text:
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'The death is just never-ending': ICU nurses give an inside look at the hospital right now
They have both been nurses for more than a decade, but they said the stress and uncertainty of the pandemic made them think about quitting
Updated: 3:37 PM EST Jan 14, 2022
By KETV
ROB JULIE, HERE'S HOW THE HEALTH SYSTEM WILL BE IMPACTED, NEBRASKA. EDISON SAYS CERTAIN SURGEESRI WILL BE PTPOSONED APPOINTMENTS MAY BE RESCHEDULED AND PATIENT TRANSFERS COULD BE DENIED MED STUDENTS MAY ALSO STEP UP AS SUPPORT. WE SPOKE WITH TWO NURSES WHO DID NOT HOLD BACK ON WHAT IT'S LIKE TO CARE FOR THE SICKEST PATIENTS RIGHT NOW. AMY CLIARN AND ASHLEY CARN WORK IN GENERAL INTENSIVE CARE AT NEBRASKA MEDICINE. THEY SAY THEIRNIT U IS PACKED WITH COVID-19 PATIENTS RIGHT NOW OUR UNIT FILLS IN WHEN NUMBERS GET TOO BAD. SO WHEN YOU HEAR THAT OUR UNIT IS FULL OF COVID-19ND A WE HAVE HOWEVER MANY OTHER MED SURGE UNITS TAKING COVID-19 THAT TELLS YOU HOW DBA IS THEY SAY THEIR CARE SYSTEM IS EXTREMELY EFFICIENT, BUT THE NUMBER OF PATIENTS IS SO HIGH NO ONE HAS TIME TO STOP WORKING. SO THE'SRE OYNL SO MANY HANDS AVAILABLE TO HELP THE NURSES HAVEN'' HALF OF US HAVEN'T EATEN AND IT'S THREE PM. SO IT'S LIKE THERE'' TOO MANY THINGS GOING ON. THESE PATIENTS ARE TOO SICK. THEY'VE BOTH BEEN NURSES FOR MORE THAN A DECADE, BUT THEY SAY THE STRESS AND UNCERTAINTY OF THE PANDEMIC MADE THEM. THINK ABOUT QUITTING. I MEAN THE DEATH IS JUST IT'S IT'S NEVER ENDING SO MUCH NORMAL. THIS IS NOT NORMAL NURSING. IT'S NOT YEAH, BUT THEY ASKED HIMSELF IF TYHE DON'T CARE FOR PATIENTS. WHO WILL WE I CAN'T LEAVE THEM. I CAN'T. LET THEM, YOU KNOW BE SHORT-STFEAFD AND THAT THAT TYPE OF THING SO IT'S DIFFICULT FOR ALL OF US NOW. THEY'RE CALLING ON NEBRASKA. IT'S TO STEP UP HELP THEM. NO NOT EVERYONE. FAVOR OF VACCISNE OR MASS MANDATES OR YOU KNOW, THINGS LIKE THAT, BUT WE HAVE TO DO SOMETHING DIFFERENT LIKE IT'S STJU THESE IT'S UNNECESSARY THE AMOUNT OF SUFFERING THAT WE'RE SEEING. THOSNUE RSES SAY MOST OF THEIR PATIENTSRE A NOT VACCINATED AGAINST COVID-19. THEY SAY THEY DON'T THINK THESE NEW CRISIS STANDARDS WILL DIRECTLY IMPACT THEM, BUT THEY SAY IT MIGHT PROVIDE RELIEF FOR OTHER UNITS BY KEEPING SOME OF THOSE PATIENTS OUT OF THE HEALTH SYSTEM R
Amy Carlin and Ashley Carne work in general intensive care at Nebraska Medicine in Omaha. They said their unit is packed with COVID-19 patients right now."Our unit fills in when numbers get too bad," Carne said. "So when you hear our unit is full of COVID-19, and we have however many med-surgical units taking COVID-19, that tells you how bad it is."They said their care system is extremely efficient, but the number of patients so high has time to stop working."There's only so many hands available to help," Carlin said. "The nurses haven't eaten and it's 3 p.m. So it's like, there's too many things going on. These patients are too sick."They have both been nurses for more than a decade, but they said the stress and uncertainty of the pandemic made them think about quitting.Tracking the omicron surge There are plenty of N95 masks, but they're not designed for your kids Health care workers face March 15 vaccination deadline after Supreme Court ruling West Virginia governor feeling better after COVID-19 diagnosis There are 19 states with fewer than 15% of ICU beds left as staffing shortages complicate care At-home COVID-19 test kits will be covered by health insurers. Here are some options for you and your family"The death is just, it's never-ending," Carne said."This is not normal nursing," Carlin said. "This is not normal."But, they ask themselves, if they don't care for patients, who will? "I can't leave them," Carlin said. "I can't let them be short-staffed and that type of thing, so it's difficult for all of us." Now, they're calling on the community to step up and help them."We know not everyone is in favor of vaccines, or mask mandates or things like that, but we have to do something different," Carlin said. "It's unnecessary the amount of suffering we're seeing."
Amy Carlin and Ashley Carne work in general intensive care at Nebraska Medicine in Omaha. They said their unit is packed with COVID-19 patients right now.
"Our unit fills in when numbers get too bad," Carne said. "So when you hear our unit is full of COVID-19, and we have however many med-surgical units taking COVID-19, that tells you how bad it is."
They said their care system is extremely efficient, but the number of patients so high has time to stop working.
"There's only so many hands available to help," Carlin said. "The nurses haven't eaten and it's 3 p.m. So it's like, there's too many things going on. These patients are too sick."
They have both been nurses for more than a decade, but they said the stress and uncertainty of the pandemic made them think about quitting.
Tracking the omicron surge
There are plenty of N95 masks, but they're not designed for your kids
Health care workers face March 15 vaccination deadline after Supreme Court ruling
West Virginia governor feeling better after COVID-19 diagnosis
There are 19 states with fewer than 15% of ICU beds left as staffing shortages complicate care
At-home COVID-19 test kits will be covered by health insurers. Here are some options for you and your family
As COVID-19 surges, many health care facilities halt non-urgent procedures, rely on National Guard
"The death is just, it's never-ending," Carne said.
"This is not normal nursing," Carlin said. "This is not normal."
But, they ask themselves, if they don't care for patients, who will?
"I can't leave them," Carlin said. "I can't let them be short-staffed and that type of thing, so it's difficult for all of us."
Now, they're calling on the community to step up and help them.
"We know not everyone is in favor of vaccines, or mask mandates or things like that, but we have to do something different," Carlin said. "It's unnecessary the amount of suffering we're seeing."
WJCL Savannah
©2022, Hearst Television Inc. on behalf of WJCL-TV.


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Guy Browning
Powerful Disruptive Thinker Sometimes
RAISED EYEBROW
© 2020 GUYBROWNING
How to Ignore Stuff
There are two things in life that are difficult to ignore – world poverty and a chocolate doughnut. Of the two it's a lot easier to ignore world poverty. Virtually everything in life is shouting 'I am important, look at me'. The news thinks it's terribly important which is why it has an important theme tune. But you can always ignore the news by saying 'No, that's not important to me', and then you can hum a happy tune instead.
When something unusual happens the instinctive reaction is to gawp. For example everyone knows what a car crash looks like but most people find it absolutely imperative to stop and stare. Indeed, the sight of someone not gawping at a car crash is in many ways more remarkable than the crash itself. Very few things in life are impossible to ignore. You can actually ignore death itself, because once it succeeds in catching your eye, you're generally in no fit state to pay much attention.
The difference between an unpleasant person and an unpleasant bill, is that the person will eventually go away if ignored. Ignoring people sounds rather passive but is actually the most violent way of treating someone short of actual confrontation. What you're doing in effect is denying that they exist. It's a polite form of murder.
People who are really thick skinned don't have to bother ignoring stuff because they don't notice it in the first place. It's sensitive people who have to make an effort to ignore unpleasant things. Often this unpleasant thing is a thick skinned person. A great way of ignoring people is to unleash your inner call centre. You can then be permanently unavailable while giving the impression that you value people and will answer them shortly.
Ostriches are famous for burying their heads in the sand and hoping that predators will ignore them despite the fact that their colossal arse is sticking out. The human equivalent of this is binning your post and hoping that no-one will notice your massive overdraft.
The brain actually spends more energy ignoring what's irrelevant than it does focusing on what's relevant. That's why people who live near railways soon stop noticing the trains. It's a bit of a curse not to be able to ignore anything and this can give rise to severe mental illness or, in the case above, train-spotting.
Meditation is simply a process of ignoring everything that usually demands attention. Eventually you get a great sense of inner peace. It might be what they mean when they say 'ignorance is bliss'. If it isn't, just ignore them.
How to Swear
How to be a Vandal
How to be Smug
How to be a Model Citizen
How to Annoy Yourself
How to be Boring
How to be Irritated
How to be Paranoid
How to Lie
How to Embarrass Yourself

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How to load js/css files in custom popup load In my project i am displaying a custom  pop up page like below by javascript which  has a form for user to fill,then I need to load some js files when pop up is loaded.
how to load js files,plz help.

           <!- I need to call javascript function showUsers() from here->
          <input type='button' onclick='showUsers();' value='listUsers'>

A: function loadScript(src) {
    var script = document.createElement("script");
    script.async = false;
    script.src = src;
    document.head.appendChild(script);
};

function loadStyle(src) {
    var style = document.createElement("link");
    style.rel = "stylesheet";
    style.href = src;
    document.head.appendChild(style);
};

function loadFiles() {
    var scriptsArray = ['src1url', 'src2url'.., 'scrnurl'];
    var csssArray = ['src1url', 'src2url'.., 'scrnurl'];
    for (var i = 0; i < scriptsArray.length; i++) {
        loadScript(scriptsArray[i]);
    }
    for (var i = 0; i < csssArray.length; i++) {
        loadStyle(csssArray[i]);
    }
};

function yoursubmitFcn(callback) {
    // your functionality here;
    callback();
}
$(document).ready(function () {
    // do your stuff
    yoursubmitFcn(loadFiles);
});

Also check: Another short form

A: You can use this library fancybox
Loading jQuery from CDN

<link rel="stylesheet" href="/fancybox/jquery.fancybox-1.3.4.css" type="text/css"
media="screen" />

html
Sign in

JS
    $('.open_pop').fancybox({
    });

    function openmsg_sent() {
    jQuery(".open_pop").trigger("click");
    }

A: For better and consistent UI, you can use a div which you can display with fixed positioning on click of the button.
  I believe Alert wont be able to display css properties if am not wrong.
What you can do is, onclick of the button, in the JS, you can put your popup content into a div which is hidden initially and shown on click.
Hope this helps.

redpajama_set_name: RedPajamaStackExchange


MMI 4179AF PCVI-177 FPCI-3917A FPCI-3917CDtouch membrane size: inch other general size is 3.0'' to 22''. MMI 4179AF PCVI-177 FPCI-3917A FPCI-3917CDtouch screen adopt to panel display device. MMI 4179AF PCVI-177 FPCI-3917A FPCI-3917CDtouchscreen temperature operating range: -10°C ~ 60°C. MMI 4179AF PCVI-177 FPCI-3917A FPCI-3917CDtouch digitizer glass linearity error < 1.5%. MMI 4179AF PCVI-177 FPCI-3917A FPCI-3917CDtouch screen hmi response speed: < 10ms. MMI 4179AF PCVI-177 FPCI-3917A FPCI-3917CDtouch screen monitor operation system including: Linux / DOS / Windows ME/95/98 / NT4.0/XP/2000/Mac OS etc; MMI 4179AF PCVI-177 FPCI-3917A FPCI-3917CDtouch panel temperature storage range: -20°C ~ 70°C. MMI 4179AF PCVI-177 FPCI-3917A FPCI-3917CDtouch screen display current: 5mA~25mA.


Ground to Crown is a family owned and operated tree care company servicing the beautiful Annapolis Valley. The company was founded by owner and operator Jordan Post with the concept of providing an affordable high quality alternative to other tree care companies in the area.
Jordan is a trained Arborist through the Nova Scotia Agriculture College as well as a Forest Technician graduated from The Maritime College of Forest Technology. He has over 15 years in the tree care and forestry industry and is passionate about the outdoors.
Here at Ground to Crown we thrive on customer service, quality work, and of course safety. We have the knowledge, skill set, and professional expertise to keep your trees healthy and vibrant. We are committed to environmentally sensible practices, and preserving the vitality of your trees.


. At the end of that book, she was left for dead after she grabbed an enemy and plunged with him from a window on the eightieth floor of a building.
To human eyes, Oar is as clear and transparent as glass. Although she actually has bones, muscles, and an assortment of internal organs, these were bioengineered to be indiscernible when humans look through her skin.
were removed by aliens to the planet Melaquin, where the aliens gave these people a new home. The aliens didn't explain why they did this, but they built the humans beautiful glass cities with self-repairing robotic systems designed to provide all the comforts of life.
The aliens gave these humans one additional gift: the people's children were born as strong, intelligent glasslike humanoids who never grew old or sick, and who were tough enough to withstand damage that would kill normal flesh and blood. Only later did it become apparent that these glass offspring had a flaw: although their bodies could survive for millennia, their minds were not so long-lasting. Around the age of fifty, these people succumbed to so-called "Tired Brains"—they lost interest in all aspects of existence, often just lying down and never bothering to get up again. They could still stir themselves if something remarkable happened, but for the most part, they remained catatonic down through the centuries.
), almost the entire species had fallen into apathetic hibernation. Only a few were still young enough to have active brains.
Now she's four years older.
This is my story, the Story of Oar. It is a wonderful story. I was in another story once, but it was not so wonderful, as I died in the end. That was very most sad indeed. But it turns out I am not such a one as stays dead forever, especially when I only fell eighty floors to the pavement. I am made of sterner stuff than that.
try to save the world (without being beautiful, strong, clever, or wise), you will soon die pointlessly and how much adventure is there in that?
. I defeat the bad people, am adored by the good people, and get to say, "I told you so," as freely as I wish.
That is the whole point of being in stories: to have a Happy Ending.
When I decided to present my story to opaque persons, I endeavored to learn what chronicling techniques are popular with your kind. My research methods were most diligent…which is to say, I waited for my friend Festina to leave the room, then instructed her computer to show me any documents she had written of a narrative nature.
Conversing With A Little Man Whose Sole Amusing Quality Is That He Is Colored Orange.
Most importantly, putting many titles into a story makes it easier to find your place if you happen to use your book to smash an irksome buzzing fly, and you hit the fly so hard that pieces of metal and plastic go shooting out of the book mechanism, so then you are forced to put the story chip into a new reader and you cannot remember where you were.
That happens more often than you might expect.
have an ax pressed against my flesh: a beautiful silver one I have always carried as both weapon and wood-cutting tool. However, the ax was not attacking me in any way; it simply lay on my chest, as if someone had put it there after I fell.
To be honest, I was glad to have the ax with me—it provided a sense of protection. For a brief moment, I tried to cuddle the blade more snugly to me as if it were a pet or a toy…but the pain of moving my arms made my vision blur with tears. Every muscle felt bruised to a pulp; I wondered what bruised glass looked like, but knew if I lifted my head to see, the agony would be more than I could bear.
Where I was lying, I felt a light spray of water from time to time. I opened my mouth and let the drops trickle down my throat. The water tasted slightly of minerals that were probably good for me.
The light and water and minerals indicated I was in a Home for Ancestors. There are many such Homes on my planet Melaquin, though I did not know this before I became a world traveler. These Homes are designed to contain persons with Tired Brains: persons who have lost interest in life and simply want to lie someplace warm. To keep them happy, every town has skyscraping towers where Ancestors can lie all day, getting plenty of light and squirts of enriched water. It is a boring way to spend the time, and I had promised myself I would never get so sad and lonely that I surrendered to languishing numbness…but when one is damaged from falling a long way, it is not so very cowardly to rest for a while in the bright quiet.
nothing to do. The Home took care of my physical needs, and beyond that, I could think of no goals I wished to accomplish.
words, but I cannot be bothered to learn the second-rate ones (which is to say, the ones with no counterparts in my native tongue).
Besides, I have no great ambition to be a poet…or an artist or even musician. In my whole life, I have only embraced one useful occupation—using my ax to cut down trees. I did this because a human Explorer told me that deforestation was how cultured persons tended their planets: clearing land in preparation for constructing farms and roads and cities. I did not know how to construct things, but I was excellent at chopping down timber, so that is what I did.
It turns out I destroyed so much woodland, the results were noticeable from space…which became a source of much pride once an Explorer informed me of my achievement.
That Explorer had been an opaque human named Festina Ramos. When I first met Festina, she was lost and frantic, marooned on my planet with no means of escape. I therefore embarked on my first great Adventure: to return Festina to her own people. I did not quite know how that Adventure had turned out, since I suffered my terrible fall before Festina went home; but my friend was not here now, so I assumed we had triumphed in all particulars. Through selfless heroism, I had helped Festina leave Melaquin…and I could congratulate myself on a Glowing Success.
find alone in a world of the dead?
Of course, there was always the chance a new group of Explorers would visit my planet. Earthling Explorers tended to be repugnantly opaque, not to mention uncouth and slow to understand the simplest things, but at least they could supply me with acclamatory feedback: "Oar, you cut down trees more prettily than anyone else in the universe!" (Except they would put this sentiment in their own words to achieve the effect of sincerity.) Then I would once more feel joy in changing the face of my planet, and would know that my life had Direction.
All I required was someone to assure me I was not wasting my existence on meaningless busywork.
I waited for someone like that to come along. And eventually, he did.
"If you're Oar, you're older than that. You should be forty-nine by now.
approximately human-shaped, with two arms, two legs, and a head. The head did not have normal ears; instead, there were two bulgy balls on top of the skull, like puffy mushrooms growing from the scalp. For clothes, the alien wore a white short-sleeved shirt, gray short-legged pants, and tan sandals, all of them stained with spills of unknown origin. The creature's scaly flesh was not transparent like mine, nor anywhere on the pink-to-brown-to-black spectrum of Earthlings. Instead, the skin was a shade of orange that grew darker as I watched: from tangerine to pumpkin to an extremely burnt ocher.
This struck me as thoroughly foolish—an alien who can change color should endeavor to become clear and beautiful, not more opaque and unattractive. But the universe is full of beings with Different Views Of Life. Often these views are stupid and wrong, but a wise-minded one (such as I) always practices tolerance in the company of irrational persons.
man—perhaps in his early twenties. An older person would not gaze at me quite so eagerly hoping for approval.
"No," I told him, "I have been resting to recuperate from grievous wounds." But it was most disturbing to hear that four whole years had gone by. One less courageous than I might be scared she had let so much time pass in a daze. She might worry most acutely that her brain was getting Tired like the elderly persons around her.
"Are you all right?" Uclod asked.
To demonstrate, I rose to my feet with fluid grace…and if I chose to lean on my ax, I did not need a crutch, I was merely taking a Sensible Precaution. This was the first time I had roused myself to stand since my calamitous fall; perhaps I would be wobbly or infirm. But I felt no pain or stiffness—my ribs did not ache when I took a breath, and my battered bruised muscles had healed to their usual perfection.
been lying in a doze for four whole years—long enough to recover from all my injuries. But the time for dozing was over.


text:
My Journey to Senior Hockey
Georgie Twigg
GB & England hockey player and aspiring legal eagle
01/06/2016 11:51am BST | Updated June 1, 2017
As a kid, my dream was to play football for England. Wasn't everyone's? That ambition took me to Bristol City FC girls teams at the time I remember at 11 years old having a scholarship interview for secondary school. We were told to bring a favourite possession to talk about. After looking at all the academic books the other contenders had brought, I began to doubt whether my muddy football boots were the right choice to swing it with the headmaster.
He asked when I'd last used my boots. "Saturday," I said, "we beat Arsenal Ladies and I got a hat-trick." "Excellent", he replied. 'I'm a big Tottenham Hotspur fan, welcome to the school". I began to realise how much a love of sport or a mutual goal can bring people together.
Football was a big part of my upbringing, as my mum works for Bristol City. So I would spend days after school at the BCFC training ground, and some weekends I'd be allowed to go through the tunnel at Ashton Gate, doing my work experience helping the Academy coaches, seeing the life of professional sportsmen close up. That was my first insight into what it took to be elite and it was hard to see how I would ever want to be anything else.
Then at Clifton College they stuck a stick in my hand and said as I was a new girl I would start with the first-year hockey fifth team over in the corner of the ground. By the end of the first lesson I had made my way to the second team and by the next lesson I was asked to train with the first team. Of course knowing my way round a football pitch helped the hockey, aside from when I would hold my runs to stay on side. I loved it and needless to say have been obsessed with it ever since.
I also ran 800m each summer, training hard all year. I reached the English Championships final each year and won silver when I was 17. But I'd promised my hockey coach that would be the last and it was. By the time English Championships came around in my final school year I was in the senior England hockey team and had won my first England cap. But without a doubt the fitness and endurance of athletics helped my hockey no end. By 16 I had given up football, so within a year I went from splitting my time between 3 sports to specialising full time with hockey. A big relief to my parents and their petrol bills.
2015 was an incredible year, qualifying for the 2016 Olympics with GB and winning the Europeans with England, providing us with the momentum we need going into this year.
Now I'm 21, I have over 80 caps, 3 years of international experience and a few months out from an Olympic games there is one thing I am so sure about: I want to win an Olympic gold medal and I honestly believe we can. From this moment it is countdown to Rio and every session, every meal, every night's sleep will make a difference.
Many people ask me if I struggle to make sacrifices and how I cope with missing out on things most people my age are experiencing. A speech that really resonated with me recently was A.P.McCoy at BBC sports personality when he stated 'any young people out there, make the sacrifices now, I promise it's worth it'.
We receive a lot of help as well, from family members to friends, training staff to Investec (our team sponsors), everybody wants us to succeed and through various guises fully support our ambitions.
Outside of sport I love playing backgammon. Now that really is competitive. The whole family plays but my Dad and I play non-stop on holiday. There's a strong league and competition set up in Bristol, and when I first started I won rookie of the year. However I can't get there much now as I'm based at Bisham and Birmingham. I'm trying to teach the other hockey girls, as we do get a lot of 'hotel time' when we're away playing or training. At the moment we play games like Articulate - and, yes, even that can get very competitive. I soon learned the quickest way to start team arguments.
Fortunately we got to try everything as kids - ballet, drama, violin etc. But the sports were the ones that really stuck. My whole family loves sport, and we're also very competitive at everything - from summer holiday races on the beach to family card games in the evening - we all hate losing. That comes through on the hockey pitch I guess. My advice to anyone would be to try all sports and activities. Do what you enjoy, play to win, and always try to get better.
women in sportwomen's sportHockeyOlympicssport


text:
Movie Review: "Fences"
- by Steve Garcia, 11 January 2017
Based on the play from August Wilson, Denzel Washington plays Troy Maxson, a hardworking family man who once dreamed of making it as a professional baseball star, but was denied due to his old age. Spiteful, he aggressively takes it out on his son (Jovan Adepo) by pulling the plug on his budding football career, which set the stage for a tense, bumpy ride. Deemed "unfilmable" to some, did this ambitious play-to-film adaptation deliver? Let's take a look.
From the second the film starts, Washington's performance is loud, aggressive, and spectacular. An extraordinarily complex individual, he began as a relatable, breadwinning "dad of the year" type guy, who subtly turned into a flawed, ugly, and in many ways, an irredeemable mess of a human being, which was no easy feat for someone as likeable of an actor as he is. But even more impressive than the way he portrayed this tragic figure was the immense talent around him, specifically his wife Rose, played by Viola Davis, who once again proved her place as one of today's elite actresses, ignoring the Suicide Squad stain from her resume. Exchanges between them were powerful, emotional, and when considering the subject manner, perhaps the most realistic representation of the events that transpired. There were times during this film where I felt like I was looking into their home in person, which is a rare occurrence that only happens when the chemistry between actors is impenetrably strong. In those ways, Fences was nearly flawless.
With little breathing room (or score for that matter) between dense scenes, however, the film teetered between the lines of outstanding and exhausting. Furthermore, it broke the "show, don't tell" rule that cinema ultimately thrives on. Don't get me wrong-- I cherish dialogue-heavy, single-set films more than most, but even the wordiest Tarantino movie revels in brief moments of silence, masterful nonverbal language, and most importantly in all cinema, shows you vital scenes on camera instead of just telling the audience about it after the fact. While the content that the audience did witness was undeniably awesome, it rarely broke out of its stagy mold and felt cinematic.
In summation, Fences showcases brilliant performances in a regrettably limiting format. The direct adaptation from play to film was an admirable risk, but in the end, it just didn't feel like a movie. Despite that, however, it was still an ambitious directorial accomplishment for Washington, as there were absolutely no weaknesses in this armor of actors. His abilities exceeded expectations (yes, even still), and as fantastic as he was, Viola Davis hit an unforgettable grand slam that alone made the watch worth it. Indeed, this was Oscar-caliber work, and the pair of Washington and Davis was so remarkably strong, that if they don't at least get some Best Actor/Actress nods, there simply isn't justice in the world.
Score: 7.5/10
Have you seen "Fences"? Did ithe perfomances live up to your expectations? Leave us a comment!
Tagged: movies & TV, Reviews.


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text:
Luthier Spotlight: Bjoern Kroeplin, Plankton Basses
Winter NAMM 2020 – Stonefield Musical Instrument Company
Luthier Spotlight: Maurizio Caduto of Maurizio Über Basses
Interview with Stonefield Musical Instrument Company's Tomm Stanley
Bass Musician Magazine's Year of the Luthier – Tomm Stanley, Stonefield Musical Instruments
How did you get your start in music?
As far back as I can remember I wanted to be a musician. I have recollections of trying to sing along to Jackson 5 albums when I was just a kid and after constant pestering from me, my parents sprung for guitar lessons when I was around 12 years old. They signed me up for classical lessons so that didn't last long but I later bought a guitar with money I made mowing lawns and kept on playing and teaching myself. I was 18 or 19 when some friends with a band had scored a gig at an outdoor party but didn't have a bass player. They asked if I could do it and, well, man… a gig! My first gig. I was definitely in on that action. I went out and bought a cheap P-bass copy and some kind of amp.
I pretty quickly realized that the instrument physically fits me better than a guitar (I'm 6'7") and I really dug the role of bridging between rhythm and melody. I was a bassist from that point on and kept trying to scratch a living from music until I was about 24 when I finally had to make a choice: live in my car and keep trying or get into something with better prospects.
Are you still an active player?
I'm no longer in an organized band or out trying to make a living at it but have regular jam sessions with a handful of friends and participate in open stage nights at a few local clubs. I'm always practicing a new technique or style and do keep my chops as good as I can keep them. You never know when opportunity will knock… yeah, still dreamin', even at this advanced age.
How did you get started as a Luthier? When did you build your first bass?
I started tearing my instruments apart beginning with that first bass. It wasn't too long before I realized I should have bought something better and I also learned about changing over to hot pickups. That lead to adding series/parallel switching, phase switching and other electronics mods. My dad was a building tradesman and the ultimate DIY'er. He taught me basic woodworking skills from when I was pretty young, so it wasn't a great leap before the saws and files were coming out, firmly pointed at the bass.
The first bass I built, as in 'start with a pile of wood/finish with a bass' was during a winter-over in Antarctica. I was 30 and by that time life had taken me a long way from professional music. I was working the second of two winter-over contracts with the US Antarctic Program, supervising materials supply crews for construction projects at McMurdo and South Pole Stations. I had access to the McMurdo Station carpenter's shop and decided to see if I could build a bass as a winter-over project. I had never seen a book on the subject and in 1994 there was no internet, so I sat down and tore apart a bass that I had with me, really looking it over and figuring out how it all went together. At the end of the day, the majority of an electric bass is just fine woodworking, so that was all pretty easy to figure out but I can remember struggling over how a truss rod worked. I understood the concept but really had no idea how they worked; I just had to reason it out.
I had no fret material so made it fretless and the station's machinist got into the game, making me a beautiful brass bridge/tailpiece unit. Electronics were scavenged from the other bass and that was it, I was hooked. I wanted to be a Luthier.
How did you learn the art of woodworking/luthiery?
As mentioned in the last question, basic woodworking came from my dad and then more advanced skills were learned on my own through trial and error, reading woodworking books and magazines like Fine Woodworking. I would just try to do the hardest stuff that I came across. Later on, closer to when I finally decided that if I didn't try to make a business out of bass building I'd die wishing that I had, I was into every book and DVD that I could get my hands on. Most of what's available is in the space of acoustic guitars and I have found some stuff on the making violins and cellos; ukulele's too. It's all related so every little bit helps.
Who would you consider a Mentor?
I had no one to learn from so it was the magazines, books and DVD's. Bob Benedetto's DVD on making archtop guitars was an amazing discovery. His superb craftsmanship rang true with me and I play archtops, so seeing how the good ones are made was enlightening. I was so inspired by both the DVD and his book that I sought out and eventually bought a Benedetto guitar. I found a very early one: Benedetto number 12 from 1977 (s/n 1277). When you handle, play and closely inspect an instrument of that quality, you learn.
How do you select the woods you choose to build with?
For necks, I only ever considered using laminates. The strength to weight ratio is much better than with solid wood and the variability of individual boards is eliminated. Okume is used in acoustic guitars so the choice of neck timber was easy once I learned that okume is also available as laminates that are used in both the aircraft and marine industries. On the downside, we've found it just about impossible to shape a laminated neck with machinery, so there's a lot of handwork involved on that side of our build.
Stonefield's bodies are made from a 40mm thick core and a 10mm thick top. We have one and only one wood that we use for body cores. I came across it through trials with a lot of different woods. I wanted a bright tone but also wanted light weight; a difficult combination to find. Sustainability is an important value with me as well and, being a New Zealand-based company, I wanted to find something from the South Pacific region. Of course, using only oil finishes required that the wood have a natural beauty. It was a bit of a mission to find something that met all the criteria but when I tried salusalu, the search was over; it has everything that I was looking for.
The tops are largely decorative but they do alter the tonality as well. Using a dense, brittle wood like African wenge for the top imparts a real snappiness; a softer wood like NZ-grown cypress has a more mellow tonality. It's pretty cool to try different top woods to see what they do to the tone. Fingerboard woods contribute as well. Regardless of the topwood or fingerboard, it's never like a totally different instrument but, in a comparison to something visual, I think of it like drawing a line with freshly sharpened pencil vs. one that's well used; crisp vs. fuzzy. I guess that's how I would describe the difference in tonality depending on the choice of fingerboard and topwood.
How about pickups? What pickups did you use in the past? What electronics do you use right now?
Sorry, that's Top Secret (laughs). As I've gotten older, I've lost the hang up of feeling that I must use some hot rod pickup. Again, look at the high quality archtop guitars. They have this amazing tone with just a single, small, relatively low output floating humbucker.
I spent a lot of time developing the electronics circuit that we use in the Stonefield Model One and it largely negates the need for hot rod pickups. I can take any decent, commercially available humbucking pickup and make it sound as thin or as fat as you want it to be with that circuit. We draw on that circuit for the lower priced line as well, which doesn't have the mid control but still offers some of the widest tonal range on the market. Best of all is that we're doing it with passive electronics, so no batteries, no overdriving, just nice tonal variation to suit any genre or style of music. Yes, the output signal strength is lower because passive cannot add but if the output isn't enough for you, get a bigger amp and continue to live your life free of batteries.
Who were some of the first well-known musicians who started playing your basses?
We met Freekbass at the London Bass Guitar show. He was just cruising the exhibit hall and checking out what was there. A real gentleman, he introduced himself and asked if he could play one of our basses. I still think that's kind of funny for some reason; seems like the conversation should have been the other way around. As he was having a go on that first instrument he just kind of stopped and looked at me saying something like, "man, this is a nice bass." Over the weekend he kept coming back so I realized it was more than just passing curiosity. I got his contact details and after a couple months of discussion and development time, it all lead to our Freekbass Signature Model.
How do you develop a signature or custom bass for an artist?
Discussions, trialing ideas, test, tune … emails and Skype calls. Ultimately though, for a signature model, the bass has to reflect the wants and needs of the artist while embracing what a Stonefield is. If it's not a situation where I can supply that something special or unique the artist is looking for, I'm not interested. Conversely, if the artist doesn't really just dig what a Stonefield is, I'm also not interested. It's got be a two-way street and then the artist has an instrument that they can't get anywhere else and we have an ambassador for the brand, not just someone playing a Stonefield with their name scrawled on it.
What are a few things that you are proud about your instruments and that you would consider unique in your instruments?
I think you're going to need another interview! I'm going to need to lead into the answer for that question:
Learning to build basses by first learning how to build archtop guitars, violins, cellos … it makes you realize that there are features, materials and methods used in those instruments vastly superior to what we find in solid body electric basses or guitars. Beginning in the 1950's the electric instruments became the subject of mass production, to be made cheaply and for every possible player, while the others largely remained the subject of skilled craftsmanship and made for select players that will provide harsh criticism if they are not receiving the sound and feel that allows them to express their inner voice. For concert grade instruments, price is the secondary consideration, not the primary one.
Mass production combined with mass marketing creates mass opinion that this or that is the best when, in a lot of cases, whatever it might be may not actually be the best. In marketing, the created perception is what matters, though that perception may not always be the factual reality. If I've been conditioned to believe that a brass bridge makes for the best tone, I buy it. Perception equals Reality. My observation: if brass made the best tone it would be used on the bridges of violins and cellos. It does make a good counterweight to heavy headstock tuning gear however. But, with the right marketing spin…
So I started with an interest in building basses but by the time I came around to the decision to form Stonefield, my years of corporate management experience would not let me step into this overcrowded market with another version of a P or J bass made with a different shape and interesting colours. I mean no offense to the bass luthier community at large but look at basses and what do you see?
I sat down and made a list of features that I'd always wanted as well as things that are on these other instruments and started making prototypes. Right from the beginning I promised myself that if I couldn't create an instrument that was different and, most importantly, different because it was functionally better, not just different for novelty's sake, then I wouldn't bother. Along the way I learned why some of the items on my list are not incorporated on an electric bass but most of it stuck. In the end we have a Stonefield, an instrument designed from a blank piece of paper, incorporating elements from a wide range of musical instruments into a new kind of electric bass.
Okay, now to the answer to the question:
There is so much about a Stonefield that is unique. Obviously, the Tomm Stanley Tuning System stands out. I'm proud enough there to have put my name on it and there's no question that it is the smoothest operating tailpiece tuner ever designed. And it looks cool too. The passive electronics with high, mid and low controls are just so darn versatile. That took about three years to get right and uses some pretty expensive componentry, but to get that range of tonal options without preamps and batteries was something unheard of. Floating wooden bridges; back-angled necks; neutral balance; stainless steel, brass and titanium hardware so you're never, ever going to have rust … our company slogan, The Bass You've Always Wanted, is from the fact that this is the bass that I always wanted. Being either the inventor, creator or the designer of it all, I'm proud of it all.
Which one of the basses that you build is your favorite one?
Being entirely honest, the one that I've not yet built; the Holy Grail is still waiting, somewhere out there. Looking at what I have made it would be the high-strung version of our six string. Six string basses strung E to E allow me to be a bassist and a guitarist at the same time. I love the versatility of that. With our titanium hardware option, weight-wise, you can hardly believe it's a six string.
Can you give us a word of advice to young Luthiers who are just starting out?
Don't do it! (laughs) McDonald's is hiring! (laughs) I'm serious. (laughs).
Like everything, do it if you love it and feel compelled to. With a bit of persistence and marketing savvy you can make a living producing what people are used to seeing but if you decide to introduce something new and different make sure to come into the situation with your eyes wide open that in spite of the exploratory and creative nature of music, that open-mindedness doesn't seem to readily apply to the instruments. People are pretty conservative when making a decision on where to spend their money, especially when so much might be on the line. It's hard work to bring something like this into the market but once people settle on the fact that it is actually a good choice to make, and they make it, you can't beat that kind of satisfaction. There's huge satisfaction in someone wanting an instrument that you create and there's very little on the coolness scale that can compare to seeing a world class performer on an instrument that you can remember as a pile of wood.
What advice would you give a young musician trying to find his perfect bass?
Buy a Stonefield, it's The Bass You've Always Wanted (laughs).
I'd say that a young player needs the best instrument they can get if they want to develop into the best player they can be. Unfortunately, that's not always going to be an instrument they can readily afford. The typical approach of buying some affordable piece of junk and seeing if you like playing music sets you up for failure though (parents: don't do this to your kids). Music is challenging enough without finding yourself in a situation where you're fighting with an instrument. I wonder how many potentially world class players may have given it up or not pursued the interest because their first or second instrument was rubbish, making it all too hard? If you have a quality instrument and still decide that music isn't for you, at least you can get a return on that spend in the second hand market. Distill that down to one nugget of advice: you will never regret buying quality.
What is biggest success for you and for your company?
Simply being accepted by the players. To me, it's such an honour and privilege when someone chooses to purchase a Stonefield.
Are you preparing something new, some new model or new design? Or maybe some new gear amps, etc?
For ages I've been dabbling with putting the Model One electronics into an outboard piece of gear. I've got prototypes of both a pedal and a rack mounted unit. It'd be nice to bring our tonal versatility to players that choose another brand for their instrument. That will happen, I'm just not sure when.
Keep looking for ways to push the boundaries of electric bass design but, as in the beginning, only for reasons that create a better instrument in one way or another; never just for novelty or appearances.
Is there anything else you would like to share that we have not included?
Are you sure you want to ask me that? (laughs)
Visit online:
stonefield-musical-instrument-company.myshopify.com
facebook.com/stonefieldmusic
twitter.com/Stonefieldmusic
Related Topics:Latest, Luthier, Stonefield, Stonefield Musical Instruments, Tomm Stanley
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text:
Q: How to get all futuers of current user? How to get all property of current user? (in asp.net membership)
I want get Name , Email , Pic and property of current user.

A: use :
User.Identity.Name

or to access it elsewhere:
HttpContext.Current.User.Identity.Name

Then to get email etc:
string email = Membership.GetUser(User.Identity.Name).Email;


Robert Wilson Torchia is an independent art historian based in the Philadelphia area. He was the principal author of a previous systematic catalog volume published by the National Gallery of Art in 1998: American Paintings of the Nineteenth Century, Part II. Torchia has published widely on American art of the 19th and early 20th centuries.


APARTAMENTO DE 03 DORMITÓRIOS LOCALIZADO NA COHAB DE SAPUCAIA COM EXCELENTE VALOR PARA COMPRA. IMÓVEL OK PARA FINANCIAMENTO BANCÁRIO . ENTRE EM CONTATO COM NOSSOS CORRETORES E SOLICITE MAIORES INFORMAÇÕES.


After Brexit forced David Cameron to fall on his sword, "Leave" campaigners Boris Johnson and Michael Gove were expected to scrabble over his throne. But neither man felt inclined to clean up the mess he'd made, so two women stepped up to the fore: Energy Minister Andrea Leadsom and Home Secretary Theresa May were expected to wage a nine-week campaign for the Tory leadership. But then Leadsom suggested that "being a mum" meant that she had a "real stake in Britain's future" — as opposed to May, who does not have children and thus, presumably, just wants to watch the world burn.
May was a quiet supporter of "Remain" but has sworn to honor the referendum's result. "Brexit means Brexit and we're going to make a success of it," she said Monday.
The home secretary has taken a tough-on-immigrants stance in recent weeks, refusing to guarantee that EU citizens currently living in the U.K. will be allowed to stay and suggesting that future immigration could be limited to those making more than £35,000 a year.


text:
Canetti's Languages.
October 26, 2015 by languagehat 25 Comments
I'm still reading Alien Tongues (see this post), and I've come across a really interesting footnote (yes, I always read the footnotes):
Sometimes, of course, the idea of the "mother tongue" is crucial. In Lettres parisiennes, Nancy Huston remarks, I can make books and children only in an un-mother tongue" [Les livres, les enfants, je ne peux les faire que dans une langue non-maternelle]. See my discussion of Marina Tsvetaeva in Chapter 5; and consider the case of Elias Canetti, who writes in German. German is Canetti's fourth language, as English was Conrad's fourth language, but Canetti's situation is much more complicated than that of Conrad. Canetti's first languages were Ladino, Bulgarian (soon more or less forgotten), and English. German was a secret language between his mother and father which he was not allowed to learn: "Among the many intense wishes of this period, the most intense was my desire to understand their secret language. I cannot explain why I didn't really hold it against my father. I did nurture a deep resentment toward my mother, and it vanished only years later, after his death, when she herself began teaching me German" (The Tongue Set Free [New York, Seabury Press, 1979], 24). The actual lessons seem to have been anguishing: "It was only later that I realized that it hadn't just been for my sake when she instructed me in German with derision and torment. She herself had a profound need to use German with me, it was the language of her intimacy. . . . So, in a very short time, she forced me to achieve something beyond the strength of any child, and the fact that she succeeded determined the deeper nature of my German; it was a belated mother tongue, implanted in true pain. The pain was not all, it was promptly followed by a period of happiness, and that tied me indissolubly to that language" (p. 70).
I'll have to read The Tongue Set Free one of these years; of course, I've had Crowds and Power sitting around for over a decade, so I may be some time. (My previous Canetti post has also been sitting around for over a decade with no attention paid, poor thing.)
Athel Cornish-Bowden says
I find the use of German as a secret language between his parents rather surprising, because I've always heard that that doesn't work with small children. If you use a different language tio communicate things you don't want your children to understand they'll pick it up almost immediately. We didn't do that with our daughter, because we wanted her to grow up trilingual, and she did, but I feel sure that if we'd only used Spanish for things she wasn't supposed to understand it wouldn't have worked.
I was surprised by that too; how on earth do you keep a kid from understanding something he wants to understand?
Lars says
Keeping the number of available stimuli very low, perhaps — especially in a situation where the child cannot access other resources in that language. If the parents aren't trying to keep secrets from the child by using the 'parental' language, they will naturally switch to the 'common' language as soon as the child is paying attention.
A bit like an Anglophone trying to learn Scandinavian languages (or Dutch, or …) by immersion — it's very hard to keep the natives from switching to English. No ill will, it's just easier.
Paul Ogden says
especially in a situation where the child cannot access other resources in that language
Surely a young child needs no other resources. Hearing his parents speak the language should do the trick, as long as he hears it often enough.
ə de vivre says
My grandmother was in a similar situation with Czech. She grew up in Texas and from my understanding was about a generation removed from a time when it was the main language of the community. Given the stories I've heard, they used it infrequently enough that she never had the chance to acquire it naturally. I don't think they felt the need to code switch to a mystery language much until she herself started speaking pretty solid English. I guess growing up Catholic in Texas was hard enough, they didn't want her being Catholic and speaking a funny language.
Despite what people think, it takes a conscience effort (by someone interacting with them) to teach a child a language, beyond what they hear even 25% of the time. My 4 year old son speaks English and German, and has absolutely loved to watch Spanish shows since he was 2, but can't understand a single word ( as far as I can tell ).
And beyond that, my children don't even listen at all 99% of the time anyway. So, maybe it's just me. Probably most children are excellent listeners.
@Paul Ogden, we learned in another thread that very small children don't pay attention to language that's not directed at them.
The awareness that something is being withheld comes later — not too late to achieve native competence, perhaps, but at a time when the child can actually be included in the parents's conversation in the common language, and they will naturally chose that.
My point is that by the time Canetti discovered that he was missing out on German, he might not in fact be hearing it often enough to learn it.
It's well-established that just listening to a language, without any of it being directed at you, is not enough. On the other hand, full interaction is not necessary — there are cultures where adults don't speak with children until after they can talk.
marie-lucie says
there are cultures where adults don't speak with children until after they can talk.
Once when my daughter was about 6 years old I was asked to take care of a baby girl for the afternoon, in my house. Of course I spoke to the baby in the course of caring for her, and my daughter said "Mom, she doesn't speak!" implying that it was useless to speak to her as she could not answer.
About the cultures in question, I wonder about how true this is about the adults. Does it mean they never "address" the children, or they don't try to have one-sided "conversations" with them, pointing things out, etc as in most other cultures? Surely they must say things like "open your mouth" and other simple sentences. In any case the children must hear the language spoken to and from older children.
I have a distinct memory of sitting on the floor in a large room where a group of adults (some of them family members) were standing around talking, one or the other of them occasionally turning around to say something to me. I was puzzled because when they were talking among themselves I could not understand a word, while when they turned to me I understood everything (yet they and I were all speaking French, at that time the only language I had ever heard). I guess I must have been around three years old.
When a child is habitually spoken to in one language while the adults around speak to each other in a different one, the child may acquire a passive knowledge of the adults' language (hence the uselessness of a "secret language" if used often enough), but in order to achieve speaking competence the child must need to respond in the language he or she is spoken to.
Surely they must say things like "open your mouth" and other simple sentences.
Probably yes, but the TV (which cannot teach an L1) can do that much.
In any case the children must hear the language spoken to and from older children.
That of course is the key to the situation. It's only unusual people like me who learn their language more from parents than from peers.
JC, where and in which types of cultures do parents NOT talk to their babies? The nuclear family with their own house or apartment, with few children, living away from their own relatives, is not the norm everywhere. In many places people have many children, babies are normally carried but once they are able to walk another child is on the way and the previous child is cared for by older children. Grandparents and other relatives of all ages live nearby if not with the parents and children. And there is no TV (or need of it).
It does not seem to me to be just a coincidence that babies start to walk and talk at approximately the same age: the age when they start to be independent of parents or other caregivers and need a means of interaction independent of physical closeness.
I don't remember now, but I'm sure they were "tribal" cultures researched by anthropologists rather than large-scale urban cultures.
Exactly what I think.
David Marjanović says
Keeping the number of available stimuli very low, perhaps —
Yes; that worked beautifully with French, which my parents used as their secret language (first only with each other, then also with the older children against the younger ones…) on quite rare occasions.
If you use a different language tio communicate things you don't want your children to understand they'll pick it up almost immediately.
This is true if your children have already been "exposed" to that language spoken in similar circumstances. If for instance you had spouted a quotation in Latin, Japanese or any language your chidren had never heard, they would not have understood.
George Gibbard says
I have also read of a culture where it was said, "Why are you talking to the baby? She can't understand you," and it was in New Guinea, but I don't know more specifically or where I read it. A psychologist I know is certain that the culture in question (when I mentioned it to him) is thus raising less intelligent children than they might, and apparently knew research to back his claim.
fisheyed says
It's well-established that just listening to a language, without any of it being directed at you, is not enough.
I have met many second-generation immigrants in the US and Canada whose parents did not speak English with each other, but the kids don't speak the parents' language.
I suppose it becomes like listening to music in a foreign language, without any sense of what the words are referring to, they are just sounds.
Once the kid turns 12 or 13 this effect can be observed no matter what the languages involved are, of course.
J.W. Brewer says
I'm curious what the basis is for saying English was Joseph Conrad's 4th language. The usual account is that Conrad went from Polish to French to English. I think he had some schooling in German before he was first exposed to English, but also had schooling in Latin and Greek, and spent parts of his childhood in at least close proximity (with some exposure and/or development of passive competence?) to speakers of Yiddish, Ukrainian, and Russian. But if English is counted as 4th, only one of those many other candidates can be included in the count ahead of it.
Ariadne says
I know of many immigrant children who are exposed to two languages: the parents' language at home, the country's language at school and everywhere else. If their parents converse with them in their language, they also become fluent in it. If the parents use it only to communicate with each other, the children can still largely understand it, but they cannot really speak it.
I agree that English was Conrad's third language in any practical sense. It was said that his English vocabulary (presumably meaning the semantics of the English words he used) was influenced by French and his grammar by Polish.
Alon Lischinsky says
@marie-lucie:
where and in which types of cultures do parents NOT talk to their babies?
Hoff (2006. How social contexts support and shape language development. Developmental Review, 26(1), 55–88) lists the Maya and the Warlpiri among them, as well as certain African-American groups in the American South.
Anecdotally, I can attests that parental secret languages work; my own parents used Hebrew for that purpose, and while I did learn some, none of my younger siblings did except for isolated words (typically, the nicknames used for them, such as הקטן haqaṭan 'the small one' or הילדה hayaldah 'the girl').
John Emerson says
My mother's parents knew Dutch and German and would occasionally talk to one another in their respective languages so that the kids would not understand,
I have met a woman who understood Syrian Arabic but who was forbidden to speak it and never learned. Her parents had no love for Syria or for the Arab world.
[BLOG] Some Tuesday links | A Bit More Detail says:
[…] Hat notes the complex multilingualism of Elias […]


Posted byChristy	 November 5, 2017 March 1, 2018 Leave a comment on Why Scout & Cellar?
1. I like to drink wine. At the end of the day, I like to relax with a glass of wine. And I really like sharing a tasty bottle of wine with friends and family. And I find the State Stores in PA overwhelming when I'm trying to buy a bottle. Having a curated selection to chose from narrows my choices and alleviates that stress. Have you read the book Paradox of Choice? In it, Barry Schwartz identifies how too many choices can lead to anxiety and stress. I'd rather have a Level 3 Sommelier make my decisions for me.
2. I like to eat organic when I can, I use products without chemicals on my skin, so why wouldn't I do the same with wine? Knowing that the wine I'm drinking is clean-crafted is reassuring. And what does clean-crafted mean? To Sarah Shadonix, the founder of Scout & Cellar and the curator of the wines, it means that the wines are grown naturally—without the use of synthetic pesticides—and bottled consciously—without added sugars or chemicals to modify texture, flavor, color or aroma. The result is wine that is clean, delicious and better for you—just like nature intended!
3. I like getting packages in the mail – if I sign up for a wine club membership, I can get packages regularly throughout the year. It's kind of like celebrating my birthday all year long! Wine clubs have been a long standing tradition between me and my dad. He has given me a wine club membership as my Christmas gift for a while now. I love having packages to come home to-sort of why I also have a history with Birchbox, Sock of the Month and Yogi Surprise.
And that last point leads me to another important reason why I'm working with Scout & Cellar – family. I mentioned that my father regularly gifts me with wine of the club memberships. Well, Sarah Shadonix is my father's brother's daughter. Did you follow that? She's my cousin. And she grew up in Texas and I grew up in Pennsylvania and our grandparents lived in Iowa. We didn't see each other very often. As I'm getting older I'm wanting a stronger connection to my extended family. Working with Sarah and her wine business is one way to do that.


text:
Project SEARCH Connects Young Adults With Disabilities to Job Opportunities
Like many people who work in health care, Meredith Kieffer's favorite part of the job is getting "to spend time with patients," she recently told the Eau Claire Leader-Telegram. According to the paper, working in a hospital was a lifelong goal for Meredith, a 19-year-old with a bright and ready smile. It's a goal she was able to achieve this past September, thanks to a new program at Mayo Clinic Health System in Eau Claire, Wisconsin. That program, called Project SEARCH, helps young adults with intellectual and developmental disabilities gain the skills needed to enter the workforce. Developed at Cincinnati Children's Hospital Medical Center in 1996, the program has grown to include 300 sites worldwide.
Meredith, who has Down syndrome, is part of Eau Claire's inaugural class of 11 interns. Each will complete three 10-week internships, working with staff mentors and rotating through departments including Security, Volunteer Services, and General Surgery, Plastic Surgery and Urology. Interns also spend about an hour a day with job coaches from the community, who offer instruction on communication, team building and workplace safety. Jennifer Steffes, a human resources specialist at Mayo Clinic Health System in Eau Claire, tells the paper the interns are "learning the technical skills of employment" through the program. "This is a teaching hospital, so it's a perfect fit," she says.
But the interns aren't the only ones learning. Project SEARCH also provides an education to the staff involved, says Guy Finne, a human resources manager who serves on the program's leadership team on Mayo Clinic's Rochester campus, which recently welcomed its second cohort of interns. "This program, in a very non-threatening way, deals with our unconscious bias toward people with disabilities," Finne says. "We carry imaginary barriers in our heads of what people with disabilities can do or cannot do," he tells us, adding that the program provides an opportunity to "put individuals who have previously faced false barriers into positions of success."
And it's doing just that. All five of the first group of interns on Mayo's Rochester campus accepted job offers at the end of the program — four of them at Mayo Clinic. "The first year of Project SEARCH was an overwhelming success," says Dawn Kirchner, a diversity recruitment specialist and member of the Project SEARCH leadership team. So much so that in year two, the program in Rochester has grown to include eight interns.
That's good news to Steffes, who is happy to see the program grow not just as an employee, but also as a parent. Her 11-year-old son has Down syndrome, and she says Project SEARCH "offers hope" to her and other parents "that someday our children will be gainfully employed with dignity."
You can learn more about Project SEARCH by watching this inspiring video (or this shorter version), both of which include comments from the interns, their parents, and program champions. (We're pretty sure you'll be one, too, after you watch.) You can also see what the interns in Eau Claire are up to by liking and following their Facebook page.
You can leave a comment below before you use the social media tools to share this story with others.
Tags: Community, Dawn Kirchner, Employee Stories, Guy Finne, Jennifer Steffes, Mayo Clinic Health System, Project SEARCH


Charlie Higdon gives his take on the 2019 Academy Awards for Best Picture.
Anyone looking for a taste of Cajun cuisines or French desserts can find them in Knoxville. Local councils and organizations will host their own Mardi Gras themed events.


text:
Q: Updating d3 scatterplot, new data points are not in the correct positions Spent hours on this and still not really sure whats going wrong.
My plot is supposed to update based on a bunch of parameters the user selects. When the plot needs to add new data points the new points are not displayed correctly on the plot.
Check out the new plot:

With these parameters all the circles should be in a line. While the original "line" is in the correct location the new "line" does not match up with the grid.
Here is the function to make a new plot. This works fine, all the data points are where they should be.
export const newPlot = (Params) => {
  d3.selectAll("svg").remove();

  let margin = {top: 50, right: 20, bottom: 30, left: 40},
      width = 960 - margin.left - margin.right,
      height = 500 - margin.top - margin.bottom;

  let x = d3.scaleLinear().range([0, width]);
  let y = d3.scaleLinear().range([height, 0]);

  let svg = d3.select('.plot').append("svg")
      .attr('class', 'svgPlot')
      .attr("width", width + margin.left + margin.right)
      .attr("height", height + margin.top + margin.bottom)
      .append("g")
        .attr("transform","translate(" + margin.left + "," + margin.top + ")");

    d3.json(`../assets/data/${Params.type}${Params.Year}.json`, (error, data) => {
      if (error) throw error;

      const refinedData = parametrize(data, Params);
      refinedData.forEach((d) => {
        d[Params.xSelect] = Number(d[Params.xSelect]);
        d[Params.ySelect] = Number(d[Params.ySelect]);
      });

      let min = d3.min(refinedData,(d) => d[Params.xSelect]);
      x.domain([(min - 2 <= 0 ? 0 : min - 2),
                d3.max(refinedData,(d) => d[Params.xSelect])]);
      y.domain([0, d3.max(refinedData,(d) => d[Params.ySelect])]);

      svg.selectAll("circles")
        .data(refinedData)
      .enter().append("circle")
        .attr('id', (d) => `${d.Player}`)
        .attr("r", 5)
        .attr("cx", (d) =>  x((d[Params.xSelect])) )
        .attr("cy", (d) => y((d[Params.ySelect])) );

      svg.append("g")
         .attr("class", "x-axis")
         .attr("transform", "translate(0," + height + ")")
         .call(d3.axisBottom(x));

     svg.append("g")
         .attr("class", "y-axis")
         .call(d3.axisLeft(y));

      svg.append('text')
      .attr("class", "label")
      .attr('id', 'xlabel')
      .attr("transform","translate(" + (width - 20) + " ," + (height-5) + ")")
      .style("fill", "white")
      .style("text-anchor", "middle")
      .text(`${Params.xSelect}`);

      svg.append('text')
        .attr("class", "label")
        .attr('id', 'ylabel')
        .attr("transform", "rotate(-90)")
        .attr("y", 1)
        .attr("x", (height/2 - 250))
        .attr("dy", "1em")
        .style("font-family", "sans-serif")
        .style("fill", "white")
        .style("text-anchor", "middle")
        .text(`${Params.ySelect}`);
      });

};

Here is the update function. Circles that are added are not in the correct location and are all offset by the same amount.
export const rePlot = (Params) => {

  let margin = {top: 50, right: 20, bottom: 30, left: 40},
      width = 960 - margin.left - margin.right,
      height = 500 - margin.top - margin.bottom;

  let xUp = d3.scaleLinear().range([0, width]);
  let yUp = d3.scaleLinear().range([height, 0]);

  let tooltip = d3.select("body").append("div")
        .attr("class", "toolTip")
        .style("display", "none");

  let svg = d3.select('.svgPlot');

  d3.json(`../assets/data/${Params.type}${Params.Year}.json`, (error, data) => {
    if (error) throw error;

    const refinedData = parametrize(data, Params);

    refinedData.forEach((d) => {
      d[Params.xSelect] = Number(d[Params.xSelect]);
      d[Params.ySelect] = Number(d[Params.ySelect]);
    });

    let min = d3.min(refinedData,(d) => d[Params.xSelect]);
    xUp.domain([(min - 2 <= 0 ? 0 : min - 2),
              d3.max(refinedData,(d) => d[Params.xSelect])]);
    yUp.domain([0, d3.max(refinedData,(d) => d[Params.ySelect])]);

    svg.select('.x-axis')
       .transition()
       .duration(1000)
       .call(d3.axisBottom(xUp));

    svg.select('.y-axis')
      .transition()
      .duration(1000)
       .call(d3.axisLeft(yUp));

    svg.select('#xlabel')
    .text(`${Params.xSelect}`);

    svg.select('#ylabel')
      .text(`${Params.ySelect}`);

    let circle = svg.selectAll("circle")
                    .data(refinedData);

    circle.exit()
          .transition()
          .remove();

    circle.transition()
      .duration(1000)
      .attr("r", 5)
      .attr("cx", (d) =>  xUp((d[Params.xSelect])) )
      .attr("cy", (d) => yUp((d[Params.ySelect])) );

    circle.enter().append("circle")
        .attr('id', (d) => `${d.Player}`)
        .attr("r", 5)
        .attr("cx", (d) => xUp((d[Params.xSelect])) )
        .attr("cy", (d) => yUp((d[Params.ySelect])) );

       });
}

A: Your first set of circles gets appended to a group that is translated:
let svg = d3.select('.plot').append("svg")
  .attr('class', 'svgPlot')
  .attr("width", width + margin.left + margin.right)
  .attr("height", height + margin.top + margin.bottom)
  .append("g")
  .attr("transform","translate(" + margin.left + "," + margin.top + ")");

In this case, the svg variable refers to a translated group. However, when you later reselect, you actually append to the root SVG element:
  let svg = d3.select('.svgPlot');

This is the origin of the difference.


FYI i tried GTL inside Modstep recently - didn't think it would work - but it did.
The combination of ModStep and GTL is awesome - more so once the MS team refine their slightly clunky GUI.
I'm focusing much more now on ModStep than Gadget - EVEN now it has that audio stuff.
And definitely not buying the OSX version.
I am hearing a lot of good things about Modstep, I ought to check it out.
I drop modstep time ago and I'm not planning to get back. To be honest these apps (modstep, AB, loopy...) were great in the past but nowadays I find other apps more pleasant than Ableton copycating as is. GTL has implemented some of the best concepts of Ableton but still has its own soul, modstep seemed a "want but can't" with ugly interface and lots of menus... as every day goes I prefer things the most simple and lightweight as possible then change my workflow to be productive instead wait for perfect app coming.
Hmm - I guess I will have to see Modstep for myself!
I really like GTL - it's layout and concept is pretty spot on. (Good job Jack ) - and with the next update and expanded MIDI bindings it will totally fulfil my own personal audio looping needs.
All I'd really like to be able to do in addition is add some MIDI loops (ideally within GTL) - so that I can quantise my dodgy timing... Nothing is worse than out of time loops.. MIDI loops with auto quantise are a fail safe... great for adding drums etc.
I am having a lot of fun playing synths with MIDI guitar 2 - it gives me so many more sounds available than just the basic guitar tones.
I guess I could just record the live audio from synth apps into GTL and loop them as audio rather than as MIDI? Audiobus or AUM could probably sort the routing for me.
Not sure we'll see MIDI loops for GTL in the near future but i'd really like to incorporate some sort of quantise for audio clips into the sample editor when it appears. So you can drag transients in time after recording.
so editing a sample (in the normal way like you would in a DAW) wouldn't be very useful as it will put everything out of time in the group. I suppose a sample edit trim function might be useful for the first sample you make before you add other loops.
Yeh i suppose the sample editor would be most useful to trim and adjust the timing of the the first loop. It will also be the place where you can add simple processing effects such as reverse and pitch/time stretching to loops.
No but that's a great idea, I'm always using this feature in logic.
but it needs to be foot-stomp friendly and simple so the timing can be adjusted quick and with minimum of fuss in a live situation. I don't see any need to go all the way with tons of editing thats better suited to a DAW.
Just to be able to say - nudge the beginning ( and end point ) back or forward would be great. or better still use some good transient detector to do it better and easier.
PS that new Retronyms looper claims to do "Scenes" as in Ableton or GTL fashion.... but it actually doesnt.
I'd not checked out the LooperVerse app - and having watched a few videos of it I can see how editing loops could be made to work in GTL - if there were some "handlebars" or something like that added at the top of a loop that would define how long that loop should be (number of bars / snap to grid / free options ) then within that handlebar the loop could be split into regions and dragged around / time-streched or whatever.
Seems like a lot of work for Jack though!
It's kind of a hard line to decide where the feature set of a Looper app ends and where a DAW begins. I used to use the POLAR (Performance Oriented Loop Recorder) in my Digital Performer DAW many years ago for live looping performances.. It was pretty good - but used to keep crashing my MacBook pro during gigs.


Your life revolves around your home. Whether you own a house, condo or apartment, your home is likely your most significant investment. Whether you rent or own your home, you probably keep most of your belongings there. Home insurance from The Williams Company can protect you and your family against damages and loss related to theft, vandalism, fire and covered natural disasters.
We'll look at a variety of options that can affect the cost of your premiums as well and help you choose the best value. Some of our customers prefer higher deductibles while others realize that lower deductibles are best for them in the event of a covered loss. Other customizable features of homeowners insurance from The Williams Group include coverage limits as well as a choice between comprehensive coverage and coverage for only specified losses. Don't worry if this sounds confusing. Your agent will happily explain the costs and risks of each option so you can understand and feel comfortable with the policy you choose.
Many landlords and property management companies require tenants to carry renters insurance throughout the duration of a lease. Whether or not you are required to have a renters policy, we recommend that you consider this type of coverage. Like homeowners insurance, a renters policy often covers more than just your belongings or property damage for which you are deemed responsible. Your policy may also include.
If you need a new home insurance policy or want to review an existing policy, contact The Williams Company today. We'll do the shopping for you by checking rates at several major insurance carriers in order to find the best value for your money. Our clients are like family. We want to make sure you have the protection you need.


We are now accepting registration for IDLEWERKS at Formula Drift Texas to be held at on September 9, 2017 at Texas Motor Speedway. IDLEWERKS is the car show platform section of Formula Drift Texas.
Visit the Michael K. Green Skate Park in Long Beach this Saturday. Formula D cars on display and giveaways.
The event is supported by the Long Beach Fire Fighters Association, Long Beach Parks and Recreation, Long Beach Police Department, Tony Hawk Foundation, Etnies, Long Beach Rescue Mission, and Formula D. This event encourages kids to stay in school and out of gangs, while the skate park offers an alternative positive activity for the neighborhood.
Location: Mike K. Green Skate Park in Long Beach on 14th Street at Pacific Avenue.
What: Check out Formula D cars, meet the drivers including Ken Gushi in the Scion Racing / DTA (Rogue Status) Scion TC, giveaways, meet pro and upcoming BMX riders and skaters and more.


text:
#include <string.h>
#include <stdlib.h>
#include <errno.h>
#include <stdio.h>

#include "asio.h"
#include "../mem/pool.h"

struct asio_base_t
{
  pony_thread_id_t tid;
  asio_backend_t* backend;
  uint64_t volatile noisy_count;
};

static asio_base_t running_base;

/** Start an asynchronous I/O event mechanism.
 *
 *  Errors are always delegated to the owning actor of an I/O subscription and
 *  never handled within the runtime system.
 *
 *  In any case (independent of the underlying backend) only one I/O dispatcher
 *  thread will be started. Since I/O events are subscribed by actors, we do
 *  not need to maintain a thread pool. Instead, I/O is processed in the
 *  context of the owning actor.
 */
asio_backend_t* ponyint_asio_get_backend()
{
  return running_base.backend;
}

void ponyint_asio_init()
{
  running_base.backend = ponyint_asio_backend_init();
}

bool ponyint_asio_start()
{
  if(!pony_thread_create(&running_base.tid, ponyint_asio_backend_dispatch, -1,
    running_base.backend))
    return false;

  return true;
}

bool ponyint_asio_stop()
{
  if(_atomic_load(&running_base.noisy_count) > 0)
    return false;

  if(running_base.backend != NULL)
  {
    ponyint_asio_backend_final(running_base.backend);
    pony_thread_join(running_base.tid);

    running_base.backend = NULL;
    running_base.tid = 0;
  }

  return true;
}

void ponyint_asio_noisy_add()
{
  _atomic_add(&running_base.noisy_count, 1);
}

void ponyint_asio_noisy_remove()
{
  _atomic_add(&running_base.noisy_count, -1);
}

redpajama_set_name: RedPajamaGithub


Thermostat gasket is leaking since the last repair. Is there a warranty/ "good faith" policy considering it has been only 90 days. I still see the coolant leak. I see fluid around the repair site.
If you suspect that the repairs did not fix the leak then you will need to contact customer service and set up another appointment to have the leak checked and if it was caused by last repair they will take care of you.
Q: How to get rid of brakes noise when braking?
Q: My engine is flooding and its idle is VERY rough.
Q: Car rattling upon acceleration.


The sense of peace and comfort we experience at home is something that will resonate with many of us. It is at home where we form our earliest memories of being loved and cared for. It is the place that offers us a sense of familiarity, comfort and belonging. But what about those people who through family violence, relationship breakdown or mental illness find themselves without family, comfort, and a place to call home?
Kate didn't have a happy and safe childhood. Her father had significant alcohol problems and Kate's earliest memories are peppered with his violence and the need to stay quiet and as invisible as possible so as to not upset him. Turning to her mother for comfort and support could also be fraught with danger as due to her mother's schizophrenia, Kate never knew how she would react or if she would even be home. Kate spent a lot of her childhood being left with her grandmother while both her parents were unable to care for her.
This cycle of abuse and uncertainty left Kate to grow up searching for love in all the wrong places and she turned to drugs and alcohol to help her cope with the pain of her past.
Kate met her husband when she was in her mid-twenties. She fell in love and married quickly, and soon after became pregnant. She gave up the drinking and drugs to protect her baby, but realised too late that her husband was not ready to raise a family.
The following years saw the two of them separate and get back together many times including a couple of years of stability where she became pregnant again. Last year was their 10 year anniversary, but it was not a celebration - Kate and her husband were in an abusive relationship. But despite this Kate was determined, for their children, to make her marriage work.
One week before Christmas last year, Kate and her husband got into a heated argument and Kate realised that things had to change. This life of abuse and uncertainty was not one she wanted for her children. She packed a bag each for her and the kids and left. She had no plan, little money and nowhere to go but just wanted them all to be safe and free of abuse and violence.
Kate's grandmother had passed away several years earlier so Kate approached an old family friend who allowed them to sleep on the couches in the lounge room. Overnight Kate and her kids had joined the thousands of Australians who are couch surfing, which has become recognised as a form of homelessness.
Over the coming weeks, Kate took up drinking again; she lost her job and hit rock bottom. In desperation Kate turned to CatholicCare's Alcohol and Other Drug Service for help. Together with her counsellor she started working on her recovery, with the goal of building a stable and loving home for her children to grow up in.
Kate's recovery has been slow, but the support she has received from her counsellor and the CatholicCare team have helped to get her life back on track. While CatholicCare's counselling focused on helping Kate deal with her drinking and her feelings about the abuse in her past, her counsellor also helped her to attend court proceedings, supported applications for housing and referrals for detox programs and other support services.
Thanks to the advocacy from her CatholicCare counsellor, Kate is no longer homeless. She moved into government supported housing in October and is now working with case managers at Child Protection Services to give her children access to their father in a safe and controlled environment.
The road to recovery has been long for Kate, but every step has brought her closer to her dream of having a real home with her children. This year, Kate's children will spend Christmas with their mother in their new home.
There are many more families like Kate's who need a helping hand this Christmas. The demand for our programs and services grows each year and our resources are straining to meet the needs. We are motivated by our belief that everyone deserves to live life to the full, and to feel safe and secure in a home of their own.
Christmas is a time of giving and belonging. We celebrate the gift of Jesus, born as our saviour. We celebrate the giving which marked the Holy Family, and all who received the Good News of Jesus' birth. In this spirit we reach out to those in need, so they too will be able to experience joy, belonging and the fulfilment that comes with giving.
To donate please use our donation form or call 03 9287 5517.
Your gift will help another family have a brighter celebration knowing they are surrounded by those that matter most to them.
*At CatholicCare, we respect everyone who comes to us for help - and many are working towards a fresh start in life. So while these stories are true, client names and images may have been changed to protect their privacy. Thank you for understanding.


text:
Kyle C. Hale
HExSA Lab
Collaborative Research: PPoSS: Planning: Towards an Integrated, Full-stack System for Memory-centric Computing
NSF Award CCF-2029014; $185,473 (Collaborative total: $250K); January 2021 through December 2021. This project is a collaborative effort with Rujia Wang and Xian-He Sun at IIT and Peng Jiang at the University of Iowa.
Collaborative Research: PPoSS: Planning: Unifying Software and Hardware to Achieve Performant and Scalable Zero-cost Parallelism in the Heterogeneous Future
NSF Award CCF-2028958; $41,627 (Collaborative total: $1.2M); October 2020 through September 2021. This project is a collaborative effort with Peter Dinda, Simone Campanoni, and Nikos Hardavellas at Northwestern University, and Umut acar at Carnegie Mellon University.
Address Space Dynamics
In Physics, we can use the laws of motion, or the Lagrange equation, to describe the trajectory of an object in a system. An object is described by a state vector–a list of orthogonal dimensions.
Exploring Julia at the Large Scale
Practitioners of high-performance parallel computing have long sought better programming models and languages to ease the task of writing programs for large-scale systems. However, there is an undeniable tension that exists between extreme performance and developer friendliness.
Nautilus Aerokernel
Nautilus is a custom, lightweight operating system kernel designed for being fused with high-performance, parallel runtime systems. See more here.
Hybrid Runtimes for Compiled Dataflows
We observe that the OS and database communities face a similar challenge: how do we optimize systems to exploit the characteristics of specialized hardware without sacrificing the flexibility of general-purpose designs?
CSP 544: System and Network Security
Current Iteration: Spring '20
CS 562: Virtual Machines
Past Iterations: Fall '19 Fall '18 Fall '17
Evaluating Julia as a Vehicle for High-Performance Parallel Runtime Construction
Modeling Speedup in Multi-OS Environments
Kyle C. Hale © 2020 · Powered by the Academic theme for Hugo and Amazon Amplify.


In a previous tip I covered how to run tests headlessly with Xvfb. It's a good approach, but it only works in Linux. And you might be feeling underwhelmed by the speed of your test runs with this approach.
PhantomJS is a headless WebKit browser, and GhostDriver is an implementation of the WebDriver Wire Protocol that's built into PhantomJS.
Before we get started we need to grab a copy of PhantomJS from the project download page.
Once we have it we can launch it from the command-line by specifying a --webdriver flag along with a port (e.g., =8001).
Now that PhantomJS is running and ready to receive WebDriver commands (via GhostDriver), we can create an instance of Selenium that connects to it by using Selenium Remote.
To demonstrate, here's a simple test script.
After pulling in our requisite libraries (e.g., selenium-webdriver to driver the browser and rspec/expections & RSpec::Matchers for our assertion) we wire up some simple setup, teardown, and run methods for our test configuration.
In setup we connect to GhostDriver by creating a Selenium Remote instance and specifying the URL of PhantomJS (e.g., Selenium::WebDriver.for :remote, url: 'http://localhost:8001'. The run block is our test. It visits the homepage of the-internet and checks the title to verify that the page loaded.
When we save this and run it (e.g., ruby ghost_driver.rb from the command-line) here is what will happen.
You can also run GhostDriver within Selenium Grid. You can learn more about that here. And with GhostDrive you also get access to normal full browser functionality like screenshotting. For more details on capturing screenshots, check out tip 16.


Craig Rapp is a thought-provoking and entertaining speaker who delivers keynote addresses and workshops on wide range of subjects related to personal and organizational effectiveness, including: authentic leadership, rediscovering your purpose and passion, dealing with dysfunctional political environments, and the leadership lessons of Improv.
Craig believes that "leaders are learners," and that direct engagement enhances the educational experience. Drawing from his long career and wide ranging experiences, Craig mixes real-life stories, challenging ideas, and audience participation to create a fun, receptive environment for learning.
Speaking engagements are tailored to client needs but are appropriate for large and mid-sized groups, including intact leadership teams and executive retreats.
Craig offers a wide variety of workshops. Click on any of the titles below to find out more information.
The workshops as described are formatted as half-day sessions. Each offering can be tailored for 30-90 minute keynote presentations up through multi-day interactive programs–depending upon client needs. Click here to request additional information about our workshops, and to schedule Craig Rapp to speak for your upcoming event.
CRAIG HAS PRESENTED TO AUDIENCES ACROSS NORTH AMERICA.
Craig specializes in delivering workshops to national and statewide audiences related to local government. He has worked with the International City-County Management Association, the American Planning Association, as well as state professional associations for city and county managers, government finance officers, parks and recreation directors, public works directors, city engineers and library directors.


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