The report addresses the issue of 'International Parental Child Abduction,' examining in depth the provisions of the Civil Aspects of International Child Abduction Bill, 2016. It has prepared a comparative statement showing the provisions of the said Bill, and has introduced modifications in the form of another Bill titled, The Protection of Children (Inter-Country Removal and Retention) Bill, 2016.
It recognizes the issue of inter-spousal child removal on breakdown of diverse family units, in a situation where children are abducted by their own parents to India or to other foreign jurisdictions, in violation of interim/final orders of competent Courts.
At the outset, the report relies on the principle of 'best interests of the child', as invoked by the Hague Convention, 1980 and the International Child Abduction Bill.
Further, referring to various judicial pronouncements, it notes that it has been repeatedly held by Courts that repatriation of the child to the foreign land should not (a) cause any moral, physical, social, cultural or psychological harm to the child; (b) cause any legal harm to the parent with whom the child is in India; (c) violate the fundamental principles of human rights and freedoms of the receiving country, i.e., where the child is being held and; (d) considering the child welfare principle, due importance must be given to the primary care-giver of the child.
The Bill provides for the constitution of a Central Authority.
A decision under the Hague Convention, 1980 concerning the return of the child is not a final determination on merits of the issue of custody.
It outlines the role of the Central authorities with regard to a child, who is removed to India, and from India to another Contracting State of the Hague Convention, 1980.
It lays down procedure for securing the return of a child and provides for the Central Authority to apply to the High Court for restoring custody of the child.
It empowers the Court to deny custody on certain grounds. It allows the Courts in India to recognize decisions of State of the 'habitual residence' of the child. It also states that the Indian Court that wants to disregard the interim/final order of the foreign court must record reasons for the same.
The Commission recommends removal of the term 'abduction' from the Bill, to bring it in consonance with the Hague Convention, which in its opinion employs the term as a short hand for a more appropriate terminology, "wrongful removal or retention".
It extends its application to children below 16 years of age, who have either been wrongfully removed to, or retained in India.
As per the proposed Bill, the Central Authority would comprise of a Chairperson and two members. The Chairperson must be an officer, not below the rank of Joint Secretary to the Government of India. Out of the two members, at least one shall be an advocate with ten years of practicing experience. Their tenure of office would be three years.
In addition to the powers already endowed on the Central Authority under the Government Bill, the proposed Bill makes the powers of requisitioning any public record or document subject to the provisions of Section 123 and 124 of the Indian Evidence Act, 1872.
The Central Authority may apply to the High Court of appropriate jurisdiction, demanding a direction for return of the child to the contracting State in which the child has his or her habitual residence.
An appeal from a decision of the Central Authority rests with the Central Government.
When the person claiming custody rights was either not exercising such rights at the time of removal, or had consented to the same.
When the removal of the child would expose him to physical or psychological harm or otherwise place him in a non-conducive situation.
When the person accused of wrongful removal was actually fleeing from any incidence of domestic violence, as defined under the Protection of Women from Domestic Violence Act, 2005.
The LCI Bill makes provision for payment of expenses incurred by the Central Authority, by the person who removed from, or retained the child in India.
The punishment prescribed for wrongful removal or retention is jail term for a maximum period of one year, or fine up to rupees ten thousand or both.
The punishment prescribed for willful misrepresentation or concealment of fact, thereby preventing the safe return of the child, is jail term for a maximum period of three months, or fine up to five thousand, or both.
It mandates maintenance of records concerning applications and cases brought to the Central Authority.


text:
Google's Venture Arm Leads $51.7M Investment in Spero Therapeutics
Xconomy Boston —
Despite the growing problem of drug-resistant bacteria, few new antibiotics have been developed in recent decades. Spero Therapeutics is trying to fill that gap by assembling a pipeline of antibiotic candidates, and it now has $51.7 million in new capital to finance clinical trials on some of them.
GV, the venture arm of Google, led the Series C investment in Cambridge, MA-based Spero. New investors RA Capital Management and Rock Springs Capital joined the round, which also included participation from earlier investors such as Atlas Venture, Spero's founding backer in 2013.
This investment comes a little more than a year after Spero raised $30 million in a Series B round to support its growing pipeline. In early 2016, Spero licensed compounds from Montana-based Promiliad Biopharma. Spero later acquired rights to antibiotic compounds from Vertex Pharmaceuticals (NASDAQ: VRTX). The company's lead asset, SPR741, is the product of a deal with Finnish company Northern Antibiotics, which gave Spero access to its "potentiator" platform. This technology offers ways to make older, already-approved antibiotics effective against new pathogens. Potentiators accomplish this by piercing the fatty outer layer of gram-negative bacteria—an extra barrier that other bacteria don't have.
"You can design plenty of drugs that are safe and hit targets but it's hard to get the chemistry to get through the envelope," says CEO Ankit Mahadevia.
SPR741 is currently in Phase 1 clinical trials. Mahadevia says it increases the spectrum and potency of more than two dozen classes of gram positive antibiotics, making them potential treatments for gram negative infections as well. The company says a second drug, a novel agent called SPR994, has also shown activity in the lab against gram negative bacteria. The new capital will allow Spero to bring that candidate into the clinic. Besides those two drugs, Spero has other preclinical compounds.
With multiple antibiotic assets in its pipeline, Spero has the option of outlicensing some of them to companies looking to bring a new antibiotic to market. Mahadevia says the company is in active discussions with potential partners. But he adds that Spero will keep some of those drug candidates to develop on its own.
The latest investment round brings to Spero so-called crossover investors—those who invest in both public and private companies. RA Capital and Rock Springs Capital are both considered crossover investors. Crossover investments are viewed as a sign that a company is preparing for an initial public stock offering, which Mahadevia acknowledged.
"We think we have the profile to be an attractive company to the public markets," he says. "The Series C round gives us runway to explore our options, one of which could be an IPO."
Mahadevia says that the latest investment gives the company enough cash to carry Spero into the second half of 2018. By then, he expects to have safety and efficacy data for its lead drug candidates.
Photo by Flickr user Anthony D'Onofrio via a Creative Commons license.
Nimbus Nabs $65M to Advance In-House Drug Discoveries to the Clinic
Otsuka Ramps Up Its Antibody Game with $430M Visterra Acquisition
With $45M, HotSpot Takes Drug Research to New Biological Real Estate

redpajama_set_name: RedPajamaCommonCrawl


text:
Digital Video & Downloads
Eugene Burger on the Business of Close-up Magic (MP3 Edition)
By Eugene Burger
Be the first to review it
MP3 Download Version: No video, but you can now listen to it anywhere...
In all the books, articles and videos Eugene has produced over the years, he has said very little about the business of close-up magic, preferring instead to talk and write about performance and presentation. However, his deep wisdom about the business of magic comes from over thirty years of performing as a full-time professional magician. Without a keen business sense, he would never have gotten the work that made him one of the world's foremost close-up magicians.
Eugene's friend, webmaster and business associate Bryce Kuhlman has finally talked Eugene into revealing some of these secrets of his business success. In this candid interview, Eugene talks to us about the tips, tricks and strategies that have allowed him to make a living performing close-up magic for the past three decades.
Approximate Running Time: 45 minutes
This product includes the following digital media:
The Business of Close-Up Magic (Zipped MP3) (39.18 MB)
Digital Lesson
People who purchased this also purchased...
Growing in the Art of Magic MP3 Library
Sole Survivor
Eugene Burger on the Business of Close-up Magic
Gift Certificate for Private Magic Consultations
Give the gift of magic consultations to your favorite magician!


plz give any physiscs investigatory projects topics for class 12.
1. To design an appropriate logic gate combinatin for a given truth table.
2. To study the earth's magnatic field using a tangent galvanometer.
3. To study various factors on which the internal resistance/emf of a cell depends.
4. To investigate the dependence, of the angle of deviation, on the angle of incidence, using a hollow prism filled, one by one, with different transparent fluids.


Discussion in 'News & Announcements' started by swifteh, Feb 4, 2018.
Season 5 has now officially ended, and a snapshot has been taken to determine end-of-season rewards. Anything done after this point will not be counted towards these calculations.
As always we will be giving players some time to open any disputes they may have (via ticket) before officially announcing the winners.
Details of the next season will follow shortly after the winners have been announced, and the map will remain active until just before the new season starts.
Any final f top calculations will be taken from a recalculation of a backup from the time the map ended. Don't worry too much about f top not updating in-game at the time.
"The username nicaim could not be found."
Obviously they know you would like niceaim unbanned. Spamming "unban niceaim" makes you look like a total tool. Stfu already about ur hacker friend.
When will winners from season 5 be announced?


text:
package com.herokuapp.soliduxample.solidus.models;

import com.google.gson.annotations.Expose;
import com.google.gson.annotations.SerializedName;

import java.io.Serializable;

/**
 * Created by Roberto Morelos on 3/6/17.
 *
 */
public class OptionType implements Serializable {

    @SerializedName("id")
    @Expose
    private Integer id;
    @SerializedName("name")
    @Expose
    private String name;
    @SerializedName("presentation")
    @Expose
    private String presentation;
    @SerializedName("position")
    @Expose
    private Integer position;

    public Integer getId() {
        return id;
    }

    public void setId(Integer id) {
        this.id = id;
    }

    public String getName() {
        return name;
    }

    public void setName(String name) {
        this.name = name;
    }

    public String getPresentation() {
        return presentation;
    }

    public void setPresentation(String presentation) {
        this.presentation = presentation;
    }

    public Integer getPosition() {
        return position;
    }

    public void setPosition(Integer position) {
        this.position = position;
    }

}

redpajama_set_name: RedPajamaGithub


"This is tried and tested and seems to be very, very effective in other communities," Robin Mayer, Special Events and Outreach Coordinator with the Human Resource Development Council (HRDC) said.
Currently, there's a very limited amount of transitional housing available for people to move from homelessness to permanent housing in Bozeman, according to Mayer. The Housing First Village would provide single-user tiny homes or shelters for people as well as other services, such as mental health and addiction counseling. The model is designed to support successful reintegration into community living.
"We plan on starting with 15 to 30 tiny homes. Depending on the need, we'll go as high as 50 and that will include a central services area," Mayer said.
The project is a partnership between the HRDC, Montana State University and St. James Episcopal Church. This summer, the Montana State University School of Architecture hosted an open house where students presented the work they had done researching and developing the tiny houses. Professor Ralph Johnson is leading the work at MSU.
MSU students plan to build the first house this summer. Each house is expected to cost about $10,000, Mayer said.
Right now the HRDC is in the process of fundraising for the project and finding land to build.
A fundraiser is being held from 11 a.m. to 2 p.m. on Sunday, Feb. 19 at I-Ho's Korean Grill, 2631 W. Main St. A special menu will be available with 100 percent of donations going to the Housing First Village.


The Punisher (played by Jon Bernthal) will be making his debut as a 'villain' in the second season of Daredevil and now Matt Murdock's love interest will be arriving in Hell's Kitchen too. There have been rumours that Elektra would be appearing and now it has been confirmed that Elodie Yung will be taking on the iconic role. Jennifer Garner previously played Electra in the Daredevil movie and spinoff Elektra.
Following the announcement, Marvel released this description of Elektra's involvement in Daredevil season two.
Yung will play Elektra, a mysterious woman from Matt Murdock's past whose dangerous and exotic ways may be more than he can handle. The first season of Marvel's Daredevil made reference to Elektra, but now Yung will portray one of Daredevil's fan-favorite characters. Elektra marks the most recent major addition to the Marvel Cinematic Universe, as she will join Jon Bernthal as Frank Castle in the upcoming season of the Netflix Original Series Marvel's Daredevil.
Now we just need the rumours of Bullseye's casting to complete what is sure to be a thrilling second season of Daredevil.


text:
Q: Default documents not serving on node web app hosted on Azure I've set up an angular4/node app on my local machine and I can ng serve and npm start the app just fine. I've created a web app on azure and used John Papa's guide to deploy it to azure. However; when I visit the site with chrome my index.html is not served up and I get a 404.
I've even eliminated all my documents under Application Settings -> Default Documents to only list index.html and nothing else.
However; when I visit myapp.azurewebsites.com/index.html the site is rendered. When I visit myapp.azurewebsites.com the site is not.
What am I missing?
server/index.js
const express = require('express');
const path = require('path');

const root = './dist';
const app = express();

app.use(express.static(root));
console.log(`server ${root}`);
app.get('*', (req, res) => {
    res.sendFile(`index.html`);
});

const port = process.env.PORT || '3000';
app.listen(port, () => console.log(`API running on localhost:${port}`));

client/app/app.module.ts
import { BrowserModule } from '@angular/platform-browser';
import { NgModule } from '@angular/core';
import { HttpModule } from '@angular/http';
import { RouterModule } from '@angular/router';

import { AppComponent } from './app.component';

import { routes } from './app.routing';

@NgModule({
    declarations: [
        AppComponent
    ],
    imports: [
        BrowserModule,
        HttpModule,

        RouterModule.forRoot(routes)
    ],
    providers: [],
    bootstrap: [AppComponent]
    })
export class AppModule { }

client/app/app.routing.ts
import { Route } from '@angular/router';

import { AppComponent } from './app.component';

export const routes: Route[] = [
    { path: '', component: AppComponent }
];

web.config
<?xml version="1.0" encoding="utf-8"?>
<!--
     This configuration file is required if iisnode is used to run node processes behind
     IIS or IIS Express.  For more information, visit:

     https://github.com/tjanczuk/iisnode/blob/master/src/samples/configuration/web.config
-->

<configuration>
  <system.webServer>
    <!-- Visit http://blogs.msdn.com/b/windowsazure/archive/2013/11/14/introduction-to-websockets-on-windows-azure-web-sites.aspx for more information on WebSocket support -->
    <webSocket enabled="false" />
    <handlers>
      <!-- Indicates that the server.js file is a node.js site to be handled by the iisnode module -->
      <add name="iisnode" path="index.js" verb="*" modules="iisnode"/>
    </handlers>
    <rewrite>
      <rules>
        <!-- Do not interfere with requests for node-inspector debugging -->
        <rule name="NodeInspector" patternSyntax="ECMAScript" stopProcessing="true">
          <match url="^index.js\/debug[\/]?" />
        </rule>

        <!-- First we consider whether the incoming URL matches a physical file in the /public folder -->
        <rule name="StaticContent">
          <action type="Rewrite" url="public{REQUEST_URI}"/>
        </rule>

        <!-- All other URLs are mapped to the node.js site entry point -->
        <rule name="DynamicContent">
          <conditions>
            <add input="{REQUEST_FILENAME}" matchType="IsFile" negate="True"/>
          </conditions>
          <action type="Rewrite" url="index.js"/>
        </rule>
      </rules>
    </rewrite>

    <!-- 'bin' directory has no special meaning in node.js and apps can be placed in it -->
    <security>
      <requestFiltering>
        <hiddenSegments>
          <remove segment="bin"/>
        </hiddenSegments>
      </requestFiltering>
    </security>

    <!-- Make sure error responses are left untouched -->
    <httpErrors existingResponse="PassThrough" />

    <!--
      You can control how Node is hosted within IIS using the following options:
        * watchedFiles: semi-colon separated list of files that will be watched for changes to restart the server
        * node_env: will be propagated to node as NODE_ENV environment variable
        * debuggingEnabled - controls whether the built-in debugger is enabled

      See https://github.com/tjanczuk/iisnode/blob/master/src/samples/configuration/web.config for a full list of options
    -->
    <!--<iisnode watchedFiles="web.config;*.js"/>-->
  </system.webServer>
</configuration>

A: If you deployed to a Node Linux Web App the default document would be hostingstart.html located in /home/site/wwwroot/
You could rename index.html to hostingstart.html.
According to the Azure App Service FAQ:

When you create a Node.js app, by default, it's going to use
  hostingstart.html as the default document unless you configure it to
  look for a different file. You can use a JavaScript file to configure
  your default document. Create a file called index.js in the root
  folder of your site and add the following content.
var express = require('express');
var server = express();
var options = {
  index: 'index.html'
};
server.use('/', express.static('/home/site/wwwroot', options));
server.listen(process.env.PORT);

This will configure index.html as the default document for your app.

Reference:

*

*Azure-App-Service/node

*Set your default document in a Node.js app using JavaScript.

A: MAY 2020 - You don't have to add any javascript files or config files anywhere. Let me explain.
I was facing this exact same issue and wasted 6 hours trying everything including the most popular answer to this question which didn't work either.
You see, when you just deploy an Azure Web App (or App Service as it is also called), two things happen:

*

*The web app by default points to opt/startup/hostingstart.html

*It also puts a hostingstart.html in home/site/wwwroot
When you deploy your code, it replaces hostingstart.html in home/site/wwwroot but the app is still pointing to opt/startup/hostingstart.html. If you want to verify this, try deleting opt/startup/hostingstart.html file and your web app will throw a "CANNOT GET/" error.
So how to change the default pointer? It's simpler than it looks:
Go to Configuration tab on your web app and add the following code to startup script:
pm2 serve /home/site/wwwroot --no-daemon

This will tell the web app to serve wwwroot folder. And that's it.
If this web app is a client-side single-page-app and you're having issues with routing, then add --spa to the above command as follows:
pm2 serve /home/site/wwwroot --no-daemon --spa

Image for reference:
Screenshot explaination
PS: If you only set the startup script without deploying your code, it will still show the hostingstart.html because by default that file lies in the wwwroot folder.

A: It sounds like you are missing the web.config file from your root folder (the folder contain package.json). For reference, the below is a default web.config for an application that uses app.js as the entry point.
<?xml version="1.0" encoding="UTF-8"?>
<!--
       This configuration file is required if iisnode is used to run node processes behind
       IIS or IIS Express.  For more information, visit:

       https://github.com/tjanczuk/iisnode/blob/master/src/samples/configuration/web.config
  -->
<configuration>
  <system.webServer>
    <!-- Visit http://blogs.msdn.com/b/windowsazure/archive/2013/11/14/introduction-to-websockets-on-windows-azure-web-sites.aspx for more information on WebSocket support -->
    <webSocket enabled="false" />
    <handlers>
      <!-- Indicates that the server.js file is a node.js web app to be handled by the iisnode module -->
      <add name="iisnode" path="app.js" verb="*" modules="iisnode" />
    </handlers>
    <rewrite>
      <rules>
        <!-- Do not interfere with requests for node-inspector debugging -->
        <rule name="NodeInspector" patternSyntax="ECMAScript" stopProcessing="true">
          <match url="^app.js\/debug[\/]?" />
        </rule>
        <!-- First we consider whether the incoming URL matches a physical file in the /public folder -->
        <rule name="StaticContent">
          <action type="Rewrite" url="public{REQUEST_URI}" />
        </rule>
        <!-- All other URLs are mapped to the node.js web app entry point -->
        <rule name="DynamicContent">
          <conditions>
            <add input="{REQUEST_FILENAME}" matchType="IsFile" negate="True" />
          </conditions>
          <action type="Rewrite" url="app.js" />
        </rule>
      </rules>
    </rewrite>
    <!--
        You can control how Node is hosted within IIS using the following options:
          * watchedFiles: semi-colon separated list of files that will be watched for changes to restart the server
          * node_env: will be propagated to node as NODE_ENV environment variable
          * debuggingEnabled - controls whether the built-in debugger is enabled

        See https://github.com/tjanczuk/iisnode/blob/master/src/samples/configuration/web.config for a full list of options
      -->
    <!--<iisnode watchedFiles="web.config;*.js"/>-->
  </system.webServer>
</configuration>

More on this:
Running Node.js on Azure Web App
Deploying Node JS application on Azure Web Services

redpajama_set_name: RedPajamaStackExchange


Recently, we announced that Glion would be hosting its own international MasterChef competition. On Wednesday 6 June, the event took place at our Bulle campus, with students showing off their cultural heritage and culinary flair in front of an expert judging panel.
Our students come from all over the world, often representing multiple nationalities. So what better way to demonstrate this than with a cooking competition? For those that are not familiar with the show, MasterChef is a global television series in which talented cooks compete against one another. Inspired by the show, student ambassadors Paul Leguay and Giuseppe Lombardi decided a MasterChef-style competition would be the perfect platform for Glion students to show off their skills.
Six teams took part, representing China, France, Italy, Kazakhstan, the Middle East, and Egypt / Morocco. While a few team members cooked, the rest of them attended country stands. While here, they encouraged the 150 attendees to taste different food and drink from the participating regions.
The event was livestreamed in the lobby, with a judging panel made up of six Glion representatives. Benoit Carcenat and Fabien Foare, both winners of the prestigious Meilleur Ouvrier de France award, joined head chef Thierry Ray as the culinary experts of the panel. Additionally, student advisor Paul Chappel, Audrey Reynauld, Bachelor Programs Manager, and student ambassador Francesca Stellino completed the jury.
The MasterChef competition proved to be a roaring success. Our students loved taking part – they were so enthused by the event that they have already begun forming teams for next semester. However, there could only be one winner. After conferring, the judges announced China as the victor, with France following closely behind.
Finally, everybody got to enjoy a celebratory cocktail together. This brought to a close an amazing and enlightening event. Here's to next time!
Wonderful events and exciting competitions are just a small part of what Glion has to offer. If you're interested in studying at Glion, simply share your details here and one of our dedicated Education Counselors will be in touch.
Previous:What are the benefits of a multicampus experience?


There is really barely any info on the internet about this series, so these notes might shed a little more light for those who are curious.
At Suzuka, we went full throttle in 6th gear through the 130R at around 230km. Turn one is just slight trail brakes while in 6th gear starting from 240km. The cornering forces are incredible - over 2.6/2.7 Gs at somewhere like Suzuka's 130R or Fuji 100R (The 180 degree right hand turn). Braking is also fun due to downforce - over 2.4 initial Gs in the braking zone after 130R before the Chicane.
My top lap time was 2:04.5, which is faster than most Super GT GT300 class cars. F3 is about 1:55 and Super GT GT500 is around 1:50 in qualifying.
My advisors are Tanaka Tetsuya and Kageyama Masami - both championship-winning factory Nissan drivers. They instruct a group of 8 of us. Toyota and Honda have similar groups, and we are all encouraged to speak with all advisors. There is very little partinsanship in the series - the entire organization is very united in the goal of raising the best possible race car drivers.
We are only allowed to adjust tire pressure on the car.
The cars are equipped with a 34 channel data logger and we are provided everyone else's data after every session. I usually look at RPM, speed (they have overall max speed, left front wheel, right front wheel), steering angle, throttle, brake pressure, and lateral and cornering Gs.
The overall format of the series, where multiple manufacturers are funding and promoting the program in completely equal cars, and sharing everyone's data with everyone, is probably first time ever in history of motorsports.
Oh man, I just found your blog while looking for some pictures of R32's, I had to stop and read it all the way through. You're living the dream! Keep on racing, and tell Nissan to stop scaring me when they say they're not making Skylines anymore.
If you have a spare gearbox lying around taking up space in the nismo garage that'll fit an R32. I'll be happy to dispose of it for you y'know?
Igor, you're the bomb! Can't wait to meet up with you and your bro next time you're out!


text:
While there has been much debate about the underlying language of Linear A (LinA, 線文字A, Γραμμικη Α), I disagree that LinA does not resemble a known language. Despite its similarities to Japanese, historical linguists dismiss a correlation for at least two reasons: (1) the apparent lack of genetic evidence and (2) the universally held belief that LinA is an Indo-European language. Regarding the first justification, if linguists are looking to mainland Japan for genetic evidence, they are looking too far north. By whatever means, it appears that, around 1000 BCE, the Minoans entered Japan from the southern islands, and gradually moved north. Regarding the second justification, Minoan scholarship generally agrees that the Minoans migrated from the Anatolian region**, which suggests an Altaic origin or influence. Likewise, Japanese scholarship suggests that the Japanese language belongs to the Japonic-language family, which is believed to have an Altaic origin or influence.
General consensus dates the demise of the high Minoan civilization as late as 3,500 years ago, with the widespread destruction of the palace centers, while Neil Gordon Munro dates the commencement of the Yamato culture, which is the presumed progenitor of modern Japanese civilization, as early as 3,000 years ago. According to Munro, the origin of the Yamato culture is unknown but had arrived in a highly advanced state. The culture is notable for its grave goods–bronze arrowheads, bells, and halberds. The culture is also notable for its wheel-thrown pottery, which employed "restrained" decoration with "subdued color" [1908:4].
The Okinawan (Uchina'a) Japanese remain culturally, genetically, and linguistically distinct from the mainland (Yamato) Japanese, although the two cultures are believed to share a common proto language. This forum will provide support–through disciplines such as archaeology, architecture, art, genetics, and language–for my dual theories that LinA is proto Japanese and that the Minoan civilization provides a rich backdrop for Japanese history, which, for millennia, has been shrouded in mystery.
** See Naru Kanashi: Paradise Across the Ocean.
Richard Vallance Janke: Independant Scholar, Linear B and Homeric Greek
You are definitely onto something with this approach to the Minoan language. I have long suspected that this link might exist.
"It is the privilege of individual genius to follow no system beyond a creative intuition." . Michael Ventris


The Toddy cold-brewing system was developed nearly fifty years ago by chemical engineer Todd Simpson, who theorized that the application of heat in traditional coffee brewing methods was the cause of undesirable flavor compounds---bitter oils and fatty acids---ending up in the cup. The cold-brew method creates up to 67% less acid in the brewed coffee, and many believe that that means a smoother coffee that's more pleasant to drink, and easier on sensitive stomachs.
We use Toddy cold-brewed coffee here in our stores to make our delicious (and if we may: locally-famous) iced coffees. But many heat their Toddy coffee for a bold, smooth, hot cup, or delicious Toddy latte.
And it's simple to use: add one pound of coffee to the bucket, slowly fill with cold water, and leave it to steep for 12 hours or more. What you'll have is a quart of highly concentrated low-acid coffee (enough to make approximately 12-16 8 oz. cups, depending on your preferred strength) that stays fresh in your refrigerator for up to two weeks.
Brewing a batch of Toddy coffee uses exactly zero electricity. Save energy, save money!
The Toddy Cold Brew system can just as easily be used to brew tea leaves.
Nothing else to buy, except your favorite coffee---includes brewing container with handle, rubber stopper, two reusable filters, glass decanter with lid, full instructions, and a recipe guide!


For finding the limits of your riding and pushing beyond, the Havoc short uses Enduro racing-inspired design to deliver a top performing riding short.
Enduro racing pushes riders, their equipment and kit to breaking point so apparel intended for racing use needs to be able to cope with the often excessive demands placed on riders.
Comfortable while winching up a long transfer or hammering a super technical stage descent, the quiet 4-way stretch fabric construction moves with the rider to reduce any restriction in movement. Built tough with perforated ventilation, gusseted inseam, exterior waist adjustment tabs and a water-repellent DWR coating. The fit has been carefully optimized for a casual feel without being too baggy for racing, and the inseam length and leg openings have been worked on to provide excellent compatibility with knee pads.
If you are seeking a short that can cope with racing blind against the clock, or smashing turns in a session with friends then the Havoc is an understated stylish short that can do it all.


March 22, 1839: This is the date inscribed on the first composition by Camille Saint-Saëns (3), a piano piece.
March 24, 1847: Camille Saint-Saëns (11) plays before Hélène, duchesse d'Orléans at the Tuileries Palace, Paris. She is the daughter-in-law of King Louis-Philippe.
July 28, 1851: Camille Saint-Saëns (15) wins first prize in organ at the Paris Conservatoire. He so outdistances his competition that neither second prize nor honorable mention are awarded.
December 26, 1852: Ode à Sainte-Cécile for solo voices, chorus, and orchestra by Camille Saint-Saëns (17) is performed for the first time, in the Casino Paganini, Paris. It is not well received.
February 15, 1857: Symphonie en fa "Urbs Roma" by Camille Saint-Saëns (21) is performed for the first time, in Paris.
April 21, 1857: Mass op.4 for chorus, orchestra and organ by Camille Saint-Saëns (21) is performed for the first time, in the Church of Saint-Merri, Paris.
April 28, 1857: Tarantelle op.6 for flute, clarinet and orchestra or piano by Camille Saint-Saëns (21) is performed publicly for the first time, in Salle Pleyel, Paris, the composer at the piano.
December 3, 1857: Camille Saint-Saëns (22) inaugurates the Cavaillé-Coll organ in the Church of Saint-Merri, Paris.
December 7, 1857: Camille Saint-Saëns (22) takes up his duties as organist at the Church of the Madeleine, Paris.
December 25, 1858: Oratorio de Noël for chorus, strings, harp, and organ by Camille Saint-Saëns (23) to words from the Vulgate Bible is performed for the first time, in the Church of the Madeleine, Paris.
March 25, 1860: Symphony no.2 by Camille Saint-Saëns (24) is performed for the first time, at Salle Pleyel in Paris.
April 9, 1860: Concerto for violin and orchestra no.2 op.58 by Camille Saint-Saëns (24) is performed for the first time, in Salle Erard, Paris.
January 17, 1862: Concerto for piano and orchestra no.1 op.17 by Camille Saint-Saëns (26) is performed for the first time, in Salle Pleyel, Paris, the composer at the keyboard.
November 26, 1863: Spartacus, an overture by Camille Saint-Saëns (28) is performed for the first time, in Notre Dame de Bordeaux.
January 20, 1865: Trio no.1 for piano and strings op.18 by Camille Saint-Saëns (29) is performed for the first time, in Salle Pleyel, Paris, the composer at the piano.
April 27, 1866: Suite for cello and piano op.16 by Camille Saint-Saëns (30) is performed for the first time, at the Salle Pleyel, Paris.
April 4, 1867: Two works by Camille Saint-Saëns (31) are performed for the first time, at the Théâtre des Champs-Elysées conducted by the composer: Concerto for violin and orchestra no.1 op.20 and Introduction et Rondo Capriccioso for violin and orchestra op.28.
September 1, 1867: Les noces de Prométhée op.19, a cantata for solo voices and orchestra by Camille Saint-Saëns (31) to words of Cornut, is performed for the first time, at the Cirque de l'Impératrice (Cirque d'été), Paris.
March 8, 1868: The organ of the Cathedral of Notre Dame, Paris is opened by Camille Saint-Saëns (32), Alexandre Guilmant, Charles-Marie Widor, and Charles Chauvet.
August 15, 1868: Camille Saint-Saëns (32) is awarded the Legion of Honor.
November 25, 1869: Concerto for piano and orchestra no.3 op.29 by Camille Saint-Saëns (34) is performed for the first time, in the Leipzig Gewandhaus, conducted by the composer. The work is badly received in Leipzig, even sparking a loud argument in the audience at the beginning of the slow movement.
December 7, 1871: Le Rouet d'Omphale op.31, a symphonic poem by Camille Saint-Saëns (36), is performed for the first time, in a version for two pianos, in the Salle Erard, Paris. The composer performs one part. See 14 April 1872.
December 10, 1871: Marche héroïque op.34 for orchestra by Camille Saint-Saëns (36) is performed for the first time, in Paris.
January 19, 1873: Concerto for cello and orchestra no.1 op.33 by Camille Saint-Saëns (37) is performed for the first time, at the Paris Conservatoire.
February 8, 1873: Two songs for voice and piano by Gabriel Fauré (27) to words of Gautier are performed for the first time, by the Société National de Musique, Paris: Les matelots op.2/2 and La chanson du pêcheur op.4/1. Also on the program is the premiere of the first three movements of Fauré's Suite d'orchestre in a reduction for two pianos played by Camille Saint-Saëns (37) and the composer, as well as the premiere of Allegro Appassionato op.43 for cello and orchestra by Camille Saint-Saëns. See 16 May 1874.
February 21, 1873: The chapel organ at Versailles, built in 1736 and newly restored by Cavaillé-Coll, is inaugurated by Camille Saint-Saëns (37) and Charles-Marie Widor.
December 7, 1873: Phaëton op.39, a symphonic poem by Camille Saint-Saëns (38) is performed for the first time, at the Théâtre du Châtelet in Paris.
March 28, 1874: Variations on a Theme of Beethoven op.35 for two pianos by Camille Saint-Saëns (38) is performed for the first time, in Paris.
January 24, 1875: Danse macabre op.40, a symphonic poem by Camille Saint-Saëns (39) is performed for the first time, at the Théâtre du Châtelet in Paris. The composer's mother faints from the amount of boos and whistles.
February 3, 1875: Camille Saint-Saëns (39) marries Marie Laure Emile Truffot in the Mairie of Le Cateau, northern France.
March 6, 1875: Quartet for piano and strings op.41 by Camille Saint-Saëns (39) is performed for the first time, at Salle Pleyel, the composer at the keyboard.
March 26, 1875: The first act of Camille Saint-Saëns' (39) unstaged opera Samson et Dalila, to words of Lemaire, is performed for the first time, in a concert setting, in Paris. It is not well received. See 2 December 1877.
October 31, 1875: Concerto for piano and orchestra no.4 op.44 by Camille Saint-Saëns (40) is performed for the first time, at the Théâtre du Châtelet, in Paris, the composer at the keyboard.
March 5, 1876: Le déluge, an oratorio by Camille Saint-Saëns (40) to words of Gallet, is performed for the first time, in Paris. In the second part, dueling demonstrations of approval and disapproval erupt in the audience.
July 21, 1876: Camille Saint-Saëns (40) is made music critic of the Paris daily Le Bon Sens.
January 28, 1877: La Jeunesse d'Hercule op.50, a symphonic poem by Camille Saint-Saëns (41), is performed for the first time, in Paris.
April 7, 1877: After the success for the Violin Sonata no.1 in January, Camille Saint-Saëns (41) publishes an article in the Journal de musique praising the rising talent of Gabriel Fauré (31).
March 2, 1878: Three of the Six Etudes op.52 for piano by Camille Saint-Saëns (42) are performed for the first time, at a concert of the Société National de Musique, Paris.
May 22, 1878: A Requiem by Camille Saint-Saëns (42) is performed for the first time, at the Church of Saint-Sulpice, Paris. The work is in memory of Albert Libon who died last year and left the composer 100,000 francs.
November 30, 1878: On the second ballot, Jules Massenet (36) is elected to the Institut de France over Camille Saint-Saëns (43).
February 8, 1879: Étienne Marcel, an opéra by Camille Saint-Saëns (43) to words of Gallet, is performed for the first time, at the Grand Théâtre, Lyon. The press is very positive.
August 28, 1879: La lyre et la harpe, for solo voices and orchestra by Camille Saint-Saëns (43) to words of Hugo, is performed for the first time, in Birmingham.
January 6, 1880: The first movement of the Septet op.65 for trumpet, two violins, viola, cello, double bass, and piano by Camille Saint-Saëns (44) is performed for the first time, in Paris, the composer at the keyboard. See 28 December 1880.
January 17, 1880: César Franck's (57) Quintet for piano and strings in f minor is performed for the first time, in the Salle Pleyel, Paris. After the performance, the composer rises to dedicate the work to the pianist, Camille Saint-Saëns (44) but Saint-Saëns, who believes the piece to be a love letter to Augusta Holmès, stomps off the stage.
March 12, 1880: Menuet et Valse op.56 for piano by Camille Saint-Saëns (44) is performed for the first time, at the Salle Erard, Paris by the composer.
June 21, 1880: Elégie for cello and piano by Gabriel Fauré (35) is performed for the first time, in a private performance at the home of Camille Saint-Saëns (44), Paris, the composer at the keyboard. See 15 December 1883 and 23 January 1902.
July 8, 1880: Spending his third summer in England, Camille Saint-Saëns (44) enjoys an audience with Queen Victoria. He finds her unexpectedly cordial and plays the organ at her request.
October 15, 1880: Concerto for violin and orchestra no.3 op.61 by Camille Saint-Saëns (45) is performed for the first time, in Hamburg.
October 24, 1880: Jota Aragonese op.64 for orchestra by Camille Saint-Saëns (45) is performed for the first time, in Madrid.
November 14, 1880: Morceau de concert op.62 for violin and orchestra by Camille Saint-Saëns (45) is performed for the first time, at the Théâtre du Châtelet, Paris.
December 19, 1880: Suite Algérienne op.60 for orchestra by Camille Saint-Saëns (45) is performed for the first time, in Paris.
December 28, 1880: The Septet op.65 for trumpet, two violins, viola, cello, double bass, and piano by Camille Saint-Saëns (45) is performed completely for the first time, in Paris, the composer at the keyboard. See 6 January 1880.
January 21, 1881: Camille Saint-Saëns (45) is elected to fill the seat vacated by the death of Henri Reber at the French Institute.
January 23, 1881: Une nuit à Lisbonne op.63, a barcarolle for orchestra by Camille Saint-Saëns (45) is performed for the first time, at the Cirque d'hiver, Paris.
December 9, 1882: Four works by Gabriel Fauré (37) are performed for the first time, by the Société National de Musique, Paris: Les Berceaux op.23/1, a song for voice and piano to words of Sully-Prudhomme, Chanson d'amour op.27/1 for voice and piano to words of Silvestre, and two piano works, Barcarolle no.1 op.26 and Impromptu no.1 op.25. At the keyboard for the last two is Camille Saint-Saëns (47).
March 5, 1883: Henry VIII, an opéra by Camille Saint-Saëns (47) to words of Détroyat and Silvestre, is performed for the first time, at the Paris Opéra.
January 10, 1885: Impromptus nos.2&3 opp.31&34 for piano by Gabriel Fauré (39) are performed for the first time, by the Société National de Musique, Paris, Camille Saint-Saëns (49) at the piano.
January 9, 1886: The Sonata no.1 for piano and violin op.75 by Camille Saint-Saëns (50) is performed for the first time, in Paris, the composer at the keyboard.
March 9, 1886: Le Carnival des Animaux, grande fantaisie zoologique for two pianos, two violins, viola, cello, double bass, flute, clarinet, harmonica, and xylophone by Camille Saint-Saëns (50) is performed for the first time, at a Shrove Tuesday concert in Paris.
April 3, 1886: La naissance de Venus for solo voices, chorus, and orchestra by Gabriel Fauré (40) to words of Collin is performed for the first time, by the Société National de Musique, at the Salle Pleyel, Paris. Also on the program is the premiere of the Polonaise op.77 for two pianos by Camille Saint-Saëns (50) played by the composer and Fauré. See 8 March 1883.
February 5, 1887: Wedding Cake op.76 for piano and strings by Camille Saint-Saëns (51) is performed for the first time, by the Société National de Musique at Salle Pleyel, Paris.
March 15, 1887: Proserpine, a drame lyrique by Camille Saint-Saëns (51) to words of Gallet after Vacquerie, is performed for the first time, at the Théâtre Favart, Paris.
June 18, 1887: Camille Saint-Saëns (51) plays all four of his piano concertos, from memory, at a concert in St. James' Hall, London.
March 21, 1890: Ascanio, an opéra by Camille Saint-Saëns (54) to words of Gallet after Meurice, is performed for the first time, at the Paris Opéra.
July 18, 1890: A museum dedicated to Camille Saint-Saëns (54) opens in Dieppe. The composer is present at the opening ceremony.
November 30, 1890: Scherzo op.87 for two pianos by Camille Saint-Saëns (55) is performed for the first time, in Paris.
January 17, 1892: Rapsodie bretonne op.7bis for orchestra by Camille Saint-Saëns (56) is performed for the first time, at the Cirque des Champs-Elysées (Cirque d'été), Paris.
February 14, 1892: Parts of La Nuit Persane by Camille Saint-Saëns (56) to words of Renaud, a version for solo voices and orchestra of his 1870 song cycle Mélodies Persanes, are performed for the first time, in Paris.
March 12, 1892: Chant Saphique op.91 for cello and piano by Camille Saint-Saëns (56) is performed for the first time, in Paris.
December 7, 1892: Trio for piano and strings no.2 op.92 by Camille Saint-Saëns (57) is performed for the first time, at Salle Erard, Paris.
May 6, 1893: Fantaisie for harp op.95 by Camille Saint-Saëns (57) is performed for the first time, in Paris.
May 24, 1893: Phryné, an opéra comique by Camille Saint-Saëns (57) to words of Augé de Lassus, is performed for the first time, at the Théâtre Lyrique, Paris.
October 7, 1893: Incidental music to Cottinet's play Vercingétorix by Camille Saint-Saëns (57) is performed for the first time, in Théâtre de l'Odéon, Paris.
November 21, 1893: Incidental music to Antigone, a play by Meurice and Vacquerie after Sophocles, by Camille Saint-Saëns (59), is performed for the first time, in the Comédie-Française, Paris.
January 7, 1894: Havanaise op.83 for violin and orchestra by Camille Saint-Saëns (58) is performed for the first time, in the Théâtre du Châtelet, Paris.
April 27, 1895: Souvenir d'Ismaïlia op.100 for piano by Camille Saint-Saëns (59) is performed for the first time, in Paris.
December 18, 1895: Frédégonde, a drame lyrique by Camille Saint-Saëns (60) to words of Gallet, is performed for the first time, at the Paris Opéra.
May 8, 1896: Berceuse op.105 for piano four hands by Camille Saint-Saëns (60) is performed for the first time, at the Milan Conservatory of Music by the composer in an organ transcription.
May 22, 1896: Valse Mignonne op.104 for piano by Camille Saint-Saëns (60) is performed for the first time, in Paris by the composer. Also premiered is the original piano-four hands version of Berceuse op.105. See 8 May 1896.
June 2, 1896: At a concert in Salle Pleyel, Paris celebrating 50 years of professional music making by Camille Saint-Saëns (60), his Concerto for piano and orchestra no.5 op.103 is heard for the first time, the composer at the keyboard. Also premiered by the composer is his Sonata no.2 op.102 for violin and piano.
December 3, 1896: Javotte, a ballet by Camille Saint-Saëns (61) to a scenario by Croze, is performed for the first time, in Lyon, the composer conducting.
December 13, 1897: Marche religieuse for organ op.107 by Camille Saint-Saëns (62) is performed for the first time, in the Church of San Francisco, Madrid, by the composer.
May 18, 1898: Two new works by Camille Saint-Saëns (62) are performed for the first time, in Paris: Duo for two pianos op.8bis and Barcarolle op.108 for violin, cello, harmonium, and piano, the composer at the harmonium.
June 7, 1898: Caprice Héroïque for two pianos by Camille Saint-Saëns (62) is performed for the first time, in St. Petersburg before the Russian royal family.
August 28, 1898: Incidental music to Gallet's play Déjanire by Camille Saint-Saëns (62) is performed for the first time, in the Théâtre des Arènes, Béziers. It is very enthusiastically received.
May 31, 1900: In the first official concert of the Paris Exhibition, Le feu céleste op.115 for narrator, soprano, orchestra, and organ by Camille Saint-Saëns (64) to words of Sylvestre, is performed for the first time.
March 7, 1901: Lola, a scène dramatique by Camille Saint-Saëns (65) to words of Bordèse, is performed publicly for the first time, in Paris. See 21 January 1901.
October 23, 1901: The tragédie lyrique Les barbares, words by Sardou and Gheusi, music by Camille Saint-Saëns (66), is performed for the first time, at the Paris Opéra.
February 26, 1902: Incidental music to Hugo's play Les burgraves by Camille Saint-Saëns (66) is performed for the first time, at the Comédie-Française, Paris.
August 17, 1902: Incidental music to Dieulafoy's play Parysatis, by Camille Saint-Saëns (66) is performed for the first time, in the Arènes de Béziers.
February 7, 1903: Incidental music to Racine's play Andromaque by Camille Saint-Saëns (67) is performed for the first time, at the Théâtre Sarah-Bernhardt, Paris.
February 18, 1904: The poème lyrique Hélène, by Camille Saint-Saëns (68) to his own words, is performed for the first time, in the Théâtre de Monte Carlo.
November 13, 1904: Caprice andalous op. 122, for violin and orchestra by Camille Saint-Saëns (69), is performed for the first time, in the Salle Gaveau, Paris.
February 5, 1905: The Second Cello Concerto of Camille Saint-Saëns (69) is performed for the first time, in Paris.
April 13, 1905: Sonata no.2 for cello and piano op.123 by Camille Saint-Saëns (69) is performed for the first time, in Paris, the composer at the keyboard.
February 24, 1906: The drame lyrique L'ancêtre by Camille Saint-Saëns (70) to words of Augé de Lassus, is performed for the first time, in the Théâtre de Monte Carlo.
November 3, 1906: Camille Saint-Saëns (71) gives his first concert in the United States, in Carnegie Hall, New York.
December 23, 1906: After two months in the United States, Camille Saint-Saëns (71) boards ship in New York for home.
April 13, 1907: At the Imperial Palace, Berlin, Kaiser Wilhelm II has a long talk with Camille Saint-Saëns (71), Jules Massenet (64), and Xavier Leroux. He confers distinctions on Massenet and Leroux and gives his portrait to Saint-Saëns.
June 26, 1907: Camille Saint-Saëns (71) is awarded an honorary DMus by the University of Oxford.
July 3, 1907: Fantaisie for violin and harp op.124 by Camille Saint-Saëns (71) is performed for the first time, at Salle Erard, Paris.
November 16, 1908: Music to Lavedon's film L'assassinat du Duc de Guise by Camille Saint-Saëns (73) is performed for the first time, in the Salle Charras, Paris. This is the first known film score by a major composer.
April 10, 1909: Incidental music to Brieux's play La foi by Camille Saint-Saëns (73) is performed for the first time, in the Théâtre de Monte Carlo.
March 29, 1910: The Oceanographic Museum at Monaco is formally inaugurated. During the ceremonies, Ouverture du fête op.133 for orchestra by Camille Saint-Saëns (74) and La Nef triomphale for chorus and orchestra by Jules Massenet (67) to words of Aicard are performed for the first time.
June 7, 1910: La muse et le poète op.132 for violin, cello, and orchestra by Camille Saint-Saëns (74) is performed for the first time, in Queen's Hall, London. For the premiere, the composer plays a piano reduction of the accompaniment.
March 14, 1911: Déjanire, a drame lyrique by Camille Saint-Saëns (75) to his own words and Gallet after Sophocles, is performed for the first time, in the Théâtre Lyrique de Monte Carlo. See 28 August 1892.
January 11, 1913: Camille Saint-Saëns (77) receives the Grande Croix of the French Legion of Honor.
June 2, 1913: Ouverture d'un opéra-comique inachevé for orchestra by Camille Saint-Saëns (77) is performed for the first time, in Queen's Hall, London 60 years after it was composed. The performance is part of a celebration of 75 years since Saint-Saëns' debut as a pianist.
September 19, 1914: Camille Saint-Saëns (78) publishes the first of a series of articles entitled "Germanophile", wherein he attacks German art and music and suggests a ban on the music of Wagner.
April 24, 1915: Camille Saint-Saëns (79) departs Bordeaux for New York.
May 22, 1915: Camille Saint-Saëns (79) reaches San Francisco from New York, with stops in Philadelphia and Chicago.
June 19, 1915: A work composed on commission from the Panama-Pacific International Exposition, Hail! California, by Camille Saint-Saëns (79), is performed for the first time, at the exposition in San Francisco conducted by the composer.
July 13, 1916: Camille Saint-Saëns (80) gives a concert in the Solis Theatre, Montevideo.
July 27, 1916: Camille Saint-Saëns (80) boards ship in Argentina making for Lisbon.
November 23, 1916: Two piano works by Gabriel Fauré (71), the Barcarolle no.12 op.106 and the Nocturne no.12 op.107, are performed for the first time, at the Concerts Durand, Paris. Also on the program is the premiere of Elégie op.143 for violin and piano by Camille Saint-Saëns (81), the composer at the keyboard.
February 8, 1917: Incidental music to de Musset's play On ne badine pas avec l'amour by Camille Saint-Saëns (81) is performed for the first time, at the Théâtre de l'Odéon, Paris.
March 25, 1917: Sept Improvisations for organ op.150 by Camille Saint-Saëns (81) are performed for the first time, at Théâtre des nations, Marseille by the composer.
July 11, 1919: Cyprès lauriers op.156 for organ and orchestra by Camille Saint-Saëns (83) is performed for the first time, at the Casino in Ostend, the composer at the organ.
July 30, 1920: Gabriel Fauré (75) informs Camille Saint-Saëns (84) that he intends to resign as director of the Paris Conservatoire.
February 19, 1921: Suite for cello and orchestra op.16bis by Camille Saint-Saëns (85) is performed for the first time, in Paris.
December 16, 1921: 22:00 On his regular winter trip to Algiers, Charles Camille Saint-Saëns dies at the Hôtel de l'Oasis, Département of Algiers, Republic of France, aged 86 years, two months, and seven days.
December 21, 1921: The Lamoricière, bearing the mortal remains of Camille Saint-Saëns, arrives in Marseille from Algiers. They are met by horsed soldiers and leaders of the city and thereupon transported to Paris.
February 25, 1922: Carnival of the Animals by Camille Saint-Saëns (†0) is performed for the first time, in Paris. The composer banned its performance during his lifetime, except for Le Cygne, fearing that it would damage his reputation as a serious composer. He allowed for its performance in his will.


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text:
// Copyright 2010 Google Inc.
//
// Licensed under the Apache License, Version 2.0 (the "License"); you may not
// use this file except in compliance with the License. You may obtain a copy of
// the License at
//
// http://www.apache.org/licenses/LICENSE-2.0
//
// Unless required by applicable law or agreed to in writing, software
// distributed under the License is distributed on an "AS IS" BASIS, WITHOUT
// WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. See the
// License for the specific language governing permissions and limitations under
// the License.

// This code was generated by google-apis-code-generator 1.5.1
//   C++ generator version: 0.1.3

// ----------------------------------------------------------------------------
// NOTE: This file is generated from Google APIs Discovery Service.
// Service:
//   YouTube Data API (youtube/v3)
// Generated from:
//   Version: v3
// Generated by:
//    Tool: google-apis-code-generator 1.5.1
//     C++: 0.1.3
#ifndef  GOOGLE_YOUTUBE_API_PLAYLIST_SNIPPET_H_
#define  GOOGLE_YOUTUBE_API_PLAYLIST_SNIPPET_H_

#include <string>
#include "googleapis/base/macros.h"
#include "googleapis/client/data/jsoncpp_data.h"
#include "googleapis/client/util/date_time.h"
#include "googleapis/strings/stringpiece.h"

#include "google/youtube_api/playlist_localization.h"
#include "google/youtube_api/thumbnail_details.h"

namespace Json {
class Value;
}  // namespace Json

namespace google_youtube_api {
using namespace googleapis;

/**
 * Basic details about a playlist, including title, description and thumbnails.
 *
 * @ingroup DataObject
 */
class PlaylistSnippet : public client::JsonCppData {
 public:
  /**
   * Creates a new default instance.
   *
   * @return Ownership is passed back to the caller.
   */
  static PlaylistSnippet* New();

  /**
   * Standard constructor for an immutable data object instance.
   *
   * @param[in] storage  The underlying data storage for this instance.
   */
  explicit PlaylistSnippet(const Json::Value& storage);

  /**
   * Standard constructor for a mutable data object instance.
   *
   * @param[in] storage  The underlying data storage for this instance.
   */
  explicit PlaylistSnippet(Json::Value* storage);

  /**
   * Standard destructor.
   */
  virtual ~PlaylistSnippet();

  /**
   * Returns a string denoting the type of this data object.
   *
   * @return google_youtube_api::PlaylistSnippet
   */
  const StringPiece GetTypeName() const {
    return StringPiece("google_youtube_api::PlaylistSnippet");
  }

  /**
   * Determine if the 'channelId' attribute was set.
   *
   * @return true if the 'channelId' attribute was set.
   */
  bool has_channel_id() const {
    return Storage().isMember("channelId");
  }

  /**
   * Clears the 'channelId' attribute.
   */
  void clear_channel_id() {
    MutableStorage()->removeMember("channelId");
  }

  /**
   * Get the value of the 'channelId' attribute.
   */
  const StringPiece get_channel_id() const {
    const Json::Value& v = Storage("channelId");
    if (v == Json::Value::null) return StringPiece("");
    return StringPiece(v.asCString());
  }

  /**
   * Change the 'channelId' attribute.
   *
   * The ID that YouTube uses to uniquely identify the channel that published
   * the playlist.
   *
   * @param[in] value The new value.
   */
  void set_channel_id(const StringPiece& value) {
    *MutableStorage("channelId") = value.data();
  }

  /**
   * Determine if the 'channelTitle' attribute was set.
   *
   * @return true if the 'channelTitle' attribute was set.
   */
  bool has_channel_title() const {
    return Storage().isMember("channelTitle");
  }

  /**
   * Clears the 'channelTitle' attribute.
   */
  void clear_channel_title() {
    MutableStorage()->removeMember("channelTitle");
  }

  /**
   * Get the value of the 'channelTitle' attribute.
   */
  const StringPiece get_channel_title() const {
    const Json::Value& v = Storage("channelTitle");
    if (v == Json::Value::null) return StringPiece("");
    return StringPiece(v.asCString());
  }

  /**
   * Change the 'channelTitle' attribute.
   *
   * The channel title of the channel that the video belongs to.
   *
   * @param[in] value The new value.
   */
  void set_channel_title(const StringPiece& value) {
    *MutableStorage("channelTitle") = value.data();
  }

  /**
   * Determine if the 'defaultLanguage' attribute was set.
   *
   * @return true if the 'defaultLanguage' attribute was set.
   */
  bool has_default_language() const {
    return Storage().isMember("defaultLanguage");
  }

  /**
   * Clears the 'defaultLanguage' attribute.
   */
  void clear_default_language() {
    MutableStorage()->removeMember("defaultLanguage");
  }

  /**
   * Get the value of the 'defaultLanguage' attribute.
   */
  const StringPiece get_default_language() const {
    const Json::Value& v = Storage("defaultLanguage");
    if (v == Json::Value::null) return StringPiece("");
    return StringPiece(v.asCString());
  }

  /**
   * Change the 'defaultLanguage' attribute.
   *
   * The language of the playlist's default title and description.
   *
   * @param[in] value The new value.
   */
  void set_default_language(const StringPiece& value) {
    *MutableStorage("defaultLanguage") = value.data();
  }

  /**
   * Determine if the 'description' attribute was set.
   *
   * @return true if the 'description' attribute was set.
   */
  bool has_description() const {
    return Storage().isMember("description");
  }

  /**
   * Clears the 'description' attribute.
   */
  void clear_description() {
    MutableStorage()->removeMember("description");
  }

  /**
   * Get the value of the 'description' attribute.
   */
  const StringPiece get_description() const {
    const Json::Value& v = Storage("description");
    if (v == Json::Value::null) return StringPiece("");
    return StringPiece(v.asCString());
  }

  /**
   * Change the 'description' attribute.
   *
   * The playlist's description.
   *
   * @param[in] value The new value.
   */
  void set_description(const StringPiece& value) {
    *MutableStorage("description") = value.data();
  }

  /**
   * Determine if the 'localized' attribute was set.
   *
   * @return true if the 'localized' attribute was set.
   */
  bool has_localized() const {
    return Storage().isMember("localized");
  }

  /**
   * Clears the 'localized' attribute.
   */
  void clear_localized() {
    MutableStorage()->removeMember("localized");
  }

  /**
   * Get a reference to the value of the 'localized' attribute.
   */
  const PlaylistLocalization get_localized() const;

  /**
   * Gets a reference to a mutable value of the 'localized'
   * property.
   *
   * Localized title and description, read-only.
   *
   * @return The result can be modified to change the attribute value.
   */
  PlaylistLocalization mutable_localized();

  /**
   * Determine if the 'publishedAt' attribute was set.
   *
   * @return true if the 'publishedAt' attribute was set.
   */
  bool has_published_at() const {
    return Storage().isMember("publishedAt");
  }

  /**
   * Clears the 'publishedAt' attribute.
   */
  void clear_published_at() {
    MutableStorage()->removeMember("publishedAt");
  }

  /**
   * Get the value of the 'publishedAt' attribute.
   */
  client::DateTime get_published_at() const {
    const Json::Value& storage = Storage("publishedAt");
    return client::JsonValueToCppValueHelper<client::DateTime >(storage);
  }

  /**
   * Change the 'publishedAt' attribute.
   *
   * The date and time that the playlist was created. The value is specified in
   * ISO 8601 (YYYY-MM-DDThh:mm:ss.sZ) format.
   *
   * @param[in] value The new value.
   */
  void set_published_at(client::DateTime value) {
    client::SetJsonValueFromCppValueHelper<client::DateTime >(
      value, MutableStorage("publishedAt"));
  }

  /**
   * Determine if the 'tags' attribute was set.
   *
   * @return true if the 'tags' attribute was set.
   */
  bool has_tags() const {
    return Storage().isMember("tags");
  }

  /**
   * Clears the 'tags' attribute.
   */
  void clear_tags() {
    MutableStorage()->removeMember("tags");
  }

  /**
   * Get a reference to the value of the 'tags' attribute.
   */
  const client::JsonCppArray<string > get_tags() const {
     const Json::Value& storage = Storage("tags");
    return client::JsonValueToCppValueHelper<client::JsonCppArray<string > >(storage);
  }

  /**
   * Gets a reference to a mutable value of the 'tags' property.
   *
   * Keyword tags associated with the playlist.
   *
   * @return The result can be modified to change the attribute value.
   */
  client::JsonCppArray<string > mutable_tags() {
    Json::Value* storage = MutableStorage("tags");
    return client::JsonValueToMutableCppValueHelper<client::JsonCppArray<string > >(storage);
  }

  /**
   * Determine if the 'thumbnails' attribute was set.
   *
   * @return true if the 'thumbnails' attribute was set.
   */
  bool has_thumbnails() const {
    return Storage().isMember("thumbnails");
  }

  /**
   * Clears the 'thumbnails' attribute.
   */
  void clear_thumbnails() {
    MutableStorage()->removeMember("thumbnails");
  }

  /**
   * Get a reference to the value of the 'thumbnails' attribute.
   */
  const ThumbnailDetails get_thumbnails() const;

  /**
   * Gets a reference to a mutable value of the 'thumbnails'
   * property.
   *
   * A map of thumbnail images associated with the playlist. For each object in
   * the map, the key is the name of the thumbnail image, and the value is an
   * object that contains other information about the thumbnail.
   *
   * @return The result can be modified to change the attribute value.
   */
  ThumbnailDetails mutable_thumbnails();

  /**
   * Determine if the 'title' attribute was set.
   *
   * @return true if the 'title' attribute was set.
   */
  bool has_title() const {
    return Storage().isMember("title");
  }

  /**
   * Clears the 'title' attribute.
   */
  void clear_title() {
    MutableStorage()->removeMember("title");
  }

  /**
   * Get the value of the 'title' attribute.
   */
  const StringPiece get_title() const {
    const Json::Value& v = Storage("title");
    if (v == Json::Value::null) return StringPiece("");
    return StringPiece(v.asCString());
  }

  /**
   * Change the 'title' attribute.
   *
   * The playlist's title.
   *
   * @param[in] value The new value.
   */
  void set_title(const StringPiece& value) {
    *MutableStorage("title") = value.data();
  }

 private:
  void operator=(const PlaylistSnippet&);
};  // PlaylistSnippet
}  // namespace google_youtube_api
#endif  // GOOGLE_YOUTUBE_API_PLAYLIST_SNIPPET_H_


This collection of short stories from George Thomas Clark showcases a rare talent for writing from multiple perspectives and within various genres. Very creative stories, all very different from one another, but all referencing dark thematic elements. I was intrigued by every story. Knowing the diversity of readers, I would not recommend this book to people who like to be automatically grabbed on the first page and carried through on the author's easy analogies and superficial dialogue. This is some Meat and Potatoes writing. Thanks for the great meal, Mr. Thomas.
What a collection of short stories! The book's title is taken from the last short story, which is significantly longer than the rest. The stories deal with aliens' demands, a time machine, General MacArthur, and Ernest Hemingway, and an alcoholic accountant. A few, however, seem to lack an ending, not just a satisfying ending, but an ending at all. Some are as good as it gets. Writing short stories is very difficult because all elements must be compacted. This collection seems to have something for everyone.
Finished reading these outstanding short stories. Don't look for those Hichcock endings but when they do end you'll be scratching you head. George Thomas Clark finishes off most of his stories with a thud. You're expecting to read more then it ends. I usually finish the story with a 'what?' Then I start thinking about what took place and then —– I get it.
Thanks, George, for a different kind of approach to short stories.
"The Bold Investor" is an excellent companion for trips to the doctor, bus rides or anywhere you must go and are then required to wait for an unknown space of time. The stories captured my interest in the short while it took to read each one and afterward, I enjoyed thinking them over. Could events have happened the way George Thomas Clark describes them? Will things happen that way tomorrow? You'll never know unless you read "The Bold Investor." I recommend it!
I admit I have never felt less certain of my opinion about a work than I do with this distinctive collection of fiction by George Thomas Clark. I'll have to give The Bold Investor time to percolate in my mind and probably re-read the collection closely at some point as well. At this point, I can articulate some clear observations and analyses that may be of more service to you, fellow readers, than my ultimate conclusion about the total literary merit of this read.
A) His sense of absurdity and his tragicomic sense of humor. The irony in his stories isn't going to please everyone, and it didn't always sit well with me. But, his general narrative tone–which I think is best termed a sensitivity to and and appreciation of life's absurdity–kept me intellectually engaged and entertained throughout my read.
The main problem I had with the book–the only unfavorable reaction I had–is related to the titular, final story "The Bold Investor." I found the ending hopeful and unsurprising, but I'm not sure I understood it properly. And, depending on how I interpret the story, I might even find the themes offensive or at least disturbing. I would not expect other people to have that reaction, please note. However, it's an example of a failure to clearly set forth his thematic purpose as well as how his sense of irony might not amuse.
I hope this is helpful to someone; thank you for taking the time to read my thoughts.
Clever story lines, a pantheon of unusual yet believable characters, including some astounding historical ones, straight-shootin' narration and true-to-the-ear dialogue made reading THE BOLD INVESTOR a blast! Rarely do I ever say this, but—I can't wait to read it again!


text:
Mining job opportunities for Indigenous Australians
How does Australia's mining industry ensure local Aboriginal people get a good share of job opportunities created?
The mining industry is the largest private sector employer of Indigenous Australians and generates employment opportunities for Indigenous people not just in mining itself but also in a range of associated industries.
More than 60 per cent of mining operations have Indigenous communities as their neighbours and there are many ways companies work together with these communities to ensure the local Aboriginal people get their share of jobs.
Let's have a look at how it works in practice.
Mining companies work closely with Indigenous communities
It all starts quite early. Mining job opportunities for Indigenous Australians are often negotiated as part of the land use agreements the industry strikes with the local Aboriginal communities.
The industry has negotiated almost 2,000 of these agreements, which include details about access to land and resources, but also commonly cover training, employment, infrastructure, environmental management and business development.
According to the Minerals Council of Australia, these agreements (which have been negotiated over 50 years) don't just help ensure Aboriginal people get jobs on mine sites; they also mean Indigenous businesses are increasingly represented in the mining industry supply chain.
"Each year several billion dollars in procurement contracts go to Indigenous enterprises to carry out civil engineering work, land management, hospitality, transport and other vital support services," the council said in a statement in May 2017.
Mining industry training for Indigenous Australians
Providing training is vital to creating pathways for Aboriginal people to successfully find employment in the mining industry. Some mining companies have created schools; others offer apprenticeship programs. BHP for example, actually starts very early, offering school-based traineeships to young Aboriginal men and women.
During these two-year traineeships, the trainees work in the office on average one day per week and attend school the rest of the week. They are given on-the-job training and mentoring support throughout their traineeship. Upon successful completion of the program, trainees are awarded a Certificate II in Business.
Each year, BHP also offers a minimum of 15 scholarships (in partnership with the Australian Indigenous Education Foundation) to study at Curtin University and the University of Western Australia. Many other mining companies run similar schemes. Since 2012, 32 of BHP's graduates have been employed in roles such as geologists, health advisers, human resource advisers, and mining, mechanical and civil engineers.
Award-winning Indigenous employment schemes
Glencore created its own mining school. It starts with a program that provides entry-level operational skills for participants and tailored personal development, and introduces them to underground mining techniques in a realistic setting.
Many candidates then move on to a 12-week mining school course at Mount Isa Mines and Ernest Henry Mining, to help hone their training by working in a real mine environment. Those who successfully complete the full program often go on to full-time employment with the mining companies involved, or with contracting companies.
Glencore's program and school has won awards for it achievements.
"Since commencing our initial pilot program in 2014, we've invested over $2.5 million and offered places to 96 Indigenous candidates, with a further 48 places to be offered this year," Glencore Chief Operating Officer (North Queensland Copper Assets) Glen Westerman said in 2016.
Job opportunities in mining specifically for Aboriginal Australians
It's not uncommon for mining companies and service industries to advertise directly for Indigenous employees. Companies like Newcrest, which operates the Telfer mine in the traditional lands of the Martu people in Western Australia, commonly advertise for Indigenous operators and technicians as part of their "ongoing commitment to building a diverse and inclusive workforce".
Firms that work closely with our industry, like engineering and construction firms Macmahon and BGC, all regularly offer opportunities, too, and reaffirm their commitment to Indigenous employment publically.
Macmahon actually offers a range of Indigenous employment and training opportunities through its ROCKSTAR program (Real Opportunities and Careers - Kick Starting Today's Aboriginal Role models), which is subsidised by the Federal Government.
The program includes a range of initiatives to cater for people with a diverse range of skill sets and backgrounds, including:
Pre-employment programs
Plant operator training
Heavy rigid or MR driver's licences
Work-life balance skills
Accredited qualifications relevant to the mining sectors
Formal traineeships
Development of new leaders in the workforce
Always room for improvement
While the systems in place are providing real training and employment to Aboriginal people, they're not yet perfect. That's something that's acknowledged by both the mining industry and Indigenous leaders.
Warren Mundine, chair of the Yaabubiin Institute for Disruptive Thinking, gave a speech to the Minerals Council of Australia on this topic in October 2016. Here's what he said:
"Over the coming decades the minerals industry will need job-ready and educated local populations — which means job-ready and educated Indigenous people. For Indigenous communities the future presents a different challenge. We need our people in remote areas to get educated and into jobs so those communities can have economic development. Indigenous people and the minerals industry actually want the same thing. We can sharpen our engagement model to achieve it."
If you're an Aboriginal person looking for your next opportunity in the mining industry, Mining People International's team of consultants can help you find your perfect next position. Get in touch.
Dan Hatch
Mining People International


Optimal torso training - naturally - is a result of the Cybex top pivot design with a fixed lower body. This allows the head to lead and trains the torso muscles used in activities of daily living. Just as the head turns and body follows in sport, the Eagle Torso Rotation uses a top pivot design to produce optimal training.
The dual angled foot pegs and thigh pads provide for multiple stabilization opportunities to ensure it is the torso that is moving and not the hips and legs. It also ensures that spinal alignment is maintained throughout the movement.
Every individual is different. With six starting positions provided every 10° in each direction every user can select the starting positon that matches their own anatomy.


Use the form below to contact tour Elephant Back Safari - Livingstone directly.
Elephant back safari is a unique safari where guests get to ride tamed wild elephants and view the game close from the back of an elephant. Rides start at Zambezi camp near Thorntree lodge approximately 10km from Livingstone the proceed to Mosi-Oa-Tunya National park offering guests game views of the Zambezi River and the wildlife.
Takes place within the Mosi-oa-Tunya National Park on the banks of the Zambezi River located approximately 10 km from Livingstone.
Zambezi Elephant Trails has established Zambia's first "Elephant Camp" offering a once in a lifetime insight into these gentle giants.
Six african elephants, Madinda, Marula, Mashumbi, Lewa, Danny and Bop offer guests a chance to meet, touch and learn about elephants and to understand their willingness to act under instruction.
The training techniques used by Zambezi Elephant Trails are based on the "perform and reward " method as opposed to the controversial "discipline and submission" technique commonly associated with Asian elephants.
Upon arrival, tea, coffee and cordial is served – after which the guide will give a short introductory talk including safety aspects. The guests will then be introduced to the Elephants and their Handlers.
On mounting the Elephants, the Safari begins. The trails lead through riverine bush and shallow parts of the Zambezi River onto the islands. Halfway through the ride, guests will dismount and interact with the Elephants on the ground.
During interaction, the guide will give an informative talk on the African Elephant and its relationship with man.
Each Elephant is under the charge of a Handler – the Guide carries a first aid kit and handheld radio.
The Safari ends with a full English Breakfast or good choice of snacks (depending which safari is booked) after which guests may view a video of their personal Elephant experience. Videos are available for purchase and will be delivered to guests' hotels that evening or the following morning (depending on which Safari is booked).
Minimum age is 10 years; guardians of minors (under 18) will be required to sign an indemnity form on behalf of the minors. A Guardian must accompany children under the age of 16 throughout the trip. No child rate.


text:
'The Far Side' Returns With Updated Website and (Potentially) New Comics
Daniel Kreps
Rolling Stone December 18, 2019
After a 25-year hibernation, the beloved comic strip The Far Side returned Tuesday with a revamped website, unseen sketches and the promise of new comics in the future.
In September, cartoonist Gary Larson hinted on the long-dormant Far Side website that the comic would reappear in 2019 in some capacity; "Uncommon, unreal, and (soon-to-be) unfrozen. A new online era of The Far Side is coming," the previously barren website hinted.
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In addition to the updated website — which for now features a "daily dose" of previously published works and a curated collection that brings together old comics thematically, a notable improvement considering the cartoonist spent decades actively keeping The Far Side off the Internet — Larson also gave the New York Times a rare interview where he mapped out his goals for TheFarSide.com.
"I'm not 'back,' at least in the sense I think you're asking," Larson told the Times of The Far Side, which ran from January 1st, 1980 to December 31st, 1994. "Returning to the world of deadlines isn't exactly on my to-do list."
Following the end of The Far Side's 15-year run in 1994, Larson says he completely stopped drawing cartoons except for the occasional Christmas card; however, after purchasing a digital tablet, he was reinvigorated artistically. "Lo and behold, within moments I found myself having fun drawing again," Larson admitted.
While the website — launching in time for the strip's 40th anniversary — will primarily serve as a place for Larson's previous cartoons, "I'm looking forward to slipping in some new things every so often." (In the interview, Larson also discussed the infamous "Cow Tools" comic that ran in 1982.)
In a long letter to fans written in September 2019 but posted Tuesday, Larson elaborated on why he was apprehensive about letting The Far Side exist on the Internet. "Back then, the Internet was a cute little Internet-ling, its cold, digital eyes just starting to open. The first website (I just looked this up) debuted only a couple years prior to my retirement, Google came along several years later, and Facebook was launched a full decade after I had drawn my last cow. Meaning, like most of my generation, I was pretty much clueless about this new technology that was on the rise," Larson wrote.
"But as the digital world gathered speed, I was as excited as most of us who lived outside the tech world (and back then, as a cartoonist, you couldn't get much further outside of tech unless maybe you were a coal miner) and were seeing all these amazing tools unfold," he added. "Tools to help us better communicate, write, explore and learn. (Of course, soon to be adding hack, steal, exploit, deceive, bully and maybe destroy democracy, but hey, what're a few wrinkles? We'll figure this out. Or not.) Naively, I now realize, I never once foresaw any connection between this emergent technology and my cartoons."
Larson continued, "I'm hopeful this official website will help temper the impulses of the infringement-inclined. Please, whoever you are, taketh down my cartoons and let this website become your place to stop by for a smile, a laugh, or a good ol' fashioned recoiling. And I won't have to release the Krakencow."
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Pamela Anderson reportedly marries producer Jon Peters
Yahoo Celebrity
Mark: I'm not a Bernie supporter, but it's official now. The DNC is once again conspiring against Sanders, including Pelosi's careful timing of releasing the impeachment articles to the Senate in order to tie up Bernie and Warren in DC leading up to the Iowa caucuses. Biden is their chosen one, and they are going to carefully craft that outcome.
Oprah Defends Decision to Exit #MeToo Doc: 'This Is Not a Victory for Russell' Simmons
Sarah Hyland Says the 'End Goal' of Her Workouts is Getting 'Wedding Body Ready'
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Stazione che unisce modernità, comfort per tutti gli sport sciistici e accesso semplificato a numerosi svaghi e attività notturne.
Stazione munita di aree protette dedicate ai nuovi sport di scivolamento e di istruttori per iniziazioni e perfezionamento.
Stazione certificata "Nordique France" o munita di un settore per sci nordico eccezionale in termini di lunghezza e manutenzione, con skating e pattinato, assistenza per iniziazione, perfezionamento e accompagnamento.
Every day, Cinéma Club 2000 d'Isola invites you to discover the latest releases within its viewing halls. Throughout the season, it offers a varied programme that will satisfy everyone, whether you're a documentary enthusiast or a fan of blockbusters. If you don't fancy putting on your skis or would prefer to simply relax in front of a movie, Club 2000 is guaranteed to help you unwind.
Discover the snowmobile tours offered by AT2000.
Across forest trails and ski slopes, enjoy a new take on the Isola resort, and appreciate the beauty of its landscapes, accompanied by a guide.
Thrills and breathtaking nature are guaranteed, in an outing like no other that's sure to delight the whole family.
Tours also take place after dark during the adventure evenings.
In Isola 2000, the Spa des Temps is a wellbeing spa that follows the seasons. When you've chosen your favourite area, you can opt for one of the beauty treatments which will awaken your senses.
The Spa des Temps changes with the seasons, the wellness cabins are in charming gardens. On offer are treatments including scrubs, massages, wraps, beauty treatments for the hands, feet, etc.
The Aquavallée complex is the ideal place to relax and have fun. From rowing, to diving, cycling or just relaxing in the water... Whatever area you choose to unwind in, the current will carry you to what really matters... you.
Aquavallée is an aquatic centre with a 25m x 10m competition pool, a play area and 30m slide, a pool heated at 30°C for children, and "baby" pools with waterfalls, a relaxation area including sauna, steam room and jacuzzi, and a gym area with cardio-training and endurance activities.
Famous for hosting the renowned Andros Trophy, one of the biggest ice races, the Isola 2000 Ice Circuit offers dizzying sensations. At an altitude of 2000 metres, take on the snow and ice by driving racing cars for maximum thrills behind the wheel. In cars or karts, the pleasure of driving on ice is the same on this 800-metre-long course.


text:
Q: MongoDB $and operator with nested objects in arrays not working as expected I have nested array database records styled as such:
{
"_id" : "A",
"foo" : [
    {
        "_id" : "a",
        "date" : ISODate("2017-07-13T23:27:13.522Z")
    },
    {
        "_id" : "b",
        "date" : ISODate("2017-08-04T22:36:36.381Z")
    },
    {
        "_id" : "c",
        "date" : ISODate("2017-08-23T23:59:40.202Z")
    }
]
},
{
"_id" : "B",
"foo" : [
    {
        "_id" : "d",
        "date" : ISODate("2017-07-17T23:27:13.522Z")
    },
    {
        "_id" : "e",
        "date" : ISODate("2017-01-06T22:36:36.381Z")
    },
    {
        "_id" : "f",
        "date" : ISODate("2017-09-14T23:59:40.202Z")
    }
]
},
{
"_id" : "C",
"foo" : [
    {
        "_id" : "g",
        "date" : ISODate("2017-11-17T23:27:13.522Z")
    },
    {
        "_id" : "h",
        "date" : ISODate("2017-06-06T22:36:36.381Z")
    },
    {
        "_id" : "i",
        "date" : ISODate("2017-10-14T23:59:40.202Z")
    }
]
}

When I run the query:
db.bar.find(
    {
        $and: [
                  {"foo.date": {$lte: new Date(2017,8,1)}},
                  {"foo.date": {$gte: new Date(2017,7,1)}}
       ]
    },
    {
       "_id":1
    }
)

I'm returned
{
    _id: "A"
},
{
    _id: "B"
},
{
    _id: "C"
}

Logically I'm asking for only the records where at least one date is between Aug-1 and Sept-1 (Record A), but am getting all records.
I'm thinking it might be referencing different dates on the subdocuments i.e. where foo.1.date > Aug-1 and foo.0.date < Sept-1.
Has anyone else had issue and found a resolution to this?

A: Your filters are evaluated separately against each subdocument in your array and that's why you're getting all results. For instance for C

*

*element with _id g is gte 1st of August

*element with _id h is lte 1st of September

You should use $elemMatch to find date in specified range
    db.bar.find(
    { "foo":
        {
            "$elemMatch":
                { "date":
                    {
                        "$gte": new Date(2017,7,1),
                        "$lte": new Date(2017,8,1)
                    }
                }
            }
    })

Only A will be returned for this query.

A: The way you are doing doensn't work as you want for array.
You have to unpack the array and after you compare the values.
 db.bar.aggregate(
// Unpack the assignments array
{ $unwind : "$foo" },

// Find the assignments ending after given date
{ $match : {
    "foo.date": { $gte: new Date(2017,7,1),$lt: new Date(2017,8,1)  }
}}
)

A: This should also work fine
 db.bar.find({"foo.date": { $gte: new Date(2017,7,1),$lt: new Date(2017,8,1)  }})


text:
LA warns of 'juice-jacking' malware, but admits it has no cases
Los Angeles' district attorney is warning travelers to avoid public USB charging points because "they may contain dangerous malware."
Reading the advisory, you might be forgiven for thinking that every USB outlet you see is just waiting for you to plug in your phone so it can steal your data. This so-called "juice-jacking" attack involves criminals loading malware "on charging stations or cables they leave plugged in at the stations so they may infect the phones and other electronic devices of unsuspecting users," it reads. "The malware may lock the device or export data and passwords directly to the scammer."
But the county's chief prosecutor's office told TechCrunch that it has "no cases" of juice-jacking on its books, though it said there are known cases on the east coast. When asked where those cases were, the spokesperson did not know. And when asked what prompted the alert to begin with, the spokesperson said it was part of "an ongoing fraud education campaign."
Which begs the question — why?
Security researcher Kevin Beaumont tweeted that he hasn't seen "any evidence of malware being used in the wild on these things." In fact, ask around and you'll find very little out there. Several security researchers have dropped me messages saying they've seen proof-of-concepts, but nothing actively malicious.
Juice-jacking is a real threat, but it's an incredibly complicated and imperfect way to attack someone when there are far easier ways. And given so many phones have features in place to prevent these kinds of attacks, pulling off a juice-jacking attack would likely require burning a highly powerful exploit.
The idea, though — that you can plug in your phone and have your secrets stolen — is not entirely far-fetched. Over the years there have been numerous efforts to demonstrate that it's possible. As ZDNet points out in its coverage of the juice-jacking warning, the FBI sent out a nationwide alert about the threat after security researcher Samy Kamkar developed an Ardunio-based implant designed to look like a USB charger to wirelessly sniff the air for leaky key strokes. And just earlier this year, a security researcher developed an iPhone charger cable clone that let a nearby hacker run commands on the vulnerable computer.
LA recommend using an AC power outlet and not a charging station, and to take your cables with you. That's sound advice, but it's just one of many things you need to do to keep your devices and data safe.
This hacker's iPhone charging cable can hijack your computer


text:
Q: Replace the ServerName in a UNC Path I want to write a method to swap out the server name in a UNC path.  So if I have "\\server1\folder\child" I want to swap in "\\server2\folder\child".  Various attempts to do this have run into jagged edges with .net's handling of backslashes (regex, Path.Combine).  I will not know the name of "server1" at runtime.
Here's a snippet I have been testing in LinqPad, while it works it seems pretty hacky:
string path = @"\\server1\folder\child";

var uri = new Uri(path);

string newPath = @"\\server2\";

foreach (var part in uri.Segments)
{
 if (part == "/")
     continue;

 newPath += part;
}

var x = new Uri(newPath);

uri.Dump();

x.LocalPath.Dump();

A: You were on the right path (no pun intended)
Quick edit of your code leaves this:
string path = @"\\server1\folder\child";

var uri = new Uri(path);

string newPath = @"\\server2" + uri.AbsolutePath.Replace('/', '\\');

var x = new Uri(newPath);

A: Try this using string.Format method;
string path = @"\\server1\folder\child";
string server = "server2";
string newPath = string.Format(@"\{0}\{1}" + server + @"\{3}\{4}",
                               path.Split('\\'));

Or this using Substring and IndexOf methods;
string s = @"\\server1\folder\child";
string server = @"\\server2";
string s2 = server + s.Substring( s.Substring(2).IndexOf(@"\")+2);

A: I'm not sure what you tried with Regexes, but I think this should basically do what you're looking for:
var path = @"\\server1\folder\child";
var replaced = Regex.Replace(path, @"\\\\[A-Za-z0-9]*\\", @"\\server2\");

A: string ReplaceServer(string path, string newServer)
    {
        return path.Replace(path.Split('\\')[2], newServer);
    }

A: And to prove that there's a thousand different ways to skin the cat:
string oldPath = "\\testserver1\\folder\\child";
string newServer ="testserver2";
var subPath = oldPath.Split(new []{'\\'},StringSplitOptions.RemoveEmptyEntries)
    .Skip(1)
    .Take(Int32.MaxValue)
    .ToList();
subPath.Insert(0,newServer);
var newPath = Path.Combine(subPath.ToArray());
newPath = @"\\"+newPath;
newPath.Dump();


As seen on this week's episode of WWE Monday Night Raw, now that Charlotte Flair's feud with Sasha Banks has finally concluded (for the time being), she will be engaging in a rivalry with former NXT Women's Champion Bayley. WWE officials originally considered having them feud earlier this year, but they decided to save it for now since that start of WrestleMania Season is right around the corner.
Look for the culmination of their feud to take place at WrestleMania 33.
Regarding Sasha Banks, it's said that WWE Chairman & CEO Vince McMahon is actually not much of a fan of the self-proclaimed "Legit Boss," hence the reason why she's never had a lengthy Women's Title reign so far. There was talk of having a program between Sasha and Bayley in the coming months with Sasha working as the heel Women's Champion, but McMahon reportedly feels that Charlotte is a better heel than Sasha, and that Bayley is more over as a babyface than Sasha, so the decision was made to start the Bayley-Charlotte feud.


Located right in the centre of town, Edinburgh Waverley is an ideal place to pick up your rental car whether you've just arrived in Edinburgh by train or are a resident of the city.
The pick up point for rental vehicle bookings at Edinburgh Waverley will be by platform 2 or at New Street car park which is just outside the station. Exact location will vary based on the car you have chosen and vehicle availability, please check your confirmation email for precise details. If you have any difficulty finding your way to the rental office then any member of staff at the railway station should be able to help you.
The easiest way to reserve a vehicle at Edinburgh Waverley is by using our online booking service but if you'd like further assistance or have any questions you can chat to us online, send us an email via our contact page or call us on 0131 207 0878.


Never the less, I just took action on this issue and thought you might find it interesting too.
I oppose ending the ban on offshore oil drilling. Forget about the fact that it's totally polluting and bad for the environment - what do you hope to accomplish by drilling?
1) it will take 10 to 20 years for the first barrel to become available to the market - that's going to help the current energy crisis how?!?
2) Even at peak production, if all possible offshore areas were exploited, how much of an impact would it have? A few percentage points of the total estimated need NOW, let alone 10 years from now!?!?
3) How stupid and ignorant does a person have to be to think that fossilized hydrocarbons are the answer - we should be MOVING AWAY FROM burning fossil fuels.
If you want to start implementing solutions today to help us 10/20 years from now - build about 100 new NUCLEAR reactor power plants!
If you want to do something to help abate the energy crisis today - give huge/compelling incentives to all homes and businesses to put various types of solar and wind collectors on their houses and property. Incent the transportation industry to move to plug in electric and hydrogen fuel cells.
There's more power falling on the earth every day than it needs in a year. And - these suggestions I have made can be implemented with IMMEDIATE abatement results. It's all about the energy - while each implementation is small the net result will be huge. If every American household reduced it's energy need by 20% - how many less barrels of oil is needed? If 25% of the vehicles on the road were plug in electric and were being charged by electricity generated by nuclear, wind, or solar - how much less barrels of oil would that be?
THAT is what you need to do to solve this crisis now and to SAVE HUMANITY AND THE CURRENT ENVIRONMENT in the long run.


text:
package zerolog

import "time"
import "sync/atomic"

var (
	// TimestampFieldName is the field name used for the timestamp field.
	TimestampFieldName = "time"

	// LevelFieldName is the field name used for the level field.
	LevelFieldName = "level"

	// MessageFieldName is the field name used for the message field.
	MessageFieldName = "message"

	// ErrorFieldName is the field name used for error fields.
	ErrorFieldName = "error"

	// TimeFieldFormat defines the time format of the Time field type.
	// If set to an empty string, the time is formatted as an UNIX timestamp
	// as integer.
	TimeFieldFormat = time.RFC3339

	// TimestampFunc defines the function called to generate a timestamp.
	TimestampFunc = time.Now

	// DurationFieldUnit defines the unit for time.Duration type fields added
	// using the Dur method.
	DurationFieldUnit = time.Millisecond

	// DurationFieldInteger renders Dur fields as integer instead of float if
	// set to true.
	DurationFieldInteger = false
)

var (
	gLevel          = new(uint32)
	disableSampling = new(uint32)
)

// SetGlobalLevel sets the global override for log level. If this
// values is raised, all Loggers will use at least this value.
//
// To globally disable logs, set GlobalLevel to Disabled.
func SetGlobalLevel(l Level) {
	atomic.StoreUint32(gLevel, uint32(l))
}

func globalLevel() Level {
	return Level(atomic.LoadUint32(gLevel))
}

// DisableSampling will disable sampling in all Loggers if true.
func DisableSampling(v bool) {
	var i uint32
	if v {
		i = 1
	}
	atomic.StoreUint32(disableSampling, i)
}

func samplingDisabled() bool {
	return atomic.LoadUint32(disableSampling) == 1
}