Below is a list of 10 free Kindle ebooks, all highly-rated titles with lots of reviews.
Amazon also has the refurbished entry-level Kindle marked down to $49, both white and black editions. That's $30 off the price of a new one.
Please note that the free Kindle books listed below are free as of August 29th, 2017. Most of these titles are free for a limited time only and will expire in a few days before going back to the regular list price.
Special Agent Sophie Ang's emotions are battered by a child kidnapping case that goes badly wrong. In tracking the criminal ring, her rogue data analysis program D.A.V.I.D. identifies an anomaly that leads her into a cat-and-mouse game online with a deadly enemy whose motives are unclear. The chase lures her through dark corridors of cyberspace into a confrontation with the violence from her past that sent her fleeing to the United States. She'll need every skill she's learned to defeat her worst nightmare–and the stakes couldn't be higher. Can Sophie both defeat her past, and protect her heart from a fascinating cyber vigilante?
Demons are real. And they're coming for this world… Small-town waitress Lily Eichorn is blind, but her world isn't dark. She sees the souls of those around her. However, she has no idea the evil about to be unleashed on every single person on Earth. Asher Symonds works with the supernatural. He's dealt with witches, shifters, and werewolves, but never a seer as talented as Lily. He needs her to stop a centuries-old legend from unleashing its horrors. But she knows nothing about his world, and he has no idea how deep her power goes. Can a blind girl see through the darkness that's coming and lead the world into the light?
When DARPA's billion-dollar program to create Artificial Superintelligence is sabotaged, US operative Cameron Carr is tasked with finding the culprit. He's been on high-stakes missions before, but this time the stakes are nothing less than the future of humanity. Because the race to evolve a superintelligent computer is on, and power players around the world will stop at nothing to get there first. In the right hands, Artificial Superintelligence could lift humanity to towering heights. But in the wrong hands, this technology could represent the greatest threat humanity has ever seen . . .
Gabriel Miller swept into my life like a storm. He tore down my father with cold retribution, leaving him penniless in a hospital bed. I quit my private all-girl's college to take care of the only family I have left. There's one way to save our house, one thing I have left of value. My virginity. Gabriel appears at every turn. He seems to take pleasure in watching me fall. Other times he's the only kindness in a brutal underworld. Except he's playing a deeper game than I know. Every move brings us together, every secret rips us apart. And when the final piece is played, only one of us can be left standing.
Meet Conor McBride. A man with deadly skills he never wanted to learn. But if he wants to survive, he'd better start using them. Fast. He was a talented musician once, but now he's disappeared into an undercover identity to search for the man who ruined his career: his own brother. On a journey from the green fields of Ireland to the tumultuous streets of India, Conor McBride is following the trail of a brother who betrayed him, but he's playing a dangerous game without rules. More betrayals are on the way as he comes to realize the allies he trusted to help him might be the people he should fear the most.
Allie, sick of war and grief, signed up as a lowly maintenance worker for the Complex in the hope of securing a lasting peace between the Metas and Humans. However, the girl has her own secrets, not least of which is her assignment from the Lorn government to monitor the Complex for signs of a suspected saboteur. Galen, the only survivor of the Poseidon shipwreck, didn't join the Complex for peace. He wants vengeance on the siren Halcyon, the mysterious Mer whose terrorist tactics single-handedly killed more humans than any other Meta. His sources say that Halcyon is on Lorn, and he'll happily kill every Mer in the Complex until his parents' murderer is dead. Can they catch the terrorist before the Complex is destroyed?
I may be the only one but I would actually like to see Amazon release a 300 ppi basic kindle without a front light.
Because the text would be a lot sharper and a lot bolder as opposed to the Kindle paperwhite or Voyage or Oasis.
It also wouldn't undercut any of the front lit readers because it wouldn't have a front light. I don't see why they don't release one.
To continue releasing a basic Kindle at 167ppi wouldn't be an upgrade and would be pointless as they are already thin enough from a hardware perspective. There would be no point in upgrading to a new basic Kindle at that resolution.
I like it too, but I would love it at 300 ppi.


I agree that secret corporate spending is damaging to democracy.How did the public benefit from the barrage of political ads in the 2012 election? Not much. The money could have been spent much more wisely.


Left-handed vertical mouse: how steep is the learning curve?
Main keyboard: IBM Model F 6110344 "Battleship"
I'm right handed. I'm three days in now, getting a bit more natural but it still feel quite clumsy to work with.
Anybody have experience on that? How steep can I expect the learning curve to be?
I tried that a few years ago (but with a regular mouse, not a left-handed one). Took me a couple weeks to adjust, but wasn't hard. I then went back for no real reason and haven't tried again — perhaps I should.
I have owned a left-handed vertical mouse only for a week, but I regularly use right-handed "vertical" mice.
For me, it was the different-handedness that was the hardest to get used to, not that it was vertical.
Did you go with the left hand for ergonomics?
It took me 2-3 months to get back up to speed switching from QWERTY to Dvorak keyboard layouts, I think that would be a much longer process than changing mice hands. I use a righty Anker which only took a few days to get adjusted to - best of luck.
MajorMajor wrote: ↑ Did you go with the left hand for ergonomics?
That, and optimal keyboard-mouse combination.
I should mention that it does not matter if the mouse is vertical... I think. I've been using a right-handed vertical mouse from more than 6 months now; I could use it almost as fast as a regular mouse right off the bat.
Just keep going. Vertical mice (left or right) feel really clumsy at first, and after a few years I'm still faster with a flat mouse in my right hand, but after a while that would start to hurt. In my my, the transition was well worth it.
To me, true "vertical" mice are no good but 45-degree mice are about ideal.
I have used right-hand vertical mice for several years, but I keep a standard symmetrical mouse (Microsoft Optical) on the left side.
Some years ago I used a right-handed Evoluent every day at work. The biggest annoyance for me was not the shape but that that mouse "corrected" vertical and horizontal movements to be precisely vertical or horizontal. Having moused for most of my life I had a feel for where the pointer was supposed to be when I moved it.
I don't know if they have changed it since in newer models.
Maybe trying to distinguish those subtly different shades of purple slowly damages the mind …At least we're no longer blaming Alps for insanity.
Vertical mice sacrifice speed and precision for comfort. Personally, even after using a vertical mouse for months, when I switched back to a flat mouse, I was both faster and more precise with my clicking, but less comfortable. However, perhaps my experience is anecdotal.
rich1051414 wrote: ↑ Vertical mice sacrifice speed and precision for comfort. Personally, even after using a vertical mouse for months, when I switched back to a flat mouse, I was both faster and more precise with my clicking, but less comfortable. However, perhaps my experience is anecdotal.
I agree to you, my experience is similar. I could not be the same precise with vertical mouse as with the regular one even after a weeks of using it.
Vertical mice sacrifice speed and precision for comfort.
I could not be the same precise with vertical mouse as with the regular one even after a weeks of using it.
Were either or both of you using the horrible Evoluent mouse? In my opinion, that is the worst mouse ever made, impossible to control and wretchedly uncomfortable.
Try a 45 degree mouse like the Anker or Joy Pen before you give up completely.


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Book Review: A Cultural History of Fashion in the 20th & 21st Cen.
I've been thinking for a while about doing some kind of study-at-home course to learn more about the history of fashion.When I chose my university major all those years ago, I didn't choose things which particularly interested me on an intellectual level. I chose something I thought would be fun (I got to live abroad for a year) and would help me get a job at the end of it all. Oh, how I'd do things differently if I did them now!
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text:
Q: Editor does not contain a main type Just going through the sample Scala code on Scala website, but encountered an annoying error when trying to run it.
Here's the code: http://www.scala-lang.org/node/45. On running it on Eclipse, I got this message 'Editor does not contain a main type' that prevents it from running.
Is there anything I need to do...i.e break that file into multiple files, or what?

A: In Eclipse, make sure you add your source folder in the project properties -> java build path -> source.  Otherwise, the main() function may not be included in your project.

A: You can try to run the main function from the outline side bar of eclipse.

A: I had the same problem. I tried all sorts of things. And I came to know that

*

*My .java files were not linked and

*they were not placed in the 'src' folder.

Things I did:
Project properties >> Java Build Path >> Source

*

*Deleted the original 'src' folder which was empty using 'Remove' option

*Added the source that contained my source .java files using the 'Add Folder' option

This solved the error.

A: Just close and reopen your project in Eclipse. Sometime there are linkage problems. This solved my problem

A: What you should do is, create a Java Project, but make sure you put this file in the package file of that project, otherwise you'll encounter same error.

A: A quick solution:
First, exclude the package:
Right click on the source package >> Build Path >> Exclude
Then include it back:
Right click on the source package >> Build Path >> Include

A: I have this problem a lot with Eclipse and Scala. It helps if you clean your workspace and rebuild your Project.
Sometimes Eclipse doesn't recognize correctly which files it has to recompile :(
Edit:
The Code runs fine in Eclipse

A: A simpler way is to close the project and reopen it.

A: That code is valid. Have you tried to compile it by hand using scalac? Also, have you called your file "addressbook", all lowercase, like the name of the object?
Also, I found that Eclipse, for some reason, set the main class to be ".addressbook" instead of "addressbook".

A: you should create your file by
selecting on right side you will find your file name,
under that will find src folder their you right click select -->class option
their your file should be created

A: Make sure that your .java file is present either in the str package, or in some other package. If the java file with the main function is outside all packages, this error is thrown.

A: Have faced the similar issue, resolved this by right clicking on the main method in the outline view and run as Java application.

A: You have to make sure that your .java files are in the .src folder in eclipse. I had the same exact problem until I got it figured out.

A: Just make sure that the folder you work in is added to the built path:
right-click your folder --> build Path --> Use as source Folder
and it should now find main therein.

A: I just had this problem too. The solution is to make sure eclipse created the project as Java project. Just create a new Java project and copy your class into the src folder (and import the eventual dependencies). This should fix the problem.

A: The correct answer is: the Scala library needs to before the JRE library in the buildpath.
Go to Java Buildpath > Order and Export and move Scala library to the top

A: I had this problem with a Java project that I imported from the file system (under Eclipse Helios).  Here's a hint: the src code didn't seem to be compiled at all, as no "bin" directory showed up.
I had to create a Java project from scratch (using the wizard), then compare the .project files of the non-working and working projects.
The project giving "Editor does not contain a main type" had this as the "buildSpec" in the .project file:
<buildSpec>
</buildSpec>

But the working project had this as the "buildSpec":
<buildSpec>
    <buildCommand>
        <name>org.eclipse.jdt.core.javabuilder</name>
        <arguments>
        </arguments>
    </buildCommand>
</buildSpec>

I copied this in, and the imported project worked.
I know my answer is for Java, but the same might be the issue for your Scala project.

A: May be the file you have created is outside the src(source) folder. Trying to call the class object(from the file located in the src folder) from the .java file outside the source folder results in the same error. Copy .java file to the source folder, then build it. The error will be gone.

A: I had the same problem. I had the main class out of the src package, in other folder. I move it in and correct folder and solved

A: run "eclipse -clean -refresh" from command line.  This fixed the issue for me when all other solutions failed.

A: This could be the issue with the Java Build path.
Try below steps :

*

*Go to project properties

*Go to java Build Path

*Go to Source tab and add project's src folder

This should resolve the issue.

A: If it is maven project please check the java file is created under src/main/java
If you are not getting please change the JRE path and create the java files in above folder structure

A: For me, in Eclipse 3.6,  this problem occurs when my main method is not public.  I caused the problem by having a main method like this:
static void main(String[] args)

The dubugger was unable to detect this by itself.  I am pretty suprised Eclipse overlooked this.

A: Follow the below steps:

*

*Backup all your .java files to some other location

*delete entire java project

*Create new java project by right click on root & click new

*restore all the files to new location !!

A: In the worst case - create the project once again with all the imports from the beginning. In my case none of the other options worked. This type of error hints that there is an error in the project settings. I once managed to solve it, but once further developments were done, the error came back. Recreating everything from the beginning helped me understand and optimize some links, and now I am confident it works correctly.

A: File >> Import >> Existing Projects into Workspace >> Select Archive Filed >> Browse and locate file >> Finish. If its already imported some other way delete it and try it that way. I was having the same problem until i tried that.

A: One more thing to check: make sure that your source file contains the correct package declaration corresponding to the subdirectory it's in.  The error mentioned by the OP can be seen when trying to run a "main type" declared in a file in a subdirectory but missing the package statement.

A: I have this problem too after I changed the source folder. The solution that worked for is just editing the file and save it.

A: Try 'Update Project'. Once I did this, The Run as Java Application option appeared.

A: In my particular 'Hello World' case the cause for this problem was the fact, that my main() method was inside the Scala class.
I put the main() method under the Scala object and the error disappeared.
That is because Scala object in Java terms is the entity with only static members and methods inside.
That is why Java's public static void main() in Scala must be placed under object.
(Scala class may not contain static's inside)

A: On reason for an Error of: "Editor does not contain a main type"
Error encountered in: Eclipse Neon
Operating System: Windows 10 Pro
When you copy your source folders over from a thumb-drive and leave out the Eclipse_Projects.metadata folder.
Other than a fresh install, you will have to make sure you merge the files from (Thrumb-drive)F:Eclipse_Projects.metadata.plugins  .
These plug-ins are the bits and pieces of library code taken from the SDK when a class is created.  I really all depends on what you-----import javax.swing.*;-----  into your file.  Because your transferring it over make sure to merge the ------Eclipse_Projects.metadata.plugins------ manually with a simple copy and paste, while accepting the skip feature for already present plugins in your Folder.
For windows 10: you can find your working folders following a similar pattern of file hierarchy.
C:Users>Mikes Laptop> workspace > .metadata > .plugins <---merge plugins here

A: This is an easy way to solve it:

*

*Right click on source folder -> Build Path -> Remove from Build Path

*Right click on source folder -> Build Path -> use as source folder

A: You need locate file .java in folder src (in Project Explorer of Eclipse) and then it run.
I have just add a file .java into project and it isn't in folder src, so I have a same error.
I put again it into src, then it was build.

A: Instead of adding File,  add class. File->New->Class. That fixed my issue.

A: Add a main method method inside the class to overcome this problem. I was facing the same issue regarding this.Now Including the main method inside my code i resolved my problem.

redpajama_set_name: RedPajamaStackExchange


text:
What Dance Tells Us About the Uses and Limitations of Art
NFTs may be able to help creators monetize their work, but questions of copyright and ownership have yet to give creators true ownership over their creations.
Fran Velasquez
Nov 3, 2022 at 12:38 p.m. UTC
Updated Nov 4, 2022 at 1:00 a.m. UTC
Fran is CoinDesk TV's writer and reporter. He owns no crypto holdings.
Follow @_franvela on Twitter
The digital squirrels, cyborgs and cowboys on Fortnite danced in 10-second intervals, recalled Jorge Poveda Yanez, a Ph.D. candidate who studies dance at Ghent University in Belgium. He was mesmerized by their rhythmic pulses, by these digital avatars programmed to move in unison: thrusting pelvises, flailing arms, stomping feet. Suddenly it clicked. He had seen this dance before.
Fortnite, the popular multiplayer online game created by Epic Games, is as known today for its dances, called Emotes, as it is for its free-to-play multiverse. But, Yanez suspects, along with other experts and artists, that these moves were likely appropriated from living, breathing dancers – without their consent or compensation.
"They realized their choreographies and their steps were included in the video game and they were not getting any attribution or retribution whatsoever," Yanez said, referring to artists who say their choreography was stolen. (Emotes are sold online in Fortnite's marketplace, and have served as the basis for many dance routines on social media apps like TikTok.)
This is, of course, not the first time someone else's artistic work was copied online. In the age of digitization, where information flows freely and crediting creators is often an afterthought, the lines between inspiration and outright theft have blurred. The problem is particularly pervasive in the world of dance due to loopholes in U.S. intellectual property law and the ease of appropriating step routines without attribution.
Read more: NFTs and Intellectual Property: What Do You Actually Own?
Yanez, an artist, lawyer and university professor, is among a growing number who think crypto has a role to play righting the wrongs enabled by platforms like Fortnite. His work with crypto – which includes university lectures and workshops – extends beyond the realm of law and into how digital innovations are changing the way people think about art.
Even if centralized platforms like TikTok and YouTube have issues, they also help people build brands, increase their audiences and distribute their content. Likewise, blockchain-based tools are not perfect solutions but do help people reclaim ownership of their work on the internet.
"It's undeniable that [crypto] has given artists a renewed sense of agency over their practices," he said. This is all the more important as the traditional world of dance comes to a crossroads with digital and social media.
Yanez teaches a course at the University of Ghent called "Dance and the Blockchain: Commodification and Ownership of Embodied Creativity in the Crypto Space." He also hosts workshops where he discusses how tools like NFTs can help artists monetize and protect their creations.
In the U.S., the government does not register short dance routines under the Copyright Act – even if they are considered to be "unique." The provision, enacted in the late 1970s to protect original works of authorship, actually created a massive gap in intellectual property law around dance, Yanez said.
Even today, in order for a dance to be considered a piece of work that qualifies for registration, it must meet guidelines that show how it is presented in "tangible medium[s] of expression," like video recordings and live performances.
Yanez's course, which took him two years to complete, presented crypto as a tool to monetize movement in order to make up for the vagaries of the law. For artists, non-fungible tokens (NFT) can be attached to a bit of digital media – from a picture to a video to a song – and used to crowdfund artistic projects or earn money on previously produced works. They also provide new opportunities for fans and artists to engage.
Yanez sees this as a new form of digital ownership, which raises interesting questions for academics, lawyers and his students. NFTs, for instance, could help dancers show they performed a specific routine first given that the information would be tied to immutable blockchains. But this is a method that exists outside the boundaries of intellectual property law, he said.
Read more: Should You Copyright Your NFTs? / Opinion
Alandis Brassel, a media attorney at law firm Scale LLP, echoed Yanez comments about the use of NFTs to help creators. However, "They don't provide the same protections, which leaves choreographers unable to protect certain elements of their work from unauthorized use."
That said, there have been experiments to use NFTs as a form of copyright. For instance, Yuga Labs, the company behind the Bored Ape Yacht Club, allows token holders to build businesses around their NFT's characters. Andreessen Horowitz, the venture capital firm, has also proposed a copyright-like classification system for NFTs.
Brassel, who also works as an assistant professor of music business at the University of Memphis, said there is "certainly room for copyright reform." He added that the law today should aim to "account for the evolution of dance and the manner in which dance is consumed by the public."
"The Congress that passed the Copyright Act of 1976 could not have contemplated dances 'going viral' on social media or being replicated by video game characters," Brassel said. "An updated copyright law should reflect dance's current place in society."
These concerns were not ignored by Yanez. "Even though we did clarify [an NFT] is not the same as [a copyright], we were thinking about how powerful these alternatives are," Yanez said. NFTs give people a type of "stewardship" to "decide how their dances are circulated, sold and if they want to commodify them [or] if they don't."
Dance and the Blockchain seminar. (Jorge Poveda Yanez)
Conversations over commoditization
Fourteen infrared cameras hovered overhead at the Art and Science Interaction (ASIL) Laboratory in Ghent, recording Yanez and his students' movements. The "high tech" effort was an attempt to bring his course into life – capturing the performances of everyone involved.
Over the course of a three-day workshop in August, Yanez led an hour-long panel discussion on the issues covered in his course, hosted seminars and NFT minting workshops, watched "movement demonstrations" and set up virtual reality (VR) installation demos. There was a level of artifice, as there is in any academic environment, Yanez said.
The design of the workshop called attention to one of Yanez's major themes: the difference between traditional and modern culture. Dance, which only requires a body, is likely one of humanity's oldest forms of artistic expression. And now that everyone has a smartphone with a camera, Yanez is interested in the line between when normal, everyday life becomes art.
Yanez's students were particularly interested in discussing the digitization of performance art, which tends to turn experiences into something that can be commoditized. NFTs, here, seem like a potential solution and part of the problem, he said.
Read more: The Balance Between Art and IP Theft in NFT Culture / Opinion
The workshop "allowed people to express their own anxieties, plans and thoughts about blockchain technology," Yanez said, referring to the feedback he received. Crypto essentially allows anyone to create a market around anything, introducing a type of financialization with which many are uncomfortable.
This issue is particularly acute in contemporary art spaces, where concerns are raised about selling out and authenticity. Even if NFTs can seem like "cash grabs," Yanez said, "we need to shatter these damaging ideas that artists need to be these bohemian, precarious people who always need to be struggling for money, because that's working against us."
Thomas Mack, an attorney at law firm Mack Legal PLLC, put the problem in a more practical way: "[Crypto] enables digital scarcity in a way that was not previously possible, while also allowing creators new revenue streams." In particular, Mack noted how some NFT platforms enable royalty payments to artists paid every time a token exchanges hands.
If the social media panopticon means that any "cultural practice and expression" can be appropriated or put up for sale, isn't better that you can set your own price, Yanez suggested.
Jorge Poveda Yánez during "Dance and the Blockchain" three-day workshop. (Jorge Poveda Yanez)
NFTWeb3CryptoArtCopyright

redpajama_set_name: RedPajamaCommonCrawl


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text:
SHIPPEA HILL STATION, CAMBRIDGESHIRE 4:00
SCROLL DOWN ▼
How quiet is Britain's quietest railway station?
SHIPPEA HILL STATION is in the Cambridgeshire Fens about six or seven miles east of Ely. The BBC recently reported that it was Britain's 'quietest' railway station with just 22 entries and exits last year. I wondered whether this meant it was also exceptionally quiet sound-wise, so I went there to find out.
A single train arrives at Shippea Hill each weekday and on Saturdays at around 7.30am, before moving on towards Norwich. There is no way back until the next day, when you would resume your journey by continuing eastwards and changing at Thetford. One platform has a structure like a bus shelter with a fixed wooden bench inside. Into it someone had gouged I ♡ MEL 2014.
Shippea Hill is a place of absences. The station has no ticket office and no ticket machine. There is a signal box but it doesn't work any more. I know this because my girlfriend's son works for Railtrack, and a few years ago he went out to help dismantle the signal box's innards. 'What's Shippea Hill like?' I had asked him. He smiled. 'There is nothing there.'
Despite the name there is no hill. This was a disappointment, even by the Fenland standards which define as hills the merest nubs and protuberances above the level black soil. The contour lines on the map dawdle between 0 and 5 meters. To the north-west they plot a meandering stream bed, but nothing flows along it.
I set up my recording kit inside the platform shelter. This seemed about right, since it's where anyone would probably spend their time once they'd become bored with sauntering from one end of the platform to the other. The wind scuffled around the shelter and the sky slowly lightened. The track extended in straight lines to the eastern and western horizons.
Crows cawed and some other birds peeped and chattered briefly, one quite close by. A car approached with its tyres noisy on the wet road surface like a boat's wash meeting the shoreline. It went over the level crossing and headed south towards Mildenhall. After a few minutes a Co-op truck followed it.
In December 1976 there was a collision at the next level crossing about a mile to the east. The crossing was manually operated and drivers were meant to raise and lower the gates once they'd phoned the signalman at Shippea Hill. Someone forgot or couldn't be bothered to lower them and so a lorry with a cargo of washed carrots drove into the path of a train. The train driver was killed instantly. The lorry driver escaped without injury. It had been a foggy day.
After an hour-and-a-half I packed away my gear and left the station to have a look around. A long-distance path named the Hereward Way was marked on the map as running northwards alongside the A1101. I could see no sign of it – perhaps you were supposed to walk along the roadside. Immediately to the south of the station was a large, untidy-looking house. Once this had been a pub called the Railway Tavern and a pilgrims' website has a photo of it taken in 1977. I imagine it to have had tables with hammered copper tops in the saloon bar.
A neat sign marked ENGINE FARM pointed along a track running parallel to the railway line. To the left of it was a gate opening into a dumping ground for portakabins and rusting machinery. A board written in faded marker pen announced that there were shipping containers for sale and gave a phone number. Vast fields stretched to the south, nothing growing on them yet. Water from a pipe ran into the drainage ditch, where it had whipped up a pumpkin-sized clot of shuddering foam as startlingly white as the inside of a Tunnock's tea cake.
From the house by the station a small-sounding dog yapped briefly then fell silent. Only the wind remained.
Sound maps/graphics
General sound map
Layered London map
Edgelands
Andre's London
Street life 2017
Sound actions
Radio actuality
BBC sound effects
Street cries
Written references
Unhealthy noise
12 Tones of London
Lifting of Tower Bridge
London Cafes
Richard Beard
The Hackney year
London wildlife
Text-only home page
Honk, Conk and Squacket
Budget mics
The London Sound Survey® | © 2008–19 copyright I. M. Rawes except where stated otherwise.


text:
David Guenette
Artist/Writer/Bartender
TalkTails
DRG's Writings
Arch Art
Number Ten Twelfth Symposium TalkTails: Cocktails Eggsactly Right! Sours, Nogs, Flips, and Fizzes!
By David Guenette October 21, 2019
The use of eggs—either whole or parts thereof (such as egg white)—have been part of cocktails for nearly four centuries, if you go back to the days of adding an egg to ale and then sticking a hot poker into the mug (i.e., a flip). Some of the most iconic cocktails traditionally use egg whites—think Whiskey Sours—but add to this list other cocktail structures such as fizzes and nogs, and there is a whole lot of shell cracking going on.
Eggs in cocktails are good, and good for you, and for some, no doubt, part of a nutritious meal. Mixing in alcohol may also have been a helpful way of protecting against bacteria (salmonella, anyone?), although today's pasteurized egg products remove any such fears from the consumption of raw egg products, and, too, these products are easier to use behind the bar.
In addition to making something of a meal of your drink, the use of eggs has a real and quite delicious role to play in cocktails. Rough liquor can be made smoother, as the egg yolk, egg white, or whole egg adds a creamy mouthfeel, and the overall sensation of an egg-based cocktail is one of richness—consider the nog!—and smoothness. The structures of cocktails that use egg are broad in style, from the smoother sours and fizzes, to the meal-in-a-glass flips and nogs.
Eggs are Extra Work
By the way, eggs in cocktails require extra effort, in that the egg will emulsify with the other ingredients.
Well, here's a definition of "emulsify" from Thrillist [https://www.thrillist.com/glossary/emulsify], an online magazine that has some great articles about cocktails, among many other subjects:
(v.) To incorporate egg whites into a drink, usually by shaking in a cocktail shaker. Agitating the whites causes their proteins to unfold and mixes in air bubbles, creating a nice foam for a cocktail. The whites are typically shaken first with liquid ingredients and no ice in a dry shake, to help them emulsify.
What is dry shaking? In olden times, the cocktail ingredients would be shaken first without ice (i.e., dry), mainly because the ice cools everything (go ahead, argue that point!), which retards emulsification. Emulsification would be done by a) shaking long and hard, and b) adding an agitator such as the spring coil detached from a Hawthorne strainer and then shaking long and hard. The Ramos Gin Fizz became famous in part because of the originator's gimmick of passing the dry shaker around the room so that every server and busboy there would take a turn, sometimes as large a number as fifteen different shakers, according to some accounts.
Enter modern times and the invention of electricity and kitchen wands, and dry shaking to emulsify eggs in cocktails becomes easy-peasy: add ingredients except the ice, and use the wand until the mix emulsifies, which takes mere moments and needs allow no greater than one person to be involved.
I've been told, but as yet have not tried, that the liquid drained from canned chickpeas contains very similar protein structure to egg white and emulsifies in the same way to the same effect. Vegans, therefore, can get into the act, too.
A sour is a traditional structure for cocktails, and one of the oldest structures, described in Jerry Thomas' 1862 book How to Mix Drinks. Sours contain a base liquor, lemon or lime juice, and a sweetener (triple sec, simple syrup, grenadine, or pineapple juice are common), and egg whites are also included in some sours. Common examples of sours are the Whiskey Sour, White Lady, Daquiri, Kamikaze/Cosmos, Margarita, Sidecar, Amaretto Sour, Brandy Sour or Brandy Daisy, Caipirinha, Pisco Sour, and Midori Sour. Neither traditionally or presently do some of these sours typically use egg whites, but about half named here can and do, when the customer so orders or the bartender so demands.
A sour is a traditional structure for cocktails, and one of the oldest structures, described in Jerry Thomas' 1862 book How to Mix Drinks., and, yes, sours can be made with egg white.
The Tartan Sour is a name for a whiskey sour variant, of which there are many. This particular cocktail was described to me when a friend (Thanks, Professor!) and I were discussing Johnny Walker Red, with my declaiming how inferior a product I thought it, and my friend recounting that a pal of his had insisted that Johnny Walker Red made for a terrific-tasting whiskey sour, but only if the older style of using egg white was followed.
I, of course, doubted this.
I, of course, proved myself wrong when I made this recipe and, by golly, my friend's pal was right. A use for Johnny Walker Red! Yay!
By the way, I'm disinclined to use a Scotch in a cocktail and, indeed, find few Scotch cocktails to be of my liking. Mr. Johnny Walker Red has helped me re-consider this prejudice, and a subsequent Symposium will focus on those other fantastic cocktails that incorporate Scotch, although these still remain small in number.
Tartan Sour
2 oz. Jonny Walker Red Label Blended Scotch
1 oz. lemon juice
1 oz. simple syrup
¾ oz. egg white
Garnish with cherry
Add ingredients, dry shake, add ice, shake, and strain into chilled cocktail glass (or on the rocks), and garnish with stick cherry or drop cherry. Use the bitters on top of the foam, be creative, make designs!
Nogs
Egg nog or egg-nog, historically also known (when alcoholic beverages are added) as milk punch or egg milk punch, is a rich, chilled, sweetened, dairy-based beverage. It is traditionally made with milk, cream, sugar, whipped egg whites, and egg yolks (which gives it a frothy texture, and its name). Various types of whiskey, rum, and brandy are to be found in egg-nog recipes, although, no doubt, your grandmother's recipe is the best one in the world, yes?
Here's a modern variant from Liquor.com [https://www.liquor.com/recipes/trick-nog/#gs.7hbu1v], contributed by Morgan Schick.
Trick Nog
Various types of whiskey, rum, and brandy are to be found in egg-nog recipes, although, no doubt, your grandmother's recipe is the best one in the world, yes?
2 ½ oz. Wild Turkey 81 Bourbon
½ oz. Orange juice
½ oz. Cream
¼ oz. Brown sugar syrup
1 tsp Cherry Heering
Garnish: 1 Orange peel and cinnamon
Add all the ingredients to a shaker except ice, dry shake, add ice, shake, and strain into punch cups (the measurements here are for two servings). Grate cinnamon on top and garnish with an orange twist/peel.
I used half-and-half instead of heavy cream and I found the cocktail disappointingly thin (duh), although a number of participants found the lightness appealing, and one or two stating that this style nog could be a more regular choice, even beyond the holidays.
Flips consist of any fortified wine or liquor shaken with a whole egg and sweetened with sugar. They are typically garnished with a dusting of nutmeg and served in a cocktail or coupe glass. Flips can be served hot or cold. The first flips emerged in the late 1600s and consisted of a tankard of ale to which a mixture of sugar, eggs, and spices were added before heating up with a red-hot poker from the fire. That had to be one lazy pilgrim who simply didn't want to bother putting on the kettle.
According to Wikipedia, "The first bar guide to feature a flip (and to add eggs to the list of ingredients) was Jerry Thomas's 1862 How to Mix Drinks [also called, quite wonderfully, The Bon-Vivant's Companion]. In this work, Thomas declares that, 'The essential in flips of all sorts is to produce the smoothness by repeated pouring back and forward between two vessels and beating up the eggs well in the first instance the sweetening and spices according to taste.'"
Wikipedia also reports: "With time, the distinction between egg nog (a spirit, egg, cream, sugar, and spice) and a flip (a spirit, egg, sugar, spice, but no cream) was gradually codified in America's bar guides. In recent decades, bar guides have begun to indicate the presence of cream in a flip as optional."
Flips may be old-style cocktails, but there's a lot of new interest and new recipes out today. From online magazine, VinePair, a story on flips by Natalie Migliarini, who came up with a contemporary flip cocktail [https://vinepair.com/cocktail-recipe/strawberry-mezcal-flip-recipe/] that she discussed, as follows:
Flips may be old-style cocktails, but there's a lot of new interest and new recipes out today. From online magazine, VinePair, a story on flips by Natalie Migliarini, who came up with a contemporary flip cocktail, shown here, Strawberry Mezcal Flip.
The Story Behind the Strawberry Mezcal Flip
This week, I wanted to create a cocktail with some real body to it. I love to combine earthy spirits with strawberries and tequila. The earthy, smoky notes from espadin [most commonly used agave in mezcal] mezcal are the perfect accompaniment to the slightly acidic but very sweet strawberries. To balance the cocktail, we needed a little citrus. Although nothing says Mexico like a little lime, we opted instead for grapefruit to give it that little extra flavor kick. Then we had to find something unique to make this cocktail really distinctive. Amaro is our new go-to for cocktails that are missing that little extra oomph. It's such a versatile liqueur and can add so much to an otherwise ordinary cocktail.
It's taken some time to educate friends and family on egg white cocktails. Naturally, I now have to step it up and show them that the yolk can also be utilized in cocktails, so I decided to make this cocktail a flip. Adding in the whole egg takes it to the next level, with an extremely smooth, creamy texture, and that froth on top makes you want to get a spoon and savor every bit.
I've changed or specified some brands of liquor and amaro.
Strawberry Mezcal Flip
1½ ounces Buho Mezcal
1 oz. Nonino Amaro
1 oz. grapefruit juice
½ oz. simple syrup
1 whole strawberry (chopped)
Combine all the ingredients into a cocktail shaker and dry shake, then add ice, shake, and strain into ice-filled Collins glass, garnish with whole strawberry.
This recipe was most liked by most of the partipants, although yours truly, ever the critic, found the cocktail disappointing, especially with all the work it takes. I think that a bit more simple syrup would have helped, as would have fresh-squeezed grapefruit juice (but talk about work!); experimenting with the mezcal selection would be interesting, too, and more egg, too, to make this a creamier and more foamy drink, I think. But the amount of prep makes it unlikely I'll be experimenting more, and, certainly, makes this cocktail prohibitively bothersome for regular bar service.
A Fizz cocktail is a variation on a classic sour, with added club soda (a.k.a. carbonated water). The history of the Fizz cocktail is inexact, but it was first mentioned in the 1887 edition of Jerry Thomas' Bartender's Guide. The Fizz—especially in New Orleans—was a refreshing alternative to standard cocktails of the day and saw its heyday in the early 20th Century, but remains popular in some forms, such as Tom Collins, as well as the less-often-served Gin Fizz and its even fancier variant, Ramos Gin Fizz.
A classic fizz is the Sloe Gin Fizz, which uses the most English of spirits (yes, Gin) that is infused with Sloe berry that grows wild in the UK countryside. Sloe Gin is very different from standard Gin; in addition to fruit flavor, a decently made good Sloe Gin will have a nut-like flavor aspect and is typically at lower proof than most Gins.
And as with many fizzes, the addition of egg white elevates the drink's taste, mouthfeel, and appearance.
Sloe Gin Fizz
2 oz. Haymans Sloe Gin
½ oz. lemon juice (fresh)
½ oz. egg white
A Fizz cocktail is a variation on a classic sour, with added club soda (a.k.a. carbonated water). The history of the Fizz cocktail is unclear, but its connection to New Orleans is not in doubt. Fizzes can be refreshing alternatives to standard cocktails, but remains popular in some forms, such as Tom Collins, and in the less-often-served Gin Fizz and its even fancier variant, Ramos Gin Fizz.
This was good, although more egg white would make the foam more dramatic and an ounce of a good London Dry or Old Tom Gin would make it more boozy, offset by a bigger glass that can handle a couple more splashes of club soda. The general sense of this drink among the participants was that it was surprisingly refreshing, which was a surprise mainly because they were still working through their preconceptions about egg white use in cocktails.
Previous Article Number Ten Eleventh Symposium TalkTails: More Manhattan!
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Copyright © 2022 David Guenette.


2015 PharmaVOICE 100 Interview with Jules Mitchel Ph.D.
Dr. Jules Mitchel shares what it's like being an inspiration to the industry, how he inspires his team and peers, who has inspired him, and the innovations he is seeing in the industry.
Dignitana AB Collaborates with Target Health Inc.
Dignitana AB announced that the company has submitted for review an application to the US Food and Drug Administration (FDA) Center for Devices and Radiologic Health for approval of the DigniCap™ System. Dignitana engaged the Clinical Research Organization (CRO) Target Health Inc., with offices in New York, in 2011, and Dignitana has been working in close collaboration with Target Health to interact with FDA, conduct the pivotal clinical trial and prepare the FDA application.
The Society for Clinical Research Sites (SCRS) is pleased to recognize and welcome Target Health, Inc., an industry leading full service eCRO, as a new Site Development Partner.
Target Health and Life-On-Key are pleased to announce that Year 2 of a 2 year project, sponsored by a grant from the BIRD Foundation, has begun. The goal of the project is to integrate any electronic medical record (EMR) with any electronic data capture (EDC) system used in clinical trials.
Target Health Inc., and TechnoSTAT Ltd., are pleased to announce a strategic collaboration to provide high quality and competitively priced 21 CRF Part 11 compliant electronic data capture (EDC) and paperless clinical trial solutions to Israeli life science companies.
Target Health Inc., and LifeOnKey Inc., announced at CLINTECH 2013 that they are recipients of a $900,000, 2-year award from BIRD Foundation. The award, entitled, "EMR/EDC HUB - An Electronic Bridge between Medicine and Science," will integrate the EMR with electronic data capture (EDC) systems for clinical trials.
Newest version of the company's Internet-based Document Management and Document Sharing Software.
Target Health was Protalix's CRO partner and together with Cato Israel, who monitored outside of North America, we took this product from toxicology to the pre-IND meeting, IND submission, Phase I, Phase III, Orphan Drug, Fast Track, Expanded Access, multiple FDA meetings and now the eCTD NDA submission.
Robust Document Management Solution for Clinical Trials.
Target Health, Inc is one of thirty-five leading organizations from the clinical research community have pledged support for new initiative.
Target Health, Inc. is one of the twenty-seven leading organizations from the clinical research community have already pledged support.
CytoDyn, Inc. (Pink Sheets:CYDY) has selected Target Health, Inc. for the preparation and electronic filing of CytoDyn's upcoming FDA application using Target Health's proprietary e*CRF® system.


text:
Plan for Construction of a low carbon Development Model City in Yunnan Province
China to build 100 new-energy model cities (2011-04-27)
The plan to build the new-energy cities is included in the 12th Five-Year Energy Plan, a National Energy Administration official told the newspaper.
But, the official said, the concept of "new-energy cities" is still in the early stage of development, adding that the evaluation system and relevant policies are being drafted. They are expected to come out later this year.
The National Energy Administration has not started accepting applications from cities to take part in the program, the report said. Still, some local governments are actively preparing to apply.
http://www.enbar.net/en/2011-04-27/content7_154288.shtml
Reference in Yunnan Province
The Client is one of the important traditional high energy-consuming industrial cities in Yunnan Province. Responding to the plan for construction of LC provincial area and model city in the range of five provinces and eight cities by NDRC (National Development and Reform Committee), the Client maps out citywide natural resources and industrial structure and draw up the plan for building a LC-development model city to set the tone for energy saving & emission reduction and industry transformation in the coming five to ten years. Under the current circumstances, Sunfaith China Co., Ltd. (SF) was entrusted to hold expert-level consultation on industrial development, and to strive for more national policy support by public relations on executive leaders.
On stage I, SF mainly participated in preparing of the plan for LC development model city construction, and provided necessary resources and professional technological support in terms of carbon finance, green projects of public transit and facilities operations managed by municipal administration, utilization of water resources, and recycling of household waste and straw reclamation in rural areas.
http://www.sunfaith.com/files/newsletter%E7%8E%AF%E4%BF%9D%E6%96%B0%E8%83%BD%E6%BA%902011issue2.htm


text:
Q: how to unit test uploading happens when the app is running in the background I want to write a unit test function, which aims at testing uploading happens when the app is running in the background. It is generally like this:
func checkBackgroundUploading() {
   set the UIState to be background
   write a record and upload it to database in this UIState
}

I know how to do the second step, but how to set the UIState to be background?

A: I have had success in testing sounds in the background by using this solution, that I found on SO.
The gist of it is to send the app to the background by programmatically pressing the home button. Hope it helps.
    XCUIDevice().pressButton(XCUIDeviceButton.Home)


Our annual fundraiser. Join us for a catered dinner, presentation on Faith Haven House 2018 and where we will go for 2019, raffles, and silent auction.
Doors open at 5:30. Dinner starts at 6.
Tickets are $30 + website service charge.


Is your body feeling tight, uncomfortable, and easily aggravated and injured? Do the ongoing niggles you feel wear you down?
How do your feet feel at the start or end of the day? How often do your feet feel the ground? How do they feel when you are barefoot?
The following resources may add deeper understanding and value in the journey to a Thriving You.


Ключ за алтернатор 1/2" T50xН17х33Тх113 мм - ZIMBER.Ключ за алтернатор , 33-зъба, диаметър- 19,5мм. Вложка 1/2" с накрайник Т50х113ммL. Application: Mercedes A-Class, Golf 5 and Audi A4 with Valeo Alternators.
Ключ за алтернатор 1/2" T50xН17х33Тх113 мм - ZIMBER.
Ключ за алтернатор , 33-зъба, диаметър- 19,5мм.
Вложка 1/2" с накрайник Т50х113ммL.
For use on Valeo Alternators with free wheel pulleys.
This two piece tool is ideal for dismantling and assembling the free wheel pulley whilst changing the alternator or pulley. The pulley shaft is held in place with the T50 Torx bit on 1/2"DR socket whilst the nut is undone using the 33 teeth Union Nut with 19mm spanner.
Application: Mercedes A-Class, Golf 5 and Audi A4 with Valeo Alternators.
1pc 1/2"DR. Torx socket bit T50x110mm.


Design Town is a new coworking community powered by CIC Boston, Design Museum Boston and Fab Foundation, where designers, makers and CIC members can assemble, collaborate, and innovate. Design Town spans 1,000 sqft of workspace and tools uniquely tailored to meet the needs of creatives, and offers both dedicated and shared desks for rent on a month-to-month basis. Design Town also features Fab@CIC, a digital fabrication lab for prototyping innovative solutions and developing creative designs. In addition, Design Town members and our expert contributors can enjoy all CIC Boston has to offer, including conference rooms, stocked kitchens, unique events and more.


Below is a brief history of the New England Ice Yacht Association. Thanks to former Commodore (1994) Bob Kilpatrick for putting this together and getting us started. We hope it will serve as a jumping off point for an expanded history of our club.
Please feel free to contact us at historian@neiya.org regarding any changes, omissions or additions. We specifically need pictures from the 70's, 80's and 90's as well as first hand historical accounts.
Note: your editor is actively working on the formatting to make it more easy on the eyes.


text:
ASAM News
2015 Conference News
ASAM Home
Heroin-Assisted Treatment Model Discussed
A refractory heroin-dependent patient can expect to lose 25 years of life expectancy as a result of the addiction, a stark statistic presented by Wim van den Brink, M.D., Ph.D., during Friday's symposium "Innovative Models of Addiction Treatment from the International Context."
During "Heroin-Assisted Treatment for Treatment of Refractory Heroin-Dependent Patients," Dr. van den Brink, Director of the Amsterdam Institute for Addiction Research, Academic Medical Center University of Amsterdam, reported on a possible treatment approach in light of a troublesome U.S. study published in 2001. These data showed 48 percent of heroin addicts from an average age of 24.5 to 57.4 had died during the 33-year course of follow-up data.
"Heroin addiction is a chronic, relapsing, and potentially fatal disease," he said. "Over the long term, only 20 percent achieve stable abstinence. Things could look very differently in terms of morbidity and mortality with more effective treatment."
While methadone is the most effective in terms of treatment retention and reduction of heroin use, clearly the approach has effectiveness limits, as does treatment with buprenorphine, Dr. van den Brink noted. That led addiction experts in the Netherlands to consider an alternative approach — heroin-assisted treatment.
Two randomized, controlled trials were conducted from 1998 to 2002 in the Netherlands using the experimental treatment of oral methadone in combination with heroin in inhalable or intravenous doses. At the end of 12 months, noticeable improvements were seen in reducing heroin use and in study participants' physical health and mental status. Quite telling is what happened when participants came to the end of the study a year later and returned to more traditional approaches to their heroin addiction. Eighty-two percent deteriorated significantly after discontinuing heroin-assisted treatment, Dr. van den Brink said.
"Heroin-assisted treatment is an effective additional treatment option for chronic treatment-refractory cases," he said. "It is also effective, safe, and cost-effective with positive long-term outcomes. Still, nearly 50 percent of patients are not responding to this approach. Additional treatment and care options need to be developed for these patients."
Also addressing Friday's symposium was Steven Gust, Ph.D., Director of the National Institute of Drug Abuse International Program.
"Drug use is reported in every country of the world, and it has a huge impact in the health sector as one of the top 20 health risk factors globally," he said. "Injecting drug use is reported in 151 countries, and the United Nations has estimated that drug abuse costs can equal up to 2 percent of the gross domestic product. "
A recent Institute of Medicine report recommended that the U.S. government scale up existing interventions; generate and share knowledge; invest in people, institutions, and capacity building; increase U.S. financial commitments to global health; and engage in respectful partnerships, Dr. Gust said. The National Institutes of Health supports $600 million a year in global health research.
Filed Under: Saturday Conference News
Policy Plenary Opens Debate on Buprenorphine Prescribing Limit
Five-Year Recovery Model Proposed as Standard of Treatment
Experts to Examine Use of Cannabinoids as Medicine
Urine Drug Testing Workshop to Focus on Physician-Patient Partnership
Session to Examine Definition of Addiction as One Disease


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In plain sight: Changing representations of "biracial" people in film 1903-2015
by Gray, Charles L., Ph.D. Marquette University. 2016: 247 pages; 10174083.
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So how many of you kept you badge from SDCC 2013 so you could preregister for next year? It seems it has a "secret" code on it that you will need to pre-register otherwise you CAN NOT register. Also registration will be between Nov 1st and Dec 31st but we are not going to tell you until the last minute.
Why do they play games with us? How hard is it to send an email with an attached PDF to mail back?
I kept mine because I knew they wanted us to keep it.
Don't you love how these monkeys keep pushing off the date of pre-registration? It was suppose to be back between Nov 1st and Dec 31st, now its sometime in the next "few" months. I can just see them sending an email says, "Register NOW!!! with 10 minutes before their deadline. Most of them will go to some spam filter. I guess that is a way to cut the crowds.
As long as the end result is me walking in to the Con Im just going to go with the flow and pray for the best end. This is Redonkuless.
I've been thinking. Do I really need to attend Comic Con this year? I know if I don't go, it becomes impossible to get tickets again next year. My 7 year old really enjoys taking pictures with the cosplay people and he likes the Lego and Hasbro booths. We could care less about the presentations but the seller booths are kind of fun to poke thru. On the other hand, it crowed and parking is a nightmare. It's also impossible to get exclusives since Hasbro likes to give away tickets at 2 in the morning on preview night so there is no way to actually get anything.
What do you think? Maybe I should just stick with WonderCon?
Depending on how much you're into wasting money, you could always just buy the tickets and at least you're in line for next year just in case you want to go next year and not this year... You eat a ticket cost, but you at least get to try to do it again another year if you miss it.
Got my 4 day pass but didnt want the Preview night, I didnt know the sold P N by itself.
I got a Pro badge again this year. Is anyone else going this year?.
I had a buddy with tickets, but unable to get a room... Good lord sdcc sounds like a hassle at times.
Anyone going that wouldn't mind trying to pick up for the me the Lego Exclusive Guardians of the Galaxy or the Mini-Ghost w/Chopper sets that were just announced?
I would be willing to throw in polybag "Good Morning Bilbo Baggins" or "Darth Revan" in addition to the cost of the item and extra $$$ for the effort.
Just got an e-mail saying that only those going to Con this year are eligible to preregister for 2015.


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Refugee Stories Come To Life In Comics At Denver Pop Culture Con
By Kelly Werthmann May 31, 2019 at 10:05 pm
Filed Under:Denver News
DENVER (CBS4)– Of all the characters in costume you will find a Denver Pop Culture Con, little might you expect that a casually-dressed woman walking among the crowds is a real comic book star. "That's me here," Farah Aryana said with a laugh, pointing to a drawing of herself.
(credit: CBS)
The story featuring Aryana is likely unlike most fans at the pop culture extravaganza have seen.
"Not many people know about refugees, about what immigrants go through," Aryana told CBS4's Kelly Werthmann. "It was a great way of telling their story through a comic."
Aryana came to the U.S. from Iran 30 years ago. She has since become a volunteer at the African Community Center (ACC), a non-profit in Denver that helps refugees settle to life in Colorado.
"We help them find employment, enroll in English classes, enroll their children in school," Aryana explained.
Her story is one of six in "Connection Through Comics," a comic book created by the ACC to share experiences of refugee families. The organization was asked by Pop Culture Classroom – the Colorado nonprofit that puts on Pop Culture Con — to create the unique comic book as part of its mission to celebrate diversity and build community.
"A lot of times we think of people being so different from each other," Aryana explained. "We have different religions, we look different, we have different practices, but I think throughout this story you get to know each refugee family and realize how much more we are alike."
Pop culture fans were more than just drawn to the special comic book on Friday, many bought some of the comic-themed items handmade by refugees and learned ways they could help the ACC.
"They have been signing up their names to get involved as volunteers with our organization," Aryana said.
An unexpected comic book hero, bringing people together one page at a time.
"We're hoping through these stories, you realize that, at the end, we all belong to one race – the human race," Aryana said.
LINKS: African Community Center | Denver Pop Culture Con
Kelly Werthmann
Kelly Werthmann is an Emmy-winning journalist, and CBS4's weekend evening anchor and weekday reporter.More from Kelly Werthmann


The Volunteers in Parks (VIP) Program is currently on hold.
The Parks and Recreation Department is always interested in hearing from our residents. Please contact us with your questions or comments about our parks.


Please check your mailbox for our Spring/Summer edition of our newsletter "Smile Update." I've tried to highlight some of the important news in both our office and in Cleveland dentistry/cosmetic dentistry. We invite you to share your copy with friends and family, and we would be glad to send you additional copies if you would like. It will also be on our website later this month, along with previous issues. Please let me know what you would like to see featured in future issues.


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U.S. Latinos Reach Record-High 18.5% of Nation's Population
The U.S. Latino population grew to 60.6 million in 2019, a record 18.5% of the total population, according to new Census Bureau data.
Here are all the details you need to know.
The U.S. Latino Population Continues to Grow
The U.S. population reached 328,239,523 in 2019.
Latinos reached 60,572,237 in 2019.
Now at 18.5% of the U.S. population, Latinos are the second-largest racial/ethnic group, behind non-Latino Whites (60.1%). They have greater numbers than Blacks (13.4), Asians (5.9%), and American Indians or Alaska Natives (1.3%).
Latinos accounted for 16% of the U.S. population in 2010.
In fact, the U.S. Latino population is up by 10,093,626 from 2010 to 2019, or 20% growth, according to the new Census Bureau data.
Growth of the U.S. Latino Population Is Slowing
Even as the U.S. Latino population continues to rise, growth is slowing down, according to an analysis of the Census Bureau data by Pew Research Center.
The average annual growth rate for U.S. Latinos:
4.8%, 1995-2000
"Over the past decade … population growth among Hispanics has slowed as the annual number of births to Hispanic women has declined and immigration has decreased, particularly from Mexico," according to the Pew report.
The U.S. Latino Population Is Young, But Getting Older
In 2019, the median age for U.S. Latinos was 29.8 years.
This is up from 27.3 in 2010.
While U.S. Latinos are getting older, they remain much younger overall than their non-Latino white (44), Black (35), and Asian (38) peers, according to the new Census Bureau and Pew reports.
The U.S. Latino Population Is Growing Rapidly in Certain Counties, Regions
The median size of the Latino population for counties in 2019 was 1,133 people, according to the new Census Bureau data.
Here are some other key facts:
Los Angeles County had the largest Latino population (4.9 million) in 2019.
"The next largest Hispanic populations were in Harris County, Texas (2.1 million), and Miami-Dade County, Florida (1.9 million). Overall, 11 counties had more than a million Hispanics in 2019. These included Maricopa County, Arizona; Cook County, Illinois; and Riverside County, California. In 104 U.S. counties, Hispanics made up at least 50% of the population in 2019," according to the Pew Research Center.
Arizona's Maricopa County had the largest growth (2.5% or 34,358) among this population between 2018 and 2019.
Of counties with 20,000 or more people in 2019, the Hispanic population had the fastest growth from 2018 to 2019 in Kaufman County, Texas, increasing by 10.8% (3,093). Since 2010, Luzerne County, Pennsylvania, had the fastest growth, increasing by 103.5% (22,250).
The Latino population is growing fastest in the U.S. South.
"[The Latino population in the South] increased by 26% from 2010 to 2019, rising from 18.3 million to 23.1 million," according to the Pew Research Center. "States in the Northeast (18% increase), Midwest (18%) and West (14%) also experienced growth in the number of Latinos from 2010 to 2019."
Why Is the Health of U.S. Latinos Important?
The rise of the Latino population across the United States makes it imperative to address health gaps in this population. Otherwise, the future health of the nation would be compromised.
And the health gaps are quite large.
Latinos struggle with:
healthy food access
safe places for physical activity
mental health issues and childhood trauma
healthy school environments
toxin and pollution exposure
And, most recently, the novel coronavirus COVID-19 is worsening these very health inequities. This includes higher case and death rates for Latinos.
"Latino and African-American residents of the United States have been three times as likely to become infected as their white neighbors, according to the new data, which provides detailed characteristics of 640,000 infections detected in nearly 1,000 U.S. counties," The New York Times reported in July 2020. "And Black and Latino people have been nearly twice as likely to die from the virus as white people, the data shows."
What Can We Do to Improve U.S. Latinos' Health?
We can all do our part to promote community health equity.
Start with a customized Salud America! Health Equity Report Card to see how your area stacks up in housing, transit, poverty, health care, and other health equity issues compared to the rest of your state and nation.
You can then email your Health Equity Report Card to decision-makers, share it on social media, and use it to make a case for community change to boost health equity for the long-term.
Then you can take some targeted actions:
Download the Salud America! "Handle With Care Action Pack" to start a Handle With Care program. In the program, police notify schools when they encounter children at a traumatic scene, so schools can provide support.
Download the free Salud America! "Get Your City to Declare Racism a Public Health Crisis Action Pack"! The Action Pack will help you gain feedback from local social justice groups and advocates of color. It will also help you start a conversation with city leaders for a resolution to declare racism a public health issue along with a commitment to take action to change policies and practices. It will also help build local support.
GET THE ACTION PACK!
Embracing Immigrants, Overcoming Harmful Biases
immigrants live in the United States
Read Stories About Embracing Immigrants
Cheryl Aguilar: Providing Mental Health Support to Families with Immigration Trauma
President-Elect Joe Biden's Cabinet Boasts Diversity, Minority Representation
Héctor Rodríguez: Bringing Latino Representation to the Comic Book World


text:
International News >
Indian DJ Rishab Joshi of Lost Stories is excited about performing at Tomorrowland!
Updated Jul 11, 2017 | 19:21 IST | IANS
The brand has collaborated with DJ duo Lost Stories, formed by Prayag Mehta and Rishab.
Indian DJ Rishab Joshi of Lost Stories is excited about performing at electronic music festival Tomorrowland this year. He says he wants to take a part of "India to the world through music".
Budweiser Experiences has come out with the second edition of Budweiser x Tomorrowland. It is bringing the experience for the fans through 'Road to Tomorrowland' -- a three-week-long electronic music experiential which is underway and will go on till July 29, read a statement.
The brand has collaborated with DJ duo Lost Stories, formed by Prayag Mehta and Rishab. They will be representing India at Tomorrowland in Belgium.
"We have always strived to leave no stone unturned in taking India to the world through our music. A dream that took shape in 2015 of performing at the world's largest music festival, Tomorrowland, is about to get further cemented this year," Rishab said.
He added: "Needless to say, we are brimming with excitement that's peppered with a little nervousness to better ourselves this year at Tomorrowland."
Budweiser Experiences will be bringing the fun and fervour through a series of house parties and pre-parties which will culminate with the live-streaming from Belgium. They will host private house parties in Mumbai and Delhi along with Sound Avatar and Anish Sood, respectively.
The pre-parties will kick-start on Friday and will go on till July 22 across Bengaluru, Mumbai, Delhi and Hyderabad which will be hosted by leading names in Indian electronic music scene.
Kartikeya Sharma, Marketing Director, AB InBev, and India & South East Asia, said: "For those not travelling to Belgium to be part of the festival, we are breaking down the barriers through a multi-city live-streaming of Tomorrowland."
Held over the span of two weekends, the first half of the festival will take place on July 21, 22 and 23 and the second half on July 28, 29 and 30 in Boom, Belgium
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Shashank Srivastava of Maruti Suzuki India on demand trends | EXCLUSIVE


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Війна Іфні (в Іспанії відома як Забута війна — ) — бойові дії в 1957–1958 роках, які проходили між іспанською армією і марокканськими повстанцями в Південному Марокко, територія якого в той час була іспанською колонією.

Причини
Прибережне місто Сіді-Іфні з 1860 року перебувало в складі Іспанської колоніальної імперії. Надалі під контроль Іспанії перейшов ряд територій на південь від міста. В 1946 році всі ці території були перетворені в Іспанську Західну Африку.

Після здобуття незалежності в 1956 році Марокко стало претендувати на сусідні іспанські території, стверджуючи, що вони історично і географічно є частиною Марокко.

Хід конфлікту
10 квітня 1957 року в Іфні почалися антиіспанські виступи, інспіровані Марокко. Для їх придушення Франсіско Франко відправив у Африку підрозділи Іспанського легіону. У відповідь на це 23 жовтня 1500 марокканських солдатів зайняли два села на околиці Сіді-Іфні — Гюльмен і Бу-Ізарген.

Штурм Іфні
Бойові дії почалися в листопаді. 21 листопада іспанське командування отримало інформацію, що марокканці готують напад на Іфні з району Тафраута. Два дні потому іспанські лінії зв'язку були перерізані, і 2000 марокканських солдатів пішли на штурм Іфні та складів зброї навколо міста. Штурм був відбитий гарнізоном, але два іспанських аванпости були кинуті після атак марокканців, а саме місто опинилося в облозі.

Тілуін
У Тілуіна 60 ополченців під командуванням іспанських офіцерів стримували атаки кількох сотень марокканців. 25 листопада спроба прориву провалилася. Щоб вивести загін з оточення, іспанці притягнули п'ять бомбардувальників CASA 2.111 і висадили десант з 75 парашутистів. 3 грудня солдати 6 батальйону Іспанського легіону змогли прорвати облогу Тілуіна і відвоювати аеродром. Усі військові й цивільні співробітники були потім евакуйовані по суші в Сіді-Іфні.

Облога Сіді-Іфні
Бойові дії велися невеликими піхотними підрозділами і майже без застосування техніки, хоча іспанці використовували авіацію. Після провалу штурму Іфні марокканці взяли місто в облогу і почали розширювати плацдарми в околицях міста. Протягом двох тижнів марокканці та їх племінні союзники стримували контроль над більшою частиною Іфні, ізолюючи іспанські підрозділи від столиці регіону. Одночасно вони проводили атаки з боку Іспанської Сахари, нападаючи на гарнізони і влаштовуючи засідки на конвої і патрулі.

Марокканські підрозділи розраховували викликати в Сіді-Іфні народне повстання, але недооцінили силу іспанських укріплень. Забезпечуючи з моря ВМС Іспанії та поритий кілометрами траншей Сіді-Іфні до 9 грудня мав 7500 захисників і виглядав неприступним. Облога, що тривала до червня 1958 року, стала відносно безкровною, оскільки Іспанія та Марокко зосередили свої ресурси на театрі бойових дій в Сахарі.

Бій при Ечерах
Найбільш відомою подією війни став бій при Ечерах. У січні 1958 року Марокко подвоїло чисельність своїх військ в районі Іфні, реорганізувавши всі армійські підрозділи на іспанській території в «Марокканську визвольну армію» (МОА).

12 січня підрозділи МОА напали на іспанський гарнізон при Ель-Аюн. Атакабула не вдалою, і марокканці були змушені відступити на південний схід. Тут вони на наступний день в районі Ечер натрапили на дві роти 13-го батальйону Іспанського легіону, які вели розвідувальну місію. Перебуваючи в меншості, іспанці стійко зустріли вогонь марокканців і змусили їх відступити з важкими втратами. Сутички тривали до темряви, і до вечора марокканці, розсіяні по околицях, залишили позиції і безладно відступили.

Завершення кампанії
У лютому 1958 року іспанські сили за підтримки Франції почали успішний наступ проти марокканців. Іспанці і французи направили в регіон об'єднаний повітряний флот з 150 літаків, а також 9000 іспанських солдатів і 5000 французьких. Марокканські гірські табори в Тан-Тан були розбомблені, МОА втратила 150 бійців. 10 лютого три іспанських батальйони, організованих в моторизовані групи, розсіяли марокканців біля Ечер і прорвалися до Тафурдата і Смари.

Іспанська армія в районі Ель-Аюн за підтримки французів вдарила по позиціях марокканців 21 лютого, зруйнувавши їх оборону між Бір-Назараном і Аузертом.

Наслідки
Бойові дії були завершені після підписання іспано-марокканської угоди в Ангра-де-Синтра в квітні 1958 року. Іспанія поступалася Марокко територію мису Хубі, зберігши за собою Сіді-Іфні (до 1969 року) і Західну Сахару (до 1975 року).

Іспанія володіла Іфні до 1969, коли, перебуваючи під міжнародним тиском (резолюція ООН 2072 від 1965), вона повернула територію Марокко. Іспанія зберігала контроль над Іспанською Сахарою до Зеленого маршу 1975 року, який підштовхнув її до підписання Мадридських угод із Марокко і Мавританією; вона відступила з цієї території в 1976 році і Західну Сахару поділили Марокко і Мавританія.

Література
 SANTAMARÍA, Ramiro. Ifni-Sahara, la guerra ignorada, Dyrsa, Madrid, 1984.
 CASAS DE LA VEGA, Rafael. La última guerra de Africa, Servicio de Publicaciones del Estado Mayor del Ejército, Madrid, 1985.
 DIEGO AGUIRRE, José Ramón. «Ifni, la última guerra colonial española» en Historia 16 nº 167 (1990).
 TAMBURINI, FRANCESCO. «Ifni-Sahara, 1957—1958: una guerra coloniale dimenticata», in «Eserciti e Storia», n. 42, a. VII, JULY-AUGUST 2007

Примітки

Посилання
 The Corner of Sidi Ifni (El Rincón de Sidi Ifni)
 Marcelino Sempere Doménech, El Ejército del Aire en la Guerra de Sidi Ifni, Universidad de Murcia

Війни XX століття
Війни в Африці
Війни Іспанії
Війни Марокко
Історія Західної Сахари
Конфлікти в 1958

redpajama_set_name: RedPajamaWikipedia


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Inspirus, a Sodexo Group company, reserves the right to remove any material on its servers that it believes in good faith to be copyrighted material that has been unlawfully copied and distributed on an Inspirus site. In addition, Inspirus reserves the right to permanently remove or discontinue access to any repeat offender.
Procedure for Reporting Copyright Infringement
If you believe that your copyrighted work has been copied to an Inspirus site without permission, please submit the following information to our copyright agent:
Identification of the copyrighted work or works that are being infringed; Where the infringing material can be found;
The name, address, telephone number, and, if available, an electronic mail address at which you may be contacted;
A statement of good faith belief that use of the material in the manner complained of is not authorized by the copyright owner, its agents, or the law; and
A statement that the information provided by you is accurate, and under penalty of perjury, that the person reporting copyright infringement is authorized by the copyright holder.
To be effective, a Notice of Copyright Infringement must contain all of the information requested above.
Send the Notice of Copyright Infringement to the designated copyright agent for Inspirus:
Copyright Agent:
Inspirus
100 N. Rupert St.
Attn: Law Department: Copyright Agent_DMCA
info1@inspirus.com
Upon receipt of the Notice of Copyright Infringement, Inspirus will:
Remove or disable access to the material that is alleged to be infringing;
Notify the infringing user of Inspirus' receipt of the written notification;
To the extent possible, repeat offenders will be removed permanently from the system.
A rebutting user may submit a Counter Notification to our copyright agent which must include the following information:
Identification of the material that has been removed or to which access has been disabled and the location at which the material appeared before it was removed or disabled;
Your name, address, telephone number, and, if available, an electronic mail address at which you may be contacted, and a statement that you consent to the jurisdiction of Federal District Court for the judicial district in which your address is located, or if your address is outside of the United States, for any judicial district in which Inspirus may be found, and that you will accept service of process from the person who provided the Notice of Copyright Infringement or an agent of such person;
A statement under penalty that you have a good faith belief that the material was removed or disabled as a result of mistake or misidentification of the material to be removed or disabled;
Upon receipt of a Counter Notification containing the information requested above by the Copyright Agent, a copy of the Counter Notification will be sent to the original complaining party:
Inspirus will replace the removed material or cease disabling access to the material within ten (10) to fourteen (14) business days following receipt of the Counter Notification, unless Inspirus' Copyright Agent has been informed that a lawsuit has been filed related to the infringing material on Inspirus' network or system.
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