text:
Petro: The New Federal Cryptocurrency From Venezuela
Posted By: Crypto Guru Feb 21, 2018, 11:00 am
With the Petro presale launch on Tuesday, 20th February, 2018 Venezuela becomes the first nation to launch a federal cryptocurrency. Around the final weeks of 2017, the Venezuelan government had announced its plans to launch its digital currency. With a vast reserve of fossil fuels, the country is facing a severe economic collapse not seen anywhere else in recent times.
By Eduardo Molea (Own work) [CC0], via Wikimedia Commons
Can petro reign in the galloping inflation for Venezuela?
From about 20% in 2012, Venezuela is staring at a potential 13000 % inflation by the end of 2018. Before oil prices climbed down from about $100 a barrel to the neighborhood of $40 barrels, Venezuela was a happy democracy riding piggy back on its oil reserves. But, once the oil party wound down, the nation sank into deep economic crisis and transitioned from a rich democracy into a dictatorship under President Nicolas Maduro. Apart from the political changes, the nation is also suffering from collapse of public health system as well as public services apart from painful scarcities of food as well as medicine. Several thousand Venezuelans are now fleeing the country in search of a better life. In the midst of this crisis, crime rate in the country has also been rising at an alarming rate.
How Petro could be a potential threat to 'Sanctions'
For long, the U.S. has used sanctions as a strong arm tactics to compel errant nations to fall in line with its economic/political expectations. In some sense, this can also be termed international policing. But, with Venezuela choosing the crypto route, this weapon is under threat rather than the target of the weapon. The sanctions imposed by the U.S. ban anyone from purchasing new securities that are issued by the government of Venezuela in the American markets. The sanctions will also outlaw businesses that deal with the Venezuelan president Mr. Maduro or other top officials in his administration.
Petro is on to a healthy start
Petro has reportedly got off to a healthy start with $735 million worth of 'intent to buy'. Petro is putting a total of 100 million tokens on sale and the initial value of each token is set at US $ 60 tied to the price of one barrel of crude from Venezuela and this price could change in tandem with oil prices in the global markets. There is little doubt that Venezuela is desperately attempting to raise funds rather than introduce a novel concept to the crypto market through a digital currency with a hard commodity backing it. Interestingly the market cap of the ICO is pegged at about $5 billion and that takes it to about 5% of all Ethereum circulating presently in the markets and could equal to the total revenue that ICOs generated in 2017.
Hurdles galore for Petro
Although, Venezuela has potentially made a desirable move by embracing the cryptocurrency route to wriggle out of its mammoth economic problems, the success of the effort will depend on how effectively it can cross the hurdles in its path before its crypto can claim to be grouted on firm ground. Being tied to the U.S. currency is perhaps its first hurdle and the U.S. has already sounded alarm bells cautioning its citizens to stay off Petro since they could potentially be found on the wrong side of the law. Another hurdle is that nearly 50% of Venezuelan oil was headed for the U.S. before the advent of Shale oil and consequent dip in global oil prices. Shale has significantly impacted U.S. demand for Venezuelan oil and other major importers are not particularly after this supplier because of quality issues. If all these do not add up to a mountain of hurdles, Venezuela also suffers from chronic underinvestment in its oil sector which is by far the only source revenue for the nation.
Venezuelan oil is important for the global markets
Venezuela accounts for about 4% of the world's oil supplies. Strangling Venezuela's ability to sell its produce in the international markets would work to the advantage of the oil cartel (another entity in disarray today) and potentially help collect another $5 or so for each barrel sold from other sources. The multiplier effect of this marginal price spike is immense when we translate it into a global perspective.
Trust deficit
The biggest hurdle that Petro will need to cross is 'trust deficit'. This cryptocurrency is backed by a federal government. But, unfortunately, the track record of the government is far from trustworthy and its ability to pay off its debts is in total shambles. This singular factor can come in as a major concern for potential investors willing to support the crypto.
U.S. treasury department working overtime
Apparently, the U.S. treasury department must be working overtime to nip Petro in its bud and if that happens, the crypto world will be left with very little to celebrate. But, the blockchain technology has some inherent abilities that may be beyond any government to throttle. So, we need to wait and see if Petro can indeed become an economic life jacket for Venezuela.
If Venezuela breaks the ice, more nations may follow
Venezuela is not alone when it comes to countering the strong arm tactics of the U.S. Therefore, if Venezuela does succeed with its crypto adventure, there are essentially more nations waiting on the wings to say kudos and join the crypto bandwagon, and Russia could be the first to do so.
Top 10 Countries With Highest Inflation Rates In The World
Can Facebook's Libra Be Used For Illicit Transactions?
Steve Hanke: How To Avoid A Hyperinflation
Venezuela: Here's What Happens When A Nation Nationalizes Its Industry


As a business owner you have probably been told many times to FOCUS your business. But did you heed the direction and advice given to you?
At HT Designs, we have been in business for almost 18 years, and to be fully transparent, we did NOT focus the business until 2 years ago.
We spent too many years, trying to be all things to all people. We took jobs from industries that we knew nothing about, nor if we are going to be honest, cared anything about. To do good work, you need to have an understanding of the industry of each client so we spent a lot of time researching industries that we knew nothing about. As much fun as it may have been to learn something new, we were being pulled in too many different directions. This meant that time, energy and money were being spent needlessly and we felt frustrated with the lack of progress in our business.
Two years ago, we made a decision that has changed the course of our business forever. We decided to FOCUS. We decided to focus on the OUTDOOR industry. We had already been working in the outdoor industry and developed a passion for it. Our media contacts were in the outdoor industry. Our retail contacts were in the outdoor world. Our social contacts were in the outdoor space. It just made sense.
By claiming our niche, not only has it made business development easier, but our knowledge in the outdoor space has grown and continues to develop. We are becoming experts in our space.
Now not only do we believe that outdoor play leads to adventure, creativity and purpose, but we live it and learn from it daily.
Take it from us – FOCUS on one thing and one thing only. It will not be easy, and as the trail sign at Dog Mountain in Washington states, your choices are "Difficult" or "More Difficult". BUT you will not be disappointed in the results.


text:
City selects artist for Regent Street public art installation
Most of Regent Street between 100 and 200 South is completed and the street, with the help of some very popular new restaurants, is beginning
Commission approves increased digital signage for Jazz Arena
The Larry H. Miller Arena Corporation, owners of the Utah Jazz and the Vivint Smart Home Arena, want to amp up the visual displays on
City Creek's impact on downtown growth by the numbers
When the LDS Church first announced plans a decade ago to redevelopment the flagging ZCMI Center and Crossroads Malls, the economy was booming and developers
Five projects to watch in 2017
If the construction cranes weren't indication enough, 2016 was a big year in Salt Lake City development. The Eccles Theater and 111 Main buildings opened
Officials celebrate completion of 111 Main tower
Downtown Salt Lake's newest office tower is officially open for business. After an opening ceremony and building benediction by Bishop Gérald Caussé, a counselor in
Church wants to add history-inspired signs on Regent Street
While the new lights may not be red, Salt Lake's former red-light district could soon be illuminated with new signage. On Wednesday the Planning Commission voted
Historic Downtown building will find new use
The Felt Electric building, on the 100 South block of Regent Street, has had many lives. The building has served as a brothel, cigar store,
Top five development stories in 2015
Salt Lake City is growing; from Sugar House to Marmalade to Center City, dozens of large multifamily and mixed-use developments are under construction or will
The former Eat-A-Burger is no more
*This is an updated version on a previous post. Today downtown Salt Lake has a little less blight. Demolition crews took down the former Eat-A-Burger
In Pictures: Urban Design and Activated Streetscapes in Salt Lake
Designers joined business and community leaders for Salt Lake Design Week, an annual event intended to raise the public awareness of the local impact of design.
Disclaimer *

redpajama_set_name: RedPajamaCommonCrawl


May 8, 2018 - Laura Gibson, a graduate of the Class of 1985 of the University of Houston Law Center, was recently elected as the chair of the State Bar of Texas' board of directors.
Gibson's term will begin on June 21. Gibson will lead the Board, which is comprised of 60 members. She is currently a partner at Dentons, where she leads the firm's labor and employment practice. From 2015-2016, Gibson served as president of the Houston Bar Association.
"I want to dispel the notion that the State Bar Board is made up of 'insiders,'" Gibson said. "I want to make it clear that the bar is open to anyone who wants roll up their sleeves and get to work. Another goal for the upcoming bar year is to find out how we can serve our members better."


Since meeting the Lord Jesus at the age of 11, Alison has had a bed-rock certainty that the Bible is God's trustworthy word.
Raising two daughters and experiencing a chunk of life has only served to cement this belief. It has been her privilege to share this conviction with women as she has worked alongside her husband, Mervyn, in ministry for the past 33 years.
They currently serve at St James Church, Kenilworth, where Alison is the Women's Worker. Relaxation is gardening, crafting and getting into nature.
2019 Conference speaker, Alison Eloff, tells us more about what to expect from the book of James.


Consider how things would be different had Hillary won ? We would have seen even more control mechanisms imposed and fostered by all of the people in the deep state shadow government. These agencies would have gained even more control and we would be far more controlled in every aspect of our lives. It is critical that we all understand these dynamics in play here in USA today. The deep state has not given up and still trying to undermine Trump and crew. They still have many mechanisms in place and working. So pay close attention going forward and stay well informed. Realize we we are in a war for our country. The best answer is to understand their game and not play by their rules ! More to come as this page is new and events will be changing rapidly like today's shootings in Alexandria. Realize your government has not been working for you, but against you ! Most have a hard time grasping that reality. Here is what you can do to defeat these control freaks of PRAVDA/MSM for FREE !
Most people are now becoming aware of PRAVDA/MSM as the propaganda/indoctrination arm of the democrat party as well as the deep state shadow government comprised of our own government agencies and the many partisan's inside PRAVDA/MSM. They work together to create the many illusions to be used as control mechanisms against all of us, not just conservatives. Part of the problem is that many on the left do not even grasp that they are being mind fucked and controlled by the very people they claim to support. It is all quite remarkable how seriously whacked some of the thinking has become. Up is down and down is up in this new paradigm being created by the control freaks. Recently we saw the left, Antifa and By any Means Necessary groups, use physical violence and physical force to deny free speech at Berkley and many other supposed higher education venues. At the same time they claim that conservatives and liberty groups are the NAZI's and trying to stop free speech ? So the very people who say these things are in fact the real NAZI's, yet PRAVDA/MSM goes along with these false paradigms and false narratives and helps create it all. The biggest travesty and political sham currently is the endless pounding and false claims of Russia collusion against Trump and crew that failed and now we see a new false paradigm being created of supposed obstruction of justice, or better said obstruction of just-us meaning the cabal of control freaks. All they need do is put these false narratives out there via PRAVDA/MSM and the false paradigm is created. And of course this gives the DEMs a continuing platform to undermine and attack Trump and crew. My question is where is the investigation of Hillary, Podesta and Reid who pulled off the multi million dollar Uranium scam with Russia, as well as Hillary's emails that we all know were quite illegal, while in office. These are the real Russia collusion and crimes committed. J. Comey even laid out the email crimes and then said there was no intent and that was enough to drop any prosecution ? And he never even mentioned the Uranium One crimes. Nor did he follow up with any of Lynch's crimes that we now are aware of. Beyond obvious how corrupted it all is and how these criminals do what they do ? It is all a total sham against the American people by these elites and an effort to cover up many crimes by using these control mechanisms of the deep state cabal trying to control us and lie to us. These elites all need to be held accountable, and these events mentioned are just the tip of the iceberg !
We are continuously bombarded with all manner of control mechanisms that are created for us as illusions, false paradigms and false narratives. It is the same process as the methods used by Goebbels to propagandize the Germans in the 1930s and even into the 40s. There is no question if false information is repeated many times, some people will believe it as a fact, even if it is completely false and easily verifiable as false. In our current scenario here in USA, the left has created the same thing and it is very powerful indeed, what I call PRAVDA/MSM.
disconnect from the matrix the control freaks have created for you !
Here is an excellent article exposing Mueller for who he really is. Realize all the many illusions that are created for us and who they are intended to benefit and why ? Our government is simply a giant criminal enterprise and Trump knows it. I imagine he is far more aware now than previously. And this is very recent and spot on analysis of the entire sham we have allowed to take place right before our eyes !
This new convoluted reality never seems to end or have any boundaries. In the 2016 election cycle a Sanders and Stein supporter stabbed several people and killed them in Oregon, PRAVDA/MSM immediately claimed it was a Trump supporter. They ran with that false paradigm for a week, just as they helped the "hands up don't shoot" false narrative get traction, even though it never even happened ? So it is clear the truth is never the objective or perspective. It is always about how to create a new false paradigm or narrative to be used as another control mechanism.
There is an obvious connection between the politicos, PRAVDA/MSM and our own government agencies that work directly with the left strategies and agendas. This is an unholy alliance of control freaks gone mad. And they are all emboldened by our own judicial system that is equally as politically corrupted. So we have a consortium of control freaks continuously trying to bend things to their perspective and political persuasions. No matter whether fair or legal or in any way correct or even factual. They simply make it up as they deem necessary. This is the deep state shadow government run by bureaucrats, appointees and the many politicos we have allowed to take our power from us. At the head of these control freaks is our own government agencies, especially all of the spook agencies like FBI, NSA, CIA, NIA, DIA and many others. These agencies have clearly shown us we should not trust them. NSA spying on our citizens is a known fact as well as many bad acts by the CIA and now Comey has clearly shown us all that the FBI is completely politically corrupted. We do not know the depth of the full collusion of these agencies against President Trump and crew or against any of us. We do know they have all colluded to gather all manner of of personal information of citizens as well as worked directly for the benefit of the Obama regime and their political cronyism. We also know they have been fine with the open borders and assimilation of supposed refugees into our country with no push back even though they have all the correct information and refuse to use it properly. Realize that all of the attacks we have endured that have happened under the Obama regime were known prior, to all of these agencies. In Boston, the FBI was given almost a two year warning by Russia that the older brother had traveled to Chechnya for jihadi training and we still let them do what they did ? Does anybody actually believe our FBI could not have kept these guys completely under surveillance ? They keep us under surveillance, so who is bullshitting who in this zoo of supposed spook agencies ? And the San Berdoo attack, the FBI did not even look at the facebook account of the woman as she was a rabid jihadi and openly spoke about it. So again, who is bullshitting who ? and let us not forget about Ft Hood where Hasan had been reported numerous times as being an extremist, yet he was still allowed to carry out his murders ? Start to see a pattern here ? And it was all created by BHO and crew and carried out by our own agencies that basically stood down and allowed it all to happen. Orlando was the same and many others on BHOs watch as well as telling all border agencies to stand down and let the illegals in and nurture them ! All of these false paradigms have been created by all of these people willingly and all were intended to force you to comply with these new false paradigms or be destroyed yourself.


text:
Чарлзтаун () — місто () в США, в окрузі Вашингтон штату Род-Айленд. Населення —  осіб (2010).

Демографія

Перепис 2010
Згідно з переписом 2010 року, у місті мешкало  осіб у  домогосподарствах у складі  родин. Було 5142 помешкання

Расовий склад населення:

До двох чи більше рас належало 1,7 %. Частка іспаномовних становила 1,6 % від усіх жителів.

За віковим діапазоном населення розподілялося таким чином: 19,2 % — особи молодші 18 років, 63,1 % — особи у віці 18—64 років, 17,7 % — особи у віці 65 років та старші. Медіана віку мешканця становила 47,0 року. На 100 осіб жіночої статі у місті припадало 100,1 чоловіків; на 100 жінок у віці від 18 років та старших — 99,5 чоловіків також старших 18 років.

Середній дохід на одне домашнє господарство становив  доларів США (медіана — ), а середній дохід на одну сім'ю —  доларів (медіана — ). Медіана доходів становила  долар для чоловіків та  доларів для жінок. За межею бідності перебувало 8,5 % осіб, у тому числі 10,4 % дітей у віці до 18 років та 4,7 % осіб у віці 65 років та старших.

Цивільне працевлаштоване населення становило  осіб. Основні галузі зайнятості: освіта, охорона здоров'я та соціальна допомога — 28,3 %, роздрібна торгівля — 14,1 %, мистецтво, розваги та відпочинок — 10,5 %, будівництво — 9,4 %.

Перепис 2000
За даними перепису 2000 року
на території муніципалітету мешкало 7 859 людей, було 3 178 садиб.
Густота населення становила 82,4 осіб/км². З 3 178 садиб у 28,3 % проживали діти до 18 років, подружніх пар, що мешкали разом, було 60,4 %,
садиб, у яких господиня не мала чоловіка — 7,8 %, садиб без сім'ї — 28,3 %.
Власники 8,1 % садиб мали вік, що перевищував 65 років, а в 21,8 % садиб принаймні одна людина була старшою за 65 років. Кількість людей у середньому на садибу становила 2,46, а в середньому на родину 2,88.

Середній річний дохід на садибу становив 51 491 доларів США, а на родину — 56 866 доларів США. Чоловіки мали дохід 40 616 доларів, жінки — 29 474 доларів. Дохід на душу населення був 25 642 доларів. Приблизно 3 % родин та 5,1 % населення жили за межею бідності.

Медіанний вік населення становив 41 років. На кожних 100 жінок віком понад 18 років припадало 98,5 чоловіків.

Примітки

Джерела

Містечка Род-Айленду
Населені пункти округу Вашингтон (Род-Айленд)

redpajama_set_name: RedPajamaWikipedia


Fast rising rapper Ivan Edd coming off the release of his debut 'EYE VAN EDD' EP is back with a brand new single titled 'WORK WORK' (gbera) featuring two Indigenous Rap Heavy weights Phyno and Reminisce. The video which was directed by Avalon okpe and Edited by Microb.
The song was produced by Sicktunez!!


How to install 'Load Balancer as a Service' in OpenDayLight?
I am not able to use Load Balancer as a service, its raising 404. Can someone Please help me install and use Load Balancer as a Service in ODL-Beryllium?


text:
'Justice League': 'Game Of Thrones' Actor Ciaran Hinds Cast As Steppenwolf
By eelyajekiM | @ | Monday, November 7th, 2016 at 12:00 pm
The main cast of Justice League was pretty much set long before production on the film ever started; however, it lacked one key thing — a villain. In May of this year, the rumor that Steppenwolf would be the villain surfaced. While the character was confirmed by a group of select journalists who were invited to visit the set, no one had been cast to play him.
Now there are reports that Ciarán Hinds has been cast to play Steppenwolf. Check out the full story below.
The Wrap confirms that Hinds will play a motion-capture version of the DC villain.
At first it was assumed that Darkseid was going to be the villain in Justice League. However, when a deleted scene for Batman v Superman: Dawn of Justice appeared online, the mysterious alien that Lex Luthor (Jesse Eisenberg) was communicating with was not Darkseid, but Steppenwolf. Sources say the Justice League Steppenwolf will be different from the one we saw in BvS.
Steppenwolf may not be the most popular character in the DCEU when compared to Doomsday or Darkseid, but that doesn't make him any less formidable. Known for wielding a great ax, Steppenwolf is Darkseid's Uncle and the military leader of Apokolips. He also possesses immortality and superhuman strength. It should be interesting to see if Steppenwolf will be a jumping-off point that would eventually lead up to Darkseid.
Based on what we know so far, there were three mother boxes were given to different nations. One was given to humans, another was given to the Atlantians, and the final one was given to the Amazonians. It's still not clear if Steppenwolf will come back to retrieve the technology from these people, especially since one of them has been integrated into Cyborg (Ray Fisher).
Hinds is best known for his recent work as Mance Rayder in the HBO television series Game of Thrones. Other credits include There Will Be Blood, Harry Potter and the Deathly Hallows – Part 2, Tinker Tailor Soldier Spy, Ghost Rider: Spirit of Vengeance, and Frozen.
Directed by Zack Snyder, Justice League also stars Ezra Miller, Ben Affleck, Gal Gadot, and Jason Momoa. It opens in theaters on November 17, 2017.
Here's the full plot synopsis:
Fueled by his restored faith in humanity and inspired by Superman's selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to face an even greater enemy. Together, Batman and Wonder Woman work quickly to find and recruit a team of metahumans to stand against this newly awakened threat. But despite the formation of this unprecedented league of heroes—Batman, Wonder Woman, Aquaman, Cyborg and The Flash—it may already be too late to save the planet from an assault of catastrophic proportions.
[Source: The Wrap]
Tags: Ben Affleck, Ciaran Hinds, DC, DCEU, Ezra Miller, Gal Gadot, Henry Cavill, Jason Momoa, Justice League, Justice League Part One, Ray Fisher, Warner Brothers, Zack Snyder
Rumor: Ben Affleck's 'The Batman' Has Some "Serious Script" Issues
TV Review: Dirk Gently's Holistic Detective Agency 1.3 "Rogue Wall Enthusiasts"
• Holiday Geek Gift Guide 2019: Specialty Items
• Warner Bros. May Or May Not Be Talking To Todd Phillips About A 'Joker' Sequel
• Henry Cavill Says He Hasn't Given Up Playing Superman Again
• Movie Review: Frozen 2
• Dwayne Johnson Announces Release Date For 'Black Adam' Movie


text:
from collections import namedtuple
from grafanalib import core as g
import defaults as d

def api_call_latency_panel(expression):
    def api_call_latency(title, verb, scope, threshold):
        return d.Graph(
            title=title,
            targets=[
                g.Target(expr=str(threshold), legendFormat="threshold"),
                g.Target(
                    expr=d.one_line(expression % {"verb": verb, "scope": scope}
                                    ),
                    # TODO(github.com/grafana/grafana/issues/19410): uncomment once fixed
                    # legendFormat="{{verb}} {{scope}}/{{resource}}",
                ),
            ],
            yAxes=g.single_y_axis(format=g.SECONDS_FORMAT),
        )

    return [
        api_call_latency(
            title="Read-only API call latency (percentaile=99, scope=resource, threshold=1s)",
            verb="GET",
            scope="namespace",
            threshold=1,
        ),
        api_call_latency(
            title="Read-only API call latency (percentaile=99, scope=namespace, threshold=5s)",
            verb="LIST",
            scope="namespace",
            threshold=5,
        ),
        api_call_latency(
            title="Read-only API call latency (percentaile=99, scope=cluster, threshold=30s)",
            verb="LIST",
            scope="cluster",
            threshold=30,
        ),
        api_call_latency(
            title="Mutating API call latency (threshold=1s)",
            verb=d.any_of("CREATE", "DELETE", "PATCH", "POST", "PUT"),
            scope=d.any_of("namespace", "cluster"),
            threshold=1,
        ),
    ]

API_CALL_LATENCY_PANELS = api_call_latency_panel("""
apiserver:apiserver_request_latency_1m:histogram_quantile{
  quantile="0.99",
  verb=~"%(verb)s",
  scope=~"%(scope)s",
  resource=~"${resource:regex}s*",
}""")

QUANTILE_API_CALL_LATENCY_PANELS = api_call_latency_panel("""
quantile_over_time(0.99,
apiserver:apiserver_request_latency_1m:histogram_quantile{
  quantile="0.99",
  verb=~"%(verb)s",
  scope=~"%(scope)s",
  resource=~"${resource:regex}s*",
}[5d])""")

HEALTH_PANELS = [
    d.simple_graph(
        "Unhealthy nodes",
        "sum(node_collector_unhealthy_nodes_in_zone) by (zone)",
        legend="{{zone}}",
    ),
    d.simple_graph(
        "Pod creations",
        'sum(irate(apiserver_request_total{verb="POST", resource="pods", subresource=""}[1m]))',
        yAxes=g.single_y_axis(format=g.OPS_FORMAT),
    ),
    d.simple_graph(
        "Pod bindings",
        'sum(irate(apiserver_request_total{verb="POST", resource="pods", subresource="binding"}[1m]))',
        yAxes=g.single_y_axis(format=g.OPS_FORMAT),
    ),
    # It's not clear which "Component restarts" shows more accurate results.
    d.simple_graph(
        "Component restarts",
        "sum(rate(process_start_time_seconds[1m]) > bool 0) by (job, endpoint)",
    ),
    d.simple_graph(
        "Component restarts 2",
        'sum(min_over_time(container_start_time_seconds{container!="",container!="POD"}[2m])) by (container)',
    ),
    d.simple_graph(
        "Active component", "sum(leader_election_master_status) by (name, instance)"
    ),
]

ETCD_PANELS = [
    d.simple_graph("etcd leader", "etcd_server_is_leader", legend="{{instance}}"),
    d.simple_graph(
        "etcd bytes sent",
        "rate(etcd_network_client_grpc_sent_bytes_total[1m])",
        yAxes=g.single_y_axis(format=g.BYTES_PER_SEC_FORMAT),
        legend="{{instance}}",
    ),
    d.simple_graph(
        "etcd operations rate",
        d.one_line(
            """
sum(
  rate(
    etcd_request_duration_seconds_count{
      operation=~"${etcd_operation:regex}",
      type=~".*(${etcd_type:pipe})"
    }[1m]
  )
) by (operation, type)
"""
        ),
        yAxes=g.single_y_axis(format=g.OPS_FORMAT),
        legend="{{operation}} {{type}}",
    ),
    d.simple_graph(
        "etcd get latency by type (99th percentile)",
        d.one_line(
            """
histogram_quantile(
  0.99,
  sum(
    rate(
      etcd_request_duration_seconds_bucket{
        operation=~"${etcd_operation:regex}",
        type=~".*(${etcd_type:pipe})"
      }[1m]
    )
  ) by (le, operation, type, instance)
)
"""
        ),
        yAxes=g.single_y_axis(format=g.SECONDS_FORMAT),
        legend="{{operation}} {{type}} on {{instance}}",
    ),
    d.simple_graph(
        "etcd get latency by type (50th percentile)",
        d.one_line(
            """
histogram_quantile(
  0.50,
  sum(
    rate(
      etcd_request_duration_seconds_bucket{
        operation=~"${etcd_operation:regex}",
        type=~".*(${etcd_type:pipe})"
      }[1m]
    )
  ) by (le, operation, type, instance)
)
"""
        ),
        yAxes=g.single_y_axis(format=g.SECONDS_FORMAT),
    ),
    d.simple_graph("etcd instance id", "sum(etcd_server_id) by (instance, server_id)"),
    d.simple_graph(
        "etcd network latency (99th percentile)",
        "histogram_quantile(0.99, sum(rate(etcd_network_peer_round_trip_time_seconds_bucket[1m])) by (le, instance, To))",
        yAxes=g.single_y_axis(format=g.SECONDS_FORMAT),
    ),
    d.simple_graph(
        "etcd compaction keys",
        "delta(etcd_debugging_mvcc_db_compaction_keys_total[1m])",
    ),
    d.simple_graph(
        "etcd compaction pause sum duration",
        "delta(etcd_debugging_mvcc_db_compaction_pause_duration_milliseconds_sum[1m])",
        yAxes=g.single_y_axis(format=g.MILLISECONDS_FORMAT),
    ),
    d.simple_graph(
        "etcd compaction pause num chunks",
        "delta(etcd_debugging_mvcc_db_compaction_pause_duration_milliseconds_count[1m])",
    ),
    d.simple_graph(
        "etcd_disk_backend_commit_duration_seconds",
        "histogram_quantile(0.99, sum(rate(etcd_disk_backend_commit_duration_seconds_bucket[1m])) by (le, instance))",
        yAxes=g.single_y_axis(format=g.SECONDS_FORMAT),
    ),
    d.simple_graph(
        "etcd wal fsync duration",
        "histogram_quantile(1.0, sum(rate(etcd_disk_wal_fsync_duration_seconds_bucket[1m])) by (le, endpoint))",
        yAxes=g.single_y_axis(format=g.SECONDS_FORMAT),
    ),
    d.Graph(
        title="etcd compaction max pause",
        points=True,
        lines=False,
        targets=[
            g.Target(
                expr="histogram_quantile(1.0, sum(rate(etcd_debugging_mvcc_db_compaction_pause_duration_milliseconds_bucket[1m])) by (le, instance))"
            )
        ],
        yAxes=g.single_y_axis(format=g.MILLISECONDS_FORMAT),
    ),
    d.simple_graph(
        "etcd objects",
        "sum(etcd_object_counts) by (resource, instance)",
        legend="{{instance}}: {{resource}}",
    ),
    d.simple_graph(
        "etcd db size",
        [
            "etcd_mvcc_db_total_size_in_bytes",
            "etcd_mvcc_db_total_size_in_use_in_bytes",
            "etcd_server_quota_backend_bytes",
        ],
        yAxes=g.single_y_axis(format=g.BYTES_FORMAT),
    ),
]

APISERVER_PANELS = [
    d.simple_graph(
        "goroutines",
        'go_goroutines{job="master", endpoint="apiserver"}',
        legend="{{instance}}",
    ),
    d.simple_graph(
        "gc rate",
        'rate(go_gc_duration_seconds_count{job="master", endpoint="apiserver"}[1m])',
        legend="{{instance}}",
    ),
    d.simple_graph(
        "alloc rate",
        'rate(go_memstats_alloc_bytes_total{job="master", endpoint="apiserver"}[1m])',
        yAxes=g.single_y_axis(format=g.BYTES_PER_SEC_FORMAT),
        legend="{{instance}}",
    ),
    d.simple_graph(
        "Number of active watches",
        'sum(apiserver_registered_watchers{kind=~"(?i:(${resource:regex}))s*"}) by (instance, group, version, kind)',
        legend="{{instance}}: {{version}}.{{group}}.{{kind}}",
    ),
    d.simple_graph(
        "Watch events rate",
        d.one_line(
            """
sum(
  irate(
    apiserver_watch_events_total{
      kind=~"(?i:(${resource:regex}))s*"
    }[1m]
  )
) by (instance, group, version, kind)"""
        ),
        legend="{{instance}}: {{version}}.{{group}}.{{kind}}",
    ),
    d.simple_graph(
        "Watch events traffic",
        d.one_line(
            """
sum(
  irate(
    apiserver_watch_events_sizes_sum{
      kind=~"(?i:(${resource:regex}))s*"
   }[1m]
  )
) by (instance, group, version, kind)"""
        ),
        yAxes=g.single_y_axis(format=g.BYTES_PER_SEC_FORMAT),
        legend="{{instance}}: {{version}}.{{group}}.{{kind}}",
    ),
    d.simple_graph(
        "Watch event avg size",
        d.one_line(
            """
sum(
  rate(
    apiserver_watch_events_sizes_sum{
      kind=~"(?i:(${resource:regex}))s*"
    }[1m]
  )
  /
  rate(
    apiserver_watch_events_sizes_count{
      kind=~"(?i:(${resource:regex}))s*"
    }[1m]
  )
) by (instance, group, version, kind)"""
        ),
        legend="{{instance}}: {{version}}.{{group}}.{{kind}}",
    ),
    d.simple_graph(
        "Inflight requests",
        "sum(apiserver_current_inflight_requests) by (requestKind, instance)",
        legend="{{instance}}: {{requestKind}}",
    ),
    d.simple_graph(
        "Request rate",
        d.one_line(
            """
sum(
  rate(
    apiserver_request_total{
      verb=~"${verb:regex}",
      resource=~"${resource:regex}s*"
    }[1m]
  )
) by (verb, resource, subresource, instance)"""
        ),
        # TODO(github.com/grafana/grafana/issues/19410): uncomment once fixed
        # legend="{{instance}}: {{verb}} {{resource}}",
    ),
    d.simple_graph(
        "Request rate by code",
        "sum(rate(apiserver_request_total[1m])) by (code, instance)",
        legend="{{instance}}: {{code}}",
    ),
    d.simple_graph(
        "Request latency (50th percentile) (excl. WATCH)",
        d.one_line(
            """
apiserver:apiserver_request_latency:histogram_quantile{
  quantile="0.50",
  verb!="WATCH",
  verb=~"${verb:regex}",
  resource=~"${resource:regex}s*"
}"""
        ),
        # TODO(github.com/grafana/grafana/issues/19410): uncomment once fixed
        # legend="{{verb}} {{scope}}/{{resource}}",
        yAxes=g.single_y_axis(format=g.SECONDS_FORMAT),
    ),
    d.simple_graph(
        "Request latency (99th percentile) (excl. WATCH)",
        d.one_line(
            """
apiserver:apiserver_request_latency:histogram_quantile{
  quantile="0.99",
  verb!="WATCH",
  verb=~"${verb:regex}",
   resource=~"${resource:regex}s*"
}"""
        ),
        # TODO(github.com/grafana/grafana/issues/19410): uncomment once fixed
        # legend="{{verb}} {{scope}}/{{resource}}",
        yAxes=g.single_y_axis(format=g.SECONDS_FORMAT),
    ),
    d.simple_graph(
        "Traffic (excl. WATCH)",
        d.one_line(
            """
sum(
  rate(
    apiserver_response_sizes_sum{
      verb!="WATCH",
      verb=~"${verb:regex}",
      resource=~"${resource:regex}s*"
    }[1m]
  )
) by (verb, version, resource, subresource, scope, instance)"""
        ),
        yAxes=g.single_y_axis(format=g.BYTES_PER_SEC_FORMAT),
    ),
    d.simple_graph(
        "Webhook admission duration (99th percentile)",
        "histogram_quantile(0.99, sum(rate(apiserver_admission_webhook_admission_duration_seconds_bucket[1m])) by (le, type, name))",
        legend="{{type}}: {{name}}",
        yAxes=g.single_y_axis(format=g.SECONDS_FORMAT),
    ),
]

VM_PANELS = [
    d.simple_graph(
        "fs bytes reads by container",
        "sum(rate(container_fs_reads_bytes_total[1m])) by (container, instance)",
        legend="{{instance}}: {{container}}",
        yAxes=g.single_y_axis(format=g.BYTES_FORMAT),
    ),
    d.simple_graph(
        "fs reads by container",
        "sum(rate(container_fs_reads_total[1m])) by (container, instance)",
        legend="{{instance}}: {{container}}",
    ),
    d.simple_graph(
        "fs bytes writes by container",
        "sum(rate(container_fs_writes_bytes_total[1m])) by (container, instance)",
        legend="{{instance}}: {{container}}",
        yAxes=g.single_y_axis(format=g.BYTES_FORMAT),
    ),
    d.simple_graph(
        "fs writes by container",
        "sum(rate(container_fs_writes_total[1m])) by (container, instance)",
        legend="{{instance}}: {{container}}",
    ),
    d.Graph(
        title="CPU usage by container",
        targets=[
            d.Target(
                expr='sum(rate(container_cpu_usage_seconds_total{container!=""}[1m])) by (container, instance)',
                legendFormat="{{instance}}: {{container}}",
            ),
            d.Target(expr="machine_cpu_cores", legendFormat="limit"),
        ],
    ),
    d.Graph(
        title="memory usage by container",
        targets=[
            d.Target(
                expr='sum(container_memory_usage_bytes{container!=""}) by (container, instance)',
                legendFormat="{{instance}}: {{container}}",
            ),
            d.Target(expr="machine_memory_bytes", legendFormat="limit"),
        ],
        yAxes=g.single_y_axis(format=g.BYTES_FORMAT),
    ),
    d.Graph(
        title="memory working set by container",
        targets=[
            d.Target(
                expr='sum(container_memory_working_set_bytes{container!=""}) by (container, instance)',
                legendFormat="{{instance}}: {{container}}",
            ),
            d.Target(expr="machine_memory_bytes", legendFormat="limit"),
        ],
        yAxes=g.single_y_axis(format=g.BYTES_FORMAT),
    ),
    d.Graph(
        title="Network usage (bytes)",
        targets=[
            g.Target(
                expr='rate(container_network_transmit_bytes_total{id="/"}[1m])',
                legendFormat="{{instance}} transmit",
            ),
            g.Target(
                expr='rate(container_network_receive_bytes_total{id="/"}[1m])',
                legendFormat="{{instance}} receive",
            ),
        ],
        yAxes=g.single_y_axis(format=g.BYTES_PER_SEC_FORMAT),
    ),
    d.Graph(
        title="Network usage (packets)",
        targets=[
            g.Target(
                expr='rate(container_network_transmit_packets_total{id="/"}[1m])',
                legendFormat="{{instance}} transmit",
            ),
            g.Target(
                expr='rate(container_network_receive_packets_total{id="/"}[1m])',
                legendFormat="{{instance}} receive",
            ),
        ],
    ),
    d.Graph(
        title="Network usage (avg packet size)",
        targets=[
            g.Target(
                expr='rate(container_network_transmit_bytes_total{id="/"}[1m]) / rate(container_network_transmit_packets_total{id="/"}[1m])',
                legendFormat="{{instance}} transmit",
            ),
            g.Target(
                expr='rate(container_network_receive_bytes_total{id="/"}[1m]) / rate(container_network_receive_packets_total{id="/"}[1m])',
                legendFormat="{{instance}} receive",
            ),
        ],
        yAxes=g.single_y_axis(format=g.BYTES_FORMAT),
    ),
    d.Graph(
        title="Network tcp segments",
        targets=[
            g.Target(
                expr="sum(rate(node_netstat_Tcp_InSegs[1m])) by (instance)",
                legendFormat="InSegs {{instance}}",
            ),
            g.Target(
                expr="sum(rate(node_netstat_Tcp_OutSegs[1m])) by (instance)",
                legendFormat="OutSegs {{instance}}",
            ),
            g.Target(
                expr="sum(rate(node_netstat_Tcp_RetransSegs[1m])) by (instance)",
                legendFormat="RetransSegs {{instance}}",
            ),
        ],
        yAxes=g.single_y_axis(format=g.SHORT_FORMAT, logBase=10),
    ),
]

# The final dashboard must be named 'dashboard' so that grafanalib will find it.
dashboard = d.Dashboard(
    title="Master dashboard",
    refresh="",
    rows=[
        d.Row(title="API call latency", panels=API_CALL_LATENCY_PANELS),
        d.Row(title="API call latency aggregated with quantile", panels=QUANTILE_API_CALL_LATENCY_PANELS, collapse=True),
        d.Row(title="Overall cluster health", panels=HEALTH_PANELS, collapse=True),
        d.Row(title="etcd", panels=ETCD_PANELS, collapse=True),
        d.Row(title="kube-apiserver", panels=APISERVER_PANELS, collapse=True),
        d.Row(
            title="kube-controller-manager",
            panels=[
                d.simple_graph(
                    "Workqueue depths",
                    'workqueue_depth{endpoint="kube-controller-manager"}',
                    legend="{{name}}",
                )
            ],
            collapse=True,
        ),
        d.Row(title="Master VM", panels=VM_PANELS, collapse=True),
    ],
    templating=g.Templating(
        list=[
            d.SOURCE_TEMPLATE,
            g.Template(
                name="etcd_type",
                type="query",
                dataSource="$source",
                regex=r"\*\[+\]+(.*)",
                query="label_values(etcd_request_duration_seconds_count, type)",
                multi=True,
                includeAll=True,
                refresh=g.REFRESH_ON_TIME_RANGE_CHANGE,
            ),
            g.Template(
                name="etcd_operation",
                type="query",
                dataSource="$source",
                query="label_values(etcd_request_duration_seconds_count, operation)",
                multi=True,
                includeAll=True,
                refresh=g.REFRESH_ON_TIME_RANGE_CHANGE,
            ),
            g.Template(
                name="verb",
                type="query",
                dataSource="$source",
                query="label_values(apiserver_request_duration_seconds_count, verb)",
                multi=True,
                includeAll=True,
                refresh=g.REFRESH_ON_TIME_RANGE_CHANGE,
            ),
            g.Template(
                name="resource",
                type="query",
                dataSource="$source",
                regex="(.*)s",
                query="label_values(apiserver_request_duration_seconds_count, resource)",
                multi=True,
                includeAll=True,
                refresh=g.REFRESH_ON_TIME_RANGE_CHANGE,
            ),
        ]
    ),
).auto_panel_ids()

redpajama_set_name: RedPajamaGithub


text:
Indigenous NYC
~ More ~
Lourdes Lopez at her desk. Courtesy the artist.
Ballet, cubans, dancer, feature., Miami, women.
by Keith Widyolar on December 3, 2018
Lourdes Lopez, Miami City Ballet Artistic Director (Interview)
Lourdes Lopez is the Artistic Director of the Miami City Ballet, one of America's great ballet companies.
Lopez was born in Cuba, raised in Miami and grew up in the School of American Ballet here in New York City.
A determined and natural talent, she became a New York City Ballet Principal who danced for both City Ballet founding choreographers George Balanchine and Jerome Robbins.
[An early version of this article mistakenly named Lourdes as a Soloist. In fact, she is New York City Ballet's first Latina Principal dancer. Our apologies.]
After dancing, Lopez was chosen to be the founding Executive Director of The George Balanchine Foundation, co-founded the Cuban Artists Fund, and co-founded, with Christopher Wheeldon, the Morphoses contemporary ballet company.
Lopez is the only Latina to lead one of America's major ballet companies. She is also the only artist on the Ford Foundation's Board of Trustees.
Lopez was recently named one of "The Most Influential People in Dance Today" by Dance Magazine. She is an honoree at the 2018 Dance Magazine Awards to be held at the Alvin Ailey Citigroup Theater in Hell's Kitchen, Manhattan on Monday, December 3, 2018.
Suki Schorer, School of American Ballet
We asked Suki Schorer, former New York City Ballet Principal and Permanent Faculty member at the School of American Ballet, what she saw in the young Lourdes.
"When Lourdes was around 16 I could see the dancer she would become. She had talent and was extremely focused. She was musical and well coordinated: a natural performer.
She was in the lecture demonstration program that I ran from 1972 until the 90's. She performed around 1973 or 1974 in this group and was always ready for the show with enthusiasm and a bright smile.
Lourdes replaced an injured dancer in my first SAB workshop to dance the lead in the first movement of "Stars and Stripes." She brought down the house with her high kicks, brilliant turns, jumps and joyous expression. She joined the company and the rest is history. Lourdes is a beautiful dancer with a thoughtful mind."
Jennifer Stahl, Editor-in-Chief of Dance Magazine
We asked Jennifer Stahl, Editor-in-Chief of Dance Magazine, why the magazine chose to honor Lourdes this year.
"The selection committee chose Lourdes because she has shown herself to be an exceptional leader at Miami City Ballet. She is one of the very few woman artistic directors at a major ballet company. Lourdes has shown the ability to bring out the best in her dancers and is also widely respected by them, which is pretty inspirational."
Brian Seibert, New York Times Dance Critic
About Miami City Ballet's performance at the Balanchine Festival at New York City Center, New York Times dance critic Brian Seibert wrote, "Miami City Ballet proved that it belongs in the festival. An offshoot of City Ballet, the Miami company understands what Balanchine discovered and taught: how exactitude needn't sacrifice warmth; how even in Romanticism, rhythmic accuracy allows momentum to build."
You can see in her own words what each of these dance experts sees in Lourdes Lopez.
A Conversation with Lourdes Lopez
Lourdes Lopez dancing "Firebird" for New York City Ballet. Courtesy the artist.
We spoke with Lourdes when she was in New York City for the Balanchine: The City Center Years festival at New York City Center in early November 2018.
You are American and Cuban, New York and Miami, ballerina, mother and artistic director. How does being a Latina inform this?
I think being Latina informs everything I do. I'm not saying that if you're Irish-American, or Polish, or Russian, it won't. I just feel that your culture and how you were raised, the aesthetics that you have, the philosophies that you have, inform any human being, or should I say, should inform any human being because it's what makes us unique. It's what makes us not different, but unique and interesting.
"It's what makes us, not different, but unique and interesting."
Everything I've done comes from this perspective of being Latina. Maybe that's how I look at dance. Maybe that's how I look at ballet. Maybe that's how I look at dancers, how I look at works. I've never been anything else but this. My upbringing was one of tremendous pride. This was instilled in me, and the word is "instilled" because it has to be instilled in you. You are not born with it. It's taught to you. My whole upbringing instilled me with a tremendous sense of pride for my culture, and for who I am.
It wasn't that you're different or you're better. This is who you are. You should maintain it because it belongs to you. It doesn't belong to everybody. You should be proud of it.
It was always there. We spoke Spanish at home. We didn't speak English. We learned everything we could about our country Cuba. Yes it was under communist rule. We understood all that, but that's not the main thing. We learned about the food, the music, the culture, the history, our poems, our heroes and our liberators.
I think it's important for every human being to know where they came from, to have an understanding of that. When I would speak to Russian teachers of mine, they did the same thing. They would speak so beautifully of their mother country. My parents would always say, "Tiene la sangre," (It's in your blood). It's true. You carry it inside of you. It's who you are. It's your DNA.
I grew up with a strong sense of self because I was Hispanic. I had a sense of belonging and a past. I had a history and a culture. I also grew up with a great sense of gratitude to the United States for allowing my parents, myself and my sisters to come to this country and be able to do what we wanted. Our hope for the future was here.
They embraced us. They opened their arms. My parents came with literally nothing, no money, zero. They were able to raise three daughters who contributed to society in one way or another, contributed to this country. So I grew up with this real sense of gratitude for being here in the United States and being able to do what I've become.
Then among all of this was an interesting sense from my parents of – follow your dream. We are not going to rein you into any kind of preconceived parameters of a culture or a gender at all. You would think that parents who came from Cuba in the 1960s would say no, this is your course and this is what most women do. They go on this track. I just didn't and they allowed for this. I deviated from it and they allowed me to deviate.
At the age of 14 I moved to New York with my sister who was 19. When I think back to what my Cuban parents did in 1972. It was the worst, worst time in New York. There were hypodermic needles on the street. It was a black, dark period for New York City. It was not what it is now. For my parents to say, "Go, follow your dream. We're going to support you." Who does that? I couldn't do that. I have two daughters. For them to go to college at 19 was heartbreaking for me.
Being Latina informed everything I do because it's who I am. I can't look at a ballet or a dancer without looking through Hispanic eyes, whatever that means. It's wonderful to belong to something, to come from something, to know that it's in you. That it distinguishes you in a special way, not that it separates you from other people. It just distinguishes you.
When you said ballerina/mother, New York/Miami, I think I had exceptional parents who didn't respond like other parents in the 70s would have to an unusual wish that one of their daughters had, a desire, a talent. It might come from that whole immigrant philosophy of you are here for one reason which is to reach your potential. So you go for it.
"You are here for one reason which is to reach your potential. So you go for it."
Where did that dream come from? Did you dance Hispanic dances growing up?
No. It was purely fate. I had problems with my legs. I was flat-footed. I had very weak muscles. I wore orthopedic shoes from the time I was five and a half until about eight. They were corrective shoes, boots.
Then the orthopedic doctor who was treating me said to my mother that she really needs some exercises, more than what she is doing in physical education in school. Something, gymnastics, ballet, just something to start to strengthen her legs. My mother being Hispanic said, "Gymnastics, no way." We're not having anybody tumbling and breaking their neck. We're going to do something graceful. We're going to do something feminine. We're going to do something refined. So they put me into ballet.
I started doing this little Mommy and Me class at the age of five and a half where I would go once or twice a week. It was a little Cuban school in Miami. I didn't really learn things. It was an academy. It was play basically. At the age of eight, my shoes came off and I remember when my Dad saying to me in the kitchen, "We can't really afford the classes any more. Your boots are off, your legs are fine — unless you really want this."
We'd only been in this country for seven years, and were very much living an immigrant experience, so my dancing was a sacrifice. I didn't miss a beat. I said, "No, I love it." So my mother moved me from that little ballet school to a Russian teacher named Alexander Nigodoff who was from the Bolshoi, and somehow ended up in Miami.
It was there that suddenly ballet became a thing, meaning that these steps had names and there was a right way and a wrong way to do them. There were ballets like "Sleeping Beauty," "Swan Lake" and "Giselle." They had stories and composers. I knew nothing about this. All of a sudden there was a world and a community that he opened up to me. Nijinsky and all these names and these ballets, this world he taught me about.
That's really when I became hooked at the age of eight. I just became obsessed with this world. It was a world where you had to use your mind and your body, and it was heartfelt. It wasn't just math where I'm just using my brain, which I was also very good at. I had to use my intelligence. I had to be a thinker and use my body. I loved being physical. It was also emotional. You could lose yourself in all of this.
So I did that for three years and then on a fluke, my father was working for an airline cargo service. He had to come up to New York and we decided to come visit for the first time as a family on standby tickets. My mom took me to a ballet school here, called the Joffrey Ballet, just for me to continue my classes. They offered me a scholarship on the spot. I remember my Mom came into the dressing room and said in Spanish, "Te andado una beca." I said what's a "beca." I had no idea what that word in Spanish meant. I never heard it before.
I was ten and I think that at that moment my parents got a sense that I showed some type of promise for this thing that I liked doing. The next year they moved me again.
Isn't it unusual for a Latina to make it into New York City Ballet?
Some people have this idea that ballet is elitist, but those steps, the movement is not elitist. They are what they are. It's the institutions or the individuals that take it down that path. The only thing that's unusual about a Latina being in the School of American Ballet is I didn't have the financial opportunity. That's what was given to me.
School of American Ballet gave me a scholarship. Did they give me a scholarship because I was Latina? Latina didn't exist at that time anyway, I was Cuban. No, it's because I showed some talent. The opportunity was given to this child in Miami, who unless she had the financial and human resources to get to New York, would not have been seen.
What the School of American Ballet or whoever was donating to the School of American Ballet at the time, and most of it was the Ford Foundation, they used those resources to go around the United States and look for talent. Actually Suki Schorer was one of those talent scouts as well. That's what I'm talking about. When people say it's this and that, no, no. It's not about body type. It's not about culture. It's not about race. It's not about color. It's about opportunity.
It's not about body type. It's not about culture. It's not about race. It's not about color. It's about opportunity.
Everything in life has specific parameters. If you want to be a basketball player, you can't be 5 foot 4 inches tall. If you want to be a boxer, you can't be tiny or weak. If you want to be a sprinter, you've got to be fast. If you want to be a marathon runner, you have to have endurance. Everything has something that you chose.
So ballet does require a specific body type, a specific dedication, a specific discipline, a specific focus, a specific passion. It requires that, but those things don't only belong to one culture, or to one race, or to one color. I'm not saying there aren't people out there who believe only one race should be dancing. I know that there are. But for me, it's about talent. It's about bringing that to the art form and understanding that it's holding the art form up. If you're right for it, you will get there.
With New York City Ballet, when I was training at the school, it was the old Russian classical training.
Are you Vaganova Technique?
No Vaganova came after Balanchine. When Balanchine came to the United States in the 1930s, there was very little ballet here. He brought the Imperial Theatre. It's what he knew. It's what we call old classical Russian training. It was a lot faster than even the Vaganova. Vaganova is very slow moving and has some wonderful aspects.
Lourdes Lopez with George Balanchine. Courtesy the artist.
It was in his choreography that he took what he understood of classical ballet and moved it forward and Americanized it in terms of the rhythm, the speed, the clarity, the jazz. He added American jazz to it. All of that you learned once you got into the company. It was like I'm going to teach you algebra, calculus and all that. You're going to do your experiments at the university, but here you're going to learn what it is.
So we would get into the Company being able to do anything and everything asked of us. When you were in the Company dancing those ballets, you learned how to dance his way through his works. It's changed a little bit now. They are trying to learn that at the school level. It's like trying to do research in high school level without getting the high school learning in place first.
I don't think it's strange that a Latina was at the School of American Ballet. Did I walk into SAB in the 1970s and notice everybody else was blonde and blue eyed? Yes I did. Absolutely, because most Hispanics hadn't been given the opportunity like I had. It was a fluke that I was even here with the Joffrey. I didn't come here to dance. I just came to visit. The Joffrey offered me a scholarship which led my parents to go, "Oh my God. Maybe she does have something. Let's figure it out." I ended up at the School of American Ballet in New York and in New York City Ballet…
So yes, I'm one of the few Latinas in the history of New York City Ballet, but it's only because I got the opportunity.
That's New York.
It's also America. It's also the United States. It really is the land of opportunity. I wouldn't have been able to do this anywhere else.
It's the Jerome Robbins Centennial. What was it like dancing for him?
It was great. My generation had both Balanchine and Robbins. Talk about the dichotomy of mother/ballerina, New York/Miami, Balanchine and Robbins were two geniuses of the art form in the same theater, with the same dancers, and they were as different as a cat and a dog.
It was like black and white. Balanchine was nurturing, loving, caring and respectful. He knew how to move his dancers seamlessly like this. There were some hiccups and things like that, but for the most part this was someone who had a tremendous amount of love and was really like a father figure. There was a real sense with Balanchine that if you didn't get it today, you'll get it tomorrow. If you didn't get it tomorrow, eventually you'll get it. And if you don't get it, that's okay.
"Balanchine was nurturing, loving, caring and respectful."
After seeing his country blow up and experiencing so many hardships, I think Mr. B just put his trust in fate.
Jerry was very different. He was a taskmaster. He was demanding. He wanted to see it one way. Whereas Balanchine said, "Show me what you think about it, show me how you feel about it. What does Lourdes think about this variation?" Jerry was like, "This is how I want you to do it." Talk about parameters. You had very strict borders to work with and you had to somehow find yourself within those borders.
Jerry was very different. He was a taskmaster. He was demanding. He wanted to see it one way.
But I learned a lot from Jerry. I learned about theater. I learned a lot about timing. I learned how you tell a story. I learned how to act on the stage. You have to become a character. I didn't learn that from Balanchine, I learned that from Jerry. Before you enter the stage if you're a character, backstage you have to be that character. You can't only be it the moment you step on stage.
I learned nuance from Jerry, not from Balanchine, interestingly enough. How a step can have its own narrative. How that tiny little step can tell its own story. Jerry was an incredible teacher of the theater as a whole. He made you understand the lighting, the costume, the community in a work. For example in "West Side Story" or any of his ballets, everyone has to be a character or else it doesn't work.
Jerry was also very nice to me. He could be difficult, but I always felt that if someone is going to be difficult, they better back it up with some talent and genius. Then I'll take it. If I'm learning, I'll take it because it's only making me better. He backed it up with all of that.
It was an extraordinary time to be in one theater with those two men. There are very few of us left who were part of that.
When did you retire from New York City Ballet?
I don't like to say that I retired. I like to say that I got tired. (Laughs). I stopped dancing in 1997.
What happened between then and 2012 when you moved to Miami City Ballet?
The intervening time is what really got me here. I wanted to be involved in the art that I knew and wanted to keep on giving back to dance if I could. I was totally comfortable stopping. I had danced so much, more than I ever thought I would. They say it's a hard shift for a dancer, but I didn't have a hard time at all. It might have been different things. I had already been married. I had a child at this point. I had gone to school a little bit already. By the time I stopped dancing, I had matured.
I was really comfortable and happy. I was healthy. My body didn't hurt. I was dancing well. It was important for me to stop at height. Maybe that's my Cuban pride, my own Latina pride, but whatever it was, it was important for me to stop on a good note. So the transition wasn't difficult for me, it really wasn't at all.
I think what was difficult was finding a community because dance is such a small wonderful little community where we all share the same history and sense of humor and struggles. So I did a whole bunch of things. I worked on television for two years which I didn't like. It wasn't an industry that spoke to me. I then started teaching at a school here in New York, Ballet Academy East. I started teaching all levels and that I loved. I felt like I was giving back to dance.
I did that for a couple of years and professionalized the school. I became their director of student placement and curriculum planning. I understood what to teach from the time you were six until the time you were eighteen and graduated. I dealt with parents. I dealt with students who didn't want to dance, but wanted to do something else, or wanted to dance, but couldn't. I dealt with all those things. I was on the business side as well which is great.
Then I was asked by Barbara Horgan, who was Mr. Balanchine's personal assistant for many years, if I'd be interested in running the George Balanchine Foundation. I said yes, but I didn't even know what it meant to be an Executive Director. I entered the organization and shadowed their present executive director for a summer, just to learn. That was an illuminating experience. I owe Barbara so much because that is where I learned about budgets. I learned how to write proposals. I understood this is what the project costs, this is what you have for it, this is what you have to raise. I understood board and governance, all those things you don't think about as a dancer.
I learned a lot about Mr. Balanchine as a man, but even more as a choreographer. His full life and how he programmed, how he did things. All his history was there available to me. So I did that for four years.
Then I was asked by Christopher Wheeldon, the choreographer to start a ballet company.
Do you choreograph?
No, I have no interest. I listen to music and just hear the music. I don't see any steps. So Chris said I'm interested in starting this small ballet company and he had some interesting ideas about what it could be like. He wanted to create a very collaborative environment with other artists from different disciplines. So we just packed up and went off to see what would happen.
Is Morphoses still going on?
It's inactive. My hope was to continue Morphoses as an offshoot of Miami City Ballet because Miami City Ballet is a big company. It's its own kind of beast, a traditional, conservative ballet company: a school, and rep, and theaters, and audience, and donor base and all of that. I thought wouldn't it be interesting to have Morphoses as something, but while focusing on moving Miami City Ballet to the next level, I couldn't really focus on Morphoses.
Along the way you founded the Cuban Artists Fund
I founded the Cuban Artists Fund with a great friend of mine, Ben Rodriguez-Cubeñas. He is a Cuban-American program officer for Rockefeller Brothers. He loves ballet so he would come to performances all the time. Ben had been to Cuba a couple of times. He said, I have this idea. I want to start a fund to help Cuban artists on the island and Cuban-American artists here. To help them financially, help them in terms of resources, help them in terms of networking. We met another friend of his, Maria Caso who was also involved in the visual art world here in New York.
The three of us got together over a bottle of wine. It was really Ben leading the way. Ben understood 501 (c)(3) not-for-profits, getting the filing and all that was his world. That was 1998. I think we're about to celebrate our 20th Anniversary. Ben has been the powerhouse behind this. We would go to Cuba and take things, leotards, tights and shoes; paintbrushes, paint, film, batteries and cameras. We took little things for artists, even paper. It was so rewarding because they had so little. Every little thing that you took meant the world to them because they were able to create.
So now it has flourished and Ben has gotten involved in the artistic and cultural world in Cuba and here. We have exhibitions. When Cuban artists come to the United States, we offer them space and bring an audience in. It's really quite wonderful.
Do your daughters dance?
My oldest Adriel, who is at Stanford Business School, never danced. She loves it, grew up backstage and in the classroom. She loves music, theater and dance. She knows it, but did not want to dance herself.
My youngest, Calliste who is 17 now, started dancing at Ballet Academy East here and was very, very good. But then we moved down to Miami and she discovered sports. She is captain of her Lacrosse team and on the swim team as well. So she left ballet long ago, but she comes all the time as well.
If there is one thing Latin, it is family. You accomplished a lot while raising a family. How does it all fit together?
I wish I could say, oh I had it all, but no you don't. Everything in life takes sacrifice. Everything in life. I want freedom. I'm going to pack my family up and going to go to the United States even though I'm teaching at the military school and my entire wealth is in Cuba. It's one of the things my parents taught me. Nothing is free in life. It all takes work and sacrifice. If you're not willing to do that, you're not going to get it.
It hasn't been easy prioritizing. One day my family takes precedence over what I'm doing and other days, the work takes precedence. It's a fluid situation. Have I been present as a mother as often as I wanted to? No. Have I been present as an artistic director? Honestly much more so than as a mom. But I managed to raise two really wonderful kids, and I have great relationships with them because they understood that I'm passionate about this, that I'm giving myself over to something. And they don't always realize that until much later, when they become adults. They both now have their own passions too.
I also remember something that my mother used to say to me. She would say, "Children just have to know that you love them, that when they really need you, you're going to be there." And that I've done. It's hard. I don't want to lie and say it's been a piece of cake. It's hard, but I love both of the things I do. Having both worlds is really important to me.
As the only artist on the Ford Foundation Board, how are you trying to impact our society?
My position on the Ford Foundation Board of Trustees has impacted me deeply. Our community engagement efforts have grown and strengthened. You can find all of the programs, mainly geared towards school aged children and specifically those from what we call, Title One District schools. These are the schools that predominantly serve students from low income and poverty level communities.
While these are wonderful outreach programs, one of the ones I am most proud of and that I personally started, is our work with incarcerated women. We are working with a program here in South Florida called, Leap for Ladies. This is an 8-month program which helps incarcerated women re-enter society, by helping them with networking, teaching how to write resumes and interview, giving them the resources they need to be successful.
We did a small pilot program, where 8 graduates from the program were invited into Miami City Ballet, we showed them a small presentation of what we do, invited them to watch rehearsals, they met with dancers to discuss issues that we all face in our lives, regardless of our past, we did a short body language workshop and then I taught them the beginning of the ballet, Serenade, which is just the arms.
Lourdes Lopez teaching "Serenade." Courtesy the artist.
They also came to our Program 1, which was Concerto Barocco, Company B and Tchaikovsky Piano Concerto #2. After the holidays we plan on getting together to further develop the program. It was such a rewarding day for us, but also for the women. They felt honored and validated as human beings and that day, gave them a lot of hope for what their future might entail.
What drew you to Miami to take on this Artistic Director role?
It was organic. It was a ballet company. It was the Balanchine and Robbins repertory that I understood and grew up on. I am part of that legacy so I'm committed to it. The reason I said yes, was because it was Miami, because I was raised there. It felt organic. I speak the language. I know the culture. I was raised there. If it was Juneau, Alaska, I would have said no, but Miami is where I was raised, so it felt right.
What is coming for Miami City Ballet?
The dancers are fabulous. What I love about Miami City Ballet is a little bit how I felt growing up during my years at New York City Ballet. Even though in respect to cultures, there wasn't that much diversity, there was diversity for me, the way that I looked at it in respect to looks, body types and looks on stage. I loved that. I respect, admire and can appreciate when the curtain goes up and they all look alike and they're all lined up.
But it's not necessarily what I want. I love curtain up and it's oh my God, there are 32 different people out there. I have individuals as opposed to one clone. That's what I love about the dancers at Miami City Ballet. When the curtain goes up they are all on the same path, same aesthetic, and same drive, but everybody comes from a different place. I think it's what makes Miami City Ballet a special kind of community on stage. We're all from different places, but we're here in this little city together, making it happen ourselves.
"When the curtain goes up they are all on the same path, same aesthetic, and same drive, but everybody comes from a different place. I think it's what makes Miami City Ballet a special kind of community on stage."
I adore that. It brings a kind of vibe and a kind of humanity to the stage, a kind of community that you don't always get in companies.
What's next for Miami City Ballet? I feel weird because people always ask, "What's your vision?" I don't have a vision. I want to continue bringing the best to our dancers, bringing the best to our community, and making them better than they were. I want to have the world see the wonderful work we do. I love it when groups outside our community invite us to come and perform. It's important to be able to share the gift we have as artists. That's where I hope to keep growing.
Ballet is a classical art. What does it have to say to us today?
My motto is that great art is great art, whether it's Beethoven, Mozart, Van Gogh, the Beatles, or ballet. If it's great, it's going to speak to audiences throughout the ages. My legacy is Balanchine and it's important for me to make sure that Mr. B's ballets and Robbins' ballets are danced the way that they intended.
The word intent is really very important because ballet is a living art form. It's not like a painting that just stays there, or a score that we all know. Ballet is effusive. It's amorphous. The moment you complete that step, it disappears. We in the next generation have a responsibility to preserve the choreographer's intent.
I think like any art form, it's going to evolve based on the artists who contribute to it. Years ago I read about an article that came out during Mozart's time in the 1700s. The author noted that when Mozart would play, the audience was older and worried that the audience was going to disappear.
I think it's a concern that we always have. Mr. Balanchine used to say, "We're selling ice in the winter. If we disappear, nobody cares. Nobody even wants it." So I think artists always have this kind of insecurity that what they are doing, the art form they are involved in, is going to disappear.
I don't believe that. I think it would have disappeared a long, long time ago. I think it's going to change and morph into something else. It has to or else it's really going to be like the dinosaurs. The same way that "Giselle" has survived along with "La Sylphide," "Swan Lake" and "Coppélia." The great ballets will continue and people will refresh them, preserve them, and maybe reimagine them. I think it's up to the artists. There are going to be heroes who respond to the society around them.
"I think it's up to the artists. There are going to be heroes who respond to the society around them."
Do you see any of these artists on the horizon?
Yes of course. There's Alexei Ratmansky. There's Justin Peck. Christopher Wheeldon is one of them. Liam Scarlett is another.
They are out there. It's a little bit like dancers. There are some that are like a garden that blossoms and it's gorgeous, but then you never see it again. It withers. It's short-lived, but boy while it lived it was great. Then there are others who are annual. Season after season those daffodils pop up and then go to sleep. Everybody is different.
Thank you. This conversation wasn't just about ballet.
Nothing's ever just about ballet.
This is about who we are.
I'm in New York this weekend for the Balanchine Festival at New York City Center where you have companies practicing a classic art form that still has the power to bring different communities together.
The companies this weekend are from Russia, France, Great Britain, New York, Chicago, San Francisco and Miami. All have different aesthetics, different perceptions, philosophies, backgrounds, cultures and histories. We are about as different as we can possibly be, yet there we are in one theater, under one roof, sharing a stage equally and speaking only one common language, which is dance.
That's all we speak, but because we speak that language, we treat each other with respect and generosity. It made me think this is what the art form is. This is ballet.
We come from different backgrounds, but in ballet, we are one. This is who we really are.
www.miamicityballet.org
www.fordfoundation.org
cubanartistsfund.org
balletacademyeast.com
www.balanchine.org
www.nycballet.com
www.sab.org
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Call To Set Up Your Free Consultation 844.913.7747
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Homicide Rate In Hartford Climbs To Highest In New England
By Tomeo Sills, LLC
According to Deputy Chief Brian Foley of the Hartford Police Department, after 19 homicides that happened in the previous year, an increase in the crime rate is expected in 2015.
Foley added, "Last year, we anticipated that we'd have a spike in crime this year. Certainly not as high as it is".
Till now, 24 homicides have happened in the city and the number is higher than it was in the last few years.
As there are many factors, the reason of the increase in crimes cannot be determined, according to Foley. He added, "If you look at convictions a few years ago, you can see who's coming out of jail. We also knew where our staffing was. We also knew where everybody's resources were".
Gov. Dan Malloy said, "We continue to be a very vital partner. I've actually sent more resources to Hartford than just about anyplace else and sent more resources to Hartford than they asked for in the last round".
From the year 1982 to the year 1989, Bernie Sullivan served as Hartford police chief and he recalls when the city's crime rate was even worse than at this time. He told, "When I was chief, we were running 40 homicides a year. We had a lot more gang activity".
The increase in crime rate is affecting the operation of businesses and businessmen are facing difficulties as they feel insecure in making investment in the city. Homeowners are also facing issues in renting out their place.
According to one of the homeowners, John Milledge, "All too often I've seen my property located around the city, the North End particularly, on the news".
On Tuesday, 32-year-old Desmond Wright was shot in the temple and left to die on the sidewalk on Pershing Street in broad daylight.
Deborah McDonald, who lives in the neighborhood said, "The crime rate is so different now. I'm not safe as I was". According to her, there is a requirement of the city to provide more chances for work and she added, "How do these young kids get guns? You can get a gun but you can't get a job.
In last 4 years, the homicide rate in Hartford was the highest.
The homicide rate of 2015 in Hartford is more than the rate that is in Boston, a city that is 5 times bigger than Hartford. The percentage of homicide crime rate is also higher than that of Bridgeport and New Haven collectively.
News Source: www.NBCConnecticut.com
January 23, 2020 What is Prescription Drug Fraud? Read More
January 17, 2020 How a DUI Can Affect Employment & Education Read More
January 8, 2020 Common Reasons Why a Judge Will Deny Bail Read More
January 3, 2020 What Happens If I'm a Passenger in a Connecticut DUI Arrest? Read More
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Though the reward is great, attending university can be a challenge—deadlines are plentiful and money is tight. That's why you have to take advantage of all the perks that come your way, like free stuff, and in no month is there more free stuff than in September.
Celebrate back to school with some of Saskatoon's best DJs in the Bowl, which start at 11 am daily. The USSU Executive will also be there handing out the USSU Survival Calendar, chock full of coupons and deals to last you the year.
And what would Welcome Week be without swag? Look out for companies all over campus handing out free goodies.
What's better than a free movie (Mrs. Doubtfire) in the beautiful Bowl? Free popcorn to go with it, of course! The show starts at 9 pm.
You already know that students get in free to Huskie home games. This year, the U of S Alumni Association—as part of its centennial celebrations—is upping the ante. Join in on the pre-game fun in Rally Alley, located adjacent to Griffiths Stadium at PotashCorp Park. In addition to fun activities and swag galore, the first 1,500 guests through the gates at Rally Alley will receive a free food voucher. It all gets underway at 5 pm at Griffiths Stadium.
Aside from invaluable networking opportunities with potential future employers, the career fair is a rich resource of free pens, sticky notes and USB flash drives—essential tools to keep you organized this academic year. 10 am-4 pm at the PAC gym.


Socialize and have fun with peers.
Youths are grouped by age and according to appropriate support levels. Their interests are also considered. Programs are structured, but remain flexible in order to adapt to the needs of each individual.
Group activities are held from January to March, once per week (weekday evenings or during the day on weekends).
Registration for group activities is held in November for the winter session .
Full details regarding winter session registration be found HERE.
Day camps are held Monday to Thursday during the summer period , from the beginning of July to mid-August.
Rates are $30.00 per day.
Full details regarding our upcoming summer camp, as well as new registration procedures and distribution method for available spaces can be found HERE.
Club Package activities are held during the school year holidays (Christmas, Spring break in March, and others). They include a selection of cultural and sports activities. Club Package activities aim to give parents some respite, while giving youth an opportunity for a positive group experience and developing their autonomy and interests.
Rates are $25.00 per day (or $12.50 for half days).
Full details regarding March break registration be found HERE.
Please Note: To access services, autistic individuals and their families must submit a request for access (proof of diagnosis is required). Some services may be offered up to 21 years of age.
TUOI also offers support to families and the community, organizes various awareness events and works together with its partners. Parents of autistic adults can have access to our services for families.
To access services and take part in activities, autistic adults must submit a request for access. Proof of diagnosis is required. Some services may be offered starting at 18 years of age. This decision is at the organization's discretion.
For any questions or additional information about our services or registration, please call and leave a message at 819 595-1290, ext. 33.
First Principle: A continuity of services for ASD members (Autistic profile and Asperger profile).
Second Principle: Integration of autistic individuals in an environment optimized for normalization.
Third Principle: A fair distribution of available spaces.
Fourth Principle: A goal of maximizing the service offering.


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Matthias Rossi (* 9. Januar 1991 in Menziken) ist ein Schweizer Eishockeyspieler, der seit Januar 2023 bei den SCL Tigers aus der National League unter Vertrag steht.

Karriere
Rossi erlernte das Eishockeyspiel bei den Junioren des SC Reinach, bevor er zum Nachwuchs des EV Zug wechselte. Für die Zentralschweizer gab der rechte Flügel in der Saison 2010/11 sein Debüt in der höchsten Spielklasse der Schweiz, der National League A. Bei den Zugern konnte er sich aber in der Folge nie richtig durchsetzen, so dass er mehrere Male in die NLB zum HC Thurgau ausgeliehen wurde.

Zur Saison 2013/14 wechselte er in die National League B zum EHC Basel. Nach dem Konkurs des Clubs im Sommer 2014 schloss sich Rossi dem EHC Biel an, wo er sich auf Anhieb einen Stammplatz erkämpfte. Noch in derselben Saison debütierte Rossi für die Schweizer Eishockeynationalmannschaft.

Zur Saison 2017/18 wechselte der Stürmer zu Fribourg-Gottéron. Er unterzeichnete bei den Saanestädtern einen Dreijahresvertrag. Im Januar 2023 wechselte er per sofort innerhalb der NL zu den SCL Tigers.

Weblinks

Einzelnachweise

Eishockeynationalspieler (Schweiz)
Eishockeyspieler (Fribourg-Gottéron)
Eishockeyspieler (EHC Biel)
Eishockeyspieler (EHC Basel)
Eishockeyspieler (EV Zug)
Eishockeyspieler (HC Thurgau)
Eishockeyspieler (SC Rapperswil-Jona Lakers)
Schweizer
Geboren 1991
Mann


text:
Q: Rspec how to checks the value present in the an another method which that method doesn't return anything? Hi i have written Rspec to validate a body of message\n
 describe "validate_msm" do

  let!(:user) { FactoryGirl.create(:user) }
  it "should contains welcome user" do
    body = user.send_sms("909090990")
    expect(body).to include("welcome")
  end
end

as send_sms will call the send method which i have mentioned in let!
def send_sms

...

..

  body="welcome user"

  Message.send(contact, body)

end

so how to check with the body content is equal to welcome user ,
as send_sms doesn't return anything, so how to checks the value present in the body variable in rspec

A: You don't. Or rather you don't that easily. Most of the libraries like this should come together with test adapters and helpers to make such testing possible. If this one does not, you can only test that the message has been sent with correct arguments:
it "should contains welcome user" do
  allow(Message).to receive(:send)

  user.send_sms("909090990")

  expect(Message).to have_received(:send) do |_contact, body|
    expect(body).to include "welcome"
  end
end

redpajama_set_name: RedPajamaStackExchange


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Q: Dynamically adding select fields using LINQ lambda Lets say we have an expression:
var prices = from p in PriceDB.Prices
             where p.TypeID == 12
             orderby p.PriceType.Title
             select p;

Is it possible to modify the select list?
I imagine it looking something like this:
var newPriceList = prices.Select( p => p.ExchangeRate );

This may be an odd request, but in my code (which is too long and complex to post here) I want to conditionally add fields to be output depending on a CheckBoxList.
I assume, of course, that I'm trying to go about this the wrong way...

A:

I imagine it looking something like this:

Actually it would look exactly like that.   First, build a query, selecting the entire record.  Then add a select  (using the Select() method seem the easiest way) to limit the selection.   Linq-to-Sql will sort out the two selects, and use the proper reselt, so theres just one select in the final SQL.
There's no really good way to choose between multiple selects.  I would probably use a switch/case.

A: You might want to look at this Dynamic LINQ and Dynamic Lambda expressions?
Or the Dynamic Expression API (System.Linq.Dynamic).

A: While you could go down the dynamic route, I would strongly consider not doing so. What is the cost of fetching the extra values if you don't need them, in your particular case? Is the problem that they're being displayed dynamically and you only want them displayed in certain cases? If so, I'd suggest modifying the display code somehow.
It's hard to stay strongly typed (which has various advantages) while being dynamic in terms of what you fetch. Of course, if you always want to fetch the same "shape" of data (e.g. always just a decimal value from each row) then that's reasonably easy - let me know if that's something you'd like to see demonstrated.
If you could tell us more about your problem, we may be able to suggest alternative solutions.

A: If I understood you correct this is explaining how to build dynamic queries:
http://weblogs.asp.net/scottgu/archive/2008/01/07/dynamic-linq-part-1-using-the-linq-dynamic-query-library.aspx


text:
package ro.geenie.commons;

public class CommonModel {
}


Bookham, Inc. is a global leader in the design, manufacture and marketing of optical components, modules and subsystems. The company's optical components, modules and subsystems are used in various applications and industries, including telecommunications, data communications, aerospace, industrial and military. Since 2002, the company has acquired the optical components businesses from Nortel Networks and Marconi, as well as Ignis Optics, Inc., the business of Cierra Photonics Inc., New Focus, Inc., and Onetta, Inc. The company has manufacturing facilities in the UK, US, Canada, China and Switzerland; and offices in the US, UK, Canada, France and Italy and employs approximately 2,000 people worldwide.


Christian Leadership Training International (CLTI) exists to bring both short-term and lasting change to communities through creative education initiatives, leadership training, and innovative entrepreneurship programs.
CLTI's vision is to effect transformation spiritually, socially, and economically in all areas of the communities in which we serve.
Education: Provide coaching and study classes to high school students to improve academic proficiency. Provide scholarships to underprivileged and disadvantaged students. Construct a premier college preparatory high school.
Discipleship/Leadership Training: Coach and draw young men and women toward maturity in Christ, and ultimately change their lives. (Matt. 28:18-20.) Seek to increase opportunities for God's Word to equip emerging Christian leaders and disciple new believers.
Entrepreneurship: Support entrepreneurs by providing free, confidential, one-on-one consultation to their small businesses. Provide "seed fund" loans for entrepreneurs who develop a good business plan to start initial business or enhance an existing business.
We honor and put Christ first in all we do.
We believe a true knowledge of God's Word is the foundation for changing lives.
As founders of Christian Leadership Training International, Sei and Yah have a heartfelt interest in rebuilding their homeland of Liberia following the devastation of the 14-year civil was and the tragedy of the Ebola epidemic. Guided by their Christian faith, they have been working toward this goal all of their adult lives.
Dr. Buor holds a Master of Divinity degree from Africa International University in Nairobi, Kenya; Master of Theology degree from Western Theological Seminary in Holland, Michigan; and a Ph.D. in Educational Leadership and Policy Studies from Loyola University in Chicago, Illinois. He served as the founding President of Liberia International Christian College from 2008 to 2016.
Mrs. Buor's background includes extensive experience in entrepreneurship, and she uses these skills to guide CLTI's highly successful Entrepreneurship Program. This program mentors and assists underprivileged women in Gompa, Liberia with start-up businesses which help support their families.
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Dr. Buor is the author of two books: No More War: Rebuilding Liberia through Faith, Determination and Education and Vision, Valleys and Victories: Growing Liberia International Christian College.


text:
Common Thread
Supporting policy change and service reform through Twitter data
The UK's Department for Work and Pensions (DWP) supports families and children in the UK through its Child Maintenance Service which helps parents who are separating to calculate financial support and in some cases even collect those payments. In 2019 the service enabled £1 billion to be paid to over 1 million children, playing a critical role in alleviating child poverty in the UK.
The DWP depends on annual surveys and 1:1 user interviews to measure client satisfaction and garner feedback on their service. While the interviews in particular yield valuable insights, they do have some limitations. "Interviews are great for informing future initiatives but not particularly helpful for an iterative approach where we have to move fast and get a pulse on the situation," said Fay Cooper, Lead Product Manager at DWP's Children and Families division. "I needed a way to unlock the voice of the customer at scale and shift the conversation with internal stakeholders from, "I think and I feel" to "I know because the data shows us."
Specifically, Cooper and her team were looking for evidence to support their hypothesis that many applicants were finding the DWP's telephone-based application process stressful and inconvenient. With the help of Wordnerds, a UK based software company with pioneering text analysis technology, DWP examined data from the conversation on Twitter to identify the key themes associated with the child support discussion as well as associated emotions and sentiment. The resulting insights confirmed their suspicion about the telephone application process. Clients were expressing frustration with lack of access outside of DWP's business hours and in some cases, this access limitation even appeared to be exacerbating domestic violence situations. Interestingly, they were also able to capture a better understanding of the male perspective from what has typically been a female-focused process.
Thanks to these insights, DWP was able to secure investment for a new digital application service that addressed many of their customers' concerns around ease of access. Within the first three months of the launch, the service moved from 100% telephony to 80% digital, freeing clients from a 45-minute phone application process to just 15 minutes online. And as a result, completion rates are now averaging 95%. This has also allowed DWP to free up resources to focus on other areas of need.
And then COVID
In late March amid a global pandemic, the UK government issued a stay at home order beginning what would be three months of lockdown for the country. Agencies and departments across the UK Government were forced to adapt to the new measures while continuing to deliver vital services. For the DWP this drove a critical need to understand how the lockdown was impacting its customers and the crucial payments they rely on to support their children.
The DWP again looked to the conversation on Twitter for a real-time pulse of the situation. Unsurprisingly, they found concerns around missed payments due to parents losing jobs, the reassessing of income and general anxiety about increases in child poverty and suffering.
The DWP used this information to quickly prioritize service changes, including developing recovery plans to chase missed payments as well as new proactive notifications and faster payment methods. It also inspired the idea of partnering with charities and other volunteer organisations to support single parents in need.
Reflecting on the results, Cooper commented, "The real-time nature of Twitter was a game-changer for us. We update our services every two weeks and in order to understand the impact of these new features it's crucial to get real-time feedback, especially in challenging times such as the lockdown period."
Looking forward, Cooper says they will continue listening to the conversation on Twitter. "I am really passionate about designing services which make a difference. In child maintenance, it's powerful to see the difference our products make to children and their parents. Our new insight platform, blending traditional user research with Twitter data, will be an important driver towards our objective of delivering a better user experience while supporting policy change."
Interested in learning more about the power of social listening? Get inspired at data.twitter.com.
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