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The Spoilers
Syllabi for the "Free Class"
PowerPoint for "The Book of Martha"
Hi scholars,
Here is the PowerPoint I used for our introduction to and discussion of Octavia Butler's "The Book of Martha".
The Book of Martha
Author mdameyPosted on February 21, 2019 February 21, 2019 Categories Free class, LiteratureTags "The Book of Martha", "The Veil of Ignorance", Octavia E. Butler, Speculative FictionLeave a comment on PowerPoint for "The Book of Martha"
More Reviews for "Where Three Roads Meet"
Scholars,
Here are three sources that may help you with "Where Three Roads Meet".
The first is a review written by Salley Vickers for The Guardian. You can read it by clicking here. In addition to summarizing the story of Oedipus, Vickers' critiques Freud's theory by suggesting that Freud emphasizes the story of the child who kills his father and beds his mother, while failing to recognize the equally important story of the parents who disastrously fail to murder their child.
This second source is from Liz Gloyn's excellent blog, Classically Inclined. You can read her insightful, short post here.
The third source I've selected is a literary analysis of the role of Tireseas, the seer, in the novel. It's a bit longer and denser than the other two pieces, but for those of you with time on your hands, you can read it here.
Author mdameyPosted on September 11, 2018 September 11, 2018 Categories Free class, Literature, MythTags Freud, Myth, Oedipus, Salley VickersLeave a comment on More Reviews for "Where Three Roads Meet"
Excerpt from Simone de Beauvoir's "The Second Sex".
The following excerpt from de Beauvoir's classic, The Second Sex, provides a concise introduction to the construction of woman as Other. This text is invaluable in understanding structuralism, and will be referenced by both Rachel and myself as we end our discussion of Gilgamesh and begin our discussion of Circe.
de Beauvoir, Simone. From Second Sex. Science Fiction: Stories and Contexts, edited by Heather Masri, Bedford/St. Martin's, 2009, pp. 179-185.
Simone de Beauvoir Second Sex
Author mdameyPosted on September 4, 2018 Categories Free class, Literature, MythTags Consciousness, gender, identity, Myth, Simone de BeauvoirLeave a comment on Excerpt from Simone de Beauvoir's "The Second Sex".
Living in Omelas: Thoughts on the Separation of Immigrant Families
In an earlier post I described how Ursula K. Le Guin confronts her readers with a moral dilemma: is it justifiable for a society to benefit from the suffering of a single "innocent"?
Le Guin prefaces her story by quoting from William James's "The Moral Philosopher and the Moral Life":
Or if the hypothesis were offered us of a world in which Messrs. Fourier's and Bellamy's and Morris's utopias should all be outdone, and millions kept permanently happy on the one simple condition that a certain lost soul on the far‑off edge of things should lead a life of lonely torture, what except a specifical and independent sort of emotion can it be which would make us immediately feel, even though an impulse arose within us to clutch at the happiness so offered, how hideous a thing would be its enjoyment when deliberately accepted as the fruit of such a bargain?
Although Le Guin does not tell us how we should respond to her nameless, faceless child locked in a basement, the inclusion of this passage signals to the reader the response we should feel – it would be a "hideous" thing to enjoy "the happiness so offered" at the expense of "a certain lost soul".
I have taught this story numerous times, and have tried to make my students understand that Le Guin is not telling some abstract parable. As Le Guin writes, this is "[the] dilemma of the American conscience". I tell my students that we live in a nation that has embraced the premise that in order for there to be winners, there must be losers. In my early years teaching "The Ones Who Walk Away from Omelas" I would remind my students that some opponents of same sex marriage argued that legalizing same sex marriages would be the end of straight marriages. In essence, straight people like me were being told that for our families to be valid, the families of gays and lesbians had to be invalid. In subsequent classes we undertook the task of putting a name and a face to Le Guin's child. The child stood for the LGBTQ community, for people of color, for immigrants, for workers in sweat-shops in far-flung countries making our Nikes, our iPhones, our clothes.
I don't know to what extent this experiment in making Omelas "ours" and claiming the child has impacted those students. I like to think they left my class with the other passage that Le Guin quoted from William James running through their minds:
All higher, more penetrating ideals are revolutionary. They present themselves far less in the guise of effects of past experience than in that of probable causes of future experience, factors to which the environment and the lessons it has so far taught us must learn to bend.
Most of my students, I'm sure, walked away from the story without it changing them. They still couldn't see the child.
But here's the thing, in the past few months the child in the basement has become real, over and over again. The children of immigrants are torn from their parents and locked away. The official justification for this is that their parents have committed "the crime" of coming to the United States without documentation, and, as "criminals" they do not have a right to be with their children.
The cruel injustice of this policy cannot be overstated. The "crime" these parents committed was that of wanting a better life for themselves and their children. The impulse that drove these families across the hostile desert was the same impulse that led my forbearers to set sail across the stormy Atlantic in a small ship called the Mayflower. Who among us, faced with the reality that the lives of our family were endangered living in the country of our birth, would not make the same choice as these families?
As for the punishment – while the parents suffer in ways I cannot imagine, the harm done to the children must be even more immense. We have known for some time that removing children from their biologic parents has deep and enduring consequences. The trauma we inflict on these children will plant seeds of despair, resentment, anxiety, and fear, and we, as a nation, will reap the harvest we have sown.
At the end of my last post, I wrote:
"The Ones Who Walk Away from Omelas," ends by presenting the reader with the two options apparently available to the people of Omelas: either stay in Omelas and accept the suffering of the child as the price of happiness, or leave Omelas and venture out into the great unknown. But here's the thing – Le Guin has invited us to be co-creators with her. We don't need to settle for the dichotomy she provides. We can make other choices. In our Omelases we can break into the basement and free the child. We can say that no society that trades the well-being of an innocent soul for its prosperity and happiness deserves to be prosperous and happy. We can end "the Festival of Summer." And what will we replace it with? How will we rebuild Omelas? In any way we want. Perhaps the Festival of Summer will become the Festival of the Children in which everyone celebrates that suffering is an unavoidable human experience, but that we share the burden of suffering and make choices so that a fragile happiness can be shared by all.
We cannot walk away; we cannot abandon our country to the forces of fear and intolerance. But we also cannot simply accept this crime against humanity. We must fight for those families as if they were ours. As William James tells us, "All higher, more penetrating ideals are revolutionary." The time has come for us to be idealistic and revolutionary.
Le Guin closes her preface by focusing on what William James is saying, "Ideals as 'the probable causes of future Experience'—that is a subtle and an exhilarating remark!" Indeed.
For more on what you can do, click here.
Author mdameyPosted on June 14, 2018 June 14, 2018 Categories dystopia, Literature, social justice, Ursula Le GuinTags immigration, Literature, Omelas, social justic, Ursula K. Le GuinLeave a comment on Living in Omelas: Thoughts on the Separation of Immigrant Families
"It's Not Over, Little Zel. It's Only Just Begun": Nnedi Okorafor, Tomi Adeyemi and the Birth of West African Fantasy Fiction
Over the past few years I've been given the freedom to offer a British literature survey course, which I've subtitled, "Fantasy, Faith and Philosophy". Although the course includes traditional canonical British texts, its primary focus has been the works of C. S. Lewis, J. R. R. Tolkien and Philip Pullman. Observant students skimming over the syllabus will immediately pick up on what is missing from all of the readings – texts by women and people of color. In the past I've argued, with some justification, that the pioneers of fantasy fiction in the 19th and 20th century were Christian white men, and that white men continued to dominate the field well into the 20th century, even as female authors, like Naomi Mitchison, Ursula K. Le Guin, Marion Zimmer Bradley, and Madeline L'Engle, were breaking through the barriers with innovative and, frequently, subversive, fantasy fiction. Still, the roles of males as creators, consumers and protagonists of fantasy fiction were so entrenched that Ursula K. Le Guin struggled to bring female characters alive in her Earthsea series, and J. K. Rowling was advised by her publisher to use her initials on her books so as to not reveal that the Harry Potter series was penned by a woman. Additionally, the privileged status of white male fantasists in the genre was (and, frequently, is) perpetuated by teachers like me, who have not made room in their classrooms for female voices.
As I began to contemplate the absence of female writers in my fantasy class, an absence made more conspicuous because I include female authors in ALL of my other classes, I realized that the absence of writers of color was equally problematic. More disturbingly, while I could name many white female fantasists, I could not name ANY writers of color in the genre.
This past year has remedied that problem, both because I discovered Octavia E. Butler, who identified her novel, Kindred, as fantasy (although many critics feel more comfortable labeling it speculative fiction), and because the twenty-first century has seen a small but growing number of authors of color, particularly women, enter the arena of fantasy fiction. As Rachel Martin observed to me the other day, we are now in the fortunate position where we could teach a class that consists entirely of fantasy fiction by female authors of color.
Tomi Adeyemi
Two of these authors, Nnedi Okorafor and Tomi Adeyemi have already received much deserved recognition for their novels. Okorafor's Who Fears Death has been picked up for a television series by HBO, and plans for a movie based on Adeyemi's Children of Blood and Bone are already underway. These two novels are refreshingly subversive because of both authors have created worlds that are thoroughly infused with West African culture and have created strong, black, female protagonists who experience and triumph over intense hardship and suffering. Furthermore, both books are perhaps more deserving of serious discussion than more traditional fantasy novels because Okorafor and Adeyemi have used their world-building as an opportunity to explore real societal problems. Because of their commitment to creating a discussion around social justice, these novels belong to the tradition of black social protest novels, like Richard Wright's Native Son and Ralph Ellison's Invisible Man.
Okorafor's Who Fears Death opens a dialogue at the intersection of misogyny, tribalism, and environmental degradation. Borrowing from the Sudanese civil war, Okorafor builds a world where rape is a weapon of war, where women are dehumanized, where the dark-skinned Oke have come to accept suffering at the hands of the lighter-skinned Nuru as an inevitable consequence of what the Great Book says, and where resources are scarce. At root, though, while a number of reviewers have labelled this novel a dystopia, it is in fact, if not utopian, at least optimistic, in part because it gives voice to the marginalized and dispossessed. Indeed, storytelling is central to the resolution of the novel. In the first pages of the novel, the protagonist, Onyesonwu, tells an unidentified listener, "Tonight, you want to know how I came to be what I am. You want to know how I got here… It's a long story. But I'll tell you… I'll tell you. You're a fool if you believe what others say about me. I tell you my story to avert all those lies" (Okorafor 5-6). Through her life, and by telling her truth, Onyesonwu sparks a rewriting of the Great Book in the magic script of her people, Nsibidi. This theme of speaking for one's self, of controlling one's identity, physically, intellectually and spiritually, is central to the novel.
Like Who Fears Death, Adeyemi's Children of Blood and Bone takes on ethnic and racial conflicts. Where Okorafor draws from the Sudan, Adeymi seems to derive her inspiration from the Rwandan genocide. Prior to the events depicted in Children of Blood and Bone, King Saran orders a great Raid in which the dark-skinned, white-haired adult maji are killed. King Saran has also found a way to prevent the remaining maji from contacting the gods, who provide their magic. Subsequently the maji are forced into ghettos or labor camps, or are forced to fight each other for the entertainment of the lighter skinned Orishans. The term maggot, which is frequently applied to the dis-empowered maji, echoes the use of the word cockroaches to describe the Tutsis during the Rwandan genocide.
Although Adeyemi clearly models her story on the Rwandan conflict, the impetus for the novel comes, as she makes clear in her "Author's Note", in part from "seeing stories of unarmed black men, women, and children being shot by the police" (526). As Adyemi goes on to explain, the book is meant to bring recognition to the injustices committed against America's black communities and to inspire readers to work for change.
Just as Tolkien rooted Middle-earth in the languages and mythologies of northern Europe, so too, these authors have rooted their stories in the fertile soil of West Africa. The name of Okorafor's protagonist, Onyesonwu, is Igbu for "Who Fears Death", and magical texts are written in Nsibidi script, a very real script from southeastern Nigeria. Onyesonwu's mother is an Oke – the name of the people being derived from a male name in Igbu that Chinua Achebe makes use of in Things Fall Apart. Onyesonwu's biologic father, a sorcerer who raped her mother, belongs to the light-skinned Nuru people – an Egyptian name. Because Onyesonwu is a mix of these two ethnic groups, she belongs to an outcast group called the Ewu – a name derived from a Nigerian city.
In Adeyemi's Children of Blood and Bone, Yoruba is the language used to invoke the gods who gift magic to the Diviners. The gods are based on the orisha, or divine spirits of the Yoruba faith. The magical power that runs through the protagonist, Zelie, and other magi, is called ashe – a term from the Yoruba faith that means life force. The connection between Africa and Adeyemi's Orisha is confirmed by place names like Lagos, Warri, Gombe and Benin City.
Adeyemi, Children of Blood and Bone
Although both Who Fears Death and Children of Blood and Bone are very well written and, as I've demonstrated, unique in their creation of African fantasy world on par with Narnia and Middle-earth, there are weaknesses with both novels. Structurally both novels follow very traditional, one might say clichéd, quest narratives. As Caitlyn Paxson noted in her NPR review of Children of the Bone:
If I had to find something to criticize, it would be this: I read an awful lot of fantasy, and I love stories and characters that subvert my expectations. Children of Blood and Bone is a fairly straightforward quest narrative most of the way through, and I didn't encounter a lot of surprises.
While Nnendi Okorafor's Who Fears Death is also a quest story, she is more adept at subverting expectations. Of course, the difference between the two authors might have less to do with their abilities and more to do with their intended audiences. Okorafor is writing for adults, and does not shy away from graphic rape scenes, or depictions of female genital mutilation. It's entirely appropriate that George R. R. Martin has been signed on as producer for the television show based on her novel. By contrast, Adyemi is writing for a Young Adult audience, what Rachel refers to as the Harry Potter crowd.
In spite of minor weaknesses, both novels are significant additions to the fantasy genre. Okorafor and Adeyemi are, like Tolkien and Lewis, pioneers in the fantasy genre. It is to be hoped that more authors of color will join them in tearing down the borders of fairyland.
Adeyemi, Tomi. Children of Blood and Bone. Henry Holt and Company, 2018.
Okorafor, Nnedi. Who Fears Death. DAW books, 2010.
Author mdameyPosted on June 10, 2018 June 10, 2018 Categories fantasy, LiteratureTags African fantasy, gender, identity, Literature, Nnedi Okorafor, Tomi Adeyemi4 Comments on "It's Not Over, Little Zel. It's Only Just Begun": Nnedi Okorafor, Tomi Adeyemi and the Birth of West African Fantasy Fiction
Re-Thinking Re-readings of "The Awakening"
Last class we discussed at length Edna Pontellier's final act in The Awakening. In particular the debate revolved around what options, if any, Edna had outside of suicide. Was her suicide courageous or cowardly? Could she have remained loyal to her sense of her awakening self and still be part of society? Some of us argued that there were historical precedents of women, George Eliot, for example, violating social conventions and norms while living full lives. Others of us suggested that, given Leonce Pontellier's "ownership" of Edna, of their children and of all her property, freedom, outside of the freedom of death, was simply not an option. I argued that ultimately Kate Chopin forecloses the notion of other options by not providing (much) evidence for them in the novel. Edna chooses the only real option that Kate Chopin gives her.
While an author relinquishes control over the novel as soon as it is published, the reader's interpretation of the motives and actions of a character are circumscribed by the words on the page. A reader may be tempted to envision changes for a favorite story, and that's the reader's prerogative – and one of the joys of reading – but at that point the reader is creating fan-fiction. The limitations created by the word on the page apply equally, it should be noted, to authors and readers. J. K. Rowling may tell fans that Dumbledore is gay, but in the novels he is neither gay nor straight – he's asexual. Rowling (quite reasonably) decided to ignore the sexuality of all of her professors at Hogwarts. Readers, and perhaps Rowling herself, forget that these characters do not magically exist outside the margins of the page.
That said, there is nothing wrong with fan-fiction, and a reader's creative collaboration with the author's world can enrich the reader's appreciation for the text. So permit me to invite you to speculate about how Edna's death would be read by the surviving characters. Like readers encountering a text for the first time, Leonce, Robert, Mademoiselle Reisz and Madame Ratignolle encounter Edna's body (or, at very least, the fact of her death) for the first time, and must interpret it. Several interpretations offer themselves:
Leonce, Robert and the other men who took satisfaction in "teaching" Edna to swim may feel that she did not learn well enough. In this reading, she goes for an innocent swim, and over-confident in her newly acquired skills, she goes too far, and without the "protective" male gaze, succumbs to the waves.
Leonce may see Edna's death as a validation of his visit to see Doctor Mandalet. He might reason that her sexual proclivities AND her suicide are symptoms of her "mental illness".
Robert, by contrast, might interpret Edna's suicide as either the despairing act of a jilted woman or an attempt at exacting revenge on him. He might reasonably conclude that had he not broken off their relationship, Edna would still be alive. Edna's death thus becomes, not about her, but about him.
Mademoiselle Reisz might see Edna's suicide as a sign of weakness. After all, she had warned Edna earlier, "The bird that would soar above the level plain of tradition and prejudice must have strong wings. It is a sad spectacle to see the weaklings bruised, exhausted, fluttering back to earth." The "sad spectacle" of Edna's drowning means that she was a "weakling," unlike Mademoiselle Reisz.
By contrast, Madame Ratignolle, might view Edna's suicide as a sign of strength. "Think of the children, Edna. Oh think of the children! Remember them!" she told Edna. Through her death, Edna preserves the reputation of her family for her children.
None of these explanations exist within the story itself. After all, as far as the reader is concerned, once Edna dies, the other characters die, too. We can envision what we like for the other characters – Madame Ratignolle might murder her children and husband and run-off with Mademoiselle Reisz; in a fit of guilt Leonce might commit suicide; Robert might renounce women and go on to become a priest. All of these futures, and infinite others, are possibilities – but not possibilities in the pages of The Awakening.
Author mdameyPosted on February 13, 2018 February 13, 2018 Categories Free class, LiteratureTags Interpretation, Kate Chopin, Literature, The Awakening1 Comment on Re-Thinking Re-readings of "The Awakening"
Link to an amazing post on "The Ones Who Walk Away from Omelas"
The late Le Guin's "The Ones Who Walk Away from Omelas" has been a reliable staple in every Introduction to Literature class I've taught. This short story manages, within a few pages, to illustrate the imaginative and moral power of a well-crafted work of fiction. By moving between first-, second- and third-person narrator, Le Guin invites her readers to participate in the construction of Omelas.
Because we, in true reader-response fashion, contribute to the creation of "joyous" Omelas, we also find ourselves complicit in what follows – a miserable child is locked away, and the joy of the city, so we are told, is dependent on the child's misery. The child is unnamed and its sex is never revealed. I imagine Le Guin writing, "You want the child to have a name? By all means, name it. Is the child a boy or a girl? It's as you wish." As a master writer, Le Guin writes none of this. She doesn't need to; we're already there, projecting on to the blank face of the child the image of children we know.
The story ends by presenting the reader with the two options apparently available to the people of Omelas: either stay in Omelas and accept the suffering of the child as the price of happiness, or leave Omelas and venture out into the great unknown. But here's the thing – Le Guin has invited us to be co-creators with her. We don't need to settle for the dichotomy she provides. We can make other choices. In our Omelases we can break into the basement and free the child. We can say that no society that trades the well-being of an innocent person for its prosperity and happiness deserves to be prosperous and happy. We can end the Festival of Summer. And what will we replace it with? How will we rebuild Omelas? In any way we want. Perhaps the Festival of Summer will become the Festival of the Children in which everyone celebrates that suffering is an unavoidable human experience, but that we share the burden of suffering and make choices so that a fragile happiness can be shared by all.
And perhaps the people who walked away from Omelas will return again.
Anyhow, by all of this I merely meant to connect you to this post by Gabrielle Bellot.
Author mdameyPosted on February 9, 2018 February 9, 2018 Categories dystopia, Literature, science fiction, Ursula Le GuinTags "The Ones Who Walk Away from Omelas", dystopia, Literature, reader-response theory, Ursula K. Le Guin, UtopiaLeave a comment on Link to an amazing post on "The Ones Who Walk Away from Omelas"
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SWISS: Bombardier C Series into commercial service
Swiss International Air Lines (SWISS) became the first airline in the world to operate the new Bombardier C Series when its first CS100 aircraft took off on its first commercial flight.
The new "whisperjet" left Zurich for Paris Charles de Gaulle after an appropriate inauguration ceremony at the departure gate. The new Bombardier C Series will gradually replace the present Avro RJ100s on SWISS's short- and medium-haul routes between now and July 2017.
SWISS commenced scheduled operations with the new Bombardier C Series when the world's first Bombardier CS100 aircraft to be delivered to an airline departed from Zurich on flight LX 638 to Paris. The new short- and medium-haul transport, which has also been dubbed the "whisperjet" for its low noise emissions, left Zurich shortly after noon for Paris Charles de Gaulle.
Gate ceremony with Miss Switzerland 2013 Dominique Rinderknecht
The historic first Bombardier C Series flight was duly celebrated at the gate before its departure. SWISS Chief Commercial Officer Markus Binkert presented a special certificate to mark the occasion to passenger Thomas Marks Lee, the world record holder for first flights on a new aircraft type. This was followed by the traditional ribbon-cutting ceremony, which was performed together with Dominique Rinderknecht, Miss Switzerland of 2013. The CS100, which was named Kanton Zürich last week, was fully booked for its first-ever commercial flight.
"I am extremely proud that we are the first airline in the world to put this totally newly-developed aircraft into service," said SWISS CCO Markus Binkert. "The Bombardier CS100 is a class act in every respect: comfort, economics and environmental credentials. And its service entry today ushers in a new era in short- and medium-haul air travel, for our customers in particular."
Gradual replacement of the Avro RJ100 fleet by July 2017
SWISS has ordered 30 Bombardier C Series aircraft in all – 15 CS100s and 15 of the bigger CS300. The new aircraft will primarily replace the present SWISS Avro RJ100s between now and mid-2017. This will be followed by further C Series deliveries which will partly replace other aircraft types and partly permit some modest growth of the SWISS short- and medium-haul fleet.
In addition to Paris Charles de Gaulle, Manchester, Prague and Budapest will be the first SWISS destinations to receive Bombardier CS100 service. They will be joined by Warsaw and Brussels at the end of August, and by Nice, Stuttgart, Hanover, Milan, Florence and Bucharest in September. Further points currently served with Avro RJ100 equipment will switch to C Series operation with each successive delivery. The Zurich-London City route is scheduled to change to C Series service in the first quarter of next year.

redpajama_set_name: RedPajamaCommonCrawl


As President Donald Trump again demanded this week that lawmakers in Congress make major changes in U.S. immigration law, there was no evidence of any groundswell for legislative action in the Congress - even among Republicans in the Senate.
"We have a system that's full. It's just full," President Trump declared during a visit to the Mexican border in California on Friday, as he again urged action in Congress to reform asylum laws, end the 'visa lottery,' stop what's known as 'chain migration,' and make other changes to the immigration system.
"We have to do something about it," Mr. Trump added. "And we're going to."
"Our country is full," the President declared.
President Trump: "The system is full. Can't take you anymore. Sorry folks."
But even as President Trump vowed to build more border fencing and again threatened to slap tariffs on cars imported from Mexico, back on Capitol Hill there was no evidence that Republicans were ready to bring legislation to the Senate floor to deal with those matters.
In the House, Democrats are certainly not going to carry the water for President Trump on immigration, as they remain dead set against his plans, and are now challenging his emergency declaration to go around Congress, and funnel money from inside the Pentagon to construction of a border wall.
"He likes shutting down things," House Speaker Nancy Pelosi said this week about the President's threat to close the border with Mexico.
"Shutting down the border would threaten good-paying American jobs, hurt our economy, violate our values and gravely hurt our country," Pelosi told reporters.
Democrats emphasized their opposition to the President's threat to shut down the border by sending a group of lawmakers there to discuss the impact such a decision would have on trade, as many Republicans also cautioned the White House against such a move.
We saw this firsthand yesterday.
Just a handful of lanes at the Paso Del Norte were even open — usually a bustling trade port and a lifeline to the region's economy.
Grateful to my colleagues, more of whom continue to come to El Paso to learn the truth about the border.
With Democrats showing little interest in the President's preferred immigration plans, that leaves the job to the GOP-controlled Senate, where last year, Mr. Trump's immigration legislation garnered only 39 votes in a Senate showdown, the fewest votes of any immigration plan considered by Senators.
"There's got to be an orderly system," said Rep. Frank Lucas (R-OK). "I understand the President's negotiating style - he's not seeing the progress he wants."
"There is a crisis at the border, and the President recognizes that," said Rep. Buddy Carter (R-GA).
"The fault rests with Congress alone," said Sen. Ron Johnson (R-WI) of the growing illegal immigration problem at the border. "I challenge my colleagues to act."
But despite the pleas for action by the President and top members of his administration, there's been no hints of legislative movement by Senate Republicans on immigration.
GOP Senators have not laid out the details on any comprehensive immigration bill, and no one is talking in the halls of the Capitol about Republicans bringing the President's immigration agenda to the Senate floor for a vote.
That leaves the issue on hold - as the President calls on Mexico to do more to stem the tide of illegal immigrants and illegal drugs, while members of both parties in Congress point fingers at each other over the impasse.


Athlete's foot is caused by a fungal infection in the skin. The children infect each other. Itching and smarting between the toes are typical signs of athlete's foot. The skin between the toes becomes red and cracks in the skin arise. Treatment with fungicide is effective, but it can be difficult to prevent the fungi from reappearing.
Athlete's foot is caused by a fungal infection. Athlete's foot is typically seen among school children and only very rarely before the age of 4. Boys more often have athlete's foot than girls. Children – who do a lot of sports and sweat a lot around the feet – most frequently, have athlete's foot.
Itching and smarting between the toes are the first indications of athlete's foot. Often, the skin is red with small blisters filled with liquid. Later, the skin between the toes softens and cracks.
If athlete's foot is not treated, it will spread to other toes. Bacteria can also enter the cracks. In that case, the redness spreads and watery wounds arise, running with smelly goo.
Athlete's foot does not just infect directly from child to child but also via towels, footwear and floors.
Children with athlete's foot can attend day care and school.
Fungicide as crème is effective. Far most children get writ of athlete's foot after a few weeks, when the skin is rubbed with fungicide. In rare cases, it is necessary with fungicide as tablets.
Children less than 12 years old should not be treated for athlete's foot without instructions from a doctor.
There is an effective fungicide that can be bought over the counter. It is not difficult to get writ of the fungicide but it can be difficult to prevent it from reappearing. Fungi thrive in a moist environment like wet socks and shoes. Therefore, you must keep socks and shoes completely dry. It can be a good idea to dry the shoes with a hairdryer and sprinkle them with talcum powder or children's powder. The child's foot should be dried extra carefully, before putting on socks and shoes. Change the child's socks at least twice a day and every time they become moist.
If you suspect athlete's foot and your own treatment is ineffective.


Obama and the Democratic Congress have lied every step of the way to pass socialized medicine.
"No one has talked about reconciliation," Senate Majority Leader Harry Reid declared during last week's health care summit. It was a lie shocking in its boldness.
Live on national television, the Democrats' leader in the U.S. Senate told the nation that not a single person had discussed even the possibility of using the Senate's budget reconciliation rules, which require a simple majority vote instead of 60, as needed under regular Senate rules, to pass President Obama's health care reform plan. Yet, a week before, Reid himself had said publicly that reconciliation was an option for passing the plan, Politico.com reported. Of the Senate's 59 Democrats, 23 had already signed a letter urging the president to pass the plan via reconciliation by the time Reid said "no one" was even talking about it. And of course, a week later, President Obama, as expected, urged Democrats to pass the bill through the reconciliation process if necessary.
In other words, the Democratic Party leadership in Washington hadn't just talked about reconciliation. It was central to their strategy.
Reid's blatant revisionism perfectly encapsulates the Democratic leadership's plan for passing legislation to completely remake health care in the United States. Simply put, the plan is this: Lie. Thus, President Obama and the leadership in Congress have lied about nearly everything, from start to finish. Obama said that if you have health insurance you like, you'll absolutely get to keep it under his plan. That was a lie. As he eventually acknowledged, millions of Americans will lose their existing coverage if the changes he wants become law.
Similarly, Obama spent all last summer saying health care reform wouldn't raise taxes on anyone but the rich. But on August 2 the Associated Press reported that the administration admitted that taxes might have to be raised on the middle class to pay for the health care bill.
Obama has said repeatedly that insured families pay about $1,000 a year to cover the costs of the uninsured. Factcheck.org puts the figure at $200.
Obama said our current health care system causes a bankruptcy every 30 seconds. That's not remotely true. If every bankruptcy in the United States in which health care costs played any factor at all were counted as a bankruptcy caused by health care, the figure would be one per minute, not double that.
In the summer, Obama was claiming that health care reform was paid for. At the time, the Congressional Budget Office concluded that the House bill added $239 billion to the federal deficit over a decade and the Senate bill $597 billion. The president's claims still aren't true because of tricks such as removing the "doc fix" provisions and putting them into a separate bill.
Obama claimed health care reform would save the average American family $2,500 a year. Factcheck.org could find no evidence for that at all. Obama apparently just made it up.
Obama promised at least eight times that the health care negotiations would be televised live on C-SPAN. They weren't. They were done, as everything in Washington is done, behind closed doors.
There us no shortage of additional examples. When it comes to health care, on point after point after point, the American people have been lied to – systematically, methodically and deliberately.
It should go without saying that opponents of the Democrats' plans haven't always been truthful, either. Some attacks have contained intentional falsehoods, others inadvertent ones. I don't defend any of those. But they don't make any less outrageous the fact that our own government has systematically misled us in an attempt to generate support for a plan the president and leaders in Congress knew we would never accept if we knew the whole truth about it.
Sure, politicians have always lied. But this administration, with its campaign theme of hopeful "change," was supposed to be the most open and transparent administration in history. Even Congress was supposed to be different. Nancy Pelosi promised the most ethical Congress in history. Instead, the White House and its Congressional allies have joined forces to launch an almost daily barrage of falsehoods designed to trick us into supporting a dramatic transformation of one sixth of the American economy. And here's the worst part about the politics of the healthcare debacle: We have at least three more years of this to look forward to.
Andrew Cline is editorial page editor of the New Hampshire Union Leader.


If you are looking for cheap accommodation in Yorkeys Knob I am sure you will be able to find some. They may not be luxurious and fully self contained, or near a great swimming pool or opposite the beach.
Cheap accommodation in Yorkeys Knob will most likely be some distance from the beach and may not have a kitchen or a great pool. On the other hand if you are looking for a great location opposite the beach and fully self contained with a great pool why not pay a bit extra and stay at Yorkeys Knob Beachfront Apartment.
Yorkeys Knob is less touristy than its neighbouring northern beach locations. Still there are plenty of restaurants and amenities – a bakery, post office, supermarket, bottleshop and hairdressers – just to name a few. Yorkeys also has a boat club with a great alfresco dining area, an 18 hole gold club and kitesurfing directly opposite Yorkeys Knob Beachfront Apartment.
In fact Yorkeys Knob is one of the best places for Kitesurfing – shallow water, good winds and thanks to the reef, no waves.
Yorkeys Knob is 15 minutes from the airport and 20 minutes from Cairns CBD. It has a large shopping center 10 minutes away and is located close to the Great Barrier Reef and a myriad of other great things to do.
So next time you are looking for cheap accommodation in Yorkeys Knob remember how much better the accommodation is at Yorkeys Knob Beachfront Apartment.


text:
Kardon: 2004 Freedoms Head Coach
Craig Kardon will return to the World TeamTennis Pro League as head coach of the Philadelphia Freedoms this summer. Freedoms General Manager Lisa Lauck announced the team has agreed to a new deal with Kardon, who last coached the 2002 WTT Delaware Smash.
The 2004 Freedoms season, presented by Advanta, runs from July 5-25 with seven home matches to be played at Cabrini College in Radnor.
"Craig's professionalism and his experience working with some of the top players in the world will help develop a Championship contending team," said Lauck.
Kardon played professionally on the ATP Tour from 1984-1988. He was also a pro touring coach from 1-88-2001 for top women players like Martina Navratilova, Lisa Raymond, Zina Garrison, and Lindsay Davenport. He currently runs High Performance Tennis Camps throughout the U.S.


text:
Home > Press/Journalists > Press Releases > Press Release
Press Release · Tuesday, December 23, 2003
National Archives to Display Emancipation Proclamation on Martin Luther King, Jr. Holiday
Washington, DC. . . On Monday, January 19, for one day only, the original Emancipation Proclamation will be on display in the Rotunda for the Charters of Freedom in observance of the Martin Luther King, Jr., holiday and in conjunction with the National Archives' special exhibition "The People's Top 10 Selections of Documents That Shaped America". The Emancipation Proclamation, which was most recently displayed at the National Archives in 2001, was voted as the 6th most important document in American history by thousands of Americans nationwide in The People's Vote: 100 Documents That Shaped America.
The special display of the Emancipation Proclamation is free and open to the public. The National Archives Rotunda for the Charters of Freedom is located on Constitution Avenue between 7th and 9th Streets, N.W., and is open from 10 a.m. to 5:30 p.m. daily except Christmas Day.
President Abraham Lincoln issued the Emancipation Proclamation on January 1, 1863, during the American Civil War, formally proclaiming the freedom of all slaves held in areas still in revolt. The issuance of this Proclamation clarified and strengthened the position of the Union government, decreased the likelihood of European support of the Confederacy and, as the Union armies extended their occupation of the southern states, brought freedom to the slaves in those states. The Proclamation invited black men to join the Union Army and Navy, resulting in the enlistment of approximately 200,000 freed slaves and free black people before the War's end.
Although the Emancipation Proclamation did not end slavery in the nation, it placed the issue squarely on top of the wartime agenda. It added moral force to the Union cause and was a significant milestone leading to the ratification of the 13th Amendment to the Constitution in 1865, formally outlawing slavery throughout the nation.
The Emancipation Proclamation linked the preservation of American constitutional government to the end of slavery and has come to take its place with the great documents of freedom.
This page was last reviewed on January 7, 2013.


text:
HTML5 isn't Facebook's 'biggest mistake'
Zuckerberg's excuse risks movement's set back
By Matt Asay 14 Sep 2012 at 10:43
Open ... and Shut Everybody makes mistakes, but if you're Facebook chief executive Mark Zuckerberg, mistakes can shave 50 per cent off your market valuation in a matter of weeks. Happily, admitting Zuckerberg-sized mistakes apparently is also worth a 7.9 per cent bounce.
Zuckerberg's biggest mistake, as he described in an interview at the Disrupt conference, was "betting too much on HTML5 as opposed to native" app development. For a man who two years ago said he's made "any mistake you can think of" but affirmed "if you're building a product that people love, you can [afford to] make a lot of mistakes," singling out HTML5 seems weak. Especially in light of the IPO debacle.
But then, the problem doesn't seem to be HTML5, per se, but rather Facebook's use of it.
Zuckerberg hints at this in his conference remarks:
When I'm introspective about the last few years, I think the biggest mistake that we made as a company is betting too much on HTML5 as opposed to native. Because it just wasn't there.
It's not that HTML5 is bad. I'm actually, long-term, really excited about it. One of the things that's interesting is we actually have more people on a daily basis using mobile web Facebook than we have using our iOS or Android apps combined. So mobile Web is a big thing for us... We just never were able to get the quality we wanted [from the HTML5 apps we were building]...
We burned two years. That's really painful. Probably we will look back saying that is one of the biggest mistakes if not the biggest strategic mistake that we made. But we're coming out of that now.
Maybe, but there's a lot of blame to throw around, and HTML5 is only one target. Instead of pointing his finger at HTML5, Zuckerberg might be better served by looking inside his company to see how it was deployed. Facebook's approach to HTML5 has been hobbled by politics and a lack of expertise, both in HTML5 and in mobile. Zuckerberg is correct that today's HTML5 tools aren't perfect, but in this case the problem may lie more with the craftsman than with the tools.
As a company that grew up on the web, Facebook had every incentive to get HTML5 right. Long before Facebook released its HTML5 app, the company had been experimenting with the technology, with an on-again-off-again relationship to HTML5 led by Joe Hewitt and then Bret Taylor after Hewitt quit. If Zuckerberg needed a warning that his engineers were struggling to be productive with HTML5, Hewitt gave him one, arguing that the pace of web innovation had slowed relative to native app development, perhaps forever.
Still, Hewitt's hybrid HTML5/native app was quite good. The problem was that there wasn't anyone who could effectively improve upon it once he left, according to Mozilla chief technology officer and former Hewitt colleague Brendan Eich. And so Facebook went shopping, pulling in my former company, Strobe, as well as other talented developers.
Unfortunately, it was too late to save Facebook's HTML5 app. And the reason, apparently, was politics. Or, as mobile HTML5 guru and Tilde co-founder Yehuda Katz terms it, execution:
@brendaneich He still claimed their biggest mistake was betting on "HTML5" when their real biggest mistake was incompetent execution @tobie
— wycats (@wycats) September 12, 2012
Katz's argument is bolstered by a source familiar with Facebook's mobile development efforts, who walked me through the history of Facebook's mobile app development. Apparently, the server team and the mobile team were at loggerheads as to how to deliver content to mobile. Initially the mobile team had a solid hybrid HTML5/native approach in mind, and asked for a JSON feed so that they could do things like cache content locally and render instantly in the event of a lapsed connection, high latency. They were told, however, that they could only get HTML, the same as the server team delivered to the desktop app.
Ironically, as a way to gain leverage, the mobile team then moved to a native app and insisted on getting the JSON feed as it no longer had the ability to render HTML. Even more ironically, in the process Facebook developed a solid JSON API and is well-positioned to switch its app back to HTML5.
Given the above, perhaps Facebook's takeaway should have been "there is a rational way to architect our HTML5 apps," rather than "native always beats HTML5."
There are certainly those at Facebook who will disagree with this characterization of the internal debate. As one Facebook contact (who may be the world's closest approximation to Super Mario in appearance) told me, it's not at all clear that client-side rendering via JSON would have fixed Facebook's HTML5 issues. Facebook tried to do this, to no avail, leading him to echo Zuckerberg's sentiment that for Facebook, anyway, HTML5 "just wasn't there".
Maybe, maybe not. But it seems clear that Facebook's efforts with HTML5 weren't as consistent as they might have been. And it's equally clear, from Facebook's acquisition of Instagram and other mobile-oriented companies like Spool, that the company has lacked a deep bench in mobile expertise, expertise that could have engineered a better HTML5 approach.
But it may precisely be the level of expertise required to make HTML5 apps "sing" that is a key reason the company is shifting more of its efforts to native app development. As one Facebook engineering manager shared with me:
It's fair to say that part of being an effective platform is not only that you're technically capable of doing something, but it must also be easy and scalable enough that 'mere mortal' engineering teams can achieve good results [with it]. It's clear that HTML5 is hard enough to get good results that you end up losing the supposed benefits of moving fast.
Right now Facebook moves fastest by writing native code. This isn't to say HTML5 won't ever be able to live up to the hype, but just that at this point Moore's Law and the web engines still have some ways to go. So we made a pragmatic decision. Eventually if HTML5 lets us move faster you could expect to see us move back to it. We are going to use whatever tech stack lets us do high-quality work at a fast pace.
Even so, Facebook's experience may not mean very much for other developers looking to build mobile apps. Facebook, after all, operates at a scale most developers will never see. Its needs are very different from those of most developers, as Cnet's Stephen Shankland rightly argues. For many developers, building an HTML5 app is not a second-choice option, but actually should be their preferred option, a thought alluded to by Mozilla's Eich:
Companies like Facebook can afford to do a native [app], especially on iOS. But for the long tail, developers will generally do the web and often be content there. If the web can be evolved to include the missing APIs and have better performance, [developers] won't need to go beyond the web.
Organisations like Mozilla and even Intel are actively working to improve HTML5 performance. An Intel executive recently admitted that HTML5 has been overhyped while simultaneously pledging to help improve it so that it can live up to the hype. Facebook, too, remains committed to HTML5, at least for some of its apps.
In sum, Zuckerberg's comments sounded like a criticism of HTML5, but may actually have been a dual indictment of the technology and his team's ability to deploy it. It would be unfortunate if his seeming deprecation of HTML5 ends up setting back a movement that could do more to help Facebook chart its own destiny than anything else, rather than remain yet another app/pawn on Apple's platform. That would be another big mistake to add to his list. ®
Matt Asay is senior vice president of business development at Nodeable, offering systems management for managing and analysing cloud-based data. He was formerly SVP of biz dev at HTML5 start-up Strobe and chief operating officer of Ubuntu commercial operation Canonical. With more than a decade spent in open source, Asay served as Alfresco's general manager for the Americas and vice president of business development, and he helped put Novell on its open source track. Asay is an emeritus board member of the Open Source Initiative (OSI). His column, Open...and Shut, appears three times a week on The Register.
War is over, if you want it: W3C, WHATWG agree to work towards single spec for HTML and DOM
Yes, my son... I recall it was spring of 2019 when the bloodshed finally ended
Apple yoinks enterprise certs from Facebook, Google, killing internal apps, to show its power
Analysis You have been warned... Tech giants abuse dev program, iPhone maker eventually undoes ban
Forbidden fruit of smut, gambling iOS apps found flourishing using Apple enterprise certs
Heal thyself
Standards group W3C wins support from all major players to get AI working in the browser
Google, Microsoft, Apple and Mozilla on board, says chair
Facebook gives third-party apps the all-clear
Social network says SSO-slurping miscreants didn't reuse tokens on third-party apps
Apple hits back at devs of axed kiddie screen-time apps
It's about privacy, not competition, sniffs Jesus-phone maker
Facebook pulls 'snoopy' Onavo VPN from Apple's App Store after falling foul of rules
Cupertino banned software that slurps data for marketing
Apple to require privacy policy on all apps
October iOS change reflects broader societal shift


text:
Q: Uploads with nginx, Unicorn, Rails 4 and CarrierWave fail I'm developing an application where a user can upload 1-3 images at some point. However, this does not work. When submitting the form, nothing will come through to Unicorn. The only piece of log information I have is this from nginx:
2014/09/24 15:28:05 [error] 7301#0: *23953 readv() failed (104: Connection reset by peer) while reading upstream, client: <my IP>, server: localhost, request: "POST /products HTTP/1.1", upstream: "http://unix:/tmp/<appname>/unicorn.sock:/products", host: "<domain>", referrer: "<domain>/products/new"

Also, my browser will try to load the page for some time, and then show a blank page, with the response header giving a 500.
EDIT: okay, as it seems, rack causes a crash when processing file uploads:
E, [2014-09-24T21:22:33.505511 #18252] ERROR -- : app error: invalid byte sequence in UTF-8 (ArgumentError)
E, [2014-09-24T21:22:33.506288 #18252] ERROR -- : kernel/common/string.rb:103:in `=~'
E, [2014-09-24T21:22:33.506392 #18252] ERROR -- : /srv/<appname>/.rvm/gems/rbx-2.2.10/gems/rack-1.5.2/lib/rack/multipart/parser.rb:92:in 'get_current_head_and_filename_and_content_type_and_name_and_body'

A: Check your unicorn configuration in unicorn.rb and try to modify the timeout

redpajama_set_name: RedPajamaStackExchange


One big reason for our branding work is to position ourselves better to expand our base of members, donors and sponsors.
As we starting framing what we do in ways that resonate better with more people, we'll also be taking a look at our financing systems. Donor (and member) retention is a key factor to focus on.


Bossanova - Page 2348 of 2840 - this is kind of mafia, but made of bloggers. they decided to support each other and help to publish free files. every member of Bossanova must upload 10 PDF files everyday. since there are hundreds of members the website has got a lot of files to download. check it out now, download some PDF.
Buy Sprachenlernen leichtgemacht!: Die Birkenbihl-Methode Fremdsprachen zu lernen by Vera F. Birkenbihl (ISBN: ) from Amazon's Book. Anleitung zum Fremdsprachenlernen nach der Birkenbihl-Methode, 3 Cassetten m. Begleitbuch: Vera F. Birkenbihl: : Books. With the Birkenbihl Method you learn a foreign language the way you learned your mother tongue, making it an intuitive and enjoyable experience.


Every four years the Department of Aging prepares a strategic plan that focuses on the needs of older Pennsylvanians. The State Plan reflects a shared vision and is a product of input from multiple interests and individuals. While the plan is administered by the Department of Aging, it represents a comprehensive plan for all older Pennsylvanians.
To create the 2012-2016 State Plan, the department utilized feedback and information from the 52 Area Agencies on Aging, stakeholders, eldercare professionals, caregivers, and the general public. In November 2011, the Department began the planning process at the joint meeting of the Pennsylvania Council on Aging and the Pennsylvania Association of Area Agencies on Aging.


text:
Kellie Suttleová (* 9. května 1973, St. Peters, Missouri, USA) je bývalá americká atletka, jež se specializovala na skok o tyči.

V roce 1999 vybojovala stříbrnou medaili na Panamerických hrách v kanadském Winnipegu. Na mistrovství světa v atletice 1999 v Seville skončila devátá. Na letních olympijských hrách v Sydney v roce 2000 měla ženská tyčka premiéru. Americká tyčkařka se zde umístila na jedenáctém místě. O čtyři roky později neprošla na olympiádě v Athénách kvalifikací, kde skončila s výkonem 415 cm.

Na halovém MS v portugalském Lisabonu se podělila o stříbrnou medaili s Ruskou Světlanou Feofanovou, když obě překonaly napoprvé 451 cm. Výše skočila jen česká tyčkařka Pavla Hamáčková, která zdolala 456 cm. Smůlu měla na halovém MS 2003 v Birminghamu, kde skončila na čtvrtém místě, díky horšímu zápisu před Polkou Monikou Pyrekovou. V roce 2006 obsadila na halovém MS v Moskvě sedmé místo.

Svoji atletickou kariéru ukončila po letní sezóně roku 2006.

Osobní rekordy
 hala - (458 cm - 25. ledna 2004, Jonesboro)
 venku - (467 cm - 16. června 2004, Jonesboro)

Externí odkazy

Narození v roce 1973
Američtí tyčkaři
Američtí olympionici
Žijící lidé
Ženy

redpajama_set_name: RedPajamaWikipedia


text:
Q: Django- 2nd App within project, page not found I can not figure out what I am doing wrong within the second app my project called 'weather'. The first part, 'home', works fine. I made it so that an empty url '' and a url with '/home/' both map to the home page. Even the link I created in my navigation bar to the home page works, but the same is not true for the weather link. I end up getting 'Page not found 404' Error.
Here is an overview:
Project structure
I included the app 'weather' in the settings installed apps.
Here urls.py file in the main project folder:
from django.contrib import admin
from django.urls import path, include
from weather import views

urlpatterns = [
    path('admin/', admin.site.urls),
    path('', include('blog.urls')),
    path('', include('weather.urls')),
    ]

The urls.py file for my weather app:
from weather import views
from django.urls import path

urlpatterns = [
    path('', views.GetWeather.as_view(), name='weather'),

]

The views.py for the weather app:
from django.views import generic
import requests
from django.shortcuts import render
from .models import City
from .forms import CityForm

class GetWeather(generic.ListView):

    queryset = City.objects.order_by('-requested')

    template_name = 'weather.html'

def index(request):
    url = 'http://api.openweathermap.org/data/2.5/weather?q={}&units=imperial&appid=c5a079de62bccff63d64ac8989f87e37'

    form = CityForm()

    cities = City.objects.all()

    weather_data = []

    for city in cities:

        r = requests.get(url.format(city)).json()

        city_weather = {
            'city' : city.name,
            'temperature' : r['main']['temp'],
            'description' : r['weather'][0]['description'],
            'icon' : r['weather'][0]['icon'],
        }

        weather_data.append(city_weather)

    context = {'weather_data' : weather_data, 'form' : form}
    return render(request, 'templates/weather.html', context)

The models.py for the weather app:
from django.db import models
from django.contrib.auth.models import User

class City(models.Model):
    name = models.CharField(max_length=30)

    requested = models.DateTimeField(auto_now_add = True)

    class Meta:
        ordering = ['-requested']

    def __str__(self):
        return self.name

    class Meta:
        verbose_name_plural = 'cities'

The weather.html template:
<!DOCTYPE html>
{% extends "base.html" %}
{% block content %}

                    {% for city_weather in weather_data %}

                                        {{ city_weather.city }}

                                        {{ city_weather.temperature }}° F

 {{ city_weather.description }}

                    {% endfor %}

{% endblock content %}

This is the blog.urls:
from . import views
from django.urls import path

urlpatterns = [
    path('', views.PostList.as_view(), name='home'),
    path('<slug:slug>/', views.PostDetail.as_view(), name='post_detail'),
]

I greatly appreciate anyone who took the time to read through this and help me.

A: You will have to change either blogs/urls.py or weather/urls.py first URL match. It depends on what you want to see on your base URL.
# weather/urls.py

from weather import views
from django.urls import path

urlpatterns = [
    path('weather/', views.GetWeather.as_view(), name='weather'),

]

# blog/urls.py

from . import views
from django.urls import path

urlpatterns = [
    path('', views.PostList.as_view(), name='home'),
    path('blog/<slug:slug>/', views.PostDetail.as_view(), name='post_detail'),
]

This shall resolve, assuming you want weather details on first page.


text:
Q: Google Cloud - HTTP Status 404 – Not Found Guys I have a Java web application which was developed in JSF + JPA + Hibernate which is running on a Linux server on Google Cloud.
VM instance details
Machine type - n1-standard-1 (1 vCPUj, 3.75 GB of memory)
Software Operational
System Debian (9.11)
Software
Apache (2.4.25)
Google-Fluentd (1.6.17)
OpenJDK (1.8.0)
Stackdriver-Agent (5.5.2)
Tomcat (8.5.14.0)
The problem I'm having and the following, I have a URL: https://app.example.com/login.xhtml which the user normally accesses the application, but the moment he clicks logoff the application it should be directed to the login screen, because that's exactly what happens on my localhost machine, but on the Google Cloud server it is directed to this url: http://127.0.0.1:8080/login.xhtml
And give the following error as the image below:

Does anyone know help me in this?
NOTE: I use the CloudFlare service to add SSL to my subdomain https://app.example.com/login.xhtml


Patients with sleep apnea who have short interruptions in breathing while they sleep are at higher risk for death than those with longer interruptions, according to a study published in the American Journal of Respiratory and Critical Care Medicine.
"This finding could help doctors better prevent long-term mortality associated with obstructive sleep apnea," said the study's lead author, Matthew P. Butler, Ph.D., an assistant professor of behavioral neuroscience in the OHSU School of Medicine and an assistant professor in the Oregon Institute of Occupational Health Sciences at OHSU. Butler collaborated with colleagues from OHSU and Brigham and Women's Hospital on the study.
Sleep apnea occurs when throat muscles sporadically relax and block a patient's airway during sleep. The condition is linked to a number of ailments, including high blood pressure and heart disease, and increases the risk of dying.
Sleep specialists currently use a measurement called the apnea hypopnea index, or the number of times a patient stops breathing per hour of sleep, to diagnose the severity of a patient's sleep apnea. But the index, which is largely based on data from men, does not predict risk well in women.
This new study found that, in addition to how many breathing interruptions occur, how long each one lasts is also important. Patients with the shortest apneas were 31 percent more likely to die during the study's decade of follow-up with participants. This held true for both male and female participants.
Currently, the best sleep apnea treatment is a continuous positive airway pressure, or CPAP, machine. But some patients find the machine – which requires wearing a mask during sleep – uncomfortable and choose not to use it, particularly if their apnea is not severe.
This new research could help physicians give better-informed treatment recommendations. For example, it may be beneficial to encourage both men and women with short breathing interruptions to use a CPAP machine – even if they only have mild or moderate sleep apnea.
This study was supported by the National Institute of Health (grants R21HL140377, R01HL125893, R35HL135818 and R24HL114473), the American Sleep Medicine Foundation (Focused Project Award), the American Heart Association (grant 15SDG25890059), and the American Thoracic Society Foundation.


Fairfax County – Prosecution proceeded against client despite victim not wanting to pursue charges. Dismissed at trial.
Fairfax County – Client suffered from Acid Reflux disease and after working with the Commonwealth, they agreed not to offer certificate of breath analysis at the trial. Judge dismissed charge at motion to strike stage.
Arlington County – Without being disclosed by the Commonwealth, learned the arresting officer had been terminated for cause. Commonwealth agreed to the dismissal of the felony charge prior to court appearance.
Fairfax County – Charge dismissed at trial despite victim's testimony.


TULSA, Okla. – An Oklahoma man has been arrested after streaming the verbal and physical abuse of a 6-year-old boy on Facebook Live.
The Tulsa World reports that 32-year-old Ralph Hishaw was arrested on Monday. He's accused of child abuse by injury, child neglect and possession of a controlled substance.
Authorities say the Facebook Live videos show Hishaw repeatedly yelling profanities at the child, slapping him and ridiculing him. Authorities also allege that the house where the abuse took place had "deplorable living conditions" because of its lack of food and high concentration of debris.
Tulsa County online records show Hishaw is being held in lieu of bond and no attorney is listed for him.


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If you live within Virginia, Washington DC or Md than you reside in a wonderful area and you also want to ensure that is stays beautiful. Town is proud of the beauty which surrounds these individuals and you many want to preservation it. Wherever you live you wish your home as well as neighborhood clean and beautiful.
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Wamda is a platform of integrated programs that aims to accelerate entrepreneurship ecosystems throughout the MENA region. Its core focus includes media, community development, research, corporate, and government advisory services.
Nassif El Yaziji Street, Bashoura District.


First of all, congratulations on your new recording and on taking the steps to ensure this is a successful release! There's a few things you'll want to do to ensure your new album gets the exposure it deserves.
The first step is to take a look at your social media and make sure it's in top shape. This means that you're posting regularly (several times a week) and posting engaging content. (Think of the 70-20-10 rule). If you don't have a strong audience, then no amount of team members or promotion will be able to help you. This is why it really does start with your social media and tending to it as you would a garden. The more you nurture it, the more room it has to grow. Abandon it and well, the results are pretty grim. If you need help getting your social media in shape consider hiring a digital marketer or publicist to help you with this. Many publicists and digital marketers offer these services.
Next you'll want to think about a team. You say you've recorded the album so I'm not entirely sure what you mean by "a professional recording" or why you'd need a producer (usually the producer is part of the recording process, so if that's done, you shouldn't need one.) Though you may be thinking of mastering if you haven't already. A manager isn't really necessary until there's actually something to manage, so skip them as well. What you will need is a publicist to promote the release—publicists start album/EP campaigns 8-weeks ahead of release and need the mastered tracks, promo photos, and a strong bio to start, so make sure you leave yourself plenty of lead time. You'll also want to consider booking a release show, and whatever you do, make it an experience. All live shows should be memorable, but your release show especially should have something special going on, something memorable.
In fact, take that thought process with you in everything you do: if it's not memorable if it's not adding value to your fan's lives, consider reworking it. The goal with your music is to truly connect with your audience.
Suz is a mindset coach, helping music-preneurs of all types reach their goals with custom time management solutions that enable them to gain clarity on their next steps while maintaining a healthy work/life balance. She founded The Rock/Star Advocate in 2014 to spread the message of self-care in the music industry. Suz' teachings can also be found in her many guest posts for Sonicbids, CD Baby, Tunecore, and Soundfly, and on her weekly podcast - The Music-Preneur Mindset Podcast.
Hello :) First off, congrats on finishing your songs!
Next, before making any decisions, it's always important to know exactly where you are in your career. Don't add people to your team until there's a clear need for them.
For instance, if you're not struggling to manage a multitude of shows, juggling endless email inquiries, and negotiating sponsorships or similar deals, then you're not in need of a manager. If you don't have a lot of shows and appearances to coordinate, or people to get back to on a daily basis, there isn't much for a manager to do.
However, when it comes to hiring experts to handle certain aspects that require a specific skill set, I would say it's never too early to hire: a producer, a web designer and/or a coach/some to help you strategize. And, before you sign anything - a lawyer.
These professionals do not have to cost an arm and leg. There are people out there that are good at what they do and understanding of the indie musician's wallet. Do some homework, research, ask for referrals. Facebook groups are great for fielding referrals.
That all being said, consider where you're at right now. What do you want out of a career in music? Do you love performing live? Do you prefer to stay at home and make videos? Do you like to write for film/TV? Do you like to write for other people or do you like to be the one performing your songs?
Thinking about where you want to head in this industry will help uncover what your next steps will be at any stage. If you have any plans for licensing your music or uploading it to Spotify or anything like that I definitely suggest getting it mixed & mastered professionally.
But keep in mind, if you want to do this professionally, you'll need to also copyright your music, create a website, etc. And that all costs money. So consider your budget and determine if you want to do a full album at once, or test out a few singles first.
I know this can all seem overwhelming. To me, it sounds like you have a lot of questions to ask yourself and also some homework to do about the industry. I recommend pacing yourself and doing it right - don't be in a rush. I know these songs have been with you for some time, but they will always be new to people who haven't heard them - so take your time.
Read Ari Herstand's new book - The New Music Business. Get familiar with the steps involved in building a following and marketing your music. Ask questions, seek out a producer/engineer, and go from there.
Take things one stage at a time. Focus on learning what you want your strategy to be and what you want out of this industry. Get your music mixed and then see where you're at then.
Ra Black is a singer-songwriter, a guitarist and half of the Indie electro-pop band Monarchy. Their music has been released by labels like Kitsune, Neon Gold, Ultra Records and they are now signed to Warner Music. Years of performing live and making music have made Ra Black en expert in touring, recording and revenue streams.
I suggest you first record your songs to the best of your ability. Then ask for some feedback from managers that manage simular artist to you. It would be rare to find a manager who wants to manage you just from hearing your demos. So approach them asking for advice and that way hopefully you can develop a relationship.
It's always a bit of a chicken or the egg situation; many managers and producers want to see that your music affects a wider audience in a positive way before they invest their time in you, but you might find someone who can hear your potential. If not, don't worry. Post your demos on SoundCloud or Band Camp and ask people in that community what they think.
Congratulations on writing 10 songs for your first release! That's a big feat, and you should be proud.
It would be fairly impossible for me to give you a good answer to your question about what's next without learning more about your particular situation — there are so many paths you could take, and each of them would be best-suited to a variety of circumstances. Circumstances like: do you have an established community of supporters yet? Are you starting out absolutely fresh with no following up to this point? Are you playing shows regularly where you'll be able to sell music to listeners? Do you have any technical skill and equipment with which you can make your own recordings? What is your budget to spend on outside services to make your album?
Depending on the answers to these and other questions about where you are in your career, the paths to "what's next" could be varied. Like on one end of the spectrum: hire a studio and a producer to make professional studio recordings and then have them professionally packaged, too — this might be a good option if you are independently wealthy, you have a large budget, and you have a sizable community of supporters that would buy records from you to earn back what you spend on the recording and packaging. Or this on the other end of the spectrum: make a set of good-sounding home recordings of your songs, maybe have them mastered by someone who has more experience in audio than you do, and then make a small batch homemade packages to sell to your supporters.
My biggest suggestion for you is to not spend a bunch of money on your first release if you don't have to. Too many artists think they have to have the sleekest, fanciest recordings and packaging for their first album, and they spend way too much money, and go into debt to make it happen, and then they realize later that they will never sell enough of the records to earn back what they've spent. If you're in this to build a career, make smart decisions with your investments so that you can sustain yourself over the long term and make new recordings and new releases quickly and often. This is only the beginning of your story — your first release does not need to be flashy and expensive; it only needs to achieve the goal of being something your growing community of supporters can take home with them and make you a part of their lives. Do it inexpensively and lovingly, and then start writing for your next record.
How can I make the most of social media when it comes to spreading the word about my upcoming album?
When is the best time of the year to release an album/ep?


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Dr. Federica Saini Fasanotti
Dr. Alberto Mingardi
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Will Italy make it?
Italy's public finance situation is worrying global markets, just as the newly-elected populist coalition is plotting its economic course. The coalition made dramatic promises to voters that could blow past deficit targets and push Italy toward default, bailout or an exit from the euro. But despite their recklessness, the Five ...
Opinion: Where is Italy headed?
For two months, Italy's Five Star Movement and its leader Luigi Di Maio have tried to assemble a cabinet with the mainstream parties of the center-right (Silvio Berlusconi) or center-left (Matteo Renzi). So far, they have failed. But those who assume Italy is doomed to return to the polls underestimate ...
Opinion: Regional disparities strike back in northern Italy
Two northern Italian regions have voted overwhelmingly in support of more autonomy from Rome. They are two of the country's richest areas, frequently paying more in taxes than they receive in public spending, and the vote laid bare the dissatisfaction over this disparity. Worse, the money being transferred to poorer ...
Could the right make a comeback in Italy?
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How to Use the New Control Center in iOS 10
Wednesday September 14, 2016 3:11 PM PDT by Mitchel Broussard
Although iOS 10 brings with it a few subtle visual and mechanical changes, some of its alterations to the most-used iPhone software features will probably be pretty easy to spot. One of those is the new Control Center, which has not only received a cosmetic upgrade, but has gotten a few new added abilities as well.
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The Control Center, in essence, is no longer a single card stocked with all of the expected iOS features you've become used to seeing (like the flashlight, calculator, and timer) — it's now a sliding collection of three panels. The first is a basic launchpad of settings like Wi-Fi and Bluetooth, the second is dedicated to Apple Music, and the third houses your favorite accessories from Apple's new HomeKit-focused app "Home."
Control Center in iOS 9 (left) and iOS 10 (right)
Some of these shuffled-around buttons can make Control Center in iOS 10 a bit discombobulating when you first bring it up, so follow this guide to get a general impression of how to use Control Center, and how to find your favorite features that may not be where they were before.
Navigating Control Center in iOS 10
From anywhere in iOS 10 (including the main lock screen), swipe up from the bottom of the iPhone to bring up Control Center. The landing tab of Control Center mirrors a lot of the features from iOS 9 and prior versions of iOS, because it's there you'll find Airplane Mode, Wi-Fi, Bluetooth, Do Not Disturb, and Portrait Orientation Lock buttons lined up along the top of the tab, all sitting above the brightness toggle.
The second row of buttons brings the first major Control Center change in iOS 10: two medium-sized squares for AirPlay Mirroring and AirDrop, whose locations have been flipped this time around. AirPlay Mirroring lets you mirror your iPhone screen on a connected Apple TV, while the AirDrop button lets you toggle between "Receiving Off," "Contacts Only," and "Everyone" for Apple's media sharing tool.
Night Shift has its own dedicated row, so you can enable or disable the feature before its scheduled on/off times — in iOS 9 it was a small icon between timer and calculator. Lastly, at the bottom of the first Control Center tray, you'll find the Flashlight, Timer, Calculator, and Camera, unchanged from iOS 9. New, however, are 3D Touch shortcuts for each app: the Flashlight can change intensity, Timer includes common interval options, Calculator lets you copy the last result, and Camera has multiple picture options.
Controlling Music
While in the first panel of Control Center, swipe left to switch over to the Apple Music panel. With the iOS 10 update, Apple has moved music playback and volume controls into its own separate panel. The change will undoubtedly be a hassle for many iOS users who listen to music regularly, but with a dedicated section of Control Center a few of the controls have been enlarged and a new feature has been added.
After starting a song in Apple Music, the new panel will come alive with the currently playing track, name of the artist and album, and scrub controls to jump to any section of the song. You can tap on any of these text readouts, and even the album artwork, to jump into the full Apple Music app. In addition to basic play, pause, rewind, and fast-forward buttons, and a volume toggle, Apple has introduced a new broadcast feature in Control Center as well.
The button is located all the way at the bottom of the Apple Music section, and should default to "iPhone," so tap on it to see a list of potential devices you can connect to in order to expand the listening capabilities of the current track to a larger group. These devices could include any Bluetooth speaker within range that you've already set up via Settings, or a 3rd or 4th generation Apple TV. Choose whichever output you prefer to transfer playback to, and you can reset the iPhone as default by returning to Control Center, or simply powering down the connected device.
Controlling Home
If you plan on using Apple's new HomeKit app "Home," the third panel of Control Center should prove useful. Once synced up with any compatible HomeKit accessories in the main app, you can swipe left twice from the Control Center launchpad to gain a few basic controls over your smart light bulbs, thermostat, and more.
Before you get started in Control Center, make sure you have your accessories installed in Home. On the main screen in the app, tap "Edit" in the top right corner to rearrange your favorite accessories, the top nine of which will appear in Control Center. You can follow the same process to prioritize your favorite scenes to activate in Control Center.
Within its section of Control Center, Home's actions are straightforward: you can tap each accessory to either turn it on or off, depending on its current state. More useful is a clever 3D Touch gesture that brings up a brightness toggle that allows for incremental percentage control of a connected lightbulb such as Hue, for example. Tap "Color" at the bottom of this screen to dive into a dynamic color wheel to pick six preset color options, or edit one to jump into a rainbow color selector to truly customize your lights within Control Center.
A "Temperature" wheel further lets you choose from brighter blue light or softer orange light. Although not automatic, this option is similar to Night Shift, letting you generate softer light at night to encourage better sleep. You can tap any empty space in these 3D Touch menus to return to Control Center.
To get a glimpse of your favorite scenes — which are grouped collections of HomeKit accessories — tap the "Scenes" button in the top right of Control Center's third panel. Here you'll see your top eight favorite scenes, which offer similar on/off controls for each scene, but without any expanded 3D Touch support. Tap "Accessories" to return to the favorite accessories tab.
iOS 10 is full of new features that you'll find when you start playing around with the software update. Keep checking back with MacRumors for more helpful how-tos on everything from creating and sending handwritten text messages to avoiding tolls in Apple Maps to using lyrics in Apple Music and more.
Micool1
Why does the Night Shift button have to be so huge? There could be place for more buttons for useful settings instead of just this big button...
MallardDuck
Let me summarize:
iOS 9 - swipe up, touch, touch, done.
iOS 10 - swipe up, touch swipe left/right, touch, done
The controls aren't logically grouped either - splitting Airplay sound and Airplay mirroring in particular is just plain dumb.
While I appreciate larger fonts and controls, the whole OS update is cartoonishly large - one of the ugliest iOS versions of all. They've reduced information density and increased the amount of navigation required to complete a task - it's a terribly inefficient UI.
And don't get me started on the music app.
MrGuder
I think the new control panel is a step down. Everything use to be in one place which worked for me now it's all divided up making too many swipes or gestures just to do the same thing. It also appears no one was using night mode in iOS 9 as now they are giving it a wider space all to its own (make that wasted space) to do the same thing. There a point where going too simplistic is getting a bit child like. Apple thinks we don't know where to go so they try and make it simpler and simplier and starts to get a little juvenile.
Mactendo
You mean the
Music App?
I'm one of those who quite dislike the new control center, because I listen to music a lot and use the cc controls quite often.
The swiping is a nuisance and I didn't get any new features for it, so I don't really see the point of having that extra page. The album art is not worth it.
Christoffee
Yup. Like power save!


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How to motivate a middle school reader
Having trouble getting older kids to pick up a book that's not assigned in school? Try these six tips to help them
By Regan McMahon
September 23, 2017 12:32AM (UTC)
(AP/Beth J. Harpaz)
This article originally appeared on Common Sense Media.
In the early grades, parents and teachers focus on teaching kids how to read. As kids get older, we hope they'll want to read. Reading for pleasure has lots of benefits. It builds vocabulary and improves reading comprehension, writing, spelling, grammar, and knowledge of the world. It also boosts test scores.
A 2013 study found that kids' leisure reading is linked to increased cognitive development — in other words, clearer thinking, better problem-solving, and improved decision-making.
But as we reported in our 2014 research brief on Children, Teens, and Reading, reading for fun drops off dramatically as children move into the tween and teen years. So it's crucial to find ways to encourage middle schoolers to read.
One key is to tap into what your kids like to do, what they're interested in, and where they are in their emotional growth. At this age they're social, curious, beginning to pull way from their parents to forge their own identity, and fine-tuning their sense of humor. Thus, books that expand their view of the world or poke fun at the world they know (family, friends, puberty, school social dynamics) hold a lot of appeal, as do imagined worlds of science fiction and fantasy.
Try these six tips to get middle schoolers reading:
Let them choose what they read
Having control over what they read increases kids' motivation to do it. And don't criticize their choices or formats — books, ebooks, graphic novels, articles. To widen the field, take them to the library or bookstore. Browsing in a used bookstore can be a revelation (and easier on your wallet!).
Feed their interests
Whatever your kids are into — basketball, space exploration, World War II, alien invasions, wizards and dragons, humor, teen romance, social justice, books about middle school (a vast genre unto itself!) — there are books about it. Finding a book on a topic your kid is already passionate about is half the battle.
Make it social
Reading the latest hit book lets your kid be a part of what "everyone" is talking about. Many friendships have been formed over a love of Harry Potter or the "Lord of the Rings" trilogy. Check the middle-grade bestseller lists, clue your kid into book blogs (including ones by kids and teens), and ask booksellers and librarians what kids this age are requesting. And keep your ears tuned to book raves on carpool rides!
Mix movies and books
Many books written for kids and teens are adapted into movies, and knowing there's a big-screen version on the way can motivate kids to read the book first — or after — to compare the book and movie versions of, say, Wonder or "A Wrinkle in Time." It also gives kids the chance to be the expert who knows more on a subject than their parents.
Follow the series
If your kid likes the first book in a series, keep 'em coming. Adventure sagas and dystopian nail-biters, which kids love at this age, have lots of installments, each ending on a tempting cliffhanger. Getting hooked on a series like Percy Jackson or The Mortal Instruments leads to being hooked on an author, which leads to more books and even spin-off series.
Make time for reading
Model reading at home by turning off the TV and devices and reading a book or magazine yourself in full view -- your kids will be more inclined to follow your lead and read themselves. Try reading aloud: Big kids like it, too. And when you go out, get kids in the habit of bringing a book or magazine along in the car: They're great boredom killers!
Regan McMahon
MORE FROM Regan McMahon
Childcare Common Sense Media Learning Middle School Parenting Reading Teaching