Over 600 Sidney High School and Shelby County students are expected to attend from grades 9-12 and the UVCC. Companies, recruiters, and colleges are welcome to register for space at the fair. Booth space is approximately 10ft x 12ft with a 6' table and two chairs provided.
Reservations for those organizations looking to participate should be made by Friday, April 19, 2019. Contact Mary Ellen Buechter, CBIP Instructor at Sidney High School by phone or email for more information or to reserve your space – 937-689-0818, mary.buechter@sidneycityschools.org.


When a printer, scanner, copier malfunctions, it affects not only document reproduction but also office productivity and efficiency. Some of the issues are physically communicated to the user through the error lights.
Ready light is on or flashing – this is normal behavior of the device as it is in standby mode and ready to scan, it flashes on and off when scanning is in progress.
Error light is flashing, ready light is off – this indicates a problem with connectivity and could be resolved by checking signal between the computer and printer. If this still does not work try unplugging both devices from the wall socket. Wait for a few seconds before re-powering on, and reboot both devices.
Error and ready lights are both on – the scanner has received a wrong signal from the computer scanning software. Rescanning again will resolve the issue.
Error and ready lights are both off – try checking if the scanner is plugged to the power outlet securely. Then push the power button to restart the scanner, the green ready light should be on. If not, there is a problem with the automatic document feeder or the scanner door is still open and need to closed. And if the automatic document feeder is currently being used, be sure to load the document properly and no paper has jammed.
Error and ready light are both flashing – the problem lies with the transportation lock found at the back panel of the scanner and unlock. Another approach is to unlock the scanner, turn it off and on alternately and restart the computer. This should allow the scanner to resume scanning.
If after having done all the tips mentioned above and the scanner still does not work, the problem could be complex and beyond the scope of the user's skills. This is the end of the rope, and the printer manufacturer must be called to resolve the nagging issues.
Remember, no one not even the manufacturers knows when the printer, scanner, copier can stop working. Most irregularities appear to be component failure. Some may be software related which can be resolved by uploading updated drivers from the Internet.
Through it all, nothing beats a printer, scanner, copier that is properly maintained. It will deliver thousands of hours of flawless operation.
Problem: Is It Possible To Change The Language On My Oki C5500?
Wow nice post every issue is generous and their solution is describe in detail very helpful even for beginner thanks for sharing.
I have received the messages – "Printer – Operation could not be completed with the error code 0x000000c1. It also shows "Driver Installation Error" How to fix it?


Imagine a landscape full of dinosaurs!
Children love using the 8 detailed dino stamps and a 2-colour inkpad. It's fun creating countless scenes and colouring in the pictures with the 5 coloured pencils! This well-crafted set is conveniently contained in a sturdy wooden box for organising and storage. Includes washable, non-toxic kid-friendly ink.
Featuring a rainbow, hearts and more, children love using 8 playful stamps and a 2-colour inkpad. It's fun creating countless scenes and colouring in the pictures with the 5 coloured pencils! This well-crafted set is conveniently contained in a sturdy wooden box for organising and storage. Includes washable, non-toxic kid-friendly ink.
A fun, clean, simple and very convenient way to paint, Little Brian Paint Sticks have fast become the latest must have toy for any art or craft fan!
Water soluble and child friendly, the Little Brian Paint Sticks have solid colourful paint that you literally twist up and down, exactly like a glue stick!
Can be used on all sorts of surfaces including paper, card, canvas, and wood.
Paint without brushes or water with a great pack of 6 paint sticks in classic colours! Simply twist up and down like a glue stick and enjoy painting without the mess! Paint dries into solid and vibrant colours in less than 60 seconds. Colours included: yellow, red, green, blue, black and brown.
Our Beach Bash Jewelry Kit has everything you need to make tropical inspired jewelry. From the sea glass color palette to the seashell-shaped beads, your creations will look like they were purchased while sailing the Caribbean. The handy carrying case makes it easy to take your jewelry making supplies on the go.
Craft project? Room decor? Play characters? All of the above! These sets come with chunky sheets of punch-out, sturdy shapes, and each shape notches into companion slots for easy-peasy assembly. Brighten shelves, desks, windowsills, and rainy days!


It could be recalled that the International Business Times a British on line news website reported a story with caption "Sierra Leone: Ebola crisis continues as 300 babies are buried a week". The story was written By Fiona Keating, published on January 13, 2015 20:52 GMT onhttp://www.ibtimes.co.uk/sierra-leone-ebola-crisis-continue 300 babies are buried a week in Sierra Leone.
Sky News also broadcast similar story.
The said story went viral on the social media platform in the country as many described it as very scary more especially when the country is now reporting low new Ebola cases.
Ajibu went further to say such story is dubbed as "yellow journalism" and called on local journalists to refute such. "Let us refute it", said Deputy Government Spokesman.


The City of Seattle this week launched a citywide privacy initiative aimed at providing greater transparency into the city's data collection and use practices.
To that end, the city has convened a group of stakeholders, the Privacy Advisory Committee, comprising various government departments, to look at the ways the city is using data collected from practices as common as utility bill payments and renewing pet licenses or during the administration of emergency services like police and fire. By this summer, the committee will deliver the City Council suggested principles and a "privacy statement" to provide direction on privacy practices citywide.
In addition, the city has partnered with the University of Washington, where Jan Whittington, assistant professor of urban design and planning and associate director at the Center for Information Assurance and Cybersecurity, has been given a $50,000 grant to look at open data, privacy and digital equity and how municipal data collection could harm consumers.
Responsible for all things privacy in this progressive city is Michael Mattmiller, who was hired to the position of chief technology officer (CTO) for the City of Seattle in June. Before his current gig, he worked as a senior strategist in enterprise cloud privacy for Microsoft. He said it's an exciting time to be at the helm of the office because there's momentum, there's talent and there's intention.
"We're at this really interesting time where we have a City Council that strongly cares about privacy … We have a new police chief who wants to be very good on privacy ... We also have a mayor who is focused on the city being an innovative leader in the way we interact with the public," he said.
In fact, some City Council members have taken it upon themselves to meet with various groups and coalitions. "We have a really good, solid environment we think we can leverage to do something meaningful," Mattmiller said.
The momentum comes from recent incidents in which the city realized it isn't where it needs to be on privacy, Mattmiller added.
"Here in Seattle, the city has had some very high-profile privacy incidents in the last 18 months," he said, mentioning the city's purchase of drones without giving the public notice, installing waterfront surveillance cameras without communicating or installing them properly—resulting in inappropriate surveillance of apartments—and using wireless mesh to track citizen movements by their cell phones.
"The city has not been transparent with the public about what we do with the data we collect and what protections we put in place," Mattmiller said.
Because of the resulting backlash, the city decided to get serious about privacy, which Mattmiller felt during the hiring process. Despite the recent gaffes, privacy is one of the city's core values, Mattmiller said.
The department is responsible for three buckets: Connecting the public to its government via sites like Seattle.gov, mobile apps and an open-data platform; the city's infrastructure—data networks and central services like email, and community technology and digital equality—making sure citizens have digital literacy and competitive broadband options.
Mattmiller's department is also responsible for citywide standards, so if an agency wants to buy a technology, it has to comply with the office's guidelines. The department is creating the policy that will define those standards now.
"We envision a privacy program that we will use to help drive consistency across the city," he said.
Ginger Armbruster is the department's lead in strategic planning and governance. She'll lead the interdepartmental team of reps to look at what kind of stance the city wants to take on privacy. That will include taking a principles-based approach that stems from the city's ethical stance, which is yet to be developed. That position will inform the appropriate policies for each of the city's 32 departments.
"How will we help the police department come up with appropriate policies based on governance for themselves around surveillance that raises concerns, for example," Armbruster said.
Mattmiller said the city is taking a granular approach to crafting policies because following a federal model, such as the NIST standards, for example, isn't going to work for everyone.
The police department "is going to have special applications; utilities will require specs that provide supplemental information," Mattmiller said.
To help departments become accustomed to the eventual policy, Mattmiller sees the city using toolkits that include background information on what's important, checklists with reasonable details to help people think about the right concepts.
Armbruster said the end goal is to create policies that will hold weight over time.
The bottom line, Mattmiller said, is making a decision that says something about Seattle and where it stands.


The Government Accountability Office concluded that minority ownership of media properties remains limited, but just how limited is hard to tell due to deficiencies in Federal Communications Commission data collection, including filling exemptions for some stations, noncommercial "inadequate data quality procedures" and problems with data storage.
But based on the limited data it had, the GAO said the key limiting factors were the high fixed costs, the size of the market and local radio- and TV-ownership caps.
The GAO concluded that "though smaller owners, including minorities and women, have opportunities to enter the media industry by way of Internet-based and niche publications, these groups continue to face long-standing challenges to the ownership of radio and television stations." It recommended that the FCC improve the reliability of its data so it could better assess its rules.
The report was created at the request of the House Commerce Committee.
The FCC countered that it has taken steps to boost minority ownership, and it would take whatever steps were necessary to improve the reliability of its data collection after it digests comments it sought on just that subject.
FCC Media Bureau chief Monica Desai, in a letter to the GAO responding to a draft of the report, pointed out that the commission recently gave eligible entities -- including small businesses and minorities and women -- more time to build facilities, as well as taking steps to boost access to financing.
House Commerce Committee chairman John Dingell (D-Mich.) said in a statement Friday that he was concerned about the data-collection issue. "If we are to foster further diversity in media ownership, we first need sound and reliable facts about the current state of affairs," he added.


text:
Major advances in treatment
Regionally led integrated approach to service delivery
Training and education resources
Improving access to hepatitis C treatment in the community
National hepatitis C campaign
Development of a National Hepatitis C Action Plan
Hepatitis C one-off payment
Major advances in the treatment of hepatitis C
The provision of funded treatment for hepatitis C in primary health is a fundamental change in the treatment of hepatitis C.
In June 2016 PHARMAC announced funding for direct-acting antiviral drug therapies for New Zealanders living with the hepatitis C virus.
From July 2016, Harvoni and Viekira Pak for hepatitis C infection were fully funded (some with access criteria) through a hospital specialist. This was a major advancement in the treatment of hepatitis C, with cure rates of more than 90% with as little as 12 weeks oral treatment.
Since October 2016, all prescribers including general practitioners have been able to prescribe Viekira Pak and Viekira Pak-RBV.
On 17 December 2018 PHARMAC announced their decision to fund a new treatment for people with hepatitis C to commence from 1 February 2019. This treatment is a potential cure for people with chronic hepatitis C infection regardless of the type or genotype
This treatment (known as Maviret) has fewer side effects and fewer interactions with other medicines than the previous funded treatments and is a simpler treatment – once-daily dose for a minimum of 8 weeks. Refer to the PHARMAC website for details about the announcement.
Decision to fund a new hepatitis C treatment (Maviret) and to widen access to adalimumab (Humira) for psoriasis
PHARMAC continues to work closely with clinicians, the Ministry, suppliers and others in the health sector to ensure that the right information is available to support the treatment of hepatitis C in the community.
Refer to the PHARMAC website for information to support the roll out of the new hepatitis C funded treatments. This includes information from the Best Practice Advocacy Centre, product information, medical information for prescribers and pharmacists, and more details about patient eligibility for funded treatments:
Hepatitis C funded treatments

redpajama_set_name: RedPajamaCommonCrawl


text:
MNNIT- MBA Programme 2012-13
7:15:00 AM MBA, MNNIT No comments
Motilal Nehru National Institute of Technology
Allahabad - 211004, India
Phone:91-0532-227,
Fax No.: 2545341,2545677
Admission To MBA Programme 2012-13
Motilal Nehru National Institute of Technology Allahabad, Allahabad (MNNIT) is an Institute with total commitment to quality and excellence in academic pursuits. It was established as one of the seventeen Regional Engineering Colleges of India in the year 1961 as a joint enterprise of Government of India and Government of Uttar Pradesh, and was an associated college of University of Allahabad. On June 26, 2002 MNREC was transformed into National Institute of Technology and Deemed University fully funded by Government of India. With the enactment of National Institutes of Technology Act-2007, the Institute has been granted the status of Institution of National Importance w.e.f. 15.08.2007.
Eligibility: The candidate must hold a Bachelor's Degree in Engineering/ Technology/Science OR an equivalent degree with Mathematics/Economics as one of the subjects in qualifying examination, with at least 50% marks or equivalent CGPA [45% in case of the candidate's belonging to Scheduled Caste (SC), Scheduled Tribe (ST) and Differently Abled (DA) (it may also refer to as Person with Disability (PWD) category)], awarded by any of the universities incorporated by an Act of the central or state legislature in India or other educational institutions established by an Act of Parliament or declared to be deemed as University under section 3 of UGC Act, 1956, or posses an equivalent qualification recognized by the Ministry of HRD, Government of India
Eligible candidates are required to download the application form from our Institute website ww.mnnit.ac.in. Dully filled-in and signed application form along with a demand draft of `1200/- (`600/- for SC/ST) in favour of Director, MNNIT payable at Allahabad must reach The Admission Cell, Office of the Dean (Academic), Motilal Nehru National Institute of Technology Allahabad, Allahabad – 211004 by March 16, 2012 up to 5.30 PM.
For more details, visit: www.mnnit.ac.in
MBA Admission 2012 - Ambedkar University, Delhi
7:09:00 AM MBA No comments
Ambedkar University, Delhi
Sector 9, Dwarka, New Delhi 110077
Two-year (Full-Time) MBA programme School of Business, Public Policy & Social Entrepreneurship (SBPPSE)
Eligibility: Candidates with a Bachelor's degree in any discipline from a recognised University with a minimum of 50% marks (or an equivalent grade) are eligible for admission. Eligibility for SC/ ST/PD candidates will be 45%.
Note: Candidates appearing in the final year examination of Bachelor's / Post Graduate Degree Examinations are eligible to apply irrespective of their percentage of scores obtained till the time of application, provided that they expect to fulfill the eligibility criteria when their results are declared and which must be submitted to the AUD Office before 31st July 2012.
Application Procedure: Applications for admission to the programme are invited through advertisements in newspapers and on the website of AUD. Applicants must visit AUD website (www.aud.ac.in) to register on-line and make the payment of Rs.1000/- (Rs500/- for SC/ST candidates) as application fee.)
Selection Procedure: Eligible applicants will be required to take an Admission Test (online) which will be conducted by AUD (SBPPSE) on Sunday 18th March 2012 in various centres in India. Those applicants who had registered and applied earlier (in October/ November 2011) by quoting their CAT Reg. No. need not register/ pay again, but will be invited to take the Admission Test. On the basis of scores obtained in the on-line Admission Test candidate will be shortlisted for Group Discussion (GD) and Personal Interview (PI) which will be held at AUD premises in the middle of April 2012.
Visit the website (www.aud.ac.in) for registering and making on-line payment, which will be open from 1st February 2012 till 29th February 2012.


text:
Home Art & Culture Visual & Performing Arts Nuclear Waste and Chicken Bones
Nuclear Waste and Chicken Bones
Artist Hannah Chalew asks how we got here—and what's next
by Dillon Raborn
Rush Jagoe
"Terraforming in the Anthropocene," artist Hannah Chalew's 2018 sculptural installation in City Park
Imagine yourself a giant, romping along through the Louisiana marsh. You notice an unaccounted-for oil pipe, protruding from the water like a weed. When you reach down to pluck it from the ground, out of the dripping water comes an entire framework of plant life growing around and along this skeletal rusting infrastructure, placed by ambition and left by apathy. This is something akin to Terraforming in the Anthropocene, New Orleans artist Hannah Chalew's 2018 sculptural installation in City Park.
Chalew said that she seeks, as much as possible, more public non-traditional venues for her work, hoping to bring it to people who might not feel comfortable entering an art space, or otherwise seeking out art. Placing this installation in City Park was particularly rewarding. "[It] was really exciting because people would literally happen upon the work and have to make sense of it through the experience, drawn in by the beauty of the plants and the lights at night, only to discover the rusty infrastructure and embedded plastic waste from which the plants were growing. I think there are mundane plastic objects in the installation that everyone can recognize and feel some complicity with the issues at stake, an ugliness amidst the beauty that will resonate with people."
"I think it's important that these movements be led by those suffering from environmental injustice—the people of color and indigenous fence-line communities where the effects of climate change are not hard to imagine because their lives have already been massively affected. " —Hannah Chalew
The work's name comes from an event, in August 2016, when time changed. The International Geological Congress met in Cape Town to discuss and ultimately propose a new epoch in the history of Earth called the Anthropocene. This era—originally proposed to begin around 1950—would be easily recognizable in the fossil record by the proliferation of nuclear waste, plastic residue, and chicken bones in our soil layer. Such exclusively "human" artifacts of the epoch are also hidden in the oversized dirt clots clinging to the frame of Terraforming in the Anthropocene. Here and there, a candy wrapper peeps out, adjacent to a single-use white fork, opposite a rubber footpad, all joined by moss and grasses growing in real time over the wired hut of pipes.
[Read this: With simple, startling murals, Francisco "Pastel" Diaz brings the natural world back to built environments]
Chalew's particular environmental consciousness takes in these effects of human activity, then asks how we got here and how we carry this conversation forward. Her work manifests in almost a decade of paper drawings and sculptural installations composing a portfolio that walks the line between the graphic and the hypnotic. Her reputation is linked to the medium of sculpture, yet she thinks of herself as a draftsman. "Drawing is where I started and how all of my work originates, whether it ends up as a work on paper or as an immersive installation. I think of my installations as drawings in space, and often my more 'traditional' drawings are informed by—and in turn inform—my works in space."
Rush Jago
"Refining Patterns" reckons with the extractive economies of South Louisiana.
Chalew's mindfulness of the issues facing the Anthropocene is one in which community takes center stage. Her work speaks to art's ability to both generate and be generated by groups. If serious action is going to be taken towards reforming homo sapiens' relationship to their planet, she believes it will come from grassroots movements influencing public policy. "I think it's important that these movements be led by those suffering from environmental injustice—the people of color and indigenous fence-line communities where the effects of climate change are not hard to imagine because their lives have already been massively affected. In South Louisiana, I'm thinking of Rise St. James—a group of folks from around "Cancer Alley" [the industrial corridor in the River Parishes]—who are organizing against all the petrochemical companies that keep popping up around their town and poisoning them. L'eau Est La Vie, the indigenous-led resistance movement against the Bayou Bridge Pipeline, has been doing brave direct action protests against the tail end of the Dakota Access Pipeline. In New Orleans, there is a coalition that is fighting a new natural gas plant, which is set to be located in a predominately black and Vietnamese community."
"I believe that by creating environments where people have to literally confront what will happen to our everyday cultural detritus, and contemplate the relationship between oil extraction, plastic production, and an uncertain future, I'm creating spaces where people can be moved to shift their perception, or at least be temporarily shaken out of their denial and complacency."—Hannah Chalew
Chalew's unapologetic social justice emphasis can be found especially in her more recent works on paper. In her 2019 work, Abundance Undermined, she visualizes New Orleans' Gordon Plaza. The community, settled in the western 9th ward, sits atop a hundred-year-old deposit of toxic garbage, through which run its waterlines and other urban vitals. Chalew gives us an illustrated cake slice of the community complete with exposed subterranean debris and waste bursting forth in spite of the concrete slabs that so superficially conceal them. The image bows slightly at the center, much like a fish-eye lens effect, further illustrating the spillage. True to her cause, the paper and ink composing the massive drawing are homemade.
Hannah Chalew
"Abundance Undermined," 2019.
More recently, Chalew has begun visualizing the inevitable future. Her 2018 residency with the Joan Mitchell Center culminated in a sculptural installation entitled Entropical Futures, which was displayed at the Center until January 2019. Entropy, like apathy, is a force of cumulative passivity, and Entropical Futures envisions a kind of anti-greenhouse farm with isolated planets of dirt, reminiscent of those found in Terraforming the Anthropocene, attached to repurposed pipes and light fixtures. The installation chaotically expands to fill a huge portion of the room, as if strewn about like debris from a storm. Viewers were forced to duck and maneuver with care, as though walking through the aftermath of some great event past. In messaging more sinister than that of Terraforming, Entropical juxtaposes fake, plastic plants alongside real ones, emphasizing the optimistic but tentative irony of it all: that in spite of our shifting the environment for centuries to come, nature adapts. "I believe that by creating environments where people have to literally confront what will happen to our everyday cultural detritus, and contemplate the relationship between oil extraction, plastic production, and an uncertain future, I'm creating spaces where people can be moved to shift their perception, or at least be temporarily shaken out of their denial and complacency."
"I believe that art has the power to reach people and make them feel emotions on issues that can otherwise be hard to digest or confront."—Hannah Chalew
Despite the rebuke her work is meant to express—a forced confrontation with the late twenty-first century epidemic of microplastics in ground wells, in the water used for crops, which in turn feed the populace—Chalew is not without hope. "Another rewarding part of both those installations was that they were primarily presented to younger folks. The installation at City Park was at Grow Dat Youth Farm, an urban farm and youth development program, and Delgado Community College, which is about fifty percent 18–24-year-olds. Young people will be inheriting all these problems and will have to ultimately deal with the mess we are leaving of our planet. I think we need to be educating the next generation about these ideas as early as possible and also promoting creative problem-solving."
In "Entropical Futures," Chalew crafted an anti-greenhouse farm with isolated planets of dirt.
Chalew's unwillingness to strictly separate the spatial from the flat in her body of work might serve as an apt metaphor for how we ought to think of the species-wide responsibility we have to ourselves and our environment, reflecting a necessary evolution from thinking of such things as linear, problem-solution issues to realizing them as the three-dimensional challenges that they are. Separated, cut-and-dried methods won't tackle single-use plastics, unregulated fossil fuel use, and the increasing supply of human waste. Rather, these issues must all be taken on at once and from multiple angles. Climate change is a thing so massive, touching so many areas of our existence, that it takes a conscious effort to wrap our minds around it—but art can assist that process.
[Read this: Jonathan Meyers paints hard-hitting allegories]
Chalew references the philosopher Timothy Morton's term "hyperobject" as a way to talk about climate change—an "entity of such vast temporal and spatial dimensions that it defeats traditional ideas about what a thing is in the first place."
"But," she said, "I believe that art has the power to reach people and make them feel emotions on issues that can otherwise be hard to digest or confront."
Chalew's work's immediacy, its frankness, and its cutting words are tinted with an impenetrable optimism that sees the bed we have made for ourselves and suggests that panic is not the solution, but rather education. Education topples giants; if Chalew's art and activism can help that process along, its value exceeds the detritus it is made of. "I don't think New Orleans will be here forever but it's important for me to be here while it is, and to be making work that addresses what it means to live in a time of global warming with an uncertain future, specifically in South Louisiana."
hannahchalew.com
Visual Arts Nature & Outdoors New Orleans November 2019


text:
<?php
namespace TYPO3\CMS\Backend\Backend\ToolbarItems;

use TYPO3\CMS\Backend\Backend\Avatar\Avatar;
use TYPO3\CMS\Backend\Domain\Model\Module\BackendModule;
use TYPO3\CMS\Backend\Domain\Repository\Module\BackendModuleRepository;
use TYPO3\CMS\Backend\Toolbar\ToolbarItemInterface;
use TYPO3\CMS\Backend\Utility\BackendUtility;
use TYPO3\CMS\Core\Imaging\Icon;
use TYPO3\CMS\Core\Imaging\IconFactory;
use TYPO3\CMS\Core\Utility\GeneralUtility;

/**
 * User toolbar item
 */
class UserToolbarItem implements ToolbarItemInterface
{
    /**
     * @var IconFactory
     */
    protected $iconFactory;

    /**
     * Constructor
     */
    public function __construct()
    {
        $this->iconFactory = GeneralUtility::makeInstance(IconFactory::class);
    }

    /**
     * Item is always enabled
     *
     * @return bool TRUE
     */
    public function checkAccess()
    {
        return true;
    }

    /**
     * Render username
     *
     * @return string HTML
     */
    public function getItem()
    {
        $backendUser = $this->getBackendUser();
        $languageService = $this->getLanguageService();

        /** @var Avatar $avatar */
        $avatar =  GeneralUtility::makeInstance(Avatar::class);
        $icon = $avatar->render();

        $realName = $backendUser->user['realName'];
        $username = $backendUser->user['username'];
        $label = $realName ?: $username;
        $title = $username;

        // Switch user mode
        if ($backendUser->user['ses_backuserid']) {
            $title = $languageService->getLL('switchtouser') . ': ' . $username;
            $label = $languageService->getLL('switchtousershort') . ' ' . ($realName ? $realName . ' (' . $username . ')' : $username);
        }

        $html = [];
        $html[] = $icon;
        $html[] = '';
        $html[] = htmlspecialchars($label);
        $html[] = '';

        return implode(LF, $html);
    }

    /**
     * Render drop down
     *
     * @return string HTML
     */
    public function getDropDown()
    {
        $backendUser = $this->getBackendUser();
        $languageService = $this->getLanguageService();

        $dropdown = [];
        $dropdown[] = '
';

        /** @var BackendModuleRepository $backendModuleRepository */
        $backendModuleRepository = GeneralUtility::makeInstance(BackendModuleRepository::class);
        /** @var \TYPO3\CMS\Backend\Domain\Model\Module\BackendModule $userModuleMenu */
        $userModuleMenu = $backendModuleRepository->findByModuleName('user');
        if ($userModuleMenu != false && $userModuleMenu->getChildren()->count() > 0) {
            foreach ($userModuleMenu->getChildren() as $module) {
                /** @var BackendModule $module */
                $dropdown[] ='
getName()) . '"'
                    . ' class="typo3-module-menu-item submodule mod-' . htmlspecialchars($module->getName()) . '" '
                    . ' data-modulename="' . htmlspecialchars($module->getName()) . '"'
                    . ' data-navigationcomponentid="' . htmlspecialchars($module->getNavigationComponentId()) . '"'
                    . ' data-navigationframescript="' . htmlspecialchars($module->getNavigationFrameScript()) . '"'
                    . ' data-navigationframescriptparameters="' . htmlspecialchars($module->getNavigationFrameScriptParameters()) . '"'
                    . '>';
                $dropdown[] = 'getDescription()) . '" href="' . htmlspecialchars($module->getLink()) . '" class="dropdown-list-link modlink">';
                $dropdown[] = '' . $module->getIcon() . '';
                $dropdown[] = '' . htmlspecialchars($module->getTitle()) . '';
                $dropdown[] = '';
                $dropdown[] = '
';
            }
            $dropdown[] = '

';
        }

        // Logout button
        $buttonLabel = 'LLL:EXT:lang/locallang_core.xlf:' . ($backendUser->user['ses_backuserid'] ? 'buttons.exit' : 'buttons.logout');
        $dropdown[] = '
';
        $dropdown[] = '';
        $dropdown[] = $this->iconFactory->getIcon('actions-logout', Icon::SIZE_SMALL)->render('inline') . ' ';
        $dropdown[] = $languageService->sL($buttonLabel, true);
        $dropdown[] = '';
        $dropdown[] = '
';

        $dropdown[] = '
';

        return implode(LF, $dropdown);
    }

    /**
     * Returns an additional class if user is in "switch user" mode
     *
     * @return array
     */
    public function getAdditionalAttributes()
    {
        $result = [];
        if ($this->getBackendUser()->user['ses_backuserid']) {
            $result['class'] = 'su-user';
        }
        return $result;
    }

    /**
     * This item has a drop down
     *
     * @return bool
     */
    public function hasDropDown()
    {
        return true;
    }

    /**
     * Position relative to others
     *
     * @return int
     */
    public function getIndex()
    {
        return 80;
    }

    /**
     * Returns the current BE user.
     *
     * @return \TYPO3\CMS\Core\Authentication\BackendUserAuthentication
     */
    protected function getBackendUser()
    {
        return $GLOBALS['BE_USER'];
    }

    /**
     * Returns LanguageService
     *
     * @return \TYPO3\CMS\Lang\LanguageService
     */
    protected function getLanguageService()
    {
        return $GLOBALS['LANG'];
    }
}

redpajama_set_name: RedPajamaGithub


Peter Singer, philosopher and professor of bioethics at Princeton University and laureate professor at the University of Melbourne, is convinced that factory farming is the greatest abuse of animals on earth.
In the following essay, he briefly exposes the conditions that animals are raised in factory farms as well as presenting the case of it being a moral wrong. Singer states that "While our society focuses on issues like gay marriage and the use of embryos for research, we are overlooking one of the big moral issues of our day.


text:
REVIEW: Cinderella and the Beanstalk at Theatre 503
This Christmas, Theatre 503 and The Sleeping Trees present Cinderella and the Beanstalk as their pantomime. The show has an incredibly energetic start, as the four cast members realise they have 'forgotten' to hire actors, therefore, must take on the task on playing 43 characters between them. The storyline was genuinely exciting and combined a number of well-known fairy tales. In true panto tradition, there was a good balance of slapstick comedy, audience participation and a healthy dollop of over-acting, which was thoroughly enjoyed by the audience.
Mark Newnham's music and lyrics were a great asset to the production; there are too many standout songs to acknowledge them all! Director Carla Kingham tackled the action and used the limited space effectively with the assistance of Daisy Blower's creative set. Additionally, Ali Hunter's lighting design blew me away and inspired me to change my perception of the limitation within black box spaces.
Being the only female panto in London is a lot of pressure, but the cast did not disappoint. Louise Beresford's multi-rolling as Cinderella, as well as many other weird and wonderful characters, was a core part of the show and set the tone for its liveliness.Actor-musician Severine Howell-Meri impressively remained onstage for almost the entire show and showcased her range of vocal and instrumental talents, which added a unique touch to the production.Amanda Shodeko's take on the ugly sisters was admirably repulsive, and her narcissistic, childish Prince Charming was particularly amusing.Anna Spearpoint stole the show with her hilarious range of accents and portrayal of the quirky, but heartbroken, Fairy Godmother, dopey talking cow and the evil Rumpelstiltskin (my personal favourite). The actors didn't take themselves too seriously and can expertly to play an audience.
Although the vocals weren't consistently strong, the narrative of 'covering' for the actors meant this did not affect the overall quality. Perhaps if the show is produced to a bigger scale in coming years, further musical theatre training would be necessary.
I am not normally a fan of the pantomime, but this show was enough to change my mind. It was fun, vibrant and well worth seeing. The cast and crew really gave it their all, not shying away from all the major clichés and the improvisation that brought it to life. If anyone finds themselves in Battersea, I would highly recommend a trip to wonderfully festive hidden theatre above The Latchmere!
Review by Hannah Storey
Seat: Unreserved | Price of Ticket: £19
Labels: Cinderella and the Beanstalk, Hannah Storey, review, theatre 503


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Coinbase Pro Review (2022)
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