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Composers / September 26, 2008
Ariel's Song: loving memories of a Mermaid's lyricist, Howard Ashman
Jérémie Noyer
In a more than fitting close to our exclusive Little Mermaid interview series, Jeremie Noyer continues his dive under the sea and back to Ariel's beginning to meet with two very special people. Howard Ashman, the original 1989 film's lyricist and legendary Broadway musical genius, is remembered here by those who loved him: Sarah Gillespie and William Lauch…
To our friend, Howard,
Who gave a mermaid her voice, and a beast his soul.
We will be forever grateful.
Howard Ashman
It's in those terms that the Disney artists chose to dedicate their classic animated film Beauty and the Beast to the man who was instrumental in the revival of Disney animation during the late 1980s and early 90s. A one-of-kind artist, pervaded by magic, always eager to share it with extraordinary generosity and talent…and an irresistible touch of humor!
The release of The Little Mermaid: Ariel's Beginning and the production of The Little Mermaid on Broadway give us the perfect occasion to go back to the origins of the myth and pay homage to one of the visionaries who gave life to Andersen's mermaid in a unique way. So, in order to do that, we turned to the people who have certainly been the closest to him and have know him best, his sister, Sarah Gillespie [above right] and his friend and partner William Lauch [below right].
Both of them were kind enough to answer our questions, as we all share the same admiration for the authentic genius that Howard Ashman was.
Animated Views: Everyone who met Howard remembers him as somebody unique. To you, what made him so special?
William Lauch: I would say his passion. Be it in his professional like, at Broadway or in cinema, or in his personal life, with his friends or as far as the causes he defended, he did everything with passion. He was passionately interested in everything. No only musicals. He loved design, architecture, just like me – I'm an architect – and cooking. Yes, for me "passion" would be the word that characterizes Howard the best.
Sarah Gillespie: That's hard, because I knew him since the day I was born. He had so many talents. One is, he was a very warm person. He had a very real desire to be a father to people. And that came out in the way that he directed, in the way he worked with actors as well as in his friendships. He was a director when he wasn't directing. For me personally, he was very much a mentor. And he was usually right. As a talent, he began, when we were children, in children's theater and he was an actor and a performer. He also began writing very young. There was always this need to express himself and to create. He had interest in comics as well. I truly think he was a visionary. As for Disney, he really did love animation. His first introduction to animation of course as everyone was a Disney film when we were children, and our grandmother took him. And it was one of the things that inspired him to go into theater. He wanted to be "part of that world"! When he got that opportunity from Disney, and Jeffrey Katzenberg basically said: "We have this project and this project. What do you want to do?" It was the idea of working in animation, and on fairytale that was so important to him and so exciting to him. When we were young, Howard created a fairy land for me. It was in his bedroom and he used little plastic figures of people and animals and decorated the room with cotton and fabric and whatever else he could find. I don't remember exactly how he did it, but I was very young and it was magical. It was just something he did one day, for fun. He wrapped his head in a towel to make a turban (almost like a genie!) and led me into this magical land he had created. It gives me great joy to think that in adulthood, that is something he was able to do for so many…
AV: So, it's animation that led to theater!
SG: As a child, yes. It was one of the elements. Our mother also was a singer, she was a semi-professional, so we always had music and musical theater in the house. But the first movie-musical he saw was a Disney animated movie musical. And there was a very strong connection there. I think the other thing that charmed him about animation was that you could do anything. So, he could really use himself creatively, he could go wild with his imagination…as he did in Little Shop, even if it's not animated.
AV: As a matter of fact, Audrey II is a kind of an animated character.
SG: Absolutely. Audrey II is a cartoon character. When you think about Audrey II, it's a cartoon character that's silly and funny and broad, all of the things that Little Shop is, not at all realistic, but has real wants and desires. And that always was very important to Howard. Your characters have to have wants and desires and they also have to by funny and broad as with Ursula. You can really have fun with those perverse and very strong and odd desires!
AV: Didn't he build his very first theater in your garden?
SG: In our backyard, yes! As a little sister, I got to get cast and everything! We would charge money out to our parents and neighbors and he would set auditions and direct, and did the ads. We did scenes from Gypsy as children. He even set up in the basement of our house and made a scrim with a sheet for the strip tease that there is that musical. So, he got very elaborate. There was also a group called Children Theater Association that was run by a wonderful woman and that Howard became very much a darling of. They did performances in school auditoriums around Maryland. That was a very important part of life for him as a child.
AV: After his studies, he became an artistic director at the WPA Theater in New York. How did that come about?
SG: He wrote the lyrics for a show the previous producers of the WPA were doing, and as they retired, they basically gave Howard and two other people the rights to use the WPA. It was a way for Howard really to do his art and do his work in a very safe and creatively open environment. His boyfriend at the time was also a director. They did amazing, beautiful work in a very small space.
AV: Was that when you met him, Mr. Lauch?
WL: We both lived at Greenwich Village in New York at that time. Little Shop had just opened and, one Saturday evening, we met in a bar, nearby the Orpheum Theater where his show was played, just after a performance. That was a very active period for him since, between 1984 and 1988, many theater companies were playing his play. There was even a national tour. Howard was very much involved in all that, including in the writing of the movie, in 1986. It was the beginning of his success, just before Disney, and it was very exciting to meet him during that period and share all these experiences with him.
AV: How was it watching him join the world of animation, which is very different from the theater world?
WL: It was a nice change since he was looking for new ways of using his experience in matters of musical theater. And at the same time, he was trying to touch a wider audience. He was very excited about the idea of working in the field of animation. He had already been approached by filmmakers before, but when Jeffrey Katzenberg asked him to work for Walt Disney Feature Animation, it really echoed in him. It was a medium he thought he really could bring something new.
SG: Animation is very different from the theater world but, I think, he always thought visually. So, in that way, it worked, it was fine. What was hard was: Howard truly had to have his finger in every pie, he had to be a part of everything. When he felt strongly about something, he did not sit by quietly. He made sure you knew. He didn't care if you were Jeffrey Katzenberg or Michael Eisner or anybody else. He would make his thoughts very clear. He was not afraid of people. But he loved comics and animation. He was so interested in that and he was very charmed by the little doodles and the little drawings that they did. Howard always drew, always doodled. All of his notebooks were full of pictures. Here were people who were doing this for a living and I think he was very interested in what they did.
So, there was a real respect for the animators' art from the very beginning, and obviously, that helped. He wanted to learn. He was a learner. A new skill was interesting to him. So, I think he was able to integrate very well, very easily into animation. The big difference is that, in theater, the director rules. There's one vision in theater. In film, it's not always that way. And that, I think, was difficult. If he had lived, frankly, I believe he would have continued to write and gone into directing as well.
AV: Because of his talent and versatility, some compared him even to Walt Disney.
SG: I wouldn't do that. The only comparison I would make is that they were both absolutely unique in their talents and in their skills. Actually, not even that, they were uniquely visionary. In that way, yes, there is a comparison. I think Howard probably would be very embarrassed to be compared to him. Howard certainly was aware of his talents as all artists are. On one hand, he knew when he was right and was very proud of it when he was right, and on the other hand, he had a lot of concerns about his talents. In that, I think any person who has a lot of talents is that way.
AV: How did you feel about that new departure, from New York theater to Californian film industry?
SG: The most personal of it was that he didn't move away. He never truly moved to California. He would go out there and then come back. It was very hard to have him move away. The other side of it is that, as he was working on Little Mermaid, early on, it was also when he found out that he was HIV positive. So, it was very hard on a personal level. So, as he was doing this, there was also this great fear for his health and having him far away added to the difficulty.
AV: Among all the subjects that were proposed to him by Disney, he chose a fairytale, which seems kind of unexpected considering what he had worked on previously.
WL: It is true that, at first sight, these worlds seems very different. Little Shop of Horrors seems more of an adult subject. But there is kind of a funny and playful aspect in this piece, and a magical dimension when you think that this plant becomes human in a way and starts to move and sing. Personally, I feel a connection between Howard's talent to create over the top situations with puppets and his interest in fairytales. Besides, it wasn't the first time he directed a fairy tale. He had already done The Snow Queen back at the University. And that goes back up to his childhood. It has always been there.
AV: In Little Mermaid he introduced musical styles that were unheard-of in animation, like Calypso. Can you tell me about his musical tastes?
SG: He truly went across the board. He was in to Bruce Springsteen and Emmylou Harris and country music. We both truly adored Nashville by Robert Altman. Everything from there to Wagner, to opera. I don't actually remember reggae specifically but I do have a notebook of his, a note to himself saying he would love to do a Calypso with the crab! What happened with Sebastian was not so much that Howard wanted to do something Calypso in there because I liked that sound as much as he thought that it would work for that character and would work in the overall pastiche of that film. It was the same with Little Shop. Because it's set in the time period that it was set in, it was quite obvious that it had to be a 50s, rock 'n' roll musical. That was the way to do it. His musical decisions came out of characters although he certainly had love for a lot of different styles.
WL: This diversity of styles in Little Mermaid seems for me to belong rather to musical theater than to pop music because that kind of play on style is somehow natural in musicals. Howard and Alan knew perfectly how to play on that. That's how they came to that unexpected association between Sebastian and Calypso that makes all the charm of that character and makes him unforgettable!
AV: Did you see him working with the artists?
SG: More in the theater world. But we were invited to a few recording sessions in his film work, like for Little Mermaid. When I think about that, I get tears in my eyes because these moments were absolutely my brother. That's just what I remember and what I miss most about him because what he was doing in that moment with Jodi (Benson) was him. He was connecting with her and giving to her, in a very personal way. He was a very personal director. That was very much the essence of Howard. He directed a little bit when I was younger and that was absolutely what he gave to people. And it did it in his life as well.
When I said at the beginning of our conversation that he was a director in everything, he truly wanted to get the best part of people. If I was going in the wrong direction with whatever I was doing, he intervened as he did with Jodi! It was also a very paternal way of working with people. Especially to the actresses he worked with. You felt that very real emotion. He was a person who cared for them more than on simply a moment-to-moment director basis. He was very warm, very personal and very direct when he worked with people, and especially when he worked with actresses. I think he had a special connection to Jodi as well.
WL: It was so interesting to be beside him when he was working with artists, and especially for Disney films. Instead of staying sitting, in the distance, watching the artists rehearsing, as you can see directors doing it in the DVD bonus features of some movies, he was standing up beside the sings talking to them in a very intimate way. He even played the scene with them. He had a very clear vision of the emotions behinds words and he wanted to share that with the artists. I remember Angela Lansbury didn't feel very comfortable with the interpretation of the Beauty and the Beast title song. But everything changed when Howard sat at the piano and sang Beauty and the Beast as if he were Mrs. Potts. It literally transformed Angela Lansbury's vision and led her to the beautiful performance that you know.
SG: One of the things he was very good at – why he was such a good director and such a creative person – as all good actors do, was losing himself in the character. He did it not so much as an actor but as a writer and as a director. And in that moment that he was directing Jodi, he was acting Ariel. If you listened to the tapes of him working, it was so clear that he truly himself in the character, in the moment. When he was doing Ursula, he was Ursula as well. He was an incredible mimic. He was not the world's best actor or the world's best singer, these weren't his true talents, but he was a wonderful mimic and he could get very personal to his characters.
AV: Ariel wanted to be part of a world above, Belle wanted to live much more than a provincial life. Were they Howard's desires, too?
SG: We all want that, but Howard knew how to take any human experience. I don't think anyone is satisfied with what they have and I don't he was either. In that way, I think he was speaking for himself. He was an artist, and as an artist, even in his most extreme characters, he put himself in them.
WL: Ariel is certainly the archetype of the character who wants something else, something more. I think that was truly part of Howard, part of his love for life and the fact that he was always looking for new challenges. But you can find a similar connection with Audrey, the female character in Little Shop of Horrors, Ariel and Belle. They all dream of a better place and a better life.
AV: The deleted song Proud of Your Boy, from Aladdin, was often thought as being very personal, too.
WL: Probably, there is a connection. In a way, Howard was a child prodigy. He showed dispositions for theater at a very young age and, knowing that his mother was a singer, he always looked for her approbation in that matter. That's why I think that there might be something deeper in that particular song…
SG: And our mother certainly was proud of her boy!
AV: Where you present during these unique moments when Howard and his musical composer partner Alan Menken were creating their songs?
WL: Most of the time, they liked to work alone, without anyone around. But at the end of the day, I often had the privilege to be able to listen one of their working tapes or even to see them complete a session at the piano. That process was kind of secret, so I feel really fortunate to have been their first audience!
AV: Howard and Alan formed a kind of a magic team. Can you tell me about how they complemented each other?
WL: Indeed, each one of them had a talent that was the complement of the other. And together, they could do thing even more wonderful than what they could do separately. Their songs were totally character-oriented and it was very important for them that the music and the lyric give, each one its own way, information about the character that was singing. That way, music and lyrics could tell different things, but at the same time sound just like one voice. One could enhance the other or soften the other. Howard could be more cynical in his lyrics that Alan in his music, which made Howard's lyrics more "acceptable" and gave an interesting twist to Alan's music. It was a wonderful exchange. Take for instance Poor Unfortunate Souls. That heavy musical style was deliberately chose to tell dark things about Ursula, but at the same time, the lyrics, and all the tiniest details of the interpretation, on which Howard and Pat Caroll worked very precisely, offer an interesting counterpoint to the music, for a song both funny and scary. And all that together really was Ursula.
AV: As early as this first collaboration with Disney, The Little Mermaid won two Oscars. How did Howard take to receiving these awards?
SG: He was very modest about it. Also, it was right before he told Alan that he was ill, which was an important moment. It was a difficult time for him. Howard didn't feel confident anybody would want to work with him, but Alan was wonderful. So, there was a bitter-sweet feeling to him. He was proud, he was happy, his acknowledgment was wonderful but it really wasn't why he did what he did. It was a wonderful thing for him but he had so many other things at that moment happening in his life that I think he unfortunately really wasn't able to truly enjoy it as much as he should have.
Through most of the Disney years, he was ill, but he worked till the very end. There was always this undercurrent of fear and "I've got to get this done!" When he was working on Beauty and the Beast, the Disney artists would come to him because he couldn't travel to California. He was at home at one point and I was visiting him. He was all right but he was not feeling well. He showed me some of the roughs from the film. As we were watching the film, he turned to me and said: "It's going to be good!" He knew Beauty and the Beast was going to work.
WL: Nobody could tell in advance that Little Mermaid would be a success, and when the film proved to be a success, Howard was really pleased. Winning Oscars and Golden Globes was wonderful to him, but the most important things was that the public liked his film. It is all the sadder that he didn't see the success of Beauty and the Beast and its nomination as best movie for the Academy Awards two years later.
AV: What do you think his motivation was?
SG: Howard did what he did because he had no choice. He was an artist and he had to do that work. If Disney had never come around, I don't think he would have gone looking for a way to work his way into that world. I think he would have just looked for the next new project, the next way to engage his mind and his creativity, and to express himself.
AV: Production numbers are a big part of musicals, and are part of the Disney films he did. How did he feel about dance?
SG: He was a terrible dancer! I remember watching him when he was in graduate school, he was in a professional acting company, and he did Tames At Sea. He was absolutely charming on stage as the lead, but couldn't dance. He couldn't move. He was musical, he had an incredible hear, but he didn't like to dance, it was not his forte. I think the production numbers were based on his love for musical theater. We went to local musicals and touring musicals growing up and he was just absolutely enamored of the bigness and the silliness and the extremity of musical theater. And I think that, when you get into something like Be Our Guest, it's really about: "Isn't this silly? How over the top can we get here?" Howard loved pastiche. So, there is some Busby Berkeley in it. What's so important is that it worked in the moment of that film. As silly as it, it isn't a production number slapped in there. It's the right moment to really see what's going on in this magic castle. That's really the reason that that exists. It's because it was the right moment for it in the film. The same in the Gaston song, or in The Little Mermaid with Under the Sea. He wasn't a slapstick person but he loved the funniness, the silliness, the language, the word play, and that was everywhere in what he did. When Howard laughed, it was just wonderful!
WL: Sarah's examples are perfect since they are the highlights of each of those films. They are exuberant, terribly funny, unforgettable, and everybody loves them. As for myself, I would add Poor Unfortunate Souls. To me, that number that takes place within a sequence between Ariel and Ursula is so good in that it manages to express all the most essential aspects of the story just in one song: Ariel's giving away her voice to be able to get legs, her leaving her family and all the risks she undertaken to make her dream come true. It was a true challenge to create such a rich song, and Howard and Alan really made it a success.
AV: Speaking of language, there are a lot of French words in Howard's lyrics, from Les Poissons to Aladdin's "nom de plume". What's the reason for those?
SG: Howard studied French in high school. That was the language he studied. He became close friends with his high school French teacher. Bill went to Paris with them. Howard was very enamored of France and of the language, I think because it's romantic language. I don't know quite what else was there but I remember him being absolutely charmed when he came back from having been there and talking about the taxi drivers allowing him to attempt his French! Because he was a good mimic and because he wasn't afraid of sounding silly, he would attempt to speak the language that was a pleasure for him!
WL: That was a wonderful trip. We went to Paris to meet the director of the French version of Little Shop of Horrors. Howard was very involved in the French translation of his musical. The wordplays are very important and the choice of the right words was crucial to express all the nuances. That was a memorable trip for both of us and we really enjoyed all the wonders of Paris!
AV: What connection did he have with his public?
SG: He was not a painter. He was truly an entertainer. He liked to amuse and entertain, even on a very personal level, when getting together with his family or his friends. He could tell stories or tell about the latest musical he saw. He loved an audience. Also, something very important, he respected an audience. He never spoke down to an audience, including an audience of children. He actually wrote about this in his introduction to Little Shop. He wanted to bring the audience to his level. When you think about it, what he offered, one of the things he brought to Disney was that respect for the audience. Katzenberg talked about it when they talked about the adults coming in to Little Mermaid and having a good time. He wrote using his own voice, and his own voice was a smart voice! Howard was a communicator and it was important to him to communicate with people.
AV: Thank you so much for sharing these memories with us!
SG: Thank you for your interest. If you look at his work and listen to his music and lyrics, and you listen to what he wrote and you see what he directed, he does exist there. That is what gives me the greatest pleasure.
WL: Thank you. In addition to everything we said, I think the best way to know Howard would have been to let him cook you a dinner, which he did a lot when he had time. He was very generous, and you felt that in that kind of moments.
AV: What would he have prepared?
WL: He was from Baltimore, which is well-known for its seafood. So, sorry for Sebastian, but I guess he would have made a crab cake!
The Little Mermaid Two-Disc Platinum Edition
is available to buy now from Amazon.com
With all our sincerest gratitude to Sarah Gillespie, William Lauch and Rick Kunis.
Ariel's Song: Glenn Slater, a sparkling lyricist for The Little Mermaid on Broadway!
Who Discovered…Lyricist Glenn Slater?
Ariel's Song: Jodi Benson, a fortunate soul under the sea!
Ariel's Song: Jeanine Tesori and James Dooley, two fortunate composers under the sea!
The Disney Song Encyclopedia


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Ann Arbor City Council
Ann Arbor may repurpose streets to accommodate pedestrian and cyclist social distancing
Since the implementation of the governor's stay at home order, Ann Arbor's vehicle traffic has declined markedly. Ann Arbor city council members may consider vehicle street closures in an effort to expand space available for pedestrians and cyclists...
Ford School students host forum for Ann Arbor Council hopefuls
Ford School students in former Ann Arbor Mayor John Hieftje's classes are preparing to host a two-part spring forum for prospective Ann Arbor City Council candidates. Students from the Ford School have hosted similar forums since 2014, but this year...
In memoriam: Eunice Burns (MPA '70), civil servant, community leader, environmental advocate
We are deeply saddened to report that Eunice Burns (MPA '70)—an Ann Arbor civil servant, a long-standing community and environmental leader, and a beloved alumna of the Ford School—passed away on October 20, 2016 at the age of 93.Burns, a mother of...
Ann Arbor Mayor and City Council Candidate Forum
May 17, 2018 1:33:58
Ann Arbor mayoral and city council candidates speak about the issues. April, 2018.
Ann Arbor City Council Candidates Debate
Apr 15, 2015 1:24:00
Former Mayor for the City of Ann Arbor John Hieftje, and the students of the Ford School's Public Policy Course 456/756 moderate an Ann Arbor City Council candidate debate.
VIRTUAL EVENT: Ann Arbor City Council Prospective Candidates Debate (Wards 1, 2 & 3)
Apr 16, 2020, 2:30-3:45 pm EDT
Students of PUBPOL 456/756 invite the public to join them for a debate featuring prospective candidates for the city council in Ann Arbor.
VIRTUAL EVENT: Ann Arbor City Council Prospective Candidates Debate (Wards 4 & 5)
Weill Hall, Annenberg Auditorium
Presented by former Mayor for the City of Ann Arbor John Hieftje and the students of the Ford School's Public Policy 456/756 course.

redpajama_set_name: RedPajamaCommonCrawl


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Monday Message: Elected Libertarians and candidates are getting things done
By Staff on August 4, 2009 in News
Wendy Jones and Mark Byrne are doing great things for liberty.
Wendy is the Libertarian candidate for the Delaware State Senate in a special election being held today. To be honest, she's probably not going to win today. But what she is doing is speaking with voters on the issues they care about and letting them know how Libertarians will create jobs, cut taxes, curb spending and protect your rights.
It's working in Wendy's corner of Delaware. Voters who never before considered voting for a Libertarian are learning the Libertarian Party is made up of concerned citizens just like them who care deeply about their community. While they may not all choose to vote for Wendy this time, her strong, principled and effective message of jobs, lower taxes and maximum liberty they can relate to will make it easier for the next Libertarian to work with voters.
Listening to voters, communicating with them on the issues they care about and sharing with them the common ground they already hold with Libertarians is what it takes to build the kind of voter base we need to consistently win elections. It's a long process, but it's one that leads to long-term victory.
It's already working for our over 200 elected Libertarians – Libertarians like Mark Byrne. Mark is a member of the Port Huron, Mich. City Council. A consistent, principled voice for smaller government, Mark is leading the fight to restore prosperity and bring fiscal responsibility to his corner of Michigan.
In a community hit hard by unemployment and a ballooning budget, Mark is holding a conversation with voters letting them know about his hard work to eliminate wasteful city government projects, get government out of what should be private business enterprises so they can be run better without taxpayer subsidies and cut taxes on employers to bring more jobs to Port Huron.
Local governments have a more direct impact on our lives than the federal government, and Libertarians are needed in local government more than anywhere else. We can get even more Libertarians elected to local government by listening to voters, learning from them about the issues that determine how they vote and sharing with them what elected Libertarians will do to address those problems.
Libertarians like Wendy Jones and Mark Byrne are already hard at work doing that, and getting results. In city councils, school boards and town boards across the country, it's our over 200 elected Libertarians and the hundreds of additional appointed Libertarians who are cutting the taxes, eliminating the wasteful spending and rolling back intrusive government. They get it done because unlike the other two parties, the Libertarian Party is the only party whose values are mainstream America's values – getting government out of the way of hardworking Americans so they can live freely and create prosperity.
It's not easy and it's not going to happen overnight, but slowly and surely Libertarians are building the kind of party that wins elections. What are you doing to help Wendy, Mark, and all our Libertarian candidates and elected officials get more Libertarians elected?
One way to help is to become a Monthly Pledger to the Libertarian Party. Your monthly gift of as little as $10 gives the LP a solid foundation to build on so we can continue to recruit and give more support to great candidates like Wendy Jones and elected Libertarians like Mark Byrne. Just click here to sign up.
Building a political party is a decades-long process that requires you to consistently speak with voters on the issues. The good news is we already have great candidates like Wendy and over 200 elected Libertarians like Mark. With your help, we can continue to grow, elect more Libertarians and begin the process of taking back our country.
With optimism,
Donny Ferguson
Donny.Ferguson@lp.org
PS – If you are receiving this email, and have not yet become a member of the Party and wish to do so, please click here to sign up to become a member of the only political party dedicated completely to cutting taxes and maximizing liberty. If you need to renew, please do so by clicking here.
PPS – If you have not yet contributed, please click here to consider a donation right now of $25, $50, $100 or $1000 to the Libertarian Party. Your contribution will be used to grow the Party and expand the message of liberty. From ads to outreach, every dollar goes towards leading the liberty movement in its fight to restore the Constitution and maximize freedom.
Libertarians challenge SEIU: Why not give everyone unlimited posters?
Libertarians call on Democrats to end their 'war on dissent'


stirlingi: "Named for naturalist Stan Stirling of Kuranda, Queensland."2 - Wells & Wellington (1985). A classification of the Amphibia and Reptilia of Australia. Australian Journal of Herpetology, Supplementary Series, 1:1-61.
Elseya stirlingi at the Australian Reptile Online Database. Last updated 2016-04-26 09:28:44.
Retrieved from http://arod.com.au/arod/?species=Elseya+stirlingi on the 23rd of April, 2019.


[original] rdfs:comment: A justification element functions like relation in relational algebra. It captures the complex relations that associate.
Rdfs:comment A justification element functions like relation in relational algebra. It captures the complex relations that associate.


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Nottingham Forest at Derby County. Just another game, right?
Derby's Tom Huddlestone chases Forest's Joao Carvalho. Picture: Jez TIghe.
Jon Ball
Published: 21:57 Updated: 22:09 Monday 17 December 2018
Just another game.
So said Joe Kinnear when he was in charge of Forest, to the derision of Trickies everywhere.
Derby keeper Scott Carson denies Forest striker Lewis Grabban. Picture: Jez Tighe.
Fast forward 14 years and the little silver trophy on a pitchside plinth gave a small hint to the magnitude of the match.
The name of the trophy - and the road between the two teams - proved a bigger one.
Brian Clough is synonymous with the two biggest clubs in the East Midlands, and the rivalry between them.
He famously led the home side to a league title and European Cup semi-final, before, via the south coast and Yorkshire, taking Forest to the title and the pinnacle of Europe, twice.
Forest hadn't held The Brian Clough Trophy for nearly three years, since an early Nelson Oliveira strike secured a 1-0 home win in November 2015.
The results since read lost 1-0 and 3-0 away, drew 2-2 at home, lost 2-0 away and a goalless draw in the last match, at the City Ground in March.
Three successive away defeats. Without a goal.
But the short trip along the A52 Brian Clough Way - nicknamed the A5-2 by Forest fans in memory of a famous derby game eight years ago - offered a resurgent Forest team a good chance to make amends.
A disappointing 1-0 home defeat by Preston North End in their last outing dampened some of the enthusiam among the travelling Reds, but Forest are still firmly in the play-off mix and in Lewis Grabban they have a striker bang in form.
And the fans travelled in number - selling out their allocation in double-quick time - to see if Forest could secure only their third win in 16 visits to the IPro Stadium, or 17 if you count the inaugural Brian Clough Trophy match, a pre-season friendly.
After a frantic first 15 minutes, Derby took a firm grip on the game in the first half, Forest's makeshift back four - a right back at left back, a left back at centre half and a centre half on loan in Glasgow - struggled when pressed and resorted into long kicks upfield which were easy for Derby's defence against the isolated Grabban.
That said, Pantilimon only had a couple of straight-forward saves to make and Forest had the better chances over the 90 minutes, Scott Carson denying Grabban when when he should have done better, and Lolley hitting the bar, as well as drawing a fine fingertip save out of Carson.
In truth, it was a typical local derby. Lots of effort, a number of cards, not a lot of quality and the referee the focus of attention at the final whistle.
Keith Stroud - still to show a red card this season after 13 games - is the focus of anger from both fans, denying the hosts a clear penalty and failing to send off Jayden Bogle for an elbow to the head of Forest captain Ben Osborn.
Points shared, the hosts retain the cup and thoughts turn to Forest's next match, at home to a resurgent QPR led by another man well known both ends of Brian Clough Way, former England and Forest boss Steve McLaren.
But the return Derby derby is never far from fans' thoughts. Roll on February 23...


Abstract of document: This document specifies the security architecture, i.e., the security features and the security mechanisms for the 5G System and the 5G Core, and the security procedures performed within the 5G System including the 5G Core and the 5G New Radio. Changes since last presentation to Meeting #: This is the first presentation. Outstanding Issues: Clean up of editor's notes throughout the document. SBA security to be completed Alignment with RAN, SA WG2, and CT WG1 progress and open issues. Contentious Issues: None.


Sun coverage combines with sophisticated styling in the Surf Suit. Directional and form-flattering, this style features sheer stripe panelled inserts and long raglan sleeves to just above the wrist. With a zip front, it can close up to the neckline, or be worn slightly unzipped for a v-neck effect.


text:
{{Ficha de recinto deportivo
|nombre = The Den
|imagen =
|pie =
|localización = Londres, Inglaterra
|arquitecto =
|superficie = Césped natural
|costo =
|inauguración = 22 de octubre de 1910
|demolición = 1993
|capacidad = 4.536 ''(sentados) 47.000 (de pie)
|dimensiones =
|dueño =
|localía = Millwall Football Club
|eventos =
}}The Den''', fue un estadio de fútbol, que fue el quinto estadio ocupado por el Millwall FC. Fue construido en 1910 en el distrito de New Cross, en el sureste de Londres, diseñado por el famoso arquitecto Archibald Leitch. El Millwall ocupó el estadio por 83 años, desde su inauguración, hasta su demolición en 1993, para construir el nuevo The Den.

Enlaces externos

 Historia de The Den
 Web oficial del Millwall FC

Millwall Football Club
Estadios de fútbol de Londres
Estadios de fútbol demolidos en Inglaterra
Historia de Londres
Reino Unido en 1910
Arquitectura de 1910
Reino Unido en 1993
Instalaciones deportivas desaparecidas de Londres
Estadios de fútbol de Inglaterra del siglo XX
Edificios y estructuras demolidos en 1993

redpajama_set_name: RedPajamaWikipedia


In the 16 months his pharmacies have been dispensing cannabis products, David Pellow said about 300 people have filled prescriptions for the drug, which is dispensed in the form of an oil or pill.
"It's growing and hasn't shown signs of slowing down," said Mr. Pellow, a pharmacist and owner of three pharmacies on Cayman.
Medicinal cannabis in the form of oils and tinctures has been a legally prescribed drug since May 2017 in Cayman. Mr. Pellow said it is available at five pharmacies on the island.
He was speaking last Friday at the annual Caribbean Association of Pharmacists convention at the Marriott Beach Resort. His talk was preceded by a screened image of Bob Marley as the song "Jammin'" drifted through the room.
Mr. Pellow shared the results of a recent study of 166 patients using cannabis for various ailments, ranging from chronic pain, to anxiety, to nausea brought on by chemotherapy. At the time of the study, he said his pharmacy at CTMH Doctors Hospital had dispensed cannabis prescriptions to 136 women, 116 men and 14 dogs.
Among those questioned in the survey, Mr. Pellow said, 84 percent said that use of the drug had been beneficial.
Kevin Gipple, a clinical compounding pharmacist for the Doctors Hospital pharmacy, shared the podium with Mr. Pellow. He talked about the various cannabinoids, some of their uses, methods of administering the drug and precautions pharmacists need to take in dispensing and monitoring cannabis in their patients.
Mr. Gipple said pharmacists need to be aware of potential changes in liver enzymes and the potential for overdose with oral preparations, and warned against combining the drug with anti-depressants.
In addition, he said, patients need to be informed about use of the drug while traveling, as medical marijuana is still illegal in many countries.
While Mr. Gipple's portion of the presentation was largely cautionary, he said the rollout of the drug has so far been successful in the Cayman Islands.
"It's gone pretty smoothly as we've gone along," he said.
One of the biggest hurdles that remains is the stigma the drug carries. With all of the efforts to keep ganja from reaching Cayman's shores, the legal use of cannabis oil still seems contradictory to some.
He expects there will be more options as more is learned about various cannabinoids and how they work together or alone.


text:
Q: ConcurrentModificationException java.util.ArrayList$Itr.next I can be the implementation of a chat app to show users chat only the can get user_id to be sent or receive a message to store in user-list and select the user to be added in the list some  error like a User list if added user 1 and add user 2 when and user 1 again the exception in ArrayList
 for (String id : usersList)
                    if (equal(user.getId(), id)) {
                        if (mUseres.size() != 0) {
                            for (User user1 : mUseres) {
                                if (!equal(user.getId(), user1.getId())) {
                                    mUseres.add(user);
                                }
                            }
                        } else {
                            mUseres.add(user);
                        }

A: The issue is here:
   for (User user1 : mUseres) {
       if (!equal(user.getId(), user1.getId())) {
       mUseres.add(user);
    }

You are iterating mUseres (for....) and at same time you are adding new items (mUseres.add)

A: You cant modify the List while iterating through it.
From the docs

Note that this exception does not always indicate that an object has been concurrently modified by a different thread. If a single thread issues a sequence of method invocations that violates the contract of an object, the object may throw this exception. For example, if a thread modifies a collection directly while it is iterating over the collection with a fail-fast iterator, the iterator will throw this exception

redpajama_set_name: RedPajamaStackExchange


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text:
« Psychology of war
Women De-Miners Build Peace »
Bountiful book exposes 'saints'
The Secret Lives of Saints, by Daphne Bramham
Reviewed by Janet Nicol
The Secret Lives of Saints (Daphne Bramham, Random House Canada, Toronto, 2008. 445 pp $32.95 cloth) reveals disturbing truths about a fundamentalist Mormon sect in Bountiful, a community of more than 1,200 people in south-eastern British Columbia. Author Daphne Bramham has frequently expounded on injustices committed toward its residents in her Vancouver Sun columns. Now her book offers the big picture, delivering a compelling story dominated with villains, victims, and apathetic observers.
Much of Bramham's evidence of wrong-doings is based on testimonies of former residents. She also uses the words of Winston Blackmore, an expelled bishop who continues to lead a faction of sect members, to prove leadership at Bountiful is anything but saintly. Descriptions of similar activities of the Fundamentalist Church of Jesus Christ of Latter-day Saints (FLDS) in Utah, Arizona, and Texas are detailed. (The FLDS is not to be confused with mainstream Mormons who oppose multiple marriages.) Bramham repeatedly illustrates how British Columbians are reluctant to protest the Mormon sect's harmful impact on its women and children, despite the fact polygamy has been illegal since 1890.
Two independent schools at Bountiful—funded by BC taxpayers to the tune of $800,000 annually—enroll an estimated 400 students. Citing annual government inspector reports, the author notes Bountiful Elementary and Secondary School (BESS) has operated in the past with only three out of ten teaching staff holding BC College of Teachers' certifications.
Blackmore founded Mormon Hills in 2001 and named himself superintendent. But few students from either school graduate from Grade 12. Drop-out rates are high and occur early—girls leave to enter "assigned" marriages as young as 14, and boys, as early as Grade 8, to work in low-wage jobs. Many boys are also cast out of Bountiful by church elders to decrease the ratio of grooms to brides.
The schools profess to follow BC curriculum, yet Bramham argues subject content is distorted or ignored. Religious doctrine prevails on posters, exam questions, and video-taped songs and sermons. Domestic skills are emphasized for female students. A few "trusted" females are encouraged to become nurses, teachers, and midwives so the community can be self-sufficient. All classroom learners are kept insulated from, and in contempt of, the "outside" world.
Bramham compares these human rights violations to that of the Taliban in Afghanistan. She asks: "How is it that two nations, so clear-sighted in recognizing human rights atrocities in other countries and so fearless in taking on tyrannical rulers on the other side of the world, have been so blind to the human rights violations committed against their own women and children?"
Fundamentalist Mormons first settled in the area in the late 1940s. Over the ensuing years, opportunities to take legal action occurred, Bramham observes, including in the 1990s. But provincial NDP Minister Penny Priddy was unable to convince her cabinet colleagues to lay charges against Bountiful's leaders. "Bountiful is like a sleeping snake," she told the author. "Everybody takes a stick and pokes at it once in a while." Priddy cites apathy as the single biggest reason for government inaction.
Four years ago, the BC Teachers' Federation joined the protest, delivering a petition of teachers' signatures to the Liberal government. Meantime, BC Attorney General Wally Oppal ordered a two-year RCMP investigation and two independent inquiries. And now he has appointed special prosecutor Terrance Robertson to head a third investigation. Another key breakthrough came in November 2007, when FLDS "prophet" Warren Jeffs was tried and sentenced by an American court to 10 years in prison on two counts of rape as an accomplice. (Jeffs had assigned the marriage of a 14-year-old girl to a 19-year-old male.)
Because of growing public condemnation, Blackmore may be loosening his hold on his multiple wives, children, and followers. Recently he hired three certified teachers at Mormon Hills and he is improving academic standards, according to Audrey Vance, a Creston resident and former school trustee. Vance is one of a dozen members of "Altering Destiny Through Education."
"Last year 10 of Winston's students graduated from Homelinks," Vance said in a telephone interview. (Homelinks is a public education program in Creston.) Vance's group supports education for Bountiful's youth, believing learning can be a path out.
In a telephone interview, Bramham says sect elders only want their members to be "minimally educated." They want the children to have the basics—reading, writing, and math," she says. Beyond this, leaders discourage higher learning for young people because they are only going to face a life of domestic or manual work. "This also makes it harder to escape," Bramham adds.
Bramham thinks the Independent School Act needs to be re-written. "Teachers need to meet the basic professional requirements," she says, "and safeguards to the curriculum need to be added so inspectors have tools to maintain standards."
But while the wheels of reform and investigation grind slowly, the leaders of Bountiful continue to assign child brides to older men and exploit or "throw away" boys. Airing the "secrets" of the saints, as Bramham does in this book, is a convincing and compassionate step toward change in our own backyard.
Re-printed from BC Teacher magazine, March, 2009.
Tags: Bountiful; Daphne Bramham; polygamy in BC; fundamentalist Mormons
This entry was posted on April 19, 2009 at 5:00 am and is filed under Book Reviews.	You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


text:
Home Jerry Grossman Strategy Session: Roberts Camera
E-Tailer of Year
Strategy Session: Roberts Camera
Reinvention, Transition and Transformation
By Jerry Grossman -
Bruce Pallman just gets it.
Roberts Camera has enjoyed a reputation throughout the industry that is driven by their recognition that the market never stands still. And those slow to transition might not be left standing.
Roberts began as a jewelry store in downtown Indianapolis in 1957, where Bob and Rose Pallman began their journey.
"My parents went from selling jewelry and
Rose and Bob Pallman
watches to appliances . . . and one day realized that we could include a 12-page catalog of camera products in our lineup. And the rest is kind of history," Bruce explains.
Bruce is that rare executive who not only recognizes that change is critical to the process of success but isn't afraid to lead the way.
While he grew up in the camera business, he found the time and the ambition to earn a law degree at night. "I probably would have been a pretty good lawyer, and I was proud of the accomplishment," he says, "but my heart was in the store."
Bruce is a relationship guy, which is obvious within the first five minutes of meeting him. His understanding of relationships drove Roberts to be one of the country's most recognized dealers of pro equipment.
"The guys from Sports Illustrated, like George Tiedemann and John Iacono, came around during the Pan Am Games one year, and we took care of them. They appreciated it, and the word spread of our dedication to making sure our customers were always satisfied."
That led to clients like Time Inc. and many newspapers across the country buying equipment from Roberts.
And Bruce recognizes that relationships will always be the hallmark of Roberts. "I love to roam the floor on Saturdays, when traffic is substantial," he says. "I just love the interaction with our customers. It's what makes us who we are." (I noticed that during our visit, every customer who walked in the door was attended to almost immediately.)
Roberts began as a jewelry store in Indianapolis in 1957. Rose and Bob Pallman soon expanded their business into cameras.
Robert's Reinvention
Roberts could have stayed just a camera store, but the emergence of the Internet was like a lightning bolt to Bruce. "We saw the opportunity to sell online earlier than most. And it quickly became an important part of our business," Bruce notes.
Roberts prospered online, always one step ahead of the curve. It seems as if their DNA is all about pivoting at the right time.
And now is their most aggressive reinvention. Bruce's daughter, Meredith, and her husband, Corey Reinker, are in the throws of the next transition of Roberts Camera. The two decided to join the family business after working in Chicago for a number of years.
"We wanted to make our own way, but at some point, we also knew we wanted to come home. And we hoped my father would accept the premise," says Meredith. (It didn't take much convincing.)
Bruce Pallman (right) with his daughter and son-in-law, Meredith and Corey Reinker, in the lobby of Roberts' new 35,000-square-foot location
This coincided with the decision to move from their downtown location into a new 35,000-square-foot facility that is beautifully designed. But their hearts are online.
Robert's UsedPhotoPro
Corey runs their used camera business, called UsedPhotoPro, which is expanding in leaps and bounds. His passion for it is compelling.
"It takes an incredible commitment to be in the used business, but the rewards are substantial," he explains. It's not for the faint of heart, as Roberts invests in used equipment all over the country and then has to turn it around for a profit.
Again, they've built this business by understanding the tools necessary for success. They've gone into partnership with many photo specialty dealers to buy their used equipment—a win-win scenario.
"It's important that we continue to refine our database of product listings and values to be sure that buyers and sellers are both satisfied customers," says Corey. They've also committed to selling products on eBay and Amazon in a big way.
"You can't just go in and put up a store on eBay. We've committed resources that allow us to put up more than 200 products per day and watch those products online practically every minute. You have to be diligent in what products are moving, and where the opportunities are," adds Bruce.
"There's also a science to being successful on Amazon. Again, we've committed the personnel to become experts on making sure our products are moving. It's been very successful for us."
Transition Continues
Bruce continues to transition the company, with the premise that having an Internet structure in place opens the door to reinvent their business—and not just as a camera store.
"We've moved into selling speakers and headphones, and we can sell practically anything now. As the photography market transitions, we're positioning ourselves to not be solely dependent on this category," Bruce says. "It's the key to survival and growth."
Furthermore, the success of the transition and transformation of Roberts from a jewelry store to a camera store to a substantial Internet retailer is evident in the Pallman family philosophy of not sitting still—and in the next generation learning from a visionary.
"I'm not afraid to learn from my dad, but Corey and I are also recognizing that being decisive is critical to long-term success. We appreciate his experience, and I think he appreciates our commitment to bring what we bring—from social media marketing to a true commitment to online success," says Meredith.
From my observation, Meredith and Corey clearly have what it takes to lead Roberts into the future.
Finally, what does Bruce like most? "I get to see my kids every day. I can just plop down in their offices and it's like magic."
Bruce Pallman
Camera store
Corey Reinker
Meredith Reinker
photography market
pro equipment
Roberts Camera
UsedPhotoPro
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text:
Q: How can I change the location of this piechart on this canvas? Input

import tkinter as tk
from matplotlib.backends.backend_tkagg import FigureCanvasTkAgg
from matplotlib.figure import Figure

root= tk.Tk()

canvas1 = tk.Canvas(root, width = 1000, height = 350)
canvas1.pack()

new_york = float("100")
paris = float("80")
london = float("60")
titan = float("40")
brooklyn = float("20")

figure2 = Figure(figsize=(4.2,4), dpi=100)
subplot2 = figure2.add_subplot(111)
labels2 = 'New York', 'Paris', 'London', 'Titan', 'Brooklyn'
pieSizes = [float(new_york),float(paris),float(london),float(titan), float(brooklyn)]
explode2 = (0, 0, 0, 0, 0)
subplot2.pie(pieSizes, explode=explode2, labels=labels2, autopct='%1.1f%%', shadow=True, startangle=90)
subplot2.axis('equal')
pie2 = FigureCanvasTkAgg(figure2, root)
pie2.get_tk_widget().pack()

root.mainloop()

The piechart is being drawn on the center of the bottom row, I would rather it was top row right.
I can't think of anything else to add that's related to that question.
The only other thing I would like to learn is how to manually assign each pie slices color.
They seem to be automatic currently.


Acrylic is much undervalued by the DIY enthusiast/handyman, Personally I believe Acrylic to be a fantastic product to work with as it is relatively easy to cut and shape and comes in thousands of different colours. Perspex® and Lucite® are leading names and I believe these to be far superior to other makes of Acrylic. Both Perspex® and Lucite® are manufactured by Lucite International limited, Lucite® is for sanitary ware applications such as baths and Perspex® is used for fabrication and signs etc.
Here we are going to be looking at Perspex® from Lucite® which comes in hundreds of different colours, tints and clear and ranges in thickness from 2mm up to 15mm.
The latest acrylic sheets are really exceptional as they are totally unlike what you would expect as they now come with either one or both sides with a non reflective finish (Perspex® frost). Acrylic sheet can be cut, drilled, routed, heated and bent or formed to almost any shape, it can be recycled, has excellent weather proof properties, it doesn't need painting or treating and clear acrylic transmits light excellently.
There are also some fantastic colours such as metallic silver or Platinum. This picture shows how I have used a piece of 4mm thick non reflective (Perspex® silk) Platinum colour sheet as a Kitchen splash back. Note it does not go behind the cooker as Acrylic sheet is flammable.
This Kitchen plinth is made from platinum colour Perspex silk, but the reverse of the sheet is used which has a gloss finish.
Perspex® acrylic sheet from Lucite® is a most useful material in the workshop because it can be used to make precision engineering components for both domestic and industrial products. Typical applications include signs, glazing, safety screening, roof lighting, furniture, lighting fittings and a great many industrial parts for the medical and chemical industries.
Perspex® is manufactured in two forms; cell cast and extruded sheet. Perspex® CS cell cast sheet is available in a wide range of thicknesses and colours, including blocks, colours and surface patterns. Extruded sheet, Perspex® XT, is available as clear sheet and also in a range of opal and tinted colours and impact modified grades.
Some differences exist between cast and extruded Perspex® properties arising from their molecular structure and this can be reflected in their fabrication behavior. These differences are highlighted where appropriate in the handbook. Otherwise, fabrication behavior may be assumed to be very similar for both products.


text:
New Research Shows Public Safety Drone Programs Growing Rapidly, Yet Facing New Challenges
Data-driven insights from non-profit group DRONERESPONDERS provide insights as to how first responders and their agencies are using UAS for public safety
MIAMI, FL – As public safety agencies continue to adopt unmanned aircraft systems (UAS) and related technology for life safety missions, new research from DRONERESPONDERS – the leading 501(c)3 non-profit program supporting public safety UAS — provides a better understanding about how these new programs are developing, as well as a glimpse at many of the challenges facing first responders who are increasingly operating drones.
Among the key findings that DRONERESPONDERS discovered in their 2019 Mid-Year Public Safety UAS Report:
3 out of 4 public safety agencies claim they are already either operating drones or working on implementing a UAS program.
More than 80% of public safety UAS operators either have obtained, or are pursuing, their FAA Part 107 certification.
82% of public safety agencies with UAS program are operating multi-rotor systems, while only 11% are using fixed or delta-wing drones.
Over 35% of public safety UAS programs are using the FAA's LAANC system for airspace requests.
The DRONERESPONDERS data included survey responses from 288 public safety professionals, combined with expert insight from DRONERESPONDERS analysts who work with a variety of stakeholders within the public safety UAS sector on a regular basis. Their findings paint a telling picture regarding the current state of public safety drone operations in the U.S.
"The data represents a clear snapshot illustrating how public safety agencies are adopting drones," says Gregory Crustinger, Ph.D., a DRONERESPONDERS Analyst and Principal at Scholar Farms in Berkeley, California. "Our survey sample size provided statistically valid insights that served to benchmark the current state of the sector."
While conducting the research, DRONERESPONDERS was able to identify many of the key challenges still facing public safety UAS operations. Among them were a lack of standardized training and procedures for public safety remote pilots, a need to continue to adopt professional aviation decision making and risk management standards, improved understanding of operations within the National Airspace System, and greater proficiency at managing UAS data and producing actionable intelligence for incident commanders.
"Effective data management remains a bottleneck for the majority of public safety UAS programs," says Crustinger. "Everyone is focused on flying the drone, but they need to understand how to capture accurate data and then convert that imagery into useful tools for on-scene decision making and post-event analysis."
DRONERESPONDERS says the 2019 Mid-Year Public Safety UAS Report represents the first in a continuing series of research reports they plan to conduct surrounding the rapidly evolving unmanned aviation and related technology in the rapidly evolving public safety sector.
"We'll be working with our advisory team and our partners to help define the scope the future research initiatives," says Charles Werner, Director, DRONERESPONDERS. "We will also add additional analysts who have the interest and experience in helping us undertake this important mission for public safety."
DRONERESPONDERS is offering a complimentary copy of the 2019 Mid-Year Public Safety UAS Report to all DRONERESPONDERS members. There is no-cost for public safety professionals to join the DRONERESPONDERS program. To receive your copy of the report, visit research.droneresponders.org
About DRONERESPONDERS Public Safety Alliance
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KYGA18 day 52 begins today!
While #1 seeded teams were pitched out of the NCAA men's tournament, Senate Bill 1 for the pension reform is in a ditch at this moment, a legislative bracket-buster.
Pension Reform, the pension fix, full funding of the pension — by any name, it's in trouble. Stalling in the Senate, pension reform faces tough odds based on the projection of President Robert Stivers.
The House version of the state budget calls for raising the cigarette tax plus creating a first in the nation opioid dose tax. This combined revenue would protect parts of the pensions that had been cut in the original plan last October.
Meanwhile, the Senate opposes additional taxation, leaving the two chambers at odds. We will likely see the Senate's version of the state budget within a day or two. As with past sessions, a conference committee of House and Senate leaders will have to meet to find agreement.
Al Cross biweekly column named eight key Senators who balked at the Senate pension plan, largely due to cuts to the retirement payments to teachers. Dozens of public school teachers continue to demonstrate every day on the pension issue.
SB66 is currently on the back burner until SB1 is worked out. This bill phases in the large increases in pension costs for libraries, school districts, health departments and other workers who fall under CERS (County Employees Retirement System). If the Kentucky legislature does a complete overhaul of the pension systems, this would provide relief on pensions to those in CERS. SB66 places a 12 percent cap for the next decade on increases in pension contributions for these public employers.
HB227 Net Metering bill passed the Kentucky House this week by a narrow vote of 49-45. This bill has been highly controversial, but sponsor Rep. Gooch (R-Providence) says the newest version reflects a compromise based on extensive work with many stakeholders: "We've done everything we could to try to satisfy. We don't think this bill will put solar operators out of business. As a matter of fact, the utilities still have to buy back your excess power." In this version, the KY Public Service Commission is authorized to establish pricing rates for the solar energy customers put back into the power grid. As evidenced by the vote, strong opposition still remains.
HB604 In wake of the Marshall County shooting, Rep. Coursey introduced legislation that requires mental health professionals to be in each district. For every 1,500 students there would be one mental health professional. Another segment of the bill requires schools to be "trauma-informed." Under the direction of the mental health professional, schools will build 'trauma teams' that would "provide training, guidance, and assistance" to school and staff and help students in need.
Coursey is a graduate of Marshall County. The bill passed the House on Friday by a vote of 81-1.
This week: NCAA Tournament Sweet 16 Kentucky vs. Kansas State. Louisville plays Mississippi State in the NIT. Sadly, Xavier, Murray State and the University of Cincinnati will watch from home.


Everyone knows the story of the Croods family, which has become a legend for all mankind. It all began with the fact that the earthquake destroyed everything that citizens were so embraced, which means that tomorrow they can remain without a roof over their heads and with big problems. The shelter that the characters are trying to find for themselves, in fact, may be beyond reality, because everything around has long been occupied by other populations, which means that they have little opportunity to start a new life. The world around really dangerous and unpredictable that means: a meeting with unreality and murders, but it only seems to heroes who never left limits of a household earlier. To fight for the goal, they have only the whole family to strive for the desired result, because the only way fate will give an incredible opportunity to become great and real objects of the future. If, between two or more participants there is a conflict, then we can assume that x life is ruined, because divided into parts they can be destroyed. Adventures and Grand opening not only on a family of Croods, but also on all inhabitants expect already from the first minute of a meeting.


We describe an algorithm for constructing a set of acyclic conjunctive relational features by combining smaller conjunctive blocks. Unlike traditional level-wise approaches which preserve the monotonicity of frequency, our block-wise approach preserves a form of monotonicity of the irreducibility and relevancy feature properties, which are important in propositionalization employed in the context of classification learning. With pruning based on these properties, our block-wise approach efficiently scales to features including tens of first-order literals, far beyond the reach of state-of-the art propositionalization or inductive logic programming systems.


text:
Sterling Bank, Courteville, 15 others emerge best places to work in Nigeria
By Adaku Onyenucheya
Sterling Bank Plc, Courteville Business Solution Plc, Nigeria Breweries Plc and SC Johnson and Son Nigeria Limited have been named best places to work in maximising human potential, inspiring people practice...
Sterling Bank Plc, Courteville Business Solution Plc, Nigeria Breweries Plc and SC Johnson and Son Nigeria Limited have been named the best places to work in maximising human potential, inspiring people practice, and building a culture of innovation and millennials in Africa for the year 2021 by the Great Place to Work Institute Nigeria.
Other best companies to work for in Africa in the small, medium and large organisation category, are FBN Holdings Plc, Quest Asset Management, First Bank of Nigeria Limited, Novartis Nigeria, Teleperformance Nigeria, Nigeria Breweries Plc, TVC Communication Limited, FBN Quest Capital Limited, Greenlight Planet, Sun King Nigeria Limited, DHL Express, FBN Quest Merchant Bank, GZ Industries Limited and DHL Global Forwarding Nigeria.
Speaking at the 2021 Nigeria's Best Workplaces Award Ceremony/Dinner Night held in Lagos, the Country Manager, Great Place to Work Nigeria, Otamere Elegon, said the research and consulting firm recognises organisations where employees trust employers, take pride in their work, and enjoy a good relationship with their colleagues.
He said currently, a quarter of all employees worldwide view their jobs as the number one stressor in their lives, according to the Centers for Disease Control and Prevention.
Elegon said this fact, therefore, points to the benefits derivable from great workplaces.
Speaking on the criteria for the awards, Elegon said the institute conducts a Trust Index Survey and Culture Audit on companies that promote high-trust cultures, deliver organisational ethics, leadership effectiveness, demonstrate fearless leadership and promote fun and friendly workplace, after which the best is given the institute's certification badge.
Elegon said the impact of great workplaces on the Nigerian economy is enormous, especially as the wellbeing of employees is much better, and employees with improved wellbeing are more likely to be healthier.
According to him, a healthier body and mind is more likely to be productive, which invariably means an improved economy.
"For us as a company when you have companies that are great workplaces, improving on their policies and practices, it is bound to improve companies' productivity because productivity is driven by employees' input and output and when you have companies that are great workplaces getting employees motivated, those employees would improve productivity and innovation for the organisations and all of that drives to improve the economy of Nigeria," he added.
Courteville Business Solution Plc
Nigeria Breweries Plc
Sterling Bank Plc
Niger police arrest two kidnappers, recover N2.1 million, others
The Niger State Police Command in collaboration with a vigilante group have arrested two suspected kidnappers in Gurara local council of the state.
LP insists on Adegeye as Reps candidate
Ahead of the February 25 general elections, Labour Party (LP) Chairman in Amuwo-Odofin Local Council, Ebele Nwuzor, has declared that George Adegeye remains the party's House of Representatives candidate in the council.
Rotary empowers 100 Isolo residents with free vocational training
Rotary Club of Isolo has empowered 100 residents, including students from Lagos State University of Science and Technology (LASUSTECH) and three other schools in its free vocational training and skill development.
Lagos APC condemns political violence, urges law enforcement to investigate Surulere fracas
Lagos State chapter of All Progressives Congress (APC), yesterday, condemned the governorship candidate of the Peoples Democratic Party (PDP), Jide Adediran, for violence allegedly unleashed by his supporters in Surulere area of the state.
Oyo plans 20 more housing projects
To address challenges of housing deficits in the state, Oyo authorities plan to construct 20 more housing projects and expand Government Reserved Areas (GRAs) in partnership with professionals. The Commissioner for Lands, Housing and Urban Development, Mr. Olusegun Olayiwola, who gave the assurance at the inauguration of 15th executive of the Nigeria Institution of Estate…
Sterling introduces Omni X platform
Sterling Bank Plc has launched a digital platform, Omni X, which described as revolutionary.
Central Bank releases N3.5b for non-oil export rebates
The Central Bank of Nigeria (CBN) has released N3.5 billion as rebates for exporters of semi- and fully-processed non-oil commodities under the newly-created RT200 Non-oil Export Proceeds ..
LinkedIn releases 25 best workplaces to work in Nigeria ranking
Professional network company, LinkedIn, has released its 2022 list of best places to work in Nigeria.
CAN condemns Sterling Bank over Easter advert
The Christian Association of Nigeria (CAN) has chided Sterling Bank PLC over the advertisement on the resurrection of Jesus Christ. CAN noted that the action of the Bank's management may be tantamount to being hostile to the Christian faith. "We learnt that the Advertising Practitioners Council of Nigeria (APCON) has reportedly intervened in the matter…
CAN condemns Sterling Bank over 'provocative' Easter commercial
The Christian Association of Nigeria (CAN) has chided Sterling Bank Plc over the advertisement on the resurrection of Jesus Christ.
Oil firms lead FIRS' list of top taxpayers in 2021
The Nigeria Liquified Petroleum Gas Company Ltd and the Nigeria National Petroleum Company (NNPC), led the list of 18 top performing taxpayers in Nigeria in 2021, data released by the Federal Inland Revenue Service..


Further investigation revealed how fortuitous it was that more motorists weren't injured during the accident: The victim was traveling in the middle lane when her van was hit, which meant she literally had no way to avoid being struck without causing a chain accident. Yet, somehow, despite the odds, her vehicle managed to drift and come to a stop at the median without colliding with any other cars. Somehow, hers was the only fatality. Police told the AJC they suspect that in her final moments her foot came to rest upon the brake.
Atlanta has seen other, similar accidents recently. The Georgia Department of Transportation (GDOT) numbers the amount of fatal car wrecks caused by tire failure at nine. In 2012 an 8-year-old boy perished when parts from a tractor-trailer crashed through the windshield of his family's car. There have been other fatal accidents caused by flying debris across the state as well – each garnering a modicum of local media attention.
But what about possible legal action and damages available to those directly impacted by these incidents? When it comes to accidents like last Friday's, the victim's families often seek to file a wrongful death lawsuit. Determining negligence and liability tend to take precedence. In the course of such a suit, questions necessarily arise. 'Did the other driver fail to properly maintain the truck?' for instance. Was he aware that the tire had problems, yet failed to replace it? Is the tire or auto manufacturer somehow at fault? Was there a middle man mechanic involved who failed to properly secure the tire to the vehicle after servicing it? These are all questions that a skilled Atlanta car accident attorney would probably be best equipped to investigate.
It can be so hard to fathom how accidents like this occur. Within the blink of an eye, something as innocuous as a truck tire can acquire the force of a canon-ball and claim a life. It makes it difficult to reconcile possibility with the realm of reality. Moreover, it's extremely tragic. Especially in a case like this, where the victim saw it coming — but had absolutely nowhere to go.


Darryl Robertson was born in Reefton on the West Coast of the South Island, New Zealand and lived in the small rural settlement of 30 people at Mawheraiti, 20 kms away. At the age of four his family moved to Nelson at the Northern end of the South Island.
Darryl was always fascinated with the stained glass windows, sculptures and architecture of the local St. Mary's church and paintings in the local Suter Art Gallery, which he visited occasionally on the way to school and Nelson College. The church art and the gallery art, together with the atmosphere of these buildings, demanded respect when entering their large echoing spaces, were two things that set in motion an artistic feeling within him. At the time he did not understand what evoked the exciting powerful emotions from within but later working as an artist he understood why he had felt the way he had done as a child.
As a college student, in 1972, Darryl first became involved with clay whilst working with May & Harry Davis, both highly regarded potters. Darryl completed training in 7 studios over 7 years in New Zealand, Cornwell, England with John Davidson, and Queensland, Australia. These included an apprenticeship with Jack Laird at Waimea Craft Pottery, New Zealand. Darryl later travelled through 30 countries seeking art and artistic expression of many kinds, sometimes seeking places, other times finding them by chance. These experiences changed him and the way he would aim to work from that point on. On returning to New Zealand in 1980 Darryl and his partner Lesley Jacka established studios in two different locations around Nelson province before settling at Bronte and establishing the Bronte Gallery.


As usual, the left has things backwards.
If the illegal aliens got here on their own, then they can certainly leave on their own.
So why does the left persist in their views?
Simple. It's not about hope or change. It's about raising money and getting votes.
POOR PEOPLE WHO CAN AFFORD TO PAY HUMAN TRAFFICKERS THOUSANDS TO GET HERE, CAN PAY DELTA AIRLINES A FEW HUNDRED TO LEAVE.


text:
Q: problem with the canvas rendering. showing completely I have a problem with rendering the canvas. which if running the code You can see that some parts are missing from line 1560 onwards.
this is my sample code
please help me answer the problem
thank you.
from tkinter.filedialog import *
from tkinter import *
from tkinter import messagebox
import tkinter.messagebox
import tkinter as tk
import tkinter.font as tkFont
from tkinter import ttk
from tkinter import Tk, Checkbutton, Frame, IntVar
import customtkinter

class App():
    def __init__(self, root):
        root.title("DEMO")
        customtkinter.set_appearance_mode("dark")
        customtkinter.set_default_color_theme("blue")
        width = 800
        height = 500
        screenwidth = root.winfo_screenwidth()
        screenheight = root.winfo_screenheight()
        customtkinter.set_appearance_mode("dark")
        # Themes: blue (default), dark-blue, green
        customtkinter.set_default_color_theme("blue")
        alignstr = '%dx%d+%d+%d' % (width, height,
                                    (screenwidth - width)/1.1, (screenheight - height) / 2)
        root.geometry(alignstr)
        root.resizable(width=False, height=False)

        self.btn_checkbox = []
        self.interests=[]

        for i in range(2000):
            self.interests.append([f'num{i})',i])
        self.chks = [BooleanVar() for i in self.interests]

        self.my_labelframe_list = customtkinter.CTkFrame(
            root, corner_radius=10)
        self.my_labelframe_list.place(x=350, y=50, width=420, height=420)

        self.my_canvas =customtkinter.CTkCanvas(self.my_labelframe_list)

        self.my_scrollbar = customtkinter.CTkScrollbar(self.my_labelframe_list, command=self.my_canvas.yview)

        self.my_canvas.configure(yscrollcommand=self.my_scrollbar.set)
        self.my_canvas.bind('<Configure>', lambda e: self.my_canvas.configure(scrollregion=self.my_canvas.bbox("all")))
        self.second_frame = Frame(self.my_canvas)
        self.my_canvas.create_window(
            (0, 0), window=self.second_frame, anchor="nw")

        self.my_labelframe_list.place(x=350, y=50, width=420, height=420)
        self.my_canvas.place(x=150, y=30, width=250, height=380)
        self.my_scrollbar.place(x=400, y=30, height=380)

        self.list_friend()
    def list_friend(self):
        if self.btn_checkbox != []:
            for checkbuttonm in self.btn_checkbox:
                checkbuttonm.destroy()
            self.btn_checkbox = []

        if self.interests != []:

            for i, s in enumerate(self.interests):
                checkbuttonm = ttk.Checkbutton(
                    self.second_frame, text=f'{i+1}. {s[0]}', variable=self.chks[i],)
                checkbuttonm.pack(anchor=W)
                self.btn_checkbox.append(checkbuttonm)

if __name__ == "__main__":
        root = customtkinter.CTk()
        app = App(root)
        root.mainloop()

I have a problem with the canvas rendering. which, if you look at the attached picture It can be seen that some sections are missing.
This is my sample code.
please help me answer the problem
Thank you..


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text:
Ongoing trials
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Novartis is committed to sharing clinical trial data with external researchers and has been doing so voluntarily since 2014. Novartis was the 3rd member to join ClinicalStudyDataRequest.com (CSDR), which is the first data sharing consortium of clinical study Sponsors and Funders. CSDR is a leader in the data sharing community inspired to drive scientific innovation and improve medical care by facilitating access to patient-level data from clinical studies.
Novartis has joined a multi-company online system to receive and review external scientific research proposals and provide applicable anonymized voluntary data to support external research involving our clinical trial data. Such data will be made available after the medicine or vaccine has been approved by regulators in the United States (U.S.) and European Union (EU) in a given indication. This will begin with U.S. and EU regulatory approvals obtained from January 2014 and after the relevant studies have been accepted for journal publication.
Access this site to learn more about the Novartis scope of studies to be made available for external research data sharing. www.clinicalstudydatarequest.com
Browse available Novartis studies
You can view available studies listed on this site before creating an account.
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The purpose of the user guide is to provide instructions to the external researchers on how to navigate through this site.
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Fun fact: the name Luisana is based off the Latin word for illumination or light. This is a name for someone beautiful and bright and there couldn't be a more perfect first moniker for the angelically gorgeous Argentinean model Luisana Lopilato. Luisiana was born in Buenos Aires in 1987 and started her head-turning career at the young age of 6 when a casting director discovered her. When she was 14 she learned English for a role in a multi-langauge TV drama and soon after started doing international film and print work.
Luisana's worked for several mainstream commercial brands (including adds for Loreal and Coca-Cola) but where she really shines is as a lingerie and swimsuit model. Her perfect 5"6 34-25-32 frame graced Ultimo's summer 2015 swimwear campaign and in 2010 she ranked #17 on FHM Spain's "100 Sexiest Women in the World".
Lusiana is more than just a pretty everything, however. She's also got a great set of pipes on her. Throughout the 2000s she contributed to 5 albums that collectively sold over 5 million copies. While she hasn't released any new music since 2007, her recent marriage to Canadian singer Michael Buble is sure to have inspired her and she's rumored to be working on a solo album with her sister Daniela.


text:
Annesley Malewana () (Sinhala: ඇනස්ලි මාලේවන) is a Sri Lankan musician. Often considered "The Prince of Sinhala Pop", Malewana is well known for being a master of contemporary Baila worked with popular musical bands The Moonstones and Super Golden Chimes.

Personal life
Malewana was born on June 13, 1947 in Ratnapura, Sri Lanka and attended St. Joseph's College, Colombo.

He is married to Swarnamali and the couple has one son and one daughter.

Musical career
Upon leaving school, he met Clarence Wijewardena, and the two formed the group Moonstones in 1966. In the early 1960s, the Moonstones began performing songs composed by Wijewardena and sung by Malewana.  Their first hit was Mango Nanda, a song written about the maid who once worked at the home of Clarence's wife in the early days of their relationship.

The Moonstones were managed by the advertising man Sri Sangabo Corea and were mentored by the Radio Ceylon broadcaster Vernon Corea and his cousin Vijaya Corea. They first featured on a program called "Saturday Star" on Radio Ceylon. Their music was featured for the very first time on the English Services of Radio Ceylon and subsequently the Sri Lanka Broadcasting Corporation. They became household names as a result of the airplay on Radio Ceylon throughout the 1960s. After few years, Wijewardena formed "Golden Chimes" and left "The Moonstones". However, later all reunited again and formed the band "Super Golden Chimes". The band produced many popular songs such as Udarata Niliya and Gamen liyumak.

During the 1960s, 1970s, and 1980s, the songs of the 'Moonstones' and the 'Super Golden Chimes' were on the top of popularity. His songs topped the charts on both the English Service and the Sinhala Service on Radio Ceylon for decades. In 1977, he got a job at a Private company and temporarily left the band.

Malewana and Wijewardena remained friends and reunited in the 1970s to form a group dubbed the Super Golden Chimes - this group would, similarly, produce a string of popular songs that included Udarata Niliya, Sihina Pathum, Wana Bambaro, and Sathuta Senasuma. The Super Golden Chimes performed for another eight years until, in 1978, Malewana married, and announced his retirement from music. Despite his retirement, Malewana returned in 1988 as a solo artist and continued to record songs, particularly for CDs released in Sri Lanka. In 2005 he formed the band Annesley & The Super Chimes. His song Kageda Gon Wassa was censored between 1970 and 1977 by the prevailed government because people started hinting at the government with this song. In 1984, he made playback singing with the film Shirani directed by M. H. Gafoor.

On 27 July 2013, he organized a musical show "Sing Along with Annesley Malewana" at Hotel Taj Samudra Rooftop as a fundraiser for Lion Sight First Hospital. On 6 August 2016, Malewana celebrated 50 years of his singing career with a grand musical show titled '50 Year Reflection' which was held at the BMICH at 7 pm.

Controversy
In 2009, Wijewardena's wife and daughter filed a case against Malewana by citing that Clarence's songs were sung without permission. They said some of the songs such as Kalu Mama, Goyam Kapanawa, Rosa Male and Sudu Menike were first claimed to be theirs. Then they made a list of about 27 songs and told Malewana that he had no right to sing them. But those songs have been sold to Wickramasooriya and company. In the same contracts that were sold Malewana have signed for "Moonstone" and "Super Golden Chimes". The summons, in this case, was handed over on December 23, 2010. An enjoining order had been imposed so that not a single song could be sung. However, his innocence has been proved justified in court.

Legacy
The songs performed by Malewana and Clarence over their three decades have recently been credited, by the group Pahan Silu, as having served to influence them in crafting their unique musical style.

His voice has been heard by Londoners over BBC Radio London 206 on the London Sounds Eastern radio program and on community radio in the United States and in Australia.

See also
 Radio Ceylon
 Sri Lanka Broadcasting Corporation
 Clarence Wijewardena

References

External links
 Sunday Leader Feature on Annesley Malewana
 Stars of '70s Reviewed
 About Moonstones
 About Annesley Malawana

20th-century Sri Lankan male singers
Sri Lankan Roman Catholics
Living people
Sinhalese singers
1947 births
21st-century Sri Lankan male singers


text:
"The emancipation of the working class will only be achieved by the working class itself." — Karl Marx
The Spark Newspaper
Class Struggle Magazine
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Protests against Prejudice
Translated from Lutte Ouvrière (Workers' Struggle), the newspaper of the revolutionary workers' group active in France.
Protests of tens of thousands of people in India exploded when the legislature passed a discriminatory law proposed by prime minister Narendra Modi's Bharatiya Janata Party (BJP). Police repression of the demonstrations left 25 dead and dozens injured by Christmas.
The Citizenship Amendment Act (CAA) claims to make it easier for immigrants fleeing religious persecution in India's neighboring countries of Bangladesh, Pakistan, and Afghanistan to become citizens. But the law concerns only Hindus, Christians, Buddhists, Jains, Parsis, and Sikhs. The law excludes Muslims on the absurd pretext that Muslims can't be religiously persecuted in Muslim countries.
This discriminatory CAA outraged many Indians, and not only Muslims. It was so obviously intended to divide the Indian people.
Since taking power in 2014, Modi and his Hindu nationalist BJP have played on the prejudices of people supporting privileges for Hindus in order to push through anti-worker policies and attacks on the poor. They became bolder after winning elections last spring.
The CAA is yet another provocative discrimination against the one out of seven Indians who are Muslims: 201 million human beings.
The BJP government has an interest in diverting attention away from its unfulfilled campaign promises—economic growth one-fifth slower than predicted, corruption at all levels, unemployment, nine million jobs cut in six years, and poverty for 800 million people forced to live on less than three dollars a day.
After deadly repression targeting students, the anger of demonstrators in North East India and other main cities went beyond opposition to this one law. On December 22 Modi announced a campaign to meet millions of families at rallies and press conferences. But this didn't deter protestors from gathering the very next day.
Editorial: Oppose the Endless U.S. Wars in the Middle East
Democrats Agree to a Budget Deal
Capitalism Rewards Shareholders and Condemns Itself
ICE Detention Prisons
Rallying Reactionaries to Target Women
Wildfires: We Pay Double!
How Much Medicine Can You Afford?
Agriculture and Global Warming
Pensions: A Struggle that Concerns All Workers
Yemen: No Ceasefire
India: Protests against Prejudice
Maryland Prison Inmates Paid at Rock Bottom
Amazon: Top Dog in Profit ... and Pollution
Got Car Payments?
How They Spend Our Money
Climate Change Approaches Global Tipping Point
Australia Wildfires: Politicians Fiddle, While the World Burns
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