text:
By David Roark | January 10, 2013 | 5:35pm
There's little to glean from Ruben Fleischer's Gangster Squad except for maybe a few modest laughs, whether the comedy be intentional or not, and some charm from Ryan Gosling (though, you could make that argument for any Gosling movie really). Despite its lack of offerings, the film does ironically provide an important lesson in filmmaking: ambition and ineptitude make a horrendous combination.
In his third feature film, Fleischer sets out to make a big mob film with a big cast, big premise and big style—a mighty task for the man behind the more niche Zombieland and 30 Minutes or Less. The stars include Gosling, Josh Brolin, Sean Penn, Emma Stone, Nick Nolte, Giovanni Ribisi, Anthony Mackie and several other major Hollywood names. The story centers on a brave cop (Brolin) who puts together a secret crew of police officers to take down the notorious boxer-turned-gangster, Mickey Cohen (Penn), in 1949 Los Angeles. Working with cinematographer Dion Beebe, Fleischer dresses Gangster Squad in a film noir look, and saddles it with all the aspirations of, say, a Goodfellas or L.A. Confidential. Unfortunately, this particular film doesn't have a director who can realize them.
Fleischer simply creates a vision too big for his own pants. He puts together a solid cast, but he doesn't know how to handle performers like Penn who, without the right restraint, tends to overact. Penn's Cohen, with his cartoony makeup, exaggerated Brooklyn accent and ridiculous zeal, functions more as a caricature than a character and sometimes to an embarrassing degree. There's also Brolin in what might just be his blandest role to date, the rest of the cast is pretty much wasted, as well.
The same goes for the story, as Fleischer, working with screenwriter Will Beall, takes a potentially rich and morally complex premise and transforms it into a hackneyed mess. It's hackneyed in that we know all the stops, from the trite dialogue to a predictable subplot where the good guy (Gosling) falls for the bad guy's girl (Stone), and a mess in that it lacks narrative coherence. Fleischer not only fails to develop the moral dilemma that stands front and center—police officers breaking the law to protect the law—which makes the bloody violence feel all the more exploitative. He also fails to find a consistent tone: The film teeters back and forth from drama to action to romance to comedy, all the while draped in visuals that are a hideous cluster of noir, pulp, realism and cartoons. (Many of the characters look like they were pulled straight from a Dick Tracy comic strip.)
From start to finish, Gangster Squad can never decide what it is or what it's trying to do. The whole effort reeks of that all-too-common atrocious recipe: a director with an abundance of determination and ambition, with a multitude of ideas and a vision for something big and bold, coupled with an inability to pull it off. In time, Fleischer might be better equipped to handle the additional challenges presented by his own ambitions. Until then, consider Gangster Squad a young director's "learning experience" viewers would do well to avoid.
Director: Ruben Fleischer
Writer: Will Beall
Starring: Sean Penn, Josh Brolin, Emma Stone, Ryan Gosling, Nick Nolte, Giovanni Ribisi, Anthony Mackie
Release Date: Jan. 11, 2013
giovanni rivisi
ryan goslin
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text:
SoftBank CEO Masayoshi Son told WeWork executives he wants the company to turn a profit by 2021
Tyler Sonnemaker
Masayoshi Son
Koki Nagahama/Getty Images
In a meeting with WeWork executives, last Thursday, SoftBank's Masayoshi Son said that he wants the company to become profitable by 2021, according to Fast Company.
Son reportedly told the executives to find new ways to monetize the hundreds of coworking spaces currently owned by WeWork.
WeWork's private valuation has plummeted more than 80% since its failed IPO, creating pressure on the company to cut costs and identify a more sustainable business model.
The New York Times reported that the company may lay off more than 4,000 employees as part of its restructuring.
SoftBank CEO Masayoshi Son told a group of WeWork executives in a meeting on Thursday that he wants the company to become profitable by 2021, according to a report from Fast Company's Katrina Brooker.
Son reportedly said he wants WeWork to better monetize the real estate it already owns by offering new products and services, as the company attempts to identify a sustainable business model following its catastrophic attempt at going public.
SoftBank, WeWork's largest investor, recently agreed to rescue the company through a combination of new financing, stock buybacks, and additional investment. As SoftBank tries to turn WeWork into a profitable company, it has begun exploring new ways to monetize existing office spaces as well as launching a broad cost-cutting effort.
WeWork lost $1.3 billion in the third quarter, despite adding a record number of desks, according to an earnings presentation reviewed by Buiness Insider.
Marcelo Claure, the SoftBank-appointed Chairman of WeWork, told WeWork employees on Monday to expect layoffs this week, according to an internal memo obtained by Business Insider. The New York Times reported on Sunday that the job cuts cold affect more than 4,000 employees.
The increased pressure comes as SoftBank cut its valuation of WeWork by 83% and posted an $8.8 billion investment loss last quarter for its Vision Fund I.
Representatives from WeWork and SoftBank did not immediately respond to a request for comment.
NOW WATCH: Scott Galloway explains who gets hosed from WeWork's IPO disaster
More: Softbank Vision Fund Masayoshi Son WeWork
We Co
We Company

redpajama_set_name: RedPajamaCommonCrawl


Marty Carey — Kiesendahl + Calhoun Fine Art, Ltd.
Born in 1938, Marty Carey graduated from the school of the Worcester Art Museum and the Yale University School of Art and Architecture. His work has shown at the Ekstrom Gallery in New York, The Museum of Modern Art, The Whitney Museum, The Worcester Art Museum and is in the public collections of the Kansas Art Institute, the Chicago Art Institute, Rose Art Museum of Brandeis University, the De Menil Collection and the Worcester Art Museum. His paintings and drawings are part of many private and corporate collections. Looking at Twilight Birches, the artist transports us into his canvas at that magical, transitional time of the day as the sun begins to set. We can feel the moisture in the grasses and the rich depth of the water while imagining the gentle rustling of leaves in the birch trees. If you have a special place you would like to portray, the artist is available for commissions if you contact us.


"Speaking of expanding our theological vocabulary, we need to further know that we translate the key Greek term Logos as Word, referring of course to the Word of God Who was "with God" and Who "was God," according to Saint John's Gospel "in the beginning." We also refer to the Word of God as the "Son," "Wisdom," and "Power" of God. It is this Logos/Word of God Who becomes Incarnate as Jesus of Nazareth. The key verse that is the classical expression of the Incarnation in the New Testament is found in the Gospel according to Saint John 1:14: "And the Word (Logos) became flesh." Incarnation is derived from the Latin word "in the flesh." The Greek word for Incarnation would be sarkothenta, meaning "made flesh." So the Incarnation of the Word of God is the "enfleshment" of the Word, and here "flesh" means the totality of our human nature. The Word has assumed our human nature and united it to Himself in an indissoluble union that restores the fellowship of God and mankind. The Sacramental life of the Church is based on the Incarnation, and the potential for created reality to become a vehicle for spiritual reality. The ultimate manifestation of this is the Eucharist, and the bread and wine "becoming" the Body and Blood of Christ."
Saint Athanasios writes that the Logos (Word) became man, similar to us in all respects. Saint Athanasios uses the word "Incarnation" and by this he means that in assuming flesh the Logos (Word) became a full man, taking on an animate body with all the senses and sufferings that are proper to it. By virtue of its union with the Logos, "because of the Logos, which was in a body," the body was freed from its weakness and subjection to decay. The Life-Giving strength of the Logos freed the body of the Savior from natural weaknesses--"Christ thirsted, since that is an attribute of a body, but he did not perish from hunger." The flesh was deified by serving the works of God, and the humanity of Christ was without sin. The Lord "became our brother through the likeness of the body," and his flesh "was saved and liberated before the others." Since we "share in His Body," we are also saved, and our life is renewed "because our flesh is no longer earthly but has been made identical with the Logos (Word) by the divine Logos Himself, Who became flesh for our sakes."
Saint Basil the Great's language about the Logos/Word is traditional. He uses such terms as "ενσωμάτωσις, σάρκωσις, and ενανθρώπησις. In one instance Saint Basil comes quite close to Antiochene theology. In his Homily on Psalm 45, Saint Basil writes that "the flesh of Christ is the "bearer of the Godhead", sanctified through the union with God"--τάχα την σάρκα λέγει την θεοφόρον, αγιασθείσαν δια της προ τον θεον συναφειας."
Saint Gregory of Nazianzus clearly distinguishes the "two natures" of Christ (God and man). One nature is "subject to suffering" and the other is "immutable and above suffering." This is the main thrust of his exegetical polemic against the heresy of the Arians. "There was a time when he who is now despised by you was superior to you. Now he is a man, but once his nature was not compound. He remains that which he has always been, and he has assumed that which he previously did not have." Saint Gregory examines the evidence of the two natures contained in the Gospel by considering the "mystery of the names," the mystery of the double names and the double symbols, the manger and the star. All names and all symbols, however, refer to one and the same," "One God from both."
"When Christ was born in that low and humble place--the world was ready for His coming, the pure womb that was to bear Him was prepared. The great and awful event awaited by men since the moment of that first promise may be worthily recorded only in the inspired word of God: "Behold," says the Archangel Gabriel to Mary, "thou shalt conceive in thy womb and shalt bring forth a son; and thou shall call his name Jesus. He shall be great, and shall be called the Son of the Most High."
"...The Holy Spirit shall come upon thee and the power of the Most High shall overshadow thee; and therefore also the Holy which shall be born of thee shall be called the Son of God." (St. Luke 10, 31:5).
Centuries before the first Christmas Day, a malignant angel had come to a woman (Eve) upon an errand of death, and Eve's disobedience to God's Command which has ensued was the beginning of the sin of the world.
Christ, the Son, now Man, came to us in the deepest poverty--in greatest humility to be our Redeemer--Our King. Yes, Christ is King, not only as God, but also as Man. He is King, not only by reason of perfection of His humanity, not only because He has purchased us as His people by redeeming us; He is King because He is the Logos/Word Incarnate.
As Orthodox Christians, we greet one another with this confident exclamation during the Feast of the Nativity of our Lord. With this seasonal greeting we affirm that Jesus, Who took on flesh and was born into our world, is indeed the Christ, and worthy of glorification. This greeting is unlike other seasonal greetings being merry (Christmas), glad (tidings), or happy (holidays).
In the Great and Divine Feast we, Orthodox Christians, celebrate our salvation through the good news of our Savior's coming. When we greet each other with the news of Christ's Birth, we seize the opportunity to glorify the new born Savior. This Orthodox Christian greeting carries within it the promise of salvation, and the very meaning of Life.
The Grace of our Lord Jesus Christ, and the love of God and Father, and the communion of the Holy Spirit be with you always. Amen.


text:
import numpy as np
from similarity import similarity

# In[2]:

def weightedAverage(neighbors, similarities, R, user, product):
    if neighbors==[]:
        print('no neighbor provided')
    sumWeights = 0
    average = 0
    for n in neighbors:
        if R(n,product)!=0:
            w = similarities(n, user)
            sumWeights = sumWeights + w
            average = average + w * R(n,product)
    average = average / sumWeights
    return average

# In[ ]:

redpajama_set_name: RedPajamaGithub


text:
Q: How can i programmatically add a view from XML to a Layout? In my MainActivity i have 4 cardViews made as buttons every of them opens an Activity but now i would be able from settings to add "n" new buttons like one of yet created and set a path to open in BrowserView.
My main question is i have an xml file where i created the "CardView" that i use in main which has the ImageView, TextView so how can i programmatically set it in my MainActivity LinearLayout and even set different text in TextView for each "n" buttons.
Here is my MainActivity.xml
<LinearLayout xmlns:android="http://schemas.android.com/apk/res/android"
    android:orientation="vertical"
    xmlns:tools="http://schemas.android.com/tools"
    xmlns:app="http://schemas.android.com/apk/res-auto"
    android:background="#ffffff"
    android:layout_width="match_parent"
    android:layout_height="match_parent"
    tools:context=".MainActivity">

    <android.support.v7.widget.CardView
        android:id="@+id/logo"
        android:layout_width="match_parent"
        android:layout_height="wrap_content"
        app:cardCornerRadius="0dp"
        app:cardElevation="5dp"
        app:cardBackgroundColor="#00468a">

        <android.support.v7.widget.LinearLayoutCompat
            android:layout_width="match_parent"
            android:layout_height="wrap_content"
            android:background="#00468a"
            android:orientation="vertical">

            <ImageView
                android:layout_width="wrap_content"
                android:layout_height="35dp"
                android:layout_gravity="start"
                android:layout_marginStart="5dp"
                android:adjustViewBounds="true"
                android:cropToPadding="false"
                android:scaleType="fitCenter"
                android:src="@drawable/realco"
                tools:ignore="ContentDescription" />

            <ImageView
                android:id="@+id/gab"
                android:layout_width="match_parent"
                android:layout_height="70dp"
                android:layout_marginBottom="5dp"
                android:layout_marginTop="5dp"
                android:adjustViewBounds="true"
                android:cropToPadding="false"
                android:padding="8dp"
                android:scaleType="fitCenter"
                android:src="@drawable/logo"
                tools:ignore="ContentDescription" />

        </android.support.v7.widget.LinearLayoutCompat>

    </android.support.v7.widget.CardView>

    <ScrollView
        android:id="@+id/scrollView"
        android:background="#ad00468a"
        android:layout_width="match_parent"
        android:layout_height="match_parent">

            <LinearLayout
                android:layout_width="match_parent"
                android:layout_height="wrap_content"
                android:orientation="vertical">

                <android.support.v7.widget.CardView

                    android:id="@+id/orders"
                    app:cardCornerRadius="0dp"
                    android:layout_width="match_parent"
                    android:layout_height="0dp"
                    android:layout_weight="1"
                    app:cardBackgroundColor="#00468a"
                    app:cardElevation="15dp">

                    <android.support.v7.widget.LinearLayoutCompat
                        android:padding="20dp"
                        android:layout_width="match_parent"
                        android:layout_height="140dp"
                        android:background="#004181"
                        android:orientation="vertical">

                        <ImageView
                            android:layout_width="match_parent"
                            android:layout_height="70dp"
                            android:layout_gravity="start"
                            android:adjustViewBounds="true"
                            android:padding="5dp"
                            android:scaleType="fitCenter"
                            android:src="@drawable/order"
                            tools:ignore="ContentDescription" />

                        <TextView
                            android:layout_width="match_parent"
                            android:layout_height="match_parent"
                            android:gravity="center"
                            android:text="ORDINI"
                            android:textAlignment="center"
                            android:textColor="#ffffff"
                            android:textSize="18sp"
                            tools:ignore="HardcodedText" />

                    </android.support.v7.widget.LinearLayoutCompat>

                </android.support.v7.widget.CardView
                  >

                <android.support.v7.widget.CardView
                    android:id="@+id/inventario"
                    app:cardCornerRadius="0dp"
                    android:layout_width="match_parent"
                    android:layout_height="0dp"
                    android:layout_weight="1"
                    app:cardBackgroundColor="#001F54"
                    app:cardElevation="10dp">

                    <android.support.v7.widget.LinearLayoutCompat
                        android:layout_width="match_parent"
                        android:layout_height="140dp"
                        android:background="#001F54"
                        android:padding="20dp"
                        android:orientation="vertical">

                        <ImageView
                            android:layout_width="match_parent"
                            android:layout_height="70dp"
                            android:layout_gravity="start"
                            android:adjustViewBounds="true"
                            android:padding="5dp"
                            android:scaleType="fitCenter"
                            android:src="@drawable/storage"
                            tools:ignore="ContentDescription" />

                        <TextView
                            android:layout_width="match_parent"
                            android:layout_height="match_parent"
                            android:gravity="center"
                            android:text="INVENTARIO"
                            android:textAlignment="center"
                            android:textColor="#ffffff"
                            android:textSize="18sp"
                            tools:ignore="HardcodedText" />

                    </android.support.v7.widget.LinearLayoutCompat>

                </android.support.v7.widget.CardView>

                <android.support.v7.widget.CardView
                    android:id="@+id/prenotazioni"
                    android:layout_width="match_parent"
                    app:cardCornerRadius="0dp"
                    android:layout_height="0dp"
                    app:cardBackgroundColor="#0A1128"
                    android:layout_weight="1"
                    app:cardElevation="5dp">

                    <android.support.v7.widget.LinearLayoutCompat
                        android:layout_width="match_parent"
                        android:layout_height="140dp"
                        android:padding="20dp"
                        android:background="#0A1128"
                        android:orientation="vertical">

                        <ImageView
                            android:layout_width="match_parent"
                            android:layout_height="70dp"
                            android:layout_gravity="start"
                            android:adjustViewBounds="true"
                            android:padding="5dp"
                            android:scaleType="fitCenter"
                            android:src="@drawable/prenotazioni"
                            tools:ignore="ContentDescription" />

                        <TextView
                            android:layout_width="match_parent"
                            android:layout_height="match_parent"
                            android:gravity="center"
                            android:text="PRENOTAZIONI"
                            android:textAlignment="center"
                            android:textColor="#ffffff"
                            android:textSize="18sp"
                            tools:ignore="HardcodedText" />

                    </android.support.v7.widget.LinearLayoutCompat>

                </android.support.v7.widget.CardView>

                <android.support.v7.widget.CardView
                    android:visibility="gone"
                    android:id="@+id/btn1"
                    android:layout_width="match_parent"
                    app:cardCornerRadius="0dp"
                    android:layout_height="0dp"
                    app:cardBackgroundColor="#132150"
                    android:layout_weight="1"
                    app:cardElevation="5dp">

                    <android.support.v7.widget.LinearLayoutCompat
                        android:layout_width="match_parent"
                        android:layout_height="140dp"
                        android:padding="20dp"
                        android:background="#132150"
                        android:orientation="vertical">

                        <ImageView
                            android:layout_width="match_parent"
                            android:layout_height="70dp"
                            android:layout_gravity="start"
                            android:adjustViewBounds="true"
                            android:padding="5dp"
                            android:scaleType="fitCenter"
                            android:src="?android:attr/fastScrollThumbDrawable"
                            tools:ignore="ContentDescription" />

                        <TextView
                            android:layout_width="match_parent"
                            android:layout_height="match_parent"
                            android:gravity="center"
                            android:text="FTP"
                            android:textAlignment="center"
                            android:textColor="#ffffff"
                            android:textSize="18sp"
                            tools:ignore="HardcodedText" />

                    </android.support.v7.widget.LinearLayoutCompat>

                </android.support.v7.widget.CardView>

                <android.support.v7.widget.CardView
                    app:cardCornerRadius="0dp"
                    android:id="@+id/settings"
                    android:layout_width="match_parent"
                    android:layout_height="0dp"
                    android:layout_weight="1"
                    app:cardBackgroundColor="#232323"
                    app:cardElevation="2dp">

                    <android.support.v7.widget.LinearLayoutCompat
                        android:layout_width="match_parent"
                        android:layout_height="140dp"
                        android:padding="20dp"
                        android:background="#232323"
                        android:orientation="vertical">

                    <ImageView
                        android:layout_width="match_parent"
                        android:layout_height="70dp"
                        android:layout_gravity="start"
                        android:adjustViewBounds="true"
                        android:padding="7dp"
                        android:scaleType="fitCenter"
                        android:src="@drawable/settings"
                        tools:ignore="ContentDescription" />

                    <TextView
                        android:layout_width="match_parent"
                        android:layout_height="match_parent"
                        android:gravity="center"
                        android:text="SETTINGS"
                        android:textAlignment="center"
                        android:textColor="#ffffff"
                        android:textSize="18sp"
                        tools:ignore="HardcodedText" />

                    </android.support.v7.widget.LinearLayoutCompat>

                </android.support.v7.widget.CardView>

            </LinearLayout>

    </ScrollView>

</LinearLayout>

While here is button.xml
<android.support.v7.widget.CardView
    xmlns:android="http://schemas.android.com/apk/res/android"
    xmlns:tools="http://schemas.android.com/tools"
    xmlns:app="http://schemas.android.com/apk/res-auto"
    android:id="@+id/orders"
    app:cardCornerRadius="0dp"
    android:layout_width="match_parent"
    android:layout_height="0dp"
    android:layout_weight="1"
    app:cardBackgroundColor="#00468a"
    app:cardElevation="15dp">

    <android.support.v7.widget.LinearLayoutCompat
        android:padding="20dp"
        android:layout_width="match_parent"
        android:layout_height="140dp"
        android:background="#004181"
        android:orientation="vertical">

        <ImageView
            android:layout_width="match_parent"
            android:layout_height="70dp"
            android:layout_gravity="start"
            android:adjustViewBounds="true"
            android:padding="5dp"
            android:scaleType="fitCenter"
            android:src="@android:drawable/star_big_on"
            tools:ignore="ContentDescription" />

        <TextView
            android:id="@+id/textHERE"
            android:layout_width="match_parent"
            android:layout_height="match_parent"
            android:gravity="center"
            android:text=""
            android:textAlignment="center"
            android:textColor="#ffffff"
            android:textSize="18sp"
            tools:ignore="HardcodedText" />

    </android.support.v7.widget.LinearLayoutCompat>

</android.support.v7.widget.CardView
    >

A: You inflate the new xml with View newView = LayoutInflater.from(context).inflate(resource_id, parentView);  Cast the return result to whatever class you need it to be.  Use the layout you want to put it in as the parent view.  You can then use findViewById on the returned view to find subviews and set their values.

A: It is very easy
val inflater = context.getSystemService(Context.LAYOUT_INFLATER_SERVICE) as LayoutInflater
val view = inflater.inflate(R.layout.view_from_xml, null)

viewToAddView.add(view)

redpajama_set_name: RedPajamaStackExchange


text: Q: Any way to Librosa.load an audio file from a url? I am trying to use Librosa to load an audio from a url and my current solution is to just download the file then open it. I want to be able to run the program on a cloud service with no local storage but I would need a way to load from the url directly. I have looked around but cannot find anything.


Robin Scholz/The News-Gazette Recruit Antwan January in a NCAA basketball game at the State Farm Center in Champaign on Thursday, Jan.10, 2019.
CHAMPAIGN — Illinois men's basketball almost had to branch out nationally in trying to build its 2019 recruiting class. E.J. Liddell was the only player from Illinois ranked in the top 100 by both Rivals or 247Sports, and the state champ from Belleville West signed with Ohio State in November.
Recruiting nationally paid off for Brad Underwood and the Illini with a pair of 2019 commitments in five-star center Kofi Cockburn and four-star center Antwan January, who took his official visit last week.
The next two classes, though? Illinois should turn its attention back to the homefront with four-star guards Adam Miller and D.J. Steward at the top of the 2020 class and perhaps as many as a half-dozen high-major prospects in the Class of 2021.
That's part of the reason Illinois' recruiting in Chicago was brought into question in mid-December.
"There's conversations about it, and that's why the story came about because there were conversations and dialogue in gyms across the Chicago area about it," said Joe Henricksen, editor and publisher of City/Suburban Hoops Report, on 'Illini Pella Saturday SportsTalk' on WDWS 1400-AM. "This is the first time now in a while that Illinois has actually had some recruitable kids in the state of Illinois with some depth — the Class of 2021. There's a lot of players in that class that, yes, (Illinois is) going to have to get in on early because that's just the nature of the game. I think that's why some of that emerged and developed as it did, because that little stretch there wasn't a presence."
Illinois certainly has a presence with Morgan Park and the Mac Irvin Fire after landing five-star guard Ayo Dosunmu in the 2018 class. Miller is the next top prospect out of both programs, with the four-star guard ranked No. 33 nationally by both Rivals and 247Sports in the 2020 class.
Miller entered the new year averaging just better than 30 points per game. Morgan Park has kept winning, too, with five more victories in 2019 to push its winning streak to 11 heading into today's game with Corliss.
Miller, Henricksen said, is a true combo guard. Not just a combo guard because he's not quite good enough to be a point guard or good enough to be a true shooting guard.
"I think Adam Miller is a true combo guard with size and shooting ability and court sense that he can play both guard spots effectively," Henricksen said.
This spring could be crucial in Miller's recruitment. Henricksen said Illinois is in a good position with the 6-foot-3 lefty, but he has more than a dozen total offers and that number could increase as he finishes his junior year with the Mustangs and transitions into the spring and summer with Mac Irvin Fire.
"This will be the big stretch for him in April, June and July this year," Henricksen said. "Does he separate himself nationally? He's in that 30 to 40 range. Does he solidify himself as a top-30 or top-25 player in the country where more and more of the upper-echelon, high-major programs get serious about him? Or does he stay where he's at or maybe fade a little? I anticipate he'll stay where he is."
Henricksen said he sees Steward making a leap in the next year. The 6-2, four-star guard out of Whitney Young is currently ranked No. 62 in the 2020 class by 247Sports and No. 63 by Rivals. Steward is into double-digit offers after both Xavier and Texas offered in the last 2 1 / 2 weeks.
"He's very appreciated here in Illinois and been the No. 1 or 2 ranked player his entire career in that class of 2020, but nationally I think he's been undervalued and overlooked a little bit," Henricksen said. "That's really gained steam, and I think that's going to continue in the spring and summer where his recruitment will continue to kind of flourish and rise in the national rankings.
"He's not nearly as highly regarded and ranked as Adam Miller, but I think D.J. Steward is right there with Adam Miller, to be honest with you. I don't see the separation as big as maybe some people nationally do, and I think that might change as they get to see D.J. Steward play more."
Cousin of former Illini Brian Cook already holds a half-dozen Division I offers, including Loyola Chicago, UIC and Detroit.
Currently a three-star per Rivals, one of several young standouts for the Wolverines, and he holds offers from DePaul, Northern Illinois and UIC.
Illinois target already has 11 offers — 10 from high-major programs — and is ranked as high as No. 16 nationally in 2021 by 247Sports.
Big man has offers from DePaul, Loyola Chicago and Miami (Ohio) and put up 14 points and seven rebounds in recent wins against Fremd and Prospect.
Hopkins picked up his first two high-major offers — Illinois and Xavier — after a standout showing at the Proviso West Holiday Tournament.
Improved three-point shooting (24 percent to 39 percent jump this season) has Sayles, with offers from Southern Illinois and Milwaukee, on more college radars.


A customer in Alexander Heights came to us with the requirement for an NBN installation to get his house NBN ready where existing Foxtel and Phone services will be switched off, and NBN will be provided through existing coaxial cable through the NBN HFC Network in many suburbs around Marangaroo, Alexander Heights, Ballajura but also in most of Perths western Suburbs.
In this house, Foxtel was delivered via a single coaxial outlet in the living room. We recommended the customer to have a Satellite dish installed on the roof and twin Foxtel IQ2 compatible points beside the existing point for cable Foxtel. This will allow quick "plug and play" switchover to Satellite Foxtel once existing Foxtel cable service is switched off and replaced by NBN.
An RJ45 outlet has been added, which will serve as an uplink port for the future to be installed NBN router to provide phone services to existing legacy phone outlets around the house. We replaced the existing wallplate with a block and 6 slot wall-plate to house all connections neatly on one block.


This entry was posted on Friday, February 1st, 2013 at 12:12 pm	and tagged with 1st Date, Dating, first date, Getting to know someone, Great Questions, insightful, Mamma Mia, men, Questions, romance, Women and posted in Dating.	You can follow any responses to this entry through the RSS 2.0 feed.
On a first date i would like to hear nice words, like: thank you, you look good, you have a great smile, i love the way the sun plays in your hair..etc. What are your favorite words? Enter favoritewords.com and tell us. It's an awesome concept. Try it!


Here you'll find clients, current and most-recent, with whom I've worked on sustainability and grants projects – sometimes both.
Member of an NEH-funded Sustaining Cultural Heritage team to address sustainability in dealing with this historic structure as a setting for highly-vulnerable works of art. Current.
Coaching for the Sustainability Manager, and advising the staff and Green Print Committee on the design and implementation and renewal of the zoo's strategic plan for environmental sustainability. In 2014 the zoo earned the Significant Achievement award, and in 2015 shared Top Honors with the Vancouver Aquarium. Current, since 2008.
Contract proposal-writer for new and existing programs. Current, since 2017.
One-day site visit and review of materials to prepare for climate-related site planning. 2018.
Coaching on grant-design coach for the successful 2012 NEH "Sustaining Cultural Heritage Collections" application; serving on the planning team, 2013-2014, and on the implementation team, 2015-2017.
Part of an IMLS-funded team supporting designing the implementation of strategic planning initiatives. Worked with the staff and community to plan for a green future through interpretation, operations, and community connections. 2014 – 2016.


As you think about ways to improve or preserve your eye health, it's important to realize that vitamins and nutrients are not a cure for eye disease, nor will they give you back vision you may have already lost. However, good nutrition at all ages is vital for your entire body, and plays an important role in maintaining healthy eyes.
Foods rich in vitamins C and E, zinc, lutein, zeaxanthin, and omega-3 fatty acids DHA and EPA are good for eye health as well as general health, according to the Age-Related Eye Diseases Study (AREDS). These foods are linked to lower risk for age-related macular degeneration (ARMD), cataracts, and dry eyes. Eye-healthy food choices include citrus fruits, vegetable oils, nuts, whole grains, dark green leafy vegetables, and cold water fish.
People who have diabetes or ARMD or are at risk for these diseases can also benefit by following a low-glycemic index diet. The GI value is based on how fast a food's carbohydrates raise the body's blood sugar levels; low GI foods have less impact on blood sugar fluctuations.
People with macular degeneration may be able to slow the progression of the disease by taking a special nutritional supplement called the AREDS formula, developed as a result of the AREDS research. This is promising news for people who are at risk for or already have ARMD. Be sure to discuss any supplements with your primary care physician as well as your eye physician. You may learn more about these supplements on this site's Nutriceuticals page.
Making healthier food choices is a good thing no matter how early or late in life we begin. Encouraging good eating and exercise habits with kids sets patterns they're likely to stick to their entire lives. As an adult, you should speak to your eye physician about any concerns regarding your eye health and for specific recommendations involving nutritional supplements.


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Comedian Faces DUI Charge
Prosecutors Make a Big Move in Capitol Riot Case
First charge of sedition is filed, against Oath Keepers founder Stewart Rhodes
Stewart Rhodes, founder of the citizen militia group known as the Oath Keepers, speaks during a rally outside the White House in 2017. (AP Photo/Susan Walsh, File)
(Newser) – A big development in the investigation of the Capitol riot: Prosecutors filed their first charge of sedition on Thursday, reports the New York Times. Authorities indicted and arrested Stewart Rhodes, the 56-year-old founder of the far-right militia group the Oath Keepers. The charge of seditious conspiracy alleges that Rhodes conspired with others to overturn the results of the 2020 election and take control of the Capitol. The AP calls Rhodes the highest-ranking member of any extremist group to be arrested so far. Rhodes was at the Capitol on Jan. 6, 2021, but he says he never entered the building, and no evidence has surfaced to contradict that.
Rhodes previously told the Washington Post that he was communicating with members of his group that day, but only to try to "keep them out of trouble." He added that any members of his group who entered the building "went totally off mission." He made similar comments to the Times over the summer, saying, "There were zero instructions from me or leadership to do so." Rhodes, a former Army paratrooper who went on to earn a law degree from Yale, was charged Thursday with about a dozen associates.
Among the allegations against Rhodes:
On Election Day, he allegedly urged Oath Keeper members to "stock up on ammo" and be ready for a "full-on war in the streets," according to a letter by House investigators.
During an online meeting shortly after the election, he allegedly said, "You can call it an insurrection or you can call it a war or fight," per the Times.
He told Alex Jones days after the election that he had men near Washington poised to act on then-President Trump's command.
He said at a Trump rally in December that failure to invoke the Insurrection Act would lead to a "much more bloody war."
Two days before the riot, he allegedly posted an online article urging "all patriots" to "stand tall in support of President Trump's fight to defeat the enemies foreign and domestic who are attempting a coup."
(Read more Oath Keepers stories.)


Izzie Gibbs is wise beyond his years.
The Northampton star took the whole MC talent as a past time. Now 21, he's one of the most exciting rappers to come out of Northampton; with his freestyle videos exceeding the 1k mark.
Many of you remember seeing him on the panel of Radio 1Xtra on the debate of 'Being Black and Mixed Race' in Britain'. To date, he's releasig a new EP that features his fellow friends who are also artists under Dice Recordings. His latest track 'OK' has reached 200k views. His Mad About Bars on Mixtape Madness – 390k. What about Daily Duppy for GRM Daily? Well, that went to 145k.
These few Youtube viewing statistics show that the young man from Northampton has something to deliver in the UK's new infatuation with Grime. We're seeing more artists from the Midlands to the North coming out delivering the same lightening spirit felt with London artists whilst bringing their versatility of other sounds to their own music.
Izzie Gibbs shares his thoughts about being the first generation who has witnessed the golden age of Grime and digital media. He provides more details about his upcoming EP 'Ying Yang' and check this – tells us the top five singers in the UK that he'd love to work with.
1. You was raised in Northampton but you were inspired by the Grime movement in London, which is based on street culture and life. Would you say the culture in Northampton is different?
I think it's the same still. Obviously there's things that are less in Northampton because it's not a major city in terms of being inspired by the London culture (because that is the place where grime started). I guess that's the reason why London specifically has inspired me to a certain extent. There's nothing different, just the fact that London is bigger. You feel me?
2. Has the vibe in London developed a new generation of talent in Northampton? As more artists across the UK are diving into this latest and newest music genre.
I think it's just music in general because not everyone does Grime. That's not the only music that's in London. However, it must have some sort of inspiration – a vast majority is what I think is the correct the terminology.
I think it depends. You have those towards the ages of 27-30 who are inspired by American rappers such as D-Block and Jadakiss as well as Eminem, D-12… I think it depends in terms of age groups. I feel London has played a big part for our generation because I've seen Liverpool, Manchester rappers who don't tend to alter their accents. I know a rapper called Shogun who's from Scotland that doesn't change is accent at all. He has that raw Scottish accent tone to his voice and has used it to make it work for him. If you're not from London but come to London you have a sense of an advantage. People always say that being not from London is harder to be seen when really, I think it's an advantage because it means that you can bring something new.
3. You got signed to Dice Recordings in 2014. What has changed from being independent to signed? Has it been an easier road or more pressure?
You know what it is – before I got signed I wasn't classing myself as independent because I wasn't taking it seriously. I was just doing it as a hobby; something to past the time. I never made music with the idea of getting signed; I literally was doing it on the basis that I was enjoying it. It was never a thing that I wanted to a make a career out of it.
Being with DICE has helped me still.
4. We see that majority of your video content reach a viewership of over 100k. Do you consider yourself as an established UK artist?
You know what's mad? The whole views thing.
I stay humble. I don't let that get to my head. The whole thing of being an established artist and these things – I feel like artists allow that (viewership thing) to get to their heads. You can have a million views but that can't pay rent! So for me the views are just minor, as it's just showing that people are catching on to my music. To be honest, I'll be happy if I had 10,000 views consistently if the content was on my own channel. I'd know that it's 10k people coming to my channel; in comparison to the platforms that have half a million subscribers and then get million views – all of that advert money is going to the company. Whereas I can channel 10k views with my own channel, as I'd know that the traffic can be enough to organise a headline show.
a) What similarities do you share with the legend?
b) What makes you different from Dizzie Rascal that set you off from other Grime Artists?
What I clocked about Grime yeah…and it's not just Grime but the scene in general, is that you get these mad comparisons. I don't think we are similar at all. I don't think our voices sounds the same, our music sounds the same… I don't even think the way we spit sounds the same. Obviously, I think it's some sort of compliment as he's successful. However we're not similar. Personally I think I'm better than him! I respect him and what's he's done but I don't think we're alike.
6. There's been a debate as to whether artists should consider themselves as just 'Grime Artist'; seeing that Stormzy, J Hus and Cadet are among the many who dive into other genres. Do you consider yourself as a Grime artist or you're just a music artist in general?
I wouldn't be able to say this before I did my 'Mad About Bars' that I released the other day. I've realised that I'm a person whereby when another person makes a mistake, I'm going to learn from it. I've seen a lot of artists whereby they've been doing good with something else but because they've started with another genre and they try to jump ship, people perceived them as 'sell-outs'. You have to take time in order for people to feel cool for you to dive into another genre.
With me, I was doing Grime at the time. When I was doing other interviews for different platforms and they ask me whether I'm a Grime artist, I'll just look at my management in astonishment like 'RAH I don't only do Grime.' They (the management) were like 'Well, we know that you don't only do Grime music but none has heard it.' So I started thinking – 'What could I do that will allow people to round the idea that I do other stuff?' When I did the 'Mad About Bars' I did half and half. So you hear me spitting bars, which isn't the stereotypical flow but you can hear the Grime influence like the 140 (and so on) while on the other half I was singing. I released my track 'Okay' just two weeks ago and that's just rap. It's just because I brought the same energy that I gave to Grime for that song. So I'll say that I'm just a music artist.
7. One word to describe your win at the Urban Music Awards last year.
I personally am my biggest critic. I feel that I put in a lot work.
8. Last year you released your EP 'Jutsu'. This year you'll be releasing 'Yin Yang', featuring Young T & Bugsey, Big Narstie and Tremz. What's the one thing that you admire about each of these featured artists that made you decide to have them on your new EP?
I want to do tracks with people that I feel can bring something to a song that I can't personally wouldn't be able to do. With them, I feel that they're super-wavy. The way that they plan tracks is that they come from a different angle, and with my style (because at the time I came from a very aggressive when I did a song with them) and their nice, calm and wavy approach, I felt that we complimented each other. As for Narstie – he's just a legend. I'm 21 now and I've listened to Narstie since I was ten years old when he used to have a big afro. We've already done a tune together so I knew what he could do. He's very sick.
With Tremz, I just like the whole fact that he doesn't care. He started off doing the Drill. A lot of people that do drill music sound the same to me, so that's why I don't bang that kind of music too much. When he (Tremz) did it, it was something different. I think this why he stands out, and he built a buzz quick because he doesn't sound out everyone else. I like that fact that he'll hop on a track and do the Scouse accent without the care in the world as to whether he's rated or not. If he rates it he'll do it and I wanted to bring Me, Narstie and Tremz on the same track as I felt that it would work well – and it did.
Can't wait for everyone to hear that song.
9. You feature a lot of Grime artists! Any possibilities of collaborating with a host of UK singers in the future? We'd love to see a more charming side of you.
You know what? There are actually singers in the UK that I'm rating that people know, but not a lot of people know about.
b) Great! Which singers are you feeling right now that you'd recommend to us as the ones to watch out for?
There's another girl as well! Is it Jorja Smith? She's cold! I've seen her on BBC's Live Lounge.
So them five I'll be interested in working with.
10. Will we be seeing you on the festival circuit this year?
So far, I'm put on for Glastonbury. It's MAD. I was gassed but I wasn't too gassed. Me yeah, I'm not ignorant but I never sat down and watch Glastonbury on TV. However before I go there, I'll do my research. Just like when I work with artists from a different era, I'll go an do my research about them as means of respect.
I'm on the V Festival kine-up as well. Jay-Z's headlining. That should be good as he's super sick.
So yeah. Glastonbury and V Festival.
11. Give us one random fact about yourself that you'd like people to know.
I'll never ever ever use the public toilet.


Home / Products / Rhodium Plated Small Girls Pink Crystal Plain Cross Pendant Necklace 16"
This small rhodium plated pink crystal cross pendant is simply adorable. Perfect to go with every outfit of your little's girls closet. To wear a cross jewelry accessory is an outward sign of faith and symbolizes commitment to her beliefs. It outwardly affirms the wearers faith, but projects its blessings inwardly, for the protection of the soul. Makes a great gift for a First Communion, Holy Baptism, Christening and Confirmation. Gift box included.
Silver Tone First Holy Communion White Simulated Pearl Crucifix Rosary 25"
925 Sterling Silver Classic Knotted Religious Cross Pendant Necklace for Women 18"


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Spectacular New Public Gardens in Dallas
Newly opened gardens at University of Texas Dallas
Lush Hour ... In May, I attended a symposium at the Nasher Sculpture Center organized by director Jeremy Strick and UTD's Richard Brettell, who had gathered some of the key players in global gardening, all of whom are designing public gardens in Dallas. In varying sages of completion, these gardens are being constructed by some of the country's most prestigious landscape architects and are breathing life and soul into the city's changing skyline.
Gardens at UTD
Peter Walker, whose West coast-based landscape design firm created the gardens at the Nasher Sculpture Center, just unveiled a $30 million garden project at UTD, funded almost entirely by philanthropist Margaret McDermott. "There's no equivalent of the Pritzker Prize in landscape design so not as much attention is paid," Walker said during the symposium. "But we've got the best landscape architects in the world in this room today, and they're all working on gardens in Dallas."
UTD Provost Hobson Wildenthal was the force behind the idea to landscape the school, where bland concrete buildings and vast expanse of parking lots resembled "an abandoned Walmart, as one national magazine put it," Wildenthal told me over the phone.
The new gardens encompass 800,000 square feet planted with 5,000 trees and shrubs, many of them native; a mall groomed in St. Augustine grass; six pools, including a circular one that pumps a continuous column of fog; and four human-scale chessboards.
Gardens at the Perot Museum of Nature & Science
During the next two years, least four other major gardens will be complete, including gardens at the Crow Collection of Asian Art, which will open to the public in October (unfortunately I don't have any renderings yet of this one). Designed by master gardener and Japanese gardens expert John Powell of Weatherford Gardens, the Crow gardens will include a new collection of Asian antiquities and contemporary Asian sculptures.
"The idea is to take an extremely dated landscape around the building and make it a better background for the new sculptures," says Powell, who's creating a series of small gardens that will wrap around the museum. "They will take the visitor on a journey, almost like a Japanese stroll garden. There will be tight corridors with detail and open areas," and include a dry landscape garden with gravel; a modern, monochromatic garden with a ground cover of juniper, Japanese black pines, and stone slabs; there will also be woodland settings with Japanese maples and a wall of black bamboo. "These gardens are designed to be an escape from the noise and the dirt of the city," he says.
Gardens at the Perot Museum of Nature & Science are due to open in early 2013. The 14-story, cube-shaped building, under construction now, is designed to float over a landscaped base, which is being designed by Dallas landscape architect Coy Talley.
There will also be an acre of rolling roofscape comprised of rocks and native drought-resistant grasses from the Texas prairies, and different landscaped areas that depict abstract cross-sections of Texas including East-Texas inspired forests with large canopies of trees. The gardens will be watered from a rainwater collection system that will capture run-off from the roof and parking lot to fill two 25,000 gallon cisterns.
Check out the museum's webcam to see the building in progress.
Gardens at the George W. Bush Presidential Center
The George W. Bush Presidential Center, which is under construction now and will open sometime in 2013, is situated on 23 acres on the western edge of SMU and will include a 15-acre urban park designed by Michael Van Valkenburg, who is professor of landscape architecture at Harvard's Graduate School of Design. (Van Valkenburg also designed Deedie and Rusty Rose's gardens for their Antoine Predock-designed contemporary estate on Turtle Creek.)
The Bush gardens will be a mix of cultivated and wild, with grasses from Texas's native blackland prairies, seasonal wildflowers planted in a sheltered meadow, savannah and woodland clearings designed to provide habitat for butterflies, birds, and other wildlife.
There will also be a grove of canopy trees indigenous to North Texas, including cedar elm, pecans, blackjack oaks, and courtyards planted with prairie phlox, mealy blue sage, American beautyberry, Southern magnolia, and Mexican plum. Hedges of native Yaupon holly, native to Texas, will produce berries essential for sustaining native animals such as bluebirds and armadillos.
Wild gardens at the George W. Bush Presidential Center
Land south of the library will be a recreation of a prairie, with a floodplain forest, wildflower meadow, and native Texas grasses. A storm-water management system will collect and reuse runoff.
There will also be a cultivated rose garden, designed with the same proportions, solar orientation, and formal organization as the White House Rose Garden. A large water garden will have water lilies, irises, and sedges.
The Park over Woodall Rogers
Under construction now, The Park is a 5.2-acre wedge of land spanning across Woodall Rogers Freeway between Pearl and St. Paul streets. The $80 million project is intended to draw pedestrians from the nearby Arts District and Uptown neighborhood into its promenade of gardens, gathering spaces and performance venues.
Slated to be finished in the spring of 2012, the ambitious project is being led by Houston-and West Coast-based landscape architect James Burnett, who is overseeing a massive team that includes lighting and water designers, engineers, and restaurant designers.
The park will include a promenade of pond cypress trees, a botanical garden, a children's garden, a dog park, a 7,800 square foot lawn, several oak groves, a restaurant, an outdoor performance hall, and an interactive fountain inspired by the shape of a calla lily.
Wondering how a park of this scope can possibly be constructed over a highway? Here's a FAQ page that explains it all.
Note: a version of my story originally appears in the July 2011 issue of Dallas Modern Luxury magazine on page 66.
Labels: Architects, Artisans, Gardens, What's New


Before there were High Frequency Traders, Dark Pools, Twilight Pools, and an 80% automated marketplace, the most important indicator was price. Many Retail Traders learned simply to rely upon price action and rarely considered volume or quantity analysis.
Nowadays, with the dramatic changes to the trading world volume and quantity must be analyzed along with price. This fact challenges older strategies, however the reality is that the most dominant Market Participant Group in the market now has even more complex orders which gives that group the ability to buy giant share lots without disturbing price.
The only aspects of data that reveal giant lots are volume and quantity. A giant lot is 100,000 – 500,000 shares. The giant lot buyers do not want to disturb price or the trend of the stock, as they purchase millions of shares over time.
The Securities and Exchange Commission does not want the Buy Side Institutions buying in giant lots, to disturb price either. That is why Dark Pools are here to stay. The Alternative Trading System venues of which there are currently approximately 40 plus or minus, are where 99% of the giant lot orders are processed.
These are Over-the-Counter OTC orders using controlled bracketed Time Weighted Average Price and other time and price based orders that trigger automatically, but are NOT high frequency or low latency orders.
The reason the giant lots are so important for Retail Traders to find early on is that these giant lots are removing liquidity, which in turn will eventually create an imbalance in supply and demand for the shares of stock. When supply diminishes and demand rises prices can suddenly move up as High Frequency Traders, Professional Traders, and authorized participants discover the Dark Pool Quiet Accumulation by the giant lot investors.
Volume is the total number of shares traded or exchanging hands during a set period. This includes the volume data from Alternative Trading Systems, Exchange Communication Networks, and other off-exchange venues. There are two sides to each trade a buyer and a seller, but only ONE quantity which translates into volume of shares.
Quantity reveals the size of the lot which is critical to identifying Dark Pools, Professional Traders, and High Frequency Traders as opposed to Independent Investors, Smaller Funds, or Retail Traders.
Chart example #1 below has the Volume Indicator in the bottom chart window. It is a daily chart view so the volume shown is the total number of shares for an entire day.


At SONIC, our Core Values are integrated into every aspect of our business, including the ways in which we engage in business relationships, develop community relationships and partner with our colleagues to be active members of the communities where we operate.
You are invited to enjoy one Complimentary Regular Sonic Cheeseburger, 6" Coney, 12" Coney, or Burrito when a second Regular Sonic Cheeseburger, 6" Coney, 12" Coney, or Burrito of equal or greater value is purchased.
You are invited to enjoy a Complimentary Sundae with the purchase of a combo meal.


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Absentee voting for the February 21, 2023 election
VOTING BY ABSENTEE BALLOT Any qualified elector who is unable or unwilling to appear at the polling place on Election… Read More
Fitness Classes at the Community Center
Fitness classes are offered Monday-Friday at the Caledonia Community Center. $5/class. There will be no classes on Tuesday, February 21… Read More
Notice of Noncandidacy
Incumbents who have filed a Notification of Noncandidacy for the April 4, 2023 General Election: Name … Read More
Welcome Natalie, Emily & Mary
On November 21st 2022 the Town of Caledonia officially appointed Natalie Snyder to Town Clerk and appointed Emily A Miller… Read More
Spring 2023 Type A Notice of Election
NOTICE OF SPRING ELECTION Town of Caledonia April 4, 2023 NOTICE IS HEREBY GIVEN, that at an election to be… Read More
https://townofcaledonia.com/wp-content/uploads/2021/08/Subscribe-to-Updates-August-2021.pdf
1st Feb
Grant Writing Plan Special Meeting
4:00 pm · 2 hours
Friends of Readfield Park Quarter 1 Meeting
6:00 pm · 1 hour


Key to Salvador Dali's art is his pursuit of concretization of dreams. This involves a credible breach in the civilizational habit of taking reality as fixed entity. Art such as this has to be hyper real in details. This exactness of minute attributes is fraught with danger as modern art abhors photo-realism and definitely the spatial illusion is a raging anathema in the canon of modern art. This is a testimony to 'freakish talent' of Dali that he pulled off the audacious artistic coup of 'renaissance like modern art'.
His New York Times obituary in January 1989, while talking of Dali's virtuosity and his abilities as a 'high-concept painter', said "by his involvement with that modernist taboo, spatial illusionism. Dali did not simply resurrect Renaissance perspective. He used it as it had never quite been used before, to delineate an immense emptiness that was both terrifying and seductive, infinite and exact." "There was nothing he could not do in the way of exactitude: When the occasion called for a representation of a landscape, a seascape, a skyscape, a beautiful woman, a loaf of bread or an expensive watch, he did it to perfection in a style that was all reassurance. Only after a closer look did it become clear that the watch had gone soft like overripe Camembert, that very peculiar things were happening to the beautiful woman, and that it would be a mistake to put too much trust in the lyrical perfection of the land and the sea and the sky. Realism for the Unreal World" said another mourner when he passed away.
''We Surrealists are not artists,'' he is quoted to have said ''Nor are we really scientists। We are caviar, and caviar is the extravagance and the very intelligence of taste.'' This "very intelligence of taste'' was a result of his talent that collided with the rampaging intellectual landscape of his time. He was evolving and prospering in one of the most stimulating times. Communism, fascistic thought schools, capitalism in political economic areas, world wars, scientific developments and new ideas in social sciences and humanities impacted him very deeply.
Of the quartet of Modern Masters of 20th Century i.e. Picasso, Matisse, Dali and Warhol, only Dali has shown influence of reigning ideas or even ideologies in some discernible fashion. Picasso, though a member of Communist Party, was remarkably untouched by the events of his day. His Guernica is one of the few paintings that inspire comment on the happenings of the day. Matisse, the painter of refuge and luxury lived in one of the most difficult times during French occupation but his paintings do not carry even the slightest trace of commentary on the events of the time. Warhol benefitted by the contemporary feel of his work by painting the icons of his time but he is not about representation but about presentation. He is not propagating anything, just putting a frame to things and elevating them to the level of art. Dali on the other hand, is illustrator of the ideas that shaped the first 75 years of the last century. His paintings are virtual encyclopedia of the ideas like Psycho-analysis started by great Sigmund Freud. He found many explanations of his sexual and existential anxieties in the concepts of psychoanalysis. He found strong justification for his fascination with sexual inadequacy, threat from father figures and almost morbid allure of death. Things which were cause of his pathological shyness in his adolescence became a badge of honour for him in his later years. Similarly, scientific leaps in quantum physics also found literal representation in his output. Here his fascination rested on the possibility of an alternate reality a deeper more nuanced reality which could be imagined by a contradictory combination of ultra realistic attention to details and taking a flight of imagination that is totally oblivious of rules of Newtonian rationality. With all his bizarre other worldliness he remains a child of his times. These developments encouraged dreamlike output while grappling with the expression of 'true reality'. Advent of cinema also accentuated this rising respect for non-rational, dream-like representation of reality. At that time they may not look very realistic but definitely alerted fertile minds to experiment away from the reigning notion of modernity.
Dali collaborated with Luis Buñuel on two of the underground classics of 20th century film, Un Chien Andalou (An Andalusian Dog) and L'Age d'Or (The Golden Age); he was more in sync with the dynamics of cinematic reality than any other painter of his day, "partly because he was obsessed by the power of cinema to make dreams immediate।" Hitchcock also used him for his dream sequence in Spellbound. He was, like Picasso, taking away the layers of veneers that were obfuscating the reality by venturing into absolutely new ways of depicting it. Difference was he was doing with the tools given to him by the intellectual climate of his times.
Whenever he realized the promise of this complex baggage, the results have been truly great. His 'dreamlike quality' of cinema were obtained in The Persistence of Memory, 1929, with the softness of watches seemingly unrelated stench of death and an atmosphere of serene morbidity has made it one of the most famous painting of all time. Paranoiac-Astral Image, 1934 illustrates his psyco-analytical obsession in all its majesty। On a vast and empty wilderness of a beach four images are dispersed. "A fragment of an amphora suggests "deep" time, the Greco-Roman past of the Catalan coast. A distant woman, perhaps the constantly remembered nurse of Dali's childhood, is almost bleached out by the sunlight. In a stranded boat, another woman, probably his muse and wife Gala, confronts a boy in a sailor suit who can be none other than Dali himself. And on the left, the hated figure of Dali's father strides along in a three-piece suit, casting a long shadow" says Robert Hughes. You are literally reading a book by Sigmund Freud. 'Dali's greatest and most frightening work: the Soft Construction with Boiled Beans--Premonition of Civil War, 1936." Is considered to be the most eloquent anti war artwork of all times, even, according to many, surpasses Picasso's Guernica. Let me quote Hughes again "with this single painting, Dali moved into the territory of Goya. This monstrous Titan in the act of tearing itself to pieces is the most powerful image of a country's anguish and dismemberment to issue from Spain (or anywhere else) since Goya's Desastres and Disparates. And every inch of it, from the sinister greenish clouds and electric-blue sky to the gnarled bone and putrescent flesh of the monster, is exquisitely painted. This, not Picasso's Guernica, is modern art's strongest testimony on the Spanish Civil War." Remember Robert Hughes in no fan of Dali. After all, it is all about intelligence of taste.
is lekh kee spstataa , sahjataa aur weg prabhaavit kartaa hai .wwastawikataa ke banaawateepan kee khokhal kee cheer faad krne men daalee ne jis klpanaasheelataa kaa aawishkaar kiyaa wah duniyaa kee thaatee hai .atiyathaarthwaad ne hee darasal us jameen kee khoj kee thee , jis par jaaduee yathaarthwaad kee maayaa nagaree aabaad huyee. samaajwaadee swapn ke viroopn ne jis vidrohee kalaa ko janm diyaa , wah akaele chhoot gaye vyakti kee gahree yaatnaa aur awasaad se kabhee mukt n ho sakee. pikaso aur daalee men shaayd badaa farq yahee hai ki ek kee kalaa men vidroop ne jeewan ke ullas ko nasht naheen kar diyaa hai , jab ki doosre ke yaahn ullaas vidroop ban kar hee jeewit hai.
tum behad sanjeedaa aur umdaa kaam kar rahe ho . angrezee men aisaa kaam aur log bhee kar rahe honge , lekin hindi men is or ruchi rakhne wale gine chune log bhee naheen hain. tum hindi bahut achhchee likhte hao . meraa sujhaaw hai ki tum hindi men kaam karo to hamare jase logon ke liye adhik moolywaan hogaa.
Ashutosh. Though I am quite sure that 'review method' is at work, phir bhi tumahare comment ke liye main bahut aabhari hoon kyonki isne mujhe bataaya asli analysis kaisi hoti hai. Hindi main aaram to hai par ab meri bhasha bahut sankuchit ho gayi hai. Paragraph ke baad shabd repeat hone lagte hain. padna kam hota hai to likhne ka bhi awasar kam he aata hai.
यह सब बेकार की बहानेबाजी है. यकीन करो , मैं भी अपने आप को ऐसे झांसे देता रहता हूँ.तीनेक लेख तनिक झुंझलाते हुए लिखोगे तो चौथे में मज़ा आने लगेगा. वैसे तुम अंग्रेज़ी लिखो या फ्रांसीसी या भांड में जाओ, मुझे तुम्हारी ज़रा भी फ़िक्र नहीं है. मुझे फ़िक्र हिन्दी की है , जिस में इन विषयों की चर्चा का डरावना अकाल है .इन में रूचि लेने वाले सब अंग्रेज़ी ही पढते हैं , और फिर अंग्रेज़ी में भी कुछ लिखने की जगह केवल 'अंग्रेज़ी' लिखते हैं.तुम काम की चीज लिख रहे हो .हिंदी में इन को पढ़ने के प्यासे बहुत मिलेंगे.चीजें जरूरत की जगह पहुंचेंगी . अंग्रेज़ी में हम जैसे तुम्हारे नालायक दोस्तों के अलावा इन्हें पढ़ने वाला भी आखिर कौन है.मेरे सुझाव पर दुबारा गंभीरता से सोचना.
Good that it went to spam.


Originally from California, I'm a long-term resident of Prague, where I write journalism about travel and food and drink (often beer), mostly for the New York Times, as well as other publications. I generally cover central and eastern Europe, but I've also filed stories from places like England, Italy, France and Switzerland.
In 2006, I researched and wrote my own guidebook from the ground up: Good Beer Guide: Prague and the Czech Republic (CAMRA, 2007; now out of print), which guided thirsty travelers through all the breweries and all the beers of the world's leading beer-drinking nation. I've also contributed to Fodor's and other guidebooks, writing updates on the Czech Republic, Slovenia, Croatia, Hungary and elsewhere.
My more creative pieces — poems and essays — have appeared in the New Republic, the Times Literary Supplement (TLS), Poetry Review, Agni, Metre, Zyzzyva, and many other journals. My poetry chapbook, Tsunami, was published by Metre in Ireland, just a few weeks before the tsunami of 2004. It was called "a poised debut… full of fruitful dislocations… a challenge to anyone who believes that a vibrant poetry can only emerge from rootedness… [a] marriage of gusto and attentiveness" by Stephen Knight in a review in the TLS. I've performed — meaning "read poetry on stage in front of an audience" — at poetry festivals and events in Bratislava, Berlin, Sarajevo and San Francisco.
I've appeared on television a few times, most famously on the Prague episode of "No Reservations," where I guided Anthony Bourdain through a decrepit Czech brewery, nearly breaking my leg in the process. I've talked about Czech beer with Phil Black on CNN, explained what it feels like to take a beer bath in the "beer" episode of "How Stuff Works" on the Discovery Channel, and been interviewed on a number of radio programs, including the BBC World Service, Deutsche Welle, Radio Prague and Hungarian National Radio, among others. Several anthologies have also featured my work, including Travelers' Tales, Best Food Writing, and The New York Times Book of Wine.
My recent writing has focused on the essay, starting with a bestselling Kindle Single in 2012, Why Beer Matters, as well as a followup, In Praise of Hangovers, later that year. In early 2014 I published another Kindle Single, Why We Fly: The Meaning of Travel in a Hyperconnected Age, which focused on the meaning of the voyage from the point of view of a travel writer, starting with the story of a difficult road trip to Hungary's Tokaj wine region. I'm also working on fiction, publishing Triplebock: Three Beer Stories in 2013. More fiction, memoirs and essays are forthcoming.


text:
Home Insights Industries Press Releases Corporate Counsel Identify a Significant Need for Improvement When Evaluating E-Discovery Effectiven
Corporate Counsel Identify a Significant Need for Improvement When Evaluating E-Discovery Effectiveness
Aven James
Bliss Integrated Communication
aven@blissintegrated.com
NEW YORK - Corporate counsel report substantial room for improvement when it comes to handling and managing e-discovery, giving internal and external resources a grade of 6.5 out of 10 for overall effectiveness, according to the inaugural Inside E-Discovery Survey by BDO Consulting, a leading provider of Financial Advisory, Business Advisory and Technology Services worldwide.
When asked to identify the critical factors impacting their e-discovery process, the largest percentage of in-house legal professionals (48.4 percent) rank understanding the universe of potentially responsive evidence early in the case as the most important, followed by predicting the total cost of e-discovery (15.6 percent) and reducing e-discovery review fees (14.1 percent). Another 12.5 percent report the ability to use previously collected and processed electronically stored information (ESI) for other matters as the most important factor, pointing to a desire among corporate counsel to achieve efficiencies by reusing prior work product.
"Big Data poses a significant challenge for organizations when it comes to managing e-discovery," said Stephanie Giammarco, Partner and Forensic Technology Services practice leader with BDO Consulting. "As the volume and variety of electronically stored information increases, it becomes more difficult and more costly to identify potentially responsive evidence. Corporate counsel are looking for ways to decrease data volumes, increase efficiencies and reduce costs to adjust to this Big Data landscape."
To respond to the increasing demands of e-discovery, 31.4 percent of in-house legal professionals report implementing new guidelines or policies within the past year to streamline and improve their response to litigation. One in four (25.5 percent) say they have adopted tools and technologies, while 15.7 percent say they have hired an outside vendor.
Managing Mobile & Social Networking Data and Cost Control Identified as Key E-Discovery Challenges
When asked about key forward-looking challenges with regards to e-discovery management, the largest percentage of in-house counsel (22.5 percent) say managing mobile and social networking data is the number one issue they will face in the near future, followed by cost control (17.5 percent), new regulations (15 percent) and automating processes (12.5 percent).
"With the rise of mobile devices and use of social sites in the workplace, corporations must consider the nuances of preserving, extracting and analyzing new and emerging types of electronically stored information," said BDO's UK Forensic Technology Services Practice Leader William Wilkinson. "The policies and protocols established by organizations and their legal counsel today to preserve and collect mobile or social electronic evidence will be critical in litigation and investigations moving forward."
New Tools & Technologies Provide Significant Opportunity to Shape the Future of E-Discovery
Even though roughly one-quarter (25.5 percent) of corporate counsel have started using tools and technologies related to e-discovery in the past year, few feel they are ahead of the curve. In fact, only 5.4 percent identify their organization as an "early adopter" when it comes to its willingness to adopt new tools and technologies. Correspondingly, only 17.6 percent of in-house counsel currently use customized customer portals to view and track project statistics and only 16.2 percent use data visualization techniques to assist in priority processing or review.
"While many companies are using technology to identify and collect potentially responsive information, the full potential of new and emerging tools is not yet being realized," said Karen Schuler, Managing Director in BDO Consulting's Forensic Technology Services practice. "We expect the next few years will show further adoption of advanced tools and techniques, such as computer assisted review, data analytics and data visualization, which will not only reduce e-discovery costs, but increase efficiency and better inform litigation and investigative strategies, as well as information governance policies and procedures."
Other major findings from the Inside E-Discovery Survey by BDO Consulting include:
"Data privacy and security laws" rank as the greatest cross-border e-discovery challenge with 66.7 percent of corporate counsel ranking this as the greatest challenge they face when managing cross-border e-discovery.
"Multinational, multi-jurisdictional and multi-lingual data collection and review are becoming increasingly complex," said Glenn Pomerantz, Partner and Global Forensics practice leader with BDO Consulting. "Corporations must understand cultural norms, data privacy laws and foreign language nuances to effectively navigate international investigations and manage e-discovery engagements."
E-discovery spending is expected to rise with 43.2 percent of corporate counsel predicting e-discovery spend will increase within the next year, while a mere 6.2 percent expect it to decrease.
Corporate counsel look for quality at the right cost when selecting e-discovery providers with 47.6 percent ranking quality as the most important factor, followed by 23.8 percent ranking cost as most important.
"Quality is paramount in e-discovery, and we know that in-house counsel are focused on mitigating the risks and costs associated with not getting it 'right'," added Giammarco. "As the sector evolves, corporations continue to seek out providers that they trust to deliver comprehensive, defensible and reliable e-discovery services."
The Inside E-Discovery Survey by BDO Consulting is a national survey conducted by BTI Consulting Group, an independent and impartial research firm. BTI surveyed 100 senior in-house counsel at leading corporations throughout the U.S. to collect their insights for BDO Consulting's inaugural study.
About BDO Consulting
BDO Consulting, a division of BDO USA, LLP, provides clients with Financial Advisory, Business Advisory and Technology Services in the U.S. and around the world, leveraging BDO's global network of over 55,000 professionals. Having a depth of industry expertise, we provide rapid, strategic guidance in the most challenging of environments to achieve exceptional client service. For more information, please visit www.bdoconsulting.com.
About BDO
BDO is the brand name for BDO USA, LLP, a U.S. professional services firm providing assurance, tax, financial advisory and consulting services to a wide range of publicly traded and privately held companies. For more than 100 years, BDO has provided quality service through the active involvement of experienced and committed professionals. The firm serves clients through 52 offices and more than 400 independent alliance firm locations nationwide. As an independent Member Firm of BDO International Limited, BDO serves multi-national clients through a global network of 1,264 offices in 144 countries.
BDO USA, LLP, a Delaware limited liability partnership, is the U.S. member of BDO International Limited, a UK company limited by guarantee, and forms part of the international BDO network of independent member firms. BDO is the brand name for the BDO network and for each of the BDO Member Firms. For more information, please visit www.bdo.com.


text:
Elvera M. Campanella of Fairhaven, at 95
PUBLISHED: January 18, 2011 at 12:00 a.m. | UPDATED: November 18, 2018 at 12:00 a.m.
Elvera M. "Ellie" (Erickson) Campanella of Fairhaven, died Thursday at Hathaway Manor in New Bedford. She was 95.
Born in Cranston, R.I., she was raised in Fairhaven. She lived in Manchester, N.H., for 24 years and later in Boca Raton, Fla., and Pompano Beach, Fla. She returned to Fairhaven nine years ago.
Wife of the late Samuel R. and George E. Benoit, Mrs. Campanella is survived by three stepdaughters, Marcia Benkert of California, Janice Payne of Florida and Susan Pratt of the U.S. Virgin Islands; a brother, Eric Erickson of Fairhaven; a sister, Doris Armitage of Middletown, Conn.; and several nieces and nephews.
A funeral service will be held at 11 a.m. Thursday at Saunders-Dwyer Home for Funerals, Mattapoisett.
Burial will be in Riverside Cemetery, Fairhaven.
Obituaries |
Actress Cindy Williams dies; starred as Shirley in TV's 'Laverne & Shirley'
Lisa Loring dies; played Wednesday on TV's 'Addams Family'
'24,' 'Runaways' actor Annie Wersching has died at 45


How to make a potato puree with no milk !
Wash the potatoes under running water and peel them.
Cut them into medium pieces, put them in the cooking pot, add salt, add water until they're half covered then cover the pot and put at medium heat.
Add black and white pepper to taste as soon as they start softening. Test the potatoes with a fork until they are soft enough.
Allow them to cool for a few minutes and smash them with the immersion blender.
Add the olive oil little by little and blend again.
Do not add all the olive oil at a time to make sure you do not put too much.
Keep tasting and adjusting the oil, pepper and salt as needed.
You should end up with a smooth, textured, delicious and nice smelling potato puree with no milk!


(b) secure the development of that railway network.
(7D) In calculating how best to exercise the functions referred to in subsection (7C), the Secretary of State shall have regard to any strategy made by him under subsection (7E).
(e) policies for community railways.
(7F) A draft of the strategies made by the Secretary of State under subsection (7E) shall be laid before, and approved by a resolution of, each House of Parliament every three years.""
Their Lordships divided: Contents, 120; Not-Contents, 136.


text:
Conus olgiatii é uma espécie de gastrópode do gênero Conus, pertencente à família Conidae.

Referências

Ligações externas

Conus
Gastrópodes descritos em 2007

redpajama_set_name: RedPajamaWikipedia