text:
Croatia Records 6.5 Million Arrivals, 26 Million Overnights in First Half of 2019
July 2, 2019 by Boban Spasojević | 0 comments
Tourism Minister Gari Cappelli expressed satisfaction with the tourism results in Croatia, where during the first half of the year, there have been 6.5 million arrivals and 26 million overnight stays, which is in line with expectations.
"We have the results after the first six months, and we have executed what we had predicted. With a small imbalance in May due to the weather, everything else has gone to plan. At this time we have realized about 26 million overnights and about 6.5 million tourist arrivals.
Thus, everything is in line with our predictions, both in Istria and in other parts of the Adriatic," Cappelli told reporters at the expert meeting "Investment Potential of Tourist Land" in Funtana.
According to last year's statistics from the Croatian National Tourist Board, in the first six months of 2018, Croatia saw 6.4 million arrivals and 25.4 million overnight stays.
The minister also said that it is imperative that in the first half of this year that neither German nor British tourists are in the minus, as was predicted.
Cappelli emphasised once again that everything was going to plan and is accounted for by the growth of physical tourism indicators this year of about two to three percent.
Minister Cappelli is in Funtana participating in a meeting on the investment potential of tourism land, in which a draft bill of unreported construction land was presented, which is in public debate.
Before the meeting, the minister attended the opening ceremony of city beach Materada, for which the Ministry of Tourism granted Poreč almost half a million kuna through the tender from the Tourism Development Fund, while the Poreč Tourist Board invested an additional 1.5 million kuna.
The settlement included a coastal area stretching between the Špadići and Materada settlements in the length of 400 meters or 2.834 square meters, which will become the largest beach to be renovated in Poreč this year. The project paid special attention to persons with disabilities.
In other words, the City of Poreč has invested nearly 20 million kuna in the town's beaches over the past four years.
Categories: BUSINESS, CULTURE, DIPLOMACY, ECONOMY, POLITICS | Tags: Croatia tourism, Croatian Tourist Board, Tourism Minister Gari Cappelli | Permalink
Montenegrin Statehood Day
The Bastille Day marked in Zagreb
Croatia Sets Aside Millions for Diaspora Projects in 11 European Countries
New Terminal Opens at Split Airport
Copyright Color Media Communications


text:
· SPORTS
CHINA China's top procuratorate orders arrest of former senior political advisor
China's top procuratorate orders arrest of former senior political advisor
16:58, September 28, 2022
BEIJING, Sept. 28 (Xinhua) -- The Supreme People's Procuratorate (SPP) has announced its decision to arrest Shen Deyong, a former senior political advisor, for suspected bribe-taking.
The National Commission of Supervision has completed an investigation into Shen's case and transferred it to procuratorial authorities for prosecution, the SPP said in a statement on Wednesday.
Shen was formerly a member of the Standing Committee of the Chinese People's Political Consultative Conference (CPPCC) National Committee and head of the Committee on Social and Legal Affairs of the CPPCC National Committee.
The handling of the case is underway.

redpajama_set_name: RedPajamaCommonCrawl


This entry was posted in Miniature Painting and tagged Corregidor, David Montalvan, Infinity the Game, Miniature Painting, Monty, Nomads, Painting, Table Top by osographic. Bookmark the permalink.
How'd you do the base, btw?
Sweet! Glad this stuff is inspiring people to get into the game. Curse you gamer ADD!
The bases are from Secret Weapon's Tau Ceti baseset. Great value and pretty clean molds. I painted them using my usual rusty metal technique. Start with a base coat of Leadbeltcher (GW), then a wash of Battledress Green (P3), a second wash of Bloodstone (P3), and finally a drybrush of Leadbeltcher. You can try adding some highlights with a brighter metallic if you want but I wanted to keep these bases dull looking to contrast the lighting effects.
Pretty nifty, though I do have a different base scheme for my nomads. I wanted to keep them plain and simple to basically show off their awesomeness more. The Bakunin Nomads (the ones I am getting into) are very random in many ways and subtle bases are the trick there, I believe.


The Springs Church Worship Team is hosting a Christmas Concert at The Springs Church, 135 N. Grant Street, at 6:30 p.m. on Saturday, December 20. You will hear some of your favorite, fun Christmas songs and experience some great entertainment for the whole family. Let us help get you in the Christmas spirit! All proceeds will go to the church's Bless The Children ministries to help kids in our community with clothing and other needs. Tickets are $3 a person or $10 a family. For more information please call the church office at 696-2970. Don't miss out on this wonderful Christmas event!


text:
// Adds JS functions to augment the CanvasKit interface.
// For example, if there is a wrapper around the C++ call or logic to allow
// chaining, it should go here.

// CanvasKit.onRuntimeInitialized is called after the WASM library has loaded.
// Anything that modifies an exposed class (e.g. SkPath) should be set
// after onRuntimeInitialized, otherwise, it can happen outside of that scope.
CanvasKit.onRuntimeInitialized = function() {
  // All calls to 'this' need to go in externs.js so closure doesn't minify them away.

  // Add some helpers for matrices. This is ported from SkMatrix.cpp
  // to save complexity and overhead of going back and forth between
  // C++ and JS layers.
  // I would have liked to use something like DOMMatrix, except it
  // isn't widely supported (would need polyfills) and it doesn't
  // have a mapPoints() function (which could maybe be tacked on here).
  // If DOMMatrix catches on, it would be worth re-considering this usage.
  CanvasKit.SkMatrix = {};
  function sdot(a, b, c, d, e, f) {
    e = e || 0;
    f = f || 0;
    return a * b + c * d + e * f;
  }

  CanvasKit.SkMatrix.identity = function() {
    return [
      1, 0, 0,
      0, 1, 0,
      0, 0, 1,
    ];
  };

  // Return the inverse (if it exists) of this matrix.
  // Otherwise, return the identity.
  CanvasKit.SkMatrix.invert = function(m) {
    var det = m[0]*m[4]*m[8] + m[1]*m[5]*m[6] + m[2]*m[3]*m[7]
            - m[2]*m[4]*m[6] - m[1]*m[3]*m[8] - m[0]*m[5]*m[7];
    if (!det) {
      SkDebug('Warning, uninvertible matrix');
      return CanvasKit.SkMatrix.identity();
    }
    return [
      (m[4]*m[8] - m[5]*m[7])/det, (m[2]*m[7] - m[1]*m[8])/det, (m[1]*m[5] - m[2]*m[4])/det,
      (m[5]*m[6] - m[3]*m[8])/det, (m[0]*m[8] - m[2]*m[6])/det, (m[2]*m[3] - m[0]*m[5])/det,
      (m[3]*m[7] - m[4]*m[6])/det, (m[1]*m[6] - m[0]*m[7])/det, (m[0]*m[4] - m[1]*m[3])/det,
    ];
  };

  // Maps the given points according to the passed in matrix.
  // Results are done in place.
  // See SkMatrix.h::mapPoints for the docs on the math.
  CanvasKit.SkMatrix.mapPoints = function(matrix, ptArr) {
    if (ptArr.length % 2) {
      throw 'mapPoints requires an even length arr';
    }
    for (var i = 0; i < ptArr.length; i+=2) {
      var x = ptArr[i], y = ptArr[i+1];
      // Gx+Hy+I
      var denom  = matrix[6]*x + matrix[7]*y + matrix[8];
      // Ax+By+C
      var xTrans = matrix[0]*x + matrix[1]*y + matrix[2];
      // Dx+Ey+F
      var yTrans = matrix[3]*x + matrix[4]*y + matrix[5];
      ptArr[i]   = xTrans/denom;
      ptArr[i+1] = yTrans/denom;
    }
    return ptArr;
  };

  CanvasKit.SkMatrix.multiply = function(m1, m2) {
    var result = [0,0,0, 0,0,0, 0,0,0];
    for (var r = 0; r < 3; r++) {
      for (var c = 0; c < 3; c++) {
        // m1 and m2 are 1D arrays pretending to be 2D arrays
        result[3*r + c] = sdot(m1[3*r + 0], m2[3*0 + c],
                               m1[3*r + 1], m2[3*1 + c],
                               m1[3*r + 2], m2[3*2 + c]);
      }
    }
    return result;
  }

  // Return a matrix representing a rotation by n radians.
  // px, py optionally say which point the rotation should be around
  // with the default being (0, 0);
  CanvasKit.SkMatrix.rotated = function(radians, px, py) {
    px = px || 0;
    py = py || 0;
    var sinV = Math.sin(radians);
    var cosV = Math.cos(radians);
    return [
      cosV, -sinV, sdot( sinV, py, 1 - cosV, px),
      sinV,  cosV, sdot(-sinV, px, 1 - cosV, py),
      0,        0,                             1,
    ];
  };

  CanvasKit.SkMatrix.scaled = function(sx, sy, px, py) {
    px = px || 0;
    py = py || 0;
    return [
      sx, 0, px - sx * px,
      0, sy, py - sy * py,
      0,  0,            1,
    ];
  };

  CanvasKit.SkMatrix.skewed = function(kx, ky, px, py) {
    px = px || 0;
    py = py || 0;
    return [
      1, kx, -kx * px,
      ky, 1, -ky * py,
      0,  0,        1,
    ];
  };

  CanvasKit.SkMatrix.translated = function(dx, dy) {
    return [
      1, 0, dx,
      0, 1, dy,
      0, 0,  1,
    ];
  };

  // An SkColorMatrix is a 4x4 color matrix that transforms the 4 color channels
  //  with a 1x4 matrix that post-translates those 4 channels.
  // For example, the following is the layout with the scale (S) and post-transform
  // (PT) items indicated.
  // RS,  0,  0,  0 | RPT
  //  0, GS,  0,  0 | GPT
  //  0,  0, BS,  0 | BPT
  //  0,  0,  0, AS | APT
  //
  // Much of this was hand-transcribed from SkColorMatrix.cpp, because it's easier to
  // deal with a Float32Array of length 20 than to try to expose the SkColorMatrix object.

  var rScale = 0;
  var gScale = 6;
  var bScale = 12;
  var aScale = 18;

  var rPostTrans = 4;
  var gPostTrans = 9;
  var bPostTrans = 14;
  var aPostTrans = 19;

  CanvasKit.SkColorMatrix = {};
  CanvasKit.SkColorMatrix.identity = function() {
    var m = new Float32Array(20);
    m[rScale] = 1;
    m[gScale] = 1;
    m[bScale] = 1;
    m[aScale] = 1;
    return m;
  }

  CanvasKit.SkColorMatrix.scaled = function(rs, gs, bs, as) {
    var m = new Float32Array(20);
    m[rScale] = rs;
    m[gScale] = gs;
    m[bScale] = bs;
    m[aScale] = as;
    return m;
  }

  var rotateIndices = [
    [6, 7, 11, 12],
    [0, 10, 2, 12],
    [0, 1,  5,  6],
  ];
  // axis should be 0, 1, 2 for r, g, b
  CanvasKit.SkColorMatrix.rotated = function(axis, sine, cosine) {
    var m = CanvasKit.SkColorMatrix.identity();
    var indices = rotateIndices[axis];
    m[indices[0]] = cosine;
    m[indices[1]] = sine;
    m[indices[2]] = -sine;
    m[indices[3]] = cosine;
    return m;
  }

  // m is a SkColorMatrix (i.e. a Float32Array), and this sets the 4 "special"
  // params that will translate the colors after they are multiplied by the 4x4 matrix.
  CanvasKit.SkColorMatrix.postTranslate = function(m, dr, dg, db, da) {
    m[rPostTrans] += dr;
    m[gPostTrans] += dg;
    m[bPostTrans] += db;
    m[aPostTrans] += da;
    return m;
  }

  // concat returns a new SkColorMatrix that is the result of multiplying outer*inner;
  CanvasKit.SkColorMatrix.concat = function(outer, inner) {
    var m = new Float32Array(20);
    var index = 0;
    for (var j = 0; j < 20; j += 5) {
        for (var i = 0; i < 4; i++) {
            m[index++] =  outer[j + 0] * inner[i + 0] +
                          outer[j + 1] * inner[i + 5] +
                          outer[j + 2] * inner[i + 10] +
                          outer[j + 3] * inner[i + 15];
        }
        m[index++] =  outer[j + 0] * inner[4] +
                      outer[j + 1] * inner[9] +
                      outer[j + 2] * inner[14] +
                      outer[j + 3] * inner[19] +
                      outer[j + 4];
    }

    return m;
  }

  CanvasKit.SkPath.prototype.addArc = function(oval, startAngle, sweepAngle) {
    // see arc() for the HTMLCanvas version
    // note input angles are degrees.
    this._addArc(oval, startAngle, sweepAngle);
    return this;
  };

  CanvasKit.SkPath.prototype.addOval = function(oval, isCCW, startIndex) {
    if (startIndex === undefined) {
      startIndex = 1;
    }
    this._addOval(oval, !!isCCW, startIndex);
    return this;
  };

  CanvasKit.SkPath.prototype.addPath = function() {
    // Takes 1, 2, 7, or 10 required args, where the first arg is always the path.
    // The last arg is optional and chooses between add or extend mode.
    // The options for the remaining args are:
    //   - an array of 6 or 9 parameters (perspective is optional)
    //   - the 9 parameters of a full matrix or
    //     the 6 non-perspective params of a matrix.
    var args = Array.prototype.slice.call(arguments);
    var path = args[0];
    var extend = false;
    if (typeof args[args.length-1] === "boolean") {
      extend = args.pop();
    }
    if (args.length === 1) {
      // Add path, unchanged.  Use identity matrix
      this._addPath(path, 1, 0, 0,
                          0, 1, 0,
                          0, 0, 1,
                          extend);
    } else if (args.length === 2) {
      // User provided the 9 params of a full matrix as an array.
      var a = args[1];
      this._addPath(path, a[0],      a[1],      a[2],
                          a[3],      a[4],      a[5],
                          a[6] || 0, a[7] || 0, a[8] || 1,
                          extend);
    } else if (args.length === 7 || args.length === 10) {
      // User provided the 9 params of a (full) matrix directly.
      // (or just the 6 non perspective ones)
      // These are in the same order as what Skia expects.
      var a = args;
      this._addPath(path, a[1],      a[2],      a[3],
                          a[4],      a[5],      a[6],
                          a[7] || 0, a[8] || 0, a[9] || 1,
                          extend);
    } else {
      SkDebug('addPath expected to take 1, 2, 7, or 10 required args. Got ' + args.length);
      return null;
    }
    return this;
  };

  // points is either an array of [x, y] where x and y are numbers or
  // a typed array from Malloc where the even indices will be treated
  // as x coordinates and the odd indices will be treated as y coordinates.
  CanvasKit.SkPath.prototype.addPoly = function(points, close) {
    var ptr;
    var n;
    // This was created with CanvasKit.Malloc, so assume the user has
    // already been filled with data.
    if (points['_ck']) {
      ptr = points.byteOffset;
      n = points.length/2;
    } else {
      ptr = copy2dArray(points, CanvasKit.HEAPF32);
      n = points.length;
    }
    this._addPoly(ptr, n, close);
    CanvasKit._free(ptr);
    return this;
  };

  CanvasKit.SkPath.prototype.addRect = function() {
    // Takes 1, 2, 4 or 5 args
    //  - SkRect
    //  - SkRect, isCCW
    //  - left, top, right, bottom
    //  - left, top, right, bottom, isCCW
    if (arguments.length === 1 || arguments.length === 2) {
      var r = arguments[0];
      var ccw = arguments[1] || false;
      this._addRect(r.fLeft, r.fTop, r.fRight, r.fBottom, ccw);
    } else if (arguments.length === 4 || arguments.length === 5) {
      var a = arguments;
      this._addRect(a[0], a[1], a[2], a[3], a[4] || false);
    } else {
      SkDebug('addRect expected to take 1, 2, 4, or 5 args. Got ' + arguments.length);
      return null;
    }
    return this;
  };

  CanvasKit.SkPath.prototype.addRoundRect = function() {
    // Takes 3, 4, 6 or 7 args
    //  - SkRect, radii, ccw
    //  - SkRect, rx, ry, ccw
    //  - left, top, right, bottom, radii, ccw
    //  - left, top, right, bottom, rx, ry, ccw
    var args = arguments;
    if (args.length === 3 || args.length === 6) {
      var radii = args[args.length-2];
    } else if (args.length === 6 || args.length === 7){
      // duplicate the given (rx, ry) pairs for each corner.
      var rx = args[args.length-3];
      var ry = args[args.length-2];
      var radii = [rx, ry, rx, ry, rx, ry, rx, ry];
    } else {
      SkDebug('addRoundRect expected to take 3, 4, 6, or 7 args. Got ' + args.length);
      return null;
    }
    if (radii.length !== 8) {
      SkDebug('addRoundRect needs 8 radii provided. Got ' + radii.length);
      return null;
    }
    var rptr = copy1dArray(radii, CanvasKit.HEAPF32);
    if (args.length === 3 || args.length === 4) {
      var r = args[0];
      var ccw = args[args.length - 1];
      this._addRoundRect(r.fLeft, r.fTop, r.fRight, r.fBottom, rptr, ccw);
    } else if (args.length === 6 || args.length === 7) {
      var a = args;
      this._addRoundRect(a[0], a[1], a[2], a[3], rptr, ccw);
    }
    CanvasKit._free(rptr);
    return this;
  };

  CanvasKit.SkPath.prototype.arc = function(x, y, radius, startAngle, endAngle, ccw) {
    // emulates the HTMLCanvas behavior.  See addArc() for the SkPath version.
    // Note input angles are radians.
    var bounds = CanvasKit.LTRBRect(x-radius, y-radius, x+radius, y+radius);
    var sweep = radiansToDegrees(endAngle - startAngle) - (360 * !!ccw);
    var temp = new CanvasKit.SkPath();
    temp.addArc(bounds, radiansToDegrees(startAngle), sweep);
    this.addPath(temp, true);
    temp.delete();
    return this;
  };

  CanvasKit.SkPath.prototype.arcTo = function() {
    // takes 4, 5 or 7 args
    // - 5 x1, y1, x2, y2, radius
    // - 4 oval (as Rect), startAngle, sweepAngle, forceMoveTo
    // - 7 rx, ry, xAxisRotate, useSmallArc, isCCW, x, y
    var args = arguments;
    if (args.length === 5) {
      this._arcTo(args[0], args[1], args[2], args[3], args[4]);
    } else if (args.length === 4) {
      this._arcTo(args[0], args[1], args[2], args[3]);
    } else if (args.length === 7) {
      this._arcTo(args[0], args[1], args[2], !!args[3], !!args[4], args[5], args[6]);
    } else {
      throw 'Invalid args for arcTo. Expected 4, 5, or 7, got '+ args.length;
    }

    return this;
  };

  CanvasKit.SkPath.prototype.close = function() {
    this._close();
    return this;
  };

  CanvasKit.SkPath.prototype.conicTo = function(x1, y1, x2, y2, w) {
    this._conicTo(x1, y1, x2, y2, w);
    return this;
  };

  CanvasKit.SkPath.prototype.cubicTo = function(cp1x, cp1y, cp2x, cp2y, x, y) {
    this._cubicTo(cp1x, cp1y, cp2x, cp2y, x, y);
    return this;
  };

  CanvasKit.SkPath.prototype.dash = function(on, off, phase) {
    if (this._dash(on, off, phase)) {
      return this;
    }
    return null;
  };

  CanvasKit.SkPath.prototype.lineTo = function(x, y) {
    this._lineTo(x, y);
    return this;
  };

  CanvasKit.SkPath.prototype.moveTo = function(x, y) {
    this._moveTo(x, y);
    return this;
  };

  CanvasKit.SkPath.prototype.offset = function(dx, dy) {
    this._transform(1, 0, dx,
                    0, 1, dy,
                    0, 0, 1);
    return this;
  };

  CanvasKit.SkPath.prototype.quadTo = function(cpx, cpy, x, y) {
    this._quadTo(cpx, cpy, x, y);
    return this;
  };

 CanvasKit.SkPath.prototype.rArcTo = function(rx, ry, xAxisRotate, useSmallArc, isCCW, dx, dy) {
    this._rArcTo(rx, ry, xAxisRotate, useSmallArc, isCCW, dx, dy);
    return this;
  };

  CanvasKit.SkPath.prototype.rConicTo = function(dx1, dy1, dx2, dy2, w) {
    this._rConicTo(dx1, dy1, dx2, dy2, w);
    return this;
  };

  // These params are all relative
  CanvasKit.SkPath.prototype.rCubicTo = function(cp1x, cp1y, cp2x, cp2y, x, y) {
    this._rCubicTo(cp1x, cp1y, cp2x, cp2y, x, y);
    return this;
  };

  CanvasKit.SkPath.prototype.rLineTo = function(dx, dy) {
    this._rLineTo(dx, dy);
    return this;
  };

  CanvasKit.SkPath.prototype.rMoveTo = function(dx, dy) {
    this._rMoveTo(dx, dy);
    return this;
  };

  // These params are all relative
  CanvasKit.SkPath.prototype.rQuadTo = function(cpx, cpy, x, y) {
    this._rQuadTo(cpx, cpy, x, y);
    return this;
  };

  CanvasKit.SkPath.prototype.stroke = function(opts) {
    // Fill out any missing values with the default values.
    /**
     * See externs.js for this definition
     * @type {StrokeOpts}
     */
    opts = opts || {};
    opts.width = opts.width || 1;
    opts.miter_limit = opts.miter_limit || 4;
    opts.cap = opts.cap || CanvasKit.StrokeCap.Butt;
    opts.join = opts.join || CanvasKit.StrokeJoin.Miter;
    opts.precision = opts.precision || 1;
    if (this._stroke(opts)) {
      return this;
    }
    return null;
  };

  CanvasKit.SkPath.prototype.transform = function() {
    // Takes 1 or 9 args
    if (arguments.length === 1) {
      // argument 1 should be a 6 or 9 element array.
      var a = arguments[0];
      this._transform(a[0], a[1], a[2],
                      a[3], a[4], a[5],
                      a[6] || 0, a[7] || 0, a[8] || 1);
    } else if (arguments.length === 6 || arguments.length === 9) {
      // these arguments are the 6 or 9 members of the matrix
      var a = arguments;
      this._transform(a[0], a[1], a[2],
                      a[3], a[4], a[5],
                      a[6] || 0, a[7] || 0, a[8] || 1);
    } else {
      throw 'transform expected to take 1 or 9 arguments. Got ' + arguments.length;
    }
    return this;
  };
  // isComplement is optional, defaults to false
  CanvasKit.SkPath.prototype.trim = function(startT, stopT, isComplement) {
    if (this._trim(startT, stopT, !!isComplement)) {
      return this;
    }
    return null;
  };

  // bones should be a 3d array.
  // Each bone is a 3x2 transformation matrix in column major order:
  // | scaleX   skewX transX |
  // |  skewY  scaleY transY |
  // and bones is an array of those matrices.
  // Returns a copy of this (SkVertices) with the bones applied.
  CanvasKit.SkVertices.prototype.applyBones = function(bones) {
    var bPtr = copy3dArray(bones, CanvasKit.HEAPF32);
    var vert = this._applyBones(bPtr, bones.length);
    CanvasKit._free(bPtr);
    return vert;
  }

  CanvasKit.SkImage.prototype.encodeToData = function() {
    if (!arguments.length) {
      return this._encodeToData();
    }

    if (arguments.length === 2) {
      var a = arguments;
      return this._encodeToDataWithFormat(a[0], a[1]);
    }

    throw 'encodeToData expected to take 0 or 2 arguments. Got ' + arguments.length;
  }

  CanvasKit.SkImage.prototype.makeShader = function(xTileMode, yTileMode, localMatrix) {
    if (localMatrix) {
      // Add perspective args if not provided.
      if (localMatrix.length === 6) {
        localMatrix.push(0, 0, 1);
      }
      return this._makeShader(xTileMode, yTileMode, localMatrix);
    } else {
      return this._makeShader(xTileMode, yTileMode);
    }
  }

  CanvasKit.SkImage.prototype.readPixels = function(imageInfo, srcX, srcY) {
    var rowBytes;
    switch (imageInfo.colorType){
      case CanvasKit.ColorType.RGBA_8888:
        rowBytes = imageInfo.width * 4; // 1 byte per channel == 4 bytes per pixel in 8888
        break;
      case CanvasKit.ColorType.RGBA_F32:
        rowBytes = imageInfo.width * 16; // 4 bytes per channel == 16 bytes per pixel in F32
        break;
      default:
        SkDebug("Colortype not yet supported");
        return;
    }
    var pBytes = rowBytes * imageInfo.height;
    var pPtr = CanvasKit._malloc(pBytes);

    if (!this._readPixels(imageInfo, pPtr, rowBytes, srcX, srcY)) {
      SkDebug("Could not read pixels with the given inputs");
      return null;
    }

    // Put those pixels into a typed array of the right format and then
    // make a copy with slice() that we can return.
    var retVal = null;
    switch (imageInfo.colorType){
      case CanvasKit.ColorType.RGBA_8888:
        retVal = new Uint8Array(CanvasKit.HEAPU8.buffer, pPtr, pBytes).slice();
        break;
      case CanvasKit.ColorType.RGBA_F32:
        retVal = new Float32Array(CanvasKit.HEAPU8.buffer, pPtr, pBytes).slice();
        break;
    }

    // Free the allocated pixels in the WASM memory
    CanvasKit._free(pPtr);
    return retVal;

  }

  // atlas is an SkImage, e.g. from CanvasKit.MakeImageFromEncoded
  // srcRects and dstXforms should be CanvasKit.SkRectBuilder and CanvasKit.RSXFormBuilder
  // or just arrays of floats in groups of 4.
  // colors, if provided, should be a CanvasKit.SkColorBuilder or array of SkColor
  // (from CanvasKit.Color)
  CanvasKit.SkCanvas.prototype.drawAtlas = function(atlas, srcRects, dstXforms, paint,
                                       /*optional*/ blendMode, colors) {
    if (!atlas || !paint || !srcRects || !dstXforms) {
      SkDebug('Doing nothing since missing a required input');
      return;
    }
    if (srcRects.length !== dstXforms.length || (colors && colors.length !== dstXforms.length)) {
      SkDebug('Doing nothing since input arrays length mismatches');
    }
    if (!blendMode) {
      blendMode = CanvasKit.BlendMode.SrcOver;
    }

    var srcRectPtr;
    if (srcRects.build) {
      srcRectPtr = srcRects.build();
    } else {
      srcRectPtr = copy1dArray(srcRects, CanvasKit.HEAPF32);
    }

    var dstXformPtr;
    if (dstXforms.build) {
      dstXformPtr = dstXforms.build();
    } else {
      dstXformPtr = copy1dArray(dstXforms, CanvasKit.HEAPF32);
    }

    var colorPtr = 0; // enscriptem doesn't like undefined for nullptr
    if (colors) {
      if (colors.build) {
        colorPtr = colors.build();
      } else {
        colorPtr = copy1dArray(colors, CanvasKit.HEAPU32);
      }
    }

    this._drawAtlas(atlas, dstXformPtr, srcRectPtr, colorPtr, dstXforms.length,
                    blendMode, paint);

    if (srcRectPtr && !srcRects.build) {
      CanvasKit._free(srcRectPtr);
    }
    if (dstXformPtr && !dstXforms.build) {
      CanvasKit._free(dstXformPtr);
    }
    if (colorPtr && !colors.build) {
      CanvasKit._free(colorPtr);
    }

  }

  // points is either an array of [x, y] where x and y are numbers or
  // a typed array from Malloc where the even indices will be treated
  // as x coordinates and the odd indices will be treated as y coordinates.
  CanvasKit.SkCanvas.prototype.drawPoints = function(mode, points, paint) {
    var ptr;
    var n;
    // This was created with CanvasKit.Malloc, so assume the user has
    // already been filled with data.
    if (points['_ck']) {
      ptr = points.byteOffset;
      n = points.length/2;
    } else {
      ptr = copy2dArray(points, CanvasKit.HEAPF32);
      n = points.length;
    }
    this._drawPoints(mode, ptr, n, paint);
    CanvasKit._free(ptr);
  }

  // returns Uint8Array
  CanvasKit.SkCanvas.prototype.readPixels = function(x, y, w, h, alphaType,
                                                     colorType, dstRowBytes) {
    // supply defaults (which are compatible with HTMLCanvas's getImageData)
    alphaType = alphaType || CanvasKit.AlphaType.Unpremul;
    colorType = colorType || CanvasKit.ColorType.RGBA_8888;
    dstRowBytes = dstRowBytes || (4 * w);

    var len = h * dstRowBytes
    var pptr = CanvasKit._malloc(len);
    var ok = this._readPixels({
      'width': w,
      'height': h,
      'colorType': colorType,
      'alphaType': alphaType,
    }, pptr, dstRowBytes, x, y);
    if (!ok) {
      CanvasKit._free(pptr);
      return null;
    }

    // The first typed array is just a view into memory. Because we will
    // be free-ing that, we call slice to make a persistent copy.
    var pixels = new Uint8Array(CanvasKit.HEAPU8.buffer, pptr, len).slice();
    CanvasKit._free(pptr);
    return pixels;
  }

  // pixels is a TypedArray. No matter the input size, it will be treated as
  // a Uint8Array (essentially, a byte array).
  CanvasKit.SkCanvas.prototype.writePixels = function(pixels, srcWidth, srcHeight,
                                                      destX, destY, alphaType, colorType) {
    if (pixels.byteLength % (srcWidth * srcHeight)) {
      throw 'pixels length must be a multiple of the srcWidth * srcHeight';
    }
    var bytesPerPixel = pixels.byteLength / (srcWidth * srcHeight);
    // supply defaults (which are compatible with HTMLCanvas's putImageData)
    alphaType = alphaType || CanvasKit.AlphaType.Unpremul;
    colorType = colorType || CanvasKit.ColorType.RGBA_8888;
    var srcRowBytes = bytesPerPixel * srcWidth;

    var pptr = CanvasKit._malloc(pixels.byteLength);
    CanvasKit.HEAPU8.set(pixels, pptr);

    var ok = this._writePixels({
      'width': srcWidth,
      'height': srcHeight,
      'colorType': colorType,
      'alphaType': alphaType,
    }, pptr, srcRowBytes, destX, destY);

    CanvasKit._free(pptr);
    return ok;
  }

  // colorMatrix is an SkColorMatrix (e.g. Float32Array of length 20)
  CanvasKit.SkColorFilter.MakeMatrix = function(colorMatrix) {
    if (!colorMatrix || colorMatrix.length !== 20) {
      SkDebug('ignoring invalid color matrix');
      return;
    }
    var fptr = copy1dArray(colorMatrix, CanvasKit.HEAPF32);
    // We know skia memcopies the floats, so we can free our memory after the call returns.
    var m = CanvasKit.SkColorFilter._makeMatrix(fptr);
    CanvasKit._free(fptr);
    return m;
  }

  CanvasKit.SkShader.Blend = function(mode, dst, src, localMatrix) {
    if (!localMatrix) {
      return this._Blend(mode, dst, src);
    }
    return this._Blend(mode, dst, src, localMatrix);
  }

  CanvasKit.SkShader.Lerp = function(t, dst, src, localMatrix) {
    if (!localMatrix) {
      return this._Lerp(t, dst, src);
    }
    return this._Lerp(t, dst, src, localMatrix);
  }

  CanvasKit.SkSurface.prototype.captureFrameAsSkPicture = function(drawFrame) {
    // Set up SkPictureRecorder
    var spr = new CanvasKit.SkPictureRecorder();
    var canvas = spr.beginRecording(
                    CanvasKit.LTRBRect(0, 0, this.width(), this.height()));
    drawFrame(canvas);
    var pic = spr.finishRecordingAsPicture();
    spr.delete();
    // TODO: do we need to clean up the memory for canvas?
    // If we delete it here, saveAsFile doesn't work correctly.
    return pic;
  }

  CanvasKit.SkSurface.prototype.requestAnimationFrame = function(callback, dirtyRect) {
    if (!this._cached_canvas) {
      this._cached_canvas = this.getCanvas();
    }
    window.requestAnimationFrame(function() {
      if (this._context !== undefined) {
        CanvasKit.setCurrentContext(this._context);
      }

      callback(this._cached_canvas);

      this.flush();
    }.bind(this));
  }

  // Run through the JS files that are added at compile time.
  if (CanvasKit._extraInitializations) {
    CanvasKit._extraInitializations.forEach(function(init) {
      init();
    });
  }
}; // end CanvasKit.onRuntimeInitialized, that is, anything changing prototypes or dynamic.

CanvasKit.LTRBRect = function(l, t, r, b) {
  return {
    fLeft: l,
    fTop: t,
    fRight: r,
    fBottom: b,
  };
}

CanvasKit.XYWHRect = function(x, y, w, h) {
  return {
    fLeft: x,
    fTop: y,
    fRight: x+w,
    fBottom: y+h,
  };
}

// RRectXY returns an RRect with the given rect and a radiusX and radiusY for
// all 4 corners.
CanvasKit.RRectXY = function(rect, rx, ry) {
  return {
    rect: rect,
    rx1: rx,
    ry1: ry,
    rx2: rx,
    ry2: ry,
    rx3: rx,
    ry3: ry,
    rx4: rx,
    ry4: ry,
  };
}

CanvasKit.MakePathFromCmds = function(cmds) {
  var ptrLen = loadCmdsTypedArray(cmds);
  var path = CanvasKit._MakePathFromCmds(ptrLen[0], ptrLen[1]);
  CanvasKit._free(ptrLen[0]);
  return path;
}

CanvasKit.MakeSkDashPathEffect = function(intervals, phase) {
  if (!phase) {
    phase = 0;
  }
  if (!intervals.length || intervals.length % 2 === 1) {
    throw 'Intervals array must have even length';
  }
  var ptr = copy1dArray(intervals, CanvasKit.HEAPF32);
  var dpe = CanvasKit._MakeSkDashPathEffect(ptr, intervals.length, phase);
  CanvasKit._free(ptr);
  return dpe;
}

// data is a TypedArray or ArrayBuffer e.g. from fetch().then(resp.arrayBuffer())
CanvasKit.MakeAnimatedImageFromEncoded = function(data) {
  data = new Uint8Array(data);

  var iptr = CanvasKit._malloc(data.byteLength);
  CanvasKit.HEAPU8.set(data, iptr);
  var img = CanvasKit._decodeAnimatedImage(iptr, data.byteLength);
  if (!img) {
    SkDebug('Could not decode animated image');
    return null;
  }
  return img;
}

// data is a TypedArray or ArrayBuffer e.g. from fetch().then(resp.arrayBuffer())
CanvasKit.MakeImageFromEncoded = function(data) {
  data = new Uint8Array(data);

  var iptr = CanvasKit._malloc(data.byteLength);
  CanvasKit.HEAPU8.set(data, iptr);
  var img = CanvasKit._decodeImage(iptr, data.byteLength);
  if (!img) {
    SkDebug('Could not decode image');
    return null;
  }
  return img;
}

// pixels must be a Uint8Array with bytes representing the pixel values
// (e.g. each set of 4 bytes could represent RGBA values for a single pixel).
CanvasKit.MakeImage = function(pixels, width, height, alphaType, colorType) {
  var bytesPerPixel = pixels.length / (width * height);
  var info = {
    'width': width,
    'height': height,
    'alphaType': alphaType,
    'colorType': colorType,
  };
  var pptr = copy1dArray(pixels, CanvasKit.HEAPU8);
  // No need to _free pptr, Image takes it with SkData::MakeFromMalloc

  return CanvasKit._MakeImage(info, pptr, pixels.length, width * bytesPerPixel);
}

CanvasKit.MakeLinearGradientShader = function(start, end, colors, pos, mode, localMatrix, flags) {
  var colorPtr = copy1dArray(colors, CanvasKit.HEAPU32);
  var posPtr =   copy1dArray(pos,    CanvasKit.HEAPF32);
  flags = flags || 0;

  if (localMatrix) {
    // Add perspective args if not provided.
    if (localMatrix.length === 6) {
      localMatrix.push(0, 0, 1);
    }
    var lgs = CanvasKit._MakeLinearGradientShader(start, end, colorPtr, posPtr,
                                                  colors.length, mode, flags, localMatrix);
  } else {
    var lgs = CanvasKit._MakeLinearGradientShader(start, end, colorPtr, posPtr,
                                                  colors.length, mode, flags);
  }

  CanvasKit._free(colorPtr);
  CanvasKit._free(posPtr);
  return lgs;
}

CanvasKit.MakeRadialGradientShader = function(center, radius, colors, pos, mode, localMatrix, flags) {
  var colorPtr = copy1dArray(colors, CanvasKit.HEAPU32);
  var posPtr =   copy1dArray(pos,    CanvasKit.HEAPF32);
  flags = flags || 0;

  if (localMatrix) {
    // Add perspective args if not provided.
    if (localMatrix.length === 6) {
      localMatrix.push(0, 0, 1);
    }
    var rgs = CanvasKit._MakeRadialGradientShader(center, radius, colorPtr, posPtr,
                                                  colors.length, mode, flags, localMatrix);
  } else {
    var rgs = CanvasKit._MakeRadialGradientShader(center, radius, colorPtr, posPtr,
                                                  colors.length, mode, flags);
  }

  CanvasKit._free(colorPtr);
  CanvasKit._free(posPtr);
  return rgs;
}

CanvasKit.MakeTwoPointConicalGradientShader = function(start, startRadius, end, endRadius,
                                                       colors, pos, mode, localMatrix, flags) {
  var colorPtr = copy1dArray(colors, CanvasKit.HEAPU32);
  var posPtr =   copy1dArray(pos,    CanvasKit.HEAPF32);
  flags = flags || 0;

  if (localMatrix) {
    // Add perspective args if not provided.
    if (localMatrix.length === 6) {
      localMatrix.push(0, 0, 1);
    }
    var rgs = CanvasKit._MakeTwoPointConicalGradientShader(
                        start, startRadius, end, endRadius,
                        colorPtr, posPtr, colors.length, mode, flags, localMatrix);
  } else {
    var rgs = CanvasKit._MakeTwoPointConicalGradientShader(
                        start, startRadius, end, endRadius,
                        colorPtr, posPtr, colors.length, mode, flags);
  }

  CanvasKit._free(colorPtr);
  CanvasKit._free(posPtr);
  return rgs;
}

CanvasKit.MakeSkVertices = function(mode, positions, textureCoordinates, colors,
                                    boneIndices, boneWeights, indices, isVolatile) {
  // Default isVolitile to true if not set
  isVolatile = isVolatile === undefined ? true : isVolatile;
  var idxCount = (indices && indices.length) || 0;

  var flags = 0;
  // These flags are from SkVertices.h and should be kept in sync with those.
  if (textureCoordinates && textureCoordinates.length) {
    flags |= (1 << 0);
  }
  if (colors && colors.length) {
    flags |= (1 << 1);
  }
  if (boneIndices && boneIndices.length) {
    flags |= (1 << 2);
  }
  if (!isVolatile) {
    flags |= (1 << 3);
  }

  var builder = new CanvasKit._SkVerticesBuilder(mode,  positions.length, idxCount, flags);

  copy2dArray(positions,            CanvasKit.HEAPF32, builder.positions());
  if (builder.texCoords()) {
    copy2dArray(textureCoordinates, CanvasKit.HEAPF32, builder.texCoords());
  }
  if (builder.colors()) {
    copy1dArray(colors,             CanvasKit.HEAPU32, builder.colors());
  }
  if (builder.boneIndices()) {
    copy2dArray(boneIndices,        CanvasKit.HEAP32, builder.boneIndices());
  }
  if (builder.boneWeights()) {
    copy2dArray(boneWeights,        CanvasKit.HEAPF32, builder.boneWeights());
  }
  if (builder.indices()) {
    copy1dArray(indices,            CanvasKit.HEAPU16, builder.indices());
  }

  var idxCount = (indices && indices.length) || 0;
  // Create the vertices, which owns the memory that the builder had allocated.
  return builder.detach();
};

redpajama_set_name: RedPajamaGithub


text:
MGM casino redesign and final state casino license weighed
Philip Marcelo The Associated Press
Sep 24, 2015 at 12:36 PM Sep 24, 2015 at 3:00 PM
BOSTON - Massachusetts gambling regulators expressed concern and frustration Thursday over major revisions MGM has proposed for its $800 million Springfield casino that regulators say took them by surprise.
Also Thursday, the commission declined to issue a blanket commitment to award the state's third and final casino license.
Las Vegas-based casino giant MGM wants to eliminate a 25-story hotel tower and a separate building for residential apartments from the downtown resort casino project, among other changes.
The company still plans to offer a 250-room hotel, but in a six-floor building located where the apartments would have been along downtown Main Street. The apartments are now being considered as a separate project off the 14.5 acre development.
State Gaming Commission member Enrique Zuniga said he's concerned the changes might diminish the appeal of the casino and impact the state's share of casino profits.
"I'm a little troubled by this request," he said at Thursday's hearing near the Springfield casino site. "A significant feature of this project - what you sold this commission, this city and this community - is now no longer there, and I'm worried about it."
MGM Springfield President Michael Mathis said the loss of the soaring glass tower shouldn't impact the casino's bottom line: "The Springfield skyline is littered with high-rises. High-rises aren't what's going to make this work. It's going to be our MGM brand, our player database."
Springfield Mayor Domenic Sarno, who supports the changes, has said the new design should draw more visitors to downtown because it's more focused on street level pedestrian activity and a better fit with historic Main Street.
Pressed by commission members, Mathis acknowledged Thursday that the changes were prompted by higher than expected construction and labor costs. "This is largely a reaction to pricing," he said. "I'm not going to pretend that cost is not the issue. Cost led us to start evaluating the design."
Gaming Commission Chairman Stephen Crosby said he's frustrated the cost inflation problems didn't come to light sooner.
MGM and other licensed casino companies deliver quarterly status reports to the commission, which also has paid staff and consultants monitoring the developments, he and other commission members noted.
"This is a very big issue which caught us by surprise," Crosby said. "Somewhere along the line something happened that we didn't know about until very late in the game."
Meanwhile, commission members said they're still actively reviewing Mass Gaming and Entertainment for the final casino license in the state. Mass Gaming is the lone applicant for the resort casino license reserved for the southeastern region of the state.
Commission members said they're unwilling to commit to awarding the license for the company's proposed $650 million casino in Brockton.
The comments followed last week's surprise news that the federal government is placing 151 acres into trust for the Mashpee Wampanoag tribe, which wants to build a $500 million casino in Taunton, about 20 miles from Brockton.
Mass Gaming and Entertainment, which has threatened to drop its proposal without a commitment from the state, didn't immediately comment Thursday, nor did the Mashpee Wampanoag.
The tribe has called on the state to respect the 2013 compact the two sides reached over revenue sharing if the tribe were to open a resort in Massachusetts.


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How can I add arbitrary `data-` attributes to a block's `edit()` container?
I'm not sure if this is a bug by the theme author but when I try to create a sub page (child page) with the front page as the parent, the resulting permalink includes the name of the template. This only happens when the parent of the page is set as the front page.
But even when I don't specify a template, the template name still gets inserted into the permalink.
I tried reaching out to the theme author but he is unresponsive. Any idea what I can do to fix this?
Seems someone has set their domain to use my server. It's not a mirror, the database and everything works and updates with mine. He's basically stealing my content, and he's showing up on google instead of me.
Is there a way to make it so my server will only respond to requests from my domain?
I was getting this weird error where all my pages would give 404, obviously a massive nightmare for SEO. I fixed it by disabling all plugins, then turned them back on and resetting permalinks by clicking save permalinks.
Eventually i fixed it by disabling updraft backup and haven't had problems for a while..
But why would updraft cause this error? what are some backup alternatives that wont' break my site?
WordPress mariadb – should I use Aria table type?
I've been reading about the benefits of Aria table type in MariaDB (we use mysql Ver 15.1 Distrib 5.5.60-MariaDB), which seem to be simple and fast, yet crash-proof, take on MyISAM. Which makes me wonder if I could change the table type on WordPress tables into Aria. Not much to find on Google or StackExchange about this idea. Has anyone done it?
Hi Well know issue across these pages. Nonetheless, here is a rather unusual version. All was working well. Double checked on two different platforms, smartphone and Desktop. Went on a walkabout… came back and had that error. No admin access, site down. Only sftp access and PHPmyadmin. Tried repairing DB to no avail as I get a message repair not supported. Optimizing not supported, etc. Followed all instructions I found here and even others. uploaded a new version of WordPress, nothing. It seems I have server access errors on certain lines of wp-db.php. Check these and they are just informative text properly isolated. Unless my editor gives the wrong lines. My Host is sluggish on reply and when they do is always a different person so they never really know what is what. Cleared local cache and cookies, deactivated any browser blockers and still. Professionally speaking I am not selling because my site is down. Logically thinking WP and the rest is a whole bunch of crap. Sorry for those who work hard, blindly in solving and keeping up WordPress. My biggest mistake ever. WP has been nothing but hassle. programmers create it around making large amounts of money selling editors, themes, plugins, etc. So it is rather convenient to have problems. Like illnesses. The pharma industry love us when we are ill. Thank you for your help Guys. Much appreciated.
Why would wp_schedule_single_event get delayed start?
I'm using wp_schedule_single_event to run a function in the background immediately when a logged in user visits the dashboard page. The problem I'm having is that the time between triggering and the function actually running varies between a few seconds and 5 minutes.
I'm debugging by emailing myself as soon as I call wp_schedule_single_event, and then in the function that is called. I know the event is scheduled immediately because I get the email quickly, _transient_doing_cron is created in the wp_options table, and the name of my action is added to cron in wp_options while it needs to be run.
My function runs fairly quickly and is done in less than 10 seconds. It's as if wordpress is running other crons before it, but I've tested this multiple times only a few minutes apart, so I can't always be getting an hourly cron that needs to be run. Can I prioritize my event to be run first? What else could be happening?
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The library has an extensive collection of genealogy material including print and online sources, microfilm and microfiche. Located on the 2nd floor of the library, the print collection includes sources for tracing ancestors from other countries including but not limited to Germany, Italy, Canada, Scotland, Ireland and Great Britain. United States sources include statewide indexes of vital records, church records, military records and land records for states east of the Mississippi River with emphasis on Pennsylvania, Virginia and New York.
Many sources for searching Civil War ancestors and their service in that war can be found. Two sets of books in print format, the Roster of Union Soldiers and Roster of Confederate Soldiers are indexes to the Compiled Military Service Records in the National Archives. Additionally, the library holds the Supplement to the Official Records (another multi-volume set) with reports left out and not included in the War of the Rebellion. These sets and more are described under Civil War.
Located in the county seat of DuPage County, Illinois, Wheaton Public Library maintains a local history collection. Included are city histories for towns and cities of DuPage County, biographies of local and well-known figures of DuPage County and atlases. Resources for tracing family history in DuPage County as well as the publications of the DuPage County Genealogical Society are found here.
Sources unique to Wheaton's history include telephone books, pamphlet files, high school yearbooks, and the online (Wheaton) newspaper index of births, marriages and deaths, Vital Records Index.


It felt odd that a bundle so light and fresh could be such weight upon my shoulders. Just a little bouquet of flowers was all I held as I made my way down the path to the river. The night was calm. The iridescent moon was just making its entrance. I noticed the beauty and it felt odd. "Feeling numb and noticing beauty shouldn't go together", I thought. Just a slight crisp breeze blowing ever so softly reminded me that fall was in the air. That seemed fitting…that the leaves would still be green and desperately hanging like beggars. They mirrored my feelings. I've tried to hang on as long as possible; willing life to stay the same. But it was not to be. Change was in the air.
I caught sight of the river and quickened my pace. "Almost there", I thought. I immediately put "almost" on the list of words I despise. My list was growing. I came to the water's edge and stopped. It's music today was more lullaby than orchestral. Crazy how the river music changed by the hour. The bouquet of flowers was still in my hand, but it felt heavy like a weighted gun, war raging in my soul. This place. This sacred place was where it all began, and now, where it needs to begin its end. Why does letting go hurt so badly? Why does loneliness feel stronger than life itself? I held the flowers over the rushing sound and tightened my grip. I just wasn't quite ready. I thought about taking them back home, but I knew his voice would haunt me. "I want you to do this" I heard him say. War is so hard on the body, but surrender seems so final. I thought 'something' would be better then 'nothing'. Wouldn't even pain be better than emptiness? The war raged for some time. My mouth, once stoic, trembled as tears hit the petals before they fell in with the river, floating away forever. I wish my tears were the pain, leaving forever…But is letting go forgetting? And then at once, without thinking more, I opened my hand. It felt like it was happening to me, instead of through me. The flowers fell; moving, leaving me, just as I knew they should. Is that why he asked me to do this? Was this the point? With aching heart and hopeless steps, I walked back to life without him. And the next evening I made the same trip, just as he asked, and held more flowers and cried again before letting go.
Two weeks of "letting the flowers go" brought a new routine. I can't say I looked forward to it, but my walk among the beauty at night brought a deep richness. My river walks divinely placed me each and every night, at a point of decision. Surrender began feeling more like peace instead of war. I marveled at this recognition and cried even more. Tears watered the roots and became a catalyst for growth and somewhere deep inside, I knew there was a bigger plan. I kept going. I couldn't let him down. It was the first night of the third week that I decided to walk further down the river after the flowers fell. I was still crying most nights, but somehow the tears brought with it a cleansing to this wound. I had only walked a little ways before hearing children on the other side of the river. Laughing? Squealing? Or was that crying? I tried not to make a scene but followed closer to the voices, listening.
"Layla, Layla! Momma sent us flowers again. She sent them!" Two little sisters were bent over the river's edge, reaching for the bouquet. My bouquet. His bouquet. The older sister grabbed them fast and handed them to the younger. "I told you! I asked God to give us a sign and let Momma talk to us. See!" She held up the flowers of proof. He did! These are from her. Every night for two weeks!" The little girl started laughing, while the older brushed away tears.
It was in that moment that my grief was overtaken by something bigger; a joy, I guess. It made me stop and wonder. How can my pain help someone else? The same flowers representing my greatest loss are life-giving to these girls! I imagined the girl's mother smiling at me, hugging me and thanking me. I couldn't even choke out a word. I just nodded toward her. How many people, if they knew there was a trade-off for the pain they carried, would take it so someone else could experience joy? Maybe my end is someone else's beginning? I decided that this is the way I would view my grief and loss from now on; a decision to love others; to take and shoulder pain so someone else could experience some joy. Maybe even for little girls who needed love from their mother.
And so my nightly ritual continues. Not for him, or for me, but for them.


text:
James Gunn Gets Our New Hopes Up About Mark Hamill Appearing in Guardians of the Galaxy Vol. 3
Beth Elderkin
Guardians of the Galaxy Vol. 2 might have given us Kurt Russell as a giant daddy planet, but the third volume in the series could (hopefully) give us something even bigger: Mark Hamill.
Over the weekend, Guardians of the Galaxy director James Gunn was chatting with a fan on Twitter about possibly getting Star Wars: The Last Jedi star Hamill on board for the third Guardians of the Galaxy film. Then, faster than you could say "Help me, Star-Lord Kenobi," Hamill himself chimed in to say "Sure bro." After all, (uh, The Last Jedi spoilers) now that Luke Skywalker is dead, he's got nothing else to do.
In the ensuing Twitter conversation, which blew the minds of everyone in the known universe, Hamill and Gunn privately exchanged info (they apparently live near each other) and seemingly (and by that I mean oh-please-please-please) set up a time to chat about getting Hamill away from the sad lonely island of Ahch-To and into the greater Marvel Cinematic Universe.
We won't find out the results until promotion starts for the third Guardians of the Galaxy film, due in 2020. The Disney-owned franchises haven't been shy about sharing actors, I'll be keeping my lightsabers crossed.
[The Hollywood Reporter]
io9Movies


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News Sports HS Sports Life & Events Obituaries E-Edition Legals
Marion officials say area is on road to economic recovery
Hasan Karim
Marion Star
MARION - Though the road to economic recovery is a long one, Marion officials say signs of progress can be seen throughout the county.
They pointed to a handful of multi-million dollar projects that took off this year.
Those projects include the largest investment, $46 million, to OhioHealth Marion General Hospital and plans for a $8.6 million expansion at CenMac Metalworks, with the expectation of creating 55 new jobs.
"It means people are looking at Marion and seeing its potential," said Marion County commissioner Kerr Murray. "Or they wouldn't be expanding here in the first place."
Marion Mayor Scott Schertzer agreed, pointing to two other large investments announced in 2017.
More:Despite strengthening economy, midsize Ohio cities have been left behind
POET Biorefining, one of the country's largest ethanol producers, completed a roughly $120 million expansion of its ethanol plant northwest of the city.
Nucor started an $85 million upgrade project that is slated to create another 15 jobs at its Marion mill.
Though some of the area's largest employers reside outside the city limits, Schertzer said its a symbiotic relationship.
"A lot of our residents are working at those locations," he said pointing to places like the Whirlpool Corporation that employs 2,900 workers at its facility on Marion-Agosta Road.
Though manufacturing still employs the most people, making up a quarter of the workforce in the county —according to Ohio Means Jobs— positions in the retail and health sectors are growing as well.
OhioHealth employs around 1,400 people and plans on adding new stories to Marion General Hospital. A physician's group in the county employs another 430.
As the economy in Ohio and the nation slowly bounces back from the recession, some previously out of work are once again employed.
The unemployment rate in Marion has dropped below 5 percent since the recession of the late 2000s brought that number into the double digits. It's a trend that is on par with the region as a whole.
Though half of Marion's workforce comes from out of town, said Gus Comstock, the director of Marion CANDO! —which promotes economic development in town— these are all indicators that the county is slowly bouncing back.
"Positive things are happening, even if it's not always evident," he said.
One example is that some employers are beginning to raise their starting wages, Comstock added.
"If you want to attract good employees and keep them, you have to pay them a wage they can support a family on," he said. "You can't do that on $12 an hour. I am talking about manufacturing."
It's something evident on billboards in the county as companies such as US Yachiyo Inc., advertise wages in a bid to attract more local talent.
Comstock said it means more money is being invested back into the community.
Mayor Schertzer said there has been an increase in cooperation between community leaders. Something, he said, has grown stronger in the last 10 years.
"We all have a similar goal. That is striving for a better Marion each day," he added.
County Commissioner Murray agreed.
"We are in a much better position than we were only several years ago," he said. "But it's a slow process. Just look at the rest of the country."
HKarim@nncogannett.com
Tweet me @Hasan_Marion
© 2022 www.marionstar.com. All rights reserved.


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« Joel Radio #157: Are You Funnier Than a 5th Grader?
Joel Radio #159: I Love Carlos Mencia »
Joel Radio #158: Rock, Roll, Murder and Clowns
Steve Miller is the man that wrote the book about Detroit Rock 'n Roll. He's actually written about a lot of things – things that Joel likes, too which makes him an excellent guest for this installment of Joel Radio. Joel enjoyed Detroit Rock City: The Uncensored History of Five Decades of Rock 'n Roll in America's Loudest City and has million questions about The MC5, The Stooges, Ted Nugent and Bob Seger and more. Was Grand Funk Railroad really a big deal? Why does everyone hate Nugent? Was Bookie's really the CBGB of Detroit? What really happened when Jack White started that fight? There's a lot to cover, but Steve either lived it, or talked to those who did and it makes for a fun, fascinating discussion. If you lived or enjoyed the Detroit Rock scene from the 1960s through the 2000s, you'll like this show. There's even some Ramones, Johnny Thunders and Bruce Springsteen talk shoehorned in to the conversation. Also, Steve's latest book tackles the bizarre Bob Bashara murder case, and the guys talk about how a rich a guy with a secret BDSM life had his wife killed for money and how the whole thing looks like a Coen Brothers movie. Plus, Steve has book coming next year about Insane Clown Posse and their Juggalo fans, hear Joel's opinion on why most mainstream writers get their coverage wrong, why Mike E. Clark is a genius and his importance to ICP, and Joel's message to the Juggalos and why his association with ICP has been nothing but a good thing. This is a great talk on so many levels, so listen to this, then bust your Raw Power vinyl and keep rocking.
Author Steve Miller (inset) with two of his books discussed on this show
BDSM, Bob Bashara, CBGB, Detroit Rock, ICP, MC5, Steve Miller, The Stooges
Print article This entry was posted by joel on October 14, 2015 at 3:05 pm, and is filed under Shows. Follow any responses to this post through RSS 2.0. You can leave a response or trackback from your own site.
Joel Radio #270: The Big Shot
about 2 weeks ago - No comments
The last show of 2020 has Joel updating everyone on his second dose of the Covid-19 vaccine. Spoilers, he's doing fine, and he's encouraging for people to take it themselves when they can. Joel is joined by journalist Steve Miller who feels the delivery of the vaccine could be a problem and the guys come…
Joel Radio #260: Taking Our Temperature
about 9 months ago - No comments
Joel checks in during the pandemic to interview journalist Steve Miller about coronavirus, America's response to the crisis and taking guesses at when it all might end. Steve's also been doing a bunch of reporting on a sensational Florida murder-for-hire case, but he still hasn't seen Tiger King. Also, comedian Derek Richards checks in from…
Joel Radio #181: The Trip
about 4 years ago - 2 comments
Joel returns from a week-long trip to the East Coast, with stops at the Flight 93 Memorial, the Jersey Shore, Providence, Niagara Falls and attending two epic Bruce Springsteen shows in Pittsburgh and Boston. Joel shares his memories of the trip, the challenge of losing weight while on it, and the rigorous travel schedule, but…
Joel Radio #176: The Good Book
Last year Joel interviewed author Steve Miller and it was the most popular show in the podcast's history. Now, Steve is back with the release of his new book, Juggalo: Insane Clown Posse and The World They Made, a thoroughly researched history of the band, its fans and the misconceptions the world has about them.…
Corey and Joel Radio Show #78: No Love For a Ninja
about 14 years ago - Comments Off on Corey and Joel Radio Show #78: No Love For a Ninja
It's that time of year again, and Joel is broken, sore and worn out from working as Upchuck the Clown at the Gathering of the Juggalos. Did this year live up to the usual psycho debauchery or was it a wash out? Why do grown ass men run around in clown makeup? As Joel explains…


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from msrest.serialization import Model

class PagedPropertyInfoList(Model):
    """The paged list of Service Fabric properties under a given name. The list is
    paged when all of the results cannot fit in a single message. The next set
    of results can be obtained by executing the same query with the
    continuation token provided in this list.

    :param continuation_token:
    :type continuation_token: str
    :param is_consistent: Indicates whether any property under the given name
     has been modified during the enumeration. If there was a modification,
     this property value is false.
    :type is_consistent: bool
    :param properties:
    :type properties: list of :class:`PropertyInfo
     <azure.servicefabric.models.PropertyInfo>`
    """

    _attribute_map = {
        'continuation_token': {'key': 'ContinuationToken', 'type': 'str'},
        'is_consistent': {'key': 'IsConsistent', 'type': 'bool'},
        'properties': {'key': 'Properties', 'type': '[PropertyInfo]'},
    }

    def __init__(self, continuation_token=None, is_consistent=None, properties=None):
        self.continuation_token = continuation_token
        self.is_consistent = is_consistent
        self.properties = properties


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May 19, 2017 8.00 am This story is over 55 months old
General election 2017: Boston and Skegness MP candidates
Six candidates are standing to become the next MP for Boston and Skegness in the general election on June 8. Conservative Party candidate Matt Warman is defending a majority of 4,336 from the 2015 election, where he defeated UKIP's Robin Hunter-Clarke. The seat is safely Conservative but Warman may feel under pressure from voters for voting…
Boston and Skegness MP Matt Warman. Photo: Lincolnshire Reporter
Six candidates are standing to become the next MP for Boston and Skegness in the general election on June 8.
Conservative Party candidate Matt Warman is defending a majority of 4,336 from the 2015 election, where he defeated UKIP's Robin Hunter-Clarke.
The seat is safely Conservative but Warman may feel under pressure from voters for voting Remain in the European Union referendum on June 23, 2016.
Boston and Skegness recorded the highest vote to leave the EU, with 75.6% of voters backing Brexit.
Partly because of this, UKIP has selected its leader Paul Nuttall to lead his party into battle in the constituency.
Nuttall will face serious questions over the party's future after all of its county councillors were wiped out in the 2017 Lincolnshire County Council election held on May 4.
The UKIP leader has also been criticised and ridiculed after failing to identify pictures of Boston and Skegness live on national television.
Paul Kenny, who stood for Labour in Boston and Skegness in 2005, 2010 and 2015, is again the party's candidate.
Labour came closest to beating the Conservatives here in 2001 at the height of New Labour, coming just 515 votes behind previous Conservative MP Mark Simmonds.
Liberal Democrat candidate in 2010, Philip Smith, is again standing.
The Green Party's Victoria Percival will also hope to beat the 800 votes she secured in the constituency back in 2015.
Former Conservative Boston borough councillor Mike Gilbert is on the ballot, this time under a new Blue Revolution banner.
Candidates in full:
Mike Gilbert – Blue Revolution
Paul Robert Kenny – Labour
Paul Andrew Nuttall – UKIP
Victoria Percival – Green
Philip Smith – Lib Dem
Matt Warman – Conservative
For more information on polling stations and dates for your diary, see the Lincolnshire Reporter guide here.
TO LET – A1 – High Street
Leasehold Home & Giftware Business for Sale
B1 – Light Industrial


text: java -jar core.jar


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Information TV
Defunct Channels
Virgin Media Television
Italian Idents & Presentation Sky Primafila Idents & Presentation
Sky Primafila Idents & Presentation
Sky Primafila is an Italian language Pay-Per-View Near Video On Demand service owned by Sky Italia and carried on its Satellite Pay TV service. Launched in July 2003 with 17 channels, now counts 28 channels all offered in 16:9 Widescreen format. A HDTV service was launched on April 3, 2009 for 8 channels.
Link to the Official Sky Primafila Website
Sky Primafila 2010 Idents & Presentation
Sky Primafila introduced a new logo and on air presentation in 2010.
Content on this website is posted for the purposes of review, criticism and education. This website complies in the UK under Section 30 (1) of the UK Copyright, Designs and Patent Act 1988, and in the USA under Sections 17 U.S.C. § 106 and 17 U.S.C. § 106A of the US Copyright Act of 1976. All rights remain with their respective broadcaster. © Presentation Archive 2014-2018


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On the Trail: September 13, 2012
CNN Political Unit
(CNN) - President Barack Obama is out of the nation's capital continuing a West Coast campaign swing on Thursday, while Republican challenger Mitt Romney campaigns in Virginia, near Washington, D.C.
Obama holds one rally before returning to Washington. Romney also holds one event, then travels to New York for fund-raisers.
Romney's running mate, Rep. Paul Ryan, will be off the campaign trail, but in Washington, D.C. for an afternoon vote in the House of Representatives.
Vice President Joe Biden holds a rally at the University of Wisconsin – Eau Claire, then returns to Washington for an evening event.
See the full schedule below the jump.
11:35 a.m. ET: Romney holds a rally at Van Dyck Park in Fairfax, Virginia.
11:55 a.m. ET: Ann Romney tours a regional cancer center in Fort Myers, Florida.
12:00 p.m. ET: Biden speaks at a campaign event at University of Wisconsin – Eau Claire.
1:00 p.m. ET: Obama speaks at a campaign event at Lions Park in Golden, Colorado.
2:00 p.m. ET: Michelle Obama speaks to supporters in Richmond, Virginia.
5:00 p.m. ET: Michelle Obama speaks to supporters in Fredericksburg, Virginia.
7:30 p.m. ET: Biden addresses the Congressional Hispanic Caucus Awards gala in Washington, D.C.
Filed under: Joe Biden • Mitt Romney • On the Trail • Paul Ryan • President Obama
jpmichigan
With all the unrest in the middle east, where is our Presidnet, off campaigning and raisig money for an election he dose not deserve to win! He didn't deserve the first time around for he wasn't ready to govern, and he surely isn't ready yet.
September 13, 2012 07:47 am at 7:47 am |


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Main Checklist
Know Your Type
The Role of the Agent/Agency
The Headshot
Resume and Correspondence
Business, Legal and Tax Matters
Artists' Search for Work
The Casting Director
News Media and Publicity
Craft - Specialty
Singing, Dancing and Acting...
The Comic, Comedy Spaces, Comedy Agents
News-Updates
Events News Blog
Casting News Hot Off The Wire!
Musician & Band Alert
Equity Agreements and Codes
Glossary of Entertainment Industry Terms
Creating with VR/AR media
Media Showcase
Main Checklist |
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Business, Legal, Tax Matters
A good deal of any performing or media artists business matters will revolve around accounting and tax planning. But it certainly can go beyond this.
An agent will negotiate contracts and make payment arrangements for you. If you don't have an agent and you book a non-union
Check List For Business and Legal Matters
√ Business affairs can become complicated when the actor is working on remote location. When you have landed that role on a series or a film that takes you on location for months, it might be time to look for a business manager.
√ Legal Aid
√ When you start filing your income taxes as a full or part time actor, seek an Entertainment Accountant. They will be aware of all current and allowable deductions.
√ Copyright and Infringement Information.
√ Seek out an entertainment attorney to take care of the vague and various details of an entertainment contract that requires the specific knowledge of a specialist.
√ Hiring a Manager.
√ Keep business cards on your person. They are an important networking tool.
Use our communication tools (chat room; message board; messaging tools etc.) to reach others who can provide you with more help and information
paying job all negotiation is up to you. Without an agent, it is advisable that if you are offered a contract, that you take it home to read it carefully, and/or even consult a lawyer.
If you land a major opportunity (pay wise and touring) but the aspect of a contract has not been brought up, you might politely suggest that one be drawn up as a way to clarify the expectations between both parties.
Actually you can do a simple contract yourself by writing down in very simple language all the verbal promises you and your employer have made to each other, typing it, dating it, putting everyone else's name and address on it, and everybody signing it with the subsequent distribution of copies and original to respective parties.
Volunteer Lawyers for the Arts (VLA)
Free or low-cost legal aid (if you meet certain financial qualifications) is available through Volunteer Lawyers for the Arts (VLA). In New York, their free Art Law Line is (212) 319-2787 Ext. 1.
VLA is a nonprofit legal service organization supported in part with public funds from the New York State Council on the Arts, a State Agency, and the New York City Department of Cultural Affairs and through gifts from corporations, foundations and individuals.
VLA offers lectures on specific legal topics which are open to both attorneys and creative professionals. They include:
* contract negotiations
* mediation services
* nonprofit incorporation
* copyright information and infringement lawsuits
* tax information
* and lease review
To help you track where your money is coming from and what you may be spending it on, consider using a money management program. These software programs usually are available as of-the-shelf software programs that are easy to install on you PC or laptop After using one of these programs for a few months, you may be surprised at how much (or how little) money you are earning and how much money you are wasting.
Administration. The supervision of all financial, copyright and contractual aspects of either an entire catalog or a particular song.
Angel. The financial backer of a play.
Assignment. The transfer of rights to a song or catalog from one copy-right proprietor to another.
Clearance. The right of a radio station to play a song.
Clearance Agency. Same function of a performance rights organization, such as ASCAP, BMI, SESAC.
Common-Law Copyright. Natural protection of a song based on common laws of the various states. Was superseded by a single national system effective January 1, 1978.
Co-Publishing. The joint publication of one copy righted work by two publishers.
Copyright. As a noun, means the exclusive rights granted to authors and composers for protection of their works; a song or musical composition; as a verb, to secure protection for a song by filling the proper registration forms with the Copyright Office.
Copyright Infringement. Stealing or using somebody else's copyrighted song.
Copyright Notice. Notice comprised of three elements:
- The symbol of copyright, the word "copyright," or the abbreviation "Copr."
- The year the song has been registered for copyright or the year of first production of the work.
- The copyright owner's name.
Copyright Office. Federal government department, one of whose main purposes is to file and supply information regarding copyrights.
Copyright Royalty Tribunal. A committee created by Public Law 94-553 to determine adjustments starting January 1, 1978, of royalty rates with respect to compulsory licenses for educational television, cable television, jukeboxes, and sound recordings.
Impresario. An entertainment entrepreneur.
Ink. To sign a contract.
License. As a noun, it means a legal permit; as a verb, it is to authorize by legal permit.
Pitching. The action a producer takes in trying to convince a studio to invest money in a project based on a concept or a script.
Scale. Minimum SAG daily wage for principal actors.
Syndication. A popular television show is sold to be broadcast in a local or regional market.
For a full glossary listing click here
In whatever you may do to earn a living while pursuing an acting career, you need to allocate a part of every paycheck toward developing your future acting career. That may include paying for cosmetic surgery, buying new head shots, traveling to auditions in other cities, or taking additional classes in acting, voice, singing, dancing, or improvisation.
After you are a member of one of the actors' unions, you are eligible to join the Actors Federal Credit Union (This email address is being protected from spambots. You need JavaScript enabled to view it.) located in New York City. Like most credit unions, the Actors Federal Credit Union normally pays a higher interest rate on savings accounts and charges slightly lower interest rates on loans. Best of all, because the Actors Federal Credit Union caters to actors, it understands the nature of the entertainment industry. While a regular bank may not consider loaning money to someone without a regular history of work, the Actors Federal Credit Union may be more understanding.
Planning for Income Taxes
Paying taxes on income earned from performing can be somewhat more complicated than paying taxes on the income from a normal job or career. For starters, the company that you work for in the 9 to 5 world automatically deducts state and federal income taxes out of your paycheck. As a performing artist, it is up to you to set aside a certain amount of your acting paycheck to cover any income taxes that you may owe. Neglecting to do this could result in a sizable amount to be paid to the government at tax time that you are not prepared to pay. Through your accountant or tax preparer you may also consider paying quarterly estimates to the government to keep yourself covered.
Acting is a business. Therefore the government allows you to write off all types of acting related expense up to the income you earned through acting. So if you earned $1,000 for the year, the government may allow you to claim up to $1,000 in acting expenses. Of course, consult a tax advisor for more details. Always keep accurate records of your acting expenses on anything remotely related to acting, including the cost of head shots; printing up your resume; travel expenses to and from auditions; makeup; any meal and lodging expenses incurred while working as an actor; the cost of acting, improv, singing, dancing, and auditioning classes; dry-cleaning costs; postage; gym membership; and anything else that you spend to help your acting career. Of course, any expenses must be used exclusively for your performing arts career. You can't just buy a new wardrobe or a new computer and claim that they are career expenses since they could also be considered personal items.
Deducting Acting Expenses
Be sure to keep accurate records of your acting expenses and consult your tax adviser for specific information about tax deductions, such as when and under what conditions these deductions can be taken. Possible deductions include the following:
Travel expenses to and from auditions, including meals and lodging
Admissions to movies and plays (remember to save all ticket stubs)
Acting classes, workshops, and seminars
Acting books and magazines
Mailing expenses
Telephone bills, including the cost of an answering machine or service, a pager, or cellular phone
Union dues
Head shots, including photographer's fees and duplication costs
Resume creation, and printing and duplication costs
Videotape and DVD rentals
Television set, VCR, DVD player, and the cost of cable subscription service
Make up and clothing specifically used for acting, along with any dry cleaning expenses
Cost of creating, and duplicating a demo tape
Relevant Associations & Organizations
ArtsMarketing.orgc/o Arts & Business Council Inc.
3rd Floor, Suite 319
A comprehensive web portal that organizes practical marketing information in a format that is easily accessible to novice, intermediate and expert marketers alike.
http://www.artsmarketing.org
Association for Independent Music
925 W. Baseline Road #105
A professional trade organization supporting the independent music industry by providing business opportunities for its members through an annual convention, ongoing information services, educational resource materials and advocacy.
Email: This email address is being protected from spambots. You need JavaScript enabled to view it. or This email address is being protected from spambots. You need JavaScript enabled to view it.
http://www.afim.org
Copyright Society of the USA (CSUSA)
352 Seventh Avenue, Suite 307
Organization that focuses on the gathering, dissemination and interchange of information concerning intellectual property rights.
http://www.copyright-society.org
Hollywood Radio and Television Society
13701 Riverside Drive, Ste 205
Sherman Oaks CA 91423
A mentoring organization of West Coast executives from the networks, stations, studios, producers, advertisers, ad agencies, cable companies, media companies, legal firms, publicity agencies, talent and management agencies, performers, services, suppliers and allied fields. Regarded for its HRTS Newsmaker Luncheons and the annual Holiday Party in December.
Web site: www.hrts-iba.org
Media Communications Association-International (MCA-I)
9202 N. Meridian Street, Suite 200
Professionals who work in video, film, distance learning, Internet, and other forms of interactive visual communications and associated crafts that are adapted to the communication needs of businesses, non-profit organizations, government and education.
http://www.mca-i.org
For a full listing of helpful associations and organizations click here
in Timely Industry News and Updates
Media Industry News Blog
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Copyright © 2016 - 2019 Cool Fire Technology LLC


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Life After Korean Girls
Confucianism has influenced gender roles far more than any other factor in Korean society. Feeding starving families is largely left to ladies outside the formal workforce , who are subjected to significantly less government manage. These women are left to slip by means of the official program and get involved in black market place trade or informal markets known as Jangmadang" Worse, some husbands take the goods their wives obtain to exchange them for alcohol, or demand that their exhausted wives bring them alcohol even if their loved ones has practically nothing to consume. If they do not, they are punished with abuse.
Daniel Collinge, a U.N. human rights officer who co-authored the report, mentioned the project was aimed at placing pressure on Pyongyang to boost the circumstance, while urging other nations not to deport defectors who threat their lives to accomplish freedom and prosperity.
Unlike Kim Jong Un's glamorous wife, Yo Jong is a pale, waif-like figure who dresses demurely and appears to quietly get on with her political duties. These include things like the roles of an alternate member of the Politburo, reportedly only the second woman ever to hold that position.
Some interviewees talked about their ordeals in the face of domestic violence. One participant expressed the anger and frustration she felt, as nicely as her relief when her husband died following much more than 20 years abusing her. According to her, there is no redress for North Korean ladies who are topic to ongoing violence inside the household, which is generally seen as reputable remedy.
The demeanor of Korean ladies old or young towards outsiders is worth noting. Dissimilar from numerous nations where ladies freely and readily interact with persons from other nations, Korean females remain reserved. They will favor a Korean man to outsiders as their life companion. Even so, this doesn't dismiss probabilities of interracial pairs and weddings of Korean females to foreign guys, and Korean males to foreign ladies.
five. Song WS, Kim YH, Lee SJ. Morphologic study of upper eyelid contour and functional evaluation of levator palpebrae superioris muscle in adult and young folks. J Korean Ophthalmol Soc 200142: 1523-9. Caricaturelike portraits of United States President Donald Trump and South Korean comedian Kim Gyeong-jin are displayed outside the pub.
In Korea, there is a specific cult of relations, and already from high college, couples start to form between young people today. If you are not meeting any person, then you can say you happen to be on the outskirts of life. Moreover, an exciting fact: a guy can meet right away with three Korean hot girls who know about each other. He will drive every person single korean women to a cafe, take time, but at some point he will make a decision and remain with one particular. The exact same point works in the opposite direction. It ought to be noted that in the mentality of Koreans, a man usually pays for food and entertainment, but at the identical time he will expect that a Korean hot girl will obtain one thing insignificant in response, for instance, coffee or ice cream.
Eye measurements in Koreans have been studied extensively, but researchers have reported broadly differing values, even for the same parameters. These discrepancies are probably due to inconsistencies in the proportions of subjects with double eyelids included in their studies. We retrospectively studied eye measurements according to the presence or absence of double eyelids, and compared the benefits to these of prior research.
The Democratic People's Republic of Korea (DPRK or North Korea) is an authoritarian state led by the Kim family because 1949. Shortly right after Kim Jong Il's death in 2011, his son Kim Jong Un was named marshal of the DPRK and supreme commander of the Korean People's Army. His titles also include things like chairman of the Central Military Commission of the Worker's Party of Korea, chairman of the State Affairs Commission, and Supreme Representative of the Korean People today. Kim Jong Un's grandfather, the late Kim Il Sung, remains eternal president." The most recent national elections, held in March, have been neither totally free nor fair.
5. Lee Hyo Ri (May 10, 1979) – South Korean singer. She debuted as a member of the effective K-pop girl group Fin.K.L, but has considering that turn into a solo artist. In 2003 she released her debut solo album Fashionable which won several Daesangs (a Korean award equivalent to "Artist of the Year"). In 2006, she was the highest-paid female singer in South Korea when she signed a contract with Mnet Media.
He is presently holding an exhibition titled "Ancestors of Girl Groups," showcasing the history of Korean girl groups by means of vinyl records, cassette tapes, photos and stage costumes at Lotte Division Store's Gallery in Yeongdeungpo, Seoul, until Might 27.
I had heard several stories of rape and sexual assault and had been traveling for trading for some months. I knew how factors worked in the industry. I knew female traders generally had been forced to give their bodies to law persons," specially if you have been young. The first time, it was a truck driver… I just believed: Oh! It is happening!" It wasn't just the truck drivers, but also the officials checking train tickets and patrol police guards that notice you. Obtaining sex with men who have energy more than you or letting them touch all more than your physique is a necessity to survive. It in no way occurred to me that I could or would want to do something about it. It was just how issues are.
From an early age, North Koreans are taught stereotypical gender roles that condone violence against ladies. Victims of rape, domestic violence, sexual abuse, assault, or harassment are blamed for bringing it on upon themselves and made to feel ashamed.
What tends to make them stand out from other nationalities is their distinctive pale-like fantastic skin. Korean women possess flawlessly dazzling skin providing rise to abundant beauty stations and corrective surgery dispensaries. On arrival on the Asian continent, it really is pretty much impossible for males to immediately differentiate nationalities from numerous nations. Ought to they spot a girl with flawless skin, it really is pretty much probable she's a Korean lady (even though there are probabilities they may well confuse their Japanese counterparts).
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Chicago Cubs: Most gut-wrenching losses of the Maddon era
By Alexander Patt
(Photo by Mitchell Leff/Getty Images) /
Photo by Mitchell Leff/Getty Images /
The past month has brought a number of heartbreaking losses for the Chicago Cubs. Where do they stack up when looking at the Joe Maddon era?
Watching the last-place Pittsburgh Pirates celebrate a walk-offwin in yet another blown game by the Chicago Cubs was almost a numb feeling to fans. This Cubs team has blown so many games late that it is basically expected of them at this point. A team that is trying to win a division sits with the most blown saves in the second half (10) and still cannot win on the road.
This last loss came after the debacle in Philadelphia when Bryce Harper hit a grand slam in the bottom of the ninth. So while it may not be fun to look back at some of these games, one may ask what were the worst regular season losses of the Joe Maddon era? While there have been plenty of great wins, there have been a handful of gut-wrenching losses. For this list, I will give a personal five worst.
The criteria for this list is pretty simple, games the Cubs had won but lost late. Not included will be blowout losses like the ones suffered on Wednesday, Saturday and last Tuesday. Since this list covers the Maddon era, we will go back to the 2015 season in terms of a range of years. Postseason games NOT included.


While pressuring a child to eat is usually done with the best of intentions, it can have unintended consequences.
Parents are often worried when their child eats very little, does not eat healthy foods like fruits and vegetables, or refuses a meal completely. For some, this worry can be significant, particularly if the child is not gaining weight well, or is losing weight. For others, uneaten meals can be a source of frustration.
Often parents find themselves using pressure, force or coercion to try and get their child to finish their meal.
Pressure - "I want you to eat all of your carrots"
Coaxing - "Just eat that little, tiny piece there"
Emotional blackmail - "A good girl would eat their dinner after Mummy worked so hard cooking it"
Use of rules - "Eat your age; three potatoes because you are three years old"
Bribery - "If you eat everything on your plate then you can leave the table"
Punishments - "You can't go and play outside unless you finish your spaghetti"
Using all of these behaviours has the opposite effect to what was intended.
While a child may eat a little more when being coerced, the act of being pressured into eating can lead to the development of negative associations with the food, and ultimately dislike and avoidance. It can also stop children from recognising and responding appropriately to internal signals of hunger and fullness, which can make them more likely to overeat in later life.
Why is it bad to pressure or strongly encourage a child to eat?
Parents' use of pressure to eat often stems from worry and anxiety regarding how or what a child is eating. Parents can become concerned about their child's health and wellbeing (and ultimate survival) if they feel that their child is not eating enough to sustain healthy development. If a child is underweight, parents are more likely to want to encourage eating and may end up using pressure without realising that they may have the opposite effect to that desired.
Parental pressure to eat can also stem from a desire to avoid wasting food that has been prepared, and the belief that children should 'clean their plates'.
However, sometimes the portion sizes that we serve to children are unrealistically large, meaning that it is unrealistic to expect the child to finish the meal and every meal will appear 'unfinished'. In this case, it is not the child eating too little, but the portion size being too large.
This can be caused by the negative experience of being forced to eat. Children are quick to make associations between foods and unpleasant experiences that accompany them. If a child is pressured to eat more than they wish to, then the negative emotional and/or internal feelings of being too full can become associated with a particular food, leading to a reduction in liking for the food.
Similarly, willingness to try a particular food can be reduced if the initial experiences are negative. For example, a child's first exposure to cabbage may be met with refusal, either due to their natural neophobia-based response (see the food refusal pitfall section) or a lack of hunger. If this refusal was met with constant verbal coaxing and a parent attempting to put the cabbage in their mouth, the association that the child would likely make with cabbage will not be a positive one.
Pressuring a child to eat can undermine their ability to learn appropriate appetite control. Children need to be given the opportunity to learn to recognise their body's hunger and fullness signals. Through experiencing feelings of hunger and a reduction in these feelings when they eat, children learn how their body signals that it requires more energy and, conversely, when enough energy has been consumed and it is appropriate to stop eating.
Although hunger and fullness are internal feelings, research has shown that they can be overridden by a number of factors. Pressure to eat is one way by which children might be urged to eat more than their body requires.
Over time, feelings of fullness lose their significance, as they no longer signal that the meal should stop. Rather, children learn to continue eating, even after they start to feel full, stopping only when their plate is empty, or when their parent says that it is okay to stop.
This means that children listen less to their body and so food intake becomes dictated by factors other than what the body requires. Research has also shown that children eat on average 30% more when offered a larger portion of food.
Offering children portion sizes that are too large and pressuring children to eat more than they desire are important factors in the development of overeating and overweight.
Except in very rare cases, children are extremely good at knowing when they are hungry and when they are full. Therefore, it is important to trust them and believe that they will eat if they are hungry. By doing this, you should not feel a need to pressure your child to eat. This is something that they will do willingly if their body requires food. Similarly, children's natural tendencies to reject new or bitter foods should not be met with pressure. Rather, keep offering foods and accept refusal, acknowledging that this is a normal developmental phase and that what you do is important in determining whether this is a positive or negative experience for your child.
How long is it since your child last had a snack or filling drink, such as milk? Are they really hungry? Are they too tired to sit at the table and eat well? Is your child unwell and therefore not hungry? Try using a diary to track the number and timings of snacks, drinks, meals, and naps to see if your child's routine could be contributing to their eating behaviour.
Try to imagine what it would be like if you were not hungry and you were being coaxed to eat, or even force-fed, or if you were unsure of what it was you were being asked to eat. How would you feel? Empathising with your child and seeing your behaviour through their eyes will help you to recognise that this behaviour is likely to have the opposite effect than you intended. Each time your child refuses food, remember to see things from their point of view.
Eating should be a pleasurable experience for your child that meets a biological need. It is not about satisfying you. Try to get satisfaction from knowing that your child has eaten as much as they desire and that they feel satisfied, rather than from having them eat an amount of food that you have defined.
Our bodies are very good at letting us know when we are hungry and full. However, constant interfering - by asking children to eat when they no longer want to - can disrupt this. Eating when hungry and stopping when full is a behaviour that we want to safeguard, not undermine, so try to allow your child to tell you when they are hungry and full.
Check portion sizes. Children's tummies are smaller than adults' and you may be serving too much food and therefore setting unrealistic expectations. As a guide, a single portion of each food is roughly what would fit in the palm of the child's hand. For example, if serving lasagne, give a palm-sized portion of the lasagne and 2-3 palm-sized portions of vegetables. For dessert, try a palm-sized portion of fruit, with a palm-sized serving of natural yogurt. Remember that all children's appetites differ, but sticking to the 'palm rule' for each food will help you avoid giving over-sized portions of single foods.
As an example, for a two year old, a palm-sized portion of strawberries would equate to three large strawberries.


Forensic statistical parameters based on allelic frequencies of commonly used short tandem repeats were estimated for the Han population of Jiangsu province from P.R. China. The 6-dye GlobalFiler™ PCR amplification kit incorporates 21 autosomal STRs, providing reliable DNA typing results with enhanced the power of discrimination. Here, we analyzed the GlobalFiler™ STR loci in 516 unrelated individuals from Jiangsu Han population. A total of 256 alleles were observed ranging between 5 and 35.2 repeat units, and SE33 showed the greatest power of discrimination (34 alleles) in Jiangsu Han population. Most of the loci were found to be in the Hardy-Weinberg equilibrium after the Bonferroni correction with the exception of D3S1358. The combined power of exclusion (CPE) was 0.999999996353609, and the combined match probability (CMP) was 3.64 × 10−25. Phylogenetic parameters including pairwise genetic distances showed that Han population living in Jiangsu had closest genetic relationship with other East Asian populations. The present study provides precise reference database for forensic applications and population genetic studies.
Atif Adnan and Xiaoni Zhan contributed equally to this work.
The online version of this article ( https://doi.org/10.1007/s00414-018-1815-7) contains supplementary material, which is available to authorized users.
This project is supported by the National Natural Science Foundation of P.R. China (NSFC, No. 81471826), Ministry of Finance, P.R. China.