text:
Home Computers Software Gallery Resources Visit Us Donations Volunteer Rentals Shop Contact
System DOS
Floppy (5.25") 6
Follow @vintagepc
Release Date: 12/1/1991
Manufacturer: LucasArts
Monkey Island 2: LeChuck's Revenge is an adventure game developed and published by LucasArts in 1991. It was the second game of the Monkey Island series, following The Secret of Monkey Island, and the sixth LucasArts game to use the SCUMM engine. It was the first game to use the iMUSE sound system.
The game's story centers on the wannabe pirate Guybrush Threepwood. After defeating ghost pirate LeChuck in The Secret of Monkey Island, little is known of what happened between Guybrush Threepwood and Elaine Marley. The sequel involves Guybrush's attempts to both find the mysterious treasure, Big Whoop, and win back Elaine's love.
The development team for the game was largely the same as for the first game in the series. The project was led by Ron Gilbert, and he was once more joined by Tim Schafer and Dave Grossman. LeChuck's Revenge is considered by critics to be among the best of LucasArts' adventure games. Despite its popularity, its ambiguous and surrealistic ending drew criticism.
LeChuck's Revenge plays like most SCUMM-based point-and-click adventure games. Actions and dialogues are depicted on an Animation Window which covers the top of the screen; verbal commands are listed in the lower left-hand corner of the screen, while Inventory items are shown as icons on the lower right-hand corner. A Sentence Line is located below the Animation Window and serves in describing the actions of the player.
The game was also the first adventure game that offered the player two levels of puzzle difficulty. In some versions, before starting the game, the player is prompted to choose between regular version and "Monkey 2 Lite", a relatively stripped-down experience that bypasses many puzzles entirely. On the back of the game's packaging it is (jokingly) stated that this mode is intended for video game reviewers.
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redpajama_set_name: RedPajamaCommonCrawl


text:
More info on NIMBY
Not in my neighborhood
NIABY
Points of debate
Ashtead, Surrey
Nantucket Sound, Massachusetts
St. Lucie County, Florida
Cape Wind
Washington Metro
Nantucket, Massachusetts
NIMBY: Wikis
Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! This article doesn't yet, but we're working on it! See more info or our list of citable articles.
Categories: Environmental sayings > Urban studies and planning terminology > Acronyms > American political terms > Pejorative terms for people
An airport is a typical example of a development that can cause a NIMBY reaction: developers may claim economic benefits, but residents nearby may oppose it because of objections to the noise, pollution and traffic it will generate.
NIMBY or Nimby is an acronym for not in my back yard. The term (or the derivative Nimbyism) is used pejoratively to describe opposition by residents to a proposal for a new development close to them. Opposing residents themselves are sometimes called Nimbies. The new project being opposed is generally considered a benefit for many but has negative side-effects on many local residents who want it to be located elsewhere. The term was coined in the 1980s by British politician Nicholas Ridley, who was Conservative Secretary of State for the Environment.
Projects likely to be opposed include but are not limited to tall buildings, wind turbines, desalination plants, landfills, incinerators, power plants, prisons,[1] and especially transportation improvements (e.g. new roads, passenger railways or highways) and mobile telephone network masts.
2 Not in my neighborhood
3 NIABY
4 NAMBI
5 Points of debate
5.1 Primary
5.2 Secondary
6.1.1 Ashtead, Surrey
6.2.1 Alexandria, Virginia
6.2.2 Deerfield, Illinois
6.2.3 Nantucket Sound, Massachusetts
6.2.4 St. Lucie County, Florida
NIMBY and its derivative terms NIMBYism, NIMBYs, and NIMBYists, refer implicitly to debates of development generally or to a specific case. As such, their use is inherently contentious. The Oxford English Dictionary identifies the acronym's earliest use as being in 1980 in the Christian Science Monitor. The term is usually applied to opponents of a development, implying that they have narrow, selfish, or myopic views. Its use is often pejorative.[2]
The term has been applied in debates over developments in various situations, including:
When parties advocate infrastructure development such as new roads, light rail and metro lines, airports, power plants, retail developments, sales of public assets, electrical transmission lines, wastewater treatment plants, landfills, sewage outfalls or prisons.
When parties build, operate, or advocate culturally unfamiliar functions, such as subsidized housing, halfway house, or homeless shelters.
When a government or private party advocates development of residential or commercial property.
The term "not in my neighborhood" is also frequently used[3].
See also: BANANA
Opposition to certain developments as inappropriate anywhere in the world is characterised by the acronym NIABY (Not In Anyone's Backyard). The building of nuclear power plants, for example, is often subject to NIABY concerns. Other terms for the same phenomenon are BANANA (Build Absolutely Nothing Anywhere Near Anything).
Not Against My Business or Industry. Used as a label for any business concern that expresses umbrage with actions or policy that threaten that business, whereby they are believed to be complaining about the principle of the action or policy only for their interests alone and not for all similar business concerns who would equally suffer from the actions or policies. The term serves as a criticism of the kind of outrage that business expresses when disingenuously portraying its protest to be for the benefit of all other businesses. This opposition is characterised by the acronym NAMBI (Not Against My Business or Industry). Such a labelling would occur for example when opposition expressed by a business involved in urban development is challenged by activists — causing the business to in turn protest and appealing for support from fellow businesses lest they also find themselves challenged where they seek urban development. This term also serves as a rhetorical counter to NIMBY. Seen as an equivalent to NIMBY by those opposing the business or industry in question.
Frequently argued debate points in favor of development include higher employment, tax revenue, marginal cost of remote development, safety, and environmental benefits.
Those opposed to development might argue against increases in local traffic, harm to small business, loss of property value, environmental degradation, loss of a community's small-town feel, strain of public resources and schools, disproportionate benefit to non-locals or new residents, increases in crime, and failure to "blend in" with the surrounding architecture.
Proponents of development may accuse locals of elitism, parochialism, drawbridge mentality, that public services are demanded without regard to how government will pay for them, that private sector companies provide or improve upon services without regard to what infrastructure is required to deliver them, opposition to diversity, inevitability of criticism, and misguided or unrealistic claims of prevention of urban sprawl.
The environmental justice movement has critiqued Nimbyism as a form of environmental racism; Robert Doyle Bullard, Director of the Environmental Justice Resource Center at Clark Atlanta University, has argued that official responses to NIMBY phenomena have lead to the PIBBY (Put In Blacks' Back Yard) principle.[4]
In the English village of Ashtead, Surrey, which lies on the outside of London, residents objected to the conversion of a large, £1.7 million residential property into a family support centre for relatives of wounded British service personnel. The house was to be purchased by a charity, SSAFA Forces Help.[5][6][7] Local residents objected to the proposal out of fear of increased traffic and noise, as well as the possibility of an increased threat of terrorism. They also contended that the SSAFA charity is actually a business, thereby setting an unwelcome precedent.[8] Local newspapers ran articles titled "Nimby neighbours' war with wounded soldiers' families" and "No Heroes in my Backyard."
Ex-servicemen and several members of the British general public organised a petition in support of SSAFA, and even auctioned the "Self Respect of Ashtead" on eBay.[citation needed]
In Alexandria, Virginia, people who opposed high-density development in Potomac Yard were faulted for demanding an additional Washington Metro station while simultaneously opposing the scale of development that would provide either sufficient funds for the station or sufficient ridership to justify its construction.[citation needed]
In 1959, when Deerfield officials learned that a developer building a neighborhood of large new homes planned to make houses available to African Americans, they issued a stop-work order. An intense debate began about racial integration, property values, and the good faith of the community officials and builders. For a brief time, Deerfield was spotlighted in the national news as "the Little Rock of the North."[9] Supporters of integration were denounced and ostracized by angry residents. Eventually, the village passed a referendum to build parks on the property, thus putting an end to the housing development. Two model homes already partially completed were sold to village officials.[9] Otherwise, the land lay dormant for years before it was developed into what is now Mitchell Pool and Park and Jaycee Park. The first black family did not move into Deerfield until much later. This episode in Deerfield's history is described in But Not Next Door by Harry and David Rosen, both residents of Deerfield.
Some residents and businesses of Cape Cod, Martha's Vineyard, and Nantucket Island have opposed construction of Cape Wind, a proposed offshore wind farm in Nantucket Sound. Proponents cite the environmental, economic, and energy security benefits of clean, renewable energy, while opponents are against any obstruction to the views from oceanfront vacation homes and tourist destinations based in the region.
Similar to the situation in Nantucket Sound, Mass., a minority of residents in St. Lucie County, Florida have vehemently opposed the construction of wind turbines in the county. The construction of the wind turbines is strongly supported by over 80% of county residents according to a 2008 Florida Power and Light (FPL) poll. [10] Additionally, the power company proposed building the turbines in a location on a beach near a prior existing nuclear power plant owned by the company.[citation needed]
CAVE People
Citizens to Preserve Overton Park v. Volpe
Drawbridge mentality
Neo-Luddism
Pulp mill conflict between Argentina and Uruguay
Somebody Else's Problem
^ Merriam-Webster
^ You can't park here: it's my retreat, says 'Nimby' Clooney (The Times)
^ http://www.time.com/time/magazine/article/0,9171,966534,00.html
^ http://www.springerlink.com/content/572410412764x5p4/
^ Headley Court Families Accommodation (SSAFA Forces Help)
^ Nimby neighbours' war with wounded soldiers' families (Daily Mail, 15 July 2007)
^ NO HEROES IN MY BACKYARD: Residents fight guest house for servicemen's relatives (Your Local Guardian, 19 July 2007)
^ Letters of Representation (Mole Valley Council)
^ a b Rosen, Harry; David Rosen (1962). But Not Next Door. Astor-Honor Inc. ISBN 0839210078.
^ Survey supports turbines, FPL says (Palm Beach Post)
The First World Network of NIMBY Experts
Multifamily Housing Group Targets NIMBY
Saint Index strives to measure Nimbyism
Nimby Wars from Forbes Magazine
How to Overcome NIMBY Opposition to Your Project
Q & A with NIMBY Expert Debra Stein
Categories: Environmental sayings | Urban studies and planning terminology | Acronyms | American political terms | Pejorative terms for people
Hidden categories: All articles with unsourced statements | Articles with unsourced statements from February 2008 | Articles with unsourced statements from November 2008
Definition from Wiktionary, a free dictionary
IPA: /ˈnɪmbi/
NIMBY
(chiefly US) Alternative spelling of nimby. Not In My BackYard
Categories: English abbreviations, acronyms and initialisms | English acronyms | American English | English alternative spellings
Up to date as of November 16, 2009
Multifamily Housing Group Targets NIMBY - NIMBY - Not In My Back Yard
Saint Index strives to measure Nimbyism - Saint Consulting - United States - UK Saint Index
''Letters of Representation'' (Mole Valley Council)
''Nimby neighbours' war with wounded soldiers' families'' (Daily Mail, 15 July 2007) - Nimby neighbours' war with wounded soldiers' families | Mail Online
''Headley Court Families Accommodation'' (SSAFA Forces Help) - ERROR 404 - File Not Found
Merriam-Webster - nimby - Definition from the Merriam-Webster Online Dictionary
"Sprawl Is Like the Weather," ''Planning Commissioners Journal'' - PCJ Article: "Sprawl Is Like the Weather," by Brent Thompson
Environmentalists: Left, Right or Out in Front? - Left, Right or Out in Front?
a Downing Street petition - Petition to: Allow the development of a Families Support Centre at Grays Lane. | Number10.gov.uk
Up to date as of August 19, 2010
The text of the above Wikipedia article is available under the Creative Commons Attribution-ShareAlike License. This content and its associated elements are made available under the same license where attribution must include acknowledgement of The Full Wiki as the source on the page same page with a link back to this page with no nofollow tag.
Version 0609, w


While in town for her show at B.B. King, Ashanti stopped by "Good Day NY" on Tuesday. Following her Christmas performance in November, the R&B diva graced the stage once again, performing her latest single "I Got It" off her album Braveheart.
In honor of April Fools' Day, the hosts also presented her with a mysterious box, but she was too scared to open it.
In addition to promoting her album, Ashanti has been writing music for the upcoming Tupac biopic, to be released in 2015.
Catch Ashanti's sizzling set below.


The Central Bank will issue a coin set for the Wu Xu Year of the Dog, the second set of the third series of the Chinese Zodiac Commemorative Coin Set, on January 25, 2018. Each set consists of one silver coin weighing an ounce with a face value of NT$100, as well as one copper-alloy coin with a face value of NT$10.
The Bank has delegated the Bank of Taiwan to sell the coin sets to the public on a first-come, first-served basis, limited to one set per purchaser at a time. A total of 120,000 coin sets will be issued. Each coin set costs NT$1,800.


text:
HYTN Innovations Announces Industry Leading Team Serving as Board of Directors
Feb 24, 2022by HYTN Innovations Inc.
Vancouver, British Columbia. HYTN Innovations Inc. ("HYTN" or the "Company") (CSE: HYTN) is pleased to introduce the industry leaders serving on its board of directors (the "Board").
The Board is composed of HYTN founders, Elliot McKerr and Jason Broome, and is strengthened with the additions of Vic Neufeld, Dennis Staudt and Eli Dusenbery. Mr. Neufeld has had a long career in the natural health and cannabis industries, highlighted by his time as CEO and President of Jamieson Laboratories and as the CEO of Aphria Inc. Dennis Staudt brings a diverse financial acumen and analytical perspective from a career with PricewaterhouseCoopers ("PwC"), including 22 years as a Partner in PwC's Audit and Assurance Group. Eli Dusenbury is a CPA whose career focus has been on building strong financial systems in emerging organizations, enabling them to enter the public markets and seamlessly comply with the enhanced regulatory demands of such environment.
"Being surrounded by leaders who have demonstrated a history of success gives us confidence and ensures our team is equipped with the tools required to execute good governance and a focused yet nimble strategic vision", said Elliot McKerr, HYTN CEO.
The Company plans to hold its inaugural Board meeting on March 1st, 2022, ahead of its Q1 financial disclosures.
About HYTN Innovations Inc.
HYTN formulates, manufactures, markets, and sells premium cannabis goods. With the mission to be the leading provider of consistent, natural, and delicious cannabis products, HYTN focuses its efforts on identifying category opportunities and takes an innovative approach to delivering elevated cannabis experiences to a discerning customer base.
Please visit www.hytn.life for more information or contact:
Elliot McKerr,
HYTN Investor Relations
investments@hytn.life
The Canadian Securities Exchange (CSE) has not reviewed, approved, or disapproved the contents of this press release.
Certain information contained herein may constitute forward-looking statements that involve risks and uncertainties. Readers are cautioned not to place undue reliance on forward-looking statements, including, but not limited to, statements regarding: (i) the Board meeting scheduled for March 1, 2022; (ii) the various attributes Vic Neufeld, Dennis Staudt and Eli Dusenbery are expected to bring to the table; (iii) HYTN's leadership composition ensuring that the team is equipped with the tools to execute good governance and a focused yet nimble strategic vision. Factors that could cause actual results to vary from forward-looking statements or may affect the operations, performance, development and results of the Company's business include, among other things: the Company's ability to generate sufficient cash flow from operations to meet its current and future obligations; the Company's ability to access sources of debt and equity capital; competitive factors, pricing pressures and supply and demand in the Company's industry; general economic and business conditions; the effects and impacts of the COVID-19 pandemic, the extent and duration of which are uncertain at this time, on the Company's business and general economic and business conditions and markets; and the risk factors identified in the Company's public filings available on www.sedar.com. Any statements that are not statements of historical fact are deemed to be forward- looking statements. The forward-looking statements contained in this news release are made as of the date of this news release, and, except to the extent required by applicable law, the Company assumes no obligation to update or revise forward-looking statements made herein or otherwise, whether as a result of new information, future events, or otherwise. The forward-looking statements contained in this news release are expressly qualified by this cautionary note.


Chipotle: More 'Ethical' But Less Safe? Coincidence?
…"The more complicated your supply chain is, the more opportunity you have to introduce problems," says Melinda Wilkins, director of the online master of science in food safety at Michigan State University. "[Chipotle's] food sourcing is a laudable effort—and it's what customers want. But they're probably walking a fine line between offering fresh, local ingredients and decentralized food preparation and the risk of introducing foodborne pathogens because it is such a complicated food chain."….


text:
Q: Ruby Mechanize Outlook Web Access I am trying to use ruby mechanize to access specific emails from my outlook web access account.
I am using the following code.

    require 'mechanize'
    require 'logger'

    a = Mechanize.new
    a.cookie_jar(HTTP::Cookies.new)
    a.log = Logger.new('log1.log')

    a.get('htts://webmail.xxxxxxx.org/') do |page|

      my_page = page.form_with(:action => '/owa/auth.owa') do |f|
        f.username  = "------------"
        f.password  = "------------"
      end.click_button

      #a.cookie_jar.load('cookies.yml')

      a.get('https://webmail.xxxxxxx.org/owa/Inbox/?Cmd=contents&Page=1') do |p|
          file = File.new("new.xml","w+")
          file.puts p.parser.to_xml
          file.close
      end

   end

Why is this code not working?

A: This is working OWA retrieval script using nokogiri and mechanize to a SSL owa exchange website.
It requires rubygems, mechanize (+deps), and highline to be installed.

    require 'rubygems'
    require 'mechanize'
    require 'logger'
    require 'highline/import'

    @url = 'https://email.***.***/Exchange'

    @mechanize = Mechanize.new { |a| a.log = Logger.new('./log1.log') }

    #In case you dont have trusted certs
    @mechanize.agent.http.verify_mode = OpenSSL::SSL::VERIFY_NONE

    @mechanize.user_agent_alias = 'Windows Mozilla'
    @mechanize.keep_alive = 'enable'

    username = ask("Enter your username: ")
    domain = ask("Enter your domain: ")
    password = ask("Enter your password: ") {|q| q.echo = "*" }

    @mechanize.get(@url) do |page|

      form = page.forms[0]

      form["username"] = domain + '\\' + username
      form["password"] = password
      page = form.submit
    end

    ## Common Mailbox Schemes
    @mailbox = "#{username}"

    # @mailbox = "#{username}@#{domain}.#{tld}"
    # @mailbox = "#{username}@#{domain}"

    @inbox = @url + "/#{@mailbox}/Inbox/?Cmd=contents&Page=1&View=Unread%20Messages"

    inboxlisting = @mechanize.get(@inbox) do |page|

      fragment = Nokogiri::HTML(page.body)
      ["//img[@src='/exchweb/img/icon-msg-unread.gif']"].each do |xpathq|
        puts "Found #{fragment.xpath(xpathq).count} new emails."
      end

      ["//img[@src='/exchweb/img/icon-mtgreq.gif']"].each do |xpathq|
           puts "Found #{fragment.xpath(xpathq).count} new meeting requests."
      end

    end

Example Script Output:

    $ ruby ./owa.rb
    Enter your username: john.doe
    Enter your domain: mywork
    Enter your password: ************
    Found 31 new emails.
    Found 3 new meeting requests.

A: I dont know the purpose of usage and question, but it may be better to use Capybara with Selenium to access this site?

redpajama_set_name: RedPajamaStackExchange


text:
New East Garden
Holidays, Staff Picks
Wed., Jan. 22, 7:30 p.m. at 153 Main St.
[X]Tomorrow
[X]Burlington
Sorting by Venue/Place
Calendar Tomorrow
'Relativity'
Wednesdays-Saturdays, 7:30 p.m. and Saturdays, Sundays, 2 p.m. Continues through Feb. 9
A reporter questions Albert Einstein about a mysterious piece of his personal history in Mark St. Germain's full-length drama presented by Vermont Stage. at Black Box Theater, Main Street Landing Performing Arts Center in Burlington (map). $29.70-38.50.
Burlington Walk/Bike Council Monthly Meeting
Fourth Thursday of every month, 5:30-7 p.m.
Two-wheeled travelers get in gear to discuss ways to improve conditions for cyclists and pedestrians. Room 12. at Burlington City Hall in Burlington (map). Free.
Chair Yoga With Sangha Studio
Thursdays, 10:30-11:30 a.m.
Supported poses promote health and well-being. at Champlain Senior Center in Burlington (map). Free.
Banff Centre Mountain Film Festival World Tour
Thu., Jan. 23, 7 p.m., Fri., Jan. 24, 7 p.m. and Sat., Jan. 25, 7 p.m.
Mountaineering buffs and outdoor enthusiasts tap into the spirit of adventure with films from around the globe. at Davis Center, University of Vermont in Burlington (map). $16-20.
Gabriela Montero
Thu., Jan. 23, 7:30 p.m.
The classical pianist performs "Westward," a two-pronged program that examines the immigrant experience through works by Prokofiev, Rachmaninoff and Stravinsky, as well as improvised accompaniment to Charlie Chaplin's 1917 silent short, "The Immigrant." at Flynn MainStage in Burlington (map). $15-48.
Superintendent Search Community Input Meeting
Thu., Jan. 23, 6:30-8:30 p.m.
Locals offer input regarding desired qualities of the Burlington School District's next superintendent. Childcare, refreshments and interpretation services are provided. at Integrated Arts Academy, H.O. Wheeler Elementary School in Burlington (map). Free.
New Alpha Gospel Choir
Thu., Jan. 23, 7-8 p.m.
The lively MLK Gospel Music Commemorative Concert lifts spirits as part of UVM's MLK Celebration, Education and Learning Series. at Ira Allen Chapel, University of Vermont in Burlington (map). Free.
Head Stretchers Society
Thu., Jan. 23, 5:30-7 p.m.
A new bimonthly event series features special presenters discussing unique topics and encouraging audience involvement with activities. at Karma Bird House Gallery in Burlington (map). Free.
Dancing Uphill
Jan. 22-25, 7:30 p.m.
An annual recital spotlighting dance student performers features guest artists Laurel Jenkins and Lida Winfield. at Mann Hall Gymnasium, University of Vermont Trinity Campus in Burlington (map). $10-15.
'Space Junk 3D'
Through Feb. 7, 10:30 a.m., 12:30, 2:30 & 4:30 p.m.
A growing ring of orbiting debris is at the center of an out-of-this-world film showing natural and man-made collisions. at Northfield Savings Bank 3D Theater: A National Geographic Experience, ECHO Leahy Center for Lake Champlain in Burlington (map). $3-5 plus regular admission, $11.50-14.50; admission free for members and kids 2 and under.
'Earth Flight 3D'
Through Feb. 7, 11 a.m., 1 & 3 p.m.
Revolutionary aerial techniques and state-of-the-art 3D cameras take viewers on a journey across the world on the wings of birds. at Northfield Savings Bank 3D Theater: A National Geographic Experience, ECHO Leahy Center for Lake Champlain in Burlington (map). $3-5 plus regular admission, $11.50-14.50; admission free for members and kids 2 and under.
'Tiny Giants 3D'
Through Feb. 7, 11:30 a.m., 1:30 & 3:30 p.m.
An immersive film reveals the astonishing lives of the smallest of animals — think chipmunks and grasshopper mice. at Northfield Savings Bank 3D Theater: A National Geographic Experience, ECHO Leahy Center for Lake Champlain in Burlington (map). $3-5 plus regular admission, $11.50-14.50; admission free for members and kids 2 and under.
'Incredible Predators 3D'
Through Feb. 7, 12, 2 & 4 p.m.
Advanced filming techniques expose the planet's top hunters on land, under the sea and in the air. at Northfield Savings Bank 3D Theater: A National Geographic Experience, ECHO Leahy Center for Lake Champlain in Burlington (map). $3-5 plus regular admission, $11.50-14.50; admission free for members and kids 2 and under.
Teton Gravity Research: 'Roadless' Premiere
In this new snow sports flick, snowboarders Bryan Iguchi, Jeremy Jones and Travis Rice team up in search of first descents in Yellowstone National Park. at Outdoor Gear Exchange in Burlington (map). $10.
Community Lunch
Thursdays, 1-2 p.m.
Garden-grown fare makes for a delicious and nutritious midday meal. at The Pathways Vermont Community Center in Burlington (map). Free.
Showing 1-15 of 18 total results in this search.


A coming of age story set in a world where magic catalyzed both industrial revolution and nuclear holocaust.
1,185 backers pledged $25,214 to help bring this project to life.
Glow is a new ongoing comic series by Ray Chou and Vincenzo Ferriero with art by Dia Ja and Anny Maulina. Glow is Mythopoeia's second comic series after the Kickstarter-supported Skies of Fire.
The goal of this Kickstarter is to raise both production and print funds for the creation of Glow #1. We currently have 10 pages already done, but need completion funds to bring the rest of the project to fruition. Any additional funds we raise beyond our goal will go directly towards further issues of the series.
Glow takes place in a world where magic catalyzed both industrial revolution and nuclear holocaust. Half a millennia ago, an ancient and powerful empire known as Nymera developed a means to channel and store magical energy into a sticky blue substance known as anima, storing them into massive Towers across the world.
With the aid of the Towers, the Nymerans brought peace and paradise into the world.
Until one day the Towers fell.
The story of Glow takes place two hundred years after that cataclysmic event, and follows the story of those who remain.
Page 01 of Issue One. Artwork not yet finalized.
Map of Shoddai by Kendrick See.
Tanvir design by Giulia Frontini.
Pinups by Giulia Frontoni. Used in the postcards and buttons.
Magic in Glow is channeled through the language of ancient Nymera, the former masters of the world. In order to flesh out this cornerstone of the story, we've been collaborating with Colm Doyle, an Estonian linguist and enthusiastic conlanger.
Besides helping to inform us about the history and culture of the world, we plan on implementing Nymeran in several interesting ways.
Rune scavenging plays a huge role in the world of Glow. Ancient Nymeran technology is constantly bartered and fought over in the Wastes. Simple runes contain just a single character, while more complicated runes are combinations - or phrases - amalgamated together in an intricate design.
The rune, phonetic, and translation of a phrase in Nymeran, all created by Colm.
Ray Chou and Vincenzo Ferriero are the writers and creators of Glow. Together, they're the founders of the creative imprint known as Mythopoeia. Glow is their second comic book series after the the dieselpunk airship adventure Skies of Fire. Ray is based in Los Angeles and Vince in London.
Dia Ja was born in Iloilio City, Philippines and moved to California with her family. She graduated at Los Angeles County High School for the Arts in 2014, and is currently attending ArtCenter College of Design for Illustration. Check out her tumblr.
Anny Maulina is an artist from Indonesia, currently working as a fulltime environment artist at Tinker Games based in Bandung. She also enjoys working on comic and art projects on her spare time. You can find her at http://n-maulina.deviantart.com.
From Ireland, Colm Ó Dúill is a verification specialist at TransferWise's office in Tallinn, Estonia, where he has lived since 2007. He holds an M.Phil. in Applied Linguistics and a B.Comm with French, and is pursuing a Ph.D. in Linguistics. He is married with two children, and has been dabbling in creating constructed languages since 2005; Nymeran is his first developed constructed language.
Official Glow T-Shirt. Design by Anny Maulina.
Tanvir Plushie. Approximately 5x8x3" inches. Design shown is prototype.
To purchase Add-Ons, simply add the amount in red to your order. Additionally, you may also wait until the end of the campaign and purchase add-ons through BackerKit, where you will be able to select additional a la carte items for purchase after you confirm your shipping information.
This is our 4th crowdfunding project on Kickstarter. While we haven't been mistake-free, each successive Kickstarter builds on the lessons learned from the previous. At this point we're fairly confident in our workflow and ability to deliver rewards.
The biggest individual challenge for this Kickstarter is managing a team of artists from all over the world. We mostly live in different timezones, so coordinating is a huge logistical challenge. We have several more pages of production art to get through before this book is realized, but we've done it before with Skies of Fire.
Because this is a production + print crowdfunding campaign, we're asking for a little bit more patience if/when we successfully fundraise our goal. No matter what happens though we'll be sure to always keep our backers in the loop!
DIGITAL COPY - A pdf copy of Glow #1. Be one of the first to explore the Wastes!
DIGITAL DELUXE - A pdf copy of Glow #1 with variant cover and digital bonuses. This includes a making-of document, additional concept art, comic script, wallpapers, and mockups.
EARLY BIRD PRINT - For the earliest backers and existing fans of our work. A print copy of Glow #1!
Comes with a Digital Deluxe copy of Glow #1.
PRINT #1 - A single printed copy of Glow #1 printed in 8x11" magazine format.
PRINT #1 + BUTTONS + POSTCARDS - A single printed copy of Glow #1 along with a set of three 1.5" character buttons featuring Caszy, Koken, and Myra.
VARIANT PRINT #1 - A single printed copy of Glow #1 Variant printed in 8x11" magazine format with cover by Dia Ja. All of our variants are Kickstarter exclusive - what's ordered is what we print!
PRINT #1+ POSTER - A single printed copy of Glow #1 plus your choice of poster print.
T-SHIRT - An official Glow T-Shirt! Comes in S, M, L, or XL.
VARIANT PRINT #1 + PRINT #1 - Can't decide between the variant cover and original? Why not both?! Comes with both the standard print issue of #1 along with the variant #1.
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Poverty, gender and lone parents in the EU
Poverty, Employment, Economic and financial affairs
Review of the implementation of the Beijing Platform for Action
Almost one in four people in the EU lives at risk of poverty or social exclusion. Lone parents are especially vulnerable compared to the general EU population. Almost half (48%) of lone mothers and a third (32%) of lone fathers are at risk of poverty or social exclusion. Women in particular are affected as they make up almost 85% of all one-parent families in the EU.
Press release: Almost 23 million children in the EU are poor - For every additional child, a woman's risk of falling into poverty increases
Browse EIGE's reports and publications on the critical areas of the BPfA
Order a hard copy from EU Publications website
BPfA Area:
A. Women and Poverty
Poverty, gender and intersecting inequalities in the EU: Report
Poverty and gender over the life cycle: Review of the implementation of the Beijing Platform for Action


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Browse > Home / Featured Articles / Is Facebook kosher?…ask the rabbi
Is Facebook kosher?…ask the rabbi
July 30, 2018 by J-Wire
Rabbi Raymond Apple answers this and other questions…
JEWISH CONTRIBUTIONS TO CIVILISATION
Rabbi Raymond Apple
Q. What is the secret behind the sheer number of Jews who have contributed so much to civilisation?
A. There are several solid books listing the vast numbers of Jews who have made immense contributions to every aspect of human culture.
No aspect of the world would be the same without the Jewish contribution.
Look at science and medicine, literature and the arts, commerce and adventure – Jewish names figure out of all proportion to our population figures.
We aren't looking for Nobel Prizes or votes of thanks: we have simply served humanity and its many areas of interest.
The question is whether there is something in the Jewish mindset that impels such contributions.
Taking names at random – Salk and Sachs (or Sacks)… Chagall and Kafka… Mahler, Marx and Malamud – does not answer the question.
Maybe the thought that unites the Jewish contributions to civilisation begins with the Bible and marks us out all through history: creativity, education, compassion, messianism, literacy, community.
Maybe we can call them the forces of mental, moral, spiritual and utopian energy.
We are never able to leave things as they are.
What did Jacques Maritain say? Jews are "deeply involved in the warp and woof of the world, irritating, exasperating and moving it".
CHARITY DURING PRAYER
Q. On weekday mornings I am bothered when charity collectors come round during the service wanting donations. What right do they have to disturb people like this?
A. It is a common experience and a nuisance.
Yet though the collectors do not always conduct themselves with proper dignity and respect, they enable us to fulfil a tradition which Maimonides records in these words: "The great sages would give a coin to the poor before reciting their prayer, as it is said: 'As for me, I shall behold Your presence in righteousness' (Psalm 17:15)" (Laws of the Poor, 10:15).
The Psalm implies that our prayers must be accompanied by righteous deeds including charity.
However, the collectors should not burst in and force themselves on our attention, especially during the Amidah, or wave pieces of paper, presumably their credentials, in front of people's faces.
Most synagogues have charity boxes into which the congregation can place donations.
IS FACEBOOK KOSHER?
Q. Is Facebook kosher?
A. Online social media have made communication so much easier and more user-friendly.
One of the hardest things about being human is when other people ignore you or push past as if you were a nobody. Fortunately, the development of online communication has made it possible for everyone to be a somebody.
I know that electronic means of communication can be abused and made into a weapon to wound other people, saying obnoxious things about them or to them. Indeed the Book of Proverbs says, "Death and life are in the power of the tongue" (Prov. 18:21).
In today's world of course the word "tongue" must be understood in an extended way. That is why society should have an agreed ethic about how to use social media, but just because a facility can be misused is no reason to ban it.
Tags: charity, facebook, rabbi raymond apple


January | 2018 | What did you learn in School today?
Posted on January 9, 2018 by What did you learn in School today ?
What started out as a dream (literally) is now reality since 2 years ago. Of course I am talking about this blog. Thanks to all my followers for your encouraging remarks and faithfulness! And instead of publishing a new header photo today, for some time ahead, each time you open my blog again there will be a random photo from the first two years to catch your eye!
One month ago, the Swedish writer Johan Nyberg published his column in Radio Sweden's weekly news program, Godmorgon, världen ("Good morning, world"). It was an interesting story on how today's computers can perform many of the routine tasks in any many disciplines much more efficiently than human beings, but the best solution of all is when the two work together in a team. He gives various examples on such successes, not only chess, but also everyday situations in big service companies such as Amazon, which besides the investment in 45 000 robots during the last three years also has employed 250 000 people. So his closing remarks are that we should not have any fear that the computers will grab our jobs, but that workers with computers will take the jobs from workers without computers. See also reference #1 below for a complete transcript (in Swedish).
Then, a couple of days later, I heard another interesting story of how AI computers and people interact with good result. X-ray images that need to be analysed by a physician can now be pretreated by a computer which scans the images to present the doctor with results of areas where s/he can look further to make a more accurate and faster diagnose as compared to the old method when few areas were chosen out of random or a hunch. Reference #2 discusses this topic (also in Swedish).
And yesterday, there were two interesting topics on the same issue: In the morning, I heard that in the Southern city of Trelleborg, the city administration's social assistants are delighted, because a "robot" (in fact an app on their web) is now taking care of the investigative, preparatory work, such as checking with the tax authorities etc., when a person is applying for social allowance. They now enter only in the decisive phase, which leaves them available for more personal contacts, and the result is that they have been able to find new jobs for those people in record numbers and huge savings in not needing to pay out social allowances.
At the same, in a later edition of the same news program, it was reported that their counterparts as social assistants in the city of Kungsbacka, immediately south of Göteborg (Gothenburg in English) are disappointed, they would like to continue turning papers instead of doing proactive work, so 12 out of the 16 assistants have handed in their resignation notes, as a protest against a similar system which will begin to operate in the month of May. More about these two cases can be found in reference #3 below (also in Swedish).
With so many interesting news stories from Sweden, why not learn Swedish and accompany the news yourself? If you are interested, drop me a message to Swedish lessons and I am sure we can work out something interesting!
Finally, did you hear that a robot recently reported having been molested by a human being? Its name is R2Me2 of course!


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Promoting action to build resilient and sustainable island communities
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"We are charting a path for future generations, stressing the importance of conservation throughout the region." ~ Dr. the Right Honourable Keith Mitchell, Prime Minister of Grenada.
"Protecting our natural resources is one of the biggest opportunities of our lifetime, and nowhere is it more evident than in the Caribbean." ~ Sir Richard Branson, Founder of Virgin Group.
On 17 May 2013, nine Caribbean governments, fifteen corporations and about 30 partner organizations (e.g. multilateral institutions, development cooperation agencies, NGOs and private foundations), met on Necker Island the home of Sir Richard Branson, Founder of the Virgin Group, in the British Virgin Islands and made a series of bold commitments to preserve and protect the region's marine and coastal environment. This Summit of Caribbean Political and Business Leaders, hosted by Dr. the Right Honourable Keith Mitchell, Prime Minister of Grenada and Dr. the Honourable D. Orlando Smith, OBE, Premier of the British Virgin Islands, and Sir Richard Branson, officially launched the second phase of the Caribbean Challenge Initiative (2013-2018).
From Commitment to Action
The Caribbean Challenge Initiative governments: The Bahamas, British Virgin Islands, Dominican Republic, Grenada, Jamaica, Puerto Rico, Saint Kitts and Nevis, Saint Lucia, and Saint Vincent and the Grenadines endorsed the 'Leaders Declaration', a bold and aspirational set of commitments guided by two overarching goals:
"20 by 20 Goal": In each participating country and territory, to protect at least 20 percent of the Caribbean's marine and coastal environment by 2020,
Sustainable Finance Goal: To achieve the "20 by 20 Goal", to have in place fully functioning sustainable finance mechanisms that will provide long-term and reliable funding to conserve and sustainably manage the marine and coastal resources and the environment in each participating country and territory.
Fifteen CCI companies - Bamboo Sushi, Disney Cruise Line, GOOD, Grupo Propagas, Grupo Puntacana, Guy Harvey Sportswear, KOR Water, NRG Energy, Royal Caribbean Cruises Ltd., Sandals Resorts International, Starwood Hotels and Resorts, Tiffany & Co., Tropical Shipping, Virgin Group, Hublot - signed a Corporate Compact committing them to funding for marine conservation, changes in business practices and support of the key commitments in the Leaders Declaration.
"As business and government leaders in the Caribbean, we have agreed today that both sectors need to work together to ensure that the beautiful marine and coastal areas in the Caribbean are protected." Caribbean Political and Business Leaders Summit Communiqué, 17 May 2013.
The Caribbean Challenge initiative has tremendous potential to chart a new course for the Caribbean's marine and coastal environment, and to deliver a brighter future for the people of the region.
Learn more about the Caribbean Challenge Initiative:
CCI Website: www.caribbeanchallengeinitiative.org
Download the 2017 Caribbean Challenge Initiative Fact Sheet
Download the 2017 Caribbean Biodiversity Fund Fact Sheet
Contact Hayden Redhead: This email address is being protected from spambots. You need JavaScript enabled to view it.
Contact Yabanex Batista: This email address is being protected from spambots. You need JavaScript enabled to view it.
Commitments news
Seychelles Blue Economy
Seychelles Blue Economy Vision Launched in 2014 to promote ocean based sustainab...
Front-line Cities and Islands
Welcome to Front-Line Cities and Islands! Photo: Centre President Tommy E. Remen...
Island Resilience Initiative
Island Resilience Initiative Against the backdrop of the "big four" internationa...
Palau National Marine Sanctuary
Palau National Marine Sanctuary On October 28, 2015 the President of Palau...
BEST Challenge
BEST initiative as the first interregional GLISPA challenge "BEST has helped to...
Malama Honua Worldwide Voyage
In May 2014, the traditional Polynesian Voyaging canoes, Hōkūle'a and her sister...
Aloha+ Challenge
"The Aloha+ Challenge is Hawai'i's commitment to Mālama Honua—to care for Island...
Caribbean Challenge Initiative (CCI)
"We are charting a path for future generations, stressing the importance o...
Micronesia Challenge
"Above all, the peoples of Micronesia share a common understanding that we are...
Western Indian Ocean Coastal Challenge (WIOCC)
"When you live on an island, climate change is a reality that you wake to face e...
Phoenix Island Protected Area
Phoenix Islands Protected Area (PIPA) was declared by the Government of Kiribati...
©2019 Global Island Partnership


KINTYRE: A Common Eider fem with a single duckling today (the first of the year) – (Eddie Maguire).
MID-ARGYLL: First juv Robins seen in Lochgilphead yesterday, also 6 prs of Greylags with goslings at the Add Estuary (Jim Dickson).
NORTH ARGYLL: Yesterday on the slopes of Beinn Lora, Benderloch, one Wood Warbler in song (Robin Harvey).
TIREE: 1 Knot at Sorobaidh Bay, 1 Whimbrel at Heylipol,1 Spotted Flycatcher, 1 Goldcrest, 2 Goldfinch and 2 Common Redpoll at Balephuil (John Bowler).
male RUFF – Tiree 22nd May (John Bowler).


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How PAC Almost Got Me
November 6, 2020 Brain Admin November 2020--Grammar One comment
By: David Stepanczuk
I've heard a lot of talk about Zoom fatigue. What has not been much talked about is computer fatigue. This includes eye strain and other physical and mental issues. It seems like a symptom of a greater issue: the perpetual anxiety cycle. I want to show you how I dueled with PAC.
Personally, this angst-fueled fatigue-fueled angst came as a nasty surprise with the advent of Emergency Remote Teaching (ERT). Since getting my first Mac in the 90s and joining the local Mac Users Group, I have come to treat my computer as an all-in-one tool. Many computer owners do not go much beyond emails, Facebook, and YouTube. At the other end of the spectrum are people like me, power users. We do everything with our machines. So then, why is it, I thought, that five weeks into ERT, when my teaching work is done, that I exit my private study like a patron fleeing a night club fire? Immediately I began paying attention to those Zoom fatigue articles, like the one written by Amanda Gillis-Furutaka. In a Zoom class after reading it, I got clearer focus. In Zoom, whether in all-class mode or breakout rooms, there was an even higher level of anxiety and fatigue than what would register in a bricks-and-mortar classroom. OK, but still why did I now want to get out of my study instead of lingering as usual? Why the latent anxiety, irritability, and sleepless nights?
"Computer fatigue is a symptom of a greater issue: perpetual anxiety cycle."
David Stepanczuk
TT Author
Computer fatigue is a symptom of a greater issue: perpetual anxiety cycle.
One of the factors was the way the coming online spring semester was treated by the four universities I work at. The famous public school barely communicated to me at all on how to teach. Two private schools insisted on 90-minute Zoom lessons. Another private university insisted that I do all of the missed classes as make-ups. That school does not require Zoom use, so how does one do an asynchronous make-up class? That produced a lot of anxiety, and that was only the start. I was hit with a tidal wave of English and Japanese paperwork to be read now and acted upon tomorrow. There were new guidelines, rules, pedagogical suggestions, and calls for ERT-focused weekly lesson plans and syllabi. Stuff came by snail-mail too—waiting outside for the COVID19 virus to die—amping up the anxiety-charged home atmosphere.
Then the semester began. Besides all of the paperwork, the following came around and decided to camp out in my daily routine: the perpetual anxiety cycle (PAC) of class prep, creating Google slides to show during Zoom sessions, uploading Google docs announcing the next lesson, and creating homework to be uploaded to the university learning management system, creating classwork, giving Google Form quizzes, crafting homework, grading homework, typing the Google Form quiz scores into my class roster, and finally answering emails, day after day, doing that for 400 students in 19 classes at four universities. In normal times, most of that work is done organically: mentally, visually, orally, and dexterously (by hand and pen). It's a job, but seasoning and experience make it doable. Accomplishing all that with technology adds a thick filter, a filter that has to be wrestled through to meet the daily PAC-causing deadlines. Here's a look at that filter and what it does to us.
The teacher sits alone in his office chair in his study and engages with the PAC. The micro moves and the waiting that ERT requires, all of the screen openings and closings, app changes, window openings and closings, precise cursor moves, countless mouse clicks, screen-fill lag-time waits, head shifts, gaze direction shifts, concentration refocusing, typing, retyping, the redundant typing, precise mouse positioning, and the copy and paste of grading writing. When finished, you move to another class on the same day at that same school. After you do that stretch, you take a deep breath and a long draft of iced lemon water. Then you repeat the PAC. Still, after that, there is prep for tomorrow. PAC. I read in the article, Computer Mouse Fatigue: (Getting M.A.D. with your Mouse) that problems from mouse overuse go beyond carpal tunnel syndrome. All of those 2-inch mouse movements total 100 km a year in normal times. How much further do our hands move during ERT? I can't count. I've made more typing errors, and dropped and knocked things over numerous times, as it says in the article.
Going through the PAC of ERT causes this kind of unexpected and persistent computer fatigue. At this point, it can be said without any need to cite supporting evidence that our stress levels are already high with self-quarantine under a COVID sun. The anxiety level of life in these small Japanese apartments is similar to that of life in a space station.
Because of the perpetual anxiety cycle I can't find time to get out into nature. The combination of that and self-quarantine, coupled with potential unemployment and bad financial news, and news of the USA riots, steals attention and has really drained me. I have noticed myself being much stricter with my students on Zoom, my face in the monitor becomes menacing like Big Brother.
Where then is the relief? Shinrin-yoku or forest bathing is specifically cited in the article, 21 Reasons You're Fatigued, as making one "less likely to ruminate on negative events or thoughts/emotions, which is often a precursor to depression, and more resilient in the face of stress." My version of forest bathing has been taking out my Fuji camera more often than usual and pretending to be a street photographer in the greater neighborhood of our condominium. One weird effect of PAC is that I have wanted to exercise more. I've noticed a change in my habits even since the start of ERT: I exercise more now than since I was a teenager on the football team. This human chicken wing can now do 38 push-ups. Another satisfaction is simply finding ways of getting things done efficiently.
Finally, I see a silver lining: when we do go back to the classroom, we will have added a trove of already-created-and-tested online expansions and enhancements to our teacher toolbox. What then of the perpetual anxiety cycle? PAC has come to occupy my study, my condo, and my life. Summarizing it, I can recall a quote from the TV show, M*A*S*H, about having to cope with persistent bombing in the mobile medical facility's area and attending to the never-ending stream of wounded: You get used to never getting used to it. Here I sit in my study, stretching, taking a deep breath, and taking a long draft of iced lemon water, still dueling with PAC.
David Stepanczuk is an American EFL instructor working in Japan since 1991. He has taught at six universities and at major Japanese corporations. He has two master's degrees, in education technology and in fine art, has published several papers, and has given several presentations for JALT.
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Jackie Carlson says:
Well written and organized summary of the current overload of mental and physical dilemmas presented by the remote teaching\learning "experience". Mr Stepanczuk's writing style brought visual images to mind readily. No wonder the PAC is alive and well on the planet earth. jesc


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HomeInterviewsDom Minasi Interview with Jazz Guitar Life
Dom Minasi Interview with Jazz Guitar Life
March 3, 2021 admin Interviews 1
"Yes, I think the label is confining, especially when radio supervisors refuse to listen to something with my name attached to it. They assume it will be too far out. First and foremost I consider myself a musician…that means to me, I can play on changes in or out. I can play free in or out. I can play tonally or atonally or polytonally. I can sight read, transpose and arrange for small groups or orchestra. I not only do not want to be confined by a 'label' but I get bored playing the same music all the time. I like variety and I like stretching the limits. With this definition in mind I'd rather be known simply as a 21st century musician/composer."
Dom Minasi is a truly gifted and adventurous jazz guitarist out of New York City who has played many styles under the Jazz umbrella and now plays in the avant-garde idiom. In this interview he shares his thoughts on everything from his musical background, to the realization that to be truly free one has to be honest and true to one's nature. A most revealing and wonderful read.
This interview was conducted via email June , 2004. Check out his website at www.domminasi.com/
JGL: How old are you?
DM: 61… born (3-6-43) March 6th same BD as Wes
JGL: What geographical area do you live in?
DM: I grew up in Queens NY and lived in NYC most of my adult life.
JGL: At what age did you first get into guitar playing and were you interested in jazz, be it free or otherwise, from the beginning or were there other musical interests before jazz? What was the motivating experience to get out involved in this particular music and instrument?
DM: When I was 4 years old my father & I went to visit an older cousin house. He picked up a guitar and started strumming chords. I was so intrigue by the idea of playing that I begged my parents for a guitar. Finally at age 7 I got one. I studied with one teacher for a year. I hated it and the teacher. It wasn't so much the studying of the instrument, it was the teacher. He was awful so I quit.
My parents found me another teacher by the name of Joe Genelli. He was everything a teacher is suppose to be. He became like a father to me. I stayed with him for 7 years. Joe was a consummate musician. He played all kinds of gigs including studio work. He was the one who taught Chuck Wayne to read. He also played lots of jazz. So I heard it from him.
When I went to John Adams HS I joined the ' swing band'..I was the baby in the band. All these guys were into jazz. The band loved to play so much so we would also rehearse outside of school. The first time we did was at the drummers house, Mike Simonetti. I got there early. Mike asked me if I ever heard of Johnny Smith. I didn't. He put on the "Moonlight In Vermont" album. I couldn't believe what I heard. He was amazing. A few weeks later I saw that Johnny Smith was appearing at Birdland ( the original one 1957) I begged my father to take me. I sat up front and watched with my mouth opened. I knew right there and then, that's what I wanted to do the rest of my life.
JGL: What kind, if any, formal training do you have (ie: lessons, schooling, that sort of thing). And how did these experiences help you get where you are today?
DM: Besides the first 2 teachers, I studied with Sal Salvador, Dan Duffy & Jim Hall. When I was 48, I went back to school to get a degree in composition and I studied with Dr. Monroe Cooper and John Corigliano. I also spent many years studying harmony & chord substitution on my own. I also spent many hours at Birdland, The Five Spot & the Vanguard watching and listening and learning from giants of the day.
JGL: What was your first guitar?
DM: I was so young, I don't remember what it was. I do remember it was a very small guitar. My second one was a Harmony non-cut-away. My first 'real guitar' was a custom made D'Angelico which John made for me when I was 15 years old.
JGL: What are you playing now?
DM: For recording and non road gigs I use a Carlo Greco Custom Archtop. ( Which is the best guitar I have ever played )
JGL: Who were your influences on jazz guitar when you were beginning?
DM: Everyone who was anyone then. Johnny Smith, Tal Farlow, Jimmy Raney, Chuck Wayne, Wes Montgomery, Sal Salvador, Mundell Lowe, Kenny Burrell, Barney Kessel, Les Spann, Jim Hall etc
JGL: Have they stayed the same or have they changed over the years?
DM: I stopped listening to guitar players when I was 17.. I had a friend , John Ruta, whenever we played on a job together he would say " today you sound like Tal Farlow or Wes" etc. I got so pissed off that I stopped listening to guitar players for years. I made up my mind I wanted to have my own sound and I liked the way horn players sounded more than guitar
JGL: Who are you listening to today (guitarists or non-guitarists)?
DM: The guitarist I like today are: Jim Hall, Vic Juris, Rodney Jones, Russell Malone, Jimmy Bruno, Pat Martino, Dave Stryker, Ken Hatfield, Joe Finn, Jay Carlson, Johnny Asia, Bruce Eisenbeil, Nels Kline, Derek Bailey, and Jonathan Kriesberg. I still listen to Miles, Monk, Trane, Cage, Schoenberg, Borah Bergman & Cecil Taylor, Mark Whitecage & Joe McPhee , Joe Giardullo. When I have a chance I listen to mostly non-conventional instrumentalist.
JGL: When you were younger what was your band experiences like? Did you have friends who were involved in music as well or did you have to search for people to play with.
DM: All the guys from my High School band and orchestra hung out and played together. I also had my own trio from the time I was 15. I started giging when I was 14. I joined the musicians union when I was 15.
JGL: Did you know early on that music was something you wanted to do as a career choice and if so, what were some of the things you did to make this choice work for you?
DM: Yes I knew early on as I mentioned earlier. When I was 18 I just started giging around with all kinds of different groups. In those days up to 1968 there was tons of work. I kept myself busy and 3 other guitarists busy. I also had a heavy teaching practice. The Beatles were hot and every kid in America wanted to play guitar.
JGL: Were your parent(s) and family members supportive of your musical career choice?
DM: Absolutely not! My father wanted me to be an accountant and my mother didn't care as long as I had a job and would someday marry an Italian girl. Up until her death this year at 93, the first question she asked when I called was "are you working? " and the the next was " are you getting paid?"
JGL: What was your practice routine like when you were beginning…
DM: In the very beginning it was 1/2 hour to 1 hr a day till I got the bug. By the time I was 14, I was practicing 10 – 12 hours a day in the summer and 6 in the winter. I would do something like 2- 3hours of warm-ups..different scales and arpeggios. 2- 3 hours of difficult reading, 2-3 hours working on chord melodies and learning tunes and another 2-3 hrs improvising. In those days, there were no books on chord substitution or on improvising. I learned to improvise by playing a chord and seeing & listening to what notes worked….we didn't have small tape recorders either. You were strictly on your own.
JGL:…and what is it like now? Are there specific areas that you work on or do you just play through tunes?
DM: Now I basically still do an hour of warm-ups ( scales arps etc.) sometimes I work on tunes, sometimes just free-form improv and sometimes I compose & arrange.
JGL: How difficult do you find it making a living as a musician? Or have you found it to be relatively easy?
DM: There were times in the early days when it was no effort at all, but I was playing all kinds of music then. Since the 70's it has gotten harder with each passing year. I survive mostly through workshops, arranging projects and private teaching.
JGL: How do you go about searching for gigs or do they come to you now that you are known? And what have you found in your experience that makes looking for gigs easier?
DM: I may be known, but I'm not a super-star. Gigs sometimes come and sometimes I have to actively pursue them, but the rep makes it easier to get through the door.
JGL: Could you describe some of your best musical situations or experiences and the worst?
DM: I think there are two "bests" for me. The first one was recording "Takin The Duke Out" ' live' at the Knitting Factory here in NYC. This was the debut of my new group with Jackson Krall-drums and Ken Filiano-bass and the first recording to be made for our new label CDM ( Carol Dom Minasi). Carol is the one who inspired me to see this through. I had no idea what to expect. We rehearsed, but rehearsing and playing are 2 different animals. I didn't expect anyone would show up and if they did, would I get booed off the band stand? You see, I knew this was a radical approach to Ellington and this might be our first and last gig and recording and besides that, we had to nail it in an hour. It was like magic. The place had standing room only. The 3 of us played better than we had expected and the crowd went wild after each solo or collective improv. Jazz journalist, Bill Milkowski was in the audience and he became an ally. He wrote the liner notes and helped spread the word about me.
The second was my first concert 30 days after I had quadruple by-pass heart surgery. Blaise Siwula-sax, had gotten a grant and there was no way to get out of if. So after speaking with Joe Diorio's wife ( Joe couldn't play for 6 months after his operation) I started practicing 7 days after the operation. I could only play for 10 minutes, but each day I kept increasing the amount of time. 30 days later I was performing with Blaise, Peter Kowald ( legendary avant- bassist from Germany who tragically died 2 days later from a heart attack), myself and drummer Jeff Arnell. I had played up to par and I was thrilled that I could, except that I was so exhausted I had to rest for 2 weeks. There have been too many bad experiences, but that goes with the territory. Not everyone is going to like or even try and understand what you are going." If you can't take the heat, get out of the fire."
JGL: What type of musical situation do you enjoy the most (ie: trio, quartet, duo, solo, etc.)
DM: The truth is I enjoy all of them.
JGL: You definitely have your own voice which obviously transcends the typical jazz guitar musings. Could you talk a bit about how you came to play the way you do?
DM: When I realized I wanted to be a different type of player I started listening a lot of Miles, Monk, Trane, Dolphy Albert Ayler, Cecil Taylor and many of the 20th century composers.
JGL: Who, if any, are or were your influences in this musical expression?
DM: All the above and vibraphonist, Harry Shepherd. Harry is an amazing player. Playing with him was an education in how music should be approached. Harry could do it all. Play in, out , in & out , free etc.
JGL: You are considered to be an avant-garde jazz guitar player. Yet there is obviously much more going on. Do you find this label to be too limiting, or is there another way to describe the type of guitarist/composer you consider yourself to be?
DM: Yes, I think the label is confining, especially when radio supervisors refuse to listen to something with my name attached to it. They assume it will be too far out. First and foremost I consider myself a musician…that means to me, I can play on changes in or out. I can play free in or out. I can play tonally or atonally or polytonally. I can sight read, transpose and arrange for small groups or orchestra. I not only do not want to be confined by a 'label' but I get bored playing the same music all the time. I like variety and I like stretching the limits. With this definition in mind I'd rather be known simply as a 21st century musician/composer.
JGL: Have you had much association with other free guitar players like James Blood Ulmer or Sonny Sharrock? And what is your impression of such guitar players?
DM: I never met them, and I never really listened to them till someone said I should. I have heard James play live. He has his own thing, but I don't consider him to be very out, but he is different. I like Sonny's playing. I also like Henry Kaiser & Marc Ribot & Elliot Sharp.
JGL: How has your music been accepted by the listening public?
DM: I play where I know the music is accepted. I have an audience when I play now, but I still couldn't get into a club like the Vanguard, they feel it's too out.
JGL: Do you feel that you have been accepted as a serious player by the jazz guitar world in particular and the jazz community in general, or is there a bias towards the music you play?
DM: There is definitely a bias towards what I play from the jazz guitar world. That doesn't mean guys like Pat Martino, Russell Malone, Jim Hall, Vic Juris or Rodney Jones. These guys are open to different approaches and they love the adventurism, but on a whole the guitar community in general is stuck somewhere between 1940 & 1962 and they put anyone down who doesn't fit into that mold of what they think jazz guitar should be. It's a shame too. There's room for everyone. We should be supporting one another not criticizing each other.
JGL: Amen to that Dom. Where would you like to see jazz guitar go in the coming years?
DM: As far as all the other instrumentalist have gone. The word here is searching. The guitar is an amazing instrument. Its only limitations are ones we put on it.
JGL: What is your focus when you give workshops? Do you come from a more traditional approach to improvised music or do you attempt to bring in elements of your own musical vision? And if so, how is the response.
DM: I approach from a traditional point of view and gradually bring in modern elements. Everything I play comes from a harmonic point of view. Once they understand what I am talking about ( it can be complex) they become more open and responsive.
JGL: In your role as educator you do a lot of work with children as well as having recorded a number of children's tunes. Could you talk about your role as educator and how Jazz and your music in particular has an impact on the younger generation. How have the children responded to your vision?
DM: Working with kids is as rewarding as any musical experience I've ever had. If you get them young enough you can get them to listen and love jazz. One of the workshops I teach is how to write lyrics and compose a blues. Most kids don't even know what a blues is unless they've seen the "Blues Brothers". I give them a short history on how and where it started and after they learn to write the lyrics to what I call a down & dirty blues. Then we move on to a rock & roll blues which is the same as early rhythm & blues. When that's done I teach them what a jazz blues sounds like and we work on scat singing. Kids love it and it introduces them to jazz. I am especially moved when teachers and principals tell me of kids who never responded but are now participating because of the music.
JGL: In a video interview with jazz critic Bill Milkowski you mentioned that you have found yourself having to shift from the music you like to play to the music that others want to hear…and that finally, you decided to only play the way you hear the music as an extension of your own voice. That was obviously a bold move on your part and one that I am sure wasn't taken lightly. Has this decision affected your getting work and musical social life in a way that you weren't expecting…Or has everything been positive?
DM: Many things have been positive. I have played with some of the best avant-musicians in the world. I have a great trio and my other groups are starting to happen and through the power of the internet I have connected with all kinds of people around the world and have re-connected with some I haven't seen or heard from in 30 years. Sometimes I feel like an outcast from the guitar world I grew up with, but that's the price sometimes for doing what you want. I play this music because I love to play it. I don't have to play it.
JGL: How have you been able to reconcile your musical expression with those who may not share your vision? Or has it not been much of an issue?
DM: As I said earlier, there are some that accept what I do and love it and some who hate. But I know I'm on the right path when Jim Hall comes up to me at the IAJE conference and tells me how proud he is of me or when Pat Martino hugs me and says "Dom I love your stuff".
JGL: Has living in, or around, New York been a help in getting your music taken seriously and finding the right musicians to play with? Or do you think that if something has musical integrity it can be accepted anywhere?
DM: Living and playing in NY is a definite plus. We have the best of everything here. We also have the worse. Like I said earlier I am fortunate to be among such greatness. But it is true. If the music has integrety and honestly it will stand up anywhere. I have found that when I play out of town, the audiences sometimes may not understand what the music is about, but they do respect the effort, honesty and musicianship that goes into it.
JGL: You compose for, and play in, many different groups. How do you maintain the energy, both musically and physically, with what seems to be a lot of different musical roles?
DM: Love! I love what I do. I love playing. I love teaching. I love composing and arranging. I love writing arrangements that make the cello, bass and guitar sound like an orchestra behind my wife's voice. I get bored fast…so maintaining and writing for all these situations is a joy.
JGL: Have you ever had second thoughts about your choice to have music as a career and if so, what other career path do you think you would have followed had you not been a guitar player.
DM: This will sound weird, but probably a cop. More like a detective. I am very nosey and inquisitive.
JGL: If there was one thing that you could do differently what would that be?
DM: I would not have turned down so many opportunities to go on the road when I was younger, especially with Buddy Rich for a 3 month tour, and there were many more like that.
JGL: Any advice for the younger guy or gal who is thinking about music as a living?
DM: If you are studying with a working musician ask him or her to take you along on some of the gigs, which should include the best and the absolute worse. You need to know what you have ahead of you. Practice as much as you can and learn to sight read.
There was a period in my life that reading kept me working. Learn to transpose instantly especially if you work with singers. Learn to play all kinds of music. You never know, you might need it someday. If you are young and a good player, don't be so cocky. There will always be someone better. Start networking young. Get to know as many musicians as you can. If you like the way someone plays, say it. If you don't, keep it to your self. What you say and do may come back and bite you in the butt someday.
If you are making a living playing music you have to be grateful you are playing music and your instrument and not swinging a hammer somewhere. Be generous with your knowledge. If you happen to be lucky enough to get lots of great press, great! Just don't start to believe everything you read about yourself. And if you happen to make it, don't stop growing as a musician/player. The path is called the path because it goes on and on and never ends.
JGL: Thank you Dom for participating on Jazz Guitar Life. It is most appreciated.
DM: Thank you for your insightful questions.
Sheryl Bailey Interview with Jazz Guitar Life
Pat Metheny: New label – New CD – March 5, 2021
Dom Minasi – 5 Desert Island Picks – Jazz Guitar Life


Wow, it's been a whirlwind lately with traveling home to Prague and dealing with health issues. Things were very crazy last week after I came home. A week ago Sunday, Jiri ended up at the emergency room (where his mother lives) for severe abdominal pain. They found it was his gallbladder causing the problem and gave him some shot (what--he doesn't know) and sent him home. Monday, Jiri was back in Prague and trying to get ready to meet me at the airport. The whole day he was ill and in great pain. When we met at the airport (he hadn't yet told me about the Sunday emergency room visit), I could tell that he was sick and urged him to go to the doctor. But no--he's a very stubborn guy--and said he was fine.
Tuesday morning Jiri went to work, still feeling pretty bad (though he said he was fine). But something made him visit his doctor, and his doctor immediately sent him to the hospital for tests. At the hospital, they discovered a stone was causing the problem...it was blocking bile from leaving the gallbladder. The bile was very infected and the infection and inflammation were spreading to other places in the abdomen. Not a good scenario. Jiri had to stay at the hospital and began receiving high doses of antibiotics and other meds. Everything was getting better, until Thursday morning when blood tests seemed to show more trouble. Thankfully a sonogram showed things were OK, and surgery was averted--for the time being. Friday Jiri was able to come home. The doctors have urged that surgery is necessary, but Jiri has some things at work that need to be taken care of before he will have the surgery. Ach jo...now it looks like the surgery will have to wait till November. I'm hoping and praying that Jiri's gallbladder will cooperate and wait to be taken out in November!
This is what I walked back into last week when I got home here, to Prague. It's been a very interesting experience--one of the first health emergencies (dealing with one of us) Jiri and I have had to deal with as a married couple, and this was my first experience with a Czech hospital. Last week was very stressful and then dealing with my own current health situation--has left me kind of drained. However, everything is going OK and things are gradually improving (including me)...so I can't complain at all!
Jiri was in Bulovka Hospital, in Prague 8. This is a typical Czech hospital in that there are many buildings on a "campus" setting. We have similar settings in the US. However, the difference comes when looking at the age of the buildings. Jiri was in a very old building that actually looked more like a former castle or hotel. I'm not very good at judging the age of a building, but it looked like this "castle" might have been built in the 1700's or 1800's. It was a nice, grand old building. Once inside, the building was kind of dreary, but immaculately clean. Jiri was in a ward for internal medicine, and there were probably about six other patients there, in the same room. Actually, Jiri had a small side room (with three beds in it) all to himself. That was really nice. Private rooms are available, but they are very expensive. So, Jiri stayed in the ward.
All the beds in the ward looked as if they were from the 1940's--no kidding. They were adjustable, but only with hand cranks...no electric beds. There were no TVs in the ward, and a single window. Of course, I'm used to US hospitals where we have two people to a room, or even a private room, with TV, a bathroom for that specific room, privacy curtains, everything is very modern, etc. This is all I've known, never having lived outside of the US before moving to the Czech Republic. What surprised me more was what was necessary to pack for Jiri's stay in the hospital. The list included soap and shampoo, a towel and wash cloth, and toilet paper. These were surprising for me! These are automatically part of a stay in a US hospital. Of course, you end up paying for these, but they are supplied at the hospital. Czech hospitals, in asking patients to pack even their own toilet paper, are trying to keep the costs down for the hospital and patients. This is a good thing--just something very different than what I've been used to in the US.
Jiri's small room off the ward was not depressing--it was painted with nice, bright colors and was so clean you could eat off the floor! There was plenty of light, and a small sink near his bed (that served the whole room of three beds). All the medical equipment was very modern (aside from the beds, and each bed did have a call button to call a nurse), and the doctors and nurses were all very nice and helpful--very pleasant people. One nice thing, too, was that Jiri was able to keep his cell phone and use it there, in the ward.
All in all, it was a good first experience with a Czech hospital. Now, I'm not sure how I would do in such a setting--I'm used to privacy and am a very modest person. But for a first experience with a loved one in the hospital it was OK. Jiri was very well taken care of and looked after...and everyone was very nice to me, too. I can't complain at all, and am happy that the doctors were able to "patch up" Jiri till he will relent to have the necessary surgery!
Well, that's all for today! I'm working on the WBSD sign-up, and will have that ready later this week. I'm also getting back into dropping Entrecards--and will get that caught up this week, too!
I hope Jiri feels better and you too! Were there enough nurses? I know the Czechs are having a hard time keeping them at home when they can go elsewhere in the EU and make more money.
All the best to both of you.))!!!!
Thanks--we're both in progress..and hopefully will be back to normal soon!
Yes, there were enough nurses...there didn't seem to be a shortage, though it could have been due to there not being so many patients while Jiri was there. I'm not sure and was too caught up in everything to check on that. But definitely--the Czech Republic is facing a nurse shortage as a whole.
Thank you, and the same to you! We hope you have a very quick recovery from your double pneumonia!
There's a lot of health trouble going around lately!!
Gosh - that was some homecoming! I'm so glad that your husband got to the doctor in time and that he felt better after his stay in hospital.
I wish you and him a full recovery very soon.
We're both coming along...Jiri will have surgery later in the Fall...and my doctor is still sorting me out, though it looks like we found the culprit--and we're hoping treatment will eventually bring things back to normal!


text:
Q: Flipping coin simulation with gain/loss Suppose you successively toss a fair coin and each time the result is
heads, you win $1, while if you get tails you lose 1$. Your initial capital is
3$. The throws stop if your capital is zeroed or you reach 10$. Let X_n be the
process that describes your chapter during the nth throw.
Simulate the X_n process 1000 times and present the graph
of its evolution through R.
2. Estimate the average number of consecutive throws until you stop. Is the result expected?
Can someone help me solve this or at least understand the steps I am supposed to take?

A: Someone already posted a link to a solution of your homework in the comments. I fear, however, that this uncommented code is incomprehensive for you, given that you have asked the question in the first place.
I would therefore suggest to first write your own implementation with an outer for loop and an inner while loop conditioned upon the running capital, call rbinom in each run and recompute the running capital. Store the resulting runs in a numeric vector and call mean on this vector.
It will start becoming interesting when you measure the runtime of your solution, which will be surprisingly slow. To speed it up, you must use "vectorization", which the linked to solution uses, but this is a completely different topic to be left for a different lesson...


text:
<?php

declare(strict_types=1);

namespace ApiPlatform\Tests\Fixtures\TestBundle\Entity;

use ApiPlatform\Doctrine\Orm\Filter\NumericFilter;
use ApiPlatform\Doctrine\Orm\Filter\OrderFilter;
use ApiPlatform\Doctrine\Orm\Filter\RangeFilter;
use ApiPlatform\Metadata\ApiFilter;
use ApiPlatform\Metadata\ApiResource;
use Doctrine\ORM\Mapping as ORM;

#[ApiFilter(NumericFilter::class, properties: ['nameConverted'])]
#[ApiFilter(RangeFilter::class, properties: ['nameConverted'])]
#[ApiFilter(OrderFilter::class, properties: ['nameConverted'])]
#[ApiResource]
#[ORM\Entity]
class ConvertedInteger
{
    #[ORM\Column(type: 'integer', nullable: true)]
    #[ORM\Id]
    #[ORM\GeneratedValue(strategy: 'AUTO')]
    private ?int $id = null;
    /**
     * @var int
     */
    #[ORM\Column(type: 'integer')]
    public $nameConverted;

    public function getId()
    {
        return $this->id;
    }
}

redpajama_set_name: RedPajamaGithub


merry trees! this tres chic holiday card is artisan letterpress printed by hand in vibrant lime + ebony inks on a 4.25" x 5" luxuriously double-thick flat white card. notable for the ultra-luxe finishing touches of rounded card corners and hand-painted edging in lime ink for an unexpected burst of colour. reverse side of card has "to" letterpress printed at the top in lime ink and letterpress printed branding at the bottom of the card, with space in the center of the card for your personal message and/or a small photo.