text:
Boxe Is the Portable 1080p Mini Smart Projector That Goes Wherever You Want
Marshal Rosenthal
A Front Projector You Can Hold
There was a time when televisions were small and puny to watch — once the 19th inch TV was the big guy. As size only slowly increased, many turned to creating their own home theater using a front projector that could provide a big picture. In order to do this they confronted the problem of the front projector screen. This rooted the positioning of the front projector in one place and needed a good amount of room to "throw" the picture. Few had a dedicated room to give up for that. Things are quite different today because large screen TVs are now common, so that means a front projector needs to be radically different than what has been the case before. Today's front projectors must be more than technologically advanced and competent and affordable — they need to be portable, since this would allow a person to have that large picture anywhere in their house or take that large picture to a friend's house or just about anywhere because it contains all that is needed to create that big picture. That's the idea behind Heyup's Boxe Portable 1080p Mini Smart Projector.
Take The Big Picture With You
Start by looking at the Boxe and you'll see that it doesn't look like any front projector out there. Not only does it contain all that it is in a small package, but it is appealing due to its vertical and curved shape. A design that attracts the eye without being harsh and glaring. This not only makes it easy to carry, but it also makes it inviting to use.
Nor should it be ignored that portability can also mean having an internal power supply. Boxe does so although it can be plugged into a wall outlet for sure. But it's good to have a rechargeable battery providing around 1 1 /2 hours of powered functionality (this can vary depending on which technologies are put into play). So one of those sub-90 minute children's movies shouldn't have any issues in finishing, but to avoid annoying the kids it's best to make sure the battery has been fully charged or go with using AC consistent power. Of course uses aren't limited to it playing for the kids — because bringing it over to a friends for some in-person movie or gaming competition makes for a good time and means others have to bring the snacks.
What Makes Picture and Sound
Let's get those pesky inputs/outputs out of the way — besides a USB-C for taking in power, there's a USB 2.0 for connecting a phone for charging. There's also an HDMI for input, although that does mean there needs to be a connected video source (like a Blu-ray player, as example). But there's also screen mirroring via Android and iOS (Apple) which lets you push content to Boxe and then out — that's where a smartphone comes in handy. But because of the operating system inside, you can download and install apps to view directly -- such as streaming sites and using a browser, among others. That means, obviously, that it can connect via WiFi to a home network.
Audio is taken care of because there;s a Bluetooth speaker built in. Besides providing audio for what is being projected, it also means that one can project streaming audio into Boxe for listening. Fortunately the audio sounds better than it just being a convenience, and it can be shuffled off to externals through an audio out minijack.
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There's Light Coming From That Lens
Now it's most important to go into the tech that beams the images out for viewing. The light being emitted comes from LED illumination — that doesn't generate the heat of conventional bulbs and can handle ambient light fairly well — although a dark room will always look better.
You also want to consider where the image is being projected on. Sure you can use a wall but then any color tint from the paint is hurtful. Back in the den we went with an old slide projector screen from the garage because it had a clean white to project against. We also did our best to shoot the projector straight across to the screen — because while having the keystone correction controls makes for an easy way to straighten out the image, doing this digitally does affect the overall resolution and so should be avoided when possible.
Let's Watch A Big Picture
We also tried it outside using the screen and for sure Boxe was easier to set up than the screen was. The menus are quite simple to use, although it doesn't hurt to familiarize yourself with it before it gets pressed into service with a crowd surrounding you. Eschewing hooking up the PS4 (which we used earlier as part of the setup), we all sat down to watching the Blu-ray Disc of Zack Snyder's Justice League (Supe in his black outfit is impressive). Boxe does its job at 1080p which means good detail. BTW, the remote is pretty easy to use, as is the manual focus wheel.
[Keep in mind too that streaming content being transferred into Boxe will be more compressed and so less highly detailed compared to a locally played disc and the smaller the screen image, the "stronger" the picture will appear]
So the verdict is in and Boxe gets the thumbs up. Having the capability of taking a large picture just about anywhere you want and using it whenever you want is huge (yeah miserable pun since we're talking about a projector). There's a tripod socket, a remote, It's not expensive and it's portable. See more about it at heyupnow.com
By Carolyn Dahl
Africa Political & Social Issues
South African Apartheid: Soweto (South Western Eastern Townships) - So Where To?
By ixwa
Geography, Nature & Weather
How to Measure Length and Area on Google Maps
By Eugene Brennan
Remote Work: Its Inevitability and Benefit
By Tobey Okafor
Zoo Animals & Zoos
Zoos of the United Arab Emirates
By Peter Dickinson
William Wordsworth's "Michael"
By Asterveda Healthcare
By Melissa Clason


text: Repository for Solutions to Project Euler Mathematic and Programming Problems

redpajama_set_name: RedPajamaGithub


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text: Q: Is there a chrome API for viewing contents of open sites? Im looking for a way to read the source only of open tabs on my browser, specifically music.apple.com. What chrome api should I use for this? Ive been searching around their docs but couldn't find anything that looks like what I need.

redpajama_set_name: RedPajamaStackExchange


text:
Johan Wilhelm Ludvig Zinck (21. november 1776 i Hamborg – 11. maj 1851 i København) var en tyskfødt musiker og komponist, der virkede i Danmark. Han var far til skuespilleren Otto Zinck og arkæologen Ludvig Zinck.

Ludvig Zinck var elev af sin fader H.O.C. Zinck og dennes medhjælper ved Det Kongelige Teaters syngeskole. I 1802 blev han syngesufflør og hoforganist, og i tiden 1819-42 var han første syngemester ved teatret; desuden deltog han meget i hovedstadens musikliv, optrådte som pianist og komponist (deriblandt tonemaleriet Dagen), var koncertmester i Det harmoniske Selskab, og dirigerede i en årrække kongens regimentsmusiks harmonikoncerter på Gjethuset (gæthuset, støberihuset). 1838 blev han titulær professor.

Som teaterkomponist gjorde han sig gentagende bemærket, således med syngestykket Soliman den anden (1812) og musik til Knud Lyne Rahbeks Tordenskiold i Marstrand, Heibergs Prinsesse Isabella, Alferne, Fata Morgane med flere.

Kilder

Eksterne henvisninger

Organister fra Danmark
Komponister fra Danmark
Hofkunstnere fra Danmark
Titulære professorer fra Danmark
Danskere i 1800-tallet
Personer fra Hamborg
Ludvig 01

redpajama_set_name: RedPajamaWikipedia


text:
DPAPHOTOSSIX247831
25 January 2023, Mecklenburg-Western Pomerania, Greifswald: A bollard in front of the bascule bridge. The historic wooden structure was built in 1887 on the Dutch model at the mouth of the Ryck River in the small fishing village of Wieck and reconstructed in 1994 and 2015. It is preserved as a technical monument. A bollard system protects the bridge from unauthorized crossing. Photo: Stefan Sauer/dpa
Location: Greifswald, Mecklenburg-Western Pomerania, Germany
Post Date: Jan 25, 2023 9:40 AM
TAG ID: dpaphotossix247831 (RM)
Credit: Stefan Sauer/dpa/picture-alliance/Newscom
Photographer: Stefan Sauer
Keywords: Construction, Communities, traffic, Baltic Sea, Ports, Bollard system

redpajama_set_name: RedPajamaCommonCrawl


Amsterdam University Press, 322 pp.
Through this collection of articles, Thomas Vaessens and Yra van Dijk attempt to gauge the current state of postmodern literature in Europe. Besides an important introduction by the editors, which I will discuss at length, the volume contains twelve separate essays. Ten of these chapters concern the modern situation in specific European literatures: we are offered vistas of Russian (Ellen Rutten), British (Sebastian Groes), Dutch (Thomas Vaessens), Italian (Monica Jansen), French (Sabine van Wesemael), post-Yugoslav (Guido Snel), Norwegian (Suze van der Poll), Flemish (Sven Vitse), Polish (Arent van Nieukerken), and German literature (Ewout van der Knaap). Two additional essays deal with Spanish and Spanish American literature (Brigitte Adriaensen and Maarten Steenmeijer) and American literature (Allard den Dulk), thus establishing what the editors call a 'transatlantic connection'. The contributors — almost without exception born in the 1960s or 1970s and working in the Netherlands — are specialists in their respective fields.
The twelve chapters about specific literatures are intended to conform to the same basic design. Each contributor is expected to describe how postmodernism has manifested itself in the literature in question and how it has been criticised, and to exemplify what came after postmodernism by introducing and commenting on the work of three representative authors. Using this strategy, the book as a whole aims to 'explain literary texts and authorial strategies by analyzing them as parts of the search for a Third Way in literary and cultural politics: a new position that tries to reconcile postmodern and pre-postmodern, humanistic elements'. Experts on the respective literatures will no doubt find much to discuss — for my own part, I will not attempt to comment on the essays one by one, or even highlight one or two of them for special scrutiny. This is partly due to my own lack of competence — I am not a specialist in postwar European literature or in any of the literatures presented in the collection — and partly to my feeling that the essays are fine and interesting when taken on their own and not as parts of a larger plan. It seems clear to me that the collection offers a rich and fascinating mosaic of images of developments in European (and transatlantic) literatures. What I find most worth discussing is the distinctive overall interpretation of the literary-historical development offered in Van Dijk and Vaessens's introduction and, to some extent, the relationship between that interpretation and the individual essays. Those aspects of the collection will form the centre of attention in my review.
Let me say in passing that the subtitle of the collection, 'European Literature beyond Relativism', has unsettled me from the start. Vaessens and Van Dijk no doubt want the formulation to express that European literature has developed away from relativism, viewed by them as a less desirable aspect of postmodernism, but I find the idea that European literature has moved beyond relativism both doubtful and hazy. Relativism about values, or relativism about what? And relativism in what sense? The formulations in Van Dijk and Vaessens's introduction (see in particular pp. 17-8) do not really make that clear. Anyway, I cannot see that the essays in the collection warrant the generalisation that European literature has moved beyond relativism (nor, for that matter, the generalisation that it has not), for the question of the relativism or non-relativism of the literature under consideration is not really an explicit issue in the essays. And if European literature has in fact moved beyond such kinds of relativism as relativism about the ontology of values, I tend to deplore that fact, not greet it with satisfaction like Vaessens and Van Dijk. The only real alternative to relativism about the ontology of values appears to me to be objectivism about the ontology of values — the belief that values are there, independently of what we think or say, like the material world is there (pace ontological idealism) no matter what we think or say, so that statements about values can be simply true or false just like statements about the outer world — and I cannot see a change from relativism to objectivism about the ontology of values as an intellectual or moral step forward.
Relativism apart, I do not doubt that one can point to processes like the six developments described by Van Dijk and Vaessens. However, I am not convinced by their overall interpretation of the situation as testifying to the emergence of a new kind of postmodernism, 'Late Postmodern Literature', or by their assurance that 'it is precisely notions of the postmodern which have shaped both literature and commentary after the "death" or end of postmodernism'. My spontaneous reaction is that this must be a gross overestimation of the importance of postmodernism, but I freely admit that I am not prepared to sketch an alternative picture of what has happened in European literature over the last few decades. I find it rather obvious, though, that Van Dijk and Vaessens's account can be questioned in at least three respects.
First, Van Dijk and Vaessens do not define what they mean by 'postmodernism'; they do not fill their concept of postmodernism with any definite content. The two editors characterise postmodernism as a discursive field rather than a coherent concept, and that may be true as far as it goes. Yet, if postmodernism is to be used as a key concept in one's research, the matter should not be left at that, for if one's key concepts are not coherent, what is said when making use of them will by necessity also be incoherent. If one is to generalise about postmodernism, one will have to define what is meant by 'postmodernism', or else the generalisations will be too diffuse to be of value. If there is no definition at hand that appears suitable, it will have to be formulated. It is true that no definition of postmodernism will fit every context where the term is used, but the aim is not an impossible universal definition. The one thing expected is that the author of a book or article chooses what the word is to mean exactly and then to explain this.
The concept of postmodernism can in fact be said to be employed in varying ways in the collection: in a narrow sense, about literary and cultural phenomena called by the name of 'postmodernism' by contemporaries, and in a wider, rather unclear sense, about a kind of modern critical thinking about the world. Some of the authors of the individual essays comment explicitly on what has been discussed as postmodernism, under that name, in the literatures they write about. They find that postmodernism, in that sense, was a very visible phenomenon in the literature in question, but also a more or less marginal one (see, for instance, Groes about Britain or Van der Poll about Norway). In several other essays in the collection, however, there is a tendency to view all markedly sceptical or experimental literature after the Second World War as postmodern (a tendency particularly pronounced in Van Wesemael's article on French literature) and to speak of 'the postmodern era' or to refer to postmodernism's dominance over European literature. The reader is likely to get the impression that, after all, postmodernism (in some unspecified sense) filled the European literary space for some time, and that newer developments can be understood as a conscious reconsideration of postmodernism, still remaining under the postmodernist umbrella in the guise of late postmodernism. The latter perspective is expressly affirmed by Van Dijk and Vaessens in their introduction: 'From the moment postmodernism was considered to belong to the past', they write, 'writers and critics have searched for new paths. Young authors increasingly situate themselves by means of a critical discussion of their postmodern predecessors. Older authors, who themselves were seen as exemplary postmodernists in the 1980s and 1990s, are wondering what answers postmodernism can give to today's questions.' One obvious problem with this statement is that no clear meaning has been given to 'postmodernism', but I shall leave that theme aside from now on.
A second notable difficulty with the generalisations in the introduction about the role of postmodernism is that they are not really corroborated by the literary-historical overviews in the individual essays (or in any other way). Most often, the larger part of each separate article is devoted to the three literary authors specially highlighted, which tends to foreground the many literary works dealt with and push the larger literary-historical patterns into the background, and there is consequently little evidence in the essays that a conscious rethinking of postmodernism has been a driving force behind the literary development. On a more principal level it deserves to be pointed out that the general idea behind the collection of articles tends to make the articles unsuitable as evidence for the role of postmodernism on the larger scene of European literature. The essays are supposed to concentrate on postmodernism and only in some instances do they aspire to offer something of a general overview of the literature in question. (I do find it helpful when the contributors sketch a larger picture of the literary situation in the literature and fit postmodernism into that picture, as is the case in the essays by Groes, Vaessens, Van der Poll and Van Nieukerken, but those examples are exceptions.) It is true that Reconsidering the Postmodern is a book 'about the postmodern legacy in European literature of the last few decades', as the editors point out, but the general literary role of that legacy cannot be adequately perceived except against the larger background of contemporary European literature as a whole. To substantiate the interpretation of modern European literary history proposed by the editors, an overall consideration of post-1970 (or post-Second-World-War?) European literature would have been necessary as well as a broad evaluation of the role of postmodern features in that literature and of the reasons for their use.
Thirdly, I also believe that Van Dijk and Vaessens pay too little attention to possible alternative causes behind the literary-historical developments and to the role of non-postmodern schools of thought in the modern intellectual development in Europe. They tend to disregard or caricature non-postmodern modes of thought and to paint a historical picture where postmodernism successfully overcame essentialism and that is all you need to know. In the literary arena, for example, the only contender of postmodernism to get mentioned in their introduction is 'Liberal Humanism', presented as the belief in the timelessness of literature and the greatness of the canon, but in my recollection it was rather Marxism and Structuralism and strongly politicised left-wing literature that were being challenged by the rise of postmodernism in literature, literary criticism and literary studies in the late 1970s and the 1980s. Speaking of the wider intellectual field, Van Dijk and Vaessens view postmodernism as having replaced 'Theories of Everything': 'Postmodern thought evolved parallel to and under the influence of French post-structuralist theory with protagonists such as Barthes, Derrida and Lyotard. It rose against the great Theories of Everything which we had begun to take for granted in our modern Western world as the bedrock of our thinking and behaviour. These theories seemed universal in scope, but postmodernism revealed them to be ideological constructs that needed interpretation and deconstruction.' But relativism has a long history in Western thinking, and if we are considering the period after the Second World War specifically, relativism has been an important philosophical theme quite apart from its conspicuous place in postmodern thought — think, for example, of such well-known instances as Wittgenstein's conceptual relativism and Sartre's relativism about values. The role of postmodernism in modern European intellectual history may be important enough, but once again the larger scene is viewed in a perspective that I find it difficult to endorse. The world of contemporary European thought has got more to offer than postmodernism and essentialism.
Despite my reservations concerning the literary-historical picture presented in Van Dijk and Vaessens's introduction, I do admire the idea behind the collection: I am highly sympathetic to the ambition to document a contemporary literary-historical phenomenon by means of a carefully coordinated collection of articles by experts and to analyse the phenomenon on that basis. I found the introduction challenging, and I very much appreciated the engagement and expertise that went into the writing of the individual essays. I profited much from reading the essays, with the perspectives that they open up on specific national literatures and, taken together, on comparative issues in modern European literary history.
. Reconsidering the Postmodern. European Literature beyond Relativism, ed. by Thomas Vaessens and Yra van Dijk (Amsterdam: Amsterdam University Press, 2011), p. 23.
. Vaessens and Van Dijk, p. 8.
. Vaessens and Van Dijk, p. 18.
. Vaessens and Van Dijk, p. 19.
. Vaessens and Van Dijk, p. 21.
. Vaessens and Van Dijk, p. 14.
. Vaessens and Van Dijk, p. 9.
. Vaessens and Van Dijk, p. 42.
. Vaessens and Van Dijk, p. 134.
. Vaessens and Van Dijk, pp. 9-10.
Anders Pettersson is Emeritus Professor of Swedish and Comparative Literature at Umeå University, Sweden, and has worked primarily on fundamental literary theory and transcultural literary history. His books include Verbal Art: A Philosophy of Literature and Literary Experience (McGill-Queen's, 2000), Notions of Literature across Times and Cultures (De Gruyter, 2006; editor), and, most recently, a monograph, The Concept of Literary Application: Readers' Analogies from Text to Life (Palgrave, 2012).
Ours is a generation raised in the '80s and '90s, on a diet of The Simpsons and South Park, for whom postmodern irony and cynicism is a default setting, something ingrained in us.


The statistics presented in this release were derived using a combination of data collected directly by the Australian Bureau of Statistics (ABS) under the authority of the Census and Statistics Act 1905 and Business Activity Statement data collected by the Australian Taxation Office (ATO). The Income Tax Assessment Act 1936 provides for the ATO to pass information to the Australian Statistician for the purposes of the Census and Statistics Act 1905.
Please refer to ABS Institutional Environment for more information about the institutional environment of the ABS, including its legislative obligations, financing and governance arrangements and mechanisms for scrutiny of ABS operations. For more information about the institutional environment of the ATO, please refer to Part 3 Management and accountability in the Commissioner of Taxation Annual Report 2016–17.
The main purpose of the collection was to measure the size, structure and performance of Australian industry for use in the compilation of national accounts. The estimates permit analysis not only for a single reference period (2016–17) but also over time (annually from 2006–07).
The information is also used by government departments and economic analysts to assist in policy formulation and evaluation. Financial estimates include income, expenses, industry value added, and capital expenditure.
labour measures, which relate to output, labour costs and employment.
entities classified to ANZSIC Division K Financial and insurance services, with the exception of Subdivision 64 Auxiliary finance and insurance services, which is now included as an experimental series, see the Appendix on Experimental estimates for ANZSIC Subdivision 64 Auxiliary Finance and Insurance Service in Australian Industry, 2016-17 (cat. no. 8155.0). Note that estimates included in this publication for Total selected industries exclude Division K Financial and insurance services.
Government owned or controlled Non-Financial Corporations are included.
Where businesses were unable to supply data for the 12 months ended 30 June 2017, an accounting period for which data can be provided is used for data other than those relating to employment.
Estimates of financial data in some industries, such as Mining and Manufacturing, are heavily impacted by fluctuating commodity prices. In these industries the reporting by businesses for an accounting period that is not for the period ended 30 June, can result in different estimates compared with what they would have been, had the businesses reported for an accounting period ended 30 June. Estimates of wages and salaries, total income, total expenses and industry value added which have been adjusted for the effects of off-June year reporting are presented in a data cube.
The collection was designed primarily to deliver national estimates for all in-scope industry divisions. State data were compiled for a restricted set of data items using a combination of data collected directly by the ABS and Business Activity Statement data collected by the ATO.
The collection is conducted annually with estimates generally available within twelve months of the reference period to which they relate. For the 2016–17 reference period, questionnaires were despatched by ABS in August 2017 and Business Activity Statement data were received from the ATO in November 2017. The estimates are scheduled for release in May 2018, almost eleven months after the end of the reference period.
The ABS aims to produce high quality data from its industry collections while minimising the reporting burden on businesses. To achieve this, extensive effort is put into survey and questionnaire design, collection procedures and processing. The 2016-17 survey used generalised regression estimation. Generalised regression estimation is a form of ratio estimation which makes use of auxiliary data items which are strongly correlated with key data items directly collected by the ABS from businesses. The auxiliary variables used in this survey were turnover and wages from data sourced from the ATO. Use of this methodology allowed high quality statistics to be produced from a small, direct collect sample of 19,578 businesses.
Two types of error can occur in estimates that are based on a sample survey: sampling error and non-sampling error.
Sampling error occurs when a sample, rather than the entire population, is surveyed. It reflects the difference between estimates based on a sample and those that would have been obtained had a census been conducted. One measure of this difference is the standard error. There are about two chances in three that a sample estimate will differ by less than one standard error from the figure that would have been obtained if all businesses had been included in the survey, and about nineteen chances in twenty that the difference will be less than two standard errors.
Another measure of sampling error is the relative standard error, which is obtained by expressing the standard error as a percentage of the estimate to which it refers. The relative standard error is a useful measure in that it provides an immediate indication of the sampling error in percentage terms, and this avoids the need to refer also to the size of the estimate. Relative standard errors of key estimates are available in Technical Note 2: Data Quality in Australian Industry, 2016-17 (cat. no. 8155.0).
Non-sampling error arises from inaccuracies in collecting, recording and processing the data. Every effort was made to minimise reporting error, by the careful design of questionnaires, intensive training of survey analysts, and efficient data processing procedures.
Non-sampling error also occurs when information cannot be obtained from all businesses selected in the survey. For the 2016–17 survey of Australian industry, there was an 88.8% response rate from all businesses that were surveyed and found to be operating during the reference period. Data were imputed for the remaining 11.2% of operating businesses. This imputation contributed 7.6% to the estimate of total income for Total selected industries.
The ABS has been conducting annual surveys of Australian industry since 1990–91. A core set of data items has been collected each year. The definitions of these are reviewed each year and are refined or respecified as needed. Additional data items are collected in different years, in response to demand and priorities.
Since the 2006–07 reference year the survey has been conducted using ANZSIC 2006 and new methodologies. As a result, a new series of these estimates commenced from 2006–07.
Estimates from the 2016-17 Economic Activity Survey are available as original series only, and are neither seasonally nor trend adjusted.
Although financial estimates in this release relate to the full twelve months, employment estimates relate to the last pay period ending in June of the given year.
Further information about terminology and other technical aspects associated with these statistics can be found in the publication Australian Industry, 2016-17 (cat. no. 8155.0), which contains detailed Explanatory Notes, an appendix containing Experimental estimates for ANZSIC Subdivision 64 Auxiliary Finance and Insurance Services, a technical note on Estimation Methodology, a technical note on Data Quality, a technical note on State and Territory Estimates, a technical note on Finer Level Manufacturing Industry Estimates, a technical note on Off-June Year Adjusted Estimates, and a Glossary.
Data from the 2016–17 Economic Activity Survey are available free of charge on the ABS website.


anyone know if that pick guard is original or if someone slapped it on?
Wow that's a real piece of history!
I would love to find a fixer upper like this. Just let me at it. No such luck where I live but who knows what the Spring yard and garage sales will bring.
Doubt it's original..just doesn't fit the soundhole like a S Kamaka build should..But then again, I've seen only a handful of these..
Since I've been collecting, I have NEVER found a decent 'Uke at a yard sale..but that doesn't mean I'm not still looking!
hey stan, how did it play? I've played the newer ohta san's and think they are awesome. Was this one just as good as the newer versions?
I have a feeling this will go over 2k, just once in a blue moon.
in the islands..I think..shh between you and me, he got it off ebay, about 2 1/2 years ago.
Stan: Now everyone knows the deal!


On October 27th, the children in the Annaville area are invited to come by "Pusley's Pumpkin Patch" and claim their free pumpkin. This is the third year that Commissioner Mike Pusley has hosted the event at the Tuloso-Midway Academic Career Center. "It's a fun thing for the kids. They take the selection of a pumpkin very seriously." laughed Mr. Pusley. "I get a kick out of watching them." The Pusley Pumpkin Patch will be open on October 27th from 4pm-7:30pm. There will be pumpkin decorating supplies available, games and face painting. This is a free event and is open to the public.
State Representative Todd Hunter, the Texas Music Office and the Corpus Christi Convention and Visitors Bureau (CVB) along with Texas A&M University – Corpus Christi and Del Mar College are pleased to announce the 2016 Power On Music conference at 8 a.m., Wednesday, October 19.


text:
CX 42 Emisora Ciudad de Montevideo was a Uruguayan Spanish-language AM radio station that broadcasts from Montevideo.

Programs
This radio station specializes in sports and music.

In 2002 it received a special award for its traditional covering of Carnival shows.

References

External links

 1370 AM

Spanish-language radio stations
Radio in Uruguay
Mass media in Montevideo
Radio stations established in 1930
1930 establishments in Uruguay


text:
Natasha Lyonne to star in Amy Poehler-produced Netflix comedy
The untitled comedy was picked up for eight episodes
Natasha Lyonne is getting her own Netflix series.
The streaming network announced Wednesday that it has ordered a new comedy straight-to-series, with Natasha Lyonne attached as co-creator — along with Amy Poehler and Leslye Headland — and also the main star.
The comedy, from Universal Television, follows a young woman named Nadia (Lyonne) on her journey as the guest of honor at a seemingly inescapable party one night in New York City. Headland serves as head writer on the first episode and will write the rest of the series with Lyonne. Poehler executive-produces along with the pair under her Paper Kite banner, which is also behind Hulu's Difficult People.
"So excited to get cracking with the intensely brilliant Leslye Headland, the GOAT with a heart of gold Amy Poehler, and Netflix, the safe haven I've been searching for since the '80s," Lyonne said in a statement. "Deeply moved to work with such heavy hitters and to share our show with the world."
Lyonne is best known for playing Nicky on Netflix's flagship series Orange Is the New Black, which earned her an Emmy nomination in 2014. She also starred in Handsome: A Netflix Mystery Movie opposite Jeff Garlin earlier this year.
Headland, writer-director on the films Bachelorette and Sleeping With Other People, previously wrote for FX comedy-drama Terriers. She said in a statement, "These women are heroes of mine and to work with them at a company that promotes originality and creativity is a thrill."


text:
Q: Got Apache Tomcat error that access denied on this file localhost_access_log.2014-08-30.txt? I installed Tomcat on Windows 7 OS. I just installed Tomcat and made it available in eclipse. When i run any simple application on server it will say 404: page not found and in console it will print the error message like this.
SEVERE: Failed to open access log file [C:\Program Files\Apache Software           Foundation\Tomcat 7.0\logs\localhost_access_log.2014-08-30.txt]
java.io.FileNotFoundException: C:\Program Files\Apache Software Foundation\Tomcat      7.0\logs\localhost_access_log.2014-08-30.txt (Access is denied)
at java.io.FileOutputStream.open(Native Method)
at java.io.FileOutputStream.<init>(Unknown Source)
at org.apache.catalina.valves.AccessLogValve.open(AccessLogValve.java:1117)
at org.apache.catalina.valves.AccessLogValve.startInternal(AccessLogValve.java:1224)
at org.apache.catalina.util.LifecycleBase.start(LifecycleBase.java:150)
at org.apache.catalina.core.StandardPipeline.startInternal(StandardPipeline.java:185)
at org.apache.catalina.util.LifecycleBase.start(LifecycleBase.java:150)
at org.apache.catalina.core.ContainerBase.startInternal(ContainerBase.java:1137)
at org.apache.catalina.core.StandardHost.startInternal(StandardHost.java:800)
at org.apache.catalina.util.LifecycleBase.start(LifecycleBase.java:150)
at org.apache.catalina.core.ContainerBase$StartChild.call(ContainerBase.java:1559)
at org.apache.catalina.core.ContainerBase$StartChild.call(ContainerBase.java:1549)
at java.util.concurrent.FutureTask$Sync.innerRun(Unknown Source)
at java.util.concurrent.FutureTask.run(Unknown Source)
at java.util.concurrent.ThreadPoolExecutor.runWorker(Unknown Source)
at java.util.concurrent.ThreadPoolExecutor$Worker.run(Unknown Source)
at java.lang.Thread.run(Unknown Source)

I cannot understand what the things is happen is this??? Please help me.

A: It seems that your current user is not having rights on the tomcat folder.
I also faced the same problem and solved it by giving rights to the logged in user on the tomcat folder.
For your case :
Go to >>"C:\Program Files\Apache Software Foundation\Tomcat      7.0" folder
Right Click>>Properties>>security Tab
provide required rights to currently logged in user.

A:  Open Tomcat C:\Program Files\Apache Software Foundation
(Right Click on Tomcat 8.5 ( as per Your Version)

→Properties

→Select Security Tab

→Edit
 →Select Your System
 →Check or Allow all the Boxes

→Click on Apply

→Restart Program

A: Alternatively, you may decide to instruct embedded Tomcat instance to keep its log files in a different location, and outside Windows's native "Program Files" directory. Especially when it comes to latest Windows versions, it is not a good practice to write or keep any file with variable content (i.e. the file that is created or written to at runtime) in program files directory.
Search for TOMCAT_HOME/conf/server.xml for "AccessLogValve", and specify alternative directory for log files as demonstrated below:
<Valve className="org.apache.catalina.valves.AccessLogValve"
       directory="c:\work\tomcat\logs"
       prefix="localhost_access_log." suffix=".log" pattern="common"/>

The key attribute here is "directory".

A: If you are facing this issue while starting tomcat from with-in IDE like Eclipse then you need to check if security is enabled under server detail -
Refer below screenshot
Eclipse IDE Tomcat Server Enable Security


text:
'Water For Future' project launched at Hindustan coca-cola bottling plant in Gujarat
Secretary of Ministry of Water Resource – Govt. of India Mr. Dhruv Vijay Singh & Gen V P Malik (retd) launched the state of the Art "Water for Future", an advanced engineering intervention for Water conservation
The initiative will help improve water usage efficiency by over 30%
This advanced engineering intervention has been installed at the cost of over Rs 20 crores
Goblej, Dist. Kheda (Gujarat), January 11th, 2013: Government of India's Water Resource Secretary Mr. Dhruv Vijay Singh and Former Chief of Indian Army Gen V P Malik, today, launched the "Water for Future", an advanced engineering intervention for Water conservation in the presence of Mr. A. N. Mistry, Chief Engineer & Additional Secretary, Water & Irrigation Department, Gujarat Government. "Water For Future" is a special initiative by The Coca-Cola Company to conserve water through internal recycle and reuse process. This activity so far has been piloted in Mexico and India,and will help save about 30% of fresh water additionally.
In India, Water For Future has been piloted at The Hindustan Coca-Cola Beverages Private Limited (HCCBPL), Goblej Village, Kheda District, Gujarat. It is the first project in India. This plant has 06 lines, which produces juice drinks, sparkling beverages and packaged drinking water. The company has invested over Rs. 500 crores in the state-of-the art bottling plant till date. As this bottling plant is a zero discharge plant, this intervention will further help in recycling and re-using process waste water and reducing treated effluent discharge considerably.
The HCCB Goblej plant has already undertaken several water conservation projects and technologies under the 3R – Reduce, Recycle and Replenish strategy. To further improve its water use strategy, this facility took on the 'Water for Future' initiative, which is a Water Recovery and Reuse System. This intervention uses an innovative technology to provide water for reuse in processes such as clean-in-place and bottle washing activities. The water is not used in beverages. The result is high-quality water that meets and/or exceeds even the most stringent drinking water standards.
Speaking at the launch, Gen. V P Malik, Former Chief of Indian Army & Chairman of Advisory Council for Environment and Sustainability at Coca-Cola India, said"We all are aware that water today is an increasingly scarce commodity and it is important for every sector to play its role. It is important for industries to continuously look for ways to better manage natural resources. HCCBPL's 'Water for Future' is a unique initiative, as it not only helps reuse of water but also helps in reducing treated effluent discharge considerably." Speaking on the occasion, Mr T Krishnakumar, CEO of Hindustan Coca-Cola Beverages Pvt. Ltd., said, "Water is a precious resource. Our endeavor is to continuously improve processes to reduce water consumption in manufacturing. Water For Future is a strategic step in this direction. Goblej plant along with a plant in Mexico, were chosen to implement this new technology. The results have been very encouraging and this initiative has already been recognized at international forums. We will continue to work rigorously on our reuse, recycle and replenish strategy to ensure optimal utilization of water"
At the event, several experts shared their thoughts and ideas on how can industry play a role in working on optimizing water usage. Prominent amongst them were Prof Tushar Shah, International Water Management Institute (IWMI), Prof ShaswatBandopadhyay, Center for Environmental Planning and Technology (CEPT) and Prof (retd)SubhashChander from IIT Delhi.
The innovative technology behind Water For Future has received global recognition and awarded in various forms. After winning the 'Innovation in Small Projects Award' by the International Water Association at its Asia Pacific Regional Innovation Awards, the initiative was awarded as the grand winner at the IWA Global Awards ceremony in Busan, Korea. Additionally, the project received an award of merit by the Water Reuse Association and the project has been accepted as a case study & published as a part of U.S. EPA 2012 Guidelines for Water Reuse. Coca-Cola received another global recognition at The Inter Bev 2012 and announced project Water for the future- Innovative Beverage Process Water Recovery System as best environmental sustainability initiative Winner.
About HCCBPL
Hindustan Coca-Cola Beverages Pvt. Ltd., is the largest bottling partner of The Coca-Cola Company in India. It is part of The Coca-Cola Company's Bottling Investment Group (BiG) and responsible for the manufacture, package, sale and distribution of beverages under the trademarks of The Coca-Cola Company.
For further queries please contact: Krutika Mashru, 9558811617


Starting this Saturday Nov. 17th at 7:30AM EST we are going to be running maintenance on the IndieCommerce search engine. The process should be complete around 7:00AM EST Monday Nov. 19th. Please keep an eye on the message center and if the maintenance process is completed earlier, we'll let you know.
During this maintenance window, your customers should not experience any negative impact on their search results. However, if your store is uploading custom products to your website during the maintenance window, these items will not appear in search results until AFTER we've completed the search upgrade Monday morning. Once we've completed this upgrade, your customers should see a significant improvement in search speed for their online holiday shopping.


Did everyone have a good Christmas or whatever? Ours was... a little more complicated than we'd expected. And I'm pretty much run off my feet as a consequence. But in celebration of the Fate Core Kickstarter campaign hitting 5,000 backers yesterday, here's a tiny little preview of Atomic Robo: The Roleplaying Game. Specifically, it's an example of how we're using Atomic Robo itself to illustrate some game concepts.
In this case, it's conceding a conflict.
Robo tries to intimidate Takeshi with an Intimidation total of +4. Takeshi defends with Will and gets a +7—success with style. He gets a boost of Numbers On My Side.
Robo changes tack and decides to use Physics to try creating an advantage instead, based on the idea that using ion guns in an enclosed metal environment is an inherently bad idea. The GM decides that this will be an unopposed roll, and it succeeds. Robo creates the aspect Science On My Side.
Undeterred, Takeshi goes on the offensive. He rolls Intimidation and gets a +5, and invokes Numbers On My Side to make it +7. He also spends a fate point to invoke his aspect Only Victory and Defeat to bump that up by +2 more, for a +9. Then, in a gutsy move, he spends another fate point to invoke Science On My Side for another +2. Takeshi and his men don't care about their own safety. That makes his total +11.
Robo doesn't think he can beat that, nor does he want to end up with a consequence from this, so he decides to concede. He loses the conflict, but on his own terms: Takeshi will keep him alive for now, but incapacitated. Robo gets a fate point for the concession.
One, this is only one possible interpretation of this conversation -- you could call Takeshi's first line in that first panel as an Intimidation attempt, for example, as well as Robo's rather threatening "It'd kill you too." Or maybe Takeshi's first line is him creating an advantage. They're all valid, and any of them is totally plausible in play. But this is the one I'm going with. For me, up until the point when Robo literally threatens physical violence, they're just talking, sans dice. But when Takeshi casually insults Robo's piloting skills, Robo's player decides, "All right, it's on."
Two, normally in the book, I don't use characters as players, such as "Robo gets a fate point," but in this case I'm prioritizing brevity. These are captions; I don't want them getting too long.
I plan to use this technique as often as is feasible in ARRPG. The actual panels from the comic are an amazing resource, and we'd be crazy not to take advantage of them.
Hi Mike, Any news on when ARRPG will be out?
Nothing's changed on that front -- still shooting for this spring, after the release of Fate Core. The arrival of Baby #2 has certainly had an impact on my free time, in that I never sleep more than a few hours at a time and oh my God what day is it, but yeah. On track. Work continues apace, in those cracks in my life where it can.


Non-contracted providers have the right to request a CMS appeal for denial of payment ( ZERO PAY) within 60 calendar days from the remittance notification date. A signed Waiver of Liability form holding the enrollee harmless regardless of the outcome of the appeal is required and must be sent in with all CMS appeal requests.
When submitting a CMS appeal/reconsideration request, you must include any and all pertinent documentation to support your appeal; such as a copy of the original claim, remittance notification showing the denial, any clinical records and other documentation that supports your argument for reimbursement. Please keep in mind that if the Waiver of Liability is not received along with all supporting documentation when sent to the Health Plan, your case may be sent for dismissal.


The Balboa Park Transitional Upholstered Bar Stool by Intercon at Gallery Furniture in the Oregon, Portland, Clackamas, Washington, Beaverton, Northwest, Vancouver area. Product availability may vary. Contact us for the most current availability on this product.
The Balboa Park collection is a great option if you are looking for Transitional furniture in the Oregon, Portland, Clackamas, Washington, Beaverton, Northwest, Vancouver area.
Browse other items in the Balboa Park collection from Gallery Furniture in the Oregon, Portland, Clackamas, Washington, Beaverton, Northwest, Vancouver area.


text:
Tag: Social Media ⋅ Page 1
Dean Lidsky speaks about social media self-sabotage
Written by Karen Neylon · October 2, 2020
Dean Lyrissa Lidsky was among the plenary speakers at Missouri State University's 17th annual Public Affairs Conference. The conference theme was "The Power of Voice" and topics explored the importance of listening to others and using your voice to express yourself and advocate for others. Dean Lidsky discussed how and why individuals and companies sabotage themselves on social media in…
Professor Jerry publishes paper on social media communications on campuses
Written by Karen Neylon · June 4, 2020
The latest American Council on Education (ACE) "To the Point" brief, "Campus Inclusion and Freedom of Expression: Managing Social Media," written by Robert H. Jerry II focuses on how and why campus leaders should be proactive in managing social media platforms, as well as how to respond to problems that arise. The brief lists the most commonly asked questions about free…
Hurley-Sloan Symposium: Free Speech, Free Press or Free for All? Social Media and the First Amendment
Written by Karen Neylon · April 5, 2019
The Missouri-Hurley and Price Sloan Symposium will be held April 25 at the National Press Club in Washington, DC. The event, "Free Speech, Free Press or Free for All? Social Media and the First Amendment" begins at 8:30 am and will feature Brian Stelter as the keynote luncheon speaker. Journalists, social media experts and legal scholars will explore the following…
Professor Bowman: Pattern of Behavior Could Lead to Presidential Impeachment
Written by Karen Neylon · December 17, 2018
In a recent op-ed in Slate, "Everything Trump Did Before Entering Office That Could Justify Impeachment," Professor Frank Bowman writes, "a successful case for the impeachment of the president must rest not on any single event, but on a pattern of behavior that fatally damages the legitimacy of the president and/or amounts to subversion of the constitutional order." Electoral success…
Professor Abrams Speaks to New Jersey Sports Symposium on Social Media Dangers
Written by Karen Neylon · October 25, 2018
Professor Doug Abrams recently spoke to a town-hall-style symposium that explored lifelong consequences that can arise from misuse of Facebook, Twitter, and other social media by high school athletes and other students. The symposium was held at Montclair State University in Montclair, N.J. Prof. Abrams and four other panel members discussed publicized incidents of high school students' racist, sexist, or…
"Dangerous Tweets:" Dean Lidsky Speaks at Missouri State University
Written by Casey Baker · September 18, 2018
Dean Lyrissa Lidsky recently gave a talk at Missouri State University as a featured speaker at the university's fifth annual Bartee Dinner. Dean Lidsky's talk was titled "Dangerous Tweets?: Social Media, Censorship, and the First Amendment." Her scholarship focuses on the intersection of Torts and the First Amendment, with a particular emphasis on defamation and other free speech issues in…
Uber, Lyft driver suspended for videos: Dean Lidsky comments
Written by Karen Neylon · August 3, 2018
In the KOMU-TV story, "Uber, Lyft suspend driver who recorded St. Louis passengers," Dean Lyrissa Lidsky commented that in Missouri, it is "not, technically, illegal" to record these passengers since this is a one-party consent state. However, she added, "I think from the outrage that this case is generating you can see that the average person does not expect to be…
BYU Radio Show Interviews Dean Lidsky on Free Speech and Social Media
Written by Casey Baker · October 9, 2017
"Top of Mind with Julie Rose," a show broadcast by Brigham Young University's radio station BYU Radio, recently interviewed Dean Lyrissa Lidsky to discuss issues of free speech on social media. During the interview, Dean Lidsky, a leading First Amendment scholar, addressed the legal debate surrounding elected government officials blocking their followers from their social media sites. In creating and…


Janie Bress - My North Shore Blog: Get Involved in Deerfield's Vibrant Community!
Get Involved in Deerfield's Vibrant Community!
Living in Chicago's North Shore allows you to be involved in a great community atmosphere. Whether you choose Deerfield, Winnetka, Glencoe, Northbrook or Highland Park; you're sure to find, not only a beautiful home, but a great sense of belonging. As a North Shore Real Estate agent serving the North Shore Real Estate market for over twenty years, I am thrilled to be able to show those relocating to the area what these communities have to offer.
While it seems that summer is just getting underway, our country's 4th of July celebration is just around the corner and the North Shore is busy preparing for the highlight of the summer months. Today I wanted to focus on the great city of Deerfield and the ways you can get involved in their upcoming 4th of July events!
Deerfield is a favored community just 25 miles north of downtown Chicago. It's home to the headquarters for companies like Walgreens, Consumers Digest, and Fortune Brands to name a few. Known as one of the top high schools in Illinois, Deerfield High School and the entire Deerfield school system is a determining factor for many moving to the area. There area also a wide variety of homes from which to choose in Deerfield, so you're sure to find one that fits your budget and lifestyle!
Many decide to move to Deerfield for its vibrant community and enjoy getting involved with non-profit organizations, city care initiatives and a wide range of events that take place throughout the year. If you're new to the area, have been a resident for a while, or would just like to get a feel for the great city; you won't want to miss Deerfield's 4th of July celebration. Here are a few ways you can get involved.
Don't miss your chance to purchase your wristbands to be a part of the Deerfield Family Days taking place July 3-4. Mark your calendar to spend time with family and friends at this 48th annual event! Fireworks, games, rides, a pancake breakfast, arts and crafts, live music and much more will fill these days with endless fun! Be sure to get your wristbank early by stopping Village Hall or Jewett Park Community Center now through July 1!
This annual 10k Race/ 5k Walk is a great way to get fit, meet new neighbors and raise money for Deerfield Rotary charities. Sponsored by the Deerfield Rotary Club, the July 4th Run/Walk's proceeds will go to support the Deerfield Family Days and other notable charities that the Rotary supports. The race will begin at 8am on July 4th at the Walden Elementary School and trophies are awarded for Top Man & Top Woman as well as the first 3 Women & Men in each age group. Fun for the every age group, you'll want to be a part of this great event!
I hope you're able to get involved in one or both of these events as a way to celebrate the freedom of our country! You'll enjoy getting to know your neighbors and feeling connected to the Deerfield community! If you have further questions about living in Deerfield or are ready to begin searching for a home in Deerfield, please feel free to contact me today. I would be happy to talk with you, answer any questions you may have, and even show you some of the homes currently available on the Deerfield Real Estate market.
5 Tips for Selling Your North Shore Home!


TILTED AXES: Music for Electric Guitars was created in 2011 for Make Music New York's inaugural Winter Solstice event. The guitarists perform original music by Patrick Grant through powerful mini-amps strapped to their sides while traveling the city streets. Since its inception, TILTED AXES has had incarnations in New York, Detroit, Germany, Brazil, and other locations. This is the only ensemble of its kind and Grant is its inventor.
Not one of the near quarter million people who have encountered TILTED AXES on three continents could say they had the same experience. The group moves and comes and goes.
While many wild audio recordings and street videos of the project exist, producing studio recordings of the Tilted music would attract the wider public.
The purpose of this album is threefold: 1) to expose the music to a new audience, 2) to raise awareness of the project and its uniqueness, 3) to generate future work, to interest other cities and communities to have a TILTED AXES event and music created just for them.
TILTED AXES works best when it's part of something bigger than itself such as celebrating a key date for a city (for seasonal openings), to be a moving billboard promoting festivals of all kinds, attracting the public to a center of activity. Besides the street, the group works equally well on stage, or roaming through museums, but it's best when it surprises people in unusual locations.
Grant describes the music as Post-Progressive Rock, an intentionally vague genre that means to contain the various styles and performing techniques within the repertoire. These include elements of Prog Rock, Contemporary Classical, World Music, Blues, Film Music, and incorporating the music of the host city.
All in all, it boils down to theme and variations. Astute listeners will hear recurring themes and motifs that run throughout the 17-track 74-minute album. Each piece can stand on its own but the album can be heard as one continuous narrative. More so, tracks 7-13 could serve as a mini-suite, a set within the set, if one wanted to listen to it that way.
Appearing on the album are NYC Tilt Core regulars as well as cameo appearances by guitar luminaries associated with Robert Fripp, Edgar Winter, Alice Cooper, Joe Perry, Dr. Nerve, The Blackfires, and more. Grant's professional experience includes work with John Cage, Philip Glass, Billy Joel, Quincy Jones, Don Was, Balinese gamelan, and composition for the legendary Living Theater and the theatrical visionary Robert Wilson.
All of the compositions on TILTED AXES: Music for Mobile Electric Guitars are by Patrick Grant with two of those pieces sharing writing credits with Robert Fripp.
The album is available for download on Bandcamp, iTunes, Amazon, Spotify, and all the usual suspects. Those wishing physical copies will be able to get those on CDBaby.
Patrick Grant is a composer/performer living in New York City and creates music for a wide range of media. A native of Detroit, MI, he moved to NYC in the mid-80s where he studied at the Juilliard School, worked on the production team for composer John Cage, and produced his first recordings at the studios of Philip Glass. He spearheaded the compositional element of an international project for the Millennium which had him working with Billy Joel and Quincy Jones. Interest in world music brought him to Bali three times to study the gamelan which manifested itself in his work through the use of alternative tunings, ensembles with multiple keyboards, and in his work with Robert Fripp & The Orchestra of Crafty Guitarists. He is host of the internationally acclaimed podcast Strings and Things.
Grant is a recipient of the 2012-13 Con Edison Musicians' Residency: Composition Program at the Turtle Bay Music School administered by Exploring the Metropolis. In 2012 and 2013 he received ASCAP Plus Awards for continued musical excellence. Recently, he performed as music producer and co-arranger of NYFA Fellow Joseph Keckler's "I am an Opera" for a month of sold-out shows at Dixon Place in NYC and beyond.
He is the creator of International Strange Music Day (Aug. 24th) and the 'electric guitar procession' as a genre. Recently he was granted rights from the Beatles' publishers to create a set of variations on Strawberry Fields Forever for chamber ensemble and rock band.
He has created scores for theatrical visionaries The Living Theatre and Robert Wilson, and music for installations at the Louvre and the musée du Quai Branly in Paris. His music has been applied visually through seven collaborations with the artist Kehinde Wiley, scores for feature documentaries, and music tech seminars each semester at the NYU Film School.
Within the last year his music has been performed extensively by theater troupes in Brazil, appearing in the major cities and international festivals there. In 2009, with radio producer Jocelyn Gonzales, he created the MMiX Festival of Interactive Music Technology in NYC, an event co-sponsored by Ableton (LIVE), Cycling '74 (Max/MSP), and WNYC Radio.
In December 2009, he music directed the European premiere of his electronic realization of the Morton Feldman/Samuel Beckett opera "Neither" in Vienna. In 2010, Grant returned to Europe and Brazil for new works in concert, theater, and multimedia and created H2Opus: Fluid Soundscapes by Multiple Composers for Make Music New York 2010. Grant also produces content for the new music blog The MMiXdown and is a co-director of Composers Concordance Records.
He has created musical scores for the Cornell Gamelan Ensemble and the Margaret Jenkins Dance Company in San Francisco (a piece called "the strangest and most ravishing dance of the year" by the SF Chronicle and nominated for Best Dance Score of 2003 by the Isadora Duncan Dance Awards). His work often involves elements found in the natural and physical sciences (Genome: The Autobiography of a Species).
He has been commissioned by the CUNY Graduate Center (BIG BANG 1.0), jointly by the artist Kehinde Wiley (for soprano Shequida), Deitch Projects (Rumors of War), and The Columbus Museum of Art (Historical Black Music Rollercoaster), and the Modern Museum of Fort Worth.
His works have been performed at the Bang on a Can Annual Marathon, MATA – Music at the Anthology, by Gamelan Son of Lion, The CUNY Graduate Center's Science & the Arts series, and the Forum Freies Theater in Germany.
As a presenter, Mr. Grant has produced scores of new music concerts in the alternative spaces of New York City, in art galleries, theaters, factory lofts and clubs, since 1988. He formed his own ensemble, the protean Patrick Grant Group, in 1998.
He is founder and artistic director of Strange Music Inc., an organization dedicated to releasing recordings and presenting compelling new work with performances and installations in New York and around the world. He formed Peppergreen Media in 2011 as a way of broadening music's reach into other media.


text:
The Regiment "Cavalleggeri di Monferrato" (13th) ( - "Chevau-légers of Monferrato") is an inactive cavalry unit of the Italian Army named for the Duchy of Montferrat.

History

Formation
On 12 September 1848, between the two campaigns of the First Italian War of Independence, three squadrons of mounted guides were formed Stupinigi. On 3 January 1850 the Regiment "Cavalleggeri di Monferrato" was formed in Pinerolo, with the three mounted guides squadrons becoming the new regiment's first three squadrons. The regiment's 4th Squadron was formed with personnel from the Regiment "Savoia Cavalleria" and horses from the Regiment "Cavalleggeri di Saluzzo". The regiment's depot was formed with personnel from the Regiment "Genova Cavalleria".

The regiment's 1st Squadron was part of the Sardinian expeditionary corps' Provisional Light Cavalry Regiment, which fought in the Crimean War and distinguished itself on 16 August 1855 in the Battle of the Chernaya.

Italian Wars of Independence
During the Second Italian War of Independence the regiment fought in the battles of Montebello and San Martino. For its conduct in the two battles the regiment was awarded a Bronze Medal of Military Valour.<ref name="Cavalleggeri (13°)">

In 1863-65 the regiment operated initially in the area of San Giorgio La Molara and San Marco dei Cavoti, and then in the area of Ripacandida to suppress the anti-Sardinian revolt in Southern Italy after the Kingdom of Sardinia had invaded and annexed the Kingdom of Two Sicilies.

In 1866 the regiment participated in the Third Italian War of Independence and fought in the Battle of Ponte di Versa. Over the next years the regiment repeatedly changed its name:

 10 September 1871: 13th Regiment of Cavalry (Monferrato)
 5 November 1876: Cavalry Regiment "Monferrato" (13th)
 16 December 1897: Regiment "Cavalleggeri di Monferrato" (13th)

In 1887 the regiment contributed to the formation of the Mounted Hunters Squadron, which fought in the Italo-Ethiopian War of 1887–1889. In 1895-96 the regiment provided one officer and 67 enlisted for units deployed to Italian Eritrea for the First Italo-Ethiopian War. In 1911-12 the regiment provided one officer and 80 enlisted to augment units fighting in the Italo-Turkish War. Between the Second Italian War of Independence and World War I the Monferrato ceded on six occasions one of its squadrons to help form new Chevau-légers regiments:

 16 September 1859: Regiment "Cavalleggeri di Montebello" (8th)
 16 February 1864: Regiment "Cavalleggeri di Caserta (17th)
 1 January 1872: Regiment "Cavalleggeri di Roma" (20th)
 1 October 1883: Regiment "Cavalleggeri di Padova" (21st)
 1 November 1887: Regiment "Cavalleggeri di Umberto I" (23rd)
 1 October 1909: Regiment "Cavalleggeri di Aquila" (27th)

World War I
At the outbreak of World War I the regiment consisted of a command, the regimental depot, and two cavalry groups, with the I Group consisting of three squadrons and the II Group consisting of two squadrons and a machine gun section. Together with the Regiment "Cavalleggeri di Roma" (20th) the Monferrato formed the I Cavalry Brigade of the 1st Cavalry Division of "Friuli". The division fought dismounted in the trenches of the Italian Front. In 1916 the regiment was temporarily reinforced with the 2nd Squadron of the Regiment "Cavalleggeri di Piacenza" (18th). In October 1916 the regiment fought in the Battle of Monfalcone. In 1917 the regimental depot in Udine formed the 740th Dismounted Machine Gunners Company as reinforcement for infantry units on the front. After the disastrous defeat in the Battle of Caporetto in October 1917 the regiment fought a delaying action at Pasian Schiavonesco. After the Italian victory in the Battle of Vittorio Veneto, the regiment, like all cavalry regiments, was ordered to advance as fast as far as possible and so by 4 November 1918 the regiment reached in Cornino.

Interwar years
After the war the Italian Army disbanded 14 of its 30 cavalry regiments and so on 21 November 1919 the II Group of the Monferrato was renamed "Cavalleggeri di Umberto I" as it consisted of personnel and horses from the disbanded Regiment "Cavalleggeri di Umberto I" (23rd). On 20 May 1920 the Monferrato received and integrated a squadron from the disbanded Regiment "Cavalleggeri di Lucca" (16th), which before had been one of the squadrons of the Regiment "Cavalleggeri di Padova" (21st). On the same date the Monferrato also received the traditions of the disbanded Regiment "Cavalleggeri di Umberto I" (23rd).

In 1933 the Monferrato moved from Udine to Voghera. In 1935 the regiment contributed the following personnel for the Second Italo-Ethiopian War:

 one officer and 309 enlisted for the formation of the III and IV truck-transported machine gunners groups of the Regiment "Lancieri di Aosta" (6th)
 seven officers and 413 enlisted for other units

World War II
At the outbreak of World War II the regiment consisted of a command, a command squadron, the I and II squadrons groups, each with two mounted squadrons, and the 5th Machine Gunners Squadron. In 1940 the regiment participated in the invasion of France. Afterwards the regiment was sent to Albania, where it remained until the announcement of the Armistice of Cassibile on 8 September 1943. The regiment refused to surrender to invading German forces and fought against the Germans in the area of Berat. On 14 November 1943 the remnants of the regiment were overcome by German forces and the next day the Germans executed the regiment's commanding officer Colonel Luigi Lanzuolo for having refused to surrender in September.

During the war the regiment's depot in Voghera formed the:
 I Road Movement Battalion "Cavalleggeri di Monferrato"
 III Armored Group "Cavalleggeri di Monferrato" (armored cars)
 IV Armored Group "Cavalleggeri di Monferrato" (Ant-tank)
 LIX Dismounted Group "Cavalleggeri di Monferrato"

The III Armored Group "Cavalleggeri di Monferrato" was formed on 1 February 1942 and sent to North Africa, where the group participated in the Western Desert Campaign and the Tunisian Campaign. The group surrendered with the rest of the Axis forces in Tunisia on 13 May 1943. The IV Armored Group "Cavalleggeri di Monferrato" was sent to Albania, where the group fought with he regiment against the Germans until 14 November 1943.

References

Cavalry Regiments of Italy


text:
The 1980 Berlin Marathon was the 7th running of the annual marathon race held in Berlin, West Germany, held on 28 September. West Germany's Ingo Sensburg won the men's race in 2:16:48 hours, while the women's race was won by West Germany's Gerlinde Püttmann in 2:47:18. A total of 294 runners finished the race, comprising 276 men and 18 women.

Results

Men

Women

References

 Results. Association of Road Racing Statisticians. Retrieved 2020-06-24.
 Berlin Marathon results archive. Berlin Marathon. Retrieved 2020-06-24.

External links
 Official website

1980
Berlin Marathon
1980s in West Berlin
Berlin Marathon
Berlin Marathon


On campus at UCLA, students are using their talents and passions to create a night that not only entertains, but also does good and gives back to the community. Hooligan Theater Company and their cast and crew of theater lovers band together to put on their annual 24 Hour Musical. During this, they attempt to put together a full length musical in 24 hours, culminating in a performance of the piece at the end of the day. This results in quite an entertaining performance, with guaranteed laughs.
While the promise of stumbling dancers and actors trying to hold back laughs is enough reason to gather a crowd, the main draw to the event is how it helps the community. The proceeds made from the event go towards No Limits For Deaf Children Foundation, which supports theatre programs for children with hearing loss. This foundation had been in place for 20 years, serving to teach children in school with hearing loss skills to help them succeed in their education and in life via educational centers and their national theater program. All the families this program supports are unable to afford speech therapy and find that their schools do not provide adequate support. No Limits provides individual therapy, literacy, academic tutoring, and parent education to families that may not have been able to have these resources otherwise.
The company, taglined with, "one cast, one crew, 24 hours", will be having the performance of their musical on February 17th, 2019 in the Ackerman Grand Ballroom at 8pm. If you are unable to go, or would like to help further, you can donate directly through donate.nolimitsfordeafchildren.org. If your company is interested in donating, they can become a snack sponsor for $500, a T-shirt sponsor for $1,000, or a title sponsor for $5,000. The donations are 100% tax-deductible, and in return for your generosity your company will be advertised on fliers, posters, and social media. Individual donations, no matter how small, are always appreciated as well!
So if you would like to see what a group of theater kids can put together in 24 hours, while also helping the community, stop at Ackerman Ballroom on February 17th at 8pm for a night of sleep deprived, delirious, musical entertainment.


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Q: ClickOnce deployment is leaving multiple versions (yes, more than two) I've got a ClickOnce application that is leaving all old versions on my disk. It's an internal corporate application that gets frequent updates, so this is a disaster for rapidly inflating our backup size.
According to the documentation and other Stack Overflow questions, it is supposed to only leave the current and previous versions on disk. However, each time I deploy the project and upgrade a client, I get another copy of all EXE, DLL and data files. I'm not making any changes whatsoever to the application, just pushing deploy again in Visual Studio.
How do I fix this problem?
The problem seems to happen on both Windows 7 and Windows  XP, as well as 64-bit and 32-bit Windows.
I've done a diff of the folders where the version is installed and the following files are different:
MyApp.exe.manifest
MyApp.exe.cdf-ms
MyDll1.cdf-ms
MyDll2.cdf-ms

No actual executable files are different, nor the MyApp.manifest, MyDll1.manifest, etc.
How about an alternative. Is it safe to look for other folders containing my application at runtime and delete them? Is that going to break anything?
Is ClickOnce just an apparent mysterious black box?

A: I think I've actually finally figured this one out.  For some unknown (and unacceptable, frankly) reason, the cleanup of older versions will not happen if the newer version is running -- it just fails silently.
The cleanup attempts to run as the old version exits, but because I restarted the app, the new version is already starting, blocking the cleanup.
Also, note that the "scavenger service" mentioned in other answers appears to be a total fabrication.  I've found no documentation of any such service, nor any evidence of it running.  The cleanup appears to happen inline as part of the clickonce update process.

A: The scavenger service is part of the ClickOnce engine; it runs automatically, and isn't something you can access directly. It should be coming around and cleaning up the old versions.
Question about the min version. If you deploy new version & set min required version to new version#, does it update the app to that version? Then leaves the former one(s) on disk?
Is there any pattern that you can see? Is there a limit to the number of deployments that it is caching?
There's also something about shadow folders that is tickling the edges of my memory; the files aren't really there. I'll do a little research and look through my notes and see what I can find.
What kind of app is it? WinForms/WPF/VSTO?
When you say it is caching folders, which folder is it? For a winforms app, for example, there are two folders created for each version (xxxxtion... and xxxxexe... or something like that) plus a bunch of folders -- one for each assembly included in the deployment -- these are cached versions of the assemblies, to keep from having to download them every time if they haven't changed. Is it the xxxxtion and xxxxexe folders that you are seeing multiples of?

A: This is a function to clean old ClickOnce versions in the client side.
In my machine I've freed 6Gb of space.
I don't want to even know the total space used by old versions org wide...
    /// <summary>
    /// Delete directories of old ClickOnce versions leaving newest in place.
    /// NOTE: Users have privileges for installing and deleting folders in their local deployment directory.
    /// </summary>
    public static void CleanOldVersions()
    {

        string path = AppDomain.CurrentDomain.BaseDirectory;
        int lastSlash = path.LastIndexOf(@"\");
        path = path.Substring(0, lastSlash );
        lastSlash = path.LastIndexOf(@"\");
        path = path.Substring(0, lastSlash);

        var dirInfo = new DirectoryInfo(path);

        var directories = dirInfo.EnumerateDirectories()
                                    .OrderByDescending(d => d.CreationTime)
                                    .ToList();

        List<string> DeletedAppIDs = new List<string>();

        foreach (DirectoryInfo subDirInfo in directories)
        {

            int first_ = subDirInfo.Name.IndexOf("_");
            if (first_ < 0) continue;
            string appID = subDirInfo.Name.Substring(first_+1, 21);

            if (DeletedAppIDs.Contains(appID)) continue;

            var subdirectories = subDirInfo.Parent.EnumerateDirectories()
                                        .Where(d => d.Name.Contains(appID))
                                        .OrderByDescending(d => d.CreationTime)
                                        .ToList();

            bool isNewest = true;
            foreach (DirectoryInfo subDirName in subdirectories)
            {
                if (isNewest)
                {
                    isNewest = false;
                }
                else
                {
                    try
                    {
                        SetAttributesToNormal(subDirName); //Set attributes to normal to prevent failures
                        subDirName.Delete(true);

                        if (!DeletedAppIDs.Contains(appID))
                        {
                            DeletedAppIDs.Add(appID);
                        }
                    }
                    catch (UnauthorizedAccessException)
                    {
                        //Catch unauthorized access to prevent exit if a previous version has any open dll
                    }

                }

            }

        }

    }

    private static void SetAttributesToNormal(DirectoryInfo dir)
    {
        foreach (var subDir in dir.GetDirectories())
            SetAttributesToNormal(subDir);
        foreach (var file in dir.GetFiles())
        {
            file.Attributes = FileAttributes.Normal;
        }
    }

It can be called at launch like this:
    private async void InitTasks()
    {
        try
        {
            await Task.Run(() => CleanOldVersions());
        }
        catch (Exception ex)
        {
            //Error handling
        }
    }

A: Are you checking it immediately? They don't even go away after a day or so? The ClickOnce scavenger service is supposed to come around and remove the old versions. If you push the most recent version as a required update, does it remove the other versions? (To do this, set the minimum required version in the Updates dialog to the same version you are deploying).

A: How to Delete
Clear Click-Once (versioning) Cache
From the docs:
ClickOnce applications that are hosted online are restricted in the amount of space they can occupy by a quota that constrains the size of the ClickOnce cache. The cache size applies to all the user's online applications; a single partially-trusted, online application is limited to occupying half of the quota space. Installed applications are not limited by the cache size and do not count against the cache limit. For all ClickOnce applications, the cache retains only the current version and the previously installed version.
By default, client computers have 250 MB of storage for online ClickOnce applications. Data files do not count toward this limit. A system administrator can enlarge or reduce this quota on a particular client computer by changing the registry key, HKEY_CURRENT_USER\Software\Classes\Software\Microsoft\Windows\CurrentVersion\Deployment\OnlineAppQuotaInKB, which is a DWORD value that expresses the cache size in kilobytes. For example, in order to reduce the cache size to 50 MB, you would change this value to 51200


Cambridge, UK, 30 October 2018: TTP Ventus, manufacturer of the Disc Pump range of multi-award-winning micropumps, today introduced its XP Series, the latest pump products in the Company's strategic development pipeline. The XP Series offers enhanced performance, efficiency, and a wide operational temperature range to support a more diverse range of applications across the medical, life sciences, environmental and defence sectors.
TTP Ventus' Disc Pump platform delivers high pressure and flow, silent operation, rapid response time, accuracy, infinite turn-down ratio and ultra-smooth flow in a compact package, to support product innovations through wearability, portability, and simplicity. The XP Series is a new addition to this range, providing up to 50% increase in peak efficiency, up to 30% increase in pressure and flow, and enhanced stability across a wider operating temperature range of -25 to 55°C. TTP Ventus has achieved this through a combination of design alterations, new materials, and manufacturing process development meaning the XP Series enables longer battery life, operation in harsh environments, and longer operational life.
The XP Series will begin shipping in January, with parts exclusively available to beta-test partners beforehand. A new and improved evaluation kit will be launched alongside the pump.
TTP Ventus is committed to innovation. The XP Series is part of a sequence of planned releases as we expand our product range to meet more varied application demands.
The XP Series will be on display at MEDICA 2018 in Düsseldorf, Germany from 12th to 15th November 2018 (Hall 16, Stand 16-G-04-4). For more information about the XP Series or to apply to become a beta-test partner, please see our products page or contact us.


It struck me today while I was working in the kitchen that I'm finally (yes, after over a year!) getting a hang of cooking for two.
Today has been one of those belovedly wonderful Sundays. After church, Jesse and I came home to relax and go through the many childhood memories of mine that my family dropped off this week. I'm one of those crazy people who keeps a shoe box for nearly every year of my life, and now that it's all finally at our house, I had a chance to share it with Jesse. It was fun to show him pictures I had taken, birthday cards galore, drawings from Kate and Laura, letters from Emily, poetry I had written, and small mementos I had saved throughout my life. What a wonderful life it has been! I love having so many things from my youth. Now, if only I can find places to put all of it!
Jesse and I made lemonade together after leaving the rest of the shoe boxes for another day. A friend at church gave us an entire bag of lemons, and I've just been in tart-heaven! The lemonade was scrumptious, and it was the perfect addition to our all-american dinner tonight of grilled steak, corn on the cob, baked beans, and buttermilk rolls. What a feast!


We also carry a full range of accessories including: veils, bridal belts, beaded sashes, jewelry, purses, gifts and more for your wedding day. Were happy to offer suggestions to coordinate your entire wedding day look. Let us know what we can do to help. Were here to make your dress shopping experience as easy and stress free as possible.


Product commentaries provide quarterly fund updates including contributors to performance, detractors from performance, and positioning and outlook.
This page is periodically updated as new commentaries become available.
• Equity commentaries are generally available in three weeks.
• Fixed income, balanced and alternatives commentaries are generally available in four weeks.


We're always looking for good people. If you think you're a fit, get in touch.
Duties include: seeding; irrigation; monitoring plants; adjusting light banks; soil preparation; cleaning; order preparation.
Must be able to perform moderately strenuous physical labour.
Reliable personal transportation required. NO PUBLIC TRANSIT available to work site on Barnston Island, Surrey.
Horticultural experience an asset, but not necessary. Training is provided.
Applicant must be able to speak, read and write English.
Advancement potential for the right team member.
Approx. 40 hrs per week and must be flexible to work some weekends.
This is a year round position. Serious applicants only.
Applicant must include a cover letter with resume. Apply by e-mail.
Order desk/ Office & Bookkeeping Clerk to assist in small office with established company.
Duties include: telephone orders and sales; data entry; invoicing; generating computerized reports, forms and lists; assisting with AR/AP data entry and other bookkeeping functions.
Successful applicant will work closely with warehouse and greenhouse supervisors to communicate customer's orders and needs. Must have neat handwriting and be capable using Excel and Word programs.
Must have pleasant phone manners, great attention to detail and quick to adjust to different situations. Training will also be provided.
A good knowledge of Metro Vancouver area and familiarity with produce are assets.
Must be comfortable with dogs and cats.
Hours of work are Sunday to Thursday 10:00 am – 6:30 pm.
© Barnston Island Herbs. Website by Tiny Bites Consulting.


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Home»Sports»Packers»Adams VS Ramsey, The Key Matchup To Watch For In The Divisional Playoffs
Adams VS Ramsey, The Key Matchup To Watch For In The Divisional Playoffs
By Dan Edwards January 15, 2021 Updated: October 27, 2022 1 Comment4 Mins Read
The divisional round playoff matchups are set. This Saturday, the #1 seed Green Bay Packers will face off against the number six seed Los Angeles Rams in legendary Lambeau Field at 4:30pmET. The number one scoring offense will go against arguably the number one scoring defense. The key matchup to watch for is how well Davante Adams can do in coverage against rams cornerback Jalen Ramsey. This duo will have domino effect on how well the game plays out depending on if Adams can do well in Ramsey's coverage. Besides being covered by Ramsey back in 2016 during Jacksonville, he only played against him in a handful of snaps during the pro bowl. Both players were named All-Pro this season, and this matchup should be a battle for the ages.
Davante Adams Elevated His Game This Season
Despite missing two and a half games this season, Adams set a franchise record in receptions and tied the record for touchdowns in a season. Click Here for the article predicting he would achieve such records from the beginning of the season. He ended the season with 115 receptions, 1374 yards receiving with 18 touchdowns. Had he played all 16 games, he was on pace for 131 receptions and a new franchise record 21 touchdowns. He averaged almost twelve yards per reception this season, which is about the same as last season (12.01).
One notable stat was catch percentage his season. It increased from 65.4 to 77.2%, despite Adams only playing 13 games. One reason for this increase was him getting more familiar in Matt Lafleur's system. Additionally, Aaron Rodgers is playing at an MVP caliber level. He has a 135.8 passer rating when targeting Adams this season, which is the best passer rating for any receiver that has been targeted at least 60 times. Despite this battle, Rodgers will find a way to get Adams disengaged from the all-pro cornerback and attack this Rams defense.
Jalen Ramsey Getting Recognized As A Top Cornerback
After playing in Jacksonville for a few years, Ramsey signed a massive five year $105M contract with the Los Angeles Rams in 2019. Quickly, he's been establishing himself as one of the best cornerbacks to play the game today. Even Davante Adams recognized his level of playing this season. "I respect Ramsey's game, he's at the top of that list for sure" Adams said in a recent interview. "I think he's probably at like three or four super elite is what I like to call it, and he's definitely one of those guys".
Although he only had one interception this year, he hasn't allowed much production from the receivers he's covering. In six games this season, when matched up with a pro bowl wide receiver, Ramsey has only allowed ten receptions for 96 yards and one touchdown. Just looking at those stats, it seems like what Adams would have in one game. Wherever Adams lines up, expect Ramsey to "shadow" him, especially in the slot. He is usually a corner that lines up on the perimeter, so this should be a true challenge going up against Adams. In fact, this season Ramsey has only lined up in the slot 169 times. This position may be where Adams has the advantage.
Who Wins this Matchup?
Despite being labeled as one of the top shut down cornerbacks in the league, Ramsey will be slightly beat out by Adams. When compared to other receivers, Adams has a certain way of running his routes. He's been known as one of the best route runners in the league. As mentioned earlier, Adams lines up in the slot which would be a disadvantage for Ramsey.
In addition, both Ramsey and Adams have different playing styles. Ramsey is one of those shadow corners that is aggressive and a bruiser in coverage. He prefers to play man coverage with fewer yards in separation. Adams is a bit different, his route running is in a more finesse fashion, creating yards in separation. He's not one to be physical on the line of scrimmage. However, Adams beats his defenders with his feet on the line of scrimmage.
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Follow me on Twitter at @PackerEddyFF and follow us @WiscoHeroics1 for more great content! To read more of our articles and keep up to date on the latest in Wisconsin sports, click here!
Adams Divsional playoffs Matchup Packers Ramsey
Dan Edwards
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Periodontist in Aventura FL | Bone Regeneration Around Teeth | Andrew M. Alpert, D.M.D.
Periodontal disease creates inflamed gum tissue and loss of bone around the teeth and hence deep pockets. In order to reduce the deep pockets it is necessary to reduce the gum inflammation and to regenerate the bone. A bone graft can frequently be used to regenerate the bone providing a more ideal shape to the surrounding bone. There are many bone grafting techniques and the specific technique is determined by the specific type of bone loss and whether the bone breakdown is around a front or back tooth.


A new deal for postal services in the north west of England is set to save councils £1 million.
A group of 17 local authorities have agreed to switch supplier from the Royal Mail in a deal with TNT Post, following a tender led by the North West Centre of Excellence (NWCE). The deal will see TNT handle post for all Merseyside authorities and half of the councils in Greater Manchester.
The £1 million saving represents 20 per cent on the councils' combined annual spend on post. Research carried out by the NWCE before the tender found authorities in the region send just over one million items of mail a year, with a quarter sent first class.
The cost of the service could be further reduced if 12 other councils in the region sign up to the deal. The councils have until March 2008 to switch.
Terry Harrison, procurement manager at Salford council, said in a statement: "We recognised quickly the benefits of examining our current postal arrangements compared with what a new supplier could offer."


The River Market's only steakhouse serving aged Omaha Black Angus steaks and seafood with excellent service in a club room atmosphere. Come enjoy a selection from the Wine Spectators' award-winning wine list. The full bar becomes a piano bar Wednesday-Saturday. Valet service available.
Arkansas Bride magazine and blog articles featuring Sonny Williams' Steak Room.


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Update: All classes canceled until 11 a.m. because of "winter weather"
Published on March 3, 2014 at 4:58 pm Last update on March 3, 2014 at 9:44 pm
Updated (9:44 p.m.): University incident meteorologist Troy Kimmel said freezing rain and sleet is expected overnight and early Tuesday morning. Icy roads are also a possibility, Kimmel said.
"It's hard to tell at this point, the roads are pretty warm tonight across the area so we're just going to have to watch," Kimmel said. "I think there's [a] prospect for freezing rain and sleet, but we really won't know, in my opinion, until after midnight."
According to Kimmel, temperatures are predicted to rise above freezing by Tuesday afternoon.
"Probably tomorrow afternoon it'll be close to 40 degrees, depending on what happens tomorrow morning," Kimmel said. "That will have a lot to do with it, but at this point, we think it will warm up to around 40 in the afternoon."
Updated (8:50 p.m.): The University will have an 11 a.m. delayed opening Tuesday, after closing 10 p.m. Monday night, because of possible "winter weather."
This is the sixth weather-related class change in the semester, as the University canceled classes on Jan. 24, Jan. 28, Feb. 6, Feb. 7, and Feb. 11.
Original story: Monday afternoon, University administrators announced the campus would close at 10 p.m. Monday night as a result of "the possibility of winter weather."
The National Weather Service issued a winter storm warning from 8 p.m. Monday until noon Tuesday and warned of ice accumulations up to a tenth of an inch. Administrators did not announce any delayed openings for Tuesday, but an email sent to students said the University would continue to monitor weather overnight.