text:
Police and Crime Commissioner presents her Plan for Strong local policing in Derby
Derbyshire's Police and Crime Commissioner has presented her plans to provide strong local policing in all areas of Derby and Derbyshire to members of Darley Neighbourhood Board.
At a meeting held this week (23 Feb) the Commissioner addressed local councillors, police and local residents, telling them that she has made it clear that she expects residents in all areas of Derby and Derbyshire to receive a robust policing service.
The Commissioner made it clear that her Police and Crime plan includes a focus on tackling ASB, theft, burglaries, drugs and strong partnership working, confirming that local officers and PCSOs are committed to delivering on these key issues.
Sgt Gez Collins of Derbyshire Constabulary was representing the local Safer Neighbourhood Team. He highlighted the low level of crime reporting in the area and provided an update on some of the policing activities already taking place in Darley to keep people safe.
He told the attendees that while he has been made aware of concerns regarding drugs offences, there have been just 15 reports to the police in the last six months, explaining that action was being taken to encourage more people to report crime, so that the police have a more accurate picture of trouble-spots.
Commissioner Angelique Foster said: "I was pleased to join Cllr Alan Grimadell and Cllr Alison Martin, alongside residents and other partners at this Neighbourhood Board.
"Since being elected, I have met and listened to many residents concerns and I have now published a Police and Crime Plan that aims to address the issues that matter to them most. I will be attending more Neighbourhood Boards across the Derby area.
"My Police and Crime Plan sets out the strategic policing priorities for Derbyshire Constabulary and makes it clear that the force must delivers on key local issues and support residents.
"I assured Board members that my Plan will drive strong local policing, a focus on tackling ASB, theft, burglaries and drugs and increased engagement and partnership working. It is so important that we expand partnership work to include local champions, because residents' concerns need to be addressed by all partners."
The Commissioner will be attending similar meetings across the force area, as part of a pro-active engagement plan to drive strong local policing that responds to local issues, in every area.
Media enquiries: Sallie Blair – 01283 821012
NewsPolice and Crime Commissioner presents her Plan for Strong local policing in Derby


Remember being asked, What do you want to be when you grow up?
It's sort of a strange question to ask a kid who doesn't even know how to tie his own shoes. I didn't want to be a fireman, astronaut, or computer software developer. I just wanted to make the world a better place.
I imagine, that's sort of the journey Clara's on except for a few key differences in her story and mine.
Second, she's alive again and a new member of the Death Vigil, a group of warriors holding back an evil intent on taking over the world. To help them, every Death Vigil member receives a weapon-set, a Veilripper, that reflects an aspect of their personalities. But it's up to the owner to figure out how to use their Veilripper to its maximum potential.
For Clara, it's a feather that sort of resembles a free-hand 3D pen. She can draw figures in the air which isn't much use in battle, and for the bulk of the Death Vigil #3, Clara meets with her new combatmates, looking for any advice they can give her.
It isn't until one of Sam's markers goes off and they go hunting for necromancers that Clara finds out what her Veilripper can really do.
It's a game changer, though not in a combat sort of way. When Vigilites take on necromancers, the only way to end someone's ability to tap into their sigils is to seal them once and for all. And while it keeps them from ever communicating with the dark powers hoping to storm Earth and conquer it, it also leaves the sealed in a hollow and empty state.
They basically become emotionless zombies.
When Clara goes after Lana — a necromancer recruit who immediately regretted the decision — she takes the feather and taps into the troubled woman's memories. A life of failed romances, guilt, and regret led Lana to join with other necromancers only to discover the extent of her mistake when she saw through their lies.
Restored instead of lobotomized and freed from the controlling effects of her sigil, Lana is left to return to her life, and Clara has found her place in the Death Vigil family. It also means the necromancers know of one more threat to their plans, and the issue ends with two mysterious figures alluding to something a lot bigger and whole lot badder.
Death Vigil #3 does not disappoint and continues an excellent run by writer, artist, and everyman Stjepan Sejic. Clara's story isn't the only one being featured, though its the most critical for the plot. Sam's story takes a backseat to accommodate Clara's time in the spotlight, though he's very much present and active in her journey. We also get to see what the other Vigilites are working on with insight on their backstories as well. Also rounding out the cast — Mia and Heinrich show off their true forms after a short appearance in the first issue.
Calling Death Vigil #3 dense is an understatement. Even though the first issue didn't explain much — it's obvious there's a grander scheme at work — things are coming together to bring readers up to speed. Lots of things that happened without much backstory are making more sense, and with a better sense of scope and some details to boot, we feel a bit more acclimated with even greater expectations.
The three issues so far have been packed with action, and they've been polished in a way that the story trickles and streams in as much as Stjepan opens up the storytelling faucet. And while we don't have the answers — it took us until the end of this issue for Clara to figure out what her Veilripper does — we have other characters to keep tabs on. There's also an emotional thread that connects these characters. The sense of family and military entanglement for these brothers and sisters and arms — it ups the ante any time one of the Vigil members is wounded or dies.
And if it's true that Death Vigil is a mini-series, I'll be sad to see it end — as long as the remaining issues continue Stjepan's streak. The story has been amazing thus far, and the art is no slouch. Characters emote, dance, and have distinct looks. Even the necromancers who've been one-and-done have visual personalities that make them memorable without being over-produced. Donna and Maxim Chernov may just be henchmen, but there's enough attention to detail to make us believe they pose enough of a threat not only to the Vigil but also the world at large.
And that's one thing I really like about the way Death Vigil is structured. On the one hand, it's a story of potential. There's a hierarchy within the Vigil with new recruits at the bottom and Bernie at the top. But even a recruit like Clara can wield an awesome power that can literally rewrite the script the necromancers have been working on. Seemingly ordinary humans with invisible gifts can be tapped to open portals for evil to flow out of, and a young girl reveals herself to be a gigantic primordial capable of munching on other scary monsters.
Death Vigil also deals with family and finding your place in the world, though it isn't always roses. Broken characters find home and redemption, while heroes die in combat.
The world of Death Vigil is immense, and anyone asked, "What do you want to be when you grow up," might answer in various ways. But living vicariously through Clara, we can all dream of making the world a better place. And that's an emotional quality that Stjepan writes into the backdrop of the comic through the personalities he develops and the plot points that work thematically within the ideas that have been presented.
The name Clara comes from the Latin name Clarus, meaning bright and famous. The word clear, according to the Online Etymology Dictionary, means "to fill with light." Stjepan knows how to fill his characters with life, and this series' most prominent aspect is its undertone of hope for not only the world its characters live in but also the people inside.
Buy Death Vigil TPB Vol. 1 from Things From Another World!
Having a second chance at life has its perks for Vigil members.
New clothes, powerful weapons and abilities, no more taxes, and … life.


text:
Q: ¿Como puedo leer una contraseña por consola y reemplazarla por asteriscos en c#? Quiero crear un método por consola que lea una contraseña y mientras esta se este digitando oculte los caracteres reemplazándolos por asteriscos.
El siguiente código funciona, pero cuando la contraseña es numérica la muestra con una letra "D" antes de cada número, me gustaría solucionar este error y saber cual es la causa o razón por la cual se imprime esa D.
 private static void OcultarContraseña()
    {
        List<string> lstClave = new List<string>();
        do
        {
            lstClave.Add(Convert.ToString(Console.ReadKey(true).Key));
            Console.Write("*");
        } while (lstClave[lstClave.Count()-1] != Convert.ToString(ConsoleKey.Enter));
        string strDato="";

        for (int i = 0; i < lstClave.Count()-1; i++)
        {
            strDato += lstClave[i];
        }
        Console.WriteLine("\nLa contraseña es "+ strDato);
    }

A: El problema es que estás añadiendo a tu lista la tecla (key) pulsada, en lugar del caracter que corresponde a dicha tecla. Cambiando un poco tu método funcionará correctamente:
private static void OcultarContraseña()
{
    List<string> lstClave = new List<string>();
    while (true)
    {
        var tecla = Console.ReadKey(true);
        if (tecla.Key == ConsoleKey.Enter)
        {
            break;
        }
        lstClave.Add(Convert.ToString(tecla.KeyChar));
        Console.Write("*");
    }
    string strDato = "";

    for (int i = 0; i < lstClave.Count(); i++)
    {
        strDato += lstClave[i];
    }
    Console.WriteLine("\nLa contraseña es " + strDato);
    Console.ReadKey();
}

Básicamente, hacemos un bucle infinito, del que solo se sale pulsando enter. Una vez comprobamos que no es enter, añadimos a la lista de caracteres pulsados el caracter(KeyChar), en lugar de la tecla (Key).
Edit
Ya que estamos, yo le añadiría el control del retorno de carro a tu método, para que se puedan borrar caracteres, algo asi:
private static void OcultarContraseña()
{
    List<string> lstClave = new List<string>();
    while (true)
    {
        var tecla = Console.ReadKey(true);
        if (tecla.Key == ConsoleKey.Enter)
        {
            break;
        }

        else if (tecla.Key == ConsoleKey.Backspace)
        {
            if (lstClave.Count() > 0)
            {
                lstClave.RemoveAt(lstClave.Count - 1);
                Console.Write("\b \b");
            }
        }
        else
        {
            lstClave.Add(Convert.ToString(tecla.KeyChar));
            Console.Write("*");
        }
    }
    string strDato = "";

    for (int i = 0; i < lstClave.Count(); i++)
    {
        strDato += lstClave[i];
    }
    Console.WriteLine("\nLa contraseña es " + strDato);
    Console.ReadKey();
}

Como ves, se controla si se ha pulsado Backspace, y en ese caso se elimina el ultimo caracter de la lista de caracteres pulsados, y se borra un asterisco de la pantalla.

A: El problema está en que estas haciendo un List de string, cuando deberías hacer un List de char, ya que únicamente estas guardando un carácter cada vez.
Cambiándolo solucionarías el problema:
private static void OcultarContraseña(){
        List<char> lstClave = new List<char>();
        do
        {
            lstClave.Add(Convert.ToChar(Console.ReadKey(true).Key));
            Console.Write("*");
        } while (lstClave[lstClave.Count() - 1] != Convert.ToChar(ConsoleKey.Enter));
        string strDato = "";

        for (int i = 0; i < lstClave.Count() - 1; i++)
        {
            strDato += lstClave[i];
        }
        Console.WriteLine("\nLa contraseña es " + strDato);
}

redpajama_set_name: RedPajamaStackExchange


text:
Q: URLs redirect to spyware site We are developing an app that makes posts on behalf of our users to Facebook. Within those posts, we want to put links to external (non-Facebook) websites.
Looking at the links in the status bar of the browser (usually Chrome), the correct URL is displayed.  However, Facebook seems to wrap the actually-clicked link into some extra bells-and-whistles.  Usually, this works correctly.
Sometimes, however, this URL wrapping ends up sending the click to a URL like:

http: //spywaresite.info/0/go.php?sid=2

(added space to make it non-browsable!) which generates Chromes severe warning message:

This happens very occasionally on Chrome, but very much more often in the iOS browser on the iPhone.
Does anyone have any pointers as to how to deal with this?

EDIT
For example, the URLs we put in the link is

http://www.example.com/some/full/path/somewhere

but the URL that actually gets clicked is:

http://platform.ak.fbcdn.net/www/app_full_proxy.php?app=374274329267054&v=1&size=z&cksum=fc1c17ed464a92bc53caae79e5413481&src=http%3A%2F%2Fwww.example.com%2Fsome%2Ffull%2Fpath%2Fsomewhere

There seems to be some JavaScript goodness in the page that unscrambles that and usually redirects correctly.
EDIT2
The links above are put on the image and the blue text to the right of the image in the screenshot below.
Mousing over the links (or the image) in the browser shows the correct link.  Right-clicking on the link and selecting "Copy Link Address" gets the fbcdn.net link above (or one like it).  Actually clicking on the link seems to set off some JavaScript processing of the fbcdn.net link into the right one...  but sometimes that processing fails.

A: I'm not 100% sure what you're asking here, but i'll tell you what I know:- are you referring to this screen on Facebook?

(or rather, the variation of that screen which doesn't allow clickthrough?)

*

*If you manually send a user to facebook.com/l.php?u=something they'll always see that message - it's a measure to prevent an open redirector

*

*if your users are submitting such links, including the l.php link, you'll need to extract the destination URL (in the 'u' parameter)

*If you're seeing the l.php URLs come back from the API this is probably a bug.

If links clicked on facebook.com end up on the screen it's because facebook have detected the link as suspicious (e.g. for URL redirector sites - the screen will allow clickthrough but warn the user first) or malicious/spammy (will not allow clickthrough)
In your app you won't be able to post links to the latter (an error will come back saying the URL is blocked), and the former may throw a captcha sometimes (if you're using the Feed dialog, this should be transparent to the app code, the user will enter the captcha and the dialog will return as normal)
If this isn't exactly what you were asking about please clarify and i'll update my answer

A: Rather than add to the question, I thought I'd put more details here.
It looks like the Facebook mention in the original title was mis-directed, so I've removed it.
We still haven't got to the bottom of the issue.
However, we used both Wireshark and Fiddler to look at the HTTP traffic between the Chrome browser (on the PC) and Facebook.  Both showed that Facebook was returning the correct URL refresh.
Here's what Wireshark showed:

What we saw on Fiddler was that our server is issuing a redirect to the spywaresite.info site:

We are working with our ISP to figure out what is happening here.


text:
Microstylum difficile är en tvåvingeart som först beskrevs av Christian Rudolph Wilhelm Wiedemann 1828.  Microstylum difficile ingår i släktet Microstylum och familjen rovflugor. Inga underarter finns listade i Catalogue of Life.

Källor

Rovflugor
difficile

redpajama_set_name: RedPajamaWikipedia


As regular readers and listeners will know, we love our music just about as much as our football here at AFTN.
I was truly saddened and heartbroken to hear about the death of the legend that was David Bowie last night, one of my favourite musicians of all time.
I grew up listening to his music from my pre-teenage years and haven't stopped listening since. I can still picture going in and buying the 7″ of "Fashion" in Woolworths in 1980. I still own it to this day, and many CDs.
I only got to see him live once, at the SECC in Glasgow in 2003. It was a magical gig and a night I'd been excited to come around for months before and was still buzzing from months after. He was that kind of entertainer.
Looking around those in attendance at the gig that night said it all about Bowie. His appeal crossed many generations and all genders and cultures. He was relevant and still sounded fresh in every decade from the 60s to this one. Six decades man. Incredible, as was his ability to adapt to new sounds and to move with the times.
I was meant to see him live again soon after at T in the Park. He was the headline act but pulled out due to illness. He said he'd reschedule, but it never happened before I left and never got the chance to see him live again. But I'll always have that one night and I know many others never got that chance, so it will be cherished.
Somewhat bizarrely, I'd actually spent a large chunk of Friday afternoon sorting through and playing Bowie's songs for a piece I was wanting to put up here on AFTN.
I'd read that it was Intergalactic David Bowie day, so I thought I'd revive our "MLS Team of the Week" section to honour that day and pay homage to the great Bowie on his birthday and on the day of the release of his new album "Blackstar".
It had been over two years since we ran one. It used to be one of our old staples and I loved doing them, even if no-one else enjoyed reading them! But a new year, so you know what they say, out with the new and in with the old, well they do in opposite land anyway, so we're reviving it for 2016 and thought a Bowie one was the ideal way to kick it off.
For those that don't know what it is, we think of a subject for a football team to be based around, then fill it with our starting eleven of current and recent MLS players with some appropriate name changes, or even better, just as is!
So as I've said, I'd done a Bowie one on Friday but hadn't quite finished it before I had to head out. I got home late and with just a couple of hours to go, I decided not to run it as the day was basically over. I'll keep it for another time I said to myself. I didn't think that time would come three days later and in such sad and terrible circumstances.
It's just a piece of nonsense, and it's not even all that particularly funny or good, but as it now stands it's my tribute, in my own way, to one of my favourites, so sit back, get your make up on, dig out some tracks and enjoy today's "MLS Team Of The Week" – the The David Bowie XI.
RIP to a true musical legend and a wonderful entertainer. You'll be missed by so many but your legacy will live on forever….
Will this team see a fairly settled line-up or will Ziggy ring the ch-ch-ch-ch-changes? Perhaps playing more Young Americans in an attempt to have some Goalden Years? But however tough the season proves to be, I'm sure it will end up Hunky Dory.


text:
Deborah Borda starts hiring at the New York Philharmonic
We hear she has just announced Isaac Thompson as Vice President of Artistic Planning.
Thompson is the mind behind the Cincinnati Symphony's innovative Pélleas trilogy with director/designer James Darrah. He also put in place a new artistic model for the May Festival, bringing in Juanjo Mena as Principal Conductor and Gerard McBurney as Creative Partner.
There are still plenty of holes to be filled in the NY Phil's executive suite. More hands needed at the wheel.
herrera says:
She's basically building an artistic team around her that inevitably diminishes the role of the music director to that of a principal conductor.
It's the Met model. If the Met may be at times referred to in terms of the James Levine era, it is more often spoken of in terms of the Rudolph Bing era, the Joseph Volpe era, the Peter Gelb era.
No more Bruno Walter's Philharmonic or Bernstein's Philharmonic, but Borda's.
the times they are a changin'
Brian B says:
The Philharmonic was never the Walter Philharmonic because he was never, by his own preference we are told, the music director. After Toscanini, Arthur Judson wanted conductors in that slot he could control, hence a succession of, at that time, lesser lights and shared conductorships, including Walter ("music advisor") along with Rodzinski, Mitropoulos, et.al. Judson would never let so strong a personality as Stokowski assume full reign after Philadelphia. Judson tried at least to keep Mitropoulos on a tight leash (from Barbirolli through Rodzinski and Mitropoulos it was Judson who really called the shots) and it was only after Judson left the Philharmonic that so strong a force as Bernstein could stamp his imprint on the the orchestra and assume the reins. By accident or design, the orchestra has never had anyone as strong since.
I still think the orchestra's hashtag should be #backtoCarnegie.
Steinway Fanatic says:
Arthur Judson decimated the NY Philharmonic, and here's the NY Times article that signaled his death-knell: http://www.nytimes.com/1956/04/29/archives/the-philharmonicwhats-wrong-with-it-and-why-1-the-orchestra-2-the.html
Isaac is a huge score for NYP. His work with us was exceptional, and (unsurprisingly) Ms. Borda is staffing up at a high level.
bye bye says:
The NY Phil is hiring from all the wrong places.
The NY Philharmonic's competition is not other orchestras, so hiring Borda away from the LA Phil, or hiring Thompson away from Cincinnati Symphony, will not do much for it.
The NY Phil's competition is New York City itself.
The billionaire class is actually giving a lot of money, just not to the traditional institutions like the NY Phil or the Met Opera or the Met Museum (which are all suffering delays and fund raising uncertainties), rather to new dynamic multi-media arts centers being built all over the city.
A recent NYT article details the current state of affairs: https://www.nytimes.com/2017/05/24/arts/design/michael-bloomberg-gives-75-million-to-shed-arts-center.html
Borda's hire (and her hires) seem to generate excitement from within the insular world of orchestras, but is that enough?
M2N2K says:
Whatever the challenge, hiring best people available is the surest way of getting a chance to succeed, regardless of where they are coming from.
Isaac has done terrific work and is a great choice for the NY job. Anyone who had the (dis)pleasure of working with Isaac's predeccesor will surely be excited about this new appointment!
Makes no difference who is running the front office, if orchestras don't adapt and start luring young people into their theaters, the NY Phil and other classical groups will go the way of the dodo

redpajama_set_name: RedPajamaCommonCrawl


text:
FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 189 Nancy Pearcey book SAVING LEONARDO Part C Featured artist is George Grosz
A Conversation with Makoto Fujimura
Dean of the School of Divinity at Cairn Univeristy, and Director of the Center for University Studies, Dr. Jonathan Master, sat down for a conversation with artist Makoto Fujimura to discuss his life and work, and his thoughts on the intersection of art, culture, and the Christian life.
Many modern artists, it seems to me, have forgotten the value that art has in itself. Much modern art is far too intellectual to be great art. Many modern artists seem not to see the distinction between man and non-man, and it is a part of the lostness of modern man that they no longer see value in the work of art as a work of art. I am afraid, however, that as evangelicals we have largely made the same mistake. Too often we think that a work of art has value only if we reduce it to a tract. This too is to view art solely as a message for the intellect."
(Francis Schaeffer, Art and the Bible)
HowShouldWeThenLive Episode 3
Saving Leonardo: A Review
James McCullough
– 11/02/2011Posted in: Books and Scholarship, Criticism and Philosophy, Culture, Reviews
In her new book, Saving Leonardo: A Call to Resist the Secular Assault on Mind, Morals, and Meaning (2010), Nancy Pearcey has produced the kind of text I want to write someday: deeply researched but accessibly composed, rooted in a vision of an integrated, wholistic Christian spirituality and aimed at helping the evangelical community – my theological community of origin – to see the "big picture" of cultural and spiritual orientations, and how these big pictures are expressed in the daily pictures of the academy, media, and the arts. She advances an understanding of the arts as rhetoric that deeply informs my own analysis and enjoyment of the arts:
The common stereotype is that art is merely a matter of personal expression. But the truth is that artists interact deeply with the thought of their day. They translate worldviews into stories and images, creating a picture language that people often absorb without even thinking about it. Leaning to "read" that language is a crucial skill for understanding the forces that are dramatically altering our world. [p. 4]
Pearcey openly acknowledges her indebtedness to the evangelical mover and shaker of the 70's and 80's, Francis Schaeffer. In many ways her book is a sequel and an up-dating of Schaeffer's tome of 1976, How Should We Then Live: The Rise and Decline of Western Thought and Culture. This indebtedness is evident in many ways, from the reliance on worldview analysis, to the familiar split-level diagrams of Western humanism (grace over nature; fact over value), to the identification of the current ideological competitor of the Gospel. In Schaeffer's case, it was secular humanism. In Pearcey's, it's global secularism. Pearcey's book shares many of the same virtues that Schaeffer's does, such as the bracing wake-up call from an overly private, spiritually enervating pietism towards a publicly relevant and prophetically discerning Christianity, and how worldviews find practical expression and application in daily life. Pearcey reflects Schaeffer's critique of various forms of compartmentalization and dichotomization endemic in both secular and religious thought, and the philosophically insufficient answers such dichotomies lead toward.
Pearcey's text suffers, however, from the same wince-producing generalizations and overly simplistic analyses that make and mar most of Schaeffer's books. One is the overly rationalistic account of human experience and religious conversion. The greatest obstacles to God, according to this book, are "false ideas" (I vote heart-break and hormones). Another is the analysis and characterization of the Christian community itself. It's either evangelical Calvinism or global secularism. And there's little awareness that globalized secularism is in part a product of the very European Reformation to which she otherwise ascribes so much good.
Perhaps more disturbing and unhelpful are the dismissive ways in which non-Christian, or non evangelical thought and expressions are dealt with. Take her analysis of Mark Rothko's work for example. She hearkens back to Schaeffer's critique of liberal theology, of a religion of "nobody up there," and applies it to Rothko. Yes, Rothko's works are ambivalent and toward the end of his life increasingly dark. Yes, he committed suicide. But maybe there is a kind of Jewish mysticism and prophetic denunciation of commercialized representation that his work expresses. Presented in diametric contrast is the work of the contemporary Christian artist Makoto Fujimura, who (ironically) unambiguously acknowledges his indebtedness to Rothko's work. But this relationship between the Jewish-American and Japanese-American is not explored or even acknowledged, or of the hybrid and syncretistic character of all worldviews (including evangelical Christian) to which their lives and art bear witness. It's this kind of over simplistic, good-guy/bad-guy kind of analysis that has weakened evangelical cultural analysis over many years.
Nonetheless, given the general readership the book is aimed at, Pearcey advances a Christian analysis of culture that both critically and appreciatively acknowledges the role the arts play in translating the abstractions of "worldview" into concrete term. I remain a strong believer in and practitioner of "worldview analysis" and Pearcey presents a good case for it, enhanced with an informed, if generalizing, engagement with the realm of the arts. "Art is a visual language, and Christians have a responsibility to learn that language" (p. 208). The book is worth its price for that one line alone, and Pearcey provides a beginner's handbook toward such "reading" of the arts. I might simply suggest that in addition to a responsibility to learn the language of the arts, Christians have an opportunity to enjoy them. The arts might actually enrich human existence, as well as provide material for a coherent and compelling worldview analysis.
James McCullough is a PhD student at the University of St Andrews. His research explores the relationship between works of visual art and spiritual formation. He lives on a farm near St Andrews with his wife and four children.
Francis Schaeffer has written extensively on art and culture spanning the last 2000 years and here are some posts I have done on this subject before : Francis Schaeffer's "How should we then live?" Video and outline of episode 10 "Final Choices" , episode 9 "The Age of Personal Peace and Affluence", episode 8 "The Age of Fragmentation", episode 7 "The Age of Non-Reason" , episode 6 "The Scientific Age" , episode 5 "The Revolutionary Age" , episode 4 "The Reformation", episode 3 "The Renaissance", episode 2 "The Middle Ages,", and episode 1 "The Roman Age," . My favorite episodes are number 7 and 8 since they deal with modern art and culture primarily.(Joe Carter rightly noted, "Schaeffer—who always claimed to be an evangelist and not a philosopher—was often criticized for the way his work oversimplified intellectual history and philosophy." To those critics I say take a chill pill because Schaeffer was introducing millions into the fields of art and culture!!!! !!! More people need to read his works and blog about them because they show how people's worldviews affect their lives!!!!)
There is evidence that points to the fact that the Bible is historically true as Schaeffer pointed out in episode 5 of WHATEVER HAPPENED TO THE HUMAN RACE? There is a basis then for faith in Christ alone for our eternal hope. This link shows how to do that.
Francis Schaeffer with his son Franky pictured below. Francis and Edith (who passed away in 2013) opened L' Abri in 1955 in Switzerland.
Featured artist is George Grosz
George Grosz's Metropolis
George Grosz in 1921
Georg Ehrenfried Groß
Berlin, German Empire
July 6, 1959 (aged 65)
West Berlin
German, American (after 1938)
Dresden Academy
The Funeral (Dedicated to Oscar Panizza)
Dada, New Objectivity
George Grosz (July 26, 1893 – July 6, 1959) was a German artist known especially for his caricatural drawings and paintings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity group during the Weimar Republic. He emigrated to the United States in 1933, and became a naturalized citizen in 1938. Abandoning the style and subject matter of his earlier work, he exhibited regularly and taught for many years at the Art Students League of New York. In 1956 he returned to Berlin where he died.
1Life and career
2Works
3Legacy and estate
4Quotes
Life and career[edit]
George Grosz was born Georg Ehrenfried Gross (German spelling Groß; German pronunciation: [ɡʀoːs]) in Berlin, Germany, the son of a pub owner. His parents were devoutly Lutheran.[1] Grosz grew up in the Pomeranian town of Stolp (now Słupsk, Poland),[2] where his mother became the keeper of the local Hussars Officers' mess after his father died in 1901.[3][4] At the urging of his cousin, the young Grosz began attending a weekly drawing class taught by a local painter named Grot.[5] Grosz developed his skills further by drawing meticulous copies of the drinking scenes of Eduard von Grützner, and by drawing imaginary battle scenes.[6] From 1909 to 1911, he studied at the Dresden Academy of Fine Arts, where his teachers were Richard Müller, Robert Sterl, Raphael Wehle, and Osmar Schindler.[7] He subsequently studied at the Berlin College of Arts and Crafts under Emil Orlik.[7]
George Grosz, Daum marries her pedantic automaton George in May 1920, John Heartfield is very glad of it, Berlinische Galerie
In November 1914 Grosz volunteered for military service, in the hope that by thus preempting conscription he would avoid being sent to the front.[8] He was given a discharge after hospitalization for sinusitis in 1915.[8] In 1916 he changed the spelling of his name to "de-Germanise" and internationalise his name – thus Georg became "George" (an English spelling), while in his surname he replaced the German "ß" with its phonetic equivalent "sz".[9] He did this as a protest against German nationalism[7] and out of a romantic enthusiasm for America[10] – a legacy of his early reading of the books of James Fenimore Cooper, Bret Harte and Karl May – that he retained for the rest of his life.[11] His artist friend and collaborator Helmut Herzfeld likewise changed his name to John Heartfield at the same time.
In January 1917 Grosz was drafted for service, but in May he was discharged as permanently unfit.[12]
George Grosz, Republican Automatons, 1920, watercolor on paper, Museum of Modern Art, New York
In the last months of 1918, Grosz joined the Spartacist League,[13] which was renamed the Communist Party of Germany (KPD) in December 1918. He was arrested during the Spartakus uprising in January 1919, but escaped using fake identification documents. In 1921 Grosz was accused of insulting the army, which resulted in a 300 German Mark fine and the destruction of the collection Gott mit uns ("God with us"), a satire on German society. In 1928 he was prosecuted for blasphemy after publishing anticlerical drawings, such as one depicting prisoners under assault from a minister who vomits grenades and weapons onto them, and another showing Christ coerced into military service. According to historian David Nash, Grosz "publicly stated that he was neither Christian nor pacifist, but was actively motivated by an inner need to create these pictures", and was finally acquitted after two appeals.[14]By contrast, in 1942 Time magazine identified Grosz as a pacifist.[15]
In 1922 Grosz traveled to Russia with the writer Martin Andersen Nexø. Upon their arrival in Murmansk they were briefly arrested as spies; after their credentials were approved they were allowed to meet with Grigory Zinoviev, Anatoly Lunacharsky, and Vladimir Lenin.[16] Grosz's six-month stay in the Soviet Union left him unimpressed by what he had seen.[17] He ended his membership in the KPD in 1923, although his political positions were little changed.[18]
Bitterly anti-Nazi, Grosz left Germany shortly before Hitler came to power. In June 1932, he accepted an invitation to teach the summer semester at the Art Students League of New York.[19] In October 1932, Grosz returned to Germany, but on January 12, 1933, he and his family emigrated to the United States.[20] Grosz became a naturalized citizen of the U.S. in 1938, and made his home in Bayside, New York. In the 1930s he taught at the Art Students League, where one of his students was Romare Bearden, who was influenced by his style of collage. He taught at the Art Students League intermittently until 1955.
Made in Germany (German: Den macht uns keiner nach), by George Grosz, drawn in pen 1919, photo-lithograph published 1920 in the portfolio God with us (German: Gott mit Uns). Sheet 48.3 x 39.1 cm. In the collection of the MoMA
Grosz' tomb in the Friedhof Heerstraße, Berlin
In America, Grosz determined to make a clean break with his past, and changed his style and subject matter.[21] He continued to exhibit regularly, and in 1946 he published his autobiography, A Little Yes and a Big No. In the 1950s he opened a private art school at his home and also worked as Artist in Residence at the Des Moines Art Center. Grosz was elected into the National Academy of Design as an Associate Academician in 1950. In 1954 he was elected to the American Academy of Arts and Letters. Though he had U.S. citizenship, he resolved to return to Berlin, where he died on July 6, 1959, from the effects of falling down a flight of stairs after a night of drinking.[22]
Works[edit]
Although Grosz made his first oil paintings in 1912 while still a student,[7] his earliest oils that can be identified today date from 1916.[23] By 1914, Grosz worked in a style influenced by Expressionism and Futurism, as well as by popular illustration, graffiti, and children's drawings.[8] Sharply outlined forms are often treated as if transparent. The City (1916–17) was the first of his many paintings of the modern urban scene.[24] Other examples include the apocalyptic Explosion (1917), Metropolis (1917), and The Funeral, a 1918 painting depicting a mad funeral procession.
In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects (for example, see Fit for Active Service). His draftsmanship was excellent although the works for which he is best known adopt a deliberately crude form of caricature. His oeuvre includes a few absurdist works, such as Remember Uncle August the Unhappy Inventor which has buttons sewn on it,[25] and also includes a number of erotic artworks.[26]
After his emigration to the USA in 1933, Grosz "sharply rejected [his] previous work, and caricature in general."[27] In place of his earlier corrosive vision of the city, he now painted conventional nudes and many landscape watercolors. More acerbic works, such as Cain, or Hitler in Hell (1944), were the exception. In his autobiography, he wrote: "A great deal that had become frozen within me in Germany melted here in America and I rediscovered my old yearning for painting. I carefully and deliberately destroyed a part of my past."[28] Although a softening of his style had been apparent since the late 1920s, Grosz's work assumed a more sentimental tone in America, a change generally seen as a decline.[29] His late work never achieved the critical success of his Berlin years.[30]
From 1947 to 1959, George Grosz lived in Huntington, New York, where he taught painting at the Huntington Township Art League.[31] It is said by locals that he used what was to become his most famous painting, Eclipse of the Sun, to pay for a car repair bill, in his relative penury. The painting was later acquired by house painter Tom Constantine[32] to settle a debt of $104.00. The Heckscher Museum of Art in Huntington purchased the painting in 1968 for $15,000.00, raising the money by public subscription. As Eclipse of the Sun portrays the warmongering of arms manufacturers, this painting became a destination of protesters of the Viet Nam War in Heckscher Park (where the museum is sited) in the late 1960s and early 70s.
In 2006, the Heckscher proposed selling Eclipse of the Sun at its then-current appraisal of approximately $19,000,000.00 to pay for repairs and renovations to the building. There was such public outcry that the museum decided not to sell, and announced plans to create a dedicated space for display of the painting in the renovated museum.[33]
Legacy and estate[edit]
George Grosz's art influenced other New Objectivity artists such as Heinrich Maria Davringhausen, Anton Räderscheidt, and Georg Scholz.[34] In the United States, the artists influenced by his work included the social realists Ben Shahn and William Gropper.[35]
In 1960, Grosz was the subject of the Oscar-nominated short film George Grosz' Interregnum. He is fictionalized as "Fritz Falke" in Arthur R.G. Solmssen's novel A Princess in Berlin (1980). In 2002, actor Kevin McKidd portrayed Grosz in a supporting role as an eager artist seeking exposure in Max, regarding Adolf Hitler's youth.
The Grosz estate filed a lawsuit in 1995 against the Manhattan art dealer Serge Sabarsky, arguing that Sabarsky had deprived the estate of appropriate compensation for the sale of hundreds of Grosz works he had acquired. In the suit, filed in State Supreme Court in Manhattan, the Grosz estate claims that Sabarsky secretly acquired 440 Grosz works for himself, primarily drawings and watercolors produced in Germany in the 1910s and 20s.[30] The lawsuit was settled in summer in 2006.[36]
In 2003 the Grosz family initiated a legal battle against the Museum of Modern Art in New York City, asking that three paintings be returned. According to documents, the paintings were sold to the Nazis after Grosz fled the country in 1933. The museum never settled the claim, arguing that a three-year statute of limitations in bringing such a claim had expired. It is well documented that the Nazis stole thousands of paintings during World War II and many heirs of German painters continue to fight powerful museums to reclaim such works.[citation needed]
George Grosz's younger son is jazz guitarist Marty Grosz.
My Drawings expressed my despair, hate and disillusionment, I drew drunkards; puking men; men with clenched fists cursing at the moon. … I drew a man, face filled with fright, washing blood from his hands … I drew lonely little men fleeing madly through empty streets. I drew a cross-section of tenement house: through one window could be seen a man attacking his wife; through another, two people making love; from a third hung a suicide with body covered by swarming flies. I drew soldiers without noses; war cripples with crustacean-like steel arms; two medical soldiers putting a violent infantryman into a strait-jacket made of a horse blanket … I drew a skeleton dressed as a recruit being examined for military duty. I also wrote poetry. — George Grosz [37]
Jedermann sein eigner Fussball, an artists' book by George Grosz and John Heartfield
Assoziation revolutionärer bildender Künstler, an association of German artists
List of German painters
Jump up^ The Progressive. Retrieved 2011-12-24 – via Google Books.
Jump up^ "munzinger.de". munzinger.de. Retrieved 2011-12-24.
Jump up^ henze-ketterer.ch[dead link]
Jump up^ "zeit.de". Hamburg: ZEIT ONLINE GmbH. 1955-01-27. Retrieved 2011-12-24.
Jump up^ Grosz 1946, p. 22.
Jump up^ Grosz 1946, pp. 24, 26.
^ Jump up to:a b c d Kranzfelder 2005, p. 92.
^ Jump up to:a b c Kranzfelder 2005, p. 15.
Jump up^ The letter "ß" is called in German a "scharfes S" or "Eszett", the latter meaning simply "SZ". It was common usage at that time when typing to transcribe the ß as "sz", so his choice of transcription was essentially a neutral phonetic rendering.
Jump up^ Sabarsky 1985, p.250.
Jump up^ Schmied 1978, p.29.
Jump up^ Sabarsky 1985, p. 26. According to Sabarsky, no records can be found to substantiate the version of events described by Grosz in his autobiography, i.e., that he was accused of desertion and narrowly avoided execution.
Jump up^ Kranzfelder 2005, p. 28.
Jump up^ Nash, David S. (2007). Blasphemy in the Christian World: A History. Oxford: Oxford University Press. p. 112. ISBN9780199570751.
Jump up^ [1]
Jump up^ Kranzfelder 2005, pp. 54–55.
Jump up^ Sabarsky 1985, pp. 33, 251.
Jump up^ Grosz 1946, pp. 301–302.
Jump up^ Kranzfelder 2005, p. 90-93.
Jump up^ "Remember Uncle August the Unhappy Inventor". centrepompidou.fr. Retrieved 2008-04-01.
Jump up^ "George Grosz erotic artwork". AMEA/World Museum of Erotic Art. Retrieved 2008-04-02.
Jump up^ Grosz 1946, p. 276.
Jump up^ Michalsky 1994, pp. 35–36.
^ Jump up to:a b Joyce Wadler (August 27, 2001), The Heirs of George Grosz Battle His Dealer's Ghost; A Protracted Lawsuit Outlives Its Target, But Not Its Anger New York Times.
Jump up^ "George Grosz at The Heckscher Museum of Art".
Jump up^ "Thomas Constantine : The Second Acquirer Of George Grosz's "Eclipse Of The Sun"".
Jump up^ Genocchio, Benjamin (February 19, 2006). "George Grosz,Eclipse of the Sun, Heckscher Museum of Art". The New York Times.
Jump up^ Michalsky 1994, pp. 33, 100.
Jump up^ Walker et al. 1988, p. 21.
Jump up^ Robin Pogrebin (November 15, 2006), Met Won't Show a Grosz at Center of a Dispute New York Times.
Jump up^ Friedrich, Otto (1986). Before the Deluge. USA: Fromm International Publishing Corporation. pp. 37. ISBN 0-88064-054-5
Grosz, George (1946). A Little Yes and a Big No. New York: The Dial Press.
Kranzfelder, Ivo (2005). George Grosz. Cologne: Benedikt Taschen. ISBN 3-8228-0891-1
Michalski, Sergiusz (1994). New Objectivity. Cologne: Benedikt Taschen. ISBN 3-8228-9650-0
Sabarsky, Serge, editor (1985). George Grosz: The Berlin Years. New York: Rizzoli. ISBN 0-8478-0668-5
Schmied, Wieland (1978). Neue Sachlichkeit and German Realism of the Twenties. London: Arts Council of Great Britain. ISBN 0-7287-0184-7
'Peter M. Grosz,' obituary of George Grosz's son, New York Times, 7 October 2006.
Walker, B., Zieve, K., & Brooklyn Museum. (1988). Prints of the German expressionists and their circle: Collection of the Brooklyn Museum. New York: Brooklyn Museum. ISBN 0872731154
Wikiquote has quotations related to: George Grosz
A collection of Grosz's paintings
Ten Dreams Galleries
Mario Vargas Llosa on George Grosz in TATE ETC. magazine Spring 2007
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German male painters
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« HUGH HEFNER WAS A MODERN DAY KING SOLOMON AND I TOLD HIM THAT OVER AND OVER (PART 17) Letter from 2-21-16 (Letters were inspired by the sermon series on ECCLESIASTES in 2016 at FELLOWSHIP BIBLE CHURCH in Little Rock)
HUGH HEFNER WAS A MODERN DAY KING SOLOMON AND I TOLD HIM THAT OVER AND OVER (PART 18) Letter from 2-29-16 (Letters were inspired by the sermon series on ECCLESIASTES in 2016 at FELLOWSHIP BIBLE CHURCH in Little Rock) »


text:
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| status = LC
| image = Chestnut-coloured Woodpecker.jpg
| image_caption = Costa Rica-i példány
| regnum = Állatok (Animalia)
| phylum = Gerinchúrosok (Chordata)
| subphylum = Gerincesek (Vertebrata)
| infraphylum = Állkapcsosok (Gnathostomata)
| classis+ = Magzatburkosok (Amniota)
| classis = Madarak (Aves)
| subclassis+ = Carinatae
| subclassis = Neornithes
| infraclassis = Újmadárszabásúak (Neognathae)
| superordo++ = Neoaves
| superordo+ = Passerea
| superordo = Telluraves
| ordo+++ = Coraciimorphae
| ordo++ = Eucavitaves
| ordo+ = Cavitaves
| ordo = Harkályalakúak (Piciformes)
| subordo = Pici
| infraordo = Picides
| familia = Harkályfélék (Picidae)
| subfamilia = Harkályformák (Picinae)
| tribus = Picini
| genus = Celeus
| genus_authority = F.Boie, 1831
| species = C. castaneus
| binomial = Celeus castaneus
| binomial_authority = (Wagler, 1829)
| synonyms = *| range_map =
| range_map_caption = Elterjedési területe
| wikispecies = Celeus castaneus
| wikicommonscat = Celeus castaneus
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A gesztenyeszínű harkály (Celeus castaneus) a madarak (Aves) osztályának harkályalakúak (Piciformes) rendjébe, ezen belül a harkályfélék (Picidae)'' családjába tartozó faj.

Előfordulása
Mexikó déli részétől, Belize, Costa Rica, Guatemala, Honduras, Nicaragua területén keresztül, Panama északi részéig honos. Természetes élőhelyei a trópusi és szubtrópusi nedves síkvidéki erdők.

Megjelenése
Tollazata nagy része gesztenyebarna, a feje világosabb, egy vörös folttal az arc részén.

Jegyzetek

Források

További információk
Képek az interneten a fajról

Celeus
Madárfajok
Mexikó madarai
Belize madarai
Costa Rica madarai
Guatemala madarai
Honduras madarai
Nicaragua madarai
Panama madarai


text:
Q: ImageView scaling inside layout when it should not I've got a simple vertical layout with an editText and an ImageView under it.
The problem is that when the user edits the EditText and it gets too long, then the ImageView under it ends up being "crushed" and resized in order to avoid screen scrolling, like this:

When I'd want the opposite, the image size being kept and the screen scrolling being allowed when it overflows.
By searching online, I thought I had to change the scaleType and adjustViewBounds parameters, but I had no luck playing with them.
Even manualy setting a high minHeight doesn't seem to fix the problem, strangely.
Any advice?
EDIT: xml added:
<?xml version="1.0" encoding="utf-8"?>

<LinearLayout xmlns:android="http://schemas.android.com/apk/res/android"
              xmlns:app="http://schemas.android.com/apk/res-auto"
              android:orientation="vertical"
              android:layout_width="match_parent"
              android:layout_height="wrap_content">

    <EditText
            android:layout_width="match_parent"
            android:layout_height="wrap_content"
            android:id="@+id/editText"
            android:layout_gravity="left|center_vertical"
            android:hint="Nothing here. Type your thoughts?"
            android:background="?attr/background_card"
            android:layout_margin="8dp"
            android:padding="16dp"/>
    <ImageView
            android:layout_width="fill_parent"
            android:layout_height="fill_parent"
            android:id="@+id/imageView" android:layout_gravity="center_horizontal"                 android:paddingLeft="14dp"
            android:paddingRight="14dp"
            android:scaleType="center"
            android:adjustViewBounds="false"/>
</LinearLayout>

A: From: http://developer.android.com/guide/topics/ui/layout/linear.html

LinearLayout also supports assigning a weight to individual children
  with the android:layout_weight attribute. This attribute assigns an
  "importance" value to a view in terms of how much space is should
  occupy on the screen. A larger weight value allows it to expand to
  fill any remaining space in the parent view. Child views can specify a
  weight value, and then any remaining space in the view group is
  assigned to children in the proportion of their declared weight.
  Default weight is zero.
For example, if there are three text fields and two of them declare a
  weight of 1, while the other is given no weight, the third text field
  without weight will not grow and will only occupy the area required by
  its content. The other two will expand equally to fill the space
  remaining after all three fields are measured. If the third field is
  then given a weight of 2 (instead of 0), then it is now declared more
  important than both the others, so it gets half the total remaining
  space, while the first two share the rest equally.

Theoretically I think it should solve your problem.


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Awesome haul, Alyssa like always. The cover for the novella of the Alienated series is very pretty. I hope you had an awesome holiday.
Thank you so much, Grace! You too!
Me too! And I hope you love Until Midnight (and Invaded)!
I hope you love it! And same with Dissonance - it was one of my favorites this year!
Dissonance's hardcover cover was so pretty!! I don't dislike the redesign too much but it's a shame when the cover was so lovely!
I requested The Cage on EW too, but was rejected right away, seems that Harper doesn't like me at all!
I was sad too! The redesign goes well with the story, but I LOVE this cover.
Definitely request again, Pili! It can't hurt. But wait a few weeks.
I will and STOLEN SONGBIRD!! So excited for you to read that one!!
OOOh nice! I still need to read Dissonance myself! I have the old HC cover too! So yay! And aw! The Cage! Very intrigued by this one but EW rejected my request, again. Oh well. At least I get to try to get caught up with my TBR Mountain of Doom! LOL! Happy Reading!
Wait I think I was too!? But yeah, oh well. It's an awesome novel. I hope you love Until Midnight (and Invaded)!
Gahhhhh Dissonance is SO PRETTY! I can't wait to read The Cage - it sounds really creepy/weird and I've been wanting to branch out into some sci-fi lately.
I hope you enjoy all your new reads!
It is really pretty! I'm so glad Nikki got me a copy with the original cover, before the new cover is printed. And I hope you love The Cage!
LOL that's okay! And you should definitely get a copy of Dissonance, Carina - especially before they stop printing the original ones!
And remember, it's Megan Shepherd... look how her The Madman's Daughter trilogy turned out.
It will be a while before I read The Cage. I hope you love it!
I snagged The Cage too, it sounds so good :D I hope you enjoy Dissonance, such a pretty cover and an intriguing premise. Enjoy your books!!
I hope you love The Cage! And I really liked Dissonance - I read it back in the summer! It's one of my favorites of 2014. Thank you!
<333333333333333333 YOU'RE AWESOME TOO ;) I kind of am not a fan of the redesign but it's not super bad. I LIKE THIS ONE THOUGH :(The book is soooo shiny too.
Until Midnight, Stolen Songbird, The cage..... OH MY...... ENJOY!
OMG I hope you love Stolen Songbird, it's freakin' amazing!!!
I read UNTIL MIDNIGHT the other day and omg...SO FUNNY! It's a quick read and it's full of Aleyx and his inability to understand that weird human holiday called Christmas. Just ugh <3 Gotta love him.
You should get it! I hope you read and enjoy all of these that you listed.
I also got Until Midnight. I also loved Alienated and Invaded! Enjoy! Thanks for stopping by!
I'm glad! Thank YOU, Jennifer!
The cage sounds good, hope you enjoy and have happy holidays!
Thank you! You too, Brandi.
STOLEN SONGBIRD IS AMAZING! I read it in one sitting and it's over 400 pages. I'm dying for the sequel Hidden Huntress. Great Purchase!
I really want to read The Cage. Just reading the synopsis I just know I'm going to love it.
I am so glad you enjoyed Alienated and Invaded. I have a count down for the release of Invaded. So jealous you've read it already. The short story is cute and the cover is gorgeous!
Happy Holidays enjoy your books! A great haul.
Glad to hear that, Kaitlin! Thank you.
Yay! I got The Cage too! So excited for that one! Teresa got me Stolen Songbird for Christmas and I'm really excited for that one! Happy reading chica!


Diet BL. I bought Boys Love Bang Bang's first DMG title, Kaiya Tatsumi's Healing Music, more as a way of supporting the team's work than for the title itself. As expected of BLBB, Healing Music was well done. For me, it was definitely one of the better titles I've read by this mangaka. I liked "When There's Love" and "Prince of Curry" which were the 2nd and 3rd stories, respectively. The title story was very much like Kaiya's other stories: a Quaker Oats rice cake. Its light and airy, with something like flavor to it, and although there are peaks and valleys, when all is said and done, it's really kind of flat. It's just a little too tidy.
Her stories aren't bad and I've read a few multiple times, but they only satisfy a general hankering for BL and even with that, I feel like I have to read her entire library in order to be sated. They usually have the same seasonings: a character, seme or uke, who is puzzled by the actions of the object of his affections, one who is indecisive or plays hard to get, Mr. Deadpan (often used, but well written), The Voice of Reason (usually a female character) or referee, and the guy who thinks it's all a hoot. Not to say that this isn't present in the stories of other mangaka, but when the bulk of your body of work uses the same base recipe, after a while, it all tastes the same and a bit stale.
There are some good points about sensei's work–there must be or I'd never be inclined to read them after the first go. The one-liners are fun, the odd moments of pure honesty are pure hilarity, the definitive conversation that let's you know who the real idiot is is ever-present, but always welcome and it doesn't hurt that there's plenty of meganes to go around. But what I think I enjoy most about sensei's work is the art. It's tidy as well, but in a good way. I feel like the characters would make great action figures–fully articulated for maximum playtime fun!
What made Healing Music better than the others? Well, it certainly wasn't the dearth of glasses. But in truth, I am also lacking, a reason, that is. However, there's definitely an extra kick of something hidden in those valleys. I'll continue reading Kaiya-sensei's work because there's an acceptable amount of flavor and no bad aftertaste, but all the while I'll keep hoping for just a little bit more.
Notes: The original title of this was Diet BL. It's funny to me now because I later found out that Natsumizu Ritsu has conceptualized BL as something like a food group and she talks about BL content in terms of BL calories. I think I might have hit the mark.


text:
Termination of a right to possess votes certified by voting shares of Vozrozhdenie Bank
1.6. Unique code of the issuer, assigned by the registration body:
2.1. Full company name, location, TIN (if applicable), PSRN (if applicable) or full name of the person whose right to possess a particular number of votes of voting shares comprising the authorised capital of the Issuer was terminated:
Tatiana Orlova
Position held by the individual whose share was changed:
Member of the Board of Directors at Vozrozhdenie Bank
Type of the organisation with regard to authorised capital of which the relative party's share was changed:
2.2. Type of the right to possess a particular number of votes of voting shares comprising the authorised capital of the Issuer, that was terminated with respect to the relevant party (direct disposal, indirect disposal):
Direct disposal
2.3. Attribute of the right to possess a certain number of votes certified by voting shares comprising the authorised capital of the Issuer, that was terminated with respect to the relevant party (independent disposal; co-disposal with other parties):
Independent disposal
2.4. Grounds for termination of the right to possess a number of votes certified by voting shares comprising the authorised capital of the Issuer (exit (decrease of the share) in authorised capital; avoidance or termination on other grounds of the trust agreement; simple partnership agreement; agency agreement; shareholder agreement and (or) other contract on execution of rights certified by shares of the Issuer):
Termination of participation (decrease of a stake) in the Issuer's capital.
2.5. Number and share of votes certified by voting shares comprising the authorised capital of the Issuer which the party had had the right to possess until the relevant grounds came effective:
6,338,314 votes / 26.689106%
Share in the authorised capital of the Issuer and the share of ordinary shares which the party had had the right to possess before the change:
25.586975% / 26.689106%
2.6. Number and share of votes certified by voting shares comprising the authorised capital of the Issuer which the party has the right to possess after the relevant grounds came effective:
0 votes / 0%
Share in the authorised capital of the Issuer and the share of ordinary shares which the party has the right to possess after the relevant grounds came effective:
0% / 0%
2.7. Effective date of the grounds for termination of the right to possess a certain number of votes certified by voting shares comprising the authorised capital of the Issuer or of a company controlled by the Issuer in respect to the party:
Receipt of the relevant notification by the Issuer — September 14, 2015
3.1. Acting Chairman of the
(signature)
Andrey Shalimov
3.2. September 14, 2015


text:
El Cerro Pietrobelli es una elevación ubicada en la frontera entre Argentina (Provincia de Santa Cruz) y Chile (Región de Magallanes y de la Antártica Chilena). Su altitud es de 2.850 o 2.950 , según las fuentes.

El Cerro Pietrobelli se eleva al oeste del Glaciar Perito Moreno, ubicado en Argentina. Fue nombrado en honor a Francisco Pietrobelli (1858-1916), un explorador italiano, considerado el fundador de las ciudades de Sarmiento y Comodoro Rivadavia, en la provincia del Chubut.

Véase también
 Parque Nacional Los Glaciares
 Parque nacional Bernardo O'Higgins
 Litigio del campo de hielo Patagónico Sur

Referencias

Enlaces externos
 Cerro Pietrobelli en Wikimapia

Montañas limítrofes Argentina-Chile
Montañas de la provincia de Santa Cruz (Argentina)
Pietrobelli
Parque nacional Bernardo O'Higgins
Parque nacional Los Glaciares


The Louisiana Department of Revenue has issued Information Bulletin No. 18-002, Remote Sellers Information Bulletin. The purpose of this bulletin is to provide a general definition for remote sellers as well as to provide further administrative guidance.
This entry was posted in Louisiana and tagged information bulletin, Louisiana, remote sellers, sales tax, use tax by ZASALT. Bookmark the permalink.


Science of Hypnosis Time and time again, we hear the question, what exactly is hypnosis and is there science behind it? A brain signature of being hypnotized was first recognized in 2012 with functional MRI (fMRI), a type of MRI that showed brain . Sections of the brain related with executive control and attention were evidenced to be involved. In particular, hypnotized subjects exhibited stronger co-activation between components of the executive-control network (manages basic cognitive functions) and the salience network (decides which stimuli should receive attention). Both networks in the brain are activated in unison. In those who were not hypnotized, no such connectivity was seen. What drove these experiments to a higher plane is that researcher used fMRI to see which parts of brain get triggered as hypnotized subjects analyzed colors. The color sections in both left and right hemispheres were stimulated when the subjects were made to perceive colors. The researchers confirmed that hypnosis is indeed a distinct psychological state and undoubtedly not a result of playing a role.
Another fascinating observation from these studies were the hemispheric changes between non-hypnotized and hypnotized brain. When non-hypnotized subjects were told to point out colors in a black-and-white image, only the right hemisphere responded. The left hemisphere, which deals with reason and logic, only responded under hypnosis.
Another research used positron-emission tomography (PET) to look into cerebral blood flow in hypnotized subjects. The hypnotic state was related to activation of a number of mainly left-sided cortical sections and some right-sided areas. The trend of activation shared a lot of similarities with mental imagery, from which it showed differences by the relative deactivation of the precuneus (handles visuo-spatial imagery, episodic memory retrieval and self-processing operations of the brain). The trend of activation had plenty of similarities with mental imagery, from which it proved different by the relative deactivation of the precuneus, the part of the brain that takes care of the brain's visuo-spatial imagery, episodic memory retrieval and self-processing operations. For some scholars, hypnotized subjects activate to a considerable extent the brain parts that are used in imagination, but without causing real perceptual changes. Another functional MRI study showed limited activity in both anterior cingulate cortex, which affects emotions, learning and memory, and visual areas under hypnosis. The results suggest that hypnosis influences cognitive control by limiting activity in specific brain regions. In multiple studies, hypnotizable subjects exhibited substantially more brain activity in the emotion and behavior-affecting anterior cingulate gyrus, as compared to participants who are non-hypnotized. The anterior cingulate gyrus responds to mistakes and gauges emotional outcomes. Prefrontal cortex is connected with higher level cognitive processing and behavior. Comparison of findings from multiple studies also indicates quite contradictory results. Several areas of the brain appear to be responsive in various experiments. This may be connected to various experimental techniques, both when it comes to equipment and hypnotic approach used by experimenters.


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text:
Home » Policy » Personnel Policies » 5:026 Reclassification of Non-Faculty Personnel/New Position Requests
Printable Versions of APSU Policies
5:001 Educational Expenses for APSU Employees
5:002 Smoking and Clean Air
5:003 Firearms and Other Weapons
5:004 Employee Attendance during Inclement Weather/Natural Disasters
5:005 Educational Assistance for Spouses and Dependents of APSU Employees
5:006 Benefit in the Event of an Employee Death
5:007 Deferred Compensation Plans
5:008 Employment of Minors
5:009 Moving Allowance
5:010 Alternate Work Arrangements
5:011 Personnel Policy
5:012 Retiree Benefits
5:013 Performance Evaluations for Administrative/Professional and Classified Employees
5:014 Outside Employment and Extra Compensation
5:015 Compensatory/Overtime
5:016 Certified Administrative Professional Examination
5:017 Charitable Organization Campaigns and Contributions
5:018 Employment of Law Enforcement and Security Personnel
5:019 Employment Classification
5:020 Leave Policies
5:021 Family, Medical, and Servicemember Leave
5:022 Return to Work
5:023 Unemployment Compensation
5:024 Workplace Violence Prevention
5:025 Financial Exigency
5:026 Reclassification of Non-Faculty Personnel/New Position Requests
5:027 Staff Salary Increases for Degree Attainment
5:028 Healthy Workplace Policy
5:029 Discipline Procedures for Non-Faculty Employees
5:030 Holidays
5:031 Days of Administrative Closing
5:032 HR Emergency Procedures
5:033 Support Staff Grievance
5:034 Paid Parental Leave
5:035 Nepotism
5:036 Non-Faculty Promotions
5:037 Longevity Pay
5:038 Personnel Records
5:039 Retirement Plans
5:040 Classification of Benefits for Fees and Tuition
5:041 Modified Fiscal Year Contracts
5:042 Retirement
5:043 Employee Code of Conduct
5:044 Educational Assistance for Others Not Employed by the University
Austin Peay State
University Reclassification of Non-Faculty Personnel/New Position Requests
Issued: April 20, 2017
Responsible Official: Vice President for Finance and Administration
Responsible Office: Human Resources
A commitment to pay equitable and competitive salaries as determined by internal job analyses and external market statistics within the limits of appropriated resources is fundamental to the administration of wages and salaries at Austin Peay State University. It is the intent of the University that the compensation systems attract and retain competent and well-qualified employees.
This policy establishes the procedures for reclassification requests and the establishment of new positions.
Job Classification/ Compensation Plan
The University compensation plan shall insure that employees are paid equitably in accordance with the complexities of job duties. Objective market data as determined by the University's peer comparator group serves as a guide to decision making.
Operation of the
The Office of Human Resources provides information and consultative guidance to managers and executive leadership to assist them in making decisions regarding position comparators and in setting market-based pay. Managers are expected to make decisions that are in the best interest of their operating unit and supportive of the University's Strategic Plan.
Exempt/Non-Exempt
The University shall conform to the provisions of the Fair Labor Standards Act. Exempt employees (executive, administrative and professional) are not covered by the provisions of the Act, whereas non-exempt employees (support) are covered by the Act. Each status is distinguished from the other by such factors as salary level, supervisory responsibilities, discretionary authority, and specialized skills and training.
Changes in the exempt/non-exempt status of jobs are the discretionary responsibility of appropriate campus officials.
Procedure for
Reclassification
Reclassifications, i.e. comparator reassignments, are submitted through the appropriate management chain with the advice and consultative guidance of the Office of Human Resources. Salary increases that result from a reclassification will go into effect at the beginning of the next pay period following approval.
Reclassifications of non-faculty positions can occur if justified by the scope of work being performed and if permanent funding is identified for any associated compensation increase. The steps required for reclassification of a non-faculty position are:
All proposals for reclassification on non-faculty positions will be forwarded by the manager of the position for review and approval by the appropriate management chain. The Office of Human Resources will provide information and consultative guidance as needed to assist the manager and affected employee in completing the New Position & Reclassification Questionnaire, completing a new position description, and identifying the appropriate comparator and median salary. The Questionnaire will be attached to a written proposal providing as much detail as possible regarding the significant changes, the reasons for the change, the salary recommendation (which should be no less than 75% of the median salary), and how the change supports the University's Strategic Plan.
The proposal must identify the availability of baseline/ongoing funds for the recommended salary. When funding has been identified, the account number or funding strategy will be documented on the request.
Each member of the management chain will review the completed questionnaire and may discuss it with the employee and his/her supervisor. The proposal may be amended and resubmitted, or forwarded to the next level of approval. When the Senior Administrator has approved the proposal, it will be submitted to the Director of Human Resources for implementation.
If reclassification is recommended, final funding will be coordinated with the Budget Office so that funds can be reallocated.
Notice of final action will be sent to the department head who will notify the immediate supervisor and the employee.
New Positions
No position should be established, advertised, or filled prior to an evaluation of the position and the identification of the appropriate comparator. All of the steps outlined under the reclassification section should be followed.
Periodic Review
and Internal Transfers
Periodic Review and Internal Transfers
Managers are responsible for remaining knowledgeable about the work performed by those they supervise. When the duties and responsibilities of a position change significantly over time, the position should be reviewed for possible reclassification. If this procedure results in a change to a comparator of a higher level, it constitutes an upgrade; a lower level constitutes a downgrade.
When a non-faculty position is upgraded, the employee's management team will work with the Office of Human Resources to determine the appropriate salary. If the reclassification results in a change to a comparator at a lower level, the new median will be used for future market adjustments. However, the incumbent employee's salary will not be reduced without approval of the Office of Equal Opportunity and Affirmative Action in consultation with the University Attorney.
An internal transfer occurs when an employee is appointed to a newly created or existing open position, with the resulting change to a comparator.
When an employee in a non-faculty position voluntarily transfers to a position with a median lower than that of his/her current position, a salary adjustment may occur. The employee's salary shall normally be adjusted downward to the position median.
Revision Dates
APSU Policy 5:026 (previously 5:047) – Rev.: April 20, 2017
APSU Policy 5:026 – Rev.: July 12, 2012
APSU Policy 5:026 – Issued: October 21, 2011
Academic Finance General Human
Resources Information
Technology Student
President: signature on file
Browning 115
financeAdmin@apsu.edu


text:
ICE Trade Vault Gauges U.S. Clients for European Reporting
By Terry Flanagan
Bruce Tupper, president of ICE Trade Vault, said IntercontinentalExchange has more than 700 participants in its US trade repository who may represent additional business for its European counterpart.
On November 29 the European Securities and Markets Authority approved ICE Trade Vault Europe as a trade repository for the reporting of swaps and futures trades under the European Market Infrastructure Regulation. Rival CME European Trade Repository was approved on the same day, taking the total number of authorised repositories to six.
"We have more than 700 participants in our US repository and there is a good overlap of potential participant institutions with Trade Vault Europe," Tupper told Markets Media. "Clients can use their existing connectivity and front-end to send all the data to the European repository from one screen. The feedback from most of our end users is that they will use ICE for delegated reporting."
In June 2012 ICE Trade Vault US became the first Swap Data Repository to receive provisional regulatory approval from the Commodity Futures Trading Commission under the requirements of the Dodd-Frank regulatory reform act.
Tupper said: "We were able to leverage our US SDR as it is a scaleable platform which has handled more than 17 million trades and so is a proven technology. However we are also very aware of the differences between Emir and Dodd-Frank and have made the necessary changes."
For example, Emir requires exchange-traded derivatives to be reported while Frank-Dodd does not. "For over-the-counter trades most of our commodities clients will be ready by February. For exchange traded derivatives the timetable is very aggressive and ESMA is still drafting Q&As," Tupper added.
ICE Trade Vault Europe is authorised to report trades in four derivatives asset classes – commodities, credit, interest rate and equity – but has chosen not to report foreign exchange.
"Our selling point is that we can handle the lower volume and complicated commodity trades as well as standardised high-volume futures where the amount of data is very large," said Tupper.
Yesterday ICE provided an update for its transition of Liffe, the derivatives arm of NYSE Euronext, to ICE Futures Europe to form one London-based derivatives exchange led by David Peniket.
ICE said it will keep the Liffe matching engines in the UK data centre in Basildon so customers can use existing colocation facilities and connections. All Liffe contracts will be added to WebICE, the exchange's front-end trading system, and Liffe operations will be fully integrated by the end of 2014 according to the statement.
The separation of the Liffe and Euronext is expected in the first quarter of 2014 and ICE will start moving Liffe agricultural commodity contracts in the summer of next year. Liffe equity derivativeS, including indices and single stock futures and options are expected to move in the third quarter and interest rates contracts in the fourth quarters.
In the middle of next year ICE plans to change the listing of Eurodollar and DTCC GCF Repo futures from Liffe US to the UK with clearing moving to ICE Clear Europe. The precious metals and MSCI equity index futures which are also listed on Liffe US, but cleared at the Options Clearing Corporation, will move to ICE Futures US and be cleared by ICE Clear US.
ICE Clear Europe plans to report all futures and options transactions executed on and cleared for ICE Futures Europe, ICE Endex and Liffe as well as all cleared OTC derivatives to ICE Trade Vault Europe.
Europe and US add to planned ICE repository services in Asia and Australia.
"We are evaluating the recently finalised Canadian rules for a potential repository offering," added Tupper. "Following our recent acquisition of the Singapore Mercantile exchange, we are also reviewing reporting obligations and repository registration with the Monetary Authority of Singapore and we also have a provisional registration in Australia."


Elvira Dyangani Ose (*1974) holds a Master's degree in Theory and History of Architecture, from the Universitat Politècnica de Catalunya, and a BA degree in Art History, from the Universitat Autònoma de Barcelona.
Since 2011 she has worked at the Tate Gallery of Modern Art in London as Curator for International Art, curating the Guaranty Trust Bank annual project for Tate Modern as well as contributing her expertise to the collection of art from Africa and its Diaspora. She is completing her PhD in History of Art and Visual Studies at Cornell University, New York. Previously, Dyangani Ose worked as Curator of African art at the Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria and at the Centro Andaluz de Arte Contemporáneo, Seville. She is a founding member of the "Laboratory for Oral Ressources" in Equatorial Guinea. She was the General Curator of the Arte invisible programme at ARCOmadrid, in 2009 and 2010. Elvira Dyangani Ose was recently appointed curator of the eighth edition of Göteborg International Biennial for Contemporary Art (GIBCA) 2015.
In the summer of 2014 Dyangani Ose was invited to explore the work by the Senegalese artist El Sy on the basis of the archive of the late art collector Dr. Friedrich Axt. In the framework of her residency she will compose a text for the accompanying publication of the forthcoming exhibition "PAINTING, PERFORMANCE, POLITICS: El Sy – Artist, Curator, Activist" (Weltkulturen Museum opening: 4th March 2015).


CivilServant is a nonprofit that collaborates with online communities to test their ideas to make their communities flourish. We currently are planning studies with Wikipedia communities to test design interventions aimed at retaining new editors and enhancing the experience and motivation of experienced editors. This project is also a first step towards what we hope will be more projects that help Wikipedia communities answer questions important to you.
CivilServant's is committed to the principles of "Citizen Behavioral Science." using experimental tools that can effectively identify designs that serve the online community well, at the same time working with those communities to insure that the experimental process is open, transparent and driven by the insights and needs of that community.
CivilServant is an outgrowth of Nathan Matias' PhD research with Ethan Zuckerman at the MIT Media Lab. CivilServant is now being incubated as a non-profit by citizen media organization Global Voices, which has a history of supporting people around the world to add indigenous language material to the web, including Wikipedia. CivilServant is funded through donations from individuals and foundations. It does not take funds from for-profit corporations.
In the past two years, CivilServant has worked with communities on reddit to test ideas for preventing harassment, managing misinformation, and managing conflict in political discussions.
CivilServant currently plans to complete studies in collaboration with non-English language Wikipedia communities, who will be the primary partners for our research. These projects are financially and administratively independent from the Wikimedia Foundation. We expect to collaborate with individual WMF employees or WMF teams as we discover areas where our community-shaped work needs advice or support from the foundation. We expect to run our research systems on the Wikimedia Labs infrastructure.
Current advisors to CivilServant's research with Wikipedians include Aaron Halfaker (Wikimedia Research), María Sefidari (Elected WMF Board Member), and Dariusz Jemielniak (Elected WMF Board Member).
In this study, we aim to test whether prompts to thank other Wikipedia contributors can enhance the experience of editors and further motivate those editors. The basic design of the study is described below, but the exact design - including the treatment conditions and outcome measures - will be determined in collaboration with four partnering Wikipedia communities.
In this research, we plan to test two kinds of appreciation messages. The first system, "Thanks", allows readers to privately thank a contributor for a specific contribution on a Wikimedia project, including a new article or a spelling correction. A notification of appreciation is then directed to the contributor. A second system, "Love", allows any authenticated reader (someone with a username and password on the site) to send a "love" that shares a personalized message to a public page that lists all of the appreciation the person has received. In both cases, we will randomly assign participants to receive a prompt to express appreciation for others' contributions and observe the outcomes for sender and receivers.
The primary outcome of interest is editor productivity (i.e. whether editors make more contributions if a page they edited had a gratitude prompt), and other possible measures include readers' and editors' attitudes towards other Wikipedians (determined by survey), and cascade effects (i.e. if receivers of gratitude send gratitude messages themselves).
Wikipedia's mission to provide a free encyclopedia depends not only on a motivated corps of experienced editors, but also on the ongoing recruitment and retention of new editors. WMF has made the retention of newcomers one of its initiatives in its Growth Team. In independent but complementary work, we plan to collaborate with non-English language Wikipedias to test their ideas for retaining newcomers. One such study would test the effectiveness of French Wikipedia's welcome message.
In planning our research projects we initially anticipated testing the effectiveness of Snuggle to retain new editors while at the same time enhancing the experience of experienced editors. One of Snuggle's advantages is its ability to help identify "goodfaith" newcomers using machine learning. While the communities we have spoken to are strongly interested in mentoring tools and find Snuggle promising, we are now exploring using a modified version of Snuggle or other applications of machine learning to help communities identify newcomers that may most benefit from mentorship or other kinds of support.
WikiLovesAfrica is an annual photography contest where anyone across Africa can contribute media to Wikimedia Commons. From January through May 2019, CivilServant and the Princeton University class SOC412 plan to work with WikiLovesAfrica to test messages that recruit people to participate, and also to test messages that guide people to add accurate metadata to the images they uploaded.
The project is currently reaching out to a number of Wikipedia communities we have identified as both having ORES integration (necessary for using AI technology to identify goodfaith newcomers) and enough newcomers each month to give the study adequate statistical power. Those Wikipedias are: Arabic, French, Persian, Polish, Portuguese, Russian and Spanish. The analysis we used to select those Wikipedias is described here: CivilServant Initial Data Analysis For Community Outreach.
In each collaborating Wikipedia we intend to partner with a liaison in that community to act as our guide and research partner. If you are interested in being one of our liaisons, we invite you to read more about the role and, if still interested, to contact CivilServant's research manager Julia Kamin.
We approach every study with the expectation that it could contribute to scientific knowledge. For that reason, in addition to community partnership and review, we also ask a university ethics board (IRB) to review our research procedures.
September 2018: CivilServant is working with liaisons in three Wikipedias - Arabic, Persian and Polish - to test the impact of "Thanks" on editors in their communities. We are also working with members of French Wikipedia to test the effectiveness of their welcome message in retaining newcomers.
This project was made possible through the support of a grant from Templeton World Charity Foundation, Inc, after an application process and review by academic reviewers. They're supporting this grant because they're interested in our research questions, and in order to help CivilServant grow our core operations. Another goal of our grant is to develop software and processes that could help Wikipedians do future research on important questions that matter to you. As an independent research project, CivilServant's views are our own and do not necessarily reflect the views of Templeton World Charity Foundation, Inc. or the Wikimedia foundation.
↑ "Celebrating Africa on Wikipedia". Wiki Loves Africa. Retrieved 2018-11-24.
This page was last edited on 22 January 2019, at 00:12.


text:
Former Baltimore Mayor Thomas D'Alesandro III dies at 90
Daniel Uria
Former Baltimore Mayor Thomas D'Alesandro III died at the age of 90 on Sunday. Photo courtesy Marylandstater/Wikimedia Commons
Oct. 20 (UPI) -- Former Baltimore Mayor Thomas D'Alesandro III died of stroke complications at the age of 90 in his home in North Baltimore on Sunday.
D'Alesandro's sister, U.S. House Speaker Nancy Pelosi, issued a statement saying their entire family was "devastated" by his death and remembering him as the "finest public servant" she has ever known.
"His life and leadership were a tribute to the Catholic values with which we were raised: faith, family patriotism. He profoundly believed as did our parents, that public service was a noble calling and that we all had a responsibility to help others," she said.
D'Alesandro's political career began in 1956 when he earned a seat on the Board of Elections Supervisors after Graduating from University of Maryland Law School and serving in the Army.
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He then became president of the Baltimore City Council in 1962 and successfully ran for mayor in 1967.
D'Alesandro presided over the city during the 1968 riots that followed the assassination of the Rev. Martin Luther King Jr., which left six people dead and 700 injured.
He also oversaw the approval of an $80 million bond issue to build new schools, the construction of a new police headquarters and pushed for open housing.
RELATED Rep. Elijah Cummings to lie in state at Capitol
Baltimore Mayor Bernard C. Young said D'Alesandro "guided the city at a tumultuous time" and made important strides while in office.
"He will always be remembered for his commitment to and love for Baltimore.
D'Alesandro's son said his father carried "strong beliefs" that people "should contribute to the times in which they live."
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"I was consistently astonished by his incredible generosity. I can't recall how many times he foot the bill during get-togethers with other people," he said.
U.S. News // 13 minutes ago
2 dead, 5 wounded in shooting at San Antonio club
Jan. 19 (UPI) -- An argument between customers at a Texas music venue erupted into a shooting Sunday, leaving at least two people dead and five others wounded, authorities said.
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Jan. 19 (UPI) -- A gunman opened fire on police in Honolulu Sunday, killing at least two officers before a fire erupted causing a large multi-house blaze, authorities said.
Donald Trump to speak at American Farm Bureau Federation Convention
Jan. 19 (UPI) -- President Donald Trump is set to appear at the American Farm Bureau Federation's annual convention for the third consecutive year in Austin, Texas.
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Jan. 19 (UPI) -- Snow and ice led to travel difficulties across the Northeast during the long holiday weekend, including Philadelphia, New York City, and Boston.
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Puerto Rico emergency manager dismissed after unused aid found in warehouse
Jan. 18 (UPI) -- The governor of Puerto Rico has fired her director of emergency management called for an investigation into the handling of emergency supplies after a video showing a warehouse full of unused aid went viral on social med
National Archives apologizes for altering photo with anti-Trump signs
Jan. 18 (UPI) -- The National Archives on Saturday apologized for altering a 2017 photograph to censor signs referencing women's anatomy and President Donald Trump's name.
Activists gather for fourth year of worldwide Women's Marches
Jan. 18 (UPI) -- Thousands took to the streets Saturday in Washington, D.C., -- and elsewhere across the globe -- to participate in the fourth annual Women's March advocating for women's equality.
Landlord, 2 others sentenced for involvement in 2015 Manhattan gas explosion
Jan. 18 (UPI) -- Last year Maria Hrynenko, 59, Athanasios "Jerry" Ioannidis, 63, and Dilber Kukic, 44, were were sentenced to four to 12 years on Friday.
Royal Caribbean cites surveillance video in motion to dismiss family's lawsuit over toddler's death
Jan. 18 (UPI) -- Royal Caribbean has cited surveillance video in its motion to dismiss the lawsuit filed last month by the family of an Indiana toddler who fell to her death on a cruise ship last summer.
Kentucky State Police capture inmate one week after escape
Jan. 18 (UPI) -- Authorities arrested a prison inmate in Kentucky one week after he escaped custody during a work release, the state police said.
Moments from 2020 Paris Fashion Week