text:
Campaigners raise concerns as another young asylum seeker takes life
By Zaki Sarraf
12 October 2021 | 7:21 am
Asylum, News
Henok Zaid Gebrssalasie was found dead at a mental health facility
Campaigners have raised concerns as another young asylum seeker took his own life in the UK. Henok Zaid Gebrssalasie, aged 23 years, was found dead at a mental health facility in Coventry and is thought to have taken his own life.
Gebrssalasie fled Eritrea as a 14-year-old boy to avoid persecution and compulsory military service. His brother, Tewlde Zaid told the BBC that he had sought refuge in the UK for a better life. He said that his brother 'was trying his best' and had previously told him 'I'm going to make myself a better person, to follow through with my education, to get work rather than depend on anyone'. Tewlde Zaid said that his brother's death was 'difficult to believe'.
As reported on the Justice Gap earlier this year, a coalition of charities organised a joint letter addressed to Nadine Dorries, the then Minister of State for Mental Health, Suicide Prevention and Patient Safety after 11 teenage asylum seekers had taken their own lives in the last five years.
Benny Hunter of the Da'aro Youth Project, the London based charity that works with asylum seeking youth from the Horn of Africa, commented on the plight of the young asylum seekers 'being housed in a hotel and not being able to work, having to rely on very small amounts of money every week, it's very difficult for a lot of people especially if you're here alone and especially if you're young.'
A 23-year-old asylum-seeker has died in a mental health facility in Coventry. Henok Zaid Gebrsslasie was believed to have been sectioned and had been under the care of m.h. professionals. We are supporting Henok's family to get answers to their questions.https://t.co/FVDoCYmqQB
— Da'aro Youth Project (@DaaroYouth) October 11, 2021
'The issues that we have tried to highlight are the impact of the asylum system on people going through the process, particularly vulnerable people such as young people,' continued Hunter.
Hunter also pointed out that the overwhelming majority of Eritrean asylum seekers arriving in the UK are granted refugee status, however they still often have to wait several years for a decision in their case.
Olivia Anness of Bhatt Murphy Solicitors, who represented three families of young asylum seekers that had taken their own lives, told the BBC that the deaths raise 'serious questions about the care they're receiving in the UK.' Anness continued that the asylum seekers are 'children fleeing war and persecution who have arrived in the UK seeking refuge, and we need to know why so many are dying in our care'.
Author: Zaki Sarraf
Justice Gap reporter
Court rules asylum seeker at Napier Barracks to be re-housed
Asylum seeker wins claim for unlawful prolonged detention
Concerns over suicides of unaccompanied…
'No moral justification' for 23-hour a day curfews…
Half of refugee women and children would no longer…


text:
Q: (Javascript) Inserting elements dynamically in a specific position Basically what I have is this:

...

I have no idea why the site creator used classes instead of IDs (they're unique), but it doesn't really matter as I'm writing a GM script and so getElementsByClassName('')[0] effectively does the same thing.
How can I insert an element between the first and second div?

A: Create your own insertAfter function

A: you can use JQuery it very simple
$(".class1").after( document.createTextNode("Hello") );

redpajama_set_name: RedPajamaStackExchange


text:
Martin Dematteis (born 24 May 1986) is an Italian male mountain runner and sky runner, one time senior individual European champion at European Mountain Running Championships (2016).

He won a bronze medal in the sport of athletics at senior level with the national team at the 2009 European Cross Country Championships held in Dublin, Ireland.

Biography
He won 8 medals at the World Mountain Running Championships (all with the national team) and 4 at individual level at the European Mountain Running Championships. He also competed at one edition of the IAAF World Cross Country Championships at senior level in 2010.

His twin brother Bernard Dematteis is also a mountain runner.

Achievements

Mountain running

National titles
Italian Mountain Running Championships
Mountain running: 2009, 2010, 2011 (3)
Italian Long Distance Mountain Running Championships
Long distance mountain running: 2019 (1)

See also
 Italy at the World Mountain Running Championships
 Italy at the European Mountain Running Championships

References

External links

1986 births
Living people
Italian male mountain runners
Italian male long-distance runners
Italian sky runners
Italian twins
Twin sportspeople
People from Sampeyre
21st-century Italian people

redpajama_set_name: RedPajamaWikipedia


"Mini dress by TFNC, Embellished mesh, High neck, Plunge front, Deep V-cut back, Zip back fastening, Slim fit - cut close to the body, Hand wash, Our model wears a UK 8/EU 36/US 4 and is 174cm/5'8.5" tall, Exclusive to ASOS. London label TFNC is renowned for its standout occasionwear. Step it up in sparkly fabrics, embellished styles and party-prepped bodycon dresses – just don't outshine the bride."


The Prince of Wales has bought and renovated properties in rural Romania to help protect the unique way of life that has existed for hundreds of years through the promotion of sustainable tourism.
His Royal Highness has a long-standing interest in Romania and has visited the country regularly since his first visit in 1998.
The Prince has said that he was particularly moved by the plight of the remarkable fortified Saxon villages in Transylvania which were built centuries ago by German settlers, who were encouraged to go there to help withstand Tartar and Turkish invasions.
Sadly, due to mass migration, many of these villages have ageing populations and are in decline.
The Prince of Wales is well-known for his commitment to preserving traditional rural communities and their way of life, both in the UK and overseas.
In 2006 The Prince of Wales decided to buy and restore an 18th Century Saxon house in the Transylvanian village Viscri, the latter a designated UNESCO World Heritage Site.
In 2010, The Prince purchased a property in the village of Zalánpatak which was founded four centuries ago by the Kálnoky Family as a glass manufacturing area in the heart of the forest.
The manufacturing ended in the early 1900s but around 150 people live there today.
The Prince of Wales owns the property that had originally been built for the former judge who was overseeing the manufacture of glass and the village as a whole.
The property comprises several buildings, and has a patch of forest and extensive flower meadows with mineral springs and small brooks belonging to it.
The property in Zalanpatak is characterized by its rich biodiversity with native plants, mushrooms, insects and birds. Large mammals including bears are often seen and wolves can be heard howling during the winter nights.
Guests are looked after by local staff and the resident ecologist. Activities depend on the season and range from bear-tracking over horse and cart trips, wild flower botany, mushroom picking, hiking or simply relaxing.
All of the buildings have been sensitively restored, and have a number of Transylvanian antiques. They remain very much in keeping with the surrounding architecture, but with modern facilities where possible for the comfort of tourists who wish to explore the unique culture of this forgotten part of Europe.
Through the renovation of these buildings His Royal Highness aims to help provide a sustainable future for the people of rural Transylvania whilst enabling residents to maintain their traditional way of life.
Duke of Cornwall. Cornwall is Celtic not Saxon.
There are statutory provisions regarding the law on questions that may arise regarding the above Duchy of Cornwall article.
It would appear that the Freedom of Information Act 2000 as amended by the Constitutional Act of 2010 legislates to provide that questions submitted by members of the public to public authorities can no longer be answered on the grounds of being in the pubic interest if the questions concern matters relevant to the Heir to the Throne, The Prince of Wales and the Duke of Cornwall, the future King of the United Kingdom who is now consequently an exemption to the Freedom of Information Act 2000. This includes exemption from revealing information in respect of:-planning law; income from instate estates in Cornwall; bona vacantia re assets of bankrupt companies in Cornwall; income from the rivers and foreshore of Cornwall; claims to mining rights under private land in Cornwall; royalties from mining enterprise in Cornwall, all of which are protected as privileges regardless of the democratic rights of the indigenous Cornish people.
The Freedom of Information Act 2000 is amended as follows.
"(ea) in section 37, paragraphs (a) to (ab) of subsection (1), and subsection (2) so far as relating to those paragraphs,".
37 Communications with Her Majesty, etc. and honours.E+W+S+N.I.
(b)the conferring by the Crown of any honour or dignity.
(2)The duty to confirm or deny does not arise in relation to information which is (or if it were held by the public authority would be) exempt information by virtue of subsection (1).


text:
The Play for Tomorrow: Steve McQueen's Small Axe
Michael Sicinski/CS85, Features, From The Magazine
By Michael Sicinski
One of the best known of Steve McQueen's early video works is Deadpan (1997), a four-minute, 35-second loop in which the artist simultaneously places himself in harm's way and in film history. The piece is a recreation of the famous Buster Keaton stunt from Steamboat Bill, Jr. (1928) in which the façade of a two-story wooden house falls in on Buster. The performer isn't crushed by the falling structure because he is standing in the exact position for the window to fall around him, engulfing Keaton in destruction but sparing him as he displays his trademark unflappability.
In McQueen's version, the event is shown from multiple perspectives—profile, 3/4 angle, bird's-eye—as well as being fragmented into close-ups of the artist's feet, face, and torso. The dangerous stunt is repeated as a loop, and even though we know that we're watching multiple shots of a single action, this repetition heightens anxiety rather than tamping it down. But what is more significant about Deadpan is the placement of McQueen's body at the centre of the image, at the heart of this "comic" event.
Keaton is replaced by McQueen's contemporary presence: white T-shirt, trainers, and jeans, staring impassively at the camera, just waiting for the inevitable slam of the façade around him. Where Keaton's stoicism was the crux of his humour, McQueen's is cast quite differently. As a Black body, McQueen's safety is predicated on standing stock-still, as if police had shouted at him to "freeze" or "don't move." This man's survival depends on keeping his cool, remaining in absolute control of himself, in the midst of structural collapse. A system has been devised to destroy him; one false move and he is killed or maimed. His only chance is to occupy the structure and behave as though he belongs there, in the hope that he finds the window and the window finds him.
But McQueen's window has widened. The filmmaker's career is no longer restricted to the museum world, and his newest project, the five-film Small Axe anthology, once again goes right to the centre of dominant histories, bringing Blackness to bear in places where it had previously been conspicuous in its absence. Small Axe, commissioned by the BBC, in many respects adopts the format and thematic approach of the network's award-winning telefilm series Play for Today. This series, which ran from 1970 to 1984, consisted of high-end made-for-TV films, mostly adhering to a general kitchen-sink realist approach. While some episodes functioned as light entertainment, a great many focused on left-leaning political and cultural matters, such as the travails of the working poor, labour struggles, failures of the welfare state, and, eventually, the crushing rise of Thatcherism.
Many Play for Today episodes have languished in obscurity since their original broadcast, although several were recently added to the BBC's streaming service Britbox. But a few moved beyond the confines of British television, screening at film festivals and sometimes even receiving theatrical releases. Those that, to all intents and purposes, became "films," it should be noted, were mostly the editions co-written and directed by men who would go on to become major figures in British cinema. Six early films by Mike Leigh (which include Hard Labour [1973], Nuts in May [1976], and Abigail's Party [1977]) are probably the best-known and consistently viewed Plays for Today, although contributions by Ken Loach, Stephen Frears, and especially Alan Clarke have been subjects of auteur-based research. And one contribution, Clarke's Scum (1977), is now considered one of the most important British films of the era. It was rejected for broadcast at the time, not shown until 1991, and then on Channel 4. (Shortly after the 1977 rejection, Clarke refilmed Scum and released it to theatres.)
Despite the period of their production, the Play for Today films were mostly silent about the significant demographic shifts the UK was undergoing at that time. There was not a great deal of attention paid to the immigrant experience, an omission that Loach, for one, has certainly worked to correct on the back end of his career. But McQueen's Small Axe films, which all take place between the late '60s and early '80s, are strikingly similar in tone to the Plays for Today. Most of them are relatively short, with Mangrove the only one of the five that clocks in at over 80 minutes. And, like so many of the earlier made-for-BBC productions, the Small Axe films depict ordinary Britons struggling with systemic social ills.
Of course, the multimedia landscape is quite different today than it was in the '70s. Although the films are debuting one week at a time on BBC One and in North America on Amazon Prime, several of them had other stops along the way to television. Mangrove and Lovers Rock both appear to have been slated for Competition at the COVID-cancelled 2020 Cannes Film Festival. Instead, Mangrove, Lovers Rock, and Red, White and Blue went on to screen at this year's New York Film Festival, which was presented both online and at drive-ins in the New York City area. A bit later, Mangrove was the opening film of the London Film Festival.
While certain of the Play for Today entries have aged into "cinema" over time, Small Axe arrives smack in the middle of the ongoing debate over the definition of cinema in the digital age. The Small Axe productions strongly resemble films, but they are being promoted as episodes in a five-part anthology. This may be more tactical than philosophical. Because of COVID, the 2020 Oscar race is in utter disarray, and by classifying Small Axe as television—specifically as a miniseries—Amazon is clearing the way for a muscular Emmy campaign.
In addition to Antiguan cinematographer Shabier Kirchner, who shot all five films, McQueen's primary collaborators on the series are Alastair Siddons, who co-wrote three of the five films—Mangrove, Alex Wheatle, and Education—and Courttia Newland, who co-wrote the other two, Lovers Rock and Red, White and Blue. Kirchner, best known for his work on Matt Porterfield's Sollers Point (2017) and Crystal Moselle's Skate Kitchen (2018), shot Small Axe with a deeply textured, late-'70s scuff; the deep blues and browns throughout the series recall classic British television shows of the era, like The Sweeney and the original Inspector Morse. The ambiance is one of pushing film for sharp exposure in low-light situations, and generally trying to achieve as much style as possible on a budget.
Low-cost TV and high-end independent film tend to meet in the middle, and the Small Axe project is characterized by a focus on script. The films exhibit the formal consistency one associates with series television, with specific instants of directorial flair that remind you that you're watching new work from McQueen. Despite the generalized approach, there is a marked difference between the Siddons and Newland films, and I will freely confess to preferring Newland's work to Siddons'. Because all of the films, except perhaps for Lovers Rock, involve some didactic element, it will be easy for those who don't respond to Small Axe to dismiss them as "afterschool specials," that derogatory epithet for a certain kind of stilted, public-service melodrama that sacrifices complexity in the name of moral uplift.
But I think dismissing Small Axe this way is to diminish even the weakest among the films—Education and Alex Wheatle—which are distinguished by notable directorial subtlety. In a different sense, it would not be entirely off-base to compare Small Axe to Black Mirror, another anthology program composed of self-contained filmlets. A convenient and similarly dismissive tagline might describe Small Axe as "Black Mirror, but with racism playing the role of technology." But this, too, misses the mark, primarily because it fails to account for the total vision of McQueen's project. There is a strong corrective impulse running through Small Axe. After all, we have seen dozens of British films depicting this period, and they tend to highlight very particular aspects of the culture. The rise of punk is a major touchstone, along with the impact of Thatcherite privatization and working-class immiseration, culminating in the 1984 miners' strike.
But as McQueen shows us, there was a great deal more happening in the UK at this time. Black and brown immigrants were working to establish their communities, and this led to the rise of reggae and, a bit later, bhangra—a cultural rupture at least as important as punk. (And McQueen makes sure to show a few white kids here and there, making the point that these subcultures were often intermixed and brought together by progressive, anti-racist politics.) With Small Axe, McQueen shifts the spotlight on British cultural history, focusing on four actual events, and one story from his own family. In representing historical scenarios—uprisings, abuses, instances of systemic discrimination—the films draw attention not only to the ongoing problem of racism and white supremacy in the UK, but also the way these events are marginalized in the national story that Britain tells about itself. In a sense, these are plays about yesterday, but they can finally be told today.
If we regard Small Axe as a TV series, or even as a suite of thematically connected films, there is perhaps a less obvious but more apposite point of comparison than Black Mirror or even Play for Today. Much like the five seasons of The Wire, each part of Small Axe focuses on Black Britain and its confrontation with a particular facet of institutional Britishness. Mangrove, which is possibly the most complete, stand-alone film of the group, hits all the beats of a classic Oscar-season courtroom drama. The film depicts the face-off in 1970 between local activists and the authorities over the issue of constant police harassment of London's West Indian community in Notting Hill. At the centre of the protest is real-life businessman Frank Crichlow (played by Shaun Parkes), an immigrant from Trinidad and Tobago, who opened the Mangrove restaurant, an establishment serving spicy Caribbean cuisine.
Featuring familiar flavours, West Indian music, and atmosphere, the Mangrove became a primary hub for the Notting Hill immigrant community, both as a de facto social club and a locus for activism and intellectual exchange. (Early in Mangrove, we encounter a leftist reading group led by C.L.R. James. Participants in that group become part of the movement to fight racial aggression by the Metropolitan Police.) After the Mangrove is raided one time too many, Crichlow and others take to the streets, resulting in the arrests of dozens of Notting Hill residents for "rioting."
Eventually, nine defendants are charged and tried as a group. Crichlow and his co-defendants take to the Crown's court, testifying and cross-examining the cops whose virulent bigotry has terrorized an entire neighbourhood for years. For all intents and purposes, the 55-day proceedings become a public referendum on the presence of Blacks in Britain. Outside the framework of racism, after all, Crichlow is a "model immigrant." A proud, hard-working restaurateur, he is defiant regarding his entrepreneurial rights: "My kitchen is clean. I pay me taxes. I pay me staff." But Crichlow's antagonist, PC Pulley (Sam Spruell), exemplifies the complete irrationality of racial hatred, and his complete collapse under cross-examination is a glory to behold. By film's end, the Mangrove Nine are vindicated, but we learn that the restaurant was raided numerous times following the trial, up until Crichlow's retirement.
Police power is a frequent theme in Small Axe, and McQueen explores it from within as well as without.In Red, White and Blue, forensic scientist Leroy Logan (John Boyega) decides to become a London cop, in hopes of helping his community. We see Leroy buffeted about by various forms of racism and ostracism. While the top brass make him a poster boy for the "new" integrated police force, his fellow cops subject him to open abuse. On the home front, Logan's community rejects him as a traitor. His own father (Steve Toussaint) is disgusted by his son's choice to join the force, since he sees the cops as violent invaders dead-set on humiliating the Black population. (Early in Red, White and Blue, we see the elder Logan mercilessly beaten by officers over a phony parking violation.)
More concentrated in its dissection of institutional rot than Mangrove, Red, White and Blue is also subtler and less given to beat-the-system triumphalism. Logan's identity remains split: he finds himself without a home in any sector, and that crisis is never resolved. The film also includes one of McQueen's most striking directorial choices across the entirety of Small Axe, when he shows Logan in profile, staring at graffiti on his locker door. We know from his reaction what it says, and the other officers make jokes about it. The eventual reveal of the horrendous epithet when Logan opens his locker is a gut punch precisely because we've already seen it in our minds, and in Logan's face.
Mangrove and Red, White and Blue consider the courts and the police force, respectively, in a more traditional, character-driven manner. Education and Alex Wheatle are far more direct, and although their didactic aims tend to render any artistic ambiguity beside the point, they both contain moments of naturalist poetry. These two films not only hark back to the Plays for Today, but also seem to suggest that co-writer Siddons has been influenced to some degree by the work of Paul Laverty, himself known for some of Ken Loach's more direct and at times graceless screenplays. Still, even understood as fundamentally educational efforts, these films are much more adept than the work of Loach and Laverty when it comes to articulating the complexities of systemic oppression. This can be at least partly attributed to the advisory role played by Paul Gilroy, the second-generation "Birmingham School" cultural studies scholar and author of the post-colonialist classics There Ain't No Black in the Union Jack, Black Atlantic,and, not coincidentally, Small Acts.
But of course, McQueen's own work has generally exhibited this same intellectual orientation. Early films like Deadpan or 2007's Gravesend (an abstract documentary about coltan mining in the Congo), as well as his masterful feature debut Hunger (2008) and award-winning mainstream breakthrough 12 Years a Slave (2013), have all been chiefly concerned with the role of individual, embodied subjects forced to confront institutions that are utterly indifferent to their suffering. In this regard, an examination of structural racism in public education, perhaps the most fundamental of the Foucaultian disciplinary regimes, is certainly logical. Nevertheless, Education is perhaps the weakest part of Small Axe, in part because McQueen and Siddons are unable to fully explore the ramifications of the material.
Kingsley (Kenyah Sandy) is a 12-year-old West Indian kid who has been tagged as disruptive, so he is shunted off into a "special school," which is a holding pen for the so-called "subnormal." His overworked mother (Sharlene Whyte) is unaware of what's happening until a group of activist mothers and social workers organize to expose the racism inherent in this classification system. Education ends up broaching questions it doesn't necessarily mean to, and that it cannot handle. Kingsley appears to have ADHD, and another kid in the subnormal school obviously suffers from Tourette's. But because of the time period, even the most well-meaning experts wouldn't know this, so Education ends up congratulating us for our historical hindsight. It's the only film in the group that inadvertently casts racism as a relic of an unenlightened time, although the film does conclude with a bitterly ironic reference to the early career of "milk-snatcher" Thatcher.
Alex Wheatle, meanwhile, explores the racist pipeline from low-grade, abusive foster care right into the prison system. The title character (Sheyi Cole) was abandoned by his parents and sent into the system, where hateful, racist caretakers treated him like garbage. But more significantly, Alex's circumstances have stripped him of any sense of self. Once he grows up and finds his way to Brixton, he insinuates himself into the local reggae scene and forges an identity as a Black man in Britain. But Wheatle finds himself at the juncture of history, getting arrested following the 1981 Brixton Uprising. After the murder of 13 Black kids at a house party in New Cross, the police showed no interest in investigating the deaths, despite evidence that the party was firebombed by white supremacists. The film stops in its tracks to consider the New Cross attack, and when we meet Wheatle he is already behind bars, defeated. McQueen and Siddons are startlingly direct in their message, as Alex learns from his cellmate that "education is the key." A story of redemption, Alex Wheatle plays like a truncated biopic, but in the context of Small Axe, it clearly depicts someone who has gone through British racism as opposed to going against it (Crichlow) or diving into it (Logan).
Far and away the best of the five films, Lovers Rock is an anomaly in more ways than one. Almost devoid of narrative, it is an impressionistic portrait of friends preparing for a "blues party": cooking Jamaican food, setting up the sound system, clearing the furniture, and joking around. Then we see the party unfold, as the DJ plays soul, funk, and reggae and the assembled crowd lose themselves in the pleasures of the music. There is a very slight character-based throughline: Martha (Amarah-Jae St. Aubyn) is sick of being hit on by insincere fellas on the make; Franklyn (Micheal Ward) is a shy, thoughtful guy who tentatively asks Martha to dance. They leave the party together, and a second date is implied.
But most of Lovers Rock is given over to the dreamy textures of coloured lights against beige panelling, the tight movements of expressive bodies on a crowded floor, and the transporting power of music to forge multiple individual souls into a wave of cascading affect. There are a number of sequences in which songs play in their entirety, and one number, Janet Kay's "Silly Games," culminates in a moment as stark and unexpected as the "Wise Up" sing-along in Magnolia (1999) or, dare I say, the "Rhythm of the Night" coda in Beau travail (1999).
While Mangrove is the most "complete" Small Axe film, in terms of the conventional grammar of prestige cinema, Lovers Rock is the most fully realized work of art. (Had Cannes actually happened, it surely would have snagged a top prize.) But what is most intriguing about Lovers Rock in the context of the five-film collection is the fact that it is so unapologetically avant-garde, especially compared with the Western Union clarity of films like Education and Alex Wheatle. I expect that a lot of casual viewers on Amazon Prime or BBC 1 are going to find Lovers Rock frustrating, or even pointless. But what the film actually depicts is what the other four cannot: a joyous community creating a space for pleasure, without the immediate intrusion of racism.
McQueen based Lovers Rock on the house parties his aunt hosted in the '70s. As we see, the revellers' experience of freedom and romance is also tinged with political awareness. The climactic dance sequence to The Revolutionaries' "Kunta Kinte Dub" begins as a roomful of guys rocking and skanking and quickly evolves into a forceful, full-throated demonstration of Black Power and defiant manhood. Within this precious space, men are free to let themselves go, abandoning the self-consciousness and micro-control that, on the streets of everyday life, can be the difference between life and death.
In a sense, Lovers Rock is a film with no discernible plot, but this is in fact a liberation, a moment away from the grinding homogeneity of England's dominant narratives. The other four parts of Small Axe centre on Black Britons working to write themselves into the story of a nation that has too often met them with cruelty and neglect. Within the space of the dance, McQueen shows the West Indian community in all its variety, speaking on its own terms.
Posted in CS85, Features, From The Magazine
Small Axe, Steve McQueen

redpajama_set_name: RedPajamaCommonCrawl


Prepare to face the final season of Face Off, because the Face Off TV show has been cancelled by Syfy. While the network isn't using that "c" word, it has announced season 13, Face Off: Battle Royale will premiere on Tuesday, June 5, 2018 at 9:00pm ET/PT and will be the final installment. The send-off season will shine a spotlight on fan-favorites from seasons past.
Although Syfy hasn't made a press release available, the Face Off "About" page on the press site has been updated to reflect that Face Off: Battle Royale is the 13th and final season of the reality competition/game show. Actress McKenzie Westmore hosts the show, with Ve Neill, Glenn Hetrick, and Neville Page serving as judges.
Learn more about the final season of Face Off from Syfy.
SYFY's award-winning series "Face Off" returns for its 13th and final season on Tuesday, June 5 at 9/8c.
What do you think? Are you a fan of the Face Off TV series? Is it ending at the right time, or do you think Syfy should have renewed it for season 14? Sound off, in the comments.
More about: Face Off, Face Off: canceled or renewed?, Syfy TV shows: canceled or renewed?
I'm so sad to find out this show isn't coming back. It's my favorite show on tv and I own all the previous seasons (which I have watched at least 2 times each). What a bummer.
SYFY CHANNEL WOULD LOSE A LOT OF RATING, I BELIEVE FACE/OFF IS THEIR #1 SERIE IN THEIR NETWORK….
I'm so disappointed to hear Face Off is cancelled. We'd have family night every night it was on! Best show of the season. Hoping Syfy will reconsider or do a spin off with the judges. TERRIFIC show that platformed some A-mazing talent!
Face off is such a great show, really really disappointed to hear it's over, syfy, you miss the boat on this one, sad.
Face Off is one of my favorite shows on the SyFy channel. Seeing the creativity that these artist come up with is amazing! Love the judges too (shout out to Nev!) Please bring back this amazing show!
HUGE mistake taking this show off the air. Always looked forward to the new season and really wish they'd reconsider.
Canceling Face Off is, in my opinion, an ENORMOUS MISTAKE by SyFy. To be honest, the only time I watch the SyFy channel is when Face Off is on.


text:
Q: For the snowflake query history profile view, is there a reason why the profile graph doesn't show the current node execution time? I'm not using "Snowsight" yet, and trying to determine troubleshoot query performance by looking at how long each node took.
In clicking around, I can see that the profile view says "Node Execution Time" on the right in the node details area, but no time is printed for the node execution time (it prints percentages instead):

Is this an oversight?  Or will it be added in the future?
I tried looking at the same query profile in snowsight, however, it says that the node only took 616ms (which I thought was odd because this was the longest node (in time) and the entire query took 4m 25s.  How can the poorest performing node in a 4m+ query take only 616ms?).
It appears that snowsight is starting to show the node execution time (yay!) but it feels like the actual execution time is wrong.

I even went through every node in the snowsight query profile view and looked at each node execution time. They don't add up to 4m 25s (which I didn't expect them to because snowflake is going to run some of the nodes in parallel). However, they only add up to 945ms total (yet the query took 4m 25s).
It appears that I'm missing something, or the query profile view in snowsight isn't showing me all the right information?
(I know there are a few questions in here. In trying to read over the docs it appears that execution time is supposed to include processing by the CPU, Disk IO, Network transfer, etc, etc, so I'm still trying to iron out why in the snowsight view the total execution time of each node adds up to be less than 1 second, yet the entire query took 4m+)

A: Let me answer this question with an exploding join query:
select median(a.r / b.r)
from (
    select random() r
    from table(generator(rowcount => 10000))
) a, (
    select random() r
    from table(generator(rowcount => 10000))
) b

It looks simple, but it generated 100,000,000 rows that had to be held in memory to obtain the median.
The query profile view shows that the most expensive node took only 99ms, but the whole query took 36s:

The explanation is in the bottom block at the right:

Bytes spilled to local storage: 730.41MB

When too much memory is required to process results, bytes are spilled to local and remote storage — making the queries way slower.

*

*https://community.snowflake.com/s/article/Recognizing-Disk-Spilling
Note that in this case this query takes the same time in an S or XL warehouse: There's not much parallelization to be had, and most of the time is spent writing the 100M rows to temporary SSD storage to find the median.
Note that the same query takes only 6s over the same 100M rows if we ask for AVG() instead of MEDIAN():

(If you share your query in a new question we can dig into possible optimizations for it)

A: To summarize what Felipe said, the node execution time does not include blocking on I/O operations, like waiting for data transfer or network operations.

A: Also, you may confuse the time shown in the worksheet or SQL tool you are using, which typically also include the time to return the rows.


Do we always know what we are feeling?
Feeling something and knowing what we are feeling are two different things. In fact, the neuroscientist Antonio Damasio makes a distinction between emotion, which is the body's physiological response, and feeling, which is the conscious experience of emotion. Infants are born with emotional responses—they are literally born crying. In contrast, the ability to recognize and verbally label emotion ("Oh, I'm feeling sad.") is something that develops with age and is to some extent dependent on appropriate social feedback. Relatedly, the basis of psychodynamic psychotherapy is the idea that emotional maladjustment comes from lack of knowledge of one's own emotions. The inability to recognize one's own emotions is called alexythymia.


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text:
Biografia

La sua filmografia consta di pochi titoli. È tuttavia ricordata per alcune partecipazioni a film del cinema italiano. Apparve a seno nudo, destando scalpore per l'epoca, nel film
di Giorgio Pàstina Le vie del peccato, del 1946.

È stata doppiata in italiano da varie attrici quali Lydia Simoneschi, Rosetta Calavetta, Andreina Pagnani.

Filmografia
Gaspard de Besse (1935, accreditata come Jacqueline Sylvère)
Sarati il terribile (1937)
I ragazzi del giudice Hardy (1938)
Alba tragica (1939)
L'homme qui joue avec le feu (1942)
Addio, amore! (1943)
Les Deux Timides, regia di Yves Allégret (1943)
Un chapeau de paille d'Italie (1944)
L'abito nero da sposa (1945)
Le vie del peccato (1946)
Cameriera bella presenza offresi... (1951, non accreditata)
Le coup de grâce (1965, non accreditata)

Collegamenti esterni


text:
Q: Why shouldn't developers be able to deploy directly to production? I have always worked in environments where developers had to go through a process of working with Network Operations (server guys) to deploy stuff from development/test to production.
I recently started a job where developers can go directly from their machines to production with no middle man.  Are there reasons that developers should not be able to do this?
What I have so far:

*

*You are more careful about deploying
something if it has to go through
someone else.  As a young programmer
it sometimes took me several tries to
get a working deployment out.  Since
the NetOps guys were pissed I learned
to make sure it was right the first
time.

*There is some accountability if something goes wrong and more than one person knows what's going on.  Boss: "The site just went down!", Everyone else in the office: "Abe just did a deploy, it's his fault!"

*When someones sole responsibility is the production server, it's less likely that they will do something stupid.

*There will (hopefully) be more information on the deploy and roll back capabilities. Logs, backups that can be rolled back to, automated features...
Are there any other good reasons?  Am I just being a control freak?

A: The main reason is because allowing a dev to deploy directly to production cuts out the QA process.  Which introduces risk.  Which management types don't like.
So another bullet point for you is massive increase in RISK.

A: Security - By having one gatekeeper (with a backup) only one person is accessing production data and servers. This means fewer access points.
Ease of management - You don't need to create as many accounts in your production environment to keep track of - or even worse, share one account among many.  (assuming your prod environment is separated from your dev environment.
Practice makes perfect - one person who builds a routine and sticks to it has fewer chance for screw ups.

A: If there is a way to make a mistake it will eventually happen.  Law of big numbers.  It is unreasonable to put the burden on developers to be perfect, if you also want them to be productive.

*

*Change management

*Accountability

*QA

*One button builds / deployment

*Unit tests

*Code stability - suppose you push, right when someone else just checked in code?

Now, the amount of overhead / difficulty to change should be directly related to your up time requirements.  Restated: the more costly downtime is, the more you should invest in preventing downtime.

A: By deploying directly to the production environment, there is a good chance that no QA was involved (i.e. nothing was tested).

A: Because there needs to be ONE person you can go to who knows what's deployed on the site.  If every developer can deploy, you don't know who deployed what when somebody notices something wrong.

A: A few that come to mind (there may be overlap with yours):

*

*A developer can tweak something until it works.  This shouldn't be done in Production.  If that developer is hit by a bus the next day, nobody will know the system.  A documented and repeatable-by-someone-else deployment process helps ensure that such business knowledge is captured.

*As a developer, I don't want that kind of access.  If something fails, it's far less likely that it's my fault.  I'll come in and help, we're all on the same team after all, but I like to know that someone else had to review my work and agree with it.  (The same is true of my DB delta scripts.  I want a more qualified DBA whose sole responsibility is to the database to review my work.  If all they do is run what I tell them when I tell them, then that's essentially no different than giving me direct access.  It's just slower.)

*Developers often make quick fixes to simple things.  We all know that it's often not as cut and dry as the developer thought, and that quick fix either didn't fix it or broke something else.  No matter how small the change/fix, there should still be a QA process.  (For some shops where uptime isn't so critical that QA process can actually be Production, but that's a rare exception.  It shouldn't be that way, from a purist perspective, but as with anything it's a risk/reward ratio.  If the risk is low (as in a Production failure doesn't incur much penalty if any at all) and the cost of QA is comparatively high, then it's fine.)

*Regulatory needs.  PCI compliance, etc. often mandates clear separation of tasks between jobs.  This is often misconstrued as "developers can't access production" and treated very black and white.  But it does mean that developers should be able to access only what they need in order to do their job.  If you don't need production data, and that data is sensitive, you shouldn't have it.

A: Because many developers are congenitally incapable of thinking they make mistakes - the same reason good dev groups have dedicated test teams.
"I'll just make this small config change in Prod, that won't break anything."
OOP developers should understand separation of responsibilities, I would have thought.  You break it, you own it.  Avoid the problem with a separate Ops team.
In some environments (e.g. finance) large sums of money (and sometimes the law) are also at risk from ill-advised or ill-intentioned changes in an uncontrolled Production environment.
In small teams, I can see a case for developers having production access, but that has to be controlled and auditable so that you ALWAYS know what is in Production.  In that sense, it does not matter who pushes the deploy and rollback buttons, but that they exist and are the only way to change the Production environment.
I for one do not want that to be a large part of my job.  You may find that your own devs agree once they see how much more time they can spend coding.

A: SOC-1 compliance may (unnecessarily) suggest or require that the developer be a separate person than the one deploying to production so that controls are in place to prevent malicious intent.


if you regularly jog or cycle, consider varying your route and times you go out, particularly if you go alone. Try to avoid wooded areas and stick to well-lit roads, or main paths and open spaces. To ensure you stay fully alert to your surroundings, you should not listen to a personal stereo through headphones.
In August 2015, two officers from the Belgrave area of the city came up with the idea of the 'Cover Up' campaign, as part of the work to reduce seasonal increases in gold chain snatches during the warmer months. They have been working with people on probation to sew scarves made from fabric donated by businesses in the Belgrave area to encourage Asian women to cover up their jewellery.
Neighbourhood officers have been talking with local people in community centres and temples to urge them to cover up their jewellery when they are out and about or not to wear it at all. Officers have also been giving out crime prevention leaflets in different languages and working with jewellery shops who have been giving leaflets to customers when they buy jewellery.
Download your leaflet now from the related files column on the right.


Saddlebrook Subdivision The lots in this subdivision are quaint and perfect for starter homes. Each lot has all water and sewage installed and are also in the center of town. A large portion of them back up to Turkey Creek, which is the same creek that flows into Lake Edgar Brown, (Barnwell Lake) which offers great fishing. These lots range in price from $5,000 to $6,000.


text:
Antoine Colaço
Managing Partner San Francisco
Antoine Colaço is a Partner at Valor Capital Group. Prior to joining Valor, Mr. Colaço was at Google for 9 years serving in a wide range of capacities. He was most recently COO of Global Partnerships, supporting all of Google's partnerships. Previously, he established Google's India presence by founding its operations in Hyderabad and grew its Latin American presence by launching offices and online AdWords operations in Brazil, Mexico, and Argentina. More recently, he headed the Reseller Channel for Asia-Pacific and LATAM and was the COO for the APAC and LATAM regions.
Prior to joining Google, Mr. Colaço was in Business Development for Yahoo! Finance. Antoine also held roles at Goldman Sachs, Development Bank of Singapore, and CSC Healthcare. Mr. Colaço received his BSE, cum laude, from Princeton University, in Mechanical and Aerospace Engineering and a certificate in Public and International Affairs from the Woodrow Wilson School. He also has an MBA from the Harvard Business School.