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Jugadores favoritos
INICIAR SESIÓN /REGISTRARSE Editar Perfil
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{{if data.type == 'weather' || data.type == 'lbMessage'}} {{if data.labelOverride && data.labelOverride.length}} {{= data.labelOverride}} {{else}} JUEGO RETRASADO {{/if}} {{else data.type == 'standings'}} {{if data.labelOverride && data.labelOverride.length}} {{= data.labelOverride}} {{else}} POSICIONES {{/if}} {{else data.itemData.roundState == 'Groupings Official'}} {{if data.labelOverride && data.labelOverride.length}} {{= data.labelOverride}} {{else}} HORARIOS DE SALIDA {{/if}} {{else data.itemData.roundState == 'In Progress' || data.itemData.roundState == 'In-Progress'}} {{if data.labelOverride && data.labelOverride.length}} {{= data.labelOverride}} {{else}} EN VIVO {{/if}} {{else}} {{if data.labelOverride && data.labelOverride.length}} {{= data.labelOverride}} {{else}} TABLERO DE LÍDERES {{/if}} {{/if}}
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RESUMEN DE PUNTAJE
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Rafa Cabrera Bello
Estatura
Profesional desde
University of Las Palmas
Las Palmas, Gran Canaria, Spain
Top-10 (2020)
PROMEDIO DE SCORE (2020)
Highlights Rafa Cabrera Bello's backspin approach at Mexico Championship In the second round of the 2018 World Golf Championships - Mexico Championship, Rafa Cabrera Bello hits his 99-yard approach shot on the par-5 6th hole to 8 feet, then sinks the putt for birdie.
Cargando….
BAY-oh
Maspalomas, Gran Canaria, Spain
Lugar de Residencia
Wife, Sofia; Alva Margareta
Ganancias de la carrera
Gran Canaria, Spain
Ciudad que representa
PGA TOUR: 2017
International Victories (6)
2006 MAN NO Open [EurChall]
2008 Credit Suisse Challenge [EurChall]
2009 Austrian Golf Open [Eur]
2012 Dubai Desert Classic [Eur]
2017 Aberdeen Asset Management Scottish Open [Eur]
2021 Acciona Open de Espana presented by Madrid
Additional Victories (1)
2005 Canarias Professional Championship
2016 Ryder Cup
2013, 2016 World Cup
Began playing as a youngster, with the garden in his backyard next to a golf course in the Canary Islands.
Studied business and economics at the University of Las Palmas but didn't graduate when his professional career took off.
His younger sister Emma plays on the Ladies European Tour.
Interests include surfing, fitness and photography.
Reading, water sports, soccer, skiing
Missed the FedExCup Playoffs for the first time in his fourth season as a PGA TOUR member, finishing the season No. 129 in the FedExCup standings. Made 10 cuts in 16 starts but failed to record a top-10 on TOUR for the first time since 2014-15.
Qualified for the FedExCup Playoffs and advanced to the BMW Championship for the third time in as many seasons on TOUR, ending the season at No. 70 in the FedExCup standings. Did not compete in THE NORTHERN TRUST, the first of three FedExCup Playoffs events, electing to stay home with wife, Sofia, for the birth of their first child. Earned a pair of top-10s, both T3s, and 17 cuts in 19 starts.
Arnold Palmer Invitational presented by Mastercard: Finished T3 at the Arnold Palmer Invitational presented by Mastercard in his tournament debut. As the first-round leader following a 7-under 65, made his lone bogey of the final round at No. 18 to close with 3-under 69. Marked his third T3 in stroke-play events on the PGA TOUR (2019 Arnold Palmer Invitational, 2018 THE CJ CUP @ NINE BRIDGES, 2018 WGC-Mexico Championship).
THE CJ CUP @ NINE BRIDGES: Carded a 7-under 65 with birdies on each of the last four holes of the final round to finish in a tie for third at THE CJ CUP @ NINE BRIDGES.
Advanced to the FedExCup Playoffs for the second time, ending his season at No. 41 in the FedExCup. Season included 18 made cuts in 20 starts, led by a T3 at the World Golf Championships-Mexico Championship (one of five top-10s).
Dell Technologies Championship: Recorded his fifth top-10 of the season with T7 finish at the Dell Technologies Championship. Briefly took a share of the lead during the final round after seven birdies and a bogey on his first 11 holes, but dropped three shots over the last six holes.
PGA Championship: Following an even-par 70 in round one at Bellerive Country Club, posted scores of 68-69-64 to finish T10 with Tyrrell Hatton at 9-under 271. Paired together on Sunday, both posted bogey-free 6-under 64s, tying the day's low round with Tiger Woods. Were two of just three players to play Sunday's final round with no bogeys (Francesco Molinari).
World Golf Championships-Mexico Championship: Tied his career-best finish in a World Golf Championships event with a T3 at the WGC-Mexico Championship. Carded an eagle-2 on the par-4 first hole and three birdies in the final six holes.
World Golf Championships-HSBC Champions: Finished T5 in the World Golf Championships-HSBC Champions with four rounds of par or better for his second-career top-five finish at a WGC event.
CIMB Classic: Making his first start of the season, recorded his second top-10 in as many starts at the CIMB Classic, a T10 finish.
Made the cut in 13 of 19 starts during the 2016-17 season, with four top-10 finishes. Ended the season No. 61 in the FedExCup standings. On the European Tour, notched his first victory since 2012 at the Scottish Open in a playoff.
BMW Championship: Advanced all the way to the third FedExCup Playoffs event, with his season ending following a T33 at the BMW Championship at Conway Farms.
Dell Technologies Championship: With his T18 finish at the Dell Technologies Championship, joined Emiliano Grillo and Stewart Cink as player who moved from outside the top 70 to inside that number (No. 60) to advance to the BMW Championship.
The Open Championship: Finished T4 in his attempt to join Phil Mickelson (2013) as the only players to win the Scottish Open and Open Championship back-to-back in the same season. The finish marked his first top-10 finish in a major championship.
Aberdeen Asset Management Scottish Open: Won his first European Tour event in over five years as he claimed the fourth Rolex Series event of the season at the Aberdeen Asset Management Scottish Open. Had finished second six times since his win at the 2012 Dubai Desert Classic but overcame Callum Shinkwin in a playoff at Dundonald Links to win his third title. Posted a course-record final-round 64 to get to 13-under. A bogey from Shinkwin on the last allowed for a sudden-death playoff, where a stellar second shot into the par-5 18th set up a tournament-clinching birdie.
FedEx St. Jude Classic: Held a share of the 54-hole lead in his first start at the FedEx St. Jude Classic after rounds of 70-66-65 and total putts of 27, 25, 23 in the first three rounds. Marked his second lead/co-lead after any round on the PGA TOUR. Finished T4 after a final-round 71.
THE PLAYERS Championship: Made history during the final round of THE PLAYERS Championship when he became the first player to record a double eagle at the par-5 No. 16, just the third double eagle at TPC Sawgrass. Began the final round five strokes back, but finished T4 in his second start in THE PLAYERS.
ISPS HANDA World Cup of Golf: Finished T8 at the ISPS HANDA World Cup with teammate Jon Rahm on the Spain team at Kingston Heath Golf Club in Australia in late-November.
CIMB Classic: Posted four sub-par scores at TPC Kuala Lumpur in October to claim a share of 10th place at the CIMB Classic at 13-under 275.
Splitting time between the European Tour and PGA TOUR, collected five top-25 finishes in 10 starts on the TOUR, of which three were top-10 showings to earn 2016-17 TOUR card via top 125 non-member list. Through three starts in the 2015-16 season, earned enough non-member FedExCup points (404) to be eligible for Special Temporary Membership on the PGA TOUR. Needed to earn more than the player who finished No. 150 on the 2014-15 FedExCup points list (361/Cameron Percy).
Ryder Cup: Making his first-ever start at the Ryder Cup, went 2-0-1 in his three matches in the European team's 17-11 loss to the United States in the biennial event. Was the only European without a loss at Hazeltine.
Wyndham Championship: Just six days removed from his T5 finish at the Olympic Games in Rio (one of seven players who made the journey from Rio to the Wyndham Championship), posted a T5 at the Wyndham Championship. Shared the first-round lead with Kevin Na after a bogey-free 7-under 63, which included five birdies and one eagle.
Olympic Men's Golf Competition: Represented Spain when golf returned to the Olympics for the first time since 1904 in the Rio 2016 Olympic Games. Finished T5 in the 60-man field.
100th Open de France: In July on the European Tour, finished fourth at the French Open.
Shell Houston Open: Playing on a sponsor invitation, finished fourth at the Shell Houston Open in his first appearance at the Golf Club of Houston and his 24th career PGA TOUR start. Played his last 40 holes without a bogey.
World Golf Championships-Dell Match Play: Reached the semifinals of the World Golf Championships-Dell Match Play, losing 4 and 3 to eventual runner-up Louis Oosthuizen. Defeated Rory McIlroy, 3 and 2, to win the consolation match for his best PGA TOUR finish. His check for $660,000 was the biggest of his career. His play in Austin guaranteed him a spot in the top 50 of the Official World Golf Ranking, earning his Masters debut.
Omega Dubai Desert Classic: Finished T2 at the Omega Dubai Desert Classic.
Commercial Bank Qatar Masters: Finished T2 at the Commercial Bank Qatar Masters.
Abu Dhabi HSBC Golf Championship: Began 2016 on the European Tour with a T14 finish at the Abu Dhabi HSBC Golf Championship.
KLM Open: Finished T7 in mid-September at the KLM Open. Finish was a disappointment, though, as he held a share of the 54-hole lead with Lee Slattery at Kennemer G&CC in the Netherlands. A final-round, 1-over 71 dropped him into a tie with Magnus Carlsson and Mikko Korhonen, four shots short of winner Thomas Pieters.
Alstom Open de France: Contended again in early July, at the Open de France, where he came up short, finishing fifth at Le Golf National. Shot a final-round, 3-under 69 to earn the top-five.
Lyoness Open powered by Greenfinity: Made a valiant run at victory in mid-June on the European Tour, at the Lyoness Open in Atzenbrugg, Austria. Began the final round two shots behind 54-hole leader Gregory Bourdy after opening 69-68-66 at Diamond CC. Could only muster an even-par 72 on a day Bourdy shot a 78. Watched as Chris Wood came from five off the pace, shooting a final-round 67 to capture the win, leaving him in solo second, two shots behind Wood.
Dubai Duty Free Irish Open: Finished T4 with four others in late-May at the European Tour's Irish Open.
Puerto Rico Open: Recorded his first career PGA TOUR top-10 (T10), turning in the feat at the Puerto Rico Open (previous-best was T17 at the 2013 World Golf Championships-Cadillac Match Play). The finish marked his second start at Trump International GC (T24 in 2014).
Played in five PGA TOUR events, including two major championships.
DP World Tour Championship: Held the 54-hole lead at the European Tour's season-ending DP World Tour Championship in Dubai. Stumbled badly late in his round, finishing at 3-over 75 that dropped in him into a T9 with Branden Grace and Joost Luiten, five shots short of winner Henrik Stenson at Jumeirah Golf Estates.
PGA Championship: Finished 73rd at the PGA Championship.
The Open Championship: Missed the cut at The Open Championship.
BMW International Open: Opened with an 8-under 64 at the BMW International Open then followed with rounds of 68-70-67 to get into a playoff with Fabrizio Zanotti, Gregory Havret and Henrik Stenson at GC Gut Larchenhof in Koln, Germany. Eliminated from the extra session on the fourth playoff hole when he couldn't match Stenson and Zanotti's pars to record the T2 finish.
Nordea Masters: Four par-or-better rounds at the Nordea Masters led to a T9 in Sweden.
Puerto Rico Open presented by seepuertorico.com: Best finish was a T24 at the Puerto Rico Open in March.
The Commercial Bank Qatar Masters: Held the third-round lead at the Commercial Bank Qatar Masters in late-January. Played well in the final round, shooting a 3-under 69. But he watched as Sergio Garcia and Mikko Ilonen both shot 69s to leave him one shot out of the duo's playoff. He finished T3 with Thorbjorn Olesen.
ABU Dhabi HSBC Golf Championship: Shot a third-round 73 at the Abu Dhabi HSBC Golf Championship but recovered with a Sunday 68 at Abu Dhabi GC to finish T4, two strokes behind winner Pablo Larrazabal.
BMW Masters: Was T8 in late-October in Shanghai, China, at the BMW Masters. Took the 54-hole lead after a 5-under 67 in the third round but stumbled to a 1-over 73 on the final day at Lake Malaren GC.
Volvo Golf Champions: Earned his first top-10 of the season with a T9 at the Volvo Golf Champions in South Africa in mid-January.
BMW Italian Open: Finished solo-ninth in September at the BMW Italian Open in Turin.
Johnnie Walker Championship at Gleneagles: Earned a top-10 at the Johnnie Walker Championship in late August. Was T10 at The Gleneagles Hotel.
Irish Open: Thanks to a seven-birdie, one-bogey, final-round 66 at the Irish Open, he moved up the leaderboard to finish solo second, four strokes behind Jamie Donaldson at Royal Portrush GC.
Volvo World Match Play Championship: Finished T3 at the Volvo World Match Play Championship in Spain in May. Lost in the semifinals to Graeme McDowell.
Maybank Malaysian Open: Finished five strokes off the pace at the Maybank Malaysian Open in April to T3 in Kuala Lumpur
Omega Dubai Desert Classic: Opened with a 63 at the Dubai Desert Classic then hung on for a one-stroke victory on the European Tour, his first since winning the Austrian Open in 2009. His final-round 68 was enough to edge Stephen Gallacher and Lee Westwood, who both had putts to force a playoff but couldn't convert. The victory moved him from 119th place in the Official World Golf Ranking to 60th, which was enough to get him an invitation to his first World Golf Championships tournament, the Accenture Match Play Championship.
Had a couple of near misses during the season during a year that saw him make it to the weekend 23 of 33 times and closing in 30th position on the European Tour Order of Merit.
Portugal Masters: Was a runner-up at the Portugal Masters. After opening 69-65-64 to hold a one-stroke lead over Felipe Aguilar and Christian Nilsson entering the final round, shot a Sunday 65 and watched as Tom Lewis passed him for the win at Oceanico Victoria GC.
The Commercial Bank Qatar Masters: Earlier in the year, at the Commercialbank Qatar Masters, opened with a 5-over 77 at Doha GC before rebounding with a final 54-hole score of 14-under to finish T3, five strokes behind winner Thomas Bjorn.
BMW International Open: Top showing came at the BMW International Open, where he T3, two strokes behind winner David Horsey in Munich, Germany. Opened with a 1-under 71 then fired rounds of 67-66-68 to move up the leaderboard.
U.S. Open Championship: Made his first start in a major, made the cut at the U.S. Open. Began the tournament with a 70 at Pebble Beach GL then followed with rounds of 75-81-72 to T47.
Split his time between the European Challenge Tour and the European Tour. Recorded four top-10 finishes and made the cut in 20 of 33 starts. Finished 39th on the Order of Merit.
Dunhill Links Championship: Was T4 at the Dunhill Links Championship.
Austrian Golf Open: Highlight of the season came when he won his first European Tour title, at the Austrian Golf Open. After opening the Austrian Golf Open with a 71-67-66, he was tied for seventh, eight strokes behind 54-hole leader Benn Barham. Shot a final-round 60 at the par-71 Fontana GC in Vienna to edge Barham by a stroke.
Ballentine's Championship: Was T4 at the Ballantine's Championship.
In 10 European Tour starts, made five cuts. Waited until his last start of the campaign to pick up his lone top-10.
Dunhill Championship: Opened his season with a T4 at the Dunhill Championship in December 2008 in South Africa after shooting a pair of 68s on the weekend at Leopard Creek GC.
Apulia San Domenico Grand Final: Finished the season with a solo-fourth at the Apulia San Domenico Grand Final.
Madrid Masters: Finished T10 at the Madrid Masters. Recovered from an opening 74 to shoot consecutive rounds of 68-66-67.
Ypsilon Golf Challenge by Alex Cejka: Lost in a playoff at the Ypsilon Golf Challenge by Alex Cejka in the Czech Republic. Entered the playoff with Branden Grace and Seve Benson, a playoff Benson would win.
Credit Suisse Challenge: Won his second Challenge Tour crown, taking the Credit Suisse Challenge in July. Edged Gary Lockerbie by two strokes in Switzerland.
Tusker Kenya Open: Was T3 at the Tusker Kenya Open in March.
Played a complete European Tour season and struggled in his rookie year.
New Zealand Open: Top finish was a T18 in his second start of the campaign, at the Blue Chip New Zealand Open.
Rolex Trophy: Was T4 at the Rolex Trophy.
Man No Open: Won his first event as a professional, taking the European Challenge Tour's MAN No Open in Ramsau, Austria. He entered the final round with a four-stroke lead over Niki Zitny and hung on for a two-shot win at Adamstal GC.
Parco di Monza Challenge: Was T3 early in the year, at the Parco di Monza Challenge. Shot a final-round 65 to move up nine spots on the leaderboard.
Canarias Professional Championship: Won the 2005 Canarias Professional Championship (as an amateur) in his native Spain.
Maybank Malaysian Open: Was T4 at the Maybank Malaysian Open.
Open de Espana: Made his European Tour debut at the Open de Espana. Was within striking distance of Sergio Garcia but shot a final-round 73 to finish T4, a distant six strokes behind Garcia.
Began playing golf at age 6 and won the Spanish National Championship every year from age 7 to age 18.
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Character Guide
Alton Hollett
Alton Hollett is the twin brother of Frank Hollett, the owner of Hollett Construction. He came to Guernsey when searching for Frank 25 years ago, but went missing from his guesthouse. A police search ensued but his body was never recovered.
He is first mentioned in book 1, Dead in the Water, when the case of his disappearance is being investigated. Book 2, Blowfish, picks up the story from the point where he originally arrived in the garden.
Although Frank and Alton haven't seen each other for many years when they are first reunited upon Alton's arrival on the island, the similarities between the two remain obvious.
Read more about Alton Hollett
A body on a beach, an impossible alibi and an unstoppable race against time!
Alton Hollett is a fictional character who appears in The Sarnian, the explosive adventure series in which the discovery of a dead body on one of Guernsey's most secluded beaches blows the lid on a world of intrigue and deceit.
Click below to download your copy today…
Profile of Alton Hollett
AGELate-40s
HEIGHT5ft 11in
OCCUPATIONBuilder
Missing twin brother of Frank Hollett.
Alton Hollett is an unaffiliated character.
Sarnian secrets
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For the avoidance of doubt
All of the characters, organisations, publications and narrative of the Sarnian series, any related publications, products and web sites are fictitious. Characters, events, organisations and publications are not intended to refer to actual entities or events and any similarity is unintentional and entirely coincidental.
This web site, and its contents, are here to support The Sarnian, a series of books set on and around the Channel Islands, and Guernsey in particular. It started as a means of keeping track of each character so that their features, loves, desires, abilities, looks and so on didn't change from book to book and has grown to become a complete encyclopedia of the series. Unless otherwise stated, the images included on this site were taken by The Sarnian author, Nik Rawlinson, who is also the author of the content.
Rights to the contents of this website and the Sarnian series are retained by Nik Rawlinson. ©2014 - 2021 Nik Rawlinson. All Rights Reserved.
See the FAQ pages for answers to other common questions.
Work begins on the Val des Terres
St Sampson pensioner was buried in a landslide
A boy scout fell 250ft over a Torteval Cliff
The RAF bombed Guernsey Airport
Human remains were found on Lihou
Oliver Reed in Guernsey
Victor Hugo in Guernsey
Guernsey flag
Books set in Guernsey
Films set on Guernsey
Guernsey Language Commission formed
The Guernsey Language Commission works to presrve and promote Guernesiais.

redpajama_set_name: RedPajamaCommonCrawl


I've been doing freelance to create an altcoin and my client wants this new coin to be private which means only authorized users can mine and use the coin. What I've been doing so far is to make a new altcoin, keep it in a private repo, implement mobile wallet apps with authentication gate that requires user to enter his credential info (I have a server to contain this kind of info), etc. Everything seems to work well 'til yesterday when I see a strange IP in the output of getpeerinfo command. So I was wondering how could someone get my code and whether he was able to mine my altcoin.
So my question is: Has anyone of you had experiences in such situation of creating private coin? And do you have any ideas or suggestions on how I can stop someone from mining my altcoin or only allow certain machines from certain IP addresses can connect to my network and mine even if they have my altcoin source code?
Bitcoin sounds like a poor fit for your application for two reasons. First, Bitcoin is designed to keep working even if some people tamper with the inner workings of their client. If you're willing to give that up, you can build something a lot simpler. Second, it's designed to process transactions in a decentralized way, which sounds like the opposite of what you want. If you give that up, and use a central clearinghouse, you can build something much simpler.
So I was wondering how could someone get my code and whether he was able to mine my altcoin.
I don't know whether this person has the source code of your altcoin; I don't know what security measures you've taken. However, having the source code of your altcoin is not nessesary to connect to it. As long as a peer can fake its way through a version message, that's good enough to make it into getpeerinfo. The two clients don't need to be running the same code.
And do you have any ideas or suggestions on how I can stop someone from mining my altcoin or only allow certain machines from certain IP addresses can connect to my network and mine even if they have my altcoin source code?
Bitcoin's design is going to make that quite difficult. Bitcoin uses a gossip network to move blocks around. If I mine a block, and I tell you about it, then you will tell all of your friends about it. They will in turn tell all of their friends about it too, until everyone knows.
This means that if a single node is misconfigured, and allows external blocks, it broadcasts those to every other node on the network.
It would make more sense to modify the client so that blocks must be signed by a key that is only held by your client.
Not the answer you're looking for? Browse other questions tagged altcoin server peers or ask your own question.
How to Connect bitcoind to one of your workers in a pool?
Do I need to develop a separate blockchain for my altcoin (cloned on BTC)?
How prevalent are coin attacks with botique altcoins?


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Ghana Card to Be Used For Voting In 2024 Elections : National Identification Authority
According to a report by Ghanafeed, the National Identification Authority (NIA) has stated that plans are in the works to combine the Voter Identification Card with the Ghana Card, allowing holders of the latter to vote in the General Elections of 2024.
Giving background details on this new development, Abdul Ganiwu, a spokeswoman for the Authority, told Kofi Adoma Nwanwani that the only preventing the smooth implementation of this new directive is the polling station number.
"There is a lengthy term between now and 2024 to engage the Electoral Commission (EC) so that they can generate such information [polling station numbers] for Ghana Card users." So, if you're 18 or older, you can tell the EC where you want to vote, and it'll be done," he explained.
According to the NIA, 85 percent of Ghanaians aged 15 and up have registered for the NIA card.
Mr. Ganiwu explained that the technology is designed to automatically detect and update information about those who are under the age of voting so that they can exercise their right to vote.
All identity cards now in use for accessing services in Ghana are scheduled to be replaced by the Ghana Card.
To assist bearers in doing business under the program, it has been incorporated into the Social Security and National Insurance Trust (SSNIT) system.
Telecommunication firms have also been told that all sim card users must register with it, or their numbers will be blocked.
Information from GhanaFeed was used in this report.
Related Topics:Ghana CardNational Identification Authority
'Shatta Wale Is Nowhere To Be Found' : Ghana Police
PL: Lacazette Denies Patrick Vieira Winning Return To Arsenal
Ghana Card Is Free, Don't Pay Monies To Any Staff : NIA To Ghanaians
Ghana Card To Enable Ghanaians Board Flights Without Visas : Bawumia
High Court Dismisses Application To Stop Ghana Card Registration In The Eastern Region
Most People In Kumasi Have Abandoned Their Homes; Sleep Outside All In The Name Of Ghana Card Registration | WATCH
Minority Heads To Court Over Ghana Card Exclusions
Controversial Ghanaian journalist, Patrick Osei Agyemang who is known as Countryman Songo has made a bold claim about Black Stars captain, Andre Dede Ayew.
He made this bold claim when he appeared on the flagship evening show, Good Evening Ghana aired on the popular Ghanaian television station, Metro TV.
During his submission, he was asked about the leadership of Dede Ayew in the Black Stars team, and answering this, he stated that there is no problem with the leadership of Dede, however, the coaches are afraid of the player.
According to him, as a coach, you must be able to control every player in your team, and in the case of Andre Ayew, he has declined in form so coaches must know when to play him, however, these coaches make the player dictate to them.
Watch the interview below;
He was in the studios of Metro TV to discuss the performance of the Black Stars at the ongoing African Cup of Nations (AFCON) tournament in Cameroon where the team failed to win any of their group matches and ended up at the bottom of the group.
They lost two matches against Morocco and Comoros and drew with Gabon.
Ghanaians can express a sigh of relief as Southampton defender, Mohammed Salisu has at long last chosen to support Ghana in their FIFA World Cup campaign against adjoining nation, Nigeria, in the play-offs, his uncle Yakubu Ahmed revealed.
Mohammed Salisu affirmed his choice not to play Ghana at the international level when Alhaji Grusah reached out to him which turned into a subject of public interest.
Football administrative head, Alhaji Karim Grunsah revealed that Salisu requested that he "remain away" when he attempted to persuade the footballer to play for Ghana.
Mohammed has turned down innumerable Black Stars call up referring to reasons that he isn't yet prepared but the uplifting news coming from his uncle has it that he has at long last acknowledged to address his country as the Black Stars are set for a vital season finisher game against West African opponents Nigeria, as the two groups mean to meet all requirements for the competition in Qatar.
Speaking on the subject, the player's uncle said he has informed the family of his decision to finally play for the national team.
"He will be playing for Ghana soon. He has assured us that he will play in the World Cup qualifiers," Yakubu Ahmed told Kumasi-based Sikka FM, as quoted by GhanaWeb.
"He cleared the air about his absence in the AFCON but assured of availability for the World Cup qualifiers."
Member of Parliament for Ningo Prampram, Sam George, disclosed that Shatta Wale animosity towards Nigerians is a result of frustrations from the system.
In an interview on Hitz FM, Sam George mentioned that Shatta Wale's frustration comes from a poorly organized system.
"Shatta is fighting Nigeria. It's a frustration of the system. We were in a world of our own, but again, what did we do? No conscious effort by the state or private capital to invest in that sector."
According to Sam George, Ghanaians are selfish and will the fight progress of their own.
"Then again, it comes to what I think is a problem of our country. Ghanaians celebrate mediocrity. We are content with little. Ghanaians tag you as greedy when they see you pushing for more… Ghanaians will fight you. We fight our own. Nigerians celebrate their own."
Sam George also revealed that in the late 70s, Ghanaian musicians have really enjoyed West Africa more than Nigerian music.
He said, "In the 70s Ghanaian music was the ish across West Africa, Highlife. In the early 2000s, our Hiplife was what it was and Nigerians didn't have any response to us. They were still banging on Fela Kuti's music to respond to our Hiplife. At the time, Obrafour and Lord Kenya were setting the place ablaze. At the time, Okomfuor Kwaadee came out with hits, Samini, then Batman, Kokovelli, KK Fosu, I mean Nigerians had absolutely no response to us."


An op-ed in today's LA Times by LTGen Claudia Kennedy USA (Ret.) and BGen Stephen Cheney USMC (Ret.), both of the American Security Project, call on the Senate to prioritize the confirmation of the more than 40 nominees for vacant ambassadorial positions.
The absence of an ambassador signals to a host country that it isn't a U.S. priority and that it is unworthy of a direct and official representative of the president.
37 nominees have already been confirmed by the Senate Foreign Relations Committee and could be confirmed by a single vote in the full Senate. Echoing Secretary Kerry's earlier piece in Politico Magazine, the generals argue the polarizing Senate confirmation process allows for partisanship to trump real national issues and interests.
National security should never be a partisan issue. During our years of service, we worked with diplomats appointed by Democratic and Republican presidents. And both military personnel and diplomats were able to put aside partisanship in order to advance American security interests.
Claudia Kennedy is a retired lieutenant general in the U.S. Army. Stephen A. Cheney is a retired brigadier general in the U.S. Marine Corps. They are both board members of the non-partisan American Security Project.


text:
Die Wahlen des Parlaments der Ukraine fanden statt:

 1994, siehe Parlamentswahl in der Ukraine 1994
 1998, siehe Parlamentswahl in der Ukraine 1998
 2002, siehe Parlamentswahl in der Ukraine 2002
 2006, siehe Parlamentswahl in der Ukraine 2006
 2007, siehe Parlamentswahl in der Ukraine 2007
 2012, siehe Parlamentswahl in der Ukraine 2012
 2014, siehe Parlamentswahl in der Ukraine 2014
 2019, siehe Parlamentswahl in der Ukraine 2019

redpajama_set_name: RedPajamaWikipedia


I am a certified, tenured teacher who worked for the Board of Education in NYC.
I am a "People" person who enjoys helping students.
help my student achieve his goals.
I am an excellent listener, with patience.
As an Accountant I have both worked with Quickbooks and trained many assistants over the past 15 years. I believe I am more than qualified to tutor quick books.
I am a certified by New York State and a tenured teacher of the Board of Education for the city of New York. I have worked both in Private Schools and Public Schools, my last assignment was at PS 200 in Bensonhurst Brooklyn.
As a New York State Certified teacher, and tenured in New York city School System with over 12 years of experience, I am more than qualified to teach study skills to students. I also have an MS in Education from City College.
I have played Basketball on the high school and college level. I coached for 5 years at the elementary school level. I continue to actively play.
John was patient and wonderful teaching me Excel. I was afraid I wasn't going to learn but he was so wonderful. I would recommend him highly to anyone and I plan to follow up with more lessons.
John is very patient and helps my son develop a love for reading and learning..John has a very friendly and great way about him with teaching and comes off as fun rather than a chore for my son.
John is a great Tutor and I highly recommend him for his outstanding services. I am a veteran and I am going to college, he helps me understand the material in an easy way. John is extremely patient and you can tell he really has a passion for tutoring and mentoring. Highly recommend!!
John was great in helping our daughter prepare to take the SSAT for high school entrance. He made the sessions very enjoyable for her and she was very confident going into the exam.
John is so helpful and intelligent. He genuinely wants to see his students succeed. He will not move on until he knows you understand. I am very happy I chose John as my tutor and will continue to make appointments with him throughout the semester.
I needed help with algebra so I could take the teas entry exam for the LPN program. He was very patient and made sure I understood before proceeding. He would email me math problems to practice with and wrote problem on flash cards. I'm grateful for all the help he has giving me.
Great tutor, Trustworthy, Patient and knowledgeable. My daughter felt comfortable with him from day one, her grade is improving and on the rise. highly recommended.


text:
Q: Enter a code branch every ten percent till 100 percent I can think of some very convoluted methods with loops and nested loops to solve this problem but I'm trying to be more professional than that.
My scenario is that I need to enter a section of code every ten percent but it isn't quite working as expected. It is entering the code about every percent which is due to my code but I lack the knowledge to know how to change it.
int currentPercent = Math.Truncate((current * 100M) / total);

//avoid divide by zero error
if (currentPercent > 0)
{
   if (IsDivisible(100, currentPercent))
   {
     ....my code that works fine other than coming in too many times
   }
 }

Helper referenced above where the trouble is:
private bool IsDivisible(int x, int y)
{
  return (x % y) == 0;
}

So obviously it works as it should. Mod eliminates currentPercent of 3 but 1 & 2 pass when really I don't want a true value until currentPercent = 10 and then not again till 20...etc.
Thank you and my apologies for the elementary question

A: Mod will only catch exact occurrences of your interval.  Try keeping track of your next milestone, you'll be less likely to miss them.
const int cycles = 100;
const int interval = 10;
int nextPercent = interval;

for (int index = 0; index <= cycles; index++)
{
    int currentPercent = (index * 100) / cycles;
    if (currentPercent >= nextPercent)
    {
        nextPercent = currentPercent - (currentPercent % interval) + interval;
    }
}

A: I might misunderstand you, but it seems like you're trying to do something extremely simple more complex than it needs to be. What about this?
for (int i = 1; i <= 100; i++)
{
    if (i % 10 == 0)
    {
        // Here, you can do what you want - this will happen
        // every ten iterations ("percent")
    }
}

Or, if your entire code enters from somewhere else (so no loop in this scope), the important part is the i % 10 == 0.

A: if (IsDivisible(100, currentPercent))
   {
     ....my code that works fine other than coming in too many times
   }

try changing that 100 to a 10. And I think your x and y are also backwards.
You can try a few sample operations using google calculator.
(20 mod 10) = 0

A: Not sure if I fully understand, but I think this is what you want? You also reversed the order of modulo in your code (100 mod percent, rather than the other way around):
int currentPercent = current * 100 / total;

if (currentPercent % 10 == 0)
{
    // your code here, every 10%, starting at 0%
}

Note that code this way only works properly if you are guaranteed to hit every percentage-mark. If you could, say, skip from 19% to 21% then you'll need to keep track of which percentage the previous time was to see if you went over a 10% mark.

A: try this:
for (int percent = 1; percent <= 100; percent++)
{
    if (percent % 10 == 0)
    {
        //code goes here
    }
}

A: Depending on how you increment your % value, this may or may not work % 10 == 0. For example jumping from 89 to 91 % would effectively skip the code execution. You should store last executed value, 80 in this case. Then check if interval is >= 10, so 90 would work, as well as 91.

redpajama_set_name: RedPajamaStackExchange


David Howse: Judith, you're the board chair of Arena Stage in Washington, DC, and Reggie, you're board chair of McCarter Theatre in Princeton, New Jersey. How long have you each been affiliated with your organization? And, as you think about that, why did you get involved in the theatre and what made you say yes to the board chair role?
Judith Batty: I grew up going to theatre in New York, and when I moved to DC I became a frequent visitor to Arena. Around the end of 2009, the opportunity arose to join their board, and I jumped at it. I was still working then, but I was asked to be board chair when they found out I was retiring. "Oh, you'll have time on your hands." I thought about the request a long time before I finally said yes.
I'm glad I did. Being board chair is a major time commitment but it is very rewarding. At Arena, you serve one year as chair elect, three years as chair, and two years in leadership as the immediate past chair. It's a six-year commitment. I am currently in my last year as chair.
David: How about you, Reggie?
Reggie Browne: I am the interim board chair at McCarter. I joined the board in 2012, and I've been on the executive committee for the last two years. An illness came over our current chair, and, as the vice president, I was asked to fill the spot. I assumed that obligation happily. I've been in this role now for six months and I anticipate being here for a period of time.
I wanted to have an outlet of my artistic interests, and theatre was my first engagement into the arts. It's been a perfect experience.
David: It seems to me both of you are coming to these roles with other artistic backgrounds and experiences. Given all that's happening in non-profit leadership and the lack of diversity not only at the executive level but also at the board level, I'm curious to hear what you think is changing. What are you seeing? What was your charge when you came in? What are you hoping to see change during your time?
Judith: Arena was founded in the 1950s as an integrated theatre company. Consequently, the board has a long history of being fairly diverse, which it was when I joined. In fact, I am not the first Black chair. I am the first Black female chair, but there was an African American male chair in the nineties. The governing board has a number of African Americans, and I would like to add Latinos to it.
This year, we created a Young Patron's Board for patrons between twenty-five and forty years old. I am happy to say we have somewhere between twenty-five and twenty-eight members. It's a very diverse board, and includes Latinos, Native Americans, and African American members.
David: Reggie, have you had a similar experience? I'm also curious about how you lead when there is a diverse group versus when there's a more non-diverse group. What is the board make-up at McCarter?
Reggie: McCarter has long had a leadership position in the theatre landscape in terms of diversity and diverse programming under our artistic director and resident playwright, Emily Mann. McCarter's board is reflective largely of the community. We've had an African American chairperson before me. We've had a number of women in leadership positions. The current president who is on temporary leave is female. McCarter's board is truly balanced.
From the perspective of the need for diversity, we sincerely try to engage various demographic groups to expand engagement. New Jersey has a very high concentration of Asian and Indian populations that the theatre tries to attract; we want to do more in underrepresented groups. But from African American voices and African American actors, McCarter has been a leader. That is what first attracted me. As board chair, I definitely continue the effort to support the staff to be free and comprehensive in their programming choices and take risks to reach broader audiences.
As board chair, I definitely continue the effort to support the staff to be free and comprehensive in their programming choices and take risks to reach broader audiences.
Judith: I ditto all of that. I have a similar challenge to Reggie's Asian and Indian challenge. DC has a large Latino population. We've had Latino programming that has done well, but we have not been able to attract many Latinos to the governing board. I have a few prospects now, which hopefully will work out, but that's something we've been trying to achieve.
Reggie: Our issue is getting patron support financially. We are somewhat unique as we're one of the few producing theatres that is nested within a university community: Harvard, Yale, McCarter at Princeton. I think there are a couple in California in that situation. But we're independent and our issue is fundraising. We just did a very successful campaign of ten million dollars. First time we tried this in a while, and the outcome was great, but we still need to expand the umbrella of support for various communities.
That's the challenge with the changing demographics of the theatre. We have a large-capacity theatre, greater than one thousand seats at our largest, and we have to think hard about what goes on stage versus the demographics of the patrons in the seats.
Emily Shackelford and Max Wolkowitz in Arena Stage's Indecent. Photo by C. Stanley Photography.
Judith: Our capacity rate is fairly high compared to other regional theatres. However, our audience is getting older. Also, demographics in DC are changing. These are key reasons the creation of the Young Patron's Board is so timely. A top priority for them is to attract their peers to the theatre.
David: How are people thinking about the changing demographics, both in terms of the audience and who is on stage and what's being presented on stage?
Reggie: I think the change in demographics and audience composition is reflective of how people have become accustomed to being engaged. The competitor to live performance is on-demand video and on-demand activities where you can engage in different ways—and instantly—and in your living room. What we are seeing at McCarter is a change in demographics and in interest. Our average subscriber is older, definitely grayer. But what we're challenged by is how to attract younger families and young professionals.
From a board perspective, we want to encourage risk-taking in programming to reach new audiences, to tell diverse narratives. Financially, it is difficult to justify the risk without growth in diverse patrons that we can measure through season subscriptions. It's tough to get younger patrons to commit early in advance ticket sales, let alone season passes. The competition for their attention and financial support is fierce.
Judith: I concur with that. One of the objectives of starting the Young Patron's Board is to lower the average age of our audience. We also have a "pay your age" program for patrons who are thirty and under. And our DC Ticket Partnership program also helps us develop younger patrons. We offer subsidized tickets, in-class workshops, and study guide materials to DC public- and charter-school teachers. I've met patrons in their twenties and thirties who talk about the fact that their first theatre experience was at Arena through the program. Now they are subscribers.
David: I remember a class with Professor Thomas, who's now the president at Morehouse College, when he was at Harvard. He asked a group of people of color, C-Suite folks, whether it was an obligation or responsibility to support other leaders who look like them. A responsibility in that there's some sort of moral or ethical impetus, versus an obligation being more of a mandate, what you are asked to do.
I was really taken by the fact that half the group felt like it was a responsibility, half felt like it was an obligation. Do you think it is an obligation or a responsibility?
Reggie: If you respect the person leading the charge, you have a responsibility to support them. I find time to lend my strengths and gifts to non-profit work because I strongly believe that the development of venues for diverse voices and diverse points of view, which demonstrate the fabric of our community, is important. However, it is difficult to financially support every endeavor that appeals to you. It is easy to be pulled in too many causes and directions.
Judith: That's an interesting question, David. One of the issues I find leading an integrated arts organization, which depends very heavily on charitable donations, is that people of color like to support organizations of color. I spend a lot of time convincing people of color with capacity that attending Arena is great but donating to Arena is even better, especially if we want to continue to have our voices presented on the stage. I also spend time explaining Arena's impact in our community.
If you respect the person leading the charge, you have a responsibility to support them.
David: What do you think needs to happen for people of color to want to make that investment? How does the theatre respond and engage in that conversation?
Reggie: You've got to have theatre leadership. Not necessarily from the board level, but from the staff level, engaging the community. That comes down to access and inclusion of diverse people on staff and having proper intern programs to cultivate new talent so they can rise in ranks. Barriers need to come down, and a lot of the barriers are financial—you need to be supported as you're being educated. Without that support, you don't have any diversity. Without the diversity you don't have people willing to understand the message being delivered. And the message delivered has to be delivered with authenticity and not necessarily germinated by people who just believe in it, but who actually share in the personal experience.
Judith: Our board and senior staff are laser focused on making sure the stage and all programs at Arena reflect the demographics of the DC population. Our challenge is educating residents about all that we do and the impact that we have.
Additionally, as a people, African Americans have traditionally donated time. We will show up. We will work. But we don't necessarily give large sums of money. In the case of Arena, many patrons believe that paying for a ticket is enough to support the theatre. As we know, the ticket price only covers a portion of the cost. So part of educating patrons is explaining that that, and that we need donations to cover the rest of the cost.
Cast of McCarter Theatre Center's production of Detroit '67. Photo by T. Charles Erickson.
David: From my experience, I see a number of arts organizations—theatres included—that are what one might call virtual signaling. Sending messages, presenting work that looks like it's reflecting. But when you pull back the layers, there's not a fundamental change that's happening in the organization. To do the work you're describing takes a different kind of intention. Are you actually experiencing that, not necessarily in your own institution, but across the spectrum?
Judith: I can't speak for the spectrum, I can only speak for my institution. As I mentioned earlier, Arena was founded as an integrated theatre company, and we continue to showcase actors, directors, and playwrights of color. We also created a program over twenty-five years ago, the Allen Lee Hughes Fellowship and Internship Program, to cultivate the next generation theatre professionals. The program provides training in arts administration, artistic development, technical production, and community engagement. Through it, we have trained a number of theatre professionals of color who are still working in theatres around the United States. Arena is intentional about walking the walk.
Reggie: Culture organizations live on philanthropy. And you need all types of communities to support the mission. It can't be funneled from the very top with the expectation that the presentation of views will be diverse. There has to be a development of the entire ecosystem. Our staff is so much smaller at McCarter, and it's working to be more reflective of the community. When it comes to cultivation of patrons and cultivation of staff, we don't have a lot of movement—people tend to find a home and stick around.
I think it's more about how the ecosystem is built around theatres and the management. Internship programs across the board at every venue should be created, that would be accessible.
Judith: A number of our staff have come out of our Allen Lee Hughes program. Internships and fellowships are key to providing hands-on experience to prepare workers for the next job. On the twenty-fifth anniversary of the program, 80 percent of the fellows and interns were still in the not-for-profit cultural world, and, out of that, 70 percent were working in theatres.
David: In your role as chair of these boards, what unexpected hurdles and what unexpected benefits have you seen?
Judith: I have a very engaged, very active board and one of my goals when I became chair was to move the board from more of a hands-on working board to a strategic governing board. And with such an active, vocal, lively group of people, it's been an interesting challenge.
Reggie: I would concur. I've had a lot of support given the fact that I was asked to fulfill this role based on an illness temporarily, and, climbing into this chair, I recognize that my theatre has gone through a series of changes. We just hired a new managing director and we've had some turnover, and it was a time to look at this board, to move it from a working board to a board focused on sharing, governance, oversight, and strategic outcomes. Thus far, it's been a positive reception.
Judith: It's also been nice meeting and working with a dedicated, engaged group of people I would not otherwise know.


text:
CRA audits of ultra-wealthy Canadians yield zero prosecutions or convictions
by Globe and Mail | Jun 23, 2021 | Recent Articles
June 23, 2021 – Data from the Canada Revenue Agency shows its recent efforts to combat tax evasion by the super-rich have resulted in zero prosecutions or convictions. In response to a question tabled in Parliament by NDP MP Matthew Green, the CRA said it...
Thousands of CRA accounts affected by CERB-related hacking
by Globe and Mail | Mar 23, 2021 | Recent Articles, Tax Fraud
March 23, 2021 – Chris Chezepock thought he was making a simple call to unlock his online taxpayer account when he rang up the Canada Revenue Agency on Wednesday morning. Instead, the 31-year-old Toronto man discovered that his identity had been hijacked, with a...
CRA locked 800K Canadian taxpayers out of accounts
by CTV News | Mar 15, 2021 | Recent Articles
March 15, 2021 – The Canada Revenue Agency locked out 800,000 users from their online accounts on Saturday out of fear that people's usernames and passwords have been hacked. Citing the cybersecurity risk of having this information in the hands of potentially...
Vancouver man sentenced to 29 months, fined $645K for tax evasion, forgery
by Black Press | Feb 28, 2021 | Breaking Court Decisions, Recent Articles
Feb. 28, 2021 – The Canada Revenue Agency says a West Vancouver man has been sentenced to 29 months in jail and handed a stiff fine for attempting to avoid a tax bill. Court records show Michael Sholz was sentenced Wednesday in provincial court in Vancouver....
CRA conducts simultaneous Panama Papers raids in the GTA, Calgary and Vancouver
by Admin | Feb 15, 2018 | Consumer Fraud, Featured, International Fraud, Recent Articles
Nearly two years after the Panama Papers leak was made public, Canadian tax officials have carried out their first major raids, executing three search warrants across the country. The simultaneous raids Wednesday morning in West Vancouver, Calgary and the GTA were all...
CRA pursuing criminal charges against Panama Papers tax cheats
The Canada Revenue Agency's (CRA) investigation into tax cheats taken by Canadians in the Panama…
Canadian names in Panama papers leak unveiled in database
Journalists and curious citizens are busily combing through a searchable database of names linked to…
Tax fraud crackdown after second release of Panama Papers data
Public Safety Canada is taking a lead role in global talks to expand the country's…


text:
/* $Id$ */

package org.apache.fop.render.afp.exceptions;

import java.io.PrintStream;
import java.io.PrintWriter;

/**
 * Handy class for wrapping runtime Exceptions with a root cause.
 * This technique is no longer necessary in Java 1.4, which provides
 * built-in support for exception nesting. Thus exceptions in applications
 * written to use Java 1.4 need not extend this class.
 *
 */
public abstract class NestedRuntimeException extends RuntimeException {

    /** Root cause of this nested exception */
    private Throwable underlyingException;

    /**
     * Construct a NestedRuntimeException with the specified detail message.
     * @param msg The detail message.
     */
    public NestedRuntimeException(String msg) {
        super(msg);
    }

    /**
     * Construct a NestedRuntimeException with the specified
     * detail message and nested exception.
     * @param msg The detail message.
     * @param t The nested exception.
     */
    public NestedRuntimeException(String msg, Throwable t) {
        super(msg);
        underlyingException = t;

    }

    /**
     * Gets the original triggering exception
     * @return The original exception as a throwable.
     */
    public Throwable getUnderlyingException() {

        return underlyingException;

    }

    /**
     * Return the detail message, including the message from the nested
     * exception if there is one.
     * @return The detail message.
     */
    public String getMessage() {

        if (underlyingException == null) {
            return super.getMessage();
        } else {
            return super.getMessage()
            + "; nested exception is "
                + underlyingException.getClass().getName();
        }

    }

    /**
     * Print the composite message and the embedded stack trace to the specified stream.
     * @param ps the print stream
     */
    public void printStackTrace(PrintStream ps) {
        if (underlyingException == null) {
            super.printStackTrace(ps);
        } else {
            ps.println(this);
            underlyingException.printStackTrace(ps);
        }
    }

    /**
     * Print the composite message and the embedded stack trace to the specified writer.
     * @param pw the print writer
     */
    public void printStackTrace(PrintWriter pw) {
        if (underlyingException == null) {
            super.printStackTrace(pw);
        } else {
            pw.println(this);
            underlyingException.printStackTrace(pw);
        }
    }

}

redpajama_set_name: RedPajamaGithub


text:
<?php

namespace BlueBear\CoreBundle\Entity\Behavior;

use JMS\Serializer\Serializer;

trait HasSerializer
{
    /**
     * @var Serializer
     */
    protected $serializer;

    /**
     * @return Serializer
     */
    public function getSerializer()
    {
        return $this->serializer;
    }

    /**
     * @param Serializer $serializer
     */
    public function setSerializer(Serializer $serializer)
    {
        $this->serializer = $serializer;
    }
}


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text:
Rita Wilson
Halfway to Home
• 11 Songs
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Pay Me in Wine
Feb 2019 • 1 song…
Nov 2018 • 1 song…
Sep 2018 • 12 songs…
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text:
Q: Gateaux Derivative using Integration by parts Given that $E(u) = \int \mathcal{L}(u,u') dx$,
\begin{align}
\frac{dE(u)}{du} \bigg |_{h} &= lim_{\epsilon \to 0} \frac{1}{\epsilon}(E(u) + \epsilon h) - E(u))\\
&= \lim_{\epsilon \to 0} \frac{1}{\epsilon} \int \big((\mathcal{L}(u + \epsilon h ,u' + \epsilon h') - \mathcal{L}(u,u')\big) dx \\
&= \lim_{\epsilon \to 0} \frac{1}{\epsilon} \int \big(\mathcal{L}(u,u') + \frac{\partial \mathcal{L}}{\partial u} \epsilon h + \frac{\partial \mathcal{L}}{\partial u'} \epsilon h' + o(\epsilon ^{2})) - \mathcal{L}(u,u')\big) dx \\
&= \int \big( \frac{\partial L}{\partial u} h + \frac{\partial \mathcal{L}}{\partial u'}h' \big) dx\\
&=\int \big( \frac{\partial L}{\partial u} h - \frac{d}{dx} \frac{\partial \mathcal{L}}{\partial u'}h \big) dx\\
&= \int \big( \frac{\partial L}{\partial u} - \frac{d}{dx} \frac{\partial \mathcal{L}}{\partial u'} \big) h(x) dx
\end{align}
How did you from step 4 step 5?
\begin{align}
&= \int \big( \frac{\partial L}{\partial u} h + \frac{\partial \mathcal{L}}{\partial u'}h' \big) dx\\
&=\int \big( \frac{\partial L}{\partial u} h - \frac{d}{dx} \frac{\partial \mathcal{L}}{\partial u'}h \big) dx
\end{align}
It was mentioned to be integration by parts. But I can't seem to figure it out.

A: Note that, by the chain rule
$$
\frac{d}{dx}\Big(\frac{\partial\mathcal{L}}{\partial u'}h\Big)=\frac{d}{dx}\Big(\frac{\partial\mathcal{L}}{\partial u'}\Big)h+\frac{\partial\mathcal{L}}{\partial u'}h'.
$$
And so acting with $\int dx$ on both sides and using
$$
\frac{\partial\mathcal{L}}{\partial u'}h\Big|_{\text{boundary}}=0
$$
you will find $$\frac{\partial\mathcal{L}}{\partial u'}h'=-\frac{d}{dx}\Big(\frac{\partial\mathcal{L}}{\partial u'}\Big)h$$
as always.

A: I will try to solve my question. The steps involved are using integration by parts and setting the boundary condition to 0.
Integration by parts: $\int u dv = uv - \int v du $
Boundary conditions: h(a) = h(b) = 0
\begin{align}
&= \int \big( \frac{\partial L}{\partial u} h + \frac{\partial \mathcal{L}}{\partial u'}h' \big) dx\\
&= \int \frac{\partial L}{\partial u} h + \int \frac{\partial \mathcal{L}}{\partial u'}h' dx\\
&= \int \frac{\partial L}{\partial u} h + \big [ \frac{\partial L}{\partial u'}h \bigg |_a^b - \int h \frac{d}{dx}\frac{\partial L}{\partial u'}  \big] dx\\
&= \int \frac{\partial L}{\partial u} h + \big [ 0 - \int h \frac{d}{dx}\frac{\partial L}{\partial u'}  \big] dx\\
&= \int \frac{\partial L}{\partial u} h - \int h \frac{d}{dx}\frac{\partial L}{\partial u'} dx\\
&=\int \big( \frac{\partial L}{\partial u} h - \frac{d}{dx} \frac{\partial \mathcal{L}}{\partial u'}h \big) dx\\
&= \int \big ( \frac{\partial L}{\partial u} - \frac{d}{dx}\frac{\partial L}{\partial u'} \big) h(x) dx
\end{align}


text:
Q: Data View Customization in Extension I have overwritten the data view for a custom graph in an extension, which returns the correct data without issue, both by re-declaring the view, and using the delegate object techniques.  The issue is that when I do, the AllowSelect/AllowDelete modifications on the view in the primary graph stop working, once I comment out the overwrite, the logic works as normal.
Not sure what I'm missing, but any thoughts would be appreciated
Edit: To clarify, on the main graph, without the extension, the data retrieval and Allow... work without issue
public class FTTicketEntry : PXGraph<FTTicketEntry, UsrFTHeader>
    {
        public PXSelect<UsrFTHeader> FTHeader;
        public PXSelect<UsrFTGridLabor, Where<UsrFTGridLabor.ticketNbr, Equal<Current<UsrFTHeader.ticketNbr>>>> FTGridLabor;

And with the extension, the data is returned correctly from the modified view, but the Allow... do not work from the main graph, only when entered on the extension
    public class FTTicketEntryExtension : PXGraphExtension<FTTicketEntry>
    {
        public PXSelect<UsrFTGridLabor, Where<UsrFTGridLabor.ticketNbr, Equal<Current<UsrFTHeader.ticketNbr>>, And<UsrFTGridLabor.projectID, Equal<Current<UsrFTHeader.projectID>>, And<UsrFTGridLabor.taskID, Equal<Current<UsrFTHeader.taskID>>>>>> FTGridLabor;

I have also tried the other process on the extension with the same results, the data is filtered correctly, but the Allow... commands fail.
    public PXSelect<UsrFTGridLabor, Where<UsrFTGridLabor.ticketNbr, Equal<Current<UsrFTHeader.ticketNbr>>>> FTGridLabor;
    public virtual IEnumerable fTGridLabor()
    {
        foreach (PXResult<UsrFTGridLabor> record in Base.FTGridLabor.Select())
        {
            UsrFTGridLabor p = (UsrFTGridLabor)record;
            if (p.ProjectID == Base.FTHeader.Current.ProjectID && p.TaskID == Base.FTHeader.Current.TaskID)
            {
                yield return record;
            }
        }
    }

My main concern with not wanting to use PXSelectReadOnly, is that there is a status field on the header which drives when certain combinations of the conditions are required and are called on the rowselected events, sometimes all and sometimes none, and the main issue is that I obviously don't want to have to replicate all of the UI logic into the extension, when overwriting the view was the main intent of the extension for the screen.
Appreciate the assistance, and hopefully you see something I'm overlooking or have missed
Thanks

A: Every BLC instance stores all actual data views and actions within 2 collections: Views and Actions. Whenever, you customize a data view or an action with a BLC extension, the original data view / action gets replaced in the appropriate collection by your custom object declared within the extension class. After the original data view or action was removed from the appropriate collection, it's quite obvious that any change made to the original object will not make any effect, since the original object is not used by the BLC anymore.
The easiest way to access actual object from either of these 2 collections would be as follows: Views["FTGridLabor"].Allow... = value;
Alternatively, you might operate with AllowInsert, AllowUpdate and AllowDelete properties on the cache level: FTGridLabor.Cache.Allow... = value;
By changing AllowXXX properties on the cache level, you completely eliminate the need for setting AllowXXX on the data view, since PXCache.AllowXXX properties have higher priority when compared to identical properties on the data view level:
public class PXView
{
    ...
    protected bool _AllowUpdate = true;
    public bool AllowUpdate
    {
        get
        {
            if (_AllowUpdate && !IsReadOnly)
            {
                return Cache.AllowUpdate;
            }
            return false;
        }
        set
        {
            _AllowUpdate = value;
        }
    }
    ...
}

With all that said, to resolve your issue with UI Logic not applying to modified view, please consider one of the following options:

*

*Set AllowXXX property values in both the original BLC and its extensions via the object obtained from the Views collection:
Views["FTGridLabor"].Allow... = value;

*operate with AllowXXX property values on the cache level: FTGridLabor.Cache.Allow... = value;

A: First check if your DataView should/should not be a variant of PXSelectReadonly.
Without more information my advice would be to set the Allow properties in Initialize method of your extension:
public override void Initialize()
{
   // This is similar to PXSelectReadonly
   DataView.AllowDelete = false;
   DataView.AllowInsert = false;
   DataView.AllowUpdate = false;
}


In an era characterized by increasing attention to food quality, manufacturers or distributors of food have got to meet the increasing demands of a market populated by demanding and informed clients and by a huge amount of products that are substantially different.
Pesca Pronta Import Export Srl can be rightly considered among the leading companies in the Italian market for the distribution of fresh fish products.
The guidelines of Pesca Pronta Import Export Srl are focused on a central element summarized in the constant attention to product quality, this characteristic, the most important given the fact that fresh fish needs, for its peculiarities, particularly strict supervisions and selections.
The solidity achieved, together with the vanguard organization that characterizes the Company, make sure that the search for new solutions aimed at enhancing the quality characteristics of products is translated into consumer loyalty, thereby achieving two objectives: contribute to disclosure of accurate business information and increase the marketability of a product with superior features.
Our work is constantly directed towards selection and supervision of products from around the world to ensure the highest quality for consumers.
We collaborate with our partners, suppliers and our customers, to promote policies of respect for the reproductive cycles and sustainable fishing techniques.
We handle every phase of the product from fishing to conservation, through strict procedures to ensure safe, certified product.


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text:
Rocca Santa Maria – miejscowość i gmina we Włoszech, w regionie Abruzja, w prowincji Teramo.

Według danych na rok 2004 gminę zamieszkiwały 693 osoby, 11,4 os./km².

Linki zewnętrzne
 strona iternetowa gminy
 Źródło danych: Istituto Nazionale di Statistica

Miejscowości w prowincji Teramo


text:
Canal Network
Ask the Experts Forum
Editorial Gallery
Have your say: Chesterfield Canal Trust appeals for HS2 consultation responses
PUBLISHED: 06:39 08 February 2017
Have your say on the future of HS2
Support the new proposed route, which will result in less damage for the waterway
The Chesterfield Canal Trust (CCT) is urging all waterways supporters to help fight the threat to the canal's restoration from plans for HS2, by responding to the Government's consultation on route changes before the 9 March deadline.
As originally planned, Phase 2 of the new high-speed railway (extending from the Midlands to the northwest and Yorkshire) looked set to obliterate lengths of the canal between Staveley and Killarmarsh, potentially stopping restoration work in its tracks.
But a change proposed in 2016 would see the new line take an alternative route alongside the M1 motorway, with far less of an impact to the waterway. Although this is now the Government's 'preferred' option, it hasn't been formally adopted – indeed, it will face opposition from some quarters – and the final decision won't be made until after the current consultation.
To give it the best prospects, CCT is appealing for as many people as possible to respond to the consultation, answering 'Yes' to question 7, which asks "Do you support the proposal to amend the route to serve south and west Yorkshire?", and giving the reduction in damage to the Chesterfield Canal as their reason.
The consultation closes on 9 March. It is available online via the CCT website.
Steep licence fee rises spark anger on the Avon
Edgbaston Tunnel improvement plans met with opposition
Acton Swing Bridge receives £1.5m repairs
Scotland's canals: value for money?
CRT licence fees up but widebeams pay more
Boat test: Norton Canes Boatbuilders' new 60ft trad
Q&A: water through the stern gland
Far and wide?
Latest from the Canal Boat
Voting opens for the Canal & River Trust's Council
YouTubers are first to complete IWA Silver Propeller Challenge
Hillmorton Locks sees 9,000th boat pass through


I come from a long line of people of the sea.
the USS Somerset, LPD 25.
to be constructed in honor of the victims of 9/11.
The hull of the ship contains 22 tons of steel from the crash site.
of one of the plane crashes on that day.
Pennsylvania was host to the commissioning of this ship.
The USS Somerset will be stationed in San Diego.
in this country without having first served the country they wish to lead.
of those willing to put it all on the line for us.
Yeah, I am a little sensitive about all the military slashing going on in Washington.
and currently serve our country.
by those wishing to do harm to this country."
I had no idea about these new ships! You're military legacy goes so far back!! Thank you to your family for serving our country.
I too get angry about the military budget slashing especially since so many gov't office workers got raises. Your family's history of service is very impressive. We owe them much. My dad served on the Enterprise in the Pacific during WWII.
What an honor and privilege to view this ship. I totally agree with you about the leader of the country needing to serve the country first.
thanks for all this information. I did not know about these ships and it is a beautiful tribute. i don't come from a military family but i worry about the cuts because once we make our military smaller and smaller the more vulnerable we are.
I would never have known about these ships had I not seen your beautiful photos - very moving indeed. I recall a ship my dad photographed now being in dock in Philadelphia - the SS United States. Thanks so much for linking to my Weekend Walks - as always an interesting post!
Very interesting! I, too, have a military past. My father was drafted near the end of WWII and was training to go to the Pacific when the war ended. He found himself instead stationed in Occupation Germany. I haven't checked for the Revolutionary history, but on my mother's side, there were four great-great-great-uncles who fought for the Confederate forces. Three were wounded and/or killed at Gettysburg. The fourth came home and founded a Lutheran church in his home.
You have some fabulous shots and an amazing lineage in the military. Thank you.
Ah, then I can visit the one stationed in San Diego (we come there several times a year since it's only 1 1/2 hrs. away). Thanks for the interesting info!


text:
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Eric Pokorny is one of a small group of full-time media creators working in Starbucks Seattle headquarters. He will often use the music score to "compensate" removing almost all the sound except the narration or dialogue, laying in the score to fill out the track and give it character.
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Greg Mulvey is the Lead Editor and Motion Graphics Designer for Second City Communications, the business solutions division of Chicago's world-famous improv comedy theater, The Second City. (Alumni include Tina Fey, Steve Carell, Stephen Colbert, John Belushi, Bill Murray, to name a few.)
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Jedrzej is the co-owner and principle developer of the Portland based game development studio "Pocket Vault Studios". With an extensive background in film and video production, Jedrzej brings his creative storytelling skills to the interactive format of mobile game development.
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"Mush" is the sixth and final track on the EP. When we set out to record it, Jeff had a fairly defined vision of how he wanted the guitars to sound and we all agreed that we wanted to weave a lot of vintage/throwback vibe into the textures of the song. It's somewhat unique from the other songs in having a very traditional and straightforward chord structure. In my opinion one of the defining elements in this song is the treatment of the drums and what it allows the rest of the arrangement to do. Having the drums in mono and taking up very little space let the wide guitars and thick vocal arrangements have tons of room to breathe. As with all of the songs many of the instruments were tracked in different studios/spaces and was mixed at Lakehouse on the infamous Neve 8024 through tons of outboard gear.
The first thing we tracked for Mush was the drums at the former Lakehouse studios in Interlaken NJ. Natalie played to a pre-recorded scratch vocal and guitar (every song on this EP, with the exception of "Swim", had a preproduction demo that we worked off of). I am usually not a fan of tracking drums without the rest of the band playing as well, but because we were on such a tight budget we tried to have as much "pre-pro'd" as possible. We tracked a bunch of drums that day, and by the time it came to record Mush I dropped a fairly outlandish idea on the rest of the band: I wanted to not only track the drums in mono with only two mics, but I wanted to split the overhead signal live into a Princeton Reverb with the Reverb at 10 for ambience. Of course, being a weird and unusual idea Jeff was totally on board. I feel that the clangy spring reverb and midrange distortion really brought the drums exactly where I wanted and of course being mono, they stay narrow in the mix which leaves a lot of space for the ensuing spacey guitar/vocal onslaught! I have to add that when recording drums so minimally, what is played is quite literally what you get. What I'm getting at is that you can't really "fix" or hide any mistakes. Although I really didn't do very much corrective editing to any of the drums on this record, I feel that Natalie's musicianship really shines through on this song because of how exposed it is.
In a very atypical fashion the bass for Mush was late in the process. We had a scratch bass that Jeff played but I recut it later on after all of the keyboards and some guitars were finished. After trying several basses I decided on my 80's Japanese P Bass, mostly because it had flatwounds on and we all thought that the thumpy/plucky vibe was definitely the way to go for this song. I had the signal split 3 ways: a DI (which we ended up not using), a prototype B15 clone that a friend of ours built, and a Fender Twin with a fairly extreme reverb and tremolo setting. The tremolo and reverb on bass was 100% Jeff's idea which at first I was not at all in favor of, but now I admit have grown incredibly fond of and I have used this trick on several recordings I have done since. When mixing I used it more heavily in the exposed parts but dialed it back for the dense sections to maintain a consistent and defined low end. Of course and as always, compression was applied relentlessly at all stages of production.
In the session Jeff has 3 guitar busses: the main rhythm track which goes pretty much throughout the song, a high voiced double in the intro, and the lead over the solo section. As I explained before, a huge factor in how this track sounds is how little space the drums take up. I made this choice in some part because I knew that Jeff envisioned big and spacious guitars as a defining element of the production. With this in mind we used a fairly elaborate amp/pedal setup try and capture a lush, wide sound for Jeff's rhythm guitars. Jeff played his Strat which went straight into his pedalboard (with the Timmy overdrive, El Cap Delay, and Timeline Delay on). We took the right output of the El Cap (pre Timeline) and went straight into Jeff's Twin Reverb for our dry(er) signal. Then the left output of the Timeline was routed to Mike's pedalboard (on which we used different combinations of Malekko Vibrato and Small Stone), through to his Tweed Deluxe. The right output was routed through a Big Muff and a Whetstone into Natalies 70' Bassman head and custom 1x15 cab. After some very careful tweaking of delay times and modulation I feel like we arrived at a very clear yet panoramic result. One particular point of interest is that a very crucial step was methodically moving the mics on each amp around until we found a phase relationship that really complimented the way I had the tracks panned (because of how delicate the panning was, I pretty much committed to the stereo placements when we tracked and never really messed with them throughout the rest of the process). While we maintained the same basic idea throughout all the parts, we changed some of the settings for key sections in the arrangement, most notably in the intro where Jeff used a Bit-Crushed slow 1/4 note delay on the timeline. Also, just like in pretty much every song on this record, at the end we sent the El Capistan into self oscillation (a technique we lovingly dubbed the 'El Cap Freakout').
We wanted the guitar solo to be more in the world of the drums: small, mono, and tape-y. So we used some subtle pitch vibrato, wonky tape delay, and midrange-heavy overdrive. We also just ran it all through Jeff's new Mojo Vibe (mostly cause he just got it and we were all stoked on how it sounded). The overall result to me came out like a strange/broken sounding Leslie.
Each bus had some digital processing, mostly just high pass filtering and mild EQing (as always, chopping out that 500hz... I hate 500hz). All the rhythm guitars were sent through 2 1073 modules and a Vintech 609CA. And the lead guitar was sent through its own 1073 module with a different EQ setting and sent lightly to my Spring FX bus feeding Lakehouse's AKG BX-5 Stereo Spring Reverb.
On Mush, Mike played 2 guitar tracks: an electric rhythm that goes throughout most of the song, and a sparkly overdub on an acoustic tuned to nashville tuning. Aside from his outro parts, in this song Mike plays the fairly straightforward content that really holds the arrangement together. He played his Tele through the Malekko Vibrato (part of what I consider Mike's sonic "signature" on this record) and a quick slap delay into his Tweed Deluxe. One particularly cool part is when he octave doubles the bass line in the solo section. It creates such a great thickening in the rhythm section and opens up a ton of space for the solo and the comp-y Wurli part that enters there. My absolute favorite piece of ear candy in the whole song is Mike's guitar parts on the last few bars of the song. At this point the bass and Jeff's guitar are reinforcing the swinging/chugging 1/4 note pattern of the song while Natalie is quoting her tom triplet (1/8 note trips) motif from the previous songs, being reinforced by the matching Wurlitzer filigree. All the while the female background vocals are building up dense layered harmonies on the beat. Then, for the last four bars Mike plays this syncopated straight 1/16 note figure on electric and doubles it on an airy sounding acoustic guitar that I mic'd from a distance. It creates this swirling polyrhythm that really brings the album to a climactic close. It took a few takes to get it to sit perfectly, but I felt that the result is a really special sonic texture that I am super proud of.
Mike's guitars had the same treatment and bussing as Jeff's. Some acoustic was also sent to the Spring FX send.
The song opens with 4 massive whole note chords. In the mix a lot of the character of these comes from a dry Rhodes, a dry Wurli, and a bit-crushed 1/4 delay Rhodes padding on the downbeat of each measure. The bit-crushed delay Rhodes was a big part of Jeff's vision for this intro and he played all three when we did keyboard overdubs.
I played the other Wurli parts that enter in the solo and stay through till the end. I particularly like the way that the twinkly hemiola-triplets came out in the last 4 bars, specifically the way that they interact with Mike's nashville acoustic.
The Vibes were one of the last overdubs recorded in this song. They blended really well with the chimey guitars and keyboards. One very peculiar sound we fell upon was I tried to sort of 'musically' slow down and speed up the motor that drives the tremolo fan during the beginning of the outro.
The Tambourine was the the VERY last overdub. We actually tracked in the middle of mixing the song at Lakehouse. Jeff and I both felt that the back half of the song needed the rhythmic push.
It took a while to figure out a guitar sound that suited the transition into the big 9 part harmony section. We wanted it to get weird. So we took 2 twin reverbs and ran out of the Timeline's stereo outs. The only difference is I put a Clarinot delay in line right before the 2nd amp and used a 100% wet single 50ms(ish) delay using the Haas effect to make the guitars sound unrealistically wide. Jeff played the part once with only Mojo Vibe on, and then doubled it with generous El Cap.
All keyboards and vibraphones were sent to a stereo set of 1073's through an SSL bus compressor. The Tambourine was sent to the drum bus and also bussed considerably to the Spring FX send.
In my opinion this is really the one spot on the record where Jeff sings a proper lead vocal. No doubling, no frills, just a bit of tape slap. I'm really proud of the performance he gave on this song and I think that having such an honest sounding vocal on top of such a quirky production and at the end of such an elaborate 6 song journey is really charming. We recorded it in my large carpeted basement with my AK47 and some vibey lighting. I really pushed Jeff, who already pushes himself mind you, into going through a lot of takes seeking a genuine performance. The final product is the culmination of about 28 full takes if you add up the punches.
The background vocals on this song were very special as well. Other than Jeff's lead, all of the harmonies and BVs are female voices. Aside from Natalie's voice, we were fortunate to have had the help of the very talented Tara and Christi Hart who each sang and doubled a unique harmony in the big section. I think the textures came out really lush and blended well. For the outro "na na na na" part we had the girls stand around the AK47 in omni and sing the part in different octaves and starting on different parts of the measure. The result was antiphonal and the child-like melody makes the part feel very jarringly innocent. At least to me. I don't know. I obviously get really into this stuff... Thanks for bearing with me.
Jeff's lead vocal through the Kramer MPX plugin for some warmth and a pre-everything tape slap. I like to do that sometimes so that the compressors the vocal hits on the console glue in the delay and make it a part of the vocal sound. Then it went out to the console through a 1073 which fed a Retro STA-Level. The vocal was sent to the Spring FX send.
I put an instance of the La2a plugin on each of the 8 harmony tracks. Then I bussed them to a group in ProTools and used the Puig Fairchild 670 plugin on the bus to blend and squeeze the whole harmony section. After that both the harmonies and outro group vocals fed their own dedicated sets of 1073s on the console. They were both sent in different amounts to the Spring FX send and my Plate FX send (Using a Lexicon PCM96 on the 'dark plate' setting).