text:
The Moncouche Lake is a freshwater body at the head of the Moncouche River, in the unorganized territory of Lac-Moncouche, in the Lac-Saint-Jean-Est Regional County Municipality, in the administrative region of Saguenay–Lac-Saint-Jean, in province of Quebec, in Canada. Moncouche Lake is located in the western part of the Laurentides Wildlife Reserve. Its location is almost at the limit of the administrative regions of Saguenay–Lac-Saint-Jean and Capitale-Nationale.

A forest road runs along the southeast shore of Moncouche Lake. Some secondary forest roads serve this area for forestry and recreational tourism activities.

Forestry is the main economic activity in the sector; recreational tourism, second.

The surface of lake Moncouche is usually frozen from the beginning of December to the end of March, however the safe circulation on the ice is generally made from mid-December to mid-March.

Geography
The main hydrographic slopes near Lake Moncouche are:
 North side: Saint-Véran Lake, Starr Lake, Huard Lake, Métabetchouane River;
 East side: Étoile lake, Contourné stream;
 South side: Contourné stream, rivière aux Montagnais;
 West side: Métabetchouane River.

Lac Moncouche comprises is connected (southwest side) to Saint-Véran Lake and is landlocked between the mountains. Lac Moncouche has a length of , a width of , an altitude of . The Moncouche River (coming from Saint-Véran Lake) crosses this lake for  to the southwest. The mouth of the lake is located to the southwest and is located at:
  north-east of the confluence of the Moncouche River and the Métabetchouane River;
  northeast of Métabetchouane Lake;
  north-east of the Canadian National Kiskissink station;
  to the east of route 155, connecting La Tuque to Chambord;
  south-east of the confluence of the Métabetchouane River and Lac Saint-Jean.

From the mouth of Lake Moncouche, the current successively descends the Moncouche River over  generally towards the south; the Métabetchouane River generally north on  to the south shore of Lac Saint-Jean; the current crosses the latter on  towards the northeast, then follows the course of the Saguenay River via la Petite Décharge on  to Tadoussac where the current merges with the Estuary of Saint Lawrence.

Toponymy
The toponym Lac Moncouche was formalized on December 5, 1968, by the Commission de toponymie du Québec.

Notes and references

See also
 Lac-Saint-Jean-Est Regional County Municipality
 Lac-Moncouche, a TNO
 Laurentides Wildlife Reserve
 Rivière aux Montagnais
 Moncouche River
 Métabetchouane River
 Lac Saint-Jean
 Saguenay River
 St. Lawrence River
 List of lakes of Canada

Lakes of Saguenay–Lac-Saint-Jean
Lac-Saint-Jean-Est Regional County Municipality
Laurentides Wildlife Reserve

redpajama_set_name: RedPajamaWikipedia


______________________________________ _________ as my health care agent to make any and all health care decisions for me, except to the extent that I state otherwise. This proxy shall take effect only when and if I become unable to make my own health care decisions.
as my health care agent to make any and all health care decisions for me, except to the extent that I state otherwise.
I have discussed with my agent and alternate agent my wishes concerning health care decisions, including artificial nutrition and hydration, and give my agent and alternate agent, respectively, authority to make all health care decisions, including decisions for the provision, continuation and/or removal of artificial nutrition and hydration, on my behalf.
In order for your agent to make health care decisions for you about artificial nutrition and hydration (nourishment and water provided by feeding tube and intravenous line), your agent must reasonably know your wishes. You can either tell your agent what your wishes are or include them in this section. See instructions for sample language that you could use if you choose to include your wishes on this form, including your wishes about artificial nutrition and hydration.
If you do not state your wishes or instructions about organ and/or tissue donation on this form, it will not be taken to mean that you do not wish to make a donation or prevent a person, who is otherwise authorized by law, to consent to a donation on your behalf.
*Derived from the Health Care Proxy developed by the State of New York Department of Health.


text:
Behavioral Science Professor
College of the Ozarks
Point Lookout, Missouri
Part-Time Lecturer on Social Studies
Redwood Day School
Lecturer Pool Global Studies and Political Economy ISSP College of Letters & Science
Executive Director of the Center for Healthy Relationships
NMPAN Program Manager
Full Time History Teacher
Lick-Wilmerding High School
Assistant Professor of Central American Literature and Culture
MSW Program Coordinator
HR Manager, BEARS Region (0624U) - 29639
Assistant Professor of Computer Science
The University of North Carolina at Asheville
Enterprise Application Specialist
Information Technology Security Enterprise Application Specialist Ball State University Ball State University is seeking an energetic person interested in working with the latest enterprise technologies. If you have a passion for technology and a hunger to learn, we'd like to talk to you about taking your career to the next level. If you are excited about the challenge of managing the enterprise systems of a large university, you may be the candidate we're looking for. As an Enterprise Application Specialist, you'll take a hands-on role in maintaining our Banner ERP and related systems. Your role will also work collaboratively with the campus community to integrate enterprise systems to

redpajama_set_name: RedPajamaCommonCrawl


Skin care is so important in maintaining healthy proper skin hygiene. As I research ingredients for my skin care line, I want to share tips with my readers on the various skin types and proper care for your skin. This will be a 5 week series on the 5 different skin types and the proper care. To find out what type of skin you have get my FREE eBook here.
Have you ever looked at the skin of an orange, that is a sample of the what the surface of an oily face with enlarged pores. Not the look you want! Oily skin is prone to have larger pores and acne. It is important to care for this skin type for a healthy appearance. Oily skin is very greasy in the T-Zone. The T-Zone consist of your forehead, nose, and chin because it forms a "T". The T-Zone has more oily glands than any part of the face. The T-Zone is more prone to acne and breakouts because of the clogged pores. Although, you want to avoid over cleaning your face, regular cleaning is required for oily skin!
People with oily skin think that moisturizes add to the oil of their skin and its not necessary. That is far from the truth every part of our skin needs moisture. There are different types of moisturizes to use to eliminate excess oils. First, wash your face in a non-comedogenic face wash. Use a cleanser that contains salicylic acid. Salicylic acid soaks up oils and cleans out your pores. When you have enlarged pores bacteria can seep in and salicylic acid can cleanse those pores of unhealthy bacteria. Also look for products that contain sulfer. Sulfer helps the sebum (good oils already in your skin) become entrapped in your skin. Look for products that carry Tea Tree Oil, Benzoyl Peroxide, and Hyaluronic Acid.
Smells great and gentle enough to not strip your skin!
Full of Saylicylic and hyaluronic acids!
This is a great investment! It gently scrubs away the dead skin cells without scratching. Soft and gentle.


text:
require "sensu/api/utilities/publish_check_result"

module Sensu
  module API
    module Utilities
      module ResolveEvent
        include PublishCheckResult

        # Resolve an event. This method publishes a check result with
        # a check status of `0` (OK) to resolve the event. The
        # published check result uses `force_resolve` to ensure the
        # event is resolved and removed from the registry, even if the
        # current event has an event action of `flapping` etc.
        #
        # @param event_json [String] JSON formatted event data.
        def resolve_event(event_json)
          event = Sensu::JSON.load(event_json)
          check = event[:check].merge(
            :output => "Resolving on request of the API",
            :status => 0,
            :force_resolve => true
          )
          check.delete(:history)
          publish_check_result(event[:client][:name], check)
        end
      end
    end
  end
end

redpajama_set_name: RedPajamaGithub


We love mochi, a Japanese sweet treat consisting of a round pouch of rice dough, traditionally filled with red beans or other paste. In the U.S., ice cream often replaces the red beans.
If you're not familiar with mochi (MOE-chee), here's the scoop.
When you just want a bite of sweetness, a piece of mochi hits the spot.
Years back, we had a Combos habit: a pack a day of the pretzel nuggets with a cheddar cheese filling (and since then, seven additional fillings).
At some point, we gave them up, but now we have a new habit: Jif Poppers (photo #2).
This new stack combines mini pretzels with large nuggets of crunchy popcorn coated with peanut butter. We can't resist them.
For us, the clear winner Chocolate Poppers. We're not sure why the same snack was made without the chocolate pretzel coating; are there really that many people who don't want chocolate? But, they're delicious nevertheless.
Strawberry Poppers are not for us. To our palate, the dried strawberries don't have synergy with the PB-coated popcorn. Long live Chocolate Poppers!
FIND A STORE NEAR YOU AR JIF.COM.
Waterloo makes sparkling waters in seven flavors (plus Original). Based on how natural they taste, we like some better than others.
For us, the star of the collection is Coconut Sparkling Water (photo #3). We say this as someone who likes coconut, but isn't attracted to conventional coconut waters.
Natural coconut flavors and zero calories: We just bought a carton of 12 cans.
FIND A STORE LOCATOR AT DRINKWATERLOO.COM.
 Bubbie's holiday mochi in Gingerbread.
 Jif Chocolate Poppers from Jif.


Move your character with keys WASD or arrow keys.
LavaFloor.io is a hard Strategy game in which you must control your character and roam the map to dodge the lava while trying your hardest to push your enemies into the lava. Be sure to gather more coins as well as a bunch of power-ups so you can get stronger. The more coins you pick, the higher ranking you can reach! See how long you can survive!


There are few things as indulgent and delicious as a bowl full of creamy, luscious mushroom risotto flavoured with fresh black truffles. This one is a showstopper of note.
We're getting fancy today because you guys, we are in the presence of French black winter truffles and just in case you didn't know, truffles are actually known as "The diamonds of the kitchen". I have, up to this point, never cooked with fresh truffles, always relying on truffle oil to give me that pungent kick. But now that I have, I've been spoiled for life. These beautiful truffles were sent to me by The Truffle Kitchen. They import the best quality truffles from Italy, France, Spain and Australia and then distribute them to all the top restaurants in the country. I was the lucky recipient of two perfect black winter truffles and to be honest, at first I was terrified. I just kept staring at them wondering how I would do them justice. I called on social media to help me with ideas and the resounding call from far and wide was: "Keep it simple." Pasta with a simple truffle cream sauce and mushroom risotto were the clear favourites.
I decided to make black truffle and mushroom risotto because a) it's one of my top 5 ever meals and b) I couldn't think of a better way to showcase the truffles. To start, I used a fine grater to grate some of the truffle into soft butter which I used to saute the onion, garlic and mushrooms (the remaining butter was rolled and is now happily frozen in my freezer, waiting for a big juicy steak to infuse with flavour) plus I shaved the rest of the truffle into the stock to infuse that as well. Finely, just before serving I used a few last shavings to top the mushroom risotto which added a bit drama and luxury. So pretty much every element of this dish has been truffled. And the end result was just luscious, and fragrant and delectable. The truffles infused the mushroom risotto with their earthy pungency and made the mushrooms taste even mushroomier (is that even a word?) It was one of those meals I savoured with every, single bite because let's get real, this is not an every day occurence. In fact, you're lucky if you ever get to cook with fresh black truffles so indeed, every bite was appreciated and enjoyed to the full. This is the kind of meal you make when you are trying to impress the pants off of someone (mother-in-laws come to mind) but it would be equally wonderful as a meal to celebrate an anniversary or birthday. Add a good bottle of wine and you have an instant celebration.
Disclaimer: This post was not sponsored, however I did receive the fresh black winter truffles from The Truffle Kitchen.
There are few things as indulgent and delicious as a bowl full of creamy, luscious risotto flavoured with fresh black truffles and exotic mushrooms.
To make the risotto, fry the onion in the truffle butter in a large frying pan.
When the onion is soft, add the garlic and fry for another 20 seconds or so then add the mushrooms. Fry until the mushrooms are golden brown then add the rice.
Stir to coat the rice in the butter and aromatics then add the wine. Allow the wine to reduce then stir in the stock, ladle by ladle. Allow the rice to absorb the stock before adding more and stir continuously. It is this continuous stirring that creates the creaminess risotto is known for.
When the risotto has absorbed approximately half of the liquid, start tasting it regularly as a good risotto can quickly be ruined by over cooking. Your risotto might also not need all the stock or it might need more, it all depends on the rice's absorbency.
When the risotto is cooked to your preference, stir in the butter and Parmesan and season to taste with lemon, salt and pepper.
Top with the fresh black truffle and serve.
I am aware that not everyone has the luxury of cooking with fresh truffles. You can substitute all the truffles in this recipe with 1-2 teaspoons of black truffle oil. Buy your truffle oil from a reputable source as often the oil is simply infused with truffle essence and not real truffles.
It is the first time I cooked fresh truffles and followed your recipe , super delicious ?, now we are addicted and as you said it is a must try/ cook at least once , we've made plans to buy real truffles and cook once a month .In addition to your recipe I only added a bit of cooking cream and sour cream .
Haha, yep a punnet is a small pack of mushrooms/strawberries/etc. It's an often-used word especially used by British cooks. And don't worry, if I hadn't been sent those truffles, I would also not be able to afford them. Truffle oil will give you a good result too!
Whoa. Those truffles stopped me in my tracks. And you definitely celebrated them by incorporating them into this creamy risotto. Risotto is my fall comfort food staple and I'm so envious of these babies. So, so good!
Yum! I am definitely saving this recipe for those cool fall days.
This risotto looks so luscious. Could I add some porcinis too?
Thanks Barbara. Yes, of course, If you're using dried, just soak them in the stock with the truffles. If using fresh, simply slice and use as directed.
This looks so spectacular. Definitely a luxurious meal. I'm sure I'll never make it with fresh truffles but it looks so delicious and creamy, I'll just have to hunt down a good truffle oil. Your pictures are lovely too!
Oh! This is just gorgeous… your photography (those truffles!) and this recipe! I have to admit, I've not cooked with truffles before. Oil, yes, but I know it's not the same. Why have I not done this?! This is my comfort food right here Alida. Sublime! Thank you for this!
I never cook with fresh truffles but would love to try it sometime. This looks creamy and delicious with all that parmesan!
Thanks Karen. It definitely is. Proper comfort food.


text:
Stacey Pullen
Stacey Pullen is the Kosmik Messenger. An innovator from the Second Wave of Detroit techno, he grew up under the mentorship of Detroit's legendary three: Derrick May, Juan Atkins and Kevin Saunderson.
Stacey Pullen is the Kosmik Messenger. An innovator from the Second Wave of Detroit techno, he grew up under the mentorship of Detroit's legendary three: Derrick May, Juan Atkins and Kevin Saunderson. Still continuing to produce his characteristic atmosphere laden electronic sound, Stacey Pullen compounds his reputation as a producer with that of being one of the world's most in demand DJs, playing weekly across the globe year in, year out. With a font of passion for music and performance that never dries up, Stacey Pullen still plays every gig from the heart seeking to surprise and engage, to provide an unforgettable experience, to offer up his unique catalogue without predictability - defying expectation. Above all, from his earliest attempts to the current day Stacey Pullen has stayed true to his one goal: to become and to always be an Innovator. From the age of 9, playing flute in his school band, Stacey has always been playing musical instruments. Throughout his school years, he developed a fantastic groundwork in analogue instruments and performance, moving from flute to his self-taught next choice of percussion. In his final years at school he found himself travelling around to a lot of cities in the USA playing in school bands, which gave him a taste of – and preparation for – the travelling involved in life as a musician. He had also seen and been prepared for a musician's life from watching his father who was in a Motown band called the Capitals in the 1970's, filling much of Stacey's childhood with observations of a life dedicated to music and travel. Around 1985, while Stacey was still drumming and travelling with his high school band, the Detroit Techno movement was born, and provided a revolutionary sound to the youth of Detroit. The Electrifying Mojo filled the airwaves with this radicalism through new electronic rhythms, and showed a generation or more of musicians and DJs what true musical eclecticism means. Jeff Mills began to take musical technology to new levels redefining the borders between DJing and production in a way which had never been done before. DJs in Chicago like Farley Jackmaster Funk, Ralph Rosario and JM Silk were spinning proto-Chicago tunes on WBMX and Hotmix: they were the leaders of the new school of black music. The youth of Detroit, including Stacey, were listening and learning. Stacey Pullen and some friends from his band took their cue from these musical leaders and began to experiment with turntables and a mixer. He would – as have many aspiring DJs since – spend his allowance on records and go hungry, going straight from school to the house of his friend who had equipment. He also started clubbing around the age of 15, the first club he frequented was called 'The Primadonna', the first DJ he remembered was a local legend called Alan Ester and the first music he was clubbing to was called 'Progressive Techno' – not in the sense of the word that we currently understand, but because, in Stacey's words "back then the music we called house music, techno, was also called progressive music – the meaning of 'progressive' was a futuristic way of thinking about music. That was what we called progressive. Back then for party music in Detroit only hip hop was big - music like techno was progressive then." His first DJing gig came in May 1985. It was also his first high school party and his first ever drink of beer. Stacey doesn't remember much about the music, but he certainly does remember the experience: "It was that gig that let me know how tough it was to be a DJ. We set up the whole thing, brought the sound system, rented the hall, loaded in, loaded out and went home with 20 bucks a piece in our pocket. But it was more than money, to have that outlet - to have that power and make people respond to the music that we played." Stacey graduated and went to university in Tennessee, which was devoid of the progressive sounds of Detroit, and artists like MC Hammer reigned. He DJed at a few gigs, playing Model 500 and Rhythm is Rhythm and clearing the floor. He would make the eight-hour trip home at weekends to go to legendary Detroit club 'The Music Institute', and get his fix during the week with tapes he would share with fellow Chicago and Detroit students also left high and dry in Tennessee. In 1989, while still at university, Stacey bought his first drum machine – a Yamaha RX7, he thinks. Between the excitement he felt playing and the experiences he was having on the weekends, Stacey was left wanting more than he could fit into his university life. He decided to quit school and return home to Detroit and make a life of music. His parents, with his father's own musical history, supported Stacey's decision and he returned home, moved back in with his parents, and quickly started to develop his musical ambitions. Almost living at the Music Institute, Stacey quickly got to know the leading lights of Detroit's underground: Alton Miller, Chez Damier, Derrick May. Alton was living in the same building as the club, and showed Stacey a lot of the background activity, including watching Derrick May making his tapes for his weekly radio show. Stacey approached Derrick, and told him that he made music - Derrick invited him to play some to him. From here, Stacey started hanging out at the Transmat studios and became friends with Jay Denham, who was recording on Transmat sub label Fragile as 'Fade to Black'. Jay was the main studio engineer for Transmat, and had full access while Derrick May was away. Stacey watched Jay work, and absorbed a lot of knowledge. Stacey started putting more sophisticated beats together, making his first real tracks. He played some to Derrick who told him " it's cool but you need to work harder". This pushed Stacey to become more thorough, to understand music better. He says: "It was a good thing. It made me work harder, it made me realise that it's not just about making music. It's more than that: the passion you needed to have, the innovation we needed to have, what it is to be an artist." A couple of years later, in 1992, Derrick suggested that a good way to develop his skills would be for Stacey to do some remix work with Kevin Saunderson. Stacey began to work with Kevin on remixes including one for Karen White - 'The Way I Feel About You' and some which never made it to print, including one for the Prodigy. While Kevin was originally commissioned, he asked Stacey to do his own remix. The Prodigy liked it, but their label didn't. Stacey kept the backing track without the Prodigy samples, and turned it into his first track which was later released through a subsidiary of KMS in 1993. After some more time perfecting his craft Stacey again played some original sounds to Derrick, who agreed to release his first Silent Phase track 'Wave the Rave Goodbye' as the 'Bango EP' on Fragile, which was Derrick's experimental label. Stacey was also invited to submit this track to a compilation of new Detroit artists on KMS. At this point Stacey truly became part of the Transmat/Metroplex/KMS team – the three studios worked very closely together, and were housed on different floors of the same building in downtown Detroit. Stacey now felt he had truly arrived as an artist: "It made me feel really well, once we released Silent Phase I felt I was part of the crew. I had respect amongst my peers, so I didn't care how much money it made. That record introduced Stacey Pullen to the world." This was true – quite literally – as in early 1993 Derrick, who was spending most of his time outside the USA at that time, started encouraging Stacey to play gigs in Europe to widen his audience and support the single. He invited Stacey to join him in Amsterdam for a month – that month became a year. He spent twelve months both as a teacher – educating Europeans as Electrifying Mojo had educated him about the electronic sounds of Detroit – and as a student – learning to DJ in a very small and competitive scene. He moved in with Derrick and together they toured Europe every weekend playing Detroit techno to what Stacey remembers as an enthusiastic and interested audience. Amongst the greats of US electronic artists he would play his own unreleased joints, and learned how audiences received his own creations as well. It was an intense education into the world of DJing, and had its share of disasters including Stacey's very first European performance: "My very first DJ show in Europe, I showed up with no records because my luggage got lost! I had to borrow other people's records. It was a testing time for me but I learned a lot from it. It wasn't the best gig, but it was exciting more than anything. Imagine – my first gig ever - not showing up with my records! I had been DJing in the bedroom since 85 and this was 1993 but I think the guys that brought me over were so excited that I was there. Being in Amsterdam, DJing was the thing that kept me going. Amsterdam was and still is a very competitive market for DJs. We were at record stores every day, buying records. As outsiders Derrick and me were very competitive, it was a good competitive spirit that made me develop my skills. I learned a lot, I learned how to play different styles. I was hearing a lot of music that wasn't coming to Detroit, I was going into different record stores and listening to different styles of music." Stacey began to play high profile gigs at clubs like London's Ministry of Sound and Paris's Rex Club and began meeting the DJs and artists that worked in Europe, like Laurent Garnier, Frank De Woolf and more. He talked with all who would listen about Detroit music. Paying attention was Renat and Marcus Salon from Belgian super label R & S, who invited Stacey into the studios to make a record, which ended up becoming the first Silent Phase album, 'Theory of Silent Phase' in 1994. Stacey met many techno artists through this time at R & S including CJ Bolland, The Advent's Cisco Ferreira, and Robert Leiner. But it was Marcus Salon who was most influential: during the making of Theory of Silent Phase he showed Stacey a lot of new technical knowledge at the vastly bigger and very well equipped R & S Studios. Coming from the makeshift Detroit studios, there was a lot to learn! After a year, Stacey moved back to Detroit, ready to establish himself and start his own label. However, what he had started in that year in Amsterdam was a way of life which has never stopped to this day: almost every weekend since then Stacey has flown out of Detroit to a location somewhere in Europe – or elsewhere – to DJ for crowds wanting to taste a never dry appetite for new electronic and techno sounds. Throughout 1994 he commuted between Europe and the USA, finishing the Silent Phase album at R & S and DJing. He also made his first trips to Japan, South East Asia and Australia to DJ. By then he was busy enough to require an agent, and was being booked by Transmat's agent Laura. His association with Transmat was a red carpet to gigs all over the world. By then he had released another Fragile track 'The Sphinx' as Bango, and the first Silent Phase album was ready for release onTransmat in association with R & S. Not without its difficulties, mostly caused by recording on both sides of the planet and having to keep the sound consistent where possible between two analogue based studios, 'Theory of Silent Phase' was well received, although today he has regrets about the mastering, and Stacey played a lot of dates that year in support of the album. Flooding in after the album release were a lot of offers for Stacey to record on other labels, including one from Mr C to record on his UK label Plink Plonk. Stacey had met Mr C a long time before when the Shamen invited him and Kevin Saunderson to remix The Shamen in another never-released project. This resulted in a couple of releases on Plink Plonk by the alias 'Kosmik Messenger' – 'Eye to Eye' and 'Flash' - both released in 1995. He was also DJing a lot of dates at The End and around Europe, which continued non stop until 1997. Through his releases on Plink Plonk, Stacey was then invited to release on the new Belgian label 'Elypsia' as 'Kosmic Messenger', which led to the release of his second LP 'The Kollected Works of Kosmic Messenger', which Stacey recollects as a 'straight up techno album' for him, after the more spiritual first album on Transmat. He had 100% control over the album from the tracks to the artwork, which was produced by himself and his girlfriend at the time as a conceptual art project. In 1998 Stacey was invited to produce his very first major label release on Virgin Records, and at the same time was planning to open the label he had wanted to start for about three years 'Black Flag'. He also recorded a more conceptual LP 'Today is the Tomorrow You Were Promised Yesterday ' for Virgin imprint 'Science', the first under his own name. He was very much influenced by his research into the history of Jazz, and – with the support of Virgin – used unorthodox ideas including the inclusion of an Opera Singer on one track 'Vertigo'. His release featured remixes from influential artists of the time like Dave Angel and 4 Hero. Stacey felt proud of the album, but its' release brought him a mixture of happiness and disappointment. "This album gave me respect from avant garde purists, who love music other than techno. The only thing I was not happy with is that it never got a proper US release because it wasn't Aphex Twin or Chemical Brothers. At that time, this was an album that needed to be heard. It was inspired by jazz, roots and culture but wasn't nerdy music or breakbeat music. It was too fast forward, and not getting a proper release still bugs me to this day." Stacey Pullen was spending very little time in the US, despite his home in Detroit. He spent the next few years DJing, developing his taste and his ideas about himself, every so often coming home to his proudly self-built studio in downtown Detroit. He also started Black Flag with his partner of that time, and started releasing records as 'Black Odyssey', starting with 'Sweat' in 1998 and then 'The Stand in 2000'. Around that time, as vinyl started to look a little shakier and after 8 years of consecutive releasing and touring, Stacey took a break from recording. Despite the number of offers he was receiving Stacey has always wanted to be conservative with his releasing schedule – keeping an audience attentive and wanting more rather than being over saturated. He preferred to aim for timeless music so Stacey felt that he would be better to have a break from recording rather than release anything less than classic. He began to ramp up his DJing schedule even more, and spent the next 4 to 5 years concentrating mainly on furthering his own musical education. "I thought that maybe I needed to get back out in the DJ circuit and find out what was going on. I made it a point to go to places I've never been before and see people's responses to what I played, and I've been doing that until now. It has been a good ride so far." Black Flag went on hiatus in 2001 and Stacey let the world of production – very much in flux in the early 21st century – take its course for a little while, while he concentrated on DJing. As one of the very few Detroit DJs travelling to Europe, he has still felt the need to provide some education about new underground electronic music – from Detroit and otherwise. Through this time, Stacey's reputation as a DJ became as much of a drawcard as his reputation as a producer, and he became renowned for long, experimental, adventurous and soulful journeys through music that lasted at least 5 hours. For Stacey 2 hour gigs are just a warm up! He sees each set as a 'best of' all dance music through time – there is no one style he prefers, Stacey just plays the best of everything, with an emphasis on passion and innovation: no two sets are alike. 2007 sees Stacey still on the road DJing each and every weekend, bringing his signature eclecticism to some lucky part of the planet, however many things have changed in the last 5 years in terms of a Stacey Pullen show. More opportunity to provide spontaneity and personalisation than ever exists, because of new technology, and Stacey is taking advantage of all of it! Many tracks he will play on any given night are edits he has created while travelling to a gig during that day! He DJs original tracks from vinyl, but many of his own edits and tracks are freshly burned to cd – edits of tracks he has made, he has been sent by other artists, promos, tracks he has bought. As a result, every set becomes more personalised, more unique, and indisputably a window into Stacey's musical passions. The lure of this technological innovation has also brought Stacey back to the studio, making his own tracks and executive producing other artists. Also, excitingly, he has rekindled his Black Flag label and has been preparing new releases using a mixture of analogue equipment and digital post production which he thinks are amongst his best ever work, plus plans to release older material which has never been heard before. These days the DJing and the production go hand in hand in terms of his enjoyment and inspiration. "I'd say I'm one coin with 2 sides. Heads and tails can't have one without the other. I have built my reputation more on being a good DJ, but the music I have put out and created has been well received. I have always strived for longevity, and I think right at this moment, my fans haven't heard the best of what I have to offer. I've also got loads of unreleased material that will be released, from 8 years ago and it sounds like it was made 2 weeks ago. It's going to be coming out on Black Flag in summer time here: June or July. Right now all I'm doing is sitting in the lab making the masterpiece. The future of music for me is exciting and will be an adventure, I'm excited about it and this is just the tip of the iceberg."


text:
US Congress publishes Trump's tax returns
A committee of the United States Congress published the tax returns of former President Donald Trump (2017-2021) this Friday for six years, including his mandate.
Trump had asked the Supreme Court to keep his statements secret, but America's highest court He rejected their request on 22 November.
The House Ways and Means Committee, controlled by the Democratic Party, published documents on Friday ending a long dispute with Trump. aspires to be Republican presidential candidate in 2024.
"A president is not an ordinary taxpayer. He has power and influence unlike any other American. Y With great power comes great responsibility." Congressman Richard Neal, the committee's chairman, said in a statement.
According to a review by local media, the published document, running into hundreds of pages, will reveal The former president paid very little in income tax during his years in government.
The battle over those statements dates back to 2019, when the Ways and Means Committee issued a legal subpoena seeking access to that information as part of its investigation into possible tax violations by Trump.
He based the petition on a 1924 law that allows leaders of certain congressional committees, including the Ways and Means, to complain to the Secretary of the Treasury and the US Treasury Publication of tax return of any taxpayer.
were trump First US President since Gerald Ford (1974–1977) not to publish his tax returns every year A tradition that his predecessors followed as part of their duty of transparency and accountability to the people.
"You can't get much out of a tax return, but it's illegal to issue one if it's not yours," Trump said last week.
former republican president claimed in the past that its returns were subject to audit by the US Internal Revenue Service (Treasury)Although many legal experts assure that no regulation prevents him from disclosing them if he wants to.
Black Widow was going to have a very different haircut in her film
Woman abandons her newborn daughter in the forest, who is saved from death
McCarthy does not have the vote to become Speaker of the US Lower House
Winter storm threatens tornadoes, flooding and snowfall in at least 15 US states
New wave of winter storms reported in the US
China/USA. – Blinken discusses relations between Washington and Beijing with incoming Chinese foreign minister
CNBC: How much money does it cost to be considered middle class in 20 US cities?
A powerful storm moves toward Central America after hitting California with dangerous flooding, forcing rescues and evacuations
The new Chinese Foreign Minister held talks with the US Secretary of State
Lula da Silva takes over as President of Brazil


Bolyarka Hotel in Melnik town in Bulgaria. Book holiday or vacation in Bolyarka Hotel in Melnik resort.
Location: Hotel Mehana Bolyarka is situated in the heart of the beautiful town of Melnik.
Accommodation: Hotel "Bolyarka" offers a total number of 58 beds, which are distributed in: 2 luxury apartments, 2 small apartments and 17 double rooms. All the rooms and apartments are furnished with mini-bars, cable TV, telephones, individual bathroom and even a weekly temperature programmer. Apartments have a fireplace as well.
Relax centre: For your best time at our hotel we offer you lobby bar, sauna from Finland, fitness, conference room with 10 - 12 places, and a great wine cellar for tasting domestic wines.
Wine & Dine: There are 58 seats in the tavern and a garden with barbecue with 42 seats. You can try original Bulgarian and local meals - spicy beans cooked in a pot, the famous hominy (kachamak), the original Melnik banitsa, a variety of lamb or pork shish, kebabs on barbecue and many other specialitets which are the great surprise for the guests. Bolyarka's tavern offer a wine taste cellar.


Please note: Before attending one of the webinars, you must have set up your EPC Password so you can be in your account for the webinar. If you haven't established your EPC Password, please follow the steps in the attached documents (here and here) as soon as you can. The webinar will start from within your EPC account — not the EPC Password set up steps.


**THESE TERMS AND CONDITIONS OF USE & SALE GOVERN YOUR PURCHASE OF ANY PRODUCT OFFERED BY FUNBUS.PARTY. PLEASE READ THESE TERMS AND CONDITIONS OF USE & SALE CAREFULLY. THEY CONTAIN VERY IMPORTANT INFORMATION ABOUT YOUR RIGHTS AND OBLIGATIONS AS WELL AS LIMITATIONS AND EXCLUSIONS THAT MAY APPLY TO YOU.
BY PLACING AN ORDER, YOU ACKNOWLEDGE THAT YOU HAVE READ, ACCEPTED AND HAVE AGREED TO BE BOUND BY THESE TERMS AND CONDITIONS OF USE & SALE, WITHOUT LIMITATION OR QUALIFICATIONS.
THESE TERMS AND CONDITIONS OF USE & SALE ARE SUBJECT TO MODIFICATION WITHOUT PRIOR WRITTEN NOTICE AND AT ANY TIME IN FUNBUS.PARTY'S SOLE DISCRETION.
FunBus.party may discontinue any tour or charter at any time without notice. The tour prices displayed on this website do not include sales taxes, which if applicable, will be added to your total invoice price.
Tours may vary slightly depending on street closures, events, weather etc.
Our goal is a 100% error-free website. If product price errors are discovered, they are promptly corrected on our systems, and the corrected price will apply. We will notify you if your order includes items that were incorrectly priced.
FunBus.party accepts payment via valid Visa, MasterCard, American Express, Discover. Payment, processing, is the sole responsibility of FunBus.party. Any customer issues, questions, or concerns should be addressed via our Contact page.
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FunBus.party stands behind its tours. We are not responsible for bad weather but will do every attempt to credit you for another tour if your tour is cancelled.
TO THE MAXIMUM EXTENT ALLOWED BY LAW, FUNBUS.PARTY SHALL NOT BE LIABLE FOR ANY SPECIAL, CONSEQUENTIAL, EXEMPLARY OR INCIDENTAL DAMAGES (INCLUDING LOST OR ANTICIPATED REVENUES OR PROFITS RELATING TO THE SAME), ARISING FROM ANY CLAIM RELATING TO THESE TERMS OF SALE, THIS SITE, THE CATALOG, PRODUCT(S) OR ORDER(S), WHETHER SUCH CLAIM IS BASED ON WARRANTY, CONTRACT, TORT (INCLUDING NEGLIGENCE OR STRICT LIABILITY) OR OTHERWISE. IN NO EVENT WILL THE COLLECTIVE LIABILITY OF FUNBUS.PARTY EXCEED THE AMOUNT YOU HAVE PAID TO THE COMPANY FOR THE APPLICABLE ORDER OR PRODUCT OUT OF WHICH LIABILITY AROSE.
THESE LIMITATIONS SHALL APPLY NOTWITHSTANDING ANY FAILURE OF ESSENTIAL PURPOSE OF ANY REMEDY. SOME STATES AND/OR JURISDICTIONS DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE EXCLUSION MAY NOT APPLY TO YOU.
If any provision of these Terms and Conditions of Sale are held illegal, unenforceable or in conflict with any law by a court of competent jurisdiction or arbitral tribunal, such provision shall be deemed severed from these Terms and Conditions of Sale and the validity of the remainder of these Terms and Conditions of Sale shall not be affected thereby.
These Terms of Sale shall be governed by and construed in accordance with the laws of the State of Florida applicable to contracts made and to be enforced wholly within the State of Florida.
Any dispute or disagreement arising out of these Terms and Conditions of Sale, or breach thereof, shall be settled by arbitration administered by the American Arbitration Association ("AAA") under its Commercial Arbitration Rules, and judgment on the award rendered by the arbitrator(s) may be entered in any court having jurisdiction thereof. Such arbitration shall be held in Tampa, Florida.
You and FunBus.party (collectively the "Parties;" individually a "Party") irrevocably agree that any legal action, suit or proceeding brought by it in any way arising out of these Terms and Conditons of Sale must be brought solely and exclusively in the federal or state courts of the Florida located in the City of Orlando, Florida, and irrevocably accept and submits to the sole and exclusive jurisdiction of each of the aforesaid courts in person, generally and unconditionally with respect to any action, suit or proceeding brought by it or against it by the other Party.
The waiver by either Party of any provision of these Terms and Conditions of Sale on any occasion and upon any particular circumstances shall not operate as a waiver of such provision of these Terms and Conditions of Sale on any other occasion or upon any other circumstances. These Terms and Conditions of Sale may be waived or amended only in a writing signed by the Parties.


text:
Q: VS2012 Using C++ Compiler Nov 2012 CTP (v120) Underlines False Errors I downloaded and installed Microsoft's pre-release C++ compiler for Visual Studio 2012. My project's Platform Toolset for all configurations is set to: "Microsoft Visual C++ Compiler Nov 2012 CTP (v120_CTP_Nov2012)".
This allows my project to use the new C++11 features Microsoft implemented in their pre-release. Code using the new features compiles and runs perfectly fine, but I still get red underline squiggles as if my code has errors.
So far my best option is to entirely disable "C/C++ Squiggles". Is there some way I can make Visual Studio 2012 realize I am compiling with v120, and squiggle accordingly?
Example
The following code runs as expected:
int values[] {4, 3, 2, 1, 0};

for(int i : values)
{
    std::cout << i << ' ';
}

It produces the output:

4 3 2 1 0

However, Visual Studio 2012 underlines the first values in squiggly red, with the tooltip:

int values[]
Error: incomplete type is not allowed

A: You're not compiling with v120. You're compiling with v120 CTP. CTP stands for "Community Technology Preview", and part of the "Preview" bit is that Intellisense does not recognize any of the new constructs. This behaviour is effectively by design for the CTP and will not be fixed and has no workaround.
You will have to wait for Microsoft to finish bugfixing the CTP and release it as a proper update, which will presumably contain Intellisense support for the new features.

redpajama_set_name: RedPajamaStackExchange


text:
Logitech UE Boombox
Logitech UE Boombox Review
Andrew Williams | July 4, 2013 1:00 pm BST
Decent volume
Interesting looks
Boomy bass
Awkward carry handle
Dual 3-inch woofers
Dual 0.5-inch tweeters
Integrated 6-hour battery
We continually check thousands of prices to show you the best deals. If you buy a product through our site we will earn a small commission from the retailer – a sort of automated referral fee – but our reviewers are always kept separate from this process. You can read more about how we make money in our Ethics Policy.
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T-Power 12v Car Charger Compatible with Logitech UE 984-000304 984-000181 Boombox S715i S7151 Portable iPod,iPhone Speaker Dock EFS02401200200UL 534-000502 984-000134 Auto Mobile Car power supply cord
Logitech UE Mobile Boombox Bluetooth Speaker and Speakerphone - Yellow Grill/Black
Powered by trusted reviews
What is the Logitech UE Boombox?
Remember the days when trendy young folk used to saunter around graffiti-laden streets, looking not for fights but dance-offs? No? Well the Logitech UE Boombox is a sort-of modern throwback to those days.
It's a £200 oversized portable speaker with design nods to the boombox hi-fis of the 80s. However, it doesn't quite sound good enough to merit its price.
Logitech UE Boombox – Design and Features
The Logitech UE Boombox is an ode to the boombox of the cassette era. Those speaker-heavy portable hi-fis seem like tech dinosaurs these days, but the premise behind them is making a comeback thanks to the rise of the wireless speaker.
Technologies like Bluetooth and Wi-Fi Direct make a portable hi-fi seem like a good idea once more. The Logitech UE Boombox just takes a more literal approach than most.
It's a sturdy, simple-looking blue/grey/silver curved box with an immovable aluminium handle that helps to give the Boombox a strong, expensive feel.
Although not quite beautiful, its look does stand out. The Logitech UE Boombox's outer is mostly speaker grille, and it 'all-wireless' approach leaves with little need for many sockets of buttons. There's just a 3.5mm aux input and a power jack on one side, oversized volume buttons on the other and a couple of necessary power/Bluetooth pairing controls.
It's a striking speaker, but there are a few design blips. Most noticeable, the carry handle doesn't stick out far enough from the speaker's body to let you get a firm grip on it. You can only grasp it with the lightest, most effete approach – not the way people would grip a 'real' boombox, and not very comfy either.
This spoils the otherwise decent portability. The Logitech UE Boombox has an internal battery that lasts for around six hours on a full charge, playing at low-to-mid volumes, and its lightly rubberised plastic underside feels like it could withstand a knock or two.
This is not a true rugged speaker, though, with no water resistance certification and a metal speaker grille that will dent easily enough if you give it a whack. Many will also find it a little large to be a truly convenient portable speaker, at almost 40cm across.
Logitech UE Boombox – Sound Quality
Still, this is a speaker for those who value the UE Boombox's portable cred. For starters, it's a Bluetooth speaker but doesn't use the advanced Apt-X codec. This is a higher-quality transmission method than the SBC codec found here, and is designed to limit the loss of sonic information inherent in most Bluetooth streaming.
You could argue that the difference between Apt-X and SBC streaming is secondary in a small-driver device like this, though.
The Logitech UE Boombox uses four drivers – two 3-inch woofers and two 0.5-inch tweeters, arranged as a stereo pair behind the speaker's opaque grille. Many wireless speakers only have mono speakers, but 3-inch drivers are still on the small side.
To aid these drivers, the UE Boombox has two passive radiators per bass driver – although none of these are visible from the outside. These are there to help the Logitech UE Boombox pump out sufficient bass.
And it certainly does. True to its name, there's a powerful bass boom to the Boombox, which should come in handy if you want to listen to tunes outdoors where bass will tend to dissipate.
However, with indoors listening the bass is disappointingly unruly. It sounds juvenile and unbalanced the sound, muffling out some detail and giving a pretty unrefined listening experience.
It's bassy and powerful, but in trying to recreate the bass slam the 'boombox' name suggests, Logitech has trampled over the treble a bit. And it's a shame because when not being bombarded the top-end is sweet and detailed.
Should I buy the Logitech UE Boombox?
The Logitech UE Boombox sounds bigger and better than most portable wireless speakers, mostly because it is a lot bigger and altogether a higher-quality gadget. However, at £200 it's a tricky equation to settle.
There's too much bass boom for the UE Boombox to sound like a speaker worth £200, and its portability is limited by the odd design of its metal handle. This one's for hardcore boombox revivalists only.
The Logitech UE Boombox is a high-quality Bluetooth wireless speaker with a distinctive look. However, its bassy sound isn't quite good enough for the price and the handle reduces its portable convenience significantly.
Andrew Williams is a technology writer, who has contributed to Stuff, WIRED, TechRadar, T3, Wareable and, of course, Trusted Reviews. Here he test and reviews some of newest mobile, audio and camera d…


text:
Q: Manipulating the DOM in React I have been trying to learn React lately and have a question about direct DOM manipulation.  I'm working on a project where upon page load, a logo slides in from the side.  I can accomplish this in vanilla javascript, but this particular project is in React.  I'm wondering if it is okay to do the following?  Or if there is a preferred way to do it in React?
I have the following function:
logoSlideIn() {
  const logo = this.refs.logo;
  logo.classList.add("z-logo-reveal");
}

In the componentDidMount method, I have:
setTimeout(this.logoSlideIn, 500);

The corresponding CSS is:
.z-logo {
  position: relative;
  background: url(z-logo.svg) bottom center no-repeat;
  background-size: contain;
  height: 35%;
  width: 50%;
  left: 1800px;
  transition: 4s ease-in-out;
}

.z-logo-reveal {
  left: 0;
}

It works, but is there a better way?

A: In react it's very rarely when you really need to manipulate the DOM directly. usually is considered not a good practice, for your particular case I'd recommend using props to assign the new className, for example:
state = {
  animateCls: '',
};

componentDidMount() {
  setTimeout(() => this.setState({ animateCls: 'z-logo-reveal'}), 500);
}

render() {
  const { animateCls } = this.state;

  return (
    <div className={animateCls}>
    </div>
  );
}

A: what you have is fine, you can also do it by setting props, it'll be similar.


In her second movie, What Will People Say, Pakistani-Norwegian filmmaker Iram Haq tries to relay the experience of a teenager who is caught between the fairly conservative background of her family and the liberal atmosphere of the country she calls home.
The film – which is apparently inspired by the director's own life – is centred on the story of 16-year-old Nisha (Maria Mozhdah), who is a typical Norwegian girl when she's out with her friends but forced to conform to her parents' strict rules when she is at home. After being caught fooling around with her boyfriend in her room one night, she faces the wrath of her hard-hearted father (Adil Hussain), who basically kidnaps her and sends her against her will to Pakistan.
Nisha – who doesn't seem inclined to learn from her experience and insists on repeating the same behaviour that landed her in this pickle in the first place – quickly finds herself trapped in an utter nightmare, as the filmmaker keeps relentlessly heaping horrors on her protagonist.
Haq doesn't seem interested in exploring the nuanced struggle that most immigrant families face while trying to reconcile the divide between their native roots and the culture of their adopted land. Instead she wants to present a shocking tale that resides in the extreme, opting to generate sympathy for her protagonist not by employing depth and complexity but by making the youngster suffer a harrowing ordeal at the hands of just about the worst family you can possibly imagine.
The characters are painted in broad strokes of black and white instead of intriguing greys. You aren't given the chance to see both sides of the issue – parents trying to imbue their children with the beliefs they grew up with versus youngsters who simply don't share their parents' religious or moral values. Instead it's just Nisha against the world; anyone who opposes her is reduced to a villainous caricature.
There is no stylistic individuality or inventiveness in the filmmaking here. It also doesn't help that, once again, a foreign production is trying to pass off India (and Indians) as Pakistan (and Pakistanis), which will be fairly obvious to Pakistani viewers but is perhaps something that western viewers won't notice.
It is also sad that this is the only side of Pakistan that international viewers get to see. A balanced view of our society doesn't seem of as much interest to foreign filmmakers and audiences; judging us by presenting a western perspective on the small-mindedness of a small Pakistani town clearly creates the more easily marketable tale.
Despite all that though, the film does give a bright young performer the opportunity to display her talent onscreen. Newcomer Mozhdah is given the task of carrying much of the film, and she does so remarkably. While the movie itself is about as subtle as a brick to the head, the actress brings vulnerability and tenderness to her role, and generates empathy through her performance.
Ultimately, What Will People Say works better as a horror show than it does as an episode of social commentary. Unfortunately, for a movie that tackles such a nuanced topic, subtlety is nowhere to be found in the proceedings. With more poignancy and sensitivity, the same topic could have yielded a more nuanced, relatable movie; it may not have been as horrifying as this one, but it could have been a lot more interesting and revelatory.


Fox and raccoon dress nicely and sit for their portraits, framed in decorative black oval frames. Embroidered on a soft khaki fabric, finished with short fringe. 12" x 12" pillow with hand embroidered signature L on back bottom corner.


text:
Bambara Kannaley (lit. With the eyes like spinning top) (spelt onscreen as Bambharakannaley) is a 2005 Indian Tamil-language romantic comedy film directed by Parthi Bhaskar. The film stars Srikanth and Arthi Agarwal in lead roles. It was opened to negative reviews. The film's title is based on a song form Manamagan Thevai (1957).

Plot
Arumugam (Srikanth) comes to Ooty for a job and falls in love with Pooja (Aarthi Agarwal). However, Pooja already has a fiancé  Gautham (Vikramadithya), who isn't as good as he appears to be. What happens to Arumugam's love is the rest of the movie.

Cast

Production
This was Aarthi Agarwal's first and only film in Tamil.

Soundtrack

The music was composed by Srikanth Deva and released by Star Music.

Reception
Indiaglitz praised the performances of actors and music. BBthots wrote "Bambara Kannaley" is a love story without much love. Romance is the basis for everything that happens in the film but the romance itself occupies very little of its running time. That by itself is not a bad thing. But the rest of the running time is occupied by things that range from the uninteresting to the outright bad".

References

External links

2005 films
2000s Tamil-language films
Films scored by Srikanth Deva
2005 romantic comedy films


EEOC vs. Information Systems Consulting, Inc.
be FORCED by the government to take a number ? NO !
CITIZEN IS SOVEREIGN IN THIS LAND, the first NATION OF KINGS.!
IS GOVERNMENT THE PUBLIC SERVANT OR ARE YOU THEIR SERVANT NOW !
for securing proper identification of such person.
26 U.S.C. 6109(a)(3) (Supp. 1992)"
Internal Revenue Service so stating.."
penalty will not be assessed against the payor.
documents submitted to the IRS.


text:
JR and PH7
'Let's Get It' is exactly what JR&PH7 with rapper Rasco are doing their latest classic single. The duo recently released their album 'The Update' and like its title everything has undergone an update. The duo tells in this interview about their process, Soulspazm's 'The Office' moments, and much more... There are no plans for a tour but the duo is working on even more music.
[Q]: First off, congratulations with your new single 'Let's Get It'. Fantastic single. What's the story behind the song? How did you guys started working with Rasco?
[A]: Thanks! I met Rasco in Copenhagen like 4 years ago when he did a show with Planet Asia. We were kicking it backstage and just stayed in contact after that. This is actually the first song of a few we did with him. He also came down to Cologne where he hosted our release party for the album. We'll do more music in the future I'm sure.
[Q]: Did you have an idea or concept for your new album?
[A]: Well the concept was kind of like this: After setting the standard with the first album, do everything a little better on this one. We always try to make albums sound cohesive so it's not like a bunch of mcees on random beats. We put a lot of thought into what beat we give to whom and how we want the song to come out. We see "The Update" as the logical progression from the first album. But bottom line it's still the same recipe: Dope beats matched with artists we love.
[Q]: Which song on "The Update" took the longest to complete? Why?
[A]: Mmh. Let me think on that. We didn't really encounter any big delays with any artists or anything on any song. Probably the songs that take longest are the ones with a lot of live instrumentation on. Sometimes it's good to put a song aside for a little bit and then come back to it later...
[Q]: What is the meaning behind the title, "The Update"?
[A]: Well, like I said. The Update is the improved version of the standard. Maybe you could also say that we somehow feel like we update the classic nineties hiphop sound a little bit, inject some freshness and our album is the outcome.
[Q]: I don't want to sound rude but how hard is it for (European) white dudes in the hiphop scene?
[A]: I don't think being white is any problem. If you can bring good music to the table, are straight about your business and not an asshole then it's not that hard I'd say. But of course you have to network and build connections to all kind of people, artists, promoters, labels, video people, etc. There are many people with good beats but it takes a little more to put together a whole project, especially if you don't have a big budget. And we have close to no budget haha.
[Q]: When creating a track, do you have a set theme and pre-written lyrics, or do you start with an idea or the music first?
[A]: Usually we have a rough beat pretty much ready when we go to the studio with the artist or send it to them. Sometimes we tell the artists how we feel about the beat and if we have a concept in mind. We definitely don't want 16 bragging tracks on our album but have a variety topics But most mcees we collaborate with are not that one dimesional anyways.
[Q]: Any plans for a tour? What can your listeners and fans expect from your tour?
[A]: Man we would love to go on a tour but as of right now it's a little tough. Pete is finishing up university and has tons of stuff to do while I just started a new job up in Copenhagen, Denmark. we still spin single dates here and there but a tour would be dope. Let's see what happens later this year...
[Q]: Any tour-event, or fan-moment, you like to share with your fans?
[A]: I think we are still flattered by anybody who comes up to us and says that they love our music. I mean this is what we do it for. For me personally working with artists that I'm a fan of myself feels crazy. An artist like Elzhi asks us for beats, thats pretty dope. Last year we also went to NY for a week to promote the album and shot two videos.We slept on the floor in the Soulspazm's office and just had a blast out there. That in itself was big to us and an experience with many hiphop moments.
[Q]: What collaborations could your fans look out for in the future?
[A]: Mmh. We are currently working on new stuff but we rather don't want to drop any names yet. Later this year will drop a project we are doing with two really talented groups from New Jersey and hopefully an album with some remixes, bsides and exclusives. And after that there will be another full lenght but when that will be excatly? When we are done and happy with it, no pressure.
[Q]: What is your main goal to reach as a band?
[A]: Getting our music heard, meeting nice and talented artists and having a good making the music I'd say. So somehow we have already accomplished that I guess. At least we are having a great time. Of course things can always get better and we are still hungry for more but we are also very thankful for what we have done up til today.
[Q]: Recently, what is a typical day like for you?
[A]: I get up, go to work ( I work as a music supervisor at a publishing/production music company), come home, chill with my girlfriend, make some music or go and play basketball. Nothing crazy. Lately Pete has been studying a lot and any free time he either spends with his girlfirend or making music. I gues we are boring haha. Of course we like to go out as well to partys and shows on the weekend. Pete always tries to get me drunk because I can't hold my liqour.
[Q]: Final words?
[A]: Thanks for the interview and anybody out there hit us up on twitter @jrandph7, facebook.com/jrandph7 or youtube.com/jrandph7 We like to hear from people, be it good or bad.


The Cyclone is a building brick based roller coaster construction toy. It will be the first commercially available kit that combines the versatility of the world's leading building block system with the realism and excitement of the CoasterDynamix track system. The result is an amazing roller coaster model that is easy to build and fun to customize. Join multiple sets together to make larger, more elaborate custom designs.The possibilities are endless! The Cyclone kit comes with over 1000 individual pieces and has everything needed to build a 48 inch long working roller coaster model. This includes standard and custom bricks, lift chain, gears, hand crank, track, and a train. With the provided instructions, the kit is easy and fun to build with no need for extra pieces or complicated tools.


text:
Q: Windows Phone Image as button I am new in Xna and I need help making a image that when I pressed it and release it go to another gamestate of mi code so I make a search and find some one whit my problem they tell him to do this
     TouchLocation tl;
     TouchCollection touchCollection = TouchPanel.GetState();

         if (tl.State == TouchLocationState.Pressed)
         {

             if (tl.State == TouchLocationState.Pressed)
                 if (ButtonRecPlay.Contains(new Point((int)tl.Position.X, (int)tl.Position.Y)))
                 {
                     IsPlayClicked = true;
                 }
         }

I try this but it wont work when I press the button nothing happen the IsPlayClicked is a public bool
that I call it in my maincode here is mine main code:
public class MainFile : Microsoft.Xna.Framework.Game
{
    GraphicsDeviceManager graphics;
    SpriteBatch spriteBatch;
    ScreenStates screentState;

    Rectangle TouchS_Y_X;

    Logo logo;
    Menu0 menu;
    Choose_Pets choose_pets;
    ScreenStates.CurrentGameState GameState;

    public MainFile()
    {
        graphics = new GraphicsDeviceManager(this);
        Content.RootDirectory = "Content";

        // Frame rate is 30 fps by default for Windows Phone.
        TargetElapsedTime = TimeSpan.FromTicks(333333);

        // Extend battery life under lock.
        InactiveSleepTime = TimeSpan.FromSeconds(1);

    }

    protected override void Initialize()
    {
        // TODO: Add your initialization logic here
        screentState = new ScreenStates();
        logo = new Logo();
        menu = new Menu0();
        choose_pets = new Choose_Pets();
        base.Initialize();

    }

    protected override void LoadContent()
    {
        TouchS_Y_X = new Rectangle(0, 0, 1, 1);
        // Create a new SpriteBatch, which can be used to draw textures.
        spriteBatch = new SpriteBatch(GraphicsDevice);
        GameState = ScreenStates.CurrentGameState.Logo;

        this.logo.Load(this.Content, this.GraphicsDevice);
        this.menu.Load_Menu(GraphicsDevice, Content);
        this.choose_pets.Load_ChoosePet(Content, GraphicsDevice);

        base.LoadContent();
    }

    protected override void UnloadContent()
    {
        // TODO: Unload any non ContentManager content here
        //this.logo.Unload_logo(Content);
    }

    protected override void Update(GameTime gameTime)
    {
        // Allows the game to exit
        if (GamePad.GetState(PlayerIndex.One).Buttons.Back == ButtonState.Pressed)
            this.Exit();

        #region Games States

        switch (GameState)
        {
            case ScreenStates.CurrentGameState.Logo:
                    logo.Update_logo(gameTime);

                    if (logo.FadeOut_logo == true)
                        GameState = ScreenStates.CurrentGameState.Menu;
                    break;

            case ScreenStates.CurrentGameState.Menu:
                menu.Update_Menu(gameTime);

                if (menu.IsPlayClicked == true)
                    GameState = ScreenStates.CurrentGameState.CharactersChooser;

               break;

            case ScreenStates.CurrentGameState.CharactersChooser:
                    choose_pets.Update_petchoose(gameTime);
                break;
        }
        #endregion

        // TODO: Add your update logic here
        base.Update(gameTime);
    }

    protected override void Draw(GameTime gameTime)
    {
       GraphicsDevice.Clear(Color.Black);
        spriteBatch.Begin();
        #region GameStateDraw

       switch(GameState)
        {
            case ScreenStates.CurrentGameState.Logo:
            logo.Draw(spriteBatch);
            break;

                //Menu Draw State
            case ScreenStates.CurrentGameState.Menu:
             menu.Draw_Menu(spriteBatch);
            break;

            case ScreenStates.CurrentGameState.CharactersChooser:
               choose_pets.Draw_petChoose(spriteBatch);
            break;
        }

      #endregion

        spriteBatch.End();
        base.Draw(gameTime);
    }
}

and this is mine Menu0 file that I use it for the game menu and it has the code that suppose to do the press button here is the Code:
   class Menu0
   {
    Texture2D Text2D_Background;
    Rectangle Rec_Background;

    Texture2D ButtonText2DPlay;
    Rectangle ButtonRecPlay;

    Boolean Music_playing = false;
    public Song BackMusic;

    TouchLocation tl;
    TouchCollection touchCollection = TouchPanel.GetState();

    public bool IsPlayClicked = false;

    MainFile main = new MainFile();

    public void Load_Menu(GraphicsDevice Graphics_Menu, ContentManager Content_Menu)
    {

        //main = new MainFile();

        Text2D_Background = Content_Menu.Load<Texture2D>("UI\\MenuBack");
        Rec_Background = new Rectangle(0, 0, Graphics_Menu.Viewport.Width, Graphics_Menu.Viewport.Height);

        ButtonText2DPlay = Content_Menu.Load<Texture2D>("UI\\Buttons\\New Games");
        ButtonRecPlay = new Rectangle(350, 250, 150, 60);

        BackMusic = Content_Menu.Load<Song>("UI\\Music_01");

    }

    public void Update_Menu(GameTime Menu_GameTime)
    {
        if (Music_playing == false)
        {
            MediaPlayer.Play(BackMusic);
            Music_playing = true;
        }
        MediaPlayer.Resume();

        if (tl.State == TouchLocationState.Pressed)
        {

            if (tl.State == TouchLocationState.Pressed)
                if (ButtonRecPlay.Contains(new Point((int)tl.Position.X, (int)tl.Position.Y)))
                {
                    IsPlayClicked = true;
                }
        }
    }

    public void Draw_Menu(SpriteBatch Spritebatch_Menu)
    {
        Spritebatch_Menu.Draw(Text2D_Background, Rec_Background, Color.White);
        Spritebatch_Menu.Draw(ButtonText2DPlay, ButtonRecPlay, Color.White);
    }
}

A: What you should do is to get the previous TouchLocationState every cycle, in order to detect when the touch is just released. In that moment you simply change your gameState or call whatever method you need.
Anyway, I see that you've declared a TouchCollection but you never use it:
TouchCollection touchCollection = TouchPanel.GetState();

You need to scan that collection and analyze every TouchLocation in it, or simply the last one:
if (touchCollection.Count > 0)
{
   TouchLocation tl = touchCollecion.Last();

   if (tl.State == TouchLocationState.Released && previousState == TouchLocationState.Pressed)
      {
         if (ButtonRecPlay.Contains((int)tl.Position.X, (int)tl.Position.Y))
            IsPlayClicked = true;
      }
}


text:
Q: $\int_W x^2y^2 = \int_V x^2y^2$. Is my proof of this equation right? ("Analysis on Manifolds" by James R. Munkres) I am reading "Analysis on Manifolds" by James R. Munkres.
The following example is EXAMPLE 4 on p.149:

EXAMPLE 4. Suppose we wish to integrate the same function $x^2y^2$ over the open set $$W=\{(x,y)\mid x^2+y^2<a^2\}.$$
Here the use of polar coordinates is a bit more tricky. The polar coordinate transformation $g$ does not in this case define a diffeomorphism of an open set in the $(r,\theta)$ plane with $W$.  However, $g$ does define a diffeomorphism of the open set $U=(0,a)\times (0,2\pi)$ with the open set $$V=\{(x,y)\mid x^2+y^2<a^2\text{ and }x<0\text{   if   }y=0\}$$ of $\mathbb{R}^2$. See Figure 17.5; the set $V$ consists of $W$ with the non-negative $x$-axis deleted. Because the non-negative $x$-axis has measure zero, $$\int_W x^2y^2=\int_V x^2y^2.$$ The latter can be expressed as an integral over $U$, by use of the polar coordinate transformation.

Is my proof of the following equality right?

$\int_W x^2y^2=\int_V x^2y^2.$

Theorem 11.3. Let $Q$ be a rectangle in $\mathbb{R}^n$; let $f:Q\to\mathbb{R}$; assume $f$ is integrable over $Q$.
(a) If $f$ vanishes except on a set of measure zero, then $\int_Q f=0$.

Theorem 13.3 (Properties of the integral).
(d) (Additivity). If $S=S_1\cup S_2$ and $f$ is integrable over $S_1$ and $S_2$, then $f$ is integrable over $S$ and $S_1\cap S_2$; furthermore $$\int_S f=\int_{S_1} f+\int_{S_2} f-\int_{S_1\cap S_2} f.$$

My proof is here:

Let $T:=\{(x,y)\mid 0\leq x<a\text{ and }y=0\}$.
Then, $W=V\cup T$ and $V\cap T=\emptyset.$
So, by Theorem 13.3(d), $\int_W x^2y^2 = \int_V x^2y^2 + \int_T x^2y^2 - \int_{V\cap T} x^2y^2$.
Since $T$ and $V\cap T$ have measure zero, $\int_T x^2y^2=0$ and $\int_{V\cap T} x^2y^2=0$ by Theorem 11.3.
So, $\int_W x^2y^2 = \int_V x^2y^2$.


Missouri's highest court has ordered the state to provide federal retirees with $152 million in refunds for income taxes paid between 1985 and 1988.
The court's May 25 decision could be the first in a series of judicial rulings that deal a severe financial blow to the 23 states that have taxed the benefits of federal pensioners but not those of teachers and other public-sector retirees. Federal retirees in Virginia filed a similar suit last week.
Yolanda Murphy, a spokesman for Gov. John Ashcroft of Missouri, said last week that the Governor and legislative leaders had met to discuss "how to move forward with a plan" to resolve the court's refund order.
Phillip Moeckli, executive director of Missouri nea, said state leaders were debating whether to hold a special legislative session before the start of the next fiscal year on July 1 or take up the issue in September when lawmakers reconvene to override gubernatorial vetoes.
"Everything is up in the air right now," the official of the National Education Association affiliate said.
The Federation of Tax Administrators has estimated that the states that have taxed federal workers' pensions could lose $2.5 billion if they are forced to provide retroactive refunds. In Missouri, the supreme court's decision could wipe out $32 million of the $50-million increase in state school aid approved this year, according to leaders of the state teachers' unions.
Missouri lawmakers adjourned on May 12 without acting on Governor Ashcroft's proposal to temporarily increase taxes on tobacco and corporations to cover the cost of the refund order, which some had anticipated.
"The ball is in the Governor's court," said Ronald Crain, assistant executive secretary of the Missouri State Teachers Association.
Ms. Murphy added that Mr. Ashcroft "is not going to be left with any alternatives but to cut programs if the legislature doesn't take some action to deal with this shortfall."
In Virginia, retired federal employees have filed suit in state circuit court to force the state to provide them with income-tax refunds retroactive to 1985.
The state, which has some 200,000 federal retirees who pay a total of $150 million a year in income taxes, was expected to be among the states hardest hit by the Supreme Court's ruling.
In an emergency session shortly after the ruling, the legislature extended state income-tax exemptions to all retirees, including those from the private sector, if they earn $16,000 a year or less.
Lawmakers, however, left it to the courts to decide whether the state must refund taxes levied on federal employees' pensions. It gave retirees a year following the resolution of legal disputes to file amended returns.
The suit filed by some 200 retired federal employees contends that they are eligible for refunds under a state law that provides for "an expeditious remedy for tax relief against taxes that have been erroneously, illegally, or unconstitutionally collected."


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text:
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Anne Dixon
Watarru SA
Anne was inspired to learn the Tjanpi coiled basketry technique after watching her mother, Wipana Jimmy, and aunty, Tinpulya Mervin, practise this artform. Anne has a strong sculptural sensibility and her baskets are unique and interesting. Anne enjoys working on a large scale and experimenting with new styles. Her baskets and sculptures are highly sought after artworks.
Anne has taken to producing flat sculptures with the same skilful eye and dexterity that she displays in her three-dimensional works.
Anne was born in Alice Springs in July 1965. Her father's country is Pipalyatjara in South Australia, approximately 550 kilometres south of Alice Springs. Her mother's country is Nyapari, also located in South Australia. Her mother's Tjukurpa is the Makiri (honey ant). After Anne was born, her mother and her travelled on the train to Pukatja (Ernabella) in South Australia where she went to school. Later she also lived in Fregon. After meeting her husband Simon Dixon in 1984, they moved to Watarru, South Australia. There they raised their three children, Elain, Darren and Noreen alongside Anne's sisters and their children. After that they lived at Nypapari before finally moving to Haasts Bluff in 1999. It was in Haasts Bluff that Anne first started painting with her mother-in-law, Alice Nampitjinpa Dixon at the Ikuntji Women's and Art Centre. Anne divides her time between Alice Springs, where her husband teaches at Yirara College, and Haasts Bluff.
Alice Springs Gallery


text:
Working for the least of these
Jeanie Leeper founded a ministry to help those who fall through the cracks of society's safety nets
After years of frustration and anger over watching people in her care fall through the cracks, Jeanie Leeper finally decided to do something. It's a decision that changed the course of her life.
Jeanie Leeper decided to do something about the plight of many rural elderly and poor in Morgan County by creating Matthew 25 Ministries.
A registered nurse, Jeanie worked for years on the front lines of health care and watched as changes in Medicare and Medicaid hurt many of her patients, the rural elderly and the poor living around Versailles and the Lake of the Ozarks. In 1999 she took her frustrations to her local United Methodist Church pastor.
"I would just go in and vent and ask if there was anything the church could do to help," Jeanie says. "We believe that the church goes beyond the four walls and that the church should help people that are not members of our church but are members of our community."
The pastor suggested that perhaps Jeanie could do something about the problem herself, with the help of the church. The suggestion completely surprised her.
"But I think God was speaking to me that day. 'Hey, I trained you as a nurse. I've given you the knowledge and I've given you the passion for this. Maybe this is what you should be doing.' I had never once considered it before that."
Jeanie applied to work as a missionary for the Church and Community Ministries of the Methodist Church, a program that brings help to people close to home. Jeanie quit her job as a home health and hospice nurse and founded Matthew 25 Ministries.
Jeanie takes verse 40 from that chapter of the Bible as spiritual inspiration for her work, ". . . I tell you the truth, whatever you did for one of the least of these brothers of mine, you did for me," Jesus is quoted as saying.
"We're directed to help the poor and the oppressed," says Jeanie. "And there are people in Morgan County who may not be oppressed by wars or dictators, but they are oppressed by society and poverty." Those are the people she's trying to help, she says.
Jeanie began Matthew 25 Ministries as a health care outreach for anyone in Morgan County who fell through the cracks of the health care system. She works with the chronically ill and the poor and not-so-poor who still cannot afford health insurance or can't qualify for Medicare or Medicaid. Jeanie says many of the people she works with are hard working but can't escape their situations. Jeanie says these people are forgotten.
"We have families with six and eight kids living on $11,000 a year. They may not have the best car in the world and the kids may not have the best clothes, but some of these people have enough dignity and enough honesty within themselves that they're going to survive," says Jeanie.
"And they're not the people that hit on the welfare system. They work. It's tough, but they've done it for so long that they know no other way. And some are very happy because they have their dignity and their independence. They're very strong people."
Soon Jeanie expanded her work beyond nursing services to help people obtain medication and medical equipment, provide transportation to the elderly and temporarily relieve people caring for chronically ill homebound patients. Now Matthew 25 Ministries is joining forces with local doctors and nurses in the Versailles area to offer a free medical clinic.
Jeanie also began a program to help people released from the Morgan County jail. She started the program to help those like the young man she helped this winter.
The man, originally from Versailles, was arrested in Arizona for failing to pay child support. He was brought back to Missouri in January wearing shorts and a T-shirt and then released a few weeks later. He walked out the door without so much as a jacket to wear and no way to get back to Arizona.
Matthew 25 Ministries gave him warm clothes, put him up in a hotel for a few days and put him on a bus home.
"He walked out of the jail with nothing and no one to help him," says Jeanie. "Many of us don't realize there are people out there like this who have real needs."
Jeanie works with a dedicated group of volunteers representing all the churches of Versailles. But, she says, she can always use more help. And though her salary is paid by the United Methodist Church, all other costs associated with the ministry come from donations. The ministry doesn't charge for any services, though donations are accepted from those able to pay something.
Jeanie says she is able to help care for people as a nurse far better now than she could when she once worked for the old Memorial Hospital in Jefferson City. She says she's able to help the whole person rather than just the physical.
"When a nurse walks into a hospital room patients don't really welcome you," says Jeanie, who worked with intensive care patients. "You're usually bringing them a shot or you're changing their IV or you're doing something that causes them to lose their dignity and independence. But when you go into someone's home you become a friend and you get to know someone and what's going on in their lives. Because you're treating the whole person — the mental, emotional, spiritual and physical — you're helping them get well in every aspect of their lives."
Jeanie's message in her ministry is to not forget those around us who struggle every day with illness, poverty and isolation. She reminds us that there are people in every community who have fallen through the cracks of society's safety net. And when that happens, caring people need to step in and help any way they can.
For information about Matthew 25 Ministries call Jeanie at (573) 378-5211 or e-mail her at jeanieleeper@yahoo.com. Jeanie can also be reached at the Versailles United Methodist Church at (573) 378-4042.


text:
Lower Sesan 2: Same Company, Two Dams, One River Report
Iris Ren
China's enthusiasm for dam building has in recent years spilled over into the Mekong region. Development plans and construction for a 28 dam cascade on the Upper Mekong (Lancang River) have been underway for over 20 years, which have fundamentally altered the entire Mekong River Basin. However, more recent has been the emergence of Chinese state-owned enterprises active in dam building in China taking a leading role in hydropower development of the Lower Mekong River Basin as project developers with the support of China's "going-out" policy. In line with this trend, Hydrolancang – responsible for constructing no less than 7 dams on the Upper Mekong – began construction in 2013 on its first overseas hydropower project, the Lower Sesan 2 Dam Project in Cambodia.
Dams in the Mekong Basin have been controversial for a number of reasons: impact on fisheries, fragmentation of the globally unique freshwater ecosystems, a poor track record on environmental and social impact mitigation, and downstream transboundary impacts. Many of these factors are of concern in the Lower Sesan 2 Dam Project and for these reasons the project has been amongst the most controversial and destructive projects to be developed in recent years.
In this report, three dams have been compared in the Mekong River Basin to contrast and compare efforts in environmental and social impact mitigation. The three projects examined are Manwan Dam (phase 1 completed in 1995 and phase 2 completed in 2007, Lancang River, China), Nuozhadu Dam (completed 2014, Lancang River, China), and Lower Sesan 2 (Under Construction, Sesan River, Cambodia). Through fieldwork and literature review (both Chinese and English), we have sought to better understand and analyze the standards adopted by Hydrolancang in its domestic work in China and in overseas contexts as a co-project developer in Cambodia.
Lower Sesan 2: Same Company, Two Dams, One River Report by LowerSesan2
Dams Built by China


text:
Zagrobelka – dawny zaścianek, obecnie na Białorusi, w obwodzie grodzieńskim, w rejonie grodzieńskim, w sielsowiecie Porzecze.

Historia
W latach 1921–1939 leżał w Polsce, w województwie białostockim, w powiecie grodzieńskim, w gminie Porzecze.

Według Powszechnego Spisu Ludności z 1921 roku zamieszkiwało tu 21 osób, 20  było wyznania rzymskokatolickiego a 1 prawosławnego. Jednocześnie wszyscy mieszkańcy zadeklarowali polską przynależność narodową. Były tu 4 budynki mieszkalne.

Miejscowość należała do parafii rzymskokatolickiej i prawosławnej w Porzeczu. Podlegała pod Sąd Grodzki w Druskiennikach i Okręgowy w Grodnie; właściwy urząd pocztowy mieścił się w Porzeczu.

W wyniku napaści ZSRR na Polskę we wrześniu 1939 miejscowość znalazła się pod okupacją sowiecką. 2 listopada została włączona do Białoruskiej SRR. 4 grudnia 1939 włączona do nowo utworzonego obwodu białostockiego. Od czerwca 1941 roku pod okupacją niemiecką. 22 lipca 1941 r. włączona w skład okręgu białostockiego III Rzeszy.

Obecnie w strukturach administracyjnych Białorusi.

Przypisy

Linki zewnętrzne

Wsie w rejonie grodzieńskim


Shopping center Alegro Alfragide wins Solal Marketing Awards 2018, considered in the sector, the Oscar of Shoppings.
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Consumers benefit from a faster and more personalized service, while shoppings become more intelligent, sustainable and dynamic spaces, adapted to consumer trends.


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