The public tears were painful enough, but the heartbreak had actually begun earlier on the Margaret Court Arena, as Andy Murray moved agonisingly, helplessly, through an exhibition practice match with Novak Djokovic.
There was an umpire and line judges, there were ball boys and 2,000 fans, but there was no sign that Murray could hope to perform at the level that once set him apart at Grand Slam tournaments; or at any level that could satisfy his immense competitive drive, really.
The score, 6-1, 4-1 to Djokovic when the match was curtailed, told only a fraction of the story. Djokovic had taken pity on his forlorn, raddled opponent, working hard to keep him in the rallies, even conceding a point on a winning shot that had been called out.
He afforded Murray the respect he deserved, and that is clearly felt for him throughout tennis, judging by the tributes and love that arrived in torrents on Friday.
Inside, though, Murray would have hated Djokovic's gentle concern. Hated the sympathy, hated his reduced circumstances, hated the pain that never goes away and tells him, with every flinch and wince, that it is almost certainly over. They used to compete as equals. Those days, he assuredly knows, are over.
Enjoyable? When was it ever enjoyable? Murray often looked as miserable as sin on court. He grimaced, cursed, limped. He picked arguments with anonymous figures in his box and, once, comically, at the US Open, with the sun for casting off-putting shadows.
He looked tortured and so were we, because Murray's style, the way he ground out results tactically, often left games on a knife edge. Yet to see that as his one dimensional persona, to take it all at face value, was to misjudge him. That was Murray having fun. That was his idea of a good time.
Once he had won the US Open in 2012, once he had got that screeching Grand Slam monkey off his back, Murray loved each harrowing second of it. Great athletes do. Paula Radcliffe genuinely enjoyed running marathon distances to the point of exhaustion; Mo Farah must, too. Great batsmen like fast bowling. Chris Froome positively thrills to cycling uphill.
In those moments when the world looked at Murray and saw a man on the brink of collapse, either physically or emotionally, we missed that this was what he wanted more than anything in the world. That he had pushed his body to its absolute limit to reach this moment. He loved that anguish more than Floyd Mayweather loves money.
Murray could have been very good at tennis and still been the best British player since Fred Perry. He could have carried on losing finals, or been satisfied with the last four, and still enjoyed great wealth and the love of the nation.
Tim Henman never made it past the semi-final of any Grand Slam tournament and a slab of the All-England Club is named in his honour.
Yet Murray pushed. He pushed beyond where the natural boundaries of his ability fell because he believed, with extreme athleticism, endurance and strategy, he could overcome the greatest tennis players of this, or any, generation.
So he endured spells of training camp isolation, employed the most demanding coach in Ivan Lendl, sacrificed with an intensity that left rivals in awe, until he achieved his aims.
His greatest matches were brutal, gladiatorial, epic wars of attrition. Darren Cahill, the coach who helped Andre Agassi become the oldest player to reach No 1, explained: 'When you search for examples of 'emptied the bucket to be as good as they could be', there should be a picture of Andy Murray sitting there.
Crazy? Of course he was crazy. Before the Davis Cup final in 2015, the sponsors organised a fun quiz between the players and it was Murray who, at the end, fixed the host with a stare that could stun an elephant at ten paces and asked him who had won.
Crazy? After an incredibly intense battle against Djokovic, Murray revealed that he routinely loses a toenail or two during those encounters, simply ripped off by the wear and tear of being moved around the court by such a supreme athlete. He thought the same probably happened to Djokovic against him.
It was all so matter-of-fact, all so goes-with-the-territory. It must have hurt like hell. All the time unseen, internal, trauma was taking its toll. There was no-one braver, and certainly, Murray is the only player who has forced Djokovic into what amounted to an act of physical surrender.
His first Grand Slam win, the 2012 US Open, was the longest final in the tournament's history and Djokovic, who forced his way back into the game from two sets down, could take no more.
Murray's 6-2 final set victory was the equivalent of seeing the great welterweight warrior Roberto Duran tell the referee 'no mas' during his title fight with Sugar Ray Leonard in 1980.
Djokovic could no longer get around the court; Murray had ground him almost to standstill. It was an astonishing performance, one of the greatest by any British sportsman in history.
It is those efforts, those moments, the occasions when Murray has emptied the bucket, that have left him where he is now: in pain so intense just the act of putting on socks is filled with drama.
As recently as 2016, he fulfilled another ambition, rising to No 1 in the rankings. He did this by committing to an extraordinary schedule, culminating in the ATP World Tour final in London.
At the end was, as ever, Djokovic for a match that would decide who finished the campaign in premier position. No tennis season had ever concluded that way, with a final between the players vying for top spot.
Murray had lost to Djokovic in 13 of their 15 previous matches. Yet here, again, he triumphed. Somehow, as in Flushing Meadows, as at Wimbledon in 2013, he found a way of overcoming an opponent that is considered his superior. Did this push precipitate the hip issue that will lead to his retirement this year?
Murray was already taking painkillers as a matter of course for hard court matches. Born with bipartite patella – the kneecap remains as separate bones, rather than fusing together – Murray has always placed the most punishing demands on his body. Ultimately, there was always likely to be a debilitating toll.
Murray's detractors – and some remain, despite all the evidence – foolishly compare his record to contemporaries such as Roger Federer or Rafael Nadal and mark him down as inferior.
They are right: he is. So really, he shouldn't have won any Grand Slams at all; he shouldn't be the only player with two Olympic gold medals in singles competition, he shouldn't have spent any time at No 1, he shouldn't have won the Davis Cup for Great Britain with an individual performance that rewrote the record books.
Given the company, everything he has achieved is against the odds. So it isn't what is missing that counts, but what he has won, and that he has done this as an outlier, in a country with so little heritage in his field, such a scarcity of inspiration.
Every giant step Murray has made, is to escape the shadow of Fred Perry, a pre-war hero. It would be like Rory McIlroy having to look to Henry Cotton as his role model.
It was just over a year ago that Murray posted a picture of his younger self, next to his latest injury update – the kid who just wanted to play tennis. Back then, he was contemplating a hip operation and envisaging a positive future where he could exist inside his sport's top 30.
He seemed to have settled for the least-worst scenario. Sadly, he was being optimistic, even then. His ambition now is to make it to a last Wimbledon before retiring, but that deserved farewell is no longer guaranteed.
Sport is cruel. Murray's next game could be his last, if indeed there is a final match to be played in Melbourne.
This time, the bucket may at last be empty. What an extraordinary, magic vessel it was, though. What an extraordinary, magical man.


Park Jung Min spoke about SS501�in '@star1'.
In the interview, Park Jung Min opened up about his hiatus, new label Wevenine Entertainment, 13-year career, and more. Regarding his 13th debut anniversary, Park Jung Min said, "13 years feel shorter than I imagined," and shared, "It was overwhelming when hoobaes�treated me like such a sunbae�at music show recordings."


text:
K. H. Würtz er en keramikvirksomhed, der ligger i Hatting i Jylland. Virksomheden er drevet af Kasper Heie Würtz og hans far, Aage Würtz. K. H. Würtz har designet keramik til bl.a. gourmetrestauranter både i Danmark og internationalt. Bl.a. Noma og Geranium.

Aage Würtz
Aage Würtz er en erfaren keramiker, hvis karriere og årtier med hengivenhed til håndværksmæssig fortræffelighed blev inspireret både af Skandinaviens århundrede gamle utilitaristiske håndværkstraditioner, og i sin egen tid af Bernard Leach.

Da Aage startede som keramiker, i de tidlige 1970er var Bernard Leachs Studio pottery-bevægelse stadig i fuld gang, som et håndlavet alternativ til masseproduktion.

Aages første job var som lærling på et af Jyllands mange keramikvirksomheder. Han har været i lære hos sin søster Marie Würtz, som nu driver Pottemageren i Juelsminde. Han startede sin egen keramikvirksomhed i starten af 80'erne. Men ved udgangen af det årti var der kommet en ny æstetik, der favoriserede minimalistisk, klinisk hvidt porcelæn. Det fik Aage til at tage en pause fra keramik og i stedet undervise i samfundsfag.

I begyndelsen af 00erne startede Aage, med sin søn Kasper, et keramikværksted op.

Kasper Heie Würtz
Kasper Würtz, som studerede dansk litteratur på Aarhus Universitet, forlod studiet for at slutte sig til sin fars keramikværksted i starten af det nye årtusind. Kasper har lært sig keramikhåndværket og så står han for K.H. Würtz-forbindelsen til samarbejde med kokke og restauranteurs om at udvikle specialdesignede bordservice til nye retter.

Kasper er, på nuværende tidspunkt, ejer af K. H. Würtz.

Referencer

Eksterne henvisninger

Keramiske virksomheder i Danmark
Keramikere fra Danmark
Designere fra Danmark

redpajama_set_name: RedPajamaWikipedia


text:
Q: Django - registration login.html as index My app is hosted on shezankazi.pythonanywhere.com
When I open this link I get to index.html. However I would like to open login.html directly as occurs when I choose "Anmelden" at the index page. Herefore I require assistance
This is my views.py
def index(request):
return render(request, 'crm/index.html')

class MyRegistrationView(RegistrationView):
    def get_success_url(self, request, user):
        return '/crm/'

This is my app/urls.py
from django.conf.urls import url
from django.conf.urls import include
from django.contrib import admin
from crm import views as crm_views
from person import views as person_views

urlpatterns = [
    url(r'^$', crm_views.index, name='index'),
    url(r'^crm/', include('crm.urls')),
    ...

]

And this is my crm/urls.py
from django.conf.urls import url
from crm import views

urlpatterns = [
    url(r'^$', views.index, name='index'),
    url(r'^dashboard/', views.dashboard, name='dashboard'),
]

And this is the end of my settings.py:
# If True, users can register
REGISTRATION_OPEN = False
# One-week activation window; you may, of course, use a different value.
ACCOUNT_ACTIVATION_DAYS = 7
# If True, the user will be automatically logged in.
REGISTRATION_AUTO_LOGIN = False
# The page you want users to arrive at after they successful log in
LOGIN_REDIRECT_URL = '/crm/dashboard/'
# The page users are directed to if they are not logged in,
# and are trying to access pages requiring authentication
LOGIN_URL = '/accounts/login/'
# The page users are directed to upon logging out
LOGOUT_REDIRECT_URL = '/accounts/login'

At first I changed the index view to render registration/login.html but then whenever I enter my credentials, the login page loads again instead of redirecting me to the dashboard.

A: change the order of the following two lines:
url(r'^$', views.index, name='index'),
url(r'^dashboard/', views.dashboard, name='dashboard'),,

and change the following:
return '/crm/dashboard/'

redpajama_set_name: RedPajamaStackExchange


text:
Q: Extracting raw data from WCS raster using QGIS python console? I am trying to replicate the following manual workflow in the Python console of QGIS 3.4.7
Manual workflow:
1) Connect to WCS service.
Name: USGS National Map Elevation OGC-WCS
URL: https://elevation.nationalmap.gov/arcgis/services/3DEPElevation/ImageServer/WCSServer?request=GetCapabilities&service=WCS
2) Add the elevation data to the map canvas. I did this by dragging in the WCS layer "DEP3ElevationPrototype"
3) Zoomed to my area of interest
4) Right click the WCS layer > Export > Save As
5) Checked the box for Raw Data. Specified output file name and extent. Clicked OK.
Problem
The above workflow worked perfectly for me. However, I would like to have this same workflow in a python script. I couldn't find a processing tool for "Export > Save As", so I tried using GDAL Clip raster by mask layer
import processing
from qgis.core import *

### Raster layer from WCS
rlayername = 'elev'
uri = QgsDataSourceUri()
uri.setParam('url', 'https://elevation.nationalmap.gov/arcgis/services/3DEPElevation/ImageServer/WCSServer?request=GetCapabilities&service=WCS')
uri.setParam("identifier", rlayername)
rlayer = QgsRasterLayer(str(uri.encodedUri()), 'DEP3ElevationPrototype', 'wcs')

mask_filepath = 'N:\zTEMP\Ian\QGIS_Scripting\Black Diamon Study Area.shp'
mask_layer = QgsVectorLayer(mask_filepath, 'mask', 'ogr')

### Params for GDAL Clip Raster by Mask
parameters = {'INPUT': rlayer,
            'MASK': mask_layer,
            'NODATA': -9999,
            'ALPHA_BAND': False,
            'CROP_TO_CUTLINE': True,
            'KEEP_RESOLUTION': True,
            'OPTIONS': None,
            'DATA_TYPE': 0,
            'OUTPUT': 'N:\zTEMP\Ian\QGIS_Scripting\DEP3_Extract_Clip.tif'}

### Clip
print ("running algorithm")
processing.runAndLoadResults("gdal:cliprasterbymasklayer",parameters)
print("done")

I assume the problem is that Clip Raster by Mask cannot take a WCS raster, though I could be mistaken. Are there any ways to doing something like the manual workflow in the Python console?
Note that in this case I don't really care about the distinction clipping by extent vs clipping by mask. In the end I just want to get a TIF extract from a WCS raster.

A: this algorithm doesn't accept WCS so you have to look for an alternative.
Note: I correct the load of the WCS, since its code doesn't work for me
I propose this solution
import processing
from qgis.core import *
import urllib.parse

# Make WCS Uri
def makeWCSuri( url, layer ):
    params = {  'dpiMode': 7 ,
                'identifier': layer,
                'url': url.split('?')[0]  }

    uri = urllib.parse.unquote( urllib.parse.urlencode(params)  )
    return uri

### Raster layer from WCS
rlayername = 'DEP3ElevationPrototype'
wcsUri = makeWCSuri('https://elevation.nationalmap.gov/arcgis/services/3DEPElevation/ImageServer/WCSServer', rlayername )
rlayer = QgsRasterLayer(wcsUri, 'DEP3ElevationPrototype', 'wcs')
if not rlayer.isValid():
  print ("Layer failed to load!")

#QgsProject.instance().addMapLayer(rlayer)

mask_filepath = r'D:\temp\mask2.shp'
mask_layer = QgsVectorLayer(mask_filepath, 'mask', 'ogr')
#QgsProject.instance().addMapLayer(mask_layer)

# Save raster
renderer = rlayer.renderer()
provider = rlayer.dataProvider()
crs = rlayer.crs()

pipe = QgsRasterPipe()
projector = QgsRasterProjector()
projector.setCrs(provider.crs(), provider.crs())

if not pipe.set(provider.clone()):
    print("Cannot set pipe provider")

# Commented for extract raw data
# if not pipe.set(renderer.clone()):
    # print("Cannot set pipe renderer")

if not pipe.insert(2, projector):
    print("Cannot set pipe projector")

out_file = 'D:/temp/temporal.tif'
file_writer = QgsRasterFileWriter(out_file)
file_writer.Mode(1)

print ("Saving")

extent = mask_layer.extent()

opts = ["COMPRESS=LZW"]
file_writer.setCreateOptions(opts)
error = file_writer.writeRaster(
    pipe,
    extent.width (),
    extent.height(),
    extent,
    crs)

if error == QgsRasterFileWriter.NoError:
    print ("Raster was saved successfully!")
    layer = QgsRasterLayer(out_file, "result")
    QgsProject.instance().addMapLayer(layer)
else:
    print ("Raster was not saved!")

I hope it helps


text:
Q: ggvis - adjust legend color to fill color The following code produces marks with fill colors ranging from red to yellow.
the default legend however has a blue spectrum.
library(ggvis)
mtcars %>%
ggvis(~wt, ~mpg, fill = ~disp, stroke = ~disp, strokeWidth := 2) %>%
layer_points() %>%
scale_numeric("fill", range = c("red", "yellow")) %>%
add_legend("fill", orient = 'left')

How do I remove the default le from the top right corner?

A: The default legend is for stroke, your custom one is for fill. If you instead set stroke to "black" in the ggvis line, the legend on the right will dissappear.
...ggvis(~wt, ~mpg, fill = ~disp, stroke := "black", strokeWidth := 2) %>% ...


The 34th International Conference on Pharmacoepidemiology & Therapeutic Risk Management (ICPE) was held August 22-26, 2018, in Prague, Czech Republic. More information on the conference can be found here.
A variety of Sentinel-related work was featured, including presentations, posters, and more. These materials have been made available below.


text:
Leadership & Regional Directors
Section Home Leadership & Regional Directors
TARS Leadership
Section Home Membership
TARS District Membership Form
Region 1 Members
Region 10 Members
Region 18 and 19 Members
Section Home Legislators
Texas House of Representatives
Texas Senate
Texas Legislature Online
About TARS
Section Home Partners
About our Partners!
TARS Partner Application
Membership Advocacy
Section Home Membership Advocacy
Strategic Planning and Legislative Agenda
Message from Leadership
TEXAS ASSOCIATION
OF RURAL SCHOOLS OF RURAL SCHOOLS
TARS: An Idea
The idea for TARS grew out of the discussion between several superintendents at the Mid-Winter Conference in 1990. A need for representation of rural schools at the state level was the main topic. Recent gains made by small schools in that the Legislature beginning to recognize the diseconomy of scale of small schools were inefficient; therefore, attempts were being made to do away with the "small school formulas/adjustment" and other aspects of funding these small rural districts.
Although many of the small schools were members of other associations, the founders of TARS felt that schools 1600 or under in ADA and with an agricultural economy needed more representation. The pre-TARS planning team consisted of then Superintendents, Bill Grusendorf, San Saba ISD; Wayne Pierce, Rosebud-Lott ISD; and Jim Payne, Bruceville-Eddy ISD. Over 100 small school superintendents met for an organizational meeting and selected Grusendorf as the first TARS president. The consensus was that the future of small schools hung upon two issues: the "small school formulas/adjustment" and the valuation of agricultural land according to its productivity only.
Small School Formulas/Adjustment
Work performed in 1975, by Dr. Richard Hooker of the University of Houston, managed to put a small school adjustment into law through HB 1126. Dr. Hooker at the time was Director of the Governor's Office of Education and Research under then Governor, Dolph Brisco. The major impetus to recognize and expand funding for rural schools during the debate of HB 72 in 1984 came from Rep. Stan Schlueter, both the chairman of the House Ways and Means Committee and a member of the Governor's Select Committee on Education, the so-called "Perot Committee."
Rep. Schlueter made it clear at the time to both the House and Senate membership that a tax bill to support HB 72 would not come out of his committee unless or until small rural schools were treated fairly. Rep. Schlueter, in time insisted that Bill Grusendorf, then serving as Chairman of Rural Affairs for the Equity Center, be a part of and monitor the Equity Coalition that wrote the finance articles of HB 72. As a result of Grusendorf's input, we now have the present "small school formulas/adjustment" and valuation of agricultural land according to its productivity only.
TARS Now
TARS is active with and respected by the state leadership. The association participates by testifying before committees and its membership carries concerns to their legislators as well as other associations.
TARS Today
Today, TARS is involved in ongoing research that is both meaningful and educational. The research substantiates the
efficiency and need for rural schools and has been influential as well in fighting consolidation of our smallest schools.
During the mid 1990's, TARS was able, with the help of Rep. Ernestine Glossbrenner, former Chair of the House Public
Education Committee, to allow 100% rather than 50% of the small school adjustment to apply to Tier II of the Foundation School Program. And with the help of Rep. Paul Sadler, also former Public Education Committee Chairman, TARS was instrumental in securing both a special adjustment to the facilities Allotment for districts below 400 ADA and credit for K6-K8 schools that pay tuition to another district for the education of their secondary students.
More recently, TARS has been successful in efforts to make the Existing Debt Allotment (EDA) a permanent allotment. And of course, TARS was at the forefront of obtaining the state-wide health insurance program for small schools and will continue to fight for restoring its full benefit in the future.
Thus, the major goal of the Texas Association of Rural Schools is the enhancement of the fiscal capacity of rural school
districts while narrowing the gap in the fiscal capacity between rural districts and others.
The purpose of TARS is twofold:
1. To impact the state's school finance and property tax systems so to ensure equitable distribution of education resources and tax burdens, and
2. To become involved both directly and indirectly in the policy-making and administrative processes of federal, state, and local entities (excluding school districts) by:
a. Monitoring the entities,
b. Conducting the independent research, and
c. Making specific recommendations.
The major thrust of TARS is threefold:
1. To protect the "small and mid-size school formulas/adjustment,"
2. To protect the valuation of agricultural land according to its productivity only, and
3. To fight efforts toward consolidation of small and rural school districts.
A Challenge
However, to achieve our goal, to promote our purpose, and to continue to protect the right for small schools to exist, we need your membership and support. Can your district afford to wait? Can your teachers constantly continue to meet the educational demands that are neither supported nor financed by our present state government? Can your students look to you for educational guidance and direction in a political environment that threatens their very right to a decent education? We think not. That is why TARS is here for you and your school community. Join us. We can WIN? We have done it before, and we will do it again. But this time, you can say, I was a part of that fight; but more importantly, I was a part of that VICTORY.
TARS Legislative Agenda – (LINK)
About TARS Pages
Texas Association of Rural Schools
P.O. Box 503, San Saba, Texas 76877
TARS Contact Information
Please feel free to contact Executive Director, Michael Lee at tarsed@centex.net or Associate Director, Leigh Ann Glaze at tars@centex.net.
Founding Principle:
"To Work for Fair Funding for Rural Schools"
Contents © 2021 Texas Association of Rural Schools

redpajama_set_name: RedPajamaCommonCrawl


When we are looking at your mouth, whether as a part of your regular dental exam or to diagnose the cause of specific symptoms, we need to have a complete picture of your mouth. While there are many components that we can see, there are also several that are hidden from view. To see these hidden components, make an accurate diagnosis, and provide you with a treatment plan that will yield the best possible results, Drs. Scheetz & Rekos: Oral & Maxillofacial Surgeons of Ohio uses digital X-rays.
When we examine your mouth, no matter if we are performing a regular oral exam or we are trying to get to the root of specific symptoms, we need to see everything that is going on. However, your mouth is comprised of numerous components, many of which are hidden from view. With X-rays, we can see the areas of your mouth that cannot be seen with the naked eye, including between your teeth, the roots of your teeth, and your jawbone, and issues such as cysts or abscesses. We can spot cavities, damage to the roots of your teeth, damage or bone loss in your jaw. When we find these issues, your X-rays help us to provide you with an effective treatment plan unique to your needs.
X-rays have been in use for many years to take images of your mouth. While effective, they do have some major disadvantages. One of the biggest drawbacks to traditional X-ray technology is that it relies on radiation to capture images. This radiation can cause patients to avoid getting X-rays taken. Without X-rays, oral health issues can go undiagnosed until they are in more advanced stages and require more invasive treatments.
The other major drawback to traditional X-ray technology is that the images have to be developed in a separate room. Developing these images takes time, which means that valuable appointment time is wasted. As a result, you have less time to understand your diagnosis and treatment options, as well as less time to ask questions.
Digital X-rays are a modern advancement of traditional X-ray technology. Instead of radiation, digital X-rays use electronics to capture images of your mouth. When getting X-rays, we place a small electronic sensor in your mouth, which is attached to a computer. From the computer, we click a few buttons, and your pictures are taken. Within seconds, they appear on the monitor, ready for us to read.
• Just a few seconds after taking your X-rays, the images appear on the computer monitor. There is no need to develop the images in a separate room.
• With the use of computer software, we can manipulate your images in some different ways. We can zoom in on, and enhance, certain areas of the images. We can change the colors. These features allow us to see even the smallest details for a more accurate diagnosis and more effective treatment planning.
• More of your appointment time is spent with you. Because we do not have to develop the images, or even leave the room, we can devote your entire appointment to you, taking the time to explain your diagnosis and go over your treatment options. We can also take the time to answer your questions.
• Reduced radiation exposure. With digital X-rays, your radiation exposure is reduced up to 95%.
With digital X-rays, we can see the smallest details of the hidden structures of your mouth. For more information, call Drs. Scheetz & Rekos: Oral & Maxillofacial Surgeons of Ohio today at (614) 734-1504.


text:
Wendigo, Bigfoot, and Cannibals
The vast majority of reports on record suggest that the Bigfoot creatures are largely solitary and prefer to stay away from humankind as much as possible. Even when Bigfoot and people do cross paths, the beasts generally only use intimidation to ward off their unwelcome visitors – and perhaps even stranger methods, too, such as Infrasound.There are, however, rare and completely unverified accounts of Bigfoot mutilating, killing, and even eating people. Thankfully, such reports are in the minority. Unless, that is, one is of the opinion that many of the thousands of people who go missing in the United States every year are helping, in a most unfortunate way, to feed and fuel Bigfoot. All of which brings us to a creature that has, for centuries, been greatly feared by Native Americans: the Wendigo (also known as the Windigo).
The late Basil Johnston – teacher, writer, and member of the Cape Croker First Nation – said of the Wendigo: "The Wendigo was gaunt to the point of emaciation, its desiccated skin pulled tautly over its bones. With its bones pushing out against its skin, its complexion the ash gray of death, and its eyes pushed back deep into their sockets, the Wendigo looked like a gaunt skeleton recently disinterred from the grave. What lips it had were tattered and bloody. Unclean and suffering from suppurations of the flesh, the Wendigo gave off a strange and eerie odor of decay and decomposition, of death and corruption."
A terrifying thing that appears prominently within the lore of the Algonquin people – the most widespread and populated of the Native American groups, with tribes originally numbering in the hundreds – the Wendigo is an evil, cannibalistic, and rampaging creature with the ability to possess human sous and minds, forcing them to do their dark bidding. Humans have the ability to transform into a Wendigo, especially if they have engaged in cannibalism. Notably, in centuries past, those who were suspected by the Algonquion of being Wendigos were decapitated after death, to prevent them from rising from the grave and going on slaughtering, people-eating rampages.
The Native Languages website provides the following: "Windigos are the evil man-eating giants of Anishinabe mythology. Windigos play the roles of monsters and bogeymen in some legends; in others, Chippewa people who commit sins (especially selfishness, gluttony, or cannibalism) are turned into a Windigo as punishment. The apperance of a windigo is huge, monstrous, and made of or coated in ice, but the human it once was is still frozen inside the monster where its heart should be, and must be killed to defeat the windigo. In a few legends a human has been successfully rescued from the heart of a windigo, but usually once a person has been possessed by a windigo spirit, the only escape is death."
Many of the reports of the Wendigo are focused around large forests, freezing cold and wintry environments, and dark woods. In light of that, there is a theory that the stories of the Wendigo are the result of (a) a distortion of real events, involving regular people who were forced to resort to cannibalism when food was scarce in the winter months; and (b) tales told to try and dissuade people from cannibalism, by making them think that eating human flesh would turn them into Wendigos.
That the Wendigo is very often described as a large, marauding, humanoid beast that dwells deep in the forest, however, suggests we should leave the door open to a highly disturbing possibility: that in the past, and even today, Bigfoot viewed us, the Human Race, as its prey. And that the stories of the Wendigo were – in part, perhaps – provoked by violent and fatal attacks undertaken by Bigfoot creatures. That, of course, requires the stories about Bigfoot chowing down on people to be true, and not just campfire tales, legends, friend of a friend tales, and hoaxes.
Tags bigfoot Cannibals Wendigo
Monsters of North Carolina: Bigfoot, Wild Men, Lake Beasts and More
Nick Redfern June 5, 2021
A Home to Bigfoot, Wild Men and Eerie, Ghostly Lights: Texas' Big Thicket
Nick Redfern January 17, 2022
22.06 – MU Plus+ Podcast – Time Travelling Zeppelin
Aaron Wright August 5, 2020
Bigfoot, Time Travel, and the New U.S. Attorney General
Brett Tingley November 21, 2018


text:
Q: How to easily outline arbitrary (data) structures in text? So I came across this:
mysite/
    manage.py
    mysite/
        __init__.py
        settings.py
        urls.py
        wsgi.py

and this:
root --+---> child1
       +---> child2 --+--> subchild1
       |              +--> subchild2
       +---> child3

and was wondering what tool(editor packages/bundle etc) does one use in order to outline and edit such structures easily/programmatically.
PS: My preference is towards emacs but for the sake of completeness I will appreciate if other editors/tools were included in the answer.

A: The second example is clearly more complex, and I'm not going to address it, but outline-mode/minor-mode is going to work nicely for the indentation-based tree, so here's an approach for that, with outline headings based on an arbitrary repeated prefix string (four spaces in this example, but configurable as required).
If you load/evaluate the code below, and then load the data file (with the local variables included), then you can hide/show branches with SHIFT+TAB and promote/demote branches with SHIFT+LEFT and SHIFT+RIGHT (cursor keys). All the other outline-minor-mode functionality is also available, of course.
mysite/
    manage.py
    mysite/
        __init__.py
        settings.py
            urls.py
        wsgi.py

;;; Local Variables:
;;; my-outline-prefix: "    "
;;; eval: (my-outline-minor-mode 1)
;;; End:

(global-set-key (kbd "<S-tab>") 'outline-toggle-children)
(global-set-key (kbd "<S-left>") 'outline-promote)
(global-set-key (kbd "<S-right>") 'outline-demote)

(defvar my-outline-prefix "    "
  "Prefix string denoting a single outline level for `my-outline-minor-mode'.")

(defvar my-outline-max-level 20
  "Maximum number of levels for `my-outline-minor-mode'.")

(define-minor-mode my-outline-minor-mode
  "Outline levels based on repetitions of `my-outline-prefix'."
  0 nil nil
  (outline-minor-mode 1)
  (setq-local outline-level 'my-outline-level)
  (setq-local outline-regexp (format "\\(%s\\)*"
                                     (regexp-quote my-outline-prefix)))
  (setq outline-heading-alist '())
  (let ((level 0)
        (level-prefix ""))
    (while (< level my-outline-max-level)
      (setq outline-heading-alist (cons (cons level-prefix level)
                                        outline-heading-alist)
            level (1+ level)
            level-prefix (concat level-prefix my-outline-prefix)))
    (setq outline-heading-alist (nreverse outline-heading-alist))))

(defun my-outline-level ()
  "Counts how many times `my-outline-prefix' appears at the start of the line."
  (let* ((data (match-data))
         (start (car data))
         (end (cadr data))
         (indent (- end start)))
    (/ indent (length my-outline-prefix))))

A: As for the second example, with Emacs you could jump from node to node using
M-x search-forward-regexp RET \(-*\)\(\+\)\(-+>\)
Than use something like narrow-to-region. Beside narrowing Emacs provides commands to hide stuff.
With some lisp based on this node-detection, you may read in a list with data found, etc.


text:
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Beyond The Lights is Not Your Average Showbiz Movie
Posted on June 3 by The Ultimate Rabbit
I walked into "Beyond the Lights" expecting it to be some sort of manipulative soap opera which aimed to be "The Bodyguard" for a new generation. What I got instead was a showbiz story which felt surprisingly genuine in its emotions and intentions. It does have that familiar ring of two people from opposite walks of life coming together, but the way their relationship evolves throughout proves to be very entertaining to watch.
When we first meet Noni Jean, she's a little girl performing in a talent competition and singing Nina Simone's "Blackbird" which leaves the audience in a state of awe. However, when the judges award her a runner up prize, her mother Macy (Minnie Driver) angrily takes her out of the auditorium and orders her to "chuck" her trophy in defiance. The way Macy sees it, being second best counts for nothing in a world where you need to be number one.
We then move to years later when Noni, now played by Gugu Mbatha-Raw, is on the verge of stardom after having won a Billboard Award even though she hasn't released an album yet. But after retreating to her hotel room, we come to see how much the pressures of fame are bearing down on Noni as she sits on a balcony ready to jump. Coming to her rescue is police officer Kaz Nicols (Nate Parker) who pulls her back from the edge, literally and figuratively speaking, and two quickly get lost in each other's eyes. What happens from there is easy to guess.
Initially, Kaz feels somewhat betrayed when Macy pays him off to publicly say Noni did not try to commit suicide, but Noni warms up to him quickly as she can tell he sees something in her others do not.
While they may come from different worlds, Kaz and Noni are going through similar issues. Her mother Macy has been grooming her for stardom ever since she was little, and she has helped turn Noni into the kind of woman every man wants or at least fantasizes about. As for Kaz, his police captain father David (Danny Glover) is grooming him for public office, something he does in fact have ambitions for. However, when you look into Kaz's eyes, you wonder just how serious he is about politics or if he really wants a different path in life.
Basically, Kaz and Noni are trying to fulfill the desires of their parents, and we have caught up with them as they have long since played a role they feel society wants them to play. In the process, they have lost touch with what they really want out of life, and we follow them as they go through a much-needed period of self-discovery. Watching these two evolve and change from start to finish is deeply involving and, even if the conclusion is never in doubt, we revel in their personal triumphs.
I am not at all familiar with Mbatha-Raw or her work as an actress, and she gives an extraordinary performance here. She is mesmerizing to watch as Noni begins to shed the public persona which has been foisted upon her, and it allows the frightened child inside of her to come out into the open. Also, she has a show stopping moment where she sings "Blackbird" by herself onstage, and you cannot take your eyes off of her for a single second.
Parker also puts in a strong performance as a well-meaning man who respects the law, wants to help people and who has, as his shirtless scenes will attest, spent a lot of time in the gym like any cop should. Looking at the actor's past which had him involved in political activism, charitable work and working as a wrestling coach, you get the sense he was born to play Kaz. As he wades deeper into Noni's world of fame, Parker shows Kaz to be someone who keeps his head above water and is not easily seduced by the closed-off world of show business. But there's also no doubt that the chemistry between him and Mbatha-Raw is very palpable.
Kudos also goes out to Minnie Driver who takes what could have been a one-dimensional stage mother from hell and turns her into a complex character who is far more vulnerable than she lets on. We come to see how Macy has never had it easy, and she is eager for Noni to have everything she never had. But as much as she cares for her daughter, Macy also comes to realize her determination to make Noni a star speaks more about her ambitions than anyone else's. Driver is a powerhouse as she lets us see how Macy has been wounded by others who had no faith in her when she was young, and it becomes understandable why Macy wants to beat everyone at their own game.
"Beyond the Lights" was written and directed by Gina Prince-Bythewood whose previous films include "Love & Basketball," "Disappearing Acts" and "The Secret Life of Bees." I regret to say I haven't seen those films, but I am certainly willing to see them now based on the work she has done here. Prince-Bythewood succeeds in giving us a showbiz tale which actually feels grounded in reality. The atmosphere at the award shows and parties Noni attends feel authentic, and they never seem like a spectacle to be easily laughed at. She also gives us a number of complex characters who struggle to survive the high pressure world of fame and fortune where people have everything and nothing at the same time.
I also have to applaud Prince-Bythewood for sticking by Mbatha-Raw when studios were insistent on getting a bigger name cast in the role of Noni. Perhaps a music star would have done a good job here, but they also would have brought an enormous amount of baggage with them which would have had an unintentionally negative effect on this movie. Mbatha-Raw has the advantage right now of not having this baggage, and that makes her performance all the more enthralling as a result.
Sure, there are some soap opera dramatics here and there and certain moments do not ring true, but "Beyond the Lights" really did prove to be one of the big cinematic surprises of 2014. It is also another film to add to the list of worthwhile romantic movies. Just as this particular genre looked to be burning out, the movies coming from it are getting so much better. I'm starting to like these kinds of movies again. What's wrong with me anyway?
* * * ½ out of * * * *
Click here to check out the video interviews I did with Gugu Mbatha-Raw and Nate Parker which I did for the website We Got This Covered.
2014 Movies Beyond The Lights Blackbird Danny Glover Gina Prince Bythewood Gugu Mbatha Raw Homegrown Pictures Machine Gun Kelly Minnie Driver Music Nate Parker Nina Simone Relativity Media Romantic Movies Show Business Singing The Bodyguard Undisputed Cinema
Chester Farrow, a Titan Among the East Bay School Teachers
Underseen Movie: The Interrupters – Trying to Stop Violence in America
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Available lengths: 17", 19", 21", 23", 25" or 27"
More Collar for Your Dollar: Each collar provides an extra 2" for adjustment. Simply measure the pet's neck at the base for proper collar size. There should always be enough room between the pet's neck and the collar to slip one finger between them comforably.


text:
Mini-Review: Tenth Avenue North – Decade The Halls Vol. 1
August 10, 2020 Josh Leave a comment
Tenth Avenue North
Decade The Halls Vol. 1
Label: Reunion Records
O Come All Ye Faithful
O Holy Night (feat. Jon McLaughlin)
The First Christmas (feat. Zach Williams)
We Three Kings (feat. Britt Nicole)
The First Noel (feat. Colton Dixon)
Mistletoe (The Christmas Sweater Song)
God Rest Ye Merry Gentlemen (feat. Sarah Reeves)
Initial thoughts: This fun filled journey across the decades of Christmas music is very, very fun. Extremely joyous beyond anything I could ever dream of. Probably too many guest artists but that's a small, small nitpick!
Reason to listen: Mike and co. have never sounded better here, and they seamlessly embody each decade with grace and aplomb. Plus, with Tenth Avenue North having disbanded, the nostalgia and sentimental value of listening to this project over Christmas is well worth it!
Reason to buy: How about cause it's Tenth Avenue North and they're not going to release anymore music ever, ever again? Now you've made me emotional, and now I need to find some more tissues!
Reason to skip: If you don't like the Christmas music of old and only like current poppy Christmas music (ala Bieber!), then you probably won't appreciate the musical styles of the first half of this album. Though I reckon every other listener will have a blast here!
No. of carols: 8
No. of originals: 2
No of guest artists: 5 (Jon McLaughlin on track #3, Zach Williams on track #4, Britt Nicole on track #6, Colton Dixon on track #8, and Sarah Reeves on track #10)
Does it have heart?: There is great enthusiasm, especially on songs like "Deck The Halls" (who'd have thought, am I right?!), "Go Tell It On The Mountain" and "The First Noel". You'll all be singing along with Mike in no time!
Does it have a Christmas-y atmosphere?: Of course, it's Christmas since the 1920's after all! What a silly question indeed!
Uniqueness?: See directly above. But let me say it again: I don't think there's been a Christmas album like this ever in the history of Christmas music. Correct me if I'm wrong though guys!
Christmas message: In abundance! Even the guys manage to include the super obscure "Good King Wenceslas", as well as add a spiritual chorus to "Deck The Halls", a previously 'secular' holiday tune. 10/10 guys!
Closing thoughts: One of the most unique Christmas albums I've heard. It's a pity it's only 10 tracks long, but I guess the beauty of this album is that you can press repeat, and it'll be 20 tracks long!
3 songs to listen to: Deck The Halls, We Three Kings, The First Noel
Yes/no; why/why not?: If you're a fan of different musical eras, then definitely! If you're not a fan of different musical eras… then I don't know, we can't be friends anymore! Just kidding! Anyway, take a listen first if you're apprehensive, however I'm positive you'll be wanting this physical copy in your stocking in a few months time!
ccmchristmaschristmas in july 2020decade the hallspoppraisereunion recordstenth avenue north
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Texas Instruments recently launched the industry's first 20-A and 30-A synchronous DC/DC buck converters with frequency synchronization for low-noise and reduced EMI/EMC and a PMBus interface for adaptive voltage scaling (AVS). The SWIFT 20-A TPS544B25 and 30-A TPS544C25 converters integrate MOSFETs and feature small PowerStack QFN packages to drive ASICs in space-constrained and power-dense applications. When used with TI's WEBENCH online design tools, the converters simplify power conversion and speed the power supply design process.
The highly integrated converters feature 0.5% reference-voltage accuracy, as well as full differential remote-voltage sensing. Frequency synchronization to an external clock eliminates beat noise and reduces EMI. Moreover, the TPS544B25 and TPS544C25 offer pin-strapping that enables the devices to start up without PMBus commands to an output voltage set by a single resistor. Programmability, real-time monitoring of the output voltage, current and external temperature, and fault reporting via PMBus simplify power-supply design, increase reliability, and reduce component count and system cost.
Together, the TPS544C25 and UCD90240 provide a complete PMBus point-of-load (POL) and sequencing solution. Download the Complete PMBus Power System for Enterprise Ethernet Switches TI Designs reference design.
Integrated power MOSFETs support 20-A and 30-A of continuous output current.
Voltage-control mode with input feed-forward improves noise margin and responds instantly to input voltage changes.
Other features include internal soft start, input under-voltage protection, thermal shutdown and a reset function.
The TPS544B25 costs $4.08 in 1,000-unit quantities. The TPS544C25 is $4.49 in 1,000-unit quantities. Evaluation modules are available.
This entry was posted in CC Blog, Product News and tagged buck converter, PMBus, SWIFT, Texas Insruments, TPS544B25, TPS544C25 by Circuit Cellar Staff.


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text:
Trying to find an evaluator
I just talked to another custody evaluator in the next county. He said that he charges $180 per hour, and the typical evaluation is 40 hours work. More if there is domestic violence, restraining orders, or other complications.
He asked whether I wanted a psychological evaluation or a custody evaluation, and said that they were completely different. He is an LMPT, not a psychologist, and only does custody evaluations. I quoted for him the judge's order, and he replied, "It sounds like you don't know what you want." I explained that it wasn't what I wanted. I was just trying to comply with the judge.
He also complained about the lack of lawyers. He likes to start an evaluation with a conference call with the lawyers. I asked him why he needed lawyers. I said that we could just bring him the court order and he could do it, since lawyers are not supposed to be involved.
He said that he is not a lawyer, and it is useful for him to have legal representation, especially in a complex case. For example, he said that he might make a recommendation that one parent is happy with, and the other parent is not. Technically, under the law, the unhappy parent has a right to object, and that parent often does object if not represented by a lawyer. When there are lawyers present, the lawyer explains the situation.
Since I was asking these questions, he said that he did not want the case unless we got lawyers.
I got the impression that he likes parents represented by lawyers because they are less likely to contest what he does. That seems backwards to me. The parents hire lawyers to protect their interests, not to be bullied by some bogus evaluator. Many of the lawyers are scared of the evaluators, and unwilling to challenge what they say. What good is a lawyer, if he is afraid to raise an objection?
At any rate, it is becoming clear that it is impossible for us to get an evaluation on our own. If Comm. Joseph wants one, then he is going to have to issue a specific order.
Labels: court, evidence
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Ex-wife designates record
Another shrink backs out
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text:
India's first private rocket, built by startup Skyroot, launches successfully • TechCrunch
India's space agency successfully launched the Vikram-S after much anticipation and years of work in a boost to the private sector of the nation's space industry.
The Indian Space Research Organization (ISRO) launched the suborbital rocket at 11:30 am local time on Friday from the Satish Dhawan Space Center in Sriharikota on India's east coast.
The Vikram-S, developed by four-year-old startup Skyroot Aerospace, is a single-stage spin-stabilized solid-propellant rocket with a mass of around 550 kilograms. It carries three customer payloads, including one from a customer outside of India. Made of a carbon fiber core structure, the 6-meter-long rocket was developed in two years.
Image Credits: skyroot
The demo mission, called Prarambh (Sanskrit for "the beginning"), is the first for Hyderabad-based Skyroot. The startup is building a series of launch vehicles named after Vikram Sarabhai, the founder of India's space program.
In June 2020, the Indian government passed space sector reforms and established the India National Center for Space Authorization and Promotion (IN-SPACe) to allow private companies to use ISRO's infrastructure. New Delhi has also established NewSpace India Limited (NSIL) as the business arm of the space agency to work closely with private companies and startups to boost space developments in the South Asian country.
"I am happy to announce the successful completion of the Prarambh mission, 'the beginning' of Skyroot Aerospace. The VKS rocket [Vikram-S] it took off at a LEA (launch elevation) of 80 degrees and an azimuth of 100 degrees, reached an altitude of 89.5 kilometers and a range of 121.2 kilometers, exactly what Skyroot Aerospace planned. All systems, as I can see, worked as planned and Skyroot Aerospace has demonstrated the capability of various subsystems that will go to the orbital launch vehicle," said Pawan Goenka, President of IN-SPACe, Space Department, after the successful launch.
Founded in 2018 by former ISRO scientists Pawan Kumar Chandana and Naga Bharath Daka, Skyroot successfully tested India's privately manufactured solid rocket stage in December 2020. It was also the country's first start-up in 2021 to sign a Memorandum of Understanding with ISRO to launch their rockets.
The startup has raised $68 million in total, including $51 million in a Series B round led by Singapore-based GIC in September, and has a valuation of $165 million.
According to data shared by the Indian Space Association (ISpA) with TechCrunch, Indian space startups have raised more than $245.35 million, $108.52 million of which was injected in 2022 alone. The association counts Skyroot as one of its members, along with private companies such as Bharti Airtel and OneWeb as founding members.
The government is currently working on a new space policy to increase private participation and encourage investment in the country's space sector.
In a recent interview with TechCrunch, IspA CEO Lt. Gen. AK Bhatt said the space policy would address some issues raised by industry players, including a single sanction window and the allocation of spectrum for broadcast services. satellite communication through the Department of Telecommunications.
Industry players have also called on the government to open up a foreign direct investment policy and incentives on taxes, import duties and domestic manufacturing of space equipment that have yet to be addressed.
"We are very excited to announce that we wrote history today by successfully launching India's first privately developed Vikram-S rocket," said Skyroot's Chandana. "This Prarambh mission, as the name suggests, is the beginning of a new era in the Indian space ecosystem. Team Skyroot dedicates this successful mission to Dr. Vikram Sarabhai who boldly started the Indian space program in the 1960s and to the Honorable Prime Minister Shri Narendra Modi ji who opened up the space sector to private players. And most importantly, we thank InSPACe and ISRO, all their teams and the dynamic leadership that enabled this mission in the most efficient way."
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Apartment for sale. Spacious apartment at only 50 meters from the beach. Near restaurants and bars. Lighting included.
3 bedrooms, 2 bathrooms, fully equipped kitchen, 2 floors, pre-installation of air conditioning, underfloor heating in bathrooms, video intercom, solar panels, elevator and terrace.


The typical J. Walter Thompson Worldwide Creative Director salary is $186,846. Creative Director salaries at J. Walter Thompson Worldwide can range from $116,601 - $353,561. This estimate is based upon 28 J. Walter Thompson Worldwide Creative Director salary report(s) provided by employees or estimated based upon statistical methods. When factoring in bonuses and additional compensation, a Creative Director at J. Walter Thompson Worldwide can expect to make an average total pay of $186,846 . See all Creative Director salaries to learn how this stacks up in the market.
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