text:
Con Report: AnimeNEXT 2015
A Big Win Before an Even Bigger Gamble
As the sun sets on AnimeNEXT's final stay at the Garden State Exhibit Center, all three Ani-Gamers present for the con say their peace on what this particular year got right as well as what went wrong and give their opinion on the con's upcoming move to Atlantic City.
When you live in New Jersey, you come to accept certain truths: no-one from outside your home state (and even some therefrom) will ever get what a jughandle is or why it's absolutely necessary; before meeting you, everyone will assume you speak with a Long Island accent; and living in the most densely populated state in the USA means waiting … for everything … and on the way to everything. Commenter omoikane once referred to Otakon as "line-con" in response to David's line-themed take on Otakon 2013, and that is what AnimeNEXT has turned into as well.
An estimated 14,500 warm bodies were present at this con. The combined capacity of the five similarly sized panel rooms was ~650, and two other rooms, Panel 1 and Main Events B, respectively added 250 and 500 seats. With standing room eliminated from panel rooms in order to meet fire code capacity regulations (duly and efficiently enforced), those figures added up to a lot of waiting in vain for most and a lot of immediate disappointment. Scheduling panels, even those featuring guests, that tend to draw major crowds in tiny rooms seemed like Yoko Kanno's arrangement with Otakon. (She only wanted to perform for an intimate gathering of people.) Certain guests went so far, after seeing the size of their rooms, as to tweet at attendees and urge them to either line up early or have a backup plan.
Thankfully, programming at AnimeNEXT has also evolved to the point that there's always something to do. At previous iterations, open blocks of time allowed for the fifteen-minute drive into nearby New Brunswick for great food, leg stretching, and a breath of literal and figurative fresh air. Now the abundance of enticing panels, guests, events, and (if all else failed) videos made enacting a backup plan so easy that forgetting to eat was a thing. First choices may have filled up quickly, but with multiple attention draws happening at any given moment, I don't think many would be able to claim truthfully that they were bored at any given time.
To eliminate space congestion issues, AnimeNEXT is, like Otakon, moving to a new location. Unlike Otakon, AnimeNEXT is moving in-state and immediately. Effective 2016, AnimeNEXT will be hosted by the Atlantic City Convention Center — some two hours southeast (by car) of what was its present locale. The good ol' Garden State Exhibit Center has felt like it's been filled past bursting for years now, but that's just typical Jersey to those of us who leave our condos, townhomes, trailers, and McMansions to geek out "across the street" for the weekend. This commuter con has served those of us in Central Jersey well and for years, but we all have a breaking point. The move is as unavoidable and necessary as it should be welcomed. After all, even the supplementary Bridgewater hotel, implemented just last year as a stopgap panel overflow space, became overrun and bulged this year with more otaku than any one wholesome suburban building should ever be forced to hold.
Atlantic City's a trip to be sure, but like so many I overheard explaining to their complaining companions, I feel the need to stress the following: the nature that defines the Garden State's outdoors is not going away (there's an entire beach on which to play); all the programming will be under a single roof, negating problematic migrations betwixt disparate buildings and over a certain bridge; and weather, short of biblical flooding, won't prove problematic in any fashion (or to any fashion) throughout the entirety of the con. And aside from all that, reasons to faithfully follow and attend this con are the same they've been for years. It's a con run by people who are legitimately passionate about flying in the best guests, providing the best programming, and having a ton of fun. I'll miss my hometown con, but only until I attend it again next year … in another town.
Between work and personal commitments arising during the weekend of AnimeNEXT, I was only around for Saturday. Fortunately, most of the good stuff was scheduled on that day, so that meant the hours flew by and it felt like I got more out of one day at this con than whole weekends elsewhere. One second, I'm running around for a press badge with minutes to spare before a conference with Trigger, and in the next moment, I'm hearing the hard truth behind the production of Trigger's incomparable Turning Girls web animation. All the while, I'm thinking if I should line-up afterwards for Aya Suzuki's Women in Anime panel or if I have the chance to squeeze in a dealer's room run before or after lunch, all things I need to consider early on to account for how long it takes to get anywhere between the Bridgewater and the DoubleTree.
If I make it seem like I was in a rush throughout the day, I really wasn't, I just had every block of time during the day accounted for with something going on, whether it was a panel or an indulgent mid-con shower to scrub off the Jersey funk. Maybe it was a heightened awareness of the clock ticking down on my shortened stay at AnimeNEXT but I never found myself kicking rocks, waiting out dead time between events. I did spend a lot of time waiting on line but what did I expect from attempting to make it to as many of the most popular attractions of the day as I could? It would be unfair to say AnimeNEXT is a linecon since it's missing the spirit of a real linecon where a two-hour wait for lunch is "reasonable".
The reality is that there is no lunch to be had at the convention center, or any food in general, unless you have a liberal definition of the concept of food and are willing to risk a detour for a slice of con pizza in the far reaches of the dealer's room. This is only my second AnimeNEXT at the Garden State Convention Center, but as the last to be held on those grounds, I can say that I definitely won't miss the venue too much. Having survived an autograph line in a narrow hall with broken AC, it's obvious that it's time to relocate. Line management was not the best, especially for panels at the DoubleTree, with staff mainly concerned for keeping the spaces clear and leaving the herds accountable to form their own line. Of course, none of this matters since next year is a whole new venue with plenty of opportunities to impress or disappoint, so consider this year a write-off.
I only got the chance to do about three can't-miss things, but that's just typical of a convention that's gotten to the size it's become. This is realistically the last year in which AnimeNEXT could be comfortably held in Somerset, and as wary as I am of the move to a dodgy place like Atlantic City, I completely understand the motives. While I can say I am excited at the possibilities for a new location for this rapidly growing con, I can't say I'm looking forward to taking the party bus with all the retirees headed for a wholesome weekend of penny slots and eating casino buffet for breakfast, lunch, and dinner.
For years I've been calling AnimeNEXT "Mini Otakon," since it attracts a similar crowd in terms of demographics and panel programming. I can generally count on the New Jersey convention to provide a solid, if not remarkable lineup of interesting panels and guest events, with a good mix of new-school and old-school fans milling around the lovely grounds of the Garden State Convention Center. This year, however, AnimeNEXT is feeling a lot more like "Otakon" and less like "Mini Otakon."
There were so many events going on simultaneously that I found myself pulled in two to FOUR different directions at any given moment, forced, for example, to choose between two panels on "Victim Consciousness & Disaster Anxiety" and animation mistakes in anime as well as an autograph session with Studio Trigger staff and UK animator Aya Suzuki. Speaking of those folks, NEXT also upped its guest game, bringing a number of high-profile behind-the-scenes anime industry folks from both sides of the Pacific (translator Neil Nadelman was a guest in addition to the Trigger folks).
Unfortunately, the convention center isn't equipped to handle the number of people that has accompanied this shift to more dense, high-profile programming, and the convention is suffering for it. Trekking across a footbridge to the other side of the highway in 90-degree heat to go from one panel to another was enough to discourage me from attending a lot of really cool events, and travel between rooms and building was generally a nightmare due to the large crowds.
My fellow Ani-Gamers bloggers have already covered the line situation, but what I noticed, moreso than the congestion, was the inconsistency in staff policy. Some staff handled lines very well, calmly and politely explaining policy to attendees to minimize bitterness and disappointment for those who arrived too late to attend their favorite panel. Others panicked at the sight of groups of people in a hallway and told everyone to clear out, despite other similar hallways which allowed overflow lines (to be fair, there may be other considerations, but to attendees it appears rather arbitrary). This is a very common problem for conventions dealing with space constraints, though NEXT has had these issues for years, so it's strange that they haven't smoothed them out more.
Luckily, next year AnimeNEXT will have much more space, as it's moving down to Atlantic City. Despite the huge crowding issues this year, I'm incredibly impressed at how much the convention has grown, both in size and in the quality of its programming. I missed it last year, but it was worth making the flight back this time.
Read more of our coverage of AnimeNEXT 2015.
Studio Trigger
AnimeNEXT 2015: The Panels
Sunday, Jul 19, 2015
Con Report: Zenkaikon 2014
Con Report: DerpyCon 2014
Con Report: FanimeCon 2014
Wednesday, Jun 18, 2014
Con Report: Spring Kraken Con 2014
Going Gonzo: Genericon XXVII
Thursday, Mar 13, 2014


text:
Welcome to the Sacramento News & Review Archives
Headbanger's holiday
Five must-mosh bands at Aftershock 2019
By Chris Macias
Slipknot headlines Aftershock on Friday, on the heels of its sixth album, We Are Not Your Kind, released in August.
Photo courtesy of Paul Harries
Check out Aftershock Friday through Sunday, Oct. 11-13. Tickets range from $120 to $350. Sunday is sold out. For tickets and festival info, visit aftershockfestival.com.
As the final power chords ring and the last clouds of vape smoke dissipate by the banks of the Sacramento River, Aftershock 2019 may have made local history.
The three-day extravaganza of hard rock, heavy metal and a few musical twists goes down at Discovery Park Friday through Sunday, Oct. 11-13. More than 30,000 people are expected per day, with a total attendance of about 90,000.
Those numbers could make Aftershock 2019 the largest musical event in Sacramento history. That honor previously went to the former Sacramento Dixieland Jazz Jubilee, which at its peak in the 1980s drew about 85,000 over a four-day Labor Day weekend.
Those days of banjos and washboards are long gone. Now, it's about flying V guitars, mosh pits and a heavy metal nation that descends on Sacramento.
Aftershock, which started as a single-day event in 2012, makes its first run as a three-day festival this year. It features two of the biggest names not just in hard rock, but contemporary music. Headliners Slipknot and Tool each released chart-topping albums recently, bumping the likes of Ed Sheeran and Taylor Swift.
Heavy metal and hard rock are in some of its most robust years in recent memory, and Aftershock is ready to rally the community with a sea of devil-horned salutes. More than 50 bands—legacy acts and up-and-comers—will perform on three stages.
Here's a guide to five of the must-mosh bands at Aftershock:
Tool: A slam dunk, with Aftershock marking the first live show for Tool since its chart-topping album Fear Innoculum was released in late August. Judging by its Aftershock appearance in 2016, Tool's set is likely to be as sonically heavy and dense as it is visually stunning.
Fishbone: While not of the chunka-chunka metal variety, these ska-punk pioneers have been known to start plenty of burly mosh pits on their own. They rose in Southern California's punk scene in the '80s and still play with a manic energy that rivals your favorite heavy metal shredders.
Slipknot: The mosh pits during their 2015 headlining set nearly left crop circles in the grass at Gibson Ranch, Aftershock's home that year. Expect more of the same with Slipknot performing on the heels of We Are Not Your Kind, the band's first studio album in five years.
Knocked Loose: The metalcore band Code Orange boosted its local fan base after its ferocious 2017 Aftershock set. Knocked Loose, a band from Kentucky, is next as Aftershock's up-and-comer to see, with a manic energy that bridges hardcore and metalcore poundage. If you've got some issues to work out, this is the band to see.
The Crystal Method: Aftershock does well by throwing a left-field act into the mix of metal and rock. The Crystal Method's electronic music comes primarily from the digital realm, but its hella big beats and bass can still pump up any heshers who need an energy boost.
More Music » Music Feature
Catman returns
Masked musician El Gato reemerges with an upcoming album.
TunesWork aims to heal patients through song.
Into pop's dark prism
Amber DeLaRosa's solo music takes a complex, moody turn.
A moral struggle
A Sacramento hip-hop artist wants to chart a new path for his community.
On the blues frontier
Auburn rockers Shotgun Sawyer get raw and experimental on 'Bury the Hatchet.'
Thank you for visiting the Sacramento News & Review.
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redpajama_set_name: RedPajamaCommonCrawl


text:
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namespace cppmicroservices { namespace service { namespace component {

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redpajama_set_name: RedPajamaGithub


Beth over at the Best Hearts are Crunchy has been posting some gorgeous Valentine's Day cards for a few weeks now – with February 14th only ten days away, I was inspired to dig out a vintage romantic postcard from my own collection to share on Postcard Friendship Friday today.
Carrying two postal cancellations - a Florence Railway (Firenze Ferrovia) postmark dated 5 January 1932 and another for its destination Venice (Venezia) on the following day – the stamp is an absolute classic example of the secret language of stamp positions. The 30 cent postage stamp featuring a frontal portrait of Vittorio Emanuele III is shown with the monarch's head a full 90 degrees to the right – a clear message of some sort, but which I've read can mean a variety of romantic things: "love and kisses"; "do you love me?"; "thinking of you"; and on an Italian language website "t'adoro"!
Issued by the Turin-based publisher Fotocelere (1910-1942), it is a gorgeous example of their hand-coloured real photo postcards – I just love the addition of those crimson details on the collar and sleeves!
Dove noi passerem, stretti per mano.
Where we will walk together hand in hand.
I adore this postcard--I LOVE the translation of that poem. What a lovely bit of poetry.
I think it speaks to the mystery in each of us.
Thank you for posting this fabulous postcard! Happy Valentine's Day, and Happy PFF!
I wanted to add--after reading your comment--that we have had one sifting of snow this winter. It's been that way the past nine winters--barely enough snow to cover the ground.
How fun that you are having that coveted snow just now! Do send some my way!
I love the old *real colored* or hand colored postcards. This is a lovely card. Two postmarks!! Lovely poem. Happy PFF!
I had no idea that the angle of the stamp would convey a message. Wow. Flowers, gems and now stamps. Cool. Thanks for sharing this tidbit.


We checked out of PNG with the Rabaul Customs officer with next port listed as Gizo, Solomons. While in town, we all hit the stores and the market for one more round of provisioning. We bought some very expensive marine 2-part epoxy in one hardware store that had some marine supplies--so we could pay back the epoxy we had borrowed to make our rudder repairs (done in Kavieng), and have a small supply on hand in case we need it again.
We left Rabaul in the early morning, headed SSE to a pair of coves on the SW end of New Ireland, named Irish Cove and English Cove. As we motored out in the glassy conditions, we motored right past the smoking volcano that we had hiked a couple of days before.
Once the wind came up, we were able to sail most of the way with the NW wind mostly behind us. However, as we approached the coast of New Ireland at Lamassa Island, the wind switched 180 degrees and came strong on our nose (some weird land breeze).
Dave wanted to see a cove that Rod Pearce (famed WWII airplane hunter in PNG) had said we could anchor, and from which we could scramble up on a ridge and find a downed Japanese plane. So we let the other boats go on to the anchorage in Irish/English Cove and we explored around a bit. We found that there was indeed an anchorage where Rod had pointed out, at approx 04 43.56 S / 152 48.08 E, in about 20-30 feet of sand/mud. This is probably only a one-boat anchorage.
There was a big thunderstorm building offshore and we still had at least an hour to go to get to the anchorage, so we didn't explore too much, but maybe we'll get a chance to go back on our way back north.
Being last in a 4 boat fleet into a tiny anchorage meant we got the outside spot. But fortunately our buddy boats had left enough room for us. We were wedged into tiny English Cove two-by-two, with Ocelot behind us hanging in 12 ft and we had to drop in about 40 ft.
It seemed like the cove was exposed to the prevailing westerly winds, but the outside reefs blocked the swell and we were fine in there. We had checked out Irish Cove and found it much deeper--we probably could not have fit all 4 boats in Irish Cove.
By the time we came in and anchored, our friends were surrounded by canoes. These were friendly curious people and it turned out that most of them were from Lambom Island nearby, where we could see a fairly large village on the satellite charts. Lambom does not have a water supply, so the villagers come daily to Irish Cove in their canoes to get water from the fresh water river that empties into the bay.
Only a few families actually live in this bay. Eventually the Lambom canoes departed as the sun started to set, and we met Passie (pronounced Posse, like the American west group that forms to hunt down the bad guys) and Joel, two of the men who live in English Cove. Both spoke really good Englsih, and neither chewed bettlenut (a mild drug from a local plant that leaves the chewers with red stained and broken teeth). So we had a nice chat with them. Passie told us we could come in to the river to get water or take a swim in their swimming hole. He also told us there was a waterfall a little ways upriver that he could guide us to if we wanted.
We had planned to depart for Buka the next morning, but we had a little happy hour conference and decided we'd stay for the day.
Passie guided us up the river to the small waterfall. It was more like a small rapids than an actual waterfall, but it was nice to get out and walk some (though a little of it was walking up the rocky river bank, and those with flip-flops struggled a bit). On the way back, we took a shortcut through some of the village's gardens. The birders in our group were happily spotting birds, too.
Back at the swimming hole, we had a nice time splashing around in the surprisingly cold clear water. Liz from Indigo brought her laundry in--the laundry she'd sent out in Rabaul came back no cleaner than when it left, and a little smelly because it never got properly dried.
The next morning we did an exhaustive look at the weather. The weather didn't look great for a long passage to Buka, but it didn't look great the next day either. So we collectively decided to go ahead and go, knowing that the forecast showed either light wind directly behind us, or light wind on the nose... we would be motoring most of the passage.


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text:
Horned Mask, Luba Kingdom
by The British Museum
A wooden horned mask of the Kingdom of Luba (15-19th century CE), central Africa. Height: 47 cm. (British Museum, London)
The British Museum has released this image under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) license. You can read more about the British Museum and Creative Commons here. Original image by The British Museum. Uploaded by Mark Cartwright, published on 30 March 2020. The copyright holder has published this content under the following license: Creative Commons Attribution-NonCommercial-ShareAlike. This license lets others remix, tweak, and build upon this content non-commercially, as long as they credit the author and license their new creations under the identical terms. When republishing on the web a hyperlink back to the original content source URL must be included. Please note that content linked from this page may have different licensing terms.
Quizzes1
Kingdom of Luba
The Kingdom of Luba, located in central Africa, thrived from the...
Copper Curency Ingot, Luba Kingdom
A copper cross used as a currency by such central African states...
Carved Stool, Luba Kingdom
A carved wooden stool in the form of a figure from the Kingdom...
Middle Kingdom of Egypt
The Middle Kingdom (2040-1782 BCE) is considered ancient Egypt's...
The Mask of Xiuhtecuhtli
The striking turquoise mask now in the British Museum in London...
Kingdom of Mercia
The Kingdom of Mercia (c. 527-879 CE) was an Anglo-Saxon political...
Museum, T. B. (2020, March 30). Horned Mask, Luba Kingdom. World History Encyclopedia. Retrieved from https://www.worldhistory.org/image/12048/horned-mask-luba-kingdom/
Museum, The British. "Horned Mask, Luba Kingdom." World History Encyclopedia. Last modified March 30, 2020. https://www.worldhistory.org/image/12048/horned-mask-luba-kingdom/.
Museum, The British. "Horned Mask, Luba Kingdom." World History Encyclopedia. World History Encyclopedia, 30 Mar 2020. Web. 28 Jan 2023.


text:
Q: Find a application width and height - Crossplatform I'm looking for a way to find a specified window dimensions (width & height). So far i've been using the AutoIt functions, by just writing parts of the window/frame name, and it's working just like I want it to. Only problem is that it only works in MS Windows. I need it to work crossplatform (windows & linux).
Since the platforms are so different, It would be necesery to have two scripts, one if the system is windows, and one for Linux. And I would like to not rely on extra programs (like AutoIt). I do not wish it to be "hardcoded" in the script what frame to pick. I need/want it to work like the AutoIt, by spesefying the frames name/or parts of it.

A: I figured out how I could do this in windows, thanks to yurib..
import win32con
import win32gui

def inText(haystack, needle, n):
    parts= haystack.split(needle, n+1)
    if len(parts)<=n+1:
        return False
    if len(haystack)-len(parts[-1])-len(needle):
        return True

def isRealWindow(hWnd):
    '''Return True if given window is a real Windows application window.'''
    if not win32gui.IsWindowVisible(hWnd):
        return False
    if win32gui.GetParent(hWnd) != 0:
        return False
    hasNoOwner = win32gui.GetWindow(hWnd, win32con.GW_OWNER) == 0
    lExStyle = win32gui.GetWindowLong(hWnd, win32con.GWL_EXSTYLE)
    if (((lExStyle & win32con.WS_EX_TOOLWINDOW) == 0 and hasNoOwner)
      or ((lExStyle & win32con.WS_EX_APPWINDOW != 0) and not hasNoOwner)):
        if win32gui.GetWindowText(hWnd):
            return True
    return False

def getWindowSizes(text):
    '''Return a list of tuples (handler, (width, height)) for each real window.'''
    def callback(hWnd, extra):
        if not isRealWindow(hWnd):
            return
        title   = win32gui.GetWindowText(hWnd)
        rect    = win32gui.GetWindowRect(hWnd)
        isFrame = inText(title, text, 0)
        if(isFrame):
            windows.append((title, rect[2] - rect[0], rect[3] - rect[1], rect[0],rect[1]))
    windows = []
    win32gui.EnumWindows(callback, windows)
    return windows

def findWindow(text):
    window = getWindowSizes(text)
    name = window[0][0]
    w = window[0][1]
    h = window[0][2]
    x = window[0][3]
    y = window[0][4]

    return name,w,h,x,y

Now i need to know how i can do something like this in Linux.. Any hints?

redpajama_set_name: RedPajamaStackExchange


text:
Time's Up?
Sophie Smith
All the frocks at the Golden Globe Awards this year were black, bar three. The unofficial dress code was to publicise Time's Up, a new organisation campaigning against sexual harassment, workplace discrimination and the gender pay gap. Its founders are a mix of A-listers from film and TV, and A-listers from politics and law (including Christina Tchen, Michelle Obama's former chief of staff, and Roberta Kaplan, who brought Edie Windsor's case to the Supreme Court and thereby the Defence of Marriage Act to an end). The red-carpet blackout was a spectacle. Time's Up's muscle is a crowd-sourced legal defence fund to support working-class women pursuing harassment cases. The money isn't only for lawyers. Recipients will get help with filing fees, travel, and the other hidden expenses that keep poor women from seeking justice in the courts. After three weeks, the pot is $16.5 million.
In 1972, the Vietnam War ongoing, Jane Fonda was the first woman to wear a black suit to the Oscars. 'It was not a time for showy dresses,' she said, looking back. 'It was a time for seriousness.' You might worry that the equating of suits with seriousness concedes too much to men: some women at the Golden Globes wore tuxedos, but Time's Up didn't stipulate that they should.
The stars' protest went beyond what they wore. For decades, black feminists have asked that white and powerful women stop speaking for the marginalised, and start sharing their platforms with them instead. Eight celebrities brought activists to the Golden Globes as their plus ones. Many of them were advocates for those most likely to be subject to sexual harassment and least likely to be able to do anything about it: agricultural workers, waitresses, cleaners, and other precarious groups. Meryl Streep brought Ai-jen Poo, the director of the US National Domestic Workers Alliance. Emma Watson brought Marai Larasi, the executive director of Imkaan.
Time's Up announced itself on New Year's Day in a letter addressed 'Dear Sisters', expressing 'solidarity' with:
every woman employed in agriculture who has had to fend off unwanted sexual advances from her boss, every housekeeper who has tried to escape an assaultive guest, every janitor trapped nightly in a building with a predatory supervisor, every waitress grabbed by a customer and expected to take it with a smile, every garment and factory worker forced to trade sexual acts for more shifts, every domestic worker or home health aide forcibly touched by a client, every immigrant woman silenced by the threat of her undocumented status being reported in retaliation for speaking up.
While recognising the 'heavy weight of our common experience of being preyed upon, harassed and exploited', the signatories highlight their 'privilege' and their 'access to enormous platforms'. They call for 'greater representation of women of colour, immigrant women, and lesbian, bisexual and transgender women'.
When the Weinstein story broke, some feminists worried that the response would focus on the experiences of rich, white women, rather than on the long struggles of working-class women. Back in November, Sarah Leonard proposed in the New York Times that 'the women who are newly speaking out in the limelight should now rally alongside those who have been fighting sexual harassment in the shadows.' She highlighted the work of the Restaurant Opportunities Centre and the Alianza Nacional de Campesinas. The co-founders of each were the guests of Amy Poehler and Laura Dern.
The Golden Globes are an interesting choice for a protest. The awards are hosted by the Hollywood Foreign Press Association. Technically, members should be journalists who've lived in Southern California for two years, working for a non-US based publication, writing at least four 'exemplary' pieces a year. A full list of its 90 or so members is hard to track down. The president is Meher Tatna, an Indian woman – apparently 60 per cent of HFPA members are female – who writes regularly for Singapore's daily freesheet the New Paper. But other members include the bodybuilder and three-time Mr Universe Alexander Nevsky, who allegedly writes for Russia's popular state-owned weekly Arguments and Facts, though a search for his name there mostly turns up articles on the eponymous 13th-century Orthodox saint.
In 2013, images surfaced of around twenty actors holding the Siberian newspaper Kopeyski Rabochi, print circulation roughly 9000. The pictures went viral on the Russian social networking site Vkontakte. The stunt wasn't organised by the paper: 'Our readers are more interested in news about miners, retired people and utility costs,' the editor said. Instead it was the work of Jack Tewksbury, a New Yorker who apparently got his HFPA membership in the 1980s after writing briefly for the Quebec Chronicle-Telegraph, and started to write film reviews for Kopeyski Rabochi in 2008. On his IMDB page there are 99 pictures of him, dentures luminous, gripping the shoulders of various confused celebrities. The only one who looks unfazed is Oprah Winfrey.
Putting on a convincing smile is one of the things that make Oprah a consummate politician. Another is her charisma. As one Twitter commentator put it, she makes Obama 'look like a potted plant'. The people still talking about the Golden Globes are talking about the acceptance speech she gave as the first black woman to receive the Cecil B. DeMille lifetime achievement award. She dedicated it to the themes of the protest: the abuse and assault that 'that transcends any culture, geography, race, religion, politics or workplace', the product of 'a culture broken by brutally powerful men'. And she too talked about the domestic workers and the farm workers, the women in factories and restaurants. The room got to its feet; #oprah2020 began trending on Twitter.
'It's easy to sneer at Hollywood doing politics,' a Guardian headline said, 'but the Golden Globes nailed it.' Michael Schulman in the New Yorker called the ceremony a 'decisive feminist takeover'. Was it? The best drama award was given to Three Billboards Outside Ebbing, Missouri, a film about a viciously racist white cop who is redeemed not through a confrontation with his prejudice but by helping a white woman track down her daughter's murderer. The best director nominees were all straight white men, even though Jordan Peele's Get Out was nominated for best comedy, a category won by Greta Gerwig's Lady Bird.
Kirk Douglas, an accused rapist, got a standing ovation. Both lead actor awards went to men accused of assault (Gary Oldman and James Franco). Not one of the men who won an award used their platform to remark on the protest, though Franco (and others) wore a Time's Up pin. Accepting the award for his performance in The Disaster Artist, a film celebrating a notoriously misogynist character, Franco thanked a long list of men – 'you know you're my brothers' – before thanking his mother, for 'giving' him his actual brother. All the Money in the World was nominated for three awards after last-minute reshoots to replace Kevin Spacey, accused of sexually assaulting a minor, with Christopher Plummer. Mark Wahlberg was paid $1.5 million for the extra work; Michelle Williams reportedly got $80 a day in expenses. The two share an agency. Wahlberg has now donated his fee to the Time's Up legal defence fund.
Reese Witherspoon announced that she 'will now officially divide time like this: "Everything that happened before @Oprah speech : Everything that will happen after".' The workers she stood alongside might disagree. Monica Ramirez of the Alianza Nacional de Campesinas pointed out that 'Farmworker women ... have a long history of combating workplace sexual violence.'
The problem with thinking in terms of breaks and moments is that it risks obscuring not just how tedious the work of politics can be, but also the mismatch between the occasional swiftness of democratic politics and the slow rate of structural change. On the whole – in the absence of war, revolution or crisis – socioeconomic shifts come incrementally. Oprah reminded her audience that Rosa Parks worked for the NAACP long before she kept her seat on the bus. That moment after which nothing could be the same was the result of slow-burning grassroots organisation.
History may not be the only thing at issue between these groups of women. The Time's Up movement uses the language of radical left-wing politics. But it has yet to do radical left-wing politics. Whether or not this happens will determine whether Time's Up's invocations of 'solidarity' and 'structural change' represent something more than the mere co-option of leftist rhetoric. Talk of 'exploitation' is a case in point. Sexual exploitation is itself bound up with wider power differentials, not just between men and women, but between rich and poor.
If Time's Up's supporters want, as their joint statement suggests, 'to transform both the written and unwritten rules that devalue the lives and experiences of women', then at some point they're going to have to think about capitalism, and about their own positions as capitalism's beneficiaries. If they don't, they'll soon find themselves at loggerheads with the women they're currently claiming as allies. They'll also find themselves with some odd bedfellows. 'Let's all come together,' Ivanka Trump tweeted after Oprah's speech, 'women & men, & say #TIMESUP!'
feminism politics movies
17 January 2018 at 6:40am
Joe Morison says:
It's too easy to be depressed about the state of the world: Trump, Brexit, the seemingly unstoppable rise of the 1%; but there have always been Trumps and at least he's constrained by a robust constitution; and there have always been spasms of national stupidity and if Brexit does happen then it's sure to be reversed in at most a generation; and there have always been grotesque inequalities of wealth but at least the rest of us are outraged about it instead of seeing it as part of the natural order. In contrast, the Time's Up phenomenon is something quite wonderfully new. Women (and children) have been putting up with this shit since at least we turned from hunter gathering to agriculture, and now for the first time their voice is being heard. Along with the growth in gay and trans rights, it is enough to restore one's faith in the modern world.
Sophie Smith is absolutely right to say that if the movement is to realize its ideals, it is going to have to tackle the obscenity that is the economic organization of the world today. Capitalism is the dominant model, but in the end it's the age old exploitation of the weak by the powerful; this is what we all have to fight. Like Smith, I look at the Time's UP movement and see real hope that this could be the start of something bigger. I expect it'll be two steps forward and one backwards, because progress usually is; but I think it's here that our best hope lies.
22 January 2018 at 6:32pm
Jmn2048 says: @Joe Morison
Jim, I really appreciated your intelligent, thoughtful and optimistic comment. I also happen to think that your outlook is the correct one to have at this time. Cautious optimism?
Alices Restaurant says:
Didn't the Brontes and Austen already write about this stuff, but with less Cultural Marxism marching and whining?
John Cowan says:
I note that all the 1+s you name are in fact bosses, even if their companies are not for profit (which as is well known doesn't necessarily make them progressive when it comes to their own workers). So don't be too impressed by their skin color.
artemesia says:
Confusing: "Kirk Douglas an accused rapist'". There was an indictment. A trial? Was he found guilty? Not guilty?
Do you mean Kirk Douglas was alleged to have committed rape?
Does accuracy matter?
Omid's Journey
Behzad Yaghmaian
I first met Omid (not his real name) 15 years ago, when I was conducting field research on Muslim migration. He was born in eastern Tehran in 1973,...
Carillion and Other Parasites
Lorna Finlayson
Until very recently, most of us hadn't heard of Carillion. Not having heard of a particular company wouldn't usually be surprising or unsettling...


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Electronic music sensation Julian Jordan chatted with Digital Journal about his new track "Always." He also opened up about his love for the electronic dance music genre.
Regarding his new track "Always," he said, "I wrote 'Always' together with CHOCO. I've known CHOCO for a long time and when we finally got together we made the track in a few days. I wanted to work on some different music and styles so we made different tracks and this one really stood out. That's why we decided to release this one."
On his plans for 2017, he said, "I have a really nice announcement coming up very soon, so stay tuned for that! Next to that, I will be releasing lots of new music and will be playing some really cool gigs. I'm looking forward to this year."
He is drawn to electronic dance music due to the fact "that there are so many options when creating the music." "There are no boundaries which means that you can let your creativity rule," Jordan said.
When asked where he sees electronic music in the next five years, he said, "It's difficult to say where we're heading since the music industry moves so fast, but I definitely think that electronic music will keep evolving in the future."
One of this journalist's personal favorite tracks of Jordan is "Kangaroo," his collaboration with Sander van Doorn. "I was so young when 'Kangaroo' got released and it was such an amazing experience for me that the track was doing so well," he recalled.
Each day, Jordan is motivated by his love for music. "I'm able to do what I love to do most every day, and that is a huge motivation. I always want to improve myself," he said.
He concluded our interview by defining the word success. "Success means that I get to do what I love the most every day," he said.
For his fans, he extended his sincere gratitude. "Thank you so much for all the support and I hope to see you guys soon!" he exclaimed.


text:
Writing Health Information for ConsumersGeraldine Manser2021-07-15T14:02:40+10:00
You are here:Home>Health Literacy for Health Services & Providers>Writing Health Information for Consumers
10 minutes Print
Consult your audience about their information needs.
Write in plain English. Avoid jargon and choose words that most people understand and use themselves.
Write information that is actionable and helps consumers and carers to complete tasks and ask questions.
Aim for a reading age of Year 6, and never higher than Year 9. Consider your audience's literacy level.
Readability calculators can help you write clearly for your audience.
Test your information with consumers. Ask them if it meets their needs. Be prepared to make changes.
About 40% of Australian adults can understand and apply health information in the way it is usually presented [i]. This means that six in ten Australian adults are not able to find the information they need to make informed choices about their health, or the care they receive
Almost all patient information – about treatments, self-management, health promotion, disease prevention and using health services – is too complex for most people [ii][iii][iv][v].
Most public information about COVID-19 exceeds the recommended reading level of Grades 6 – 8 [vi]. This means that 60% of the population would find it hard to understand critical information about how to prevent and reduce COVID-19 transmission.
Good health information matters
Good health information helps consumers and carers [vii]:
Understand their health, their health condition, how their body works and how tests and treatments could affect them
Make informed decisions about their health and care
Look after their health and follow advice and instructions, and
Change health-related behaviours.
Health information covers many topics including:
Health conditions and their management
Tests, treatments and medications
Informed consent documents
Booking, admission and discharge information
Signage in health facilities
Public health campaigns
It can be presented in websites and videos as well as documents including brochures, pamphlets, posters, administrative forms and letters.
You can assist consumers and carers to understand health information.
Consider and involve your audience
Begin by identifying your audience. Ask:
What information do they need?
What format will work best for them?
Which consumers are not your audience?
Involve consumers and carers in answering these questions.
When consumers are involved in planning, developing and testing health information:
The information is more likely to be relevant to them, and
They are more likely to follow the instructions and advice you give.
There are many ways to involve consumers, ranging from informal conversations to working groups, consumer representation and co-design. What method you choose will depend on the resource, your timeframe and your audience. You can get more advice about how to involve consumers from:
The Guide to Producing and Sourcing High Quality Health Information, by the Centre for Health Communication and Participation
The Health Care Consumers' Association
Consider what health information already exists before you start writing. Is there a resource you can adapt or use? Does it meet the need you have identified from consumer input?
Test your resource with consumers. User testing can tell you whether the information meets consumers' needs. Ideally, test with users at different points in the development of the resource. At the minimum, test with readers once you have a good draft. Be prepared to make changes [viii].
The Centre for Plain Language suggests key questions to ask when user testing.
Write for your audience
Write in plain English. This means using common words that most people understand and use in their everyday life. This makes it easier for every reader to understand. It doesn't mean oversimplifying. Find out what words your audience uses, and use them.
Consider the reading level of your audience. Write for a Year 8 reading level or lower. Many guidelines recommend aiming for Year 6 reading level.
Use a readability calculator to test the reading level of your document. There are many readability calculators to choose from. Readability formulas are based on the average words to a sentence and the average syllables per word. They tend to positively rate short sentences made up of short words. Readability tests do not check if your writing is understandable, interesting, or educational.
There is more information about readability calculators and how they work in the Tasmanian Government's Health Literacy Workplace Toolkit here.
The Hemmingway app is a free online readability calculator that also suggests how you can simplify your document.
Consider whether your information is accessible to people with specific information requirements. For example:
Is the font size large enough for people with partial vision or very low vision to read?
Should you translate the document, or modify it for people who speak English as a second language? [ix]
There is more guidance about writing for consumers with specific information needs in the Tasmanian Government's Health Literacy Workplace Toolkit.
Use Inclusive language
Using inclusive language and images is critical to ensure that your message is engaging and appropriate to all audiences. Inclusive language aims to avoid expressions that include or imply ideas that are sexist, racist, or otherwise biased, prejudiced, or denigrating to any particular group of people.
Key principles of inclusive language are that it:
Reflects diversity in use of pronouns – she/her, he/him, they/their. Use a mix of pronouns in your document.
Is person-centred – for example, 'people with diabetes' rather than 'diabetics', 'person with disability' rather than 'disabled person'.
Respects a person's values (cultural, spiritual, emotional) and beliefs
Demonstrates respect for how people describe who they are and what is important to them (relationships, gender, abilities, and identities)
Focuses on a person's strengths and assets and what they can do, not their limitations or deficits or what they can't do
Tips for clear writing
Present the most important information first.
Leave out information that is not essential, even if it's interesting.
Use the words your audience uses.
Use medical terms and complex terms when you need to. Define them when you use them, with examples.
Focus on actions the reader needs to take. Break complex actions into steps. Dot points and checklists can help.
Give information that helps consumers and carers ask health professionals questions. For example, consider including a "Questions to Ask" section.
Patient correspondence should include contact details for questions.
Suggest places where they can find additional information that is trustworthy and accessible, some people will want more.
Write short logical sentences – about 20 words.
Use short paragraphs of about five sentences.
Use short words wherever you can. Can you replace words of three syllables or more with a shorter word?
Avoid jargon, abbreviations and acronyms.
Aim for a conversational tone.
Use active voice – "take your medication after meals" not "medication must be taken after meals".
Address readers as "you". Refer to your service as "we". This makes your information more relevant to the reader.
Layout can help readers understand
Use headings, colour and font to group information and highlight what is most important
Use white space to break up sections of information
Use images. Drawings, photos and simple diagrams can help people understand the text [x].
Remember not all health information is written. Use different formats – text, video, images and conversations – to meet different people's information needs and preferences. Use written information to reinforce key messages and support what you say in discussion.
The Australian Commission for Safety and Quality in healthcare has produced a fact sheet on Writing health information for consumers.
Health Literacy Northern NSW has a Checklist for designing consumer-friendly health information.
The Tasmanian Government Department of Health's Health Literacy Workplace Toolkit has fact sheets on writing clearly.
The US Centre for Plain Language's Five Steps to Plain Language are easy to follow.
The Centre for Health Communication and Participation's Guide to Producing and Sourcing Quality Health Information is a step-by-step guide to information governance, partnering with consumers, supporting health literacy and sharing resources. It includes a self-evaluation toolkit. It was written by Louise Walsh, Tamsin Waterhouse and Sophie Hill in 2019 for the Centre for Health Communication and Participation at La Trobe University with support of Safer Care Victoria.
The Connecting through inclusive communication practices Guide from the Eastern Sector Development Team (ESDT) contains information, tools and good practice examples that you can use when developing new material or when reviewing existing material. It focuses on inclusive language and communication practices and will support person-centred approaches that reflect diversity.
The United States Agency for Healthcare Research and Quality (AHRQ) Universal Precautions Toolkit, second edition, includes information and tools to improve written communication with patients, consumers and carers as well as examples of health literate patient information:
The United States Centre for Disease Control and Prevention hosts Everyday Words for Public Health Communication – a database of medical terms and jargon with suggested plain language synonyms, and examples of how these words can be used in plain English sentences.
The Plain English Campaign in the UK has a guide on How to write plain English. The guide begins with 'So what's plain English?' and then looks at the main ways to make writing clearer.
The Plain English Campaign has also produced a resource to help you to write in plain English – The A – Z of Alternative Words. This guide gives hundreds of plain English alternatives to the formal words and phrases that are common in official writing. On its own the guide won't teach you how to write in plain English but using everyday words is an important first step towards clearer writing.
[i] Australian Commission on Safety and Quality in Health Care. 2014, National statement on health literacy. Sydney: ACSQHC;
[ii] Rowlands G, Protheroe J, Winkley J, Richardson M, Seed PT, Rudd R. A mismatch between population health literacy and the complexity of health information: an observational study. Br J Gen Pract. 2015;65(635):e379–86
[iii] Comings JP, Garner B, Smith CRudd RE, Anderson JE, Oppenheimer S, et al.(2007) in Review of adult learning and literacy. Volume 7, Health literacy: an update of medical and public health literature, eds Comings JP, Garner B, Smith C (Lawrence Erlbaum Associates, Mahwah, NJ), pp 175–203
[iv]Stone, Louise & Waldron, Russell. (2019). Great Expectations and e-mental health: The role of literacy in mediating access to mental healthcare. Australian family physician. 48. 8-12. 10.31128/AJGP-11-18-4760.
[v] Cheng C, Dunn M. Health literacy and the internet: A study on the readability of Australian online health information. Aust N Z J Public Health 2015;39(4):309–14. doi:10.1111/1753-6405.12341
[vi] Mishra V, Dexter JP. Comparison of Readability of Official Public Health Information About COVID-19 on Websites of International Agencies and the Governments of 15 Countries. JAMA Netw Open. 2020;3(8):e2018033. doi:10.1001/jamanetworkopen.2020.18033
[vii] Deering MJ and Harris 9 1996 in Louise Walsh, Tamsin Waterhouse and Sophie Hill, 2019, Guide to producing and sourcing quality health information: Guidelines to support high-quality health information for consumers and carers in Victoria. Centre for Health Communication and Participation, La Trobe University, Victoria. Accessed 20/10/2020 at: https://www.latrobe.edu.au/__data/assets/pdf_file/0005/1029362/CHCP-HEALTH-INFORMATION-GUIDELINES_APRIL-2019.pdf
[viii] Five Steps to Plain Language, The Centre for Plain Language. Accessed 22/10/2020 at: https://centerforplainlanguage.org/learning-training/five-steps-plain-language. Louise Walsh, Tamsin Waterhouse and Sophie Hill, 2019, Guide to producing and sourcing quality health information: Guidelines to support high-quality health information for consumers and carers in Victoria. Centre for Health Communication and Participation, La Trobe University, Victoria. Accessed 20/10/2020 at: https://www.latrobe.edu.au/__data/assets/pdf_file/0005/1029362/CHCP-HEALTH-INFORMATION-GUIDELINES_APRIL-2019.pdf
[ix] Tasmanian Government Health Literacy Workplace Toolkit – Use Plain Language, accessed 20/10/2020 at: https://www.dhhs.tas.gov.au/publichealth/health_literacy/health_literacy_toolkit/use_plain_language, Assessing readability, at: https://www.dhhs.tas.gov.au/publichealth/health_literacy/health_literacy_toolkit/assessing_readabilit and People with Additional Information Needs at: https://www.dhhs.tas.gov.au/publichealth/health_literacy/communications_and_health_literacy_workplace_toolkit
[x] Five Steps to Plain Language, The Centre for Plain Language. Accessed 22/10/2020 at: https://centerforplainlanguage.org/learning-training/five-steps-plain-language. Louise Walsh, Tamsin Waterhouse and Sophie Hill, 2019, Guide to producing and sourcing quality health information: Guidelines to support high-quality health information for consumers and carers in Victoria. Centre for Health Communication and Participation, La Trobe University, Victoria. Accessed 20/10/2020 at: https://www.latrobe.edu.au/__data/assets/pdf_file/0005/1029362/CHCP-HEALTH-INFORMATION-GUIDELINES_APRIL-2019.pdf, and Tasmanian Government Department of Health Health Literacy Workplace Toolkit, accessed 20/10/2020 at: https://www.dhhs.tas.gov.au/publichealth/health_literacy/communications_and_health_literacy_workplace_toolkit
Last Updated on 15 July, 2021.


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This stunning glass tealight holder will look beautiful in your home this Christmas. Place it on your coffee table, windowsill, mantelpiece, sideboard or shelfing unit to create the perfect festive ambiance. The mirrored background delicately reflects the candle light through the clear glass window at the front. Silver diamantes shaped into 3 Christmas trees complete this gorgeous ornament. Treat yourself or give as a gift to someone special this Christmas.


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SAN JOSE — The Santa Clara County District Attorney's Office said Monday it is evaluating whether to pursue a probation violation charge against now-terminated San Francisco 49ers linebacker Reuben Foster, who was arrested for domestic-violence in Tampa over the weekend.
Police meanwhile released 911 audio from the call by his "on-again off-again" girlfriend, who had recanted similar allegations earlier this year.
Foster was sentenced in Santa Clara County to two years probation in June after he pleaded no contest to a misdemeanor weapons charge for an assault rifle found in his Los Gatos home the morning of Feb. 11. He was arrested that day on suspicion of domestic violence based on allegations made by Elissa Ennis, the same woman who is the alleged victim in Foster's latest arrest.
The weapons violation was the only charge to survive from the February encounter, after Ennis recanted her accusations on the stand during a preliminary examination. After the domestic-violence charges were dropped, prosecutors stood by their case.
Monday, the DA's office released a statement in response to news of Foster's arrest in Tampa, alluding to prosecuting a probation violation. The office said it is even considering re-charging Foster on the original case — double jeopardy does not apply because Foster never went to trial — but that is widely considered a long shot.
Steven Clark, a criminal-defense attorney and former prosecutor who closely followed the Foster case, said Sunday that Santa Clara County prosecutors should feel at least partially vindicated, and have cause to revisit their case.
Also Monday, Tampa police released 911 audio of Ennis' call Saturday night asking police to come to the Grand Hyatt hotel, located about five miles from Raymond James Stadium where the 49ers played the Tampa Bay Buccaneers on Sunday.
Foster was arrested that same night and cut by the 49ers the following morning before the game. He was released from Hillsborough County jail that afternoon after posting bond.
The two-minute audio excerpt does not offer any significant insight beyond what Tampa police had already stated over the weekend, but conveys emotion similar to the 911 call she made in Los Gatos earlier this year.
The call starts with an emergency dispatcher picking up the phone and asking Ennis for her location.
"I'm staying at the Grand Hyatt," Ennis said.
Soon she describes the allegations behind Foster's arrest that night.
"He took my phone and broke it, and slapped me in my face," Ennis said.
Foster and Ennis were involved in a domestic dispute in Santa Clara last month. 49ers coach Kyle Shanahan said at his Monday news conference that he and other members of the 49ers' front office were unaware that Foster was still dating Ennis.
Shanahan said he first heard about Foster's troubles Saturday evening after police were called to Ennis' room at the Grand Hyatt.
"For that to come up for what did happen last year, or earlier this year, and then for what happened Saturday with the same person at a team hotel, it's just hard to comprehend how you can put yourself in that situation again," Shanahan said.
Staff writer Curtis Pashelka contributed to this story.


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text:
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd">

<TITLE>
Sequence
</TITLE>

<META NAME="date" CONTENT="2009-09-18">

<LINK REL ="stylesheet" TYPE="text/css" HREF="../../../../../../../stylesheet.css" TITLE="Style">

      Overview
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uk.org.mygrid.cagrid.servicewrapper.imported.irwg

Class Sequence

java.lang.Object
  uk.org.mygrid.cagrid.servicewrapper.imported.irwg.Sequence

All Implemented Interfaces:
java.io.Serializable

Direct Known Subclasses:
NucleicAcidSequence, ProteinSequence

public class Sequence
extends java.lang.Object
implements java.io.Serializable

A serial arrangement of  organic molecules such as amino acid or
 nucleotide.

See Also:
Serialized Form

Constructor Summary

Sequence()

Sequence(java.lang.String value,
         java.lang.String valueInFastaFormat)

Method Summary

 boolean
equals(java.lang.Object obj)

static org.apache.axis.encoding.Deserializer
getDeserializer(java.lang.String mechType,
                java.lang.Class _javaType,
                javax.xml.namespace.QName _xmlType)

          Get Custom Deserializer

static org.apache.axis.encoding.Serializer
getSerializer(java.lang.String mechType,
              java.lang.Class _javaType,
              javax.xml.namespace.QName _xmlType)

          Get Custom Serializer

static org.apache.axis.description.TypeDesc
getTypeDesc()

          Return type metadata object

 java.lang.String
getValue()

          Gets the value value for this Sequence.

 java.lang.String
getValueInFastaFormat()

          Gets the valueInFastaFormat value for this Sequence.

 int
hashCode()

 void
setValue(java.lang.String value)

          Sets the value value for this Sequence.

 void
setValueInFastaFormat(java.lang.String valueInFastaFormat)

          Sets the valueInFastaFormat value for this Sequence.

Methods inherited from class java.lang.Object

getClass, notify, notifyAll, toString, wait, wait, wait

Constructor Detail

Sequence

public Sequence()

Sequence

public Sequence(java.lang.String value,
                java.lang.String valueInFastaFormat)

Method Detail

getValue

public java.lang.String getValue()

Gets the value value for this Sequence.

Returns:
value

setValue

public void setValue(java.lang.String value)

Sets the value value for this Sequence.

Parameters:
value -

getValueInFastaFormat

public java.lang.String getValueInFastaFormat()

Gets the valueInFastaFormat value for this Sequence.

Returns:
valueInFastaFormat A representation of a molecular sequence in FASTA format (a.k.a.
 Pearson format) which is a text-based format where base pairs or amino
 acids are represented using single-letter codes. The format also allows
 for sequence names and comments to precede the sequences in a form
 of a header.

setValueInFastaFormat

public void setValueInFastaFormat(java.lang.String valueInFastaFormat)

Sets the valueInFastaFormat value for this Sequence.

Parameters:
valueInFastaFormat - A representation of a molecular sequence in FASTA format (a.k.a.
 Pearson format) which is a text-based format where base pairs or amino
 acids are represented using single-letter codes. The format also allows
 for sequence names and comments to precede the sequences in a form
 of a header.

equals

public boolean equals(java.lang.Object obj)

Overrides:
equals in class java.lang.Object

hashCode

public int hashCode()

Overrides:
hashCode in class java.lang.Object

getTypeDesc

public static org.apache.axis.description.TypeDesc getTypeDesc()

Return type metadata object

getSerializer

public static org.apache.axis.encoding.Serializer getSerializer(java.lang.String mechType,
                                                                java.lang.Class _javaType,
                                                                javax.xml.namespace.QName _xmlType)

Get Custom Serializer

getDeserializer

public static org.apache.axis.encoding.Deserializer getDeserializer(java.lang.String mechType,
                                                                    java.lang.Class _javaType,
                                                                    javax.xml.namespace.QName _xmlType)

Get Custom Deserializer

      Overview
      Package
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      Use
      Tree
      Deprecated
      Index
      Help

 PREV CLASS
 NEXT CLASS

  FRAMES
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  All Classes

  SUMMARY: NESTED | FIELD | CONSTR | METHOD

DETAIL: FIELD | CONSTR | METHOD


DONNA TALLENT was booked on 8/13/2018 4:29:00 PM. TALLENT was arrested by DORCHESTER CO. DEPT. OF CORRECTIONS in Cambridge, Maryland. TALLENT was 57 years old at the time of the arrest.
DONNA TALLENT may not have been convicted of the charges or crimes listed and are presumed innocent until proven guilty. Please contact the DORCHESTER CO. DEPT. OF CORRECTIONS for more information regarding arrest records.


The start of the workgroup.
A wonderful weekend, bathed in sunlight, and a terrific atmosphere will be remembered for a long time to come in small Ursel. The commemoration weekend for the B67 airfield on September 26 and 27 2009 lit the fire of interest with the local population, resulting in a workgroup focusing on this old airfield.
A lot of people, even Ursel locals, were unaware of the location where Ursel's first airfield was located.
About 70 yeas ago, the air component of the Belgian army decided to establish a number of rear airfields to act as a defence in the event of a German invasion. In the region 'Meetjesland', 3 airfields were built: Maldegem, Aalter and Ursel.
When the German invasion occurred, Ursel, just like Maldegem, was taken over by the German Luftwaffe. At the start of the war and the occupation, the airfield was even used by the Italians, who supported the Luftwaffe during the Battle of Britain from Ursel airfield, a role in which they demonstrated a unique kind of inaptitude.
On June 6, the liberation of the European mainland commenced with operation Overlord in Normandy. An enormous armada of allied troops, ships, vehicles and aircraft were fielded, with among others, 123 Wing of the Second Tactical Air Force, Royal Air Force. Four squadrons, 164 Sqn, 183 Sqn, 198 Sqn and the legendary 609 Sqn arrived in Ursel from B-53 airfield at Merville – Calonne in France on 30 October 1944. During the occupation, the Germans had constructed a concrete runway on the grass field, making it a perfect airfield to use for the continued liberation effort. Still, a lot more work by British engineers would be required before the heavy attack aircraft called Hawker Typhoon could stage combat operations from Ursel. The runway was extended, not with concrete but with steel matting placed on hay. This was a necessary precaution due the muddy nature of Ursel's surface. Some taxi ways were also widened.
The Ursel Typhoon squadrons only stayed a few weeks but performed combat missions almost daily.
One series of attacks is definitely remarkable. Following the battle for the access to Zuid Beveland, the operation Switchback and operation Vitality, a new, fourth offensive of the Canadian liberators started in November 1944. This operation, codenamed Infatuate, aimed to free the entrance to the Scheld river. The weather over the North Sea and over England was so atrocious that delivering the promised and vital air support for the Canadians and their landing craft proved impossible.
Near Westkapelle and Vlissingen, the Canadians found themselves subjected to heavy German fire. After all, the Germans wanted to avoid allied access to the already liberated Antwerp and its harbour via the Scheld.
Unfortunately, for a long time, operation Infatute looked like a failure.
A desperate cry for help arrived at B-67 Ursel's 123 Wing. Group Captain Scott immediately decided to start flying air support missions for the Canadians at once, despite the low cloud base, sometimes reported to be as low as 300 feet, and very poor visibility.
This decision was a heroic act which the Canadians appreciated greatly later on. After all, flying under those circumstances was life-threatening. N°163, 183, 198 and 6O9 Squadrons of the RAF conducted more than 600 offensive flights in that short period.
Eventually, the RAF sent bombers from England to bomb the dikes from higher altitudes.
After three days of fighting, the Canadians finally succeeded to establish a bridge head. Eventually, on 28 November, the entire Scheld estuary was liberated all the way to Antwerp, allowing the first Canadian convoy to make port.
Despite the awful weather circumstances and the difficulties to provide adequate air support for the Canadians, 123 Wing of the RAF played a pivotal part and we should be proud this was all mounted from an airfield called B-67 Ursel.
In 2009, it had been 65 years since the Typhoons arrived at B-67 Ursel and this occasion could not go by unnoticed. During the editions 2007 and 2008 of Wings and Wheels, there was already a strong emphasis on the RAF presence at Ursel in 1944 and 1945, but the time had come to pay tribute the mighty Typhoons and their pilots where they were "at home".
In 2008, we already played with the idea to organize a commemoration ceremony in honour of the liberators in Aalter, together with Elderman Philippe Verleyen and Pascal Ginneberge, which included an international music tattoo.
As 2009 progressed, the urge to include Ursel (Knesselare) in this commemoration grew stronger. Those who know me, also know I am passionate about World War II aircraft and the history of B-67 has always fascinated me.
The ball got rolling after a couple of conversations with Culture Elderman Herlinde Trenson, as she was also very enthusiastic and provided her full support.
In the meantime, we had also established close contacts with the current, still operational RAuxAF 609 Squadron, based at RAF Leeming. 609 Sqn was more than happy to support the commemoration ceremonies. The result of many meetings and preparatory work came on 26 and 27 September. A complete and very full programme was scheduled to make this an unforgettable weekend.
The reception of RAuxAF 609 Squadron and William De Goat at the townhall, the visit together with 609 squadron to Vliegclub Ursel, the guided tour with Cynrik De Decker and Cdt Vl Peter Celis at the old site of B-67, the visit to 't Coninckshof, the hot air balloons and the release of small white balloons by children, the fly-passes by the Ursel formation team The Victors, the D-Day veteran Stinson Reliant and the Seaking from Coxyde, the exquisite "Tally Ho" dinner the commemorative mass and the tribute in which Vliegclub Ursel took part, these were all moments to cherish.
For the big finale of the Commemoration weekend of Ursel, we joined the commemoration programme of the nearby Aalter (Polish liberation) weekend. At the Aalter tattoo, they also paid tribute to B-67 with a splendid poppy drop (with thanks to Jo Van de Woestyne and Yves Vandeginste of Vliegclub Ursel) from a WOII aircraft and a touching Missing Men formation with the Victors.
Something was awakened in Ursel. Apart from honouring the RAF squadrons, the aim to make the people of Ursel more aware of this chapter of history was certainly successful!
Friendships were forged, stories and pictures of the war resurfaced and still more are coming to light.
But apart from this, a number of very tangible remnants of B-67 were re-discovered on site.
But nothing could be further from the truth, a small summary will make it instantly clear that the site still shows traces of its history. At 't Coninckshof, there is still an impressive prison bunker, traces of the concrete German taxi ways remain, part of the German runway was discovered, a water point which supplied fire extinguishing water, water pumps, a drain system, a power generator, a small observation bunker, and more discoveries, as thanks to archeological photography, clear traces were discovered of the runway and taxi ways.
With all this, it slowly became clear we had to continue digging deeper. And after a few inquiries, it quickly became clear this enthusiasm could make the workgroup B-67 a reality!
The story, the history will be told, lest we forget!


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Flight from hell: Severe turbulence hits plane over the Atlantic
By William Last updated Oct 21, 2022
A flight was thrown into chaos when it was hit by turbulence over the Atlantic, leaving passengers thrown around the cabin, screaming and one breaking their nose on the ceiling.
The Aerolíneas Argentinas AR1133 flight took off at 8.21pm on October 18 from Madrid and was heading to Buenos Aires.
But the Airbus A330 that was carrying 271 passengers and 13 crew members was affected by bad turbulence.
Turbulence began around seven hours into the 12-hour flight off the coast of Brazil when the passenger jet sagged and shook around at 11,500 metres (38,000 feet).
The Aerolíneas Argentinas AR1133 flight took off at 7.51pm on October 18 from Madrid and was heading to Buenos Aires. But the Airbus A330 that was carrying 271 passengers and 13 crew members was affected by bad turbulence. Pictured: The cabin after the turbulence
The flight descended into pandemonium, with passengers, most of whom had been sleeping, panicking and food and drinks trolleys thrown around.
Aerolíneas Argentinas said that at the time of the turbulence, seat belt signs were on and an announcement had been made.
But some passengers fumbling for seatbelts or those who were unbuckled at the time hit the ceiling.
Trolleys and bags hurtled through the cabin as the hand luggage compartments opened.
At least 12 people were injured and three of them were later hospitalized with severe injuries. One was left with a broken nose, according to Bild.
The flight did land in Buenos Aires eventually, four-and-a-half hours after the turbulence began.
Passengers who suffered injuries were taken to hospital for treatment. Some were admitted.
Turbulence began around seven hours into the flight off the coast of Brazil when the passenger jet sagged and shook around at 11,500 metres (38,000 feet). The flight descended into pandemonium, with passengers, most of whom had been sleeping, panicking and food and drinks trolleys thrown around. Pictured: An injured woman after the turbulence
Aerolíneas Argentinas said that at the time of the turbulence, seat belt signs were on and an announcement had been made. But some passengers fumbling for seatbelts or those who were unbuckled at the time hit the ceiling. Pictured: Open compartments and oxygen masks after the turbulence
At least 12 people were injured and three of them were later hospitalized with severe injuries. One was left with a broken nose, according to Bild. Pictured: An Aerolineas Argentinas plane (file image)
Speaking to newspaper El Pais, passenger Adrian Torres said: 'We had flown about seven hours and almost all of us slept, because at that time it was almost three in Spain.
'The plane started to move a lot and I said to my colleagues, 'how much turbulence, buckle up!
'As I fumbled for my seat belt, the plane encountered severe turbulence.'
He explained that the plane then suddenly dropped metres and they shot at the ceiling, leaving him with a small bruise.
Adrian added that the incident left his colleague with a broken nose.
Pictured: A part of the ceiling panelling was destroyed by the turbulence
Pictured: The route of the plane from Madrid to Buenos Aires before the chaos unfolded
Another passenger, Esperanza Borrás, said there was no warning.
She had unbuckled her seatbelt for a short time.
After the turbulence started she hit her head on the ceiling and broke her nasal septum.
The chaos left other passengers injured, suffering cuts and bruises. Some of these were severe.
Turbulence left the Airbus galleys wrecked.
The ceiling panelling was also damaged as passengers were thrown upwards in the chaos.
Pictured: More of the damage caused by the chaotic incident on board the flight from Madrid to Buenos Aires
Aerolíneas Argentinas said in a statement that the seat belt signs were switched on when the turbulence occurred.
The company also said that passengers were warned with an announcement.
But not all of the passengers agree with this version of events.
The statement added that due to the severe turbulence on the flight from Madrid to Ezeiza, nine passengers had to be treated with various minor injuries after the plane landed at Ezeiza airport at 4.30am.
And it confirmed that another three were hospitalised due to their injuries. It also stated that the plane did not suffer significant damage to its structure.
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Fargo: UFOS, Frogs & Earthquakes
There are big spoilers in this post for the second season of "Fargo," as well as the films "Magnolia" and "Short Cuts." I strongly recommend watching two of the three, but I don't want to cut the readership of this post down to the slim Venn diagram for the overlapping audiences of the three.
First of all, if you aren't watching "Fargo," you need to be. I'm shocked that the feel of a Coen Brothers movie could be translated to the screen so well by a non-Coen (showrunner Noah Hawley). And not just the feel of "Fargo." Their filmography is probably more varied than any other modern filmmakers, and Hawley pulls in bits of it all, from "O Brother" to "Blood Simple."
Last year the first seasons of "True Detective and "Fargo" were neck and neck for me in terms of quality. The second season of "True Detective" showed that the first season might have been a fluke," while the second season of "Fargo" shows you can improve on a nearly perfect season of television.
There is one "WTF" element to the second season: a UFO. This post is largely about that, but also the storytelling tradition of the type of device I believe it is. I could be wrong, as I write this there is still one unaired episode. Maybe it won't stick the landing and "Fargo" will end up like "Magnolia" (more on that in a minute."
In Robert Altman's 1993 film, "Short Cuts," we get the stories of a loosely connected group of Los Angeles residents. The film ends with an earthquake, and we get glimpses of how it affects each person's life.
Similarly, Paul Thomas Anderson's 1999 film "Magnolia" tells the stories of a group of loosely connected Los Angeles residents. The film ends with frogs falling from the sky and… I'm sorry, I have to take a moment. "Magnolia" really pisses me off.
Why does it upset me? Well, when "Magnolia" was released it got a lot of comparisons to "Short Cuts." I think they're pretty fair comparisons, except "Magnolia" didn't deliver in the end, while "Short Cuts" did.
I think the great success of "Short Cuts" comes from the fact that it's an adaptation of a number of Raymond Carver short stories. Even though they're all connected by various characters and one large moment (the earthquake), the individual stories are allowed to come to their own natural conclusions, with the earthquake only providing an ending for one of the narratives.
There's a lot to like about "Magnolia." It's full of strong performances. The soundtrack is amazing. The mid movie sing-along? I was on board. The failure of "Magnolia" came from using the falling frogs to halt the building narratives of every story. We had building tensions and arcs that needed payoff, and the payoff was "Frogs fall on everyone."
The film starts off with a narrator talking about incredible coincidences and strange forces playing an important role in life. Great, but "frogs" isn't a conclusion, especially to the end of a three hour movie. Frogs can be part of the conclusion, but here it was just "Forget all of that other stuff, because here's some craziness." A uniting point of craziness can be the beginning of a story, but not at the end. It would be like if in the last 10 pages of "Tom Sawyer," everyone got exposed to radiation and became superheroes.
"Fargo" was smart in that the UFO played an important part early on (the hit & run with Rye Gerhardt) and there have been subtle allusions to it throughout the season. So when it showed up at the Sioux Falls Massacre, it wasn't an out of nowhere deus ex machina.
in fact, the UFO had very little impact on that scene, other than distracting Bear Gerhardt just long enough so that Lou Solverson didn't die.
But it still seems odd, doesn't it? A UFO in the middle of what seems like a true crime story? It's kind of like how you can accept The Dude's First Edition dream sequence in "The Big Lebowski," or the sirens in "O Brother," but if they popped up in "No Country," things would seem off.
But this is Minnesota in 1979. At the time, a small town sherif in Minnesota claimed to have an encounter with a UFO.
The UFO is there because this is "based on a true story," even though it's not really. Think back to the film "Fargo." Why did Marge Gunderson have her dinner with Mike Yanagita when it didn't have any impact on the plot? Because in a "true story" you don't omit the facts, even when it doesn't fit the overall narrative.
Why did the Mike scene happen? The same reason the UFO is there. Because you need to stick with the "truth," even if it's a little weird.
Of course, I may be wrong. And with one episode left, it might not stick the landing. But in the 19 episodes aired show far, show runner Noah Hawley has managed to perfectly capture the tone of multiple Coen Bros. films.
The result is a masterpiece of television.
December 14, 2015 Joe LawlerUncategorized
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