text:
\section{Introduction}

Rare decays of $B$-mesons into leptons are key modes to test the Standard Model (SM)
and look for New Physics \cite{Blake:2015tda}. In particular $B \to K^* (\to K \pi) \mu \mu$ decays have received high and growing interest due to their  sensitivity to flavor physics in and beyond the SM and the feasibility for precision studies at hadron and $e^+ e^-$-colliders.
Recent  data from the LHC cover several  thousands of events into muons, and include various angular distributions  \cite{Khachatryan:2015isa} \cite{Aaij:2015oid} \cite{LHCb-BR}. There are great prospects
for  Run II and future machines
\cite{Aushev:2010bq}, including various  other final lepton species ($e, \tau, \nu$).

$B \to K^{(*)}  \ell \ell$ decays are described by $1/m_b$-methods, in both the region of  low dilepton mass squared $q^2$, below the $J/\Psi$, and
the high-$q^2$ region above the $\Psi^\prime$.
In the latter is  $q^2 \sim {\cal{O}}(m_b^2)$ and an operator product  expansion (OPE) applies \cite{Grinstein:2004vb}.
Among its benefits is the good convergence, power corrections linear in $1/m_b$ receive additional parametric suppression,
and the resulting universality of short-distance coefficients $ C^{L,R}$ in the  longitudinal $(0)$, parallel $(\parallel)$ and perpendicular $(\perp)$ transversity amplitudes \cite{Bobeth:2010wg}
\begin{equation}
A_j^{L,R} (q^2) \simeq  \mathcal{C}^{L,R}(q^2) f_j(q^2)  + {\cal{O}}(1/m_b)\, , \quad \quad j=0, \parallel, \perp \, .
\label{amplitudes}
\end{equation}
Here,
\begin{equation}
\mathcal{C}^{L,R}(q^2)=\mathcal{C}_9^{\rm eff} (q^2) \mp \mathcal{C}_{10}+
      \kappa\frac{2 m_b m_B }{q^2}\, \mathcal{C}_7^{\rm eff}(q^2) \, ,
\end{equation}
where $\mathcal{C}_i$ are the Wilson coefficients of the radiative and semileptonic operators, respectively,
\begin{equation}\label{EffHamiltonian2}
\mathcal{O}_7=\frac{e}{16\pi^2}m_b \bar{s}\sigma^{\mu\nu}P_R b F_{\mu\nu},\quad
 \mathcal{O}_9=\frac{e^2}{16\pi^2}(\bar{s}\gamma^{\mu}P_L b)(\bar\ell\gamma_\mu\ell),\quad
\mathcal{O}_{10}=\frac{e^2}{16\pi^2}(\bar{s}\gamma^{\mu}P_L b)(\bar \ell\gamma_\mu\gamma_5\ell) \, ,
\end{equation}
and the $f_j$ are transversity form factors. The effective coefficients $\mathcal{C}_{7,9}^{\rm eff}$ equal $\mathcal{C}_{7,9}$ up to contributions from 4-quark operators.
Including right-handed currents from BSM physics,  the universality of amplitudes Eq.~(\ref{amplitudes}) breaks down to a partial one between the
$(0)$ and $(\parallel)$ amplitudes.

\begin{figure}
\centerline{\includegraphics[width=0.4\linewidth]{BKstsusy}}
\caption[]{The differential branching fraction $d {\cal{B}}/dq^2 (B \to K^* \mu \mu)$ in the SM  (solid curves) and BSM scenarios (dotted and dash-dotted curves). Black curves include resonances based on the KS-approach
\cite{Kruger:1996cv} while the magenta ones are short-distance only. The high-$q^2$ region begins  above the $\psi^\prime$-peak, note the wiggles.
Figure taken from \cite{Ali:1999mm}. }
\label{fig:BKLL}
\end{figure}

As the OPE relies on duality  \cite{Beylich:2011aq}  its perforance depends on bin size and location.
In particular, too small bin intervals will start to resolve local resonance structure induced by  charm contributions $B \to K^* (c \bar c) \to K^* \ell \ell$, shown in Figure \ref{fig:BKLL},
and  limit the accuracy of the OPE predictions at high $q^2$.
As we can't tell this from within the OPE, we employ a local model parametrization  as a test-case
against  the OPE.

\section{The high-$q^2$ region locally}

Charm contributions are electromagnetically induced and modify the operator with vector coupling to leptons, $\mathcal{O}_9$.
The OPE  covers such effects; they are part of the effective coefficient $\mathcal{C}_9^{\rm eff}$ and read, up to terms of order $\alpha_s$ and neglecting
contributions from non-charm penguin operators,
\begin{eqnarray}
\mathcal{C}^{\rm eff}_9(q^2) =\mathcal{C}_9+h(q^2,m_c^2 ) \bigg[\frac{4}{3}\mathcal{C}_1+\mathcal{C}_2+6\mathcal{C}_3+60\mathcal{C}_5\bigg] + \ldots
.\label{C9OPE}
\end{eqnarray}
The loop function $h(q^2,m_c^2)$ is obtained perturbatively from insertions of $\bar s b \bar c c$-type  operators and is smooth in the high-$q^2$ region \cite{Grinstein:2004vb}.

In Figure~\ref{PlotsFLcont} the   "short-distance-free" observables $S_3,S_4$ and $F_L$ in  the OPE (red curves and boxes with form factors from~\cite{Horgan:2013hoa}) are compared to data (black, converted to theory conventions),  zooming in from 2 $\mbox{GeV}^2$ bins (upper plots) to  1 $\mbox{GeV}^2$ bins (lower plots).
 Quite generally  one expects from the $R$-ratio \cite{Ablikim:2007gd} an onset of resonance structure with this resolution.
 Indeed the alternating patterns in the 1 $\mbox{GeV}^2$ bins may be hinting at resonances,
however,  due to the limited experimental precision, one cannot draw  firm conclusions presently.
Plots with further observables, $S_5, A_{\rm FB}$ and $d {\cal{B}}/dq^2$, are given in \cite{BHN16}.

 %
 \begin{figure}
 \begin{minipage}{0.33\linewidth}
\centerline{\includegraphics[width=0.9\linewidth]{FLlarge}}
\end{minipage}
\hfill
\begin{minipage}{0.32\linewidth}
\centerline{\includegraphics[width=0.9\linewidth]{S3large}}
\end{minipage}
\hfill
\begin{minipage}{0.32\linewidth}
\centerline{\includegraphics[angle=0,width=0.9\linewidth]{S4large}}
\end{minipage}
 \begin{minipage}{0.33\linewidth}
\centerline{\includegraphics[width=0.9\linewidth]{FLsmall}}
\end{minipage}
\hfill
\begin{minipage}{0.32\linewidth}
\centerline{\includegraphics[width=0.9\linewidth]{S3small}}
\end{minipage}
\hfill
\begin{minipage}{0.32\linewidth}
\centerline{\includegraphics[angle=0,width=0.9\linewidth]{S4small}}
\end{minipage}
\caption[]{$F_L, S_{3}$ and $S_4$ in the OPE for 2 $\mbox{GeV}^2$ bins (upper plots) and 1 $\mbox{GeV}^2$ bins (lower plots)
shown as red boxes versus data (black) from LHCb \cite{Aaij:2015oid}. Systematic and statistical uncertainties are added in quadrature.
The light-shaded red bands illustrate the OPE for infinitesimal binning. Plots taken from \cite{BHN16}.}
 \label{PlotsFLcont}
\end{figure}
 Furthermore, the data have to meet the endpoint relations at $q^2_{\rm max}=(m_B-m_{K^*})^2$, which follow from Lorentz-invariance and hold irrespective of the underlying electroweak model  \cite{Hiller:2013cza}
\begin{equation} \label{eq:end}
F_L(q^2_{\rm max})=1/3 \, , ~~S_3(q^2_{\rm max})=-1/4 \, , ~~S_4(q^2_{\rm max})=1/4 \, , \, ~~S_{5,6,7,8,9}(q^2_{\rm max})=0  \, .
\end{equation}
 In particular with 1 $\mbox{GeV}^2$ bins  data on $S_{3,4,5}$ are  presently in mild conflict with the endpoint relations.
 Further data with improved precision is required to clarify these points.

\begin{figure}[h]
\includegraphics[width=0.48\textwidth]{imhc.pdf}
\includegraphics[width=0.497\textwidth]{rehc.pdf}
\caption[]{The charm polarization function $h_c(q^2)$ from  $e^+e^-\to hadrons$ data  (blue $1 \sigma$ band). The  corresponding OPE-contributions,  imaginary and  real part of  $h(q^2,m_c^2)$, are shown by the blue dashed lines. Plots taken from \cite{BHN16}.}
\label{Fig.1}
\end{figure}

To test the accuracy of the OPE for a given binning we employ a model that is able to locally capture resonance effects which show up  as "wiggles" in the $B \to K^{*} \ell \ell$ distributions.
We follow the  method of Kr\"uger and Sehgal (KS) \cite{Kruger:1996cv}, which uses $e^+ e^-$ -data on the vacuum polarization
to describe the charm-loop function as
\begin{eqnarray}
\mathcal{C}_9^{{\rm eff } }(q^2) \vert^{KS} &=\mathcal{C}_9+ (3 a_2) \, \eta_c \, h_c(q^2) +\ldots,
\label{eq:C9effKS}
\end{eqnarray}
where
\begin{equation}
{\rm Im}   \, h_c(q^2)= \frac{\pi}{3} R_c(q^2) \, , \quad \quad R_c=\frac{\sigma(e^+ e^- \to  c\bar c )}{ \sigma(e^+ e^- \to \mu^+ \mu^-)} \, .
\end{equation}
The real part  of $h_c(q^2) $ is obtained from a dispersion integral.
The  real and imaginary part of $h_c$ extracted from a fit to  BES data~\cite{Ablikim:2007gd} can be seen in Figure \ref{Fig.1}, consistent with
 \cite{Lyon:2014hpa}.
$a_2$ is the same combination of Wilson coefficients that accounts for the perturbative charm-loop
\begin{equation} \label{eq:a2}
a_2=\frac{1}{3}\bigg(\frac{4}{3}\mathcal{C}_1+\mathcal{C}_2+6 \mathcal{C}_3 + 60 \mathcal{C}_5\bigg) \, .
\end{equation}
Numerically, to NNLO accuracy at the $b$-mass scale, $a_2=0.2$.
(In the operator basis used in earlier works $3 a_2$ corresponds to $C^{(0)}$ \cite{Ali:1999mm}.)
The factor $\eta_c$ has been introduced to account for corrections from  beyond naive factorization, $\eta_c=1$.
Such effects are expected quite generally as $B \to K^{(*)} (c \bar c)$ decays are prominent examples of modes with violent breaking of naive factorization \cite{Diehl:2001xe}, yet
a comparison of the factorization formula with measured branching ratios yields
$| \eta_{(J/\psi, \Psi(2S))\,K^\ast}\vert \simeq 0.9-1$.

We go beyond
the original works \cite{Kruger:1996cv} and generalize Eq.~(\ref{eq:C9effKS}) by introducing transversity-dependent fudge functions $\eta_c(K^*_j,q^2)$ to obtain a model that  can fit  $B \to K^* \ell \ell$ distributions in principle with any precision limited only by input other that of the resonances, such as perturbative one and form factors.
Note that
symmetries at the endpoint  dictate \cite{Hiller:2013cza}
\begin{equation} \label{eq:EP}
\eta_c(K^*_0, q^2_{\rm max})=\eta_c(K^*_\parallel, q^2_{\rm max}) \, ,
\end{equation}
but other than that the  functions should be constrained experimentally.

To make progress we use constant $\eta_\perp$ and $\eta_\parallel=\eta_0$ to comply with Eq.~(\ref{eq:EP}). We define $\eta_j \equiv  \eta_c(K^*_j, q^2)$. With improved data one can consider different shapes.

\section{Fitting $B \to K^* \mu \mu$ observables}

One benefits from the availablility of $B \to K^* (\to K \pi) \mu \mu$  data \cite{Aaij:2015oid} in different binings
\begin{equation} \label{eq:bins}
[15-19]  \, \mbox{GeV}^2 \, ,  \quad  [15-17], [17-19]  \,  \mbox{GeV}^2 \, ,\quad    [15-16], \dots ,  [18-19]  \,  \mbox{GeV}^2
\end{equation}
allowing to zoom in with resolution $ \Delta q^2=4,2$ and $1  \mbox{GeV}^2 $, respectively.
As we assume new physics at the electroweak scale and beyond,
{\it a binning-related effect is due to resonances, not New Physics}.

In addition to $S_3,S_4$ and $F_L$, in which universal effects drop out, we consider
the angular observables $J_{5, ...,9}$ and the differential branching fraction, $d {\cal{B}}/dq^2$. As these are short-distance dependent, we are forced to perform a joined extraction of
$\eta$'s and $\mathcal{C}$'s.
We simultaneously fit to $\eta_\perp, \eta_\parallel$ and New Physics contributions $\delta \mathcal{C}_9, \delta \mathcal{C}_{10}$ for each $q^2$-resolution
$\Delta q^2=4,2$ and $1 \, \mbox{GeV}^2$.
Results are shown in Figure \ref{fig:eta} for the $\eta$'s and in Figure  \ref{fig:C9C10} for the Wilson coefficients.
As presently there are no data on the branching ratio for  $1  \mbox{GeV}^2 $ bins available, we use in the latter analysis
the $2  \mbox{GeV}^2 $ finding \cite{LHCb-BR}. This is not ideal as it certainly blurs the zooming effect,  however we chose  to keep  the branching ratio as an important constraint in the fit.
Form factors are taken from lattice QCD \cite{Horgan:2013hoa}.

\begin{figure}
\centerline{\includegraphics[width=0.4\linewidth]{wh-nonuniversality}}
\caption[]{$1$ and $2 \, \sigma$ constraints on $\eta_\perp, \eta_\parallel=\eta_0$ from $B \to K^* \mu \mu$ data \cite{Aaij:2015oid} at high $q^2$  for fixed binning 4 $\mbox{GeV}^2$(green, dotted), 2 $\mbox{GeV}^2$  (blue) and
1 $\mbox{GeV}^2$ (red) as in Eq.~(\ref{eq:bins}). The dashed magenta straight line denotes the universality-limit
$\eta_\perp=\eta_0=\eta_\parallel$. Plot taken from \cite{BHN16}.}
\label{fig:eta}
\end{figure}

{}From  Figure \ref{fig:eta}  we learn that naive factorization, $\eta_j=1$, is allowed, but also solutions away from universality, $\eta_\perp=\eta_0=\eta_\parallel$, shown by the dashed line.
The constraints from the largest $q^2$-resolution (green, dotted)  are the weakest. The fits are presently consistent with no wiggles, $\eta_j=0$.
However, modulo experimental uncertainties, binning-induced differences hint at the presence of such structure.

\begin{figure}
\begin{minipage}{0.33\linewidth}
\centerline{\includegraphics[width=0.9\linewidth]{wh-C9C10full}}
\end{minipage}
\hfill
\begin{minipage}{0.32\linewidth}
\centerline{\includegraphics[width=0.9\linewidth]{wh-C9C10large}}
\end{minipage}
\hfill
\begin{minipage}{0.32\linewidth}
\centerline{\includegraphics[angle=0,width=0.9\linewidth]{wh-C9C10small}}
\end{minipage}
\caption[]{$1$ and $2 \, \sigma$ constraints on $\delta \mathcal{C}_9, \delta \mathcal{C}_{10}$ from $B \to K^* \mu \mu$ data \cite{Aaij:2015oid}  at high $q^2$  for fixed binning 4 $\mbox{GeV}^2$(left), 2 $\mbox{GeV}^2$  (center) and
1 $\mbox{GeV}^2$ (right) as in Eq.~(\ref{eq:bins}). Red shaded areas  (black contours) denote the allowed  regions in the OPE (in the KS-approach with $\eta_\perp, \eta_\parallel=\eta_0$ simultaneously fitted). Plots taken from \cite{BHN16}.}
\label{fig:C9C10}
\end{figure}

Fits to the BSM-coefficients $\delta \mathcal{C}_9, \delta \mathcal{C}_{10}$, see Figure  \ref{fig:C9C10}, give very similar results
for the OPE and the local model,  for each $\Delta q^2$-resolution.
This implies that at  current level of precision, the OPE describes the data sufficiently well
as we are not yet fully sensitive to charm resonances.
The plots also show that the SM is allowed but also sizable BSM effects, in agreement with the plain low recoil analysis of \cite{Descotes-Genon:2015uva}.
An analogous fit to $\eta_\perp, \eta_\parallel$ and the Wilson coefficients of the chirality-flipped operators, $\mathcal{C}^\prime_{9,10}$, gives qualitatively very similar results \cite{BHN16}.

\section{Binning performance}

To estimate the uncertainties of the  OPE prediction, for a given binning, we use the ratios
\begin{equation} \label{eq:ek}
\epsilon_i = \frac{ \int_{bin} \rho_i^{KS} (q^2) dq^2}{ \int_{bin} \rho_i^{OPE} (q^2)  dq^2} \, , ~ i=1,2 \, ,  \quad
\epsilon_{12} = \frac{ \int_{bin} \rho_2^{KS}  (q^2) dq^2}{ \int_{bin} \rho_2^{OPE} (q^2) dq^2} \cdot    \frac{ \int_{bin} \rho_1^{OPE}  (q^2)dq^2}{ \int_{bin} \rho_1^{KS} (q^2) dq^2}
 \, ,
\end{equation}
where
\begin{eqnarray}
\rho_1(q^2)& \equiv \frac{1}{2}(\vert C^R (q^2)\vert^2+ \vert C^L (q^2)\vert^2)=\bigg\vert\mathcal{C}_9^{\rm eff} (q^2)+\kappa\frac{2 m_b m_B}{q^2}\mathcal{C}_7^{\rm eff} (q^2) \bigg\vert^2+\vert\mathcal{C}_{10}\vert^2 \, , \\
\rho_2(q^2)& \equiv \frac{1}{4}(\vert C^R(q^2) \vert^2- \vert C^L (q^2) \vert^2)={\rm Re}\bigg[\bigg(\mathcal{C}_9^{\rm eff} (q^2)+\kappa\frac{2 m_b m_B}{q^2}\mathcal{C}_7^{\rm eff}(q^2)\bigg)\mathcal{C}^\ast_{10}\bigg] \, ,
\end{eqnarray}
are the short-distance factors at high $q^2$. They have to be evaluated with the respective effective coefficient $C_9^{\rm eff}(q^2)$, Eq.~(\ref{eq:C9effKS})
for the KS-model and Eq.~(\ref{C9OPE}) for the OPE.
The  closer $\epsilon_k$ to one, the better the performance of the OPE.
We calculate the $\epsilon_k$ model-independently,  {\it  i.e.,} within the global fit, within the  $1 \sigma$ ranges of  Figure \ref{fig:eta} and corresponding $\mathcal{C}_{9,10}$ values.
The outcome is shown  in Table \ref{tab:error}.
As expected, a larger bin interval and one closer to the kinematic endpoint is best.
The bins with the best  performance are presently  $[17-19]$ and  $[18-19] \, \mbox{GeV}^2$, both near the endpoint, followed by the full one
$[15-19] \, \mbox{GeV}^2$.
The deviations $|\epsilon_k-1|$  from the OPE also include uncertainties within the local charm model.
Therefore, improved understanding of the resonance parameters can reduce the uncertainty on the OPE's performance.
Such information requires measurements in bins that do resolve the wiggles.

\begin{table}
 \caption{ Ranges of   $\epsilon_k$ defined in Eq.~(\ref{eq:ek}) for different $q^2$-bins in $\mbox{GeV}^2$ and $1 \sigma$ ranges of  parameters $\eta_{\perp.\parallel}$, $\mathcal{C}_{9,10}$. }
 \begin{center}
\begin{tabular}{c||c||c|c||c|c|c|c}
 &  $15-19$ & $15-17 $ & $17-19$ &  $15-16$ & $16-17$& $17-18$ & $18-19$  \\ \hline
$\epsilon_1$  &(0.85,1.16) & (0.81,1.30&(0.87,1.03) &(0.76,1.20) &(0.84,1.38) &(0.84,1.03) &(0.86,1.05)\\
$\epsilon_2$  &(0.82,1.0) &(0.74,1.13) &(0.85,0.91) &(0.71,1.17) & (0.78,1.08)&(0.76,0.95) &(0.84,0.97)\\
$\epsilon_{12}$  &(0.86,1.05) &(0.87,1.05) & (0.84,1.05)&(0.95,1.06) &(0.78,1.05) &(0.75,1.05) & (0.93,1.05)\\
\end{tabular}
  \label{tab:error}
 \end{center}
\end{table}

\section{Conclusions}

The high-$q^2$ region in semileptonic rare $|\Delta b| =|\Delta s|=1$ decays is inhabited by wider charm resonances.
Using a local model against the OPE
provides a data-driven method to
test the  binning and limitations of the OPE.  The $\epsilon_k$ ratios defined in Eq.~(\ref{eq:ek})
 provide data-extracted upper limits on  the OPE's  binning-related uncertainty, and are useful to identify the most suitable binning.
 The two bins near the kinematic endpoint perform best,  see Table \ref{tab:error}.
Besides precision studies in these bins  measurements in finer $q^2$-bins are desirable to improve the local description of resonances.
$B \to K^* \mu \mu$ observables at low recoil are presently consistent with the SM,
however, large BSM effects are also allowed.
We   look forward to future data.

\section*{Acknowledgments}

GH is happy to thank her collaborators \cite{BHN16} and the organizers of this inspiring conference for providing an opportunity to speak.
The work reported here has been supported in part by the Bundesministerium f\"ur Bildung und Forschung (BMBF).

\section*{References}

redpajama_set_name: RedPajamaArXiv


text:
VATICAN CITY: Foreign Affairs Minister Nikos Dendias inaugurates exhibit dedicated to modern history of Greek painting
Greek Culture, Greek NEWS
by Kosta Papadopoulos
Greek Foreign Affairs Minister Nikos Dendias inaugurated an exhibit at Vatican City on Monday evening devoted to the modern history of Greek painting.
The exhibition, held at the Palazzo della Cancelleria in Rome's historic centre, will remain open to the public until December 8.
Entitled "Community of People – The representation of the human form, from the post-Byzantine era to contemporary Greek painting," the exhibition contains 66 works from the National Gallery of Art/Alexander Soutzos Museum in Athens, other Greek museums, private collections, and foundations.
"This year, two landmark events coincide," Dendias said, "the centennial of the Greek Revolution, and the 40th-plus anniversary of diplomatic relations between Greece and the Holy See (1980)." This, he noted, was an opportunity for the first exhibit of National Gallery works in the Holy See, and it opens one month before the expected visit of Pope Francis to Greece.
"Europe is called on to make difficult decisions that should focus on solidarity and humanity," the Greek minister said, adding that Greece and the Holy See should collaborate on protecting Christian populations in risky areas and monuments of global cultural and Christian heritage.
Helping with the exhibit was the Greek Embassy in the Holy See, while fundin/works came from the Bank of Greece, several foundations (Antonios E. Komninos, Aikaterini Laskaridis, Athanasios K. Laskaridis, Ioannis S. Latsis, Maria Tsakos, A.G. Leventis), and the Angelakos (Hellas) shipping company.
Later the same day, Dendias was scheduled to attend a working dinner with representatives of Italian businesses active in Greece.
RESOURCE | ABOUT THE PALAZZO DELLA CANCELLERIA
The Palazzo della Cancelleria (Palace of the Chancellery, referring to the former Apostolic Chancery of the Pope) is a Renaissance palace in Rome, Italy, situated between the present Corso Vittorio Emanuele II and the Campo de' Fiori, in the rione of Parione. It was built 1489–1513 by Baccio Pontelli and Antonio da Sangallo the Elder as a palace for Cardinal Raffaele Riario, Camerlengo of the Holy Roman Church, and is regarded as the earliest Renaissance palace in Rome. The Palazzo houses the Papal Chancellery, is an extraterritorial property of the Holy See, and is designated as a World Heritage Site.
The Cancelleria was built for Cardinal Raffaele Riario who held the post of Cardinal Camerlengo to his powerful uncle, Pope Sixtus IV. The rumor was that the funds came from a single night's winnings at gaming.
In 1517, the newly completed Palazzo was seized by Pope Leo X, who suspected Cardinal Riario of plotting to assassinate him. He gifted the palace to his cousin, Cardinal Giulio de Medici (the future Pope Clement VII). Since Cardinal Giulio was the Vice-Chancellor of the Church, the palace became known as the Palazzo della Cancelleria thereafter.
From 1753 the vice chancellor was the Jacobite pretender to the thrones of England, Scotland, France, and Ireland, Henry Stuart, Cardinal Duke of York, the Jacobite Henry IX of England and Ireland, and I of Scotland. During the late 17th century former Queen Kristina of Sweden resided here.
During the Roman Republic of 1849 the parliament briefly sat here.
In 2015, it was the residence of retired, and now deceased, Cardinal Bernard Law of Boston, United States.
The Palazzo della Cancelleria was the first palazzo in Rome to be erected from the ground up in the new Renaissance style. Its long facade engulfs the small Basilica di San Lorenzo in Damaso, the Cardinal's titular church, that is to its right, with the palatial front continuing straight across it. The entrance to the Basilica is on the right side of the facade. The 5th-century basilica (its interior has been rebuilt) sits, like the Basilica di San Clemente among others, on a pagan Roman mithraeum. Excavations beneath the cortile from 1988 to 1991 revealed the 4th- and 5th-century foundations of the grand Basilica di San Lorenzo in Damaso, founded by Pope Damasus I, and one of the most important early churches of Rome. A cemetery in use from the 8th century until shortly before the construction of the Palazzo was also identified.
The facade, with its rhythm of flat doubled pilasters between the arch-headed windows, is Florentine in conception, comparable to Leone Battista Alberti's Palazzo Rucellai. The overall pattern of drafted masonry, cut with smooth surfaces and grooves around the edges, is ancient Roman in origin. The grand portal was added in the 16th century by Domenico Fontana on the orders of Cardinal Alessandro Farnese.
The bone-colored travertine of the Palazzo was spolia from the nearby ancient ruins of the Theatre of Pompey, for Rome was a field of ruins, built for a city of over one million that then housed a mere 30,000. The 44 Egyptian granite columns of the inner courtyard are from the porticoes of the theatre's upper covered seating, however they were originally taken from the theatre to build the old Basilica di San Lorenzo in Damaso.
It is more probable that the form of the courtyard is derived from that of the Palazzo Ducale in Urbino, because the individuals involved in the early planning of the Palazzo had come from Urbino.
The courtyard with the original columns from the Theatre of Pompey. In the Palazzo is a vast mural that Giorgio Vasari completed in a mere 100 days, therefore named the Sala dei Cento Giorni. He boasted of this accomplishment to Michelangelo, who responded "Si vede" ("It shows"). In the Palazzo a little, private theatre was installed by Cardinal Pietro Ottoboni, and in the later 17th century the Palazzo became a center of musical performance in Rome.
(Source: Wiki)
Tags: Alexander Soutzos Museum, Athens, greece, Greek culture, Greek museums, Modern Greek painting, National Gallery of Art, Nikos Dendias, Palazzo della Cancelleria, Romes, Vatican City
BYZANFEST 2021: Orthodox Christian Film Festival Announces Award Winning Films
European Military Commanders from 28 Members States to meet in Athens today
Kosta Papadopoulos November 9, 2021
Macedonia's must see archaeological site
Two cases of Omicron sub-variant BA.2 detected in Greece

redpajama_set_name: RedPajamaCommonCrawl


Type 1CQ| LBEE5U91CQ | Murata Manufacturing Co., Ltd.
Type 1CQ module is a very high performance module that includes 2.4GHz/5GHz WLAN and Bluetooth functionality for consumer grade applications. Based on Qualcomm QCA6174, the module provides IEEE 802.11a/b/g/n/ac (2x2) and Bluetooth 4.2+EDR.


text:
Q: i wonder about scott connection [phase shift] something like wye-delta and delta-wye connection.
we can originally know wye-delta connection is step-down transformer and second side voltage phase is being to -30 degree. And also delta-wye connection is step-up transformer and second side voltage phase is being to +30 degree.
But the other side, we also can make wye-delta connection is step-up transformer if it get turn ratio like 1:2. So in this case maybe will be become +30 degree in second side voltage.
apply this principle in scott connection, how can work it?
case1) turn ration 1:2 - step up
second side voltage's angle +90 degree?
case2) turn ration 2:1 - step down
second side voltage's angle -90 degree?
if you have any information or homepage link, can you leave it for me?
thank you so much.

A: A wye-delta transformer can be configured so either side lags OR leads by 30 degrees.  It does not matter which side is wye or delta or which side is higher/lower voltage.  If it is an IEEE standard connected bank then the lower voltage side will lag the higher (C57.12.00-1987, 5.7.2).
Here is an example of wye-delta bank and a delta-wye bank in an ABC phase rotation system, connected so both low-side lags by 30 (i use lower case letters for low-voltage side).  Notice that the 6 phase-neutral voltage phasors (the ones with only 1 subscript) have the exact same relationship in either case.

I have never analyzed the Scott Transformer connection until tonight.  Per this Wikipedia article it was developed to convert 3-phase to 2-phase in a balanced fashion (evenly loads the 3-phase system) as Charles mentions above.  Below is my newly minted phasing derivation for this transformer arrangement.  The key is to use KVL to calculate the voltage across the primary of the teaser - then rest of it falls nicely into place.  Both transformers have N:1 ratio, but we are only using 86.6% of the top one.

I hope this helps.  I believe this answers your question about how the turns ratio used can affect the resulting phase shift on secondary - it clearly does in this connection.  It is just all about scaling and adding/subtracting phasors.
Here is similar development for the variation of the Scott transformer to which you linked.  They added a neutral connection in the Teaser for use on 4-wire system.

redpajama_set_name: RedPajamaStackExchange


text:
Posts Categorized: music review
Madilyn Paige CD ~Review and Blog Tour
20 Feb, 2015 by Heather in highway records, madilyn paige, music, music review, young adult Leave a comment
I received this book for free from Highway Records in exchange for an honest review. This does not affect my opinion of the book or the content of my review.
Madilyn Paige EP
Published by Highway Records on February 3, 2015
Genres: Young Adult
Source: Highway Records
Buy the Book •
This stunning self-titled debut EP features a set of tunes notable for their raw emotion and beautiful soundscapes. Madilyn wrote or co-wrote every song on the album, drawing from her own struggles as a teenager and her heartfelt expressions of the joy she finds in life. The first track, "Irreplaceable," begins with aching introspection and soars to an assurance of self-worth; the following track, "Foolish Game," was written right after Madilyn left the TV show The Voice and gives insight into the inevitability of discouragement in life and the realization that you can rise above the games that people play. An epic movie score string section combines with powerful rhythms on "Undercover," a breathtaking song about overcoming sadness and seeking the light all around you. The final track, "Little Things," playfully reminds us that the little things in life are the source of true joy.
This CD has been our soundtrack for the past month. My whole family loved it and when I went to write the review, it was missing. Whisked away by my son. Madilyn Paige has a mature, beautiful voice for her age, reminiscent of Colbie Caillet. The message of her feature song Irreplaceable teaches youth that they don't need to fit in, they just need to be themselves. We are irreplaceable. There is only one who can fill our shoes. Absolutely one of our favorite EP's ever. We listen to it non-stop.
Madilyn lived in Japan as a young child and has taken up singing since moving back to the U.S. She loves making music videos and short films with her friends and has performed in various local competitions.
Follow Madilyn on Twitter at @MadilynPaige or on her web page.
CD Review~ Classic: The Rock Album by Jenny Oaks Baker
10 Apr, 2014 by Heather in cd, deseret book, jenny oaks baker, music review 2 comments
I received this book for free from Shadow Mountain in exchange for an honest review. This does not affect my opinion of the book or the content of my review.
Classic: The Rock Album
by Jenny Oaks Baker
Published by Shadow Mountain on April 7, 2014
Genres: Classical, Music
Source: Shadow Mountain
Grammy-nominated #1 Billboard Violinist Jenny Oaks Baker takes her style to an all-new level with her new release, Classic: The Rock Album. Featuring classic rock favorites like Stairway to Heaven (Led Zeppelin), Sweet Child of Mine (Guns and Roses), and Yesterday (The Beatles), you won't believe your ears as one of the country's most accomplished and acclaimed violinists combines her insane talent with the heart-pumping tunes that have defined a genre for generations.
I have to admit when this CD first arrived, we were a little skeptical. I loved the photography and the red accents on the cover–but classical and rock together, by a violinist? We threw it in on our road trip and took a listen. I played violin all through my childhood and have two girls in lessons right now. They were impressed. "That's the violin?"
Jenny gives young musicians something to aspire to. Well-known songs we've heard on the radio being played on a classical instrument. My boys pointed out that Jenny likes to hit high notes! My husband liked it so much he downloaded Kashmir as his new ring tone and bought tickets to her concert. Everybody Hurts by REM took me way back to my own music obsessed days.
Overall we thought Classic: the Rock Album was a diversion…one that we enjoyed! It's unique and fun. A wonderful way to get your family to listen to beautiful concert music and still be "cool."
– Kashmir/Four Season (Led Zepplin/Vivaldi)
– Everybody Hurts (REM)
– Sweet Child of Mine (Guns and Roses)
– Liverpool Suite
– Pinball Wizard (The Who)
– Imagine (John Lennon)
– Stairway to Heaven (Led Zepplin)
– Let It Be, Eleanor Rigby, Yesturday, All You Need is Love, Hey Jude (The Beatles)
– Bridge Over Troubled Water (Simon and Garfunkel)
– Fields of Gold (Sting)
– Clocks (Coldplay)
Listen to samples at Deseret Book's website
Grammy Nominated Artist Jenny Oaks Baker is one of America's most accomplished violinists. She received her Master of Music degree from the renowned Juilliard School in New York City and her bachelor's degree in violin performance from the Curtis Institute of Music in Philadelphia.
She has released eleven albums since 1998. They consistently chart on Billboard, including the #1 spot on the Top Classical Albums chart. Her album Wish Upon a Star earned a nomination for the 54th GRAMMY Awards for Best Pop Instrumental Album.
Jenny Oaks Baker has performed as a soloist at Carnegie Hall, Lincoln Center, and with the Jerusalem Symphony, Pittsburgh Symphony, Utah Symphony, and the internationally acclaimed Mormon Tabernacle Choir. Jenny performed as a first violinist with the National Symphony Orchestra for seven years before resigning to devote more time to her young family. Jenny and her husband Matthew have four children.
CD Review: He Is Risen by Mormon Tabernacle Choir
04 Apr, 2014 by Heather in adult, deseret book, music, music review 1 comment
by Mormon Tabernacle Choir
Published by Deseret Book Genres: LDS
Source: Deseret Book
Featuring heartwarming and uplifting hymns like Christ the Lord Is Risen Today, When I Survey the Wondrous Cross, and He is Risen, your Easter holiday will be filled with true remembrance and thankfulness for Christ, His life and the love He shows for each of God's Children.
Triumphant, meaningful and moving music release for Easter by the Mormon Tabernacle Choir with Orchestra at Temple Square. The first song "Christ the Lord is Risen Today" makes the bold and reassuring statement that Christ the Lord is risen. With 6 tracks this CD combines both familiar hymns with lesser known songs about the Savior. The choir brings a spirit of Spring and new beginning. I found myself buoyed up by the heralding voices that sound like angels. Track 6 "Worthy Is the Lamb That Was Slain" is a familiar tune for me around Christmas time from Handel's Messiah. I enjoyed hearing it at a new time of year, celebrating the triumph over death.
Definitely recommended as an Easter basket stuffer and a CD that will fill your home with peace. Thanks to Deseret Book for this wonderful gift in exchange for an honest review.
The 360 members of the Mormon Tabernacle Choir represent men and women from many different backgrounds and professions and range in age from 25 to 60. They reflect a medley of unique lives and experiences and are brought together by their love for singing and their faith. Their incomparable voices are the common chord that unites to form the choral group known all over the world as the Mormon Tabernacle Choir.
The Mormon Tabernacle Choir originated in the mid-19th century in Salt Lake City. As the Latter-day Saints moved west, Church President Brigham Young included musicians among members of the advance parties. Consequently, a small choir first sang for a conference of the Church in the Salt Lake Valley on August 22, 1847, just 29 days after the first group arrived. The origins of the Mormon Tabernacle Choir may be found in the desire and commitment of early converts to include appropriate music in both sacred and secular events.
The Mormon Tabernacle Choir has appeared at 13 world's fairs and expositions, performed at the inaugurations of five U.S. presidents, and sung for numerous worldwide telecasts and special events. Five of the Mormon Tabernacle Choir's recordings have achieved "gold record" and two have achieved "platinum record" status. The most popular was the Grammy-Award-winning 1959 release of "The Battle Hymn of the Republic" with the Philadelphia Orchestra.
For more information visit the Mormon Tabernacle Choir fan page on Facebook
Mercy River Blog Tour and Giveaway
06 Jan, 2014 by Heather in mercy river, music review 2 comments
Published by Deseret Book
On the heels of their hit album Higher, Mercy River is back with mesmerizing harmonies and upbeat vocal arrangements. Their new album features inspirational favorites and original songs that highlight the talents of this singing sisterhood.
Walk You Through the Night
Reason For the World
Walking On Sunshine
I first heard Mercy River onstage live at the Deseret Book flagship's store Ladie's Night. They are three moms with great voices and a inspirational message. The CD Come Alive has several cover tracks of songs I've heard before, but my favorite was Walk You Through the Night. How fun to see my old college roommate and friend Cherie Call have one of her original songs covered by another LDS artist! I also genuinely enjoyed the parts where the three from Mercy River sing acapella. Sometimes you don't need loud, catchy music or synthesized instruments. You can just hear the tone and enjoy the clarity of human song. I'm grateful for what this group is trying to do which is give us an alternative to the "sirens" of the world and those things we wouldn't let our family listen to. My children sang along after having only listened once, which means they enjoyed Come Alive. The jewel cover image shows how the singer's happiness and goodness shines through. Great job again Russ Dixon! I can't wait to hear more original songs from Mercy River in the future. Thank you Deseret Book for the review copy.
About Mercy River
With 13 children between them, it's amazing that Whitney Permann, Brooke Stone, and Soni Muller have time for anything other than runny noses, sock hunts, and prying suckers off the van floor. But music has been a part of each of their lives since childhood, and is now a strong presence in their homes.
The three friends met while singing in the Jenny Phillips Choir and there found a common love for tight harmonies and sharing the gospel through song. Over the past five years, Mercy River has traveled all over the United States and Canada as a highly sought after ensemble, performing for thousands of people while testifying of the Savior. Each member of the group brings several years of experience performing, writing, and directing hundreds of firesides and concerts—as well as recording on dozens of inspirational albums.
Their self-titled debut album was released in May 2008. "Beautiful Dawn," was released in March of 2010. Their third album, "Higher" was released with rave reviews in February 2012. Mercy River is back with mesmerizing harmonies and upbeat vocal arrangements in "Come Alive".
Website * Facebook * Twitter
Tour Giveaway
$25 Amazon Gift Card or Paypal Cash
Open only to those who can legally enter, receive and use an Amazon.com Gift Code or Paypal Cash. Winning Entry will be verified prior to prize being awarded. No purchase necessary. You must be 18 or older to enter or have your parent enter for you. The winner will be chosen by rafflecopter and announced here as well as emailed and will have 48 hours to respond or a new winner will be chosen. This giveaway is in no way associated with Facebook, Twitter, Rafflecopter or any other entity unless otherwise specified. The number of eligible entries received determines the odds of winning. Giveaway was organized by Kathy from I Am A Reader, Not A Writer and sponsored by the authors. VOID WHERE PROHIBITED BY LAW.


text:
Israelis protest Trump travel ban, citing history of Jewish refugees
In Tel Aviv and Jerusalem activists show solidarity.
By Tamara Zieve
Israelis protest Trump's travel and immigration ban , while standing across from US embassy in Tel Aviv on Jan. 29, 2017
Some 40 demonstrators gathered in front of the US Embassy in Tel Aviv on Sunday evening to protest President Donald Trump's decision to put a fourmonth hold on asylum seekers entering the United States and a temporary ban on travelers from Syria and six other predominantly Muslim countries.
Activists stood by the beach-side road, chanting, singing and holding signs with slogans such as "Dump Trump, Dump Bibi," "No ban, no walls" and "For you were strangers in the Land of Egypt." The history of the Hebrews as slaves in Egypt was a central theme in several of the demonstrators' songs.
Another sign asked drivers to "honk if you love refugees," and received the appropriate response from passing vehicles.
The protest was organized by the organization Right Now: Advocates for African Asylum Seekers in Israel, which decided to join in the wave of protests taking place across the US and around the world against Trump's policy, as well as against Prime Minister Benjamin Netanyahu's support of it.
"We felt we needed to be doing something here to protest both the policies that have been going on in the United States and the policies going on in Israel for years," the group's cofounder, Elliot Glassenberg, told The Jerusalem Post.
"We believe that only by taking a global approach can we truly address the global refugee crisis."
Glassenberg said that while Trump's policies are new to Americans, Netanyahu's policies on refugees are of far longer standing and he is concerned that Israeli society has become apathetic.
Eritrean Teklin Michael was among a handful of African asylum-seekers who joined the protest.
"This is about protection," he told the Post. "I am not talking about religion, or any special group, I'm talking about those who are fleeing from dictatorship, those who are fleeing from terrorism, those who are fleeing hardship and seek protection. Whether Muslim, Christian or Jewish – everyone needs protection."
He says Israel's policy toward refuge- seekers is no better than that of the new US administration, and that he has been waiting 10 years for a response to his request for asylum. "It's the same.
Protesting in Jerusalem against the Trump immigration ban to US on Jan. 29, 2017 (credit: MARC ISRAEL SELLEM / THE JERUSALEM POST)
Netanyahu built a wall by Sinai and now Trump is doing the same with Mexico."
Israeli-American Ben Rathauser said he was upset by the way politicians, particularly Trump, were exploiting fears regarding the economy or terrorism, to advance their agendas.
"It's very frustrating, especially as a Jew, to see a policy that's lacking so much morality and lacking any real vision...
it's very upsetting to see how this is strictly about showing that the government can do something, as opposed to doing what's right and helping those in need. We have a history with the US turning Jews coming from Europe down, and I can't help but draw parallels."
Fellow US-Israeli dual citizen Becca Strober echoed this sentiment, saying that having grown up learning about the Holocaust, she saw "extremely scary parallels.
"I stand with refugees in both countries," she said. "Everyone deserves to live with respect and dignity – we should not be closing our doors."
Meanwhile in Jerusalem, a similar number of American and Israeli protesters gathered at Paris Square – halfway between the Prime Minister's Residence and the US Consulate.
"No one takes security and fighting terror more seriously than we do here in Israel," said demonstrator Adam Block.
"But we have to demonstrate against this slap-dash policy that bans war refugee children and US Army translators while it lets in radical extremists as long as they are from wealthy countries."
israel syrian refugees
refugees in israel
us israel relations


text:
Hammond alternative bands
Whether you're a fan of Pearl Jam, Radiohead, Spacehog, or any of the other classic bands of the 90s, you'll be glad to know GigMasters has a wide selection of Alternative Bands that you can book for your next event in the Hammond, NY area. Start your search here!
Alternative Bands /
New York /
Hammond, NY Alternative Bands
Please note these Alternative Bands will also travel to Chippewa Bay, Brier Hill, Elizabethtown, Morristown, Lyn, Brockville, Mallorytown, Redwood, Rockport, Richville, De Peyster, Maitland, Alexandria Bay, Oxbow, Plessis, Hailesboro, Heuvelton, Lansdowne, Gouverneur, Ogdensburg, Antwerp, Theresa, Addison, Athens, Wellesley Island, Johnstown, Prescott, Fishers Landing, De Kalb Junction, Augusta
Are you a alternative band looking to book more events? Get more alternative band events today.
Top Alternative Bands Near Hammond, NY
Cover Band from Burlington, VT (121 miles from Hammond, NY)
A House On Fire, the pride of Vermont, one of the coolest bands in the northeast, and possibly the country, to perform for weddings, private functions, and corporate events. No ordinary band, and definitely not a typical "wedding band", but a real and powerful band that does weddings. Is it possible for a band to eloquently and convincingly play music across, pop, dance, reggae, rock, hip hop, country, R & B, and soul, genres? AHOF delivers authentic Vermont soul and feel, yet is able to... (more)
Ostrich Hat
Cover Band from Hazleton, PA (241 miles from Hammond, NY)
Ostrich Hat, The band with the crazy name wants to make your next private party, wedding or corporate function a memorable one! Don't settle for the typical, over priced private party band, playing halfheartedly through tired standards. Let us turn up the energy and throw a real party! Ostrich Hat's high energy show contains songs from every genre of popular music from the classics to modern top 40 and everything in between. We play all upbeat, fun songs that will get any crowd dancing... (more)
Talking Machine
Acoustic Band from Newburgh, NY (221 miles from Hammond, NY)
Married couple Chris Holub, AKA Tin Monk, and Di Holub are Talking Machine, available as an acoustic duo or three piece band with the addition of long time drummer/percussionist, Sam Allen. Talking Machine's sound and approach are an amalgamation of their musical tastes in all genres, old and new. Although the group is acoustic, song arrangements and instrumentation are that of a fully formed rock group, delivering a full sounding, rhythmically driven musical experience. Chris (Monk) ... (more)
Top 40 Band from Newtown, CT (242 miles from Hammond, NY)
For The Zoo (Est.1994), much has happened over the last 25 years. Their skyrocketing popularity has been highlighted by an appearance on TRL (Total Request Live) hosted by Carson Daly, as well as appearing on MTV's Ultimate Cover Band Reality Show, which culminated in The Zoo becoming the MTV's Ultimate Cover Band WINNERS! The Zoo, long a nightclub favorite, has become increasingly popular on the corporate and private event circuit. The New York Islanders have been fans of the band for... (more)
3 Shades Of Blue
Alternative Band from Glenmoore, PA (300 miles from Hammond, NY)
3 Shades of Blue is an alternative rock band from Philadelphia PA. They have opened for bands such as Panic at the Disco, Switchfoot, Skillet, and many more. They are best known for their time on America's Got Talent season 10, where they placed top 20. 3 Shades of Blue plays original music along with top 40's and recent alternative covers. The band travels with a full sound system when needed. Please reach out for any booking inquiry's. (more)
The Whiskey Rebellion
Cover Band from Moseley, VA (497 miles from Hammond, NY)
Skillful picking and expert three-part harmonies are just part of what you can expect from the Whiskey Rebellion, who have been plying their brand of high-energy acoustic music across the Southeast (and as far west as the Pacific Ocean) for the last eight years. The band has recorded two regionally-acclaimed original albums, shared the stage with the Sam Bush Band and Carolina Chocolate Drops, and had their 2011 tour of the Pacific Northwest captured by filmmaker Tony Morin for a forthcoming... (more)
Jazz Band from Brooklyn, NY (272 miles from Hammond, NY)
Mod Society combines modern-chic style with top quality music entertainment that will keep your guests on the dance floor all night! We specialize in blending indie rock, classic rock, and Top 40 in our arrangements to present a unique performance at every event. Mod Society has been performing throughout Boston and NYC for the past 10 years. Our music spans from straight-ahead traditional jazz to highly energized latin jazz and salsa. High-energy Top 40 dance songs and indie covers are... (more)
The Real Geniuses
Variety Band from Baltimore, MD (359 miles from Hammond, NY)
The Real Geniuses were formed in August 2000 when 5 musician friends were asked to 'come up with something fun' to play at a friend's birthday party. The Real Geniuses then thought it'd be fun to play a bunch of those old hit songs that everybody knows the words to but nobody every really hears anymore. Their performance that night was a huge success. What the guys thought would be a one-night performance was quickly changed when several people approached them to play at events they were... (more)
The Sulls
Cover Band from Wilton, CT (251 miles from Hammond, NY)
The Sullivan Brothers were awesome. They played all songs people wanted to hear. Their energy was awesome, the even played stairway to heaven on the guitar we were raffleing off. I honestly couldn't be happier, and I already told them of another show we are doing in August I want to book them for." -Joe D. Blue Point Brewing "Hired these guys to play at our daughters Sweet 16 after hearing them at our favorite local brewery and they did not disappoint. The teenagers absolutely loved... (more)
Vinyl Underground
Cover Band from Detroit, MI (404 miles from Hammond, NY)
The Vinyl Underground is Detroit's Premier Party Band. Composed of five of Detroit's most decorated musicians. The Vinyl Underground boasts a range of material unmatched by any other band in the Midwest. The Vinyl Underground has performed at the North American Auto Show for 5 consecutive years, Autorama, The Motor City Casino, The Gem Theater and private parties from Traverse City to West Virginia. Fronted by national and local award winning singer, Chris McCall, the Vinyl Underground... (more)
Smitty's Polka Band
Polka Band from New York City, NY (271 miles from Hammond, NY)
** SMITTY'S POLKA BAND -- ROLLIN' OUT THE BARREL w/ the hottest session players in the NY music scene today--classic rock takes on polka, plus pop, Top 40 and Dance Music. ** Smitty's combines classic Old World beer hall accordion with vocals, electric guitars, brass, bass guitars and drums, in a rock band setup. And no genre is safe from the SMITTY'S, who will do whatever it takes to get your groove on! ** SMITTY'S rapidly growing client list includes names like Tussey Mountain PA,... (more)
Jose Conde Bands, Ola Fresca
Cuban Band from New York City, NY (270 miles from Hammond, NY)
A consistent choice of celebrities and top party planners for over 20 years, Jose Conde is "one of NY's most important Latin voices" (TIMEOUT NY), and a dynamic and charismatic Cuban American singer, performer, producer and bandleader. Recent gig activity for Conde includes leading bands in top public and private venues in notable spaces such as MOMA, Museum of the City of New York, Lincoln Center, Sunset Beach-Shelter Island, Mexico City's Publico Prim Museum, Miami Beach Bath Club, Dumbo... (more)
Cold Weather Company
Acoustic Band from New Brunswick, NJ (280 miles from Hammond, NY)
Steadily building their artistic style and audience both along the East Coast and online for the past four years, New Jersey-based alternative folk band Cold Weather Company carries a diverse sound, rich with harmonies and instrumental builds. Incorporating elements of more classic folk artists like Crosby, Stills, & Nash, modern folk bands like Mumford & Sons and The Avett Brothers, as well as classical, indie rock, and experimental artists, the band combines the various writing approaches... (more)
Patrick & the LVB
Cover Band from Washington, DC (389 miles from Hammond, NY)
Patrick & the LVB - Washington DC Cover Band / Top 40 Band / Party Band Patrick Sieben has quickly become one of Las Vegas' top performers. He currently holds a 4 night per week residency at Aria Resort and Casino located at the heart of the Las Vegas strip, performing a young and energetic mix of modern pop tunes, classic hits and originals. While maintaining his residency in Vegas, Patrick and his band travel across the country performing. Patrick opened for TOTO and YES on multiple... (more)
The 80's vs. 90's Show
90s Band from New York City, NY (269 miles from Hammond, NY)
The 80's vs. 90's Show is a unique and mind blowing experience featuring the best music from two very different decades. Whether it's big hair, neon, Doc Martens or flannel, this band will keep your guests partying on the dance floor all night long! MTV videos play during the set, which bring you back to your favorite decade or decades! The band performs in era specific costumes, raising the bar and raising hell! If you're looking for for something completely new and exciting for your party,... (more)
Bergamot Rose - Nouveau Alternative & French Band
French Band from Purcellville, VA (379 miles from Hammond, NY)
Bergamot Rose | Nouveau Alternative, Chamber Pop, World Jazz and French Fusion A sound palette of world rhythms infused with a French twist. Inspired by early '90's new wave, Bergamot Rose is composed of tart lyrics balanced by vibrant rhythms and instrumentation. The group also performs world jazz and is well known for their performances at The French Ambassador's Residence in DC in addition to The French Embassy and Canada OAS. The music of Bergamot Rose reflects a musical... (more)
Lost Love Horizon
Rock Band from Harrisburg, PA (294 miles from Hammond, NY)
"Lost Love Horizon," is a central Pennsylvania based, high-energy rock, pop, country, classic, current hit band that also performs LLH originals. The 4-MAN band tours throughout the Northeast, performing at various venues, reaching a wide audience while traveling with state-of-the-art sound & lighting production. The band delivers top-shelf vocals, & rock-solid musicianship combined with a variety of all styles of music. There is something for everyone. All four members of the band... (more)
Alex Anthony Music
Acoustic Band from Newburyport, MA (265 miles from Hammond, NY)
Alex Anthony is a singer/song writer that ranges from 60's hits to modern day pop/rock music. With the capabilities of offering you with playing solo, duo, or full band, he puts an indie/folk/rock twist to all cover tunes so people can hear the songs they love but with a fresh sound. Born and raised on the North Shore of Massachusetts, his country/folk rock inspiration comes from Ray Lamontagne, James Taylor, Van Morrison, Damien Rice, and City & Colour. In 2015 Alex toured half the country... (more)
Variety Band from Charlottesville, VA (468 miles from Hammond, NY)
The Lone Rangers are on a mission to save the world from boring. Sporting a deep catalog of hits from the '70s, '80s, '90s, and today, the band can elevate any social gathering to a sing-along, dance-along, riotously good time. The Rangers draw on the talents of several established local acts, combining their powers towards a singular goal: to bring you the party. In a world of increasing tedium, the Lone Rangers are prepared to deploy epic amounts of fun. Will you join them? (more)
The WMDs
Cover Band from New York City, NY (269 miles from Hammond, NY)
The WMDs are the tri-state's premier national touring rock/wedding cover band. From Classic Rock and Motown to old-school Hip-Hop medleys, 80's, 90's and Top-40, The WMDs can execute a show like no other. Having residencies at some of the most demanding clubs across the country, The WMDs are ready, willing and able to entertain any crowd, anywhere. From acoustic duo to full powerhouse 6-piece and beyond, the band's size can be modified to suit any event and budget. The band is comprised... (more)
Bellatonic
Jazz Band from New York City, NY (269 miles from Hammond, NY)
Imagine all of your favorite pop songs (Beyonce, Tom Waits, Def Leppard) revised into a funky soul music experience with a throwback jazz elegance. Bellatonic: the ultimate millennial soul, jazz & lounge group. With a vintage microphone in hand, sensational vocalist Cara Dineen performs a wide range of styles and songs with a tinge of Jazz, a twist of R&B, or a shot of Hip Hop, Bluegrass, or Folk all under the elegant guise of a 1960's jazz group. All of these flavors magically... (more)
Cover Band from Cleveland, OH (364 miles from Hammond, NY)
The Players Club is Northeast Ohio's premiere dance / party band! Consisting of three dynamic instrumentalists and lead by Front-man, Brett Matthews, TPC electrifies audiences with powerful, rock-band style renditions of the greatest hits from every era. From the Righteous Brothers and the Jackson 5 in the 60's to Kool and the Gang and Earth Wind and Fire in the 70's to Bon Jovi and Vanilla Ice in the 80's to the Backstreet Boys and N Sync in the 90's to Bruno Mars and Fetty Wap in... (more)
The Defibulators
Country Band from Brooklyn, NY (273 miles from Hammond, NY)
Described alternately as "Hee-Haw on mescaline" and "CBGB-meets-Grand Ole Opry," The Defibulators are first-and-foremost a live band, and their boundless energy and infectious sense of joy onstage have quickly earned them a devoted following in a city not known for its love of country music. Through four years of relentless touring since the release of their "Carter Family-meets-Ramones" (AMG) debut, 'Corn Money,' the band's sound has evolved and their songwriting matured, but it still took a... (more)
Nitebridge
Dance Band from Cleveland, OH (359 miles from Hammond, NY)
NITEBRIDGE has been rocking the House since the 80's.From the Ritz Carlton to the finest Country Clubs in the USA. We play all styles of music and will make your event an unforgettable experience in which a great time will be had by all. From the sultry piano style of Moss Stanley by himself, or with his jazzy trio for the cocktail hour to smooth jazz for the dinner music with the 8/9 piece band. The incredible vocal performances of Mr Ace Chase and the lovely talented Ms Jessica and the... (more)
DataRecoveryProject
Dance Band from Washington, DC (387 miles from Hammond, NY)
Data Recovery Project (DRP) is an electronic duo that combines retro Hi-NRG dance beats with contemporary ass-shaking grooves and trenchant lyrics. DRP's live show effortless combines trenchant lyrics, soaring harmonies, and live-cut video elements to create an immersive musical experience that holds the floor. We appeal to a broad range of demographics which can sometimes be hard to reach for live music venues including women, dance fans, R&B fans, 80's hold-outs, and LGBTQ community... (more)
DeepC Divers
Rock Band from Boston, MA (273 miles from Hammond, NY)
DeepCDivers are a Boston-based original rock band whose melodic hooks finds a genuine appeal to the heart. Their music is a striking blend of alternative and classic rock with elements of funk and reggae sounds tempered with a pop sensibility.The band members each have long resumes which include tour dates throughout New England and beyond. The performances include The Middle East (Boston), Natick Center for the Arts (MA), CBGB's (NYC), and SXSW (Austin) to name a few. Their music has... (more)
Saint Eugene
Rock Band from Somerville, MA (269 miles from Hammond, NY)
Saint Eugene is a cover band side-project of the Boston-based Indie-Rock band, Old Fox. Drawing from their Indie-Rock, Americana-Roots, and Folk-Rock influences, Saint Eugene delivers an energetic, fun, and personal musical experience for listeners. Their set-lists range from Hozier, Nathaniel Rateliff & The Night Sweats, The Band, Paul Simon, and The Cranberries to Greenday, Blink 182, Smashmouth, Cher, and Bastille. The aim is to play fun music that you can sing and dance to. Saint... (more)


For designers — and now redesigners of the $50 million Nicollet Mall project in downtown Minneapolis hope you keep your eyes on the prize … and off of the ground. That's where the new design will shift out concrete pavers for poured concrete.
As for landscaping, "we've not had to remove one tree or scale down the size of trees we were specifying." And none of the structures will be changed from the designs put out for bid. Neither will the lighting or signage, street furniture or plantings.
"We believe there are ways to work with poured concrete that are very creative and will produce a really elegant and durable surface," Corner said. His new design will use different shades, shapes and patterns. Saw cuts will be used in some areas to give the appearance of individual slabs of stone. Drive lanes, walking areas, seating areas and planting areas will be delineated.
Changing "the floor" — plus a decision by the city's public works leadership to break the project down from one large contract to three smaller contracts and Metro Transit's offer to pick up the $4 million cost of new bus shelters — is hoped to attract bids within the $35 million construction budget. That budget was blown during the first bid process when just one contractor submitted a bid and that bid was $24 million too high.
If the changes result in better bids, the construction work could begin this summer with completion coming in late fall of 2017 — three months later than first hoped. The $50 million project is being paid for with $21.5 million in state bonds, $3.5 million in city funds and $25 million in special property tax assessments on 7,000 different downtown parcels.
Did the designers succeed in altering their earlier plans for a new Nicollet Mall? These images contain both the before and after designs that swapped out individual pavers for cast-in place concrete in five key segments of the mile-long project — drag the vertical sliders to compare the original designs to the new, paver-less versions.
The Art Walk - This section is on either side of 7th Street. The glass balls - "art spheres" are illuminated at night.
The Light Walk - Opposite the Art Walk, this section features trellises that will reflect sunlight and street lights. It also will house vendors during the weekly market.
The Tree Groves is the section between 5th and 6th Streets closest to the light rail station.
Loring Woods Plaza is the segment in front of Westminster Presbyterian Church at 12th Street.
Submitted by John Clouse on 02/15/2016 - 12:18 pm.
The changes are drastic. The best solution is to get buses off the Mall. Don't do this redesign until all of it can be done. Otherwise it will have to be done over in a few years anyway.
Submitted by Mary Jo Schifsky on 02/17/2016 - 12:24 pm.
Changing the floor material makes common sense! Current pavers and slate pieces are difficult to walk on when newly-laid and just get worse as they heave and move in our winter cold. I look forward to the simplicity of walking on a solid surface, where I don't have to watch to be sure I don't catch a heel on a raised paver. I support this design alteration completely.
Submitted by jim hughes on 02/15/2016 - 01:52 pm.
People want the buses and taxis off of the mall. That desire far outweighs any other factor in the redesign. Yet, it seems to be perpetually off the table. As long as the vehicles are there, nothing really changes.
Submitted by Jerome Hoffman on 02/15/2016 - 06:20 pm.
Now is this the third time the mall has been reconstructed or the fifth time? Will it always be a work in progress? When are they going to get it right? Why does the State and we taxpayers who never use it have to help pay for it?
Submitted by Jim Million on 02/16/2016 - 12:29 pm.
It is a perpetual project with short-term horizons. The Minneapolis Make-Work Mechanism.
The trellises are great. The attention to pedestrian relaxation, confection and libation is smart and welcomed.
Why don't we simply remove the buses and build the canal now?
I rather like the idea of "Amsterdam Avenue," don't you?
Submitted by Wayne Coppock on 02/16/2016 - 08:02 am.
Now I'll preface this with the fact I'd much prefer grade separation in the form of a bus tunnel under the mall, however given our regional inability to invest in grade separation for transit that seems like a futile request at this point. So if we're not going to bury the buses, where do they go? The current Hennepin detour has been a disaster and the third ave routing was even worse. The people who complain about buses on the TRANSIT mall obviously don't take the bus and have to rely on it. I've noticed those that complain about bus riders also complain about panhandlers and use other coded language to describe people they don't want to mix with. Well tough luck yuppies, other people need to make use of the mall too and there's nowhere else for them to go unless you can get the state to pony up some real money for a tunnel.
Submitted by Jesse Langanki on 02/16/2016 - 09:06 am.
It cost $15 million for a private design firm to tell the city to add some trees and chairs to Nicollet Mall? They could've done that without tearing it up. The pavers they had before construction were much better than than concrete, so now it's going to look worse than what they started with.


text:
St. Mary, Brenham celebrates jubilee with joy, thanksgiving
By Alfredo E. Cardenas | Correspondent
St. Mary Immaculate Conception Parish in Brenham is celebrating its 150th anniversary for a whole year with many activities planned throughout 2021. On Nov. 19, Bishop Joe Vásquez celebrated Mass as he blessed the parish doors and opened them to kickoff the jubilee year for the parish.
St. Mary Parish began on Nov. 19, 1870, when the Bassett brothers of Brenham deeded an acre of land to Galveston Bishop Claude Marie Dubuis for a new church site. Up to that time, Brenham Catholics attended Mass at the home of Thomas Dwyer. Father William McSweeny served as the congregation's first pastor. Under Father McSweeney's guidance, parishioners constructed the first chapel in 1871. With the growth of the parish community, they built a larger church in 1896.
During the Great Depression, on July 12, 1935, Father Charles Weisnerowski borrowed $50,000 to build the current church, which was dedicated by Galveston Bishop Christopher E. Byrne on May 3, 1936. The building's estimated cost was $75,000; plus the cost of the three marble altars and the 48 solid oak pews brought the original cost to about $100,000.
"Adjusting for inflation, the cost would be near $2,000,000 by today's standards," said Michael Derkowski, the parish business administrator. "Considering this was all accomplished during the Great Depression, reflects the love and dedication of our ancestors."
Ancestral roots run deep for many families at St. Mary Parish, said Father Everardo Cazares, pastor of St. Mary Parish.
"Celebrating the 150th dedication of the parish with solemnity is an opportunity to honor our ancestors, recognize their efforts, and at the same time renew our commitment to spiritual wealth, not only in tradition but by inherited witness," he said.
The sesquicentennial anniversary allows parishioners to connect with their community's richness and the fullness of their faith. Father Cazares hopes this will, in turn, move them into the future with confidence and purpose.
Pope Francis has even blessed the project decreeing a Jubilee Year of Grace for the parish from Nov. 19, 2020 to Dec. 8, 2021 and granting access to a plenary indulgence for those who make a pilgrimage to the parish and fulfill the typical requirements (see Page 4).
In a Proclamation of Welcome, Bishop Joe Vásquez wrote that the doors of St. Mary Parish are open to pilgrims who wish to visit, pray, obtain the jubilee indulgence and celebrate this very special jubilee year.
"To pilgrims who enter through these Jubilee Doors, I offer my prayers for conversion of heart and a deepening experience of God's merciful love. Please include the members of this parish in your prayers … May God grant us the humility to recognize our sinfulness and to seek his face of mercy in Jesus Christ," the bishop wrote.
Father Cazares hopes parishioners will "intentionally reflect in this time of renewal" on the importance of unity, thankfulness, humility, faith, sustainability and spirituality.
"We want to deepen our roots in the Gospel. We want to rediscover the essentials. We want to nurture our spiritual lives to bear abundant fruit," he said.
Every month the parish will provide parishioners a meditation topic and suggest accompanying activities. Prayer areas will be available for the faithful to come together and "pray, learn, practice and celebrate our lives together." Everyone is invited to participate.
Father Cazares and parish leadership, including 35 active ministries, are committed to following the current protocols to mitigate the spread of COVID-19. They have designed events that prevent overcrowding, and they pray the recent vaccines will make it possible to wind up the year with "a great closure."
There are many activities planned before the jubilee ends on Dec. 8. The parish intends to keep the congregation informed through its Sunday bulletin, website, social media and other means.
Derkowski invites fellow Catholics throughout the Diocese of Austin to make a pilgrimage to St. Mary, Immaculate Conception Parish and obtain the grace of the jubilee indulgence.
"We would be honored to have you as our guest," he said.
For more information about the parish, visit www.brenhamcatholic.org or call (979) 836-4441.
More information about jubilee indulgence at St. Mary in Brenham
Bishop Joe Vásquez blessed the doors of St. Mary Immaculate Conception Parish in Brenham on Nov. 19. The doors of this parish are now open to pilgrims who wish to visit, pray, obtain the jubilee indulgence and celebrate the parish's jubilee. Pilgrims and penitents are invited to pass through these holy doors as a gesture of crossing the threshold from sin to grace.
The door finds meaning as the believer associates the door with Christ. In the words of Pope Francis, "There is only one way that opens wide the entrance into the life of communion with God: this is Jesus, the one and absolute way to salvation."
An indulgence is an act of faith by which a person may obtain release from the temporal punishment associated with sins committed, either for oneself or on behalf of another. Pope Francis has granted an indulgence to be available through Dec. 8, 2021. Here's how to obtain the grace of the indulgence offered at St. Mary Immaculate Conception Parish in Brenham.
For able-bodied Catholics:
Take a pilgrimage. Make a journey to St. Mary of the Immaculate Conception, in Brenham, where "holy doors" have been designated has the parish celebrates a Year of Jubilee. Traveling to a pilgrimage site and crossing through a holy door is a spiritual journey that signals, as the Holy Father said, "the deep desire for true conversion." The holy doors will be opened through Dec. 8, 2021.
Go to confession.
Receive the Eucharist while reflecting on God's mercy.
Make a profession of faith (the Nicene or Apostles' Creed are good options).
Pray for the pope and for his intentions. An "Our Father" and "Hail Mary" are traditional.
Perform one of the Spiritual or Corporal Works of Mercy.
Please note: It is appropriate that the sacramental confession, Holy Communion and the prayer for the pope's intentions take place on the same day of the pilgrimage, but it is not necessary. The sacramental rites and prayers may be carried out within several days (about 20 days) and at a place other than the pilgrimage site.
For the elderly/confined/ill:
For persons physically unable to visit St. Mary Immaculate Conception Parish in Brenham, they may obtain the indulgence by living with faith and joyful hope.
Receiving Communion or attending Holy Mass and community prayer, even through the various available means of communication (livestreamed Mass), will be for them the means of obtaining the indulgence.
These persons may also perform one of the Spiritual or Corporal Works of Mercy as their abilities permit.
For information about the jubilee indulgence, visit www.brenhamcatholic.org.


text:
Samsung Galaxy S10 gets several features of Note 10 with update
Good news for those who have a Galaxy S10, S10 + or S10e: a Samsung is releasing a software update for this line that, in addition to the typical bug fixes, brings several features until then exclusive to the Galaxy Note 10 and Note 10+.
The main novelties concern the cameras. The Galaxy S10 line is now receiving Live Focus, Live Focus Video, AR Doodle (for rear and front cameras) and Super Steady (already existing, but now revamped to support both conventional videos and hyperlapses), as well as a night mode for the front camera.
O XDA Developers recalls that, in fact, the Live Focus function (allows you to control the depth of field and adjust the background blur) is already available on the Galaxy S10 line (and on other Samsung devices), but the mode was increased with effects that were only released for the Galaxy Note 10 line.
Live Focus Video (has the same function as Live Focus, only in videos, as the name implies) is a new feature in Galaxy S10 devices. The same goes for the other added features, such as AR Doodle, which allows the user to write or draw on faces captured in videos.
But the news is not limited to cameras. Other features that the Galaxy Note 10 line is "lending" to Galaxy S10 smartphones include Link to Windows (a kind of shortcut that makes it easier to connect your smartphone to your PC) and Dynamic Lock Screen (displays a different background image every time the lock screen is triggered).
What's new for the Galaxy S10 (Screenshots: SamMobile)
Also worth mentioning is support for DeX mode. This feature was already compatible with the Galaxy S10 line, but has been modified on the Galaxys Note 10 and 10+ to allow the mode to work on computers running Windows 10 or macOS. Well, this new version of Dex is being taken to the Galaxy S10 line.
The update also includes cumulative security fixes for September 2019 and performance adjustments. It just takes patience. The update is being released gradually by Samsung.
With information: SamMobile.
Xiaomi TV supports 8K, low price and up to 65 inches | Gadgets
Samsung charges $ 149 for first Galaxy Fold screen switch | Cell phone
Google Chrome tests button to pause videos on any tab | Applications and Software


text:
Q: How to get ID fields from table using spring batch I´m trying to get all fields from a table using spring batch.
I got all fields, except the ID fields (primary key e foreign key)
Below is my reader:
@Configuration
public class ReaderConfig {

@Bean
public JdbcCursorItemReader<Entity> Reader(
        @Qualifier("datasource") DataSource dataSource) {

    return new JdbcCursorItemReaderBuilder<Entity>()
            .name("Reader")
            .dataSource(dataSource)
            .sql("select * from table")
            .rowMapper(new BeanPropertyRowMapper<Entity>(Entity.class))
            .build();
    }
}

Below is my writer:
@Configuration
public class WriterConfig {

    @Bean
    public ItemWriter<Entity> Writer() {

        return entities-> entities.forEach(System.out::println);

    }
}

The others fields comes with success, but the ID fields like transactionId and deposit comes null.
I think there is some kind of protection that not permit these fields show its values.
Someone can help me?

A: The column name in your table is ID_TRANSACTION, but the getter/setter that you seem to be generating with lombok would be getTransactionId/setTransactionId, which do not match the column name. According to the javadoc of BeanPropertyRowMapper, you can use an alias if the column name does not match the field name. Here is an excerpt from the javadoc:
To facilitate mapping between columns and fields that don't have matching names,
try using column aliases in the SQL statement like
"select fname as first_name from customer".

In your case, you need to update your query to something like:
select ID_TRANSACTION as transactionId, ID_DEPOSIT as depositId, /* other fields */  from rm_transaction

Here is a quick example:
import javax.sql.DataSource;

import org.springframework.batch.core.Job;
import org.springframework.batch.core.JobParameters;
import org.springframework.batch.core.configuration.annotation.EnableBatchProcessing;
import org.springframework.batch.core.configuration.annotation.JobBuilderFactory;
import org.springframework.batch.core.configuration.annotation.StepBuilderFactory;
import org.springframework.batch.core.launch.JobLauncher;
import org.springframework.batch.item.ItemWriter;
import org.springframework.batch.item.database.JdbcCursorItemReader;
import org.springframework.batch.item.database.builder.JdbcCursorItemReaderBuilder;
import org.springframework.batch.item.file.FlatFileItemWriter;
import org.springframework.batch.item.file.builder.FlatFileItemWriterBuilder;
import org.springframework.context.ApplicationContext;
import org.springframework.context.annotation.AnnotationConfigApplicationContext;
import org.springframework.context.annotation.Bean;
import org.springframework.context.annotation.Configuration;
import org.springframework.core.io.FileSystemResource;
import org.springframework.jdbc.core.BeanPropertyRowMapper;
import org.springframework.jdbc.core.JdbcTemplate;
import org.springframework.jdbc.datasource.embedded.EmbeddedDatabase;
import org.springframework.jdbc.datasource.embedded.EmbeddedDatabaseBuilder;
import org.springframework.jdbc.datasource.embedded.EmbeddedDatabaseType;

@Configuration
@EnableBatchProcessing
public class MyJobConfig {

    @Bean
    public JdbcCursorItemReader<Person> itemReader() {
        String sql = "select person_id as id, name from person";
        return new JdbcCursorItemReaderBuilder<Person>()
                .name("personItemReader")
                .dataSource(dataSource())
                .sql(sql)
                .beanRowMapper(Person.class) // equivalent to .rowMapper(new BeanPropertyRowMapper<>(Person.class))
                .build();
    }

    @Bean
    public ItemWriter<Person> itemWriter() {
        return items -> items.forEach(System.out::println);
    }

    @Bean
    public Job job(JobBuilderFactory jobs, StepBuilderFactory steps) {
        return jobs.get("job")
                .start(steps.get("step")
                        .<Person, Person>chunk(5)
                        .reader(itemReader())
                        .writer(itemWriter())
                        .build())
                .build();
    }

    public static void main(String[] args) throws Exception {
        ApplicationContext context = new AnnotationConfigApplicationContext(MyJobConfig.class);
        JobLauncher jobLauncher = context.getBean(JobLauncher.class);
        Job job = context.getBean(Job.class);
        jobLauncher.run(job, new JobParameters());
    }

    @Bean
    public DataSource dataSource() {
        EmbeddedDatabase embeddedDatabase = new EmbeddedDatabaseBuilder()
                .setType(EmbeddedDatabaseType.HSQL)
                .addScript("/org/springframework/batch/core/schema-hsqldb.sql")
                .build();
        JdbcTemplate jdbcTemplate = new JdbcTemplate(embeddedDatabase);
        jdbcTemplate.execute("create table person (person_id int primary key, name varchar(20));");
        for (int i = 1; i <= 10; i++) {
            jdbcTemplate.execute(String.format("insert into person values (%s, 'foo%s');", i, i));
        }
        return embeddedDatabase;
    }

    static class Person {
        private int id;
        private String name;

        public Person() {
        }

        public int getId() {
            return id;
        }

        public void setId(int id) {
            this.id = id;
        }

        public String getName() {
            return name;
        }

        public void setName(String name) {
            this.name = name;
        }

        public String toString() {
            return "Person{id=" + id + ", name='" + name + '\'' + '}';
        }
    }

}

This prints:
Person{id=1, name='foo1'}
Person{id=2, name='foo2'}
Person{id=3, name='foo3'}
Person{id=4, name='foo4'}
Person{id=5, name='foo5'}
Person{id=6, name='foo6'}
Person{id=7, name='foo7'}
Person{id=8, name='foo8'}
Person{id=9, name='foo9'}
Person{id=10, name='foo10'}

If you change the sql query to select * from person, you will see the that the id field won't be mapped correctly, because the BeanPropertyRowMapper won't find  a getter/setter named getPerson_Id/setPerson_Id.

A: @Bean
public JpaPagingItemReader<Transaction> remuneradorReader() {

    JpaPagingItemReader<Transaction> databaseReader = new JpaPagingItemReader<>();
    databaseReader.setEntityManagerFactory(entityManagerFactory);
    databaseReader.setQueryString("select o from table o");
    databaseReader.setPageSize(1000);
    return databaseReader;
}


Email Spider URLs collects 1000's of email addresses from various websites from INTERNET. It collects email addresses from a list of website's URLs only the email addresses those you need not all available emails. It is very fast Email Spider URLs.
4 Easy Steps To Master Your Article Marketing. Easily mix together: Videos, pictures, shortened URLs and spun text Into a complete formatted article. Build-Up Complete SEO Campaigns in 6 clicks.
Easily submit social bookmarks to the social bookmark search engines. SocialSpeed automates the process of submitting your URLs as social bookmarks, publishing your content, and getting more traffic.


text:
AZZA FAHMY: THE CRAFTMANSHIP OF CULTURE
Almost 50 years ago Azza Fahmy initiated her journey towards being one of the most esteemed jewelry designers in the MEA region. With a profound purpose, Azza Fahmy has taken the role of translating the region's culture and international art and historic references to the world, through contemporary jewelry design that reflects her unique research approach and craftsmanship preservation.
The history of the brand began when Azza Fahmy (a BA graduate in Interior Design) discovered a German art book about the classical jewellery of Medieval Europe at an Egyptian book fair igniting her passion for jewellery design. While continuing her day job, she became an apprentice in Khan El Khalili, Egypt's ancient jewellery quarter where she spent her evenings learning with one of the craft's most respected masters – the first woman to achieve this. This was followed in the mid-1970s by a scholarship from the British Council where she completed her jewellery craft education at the City of London Polytechnic.
Celebrated as Egypt's first luxury multi-national brand, Azza's craft has captured the attention of cultural and fashion cognoscenti and has seen her collaborate with designers such as Julien Macdonald, Preen by Thornton Bregrazzi, Matthew Williamson, the British Museum – all of whom she has created collections. Five years ago she independently funded and established the successful 'Design Studio by Azza Fahmy' (DSAF), the first design education hub of its kind in the region.
Listed as one of Egypt's most influential women, Azza Fahmy travels internationally as a cultural ambassador for her country, and her dedication to her craft and exquisitely designed jewellery has won her international recognition that boasts a diverse client list attracting jewellery connoisseurs from around the world including royalty and stage and screen. Azza works in partnership with her daughters Fatma Ghaly, Managing Director and Amina Ghali, Head of Design.
Lots of things, a good song, a good book, a beautiful view and scenery, a fruitful discussion, nice company, seeing that you changed someone's life by benefiting them and teaching them something useful.
As a child, I didn't have creative inclinations at all, even at the faculty of art I wasn't the top student, but finding my passion and my calling in life is what made me succeed and achieve what I have today.
Honestly, all my surroundings. I find inspiration in travel, museums, poetry, pottery, fabrics, are, architecture, nature…you name it and I get inspired by it.
Anything related to the word jewellery.
Researching jewellery, reading a book about jewellery, designing a new piece or collection and teaching about jewellery making and design.
I feel like the Pharaonic resonated most with our clients because we presented it in a very modern yet wearable manner. People had seen pharaonic jewellery in the same way for a long time, and through my extensive research- which took me 8 years- I was able to present this collection in a whole new way.
It's evolving as a field. A lot of new emerging designers are working with existing crafts but evolving and designing them in a much more modern way.
Very humorous people, you can't keep up with them.
Dig deep in Egypt's creative industry because you will find hidden gems, look in different areas of Egypt that are known for their rich crafts and heirloom traditions.
Old Cairo, I love it there!
Aswan, for sure!
People forget that through the difficult circumstances in the past 100 years, we have a lot of pioneers in different fields that people don't know of.
A lot of things: crafts, food, tourism for the desert, oasis, the Nile, the Red Sea, and the rich culture in general.
It changed my life, changed my perspective on my uneasy life, and I got to realize that everything happens for a reason and you have to look at the good side of bad things
It's not my area of expertise, I prefer working on the creative side. Of course, when it was still a one-woman show, I had to learn the financial and business-related side to grow my business, but fortunately today I have a strong team who take care of this part and keep me updated.
Their soul and look inside themselves, look at what they love and that's where they will find inspiration.
A lot of young creatives are important in Egypt in different fields. I love the two young women, Yara and Rania, who established a brand called Up fuse which upcycles plastic and uses it to make other useful objects like chairs and bags.
We have internationally recognized Egyptian Opera singers like Fatma Said and Farah el Dibany who I am very proud of and who I feel like make it globally. I really can't list them all.
Consisting of rings, earrings and necklaces enhanced with champagne diamonds and semi-precious stones, the Nubia artistic collection is one of Azza's latest creation and it reveals her personal connection to this historical city in the south of Egypt. It echoes her successful design approach of translating cultural and historic international references to contemporary jewelry.
You can find all these incredible design available online at www.azzafahmy.com and through all Azza Fahmy retail outlets. Her jewelry is sure to capture the appeal of those seeking individual style and lovers of art!
Previous ArticleBAHIA SHEHAB: ARTIVISM AT ITS BEST
Next ArticleALAA AWAD: AN ODE TO ANCIENT EGYPT
BAHIA SHEHAB: ARTIVISM AT ITS BEST
Karabo Poppy: The South African illustrator
LEBANESE WIT ENRICHING ROMANIAN SOIL
STÉPHANIE CACHARD AND HER TIMELESS JEWELRY
MAHA AKL: DIVERSITY IN TYPOGRAPHY


text:
Q: Python question: N is number of students and teachers, K is required beauty of chosen pair The question goes
There are N students standing in a row with indices from 1 to N, and N teachers standing in a row from 1 to N. It is given that the the beauty of one pair (student, teacher) is equal to the difference - in absolute value - between the index of the student and the index of the teacher. The beauty of all pairs is the sum of beauties of each pair. Your task is to find the total number of ways to make N pairs (student, teacher) such that the beauty of these pairs is equal to K.
Constraints:
1<=N<=50
0<=K<=N*N
Sample Input N=3 K=2
Output 2
Sample Input N=50 K=2
Output 49
Sample Input N=3 K=3
Output 0
import sys
def getCount(N,K):
  # my code
  l1=[]
  for i in range(N+1):
    l1.append(i)
  count=0
  for i in range(0,N):
    for j in range (i+1,N):
      if l1[i]-l1[j]==K or l1[j]-l1[i]==K:
        count+=1
  if count ==0:
    return 0
  else:
    return count+1
  # my code ends
def main():
  N=50
  K=2
  result=getCount(N,K)
  print(result)
if __name__=="__main__":
  main()

The issue is I got the test cases correct but when I Submit the code I got this
This is test case which I passed
This is the result after submitting
Please help me, I have this coding exam next month
I redesigned my code to this:
will it work? for all testcases?
def getCount(N,K):
  # my code
  count=0
  if N==K:
    return 0
  for i in range(0,N-1):
    for j in range (i,N+1):
      if i-j==K or j-i==K:
        count+=1
  if count ==0:
    return 0
  else:
    return count
  # my code ends
def main():
  N=3
  K=3
  result=getCount(N,K)
  print(result)
if __name__=="__main__":
  main()


We will be hosting Rotary Mini Meetings on the 4th Thursday of every month at Taps Tavern from 5:30-6:30 p.m. Please consider attending, especially if you can't make the regular noon meeting. Next Mini Meeting is February 23rd. If anyone would like to lead one of our Mini Meetings, please see Mark Reed or Paul Ricciardi.


text:
package nl.weeaboo.styledtext.layout;

import java.util.ArrayList;
import java.util.Collection;
import java.util.List;

import nl.weeaboo.styledtext.TextStyle;

final class CompositeTextLayout implements ITextLayout {

    /**
     * No assumptions are made about the visual layout of the text. These layout elements may span multiple
     * lines, switch directions, etc.
     */
    private final List<Elem> elems = new ArrayList<Elem>();

    /**
     * Line information (line start/end, bounds, etc.)
     */
    private final List<Line> lines = new ArrayList<Line>();

    /**
     * Y-axis direction; {@code -1} for y-up, {@code 1} for y-down.
     *
     * @see LayoutParameters#ydir
     */
    private final int ydir;

    private int glyphCount;
    private float minX, minY, maxX, maxY;

    private float dx, dy;

    /**
     * @see #getOffsetY()
     */
    public CompositeTextLayout(float dx, float dy, int ydir) {
        this.dx = dx;
        this.dy = dy;
        this.ydir = ydir;
    }

    /**
     * @param startY Line top y-position, relative to the layout's origin.
     */
    void addLine(Collection<ITextElement> elems, float startY, float endY) {
        final int startGlyphIndex = glyphCount;

        for (ITextElement elem : elems) {
            add(elem);
        }

        lines.add(new Line(startGlyphIndex, glyphCount, startY, endY));
    }

    private void add(ITextElement elem) {
        int len = LayoutUtil.getGlyphCount(elem);
        int start = glyphCount;
        int end = start + len;

        elems.add(new Elem(elem, start, end));
        glyphCount += len;

        if (elems.size() == 1) {
            minX = elem.getX();
            minY = elem.getY();
            maxX = elem.getX() + elem.getLayoutWidth();
            maxY = elem.getY() + elem.getLayoutHeight();
        } else {
            minX = Math.min(minX, elem.getX());
            minY = Math.min(minY, elem.getY());
            maxX = Math.max(maxX, elem.getX() + elem.getLayoutWidth());
            maxY = Math.max(maxY, elem.getY() + elem.getLayoutHeight());
        }
    }

    @Override
    public float getOffsetX() {
        return dx;
    }

    @Override
    public float getOffsetY() {
        return dy;
    }

    @Override
    public float getTextWidth() {
        return maxX - minX;
    }

    @Override
    public float getTextHeight() {
        return maxY - minY;
    }

    @Override
    public int getGlyphCount() {
        return glyphCount;
    }

    @Override
    public Iterable<ITextElement> getElements() {
        return getElements(0, glyphCount);
    }

    /** @return All layout elements that lie (partly) within the range {@code [glyphStart, glyphEnd)} */
    private Collection<ITextElement> getElements(int glyphStart, int glyphEnd) {
        List<ITextElement> result = new ArrayList<ITextElement>();
        for (Elem elem : elems) {
            if (elem.glyphEnd > glyphStart && elem.glyphStart < glyphEnd) {
                result.add(elem.elem);
            }
        }
        return result;
    }

    @Override
    public int getGlyphId(int glyphIndex) {
        Elem elem = findByGlyphIndex(glyphIndex);
        if (elem == null) {
            throw new ArrayIndexOutOfBoundsException(glyphIndex);
        }
        return elem.getGlyphId(glyphIndex);
    }

    @Override
    public TextStyle getGlyphStyle(int glyphIndex) {
        Elem elem = findByGlyphIndex(glyphIndex);
        if (elem == null) {
            throw new ArrayIndexOutOfBoundsException(glyphIndex);
        }
        return elem.getGlyphStyle(glyphIndex);
    }

    private Elem findByGlyphIndex(int glyphIndex) {
        for (Elem elem : elems) {
            if (elem.containsGlyph(glyphIndex)) {
                return elem;
            }
        }
        return null;
    }

    private Line getLine(int lineNum) {
        if (lineNum < 0 || lineNum >= getLineCount()) {
            throw new ArrayIndexOutOfBoundsException(lineNum);
        }
        return lines.get(lineNum);
    }

    @Override
    public int getGlyphOffset(int line) {
        if (line < 0) {
            return 0;
        } else if (line >= getLineCount()) {
            return glyphCount;
        }
        return getLine(line).glyphStart;
    }

    @Override
    public int getLineCount() {
        return lines.size();
    }

    private float getLineTop(int line) {
        return getLine(line).startY;
    }

    private float getLineBottom(int line) {
        return getLine(line).endY;
    }

    @Override
    public ITextLayout getLineRange(int startLine, int endLine) {
        CompositeTextLayout result = new CompositeTextLayout(dx, dy, ydir);
        if (endLine > startLine) {
            result.dy -= ydir * getLineTop(0);
            result.dy += ydir * getLineTop(startLine);

            for (int lineNum = startLine; lineNum < endLine; lineNum++) {
                Line line = getLine(lineNum);
                result.addLine(getElements(line.glyphStart, line.glyphEnd), line.startY, line.endY);
            }
        }
        return result;
    }

    @Override
    public float getTextHeight(int startLine, int endLine) {
        if (endLine <= startLine) {
            return 0f;
        }

        float startY = getLineTop(startLine);
        float endY = getLineBottom(endLine - 1);
        return Math.abs(endY - startY);
    }

    private static class Line {

        public final int glyphStart;
        public final int glyphEnd;

        public final float startY;
        public final float endY;

        public Line(int glyphStart, int glyphEnd, float startY, float endY) {
            this.glyphStart = glyphStart;
            this.glyphEnd = glyphEnd;
            this.startY = startY;
            this.endY = endY;
        }

    }

    private static class Elem {

        public final ITextElement elem;
        public final int glyphStart;
        public final int glyphEnd;

        public Elem(ITextElement elem, int glyphStart, int glyphEnd) {
            this.elem = elem;
            this.glyphStart = glyphStart;
            this.glyphEnd = glyphEnd;
        }

        /**
         * @param glyphIndex Absolute glyph index
         */
        public boolean containsGlyph(int glyphIndex) {
            return glyphIndex >= glyphStart && glyphIndex < glyphEnd;
        }

        /**
         * @param glyphIndex Absolute glyph index
         */
        public int getGlyphId(int glyphIndex) {
            return elem.getGlyphId(glyphIndex - glyphStart);
        }

        /**
         * @param glyphIndex Absolute glyph index
         */
        public TextStyle getGlyphStyle(int glyphIndex) {
            return elem.getGlyphStyle(glyphIndex - glyphStart);
        }

    }

}

redpajama_set_name: RedPajamaGithub