text:
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The article «Isaac Olsen's copy book – a source to the early mission in Finnmark, Northern Norway» deals with the contents of a hand-written copy book by the teacher and preacher Isaac Olsen during the period 1703–1717. Isaac Olsen was a Norwegian who came to Finnmark just after 1700 and travelled among the Sami people, teaching them in their home villages. Isaac Olsen learned the Sami language orally and in written form shortly after he came to Finnmark, and he taught the Sami people in their mother tongue. Isaac Olsen met Thomas von Westen in 1716, when von Westen was on his first trip to Finnmark, and Olsen went back to Trondheim together with von Westen in the summer of 1716. Isaac Olsen became an important co-operator when it came to the early mission in Finnmark. He worked at Thomas von Westen's teaching institution in Trondheim from 1716 until 1718. After that, he was called to Copenhagen by the Mission College [Missionskollegiet]. There he worked with translations of religious texts into the Sami language, as well as informing the Mission College about the condition of the Sami people in Finnmark.


text:
Formula E World: Victory for Pascal Wehrlein and Porsche
Man City beat Arsenal 1-0 to reach FA Cup fifth round
ILT20: Marcus Stoinis joins Sharjah Warriors, says he is mentally prepared for UAE weather
Indian-American loses election to head Republican Party after challenging establishment
Record rainfall overnight in Auckland causes massive flooding
Spain registers 5.5% GDP growth in 2022
US reports 100 paediatric flu deaths this season
Epaper తెలుగు
National International Telangana Andhra
Tollywood Bollywood Hollywood
Business Sports Tech Health
Impressive response to trailer of gangster flick 'Parole' released by Vijay Sethupathi
cinema | IANS | Published : Tue, Sep 13, 2022, 09:49 PM
Chennai, Sep 13 (IANS) The trailer of director Dwarakh Raja's upcoming gangster action thriller, 'Parole', released by actor Vijay Sethupathi recently, has garnered over a million views on YouTube.
Interestingly, Vijay Sethupathi has not only lent his voice for the trailer, but also did a voiceover in the movie.
Ask how he got actor Vijay Sethupathi to do a voiceover for the film and director Dwarakh Raja says: "This project is a dream of our entire team. Every family has a story. But 'Parole' is a movie about the untold and hidden stories of a family.
"The story is about the thrilling events that take place when a man brings out his elder brother on parole from prison to attend the funeral rites of their mother.
"Although the movie has an emotional family backdrop, it is laced with lots of action sequences. Moreover, its gripping screenplay will entertain audiences from all walks of life.
"Vijay Sethupathi sir has given voiceover, not only for the trailer, but for the movie as well. I screened the movie after its completion, and he liked it a lot. I requested that his voiceover during the opening sequences will add more value to the film. He immediately agreed and completed the voiceover portions despite his busy schedule."
The response to the trailer of 'Parole', produced by Madhusudhanan of TRIPR Entertainment, has delighted the director, who said: "It gives immense happiness to see the heart-warming response to the 'Parole' trailer. The star cast comprises R. S. Karthiik, Linga, Kalpika, Monisha Murali, Vinodhini Vaidynathan, Janaki Suresh, Mak Mani, Shivam, Dennis, and Immanuel alongside a few more prominent actors.
Following the grand reception to the film's trailer, preparations are on for the worldwide theatrical release of 'Parole'. Sources said that an official announcement on the release date of the film will be made soon.
SURYAA NEWS, synonym with professional journalism, started basically to serve the Telugu language readers. And apart from that we have our own e-portal domains viz,. https://www.suryaa.com/ and https://epaper.suryaa.com
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redpajama_set_name: RedPajamaCommonCrawl


Many people own guns for a variety of reasons ranging from hunting and self-protection to collecting. In the state of New Jersey, you must obtain an "Application for Firearms Purchaser Identification Card and/or Handgun Purchase Permit" from the New Jersey State Police in order to buy a gun or an "Application for Permit to Carry a Handgun" to carry one.
The forms needed to buy a gun are available on the New Jersey State Police website under the "Forms" section. Download the "Application for Firearms Purchaser Identification Card and/or Handgun Purchase Permit" form and complete it. The application requires you to specify a permit type, your name and address, the name and address of your employer and any criminal history.
It also requires personal information about any alcohol and substance abuse problems, mental and physical disabilities and the names and contact information of two character references who are not related to you.
Submit the application to a New Jersey police department or state police with the application fee. The application fee is $5 for the first "Firearms Purchaser Identification Permit" and $2 for each "Permit to Purchase a Handgun." These fees must be paid with a money order or a certified check payable to the "Superintendent of State Police" or the police chief of the local police department.
Download the "Application for Permit to Carry a Handgun" form from the state police forms site. Complete three copies of the application form. You must list the type of permit for which you are applying, your name and address, the name and address of your employer and your criminal history information. You must also submit personal information about any alcohol and substance abuse problems, mental and physical disabilities and the names and contact information of three character references who are not related to you and have known you for three years.
Unlike the "Application for Firearms Purchaser Identification Card and/or Handgun Purchase Permit," these references must also sign the form.
Submit three copies of the application to the police department or state police with the application fee. The application fee is $20. These fees must be paid with a money order or a certified check payable to the "State of New Jersey."
For both permits, you must visit your local police department or state police barracks to have your finger prints taken. The state police charge a fee of $52.66 as of March 2019 for fingerprinting. To carry a handgun, you must also have four 1.5 inch by 1.5 inch photographs taken of your face and shoulders. You cannot wear a hart or sunglasses in the photograph, and it cannot be against a dark background.
All four photographs are submitted with the carry permit application. If you cannot take the photographs yourself, visit a local shop that takes passport photographs.
Hal Bartle has been writing professionally since 2009. He has been published on various websites. He holds a Bachelor of Arts in political science from Saint Joseph's University and a Juris Doctor from Duquesne University School of Law.
Bartle, Hal. "Obtaining a Gun License in New Jersey." , https://legalbeagle.com/7184979-obtaining-gun-license-new-jersey.html. 24 March 2019.


text:
Q: Error: Undefined data I have this function to fetch new ads in every 10 seconds, but im getting the error
function getnewads(){
    var newer ;
    // This fetches old value from 'data-value' attribute
    var old_val = $("#new_data").data('value');
    $.ajax({
        type: "POST",
        url: "users/process.php",
        data:{
            getnewads: "getnewads"
        },
        cache: false ,
        dataType: 'json',
        async: false
    }).success(function(dat){
        if(dat.status == 'success'){
            $("#new_data").empty();
            for(i = 0;i < dat.counts; i++){
                newer = dat.counts + old_val; alert(old_val); /// problem att old_val alerts Object object.
                if(newer > 0){
                    $("#new_data").html('
'+ newer +' new ads
');
                    // This set 'data-value' attribute to #new_data element
                    $("#new_data").data('value',newer);
                    $("#new_data").show();
                }else{$("#new_data").hide();$("#new_data").data('value',0);}
            }
        }
    });
}

and this is my html div

I have tested everything works just this old_val is alerting Object object
What am I doing wrong ?
thanks
If I alert old_val it shows Object object
If I alert old_val.val() its shows undefined old_val

A: use .attr() instead of .data()
there are known issues with incompatible browsers on .data()
change your code to
var old_val = $("#new_data").attr('data-value');

to get the val from the object.
Notice: .attr() is get and set, if u want to set a val to this obj use
$("#new_data").attr('data-value',newvalue);

redpajama_set_name: RedPajamaStackExchange


text:
Kyuss Lives! Accuse Josh Homme and Scott Reeder of 'Double Standard'
Chad Childers Published: May 21, 2012
As previously reported, the group known as Kyuss Lives! have some legal issues with former Kyuss members Josh Homme and Scott Reeder.
Last year, the group's original lineup, sans Josh Homme, decided they wanted to tour together and they recruited Bruno Fevery to fill the void left by their onetime guitarist. But things turned litigious back in March when Homme and former bassist Scott Reeder filed a lawsuit against the group over alleged "trademark infringement and consumer fraud." Reeder actually played some shows with Kyuss Lives! during a period where bassist Nick Oliveri was dealing with some legal issues, but things apparently turned sour after that.
Singer John Garcia and drummer Brant Bjork opened up about the case to Rolling Stone, and Bjork explained, "They don't want to mention that they trademarked the name Kyuss after I left the band, assuring that I had no rights in Kyuss' future. They're both accusing John and I of doing something that they actually did themselves. Their inner conflict is this: both Josh and Scott want control and money from Kyuss Lives!, but they don't want to participate and they ultimately don't want us to exist. The double standard is unbelievable."
Bjork says that everything was fine last year with Reeder as he subbed in for Oliveri and was given the salary he asked for, making him the highest paid member of the group. But, he feels the fact that the band asked Oliveri to be their bassist instead of him has led to the disagreement. "Scott's stance is weak and shameful," says the drummer.
Shortly after the lawsuit was filed, Nick Oliveri, who had other legal troubles, bowed out of Kyuss Lives! Bjork and Garcia state that they felt that Oliveri didn't want to get caught in the middle and still had certain allegiances to Homme after repairing his relationship following his firing from Queens of the Stone Age. Garcia says that Kyuss Lives! are moving on with their fellow desert dweller Billy Cordell coming on board to play bass.
Filed Under: Kyuss Lives!


text:
Enunciation Rather Than Representation
Alya Sebti in conversation with Göksu Kunak
Göksu Kunak
010_09 / 22 March 2017
In April 2016, curator Alya Sebti assumed the role of director at the renowned ifa Gallery in Berlin, despite what she calls 'her broken German'. Since 2015, Sebti has been working on various narrations in the space of ifa Gallery Berlin and Stuttgart, with exhibitions such as the 2015 exhibition Carrefour/Treffpunkt (Meeting Point) – The Marrakech Biennale and Beyond, which invited past participants of the Marrakech Biennial, of which Sebti was Artistic Director in 2014, to present both old and new works that reflected the position of Marrakech as cultural crossroads. In this interview, Sebti talks about the ideas that underpin her perspective and position as a curator in the international art world, including the notion of the subjective centre and her personal methods of un/re-doing words that are loaded with colonialist understandings. She also discusses the upcoming theme-based programme at ifa Gallery Berlin, where the white cube will be transformed into an active meeting point with a transregional approach.
KUNCI Collective, Radio KUNCI, 2016. Exhibition at ifa Gallery, Berlin.
Photo courtesy Victoria Tomaschko.
Göksu Kunak: What are the urgencies for you when curating in a time of drones and selfies?
Alya Sebti: I like that you are speaking about selfies, because they refer to self-representation. Drones give an access to a limited representation and fragmented reality. Part of my curatorial research is a response to that. It's about subjectivity; enunciation rather than representation; the option of repositioning ourselves within a specific individual mapping instead of asserting one reality and representing the self only in that particular reality. Both my latest exhibitions, and the 2017 programme at ifa Gallery that I have been working on, have a lot to do with the idea of delinking that Walter Mignolo refers to, or the methodology of decolonization – acknowledging the power of subjectivity rather than asserting the representation.
GS: Last summer in 2015, you taught the class 'Curating / Translating The Polyphony of Voices' at the Salzburg International Summer Academy of Fine Arts. Could you explain what you mean by 'Translating the Polyphony of Voices'?
AS: As I said in an interview for the exhibition Carrefour / Treffpunkt, it's more about listening to the polyphony of voices rather than being a part of one unified voice. A polyphony of voices is related to subjectivities rather than one objective truth. It's about respecting the perspective of each individual and to not uniform or harmonize perspectives but take all the differences in. Other than that, I think we very often forget to really listen. We don't know how to create time for listening to the realities of each individual without pretending or trying to assert a truth. Polyphony of voice is a non-written form of transmitting knowledge and experience. It is giving importance to oral legacies and what is being communicated beyond the written contract based on institutional elements. Basically, translating the polyphony of voices is learning to listen and absorb different realities rather than believing in one objective truth.
GK: What are your curatorial methods when translating this polyphony of voices?
AS: Each project has different methodologies. However, they all include translation between the artist and the audience: translation, mediation, and moderation. This includes a constant conversation with the artist or with the audience to keep both perspectives in mind. When having the conversation with the artist, we think about how to translate the works for the audience.
In her essay 'Curare l'arte' (2002), Chiara Bertola analyses the figure of the curator. She takes the example of her work as a curator in conversation with the artist Marisa Merz and through that specific example shows that 'taking care of art' for the curator means contributing to the definition of an artwork and its translation to the public. Besides that, translating certain elements beyond spoken and written languages such as olfactory information or sound installation is crucial. Megumi Matsubara's work is a good example. The artist lives between Tokyo and to the old city, or Medina, in Fes. Since 2012, she has been living in a constant negotiation of languages. She made a piece, Undress (2015), for which she wrote poems and asked an expert to translate these poems into fragrances. In that way, the poems created an olfactory exhibition. Later, the audience who experienced the smells in the exhibition space was asked to translate the poems into images. That's another example of translation.
GK: According to you, what are the methods/tactics to re-narrate art history from different perspectives or undo-unlearn/redo-relearn post-colonialist approaches?
AS: The words that we are using at this moment such as 'enunciation' and 'perspective', or questions like 'where do we position ourselves?' or 'from where do we speak?' will also evolve according to whom we encounter. Let's also accept that our point of enunciation is mobile. Besides that, when we talk about colonial legacies in relation to contemporary society, the method of unlearning or translating it into a place like ifa Gallery through orality and providing more space for conversation or sound performances, gains importance, as does producing a discursive platform and working with various collaborations with independent initiatives or institutions.
Creating these capillaries and allowing for mobility rather than trying to frame an exhibition with one space is a constant process. There is no guarantee of success and I will continue to experiment as I have been doing in the past by being aware of the words that are used, and contemplating on how to (re)position ourselves and transform this idea of orality with a discursive platform and through performances. It is also about repositioning the artist in the middle: one artistic position in conversation with a public programme that creates a dialogue between different kinds of expressions – from performances and conversations, to screenings – by not only using the frame of art but also opening it up with discussions among a diversity of positions, from an artist to a sociologist, and a philosopher or a cook. These discussions help in rethinking sections and categorizations. In Graz, as a part of Steirischer Herbst, I gave a talk called 'West vs. Non-West, Centre vs. Periphery, Written Knowledge vs. Orality…VS BINARY SYSTEMS' that aimed to dig into the space between such binaries. I still don't have the perfect recipe, yet. These are some tools to move on step by step to keep cooking.
GK: In terms of words, should we forget them?
AS: There are two positions that I would like to look at and there is an opposition in between. When we are talking about unlearning and decoloniality, there is an emergency of finding new words that don't exist in our world yet. However, the trap we often end up in is that we don't dare to talk about the words that are in between. For instance, I posted the text 'Decolonial AestheSis: Colonial Wounds/Decolonial Healings' by Walter Mignolo and Rolando Vázquez on Facebook. The text talks about decolonial pride and taking power in people's hands. Because the word 'people of colour' appeared in the text, this post got immediate reactions to the wording. People are irritated by certain words, but because of the lack of new ones, their content becomes a taboo.
At the moment I feel we have to use words by contextualizing them. Another method is to use words that don't exist in one language but do in another. When we were working with KUNCI Collective for Radio KUNCI, for instance, we deconstructed the Indonesian word Numpang, which cannot be exactly translated. Numpang is a shared space and time for social interaction. What you and I are doing now is numpang, as we are sharing this moment with coffee. Another good example of embracing words that exist in another language and accepting the porosity of languages is when Eduard Glissant talks about creolization; maybe that's a tool as well. Rather than inventing new words, either we could use existing words by recontextualising them or we use existing words from different languages, analyzing them from a new perspective and bringing them into our language. In that way, we would be able to unlearn and create new positions.
Carrefour/Treffpunkt (Meeting Point), 2015. Installation view at ifa Gallery, Berlin.
GK: Have you ever been censored?
AS: I have never been censored and I am trying as much as I can to never unconsciously self-censor myself. It's a very difficult question that has a lot to do with your own projection. Meaning, it could also be the fact that you're self-censoring. In terms of unconscious self-censorship, I'm never sure if I'm critical enough. Maybe I do it in an unconscious way, even though I don't think so. Do you have that sometimes?
GK: I think I do, especially when I'm speaking in Turkish.
AS: I don't feel I have, and take, the same freedom of speech when I'm speaking darija, or Moroccan, in Morocco, but this is not an objective truth. It has to do with my own subjective feeling and projections within a specific constellation.
Photo courtesy of Victoria Tomaschko.
GK: Have you ever felt exoticised or othered as an internationally renowned female curator from Morocco, especially considering the fact that you are the director of a German institution?
AS: In 2015, before I became the director, there was a talk at ifa Gallery called 'Where are you speaking from?', quoting Foucault's 'd'oú parles-tu?'. It was also an answer to 'where do you come from?' and stating that we are the combination of all the people we have encountered, all the places we have been, and all the books we have read. This makes us say something particular in one moment, but through time we'll be speaking from a different place – it's a constant statement. My programme is theme-based rather than referring to geography. The participating artists are chosen not according to the places that they come from but from where they are speaking. Where are they living at the moment or where have they been working? For instance, during the preparation of Johannes Haile's exhibition at ifa Gallery, With Different Eyes, it was discussed whether and how it should be communicated that Halle was born in Ethiopia and then went to New York to study before coming to Germany in the 1960s. However, this is not an exhibition about 'an Ethiopian photographer who showed his work on Germany'. More than a foreign eye about a foreign country, the images depict the shared moments of a person with the people he encountered.
GK: In one interview you say: 'There is no global art, only subjective perspectives on arts. My wish is to get rid of the idea of one centre versus periphery, that we would listen more to the different centres that exist in the world.' Could you also talk about your idea of centre and periphery?
AS: How I perceive the centre is that there are as many centres as there are people. My centre is completely different than yours and visa versa. I'm speaking from my own individual cartography. If we look at this map, it started in Casablanca, then moved to Paris, Rome, back to Morocco, followed by Berlin, with various projects and encounters in between. Now, as we're both in this café, two different centres are located in Berlin. Because of our own experiences, although geographically we are at the same spot, our centres differ. That's the plurality of centres. Carrefour/Treffpunkt was contemplating on how to reveal and invent languages that would enable us to encounter each other in this way. It is possible for us to be very close to each other geographically, yet we still cannot connect because of not finding ways to communicate. Another problem is that we rely on words rather than listening to non-spoken languages. That's why we used sound or olfactory signals in the show, in order to encourage listening with your other senses: your nose, or eyes. I would like to stress that what I say is my subjective experiences. I'm not trying to assert any kind of truth.
GK: In relation to what you're saying we could mention Jose Esteban Munoz and Judith Butler proposing the method of disidentification or transidentification to deconstruct the encoded meaning of identity in relation to nation or gender.
AS: I have an accent in every language I speak. When I speak French, I have a weird accent that is a mix between Moroccan and Italian. Interestingly, when I speak in Italian, I have a German accent – a language that I don't even speak correctly. The languages that I use are not framed in any of these languages. The accent always puts you in the margins. It's not only about accepting the porosity between different languages, but also being aware that you are often positioned on the margin. This very specific position could be perceived as a weakness, because we don't speak the language perfectly, however the accent of the margin is extremely precious as it allows you to see different perspectives.
I think this whole idea of one single identity is completely wrong. Even for the people who are born in one place and have never left. I never use the word identity. If I do it's always to question or deconstruct it. Identity is an illusion. It's a jail. Unfortunately, there is this tendency to be put back into that jail, and it's our responsibility to get out of it all the time. Personally, I don't want to be identified as Moroccan, French or Italian. I'm not tied to any geography. Nevertheless, one of the traps that we should be aware of is that we shouldn't be completely against geography or identity as well. As a person who grew up in Morocco, a complete opposition to where I was born and saying 'I have nothing to do with that place' would be nonsense. When I left the country to study abroad I was 18. I have a strong connection, but it's not what defines me. What is crucial is constant repositioning of the self and renegotiating that position.
GK: Could you tell more about what you plan to do in ifa Gallery this year?
AS: I can talk mostly about the structure, which will completely change from March 2017 on. We will have a meeting point with a curated 'hearing and reading station' that will evolve according to the theme. It will be an experiment by coming together to discuss and create time and space to read and listen. An exhibition is the start of a conversation. It's a question that afterwards creates the space for such interrogations.
The theme 'UNTIE TO TIE, on Colonial Legacy and Contemporary Society', will be analyzed in four chapters. Each chapter will last two and a half months. Within each chapter various mediums from visual arts to performance or to conversations will be generated to create an encounter. It will be like a book, with a self-reflexive digital platform. But why are we talking about this specific theme? What does it mean today? I would like to stress that it's not about finding answers, but about asking collectively and listening to possible answers.
In the following three chapters, there will be one artistic position for each chapter with a public programme instead of group shows. The title will be more elaborated, but for now, the working title of the first chapter looks at the archipelagic thought, the second focuses on urban culture and colonial legacy, and the third will look at intersectional feminisms. Finally, from January 2018 to March 2018, the closing chapter will be a group show on riots and resistance curated by Natasha Ginwala.
The program is based on a transregional approach. I think in contemporary societies we are dealing with the colonial impact on thinking and hierarchical patterns. Colonial power is still present in our daily life. Consciously or not, we experience it.
Alya Sebti is director at ifa Gallery, Berlin. She has curated several exhibitions in Europe and North Africa and was the artistic director for the 5th edition of the Marrakech Biennale (2014). Her recently curated exhibitions include: Caverne: Hicham Berrada (Wentrup Gallery, Berlin, 2015), Carrefour / Treffpunkt (Institut für Auslandsbezihungen ifa-gallery Stuttgart, Berlin, 2015). Casablanca, black energy (Le Manège, Mons, European Capital of Culture 2015); Now eat my script with Mounira Al Solh (KW, Berlin, 2015); Equilibres / Augleisch with Hicham Berrada and Felix Kiessling (Wentrup Gallery, Berlin, 2014), Of Other Spaces (Public space Morocco/ Netherlands, 2013); You never left with Youssef Nabil solo show (Casablanca, 2011), Reza Aramesh /Shadi Ghadirian (Rabat, 2010). From 2012 to 2014, she created a cycle of online exhibitions and publications on contemporary art in Morocco, Algeria, and Tunisia with Arte East.
Co-editor of the book Pas de Deux following the residency programme she curated at Villa Romana (Florence, 2014), her latest publications include: 'A voice through Images' (essay for Gregor Hildebrandt's exhibition catalogue Sterne Streifen die Flute), Carrefour / Treffpunkt (catalog of the exhibition 2015), 'Biennale, from grounding to meeting spac'e (POSITION Social changes through Art in the Arab World, Akademie der Kunst, Germany 2014). She has written and lectured extensively on art and the public sphere at venues including: Thessaloniki Biennale (Greece), University of Addis Ababa (Ethiopia), KW (Germany), Institut für Auslandsbezihungen (Germany), NYU (Germany), Le Cube Art Center (Morocco), Kunstquartier Bethanien / Club Transmediale (Germany).
She is a board member of the International Biennale Association.
Pfordte, J. "We are who we meet". ifa Gallery Official Website, 2015, http://www.ifa.de/en/visual-arts/ifa-galleries/exhibitions/interview-with-alya-sebti-and-megumi-matsubara.html . Accessed, 12.10.2016
Interview Curatorial Practice Curating
Göksu Kunak (1985, Ankara) is a writer based in Berlin. S/he received a BA degree in Interior Architecture and Environmental Design from Bilkent University. Before Berlin, s/he worked as a Research and Teaching Assistant in the Department of Art History at Hacettepe University where s/he has her/his MA as well. Besides working in the editorial team of quarterly interview magazine mono.kultur, Göksu has been contributing to several magazines and blogs such as frieze d/e, Ibraaz, Paper Journal, Freunde von Freunden, Berlin Art Link, sleek, e-skop, crap=good, Istanbul'74. Between 2012-2014, s/he has worked as a writer and project developer as a part of Apartment Project Berlin. She will start her PhD soon on queer chronopolitics in relation to performance art and contemporary dance. Göksu's short stories and poems can be read via goksukunak.tumblr.com.
Between Middle and East
JW Stella in conversation with Aimee Dawson
The Making of a Collective
MADRASSA Collective in conversation with Antonia Alampi
Christine Tohme in conversation with Rachel Dedman
Not New Now
Reem Fadda in conversation with Fawz Kabra
Meanwhile…History
Shumon Basar, Ala Younis and Omar Berrada in conversation with Sheyma Buali
Beyond Entropy, Pavilion of the Republic of Angola, 13th International Architecture Exhibition – La Biennale di Venezia.


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text:
Martevious Young (born February 16, 1988) is a former American football quarterback.

Early life
Born to Robin Robinson, who died an early death, Martevious was raised by his guardians Joseph and Sheila Young. He played for Coach Willie Carl Martin at Benjamin Russell High School, where he was named a Permanent Starter. He was also a 5A Best Player in state nominee, a Super 12 selection, All-district in his junior and senior years. Went to the playoffs every year as a starter, and averaged eight to nine wins as a starter each season. Also lettered three years in baseball and two years in basketball. He was a starting pitcher on the state all-star team. And also won the Bryant Jordan Scholarship Award for academic and community service. A received a two-star rating by Rivals.com and Scout.com. Was named All-Southeast Region by SuperPrep, and played in the North/South and East/West All-Star games in baseball, as well as named all-county in basketball.

College career
Martevious decided on playing college football for the University of Southern Mississippi. He had offers from University of Louisville and the University of Alabama-Birmingham. His freshman year in 2005, he redshirted. Saw action in two games, drawing one start. He completed one pass for two yards, and had three yards on one carry. Missed the remainder of the season with a broken leg after getting hurt on the third play of the game against Rice (10/3) in his first start. As a sophomore, he played in two games, in which he threw for six yards on 1-of-2 passing with an interception during season. He also added five rushes for 42 yards. Took over as starting quarterback beginning his junior year, completing 132-of-230 (57.4 percent) passing attempts with only three interceptions for a passer rating of 145.71 and 1,861 yards. He had 16 touchdown passes, throwing at least one touchdown pass in each of the last seven games and two or more five times during that stretch, leading the team to the 2009 New Orleans Bowl, where he completed 18-of-34 (52.9 percent) passing attempts for 271 yards with three touchdown passes and two interceptions. Also had nine rushes for 24 yards. As a senior, he played in six games and registered 12-of-23 passing for 132 yards coming off the bench.

Professional career

Huntington Hammer
After completing his senior year of college, Martevious decided to sign with the Huntington Hammer, rather than wait for the opportunity to be called in the 2011 NFL Draft. Young encountered an up and down season, as he totaled 201 completions on 432 attempts with 39 touchdowns and 20 interceptions. His dual threat ability was not completely contained in the indoor game, as he led the league in rushing with 358 yards. He was able to guide the Hammer to a 7-7 finish and a playoff appearance. The Hammer ultimately lost in the opening round of the playoffs by a score of 20-4.

Omaha Beef
After a productive season with the Hammer, Young signed to play the 2012 season with the Omaha Beef of the Indoor Football League.

Sioux Falls Storm
Young signed with the Sioux Falls Storm, also of the Indoor Football League. He was taxed with the job of replacing Sioux Falls legendary quarterback, Chris Dixon.

References

Living people
People from Alexander City, Alabama
Players of American football from Alabama
American football quarterbacks
Huntington Hammer players
Omaha Beef players
Southern Miss Golden Eagles football players
University of Southern Mississippi alumni
1988 births
Sioux Falls Storm players

redpajama_set_name: RedPajamaWikipedia


text:
NMM: Nat & Alex Wolff
Photo: Chris White
Remember these guys?
The two starred in the Nickelodeon show "The Naked Brothers Band" and have been working on various acting and singing/songwriting projects since. Most recently, Nat starred as Isaac in The Fault In Our Stars.
On the music side, the brothers have been busy cranking out very cool-sounding music. It started with the release of a full length album – Black Sheep – in 2011 and has grown from there. Nat and Alex's music has been featured on three motion picture soundtracks as well – the most recent being Gia Coppola and James Franco's Palo Alto.
The Wolff brothers have also released four new tracks in the past few months. The first two – "Cities" and "It's Just Love" – in April then, most recently, "Last Station" and "Rules." Let me just say all of the tracks are awesome. There's a cool, folksy quality to the sound and the songwriting is genius.
If Nat and Alex Wollf keep going in this direction, the sky's the limit for them in the industry.
Music, New Music Monday, Opinion, Videos


text:
Q: Tweaking linux console: 1) display password 2) set background color I want to alter background color since very first lines of kernel output, remember that there was an ability to change colors with echo'ing some special character, but waiting for /etc/init.d/* is too long for me; however, if it is only the method available..
Also, want to de-secure the password input, using PAM:
login: user
password: ****** <- need to show asterisks indicating how much symbols got in.

A: Looks complicated ...
Appart from adding stuff in /etc/issue which will just change the "text"above the login/password like here http://www.gentoo-wiki.info/TIP_Login_issue
It seems that you have to code (http://www.linuxquestions.org/questions/linux-software-2/customizing-login-on-terminal-636960/)


Everyone can save the world, but sometimes you have to start small. Take a look at the Middle School Student Service Leadership Team (SSLT) for instance. "So, what does SSLT do in the first place?" you might ask. Well, we do many things such as make onigiri for the homeless people in Ueno Park, collect rice for Second Harvest Japan, participate in projects to assist students in the Tohoku region, organize loads of fundraisers, and volunteer at ASIJ events.
One of the activities that we participate in each year is sponsoring the Middle School Back to School dance. For that dance this past September, we had an Airhead candy fundraiser. We had bought boxes and boxes of Airheads in the states and sold them at our dance. Almost the entire school bought Airheads and we raised over ¥40,000. All the money went to support our efforts in Cambodia. In Cambodia, all water is not clean. So we built two wells this year in the countryside, in the center of two separate villages, so that families there can have clean water to drink. We also used this money to finance the education of a middle school student in Phnom Penh.
Spirit Day brought students, and their friends and family out to a great day of fun and activities! On September 28, students from the SSLT came out and worked thirty-minute shifts to sell spirit bracelets and Maasai jewelry. We are pleased that the SSLT made about ¥30,000 to support our projects.
In October, ASIJ held the Middle School Halloween Dance. The SSLT sold special Halloween glow bracelets for the students to wear at the dance, and it turned out to be a great success, because we were able to raise over ¥20,000. We donated this money to an organization for Filipino typhoon relief. We also collected money for UNICEF and were able to make a donation of ¥50,000.
SSLT students participated in Winterfest by selling assorted items at our booth and by helping the PTA with their beverage sales. We also sponsored "Coins for Candy" with all proceeds going to Second Harvest Japan. At this event, we raised approximately ¥30,000.
We are off to a good start this year and have many more projects planned for the second semester.


Getting a free roofing estimate for your Lehigh Valley home or business is easy. Simply fill out and submit your information below, and an Appleby Systems metal roofing pro will review and respond promptly. We respect your privacy, and will not share your information with anyone outside of our organization.


text:
Carine Eyenga Abani (born 14 February 1983) is a Cameroonian sprinter. She competed in the women's 4 × 100 metres relay at the 2000 Summer Olympics.

References

External links

1983 births
Living people
Athletes (track and field) at the 2000 Summer Olympics
Cameroonian female sprinters
Olympic athletes of Cameroon
Place of birth missing (living people)
Olympic female sprinters
21st-century Cameroonian women


Beschreibung: Zweite Version des Coca-Cola Güterwagen von "Primus" ohne Anschriften.
Beachten Sie, dass es mehrere gefälschte Reproduktionen von diesem Wagen gibt!
Second version of "Primus" Coca-Cola two axle freight wagon without dimensional markings.
1) Molded white body with "4032" embossed ID number on end of body.
2) Square corners on upper door rails.
3) Molded light red plastic placard with "Trink Coca-Cola SCHUTZMARKE" (with Coca-Cola having wave logo format) glued onto both sides of body.
4) Molded black chassis with "Gew. 5650kg LuP 6,75m Rev 10.77" markings printed in white on sides of chassis.
5) Smooth, unpainted, molded gray roof with painted satin black "soot" edges.
6) Black heat stamped data at left on only one side of body.
7) Sway stop tab couplers.
8) Short flanged wheels with plastic coated axles.
9) Brake hose holes on chassis.
10) Triangular doors on brakeman's platform.
It's the real thing! Early Coca-Cola car.


text:
Logo Evolution Examples
It is intended to evolve with your business as your products and services change, or even as your mission as a business evolves. Changes to your logo to accompany these changes are called logo evolution, and even the biggest brands in the world have been through it. It's a powerful example of how the evolution of a logo can be used to mark moments of significant change, whether in core product and service offerings or who is responsible for them. What change? Apple has one of the most recognizable logos in the world, taking its place alongside giants like Nike's Swoosh. Some reasons why changing your logo may not be successful are: The changes are not based on a compelling story. Changes that happen just because for no good reason ring hollow to customers who have established a relationship with your business. A good logo shows the world what you stand for, makes people remember your brand, and helps potential customers understand if your product is right for them. Logos communicate all of this through color, shape, and other design elements. Learn how to make your evolution logo tell your brand story.
Transfer google domain to wix
What is the evolution of a logo?
It is intended to evolve with your business as your products and services change, or even as your mission as a business evolves. Changes to your logo to accompany these changes are called logo evolution, and even the biggest brands in the world have been through it. Some reasons why changing your logo may not be successful are: The changes are not based on a compelling story. Changes that happen just because for no good reason ring hollow to customers who have established a relationship with your business. It's a powerful example of how the evolution of a logo can be used to mark moments of significant change, whether in core product and service offerings or who is responsible for them. What change? Apple has one of the most recognizable logos in the world, taking its place alongside giants like Nike's Swoosh. The way we do business changes over time, and so do the needs of our audience. So when is the right time to update your logo? Some companies tend to keep their logos because they symbolize a time when sales were down and business was doing well.
Why is the evolution of the Apple logo so important?
The first Apple logo design says a lot about how Steve felt about his company. The apple logo design showed an apple about to fall from the tree onto the head of Isaac Newton, who is depicted sitting under the tree. This company logo design made it clear to people that the company welcomes new ideas. The apple logo design showed an apple about to fall from the tree onto the head of Isaac Newton, who is depicted sitting under the tree. This company logo design made it clear to people that the company welcomes new ideas. The logo had these words inscribed: Newton: a spirit that travels forever through strange seas of thought: alone. Also, the colored logo wouldn't have looked good on Apple's new metallic devices. The current monochrome-style Apple logo design has also helped the company change its image. At the time the colored logo was used, the company was facing financial losses and was considered a bankrupt company. Since its inception in 1976, the design of the Apple logo has changed twice. The first design had achieved its goal of conveying the message that the company believed in by thinking something new. But the design looked less like a logo and more like an engraved slogan in a classic style. The design only lasted a year as it was not entirely modern in appearance.
Why do some logos not evolve?
When a bad logo design turns into a logo design mistake, there are often some pretty serious consequences for both the client and the designer. We've all seen the disastrous Gap redesign in 2010 (it lasted a week). And things can be much worse: Google the logo of the Archdiocesan Commission on Youth of the Catholic Church. The history of the Pepsi brand is another great example of how logos evolve while paying homage to the origins of the company. The iconic combination of red, white and blue dates back to 1941, when the company changed the colors of its bottle caps to support the American war effort. Even today, many of the world's most iconic companies have logos that pay homage to their rich history. And while some images may remain the same, logos continue to evolve to reflect the values and new design aesthetics of modernity. The way we do business changes over time, and so do the needs of our audience. So when is the right time to update your logo? Some companies tend to keep their logos because they symbolize a time when sales were down and business was doing well.
What makes a good logo design?
simple logo design allows for easy recognition and allows the logo to be versatile and memorable. Good logos present something unique without being overdone. While in college in the mid-70s, an instructor introduced me to the KISS design principle; which translates to: Keep It Simple, Stupid. The qualities that make a good logo — 1 Distinction. Your logo should be distinct, designed to stand out from similar brands. … 2 Relevance. Relevance refers to how your logo design connects with your audience. … 3 Simplicity. The best logos are simple enough to be understood at a glance. … 4 Timelessness. … 5 Adaptability. … On the other hand, choosing a logo that can be resized, printed or placed on different mediums makes your brand noticeably more visible. Even the most attractive logos aren't necessarily good if they become unreadable or unrecognizable when you shrink them to wrap them up or they distort when you put them on a billboard. All the logos are really wonderful. The designers are very creative. Montreal Graphic Design Company Sep 4, 2010 @ 1:29 am Yes, I totally agree with you. I just wanted to add one more point The logo should also be captivating
What does the first Apple logo design say about the company?
The Creation and Development of the Famous Apple Icon The first Apple logo was designed by Steve Jobs and Ronald Wayne in 1976, with Isaac Newton sitting under an apple tree. The apple logo design showed an apple about to fall from the tree onto the head of Isaac Newton, who is depicted sitting under the tree. This company logo design made it clear to people that the company welcomes new ideas. The logo had these words inscribed: Newton: a spirit that travels forever through strange seas of thought: alone. The Apple logo is one of those rare logos that people instantly recognize and can identify the company it represents. The Apple logo is also a great example of how a few changes can transform a company's image. Jobes also liked the brand and used the unique logo to promote his brand. After brainstorming different names and logos for their company, he and Wozniak settled on Apple because of its allusions to the forbidden fruit in The Garden of Eden and the idea that it is a necessary part of all that is good and wholesome. .
What does the Apple logo design say about Isaac Newton?
The first Apple logo design says a lot about how Steve felt about his company. The apple logo design showed an apple about to fall from the tree onto the head of Isaac Newton, who is depicted sitting under the tree. This company logo design made it clear to people that the company welcomes new ideas. The fruit is a direct symbol of Isaac Newton's brilliant discovery: just as an apple hit the scientist's head, the law of gravity came to him when Isaac rested peacefully under the apple tree. During the development of the logo, Janoff bought apples from a nearby store, put them on a plate at home, and made several sketches, trying to get rid of unnecessary details. He decided to design the apple with a bite like scale so people would understand that it was an apple, not another fruit or berry. The Apple logo has been changed twice in its four-decade history and it was a significant design change, mostly in color. Although the emblem created by Ronald is unique and has meaning, it is not suitable for commercial purposes. The company used Wayne's image as its logo for almost a year.
Why doesn't Apple have a colored logo?
There is no clear answer as to why Apple changed the color of its logo to white. But as for the color white, the color white indicates purity. Represents cleanliness. Maybe that's why Apple opted for the white color. As they are known for making perfect products. Why does Apple never write Apple on an iPhone, but just use the logo? What is it? it's APPLE. The glossy Apple logo was voted for simply because of the glossy backlight on the back of the display and a cutout hole in the back of the cover (in the shape of the Apple logo) with a plastic cover over it. shone. When designing the Apple logo, Janoff created the iconic silhouette of an apple in a shape similar to the one we all know today. In the process, he added a bite mark to make it clear that the fruit depicted in the logo is an apple and not another fruit with a similar silhouette, like a cherry, for example. To develop the company's initial brand, Apple Computer, Inc. contracted with advertising agency Regis McKenna in 1977 (with a relationship beginning in 1976). McKenna himself assigned the task of designing the Apple logo to Rob Janoff, a graphic designer who worked for the company.
How many times has the Apple logo design changed?
The Apple logo has been changed twice in its four-decade history and it was a significant design change, mostly in color. Although the emblem created by Ronald is unique and has meaning, it is not suitable for commercial purposes. The company used Wayne's image as its logo for almost a year. In 1977, one of the company's founders, Ronald Wayne, designed the first Apple logo. It was a true illustration, like the ones you see in history books, depicting significant moments in black and white. Also, the colored logo wouldn't have looked good on Apple's new metallic devices. The current monochrome-style Apple logo design has also helped the company change its image. At the time the colored logo was used, the company was facing financial losses and was considered a bankrupt company. The current logo, the one everyone knows, was not created simply because Steve Jobs is always looking to change things. When Jobs returned to Apple in 1997, the company was losing money and Jobs and Co. realized that the Apple logo could be used to their advantage.
When is the right time to update your logo?
The way we do business changes over time, and so do the needs of our audience. So when is the right time to update your logo? Some companies tend to keep their logos because they symbolize a time when sales were down and business was doing well. An evolution usually involves slight changes to the components of your existing logo to keep it fresh, contemporary, and visually appealing. This is often the safest option if you are already happy with certain aspects of your logo and don't want to lose the brand equity or brand awareness you've worked so hard to build. There is no definitive time when you should redesign your logo. But, if your intuition tells you that your logo is lagging, irrelevant, or simply no longer represents who you are as an organization, it's time to re-evaluate. A strong image that represents your brand when your audience thinks of you will have an impact. Some companies tend to keep their logos because they symbolize a time when sales were down and business was doing well. Following the financial crisis of 2008-2009, companies were forced to re-evaluate the way they do business, from restructuring their sales department to finding smart new ways to engage their audience.
When a bad logo design turns into a logo design mistake, there are often some pretty serious consequences for both the client and the designer. We've all seen the disastrous Gap redesign in 2010 (it lasted a week). And things can be much worse: Google the logo of the Archdiocesan Commission on Youth of the Catholic Church. They often occur due to negligence, lack of feedback, or not taking the time to look carefully at the finished piece in different settings. Below, we've rounded up 12 gigantic design flaws, spanning packaging, UI, logo design, and user experience, all of which offer us something to learn. But from time to time a brand changes its logo and the public does not react well. Whether it's just a really bad logo design or the fact that people often don't like change. There have been some real logo redesign issues over the years. These are some of the most controversial logo redesigns over the years. That means it's very, very easy to get it wrong. Unintended results happen quite often, even in experienced designs, but each designer's mistake is another designer's potential lesson in what to watch out for. Some of the biggest design flaws seem so obvious that viewers outside of the process wonder how the design could have been signed off.


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Refrigerators and freezers are our most trusted appliances. We fill them with hundreds of dollars worth of food and expect them to do what they were designed for. If they go out you have to make a quick decision.
You've worked all day and get home ready to eat. The problem is your range, oven, stove will not cooperate. We get grouchy when we are hungry. Let us help you with that. Home cooking or fast food?
Appliances are just like anything else you own. They need to be taken care of. They need to be cleaned and inspected. Let us help you keep your appliances running the most efficient and economical.
Washing machines keep us at the top of our game. Clean clothes keep us looking and feeling better. Everything is wonderful until a unit fails to operate properly. We repair all types, front load or old school.
Proper dryer repair and maintenance is very important. Dryers are the appliances that cause the most fires and use the most electricity. An inefficient dryer can cost hundreds of dollars more per year than one that is operating properly.
Those nasty dishes. They show up all times of the day and night, and no one seems to know how it happened. Luckily it's easy to just throw them in the dishwasher and let the magic happen. Do the dishes the old way or call us?
We will pick up and haul away your unwanted appliances at no charge to you. If you have broken or non-working appliances just give us a call and we will schedule a good time to come by and pick them up. We may be able to repair them or use some of the working parts for our other appliances that may need them. There is lots of good in bad appliances.


Hello, I need to set up aquisition parameters for an echo solid sequence on bruker. In order to analyse deuteraed samples. Did any one has a paper or link for this sake.
you can look at Melinda Duer's textbook "Solid-state NMR spectroscopy" p. 113. Set your first echo delay to a minimum value that is necessary to cover the probe ringing ( usually 30-50us). The second tau delay is a few us smaller in order to catch the exact top of the echo.
Thank you liliya for your ansewer. Otherwise I would like to check something. It's indicated in Duer's book p. 324, that in order to have symmetric ²H powder pattern," it's necessary that the center of the powder pattern be on the resonace" My first question, when she said symmetric pattern, she means that the intensity of each doublet is the same, or the distance between each doublet is centered at 0 Hz. My second question, in order to set the resonace on the center of the spectrum, should I set o1 at 0 Hz, and calibrate the center of the spectrum on 0 Hz (whatever the value of sr).
Did you ever try to find out whether it is possible to get the Solid Echo in your spectrometer for protons.
protons are simply Spin 1/2 nuclei where as deuterium is a quadrupolar nuclei.
For protons, as I have seen while I was a post doctoral fellow at Max Planck Institute for Medical Research, Heidelberg, If one can see a Proton FID for solid with 90 degree pulse of reasonably short pulse width and High power, then by trying to aplly a 45 degree pulse before the FID decays completely, it is posible to see a refocussed signal.
Once it is known how to see such asolid echo it should be possible to find the Solid Echo conditions for Quadreupolar deuterium nuclei.
Use the quadrupolar echo (spin 1 echo) sequence for 2H. 90(x) - tau - 90(y) - tau - Acq. You may use the pulse program "solidecho.av for a Bruker Avance spectrometer. Otherwise it would be fairly easy to write your own. For spin=1 nuclei (2H) this spin manipulation will result in a full refocusing of the magnetization (a full echo) where a typical Hahn echo will not.


text:
Q: How to export typescript enum with systemjs and Angular2? I'm trying to use Angular2 with system.js and typescript. It's been working fine for the interfaces I've been exporting so far, but as soon as I try to import an enum it all blows up. In the following code, Card works fine, but when I import Legend I get the error GET http://localhost:3000/shared/legend 404 (Not Found).
import {Component, OnInit} from 'angular2/core';
import {CardService} from './card.service';
import {Card} from '../../shared/card';
import {Legend} from '../../shared/legend';

@Component({
    selector: 'cards-list',
    templateUrl: 'app/cards-list.html',
    providers: [CardService]
})
export class CardsListComponent implements OnInit {
    public cards:Card[];

    //using Legend is the problem!
    public legendValues:String[] = [Legend[Legend.ARIANE]];

    constructor(private _cardService:CardService) {
    }
    getCards() {
        this._cardService.getCards(cards => this.cards = cards);
    }
    ngOnInit() {
        this.getCards();
    }
}

Here is the legend file:
export enum Legend {
    THE_RAPTOR,
    LINZA,
    ARIANE,
    OZAN
}

Why can't I import a normal enum?

A:
It's been working fine for the interfaces I've been exporting so far, but as soon as I try to import an enum it all blows up

Interfaces are a compile time only construct and therefore have no runtime impact. The files with the interfaces are not loaded at runtime. However files with runtime stuff like classes/variables/enums etc. are loaded at runtime and you are getting a 404 on these. This is a server setup error. You need to allow loading these JS files.

A: I had a very similar problem and eventually fixed it by exporting a 'dummy' class before my enum...
`
export class L{};
export enum Legend {
    THE_RAPTOR,
    LINZA,
    ARIANE,
    OZAN
}
...
import {L, Legend} from '../../shared/legend';
`
Unfortunately I can't say why this was necessary (although I have seen remarks that enums without a class are not allowed why not?!) but it helped me.

A: In the bellow code I'll demonstrate how to EXPORT class (constClass) contain list of const that can be used in your class service.
-serviceAngularClass.js-
    ...
    import {WsRessources} from "./constClass";

            @Injectable()
            export class PersonneService {...

        public functionName():Observable<any>{
            return this.updateRessource(WsRessources.BasePath+WsRessources.affectLeavingDate...);

        }
}//end Class

-constClass.js-
    export class WsRessources {
        public static BasePath='personnes';
        public static affectLeavingDate='/affectLeavingDate';
     }


See how cool Flylady is? We're already back to the kitchen. I decluttered everything I needed to declutter in the kitchen last month but that doesn't mean there isn't plenty to do in there! I'm getting into some detail cleaning this month. The pantry could use a little straitening and the refrigerator needs to be cleaned out and wiped down. I think I'll also spend extra time mopping the floor and maybe even wash the windows. What are your plans for your kitchen this week?
I'll also be doing the home blessing hour today. I'm looking forward to it! I was out of town three days last week and a bit of chaos crept in in my absence. 🙂 Laundry will also be a big priority today.
Life has been very full lately and blogging had to take the back burner again. I've got at least two furniture posts I'm anxious to put up. My goal is to post at least one of them this week.
I also may start talking about homeschooling soon as that is what is on my mind! Individual home instruction plans (IHIPS) are due in two weeks!! Yikes!!


Such a great weekend out for NatureUganda members on 22-23rd June 2012! The Rhino trackers headed to the Ziwa Rhino Ranch. The weather was great, the scenery fantastic and the rhino experience exhalating.
Along the Gulu highway, you are confronted with two 'Rhinos', a sign that you have reached the Ziwa ranch. Turn to the left, drive 3 km to the first gate and another 4km to the second gate and reception. A lot to see along this stretch including duikers, bushbucks, waterbucks, and welcome noise from the Pipiacs, the Sudan-guinea species that have recently extended their range to Kampala.
In the reception compound, animals such as bushbucks and Impala both hid their tails between their legs. "You mean these animals have no tails" one member shouted. As we got nearer the animals did not move as expected of wild animals. Well not as wild as we thought but after all this is a ranch not a park. Those with snake-phobia must not meander in the compound where brown and green snakes are part of the fauna. You are restricted to walking on the concrete paths.
The administration was there to receive the team and introduced us to the guide. The evening fell and a few of us ended up in the nearest watering hole 'I mean the bar'. After a long drive to Nakasongola for nearly 4 hours, food was extremely delicious. The night was cool, the solar light was dim and the crickets ruled the night. As advised, we hit the bushes at 6.30am the next morning. First our driver requested for additional pay for game drive. Luckily one of the participants had moved with a jeep! This was even a better choice for the Rhino tracking than the covered vehicle. The drive was by an expert who would rival 'Charlie' (those of you who are fans of motor racing). Potholes and water ditches reminded me of my school track in secondary school. It was good we had not taken breakfast.
At 7.00am we reach the Lugogo swamp, and a Pigmy Kingfisher was a good sight and calls of the Black-headed Gonoleks. One and half hours we get to the open water and we take a canoe. Along the ride you experience a diversity of water and terrestrial bird species. To the end of the water, we experience our first climate change adaptation experience. The cattle keepers cooling their milk by dipping milk container in the swamp. We missed the shoebill, but a reason to visit again.
Back to reception and we had a sumptuous breakfast. Then a short drive into the ranch, we had a briefing by the ranger. One of the tricks was that when the rhino charges, just hide behind the nearest bush. The Rhino has 'no common sense' to check behind the bush. I am not sure that I believed him but I had to wait to put this tactic into use. I never did. We walked in line following the ranger (like police moving to stop a W2W demo). The first three rhinos were resting under a tree. What an exciting 'ugly-beautiful' animal, two adults and one adolescent (so the ranger says!) called Obama who was 'celebrating' his third birthday. This was the climax and for 30 minutes, cameras run out batteries and memory space!
No one realized that we had got hungry until we reached a mango tree on our way back. Thank God, the ranger was a good climber and everyone enjoyed the juicy fruits. We could not have lunch but was instead packed for us to eat as we drove back to Kampala. A short visit but highly satisfying.
The next adventure is an overnight to Ssezibwa Falls near Mabira Forest Reserve on 15th - 16th September 2012. Don't miss!
The writer is a member of NatureUganda.


My first impression while downloading my free copy of Six Figure Affiliate Blogging by Zac Johnson is – it is somewhat same with the free report or free guide that I always download. Some free report or guide are no more than lures to bring visitors into their email lists and sometimes I got skeptical thinking about this.
However I feel shocked and amazed when I open the PDF file of Six Figure Affiliate Blogging and I asked myself – this is for FREE?? Because I feel the E-Book should be sold at a price, 25USD at least. A guide with premium content for free? Wow, this is amazing! And that's why you should grab this copy without thinking twice.
And it made me read it until the end.
If you are serious in making money blogging, I recommend you should grab this copy for you now.. before Zac Johnson put a price for his amazing guide or pulling it back from his site.
Grab your copy of Six Figure Affiliate Blogging now before you regret.
Thanks for sharing it. I already download and subscribe to Zac's "Six Figure Affiliate Blogging".
By the way, my friend. Thanks for sharing your comment on my blog. I really appreciate it. I hope we can be good friends.
Hey Zac's ebook is really awesome. Last week i downloaded that ebook :).
I wasnt aware of this e-book but I will be downloading it now, thanks for the advice.
I always like free stuff. Thanks.
I've downloaded it and will be reading it soon. I must say, that the ebook has a really good design :).
This is a good review. Affiliating to this blogging guide sounds like a good plan for anyone involved in the blogging activity. Highly recommended.


It may be a bit of an understatement to say the past year has been a transformational one for Colleen Joy Doggett of Center.
This Saturday will be a day of historic proportions for Excelsior ISD and the surrounding community.
Congratulations to the Light and Champion's four Cutie Patootie contest winners who will share in $300 worth of prizes spread over the four age groups.


The Usage History report shows the percentage of computer utilization based on open lab hours. The utilization of several labs can be displayed to easily determine how much available resources are being used.
Utilization reports are based on the number of hours used divided by the available hours. With schedules, lab utilization can be calculated only from hours in which the lab is open. Labs available for twenty-four hours and labs available for three hours can have different definitions of 100% utilization.
Navigate to Reports. Then click Usage History.
Select the date range. Select the appropriate Schedule option (Apply assigned schedules if schedules have been assigned to each group, or Apply a single schedule if the labs have the same schedule and it has already been created). Click Close.


Senior Chris Bednarczyk (Carmel, Ind./Westfield) and junior Jordan Piaskowy (Crete, Ill./Illiana Christian) earned spots on the Horizon League men's cross country 2010 Academic All-League Team.
One of the top runners ever at Valparaiso, Dennis Murray held seven school records on the oval during his career with the Crusaders, and, on Saturday, February 19 he will be inducted into the Valparaiso University Athletics Hall of Fame.
The Valparaiso men's cross country team closed out the 2010 campaign Saturday at the NCAA Great Lakes Regional in Rochester, Mich.
Led by sophomore Wally Bradford (Mukwonago, Wis./Mukwonago), the Valparaiso men's cross country team placed eighth Saturday at the Horizon League Championships in Chicago, Ill.
In its final tune-up for the Horizon League Cross Country Championships, the Valparaiso men's cross country team finished in sixth place Saturday at the Evansville Invitational in Evansville, Ind.
For the third time in as many races this season, senior Joel Hartenberger (Albuquerque, N.M./Sandia) led the Valparaiso men's cross country team as it ran to a 14th place finish Friday at the Notre Dame Invitational in Notre Dame, Ind.
Senior Joel Hartenberger (Albuquerque, N.M./Sandia) paced the Valparaiso men's cross country team on Friday afternoon as the Crusaders competed at their second meet of the season, the Spartan Invitational in East Lansing, Mich.
Senior Joel Hartenberger (Albuquerque, N.M./Sandia) ran to a career-best fifth-place finish on Friday to lead the Valparaiso men's cross country team as it opened the 2010 campaign with a second-place team showing at Sunset Hills Farm in the Crusader Open.
A boatload of experience returns for head coach Mike Straubel and the Valparaiso men's cross country program in 2010, as the Crusaders graduated just one runner who ran among the team's top-five at any point last season. This seasoned group of veteran Crusaders is taking aim at a move up the Horizon League ladder this season.
Four races within the state of Indiana, including the season-opening Crusader Open at Sunset Hills Farm, will prepare the Valparaiso cross country teams for the Horizon League Championships as head coach Mike Straubel announced the Crusaders' 2010 schedule today.


Select file at the bottom of the page.
This is one of the star elements of our system. It allows the creation of a learning program from the previous curation of Internet contents or contents that you have created with existing tools.
NOTE: Some of these elements can display unexpected behaviours on a mobile.
Enter URL in the field enabled at the bottom of the page.
Any you want to insert (i.e. infographics). Format: any valid image format.
Any document is valid for upload: .pdf, Word, Excel, etc.
IMPORTANT: Only the .pdf format can be displayed internally on the platform; for the rest, a download of the document will be provided.
Basically text (with the possibility of embedding images, links) to which you can format.
These objects are singular, since they appear directly in the campaign and not within a stage.
Enter the text of the news in the textbox enabled at the bottom of the page.
The news object does not have a "Description of the object" field since the text of the news itself occupies the space of said description.
The textbox contains some useful text format tools, as well as the possibility of embedding images, YouTube or Vimeo videos and links to other pages.
Sometimes we want to add a link so that it opens a new page, or a link to the download of a document, and definitely provide a link to an external URL.
Accept and the link will be anchored to the selected text.
Click on "Open in new window" then SAVE object and ready.
in which you must select the type of question (one correct answer or multiples), the question itself, the number of answers and each of them in corresponding box, mark the correct answer and finally, if you want to include feedback, complete the corresponding field.
Don't forget to "SAVE" the test as well as the actual object.
IMPORTANT: the user's final score will be that obtained in the last attempt made.
Similar to the news but included as an object within a stage. This is very useful when you want to add a learning object such as a short reading or instructions for an activity, etc.
Any video stored on YouTube or Vimeo for which the corresponding URL will be provided.


As the federal election heats up,Paul Martin, Stephen Harper and Jack Layton have all been talking tough aboutsoftwood lumber.
The rhetoric is thick, but more reminiscent of a fairy talethan a policy debate. If you believe the politicians -and the media and industryspokespeople-the softwood story goes like this.
Oneupon a time there was a beautiful country which believed in beauty, honour andfair play. This country was full of good hearted people that made their livingsas hewers of wood, sewers of crops and sellers of energy. Their major customerswere primarily located in the neighboring country to the south, which was thebiggest consumer of the wood, grains, vegetables and energy produced by theirnorthern neighbor.
Fordecades everyone was happy, until one day about twenty odd years ago when, accordingto their northern neighbor, the southerners got greedy. This started a tradedispute that has lasted decades and left both sides angry.
Insteadof appreciating the northerners as good neighbors, the southerners slappedpesky tariffs on the products shipped south, arguing that the government in thenorth subsidized its companies by charging too little for raw materials likelogs.
Thenortherners cried foul, claiming that the southerners were bullies and wereimposing tariffs to protect their own producers. After a few veiled attempts atnegotiation, the northerners appealed to various trade bodies and the yearspassed.
Variousrulings came down mostly supporting the northerners (but the southerners won afew key rulings) yet the southerners refused to comply. The northerners huffed,and they puffed, and they threatened once, and they threatened twice. And whenthat didn't work they threatened again, but little changed.
Like most fairy tales, themythology of softwood lumber described above has some basis in fact. But aswith most stories that have grown to legendary proportions much importantdetail is missing and/or has been distorted.
Let's start with identifying thetruths.
The U.S. is a trade bully.
The U.S. is trying to protect its domestic producers.
Canada has won most-but not all-of the trade panel rulings.
The biggest distortion is the Canadianclaim that trade panels have confirmed that Canadadoes not subsidize its forest products. The opposite is true and this partiallyexplains why the US is sticking to its position-saying that major reforms areneeded in Canada before it will withdraw tariffs.
In fact, virtually all tradepanels have ruled that the Canadian stumpage system (the way the Crown chargesloggers for Crown-owned timber) does confer a subsidy; they just disagree withthe US method for calculating the subsidy or have determined that the competingUS timber industry has not been "injured".
Canada and BC subsidize logging througha variety of circuitous policies that offset the true costs of logging. But themain subsidy results from charging way too little for trees logged on Crownland.
The governments own data prove thispoint: in BC logging companies' paid only 25 cents a cubic metre for over 36%of the trees logged from Crown lands. On Haida Gwaii-which is world renownedfor its huge spruce and cedar-companies paid only 25 cents a cubicmetre for over 51% of the magnificent trees they logged in 2004.
Would you allow someone to log atree the size of the average Canadian telephone pole from your backyard andonly pay you a quarter?
While most of us trying to makesense of the softwood dispute get lost in the maze of almost incomprehensibletrade laws and seemingly contradictory WTO and NAFTA rulings, to the heart ofthe matter we only need to focus on the low prices (stumpage) logging companiesare paying for our publicly owned wood to cut.
In fact, BC charged only 41% to 53%of US prices (from 1996-2001) for Cedar I Grade logs. The analysis was carried outcomparing the selected comparable grades of Cedar, Douglas Fir andHemlock logs. BC's prices for these grades were substantially less than theequivalent US grade in every comparison.
Canadasubsidizes logging. The sooner we acknowledge this and force our politicians tochange the stumpage system and other forest policies, the sooner we can solvethe softwood dispute and remove incentives that promote unsustainable loggingthroughout the country.
No trade panel can do this. It isup to us as concerned Canadians to hold our politicians accountable and to solvethe softwood dispute while we're at it.
Once the stumpage system is changedto capture the true value of logs from public forests, the underpinnings forthe softwood dispute will disappear and the U.S.-tradebullies that they are-will have little chance of imposing tariffs.
Despite the rhetoric frompoliticians and pundits, there are only two realistic options for solving thesoftwood dispute for the long term.
Revising Canadian forestry laws to get rid of subsidies and ensure the true value of publicly owned timber is captured.
As a Canadian, I much prefer thelatter. Yet, have you noticed that our politicians have seldom mentioned it as a possiblesolution.
I guess our politicians wouldrather blame the other guy, believing in fairy tales and the like.
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text:
Moser (Reporting a Crime to the Police)
When is it correct to seek police or governmental intervention when someone sins? Must pedophiles, for example, be dealt with entirely within the Jewish community? Can you or should you turn to the police and secular authorities to deal with a specific problem? Join Rabbi Dovid Fink as he explores what halacha says about reporting a crime to the authorities.
January 4, 2023 6:00 pm - 7:00 pm
Moser (Reporting a Crime to the Police): Moser (Reporting a Crime to the Police)
In pre-modern times, Jews lived in countries where the rule of law was weak. Jews accused of financial or other crimes faced the threat of torture and even death at the hands of the non-Jewish rulers.
In those days, rabbis prohibited moser (informing Gentile authorities against Jews).
In this series we will survey the sources and underlying concepts governing moserim and examine whether the principles apply in modern states and in Israel today.
In short, is it proper to report crimes like sexual abuse or counterfeiting to gentile authorities? Or must such cases be handled entirely within the Jewish community?
Hebrew source materials are available through the link. In class we will translate and explain these sources.
Download Video audio
January 11, 2023 6:00 pm - 7:00 pm
Video Download audio
Rabbi Dovid Fink
In addition to being one of Rabbi Brovender's first students, Rabbi Dovid Fink is an outstanding expertand teacher of Halacha. Rabbi Fink received his Rabbinic ordination from ITRI and the Mir and was awarded his Ph.D in Semitic Languages and Linguistics from Yale University. Rav Fink has taught thousands of students from all over the world for over 35 years.


text:
Q: How to sort a dataframe by names in the rows? I'm working with a dataframe that looks like this:
    d <- data.frame(t1=c("name No. 15", "name No. 15", "name No. 15", "name a No. 3", "name a No. 3", "name a No. 3", "name b No. 7", "name b No. 7", "name b No. 7"), t2=c("A", "B", "C", "A", "B", "C", "A", "B", "C"), t3=c(1207, 12965, 3453, 9084, 1234, 1239847, 345 , 9837, 879))
    print(d)

And I want it to look like this:
    o_d <- data.frame(t1=c("name a No. 3", "name a No. 3", "name a No. 3", "name b No. 7", "name b No. 7", "name b No. 7", "name No. 15", "name No. 15", "name No. 15"), t2=c("A", "B", "C", "A", "B", "C", "A", "B", "C"), t3=c(9084, 1234, 1239847, 345 , 9837, 879, 1207, 12965, 3453))

    print(o_d)

I would like to know if there is a way to sort the df using the numbers in the "names" in the first column to "sort" the way I want to.
Also I already have another dataframe that looks like this:
    D<-data.frame(x=c("name a No. 3","name b No. 7","name No. 5"),freq=c(1250165, 11061, 17625))
    print(D)

If there isn't a way to use the "names", then I would like to write a function that does the following:
Let k be an int between 1 and 3, and m another int between 1 and 9
then, if d[m:m+2,1]==D[k,1] I want to move d[m:m+2,] to d[k:k+2,] .
The problem is that I don't really know how to begin to do this. Any help would be apreciated. Thanks :)

A: First, ensure that you get the numbers out of name data.  You may have to adjust the example if there are more name forms.  The example below removes all non-digits before digits in the t1, and transforms these to numbers for ordering:
dig <- as.numeric(sub("[^[:digit:]]+", "", d$t1))
d[order(dig),]

You may also add more variables (columns) to order as Sam suggested.


Be aware that fruits and vegetables that you buy at the market can sometimes be contaminated. Many are sprayed with some pesticides to protect against fungus, bacteria, and bugs. Wash these products using a mild soap and always thoroughly rinse them.
TIP! Fresh fruits and vegetables should always be washed before they are eaten. Pesticides are used to prevent insects and other issues from causing destruction to the crops.
Even speaking about cancer is often enough to make a person nervous. Unless you have experienced how it feels to be diagnosed with cancer, you cannot imagine how devastating and scary it can truly be. Regardless of whether the cancaer is treatable, operable or terminal, such a diagnosis is life changing. This article contains some tips which will make the changes that someone suffering from cancer has to go through a little less overwhelming.
There are various people who have outdated notions about cancer. For example, you will run into plenty of people who believe cancer is somehow contagious. Make it a point to be completely transparent and candid.
TIP! Accompany your friend or family member to his cancer appointments. If you have a neutral person around, it helps with asking questions and bringing up concerns.
A cancer diagnosis means you should stop smoking immediately. Many people with cancer make the mistake of thinking that they should not quit smoking because they are already sick. By continuing to introduce into the body the carcinogens found in the cigarettes, you are less likely to fully recover.
The discomfort of getting a mammogram is worth every second of clear results! The pain only lasts for a few brief moments. The end result may be that cancer is caught in time to save both your life and your breasts. Don't let fear stand in the way of a screening.
TIP! Screening for breast cancer is well worth the minimal discomfort. The procedure is pretty quick, lasting only a few minutes.
A lot of folks out there have outdated ideas about cancer. Some think cancer may be contagious and that you can't work anymore. Make sure you are being open and honest.
It is a well known fact that fish such as salmon is a healthy food choice. But were you aware that the low mercury and high omega 3 fatty acids in the salmon can also aid you in avoiding cancer? You can do your part to prevent cancer by including wild salmon into your diet a few times per week.
If you are diagnosed with cancer, it is better to understand what you will be going through before you actually experience it. Get prepared to fight.
TIP! A diagnosis of cancer can mean that you need to accept certain facts. You need to be ready to fight back.
You can dramatically lower your chances of getting colon cancer by about 40% through regular exercise. Those who routinely exercise are more likely to be better fit, maintain a healthy weight, and evade diseases — such as diabetes — that can lead to cancer. Make regular exercise a major priority in your life.
If you have cancer, you'll have a number of new people come into your life. Try to welcome them as new friends. This will include nurses, oncologists, specialists and support groups who can help you with treatment or aid you in your fight. Cancer is not something that you can handle alone, so make sure that you allow people who care about you into your life.
TIP! Be open to making new friends while you are afflicted with cancer, because a number of individuals you did not know before are going to be critical now. Such new friends are going to include nursing staff, members of your support circle, fellow patients, oncologists and chemotherapy technicians.
Don't be scared to take cancer on. Remember what you are fighting for and do not make any concessions to the disease.
When you are diagnosed with cancer, there are some things that you need to accept. Prepare yourself now so that you can fight later.
Do not drink coffee while undergoing cancer treatment if you are experiencing nausea. Caffeine is known to worsen this type of side effect, even in small amounts, so eliminate it from your diet. Caffeine is also present in chocolate and some soft drinks, so avoid them also.
Remember, when it comes to cancer treatments, what you think will happen, and the reality of what actually will happen, are very different things. Make sure you are appreciative of your support system.
TIP! Don't change the way you treat a beloved family member when you find out he has cancer. Anyone who has been touched by cancer will tell you that a positive mindset and encouragement is far more comforting than pity.
Speak up! If you feel that you need more support from your friends and family, make sure that you inform them in a nice way. Explain gently that you need additional assistance, and tell them precisely what they can do to help. Use caution, though. Times like these are extremely difficult for anyone. Always try to make your decisions based on love. Have no regrets!
To reduce the chances of getting skin cancer, cover your skin with either clothing or an effective sunscreen whenever you go out in the sun. The suns UV rays are harsh, and the melanoma they can cause is quickly fatal when unchecked. Use a waterproof sunscreen with an SPF of 30 or greater. Fair-skinned individuals should be particularly careful, since they are more prone to sunburn.
TIP! Regular clothing cannot fully protect your skin from the harmful effects of the sun. If you are unable to find any at stores, check online.
If you go to the doctor to support someone who has cancer, do not be afraid to ask questions. Just because you aren't a patient doesn't mean you shouldn't have questions for the doctor as well. The goal is to be able to offer the support needed and doing so through a professional's advice, not guesswork or theories.
Avoid sun exposure from ten in the morning to three in the afternoon. If your skin is sensitive to the sun, try to remain inside during this period to help cut down the risk of damage to your skin.
If you are suffering from nausea as a result of your treatments, try eliminating coffee from your current diet. Caffeine in coffee can increase the intensity of stomach upset, so it's best to remove it from your diet. In addition, stay away from any caffeine, which can be found in chocolate and soft drinks.
Enjoy life as much as you can. Being diagnosed with cancer does not mean you have to fundamentally overhaul your life. Continue to do things you love to do, whether it's reading, watching movies or going to sporting events. You may need to plan a little more carefully to ensure that these events do not take an unnecessary toll on you, but you still need to experience life.
TIP! Allow yourself time to enjoy life. Being diagnosed with cancer does not mean you have to fundamentally overhaul your life.
Take the recommended amount of vitamin E daily. Vitamin E can help to prevent cancer in both women and men. You can add many foods to your diet that are high in Vitamin E to reach your daily needs. A lot of them are very tasty.
Some screenings can detect if there's cancer, others can find the problems and prevent the cancer. Because time goes by so fast, it is very important that cancer tests are done when they are scheduled, don't delay them.
If someone close to you has received a cancer diagnosis, don't underestimate the value of simply telling them on a frequent basis, "I love you." Expressing your feelings is important, even if you show your love through your actions too. Saying I love you will help to affirm that it will be okay.
TIP! One of the best things that you can do for a loved one who has been diagnosed with cancer is to say "I love you" often. There's no substitute for saying I love you.
Despite what kind of cancer you battle or where you are in your treatment, a number of steps you can take exist that will make your path easier and improve your life, as well as garner assistance from others around you. Hopefully, the knowledge contained in the above article has lifted some of the weight off your shoulders, and has provided you with some methods of fighting your cancer because of the new knowledge, power, and stronger spirit you now have.
Quit drinking coffee if the treatments for your cancer are giving you loose stools. Caffeine may assist you in feeling alert; however, it can worsen diarrhea, and may cause dehydration. The less caffeine you take in, the less diarrhea you'll experience.