Articles > Leave and absence > Parental leave > Which employees qualify for parental leave?
Which of your employees qualify for parental leave?
Parental leave has become slightly more complicated recently, following new UK rules for 'shared parental leave' that were introduced in April 2015.
Which employees qualify for which kind of parental leave? Here are the important details HR staff need to know.
Who qualifies for regular parental leave?
Parental leave is unpaid leave that mums and dads can take to look after the welfare of their children.
Eligible employees can take up to 18 weeks of parental leave per child under 18. The maximum amount employees are entitled to take per year is four weeks for each child.
They're named on the child's birth certificate or adoption certificate, or they expect to have parental responsibility for an expected child. Foster parents are excluded, unless they've legally secured parental responsibility.
You can ask for proof of eligibility within reason. It would be unreasonable to ask to see a birth certificate every time the employee requests parental leave.
Your organisation can extend parental eligibility to include more employees or increase the allowance, if you choose.
Shared parental leave (SPL) is an alternative to statutory maternity leave, which allows a mother and her partner to share up to 50 weeks of SPL and up to 37 weeks of paid Statutory Shared Parental Pay (ShPP).
Employees are eligible if their baby was due or adopted on or after 5 April 2015, when the new rules were introduced.
Rules on eligibility are somewhat complicated, because each parent qualifies for SPL and ShPP separately.
SPL and ShPP can only start after the baby has been born or adopted, and after any maternity leave, adoption leave, maternity pay, adoption pay or maternity allowance has ended.


text:
Santé is stronger than steel on its 11th year
Santé, a leading global producer of certified organic barley products, recently held its 11th year anniversary entitled, 'Salvo 2019: Stronger than Steel' at the Dusit Thani Manila in Makati City. The event gathered thousands of Santé business owners, business partners, and stakeholders from across the country and from the continents of Africa and Europe.
The theme of this year's celebration revolves around the story of how Santé came to be the global premier health and wellness provider that it is today amidst all the challenges and obstacles faced by the business. Steel, which has been widely used as a foundation of construction sites and of the building industries, represents Santé as a business built upon hard work, strong character, and a solid community tested through time.
According to Joey Marcelo, CEO of Santé, 2019 will be an exciting year for the company as they continue to build a strong foundation for their business owners, as well as their growing presence globally.
"Last year was the 10th-anniversary celebration of Santé and it proved to be a fruitful time for us," said Marcelo. "This year, we hope to continue to impart the value of health and wellness to people across the world all while helping our business owners grow and thrive."
Among the highlights of the fun-filled event is the conferment of awards and incentives to Santé Year-End Travel Galore Promo Qualifiers, Top Hall of Famer of the Year, Car allowance Qualifiers, and Santé Extreme Incentive, among others.
Other executives from Santé such as Paul Caluag, chief distribution officer of Santé, Minette Carag, chief product officer of Santé, Eric Maranan, CFO of Santé, and Peter Hope, managing director for Santé New Zealand, graced the stage during the awarding.
Also present during the event were Kuya Kim Atienza, the brand ambassador of Santé Barley, James Deakin, automotive journalist and events host, as well as the premiere vocal group, the Company, who wowed the crowd through their performance.
Santé is a producer and a distribution company of organic wellness products. The company offers products that do not have synthetic, harmful ingredients while serving as a mounting venue for entrepreneurs. Among its flagship products is Santė Barley, a supplement made out of 100 percent young barley grass that is grown in the Canterbury Plains of New Zealand and is certified organic by BioGro. Barley grass powder is very potent to fight free radicals that can cause damage to health.
To know more about Santé, its product offerings, and other upcoming events, visit their official FB Page at www.facebook.com/pg/santeofficial.ph or their website at www.santebarley.com.
About Santé
Founded in 2007, Santé promotes, produces and distributes premier natural health and wellness products; as well as services, designed to help people live better lives. With Santé Barley as its flagship brand, Santé has dominated the local market with its certified* organic barley grass – grown and harvested in New Zealand. (More recently, Santé has become the Philippines' first company to be certified organic by BioGro). With the proven health benefits of Santé Barley, Santé has developed a comprehensive selection of everyday barley-based products. Today, Santé has expanded its offerings to include a fitness and rehabilitation center with its Santé Fitness Lab; and an array of natural products that are true to the company's thrust in promoting a healthy lifestyle. Headquartered in the Philippines, Santé has offices worldwide such as New Zealand, Hong Kong, Singapore, UAE, Qatar, Nigeria, and Cyprus.
*Certified organic by BioGro, New Zealand's largest and best-known certifier for organic produce and products.
Labels: Santé, Santé Barley
Herbalife Nutrition Philippines Takes Part in Clea...
Your child might be the next SM Little Stars 2019
Earth Hour Philippines 2019 Shines A Light On Plas...
Tanduay's Roots is PH's First Economic History Museum
Solve the puzzle and survive "Escape Room" at SM C...
Exciting Breakfast Food Ideas from Conagra Brands
5 Things Filipino Moms Worry About
PROMAMA : Baby's First Gift technology
4 quick and easy desserts from Maya that don't req...
Exciting promos at Number 1 Barbecues
Fly High with "How To Train Your Dragon: The Hidde...
Rep's Miong, a timely tale of national unity, open...
LifePlace Retreat and Event Center : The Place Fo...
The book launch of RAMPAGE by James M. Scott
GOLDILOCKS : The Balikbayan Basics
The new way to say "I Love You" this Valentine's D...
ComCo Southeast Asia sweeps 10 honors for impactfu...
I can't but God can , Kuya Kim
GOLDILOCKS : Give Love on Valentines Day
The Aesthetics Permanent Makeup Academy PH
MERZCI Bacolods Best Pasalubong
Five Reasons You Can Trust USANA
HICC : Healing That Cares
Hapee Kiddie together with Renowned Puppeteer Wanl...
SM Cinema and Expression Music Philippines Celebra...
SM Cinema features heroes in movies with "A Dog's ...
New Unicorn Fantasy Made Reality

redpajama_set_name: RedPajamaCommonCrawl


text:
Home » What We Do » Humanitarian Assistance » Where We Work » Yemen
Regional Overviews
Stories & Reports
Transforming USAID's Programs
Transforming USAID's Processes
Transforming USAID's Structure
Transforming USAID's Workforce
Aaliyah, a 7-year-old internally displaced person (IDP), fetches clean water from a newly rehabilitated water point funded by USAID/OFDA and installed by a USAID partner in Sana'a Governorate, Yemen.
USAID partner photo
Latest Yemen Fact Sheet
2021-12-17 USG Yemen Complex Emergency Fact Sheet #2 (pdf - 270k)
2021-12-17 USG Yemen Complex Emergency Program Map (pdf - 3 MB)
2021-12-17 USG Yemen Complex Emergency Fact Sheet #2 - Arabic (pdf - 855k)
Hostilities in Al Hudaydah displaced more than 25,000 people between mid- and late November.
Fighting between Al Houthi and Republic of Yemen Government forces in and around Marib continues to displace civilians, limit civilian movement, and restrict humanitarian access.
Increasing food prices and diminishing purchasing power exacerbate food insecurity throughout Yemen, according to the Famine Early Warning Systems Network.
Between 2004 and early 2015, conflict between the Republic of Yemen Government (RoYG) and Al Houthi opposition forces in the north and between Al Qaeda-affiliated groups and RoYG forces in the south, forced people in northern Yemen to repeatedly flee their homes, resulting in the need for humanitarian aid. At the same time, fighting between RoYG forces and tribal and militant groups since 2011 limited the capacity of the RoYG to provide basic services, and humanitarian needs increased among impoverished populations. In late March 2015, a coalition led by the Kingdom of Saudi Arabia began airstrikes on Al Houthi and allied forces to halt their southward expansion. The ongoing conflict has damaged public infrastructure, interrupted essential services, displaced populations, and reduced the level of commercial imports to a fraction of the levels required to sustain the Yemeni population. The country relies on imports for 90 percent of its grain and other food sources. The escalated conflict, coupled with protracted political instability, the resulting economic crisis, rising fuel and food prices, and high unemployment, has left nearly 19 million people in need of humanitarian aid, and has put more than 17 million people at risk of starvation.
USAID-BHA Success Story - Empowering Women and Girls in Yemen
Fact Sheet: U.S. Government Humanitarian and Development Funding in Yemen
Yemen Disaster Response Archive
Cranes Go Beyond Construction
Success Story: Cash-for-Work Programs Empower Yemenis
Success Story: Combating Malnutrition in Yemen
Related Sectors of Work
Tweets by USAIDSavesLives


text:
Departure of Trump's GOP Critics in Senate Leaves a Void
Sen. Bob Corker, R-Tenn., speaks to reporters at the Capitol in Washington, Dec. 4, 2018.
President Donald Trump's most prominent GOP critics on Capitol Hill are days away from completing their Senate careers, raising the question of who — if anyone — will take their place as willing to publicly criticize a president who remains popular with nearly 9 in 10 Republican voters.
Sens. Jeff Flake of Arizona and Bob Corker of Tennessee engaged in a war of words with the president on myriad issues over the past 18 months, generating headlines and fiery tweets from a president who generally insists on getting the last word. Those battles put them on the outs with many in their own party, and they paid a price. Both decided to retire rather than take on a difficult re-election campaign.
FILE - In this Oct. 2, 2018 file photo Sen. Jeff Flake, R-Ariz. participates in an interview at the The Atlantic's 'The Constitution in Crisis' forum in Washington.
Flake was far and away Trump's most consistent critic among Senate Republicans. Corker weighed in less often, but his description of the White House as an "adult day care center" rankled the president, who dubbed him "Liddle' Bob Corker." The feud continued as Corker headed for the exits, with Trump asserting that Corker's promise to serve only two terms was not the real reason he retired. Rather, Corker "wanted to run but poll numbers TANKED when I wouldn't endorse him," Trump tweeted.
Corker replied: "Yes, just like Mexico is paying for the wall... #AlertTheDaycareStaff."
For now, don't expect any Republican senator to take their place as chief agitator when the new Congress convenes Thursday, said Rory Cooper, a GOP strategist who helped lead the "Never Trump PAC" during the 2016 Republican primary. He said publicly criticizing the president makes Republican votes back home unhappy and earns the ire of the president. Meanwhile, Democratic voters and the media give them too little credit, he said.
"There is not an incentive structure for senators who disagree with or oppose the president to speak out right now, but that could change if the (Robert) Mueller investigation continues to move in the direction it has been or the economy churns negative," Cooper said.
Two other Republicans, Sen.-elect Mitt Romney of Utah and Sen. Ben Sasse of Nebraska, have both had their public run-ins with the president.
Throughout his Senate campaign, Romney insisted that he would agree with Trump on some issues and not be shy about disagreeing on others. Romney appears to have more room with GOP voters in Utah to take on the president. Most voters in Utah — 64 percent — would like to see the senator confront the president, according to data from AP VoteCast, a survey of midterm voters.
But Cooper said he doubts that's a mantle Romney wants to take on, at least not right away. After serving as governor of Massachusetts, Romney will be focused on proving that he's an advocate for Utah, Cooper said.
"I think that's where his head will be at the outset," Cooper said.
Sasse has frequently criticized Trump for what he considers the president's uncivil rhetoric. Sasse has also said he "regularly" considers leaving his party and becoming an independent. He is up for re-election in 2020 and has said he'll decide by the summer whether to seek a second term. It would be tricky terrain for Sasse to publicly battle with Trump, who won the state in 2016 by 25 percentage points.
Senate Republicans chafe at the notion they are unwilling to take on a president whose statements and policy positions often run counter to traditional conservative positions.
Sen. Mike Rounds, R-S.D., said he raised his concerns about trade policy privately with the president.
"I want results," Rounds said, "instead of hardening positions."
Rounds said he rode with Trump after meeting him at the airport when the president visited South Dakota during the midterm election season, telling him the state's soybean farmers were facing losses of some $500 million because of retaliatory tariffs. He said Trump told him: "We're going to have a better deal for them. If they hang with me, we're going to make this better."
Rounds said his job is to make things better and "that doesn't mean I have to be out there in front fighting with someone."
Sen. David Perdue, R-Ga., said "there's all sorts of active disagreements that go on" with the White House behind the scenes.
"I support the president as well as anybody. Behind closed doors, there are things on tariffs and things like that where we've offered a differing opinion. But I support this president in terms of what he's trying to do. This agenda is working," Perdue said, citing strong economic growth and low unemployment.
Democratic Sen. Dick Durbin, D-Ill., said he suspects the 2020 elections will prompt more Republican senators to confront Trump when they disagree with him, and that may already be happening, citing recent actions on Saudi Arabia.
The Senate passed a measure that blamed Saudi Crown Prince Mohammed bin Salman for the killing of journalist Jamal Khashoggi and called on Riyadh to "ensure appropriate accountability." Senators also passed a separate measure calling for the end of U.S. support for the Saudi-led war in Yemen. The resolutions showed senators seeking to assert oversight of Trump administration foreign policy and the relationship with Saudi Arabia.
"Almost half of their caucus is up for re-election. They just saw what happened in 2018," Durbin said of Republicans, who lost the House majority to Democrats. "I think, once they do polling back home, not all of them, but many of them will find that independence is being rewarded."
Trump, Democrats Still Far From Border Wall Deal


A knowledge Based System is a computer platform which uses Artificial Intelligence to solve complications within a specializes domain that involves human expertise. Knowledge-Based Systems were first developed by artificial intelligence researchers. These preliminary knowledge-Based Systems were mostly expert systems .The most recent development of knowledge-Based Systems has been to adopt the skills for the development of systems that use the internet. As knowledge-Based Systems became more intricate the techniques used to denote the knowledge base became further sophisticated. This Knowledge Based Systems session will help researchers to understand how to use Knowledge Based System as a diagnostic tool.


Which doesn't wish to play with toys? Even if you find yourself a grown-up, toys may nonetheless be enjoyable to play with or accumulate. They moreover make great presents for youths of all ages. Should you need assistance discovering the most effective playthings, the complying with solutions will definitely be actually useful for you. Prior to buying a plaything, take into accounts whether or not or not it's appropriate for the teen's age. Particular playthings are precisely created particular age. It is best to give attention to them when shopping for at passion warehouse Sydney. It may quickly involves be one thing that won't be used if the plaything just isn't applicable for the age of the child. It is moreover going to be a problem in case your kids are like mendacity to outgrow that plaything quick. Do not make investments rather a lot on one thing that doesn't match your teen's age selection.
Know concerning the inclinations of the child you're buying a plaything for. Not all playthings will definitely be pleasant for a similar teen. When buying playthings on your kid's child cribs, be conscious. Infants get pleasure from sure child crib playthings, a number of of them induce menace. Something with an extended string can find yourself being wrapped round your kid's neck and trigger strangulation. Be sure that any form of plaything put within the child crib is totally secure. You need to buy much more toys at passion warehouse Sydney on your little one that don't do extreme by themselves. It's best to offer your teen extra space to advertise their creativity. The much less motion a plaything gives, the extra possible your little one might be to make use of their creativeness in addition to have extra enjoyable with issues. Make a list of passion warehouse Sydney toys you want to get. Once you get to the toy store, you might be distracted by each little factor you view, however persist with the explanation you are on the toy retailer. An inventory will likewise assure that you don't depart with out the playthings your youngsters could have requested for. There's a plaything guidelines for harmful playthings that you simply ought to try. It particulars the means by which some playthings posture main threats. Taking a look at this checklist will definitely help you avoid buying harmful playthings.
Now that you've got learn this submit, you should perceive far more concerning the broad globe of playthings. There's a large number of completely different toys round, and in addition new ones seem yearly at passion warehouse Sydney. Maintain the perception you might have truly merely learn in thoughts to just remember to can find the perfect toy for any form of celebration.
What Are The Qualities of a Good Sunscreen Lotion?
HOW TO CHOOSE JEWELRY FOR MEN?
Thoughts Boggling Attire At Amazingly Inexpensive Charges From Blue Stylish Boutique!


The Joint Admission and Matriculation Board (JAMB) has fixed a new date for the 2018 MOCK EXAMINATION.
JAMB 2018 Mock Unified Tertiary Matriculation Examination will now hold on February 26, 2018.
According to JAMB's Head, Media and Information, Dr Fabian Benjamin, a total of 245,753 of the 1,652,795 candidates that registered for this year's UTME are expected to write the test.


A total of 38 Sabah assemblyperson received an allocation of RM100,000 each to help the underprivileged in their respective constituencies through the Special Assistance for the Needy 2019 programme.
State health and people's wellbeing minister Wong Tien Fatt said the special aid, which was considered an outright grant, could be used to reduce the people's burden, including victims of disasters or accidents, deaths, chronic patients and to repair damaged homes.
He said the RM3.8 million allocation, which was approved by the Finance Ministry, would be credited into the account of every state assemblyperson after the signing of a pledge to ensure that the aid will be distributed directly to targeted groups according to criteria and in compliance with the stipulated procedures.
"We are not quietly using the allocation because we want to be open and transparent. The allocation will be audited, and there is a guideline on how it can be used. Each state assemblyperson cannot use it for personal gain.
"The expenditure report must be prepared every three months and sent to the Social Welfare Department, as it is required to submit a report to the Rural Development Ministry every six months," he told reporters after the handing-over ceremony of the letter of pledge in Kota Kinabalu today.
Stephen said each state assemblyperson would have to distribute the aid according to the type and rate specified, which was RM200 for victims of disasters, accidents and deaths, and RM500 for chronic patients and people who needed assistance to repair their homes damaged in disasters.
However, he said, each elected representative could approve other aid deemed reasonable, but not exceeding the specified rates, and all applicants must be Malaysian citizens living in Sabah who were needy or afflicted.
"They must also prepare a record book to list all the applications and decisions (approvals) so that the allocations can be monitored," he said.
The allocation is expected to help ease the burden as well as increase the people's expectations of their state assemblypersons, apart from helping the relevant ministries and departments to meet the needs of the grassroots, he said.


Add your voice to those of hundreds of your colleagues supporting dignity, respect, and justice for the faculty of Florida State University. Support the team that works for you: United Faculty of Florida.
UFF dues are 1% of base salary, deducted from your bi-weekly check.
Please complete the form below to join us.


text:
module.exports = function (app) {
    return {
        getViewData: function (title, pathSuffix, userID, message) {
            // Set app.locals in web.js; this function gets passed around to all controllers
            return {
                siteName: app.locals.siteName,
                author: app.locals.siteAuthor,
                title: title,
                loc: pathSuffix,
                user: userID,
                msg: message
            };
        },
        checkAuth: function (req, res, next) {
            if (!req.session.userID) {
                //Send user to the sign in page if they're not authorized
                res.redirect("signin");
            }
            else {
                next();
            }
        }
    };
};

redpajama_set_name: RedPajamaGithub


their Woodland Park tasting room.
Yesterday was the first official day of Summer. This week a few breweries in town released new beers worth celebrating along with the new season.
I made it up to Woodland Park yesterday to check out this new release from Paradox Beer Co. In the Spirit of Skully No. 1 had a whole new take on Summer Beer. Instead of creating a light and refreshing new project, Paradox put together this wonderful liqueur inspired Summer Barleywine. A honey, apricot strong ale fermented with a combination of 10 strains of yeast and aged in Jamaican Rum Barrels that were Jack Daniels barrels in a previous life, this beer picked up some surprisingly smooth flavors from its charred surroundings.
1. Stop by the tasting room in Woodland Park and share a small snifter with a friend on their patio. This 15% ABV barley wine was designed to be "swirled, sniffed, and slowly savored." Also, while you're there be sure to take in their other exciting projects.
2. Pick up a bottle to take home. "This one is so young, it hasn't even fully carbonated yet," said Jeffrey Airman of Paradox Beer Co. The honey in this beer will only help it smooth out and lose its slightly hot alcohol fusels more and more over time. Open it and enjoy on the first day of Summer next year, if you can wait that long.
TRiNiTY Brewing Co. made their cucumber saison again this year, and it was released yesterday on tap and in bottles. "It's refreshing!" ring customers as they try their first drink. This time around they mixed up the recipe a bit. The first batch still had the rind on the cucumber and tastes more similar to last year's version. However, on the second batch of Elektrik Cukumbahh, they peeled the 24 lbs of cucumber per barrel before adding it to the beer. The first batch was bottled, the second batch kegged. So, if you try the kegged and bottled versions next to each other you might notice a grassier finish out of the bottle as opposed to a more citrus finish when poured out of the tap. Raquel from Trinity says this cucumber saison should be on tap for a week or two because they were able to keg a lot more of it than last year.
1. Grab a glass of this beer Wednesday during lunch and take a seat at one of the outside picnic benches amidst their planter boxes.
2. Tweet up any questions you have for Trinity and Jason between 1-2 pm on June 26. Trinity Brewing will be featured for this month's tweetup with the Colorado Brewer's Guild. What better time to enjoy their beer than when you can help a Colorado Springs brewery get their name out on the interwebz? Here is a link to the Facebook Event Page for more information.
Great Storm Brewing's Sunshower Strawberry Blonde, perfectly garnished for the season.
Great Storm Brewing released three Summer Seasonals on Wednesday. People packed their small tasting room and patio to try these limited release beers. Live music, a food truck, and one of their biggest crowds made it a festive occasion. There were two returning favorites, Sunshower and Midsummer Ale, and my personal favorite, Ornithopter.
Sunshower Strawberry Blonde is hands down the most popular of the three. It's a quintessential Summer Beer. Sunshower is light, refreshing, with just a hint of strawberry. "Until they run out, that's what I'm drinking," said a regular at the bar. From the looks of how many order this strawberry garnished beer, that will be sooner than later.
Midsummer Ale is a citrusy, light, golden ale with Bohemian Lager yeast. For every batch they zest six each of lemons, limes, and oranges. For me, this beer was more sweet than tart. Great Storm isn't planning on brewing Midsummer Ale again this season, so if you like a balanced citrus beer then I recommend getting it while it's still available.
Ornithopter, a new release this year, is a take on a German style that was made before the purity law Reinheitsgebot took effect. Bevan of Great Storm brewed this beer with molasses and honey to bring a taste of the traditional style to Colorado Springs. Contrary to what most of their customers are ordering, I feel this was the best of the Summer beers released.
1. Go in to their N. Nevada brewery and take advantage of their smaller pour options to get a taste of each of these new releases.
2. Get your favorite of these in a growler-to-go and bring it to share with friends at your next BBQ. These pair perfectly with a competitive game of corn hole and hot summer days.


An amazing job opportunity for the right candidate. Viva Farms, a unique, award winning, bilingual farm incubator in the Skagit Valley is hiring a full-time managing director. Please read the full job description and apply.


text:
Star Wars Actor Embarrasses Himself With Delusional Trump Conspiracy
Star Wars has been Hollywood's darling for the last several years.
The Force Awakens, The Last Jedi, and Rogue One have all crushed it at the box-office.
But one Star Wars star just embarrassed himself with this anti-Trump response.
Mark Hamill is mainly known for playing the titular character Luke Skywalker in Star Wars: A New Hope, The Empire Strikes Back, and Return of the Jedi.
Once super-producer George Lucas sold his production company to Disney, the studio giant received the rights to all of his properties, allowing them to launch a brand new Star Wars trilogy and spinoffs.
So Disney brought back the old legends which included Harrison Ford, Carrie Fisher, and Mark Hamill.
While Ford became one of the biggest movie stars in the world since the original Star Wars, Hamill had been off the map until his career resurgence with the new trilogy.
Apparently, this has made him famous enough to spew his political views on Twitter.
And he just embarrassed himself with a sarcastic anti-Trump remark.
Star Wars actor Mark Hamill went after President Donald Trump on Twitter on Tuesday implying that he's a coward and a traitor and apparently urging Special Counsel Robert Muller to indict Trump.
The president took to his Twitter account on Monday and said that the story of White House leaks and leakers is "a massive over exaggeration" but slammed leakers as "traitors and cowards."
Trump's tweet set Hamill off on a Twitter rant of his own:
"You don't need any outside help to make you look as bad as possible & I have complete confidence in your ability to recognize cowardice & traitorous behavior," Hamill wrote. "If you DO need outside help finding out who they are-please give Robert Mueller a call. #YouGotThis."
You don't need any outside help to make you look as bad as possible & I have complete confidence in your ability to recognize cowardice & traitorous behavior. If you DO need outside help finding out who they are-please give Robert Mueller a call. #YouGotThishttps://t.co/JbKwMY2gj9
— Mark Hamill (@HamillHimself) May 15, 2018
The actor's attack was sparked by Trump's May 14 tweet saying, "The so-called leaks coming out of the White House are a massive over exaggeration put out by the Fake News Media in order to make us look as bad as possible. With that being said, leakers are traitors and cowards, and we will find out who they are!"
The so-called leaks coming out of the White House are a massive over exaggeration put out by the Fake News Media in order to make us look as bad as possible. With that being said, leakers are traitors and cowards, and we will find out who they are!
— Donald J. Trump (@realDonaldTrump) May 14, 2018
This isn't the first time actor Hamill has attacked Republicans. During the 2016 campaign, for instance, Hamill took to Twitter to call Trump a liar. In 2012, Hamill took aim at Mitt Romney and said the former Massachusetts governor is "not actually human."
Hamill was also praised for his support of anti-gun measures by the gun-banning group Everytown for Gun Control.
If Trump saw this response, he most likely guffawed at Hamill's complete naivety.
Tags entertainment Hollywood's Liberal Agenda
Previous ArticleThe Last Person You Ever Expected Just Crushed Colin Kaepernick's Protest
Next ArticleColin Kaepernick Embarrassed Himself With His Latest Move


The Baileys women's Prize, previously known as Orange Prize for fiction, is one of the most prestigious literary awards in the world to celebrateng excellence, originality and accessibility in women's writing from throughout the world. It has launched a twitter campaign #ThisBook in May. The aim was simple: to find out which books, written by women, have had the biggest impact on readers.


The Study in Portugal Network (SiPN) study abroad program is managed by the non-profit Luso-American Development Foundation (FLAD) and it offers Emory College students the opportunity to spend a semester or year in the vibrant capital city of Lisbon, Portugal. Portugal boasts a rich culture with slightly less tourist traffic than other European nations, making it an ideal location for students wanting to improve language proficiency while experiencing the diversity in European identities.
What makes SiPN unique is the fact that students can choose classes from any of the 4 member universities in the Lisbon network: ISCTE – University Institute of Lisbon, Catholic University of Portugal (UCP) – Lisbon Campus, University of Lisbon, and Nova University of Lisbon. Each school is only minutes away from the other and well connected by metro.
SiPN is designed to accommodate students of all backgrounds. For those who are not yet ready to take all of their coursework in Portuguese, they can still cover their major or general education-type requirements through a wide array of offerings taught in English, while also taking the appropriate class level they require for a Portuguese language course. SiPN also provides regular university classes taught in Portuguese for those ready to direct enroll in courses taught in full Portuguese.
SiPN offers two types of classes: core curriculum (taught in English) and direct enroll classes in their partner universities (taught in either language).
The core curriculum is designed for students who do not yet feel ready to take their social science or humanities classes in Portuguese. They also provide the core identity for the program and its semester offerings. The faculty of the core curriculum are published experts with PhDs in their respective fields, hand-chosen by the academic council of SiPN to teach in the program. Many of them have previously taught or done graduate work in North America or other English-speaking countries. SiPN core classes also enroll Erasmus and local Portuguese students, for a truly international classroom experience, taught in English.
Direct enroll classes may be conducted in either Portuguese or English. For example, each semester SiPN provides all levels of Portuguese language courses (A1 – C2) for whichever level students require. More advanced Portuguese learners have even greater choices and can elect to take all of their coursework in Portuguese through direct-enroll classes at any of the 4 schools in the consortium in virtually any field, providing for a fully immersive experience. For those who are looking for other choices outside of our core, the SiPN universities provide hundreds of direct-enroll classes each semester in business, economics, and many other fields, all of which are taught in English and open to participants of SiPN. Nevertheless, for students who need at least some courses taught in English, SiPN strongly recommends that students take at least 2 courses from among our core offerings.
A minimum 3.0 GPA; good academic standing. No language requirement.
For a list of available courses, visit this page.
In order to earn Emory credit for courses completed on this program, individual courses must be approved by a designated Emory Faculty Study Abroad Representative. Complete instructions for this process can be found under Course Approvals.
The SiPN program fee includes guaranteed single room housing in an international residence alongside other international and/or Portuguese students in the heart of downtown Lisbon. Click here for more details.
Students are eligible to carry existing financial aid and scholarships on Emory-approved study abroad programs. Students may also be eligible to apply for the following scholarships: Diversity Abroad (scholarships for under-represented students), Fund for Education Abroad, Benjamin Gilman Scholarship, and others. Please click here for more information.
SiPN also provides merit-based and need-based scholarships for its students. The application requires that the faculty recommender include a piece about the student's academic abilities in addition to the traditional recommendation form. You can find more information here and a previous Scholarship Application Form here.
Students who reside far away from a Portuguese consulate/embassy must include travel costs for their in-person student visa interview.
If you have questions about application, admission, or registration, please contact the Study in Portugal Network (SiPN) Office.


When the United States Ninth Circuit Court of Appeals issued its 2014 opinion in Garcia v Google (the original order and opinion is here; the amended order and opinion is here), its tentative conclusion that actors might enjoy copyright protection in their on-screen performances was met with vociferous criticism from movie producers and online content providers – the criticism was so fierce, and the arguments marshaled so convincing that on May 18, 2015 the US Ninth Circuit Court of Appeals en banc reversed the earlier decision (the May 18, 2015 opinion is available here). But Canadian copyright law has protected performer's performances for nearly two decades, without much trouble or even attention – is there an explanation for the discrepancy in reactions?
The May 18, 2015 decision brings to an apparent close one of the stranger copyright cases in recent memory. The decision appears to definitively state that, under US copyright law, actors are not entitled to copyright in their on-screen performances – a conclusion which was vigorously argued over by a remarkably long list of intervenors in the case. The facts in Garcia are fairly straightforward: an actor responded to a casting call for movie titled "Desert Warrior" and appeared on-screen uttering two lines in the low-budget movie; unbeknownst to the actor, the producers of the movie dubbed her lines in the final version of the movie so that she appeared to be saying words she didn't actually speak and re-titled the movie to "Innocence of Muslims"; worse, the movie, the trailer for which was uploaded to YouTube, proved to be incredibly controversial – in the words of the court, "the film fomented outrage across the Middle East, and media reports linked it to numerous violent protests". The procedural history of the case is a bit more convoluted. The actor, seeking to have her participation in the trailer and film excised, sued Google and the producers of the movie and issued DMCA take-down notices, arguing, amongst other claims, that the defendants had infringed her copyright. Seeking an injunction forcing the removal of the footage from YouTube, she was unsuccessful in the district court, but a panel of the Ninth Circuit Court of Appeal reversed and granted the injunction. The court's reasons seemed to indicate that Garcia had a protectable copyright interest in her performance as captured in the producer's movie. That conclusion excited much debate and the case was re-heard by the Ninth Circuit Court of Appeal sitting en banc, which, as noted above, reversed the earlier Court of Appeal decision (Judge Alex Kozinski, who authored the original, controversial decision, stuck to his guns and dissented from the reasons of the en banc majority).
The initial 2014 Ninth Circuit Court of Appeals decision was controversial because it seemed so incongruous with established American copyright practice. American copyright law has historically not recognized any copyright interest on the part of an actor in their performance; indeed, when Garcia tried to register a copyright claim with the United States Copyright Office, the Office rejected the application, explaining that "longstanding practices do not allow a copyright claim by an individual actor or actress in his or her performance contained in a motion picture". There seemed to be doctrinal and practical obstacles to recognizing performances as copyrightable, not least of which would be that, to again quote the Ninth Circuit's en banc decision, "treating every acting performance as an independent work would … be a logistical and financial nightmare".
In any event, for purposes of US copyright law, the "nightmare" now appears to be over (at least until the Supreme Court decides to take up the matter…). All that being said, Canadian copyright law does offer copyright protection to actor's performances – so how have we avoided the "nightmare"?
As an initial observation, the Canadian Copyright Act required some significant amendments, introduced in 1997, in order to enable the protection of what the Act terms "performer's performances". Prior to those 1997 amendments, performances were not protected by Canadian copyright law, as they failed to constitute a "work" for purposes of copyright law; post-1997, they still aren't a "work", but rather are protected as other subject-matter.
"Performance" itself as also defined in Section 2 and means "any acoustic or visual representation of a work, performer's performance, sound recording or communication signal, including a representation made by means of any mechanical instrument, radio receiving set or television receiving set".
Readers will note that the definitions are impressively broad: virtually any motion or sound created by the human body seems to qualify as a "performer's performance", including dance, mime, recitations of lines or extemporaneous utterances – clause (c) of the definition, which allows for the protection of "improvisations" seems particularly expansive. Further, it should be highlighted that there is no requirement that any performer's performance be "original" – thus, even that low bar does not apply and thereby restrict the scope of protection for performer's performances.
The exact nature of the rights accorded to performer's in their performances are found in Sections 15(1) and (1.1): the copyright in the performance includes the rights to fix the performance and to reproduce the fixation of the performance.
At first glance, then, the situation under the Canadian Copyright Act seems like a particularly robust example of what the full Ninth Circuit was concerned about: if copyright protection extends that far, it seems designed to make for logistical nightmares in the administration of copyright. But the Canadian film and television production industry has not ground to a halt in the face of this tsunami of copyright claims – why not?
I think there are two partial answers. On a practical level, most of the problems are addressed by simple contractual arrangements – producers ensuring that everyone who appears on-screen signs some kind of waiver/release/transfer of rights. But if that doesn't happen (which is more often the case in small budget projects – the Garcia reasons state "low-budget films rarely use licenses"), there remains a "fail-safe" mechanism in the Canadian Copyright Act: Section 17(1). What the Act gives with one hand (Section 15), it takes away with another: Section 17(1) states that when a performer "authorizes the embodiment of [his or her] performer's performance in a cinematographic work, the performer may no longer exercise … the copyright [in that performance]". In other words: if a performer authorizes the inclusion of their performance in an audio-visual project, the performer loses the right to control the exploitation of their performance in that project. And note what the language does not say: it does not say that the performer has to "authorize" the embodiment in writing. Thus, if there's no need for the performer to memorialize their authorization in a written instrument, it becomes much easier to conclude that a performer authorized the embodiment of their performance simply by agreeing to be present in front of the camera (of course, that argument works only when the performer is aware that the camera is present and recording).
One final consideration which bears mention, and which is the more troubling: what about moral rights? The Copyright Modernization Act, enacted in 2012, added Sections 17.1 and 17.2 to the Copyright Act, which extended moral rights to some performances (for earlier Signal commentary on the topic, see Moral Rights Extended – But How Far?). It's not immediately clear whether moral rights apply to an actor's performance (or all actor's performances) – the language of Section 17.1 states that it gives moral rights to "a performer of a live aural performance or a performance fixed in a sound recording"; that seems to indicate an intention to grant moral rights to what we might call "musicians", and possibly "singers"… but actors? Most actors do generate an "aural performance" (by speaking lines) but is what they do a "live aural performance"? (What is a "live" performance anyways? What role is "live" playing in that phrase? What would a "non-live" performance look like? Is there a distinction for these purposes to be drawn between actors performing on the theatrical stage and actors performing for embodiment in a film?) The easier position is to conclude that the moral rights provisions in Sections 17.1 and 17.2 don't extend to film/TV actors. But if that is incorrect, and actors do enjoy moral rights in their performances, then the position of producers becomes more complicated. Moral rights cannot be assigned, but they can be waived (Section 17.1(2)); there is no requirement that the waiver be in writing, but presumably for there to be a waiver there must be some turning of the mind to the matter – which, I think it's safe to conclude, isn't something that happens very often on set. One could try to rely on industry practice resulting in an implied waiver of moral rights, but even that seems a bit of a stretch. More fruitful might be the inherent limitations on moral rights: the right of association (i.e., the right to be identified as the performer of the performance) is limited to when it is "reasonable in the circumstances"; the right of integrity (i.e., the right to control the distortion, mutilation or modification of a performance and the right to control the use of the performance in association with a product, service, cause or institution) is limited to uses which "prejudice" the performer's honour or reputation. Interestingly, Garcia might have had more luck with her claims under Canadian law, relying on moral rights infringement on the basis that, when the producers dubbed her lines and included her performance in a motion picture which was apparently different from what she originally understood herself to be participating in, her performance had been modified in a manner which prejudiced her honour or reputation.


text:
Alex On A 'Lethargic' Game
Alex Neil admitted today's game wasn't a pretty sight as North End and Nottingham Forest played out a 0-0 draw at Deepdale.
Chances were few and far between for both sides throughout the game, and after the dizzying heights of just three days before against Norwich City, Alex was honest in his assessment of the quality on show this afternoon.
"It was a hard fought point but It wasn't a great game" said Alex to iFollowPNE. "We started the first ten minutes really well."
"They were better towards the end of the first half and they looked like the team that would be more in control of the game at that stage.
"A little bit of quality was always going to be the deciding factor but neither side could come up with that little bit.
"I can't fault the effort of the players, sometimes you get poor games - I think we've been fantastic value this season when we've played. I've watched Forest against West Brom, and that game was very similar. They're a hard team to break down and a hard team to beat.
"Even when we did change it - and we made the subs quite early but they didn't really make an impact on the game.
"I thought both teams were lethargic and it certainly won't be a game that anybody will be talking about soon."
Alex acknowledged that the stalemate was also down to how difficult their opponents were to break down, and felt whoever scored the first goal would have had a massive advantage in the game.
"When you consider the type of team Nottingham Forest are, the first goal is always crucial" he added.
"They certainly build from the back and they're really solid. If you can damage them and score a goal it forces them to come out and be more expansive which leaves us more spaces to play.
"We had three key chances in the first half where if one of them goes in, the game would have been a lot better then it was what we didn't want to do is be too expansive because I thought we were a little bit slack.
"The lads needs a few days now" continued Alex after North End played out their third game in seven days. "They've put so much effort in pretty much everyday to prepare for the games and they certainly deserve the rest and we'll get them back in Tuesday - ready to go again ahead of Saturday."
For more reaction from Alex Neil, head to iFollowPNE now.
Preston North End vs Nottingham Forest on 16 Feb 19
Alex Neil
iFollow PNE


text:
Christina Aguilera Receives First Ever 'Music Icon' Award
Genie In A Bottle singer Christina Aguilera has been given People's Choice Awards first ever Music Icon award.
Xtina recreated one of her most iconic looks for the acceptance, first seen in the Dirrrty music video.
A post shared by Christina Aguilera (@xtina)
She got her foot in the door in the industry as a member of Micky Mouse's Clubhouse, alongside Britney Spears and Justin Timberlake.
When accepting the Music Icon award, she said: "I have always strived for my music to communicate messages of empowerment, whether it's speaking my own truths or giving voice to those unable to do so on their own."
"My artistry has always been for the fighters in this world, for those who face adversity, for those wanting to evoke change, my music is for you."
Xtina's credentials are quite impressive, with her selling over 75 million records worldwide, and Billboard have recognised her as the 20th best selling artist of the 2000's.
WizKid Performs On Jimmy Fallon
Tierra Whack To Release A New EP


text:
Land of the Loopy
From impersonating Aphex Twin to applying video-game strategy to the music business, no self-promoting scheme is too harebrained for electronica artist Justin Katz.
by Felix Gillette January 4th, 2002 August 29th, 2020
From impersonating Aphex Twin to applying video-game strategy to the
music business, no self-promoting scheme is too harebrained for electronica artist Justin Katz.
It's 7 p.m. on a Tuesday in December, and Justin Katz, part-time composer of electronic music, full-time law student, and round-the-clock self-promoter, stands in his kitchen and pours himself a Coke. It's his 10th can of the day. Or maybe his 11th. He's not really counting.
Even though he's on vacation, Katz seems restless. His mop of black hair is a mess, as if he's been running his hands through it compulsively. And his speech is fidgety, as if he's still caught up in the frenzy of law-school finals.
Katz walks into his living room, which also serves as his studio, and flops his lanky frame down into his swiveling black-leather "Captain's chair," where he's been producing music all day.
In front of his favorite seat, a computer, a drum machine, a sequencer, and several synthesizers occupy an L-shaped desk. His breakfast—a bag of cookies—sits nearby alongside his dinner, an unfinished box of french fries.
"I'm kind of a hyper person," says Katz. "I get bored really quickly, so I have to keep changing activities, keep doing something new."
These days, though, Katz doesn't seem in any danger of getting bored. He's just finished his third semester of law school at the Catholic University of America, and his music career is steadily picking up steam. Katz now releases his music under his own name—or at least under his own alias: Hook the Captain, or just Hook for short. But during his senior year of college, when he first introduced his music to the world, Katz pretended his songs were someone else's.
In the spring of 2000, Katz posted a series of his songs on a Web site created for the occasion, claiming them to be a pirated version of Drukqs, the upcoming album by ambient-electronica icon Aphex Twin. By the time the two-disc set was released, nearly a year and a half later, Katz estimates nearly 150,000 people had downloaded his bogus version.
"I've always wanted the music to represent itself," Katz says. "But that's impossible in this world. You need to have a product with a hook. I like to do absurd things when promoting my songs. But the songs themselves are serious."
Even though he no longer borrows band names from his bigger brothers in the music business, a touch of absurdity remains in every facet of Katz's stylized persona. From his Web site to his business cards, one recurring slogan says it all: "Justin Katz. He's the Pants."
Katz, 23, was born in Baltimore, grew up in Potomac, Md., and now lives in D.C. on Connecticut Avenue NW. While other kids were still playing kickball and hopscotch, Katz was already scheming to begin a music career.
"When I was 8 years old, for at least an hour every day for about a month, I begged my mom for a keyboard," he recalls. "'Mom, you have to buy me this. Mom, please. Mom, come on!' I was very spoiled and demanding. She eventually bought it for me, and I obtained, like, six more keyboards in the next seven years." At age 13, Katz blew his entire bar mitzvah savings on his first Korg keyboard.
Katz's musical tastes were as precocious as his ambitions. "I got into electronica in about the third grade," he says. "I was listening to Def Leppard and all that stuff with the other kids. But in the '80s, there was a lot of electronic New Wave music: Information Society, Depeche Mode, A-ha. Ever since then, I've had a weird fascination with that music."
Early performances at such venues as a junior-high-school talent show gave Katz his first taste of artistic adversity. "We played a song on stage, which was just me hitting the Start button for some sequence on an old-school Yamaha keyboard and my friend drumming to it," Katz says. "He had just started drumming and was really bad. Everyone in school made fun of us for, like, three weeks."
At Thomas S. Wootton High School in Maryland, Katz played in a thrash band called Mishmosh and produced his own music under the name Heresy. "I made recordings of my Heresy stuff," says Katz. "Everyone in high school probably remembers me as that guy selling his own tapes."
As an undergraduate at Washington University in St. Louis, Katz majored in psychology while minoring in philosophy and creative writing. He continued to play music on the side, performing only occasionally. "I had a band called the Grandmas," says Katz. "It was me and two other guys. We used to do concerts in thrift stores, using just the materials we found there. But it didn't last too long. You can't live like that forever."
In 1999, the summer before his senior year of college, Katz, a longtime video-game fan, discovered something that entranced him even more than electronica: EverQuest, an online, multiplayer role-playing game. "EverQuest sucked my existence away," says Katz. "I was totally addicted for about nine months."
During that span, Katz spent approximately 2,300 hours actively engaged in the fantasy world of EverQuest. He stopped investing in his own life, he says, choosing above all else to boost the well-being of his EverQuest character, Thorballz Frijoles. "I built him up from scratch to be a Level 60 warrior," says Katz in a solemn tone, awe-struck by the memory. "I had all these techniques in the game for advancing my character, trading stuff, making money. I was really good at it."
But by the end of his senior year, Katz was forced to retire from the game. He had lost two girlfriends to EverQuest. And as a result of skipping school to play the game, he had failed two classes. He was in jeopardy of not graduating. Reluctantly, he gave control of Thorballz to a trusted friend.
In the aftermath, Katz had an epiphany of sorts: "I realized that if I could apply a 10th of that energy to my real life," he says, "I could probably do something good, something big."
After getting his school credits in order, Katz refocused on his keyboards and began crafting a new alter ego, Hook the Captain, for a new quest: making it big in the music industry. "The idea is to apply the same techniques from EverQuest to the real world," he says. "I try to move myself from level to level. Some of it's bullshit. You kind of act like you know what you're doing, and people listen to you. Other times, you have to be pretty adept. I feel like the music industry and the fantasy world are very similar in that respect."
Several months after exiting EverQuest for good, Katz pulled off the Aphex Twin stunt with the hope of pushing his music into the limelight. He attributes the idea to a high school friend, Michael Williams. "I thought it was a good idea," says Katz. "I knew it would get a lot of attention."
Sure enough, people started downloading the tracks almost as soon as they were online. Some fans were apparently fooled, though others immediately recognized the hoax. "I received a lot of negative feedback, resentment, and angry e-mails," says Katz, who included his e-mail address on the Web site. "People told me, 'I can't believe you're doing this. It's wrong. It's unethical. It's fraud.'"
Other people were surprised by the seemingly substandard work. "A lot of people didn't like the music," says Katz. "They were like, 'This sucks. What happened to Aphex Twin?'"
But not all of the responses were negative. "I got a lot of praise from people, too," Katz remembers. "It was really flattering. And the crazy thing is that the whole episode spawned an urban legend. I still get calls from people in places like California who want to know the real story behind the guy masquerading as Aphex Twin."
Katz says that throughout the put-on, he repeatedly tried to contact Richard D. James, the 30-year-old Briton behind Aphex Twin. "I kept sending him e-mail and leaving him messages being like, 'Dude, I'm defrauding your shit,'" says Katz. But he never got James to respond. (The Washington City Paper was similarly unable to attain James' reaction to Katz's fabrication.)
At the end of the summer of 2000, Katz removed the phony album from the Internet, packed up his bags, and moved back to the D.C. area. "I tried to retain as many of the initial fans as I could," says Katz. "I started a mailing list and pretty much took over from there in a traditional sense, sending CDs out and soliciting music labels."
But Katz, inevitably, maintains a certain fictional flair when it comes to promoting his music. On his Web site, www.hookthecaptain.com, which he launched last year, there are links to several fake Hook the Captain fan sites, including Lookus Hookus, Hook Gave Me VD, and Hook Is Paul. The last features side-by-side photographs of an adult Katz and a youthful Josh Saviano, the actor who played the character Paul Pfeiffer on the sitcom The Wonder Years. The accompanying text posits that they are one and the same person ("the pictures truly speak for themselves"), citing numerous coincidences in support of the bogus theory. Both Saviano and Katz, according to the site, were born in 1978 and attend law schools on the East Coast. And both display a musical talent: "Furthermore, according to an interview with actor Fred Savage (who played Kevin Arnold), '[Saviano] wasn't the nerd that everyone thought him to be. He was really creative. He always had a small keyboard on the set and would entertain us on breaks by coming up with really funny songs.'"
But despite all the energy he devotes to marketing Hook the Captain, Katz says he remains most excited and devoted to the music. "I write a lot of songs, and each one is almost like a little better than the last one," he says. "I'm very careful, meticulous, and obsessive when it comes to my music. I have to be completely satisfied with a song or I won't release it."
Having already passed Katz's own exacting inspections, one of his songs, "Take Me Away," is now being welcomed by the gatekeepers of the music biz. Stephen Lawson, a deputy editor with London-based Future Publishing, recently chose the song to be included in a CD compilation that will accompany an upcoming issue of Future Music magazine. "I liked the way ['Take Me Away"s] lo-fi beats worked with the hi-tech music," writes Lawson by e-mail. "The song has a really original sound, which I think is important….It's also quite an ambient number, nice and atmospheric."
Katz is also looking forward to his first live show as Hook the Captain. He says that his newly acquired agent, BPM Culture magazine Assistant Editor Mark von Pfeiffer, is lining up a concert for Katz to be held someplace in L.A. "It's almost like I'm still playing the video game," says Katz. "I'm on Level 52. I'm trying to get to Level 53. I have to keep going. One day I would like to have my own record label. I want a production company. And I'd like to start my own corporation."
In the meantime, Katz will be heading back to law school. Though his future plans in the legal profession remain uncertain, Katz might end up in court any day now: He's currently facing a possible lawsuit from EMI Records over a sample that he included in one of his songs.
"They probably won't sue," says Katz. "My agent is trying to clear the sample as we speak. But, in a way, I kind of hope that they do sue. It would be great for promotional purposes." CP


text:
Эвертурнео (швед. Övertorneå) — многозначный термин.

 Эвертурнео — населённый пункт на северо-востоке Швеции.
 Эвертурнео — коммуна на севере Швеции, в лене Норрботтен, с центром в одноименном городе.

redpajama_set_name: RedPajamaWikipedia


Initiative. Amends section 11, Article XIII of Constitution. Declares no law imposing income tax on individual or natural person, or his estate or trust, shall be valid unless approved by majority of electors after initiative proceedings therefor, or after submission thereto, as provided for constitutional amendments proposed by legislature, at next general election following its passage by two-thirds of all members of each house of legislature. Repeals 1935 Personal Income Tax Act, Chapter 329, Statutes 1935, and similar personal income tax laws. Declares liability for taxes then accrued unaffected by such repeal.
PERSONAL INCOME TAXES California Proposition 2 (1936).


text:
>News > Factory news
The difference between knitted T-shirts and woven work clothes
Knitted fabrics are fabrics such as T-shirts, Polo-shirts, which are formed by bending a yarn into a loop in order, and then forming a loop between the loops. According to the different directions of coil weaving can be classified. Lateral weaving is called weft weaving. Vertical weaving is called weaving. The woven fabric is a fabric formed by weaving two or more vertical yarns vertically through a shuttle, such as work clothes and workwear uniforms. The yarns in different directions can be classified into different types. The horizontal ones are called weft yarns and the longitudinal ones are warp yarns. The basic unit of the knitted fabric is the loop, and the basic unit of the woven fabric is the organizational point where the warp and weft intersect.
The difference in weaving between knitted fabrics and woven fabrics Next, we should talk about the different characteristics of knitting and weaving. The knitted fabric is formed by a hole-shaped coil, which has better air permeability, more uniform stretching in all directions, better elasticity, and softer feel. The coil's height and width can be changed from one another, so its extensibility is better. In addition, knitted fabrics are more comfortable to wear on the body, do not feel restrained, tight, and can fully reflect the curve of the human body. Woven fabrics are relatively light, the relationship between the extension and shrinkage of weft yarns is not large, and there is no conversion, and the extension is relatively poor. This fabric is generally dense, relatively hard, and not as soft as a knit. Woven fabrics are relatively strong and wear-resistant, and the number of garments produced is relatively large.
Tags : Safety WorkwearWinter WorkwearMens Workwearmen's clothingSafety Clothing


text:
<!DOCTYPE suite SYSTEM "http://testng.org/testng-1.0.dtd" >
<!--
  ~ Copyright (c) 2017, WSO2 Inc. (http://www.wso2.org) All Rights Reserved.
  ~
  ~ WSO2 Inc. licenses this file to you under the Apache License,
  ~ Version 2.0 (the "License"); you may not use this file except
  ~ in compliance with the License.
  ~ You may obtain a copy of the License at
  ~
  ~ http://www.apache.org/licenses/LICENSE-2.0
  ~
  ~ Unless required by applicable law or agreed to in writing,
  ~ software distributed under the License is distributed on an
  ~ "AS IS" BASIS, WITHOUT WARRANTIES OR CONDITIONS OF ANY
  ~ KIND, either express or implied. See the License for the
  ~ specific language governing permissions and limitations
  ~ under the License.
  -->

<suite name="oauth-common-test-suite" verbose="1">

    <test name="oauth-common-test">
        <classes>
            <class name="org.wso2.carbon.identity.oauth.common.IDTokenResponseValidatorTest"/>
            <class name="org.wso2.carbon.identity.oauth.common.CodeTokenResponseValidatorTest"/>
            <class name="org.wso2.carbon.identity.oauth.common.NTLMAuthenticationValidatorTest"/>
            <class name="org.wso2.carbon.identity.oauth.common.SAML2GrantValidatorTest"/>
            <class name="org.wso2.carbon.identity.oauth.common.NoneResponseTypeValidatorTest"/>
            <class name="org.wso2.carbon.identity.oauth.common.OAuthCommonUtilTest"/>
        </classes>
    </test>
</suite>


text:
Project Leads
Co-produced children and young people's mental health training for hospital staff
Our We Can Talk family now includes 24 hospital sites, 15 acute and 6 mental health NHS trusts, six geographic areas, two arms-length bodies and over 1500 members of hospital staff.
Health Education England (HEE) supports the delivery of excellent healthcare and health improvement to the patients and public of England by ensuring that the workforce of today and tomorrow has the right numbers, skills, values and behaviours, at the right time and in the right place. Health Education England funded our pilot project and has continued to support a sustainable role across England.
NHS England leads the National Health Service (NHS) in England to ensure there are high quality health and care services that are compassionate, inclusive and constantly-improving. NHS England has funded a number of new We Can Talk sites as part of their commitment to improve mental health crisis care.
Barts Health NHS Trust are the largest NHS trust in the UK and support the health and well-being of more than half a million children and young people. We Can Talk was piloted at Barts Health and they are our earliest adopters and biggest supporters. The Care Quality Commission (CQC) highlighted We Can Talk as an area of outstanding practice and "the only programme of its kind in the NHS" for our work at Barts Health.
Ashford and St. Peter's Hospitals NHS Foundation Trust
Barking, Havering and Redbridge University Hospitals NHS Trust
Barnet, Enfield and Haringey Mental Health NHS Trust
Brighton and Sussex University Hospitals NHS Trust
Cambridge University Hospitals NHS Foundation Trust
Epsom and St Helier University Hospitals NHS Trust
Lewisham and Greenwich NHS Foundation Trust
Maidstone and Tunbridge Wells NHS Trust
Medway NHS Foundation Trust
North East London NHS Foundation Trust
North Middlesex University Hospital NHS Trust
Royal Free London NHS Foundation Trust
Royal Surrey County Hospital NHS Foundation Trust
Surrey and Borders Partnership NHS Foundation Trust
Surrey and Sussex Healthcare NHS Trust
Sussex Partnership NHS Foundation Trust
University College London Hospitals NHS Foundation Trust
Please let us know if you're planning on adopting the We Can Talk Principles in your hospital (so we can spread the good news!) or use the contact form or e-mail info@wecantalk.online if you're interested in joining the We Can Talk family.


text:
Żółwie skórzaste (Dermochelyidae)  – rodzina gadów z podrzędu żółwi skrytoszyjnych. Do tej rodziny należą największe współcześnie żyjące żółwie z jedynym przedstawicielem – żółwiem skórzastym (Dermochelys coriacea).

Karapaks i plastron o mocno zredukowanych płytach kostnych pokryty grubą skórą z kilkoma rzędami zgrubiałych skórnych kilów. Na górnej szczęce potężny dziób. Kręgi i żebra niezrośnięte. Całe ciało przepojone tranem. Długość karapaksu do 3 m, a masa ciała do 1000 kg. Można je spotkać we wszystkich ciepłych morzach i oceanach i z tego powodu nazywane są morskimi włóczęgami. Ich pokarmem są morskie wodorosty, skorupiaki, kalmary i inne.

Systematyka
Do rodziny należy jeden występujący współcześnie rodzaj:
 Dermochelys  – jedynym przedstawicielem jest Dermochelys coriacea  – żółw skórzasty

oraz rodzaje wymarłe:
 Corsochelys
 Psephophorus

Przypisy


text:
Vragel da Silva (ur. 29 marca 1974 w Rio de Janeiro) – brazylijski piłkarz występujący na pozycji obrońcy.

Kariera
Da Silva zawodową karierę rozpoczynał w 1994 roku w klubie Campo Grande. Spędził tam trzy lata. W 1997 roku przeszedł do duńskiego zespołu Brøndby IF. W 1998 roku zdobył z nim mistrzostwo Danii oraz Puchar Danii. W 1999 roku wraz z klubem wywalczył natomiast wicemistrzostwo Danii. W barwach Brøndby da Silva  rozegrał tam 45 spotkań. W styczniu 2000 roku został wypożyczony do niemieckiego Karlsruher SC, grającego w 2. Bundeslidze. W tym klubie rozegrał 17 spotkań i zdobył 2 bramki.

Po zakończeniu sezonu 1999/2000 podpisał kontrakt z SSV Ulm 1846 (2. Bundesliga). W jego barwach zadebiutował 14 sierpnia 2000 w wygranym 2:1 meczu z MSV Duisburg. W drużynie Ulm był rezerwowym. Na koniec sezonu 2000/2001 zajął z Ulm szesnaste miejsce w lidze i spadł z nim do Regionalligi. Wówczas odszedł z klubu.

W 2001 roku przeszedł do pierwszoligowego Energie Cottbus. W Bundeslidze zadebiutował 11 sierpnia 2001 roku w wygranym 1:0 pojedynku z 1. FC Nürnberg. 19 sierpnia 2001 roku w wygranym 3:2 meczu z Herthą BSC strzelił pierwszego gola w Bundeslidze. W 2003 roku spadł z klubem do 2. Bundesligi. W 2006 roku wrócił z nim do Bundesligi. W 2009 roku, po spadku Energie do 2. Bundesligi, zakończył karierę.

Bibliografia
 Statystyki na Fussballdaten

Brazylijscy piłkarze
Piłkarze Campo Grande AC
Piłkarze Brøndby IF
Piłkarze Karlsruher SC
Piłkarze SSV Ulm 1846
Piłkarze Energie Cottbus
Urodzeni w 1974
Ludzie urodzeni w Rio de Janeiro


text:
package connectivity_test

import (
	"context"
	"errors"
	"testing"
	"time"

	pb "go.etcd.io/etcd/api/v3/etcdserverpb"
	"go.etcd.io/etcd/api/v3/v3rpc/rpctypes"
	"go.etcd.io/etcd/client/v3"
	integration2 "go.etcd.io/etcd/tests/v3/framework/integration"
	"go.etcd.io/etcd/tests/v3/integration/clientv3"
	"google.golang.org/grpc"
)

var errExpected = errors.New("expected error")

// TestBalancerUnderNetworkPartitionPut tests when one member becomes isolated,
// first Put request fails, and following retry succeeds with client balancer
// switching to others.
func TestBalancerUnderNetworkPartitionPut(t *testing.T) {
	testBalancerUnderNetworkPartition(t, func(cli *clientv3.Client, ctx context.Context) error {
		_, err := cli.Put(ctx, "a", "b")
		if clientv3test.IsClientTimeout(err) || clientv3test.IsServerCtxTimeout(err) || err == rpctypes.ErrTimeout {
			return errExpected
		}
		return err
	}, time.Second)
}

func TestBalancerUnderNetworkPartitionDelete(t *testing.T) {
	testBalancerUnderNetworkPartition(t, func(cli *clientv3.Client, ctx context.Context) error {
		_, err := cli.Delete(ctx, "a")
		if clientv3test.IsClientTimeout(err) || clientv3test.IsServerCtxTimeout(err) || err == rpctypes.ErrTimeout {
			return errExpected
		}
		return err
	}, time.Second)
}

func TestBalancerUnderNetworkPartitionTxn(t *testing.T) {
	testBalancerUnderNetworkPartition(t, func(cli *clientv3.Client, ctx context.Context) error {
		_, err := cli.Txn(ctx).
			If(clientv3.Compare(clientv3.Version("foo"), "=", 0)).
			Then(clientv3.OpPut("foo", "bar")).
			Else(clientv3.OpPut("foo", "baz")).Commit()
		if clientv3test.IsClientTimeout(err) || clientv3test.IsServerCtxTimeout(err) || err == rpctypes.ErrTimeout {
			return errExpected
		}
		return err
	}, time.Second)
}

// TestBalancerUnderNetworkPartitionLinearizableGetWithLongTimeout tests
// when one member becomes isolated, first quorum Get request succeeds
// by switching endpoints within the timeout (long enough to cover endpoint switch).
func TestBalancerUnderNetworkPartitionLinearizableGetWithLongTimeout(t *testing.T) {
	testBalancerUnderNetworkPartition(t, func(cli *clientv3.Client, ctx context.Context) error {
		_, err := cli.Get(ctx, "a")
		if clientv3test.IsClientTimeout(err) || clientv3test.IsServerCtxTimeout(err) || err == rpctypes.ErrTimeout {
			return errExpected
		}
		return err
	}, 7*time.Second)
}

// TestBalancerUnderNetworkPartitionLinearizableGetWithShortTimeout tests
// when one member becomes isolated, first quorum Get request fails,
// and following retry succeeds with client balancer switching to others.
func TestBalancerUnderNetworkPartitionLinearizableGetWithShortTimeout(t *testing.T) {
	testBalancerUnderNetworkPartition(t, func(cli *clientv3.Client, ctx context.Context) error {
		_, err := cli.Get(ctx, "a")
		if clientv3test.IsClientTimeout(err) || clientv3test.IsServerCtxTimeout(err) {
			return errExpected
		}
		return err
	}, time.Second)
}

func TestBalancerUnderNetworkPartitionSerializableGet(t *testing.T) {
	testBalancerUnderNetworkPartition(t, func(cli *clientv3.Client, ctx context.Context) error {
		_, err := cli.Get(ctx, "a", clientv3.WithSerializable())
		return err
	}, time.Second)
}

func testBalancerUnderNetworkPartition(t *testing.T, op func(*clientv3.Client, context.Context) error, timeout time.Duration) {
	integration2.BeforeTest(t)

	clus := integration2.NewCluster(t, &integration2.ClusterConfig{
		Size: 3,
	})
	defer clus.Terminate(t)

	eps := []string{clus.Members[0].GRPCURL(), clus.Members[1].GRPCURL(), clus.Members[2].GRPCURL()}

	// expect pin eps[0]
	ccfg := clientv3.Config{
		Endpoints:   []string{eps[0]},
		DialTimeout: 3 * time.Second,
		DialOptions: []grpc.DialOption{grpc.WithBlock()},
	}
	cli, err := integration2.NewClient(t, ccfg)
	if err != nil {
		t.Fatal(err)
	}
	defer cli.Close()
	// wait for eps[0] to be pinned
	clientv3test.MustWaitPinReady(t, cli)

	// add other endpoints for later endpoint switch
	cli.SetEndpoints(eps...)
	time.Sleep(time.Second * 2)
	clus.Members[0].InjectPartition(t, clus.Members[1:]...)

	for i := 0; i < 5; i++ {
		ctx, cancel := context.WithTimeout(context.Background(), timeout)
		err = op(cli, ctx)
		t.Logf("Op returned error: %v", err)
		t.Log("Cancelling...")
		cancel()
		if err == nil {
			break
		}
		if err != errExpected {
			t.Errorf("#%d: expected '%v', got '%v'", i, errExpected, err)
		}
		// give enough time for endpoint switch
		// TODO: remove random sleep by syncing directly with balancer
		if i == 0 {
			time.Sleep(5 * time.Second)
		}
	}
	if err != nil {
		t.Errorf("balancer did not switch in time (%v)", err)
	}
}

// TestBalancerUnderNetworkPartitionLinearizableGetLeaderElection ensures balancer
// switches endpoint when leader fails and linearizable get requests returns
// "etcdserver: request timed out".
func TestBalancerUnderNetworkPartitionLinearizableGetLeaderElection(t *testing.T) {
	integration2.BeforeTest(t)

	clus := integration2.NewCluster(t, &integration2.ClusterConfig{
		Size: 3,
	})
	defer clus.Terminate(t)
	eps := []string{clus.Members[0].GRPCURL(), clus.Members[1].GRPCURL(), clus.Members[2].GRPCURL()}

	lead := clus.WaitLeader(t)

	timeout := 3 * clus.Members[(lead+1)%2].ServerConfig.ReqTimeout()

	cli, err := integration2.NewClient(t, clientv3.Config{
		Endpoints:   []string{eps[(lead+1)%2]},
		DialTimeout: 2 * time.Second,
		DialOptions: []grpc.DialOption{grpc.WithBlock()},
	})
	if err != nil {
		t.Fatal(err)
	}
	defer cli.Close()

	// add all eps to list, so that when the original pined one fails
	// the client can switch to other available eps
	cli.SetEndpoints(eps[lead], eps[(lead+1)%2])

	// isolate leader
	clus.Members[lead].InjectPartition(t, clus.Members[(lead+1)%3], clus.Members[(lead+2)%3])

	// expects balancer to round robin to leader within two attempts
	for i := 0; i < 2; i++ {
		ctx, cancel := context.WithTimeout(context.TODO(), timeout)
		_, err = cli.Get(ctx, "a")
		cancel()
		if err == nil {
			break
		}
	}
	if err != nil {
		t.Fatal(err)
	}
}

func TestBalancerUnderNetworkPartitionWatchLeader(t *testing.T) {
	testBalancerUnderNetworkPartitionWatch(t, true)
}

func TestBalancerUnderNetworkPartitionWatchFollower(t *testing.T) {
	testBalancerUnderNetworkPartitionWatch(t, false)
}

// testBalancerUnderNetworkPartitionWatch ensures watch stream
// to a partitioned node be closed when context requires leader.
func testBalancerUnderNetworkPartitionWatch(t *testing.T, isolateLeader bool) {
	integration2.BeforeTest(t)

	clus := integration2.NewCluster(t, &integration2.ClusterConfig{
		Size: 3,
	})
	defer clus.Terminate(t)

	eps := []string{clus.Members[0].GRPCURL(), clus.Members[1].GRPCURL(), clus.Members[2].GRPCURL()}

	target := clus.WaitLeader(t)
	if !isolateLeader {
		target = (target + 1) % 3
	}

	// pin eps[target]
	watchCli, err := integration2.NewClient(t, clientv3.Config{Endpoints: []string{eps[target]}})
	if err != nil {
		t.Fatal(err)
	}
	t.Logf("watchCli created to: %v", target)
	defer watchCli.Close()

	// wait for eps[target] to be connected
	clientv3test.MustWaitPinReady(t, watchCli)
	t.Logf("successful connection with server: %v", target)

	// We stick to the original endpoint, so when the one fails we don't switch
	// under the cover to other available eps, but expose the failure to the
	// caller (test assertion).

	wch := watchCli.Watch(clientv3.WithRequireLeader(context.Background()), "foo", clientv3.WithCreatedNotify())
	select {
	case <-wch:
	case <-time.After(integration2.RequestWaitTimeout):
		t.Fatal("took too long to create watch")
	}

	t.Logf("watch established")

	// isolate eps[target]
	clus.Members[target].InjectPartition(t,
		clus.Members[(target+1)%3],
		clus.Members[(target+2)%3],
	)

	select {
	case ev := <-wch:
		if len(ev.Events) != 0 {
			t.Fatal("expected no event")
		}
		if err = ev.Err(); err != rpctypes.ErrNoLeader {
			t.Fatalf("expected %v, got %v", rpctypes.ErrNoLeader, err)
		}
	case <-time.After(integration2.RequestWaitTimeout): // enough time to detect leader lost
		t.Fatal("took too long to detect leader lost")
	}
}

func TestDropReadUnderNetworkPartition(t *testing.T) {
	integration2.BeforeTest(t)

	clus := integration2.NewCluster(t, &integration2.ClusterConfig{
		Size: 3,
	})
	defer clus.Terminate(t)
	leaderIndex := clus.WaitLeader(t)
	// get a follower endpoint
	eps := []string{clus.Members[(leaderIndex+1)%3].GRPCURL()}
	ccfg := clientv3.Config{
		Endpoints:   eps,
		DialTimeout: 10 * time.Second,
		DialOptions: []grpc.DialOption{grpc.WithBlock()},
	}
	cli, err := integration2.NewClient(t, ccfg)
	if err != nil {
		t.Fatal(err)
	}
	defer cli.Close()

	// wait for eps[0] to be pinned
	clientv3test.MustWaitPinReady(t, cli)

	// add other endpoints for later endpoint switch
	cli.SetEndpoints(eps...)
	time.Sleep(time.Second * 2)
	conn, err := cli.Dial(clus.Members[(leaderIndex+1)%3].GRPCURL())
	if err != nil {
		t.Fatal(err)
	}
	defer conn.Close()

	clus.Members[leaderIndex].InjectPartition(t, clus.Members[(leaderIndex+1)%3], clus.Members[(leaderIndex+2)%3])
	kvc := clientv3.NewKVFromKVClient(pb.NewKVClient(conn), nil)
	ctx, cancel := context.WithTimeout(context.TODO(), 10*time.Second)
	_, err = kvc.Get(ctx, "a")
	cancel()
	if err != rpctypes.ErrLeaderChanged {
		t.Fatalf("expected %v, got %v", rpctypes.ErrLeaderChanged, err)
	}

	for i := 0; i < 5; i++ {
		ctx, cancel = context.WithTimeout(context.TODO(), 10*time.Second)
		_, err = kvc.Get(ctx, "a")
		cancel()
		if err != nil {
			if err == rpctypes.ErrTimeout {
				<-time.After(time.Second)
				i++
				continue
			}
			t.Fatalf("expected nil or timeout, got %v", err)
		}
		// No error returned and no retry required
		break
	}
}


Around the world, workplaces have started to accept facial hair because we are getting exposed to new things, we are starting to welcome new things as the world around is evolving very fast.
But what happens when you are working in a government sector, in a bank, in a small rural area; the world which is still a few years behind the city's life and you've tied a relationship with your beard.
A few days back I met a guy in Almora district of Uttarakhand with a beautiful beard. We got into a chat over tea about his experiences of living in a small rural area with a beard of about 2 inches, the bitter and the brighter side of it, how people's reactions changes with the change in length of his beard.
Here is what he shared when I asked about his bearded life while working in this area. I hope you enjoy it.
"I am working as a branch manager in a bank in a nearby village and in a small rural area like this; especially when it is in a hilly area, a government officer attracts a good amount of respect and he is supposed to behave and look in a respectable manner. There is always a defined way how he/she should live, dress, eat, everything and facial hair isn't one of them. I always kept a beard, style and size kept changing but it was always there with me, I love my facial hair.
"I never expected people to notice and openly comment just 3 days into my beard growing journey.
Though people masked their comments under the veil of well-meaning concern but their faces showed the repulsiveness and shocked feelings.
They considered a beard as a sign of laziness, untidiness, and sign of a unruly boy. Something according to them does not suit a branch manager.
There were no positive comments at this time for my beard, only a few people mentioned this being a trend.
"The discussion over my beard changed to me being a city boy following a trend.
The beard was still opposed, I was clearly told that a clean-shaven gentleman is what a BRANCH MANAGER should look like. Some even started commenting on my reducing marriage prospects.
Young boys were really excited to see a government officer following the likes of VIRAT KOHLI and they used to praise me and asked me for the tips.
"Until now according to many I was not BEING like how a branch manager should be but now I was also being told that this is not how a HINDU BOY should be.
People started telling me that I look like a Muslim Ulema, which is not good as I am a Hindu (obviously those people had no idea about neither Islam nor Ulema). In addition to that, the comments of me being lazy and untidy started returning.
But everything was not getting worse, there was a brighter side to it too.
"Well at this time my beard is 2 inches long and the reactions which I used to get are not that often as people have started to accept my beard and it's not exciting anymore.
Somehow the lazy comment has completely stopped and also the untidiness part too.
The comparison to a Muslim Ulema is always there by the people who are not Muslim but now people have started using some more fierce weapons by telling me that I am hurting my family and their religion by looking like this and also by reducing my marriage prospects.
As I told earlier that there is still positive things going on around me like people have given me a tagline that too a good one – Bearded guy who doesn't drink or smoke and don't flirt with girls. Elders are now almost convinced that I'm a spiritual person and they have started discussing spiritual matters with me.
It was a nice and multi-emotions full of discussion over a cup of tea and he is planning to do a little experiment with his beard style and excited about the change in reactions of the fellow villagers.
I hope it goes well and hopes to meet him again.
WILL SHE LIKE MY BEARD?


Valuation and qualitative factors are the key drivers of long term share price performance. Both factors are critical and of equal importance.
Markets tend to be emotional, short-term and backward looking. Markets continually present opportunities to investors who are unemotional and long-term in their assessment of business potential.
An intensive visitation schedule with a wide variety of stakeholders can provide a more complete perspective of a company's prospects.
L1 Capital invests in high quality businesses trading well below their intrinsic value. Our investment process combines discounted cash flow valuation with qualitative considerations such as management quality, industry & company structure and business trends to identify attractive investment opportunities.
The core of the investment approach is a high level of interaction with a wide range of market participants. This enables us to generate the most complete fundamental, bottom- up assessment of each investment opportunity.
L1 Capital is a signatory of the Principles for Responsible Investment and commited to incorporating environmental, social and corporate governance issues into our investment analysis and decision-making processes.


text:
De zwavelkeelstekelstaart (Cranioleuca sulphurifera) is een zangvogel uit de familie Furnariidae (ovenvogels).

Verspreiding en leefgebied
Deze soort komt voor van zuidelijk Brazilië tot Uruguay en oostelijk Argentinië.

Externe link
Avibase

Ovenvogels
Dier uit het Neotropisch gebied
IUCN-status niet bedreigd


How to recharge mobile phones and accounts on cysend.com using your bank card?
Only 3D Secure cards are accepted for payments for mobile phones and accounts top up.
Click here for Verified by Visa.
Click here for MasterCard SecureCode.


Use the form below to search for alumni from Valor Hall School.
Valor Hall School enrolls 113 preschool and elementary school students from grades PK-8. It is located in St. George, UT, which is a highly populated city with a median household income of $36,505.
Be The First To Review Valor Hall School!
Join a discussion about Valor Hall School and talk to others in the community including students, parents, teachers, and administrators.


text:
Q: ELOOP: too many symbolic links encountered When trying to hit the command : npm install -g @angular/cli@6.1.1
Note:
I have Node.Js LTS 10.xx version, .Net Framework 4.7.2 Developer pack, and all necessary extensions in place.
Error thrown:
npm ERR! code ELOOP
npm ERR! syscall stat
npm ERR! path \\horofs**\users$\
npm ERR! errno -62
npm ERR! ELOOP: too many symbolic links encountered, stat '\\horofs06\users$\'

npm ERR! A complete log of this run can be found in:
npm ERR!     \\horofs**\users$\W****\AppData\Roaming\npm-cache\_logs\2020-07-31T13_26_25_468Z-debug.log

The log states this:
0 info it worked if it ends with ok
1 verbose cli [ 'C:\\Program Files\\nodejs\\node.exe',
1 verbose cli   'C:\\Program Files\\nodejs\\node_modules\\npm\\bin\\npm-cli.js',
1 verbose cli   'install',
1 verbose cli   '-g',
1 verbose cli   '@angular/cli@6.1.1' ]
2 info using npm@6.14.6
3 info using node@v10.22.0
4 verbose npm-session 8b2e687260b66580
5 silly install loadCurrentTree
6 silly install readGlobalPackageData
7 http fetch GET 200 https://registry.npmjs.org/@angular%2fcli 282ms (from cache)
8 silly pacote version manifest for @angular/cli@6.1.1 fetched in 426ms
9 verbose stack Error: ELOOP: too many symbolic links encountered, stat '\\horofs**\users$\'
9 verbose stack     at eloop (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:58:17)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:19:11)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:39:10)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:39:10)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:39:10)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:39:10)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:39:10)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:39:10)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:39:10)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:39:10)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:39:10)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:39:10)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:39:10)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:39:10)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:39:10)
9 verbose stack     at realpathCached (C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js:39:10)
10 verbose cwd C:\Cqe\Periscope\src\Periscope\Endava.Periscope.Web
11 verbose Windows_NT 6.3.9600
12 verbose argv "C:\\Program Files\\nodejs\\node.exe" "C:\\Program Files\\nodejs\\node_modules\\npm\\bin\\npm-cli.js" "install" "-g" "@angular/cli@6.1.1"
13 verbose node v10.22.0
14 verbose npm  v6.14.6
15 error code ELOOP

Please help me.

A: I met a similar issue and the log said as following,
error ELOOP: too many symbolic links encountered, chmod '/Users/myname/projects/my-electron-app/node_modules/electron/cli.js'
error ELOOP: too many symbolic links encountered, open '/Users/myname/projects/my-electron-app/node_modules/electron/npm-shrinkwrap.json'

When I checked my folder and found the folder electron link to itself, so it led to a never-ending loop.
lrwxr-xr-x    1 myname  staff      8 Feb 20 11:42 electron@ -> electron

I checked the size and directly removed the file, then used npm install electron again. It finally worked.
So please check the link, it looks that the file in your application links to itself too.
I doubt that it should be an issue about npm because npm tries to create a link before the file is actually downloaded.

A: You can judge for yourself below. The disappointing situation is that you may not be able to use NodeJS when your User data is stored in a folder with more than 2,000 subfolders.
Like you, my User folder is stored on a network drive instead of C:
In "readGlobalPackageData()," the value of self.where is passed to readPackageTree. In my case, self.where = "\[domain]\users$[office location][userID]\AppData\npm." Code in realpathCached() is backing out of that path and trying to read all subfolders as it goes. When it gets to "\[domain]\users$", the "ELOOP" error is logged because there's a max depth of 2000, and my company's Users folder has more than 25,000 subfolders.
Here are two possible solutions:
First, remove -g from the install command to make the install local to the folder for your new app. The downside is that if there's an update to one of the dependencies, you'll have to install it manually everywhere you didn't use -g. That can be good if an update contains breaking changes.
Second, and I don't recommend this solution, is to edit one of the installer files. The installer is reading all the ID folders in your User folder and it's only failing because an arbitrary limits was reached. If you increase the limit, the error should go away but you're also letting the script read all the user IDs on your network. Try this at your own risk.
Open this file:
C:\Program Files\nodejs\node_modules\npm\node_modules\read-package-tree\realpath.js.
On line 18, "if (depth > 2000)," change 2000 to a number greater than the number of folders under your users$ (share) folder.

A: As answered by Classic Craig

You can judge for yourself below. The disappointing situation is that you may not be able to use NodeJS when your User data is stored in a folder with more than 2,000 subfolders. Like you, my User folder is stored on a network drive instead of C: In "readGlobalPackageData()," the value of self.where is passed to readPackageTree. In my case, self.where = "[domain]\users$[office location][userID]\AppData\npm." Code in realpathCached() is backing out of that path and trying to read all subfolders as it goes. When it gets to "[domain]\users$", the "ELOOP" error is logged because there's a max depth of 2000, and my company's Users folder has more than 25,000 subfolders.

I also cannot install Angular globally on my user folder on my company's mainframe. I work around this by installing it locally.
First I initialized the installation location with
npm init

and by going to the directory within the node_modules I accessed .bin folder
cd ../node_modules/.bin

The ng command can be run within the .bin folder. Then I used ng new to create a new project within the .bin folder. Then, I can use the
npm run ng <command>

here. So I can use the ng command within the project folder.

redpajama_set_name: RedPajamaStackExchange


text:
Nina Simone Birthday
TueFeb 21
Jazz Singer
Eunice Kathleen Waymon, more commonly known as Nina Simone was born in Tron, North Carolina on February 21, 1933. She is most famously known as an American singer, songwriter, civil rights activist, and musician. Simone's music genre expanded throughout classical, jazz, folk, blues, R&B, gospel, and pop. Learn more about her and her background as we celebrate her special day today!
Eunice Kathleen Waymon
April 21, 2003 (age 70)
Eunice's Social Media:
Eunice Kathleen Waymon, more commonly known by her stage name Nina Simone, was born on February 21, 1933, in Tryon, North Carolina. She is most famously known for her skills as a singer, songwriter, civil rights activist, and musician. Simone's music genre expanded throughout classical, jazz, folk, blues, R&B, gospel, and pop.
Simone was the second youngest of eight children. She was born into a poor family in Tryon, North Carolina. When Simone was young she initially wanted to be a concert pianist. She was able to attend the Allen High School for Girls in Asheville, North Carolina on scholarship. After graduating, she enrolled in the Juilliard School of Music in New York City where she studied for a brief three months. At the Curtis Institute of Music in Philadelphia she was denied admission because of her skin color, and ironically, days before her death in 2003, the institution awarded her an honorary degree.
Simone changed her name to Nina Simone to disguise herself from family members and started playing piano in a nightclub in Atlantic City, which launched her career as a jazz vocalist. Her family felt that the music that Simone sang was evil. She went on to record more than 40 albums between 1958 and 1974, making her debut with "Little Girl Blue" and her 1958 hit single 'I Love You, Porgy'.
Simone's genre of music was fused with gospel and pop, inspired by classical music and accompanied by her expressive jazz-like singing in her contralto voice. She was also known for using her musical platform to speak out and raise issues about activism and equality, in an interview Simone expressed "I think women play a major part in opening the doors for better understanding around the world."
Her First Nomination
Simone receives her first nomination for Best Female R&B Vocal Performance for the track '(You'll) Go to Hell' from her 13th album Silk & Soul from 1967.
'Four Women' Sparks Controversy
In this legendary song, Simone exposes the Eurocentric racial standards imposed on black women in America.
Nina Simone: La Legende
Simone has a documentary made about her life.
Simone Publishes a Book
Simone publishes her autobiography "I Put a Spell on You" written by Stephen Cleary.
Grammy Hall of Fame Award
Nina Simone receives the Grammy Hall of Fame Award for her song 'I Love You, Porgy.'
Why We Love Nina Simone
Simone was a child prodigy
Simone graduated valedictorian of her high school class and studied at the Julliard School of Music for a brief period before applying to Philadelphia's Curtis Institute of Music. She was denied admission because of her race. Two days before her death, the school awarded her an honorary degree.
She has many books written about her
Books about Nina Simone include her 1993 autobiography "I Put a Spell on You" written by Stephen Cleary. Book titles about her include "Nina Simone: Don't Let Me Be Misunderstood" by Richard Williams, "Nina Simone" by Kerry Acker, "Nina Simone, Black is the Color" by Andrew Stroud, and "What Happened, Miss Simone?" by Alan Light. Simone also inspired a book of poetry, "Me and Nina," by Monica Hand.
She has a street named after her
In the city of Nijmegen, in the Netherlands, there is a street named "Nina Simone Street." It was named in honor of the legendary artist and activist, who had also lived in Nijmegen from 1988 to 1990.
She never had a number one hit
Although her music is recognizable worldwide, her most famous song only peaked as the number two hit in 1959.
Her career in protest began very early
Simone has expressed in an interview how her activism and protest work began at the very young age of 12.
Nina Simone is her stage name
The name Nina was her boyfriend's nickname for her at the time, while Simone was inspired by Simone Signoret, an actress the singer admired.
One of her songs was banned
Her 1964 anthem 'Mississippi Goddam' took her only 20 minutes to an hour to write and was banned due to its political nature.
Nina moved around a lot
Simone expressed in an interview just how many places she lived in, including New York City, Liberia, Barbados, England, Belgium, France, and Switzerland.
Nina Simone FAQs
What is Nina Simone's most famous song?
Nina Simone's top three most famous songs are 'Don't Let Me Be Misunderstood,' 'My Baby Just Cares for Me,' and 'Feeling Good.'
Did Nina Simone marry a white man?
In 1961 Simone Married Andry Stroud, a tough police detective on the Harlem beat.
How did Nina Simone pass away?
In her final years, reports indicated that Nina Simone was battling breast cancer. She died at the age of 70 on April 21, 2003, at her home in Carry-le-Rouet, France. While she may be gone, Simone left a lasting impression on the world of music, art, and activism.
Nina Simone's birthday dates
2023 February 21 Tuesday
2024 February 21 Wednesday
2025 February 21 Friday
2026 February 21 Saturday
2027 February 21 Sunday
Alan Rickman's birthday
Blanket Jackson's birthday
Giveon's birthday
John Lewis's birthday
Jordan Peele's birthday
Nina Simone's birthday
Solar's birthday
Sophie Turner's birthday
Wendy's birthday
View all February holidays