games last year due to injury. Let's hope he is healthy in 2018. Once again Iowa will be a team to watch with 2 projected white starting safeties.
Chase Hansen (SR) 6'3 220 Utah. Made 51 Tackles, 2.5 tfls, 1 sack, and 1 interception last season. Honorable mention all PAC-12. Hansen is up there with Wingard in terms of NFL potential, and should be drafted.
Agreed Wingard and Hansen have draftable grades. In a fair world both should be drafted, I'd also like to see Muse with a big year at Clemson and declare early! We need DBs drafted!
Reed Blankenship (SO) 6'1" 195 Middle Tennessee. Started 9 games as a true Freshman. He was honorable mention All C-USA. He finished fourth on the team with 68 tackles, including 7.0 TFLs, a sack, and two interceptions.
He might not end up a star this season but I wanted to mention an incoming Freshman.
Ethan Bonner might be the only Power 5 scholarship CB in the country. He's a damn good player and everything points to him staying at CB. Defensive Coordinator Lance Anderson had good things to say about him when he signed.
42 tackles 2.5 tfl 4 int 4 FF 1 FR and a TD last year as a sophomore, he was also used as a kick returner. It'll be interesting to see if he slides into the main role since TTU's main kick returners both went to the nfl after last season.
I had no clue that Boise State had a white starting safety last year! He's on the Thorpe award watch list.
He had 108 tackles 4.5 tfl 3 INT 4 pdef 1 FR last season. Those are NFL numbers and he has NFL size, I'm looking forward to watching him these next couple of years. He is hawaiian but is clearly white.
I wonder about how Kekoa Nawahine got his name, he looks fully white, wonder if his paternal grandfather was Hawaiian.
It's in their blood to be on the water.
When their busy schedules allow, a group of Boise State football players — some born thousands of miles away, some here in Idaho, united by a common heritage — bond together.
The ever-growing number of Polynesian-bred Broncos gather at Quinn's Pond when summer temperatures soar.
On Auelua's side of the ball, the Boise State defense is dotted with players whose families hail from Tonga, Samoa and Hawaii.
There's Auelua, defensive tackle David Moa, nose tackles Emmanuel Fesili and Sonatane Lui, STUD end Aisa Kelemete, linebackers Tyson Maeva and Ezekiel Noa and safeties Kekoa Nawahine and Kekaula Kaniho.
There is no easy explanation why so many players who are Pacific Islanders are good — according to PBS, they make up 0.5 percent of the U.S. population but are 28 times more likely to play professionally than any other ethnic group.
It's like you've been saying about the black talent pool drying up. The PTB have determined that will be filled by Polys. In following many of these team's recruits over the years, I don't remember seeing BSU recruiting that many Polys. Maybe they are doing it behind-the-scenes somehow or I just missed it.
At least the 2019 BSU class is shaping up better.
Regardless I cant see how Kekoa Nawahine will be viewed as Poly. He's poly only in name. Just look at him.
I would say for at least the past decade the trend of polys playing in the PAC 12, MWC and at BYU has really exploded. They certainly are not given the skill position spots like affletes (although we are seeing an uptick in poly QBs). However, they are being disproportionately being slotted as defensive linemen, offensive linemen and linebacker. White players just get bumped down one more run in the caste system due to their lack of melanin.
Memphis SS/Star Austin Hall is a very good player that has gotten some next level notoriety. Since he is white and big for a safety at 6'2 215 he will probably get the Nate Gerry treatment at the next level. At Memphis he is going to be a hybrid Safety/OLB this season. He was originally a walk on at Memphis.
Taylor Rapp (JR) 6'0 207 Washington. Thought Rapp would be getting more coverage on here, as he was first team all Pac-12 last season and on the Butkus award watch list heading into 2018. Tallied 59 Tackles, 3.5 tfl's, 2 sacks, and an Int in 2017.
Mentioned last season as to where Taylor Rapp stood from a Caste Perspective because mother is from China. He is an outstanding player w bright future!
Good article with the opportunities that are few & far between!
Chase Kuerschen (Soph.) 6'- 1" 210 Tulane ... had 8 starts as True Freshman had 60 tackles(4th most on team) Two Forced Fumbles & pass deflection; ...listed as Starter in publications; however Ourlads doesn't list him on Depth Chart for some reason?
Parker Baldwin (Sr.) 6'- 2" 215 San Diego State......Honorable Mention All Mountian West Conf. ; Hard hitting Safety recruited as Athlete had 75 tackle & INT; yeah Leonardfan....wonder if he will get Nate Gerry treatment too?
Andrew Bird was a first team all Texas selection going to Rice as a true freshman cb as well. A whole whopping 4 guys. I am 42. By the time I hit 50 there will be no white corners left in d1 football.
Nice was unaware of this guy! I too have noticed the trend of bulking up our bigger safeties into LBs at next level. Blechen, Gerry, Hansen another Ute and now possibly this guy. It's frustrating but the situation is so dire at this point that I'll take them making roster's as athletic LBs.. Just like with our RBs, DBs are either too small or too big. Always looking to move us to FB or LB..
All signs are also pointing to Brandon Ezell starting at CB for San Jose State this year!
DB Chris Johnson University of North Alabama - Division 2 Consensus All American with next level ability.
Nice highlights! 6'3 200lbs next level ability no doubt.
I haven't heard much about him on here but BYU has a starting safety that transferred from Utah named Austin Lee, he has been putting up a decent season.


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Pediatric neurologist and neuro-oncologist Yasmin Khakoo with a young patient.
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text:
Humbled – A Building Stories Non-Review
by Tom Shapira | in Reviews | Sat, 13 April 2013
Let me be frank – this is not a review of Building Stories (Published by Pantheon Books, 2012) by Chris Ware (Published by Mr. and Ms. Ware, 1967). Nor is this an attempt at analysis, extrapolation or understanding. No. The point of this article is the fine line in which your humbled reviewer throws his hands in the air and admits defeat. The point in which the writing of the review becomes an exploration of limitations of the self.
Now, I' m not saying it is impossible to review Building Stories (there are plenty of other reviews in the far reaches of the web, and plenty more will come); nor am I saying that this book / graphic novel / box-o-stuff is free from faults: it has the exact same faults that I found in every other Ware work to this day – the sheer, overwhelming misery of the characters and plot, the thinness of the story, the sameness of some of these stories… normally I would say of such a work that if you liked Chris Ware's previous efforts you should go for it, but if you were ambivalent about them (as I was) you should let it pass. But I can't say that; because that would be to pass judgment that I do not believe myself fit to pass.
It's started with the size of the thing: Building Stories, in case you have only witnessed it in previews, is not a "Graphic Novel" in any sense of the term we use today. It's official size is 11.7X1.8X16.7 inches; a polite and calculated terminology that in way term express what is like to hold this thing in your hand: It's big is what I'm saying. A bloody-big-box of comics – it dwarfs (totally and utterly) every omnibus or Absolute edition that I have; looking at it, feeling its dimensions and heft at the store told me it was something else.
And there are the contents – the fine folks at Amazon list it as containing 260 pages, divided over 14 "parts" which include books, booklets, accordion strips, posters, Hardcovers and Foldout stand. Again – in writing, it sounds like a small matter: 260 pages is a not very impressive in this world of Omnibus and Deluxe editions, the modern comics reader is well acquainted with five hundred, even the thousand, pager book. But these are ordinary comics, there is simply more of them in a more limited space. One (well – this one) can read the entirety of the Invincible Compendium (1024) or Scud: the Disposable Assassin (786) – but it took me months to work through Building Stories. Ware's work was always dense, but the regular page sizes still put a limit upon him; with the varying sizes of Building Stories' many parts these limits no longer apply – it took me longer to read certain pages than it took me to read whole issues.
The reason I make all these bland descriptions, all these obvious claims (you don't need me to tell you that Chris Ware's work is heavily dense and impressive looking – you have eyes after all) is to avoid reaching the point where I have to comment on the actual value of work (re – is it "good" or "bad", is it "worth your time"). I try to avoid this point because I can't make that judgment. This has never happened to me before with a comic book.
Oh, sure – I have read comics the inspired me with their insightful understanding of the world (The Filth), comics that impressed with the sheer might of craftsmanship (Promethea), comics that amazed me with their unbound imagination (The Incal) – but I've never been in such a state of un-knowingness: what do I think of Building Stories? I can't say. I can't criticize it because I can't comprehend it; Building Stories is, quite literally, off my scale[1].
The only other artwork of narrative nature to which I can compare Building Stories is David Foster Wallace's (in)famous novel Infinite Jest – a behemoth of a book, heavy in themes, plots and characters; perhaps the longest and most difficult read I've ever experience. Reading Infinite Jest broke me: when I started reading it, I still had some delusions that I will someday be a writer of note, when I turned the last page I was decided that there is no point in becoming a writer because I can never write something like that.
And were I an aspiring writer or craftsman of sequential art, it is quite likely that I would have felt the same at the final page of Building Story – a sense that there is no point in attempting to create something of your own because you are never going to top what you've just experienced. And that is what Building Stories is – it is not a "comic" or a "graphic novel", it is an "Experience" – with a capital E and probably capital XPERIENCE. If you have even the slightest interest in comics as a form and a medium you owe to it to yourself to read – I won't say you like it but you still have to do it.
[1] I am reminded of Roger Ebert attempting, and failing to review The Human Centipede (a horror film whose title is really all you need to know about it): "The star rating system is unsuited to this film. Is the movie good? Is it bad? Does it matter? It is what it is and occupies a world where the stars don't shine." Granted, Ebert was being overly negative while I am, mostly, positive in my refusal to rate the discussed work. but we both share a kind of sentiment…
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Tom Shapira is a carbon-based life from the planet earth. He was formed in the year 1985 AD by two loving parents. He is also an MA student of English Lit. at Tel-Aviv University, Israel, where he feels proud to be the first student to graduate with a BA by writing a paper about the works of Grant Morison. In his native tongue, Tom is a staff writer for Israel's leading comics blog Alilon.net and an occasional participant in the blog's bi-weekly podcast. He spends too much time, money and thought on Comics (especially the works of Grant Morison, Alan Moore, Warren Ellis and Garth Ennis) and his friends and family wish he would stop. He is not going to.
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