the hook upon which i hung.
we started when i traced the space around his navel.
confused with the mount of venus, where thumb fuses to palm.
sometimes he seemed to me a lily.
so: do I gild the lily or let the lily breathe?
to the audience he introduced me as prodigal. the word does not mean one who has left and returned but one who uses resources wastefully; is recklessly extravagant. this distinction hardly matters: in my case, both are true.
I don't have any photographs of us together, but I know there's one out there, taken after a concert in December. We ran into each other in the lobby before the show. He held a glass of wine, one finger adorned with a ring shaped like a skull. As the lights brightened and dimmed, we separated to take our seats. I watched him walk up the stairs toward the balcony.
When the guitarist tuned her instrument between songs we texted each other, one of us wishing to be her fingers and the other, her guitar. We found each other again after the show and talked until a magazine photographer took our picture. We stood together, arms around shoulders.
To purify a chemical, one must dissolve it in an appropriate solvent, must allow the pure solid to fall to the bottom of the glass, leaving the impurity behind in liquid.
This procedure requires an initiation: the introduction of a seed crystal, to serve as the nucleus around which crystals may grow.
A solution is saturated when it cannot bear even one more drop.
This is to say: I know why he left.
i know he's writing a book and i'm afraid. i'm afraid to read it.
i have this nightmare, but only when i'm awake.
Tom Hack is a writer and artist studying at The School of the Art Institute of Chicago. He has recently shown work with the 50 Pullman Arts & Music Festival and the Queer Mixed Realities Collective. His favorite arrangement of birds is a murmuration of starlings and he is currently wondering why Drake hasn't returned his phone calls. Follow him on Twitter and Instagram @yung_heathcliff.


Design Patterns Web design patterns web 40 helpful resources on user interface design patterns smashing printable. design patterns web what are the different web design patterns visual hierarchy blog download. design patterns web 5 really useful responsive web design patterns digital printable. Design Patterns Web design patterns web 5 really useful responsive web design patterns top digital agency template. design patterns web 15 ui design patterns web designers should keep handy template. design patterns web 63 web ui patterns from todays hottest companies download. Design Patterns Web design patterns web top 6 golden principles for web app design patterns in 2017.
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text:
Augustana Evangelical Catholic Church
(Lutheran)
Augustana Evangelical Catholic Church (Lutheran) © ALL RIGHTS RESERVED | Privacy Policy
Chorale (Ein feste Burg ist unser Gott): Andante con moto; Allegro vivace8:55
CHURCH COMMUNIONS
 WHAT WE BELIEVE
The Church is a hospital for healing the whole person in body, soul, and spirit in the Name of the Triune God--Father, Son, and Holy Spirit.
The classical spiritual disciplines of the Faith: prayer and meditation, solitude and silence, confession and forgiveness, simplicity, fasting, study, submission and service, worship and celebration.
The Holy Mysteries (Seven Sacraments or Mysteries of the ancient faith)
The Joint Agreement on Justification signed in 1999 between the Roman Catholic Church and the Lutheran World Federation (LWF) and the repudiation of the anathemas of 500 years.
The three ancient creeds: The Apostles' Creed, The Nicene-Constantinapolitan Creed, The Athanasian Creed
The primacy of the Roman Pontiff as first among equals, and the teachings of the Magisterium
The Ecumenical Councils through Vatican II
The Unaltered Augsburg Confession
Luther's Large Catechism (in so far as it agrees with the Magisterium)

redpajama_set_name: RedPajamaCommonCrawl


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Rajarathinam Stadium is a stadium located on Marshalls Road in Egmore, Chennai, Tamil Nadu, India, and is owned by the state police department. The stadium had chiefly been used as a parade ground for police personnel.

Pre-renovation
The stadium, which had been used primarily as a police parade ground, is currently under renovation. It also serves as a venue for morning walk for the locals. Before renovation, it was also used for the passing out parade for senior police officers, especially directors-general of police (DGPs) and also as a venue for the sports meets and annual day celebrations of the city schools.

Renovation
The re-construction of the stadium began in 2009 with a fund allocation of  31.655 million for building the barracks and a training centre. The construction was handed over to the Tamil Nadu Police Housing Corporation (TNPHC) Limited. New facilities include a 400-metre-long track with nine lanes; an FRP-sheet-covered gallery that included offices, library, classrooms and dormitories for men and women; a VIP area with a longue, an air-conditioned viewing gallery, and rooms for commentators; four blocks of common toilets; and two blocks of attached toilets. Two types of galleries have been built—a main gallery with a plinth area of 12,000 sq ft and two additional galleries spread over 4,521 sq ft each.

References

External links

Sports venues in Chennai
Buildings and structures in Chennai
Year of establishment missing

redpajama_set_name: RedPajamaWikipedia


text:
Q: Method overloaded with "params" keyword behavior public void Function<T>(params T[] list)
    where T : BaseT
{
    foreach (var elem in list)
        Function(elem);
}

public void Function<T>(T elem)
    where T : BaseT
{
    // stuff
}

And now when I call it with T1 and T2 which are derived from BaseT :
Function(new T1()); // this calls Function(elem) method
Function<BaseT>(new T1(), new T2()); // this call Function(list) method

So why doesn't the first call work like the second, in the sense that it should call the Function(list) method with one parameter? How does the params keyword influence the code?

redpajama_set_name: RedPajamaStackExchange


Our popular SciPhD ½ day workshop helps postdocs and graduate students discover that doing challenging research DOES prepare you for an industry job! Doing great science is a business process, and how your students work with talent (people) does prepare them for a team centric working environment! They just don't know to emphasize it or what to call it!!
MODULE I: The myths and realities of working in industry are introduced and discussed. Focus is on the critical skills valued by industry, how industry perceives academic scientists, and how scientists can relate their own experiences and the scientific method to the core competencies valued in industry. This includes building your personal brand that defines your scientific/technical, business, and social identities.
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Part I: Looks at extracting all the valuable information contained in job ads. Most job ads have a tremendous amount of information beyond the scientific/technical requirements for the job. Learn how to identify and prepare to respond to these other critical requirements as well as how to identify the implicit information contained in job ads.
Part 2: Focuses on how to translate the "operational competency" language typical of job descriptions into the "core competencies" of SciPhD that form the basis of your industry skill-set. Learn how to identify your developed core skills and bundle them together into the operational competency language that businesses understand. We also examine ways to build your professional network and use that network to get additional intelligence on jobs, their requirements and how best to connect with the decision-makers who determine who they will hire.
MODULE III: Online Training Course and Self-Assessment: All participants have access to the on-line training program and Self Assessment instrument which teaches more about each of the 24 core competencies valued by industry and allows them to self-assess their own skills in each of these areas. Participants are also guided to develop experience statements for each competency that can be used in developing targeted resumes and cover letters, and in preparing for interviews.
Email us or use the form below to get more information.
The course will also show how to use that information to develop powerful targeted resumes, and prepare for effective interviews.
Despite the fact that these topics are rarely part of the traditional academic research scientist's curriculum, there are many activities associated with the academic experience that draw on these skills. One of the most effective and unique features of this program is how the instructors relate these "business" concepts to common research activities as a bridge to a deeper understanding of how their own experiences can strengthen their competitiveness for industry positions. The course also provides a self-assessment tool that introduces the students to each of the 24 competencies, has them rank their own skill level, and has them develop "experience statements" from their own career that supports their rankings. A detailed report generated by the assessment tool then maps the student's capabilities to those that are critical to different kinds of jobs in different industries.
In addition to workshops and certificates, we offer customized programs.
Email us or use the form below to start designing a program that fits your organization's needs.
A 2 day boot camp that focuses on how to finish graduate/postgraduate work, negotiating with an adviser, examining career options, finding and researching interesting jobs, developing targeted resumes, preparing for interviews, and negotiating terms and landing the first job. Students develop their "personal brand" which includes their scientific, business and social identities. Demonstrating expertise in all three of these areas is critical to being competitive professionally and the biggest obstacle for academic scientists being competitive.
A 2 day boot camp focusing on what comes after you got the job. Studies show that 60% of new hires are let go in the first 18 months, not because of technical issues, but because they did not "fit in", assimilate, or become part of the team. This program focuses on those first 18 months. How to prepare for a leadership position in a Professional Career.


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Home Mozilla 2022 Download Mozilla Firefox 2022 for Windows 10, 8, 7
Download Mozilla Firefox 2022 for Windows
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text:
EARTH/SKY LINEUP
OTHER LINEUP
MIDNIGHT NIGHT JAZZ DANCE STAGE
HOW TO GET TO NISVILLE
FRIENDS OF FESTIVAL
JAZZ MUSEUM
World premiere of "Kenny Quartet" in Nisville
April 12, 2019 April 12, 2019 Natalija Krstic
Kenny Werner, Dave Liebman, Peter Erskin and Johannes Weidenmuller – together in Nis
The super jazz group, in the real sense of the word, is led by Kenny Werner, who is also the saxophonist Dave Liebman and drummer Peter Erskine, as well as one of the most sought after double bassist in the US – German Johannes Weidenmuller – will have one of the first joint concerts in Nisville, on the final night of the festival, on Sunday, August 11th.
Kenny Werner has been a world-class pianist and composer for over forty years. His prolific output of compositions, recordings and publications continue to impact audiences around the world. In 1996 he wrote his landmark book, Effortless Mastery, Liberating The Master Musician Within. Werner has since created videos, lectured world-wide and authored many articles on how musicians, artists or even business people can allow their "master creator" within to lift their performance to it's highest level, showing us how to be spontaneous, fearless, joyful and disciplined in our work and in our life.
Kenny was awarded the 2010 Guggenheim Fellowship Award for his seminal work, No Beginning No End. No Beginning No End is a musical journey exploring tragedy and loss, death and transition, and the path from one lifetime to the next. Utilizing over 70 musicians, Kenny's third album for Half Note Records is an expansive composition featuring Joe Lovano, Judy Silvano, Wind Ensemble, Choir and String Quartet.
Born in Brooklyn, NY on November 19, 1951 and then growing up in Oceanside, Long Island, Kenny began playing and performing at a young age, first recording on television at the age of 11. Although he studied classical piano as a child, he enjoyed playing anything he heard on the radio. In high school and his first years of college he attended the Manhattan School of Music as a classical piano major.
His natural instinct for improvisation led Kenny to the Berklee School of Music in 1970. There he sought tutelage of the renowned piano teacher Madame Chaloff. A Her gracious wisdom and inspiration became a driving force in Kenny's conception: A music conscious of its spiritual intent and essence.
From Boston, Kenny traveled to Brazil with the saxophonist Victor Assis Brasil. There he met Victor's twin brother, Brazilian pianist Joao Assis Brasil. He studied with Joao, who provided another piece of the puzzle for Kenny's conception that would lead to Effortless Mastery, his landmark opus on how to allow the master musician from within to manifest. The book, is now available as an ebook on kindle and in Ibooks.
NEA JAZZ MASTER, saxophonist David Liebman was born in Brooklyn, New York on September 4, 1946. After contracting polio as a small child, he began classical piano lessons at the age of nine and clarinet/saxophone by twelve. His interest in jazz was sparked by seeing John Coltrane perform live in New York City clubs such as Birdland, Village Vanguard and the Half Note. Throughout high school and college, Liebman pursued his jazz interest by studying with saxophone guru Joe Allard (other Allard alumni are Eddie Daniels, Mike Brecker, Steve Grossman, Harry Carney) as well as jazz musicians Lennie Tristano and Charles Lloyd. Upon graduation from New York University (with a degree in American History), he began to seriously devote himself to the full time pursuit of being a jazz artist.
In the early 1970s, Liebman took the leading organizational role as Founder and President of Free Life Communication, a cooperative of several dozen young musicians. Free Life became an integral part of the fertile New York "loft" jazz scene in this period and was funded by the New York State Council of the Arts with a residence in the Space for Innovative Development that also housed several other famous performing groups, most notably the Alwin Nicolais Ballet Company, which lead to collaborative projects during this period.
After one year spent with Ten Wheel Drive, one of the early jazz fusion groups and performing with his first mentor, drummer Pete LaRoca, Lieb secured the coveted saxophone/flute position in the group of John Coltrane's ex-drummer, Elvin Jones. Within two years, Liebman reached the zenith of his apprenticeship period when the legendary trumpeter Miles Davis hired him. These years from 1970 thru 1974 were filled with tours, recordings and the incredible experience gained by being on the band stand with two masters of jazz. At the same time, Liebman began exploring his own music-first in the Open Sky Trio with Bob Moses and then with pianist Richie Beirach in the group Lookout Farm. This group recorded for the German based ECM label as well as A&M Records and touring the U.S., Canada, India, Japan and Europe, winning Group Deserving of Wider Recognition in the Downbeat Critics Poll (1976).
In 1977, Liebman did a world tour with pianist Chick Corea followed by the formation of the David Liebman Quintet with John Scofield as featured sideman. After several world tours and recordings by the quintet over three years, he reunited with Richard Beirach in both the duo format and Quest in 1981. Beginning with bassist George Mraz and drummer Al Foster, the group solidified with the addition of bassist Ron McClure and drummer Billy Hart. Through 1991 the group recorded seven CDs, toured extensively and did many workshops with students worldwide, garnering high critical praise worldwide. (The group has reunited for special tours and recordings since 2005.)
From 1991 through 2012, the Dave Liebman Group featuring guitarist Vic Juris toured and recorded nearly twenty CDs representing a very eclectic direction that ranged from jazz standards to Puccini arias, adaptations from the John Coltrane and Miles Davis repertoires, as well as original compositions in styles ranging from world music to fusion and free jazz, always maintaining a repertoire that balanced the past, present and future.
Over the past decades, Lieb has often been featured with top European musicians such as Joachim Kuhn, Daniel Humair, Paolo Fresu, Jon Christensen, Bobo Stenson, Michel Portal, Wolfgang Reisinger and Jean-Paul Celea among others. His reputation in Europe has led to big band and radio orchestra performances with the WDR in Koln, Germany; NDR in Hamburg, HR Big Band in Frankfurt, the Metropole Orchestra, Netherlands. Also as a result of Liebman's eclecticism he has also been featured with progressive classical groups like Klangforum in Vienna, Avanti from Helsinki, Finland and most notably with theEnsemble Intercontemporain from Paris….eventful because it was the first time a jazz improviser was invited to play with the prestigious group founded by Pierre Boulez. On all occasions the music was specially commissioned to feature Lieb's unique soprano saxophone style.
David has been featured on over five hundred recordings, of which he has been the leader or co-leader on nearly two hundred with several hundred original compositions written and recorded. His artistic output has ranged from straight ahead classic jazz to chamber music; from fusion to avant garde and world music. Other ongoing performing/recording combinations include the group Different But the Samefeaturing saxophonist Ellery Eskelin, drummer Jim Black and bassist Tony Marino; the "We3" trio with bassist/composer extraordinaire Steve Swallow and long time Lieb associate Adam Nussbaum on drums; duo work with both pianists Phil Markowitz and Marc Copland.
His newest group Expansions formed in 2013 features musicians from the new generation of jazz players living in New York; Bobby Avey on piano, Matt Vashlishan on reeds, Alex Ritz on drums along with the perennial Tony Marino on bass. The music of this group reflects current trends and styles being played by the new crop of jazz players.
Lieb's published materials include a wide variety of books considered classics in the field as well as instructional DVDs and chamber music (Aebersold Publications, Caris Music and Advance Music): Self Portrait of A Jazz Artist, A Chromatic Approach to Jazz Harmony And Melody, Developing A Personal Saxophone Sound, several of which have been translated into multiple languages. Liebman's biography is titled What It Is-The Life Of A Jazz Artist in conversation with author extraordinaire Lewis Porter (Scarecrow Press).
His teaching activities at universities and in clinic settings have taken him literally around the world as a result of his varied musical directions and expertise on several instruments, along with an ability to articulate the intricacies of the jazz language, aesthetic and technique. Over the years, he has regularly received grantees to study with him funded by the NEA (U.S.), the Canadian Arts Council, as well as arts councils of numerous European countries. In 1989 he founded the International Association of Schools of Jazz (IASJ), an organization dedicated to networking educators and students from international jazz schools through periodic meetings, exchange programs and newsletters. Liebman presently serves as the Artistic Director of the IASJ and a teacher at the Manhattan School of Music, NYC; Guest Lecturer at the Global Jazz Institute at the Berklee School in Boston. He has consistently placed among the top three finalists of the Downbeat Critics Poll since 1973 in the Soprano Saxophone category, gaining the top place several times in polls conducted by the magazines Jazz Ed and Jazz Times. Lieb is the recipient of an Honorary Doctorate from the Sibelius Academy (Helsinki, Finland); the Order of Arts and Letters (France); and the NEA Jazz Master award which is the highest accolade granted by the U.S. government in the jazz field (2011).
Peter Erskine has played the drums since the age of four and is known for his versatility and love of working in different musical contexts. He appears on 700 albums and film scores, and has won two Grammy Awards, plus an Honorary Doctorate from the Berklee School of Music (1992).
Fifty albums have been released under his own name or as co-leader. He has played with the Stan Kenton and Maynard Ferguson Big Bands, Weather Report, Steps Ahead, Joni Mitchell, Steely Dan, Diana Krall, Kenny Wheeler, Mary Chapin Carpenter, The Brecker Brothers, The Yellowjackets, Pat Metheny and Gary Burton, John Scofield, et al, and has appeared as a soloist with the London, Los Angeles, Chicago, Frankfurt Radio, Scottish Chamber, Ensemble Intercontemporain, Royal Opera House, BBC Symphony, Oslo and Berlin Philharmonic Orchestras. Peter premièred the double percussion concerto Fractured Lines, composed by Mark-Anthony Turnage, at the BBC Proms with Andrew Davis conducting, and has collaborated frequently with Sir Simon Rattle. He also premiered the Turnage opera "Anna Nicole" at the Royal Opera House in London. Turnage has composed a solo concerto for Peter titled "Erskine," which received its world premiere in Bonn, Germany in 2013, with a US premiere at the Hollywood Bowl with the LA Philharmonic. Peter has been voted 'Best Jazz Drummer of the Year' ten times by the readers of Modern Drummer magazine and was elected into the magazine's Hall of Fame in 2017.
Peter graduated from the Interlochen Arts Academy in Michigan and studied at Indiana University under George Gaber. In 1972 Peter commenced his pro career playing with the Stan Kenton Orchestra. Four years later, he joined Maynard Ferguson before working with Jaco Pastorius in Weather Report and moving to Los Angeles. Peter recorded five albums with the band. He won his first Grammy Award with their album '8.30'. During this time in LA, he also worked with Freddie Hubbard, Joe Henderson, Chick Corea, Bobby Hutcherson, Joe Farrell and George Cables. Peter then moved to New York City where he worked for five years with such musicians as Michael Brecker, Mike Mainieri, Eddie Gomez and Eliane Elias in Steps Ahead, John Scofield, Bill Frisell and Marc Johnson in the legendary group Bass Desires, the John Abercrombie Trio plus Bob Mintzer's Big Band.
Peter's lived in LA since 1987 but has been travelling around the world all of that time, working with such artists as Diana Krall, Joni Mitchell, Vince Mendoza, Steely Dan, plus European musicians Jan Garbarek, Kenny Wheeler, Palle Danielsson, John Taylor, Kate Bush, Nguyen Lê, Rita Marcotulli, the Norrbotten Big Band in Sweden plus Sadao Watanabe in Japan. He won his second Grammy Award as the drummer of the WDR big band in Köln along with Michael Brecker, Randy Brecker, Vince Mendoza and others for the "Some Skunk Funk" album. Meanwhile, Peter keeps busy in on the road and in LA with such artists as Seth MacFarlane, Patrick Williams, plus John Beasley, Bob Sheppard and Benjamin Shepherd (all 3 musicians members of his Dr. Um Band), as well as playing in the studios. Films where Peter's drumming can be heard include "Memoirs of a Geisha," all three of the Austin Powers movies, "The Secret Life of Pets," plus the title music of the Steven Spielberg/John Williams collaboration, "The Adventures of Tintin." He also played the jazz drumming cues on the Academy Award-winning soundtrack for "La La Land," and can be heard playing on the scores for "Sing," "Logan" and "House of Cards."
Peter produces jazz recordings for his record label, Fuzzy Music, with 4 Grammy nominations to its credit. Peter is also an active author with several books to his credit; titles include "No Beethoven (Autobiography & Chronicle of Weather Report)," "Time Awareness for All Musicians," "Essential Drum Fills," and his latest book (co-authored with Dave Black for Alfred Publishing), "The Drummers' Lifeline." He is also authoring a series of iOS Play-Along apps suitable for all instruments.
Peter is Professor of Practice and Director of Drumset Studies at the Thornton School of Music, University of Southern California. Peter plays Tama Drums, Zildjian Cymbals, Vic Firth Sticks, Remo Drum Heads, Meinl Percussion, and
"One of the most interesting and explosive bass players to come along in a long time" reads a quote from a review in the French newspaper Le Monde, referring to bassist Johannes Weidenmueller.
Bassist Johannes Weidenmueller has been a first call performer with a long list of jazz greats since settling in New York City 20 years ago He has been a member of the Hank Jones trio, Ray Barretto's New World Spirit, the Carl Allen-Vincent Herring quintet, the John Abercrombie quartet, the Joe Lovano trio and the Kenny Werner trio. Other associations include Brad Mehldau, George Benson, John Scofield, Dewey Redman, Randy Brecker, Kenny Wheeler, Toots Thielemans, Wynton Marsalis, Joshua Redman, Gary Bartz, Jonny Coles, Clifford Jordan, Joe Chambers, and many others.
His warm full sound, his mastery of time and his flexibility and openness have made him one of most sought after bassist in a wide variety of musical settings. He has collaborated with the National Orchestra of Spain, the Balthasar Neumann Orchestra and choir, flamenco musician Chano Dominguez, the Indian music ensemble of Gaurav Madzumdar, tabla virtouso Ty Burhoe, New Orleans keyboard legend Dr.John, and singer Madeleine Peyroux.
Born in Heidelberg, Germany Johannes was introduced to music early on. He started playing cello at the age of 6 and kept a busy performance schedule throughout his high school years, participating in many local and regional chamber music and orchestral events. After switching to the double bass at age 16, he went on to study jazz bass at the Conservatory in Cologne and soon after made the move to study at the prestigious Jazz and Contemporary Music program of the New School University in New York. Here he was able to study with jazz greats such as Ron Carter, Dave Holland and Buster Williams. In 1991 he joined the trio of legendary pianist Hank Jones and performed with him throughout North America. Playing with Hank Jones paved the way to becoming a full time professional bass player and countless performances with many other jazz greats have since followed.
While being busy performing over 200 concerts a year around the world, Johannes is also a committed educator. He has been on the faculty of the New School's jazz and contemporary music program since 1997 where he teaches bass and ensemble and ear-training. He also is in demand as a clinician, teaching workshops and clinics at the Banff Center for the Arts, NYU, New England Conservatory, U of Green Bay, the Amsterdam Conservatory, U of West Virginia, U of N.C Chapel Hill and many others. In addition he is also the author of two bestselling books on metric modulation published by Mel Bay .
He has been the recipient of numerous awards and grants including the young European jazz artist of the year award in 1993 and 1996, the Hennessey jazz prize 1996, grants from Arts international and the New School faculty development grant.
Autumn Leaves – Kenny Werner
Dave Liebman whips it out – amazing soprano saxophone solo
"Seun Kuti & Egypt 80" will perform on Nisville Jazz Festival on Saturday, August 10th!
Nisville traditionally celebrates World Day of Jazz!
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text:
European Mesothelioma Victims Demand Justice From Those Responsible
Though American society is frequently criticized for being overly litigious, it is also true that the U.S. justice system serves as a model for the rest of the world, and this is increasingly true when it comes to seeking justice for those diagnosed with malignant mesothelioma. In the United States, victims of asbestos exposure have long been able to file personal injury lawsuits which have recovered significant and just compensation from those responsible. Now, as more and more European workers are being diagnosed with the disease, they too are looking for the right to be appropriately compensated.
Fifth Spanish Metro Worker Diagnosed With Malignant Mesothelioma
In Spain, the Machinists Union of the Metro de Madrid has been hard hit by malignant mesothelioma. A fifth worker was diagnosed with the disease just days after another died. All of the workers who've died or been diagnosed with the rare and fatal condition were exposed to the carcinogenic material on the job, and there is growing fury on the part of Spanish workers at the lack of appropriate response from metro management.
According to representatives from the CCOO workers' union, they have become aware of "retired colleagues from Metro de Madrid who are now being diagnosed with diseases related to asbestos." They are demanding justice for those diagnosed with malignant mesothelioma who were exposed to exposure during the time of their employment.
Latest Mesothelioma Victim Worked for Union for Four Decades
As more and more union members are diagnosed with malignant mesothelioma, the union is becoming increasingly proactive in demanding that Metro de Madrid act compassionately and responsibly towards its former workers, many of whom are like the latest victim, who spent four decades working for the public entity.
Thus far, the Metro paid €370,000 each (approximately $412,000 in U.S. dollars) in compensation to the families of two mesothelioma victims who have died, but that was only following a court order. Organizations representing current and former worker are urging the metro to "find a solution and speak with the union as soon as possible so that more people do not have to wait years to find out they will suffer from the disease."
Fortunately, if you or someone you love was exposed to asbestos in the United States, there are resources that are already available to provide you with the help you need. For more information, contact the Patient Advocates at Mesothelioma.net at 1-800-692-8608.


Deprenyl is mainly known as selegiline. It is a drug which is used to treat different diseases such as depression, senile dementia and Parkinson's disease. Deprenyl was mainly discovered in the 60s by Joseph Knoll, who worked at a University in Budapest, Hungary. He was interested in performing a particular research on the variance of the physiology of 'drives' among both high and low performing persons. In order to successfully execute the empirical research, a special combination of a molecule was required. Those which resulted in a similar effects as amphetamine psycho-stimulant and combined with that of monoamineoxidase inhibitors (MAOI) acting as "psycho-energic". The selected molecule for this research was E-250 which is deprenyl. It has some special features. The molecule does not alter blood pressure. It is a compound called racemic, which consists of 2 isomers namely enantiomers. There is a (+) – enantiomer and a (-) – enatiomer, of deprenyl. The latter resulted in less hypermotility than the former. The (-) – enantiomer (R-deprenyl, I-deprenyl) is today named Selegiline. Deprenyl is used in various medicines, as a treatment against depression and other brain ageing dilemmas.
The human brain does usually initiate its ageing process post to the age of 45 years. This is a universal phenomenon. There is a part in the brain called the nigrostriatal region. This area of the brain has the highest level of dopamine and it is thus this area which is the fastest ageing area of the brain. The age of the brain is associated with the depletion of dopamine. This implies that people whose nigrostriatal region experiences a premature decrease of dopamine can encounter diseases such as Parkinson.
Dopamine neurons become old at different rates, there is no constant variable of decrease. It is common that the level of dopamine remains stable within the nigrostriatal region until the age of 45. The normal trend of depletion of the substance in health individuals are 13% per decade. The decrease does though accumulate during years, and when it reaches around 30%, a gray area can be spotted in the head. It is a symptom of Parkinson's disease. The average decrease in dopamine amidst individuals is 13% per decade but this rate does however vary from individual to individual. There are some who experience a more rapid eradication of dopamine. These individuals who experience a rapid vanishing of dopamine will face the Parkinson's disease. Others, who undergo a typical decrease in the substance, will normally die prior to the appearance of the disease. This particular research was mainly projected by Dr. Jozsef Knoll. He is a very important and revolutionary researcher on Deprenyl. He came forward with a long-term strategy to avoid Parkinson's disease as he predicted that deprenyl could avoid the nigrostriatal region to experience the ageing effect post to the age of 45 years.
Selegiline (deprenyl) can act as protectionism against the ageing process which is caused by a deterioration of the dopaminergic nervous system. Deprenyl does eventually protect sensitive dopamine containing neurons. This decreases the risk of suffering from an aging process. Deprenyl is the prime discovery of MAO-B inhibitors. It is the only MAO-B inhibitor that has been extensively tested in clinical trials.
Deprenyl hasn't yet been tested thoroughly on people. Deprenyl has been tested extensively on animals and the results have been positive. The effect of deprenyl has been tested on rodents. The effect was been astounding. The entire controlled group of animal actually deceased before the ones that had been treated with deprenyl. The various researches extended to humans and they have showed signs of similar patterns. It delays the development of Parkinson's disease and does eventually postponed the requisite for L-dopa therapy. Deprenyl has been among the best treatment to extend the life of individuals suffering from Parkinson's disease.
General dosage of deprenyl does vary according to its intended purposes. Those who consume it for the purpose of avoiding deleterious disease such as Alzheimer and Parkinson's disease will probably be assigned a dose of approximately 20 mg. per day. People who do not suffer from any of these diseases will be assigned a dose of either 2.5mg and up to 5mg at random intake per week. The liquid deprenyl citrate is considered to be the most substantial form of deprenyl. It is, thus, the most recommended prescription of deprenyl.
Deprenyl has few side-effects but some eventual problems might arise. These can be for instance, issues such as nausea, upset stomach and heartburn. The rather uncommon adverse effects of deprenyl are psychomotor agitation, irritability and insomnia. It is thought that these effects are derived because of the deprenyl catecholamine-enhancing effect. These 'psychic' effects can be dealt with by the consumption of magnesium.
Depenyl has become a famous and pertinent medication to treat ageing problems. It is a general drug for people who have exceeded 45 years of age. It treats individuals who are suffering from irrational depletion of dopamine.


Port wine and figs are a natural flavor combination and this easy and elegant appetizer makes the most of that classic pairing by adding prosciutto and ricotta for contrast in flavor and texture.
Preheat oven to 325° F. Arrange the baguette slices on a baking sheet and bake just until crisp and lightly toasted, 3 to 4 minutes. Remove from the oven and allow to cool.
Place the figs and port in a small saucepan and bring to a slow simmer over medium-low heat. Simmer until figs have absorbed the port and are tender and plumped, 10 to 12 minutes. Remove from the heat and allow to cool.
Spread 2 teaspoons of ricotta on each crostini, then accordion-fold a half slice of prosciutto on top. Top with a small spoonful of the figs and press down lightly. Arrange on a plate and serve immediately.
This looks delicious! I have a hard time finding figs at my grocery store, but I would definitely make this if I had them!


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Pierre Skira is one of the most distinguished living exponents of the medium of pastel with his own unique forms and colours. He was born in Paris in 1938, the son of the renowned Swiss publisher Albert Skira, who worked with many of the leading European artists of the 20th Century including Matisse, Dalí and Picasso.
Having grown up in this environment Skira became inevitably drawn to the artistic and literary worlds. Formative childhood experiences included a week with Picasso in the South of France just after the war and watching Matisse at work on his paper cut-outs.
At the beginning of his artistic career in the early 1960s Skira chose to work largely in oils. In 1975 he abandoned oil in favour of pastel - a medium which has came to dominate his practice and for which he is best known. His materials are of the highest quality available - those made by Roché, Paris – the oldest pastel manufacturer in the world.
Skira's artistic activities and interest in literature led him to collaborate with some of the most prominent contemporary French writers and philosophers, such as Jean-François Lyotard, Gérard Macé, Pascal Quignard and Patrick Mauriès. He has in turn had his own work published, including a novel - Les Orgues de Glace (Viviane Hamy, 2008).
Skira started exhibiting in 1962, and has since then shown extensively both in France and internationally – including with Jan Krugier in Geneva. His work is held in many public collections such as the Palais de l'Élysée and the Musée National d'Art Moderne, Centre Pompidou, Paris.
The fully illustrated catalogue includes a recent interview with eminent writer and 20th Century art historian Michael Peppiatt, whose award-winning memoir of Francis Bacon was published in the summer of 2015.


Di, do you know anyone that carves miniatures'?
Say 2" to 4" tall.
Miniature what? As you know I got thousands of wood carvers on my pages and I know thousands more who carve various things...I need more details...folk, caricatures, realism, or etc. Plus what form of medium, clay, plastic, wood, stone? Right now I am carving fish they are any where from 3/4 inch to 4 inches...but I would not call it miniature. I do have non site friend that carves with a high power micro scope so miniature can get super small. But the best carvers in miniature detail are the ones who make those plastic things with the usage of Z brush computer design. Also those who carve netsuke (sorry not spelled right) is a beautiful form of miniature? As I say I know tons of artist....digging them out of the wood work will be the issue....and make take some time.
This is a good site....if you just want to look for a starter. It is group of carved miniatures on Facebook. Feature some of the stuff out there. Is that what you looking for?
Beggers can't be choosers Di. It's really hard to find mini's that aren't plastic. Stone is to heavy.
I'd love something by you of course but not sure my checkbooks balance would cover it.
Octopus maybe? Calla Lily, hermit crab......praying mantis.
Hey I am affordable to only people treat me nice. You may have to wait although...as I need to work on the two master works and a few commissions, but when I get bored and time ... I like playing with small works....you just have to wait although. I barter my work also.... I will contact you on the PM and settle things up when I have time.
Works for me. I'm in no hurry. And if you have ever seen anything that I do that you'd like I'd be happy to barter.
Actually I do have a idea for you that you might like. I'll p.m. you.
All times are GMT -2. The time now is 02:00 AM.


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Australia, cricket, News, sports, Test
Why best friends don't necessarily make best teammates
Posted by LINUS FERNANDES ⋅ February 16, 2016
Filed Under shane warne, steve waugh
Once upon a time, Shane Warne and Steve Waugh were fast friends.
As part of the mighty Australian side of the 1990's and 2000's, they were unconquerable, united in victory presiding over the world of cricket.
Shane Warne, in a reality show, called his former skipper "the most selfish cricketer I have played with".
The reference was to his axing from the final Test in 1999 when the 'kangaroos' toured the West Indies.
Waugh initially preferred not to respond issuing a curt statement that read:
"I'm not justifying his comments with an answer."
He later opened up to Triple M commercial radio.
"To be fair, not only Shane, any player I had to tell was dropped wasn't easy. It wasn't easy telling Adam Dale he was dropped for a Test match or Greg Blewett. There were a number of players I had to tell they weren't playing. As a captain, that is the hardest thing to do. But it's also why you're the captain, because people expect you to make the tough decisions for the benefit of the team. You have got to do that at times and you have got to be prepared not to be liked by everyone."
He added:
"I guess, the main thing as a captain and leader, as long as people respect your decision, that is all you can ask. You have got to take a bit of a risk sometimes. It's not always the obvious thing to do. Sometimes it can be gut feel, it can be based on facts…at the end of the day, you are a leader because people expect you to make a choice."
Great teams need great players. And it goes without argument that these two giants of Australian cricket count among them.
Shane Warne (Photo credit: Wikipedia)
But it doesn't necessarily mean that they always see eye to eye on all matters.
Even the best of friends fall out when their interests collide. And Warne was a strong contender for the top job in Australian cricket, only to be denied by the establishment.
The Spin King would have made a great skipper. Better than Waugh? That's debatable.
Whatever the case, for a team to do well, their stalwarts have to subsume their differences towards a common goal.
Waugh and Warne were able to do that and how.
Soon after their rift the Aussie side lifted the 1999 ODI World Cup with Warne coming good in the semis and the final bagging man-of-the-match awards. This after the side were almost knocked out of the tournament by South Africa.
Yes, they weren't the best of pals. They still aren't.
But they were also seekers of excellence in their respective fields.
Just goes to show that you don't need to be the best of buddies to be teammates.
Just able to meet on common ground to get things done in the best manner possible.
Teammates, yes. BFF, no.
It's possible that team-members become best friends.
But it's not necessary that best buddies make the best teammates.
Paradoxical, yes. Untrue, no.
Leave your comments below.
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Feeding Pennsylvania provides a strong, collective voice for hunger relief across the state. We advocate for federal and state policies, programs, and initiatives to improve food access and relieve hunger in Pennsylvania and across the nation.
Feeding Pennsylvania Policy Priorities
Feeding Pennsylvania recognizes the challenges hunger relief organizations face in assisting our neighbors in need and is uniquely positioned to provide solutions. However, we also recognize that we alone cannot fully meet these challenges. Fighting hunger requires a private/public partnership, and our food banks rely on federal and state investments in critical anti-hunger programs to help us meet this challenge.
Feeding Pennsylvania is engaged in advocating for a strong federal anti-hunger safety net through the annual appropriations process and ensuring programs like SNAP, TEFAP (which provides commodity foods for short-term hunger relief), CSFP (which provides food to low-income seniors), and WIC (which provides nutrition assistance and education to pregnant and nursing women, infants, and children) have adequate funding to meet the need.
With so many families struggling to make ends meet and food banks stretched thin, we urge the United States Congress to protect and strengthen anti-hunger programs.
Advocacy Updates — December 2020
We are asking the network to take the following actions over the coming weeks in support of our policy priorities. We will be updating this page with new resources to support you as you take action.
COVID Stimulus Update
Congress is expected to approve a one-week continuing resolution before the December 11 expiration of the current CR to avoid a government shutdown and provide additional time to negotiate COVID relief. Yesterday, a bipartisan group of senators known as the Gang of 8, released a Bipartisan Emergency COVID Relief Act of 2020 that includes a 15 percent boost in SNAP benefits for four months, additional TEFAP funding, and other key nutrition provisions. While it is unclear whether this specific proposal will serve as the basis for a possible final bill, we are actively urging lawmakers to support the proposal's nutrition provisions and include them in any COVID relief measure.
USDA Announces $172 million in Section 32 Bonus Purchases
Thank you to all network members who have urged USDA to make additional food purchases. We are pleased to share that $172 million in bonus commodity food purchases have been announced, including bison ($17.0 million), black beans ($5.0 million), butter ($50.0 million), fluid milk ($60.0 million), grapes ($30.0 million), and pinto beans ($10.0 million).
Launch of the National Keep Your Benefits Website!
The PIF Campaign (Protecting Immigrant Families) announced a new website, including its simple guide, that helps immigrants and those who assist them to understand: (1) which immigrants face a public charge test and (2) which benefits are included in the public charge test. You can also find an explanation of the public charge rule, a page dedicated to helping individuals find immigration assistance and legal aid resources in their area, and additional resources – including an FAQ
New P-EBT Guidance for Children in Schools that are Closed or have Reduced Attendance
On Monday, November 16, USDA released further information to States to assist in the development of State plans to operate Pandemic EBT for children during school year (SY) 2020-2021. This guidance provides updates, in addition to Q+A responses provided by USDA. Access the latest memo here.
Boost SNAP Benefits
We cannot give Congress or the Administration a reason to say that a SNAP increase is no longer critical for the people we serve or our network. Our push is working, and we are seeing it in statements and interviews from leadership.
Our ask: Increase the SNAP maximum benefit by 15 percent in the next stimulus bill.
Help military families facing food insecurity
As many as 90,000 active duty service members struggle to provide food for their families, in part because their monthly housing allowance makes them ineligible for SNAP. We are advocating for the creation of a Military Families Basic Needs Allowance to support service members whose income is below 130 percent of the federal poverty level in legislation lawmakers are working to enact before the end of the year.
Ask: Tell your Members of Congress to communicate their support for the Military Families Basic Needs Allowance to the key lawmakers who will decide whether it is included in the National Defense Authorization Act.
How you can help: Tell your Members of Congress how important it is to ensure that service members do not have to worry about whether they can feed their families.
USDA Extends Child Nutrition Waivers through June 30, 2021
On Friday, October 9, USDA finally announced the extension of child nutrition waivers for the full school year, through June 30, 2021. These flexibilities continue to be critical for schools, community providers, and all operators to plan with certainty during an otherwise chaotic time. But more than anything, their extension will help ensure kids have the food they need this school year. See USDA's press release here, as well as a statement from Feeding America.
Please help us advocate for public policy change on the federal, state, and local levels. The easiest way to do that is by contacting your members of Congress, using the tools found here or the information below.
Locate Your Legislators
Who is My Representative in the U.S. House of Representatives?
Who Are My Pennsylvania State Legislators?
Senator Robert P. Casey, Jr.
Website: www.casey.senate.gov
Senator Patrick J. Toomey
Website: www.toomey.senate.gov


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After creating the base of my new game engine (see last weeks tech blog on procedural generation), it was time to start to bring the game world to life. This meant taking the data I had generated for my dungeon and turning it into instances in a room so that the player actually had something to interact with. So, in this weeks diary, I'll be explaining how I went about this, as well as talking about some of the challenges I faced and the techniques I used for optimising things.
At this point in development I had my dungeon generator creating a DS grid, the cells of which were being flagged with different values that I'd assigned to macros - currently g_wall (0), g_empty (-4), g_door (1) and g_corridor (2) (using macros in this way helps keep "magic numbers" out the code base and makes the code clearer to read, so don't forget to use them!). This setup meant that all I really have to do is a couple of "for" loops to go through the grid a cell at a time checking it's grid value and then creating an instance relative to the grid position that's been flagged.
Adding in the doors was also easy to do using the same loop that parses the DS grid, but what about the player? And Obviously, I'll need some kind of exit too, otherwise how will the game progress?
Given that my dungeon generator scripts store the number of "rooms" created, and given that I also have an array of values corresponding to the actual dimensions of each "room", I can pick any one of them randomly and then place the player at a random position within them... and if I store the player room number, I can repeat the process for the exit, only making sure to not choose the player room. This is actually a pretty satisfactory solution, as due to the way the splits are created by the BSP scripts, you never know which room area is going to be beside which other room area, so it doesn't really matter if the start and end points are randomised.
So, I whipped up a script to do just that and on testing, it worked really well - I didn't even have to worry about the exit room being available to the player, as I'd already done the pathfinding between room areas when I created the DS grid, so I know there is a clear path between them. Note that, as before for the walls, I didn't actually create the player straight away, but rather flagged a grid square in the DS map as being the player or the exit (more macro values!), and then added another case to the "switch" I had in the object create script. Keeping the whole dungeon creation code in a "virtual" environment (ie: the DS grid) meant that I could later go back and tweak things easily, as no instances would be involved, and it also meant I could further tweak things when the instance itself is created, especially as I'd be creating them all at once.
At this point I felt that I needed a rest from the engine itself, so I added some basic movement and collisions to the player and set the view to follow it around too. All worked well, and I felt that I could call this section of my development plan "complete" and move on to something else.
Whenever I start to get bored by a peice of code, or have an issue that I can't resolve or am not happy with, I take that as a cue to start working on something else and then come back to what I was doing later. In this case, I was actually happy with the base engine, but felt that tinkering with it further at this point would not be beneficial - after all, I need a context for that tinkering and so far the game is still a bit of a "cloud concept" that needs refining. It's time to take a break from it and to start working on the graphics then!
As a one-man-dev-team I have to do everything for myself (which is one of the main reasons I love game dev so much!), or out-source and pay for someone else to do it. In this case, since I wanted a "low-res" look to the game, I felt confident that I could produce the required art myself and so set about creating some base graphics for the walls and the floor. These would form the backdrop to the action, and so in a large part they would be responsible for the ambience and feel that the final game has.
At first I started working on a 47 tile tileset for the walls - 47 is the number of unique tiles required to cover all eventual combinations of walls. I started with this method because I have an old script that I've been using since the start to "autowall" levels. I created it for my Gauntlet Revisited game and I haven't touched it since (it's now on the Marketplace too), although it's definitely a more brute-force than elegant solution since it uses a massive set of nested "if... then... else" to do the job... but if ain't broke, don't fix it and the script works so well that I have no intention of changing anything.
However, as I looked back at my Gauntlet game, I realised that this was an incredible waste of time! I had imagined for my game at least 4 or 5 different areas, so I'd have to sit down and create a whopping 235 tiles at least... which is when I had my revelation. I only needed one tile, and then 47 overlay tiles to give the relief effect. So, I fired up Photoshop and set about creating a light/shadow map for each tile, then created a couple of wall tiles with simple (but different) designs on them for different levels.
After adding the tiles to GameMaker and importing my Autowall script, it was time to have the walls add the tiles and colour them. In all my games I have got into the habit of creating a number of "init" scripts that initialise all the global variables the game will require, so I opened that and created a couple of globals that I knew I'd need: global.Level and global.Colour. I wanted the blend colour to be different per level, and decided at this time to have it change every five levels, so levels 1 - 5 would be blue, levels 6 - 10 would be green, etc.... which was easily achieved using div and a switch.
If you look carefully at the image, you can see that the top left corner has a floor tile which is a different colour to others. This was another idea I had to make the whole game room have a bit more variety at practically no cost... My BSP scripts create an array with the room area positions in it, so I figured "why not use that to add tiles only on the internal rooms?". This meant that room areas could have coloured floors with different tiles, while all the rest of the room (basically the corridors at this point) would have the "base" background tile.
However, something wasn't right... the graphics that I licensed for using as the character and enemy sprites are side on, and this was most definitely a top down look! I needed to add perspective of some kind to the walls, otherwise I'd have mismatched graphics or I'd have to source out some proper top-down fantasy sprites (which at such a low resolution wasn't going to be easy). the solution was something that I'd done previously in my game Pixoban - slide all the wall tiles UP a few pixels and add "fronts" to them.
The front tile is another grey-scale image that is 8x6 pixels in size, and I created a number of "ornaments" that can be placed (randomly, of course) over the top of them to give variety. I also took a moment to create a door place-holder sprite (which you can see in the image above) so I could get a better idea of how things would look in the final game. After testing these changes under different circumstances and with different colours, I was exceptionally pleased with the result and though that it would work well with the side-on sprites I had for the characters.
There was one task I had left to do before moving on to something else - optimisation! You may not think that at this early stage in development there is much that can be done, but I like to revise what I'm doing when I reach any point that I think a section is "finished" and see if indeed I can optimise and improve things a bit more. I like the "modular" approach to things, and try to compartmentalise my code as much as possible as it makes re-factoring easier, it makes bug finding easier, and it also means that when you are finished with the current section you rarely have to go back and revise it again.
The obvious bottleneck in my current setup was the sheer quantity of walls that were being created. In any one room I could have upwards of 700 wall instances which essentially will be doing nothing in the game except taking up step time. I had already made them invisible, which removes any GPU time, but they were still being needlessly processed. I had to optimise this somehow! I wasn't sure what type of movement and AI I was going to use, so I didn't want to remove them completely yet (although it was a possibility for the future), but I had to cut down on their number. The solution was a simple one: have each wall check around on the horizontal or vertical for other walls and then if it finds any, destroy itself and make the other stretch to fit the "gap" it leaves.
The gif above is from a slightly later iteration of the project, but it illustrates just how the script optimises the walls - the red lines indicate the bounding box of all the wall objects in the room - and you can imagine the saving this was giving me. Going from 700+ instances in some rooms down to maybe 120 was a big optimisation (note that, as with the Autowall script, this one is also available on the Marketplace).
My little artistic break had paid dividends and I was exceptionally happy with the results. I now had a system to generate walls and floors based on the current level - giving them colour and extra adornments to spice things up a a bit - and had also optimised things quite nicely. Which means it was time to get back to coding! My next task was to add in the Player and decide on controls and movement, which is the subject of next weeks blog.


Dennis Gruenling here for the next section (chorus 9) of my "First Class" study piece. This week we will be doing more long phrases covering the entire bottom octave to start out with. If you are still a little uncomfortable playing these new note patterns in 1st Position, now would be a good time to set aside separate practice time for them. Comfort is necessary to carry these patterns out with this type of fluidity, which will just come with some additional practice. We're heading into the home stretch now with this, so I hope you are getting a little more familiar with this new Position! See you next week to wrap this one up.