The remarkable snow capped Pisa Range landscape with glittering rivers (this was gold rush territory in the 1800s) produces very distinctive wines.
Grown at Pisa – a warm district of the Cromwell Basin, careful management of the vines kept crop levels low producing good quality small-berried fruit. The 2013 season was very typical for Central Otago with a long dry autumn allowing slow ripening - with the fruit going into the winery in excellent condition. Hand harvested on 22 April 2013 and bottled March 2014.
Palate: The palate shows citrus/floral flavours. Powerful with good balance – lovely crisp clean finish.
Cellar: A Dry Riesling that is likely to improve with age. 5 - 7 years.


What is the change? Following the imposition of martial law in 10 regions of Ukraine, the Ukrainian government has announced that male citizens of Russia ages 16-60 are restricted from entering the country. According to the State Border Authority's hotline, Russian citizens holding temporary or permanent residence permits will not be affected by the restriction.
Who is affected: Russian men ages 16-60.
Business impact: Businesses employing Russian men ages 16-60 may need to adjust travel schedules or start dates.
Next steps: The restrictions will likely last until the end of martial law Dec. 26.
Background: After Russian forces seized three Ukrainian ships Nov. 25 in the Black Sea, the Ukrainian government imposed martial law in 10 regions. The bar on entry for Russian men has not been codified by law, but border officers are likely acting based on internal instructions that are not publicly available. As of now, Russian men who lack a residence permit are unlikely to be admitted to Ukraine during the period of martial law. In addition, Russian men who hold a valid residence permit may be at risk of non-admission. According to press reports, the Russian Foreign Ministry has said that Russia does not plan on retaliating against the Ukrainian ban by restricting Ukrainian nationals from entering Russia.
Analysis & Comments: Russian men ages 16-60 may face difficulties with crossing the Ukrainian border, especially if they do not already possess a residence permit. Russian men who are currently in Ukraine to obtain a residence permit are advised to stay in Ukraine until after the residence permit has been obtained. Additional information is likely to become available in the coming days.


text:
The Listening Magazine
#iamLISTENING
The Feature
The Rap Ups
The Canvas
The Roundtable
The Hype
About The Listening
The Loosies | Nicki Minaj – "Anaconda" (Video)
The Listening Magazine Presents #MonthlyMix: July 2014
The Loosies | Zach Ambroise – "Forever Kind Of Love" (ft. Brittanie Thomas) + New Beginnings Download
The Reviews | Common – 'Nobody's Smiling'
The Reviews | Mali Music – 'Mali Is…'
The Crates
Tag Archives: Childish
The Rap Up: Week of January 17, 2014
January 17, 2014 by thelisteningmagazine
This Week In Music:
Outkast performing over a decade ago. (Credit to Joe Goldberg)
Just a week after being announced as the headliner of the 2014 Coachella Festival lineup, legendary hip hop group Outkast has announced an official comeback tour for the upcoming year. In honor of their first album, Southernplayalisticadillacmusik, reaching its 20 year anniversary, the Atlanta duo will embark on a tour of at least 40 festival shows throughout the year. This news is incredibly exciting for fans of the group, who have been anxiously awaiting new material and performances for over five years now. Fans should stay tuned to the official Outkast facebook, where the announcement was made, for future updates.
Juicy J on stage. (Credit to Jay West)
In other news, rapper Juicy J (formerly of Memphis rap group Three 6 Mafia) awarded a $50,000 scholarship to one lucky female college student. Usually deemed as a good deed, the scholarship became the subject of controversy due to the award's supposed requirements. Juicy J originally announced the scholarship back in the summer of 2013 as a scholarship for "twerking", a dance that involves the explicit movement of the female body which has recently been brought to the mainstream by artists like Miley Cyrus. While fans have argued that Juicy J implied that the fund would go to the candidate who could twerk the best in a video that was sent to him, the rapper never officially listed twerking as a requirement needed to win the scholarship. The Listening Magazine congratulates the winner, Zaire Holmes, and acknowledges Juicy J for honoring his word.
Kanye West (Credit to Tyler Curtis)
Finally, two of the biggest superstars in the music industry are in hot water with the police this week for separate incidents. First, rapper/producer Kanye West is under police investigation after reportedly being involved in an altercation with an 18-year-old. Taking place in a Beverly Hills chiropractor's office, Kanye reportedly attacked the man after he called Kanye's fiancée Kim Kardashian a "n****r lover". In other news, pop sensation Justin Bieber came under the scope of Los Angeles police after being the suspect of the egging of a house neighboring his own. The 19-year-old superstar had his home searched following the incident, and one of Bieber's friends was arrested for possession of cocaine which was found in his home. Details on both incidents are still being relayed to press sources, and will be interesting to hear about in the coming days.
The News:
Jhene Aiko announces May release date for Souled Out
Pharrell secures Oscar nomination for "Happy"
Mac Miller announces departure from Rostrum Records
Ciara and Future announce pregnancy
Drake releases new Saturday Night Live promotion videos
Rick Ross' Mastermind receives new release date
Native Tongues TV series to feature Q-Tip, Jonah Hill, and Leonardo DiCaprio
Method Man reveals artwork for new mixtape titled The Meth Lab
The Tunes:
The Cool Kids – "Computer School" / "Chop" (ft. HBK Gang)
Shakira – "Can't Remember To Forget You" (ft. Rihanna)
Isaiah Rashad – "RIP Kevin Miller"
Childish Gambino – "The Worst Guys" (ft. Chance The Rapper) [Video]
August Alsina – "Make It Home" (ft. Jeezy)
Ty Dolla $ign – "Paranoid" (Remix) (ft. Trey Songz, French Montana, & DJ Mustard)
Trae The Truth – "Wid It" (ft. Problem & Freddie Gibbs)
Danny Brown – "Side B (Dope Song)" [Video]
Mister Cee's Aaliyah Birthday Tribute Mix
Kenneth Whalum – "Away" (ft. Big K.R.I.T.)
Marsha Ambrosius – "Dear Tremaine"
The Charts:
Hot 100: Pitbull – "Timber" (ft. Ke$ha)
Radio: Eminem – "The Monster" (ft. Rihanna)
Digital: Katy Perry – "Dark Horse" (ft. Juicy J)*
200: "Frozen" Soundtrack
R&B: Beyoncé – Beyoncé
Rap: Kid Ink – My Own Lane*
Rock: Lorde – Pure Heroine
Independent: Garth Brooks – Blame It On My Roots
*Indicates New Entry
The Bonus Tracks:
Nas, and Hip Hop, at… Harvard?!
Posted in The Rap Ups.	Tagged $ign, 2014, 50000, aaliyah, aiko, album, alsina, ambrosius, arrested, assualt, august, bieber, Big, billboard, birthday, Brown, cee, chance, charts, Childish, chop, ciara, cocaine, computer, cool, culture, Danny, date, dicaprio, dj, doll, Drake, egg, egging, engaged, festival, freddie, french, future, Gambino, gibbs, happy, harvard, hill, hip, hop, isaiah, J, january, jazz, jeezy, jhene, jonah, Juicy, justin, K.R.I.T., Kanye, kardashian, kenneth, kids, kim, KRIT, lab, leonardo, Listening, live, mac, mag, Magazine, man, marsha, mastermind, meth, method, miller, mister, Mixtape, montana, music, mustard, nas, native, New, night, nominee, oscar, out, outkast, paranoid, pharrell, pop, pregnant, problem, q-tip, R&B, Rap, rapper, rashad, release, rick, rihanna, rock, ross, Rostrum, saturday, scholarship, school, shakira, show, shows, sign, snl, songs, songz, soul, souled, star, The, tongues, trae, trey, truth, twerk, twerking, ty, up, week, West, whalum, williams, young
The Rap Up: Week of February 13, 2012
February 19, 2012 by thelisteningmagazine
Weee're baaack! This week in music:
Iconic vocalist Whitney Houston passed away on Saturday, February 11th at the age of 48. CNN reported that the famed singer was found dead by her bodyguard in her room at the Beverly Hilton Hotel. Houston's passing came as a complete shock to the world, and comes on the heels of the deaths of African-American music icons Etta James and Don Cornelius. Houston sold over 170 million albums and singles over the span of her career, and touched the lives of countless fans around the world. With her passing on the eve of the Grammy Awards, it was expected that the show would be altered in order to honor the fallen legend.
The 54th Annual Grammy Awards took place on Sunday, February 12 at the Staples Center in Los Angeles, California. The awards were hosted by LL Cool J, marking the show's first official host in seven years. The show featured performances from the likes of Bruce Springsteen, Nicki Minaj, Rihanna, Coldplay, Alicia Keys, Chris Brown, and Jennifer Hudson. The biggest winners of the night included Adele (6)., Foo Fighters (5), and Kanye West (4). Tributes were given for fallen icons Whitney Houston and Etta James, both of whom had passed away within the last month.
First pictures of Jay-Z & Beyonce's daughter Blue Ivy hit the internet
Bonnaroo Festival releases its lineup for 2012
Nicki Minaj, Mary J. Blige set to perform for NBA All-Star Game
Cee-Lo announces the return of Goodie Mob; new solo effort
Common ends lyrical feud with Drake
V-Day releases from Raheem DeVaughn, Usher, Damian Marley, Yelawolf, etc.
Nicki Minaj releases new single "Starships" from her forthcoming album
Former White Stripes front man Jack White drops video for his solo album's lead single
Chris Brown releases self-directed video for new lead single "Turn The Music Up"
Childish Gambino gives CAMP's second single, "Heartbeat", the visual treatment
Posted in The Rap Ups.	Tagged 2012, Adele, Alicia, Alicia Keys, alternative, Beyonce, Blige, Blue Ivy, blues, Bonnaroo, Bonnaroo Faestival, Brown, bruce, bruce springsteen, CAMP, cee-lo, cee-lo green, Childish, Childish Gambino, Chris, Chris Brown, Coldplay, Common, Cornelius, Damian, Damian Marley, DeVaughn, Don, Don Cornelius, Drake, etta, etta james, festival, Fighters, Foo, Foo Fighters, Gambino, Goodie Mob, grammy, Grammy Awards, grammys, Heartbeat, hip, hop, Houston, Hudson, J, Jack, james, Jay-Z, jazz, Jennifer, Jennifer Hudson, Kanye, Kanye West, Keys, LL Cool J, Marley, Mary, Mary J. Blige, minaj, music, National Basketball Association, NBA, NBA All-Star Game, nicki, nicki minaj, R&B, Raheem, Raheem DeVaughn, Rap, rhythm, rihanna, rock, soul, springsteen, Starships, Stripes, The, The Rap Up, up, Usher, West, White, White Stripes, Whitney, Whitney Houston, Yelawolf
Album Review: Childish Gambino – "CAMP"
December 21, 2011 by thelisteningmagazine
Donald Glover is a multitalented individual, to say the least. The 28 year old Stone Mountain native is widely known for playing the role of Troy Barnes on the acclaimed NBC sitcom Community. He is also an award-winning writer, writing for programs such as The Daily Show and sitcom 30 Rock. While Glover's skill set is undoubtedly versatile, Childish Gambino is "just a rapper", whose debut album CAMP has just been released to the public.
Camp is a tremendous studio album debut for the up-and-coming Gambino. Since the release of the acclaimed Childish Gambino EP, fans have been clamoring for more from the emcee who gave them songs like "Be Alone", "Freaks and Geeks", and "Not Going Back". Those who enjoyed the EP should be excited to know that Gambino uses Camp to pick up where he left off with the release of his previous project.
Camp is a very personal and revealing project for Childish Gambino, which should not come as a surprise to his fans. The majority of his music is heavily introspective and thought provoking, and is focused around numerous themes including race, social classes and stigmata, family life, relationships, individuality, and perseverance. These topics are touched on from the outset of the album and remain present until the end of it. For instance, Camp begins with "Outside", a track which sees Gambino revisiting his past in order to provide a back story of sorts for the listener. The song details stories of Gambino's upbringing, touching on several of the aforementioned themes of the album in the process. With lines like "I just want[ed] to fit in, but nobody was helping me out/they're talking 'hood s–t and I ain't know what that was about", Gambino is able to express how he was a social pariah growing up. Similarly on "Hold You Down", Gambino speaks on the exclusionary tactics of racism, as well as ostracism within his own race. Stating that "N—-s got me feeling I ain't black enough to go to church/culture shock in barber shops because I ain't 'hood enough", he shows that his outcast identity has followed him from childhood into his adult life and spreads further than he previously thought. Tracks like "All the Shine" see Gambino turning the lens on himself, offering pieces of self-criticism concerning his identity and authenticity in life and in music. These various storylines are woven together throughout the album and create content that listeners can identify with. The ability to craft relatable material for listeners is one of the strengths showcased on Camp, and will ultimately play a huge part in Gambino's success as an artist.
Another one of Camp's great feats is the cohesive sound of the album. While the instrumentation and subject matter varies from song to song, Gambino establishes an overall feel and makes the album more enjoyable as a whole. This is mainly due to the fact that the album was produced entirely by Gambino and . The duo's sound is often compared to that of contemporary acts like Kanye West. While this is a reasonable conclusion, Camp's compositions have other influences incorporated into those pre-existing sounds, which include indie rock ("Sunrise"), symphony orchestra ("All the Shine"), house ("Heartbeat"), and even gospel music ("Outside"). Also, Gambino's rhyme patterns, levels of inflection, and styles of delivery are constantly changing, which increases the replay value of the album as a whole.
In summary, Camp is a great debut for Childish Gambino. While the album has its missteps, the highs do more than enough to balance out the lows. He is a strong lyricist who is able to incorporate witty wordplay into his storytelling, which is shown often throughout the album. Along with Göransson, he has established a distinct sound which is rich and enjoyable. The content of the album is relatable, introspective, heartfelt, and thought provoking, which should have a strong appeal to listeners. Childish Gambino is the definition of hip hop, choosing to find his own identity and express himself in his own manner. "What's the point of rap if you can't be yourself?"
Highs: "Outside", "Bonfire", "Backpackers", "That Power"
Lows: "Heartbeat", "L.E.S."
Posted in The Reviews, Uncategorized.	Tagged album, album review, CAMP, Childish, Childish Gambino, Donald, Donald Glover, Gambino, Göransson, Glassnote Records, Glover, Hip Hop, Ludwig, Ludwig Göransson, Rap, review
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redpajama_set_name: RedPajamaCommonCrawl


If you're like me, you love this time of the year. Then again, there are these holiday moments when you're desperate to make the world stop for a minute or a day or a few days.
Like when you think you're mostly done with shopping and you remember that you need to get ONE more gift.
Take one thing off your plate today. Or add something that pampers you.
You can take more tasks off your list, one is the minimum.
* Wait until after Christmas to send your cards.
* Wait until Valentine's Day to send out cards.
* Take one item off your holiday menu or baking list.
* Turn down one party invitation.
* Lower your standards of gift-wrap excellence.
* Play hooky from work a day, or even a half day. A lot of you have accumulated sick days. What about your mental health?
* Hire a cleaning service for your home. Even if it's for after Christmas, you'll have something special to look forward to.
* Take a two-hour lunch.
* Schedule a massage. You can do this during your two-hour lunch.
* Get your nails done. Or maybe have your make-up done at Ulta.
* Take a deep breath and take a look around you. Give thanks for all your blessings.
The holiday season is for us to enjoy each other. What would it take to bring your joy back up to the surface?


Monitoring St. 04 - ROMAGNA OBSERVATORY From Sogliano al Rubicone(FC), N Italy.
Induction coil, 4005527661 event marked with white arrow. Schumann Resonances on left part, and local noise below 2 Hz. No RF signals correlated with earthquake event.
Induction coil, daily multistrip, 4005527661 event marked with white arrow. First Schumann Resonance marked on left part, daily local noise evidenced in white ovals. No RF signals correlated with earthquake event.
Induction coil, 4005527661 event marked with white arrow. Schumann Resonances marked on left part, local storm with wind shakes the coil causing microphonic effect. No RF signals correlated with earthquake event.
Induction coil, hourly multistrip, 4005527661 event marked with white arrow. Schumann Resonances on left part, mirophonic effect caused by wind. No RF signals correlated with earthquake event.
Induction coil, daily multistrips, 4005527661 event marked with white arrow. First Schumann Resonance markedon left part. No RF signals correlated with earthquake event.
Boltek static field sensor, plot of electric field, 4005527661 event marked with orange line. No RF anomalies correlated with earthquake event.
Monitoring St. 04 - ROMAGNA OBSERVATORY From Sogliano al Rubicone (FC), N Italy.
Induction coil, comparison between Sogliano and Medicina stations, elaborated with sonic visualizer, 4 hours from 12:00 to 16:00 UTC. 4005527661 event marked with red line. Schumann Resonances on left part. No RF signals correlated with earthquake event.
Induction coil, comparison between Sogliano and Medicina stations, elaborated with sonic visualizer, 20 minutes detail around 4005527661 event, earthquake time marked with red line. Schumann Resonances on left part. No RF signals correlated with earthquake event.


text:
Elixir progressing towards important resource assessment
It was just a week ago that Elixir Energy Limited (ASX:EXR) announced the spud of its Ugtaal-1 well, part of the group's 2019 drilling program at its 100% owned Nomgon IX coalbed methane (CBM) production sharing contract (PSC) in Mongolia.
Since then, the company's shares have rallied some 15%, buoyed by the potential outcome of the drilling campaign which is aimed primarily at drilling two fully tested core holes (with an option for a third), the results of which will feed into a contingent resource assessment in 2020.
The hole is now more than halfway towards its targeted depth, and establishment of a contingent resource assessment would be crucial for Elixir given that companies' share prices often realign according to the implied value of the resource assessment.
The core-holes are targeting Elixir's developed CSG leads, which were defined by surface outcrop, gravity and 2D seismic mapping.
Gas observable to the naked eye
Ugtaal-1 has reached a depth of 324 metres, and to date the on-site well geologists have noted net coal thicknesses of 20.6 metres.
Logging will confirm a final coal thickness number once the well has reached its target depth of 600 metres.
Similar to the recently drilled BO-CH-1 well, the presence of gas in the system is observable to the naked eye, prompting management to mobilise specialists from Australia to undertake the permeability testing once the well reaches its target depth.
Management said that coal cores have been placed into canisters and that the desorption process has commenced in the on-site laboratory with numbers likely to become available in approximately 60 days.
Commenting on these developments, managing director Neil Young said, "We are pleased to report that the Ugtaal-1 core-hole is meeting its objectives of encountering thick coal seams which have provided initial samples from which we will be able to accurately measure gas content and composition."
Elixir also said that analysis had commenced on encouraging findings from the BO-CH-1 chip-hole, which demonstrated gas in the system, coal seams of a thickness which are productive in Australia and natural fracturing which may support good permeability.
Also, the BO-CH-2 chip-hole reached 574 metres as at Sunday morning, and from a geological perspective management noted that it is still in the Triassic section.
ASX SMALL CAPS EXPLORATION GAS OIL
Elixir Energy (ASX:EXR)
Latest articles on Elixir Energy


text:
Q: How to auto-hide ApplicatioWindow menuBar? I'd like to have an ApplicationWindow have an auto-hiding menuBar, which shows up when mouse cursor is positioned on the uppermost part of the window. Is this possible in QML?
PS: I'm using Qt 5.3.
Thanks in advance.

A: You can exploit internal properties, i.e. properties starting with "__". Since they are internal, functionality could break in future releases even if IMO it is unlikely in this case.
By using internal properties you can exploit __contentItem, the graphical container of the MenuBar and animate its properties to achieve the desired result. Here is a possible approach; it works with Qt 5.3/ Qt 5.4/ Qt 5.5 (the ones I could test it on):
ApplicationWindow {
    id: app
    visible: true
    width: 400
    height: 300

    property real hideValue: 0
    Behavior on hideValue {
        NumberAnimation {duration: 200}
    }

    menuBar:  MenuBar {
        id: menu
        //__contentItem.scale: value                        // (1)
        //__contentItem.opacity: hideValue                  // (2)
        __contentItem.transform: Scale {yScale: hideValue}  // (3)

        Menu {
            id: m1
            title: "File"
            MenuItem { text: "Open..."
                onTriggered: {
                   hideValue = 0                            // hide the bar
                }
            }
            MenuItem { text: "Close"
                onTriggered: {
                   hideValue = 0                            // hide the bar
                }
            }
        }
    }

    Button{
        id: b1
        anchors.centerIn: parent
        text: "CLICK ME!"
        width: 100
        height: 100
    }

    MouseArea {
        id: ma1
        anchors.top: parent.top
        anchors.left: parent.left
        anchors.right: parent.right
        height: menu.__contentItem.implicitHeight
        hoverEnabled: true

        onEntered: {
            hideValue = 1                            // show the bar
        }
    }

    MouseArea {
        id: ma2
        anchors.fill: parent
        hoverEnabled: true
        z: -1

        onEntered: {
            m1.__dismissMenu()
            hideValue = 0                            // hide the bar
        }
    }
}

Summarizing the code:

*

*Two MouseArea are defined: ma1 which covers the MenuBar and ma2 which fills the ApplicationWindow. The latter has a z negative to be positioned under any other element of the window, inclusing ma1: this way it cannot interfere with events related to any element added (such as the example button b1).

*ma1 sets a property called hideValue to 1 whereas ma2 brings it back to 0. The property is used over a visual property of __contentItem (see (1), (2) and (3) in the code) to hide/show the MenuBar. A simple Behaviour over the hideValue property ensures that the transition is smooth.

*Internal function __dismissMenu() is used to ensure that an opened Menu is closed when the MenuBar loses focus.

*When a MenuItem is triggered the hideValue property is directly reset to ensure correct hiding.

A: I managed to get some results with this code:
ApplicationWindow {
    id: app

    MenuBar {
        id: menu
        Menu {
            title: "Menu 1"
            MenuItem {
                text: "item 1"
            }
            MenuItem {
                action: "item 2"
            }
        }
    }

    MouseArea {
        anchors.top: parent.top
        anchors.left: parent.left
        anchors.right: parent.right
        height: 20
        hoverEnabled: true

        onEntered: {
            if (app.menuBar === menu)
                app.menuBar = null;
            else
                app.menuBar = menu;
        }
    }
}

The change however is abruptly and QML debugging report errors when trying to access null.__contentItem when the bar is hidden. And, of course, there's an absolute size in the code which could cause problems.

redpajama_set_name: RedPajamaStackExchange


text:
Hotel Quality Inn Long Island City New York
Hotels > United States > New York
Quality Inn Long Island City New York
Quality Inn Long Island City
New York Hotels , United States
30-03 40th Avenue, New York United States
The newly opened Quality Inn hotel is ideally located near the Queensboro Bridge, with access to all nearby destinations. The New York City Subway and the New York City Transit bus line are within walking distance of the hotel. The Queensboro Plaza subway station is one block away, placing Times Square and Midtown Manhattan just 10 minutes from the hotel. This hotel is close to many New York City attractions, including popular Central Park, the famous Empire State Building, Madison Square Garden, Shea Stadium, and Arthur Ashe Stadium. The hotel is only four miles from the LaGuardia Airport and 12 miles from the John F. Kennedy International Airport. The hotel amenities and features at this Long Island City hotel include free continental breakfast and coffee, wifi high-speed Internet access in all rooms, and local calls. It also offers business center with Internet access and 32-inch plasma TVs in all room. All guest rooms have coffee makers, curved shower rods, desks, hairdryers, and irons and ironing boards. The guest would have to ask about rooms with whirlpool bathtubs. Handicap accessible and non-smoking rooms are also available.
Hotel Facilities:
Elevator / Lift
Safe-Deposit Box
ATM / Cash Machine
Coffee / Tea Maker
Hotel Price:
From 67.99 USD per night
Reviews of Quality Inn Long Island City
33 hotel reviews
Traveler Opinions: 4.2/5.0 stars
"We spend two weeks in New York and found out about the Quality Inn Long Island City from people we met during our holiday. After spending our first two days in a pretty basic hotel we decide to upgrade our stay and move into the Quality Inn Long Island City. The room was beautiful with a stunning city view, a large bath room and other facilities. I would definitely book here again!"
"Nice hotel in a characteristic part of New York and close to the shops, bars and restaurants. Clean rooms, friendly reception staff which provided us with a lot of great city tips and other handy information!"
"Nice hotel with great designed rooms and a beautiful city view. An easy walk to all the attractions of New York and not too far from all the shops and restaurants either."
"Very positive atmosphere at the Quality Inn Long Island City, friendly staff, clean spaces and good service, great choice."
"I loved the Quality Inn Long Island City for its central position. From the hotel it was a short walk to all the main attraction which was great and made everything really easy for us!"
"The Quality Inn Long Island City is great if you're looking for a hotel in New York with a great location. You can easily walk to all the attractions and the friendly staff will provide you with a city map and extra info. Great stay!"
"We visited New York in august and had booked our two weeks holiday at the Quality Inn Long Island City through a deal we found on the internet. The rooms were really nice and comfortable. The location was also pretty good and we could easily walk to the main attractions in New York without having to use our tourist guide."
"A very relaxing stay in New York. Beautiful room, great location and all kinds of facilities."
"The Quality Inn Long Island City made our trip to New York even better and I was happy the travel agent found us a good deal with this hotel. The staff was great and so attentive, thumbs up!!"
"New York has a lot of nice hotels and I think the Quality Inn Long Island City was one of the many good choices. The room was spacious, clean and had its own kitchenette which was really handy if we wanted to cook something ourselves. I would recommend the Quality Inn Long Island City to anybody."
"The view from our room was amazing! I loved staying at the Quality Inn Long Island City and didn't want to leave. A great holiday, a great hotel."
"I loved staying at the Quality Inn Long Island City and didn't want to leave! Of course we came to visit the New York but the comforts of the hotel made me just want to stay inside. Some of the staff members were really friendly and we got to meet a lot of nice people. Great find!"
"We booked our weekend getaway to New York pretty last minute and found a deal on the internet that was perfect for us. In total we stayed three days in the Quality Inn Long Island City and would definitely book again!"
"We stayed in New York for 7 days and decided to book ahead at the Quality Inn Long Island City because of the high season period. In the end I was happy we did as the hotel was fully booked upon arrival! We had a pleasent stay and I would definitely book again the next time we visit New York."
"Our stay at the Quality Inn Long Island City was good. The staff at the hotel reception was really helpful."
"During our stay in New York we stayed at the Quality Inn Long Island City for two weeks. The hotel room had a great view and a lot of information available at the reception desk."
"Staying at the Quality Inn Long Island City was good. We got a cheap package deal so we were really surprised by the great standard of the room. Room with television, private bathroom and daily cleaning service."
"We went to New York to celebrate our anniversary and decided to book a superior room at the Quality Inn Long Island City. The room was well decorated in bright colours and had all the comforts a hotel could offer. Beautiful bath room with a large bath tub and a big bed with a lot of fluffy pillows. I didn't want to leave!"
"As soon as I walked in the Quality Inn Long Island City I felt this place was the right one! Our holiday in New York was great and our stay at the Quality Inn Long Island City couldn't be better."
"We heard of the Quality Inn Long Island City from some friends ho visited New York before and they were really positive about their stay. We decided to try it out and sure didn't regret our booking! Beautiful hotel and right in the centre of New York!"
"Good location, not too far from the centre and ok stay. Hotel staff was friendly and helpful."
"I went to New York on a business trip so my accomodation was already arranged. I stayed at the Quality Inn Long Island City which was a good hotel. My room had a nice view and all the comforts I needed."
"Me and my partner stayed at the Quality Inn Long Island City for three days during a long weekend getaway to New York. We had booked one of the bigger rooms with a great city view and a more spacious bath room. The rooms was perfect for us, clean, cosy and with a personal touch which I loved. The bed was comfortable and the included breakfast was also really good."
"The Quality Inn Long Island City was good, everything I needed for my two days in New York. The rooms were clean and the staff was friendly."
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Home/Cup Series/Did You Notice?: Darrell Wallace Jr. Fights For NASCAR Career
(Photo: Brett Moist/NKP)
Did You Notice?: Darrell Wallace Jr. Fights For NASCAR Career
Tom Bowles June 7, 2017 Cup Series, Did You Notice?, Featured Content, Tom Bowles 6 Comments
Did You Notice? … Darrell Wallace Jr. is embarking on an audition for his NASCAR career? To me, the most telling moments of his Tuesday press conference were when Wallace was asked about the future, after Aric Almirola returns to the No. 43 Richard Petty Motorsports Ford.
"Honestly I can't really touch on that," he said. "I don't know what's going to happen."
Neither does anyone else. What we do know is Wallace has a six-to-ten week window as the sport's first full-time African-American Cup driver since Bill Lester in 2006. In the interim, his full-time XFINITY ride has been shut down at Roush Fenway Racing after two-plus seasons. That means the number of full-time, competitive opportunities for a driver the sport desperately wants to succeed could simply run out.
Wallace's audition in XFINITY never lived up to expectations. RFR did everything within their power to get him sponsorship, even teaming up with LeBron James' people at one point. But a full-time backer never came, along with a trip to Victory Lane. Wallace hasn't even earned a top-five finish this season and has just six in 83 career XFINITY starts after multiple wins in the Truck Series.
"There's not a day that goes by where I don't think about that," Wallace said. "Trucks, that was two, three years ago. Times have changed.
"I guess I'm beating myself up over it right now. It's not for lack of effort. All the stars have got to be lined up. We had opportunities… just weren't able to capitalize on it."
So now, NASCAR and Ford are looking to capitalize on an opening at the No. 43. They saw the writing on the wall with RFR running out of funding for Wallace's No. 6 car after Pocono. RPM needs a driver for the next two months, and while Regan Smith is capable he's not exactly a trailblazer for a sport with double-digit ratings and attendance declines.
Enter RPM's Andrew Murstein, one of the sport's more progressive car owners who has always wanted to make a big splash in this sport. Add in the legend of Richard Petty, pairing with a guy like Wallace and a few good runs here could lead to a future under the RPM umbrella. All involved would desperately like to see that happen; Wallace will be given every opportunity here to succeed.
If not? The consequences for the sport could be devastating. It's not like there's a long pipeline of African-American drivers looking to break down the door in the sport's top three series. As we saw a few weeks ago, with the closure of the Truck Series team at Red Horse Racing, the number of open rides to even move up the ladder are few and far between. If there's going to be a Tiger Woods entering the NASCAR Cup arena within the next five years, maybe ten Wallace is it.
Darrell Wallace Jr. got his big break with Ford just days before his Roush Fenway Racing XFINITY team was scheduled to be shut down due to lack of funding. (Photo: Nigel Kinrade/NKP)
To the young driver's credit, he's a great personality that is able to handle the pressure of such a breakthrough. Wallace claimed the perception the sport is not open to people of all ethnicities has been "shut down a long time ago." The 23-year-old is a darling on social media and has been trumpeted by the sport's most successful African-American family, the Scotts.
But some would argue NASCAR still fights a perception problem that it's open to all. The Mauricia Grant lawsuit accusing the sport of racism within its officials is less than a decade old. The sport's car owners and major power players, with a few exceptions are a bunch of old white men. Let's not forget even last year, CEO Brian France was openly political by pledging his support for Donald Trump in a polarizing national election. Stock car racing could do a better job of producing a clearer message it's open to everyone.
Can Wallace help bridge that gap? It'll all come down to performance. Keep in mind Jimmie Johnson never lit the XFINITY world on fire, winning just once in the then-Busch Series while collecting just four top-five finishes in 72 starts – two less than Wallace. The No. 43 car isn't exactly like the No. 48 and Hendrick Motorsports but they're capable of a top-10 finish, perhaps even a top five under the right circumstances.
"There's no need for me to force a hole, end up tearing up a racecar," Wallace said, crediting Jeff Burton for reminding him to race within the equipment given. "I'm getting this opportunity because people believe in me and [have] seen my talents coming up. I have to go out there, just back that up, show them I can manage and I belong in the series."
Sponsorship more than any other factor will determine whether Wallace belongs here long-term. But it's clear this audition is likely the final one to get any companies out there in position to support him.
There's a whole lot of people out there hoping he succeeds.
WOLKIN: How Can Wallace Help Drive For Diversity?
Did You Notice? … Quick hits before taking off….
Fool me once, shame on you. Fool me twice, shame on me. With the second fence climb in three years, NASCAR has to find a way for stepped-up security at racetracks so it doesn't happen again. What became a national curiosity would have been a national tragedy of epic proportions if that guy fell from the fence onto the racetrack and into oncoming traffic. Also, the sport faces legitimate questions of communication. Why wasn't the tower alerted in time to put the race under caution? (The only legitimate reason why you don't throw the yellow flag there.) Communication here was so bad, Dover track officials in the media center were also unaware and skeptical of the situation until video started popping up on Twitter. They shouldn't have been caught off guard like that and we can't have this situation happen a third time. NASCAR is playing with fire.
Jimmie Johnson and the NASCAR Overtime line. I already wrote earlier this week that I think some fans' bias of Johnson is coming to the surface over a controversial finish at Dover that really wasn't so controversial. That said… all races are better when they can finish under green. I think the OT line is a great way to try and bring clarity and it's important to keep drivers safe. But I'm beginning to wonder if part of the beauty of NASCAR used to be finishing every race under green, no matter the circumstances. Can we find a compromise to do that, especially with a traveling safety crew and justify the additional risk added in?
I'll do a midseason report next week but Martin Truex Jr., Kyle Larson, and Johnson at Dover felt like a playoff preview. With Team Penske crashing to earth in recent weeks, that trio stands out above the rest. No one is even within 100 points of Truex and Larson in the standings while Johnson's three wins lead the series.
Speaking of Penske, Joey Logano isn't guaranteed a playoff spot after the encumbered Richmond victory and he's fallen like a rock. With three wrecks in four races, he's now 15th on the grid, 61 points ahead of Trevor Bayne and needs to be careful. Did NASCAR find a gray area violation that has sent this two-car organization back in terms of speed?
Tags Bubba Wallace Jimmie Johnson Kyle Larson Martin Truex Jr.
About Tom Bowles
The author of Bowles-Eye View (Mondays) and Did You Notice? (Wednesdays) Tom spends his time overseeing Frontstretch's 30 staff members as its majority owner. Based in Philadelphia, Bowles is a two-time Emmy winner in NASCAR television and has worked in racing production with FOX, TNT, and ESPN while appearing on-air for SIRIUS XM Radio and FOX Sports 1's former show, the Crowd Goes Wild.
@NASCARBowles
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Maybe they should electrify the catch fence.
As for Bubba Wallace I wish him the best but, as I say every time this issue of minorities in NASCAR comes up, all it takes is money. Why aren't the rich minority owned business owners stepping up and sponsoring a car with the stipulation that it be piloted by a minority driver? Many have speculated that is why Suarez got the number 19 ride (Arris is owned by a Mexican businessman, so I've heard). And, as we have seen with Danica and Menard, NASCAR is the only major sport where money can buy a spot in the field. It's not rocket science. If you care enough about being represented in NASCAR just pony up a pile of cash.
upstate24fan
I don't think Bubba's problem in Xfinity has been his talent. It's been a lack of speed in Roush's cars. Bubba was lighting the world on fire in KBM's trucks, but got the short straw in the Toyota food chain. I really hope he succeeds in the RPM ride. NASCAR needs a full-time Cup Driver nicknamed "Bubba".
Bubba says he's getting the opportunity because people believe in him and like his success in xfinity. Sorry Bubba, your getting the ride because of your color,, plain and simple.
Phil H
Wasn't aware that if you openly supported Donald Trump, you were somehow not seeing things right for motorsports. Really?!
Does anyone believe there isn't a more deserving driver available for the ride?
Darrell's efforts to make himself better all these years in the lower series seems non existent. His social media is of he and his boyfriend Blaney acting like idiots without sponsor responsibility to think about, and not much else.
Dedication to the craft goes along way in a fans eye seeing what they are trying to do to better themselves. Blaney MAYBE coming around, MAYBE seeing the wonderful gift that he has been given and needs to hustle is ASS OFF FOR. Darrell, not convinced at all, this "gift" is not an earned gift and imo will be squandered!


text:
Mentors: Stanley Cavell
By Sianne Ngai
I WAS A GRAD STUDENT in English at Harvard in the mid-90s, but physically there for just three years, anxious to move to Brooklyn for a relationship as soon as I became ABD. In that brief but intense period of time, I tried to take as many courses offered by Stanley Cavell as possible. In my last year, I asked him to be a member of my dissertation committee. Looking back I'm still flooded with gratitude (and astonishment) by the fact that he said yes.
At the time I couldn't have said why I felt so attuned to Cavell's writing. I just knew, after reading his essay on moods in Emerson and Nietzsche ("Aversive Thinking") and then his books on Thoreau and remarriage comedy (The Senses of Walden, Pursuits of Happiness), that I wanted to read more, and to think and talk with him as much as possible about the things he thought were interesting. All the more so when I realized that, in person, Stanley Cavell was exactly like the voice his writing projected. That voice, no matter what it happened to be speaking about — Shakespeare and the avoidance of love, Jacques Derrida and J. L. Austin, the Hollywood women's film of the 1930s and 40s — was unfailingly generous and infectiously interesting. It was a meta-philosophical voice, preoccupied less with the wrongness of skepticism (that is, with skepticism understood as intellectual error, thereby capable of intellectual correction) than with its status as a basic condition of human life and also as a kind of madness, a denial of our shared reality with other minds. Cavell's voice was a kind of therapy against that madness. It was also an utterly and profoundly non-snobby voice: the voice of a philosopher concerned with philosophy's aversion to the ordinary, and with the nondiscursive aspects of ordinary language — its affect and force, its ontology as action — that seemed to interest so few other philosophers of language at the time. It was, finally and significantly, the voice of someone deeply interested in how gender inflects both of these problems.
I took four courses in a row with Cavell, all in the philosophy department: two graduate seminars on Lacan, an undergraduate lecture called "Aesthetics: Opera and Film," and a graduate seminar on King Lear. I loved these courses, even when I wasn't sure I understood what they were truly about. (It's called "Opera and Film," but what's it about really? I kept asking myself.) This was mostly due to my ignorance; I was still playing catch-up, in part by reading as much of Cavell's work as possible. But I think it was also due to the genuinely open and experimental nature of the courses Cavell taught. He was trying to work out certain questions in them, with us. This felt really thrilling.
"Opera and Film" was one of my favorites. The syllabus, as was always the case in Cavell's courses, was not so much eclectic as complex. We listened to and/or watched Carmen, Don Giovanni, Tannhäuser, The Lady Eve, Now Voyager, Moonstruck, Smiles of a Summer Night. We read J. L. Austin's How to Do Things With Words with Shoshana Felman's The Scandal of the Speaking Body: Don Juan with J. L. Austin, or Seduction in Two Languages, Catherine Clément and Susan McClary on women in opera, Baudelaire on Wagner, and selections from Cavell's own The World Viewed and A Pitch of Philosophy. Sometimes, delightfully, he would pause during a lecture, walk to the piano on stage, and play a passage or two from the score discussed in the reading. And as the semester progressed it became clear that what the course was "really about" was the peculiar ontology of what Cavell (adapting J.L. Austin) called passionate utterances: how they demand a response in kind, how words can be "owed," or thought of as a form of indebtedness to others. All of this was linked to the question of whether the split between words and music in opera was gendered, and to what became of the female voice in Hollywood melodrama.
Similarly, the grad seminar on King Lear was really about what Cavell called problematic praise, which was, in turn, another way to think about the complexities of aesthetic judgment and criticism. In addition to Shakespeare's tragedy, which foregrounds the consequences of false praise and ingratitude, we read Heidegger on thinking and thanking (What is Called Thinking?) and Henry James's remarkable story about mass-cultural author worship ("The Birthplace"). One day Cavell showed us a scene from The Band Wagon (1953) in which Fred Astaire, as Cavell read it, tries to find a way to express his indebtedness to African-American dance. Cavell noted the way in which Astaire, a song and dance man, is shown, strangely, in ¾ shot (cut off at the thighs) for the beginning of the film. It's not until after a routine in a penny arcade, in which Astaire does an extended duet with a black male dancer, that, as Cavell put it, pointing to his image on the screen, Astaire manages to "find his legs." Cavell read this performance as an act of praise, or as an expression of aesthetic indebtedness and gratitude; thinking also, as Cavell often did, about issues of race and appropriation, I wondered if it wasn't also readable as a kind of reparation or apology (which we often refer to as something "owed"). Both praise and apology belong to the class of what Austin called "perlocutionary" utterances, in which, as Cavell notes, the felicity of the action is dependent less on the "I" than the "you." In other words, if you do not accept my compliment or apology, then I haven't successfully complimented you or apologized.
Cavell's Lacan courses were more straightforward, organized around the French psychoanalyst's own famous seminars. The first, "Freud After Lacan," was on Book III: The Psychoses (Freud's reading of Daniel Schreber). The second, whose name I can't remember, was devoted to Book VII: The Ethics of Psychoanalysis (Kant, Sade, Antigone).
I was the only first-year English grad student in "Freud After Lacan." This made taking the course feel a bit lonely (so much of grad school is about learning alongside the people in your cohort) and that much more intimidating. It was Lacan, after all, and I didn't have a buddy to confide in, to talk with about my confusions. I was too much in awe of the philosophy Ph.D. students in the class, especially the many advanced ones in their fourth and fifth years, to make friends with them. Above all there was the difficulty of Lacan himself: those daunting quasi-mathematical algorithms, that sublime, inaccessible Real. But offsetting all of this was the fascinating question: What was it about Lacan (and Lacan's interpretation of Freud, in particular) that Cavell felt he had to grapple with philosophically? The fact that it was Stanley Cavell — someone who constantly wrote about language and gender, but who nonetheless was not on the chart of poststructuralists I'd been supplied with as an undergrad (a chart that included Lacan but not Cavell) — suddenly made Lacan all the more interesting.
In the classroom, Cavell was intense and serious, though often smiling. He had an amazing flash of a smile. While his syllabi were intricately structured, his pedagogy was open to the point that if he were struck by an issue in a text mentioned in someone's presentation, he would immediately revise the syllabus to assign that text in order to bring everyone else into the conversation. His way of thinking was explorative as opposed to combative, which is not to say that he never took issue with other thinkers. And though he was generous with his students, he didn't pretend to like everything they said. I once mentioned Theodor Adorno during a seminar, and Cavell, irritated but also showing a sense of humor about that irritation, said that Adorno always felt like a "flea in his ear."
In seminar I always tried to snag the seat right next to Stanley, on his left. (Mostly so I could hear him clearly; at the time I had a note-taking obsession, which involved transcribing every single word the professor said.) There was always a ring of auditors sitting around those of us at the table, and often these auditors were visiting from other countries. There were also professors and graduate students from various departments at BU and MIT. Once the philosopher Hilary Putnam was there; another time it was Stanley's wife. Cavell would talk first, in a directed but relaxed way, and student presentations on the reading followed. People worked really hard on the presentations, and they were almost always good. Somewhere in a file cabinet I still have all of their handouts about Freud and Lacan, including ones by Nancy Bauer (author of Simone de Beauvoir, Philosophy, and Feminism) and William Bracken (now in the philosophy department at UC Riverside).
I was inchoate and jelly-like in graduate school (kind of like a slime mold), but Cavell was kind to me anyway. He seemed to take me seriously. He gave me a lot of his time. Once, after having lunch together, he said to me, "You're very dutiful." The gentlest of criticisms. Of course, I — dutifully — tried to be less so.
We have stayed in touch, albeit loosely and intermittently, over the last 17 years. Here's the last email I sent him:
Dear Stanley,
Just a note to say hello and also how much I wish I could be at the conference on your work this October! (I committed myself to something else in Montreal on the same date, otherwise I **would** be there).
I actually had a dream last night in which I ran into you at a dog park. (Do you have a dog?) The dogs were happily playing somewhere off on the field, and you asked, Did you put your name on the list to get my family newsletter? I hadn't. First thing I did when I woke up was to refind your email address on the internet, and that's when I found out about the conference. Which kind of **is** a family.
Best wishes to you,
Sianne
Stanley wrote back and said he did indeed have a dog, Kaya, who always stays by his side during his days of writing. He said he didn't have a family newsletter, but he did have an autobiography he was expecting to appear soon; if I sent him my address he'd send me a copy.
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Oil on 6"x6" panel. It's my birthday today, always a time for reflection, and for giving thanks for the love in my life, I feel that love and will protect it always...with sweetness.
Happy Birthday!!!!!!!!!!!!! I'm sorry this is late, but first...I didn't know...and second...we've been a might busy moving into our new home.
I hope you had a spectacular celebration and spent your day doing exactly what you wanted to do. If you said you spent it painting, I wouldn't be the least bit surprised. That is always my perfect day.
Anyway, congratulations and enjoy the weekend.
Thank you so much for the good wishes! Best of luck in your new home - "Happy Painting!"


We're excited about "The Last Star," which comes out next Tuesday, so in commemoration of the third and final "5th Wave" installment, we're catching up on an old feature to highlight what makes that trilogy's main character such a compelling heroine. Welcome to our new contributor Claire for her very first post!
Who Is She? Cassie Sullivan is the 16-year-old main character in Rick Yancey's "The 5th Wave" series. She is the "every girl" that we (the reader) experience the waves of a global alien invasion through. She's close with her family (even if they are slightly off-beat having named her after a constellation), and she has a crush on the resident popular boy, Ben Parrish. Her biggest worries are boys, dates, and school. Then the waves of the alien invasion start, and this is where we see how awesome Cassie really is. She finds an inner strength after being separated from her little brother Sammy. Cassie becomes this badass warrior woman who decides that she is willing to do whatever it takes to find her brother.
Why Is She Awesome? Cassie decides that she will not take the invasion, the loss of her family, and the kidnapping of her brother lying down. Cassie literally takes up arms and goes on a quest to rescue Sammy. What makes Cassie an amazing heroine is that is she is unbelievably relatable. She is who most of us would hope to be in her circumstances — who I would want to be. She is scared but pushes forward. She challenges herself to continue to put one foot in front of the other, trusting and hoping that those steps will lead her to Sammy. Cassie is alone, and at 16 is responsible for a 6-year-old brother who believes her to be invincible. He knows Cassie will come for him. She doesn't think beyond her mission. She will not stop, and her tenacity is admirable. Even if there are times when Cassie herself doubts she will find Sammy, that she will be successful in rescuing him, she doesn't give up. She recognizes that she will never be the same again. She knows her life is split between "before" and "after," but she continues. She pushes forward. Cassie Sullivan refuses to go quietly into the good night.
Whom Does She Love? She starts off with dreams of Ben Parrish. Ben the perfect quarterback, the dream boy. Ben with whom she's convinced she's shared a connection with through a quick exchange on a bus in middle school. Circumstances change both Cassie and Ben. They are not innocent teens any longer. Through these changes, and the growth of character (at times forced upon her), Cassie develops a real connection with mysterious newcomer Evan Walker. I have to admit, Evan definitely has my vote. Now, it's not like he doesn't come with some pretty heavy baggage, but Evan is trying to do what is right. His main concern, once meeting her is Cassie. And his loyalty seems unwavering even in the face of scorn, and mounting odds against them. Which makes Evan my choice, and oh so swoon-worthy.


text:
How Will It Be If We Have A "Frozen 3"?
Fans around the world are still amazed by how Frozen 1 and 2 gain their success. Not just the animation quality, but also how the story line runs make the fans can't stop praising the movie itself. Frozen has become one of the best cartoon movies that we should see.
This has left fans in question, with so much love Frozen 2 gets, will there be a trilogy for us? And how will it be if there is a "Frozen 3"?
Will there be a "Frozen 3"?
The phenomenal success of Frozen 2 is one of the primary reasons why fans are eagerly anticipating the third sequel. Frozen 2 made USD 477.4 million in the United States and Canada, and USD 972.7 million elsewhere (globally total of USD USD 1.450 billion). As a result, we can safely conclude that Disney (Pirates of the Caribbean) will continue filming the Frozen trilogy.
Until now, Disney still has a lot of work to do before the continuation of this movie to bring the saga to a close. The first and second Frozen films, which were released in 2013 and 2019, featured two royal sisters in the country of Arendelle. Elsa (Idina Menzel), the eldest, was groomed to one day become queen while simultaneously trying her best to keep her increasing ice talents hidden from the rest of the world.
Anna (Kristen Bell), her younger sister, had to grow up alone after her and Elsa's parents died. Frozen portrayed their reconciliation after years apart, as Elsa learnt to embrace her gifts as something to be embraced rather than feared.
Meanwhile, the elemental spirits, who were enraged owing to a historical grudge between the girls' grandpa and the inhabitants of Northuldra, were introduced in the sequel. Elsa had to confront the limits of her talents once more as she attempted to cure an old wound.
At the same time, Anna did everything she could to aid her sister and the people of Northuldra. Elsa abdicated the throne in favor of her sister in order to better accept her new position as the Fifth Spirit — the link between humans and spirits — in the sequel.
Although the official announcement is still not here yet, we can keep hoping that there will be a "Frozen 3" to end the journey of Anna and Elsa.
The plot of Frozen 3 may pick up where Frozen 2 left off. The second sequel concluded with Elsa governing Arendelle and Anna controlling the North. Elsa became the Enchanted Forest's protector, where she discovers a link between her ancestors and the tribe of Northuldra.
Second, Elsa may have more magical power to unravel the mystery of the strange voice, the identity of which is yet unknown. Finally, many think Honeymaren (a Northuldra member) will return as Elsa's girlfriend. Honeymaren is a member of Northuldra, Ryder's sister, who wishes to restore harmony to the enchanted forest.
Disney also still has to explain about the existence and properties of magic (about the Rock Trolls and their magic), Elsa's powers and its origin, Anna that her presence still got shadowed by her sister (well, she is an energetic girl by herself and she need to have a space to grow and show herself too!), and confirm Elsa's relationship status (unless it is just a theory?).
Even though until now Disney hasn't officially announced about the continuation of this movie, but, if Frozen 3 is ever created, perhaps it will be able to spend enough time on these difficulties to make a genuinely compelling conclusion to a fun and popular franchise.
Dianne is a freelancer writer who currently studying in University. Love to listen to music, watch series and into traditional arts too.
Horror Movies To Watch on Netflix This Halloween
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Texas Killing Fields: The Review and The Plot
How old is Spongebob Squarepants?
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Everything You Need To Know About Now and Then


text:
/**
 * @author Yura Cangea
 */
package com.intellij.openapi.fileChooser.impl;

import com.intellij.openapi.fileChooser.ex.FileNodeDescriptor;
import com.intellij.openapi.vfs.VirtualFile;
import com.intellij.ide.util.treeView.NodeDescriptor;

import java.util.Comparator;

public final class FileComparator implements Comparator<NodeDescriptor> {
  private static final FileComparator INSTANCE = new FileComparator();

  private FileComparator() {
    // empty
  }

  public static FileComparator getInstance() {
    return INSTANCE;
  }

  public int compare(NodeDescriptor nodeDescriptor1, NodeDescriptor nodeDescriptor2) {
    int weight1 = getWeight(nodeDescriptor1);
    int weight2 = getWeight(nodeDescriptor2);

    if (weight1 != weight2) {
      return weight1 - weight2;
    }

    return nodeDescriptor1.toString().compareToIgnoreCase(nodeDescriptor2.toString());
  }

   private static int getWeight(NodeDescriptor descriptor) {
     VirtualFile file = ((FileNodeDescriptor)descriptor).getElement().getFile();
     return file == null || file.isDirectory() ? 0 : 1;
   }
}

redpajama_set_name: RedPajamaGithub


text:
Q: Initialize Typeface in a fragment i have this line :
Typeface font = Typeface.createFromAsset(getAssets(), "fonts/Delius-Regular.ttf");

but the getAssets() parameter seems to bring some error, it is underlined with scary red lines, it says

The method getAssets() is undefined for the type ProfileFragment

ProfileFragment is the name of my class and it extends Fragment.
NOTE : The font style is also on the assets folder.

A: You cannot get getAssets() from a fragment directly. You have to use  getActivity().getAssets() instead of using only getAssets().

Use this
Typeface font = Typeface.createFromAsset(getActivity().getAssets(), "fonts/Delius-Regular.ttf");

instead of
Typeface font = Typeface.createFromAsset(getAssets(), "fonts/Delius-Regular.ttf");

Read more about Set custom font for Android fragments


text:
Q: Other uses of the word "politics"? How can the word politic(s) used besides it's general meaning, that is " the activities of governments concerning the political relations between countries".
For example, what does politics mean in the following sentence:

(A man is talking a about a woman in court) She's gonna score some points concerning her husband's sexual
  politics.

In this situation does politics mean "a set of beliefs"?

A: In its most abstract and general sense politics is a reference to the power relations between any two (or more) entities. Given that the relationship of a man and a woman comprise the irreducible, fundamental unit of human social organization the politics of this relationship are primary and significant.
Historical development of the concept, from etymonline.com:

Political (adj.) 1550s, "pertaining to a polity, civil affairs, or government;" from Latin politicus "of citizens or the state" (see politic (adj.)) + -al (1). Meaning "taking sides in party politics" (usually pejorative) is from 1749. Political prisoner first recorded 1860; political science is from 1779 (first attested in Hume). Political animal translates Greek politikon zoon (Aristotle, "Politics," I.ii.9) "an animal intended to live in a city; a social animal."
polis (n.) "ancient Greek city-state," 1894, from Greek polis "city, one's city; the state, citizens," from PIE *pele- "citadel; enclosed space, often on high ground" (cognates: Sanskrit pur, puram "city, citadel," Lithuanian pilis "fortress").


text:
Q: My player keeps respawning until my game crashes i'm making an animation for my player. I am firstly trying to make the player, when died, to make a clone of itself. Well... when I touch a spike or something, the player starts making infinite clones of itself, and the game just crashes. here are 2 codes where the problem could be.

*

*The "Base level" script:

extends Node

signal coin_total_changed

export(PackedScene) var levelCompleteScene

var playerScene = preload("res://scenes/Player.tscn")
var spawnPosition = Vector2.ZERO
var currentPlayerNode = null
var totalCoins = 30
var collectedCoins = 0

func _ready():
    spawnPosition = $PlayerRoot/Player.global_position
    register_player($PlayerRoot/Player)

    coin_total_changed(get_tree().get_nodes_in_group("coin").size())

# warning-ignore:return_value_discarded
    $Flag.connect("player_won", self, "on_player_won")

func coin_collected():
    collectedCoins += 1
    print(totalCoins, " - ", collectedCoins)
    emit_signal("coin_total_changed", totalCoins, collectedCoins)

func coin_total_changed(newTotal):
    totalCoins = newTotal
    emit_signal("coin_total_changed", totalCoins, collectedCoins)

func register_player(player):
    currentPlayerNode = player
    player.connect("died", self, "on_player_died", [], CONNECT_DEFERRED)

func create_player():
    var playerInstance = playerScene.instance()
    $PlayerRoot.add_child(playerInstance)
    playerInstance.global_position = spawnPosition
    register_player(playerInstance)

func on_player_died():
    currentPlayerNode.queue_free()

    var timer = get_tree().create_timer(1)
    yield(timer, "timeout")
    create_player()

func on_player_won():
    var levelComplete = levelCompleteScene.instance()
    add_child(levelComplete)

*The "Player" script:

extends KinematicBody2D

#Variables and that stuff
signal died

var playerDeathScene = preload("res://Scenes/PlayerDeath.tscn")

enum State { NORMAL, DASHING }

export(int, LAYERS_2D_PHYSICS) var dashHazardMask

var gravity = 1000
var velocity = Vector2.ZERO
var maxHorizontalSpeed = 140
var maxDashSpeed = 500
var minDashSpeed = 200
var horizontalAcceleration = 2000
var jumpSpeed = 320
var jumpTerminationMultiplier = 4
var hasDoubleJump = false
var hasDash = false
var currentState = State.NORMAL
var isStateNew = true

var defaultHazardMask = 0

#All the other code things

func _ready():
# warning-ignore:return_value_discarded
    $HazardArea.connect("area_entered", self, "on_hazard_area_entered")
    defaultHazardMask = $HazardArea.collision_mask

func _process(delta):
    match currentState:
        State.NORMAL:
            process_normal(delta)
        State.DASHING:
            process_dash(delta)
    isStateNew = false
func change_state(newState):
    currentState = newState
    isStateNew = true

func process_normal(delta):
    if(isStateNew):
        $HazardArea.collision_mask = defaultHazardMask
    var moveVector = Vector2.ZERO
    moveVector.x = Input.get_action_strength("move_right") - Input.get_action_strength("move_left")
    moveVector.y = -1 if Input.is_action_just_pressed("jump") else 0
    velocity.x += moveVector.x * horizontalAcceleration * delta
    if (moveVector.x == 0):
        velocity.x = lerp(0, velocity.x, pow(2, -5))

    velocity.x = clamp(velocity.x,  -maxHorizontalSpeed, maxHorizontalSpeed)

    if (moveVector.y < 0 && (is_on_floor() || $CoyoteTimer.is_stopped() || hasDoubleJump)):
        velocity.y = moveVector.y * jumpSpeed
        if(!is_on_floor() && $CoyoteTimer.is_stopped()):
            hasDoubleJump = false
        $CoyoteTimer.stop()

    if(moveVector.y < 0 && !Input.is_action_just_pressed("jump")):
        velocity.x = gravity * jumpTerminationMultiplier * delta
    else:
        velocity.y += gravity * delta

    var wasOnFloor = is_on_floor()
    velocity = move_and_slide(velocity, Vector2.UP)

    if(wasOnFloor && !is_on_floor()):
        $CoyoteTimer.start()

    if(is_on_floor()):
        hasDoubleJump = true
        hasDash = true

    if(hasDash && Input.is_action_just_pressed("dash")):
        call_deferred("change_state", State.DASHING)
        hasDash = false

    update_animation()

func process_dash(delta):
    if(isStateNew):
        $"/root/Helpers".apply_camera_shake(1)
        $DashArea/CollisionShape2D.disabled = false
        $AnimatedSprite.play("Dash")
        $HazardArea.collision_mask = dashHazardMask
        var moveVector = get_movement_vector()
# warning-ignore:unused_variable
        var VelocityMod = 1
        if(moveVector.x != 0):
            VelocityMod = sign(moveVector.x)
        else:
            VelocityMod = 1 if $AnimatedSprite.flip_h else -1
        velocity = Vector2(maxDashSpeed * VelocityMod, 0)

    velocity = move_and_slide(velocity, Vector2.UP)
    velocity.x = lerp(0, velocity.x, pow(2, -10 * delta))

    if(velocity.y < minDashSpeed):
        call_deferred("change_state", State.NORMAL)

func get_movement_vector():
    var moveVector = Vector2.ZERO
    moveVector.x = Input.get_action_strength("move_right") - Input.get_action_strength("move_left")
    moveVector.y = -1 if Input.is_action_just_pressed("jump") else 0
    return moveVector

func update_animation():
    var moveVec = get_movement_vector()
    if(!is_on_floor()):
        $AnimatedSprite.play("Jump")
    elif(moveVec.x != 0):
        $AnimatedSprite.play("Run")
    else:
        $AnimatedSprite.play("Idle")

    $AnimatedSprite.flip_h = true if moveVec.x > 0 else false

func kill():
    var playerDeathInstance = playerDeathScene.instance()
    get_parent().add_child_below_node(self, playerDeathInstance)
    playerDeathInstance.global_position = global_position
    playerDeathInstance.velocity = velocity
    emit_signal("died")

func on_hazard_area_entered(_area2d):
    $"/root/Helpers".apply_camera_shake(1)
    call_deferred("kill")

Have a great day!


text:
Features Colour Control Premedia
Pantone Celebrates 50 Years of PMS
Pantone is celebrating the 50th anniversary of its Pantone Matching System with a special, limited-edition release of its Pantone Plus series of guides and books.
"In celebration of Pantone's 50 years of colour inspiration, we designed special anniversary edition packaging and covers for the PANTONE PLUS SERIES," said Giovanni Marra, director of corporate marketing at Pantone. "The PANTONE MATCHING SYSTEM® sparked a revolution in colour management and inspiration. We can't wait to see how the PLUS SERIES shapes the next 50 years of colour."
The origins of Pantone stem from a commercial printing company after employee Lawrence Herbert used his chemistry knowledge to simplify the company's stock of pigments and production of coloured inks. By 1962, he ran the ink and printing division at a profit while the company's commercial-display division faltered. He bought the company for $50,000 and the first Pantone Matching System for Printers was released in 1963.
Herbert soon got the majority of the ink producers he contacted to sign on to his system. In the mid-1960s, the Pantone system was adapted outside of the printing world for use in the design and artist markets. The company followed the desktop publishing revolution of the 1980s and remains a global standard today.
The limited-edition Pantone Plus Series guides and books feature metallic covers and a 50th anniversary logo. Additionally, the Pantone Formula Guide and Pantone Colour Bridge sets are packaged in a 50th anniversary gift box. The guides are available separately or part of value bundles.
Pantone Unveils iPhone App
PANTONE Introduces Printer Certification Program
Native Fiery Support of PANTONE PLUS
Pantone Releases Android App
SupremeX Toronto
Koenig & Bauer (CA)
PRINT2GO
Xerox Buys Impika
AMS Unveils C-LED UV Coating System


text:
Yuja Wang
Yuja Wang (Chinese: 王羽佳; pinyin: Wáng Yǔjiā; born February 10, 1987) is a Chinese classical pianist. She was born in Beijing. Yuja began playing piano at age six, and studied at the Central Conservatory of Music in Beijing under Ling Yuan and Zhou Guangren. Following three years, from 1999 to 2001, at the Morningside Music summer program at Calgary's Mount Royal College, an artistic and cultural exchange program between Canada and China, Yuja moved to Canada and began studying with Hung Kuan Chen and Tema Blackstone at the Mount Royal College Conservatory. In 2002, when Yuja was 15, she moved to the U.S. to study with Gary Graffman at The Curtis Institute of Music in Philadelphia, where she graduated in 2008. Yuja has performed with many of the world's prestigious orchestras including the Baltimore Symphony, Boston Symphony, Chicago Symphony, Dallas Symphony, Detroit Symphony, Houston Symphony, Los Angeles Philharmonic, National Symphony, New World Symphony, Philadelphia Orchestra, Pittsburgh Orchestra and the San Francisco Symphony, in the U.S., and abroad with the Tonhalle Orchestra, China Philharmonic, London Philharmonic, Nagoya Philharmonic, the NHK Symphony in Tokyo and Orchestra Mozart, among others. In 2006 Yuja made her New York Philharmonic debut at the Bravo! Vail Music Festival and performed with the orchestra the following season under Lorin Maazel during the Philharmonic's Japan/Korea visit. That same season she performed in Leeds, U.K., and toured the Netherlands with the St. Petersburg Philharmonic led by Yuri Temirkanov. In 2008 Yuja toured the United States with the Academy of St. Martin in the Fields led by Sir Neville Marriner and in 2009 she performed as a soloist with the You Tube Symphony Orchestra led by Michael Tilson Thomas at Carnegie Hall. She has given recitals in major cities throughout North America and abroad, is a dedicated performer of chamber music, and makes regular appearances at festivals including the Aspen Festival, Santa Fe Chamber Music Festival, the Gilmore Festival, the Schleswig Holstein Festival and the Verbier Festival. She has worked with many of the world's esteemed conductors including Claudio Abbado, Charles Dutoit, Robert Spano, Michael Stern, Yuri Temirkanov, Michael Tilson-Thomas, Osmo Vänskä, and Pinchas Zuckerman. In 2001, Yuja won Third Prize and Special Jury Prize at the First Sendai International Music Competition in Sendai, Japan. In 2002, when Yuja was 15, she won Aspen Music Festival's concerto competition. Yuja was named a 2006 biennial Gilmore Young Artist award winner. Yuja is an exclusive recording artist for Deutsche Grammophon. Her debut recording, Sonatas & Etudes, was released in the spring of 2009.
Piano Concerto In G, M. 83 1. Allegramente
Ballade In F Sharp, Op.19
Piano Concerto In G, M. 83 2. Adagio Assai
Piano Concerto For The Left Hand In D, M. 82 1. Lento
Piano Concerto In G, M. 83 3. Presto
Piano Concerto For The Left Hand In D, M. 82 2. Allegro
Piano Concerto For The Left Hand In D, M. 82 3. Tempo I


NEW YORK (Reuters) - Dollar General Corp <DG.N> missed Wall Street profit expectations after taking markdowns to clear slow-selling apparel out of its stores, sending shares down about 5 percent.
Gross margins in the company's fiscal first quarter were lower than expected due to the need to cut prices on clothes, said ThinkEquity analyst Mark Mandel.
"They've been working on trying to improve that space for quite some time and have not found the right formula," he said. "Clearing out the wrong product is a step in the right direction. The question is will they be able to find the right thing to put in its place."
Dollar General prices most of its merchandise below $10 and is updating its stores to entice shoppers with better layouts, more food and a wider variety of apparel.
The company said on Wednesday it earned $157 million, or 45 cents per share, in the fiscal first quarter, compared with a profit of $136 million, or 39 cents per share, a year earlier.
Excluding litigation settlements and the repurchase of senior notes, the company earned 48 cents per share, missing Wall Street's expectations of 50 cents per share.
The company stood by its outlook for the year, saying that 2011 earnings, including an extra week, would be in the range of $2.20 to $2.30 per share.
Analysts, who generally excluded the 53rd week, expect it to earn $2.26 per share.
Sales rose 10.9 percent to $3.45 billion. Sales at stores open at least a year, or same-store sales, rose 5.4 percent.
The company had both more traffic and higher purchases per store visit, wrote RBC Capital Markets analyst Scot Ciccarelli in a research note.
The company and rivals like Family Dollar Stores Inc <FDO.N> Inc and 99 Cents Only Stores <NDN.N> have benefited from the weak economy as lower-income shoppers come to its stores looking for low-priced food and other basic goods.
Some of the largest stock-picking hedge funds have jumped into the sector as a string of reports suggested low-priced retailers were ripe for takeover deals.
Products such as food and cleaning products were the fastest-growing segment for the company, with sales up 13 percent, while apparel sales rose only 3 percent.
Dollar General is majority-owned by private equity firm Kohlberg Kravis Roberts & Co LP <KKR.UL>, which brought the company back to the public market in November 2009.
The Goodlettsville, Tennessee-based company has stores in 35 U.S. states. It plans to enter Connecticut, Nevada and New Hampshire this year and break into California in 2012.
Dollar General's shares were down 5.3 percent at $33.22 during premarket trading.


text:
Meet Ryan Heffington, the Man Behind the Year's Two Biggest Videos
Charlize Theron Compares Press Attention to Rape, Is Bad at Analogies
Orange Is the New Black's Laverne Cox Looks Amazing On Time's 'Transgender Tipping Point' Cover
Here's Multiple Videos of Brad Pitt Getting the Shit Kicked Out of Him
Cultural Commentator
The 21 Worst Things About Living in New York City in the Summer
Maya Angelou Has Died at 86
This Is What Happens When Kim Kardashian Visits the Eiffel Tower
Couples Must Delete Intimate Photos After Breaking Up, European Court Rules
BULLETT Has An App Now Because Technology!
A Guide to Getting Super Shitfaced Down South With the Utmost Dignity
Reverse Skinny-Shame People Or Something With 'You Did Not Eat That'
How Scott McClanahan Came From Nowhere to Launch the Insurgency on Publishing
Here's Why You Should Be Watching the NBA Playoffs
Chipotle Soda Cups Printed With Jonathan Safran Foer, Toni Morrison, George Saunders Stories
Images of Changing Williamsburg from 2007 to 2013
May 30, 2014 12:53 pm By Jessie Askinazi
Mustached dance-guru Ryan Heffington is the sophisticated mind behind Sia Furler's epic "Chandelier" video starring Dance Moms' prodigy Maddie Ziegler. You know the one. Heffington also choreographed the controversial video for Arcade Fire's "We Exist", and a slew of others. His work has been on view in national art galleries, including a commission for MOCA entitled "Heffington Moves MOCA." The spectacle included classes, performances with interactive projections, living sculpture art installations, and a musical interpretation of Heavy Metal Parking Lot. Easily identifiable, Heffington's work is a vulnerable exploration of consciousness and primitivity. He brilliantly underscores the complex emotions of humanity through the body. Both his comprehensive experience and distinct artistic voice have lead him to the pinnacle of his career: He is a meditation on theatrical splendor, the power within, and punk rock disorder. Here, we talk to him about the controversy surrounds his recent breakout videos, and his vision behind their standout choreography.
Why do you think the public has had such a strong reaction to the video for "Chandelier?"
There is something inherently human in this piece. As abstract as the concept or movement is, the purity of youth, super human abilities (that of a professional athlete) and the mature emotional range of the character creates a complex experience for the viewer. We also have been bombarded with videos that ooze excess and ego. I think we've created something simple, artistic, and relatable that anyone of any demographic can connect to. Its strength lies in the lack of definition of what exactly it all means. In a way it empowers the viewers, thus making it an attractive piece of art to many.
I've read several interpretations of the story behind it. Some claim it's based on Sia being abandoned as a child by her parents, some say it's about alcoholism and addiction. I wanted you to set the record straight.
The song is about addiction, yet the video concept is more abstract than just this. What I find important is that this piece of art has so many interpretations. I don't think I could (or in fact want to) create such definition of the plot, it lives much more vibrant if I do not. The movement was a true collaboration between Sia and I. To create movement solely based on the idea of addiction and with a minor would be irresponsible and simple. I allowed the swells and mood of the song to come through in physical form, sprinkling in abstract gestures that could help shape emotion while still feeling a bit detached. Pushing Maddie into more complicated emotional realms increased the viewers craving to piece the elements together.
The interaction between Maddie and the interior of the apartment was specifically compelling to me. It seems like she's actually having a two-sided conversation with the walls and objects; that they are her co-stars. What did you want her relation to the space she inhabited to be?
Early on I requested the architectural detailing of the character's living space and what furniture would inhabit it. Like any of our dwellings we spend an absorbent amount of time in, all material components becomes part of the physical dialogue between us and these objects—walls, furniture, hallways. Although muddled in color and sparse in content, it was a choice to have the environment be rich in means of activity for the character. How often do children find a pile of dirt and a hose the most enthralling playmates? Yes, she may be isolated from other humans or environments, but seemingly rich in imagination with the ability to utilize fantasy to entertain herself via exploring new physical conversations with what simply existed before her eyes.
According to viewer commentary, there is a large percentage of the public that feels that the eleven year-old star of the video, Maddie Ziegler, was sexualized due to her movements in a nude leotard. Was this a factor considered while you were working with her?
Not in the least bit did this conversation ever cross my mind when creating this piece. I feel I'm a bit naive in that I have a concentrated group of free thinkers, artists and dancers that surround me in my day to day life. It's usual for dancers to be in body conscious attire—at every age—to best support our ability to learn how we hold our bodies, to perfect lines and technique. I consider adorning young girls in full make up and mature costumes more sexualizing than a nude leotard and playful tattoos.
What was the maniacal smiling/curtseying at the end supposed to represent?
In this ever revolving physical narrative, for me it was a play on breaking the 4th wall where the character relates that she knew this was only a performance.
Do you feel the video for Arcade Fire's "We Exist" succeeded as a vehicle to empower the homosexual and transgender communities?
There has been a lot of conversation within my personal circles about this, from anger that Mr. Garfield was cast as a trans-gender woman, to massive amount of support in voicing the words 'We Exist' from both the queer community and friends that identify as straight. Within these two extreme examples, I know that the video ignited much conversation about this subject and for that I feel the video has been successful. The intention behind David Wilson's video was to visually articulate the meaning behind the song. As a gay man, I do feel that with the support of Arcade Fire along with the message of the song and video, that yes, we have been successful in empowering our queer and transgender communities.
What was it like teaching the dance routine to a straight man playing a newly explorative trans-gender role? How did you help him tap into where he needed to go in his body?
David enlisted the assistance of our friend Our Lady J, a transgender classical pianist and singer-songwriter to spend time with Andrew before the rehearsal process, to engage in conversation about being transgender and how one could apply physical mannerisms during and after this transformation. I was careful to take this information and allow for both past and current genders, and the physicalization of both to be present due to the fact that indeed "Sandy" the hero character was in a transitional state.
Your career is gaining serious momentum. Do you see yourself taking over the spotlight in upcoming performances, or do you want to mostly continue crafting and teaching others?
I had a conversation with myself years back that ended in my desire to always stay connected to my community as well as pursuing my journey as an artist. I decided then to continue teaching dance as long I am physically able to, as well as foster my artistic career within art, commercial, and concert realms. I have always juggled many passions at once—this is where i find the most happiness and the least amount of boredom. And if I were to become the poster child for dance as a way to make life greater, sure!
Photos by Jesse Askinazi.
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In situations similar to those of T. ohiensis, but much less common. Specimens with sepals sparsely pubescent their entire length are apparently hybrids with T. ohiensis, and have been collected in Ingham, St. Clair, and Washtenaw Cos. As with T. ohiensis, some records may be escapes from cultivation.
MICHIGAN FLORA ONLINE. A. A. Reznicek, E. G. Voss, & B. S. Walters. February 2011. University of Michigan. Web. April 25, 2019. https://www.michiganflora.net/species.aspx?id=826.