text:
[Archive] [Contact] [About]
Nirvana - In Utero
DGC, 1993
Nirvana were fortunate enough to take a relatively straightforward path to success, nurtured through their early years and first album by Seattle feeder-label Sub Pop records. Their subsequent rapid rise to international stardom was a carefully orchestrated affair, choreographed by billionaire puppet master David Geffen. Geffen's re-shuffle of tertiary band members and aggressive promotion of the band allowed them to breeze past the "difficult second album" hurdle on which so many grass-roots bands stumble. But through the haze of media adoration, stadium tours and MTV appearances, it must have been obvious to all concerned that the hurdle in question had not so much been avoided as deferred until just around the next corner. Creating a follow-up to Nevermind would present Nirvana with perhaps their greatest, if not their first, artistic challenge to date.
After just one spin of the disc, a considerable change in musical style is immediately evident and one naturally questions whether Cobain has mellowed due to his recent marriage and the birth of his first child. On further inspection, it becomes apparent that this time around Cobain isn't the only song-writing force at work, despite what the liner notes suggest. The similarity in style to Hole's acclaimed album Live Through This is no coincidence - Courtney Love is that second creative influence.
The first two tracks satisfactorily serve up the predictable Cobain grunge formula which is sure to quench the moshing masses' insatiable thirst for more of the same, albeit with a slightly more polished sound than previous releases. Incidentally, a track named Verse Chorus Verse was recorded for the album, but dropped at the last minute, presumably because this time Cobain's faux self-derision cut too close to the bone.
The effeminate Heart-Shaped Box throws up the surprise of the package, with its touching yet simple introductory guitar arpeggio and almost hypnotic layered vocal harmonies between Cobain and drummer Grohl. This is the first indication of Love's calming influence on her husband, revealing a tender side to him that he had always struggled to evoke on his own. Ultimately, Cobain's machismo prevented him from rewarding her inputs with a co-writing credit, which was clearly her due.
Unfortunately the respite is short-lived, as Cobain bares his vocal Achilles' heel and again reverts to screaming in order to keep above the escalating background din. Rape Me presents Cobain supposedly biting the hand that feeds him by taking a swipe at the record industry, yet clearly playing to their publicity tactics by including such an unnecessarily controversial song title. The self-mockery theme again comes to the fore in Dumb, where Cobain tries to convey either his own stupidity or lack of ability to verbally express himself. Ironically, given two and a half minutes of floor-time, he fails to articulate which of these it is.
At this point it almost feels like Cobain gives up on trying to convey any message whatsoever in his lyrics, and instead relies on a random assortment of Scrabble pieces and fridge magnets to cobble together some inspiration. In fact, given drearily long song titles like Frances Farmer Will Have Her Revenge on Seattle and Radio Friendly Unit Shifter, there seems to be more lyrical content in the track names than in the songs themselves.
The final "hidden" track, Gallons of Rubbing Alcohol Flow Through The Strip, sounds like producer Albini, perhaps inspired by the Infinite Monkey Theorem, locked a rabid drug-inhibited Cobain and band into the recording booth for as long as it took until they outputted something he could tack on the end of the CD as a bonus track. Unfortunately, he left it 7 minutes and 31 seconds before he realised his mistake and stopped the tape. I can certainly empathise with him, although my own suffering lasted a full 49 minutes. Still-born.
- number one, 11 October 2010

redpajama_set_name: RedPajamaCommonCrawl


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Iron Man 3 (2013) - Shane Black
Tony Stark is the James Bond of the Marvel universe. With his bravado persona, he has the money, the gadgets, the girl and the perfectly groomed goatee. Yet with Iron Man 3, we final see Stark at his most vulnerable. Stripped of the suit for much of the film and suffering from anxiety attacks after the events of Avengers Assemble, he is a desperate man seeking to protect the woman he loves.
The film doesn't try to hide its blatant parallels to America's war on terror, especially relevant after the recent bombings in Boston. As such, the plot is fairly standard Hollywood blockbuster fare with all the typical villains, cute kid sidekicks and explosive action that you could expect. Yet the series is reknowned for Downey Jr's portrayal of Stark and Iron Man 3 delivers a new slant on the character, with a more serious story and believable terrorist threat (with a comic book twist of course), whilst retaining the trademark tongue-in-cheek humour. The script is frequently hilarious, undercutting any seriousness with comedic one-liners delivered as charmingly as ever by Downey Jr. The narrative is well paced, slowly weaving its story threads with surprising and unpredictable twists, albeit with plenty of plot holes. Guy Pearce's slimy villain Aldrich Killian follows a typical story arc with implausible motives, Gwyneth Paltrow's Pepper Potts (far from the strong woman we've seen in previous films) is mostly reduced to helpless victim, and Don Cheadle's Iron Patriot is more symbol than man. Yet the film focuses heavily on Stark and is carried by Downey Jr's performance – easily the most endearing Marvel hero.
In comparison to other Marvel superhero films, Iron Man 3 is heavily story driven with only a smattering of well-directed action sequences. Then just as you feel there's not enough Iron Man involved, the film crescendos towards a suitably spectacular finale that has more suits than you could hope for, accompanied by a rousing score. Iron Man 3 ultimately does little that the previous films don't, but provides a fitting conclusion to the most exciting Marvel hero. As pure, simple popcorn entertainment, it doesn't get much better than this.
Labels: Film, Iron Man 3, Robert Downey Jr, Shane Black
Janelle Monáe feat. Erykah Badu - Q.U.E.E.N
Wild Swim - Another Night
Rudimental - Home
The Neighbourhood - I Love You
Will.I.Am - #willpower
Fall Out Boy - Save Rock And Roll
Lana Del Rey - Young & Beautiful
Ballo - OperaUpClose @ The Kings Head Theatre
Phoenix - Bankrupt!
Sunken Garden - ENO @ The Barbican
Halbwelt Kultur - PK Productions @ New Wimbledon T...
Autre Ne Veut @ Birthdays, Dalston
Poliça feat Justin Vernon - Tiff
Empire of the Sun - Alive
Charli XCX - True Romance
Spring Breakers (2013) - Harmony Korine
Paramore - Paramore
James Blake - Overgrown
The Place Beyond The Pines (2013) - Derek Cianfrance
The Knife - Shaking The Habitual
Josh Record - Bones
Florrie - Live A Little
Imagine Dragons - Night Visions
Cocovan - Bang Bang
Rhye - Woman


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This is an extension for Spree, allowing the e-commerce system to run on Heroku - http://heroku.com.

The major constraint on Heroku is that we can't write files to disk, so this extension disables all disk caching, fixes a few issues and changes Spree to store on Amazon S3.

# Requirements

A Heroku account and an Amazon S3 account with a bucket.

# Installation and configuration

Make a Spree application:

spree myapp

Install this extension:

cd myapp
script/extension install git://github.com/RSpace/spree-heroku.git

Copy the .gems manifest to the root of your application:

cp vendor/extensions/heroku/.gems ./

Configure the extension with your S3 information.

You can either specify the S3 credentials via Heroku's environment variables (recommended):

heroku config:add S3_KEY=[your S3 key]
heroku config:add S3_SECRET=[your S3 secret]
heroku config:add S3_BUCKET=[your S3 bucket]

- or you can use a YAML file:

cp vendor/extensions/heroku/config/aws_s3.yml.example vendor/extensions/heroku/config/aws_s3.yml

Enter your S3 configuration to vendor/extensions/heroku/config/aws_s3.yml

Create a Heroku application and deploy it:

git init
git add .
git commit -m 'Initial create'
heroku create --stack bamboo-ree-1.8.7 myapp
git push heroku master

Enable SSL, since Spree uses SSL for administration and payment flow in its standard setup:

heroku addons:add "Piggyback SSL"

Bootstrap the database locally (not possible in Heroku, because the rake task attempts to copy files), and transfer it to Heroku:

rake db:bootstrap
heroku db:push

Please note that if you choose to load sample data, images will be missing for all products. Spree's bootstrap task copies the images locally, but it doesn't put them on S3, where this extension configures Spree to look for images.

That's it - you're done! :)

# Troubleshooting

This extension has been tested with Spree 0.10.2. If you have problems using the extension with a newer version of Spree, it could be due to Spree's gem dependencies having changed. The gems in the heroku .gems manifest must mach the gems and versions required by Spree. This page shows the current dependencies of the newest version of Spree: http://gemcutter.org/gems/spree

# Copyright and license

Copyright (c) 2009 Casper Fabricius, released under the MIT license

Contributors:

*   Pavel Chipiga
*   Andrey Voronkov

redpajama_set_name: RedPajamaGithub


It's been over a year since the last time I updated this thing (which is amazingly more frequent than I expected I'd really be blogging by now). About halfway through 2009 I in fact just took it down completely, which turns out is a great tactic in not reminding yourself that you haven't updated your blog in a while. So, for probably not much more than that this year, I'm a blogger again. Hope you enjoyed it!
About 4 years ago now I watched (relative to your own disposition) liberal hippie lunatic / super-genius Noam Chomsky give a little talk in Braden Auditorium. He had no shortage of unique ideas to throw at the people that came, but among them, he summed up more with one sentence than I think I've ever heard a sentence sum up with it's summing.
The list of meanings that one sentence can pile on is endless. Personally it applies to me in this moment a sense of how often we forget that we're writing our lives own narratives.. and abuse that fundamental ability to think ourselves into a corner like a confused irobot that bumped into the cat. So at the start of another year, I've decided that I'm done doing that. I'm done pretending that I have any actual problems, down to even the smallest things that bother me, that there aren't solutions for… most of them pretty simple (unless barring some sort of disease I don't yet know about).
Even though I constantly forget, I've had this perspective since one particular moment I can remember when I was 16. After taking over my dad's old van, I inherited an old Crown Victoria, like right out of the Blues Brothers. It was a fantastic 2.5 ton car which I got into far more car chases with than any car since.Unfortunately I only have a (kind of dated) picture of the van. Pretend it's a car.. it will make the story better.
One day not long at all into driving that car, I learned that 2.5 tons of steel + original tires from when the car was first built 15 years earlier + rain meant that it could stop from 30 in about 100 yards. This information was not altogether useful to me though, because on this day, I learned that the car could also stop just as easily in about 20 yards should something get in the way. Something did.
I was fine.. I somehow drove home with the hood sticking straight up, showed my parents the completely crushed half of my car. My dad told me what I knew but didn't want to hear- that it was totaled, and even though it was just a car.. I had been more than a little excited about all of this having a car business, and I was pretty upset.
I spent a couple hours locked up in my room before my dad came down, and explained to me he was pretty sure we could find all the parts it needed from a junkyard. I didn't hesitate to point out the fact that he fixed appliances, not cars.. there's no way we could reassemble the more important half of a Crown Victoria from random pieces. My dad then gave me the same sort of answer to that sort of question that he always has as long as I've known him.. which I had never taken seriously.
Said in really a joking tone at the time. I've taken that mentality to heart ever since, because it wasn't a few days later that we had everything in front of the car's windshield in zip-lock bags with labels, half of which were mostly meaningless to us. About two weeks of work passed in the garage, and when we were done.. despite the piles of spare parts… the car ran even better than it did before. We even re-painted each of the new pieces with the same tacky two tone look that the car had to begin with.
I'll end this cheesy sunscreen-song-esque rant by simply saying that same mentality has stuck with me ever since. Don't think yourself into a corner and don't be beat up by circumstance in 2009, and I won't either.


Liquid fillers or liquid filling machines are important equipment in various industries like cosmetics, pharmaceutical, food & beverages industries where liquids are to be packed in various types of containers. With liquid filling machines liquids can be easily and efficiently packed into containers without much wastage and that too faster. Imagine if this process is to be done manually in industries. How much of the liquids would wasted due to spillage and how much time would be required to do such bulk packing applications? Therefore liquid filling machines are used. The modern liquid filling machines which come in advanced forms with user friendly controls and features are the best machines to pack liquids in industries in less time and with less labor. A liquid filling machine can accomplish the huge liquid filling tasks in industries very easily and fast therefore can replace the work of number of human beings who were to do the process in absence of these machines.


In any policy, term, condition, rule or code "Olympic" means Olympic Fun & Fitness, Olympic Gymnastic Academy and The Wilding Project. The terms "management" and "administration" refer to all officers, employees, agents and volunteers engaged for the management and administration of Olympic.
The actives conducted at Olympic include but are not limited to: strength, conditioning and stretching, gymnastics, parkour, free-running, bouldering, trampolining, ball sports, acrobatics and natural movement.
I understand that the learning of these activities involves risk. For example, these activities can involve training at heights and moving at speed, falls or collisions with equipment and other persons. These activities may cause injury or serious injury.
Understanding the risks I accept that I, my child/children, named in my enrollment, take part in the activities at Olympic under the guidance of appointed staff.
I have disclosed to Olympic any history of injury, disease or weaknesses that would limit or impact my or my children's ability to participate in the activities conducted at Olympic and will disclose any future changes that may impact on participation.
I acknowledge and agree that during all such times as I, other family members and or/visitors are on the premises of Olympic or its surrounds, that my property, my person and any child under my care and control shall be at my own risk in every respect.
I agree that Olympic and all its officers, employees, agents and volunteers engaged for the management and administration of Olympic are to be free and clear of all responsibility whatsoever for any accident or illness during my child's participation in any of the activities conducted at Olympic.
In the event of any accident or illness, I authorise Olympic to obtain such medical assistance as is required and agree to meet any expense thereto.
On payment of the required tuition fee I acknowledge that I, and my child, will be bound by all policies, terms and conditions, rules and codes set out on the enrollment form and on Olympic's website.
Does not include events or club membership and insurance. Tuition refers to payment to participate in a club Program.
Classes, events and other activities are subject to cancellation due to insufficient enrollment or other unforeseen circumstances. Olympic reserves the right and authority to alter and/or cancel any class, event or activity. In the event of cancellation an alternative option, in the form of an alternative class or monetary credit, may be provided.
Any change of customer and student details relevant to class participation (physical health and wellness), contact information, enrollment or bill payment must be communicated to Olympic.
All enrollments and bookings are made online and are confirmed by full payment of tuition, club membership and insurance fees prior to starting class.
All enrollments (and re-enrollments) are organised on a first-come-first-serve basis.
Enrollments not confirmed by full payment may be cancelled and the place made available to a waiting client.
Re-enrollments are organised on a first-come-first-serve basis.
Existing club members are offered first choice of club programs during an enrollment period in advance of those on our wait-list.
See 'Fees & Terms' for the latest information on club discounts.
Any booking made by deposit is non-refundable.
Deposits temporarily secure a booking for a prescribed time.
If full payment has not been made by end of the prescribed time the temporary enrollment is cancelled and the deposit forfeited.
Olympic reserves the right to review and implement new pricing structures as required.
The tuition fee is priced per Term (see Fees & Terms). Classes that fall on a Public Holiday are discounted from the tuition fee.
Make-up lessons are negotiated on request and subject to space and availability.
We do everything we can to help students settle into class, but if we cannot achieve this and a student withdraws then the Tuition Fee (and not the Club Membership & Insurance Fees) is refundable minus a $15 processing fee and any classes attended.
No refunds are issued after Week 4 of the Term.
The Club Membership & Insurance fee is non-refundable.
Olympic can issue a credit that can be applied to just about anything Olympic provides: future tuition for any person from the same family or another family, club membership and insurance, and club merchandise.
Use of mobile devices in the training arena is forbidden.
To ensure client privacy, the use of cameras, including mobile phones, is not permitted in the venue without permission from management.
The training arena does not have permanent seating and only registered participants (coaches, students and volunteers) are permitted in the training arena.
On request seating may be provided. Speak with staff for permission to sit in the training arena.
Arena seating is provided on special events and (generally) during the first and last week of the term.
Parking space is limited. Do not park in front of the entrance door. Only park in marked bays and if the car-park is full use the limestone area on the verge or parallel park. We apologise in advance for any inconvenience.
The club grounds of Olympic, including the car-park, is a non-smoking area.
Olympic reserves the right to refuse admission to any person or to cancel any enrollment or membership without warning due to inappropriate behaviour. Reasons for cancellation or suspension may include failure to comply with Olympics' Club Rules, Code of Behaviour, having outstanding tuition or fees or for any reason that Olympic deems appropriate.
Children are not permitted to exit the training arena during class.
No food is not to be consumed in the training arena or foyer and participants must bring a water bottle for use during training. Please fill water bottles with water only.
All signs posted in the gym arena or foyer should be considered part of the rules and regulations of Olympic.
All items found in the venue are placed in the lost property for a period of one (1) month. Unclaimed items are donated to a charity. Olympic takes no responsibility and bears no liability for any item lost or stolen while using our facilities. Lost property enquiries are to be directed to reception.
Children will only be allowed to exit the facility in the company of a designated parent or guardian.
Staff are instructed not to allow children to leave the foyer unattended.
Parent's must ensure that their child's cuts / wounds are covered before entering class. Unless otherwise advised, appropriate first aid will be administered when required.
Uniforms are not required BUT they are required for participation in special events. Notice in advance will be give if a uniform is required.
We highly recommend a uniform. It makes preparing for participation easier and keeps your child focused on physical activity and not what they are wearing.


The James Valley Model Railroad Association will have an October open house from 1 to 4 p.m. Saturday. Three train layouts will be on display and running. Entrance to the open house will be through the southwest door of the old Milwaukee Railroad depot on Main Street. There is no admission fee. This will be the last open house until the club's "Christmas at the Depot" program, which runs from Nov. 28 to Dec. 20.


The Hotels.com customer services helpline can be contacted by phone: Open 7 Days a Week – 8:30 AM-11:30 PM.
The Hotels Com customer services team is available to take your call 7 Days a Week – 8:30 AM-11:30 PM. Holiday phone hours may differ.
• Have your details ready if you want to make an enquiry with the hotels.com customer care team. You should have your reservation or booking number with you – this will be in the confirmation email that was sent when you made the booking. Also have the details of the card you used when you made the booking.
• Please listen to the hotels.com customer services voice prompting service and select the best options from the menu provided. This will help you to speak to the right advisor – who will then be able to answer your query.
• If you are calling the hotels.com telephone number from the United Kingdom, this is the correct number to use. If you are calling from abroad, please call the number best suited to your location.
If you want to make a cancellation online, simply go to the "Manage your bookings" tab from your account online and choose the booking you wish to cancel – then click on "cancel room".
If you want to speak to an agent about canceling your reservation, please call the hotels.com phone number and talk directly to the staff.
Hotels.com customer service won't charge for a cancellation, but certain hotels might. Please make sure you read the fine print when making a booking.
If you paid by card and later canceled your reservation successfully, your card will be refunded within 24 hours. If this is not the case, please ring the hotels.com contact number and speak to an agent who will guide you through a refund process.
All hotels.com customer services are free where available and the team is willing to help you at every junction of your trip.
Hotels.com is a group of 84 websites in 34 languages with the purpose of dominating the hotel market. It has over 300 000 hotels in it's database in over 19 000 locations around the world.
It was founded in 1991 and was purchased by Expedia in 2001. It's offices are in Dallas Texas, USA.
They expanded rapidly around 2002 and this growth didn't seem to ease up until it helped Expedia gain the title of the world's biggest online travel company.
Customers (or guests) to the hotels covered by this service can book online from anywhere in the world. They also have multilingual call centres to assist people who want to make a reservation or enquiry over the phone.
In May 2007, the group were in hot water when they were taken to court because of apparent discrimination against people with mobility difficulties. They have since updated it's sites with information regarding access to the differently abled.
The group's loyalty scheme is based on a reward for the guests, giving a sizable discount for every 10 nights stayed in their hotels. Over 40 countries now have this reward system in hotels.com hotels.
3.1 How do I make a cancellation?
3.2 How do I get my refund?


text:
Master's Degree in Neuropsychology
Bachelor thesis, research projects, etc.
Title: Efectes cognitius i psicològics de l'aïllament en solitari als centres penitenciaris de Catalunya
Author: Escuder Romeva, Gemma
Tutor: Carnes Vendrell, Anna
Keywords: solitary confinement
penitentiary facility
neuropsychological impairment
psychological impairment
Issue Date: Jun-2021
Publisher: Universitat Oberta de Catalunya (UOC)
Abstract: Introduction. Solitary confinement is one of the type of life's regimes in penitentiary facilities. In Spain, there are not studies about the cognitive and psychological effects during the stay in this regime. The international literature has shown that subjects under this regime may suffer different psychological effects depending on the length of stay and other variables such as the presence of a history of mental illness. Objectives. To describe the cognitive and psychological effects derived from the stay in solitary confinement in the penitentiary centers of Catalonia, as well as to establish the psychological and neuropsychological profile of the inmates who enter this regime of life. It will also analyze which variables are related to the effects and differences between men and women. Methods. This is an observational and prospective analytical study with case-controls. Socio-demographic, clinical and legal-penitentiary variables and neuropsychological and psychological variables will be collected through standardized tests. Participants will be assessed at five times during their stay in solitary confinement and one month after their stay. Results. We expect to find differences in the psychological and neuropsychological profile between subjects in solitary confinement with respect to those in ordinary regime. We expect to identify a worsening of neuropsychological performance and psychological state throughout the assessments in the group in solitary confinement, as well as a recovery from baseline status once the solitary confinement ends. We also expect to find differences in the effects of solitary confinement depending on gender.
Appears in Collections: Bachelor thesis, research projects, etc.
Impact: Google Scholar Microsoft Academic
gescuderrTFM0621memòria.pdf Memòria del TFM 733.23 kB Adobe PDF View/Open


text:
Q: Decision boundary for logistic loss and soft 0-1 loss I have a problem at hand that I have the solution to, but I quite can't make sense of the solution. Any help is appreciated.
We are given the data set in the below figure.
We are asked to plot the decision boundaries for the following models:

*

*A generative model with Gaussian class conditionals where each class has its own mean and spherical covariance matrix,

*A logistic regression model,

*A linear model trained with soft zero-one loss.

And here is the answer:

I understand the boundary for the Gaussian model but I am lost on the logistic regression and the soft 0-1 loss one. Why is the logistic regression one going through the origin? Is the soft 0-1 loss like an SVM classifier? I guess that would make the dashed line the middle of the possible maximum margin solution. Any insight is appreciated. How can I decide on a decision boundary for losses if I am just given data?

redpajama_set_name: RedPajamaStackExchange


text:
package org.visallo.core.model.properties.types;

import org.json.JSONArray;
import org.visallo.core.util.JSONUtil;

public class JsonArrayVisalloProperty extends VisalloProperty<JSONArray, String> {
    public JsonArrayVisalloProperty(String key) {
        super(key);
    }

    @Override
    public String wrap(JSONArray value) {
        return value.toString();
    }

    @Override
    public JSONArray unwrap(Object value) {
        if (value == null) {
            return null;
        }
        return JSONUtil.parseArray(value.toString());
    }

    @Override
    protected boolean isEquals(JSONArray newValue, JSONArray currentValue) {
        return JSONUtil.areEqual(newValue, currentValue);
    }
}


I've been working through emails slowly but surely, and have a bunch of birth announcements to share with you! I'll try to post a new one every few days or so; first up is a birth announcement for a family whose consultation I posted back in May for their little boy. The mama, Beth, let me know he has arrived and been given the so-handsome name … Henry James!
I loooove Henry James!! Such a great combo!! And though the theme of their consultation was trying to move away from the English theme they felt their older children's name conveyed, I can't imagine a more perfect brother for Charles/Charlie and Catherine/Cate. Wonderful job!!
Congratulations to the whole family, and happy birthday Baby Henry!!
My boy (2nd of 3) also came with in an hour of arrival at the hospital.


St+art Mumbai, India's international street art festival, brings legendary Brazilian street artist Eduardo Kobra to Churchgate station to paint a mural of India's most iconic personality, Mahatma Gandhi.
With support from Asian Paints, Krishnakriti Foundation, Art at Telangana, Govt of Telangana, Greater Hyderabad Municipal Corporation (GHMC) and Bonjour India, St+art India Foundation had been working across the neighborhood for over two weeks with local and international artists regenerating the Maqtha neighbourhood and transforming it into a vibrant art district.
A temporary advertising hoarding project led by artists Daku and Dia Mehta Bhupal featured the transformation of a stretch of 15 hoardings. The objective of these hoarding was to create an art corridor by breaking the visual pollution of ads.
In December 2014, Ranjit Dahiya from 'Bollywood Art Project' began work on a mural as a tribute to a legend lost in the timeline of the city of Mumbai. He was assisted by artists Yantr, Munir Bukhari and Nilesh Kharade.


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Warriors vs. Clippers NBA Predictions Against the Spread 10/30/17
Warriors vs. Clippers Pick
Are the Golden State Warriors going to continue their track record of having the number of the host Los Angeles Clippers? Game time tonight is 10:30PM EST.
Oddsmakers at sports book Bovada.lv have made the Warriors a 5.5-point favorite on the spread line. The over-under sits at 221 points.
Golden State enters with a 4-3 record after a 115-107 home loss to the Pistons. Los Angeles is 4-1 following a 95-87 home loss to Detroit. The Warriors won all four meetings straight up and three of the four ATS last season. The total went over three times.
The Warriors were paced by Klay Thompson as he scored 29 in the loss to Detroit. Kevin Durant had 28 points, six rebounds and four assists. Steph Curry contributed 27 points, eight assists and six rebounds. The Pistons outscored GSW 33-26 in the fourth quarter.
Austin Rivers tallied 20 points and four steals in the Clippers' loss to the Pistons. Blake Griffin had 19 points, 11 rebounds and four assists. Danilo Gallinari registered 13 points and six boards. DeAndre Jordan added seven points and 14 rebounds. Los Angeles was outscored 28-15 in the fourth quarter.
Golden State is 4-1 straight up and ATS in the last five meetings. The Clippers are 0-4 ATS in their last four games versus a team with a winning road record.
Bet on Warriors vs. Clippers
The Warriors have been a lot shakier than predicted, with a straight up loss to the Pistons Sunday night despite being a 13.5-point favorite. It's hard to see them not bouncing back, but the Clippers have been playing very good basketball lately aside from a second-half collapse against the same Detroit squad. We like the Clippers to cover the spread as a dog on their home floor tonight.
NBA DAILY PREDICTION: LOS ANGELES CLIPPERS +5.5


Most of the patients that initially walk through our door are dealing with some kind of pain problem. With so many patients experiencing headaches, neck or back pain, they often think there are no other benefits of chiropractic care.
Yes, we help lots of people get and stay out of pain. Back pain has been one of the primary conditions chiropractors have treated for years.
With so much time spent on computers, neck pain and headaches have now become just as prevalent.
Chiropractors work wonders in helping patients that have been through the gamut of tests and treatments. Often they are told to deal with the pain, or that they can't find anything wrong. Since doctors of chiropractic are the only health care providers that actively seek out vertebra that have become misaligned, they are the only ones that can find this particular problem.
You might be surprised how upset some patients get when they get help for a problem very quickly, often after experiencing pain for years before trying chiropractic care.
Decreased Stress: Many patients report feeling more relaxed and less stressed following an adjustment. The muscles that guard a misaligned vertebra cause a lot of tension. This increased tension and associated discomfort make it harder to get through your day.
Breathe Easier: Attached to all of your mid back vertebra are ribs. Ribs should move as you inhale and exhale. In some instances, the ribs become subluxated (misaligned) or fixated (stuck) during various daily activities. With restricted movement of the rib cage, there's a decreased ability for you to take a full breath. Your chiropractor can help get these joint moving properly again, improving your ability to breathe.
Improved Immune System: Research has shown that regular adjustments actually improve your immune system's ability to function. This is why many patients under chiropractic care report fewer colds and flu compared to their co-workers.
Improved Sleep: Whether it's due to less pain or your joints moving as they should, patients report better quality and duration of sleep while under chiropractic care. Since sleep plays such an integral part in your body's ability to heal and function at its best, better sleep is just another way chiropractic care helps you stay healthy.
While these are just a few of the benefits of chiropractic care, there are many more. More research is being done to confirm what chiropractors have been reporting for years – chiropractic isn't just for pain! Making chiropractic care a part of a healthy lifestyle gets results!


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org.apache.hadoop.hbase.protobuf.generated.HBaseProtos.ServerNameOrBuilder

Packages that use HBaseProtos.ServerNameOrBuilder

Package
Description

org.apache.hadoop.hbase.protobuf.generated

Uses of HBaseProtos.ServerNameOrBuilder in org.apache.hadoop.hbase.protobuf.generated

Classes in org.apache.hadoop.hbase.protobuf.generated that implement HBaseProtos.ServerNameOrBuilder

Modifier and Type
Class and Description

static class
HBaseProtos.ServerName

Protobuf type ServerName

static class
HBaseProtos.ServerName.Builder

Protobuf type ServerName

Methods in org.apache.hadoop.hbase.protobuf.generated that return HBaseProtos.ServerNameOrBuilder

Modifier and Type
Method and Description

HBaseProtos.ServerNameOrBuilder
ClusterStatusProtos.ClusterStatusOrBuilder.getBackupMastersOrBuilder(int index)

repeated .ServerName backup_masters = 8;

HBaseProtos.ServerNameOrBuilder
ClusterStatusProtos.ClusterStatus.getBackupMastersOrBuilder(int index)

repeated .ServerName backup_masters = 8;

HBaseProtos.ServerNameOrBuilder
ClusterStatusProtos.ClusterStatus.Builder.getBackupMastersOrBuilder(int index)

repeated .ServerName backup_masters = 8;

HBaseProtos.ServerNameOrBuilder
ClusterStatusProtos.ClusterStatusOrBuilder.getDeadServersOrBuilder(int index)

repeated .ServerName dead_servers = 3;

HBaseProtos.ServerNameOrBuilder
ClusterStatusProtos.ClusterStatus.getDeadServersOrBuilder(int index)

repeated .ServerName dead_servers = 3;

HBaseProtos.ServerNameOrBuilder
ClusterStatusProtos.ClusterStatus.Builder.getDeadServersOrBuilder(int index)

repeated .ServerName dead_servers = 3;

HBaseProtos.ServerNameOrBuilder
AdminProtos.CloseRegionRequestOrBuilder.getDestinationServerOrBuilder()

optional .ServerName destination_server = 4;

HBaseProtos.ServerNameOrBuilder
AdminProtos.CloseRegionRequest.getDestinationServerOrBuilder()

optional .ServerName destination_server = 4;

HBaseProtos.ServerNameOrBuilder
AdminProtos.CloseRegionRequest.Builder.getDestinationServerOrBuilder()

optional .ServerName destination_server = 4;

HBaseProtos.ServerNameOrBuilder
MasterProtos.MoveRegionRequestOrBuilder.getDestServerNameOrBuilder()

optional .ServerName dest_server_name = 2;

HBaseProtos.ServerNameOrBuilder
MasterProtos.MoveRegionRequest.getDestServerNameOrBuilder()

optional .ServerName dest_server_name = 2;

HBaseProtos.ServerNameOrBuilder
MasterProtos.MoveRegionRequest.Builder.getDestServerNameOrBuilder()

optional .ServerName dest_server_name = 2;

HBaseProtos.ServerNameOrBuilder
HBaseProtos.FavoredNodesOrBuilder.getFavoredNodeOrBuilder(int index)

repeated .ServerName favored_node = 1;

HBaseProtos.ServerNameOrBuilder
HBaseProtos.FavoredNodes.getFavoredNodeOrBuilder(int index)

repeated .ServerName favored_node = 1;

HBaseProtos.ServerNameOrBuilder
HBaseProtos.FavoredNodes.Builder.getFavoredNodeOrBuilder(int index)

repeated .ServerName favored_node = 1;

HBaseProtos.ServerNameOrBuilder
AdminProtos.OpenRegionRequest.RegionOpenInfoOrBuilder.getFavoredNodesOrBuilder(int index)

repeated .ServerName favored_nodes = 3;

HBaseProtos.ServerNameOrBuilder
AdminProtos.OpenRegionRequest.RegionOpenInfo.getFavoredNodesOrBuilder(int index)

repeated .ServerName favored_nodes = 3;

HBaseProtos.ServerNameOrBuilder
AdminProtos.OpenRegionRequest.RegionOpenInfo.Builder.getFavoredNodesOrBuilder(int index)

repeated .ServerName favored_nodes = 3;

HBaseProtos.ServerNameOrBuilder
AdminProtos.UpdateFavoredNodesRequest.RegionUpdateInfoOrBuilder.getFavoredNodesOrBuilder(int index)

repeated .ServerName favored_nodes = 2;

HBaseProtos.ServerNameOrBuilder
AdminProtos.UpdateFavoredNodesRequest.RegionUpdateInfo.getFavoredNodesOrBuilder(int index)

repeated .ServerName favored_nodes = 2;

HBaseProtos.ServerNameOrBuilder
AdminProtos.UpdateFavoredNodesRequest.RegionUpdateInfo.Builder.getFavoredNodesOrBuilder(int index)

repeated .ServerName favored_nodes = 2;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.TableLockOrBuilder.getLockOwnerOrBuilder()

optional .ServerName lock_owner = 2;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.TableLock.getLockOwnerOrBuilder()

optional .ServerName lock_owner = 2;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.TableLock.Builder.getLockOwnerOrBuilder()

optional .ServerName lock_owner = 2;

HBaseProtos.ServerNameOrBuilder
ClusterStatusProtos.ClusterStatusOrBuilder.getMasterOrBuilder()

optional .ServerName master = 7;

HBaseProtos.ServerNameOrBuilder
ClusterStatusProtos.ClusterStatus.getMasterOrBuilder()

optional .ServerName master = 7;

HBaseProtos.ServerNameOrBuilder
ClusterStatusProtos.ClusterStatus.Builder.getMasterOrBuilder()

optional .ServerName master = 7;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.MasterOrBuilder.getMasterOrBuilder()

required .ServerName master = 1;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.Master.getMasterOrBuilder()

required .ServerName master = 1;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.Master.Builder.getMasterOrBuilder()

required .ServerName master = 1;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.RegionTransitionOrBuilder.getServerNameOrBuilder()

required .ServerName server_name = 4;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.RegionTransition.getServerNameOrBuilder()

required .ServerName server_name = 4;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.RegionTransition.Builder.getServerNameOrBuilder()

required .ServerName server_name = 4;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.SplitLogTaskOrBuilder.getServerNameOrBuilder()

required .ServerName server_name = 2;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.SplitLogTask.getServerNameOrBuilder()

required .ServerName server_name = 2;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.SplitLogTask.Builder.getServerNameOrBuilder()

required .ServerName server_name = 2;

HBaseProtos.ServerNameOrBuilder
AdminProtos.ServerInfoOrBuilder.getServerNameOrBuilder()

required .ServerName server_name = 1;

HBaseProtos.ServerNameOrBuilder
AdminProtos.ServerInfo.getServerNameOrBuilder()

required .ServerName server_name = 1;

HBaseProtos.ServerNameOrBuilder
AdminProtos.ServerInfo.Builder.getServerNameOrBuilder()

required .ServerName server_name = 1;

HBaseProtos.ServerNameOrBuilder
ClusterStatusProtos.LiveServerInfoOrBuilder.getServerOrBuilder()

required .ServerName server = 1;

HBaseProtos.ServerNameOrBuilder
ClusterStatusProtos.LiveServerInfo.getServerOrBuilder()

required .ServerName server = 1;

HBaseProtos.ServerNameOrBuilder
ClusterStatusProtos.LiveServerInfo.Builder.getServerOrBuilder()

required .ServerName server = 1;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.MetaRegionServerOrBuilder.getServerOrBuilder()

required .ServerName server = 1;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.MetaRegionServer.getServerOrBuilder()

required .ServerName server = 1;

HBaseProtos.ServerNameOrBuilder
ZooKeeperProtos.MetaRegionServer.Builder.getServerOrBuilder()

required .ServerName server = 1;

HBaseProtos.ServerNameOrBuilder
RegionServerStatusProtos.RegionServerReportRequestOrBuilder.getServerOrBuilder()

required .ServerName server = 1;

HBaseProtos.ServerNameOrBuilder
RegionServerStatusProtos.RegionServerReportRequest.getServerOrBuilder()

required .ServerName server = 1;

HBaseProtos.ServerNameOrBuilder
RegionServerStatusProtos.RegionServerReportRequest.Builder.getServerOrBuilder()

required .ServerName server = 1;

HBaseProtos.ServerNameOrBuilder
RegionServerStatusProtos.ReportRSFatalErrorRequestOrBuilder.getServerOrBuilder()

required .ServerName server = 1;

HBaseProtos.ServerNameOrBuilder
RegionServerStatusProtos.ReportRSFatalErrorRequest.getServerOrBuilder()

required .ServerName server = 1;

HBaseProtos.ServerNameOrBuilder
RegionServerStatusProtos.ReportRSFatalErrorRequest.Builder.getServerOrBuilder()

required .ServerName server = 1;

HBaseProtos.ServerNameOrBuilder
RegionServerStatusProtos.ReportRegionTransitionRequestOrBuilder.getServerOrBuilder()

required .ServerName server = 1;

HBaseProtos.ServerNameOrBuilder
RegionServerStatusProtos.ReportRegionTransitionRequest.getServerOrBuilder()

required .ServerName server = 1;

HBaseProtos.ServerNameOrBuilder
RegionServerStatusProtos.ReportRegionTransitionRequest.Builder.getServerOrBuilder()

required .ServerName server = 1;

Methods in org.apache.hadoop.hbase.protobuf.generated that return types with arguments of type HBaseProtos.ServerNameOrBuilder

Modifier and Type
Method and Description

List<? extends HBaseProtos.ServerNameOrBuilder>
ClusterStatusProtos.ClusterStatusOrBuilder.getBackupMastersOrBuilderList()

repeated .ServerName backup_masters = 8;

List<? extends HBaseProtos.ServerNameOrBuilder>
ClusterStatusProtos.ClusterStatus.getBackupMastersOrBuilderList()

repeated .ServerName backup_masters = 8;

List<? extends HBaseProtos.ServerNameOrBuilder>
ClusterStatusProtos.ClusterStatus.Builder.getBackupMastersOrBuilderList()

repeated .ServerName backup_masters = 8;

List<? extends HBaseProtos.ServerNameOrBuilder>
ClusterStatusProtos.ClusterStatusOrBuilder.getDeadServersOrBuilderList()

repeated .ServerName dead_servers = 3;

List<? extends HBaseProtos.ServerNameOrBuilder>
ClusterStatusProtos.ClusterStatus.getDeadServersOrBuilderList()

repeated .ServerName dead_servers = 3;

List<? extends HBaseProtos.ServerNameOrBuilder>
ClusterStatusProtos.ClusterStatus.Builder.getDeadServersOrBuilderList()

repeated .ServerName dead_servers = 3;

List<? extends HBaseProtos.ServerNameOrBuilder>
HBaseProtos.FavoredNodesOrBuilder.getFavoredNodeOrBuilderList()

repeated .ServerName favored_node = 1;

List<? extends HBaseProtos.ServerNameOrBuilder>
HBaseProtos.FavoredNodes.getFavoredNodeOrBuilderList()

repeated .ServerName favored_node = 1;

List<? extends HBaseProtos.ServerNameOrBuilder>
HBaseProtos.FavoredNodes.Builder.getFavoredNodeOrBuilderList()

repeated .ServerName favored_node = 1;

List<? extends HBaseProtos.ServerNameOrBuilder>
AdminProtos.OpenRegionRequest.RegionOpenInfoOrBuilder.getFavoredNodesOrBuilderList()

repeated .ServerName favored_nodes = 3;

List<? extends HBaseProtos.ServerNameOrBuilder>
AdminProtos.OpenRegionRequest.RegionOpenInfo.getFavoredNodesOrBuilderList()

repeated .ServerName favored_nodes = 3;

List<? extends HBaseProtos.ServerNameOrBuilder>
AdminProtos.OpenRegionRequest.RegionOpenInfo.Builder.getFavoredNodesOrBuilderList()

repeated .ServerName favored_nodes = 3;

List<? extends HBaseProtos.ServerNameOrBuilder>
AdminProtos.UpdateFavoredNodesRequest.RegionUpdateInfoOrBuilder.getFavoredNodesOrBuilderList()

repeated .ServerName favored_nodes = 2;

List<? extends HBaseProtos.ServerNameOrBuilder>
AdminProtos.UpdateFavoredNodesRequest.RegionUpdateInfo.getFavoredNodesOrBuilderList()

repeated .ServerName favored_nodes = 2;

List<? extends HBaseProtos.ServerNameOrBuilder>
AdminProtos.UpdateFavoredNodesRequest.RegionUpdateInfo.Builder.getFavoredNodesOrBuilderList()

repeated .ServerName favored_nodes = 2;

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An escorted tour that combines a visit to Hong Kong Observation Wheel, Temple Street Night Market tour, and enjoy a gourmet international buffet on a Bauhinia Harbour Cruise voyaging in colorful night of Victoria Harbour. Experience the city from the land, sky, and sea! This is a tour is with coach transfer by selected hotels only, please refer to the hotel list at Itinerary session in below area.
Buffet dinner and all entertainment on a 2-hour Harbour Cruise Bauhinia.
Enjoy a view of the glittering city and the magnificent Victoria Harbour.
You will be back to hotel at about 22:00.


text:
FDA Approves A Controversial Drug To Treat Alzheimer's Disease
Published June 7, 2021 at 11:05 PM HST
Yesterday, the Food and Drug Administration approved the first new drug for Alzheimer's disease in nearly 20 years, but scientists are divided on whether that was a good idea. Joining us now to talk about it, NPR science correspondent Jon Hamilton. Hi, Jon.
JON HAMILTON, BYLINE: Hi.
MARTIN: Explain this controversy.
HAMILTON: Well, this controversy is about a drug called Aduhelm. The generic name is aducanumab. And this drug has generated all kinds of excitement because it is the first approved drug that does more than just relieve the symptoms of Alzheimer's. This drug actually affects an underlying disease process by reducing the amount of sticky amyloid plaque that builds up in the brain. The catch is that removing this plaque may not actually help patients avoid memory loss and thinking problems. One big study showed that it did. Another showed that it didn't. An advisory panel voted against approval. And the FDA typically would not approve a drug under those circumstances, so there's been a lot of public debate.
MARTIN: So why did they? Why did the FDA move forward?
HAMILTON: Well, they published a pretty detailed explanation of their thinking, and it was notable for what it did not do. It never tries to argue that studies have shown that Aduhelm actually works to preserve someone's thinking or memory. Instead, it focuses on what has been shown for sure, which is that the drug can remove plaque from the brain. And they argue that a drug that can remove plaque is reasonably likely to slow down the disease, even though the studies so far have not confirmed that.
The other point the FDA made was that there is no other treatment for this disabling fatal disease that affects 6 million people in the U.S. So they said that justifies giving Aduhelm something called accelerated approval. What that means in practical terms is that the drug's maker have to conduct another study after the product is already on the market.
MARTIN: So we nodded to it above, but just say more about the reaction to the FDA's decision.
HAMILTON: Well, a lot of love, a lot of hate and not any small amount of celebration among investors who think Aduhelm is going to make a lot of money. I spoke with Dr. Richard Hodes. He's the director of the National Institute on Aging. And he did not directly question the FDA's decision, but he did suggest that drugs to remove amyloid may be kind of a dead end scientifically. So he says the NIH is, and especially his agency, is more interested in other kinds of treatment these days.
RICHARD HODES: People who work in the field look at amyloid as one component of the pathology underlying disease but not the only one. Of the NIA-supported clinical trials, it's only a minority, in fact, that are currently targeting amyloid.
HAMILTON: Another reason the NIH is looking elsewhere is that there have been large clinical trials of a couple of dozen amyloid drugs in the past 20 years or so, and until Aduhelm, they all failed to help patients.
MARTIN: So who's supporting the FDA's decision?
HAMILTON: Well, doctors who treat Alzheimer's patients - many of them have been very supportive. There's also been strong support from patient groups. I talked with Harry Johns. He's the CEO of the Alzheimer's Association, and he told me they see Aduhelm as this small first step, you know, as much like the first drugs for some other diseases.
HARRY JOHNS: Hypertension, HIV AIDS - not perfect treatments, but have stimulated other investments that then become so important to advancing the cause.
HAMILTON: Part of what he's arguing there, I should explain, is that many people think approving a drug like Aduhelm might encourage the development of other drugs, but pharmaceutical companies have become pretty wary about trying to cure Alzheimer's. So maybe not.
MARTIN: I mean, this drug is also very expensive, right? Is that part of what is concerning people?
HAMILTON: Very expensive. The drug's makers, Biogen and Eisai, say the drug alone will cost $56,000 a year. And of course, patients will have to take it for many years. Also, there are likely to be other costs 'cause it's administered in a medical setting. So it's expensive, and Medicare is going to have to really think about whether it wants to cover this treatment.
MARTIN: NPR's Jon Hamilton. Thank you so much, Jon.
HAMILTON: Thanks. Transcript provided by NPR, Copyright NPR.
More from Hawai'i Public Radio
The Conversation: Addressing Hawaiʻi's nursing shortage; Big Island road collisions with animals
Catherine Cruz
Hawaiʻi Nurses' Association reverses position on reciprocal state license; 442nd regiment's 80th anniversary; Big Island student project improves roadway safety for drivers and animals; The origins of the musical trio ʻUheʻuhene


This part of the blog focuses solely on hair care. I believe that hair is one of women's 'business cards' and looking after it is vital. Therefore, these articles feature high quality hair care products and my favourite brands to help you make right decisions. I strive to create fresh and unique content that is interesting and, most importantly, useful for my readers. Carry on reading to learn tips and tricks that will make the process of looking after your hair much easier. Also, find out how to create perfect effortless waves and protect your hair from damage. I discuss the latest products and advise on what to buy to ensure your hair stays healthy no matter what life throughs at you.


Experience a music-less (sort of) dance party in Santa Monica!
Imagine a couple hundred people dancing like they're in a club, except without music. In fact, you hear nothing at all except the noise created by flailing limbs and rhythmically bouncing feet.
Is this some type of mass hallucination? A demonstration of some sort? Nope… it's Silent Frisco!
Silent Frisco is a company that creates dance parties where the only people who hear the music are the participants. They achieve this feat with the use of some clever technology. By using an FM transmitter to stream music to their guest's wireless headphones everyone at a Silent Frisco event is able to dance to the same tunes while not disturbing anyone outside of the party.
Though there is a novelty to being at a dance party where you can decide to not hear the music whenever you want. Silent Frisco's events have a practical advantage as well. The company's events often occur where loud music is prohibited. Areas that have quiet hours or frequently report noise violations are perfect locations!
Silent Frisco's name is a combination of their events Genre "Known as silent Disco" and their base of operations. San Francisco, don't be fooled by the title though SF hosts events all over California, including The Santa Monica Pier!
This special event will take place at the Wokcano restaurant in Santa Monica and offers regular admission for $12.50 or a bottle service VIP package for $400, that package features 8 tickets and a bottle of your choice of Ciroc, Grey Goose, Ketel One, or other high-end liquor. This event will sell out so get your ticket today!
Be sure to check out one of these events while you're in Santa Monica, You may discover a passion for a new way to experience music. If not, you'll still have a great story about going to a silent dance party!


Currently I am working on a couple of projects.
I am making a scarf for my father, very subtle - not too "homemade"
Knitting a couple of grey mittens for my mother, whit green and pink fishes on them.
Knitting some red napkins - it will be no more than 5 though out of 2 skeins.. that bothers me a bit.
Knitting some guesttowels for.. well haven't decided yet.
Then my biggest project, is a blanket for myself.. And oh that has certainly been a big project.. I think I have been working on it for over 3 years! of course In those 3 years I actually did almost finish the blanket, only to realise that I didn't like it and wantet to knit it some other way.
My Grandmother has sadly, just died.
That of course makes one think all kinds of stuff.
But my father told me that my grandmother used to say: "one can do exactly what one whishes to do" - And this, I will make sure to remember.


I have always had a passion for entrepreneurship, and for policy, because both shape our world in important ways. This probably came from my parents: my father was an engineer, then a patent attorney, and my mother was very active in politics. So, the thread running throughout my career is one of innovation and working across sectors to enact positive change. Impact investing embodies this shared purpose, and this realisation led to me becoming one of the impact pioneers.
Impact investing is pretty easy for grandparents to understand because its tenets harken back to a time when relationships trumped transactions, and commitment to community was the norm. Essentially we invest in companies that create a social benefit, broadly defined, while they deliver attractive financial returns. These companies can be obvious in their benefit (like solar energy or electric vehicles), or not so obvious (like tech companies that are run by women or people of colour, and are committed to multi-dimensional workforce development and community improvement). They don't do this simply because it is intrinsically the right thing to do, but because it makes their business more competitive, better differentiated, and ultimately more successful. In short, there is no sacrifice: impact investing allows you to blend profit and purpose!
1.6 million solar PV home systems in the U.S. compared with 30 million units in Sub-Saharan Africa. Tanzania alone has nearly as much total solar capacity as 14 U.S. states combined!
The barriers to growing clean energy in the developing world are just clinging to the past and its outdated models and policies. In Africa, as in most places, we've got to stop subsidising dirty energy and start incentivising clean energy more. We've got to stop thinking about Africa energy as not 'investment ready' and recognise that the early impact investors have been paving the way for a bold and big new market to emerge that has the benefit of less incumbent friction due to the fact that electricity is not as widespread as it is in other markets. And we've got to work together, marrying technology know-how and innovation from all over the world with African entrepreneurs and workers to allow the continent to come of age on its own terms and with the most modern of technical solutions. The barriers will melt away in the face of this uplifting and potent collective will.


The Denver Art Museum has received a $25 million gift, which will go towards renovating the institution's building. "The North Building is considered one of the most significant objects in the museum's collection, and our family is honored to support the much-needed rehabilitation required to bring it into the 21st century," says chairman J. Landis Martin, who donated the funds.
This entry was posted on Friday, December 9th, 2016 at 4:16 pm	and is filed under Art News, Minipost, News. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


text:
Q: How to trigger a download in browser from a Firebase Function for an image in GCS? I'm using this Firebase Cloud Function so that my users can download images from GCS instead of viewing them in the browser.
The problem is that for some reason, some images are still displayed in the browser.
Is there anything I'm missing?
const request = require('request');
const mime = require('mime-types');

exports.downloadFile = functions.https.onRequest((req, res) => {

    const url = req.query.url;
    const filename = url.split('/').pop();
    const mimetype = mime.lookup(filename);

    const headers = {
        'Content-Disposition': 'attachment; filename=' + filename,
        'Content-type': mimetype
    };

    res.set(headers);

    request(url).pipe(res);
});

A: Try setting content type to application/octet-stream instead of the one you are loading from a file.
RFC2046 specification of mime types describes application/octet-stream as arbitrary binary data. It is supported in all major browsers
Additionally, your href tags may use a "download" tag.
Edit:
Some browsers tend to detect mime type from a file's header. To prevent mime type detection and force download, beside modifying content type you also have to add Content-Transfer-Encoding: Binary  header.


Jews of the Dutch Caribbean addresses id and ethnicity, via a close examine of a little-known crew in Curacao, Netherlands Antilles. It asks readers to take a extensive standpoint at the contexts that play a task in ethnicity together with, for instance, ecology, heritage, kinship, trade and language use in way of life and, crucially, rituals. It asks readers to take a vast standpoint at the contexts that play a task in ethnicity and attracts on ethnographic learn to investigate ethnic identities and think about the way it is formed and negotiated.
The definitive variation of Foucault's articles, interviews, and seminars. Few philosophers have had as robust a power at the 20th century as Michel Foucault. His paintings has affected the instructing of any variety of disciplines and continues to be, two decades after his demise, seriously very important. This newly on hand version is drawn from the whole choice of all of Foucault's classes, articles, and interviews, and brings his most vital paintings to a brand new iteration of readers.
A well timed and enormous recollection, this attention captures the crossing of the ocean undertaken by way of immigrants from India within the past due 1800s. Illustrating their travels from their domestic kingdom to colonial South Africa, this narrative demonstrates the a number of beginnings that made up the indentured event for those wandering exiles.
The present controversy surrounding new religions has dropped at the vanguard the function of apostates. those members go away hugely debatable routine and suppose roles in different enterprises as public competitors opposed to their former hobbies. This quantity examines the motivations of the apostates, how they're recruited and play out their roles, the categories of narratives they build to discredit their prior teams, and the impression of apostasy at the end result of conflicts among events and society.
The concept of classifying practices that I present draws on a variety of intellectual threads. I suggest that classifying practices of ethnic identities are situated in specific historical–ecological social relations. They are shaped by culturally situated cognitive activity through which historically contingent knowledge about social collectivities is structured into – and structures – a system of understandings about relations between social collectivities and the representations of those relations.
My encounter with the Jewish communities of Curaçao was influenced profoundly by this contract and the negotiations over it during the first three months of my participant-observation, from September to December 1991 (Benjamin 1999). In negotiating our contract, we each brought understandings about how we expected the other to act relative to my research and writing and about what the contract would do to shape or to limit our own and the other's actions. Not all of our understandings were accurate.
I may have sought approval unduly. As a result, I went through a process of developing a relationship with people with whom I had struggled. This may have helped me better to comprehend local concerns because conflict sometimes reveals more than civility. In the first years after fieldwork, the contract also has affected the representation and publication of my research. At times I have felt stymied when trying to write. I did not know how to join a vivid telling of cultural and social life with a need for discretion and anonymity.


text:
Ahead of the Curve Auto Supplier
BlogsPublications | March 20, 2018
Cybersecurity and Roads Data Gain Protection from Public Disclosure
On March 19, 2018, Michigan Governor Rick Snyder signed into law a new set of exemptions protecting certain types of information from disclosure under the state's Freedom of Information Act. The measures are designed to protect the confidentiality, integrity, and availability of certain information systems, as well as cybersecurity plans, assessments, or vulnerabilities.
Specifically excluded from disclosure is "information that would reveal the identity of a person who could, as a result of disclosure of the information, become a victim of a cybersecurity incident, or that would reveal the person's cybersecurity plans, or cybersecurity-related practices." These amendments were prompted by concern that private companies that experience data breaches and other cybersecurity have been reluctant to disclose information about the incidents to the public authorities charged with preventing them, out of fear that, once in the hands of a public body, that data could then be available to the general public—including to bad actors who would use the data to do further harm to the victims.
The new law also exempts data related to transportation infrastructures. Specifically, the amendment exempts from disclosure "Research data on road and attendant infrastructure collected, measured, recorded, processed, or disseminated by a public agency or private entity, or information about software or hardware created or used by the private entity for such purposes." This provision was added late in the legislative process by the Senate to the House bill, which had originally dealt only with cybersecurity, and remained in the final consensus version sent to the Governor. The language of this provision raises several questions. What is "research data," and how does it differ from other types of data? Does traffic data qualify? Does the inclusion of this provision within a cybersecurity bill suggest that it is intended to promote the development of vehicle-to-infrastructure digital communication networks, or is it a more defensive reaction to concerns over crumbling physical roadways? These and similar questions remain for the courts, or future legislation, to clarify.
Brian D. Wassom
bwassom@wnj.com
Autonomous, Connected and eMobility


text:
Listings >> Penguins >>Learn
Watch March of the Penguins 2: The Next Step – the sequel to the 2005 award-winning documentary.
Luc Jacquet | Morgan Freeman
About: The ultimate penguin documentary is back. Filmmaker Luc Jacquet and Morgan Freemen return with the sequel to the acclaimed 2005 award-winning documentary March of the Penguins.
This time the story focuses on two emperor penguins, a father and son, as they face and overcome the unimaginable challenges of life in this remote and dangerous land.
Watch March of the Penguins 2 and see how Luc Jacquet uses new 4k technology cameras, drones, and under-ice diving to show the amazing lives of these wonderful creatures.
Suitability: U
How to watch:
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Search now on your streaming service
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Be inspired: Discover more ways to learn about the ocean.
Watch March of the Penguins – an in-depth look at the life-cycle of the Emperor Penguin.
Read A House for Hermit Crab – a colourful marine adventure about moving home for children aged 5-8.


text:
Thursdays 8:00 PM on ABC
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Grey's Anatomy Season 5 Episode 18: "Stand By Me" Music
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Grey's Anatomy Season 5 Episode 18 Quotes
Miranda: I've lost Hunt and Torres, see I sent them to get Shepherd and ... never heard from them again ... I was trying to solve the Shepherd situation for you sir, but it appears that I somehow made it three times worse.
Richard: [stares]
Miranda: So I'm telling you and my next move I believe is that I'm gonna call the police because I'm half convinced that they're all dead ... on a spit ... with an one armed man turning them into shish kabob sir ... It's my mind it just goes there.
Permalink: I've lost Hunt and Torres, see I sent them to get Shepherd and ....
Added: March 20, 2009
Miranda: Do I look like a therapist?!
Richard: You asked!
Permalink: Do I look like a therapist?! You asked!
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Ohio University Honors Tutorial College
Honors Tutorial College (Website)
Go to information for Honors Tutorial College.
• Anthropology Major (B.A. in Anthropology) [offered through Honors Tutorial College]
• Art History Major (B.A. in Art History) [offered through Honors Tutorial College]
• Astrophysics Major (B.S. in Astrophysics) [offered through Honors Tutorial College]
• Biological Sciences Major (B.S. in Biological Sciences) [offered through Honors Tutorial College]
• Business Administration Major (B.B.A. in Business) [offered through Honors Tutorial College]
• Chemistry Major (B.S. in Chemistry) [offered through Honors Tutorial College]
• Classics Major (B.A. in Classics) [offered through Honors Tutorial College]
• Communication Sciences and Disorders Major (B.S.C.S.D. in Communication Sciences and Disorders) [offered through Honors Tutorial College]
• Communication Studies Major (B.S.C. in Communication Studies) [offered through Honors Tutorial College]
• Computer Science Major (B.S.C.S. in Computer Science) [offered through Honors Tutorial College]
• Dance Studies Major (B.A.) [offered through Honors Tutorial College]
• Dance Tutorial Major (B.F.A. in Dance) [offered through Honors Tutorial College]
• Economics (B.S. in Economics) [offered through Honors Tutorial College]
• Engineering Physics Major (B.S. in Engineering Physics) [offered through Honors Tutorial College]
• English Major (A.B. in English) [offered through Honors Tutorial College]
• Environmental and Plant Biology Major (B.S. in Environmental and Plant Biology) [offered through Honors Tutorial College]
• Environmental Studies Major (B.A. in Environmental Studies) [offered through Honors Tutorial College]
• Film Tutorial Major (B.F.A. in Film) [offered through Honors Tutorial College]
• French Major (A.B. in French) [offered through Honors Tutorial College]
• General Theater Major (B.F.A. in Theater) [offered through Honors Tutorial College]
• Geography Major (B.A. in Geography) [offered through Honors Tutorial College
• Geological Sciences (B. S. in Geological Sciences) [offered through Honors Tutorial College]
• History Major (A.B. in History) [offered through Honors Tutorial College]
• Journalism Major (B.S.J. in Journalism) [offered through Honors Tutorial College]
• Mathematics Major (B.S. in Mathematics) [offered through Honors Tutorial College]
• Media Arts and Studies (B.S.C. in Media Arts and Studies) [offered through Honors Tutorial College]
• Music Major (B.A. in Music) [offered through Honors Tutorial College]
• Neuroscience Major (B.S. in Neuroscience) [offered through Honors Tutorial College]
• Philosophy Major (A.B. in Philosophy) [offered through Honors Tutorial College]
• Physics Major (B.S. in Physics) [offered through Honors Tutorial College]
• Political Science Major (A.B. in Political Science) [offered through Honors Tutorial College]
• Social Work Major (B.A. in Social Work) [offered through Honors Tutorial College]
• Sociology Major (A.B. in Sociology) [offered through Honors Tutorial College]
• Spanish Major (A.B. in Spanish) [offered through Honors Tutorial College]
• Studio Art (B.A. in Studio Art) [offered through Honors Tutorial College]
• Studio Art (B.F.A. in Studio Art) [offered through Honors Tutorial College]
• Theater Major (B.A. in Theater) [offered through Honors Tutorial College]
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• Women's, Gender, and Sexuality Studies Major (B.A. in Women's and Gender Studies) [offered through Honors Tutorial College]


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The Future of Civic Tech is in…(Guesswhat)…Civics
Posted by Roger Wilson 11sc on May 07, 2016
If Civic Tech excites you, you would have loved the recent Roundtable on the Future of Technology and Democracy. The Roundtable took place at Harvard Kennedy School's Ash Center for Democratic Governance and Innovation.
The Roundtable was an indication that Civic Tech is becoming more citizen-centric and less tech-centric. Civic means "relating to citizenship or being a citizen." The dictionary definition of civics is "the study of the rights and duties of citizens and of how government works."
Archon Fung, Academic Dean and Professor of Democracy and Citizenship at the Kennedy School, moderated the discussion. The featured panel included most of the 2015-16 Technology and Democracy Fellows and a Kennedy School student, Aaron Myran. Myran represented the student group, Tech4Change.
Fung began with his take on the state of the field. He said that governments and civic organizations had been slow to adopt new technology and that no "killer app" has surfaced yet. He stated that success did not necessarily translate into dollars and that success in any form was elusive for many of the concepts advanced as Civic Tech.
Fong observed that new technologies such as the search engines of Google and the interest algorithms of Facebook have become powerful sources of civic information. He said however that the organizations governing the technology don't subscribe to democracy-enhancing or journalistic norms. Fong lamented the decline of older media, which in his view supported the journalist's ethos of "telling truths and stories to hold power accountable."
There is no question that new Tech is powerful in civic affairs. Other panelists spoke of spectacular results from experiments by Google and Facebook to push voter participation and organ donor commitments respectively.
Panelist spoke of a variety of challenges in the field. From their various perspectives, the challenges include the representativeness of online constituencies, the dizzying variation of local practices, the slow adoption by "non-digital natives," and the difficulty of developing sustainable enterprise models.
The future for technology and democracy looked messy to most participants despite their longings. One participant pined to restore the positive meaning of "technocrat" which drew appreciative laughter. Many participants and panelists seemed to wish they could make government work better in purely operational terms but also by eliciting constructive participation from citizens, without messy "politics." Panelists and participants seemed wistful for non-confrontational, non-competitive non-partisan visions of civic life (almost the opposite of what I have experienced in the media business and as a citizen). However, the discussion seemed to turn toward a less tidy more realistic future.
The room seemed to be on the cusp of an alternative vision of Civic Tech. Participant David Eaves, Research Fellow in the Science, Technology, and Public Policy Program, challenged non-partisan assumptions, saying that the Campaign Tech component of Civic Tech was vibrant and certainly partisan. He spoke of the old partisan press as a model for future uses of technology. Another participant eloquently distinguished between designing for consumers of government services vs. designing for citizen participants in government. Student panelist and former organizer, Aaron Myran spoke of starting from what the citizen wants and empowering citizens with a "B.S detector."
Listening to all these smart people, one clear conclusion is that the future in Civic Tech is its ability to improve the experience of active citizenship. Citizens want more satisfaction as they try to exercise their rights and perform their duties as citizens. The next generation of civic tech developers is going to improve how government actually works, not simply by automating processes within professional government, but by creating new tools facilitating citizen-self-government.
The Roundtable discussion pointed to a future in Civic Tech that is not about solitary "killer apps" but about new "killer" enterprise platforms combining multiple technologies. Such diverse components as database journalism, improved polling, constituent feedback systems and other technologies discussed at the event are not going to dominate Civic Tech. But many of these technologies will become components of more comprehensive platforms.
New multi-technology platforms could provide citizens with new means to aggregate interest, knowledge and belief into political action and far-reaching power. These enterprise platforms could compete with old-fashioned media enterprises (including internet-delivered information enterprises still using old-fashioned journalistic methods). The new platforms could also compete with old-fashioned political parties and advocacy organizations.
The key concept coming round in Civic Tech begins with what the citizen wants and builds a whole technology-based enterprise to deliver that experience – that's why we call it Civic Tech!
Notes: I have written about Facebook Algorithms in a previous post Breaking News: There is Bunk on the Internet!
Cleve Thomson who has written a series of articles in Smithsonian Magazine providing historical perspectives on developments in technology wrote a piece about the partisan press in the May issue Tweet All About It
Campaign Tech Ash Center Democratic Governance and Innovation Civic Media Civic Tech


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ArtSeen	 February 3rd, 2011
by David St.-Lascaux
MOMENTA ART | JANUARY 7 – JANUARY 16, 2011
"Winter Break" installation, Momenta Art gallery. Photo by Alan Wiener, courtesy Momenta Art.
It would be nice to be able to write a story's worth of criticism—or encouragement—about a four-person group show by underexhibited artists. But first there has to be a there there. Case in point: Winter Break at Momenta Art in Brooklyn, featuring either 11 or 25 works (depending on how one counts a set) by Marina Adams, Peter Hopkins, Robert Janitz, and Brooke Moyse.
Winter Break, which purports to be "an exhibition of recent paintings by four artists who approach the painted image or object with a critical eye trained on notions of the sacred," may aim for that, but the show is entirely too thin to draw any conclusions other than the not so favorable one that these artists need to produce more work, and that the curators' definition of the sacred could use a bit of fleshing out.
That is not to say that the works themselves are devoid of merit. Marina Adams's "Peace Paintings," 15 circles-on-square-canvases arranged in three rows of five, are described by the gallery's website as "based on Buddhist mandalas…The references in the work are unambiguous." That's not really true: the most obvious visual references in the paintings are to peace signs (relevant) and pie-charts (unintended artifact). In the context of fine art, formal references in these works to Warhol's "Flowers" silkscreen variations are the most Rorschachianly obvious and, quite frankly, the most gratifying. Adams's use of bright and DayGlo paint infuses the set with a vitality worthy of the theme of peace or the heightened supersensory state of meditation. As a set, these works cohere in kaleidoscopic permutations; as single paintings, one suspects they'd be less successful.
Peter Hopkins's shimmering, museum-scale "Hinged Site, Untitled (Black/White)" and "Untitled (Red/Yellow)," both painted in 2003, are visually stimulating and materially and functionally unique. Both incorporate toxic, sealed medical liquids and fabric; "Black/White" uses mica alkyd for a seashell pearlescent effect, "Red/Yellow" a huge field of Day-Glo yellow. Hopkins's "Hinged Sites" are so called because they are indeed hinged along the left edge, and open like doors—or books. The beetle carapace "Black/White" is aptly named: the dark, metallic exterior, also incorporating gold holographic foil, is contrasted upon opening with a pale, textured, iridescent interior. The display possibilities of these works are intriguing. For example, as doors, mounted at floor level, with a blind opening.
Hopkins also makes triptychs, not on view here, which have their own, arguably more allusively "sacred" symbolism; one would've liked to see at least one example in this show. Hopkins's work, despite its appealing dualistic, public/private, revealed/hidden, "sacred" connotations, stands alone as formal, non-verbal visual art perhaps its real claim to sacred fame.
Robert Janitz separates two of his four paintings from the rest of the show by mounting them on a backdrop of natural corrugated cardboard wrapped from ceiling to floor, curving at the ends. In a bizarre interview with the online art event-listing website Artcards, Janitz sardonically states, "I envision painting with the canvas hung on the wall and then presenting it laid out flat on a table. When we're talking about the place of the cardboard I think about the architectural constraints of fucking—or the evolution of the glory hole." All four of Janitz's paintings are classically minimal, essentially textured areas of solid colors with subtle variations, monochrome paintings à la Robert Ryman's "Ledger" (1982) or Kazimir Malevich. Thus the thick, off-white encaustic "Untitled" (2010) and "(pawn size)" (2010), a joke-on-scale miniature covered by a sooty wash of drybrush, are intentional nothings. Aesthetically, Janitz's paintings "hang" together, their colors in harmony in a palette of monochrome and browntones that includes the gallery and overlaid walls. One supposes that, if Janitz acknowledged the sacred theme in selecting his paintings, his G*d would be evil, doornail dead, or opaque.
Brooke Moyse is represented by four works—a set of small geometric studies. In these, definition of the sacred is stretched to incorporate such concepts as energy, balance, and harmony. "Pink Ghost Mountains" (2010, as are all of Moyse's paintings), a pale landscape, is better titled than executed, containing as it does apparently transparent layers in a largely linear composition. "Red Drawing" is more successful, immediately eliciting similes (e.g., "like linoleum" and "like a retro fabric pattern"). This painting invites comparison to Malevich's conic section "Morning in the Village After Snowstorm" (1912) at the Guggenheim. All in all, Moyse's unsigned paintings most resemble what one imagines outsider abstract art would be like. Not to put too fine a point on it, it's not clear whether that's intentional.
Between Adams's cheerful vision, Hopkins's revelations, Janitz's elegant emptiness, and Moyse's divine geometry, it's possible that Winter Break is, in fact, "an exhibition … trained on notions of the sacred." Still, one couldn't be faulted for thinking not, and wanting more.
David St.-Lascaux
DAVID ST.-LASCAUX is a poet and author of the upcoming memoir My Adventures with la Belle Jeune Fille; L'Oubliette, or Plan A; and e*sequiturs. Website: Interrupting Infinity-davidstlascaux.com.
PÒTOPRENS: The Urban Artists of Port-au-Prince
by Maureen Catbagan and Amber Jamilla Musser
PÒTOPRENS is a feast for the eyes. Occupying three floors at Pioneer Works in Brooklyn, the show brings together twenty-five contemporary artists working in different mediums in order to showcase Haitian art, much of which has not previously been displayed in the United States. This breadth is a deliberate curatorial choice; it reflects the city's geography and the resultant microcosms of artistic communities, and is a confirmation of the vigor and aesthetic prowess of Haiti's artists.
Richard Pousette-Dart: Works 1940 – 1992
by Phillip Griffith
The paintings that occupy the main space of Richard Pousette-Dart: Works 1940 – 1992 create full visual environments, like a sun filling the sky with heat or a carpet of vegetation covering a lawn.
by Valentina Di Liscia
JUL-AUG 2019 | ArtSeen
The sculptures in Simone Fattal's exhibition Works and Days at MoMA PS1 appear freshly dusted off from an archaeological dig, artifacts or parts thereof wrested from history. The retrospective, curated by Ruba Katrib, is the artist's first in the United States and presents more than 200 works including paintings, works on paper, and sculptures from the last five decades of Fattal's production.
Radicalism in the Wilderness: Japanese Artists in the Global 1960s
by Benjamin Clifford
MAY 2019 | ArtSeen
Radicalism thinks through this dialectic within Japan itself and on an international scale. The show features boundary-pushing artists who worked in areas remote from Tokyo—the seat of the art establishment after World War II—while proposing the terms "connection" and "resonance" to describe, respectively, concrete links and conceptual parallels with figures in Europe and the United States.


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Voloshky Ukrainian Dance Ensemble – Carnival by Mark Morris, Rebirth – Pennsylvania
By Ryan Wenzel on September 19, 2012 in Reviews · 0 Comments
© voloshky
Voloshky Ukrainian Dance Ensemble
Carnival (new Mark Morris), Rebirth: Kozachok, Kupala, Spring Games
Pennsylvania, Bryn Mawr, McPherson Auditorium
www.voloshky.com
When it was announced that Mark Morris would choreograph a new piece for Philadelphia's Voloshky Ukrainian Dance Ensemble, the collaboration sounded promising. Morris, after all, knows Slavic folk dance: As an 11-year-old in Seattle, he danced alongside the Russian Balalaika Orchestra and in his teenage years learned Balkan dances as a member of the local Koleda Folk Ensemble.
Given this history and the fact that such groups rarely have opportunities to work with choreographers of this stature, it's unfortunate that Morris's newest dance Carnival, which had its premiere on September 14 at Bryn Mawr College, is so difficult to enjoy. The piece could be both grating and boring, and it did little to show off the charming and energetic Voloshky dancers, who fared better elsewhere in the more traditional pieces. (Dancers representing the Zorainy Ukrainian Song and Dance Ensemble – visiting from Kirkovohad, Ukraine – also appeared in this performance, but the program didn't make clear who performed in each number.)
The work is set to Camille Saint-Saëns' famous suite The Carnival of the Animals, but the music has been re-orchestrated by Andrii Shoost to give it a more Slavic flavor and allow it to be played by the small ensemble of live musicians from the Zorainy Ensemble. This decision struck an odd note, the piece not really benefiting from the popular score (almost unrecognizable in places) nor quite fitting the folk orchestration. Maile Okamura's costumes – Hawaiian shirts and black tights for the men, sunny yellow dresses for the women – suggest modern or contemporary dance.
The choreography is more puzzling still. The many sections of the work are disjointed, and although a few steps recur – a scooping motion made with one arm, for instance – no larger ideas are developed. Dancers hold hands to form a chain and veer around the stage like a snake; five women attach and detach from a man strolling in circles with his eyes closed; men pair off to hold women by the arms and quickly escort them across the stage. Some of these images are intriguing, but Morris discards them quickly. Any sense of community – a quality that draws me to both folk dancing and Morris's choreography – is muted. In one passage, a woman stops her weeping and begins skipping around the stage when the others leave her alone. So much for shared humanity.
Male athleticism is one element of Ukrainian folk dance that Morris does make use of. A man crosses the stage in a series of backflips, and another follows upside-down, jumping with his arms. Then a third man passes by in a series of comically exaggerated frog leaps. It's one of several moments – like the human snake – that made me wonder whether Morris was attempting to explore the score's animal themes. If that was his intent, it wasn't always entirely clear.
Fortunately, the program also featured a first act, titled "Rebirth", which featured short traditional music and dance numbers themed around the seasons. (The lineup was modeled after a program choreographed by Anatolij Kryvochyzha of the Yatran Ukrainian Dance Company, for a 1977 U.S. tour that was canceled abruptly by Soviet authorities before it had finished.) In "Kozachok," a dance representing springtime, two men rattle off high kicks to compete for a woman's affection, and the rest of the ensemble joins in the mating ritual in "Kupala," a summer dance inspired by pagan ritual.
Most remarkable in this act were the contrasts. It began with a welcoming dance: The couples entered the stage formally, in lines, and both men and women stood with utmost poise and moved their arms softly. By the first act-finale – "Spring Games," a celebration of the snow thawing – the audience barely had time to applaud each physical feat and false climax. Couples melted into group formations and vice versa at dizzying speed, and three men attempted to outdo each other with Cossack-style bravura. The slow build and sheer physicality of the piece were thrilling; an older gentleman sitting next to me actually started howling. Shamelessly crowd-pleasing? Maybe, but their enthusiasm was irresistible.
Tags: Anatolij Kryvochyzha, Andrii Shoost, Bryn Mawr, Camille Saint-Saens, Carnival, Koleda Folk Ensemble, Kozachok, Kupala, Maile Okamura, Mark Morris, McPherson Auditorium, Pennsylvania, Rebirth, Spring Games, The Carnival of the Animals, Voloshky Ukrainian Dance Ensemble, Yatran Ukrainian Dance Company, Zorainy Ensemble, Zorainy Ukrainian Song and Dance Ensemble
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Dance Heginbotham – Twin, Closing Bell – Jacob's Pillow
Ryan Wenzel
Ryan Wenzel is a dance writer and editor in New York. He blogs about ballet, modern, contemporary, and traditional dance at www.bodiesneverlie.com and edits the dance section of The Brooklyn Rail, a monthly journal of arts, culture, and politics. He has written about topics other than dance for publications including The Advocate, Details, Popular Photography, and American Photo. You can find him on Twitter at @BodiesNeverLie.


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The SBOT currently has 13 standing teams, in addition to the Board of Directors and Executive, whose responsibility is to research and respond to government legislation and to introduce changes, programs and policies that will assist and benefit the business community and SBOT staff. As a member in good standing with the Surrey Board of Trade, you are eligible to join these teams which contribute to the economic development of Surrey.
For more information or to volunteer for an advocacy team, please contact Jasroop Gosal, Policy Coordinator, at 604.634.0345. View the work of our policy teams.
Red tape reduction, development approvals, official community plan, and business attraction strategies.
Natural resources, emergency planning, climate change, waste management, and the Environment Awards.
Government budgets, business taxation & public sector investment.
Advocacy, industry & manufacturing advocacy, agricultural initiatives, international services, trade missions, Innovation Awards, International Awards, Agriculture Reception and Manufacturing Reception.
Livability, housing, child care, poverty, health care, and public safety.
Arts and culture investments, tourism advocacy, creative industry growth, Surrey Music City Centre, and Mayor's Art Awards.
Air, border, rail, road & water – moving goods and people.
Skilled labour, education, indigenous and immigrant/refugee entrepreneurship, employment standards, and labour market.
Organizes annual Business Awards Dinner – event is in November.
Organizes annual Golf Tournament – event is in June.
Organizes the annual Police Awards Dinner – event is in October.
Entrepreneur services, and the Surrey Women in Business Awards.
Grades 4-6, high school, post-secondary, youth business incubator programming and Surrey's Top 25 Under 25 Awards.
For more information on these teams or to volunteer, please contact Andi at 604.581.7130 or andi@businessinsurrey.com.


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Use Which?'s unique bank branch closure tool to find out if your local bank branch is closing in 2019.


Last night in California, the G.O.O.D. Music crew celebrated the MTV Video Music Awards and partied it up courtesy of Moet to celebrate the completion and impending release of the crews new album, Cruel Summer. While Kanye West was in New York, his crew including Big Sean, Common, and Teyana Taylor hosted a private 50-person dinner and after-party at West Hollywood's Bagatelle restaurant.
Ne-Yo, NeNe Leakes, Jennifer Williams, Jesse Williams, Eva Marcille, and Lance Gross were some of the guests that stopped by the party to show love and party with the G.O.O.D. Music family. DJ Wonder worked the turntables, spinning hits from the G.O.O.D. folks and their Def Jam labelmates. Hit the jump to check out all the photos from the event courtesy of NecoleBitchie.