text:
Real Housewives of NJ Return for Season 6 July 13th: RHONJ Viewing Party at Pure Parsippany Doubles as Fundraiser for Dina Manzo's Project Ladybug and Deborah Hospital
Teresa Giudice and Dina Manzo at Project Ladybug Fundraiser
Article written by and photos by Suzanne Ordas Curry
THEY'RE BAAACCKKK! Well, not all of them. RHONJ Caroline Manzo is off to do her own show, RHONJ Jacqueline Laurita is not returning and the Wakile Family and lively sister Rosie will have less air time. But we have Dina Manzo returning and some new ladies, Amber Marchese and a set of identical twins, Nicole Napolitano and Teresa Aprea, adding to the mix this year.
Last year lacked that table-flippin drama we've all been accustomed too.. here's hoping the new chicks have some strong opinions and arms!
The ladies started their publicity tour already, appearing on fourth hour of The Today Show with Kathy Lee and Hoda. Dina, Amber and the twins sat on the couch and discussed the new season.
Dina Manzo at Goddess Night Out
What I like to hear is when people use their presence to forward a cause. Dina Manzo has Project Ladybug, a wonderful organization which fund programs for sick children and their families for several East Cost hospitals including St. Joseph's Children's Hospital in Paterson, NJ. I had heard that Amber was a breast cancer survivor, and she talked about it with the ladies on the Today Show, telling them that it would be part of the storyline. Amber talked how she wanted to bring awareness to the disease, which she said "could potentially save another life". You go girl!!
The twin sisters talked about how they were excited to be on TV and to do the show. Nicole said she thought "it would be so much fun to do something with Teresa." They talked about who was going to get into the thick of things in the show, which prompted Teresa to say "I don't really tackle the issues, they find me!"
So, now there are two Teresas on the show. If you live in NJ, at least northern NJ, there are an awful lot of Teresa's, so it's not uncommon to have two Teresa's in a room or for that matter several Lisa's, Anthony's Michael's and Frank's.
New RHONJ are bookends to fan fave Rosie
The twins are from Colts Neck, NJ. All three ladies are friends of Melissa Gorga's. I went to a Fashion Show where the newcomers were appearing in Paramus, NJ this past spring and no one knew who they were. I think that's about to change.
If you are in the North Jersey area, the Real Housewives of NJ are holding a Real Housewives Viewing Party at Pure Parsippany, 707 Route 46 in Parsippany, NJ. It goes from 1 pm to 10pm. I am sure BRAVO will be playing on all TV's in the lounge, especially at 8pm when the season premiere airs. I am fairly certain it is probably the only time BRAVO will be on every TV in the lounge, maybe any lounge for that matter, but it certainly is a refreshing change from the proverbial sports rampant on the TV's in most bars.
This event promises to be a lot of fun and what I have found is that the RHONJ are all very personable and accessible at events like this and love chatting it up with anyone that introduces themselves. And to top it off this party acts as a fundraiser for Dina's Project Ladybug and the Deborah Hospital Foundation in Burlington County, NJ. This latter foundation has is well-known and respected in NJ and supports programs and care for people with heart, lung and vascular disorders. It has been in existence for decades.
Tickets are $100 each and can be purchased here: http://www.eventbrite.com/e/real-housewives-of-new-jersey-premiere-party-for-charity-tickets-12127831671?aff=eorg
For more information on Project Ladybug click here: http://www.projectladybug.org/
For information on the Deborah Hospital Foundation click here: http://www.deborahfoundation.org/
For all you RHONJ fans here some photos of the lovely ladies over the years. They were taken at events in NJ.
Note- you can use these photos as long as you credit me and don't sell them for profit.
You can also see some behind-the-scenes videos of the RHONJ on the SBTS Channel:
https://www.youtube.com/channel/UCP76bJLy-wwK-X6yPj8zMzQ
RHONJ PHOTO GALLERY
Why Carly Blaney from SO YOU THINK YOU CAN DANCE R...
RHONJ Season 6 Kicks off with Local Party in NJ: D...
Hard Choices: Hillary Clinton Comes to North Jerse...
CASA for Children of Bergen County To Participate ...
INTERVIEW: Author A. J. Colucci Delves Into the Ee...
Event: Critically-Acclaimed Thriller Novelist AJ C...
View: NJ Resident Rosie O'Donnell Takes a Seat on ...
Real Housewives of NJ Return for Season 6 July 13t...
Carly Blaney- So You Think You Can Dance, Huh?: Je...
Bill and Willie Geist's Book Good Talk, Dad Explor...


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Home > Sale Items > Sale Various Performances > Menachem Wiesenberg (Classics Live LCL 804)
Item# P0111
P0111. MENACHEM WIESENBERG, w.Tabea Zimmermann, Uri Vardi, Ronald Leonard, Taiseer Elias, The Jerusalem Quartet & Yehuda Gilad Cond. Colburn Orch.: Monodialogue (Played by the Composer). (Germany) Classics Live LCL 804, Live Performances, 1991-2001. Long out-of-print, Final Sealed Copy! - 4015512008044
"Menachem Wiesenberg, composer, arranger, pianist and educator is one of Israel's most varied and acclaimed musicians. Mr. Wiesenberg is winner of the 2010 life time achievment Award in Composition granted by the Society of Authors, Composers and Music Publishers in Israel (ACUM Ltd.). He is the winner of the 2008 Landau prize for the Performing Arts in the Classical Composition category and the 1998 Prime Minister prize for composition. He was awarded the 1992 prize for outstanding achievement in the concert music field by the Society of Authors, Composers and Music Publishers in Israel (ACUM Ltd.). He was granted fellowships as composer in residence by the Rockefeller Foundation, the Bogliasco Foundation and the Virginia Center for Creative Arts.
Mr. Wiesenberg's commissions and composers' awards have been received from the Oregon Bach Festival, the Arts Council of England, the Schleswig-Holstein Festival in Germany, the Lille Festival in France, the Deutsche Kammerphilharmonie Bremen, the Wisconsin University, the Relache Ensemble in Philadelphia, the Council for Culture and Arts in Israel, the Tel-Aviv Foundation for Culture and Arts and the Arthur Rubinstein Foundation among many others.
His music was performed by ensembles such as the the Berlin Philharmonic Strings Octet, the Jerusalem Quartet, the Huberman Quartet, the Aviv Quartet, the Lumina Quartet, the Relache Ensemble, the Musica Nova Ensemble, the 21st Music Ensemble and by soloists such as the German Violist Tabea Zimmerman, the American cellist Ron Leonard, The Principal Clarinet Player of the Berlin Philharmonic Orchestra Karl Heinz Steffens, the Israeli Violinist Hagai Shaham, the Cellists Hillel Zori and Zvi Plesser and the singer Mira Zakai. Mr. Wiesenberg has garnered renown for his arrangements of Israeli and Yiddish folk songs, and his interest in the folk music of his native land serves as a fundamental influence throughout all of his compositional activity.
Mr. Wiesenberg has given Composition Master Classes and Lectures in many Academies in the States and in England, among them should be mentioned The USC, the Oregon University,the New England Conservatory and Mannes College in the USA, The Guildhall School of Music and Drama, the Royal College of Music and the Royal Academy of Music in London, the RNCM in Manchester and the Faculty of Music at the Oxford University."
- Jerusalem Academy of Music and Dance

redpajama_set_name: RedPajamaCommonCrawl


Ken Barrett Chevrolet-Cadillac will return for the second year in a row as the presenting sponsor for the return of the ULMS Super Late Model Tour Race on August 10th! One of the most highly anticipated shows of the season, the fan favorite Super Lates will return to the Place to Race! After spirited battles the previous two years with Brady Wonderling and Max Blair emerging with the victories, this year looks to be no different as the ULMS Tour boasts an impressive lineup and a $10,000 to win championship.
Ken Barrett Chevrolet-Cadillac is your dependable dealer for new and used vehicles! The dealership is located right in the heart of Batavia, NY and offers a huge selection and great service! We can't thank Ken Barrett and crew enough for coming back on board to support Genesee Speedway.


Governor Nathan Deal of Georgia has appointed a spokesman for the Georgia Immigration Panel, referred to by critics as a "hate group." The main function of the panel is to determine if the restrictive new immigration measure of the state is being enforced properly.
The board, which is composed of 7 members, is tasked to investigate any complaint lodged by citizens regarding local governments, as well as law enforcement agencies that are not properly enforcing the tough new immigration law of Georgia, which took effect on July 1.
The mandate of the panel includes subpoena power, the authority to levy fines and revoke the local governments' charters. According to the spokesman of Gov. Deal, the panel will not have any paid staff or budget except reimbursements for the travel expenses of its members.
The newly appointed spokesman, Phil Kent, is reputed to have once called a group of African asylum seekers as "primitive peoples." He is the national spokesman for the group Americans for Immigration Control. He is also a former spokesman for Republican Sen. Strom Thurmond from South Carolina and a former newspaper editorial page editor.
Kent is also the executive director of Americans for Immigration Control Foundation and currently serves on the ProEnglish board, an organization that is lobbying to make English the official language of federal, state and local government.
In 2004, He wrote that political refugees coming from other countries should not be welcomed into the United States. Instead, the State Department should direct them to other developing countries.


Designed with pushing and pumping in mind, as well as comfort and response, the Century 40 has it all. From the 2 inch drop to the wedge/dewedge system, this board will go the distance. We have revamped the construction to 7 plies of maple with embedded fiberglass—a sheet of fiberglass underneath the face plies—for added response without the possibility of tearing the fiberglass.


text:
using BNQ.Core.Models;
using BNQ.Core.Tools;

namespace BNQ.Core.Search
{
    public static class Evaluator
    {
        private static readonly SnapCall.Evaluator evaluator;
        private static readonly System.Random random;

        static Evaluator()
        {
            evaluator = new SnapCall.Evaluator("./seven-card-table.bin", debug: false);
            random = new System.Random();
        }

        public static void Initialize()
        {
        }

        public static double Evaluate(GameState state)
        {
            //if (evaluator == null)
            //{
            //    return 0.1d;
            //}

            var heroHand = state.Hero.HoleCards | state.Board;
            //var villainHand = BoardGenerator.GenerateHand(heroHand) | state.Board;
            //var heroStrength = evaluator.Evaluate((ulong)heroHand);
            //var villainStrength = evaluator.Evaluate((ulong)villainHand);

            //if (heroStrength > villainStrength)
            //{
            //    return (state.Pot / 2);
            //}
            //else if (heroStrength == villainStrength)
            //{
            //    return 0.0d;
            //}
            //else
            //{
            //    return -(state.Pot / 2);
            //}

            var villainWins = VillainWins(state, heroHand);
            var evaluation = villainWins ? -(state.Pot / 2) : (state.Pot / 2);

            return evaluation;
        }

        private static bool VillainWins(GameState state, Card heroHand)
        {
            var heroStrength = new SnapCall.Hand((ulong)heroHand).GetSevenCardStrength(
                (ulong)heroHand, evaluator.HandRankMap);
            var chance = random.Next(1, 1001);
            var villainPlayed = state.Hero.IsToPlay;

            switch (heroStrength.HandRanking)
            {
                case SnapCall.HandRanking.HighCard:
                    switch (state.LastAction)
                    {
                        case Action.Check:
                            return chance > 200;
                        case Action.Call:
                            return villainPlayed ? chance > 50 : chance > 333;
                        default:
                            throw new System.InvalidOperationException();
                    }
                case SnapCall.HandRanking.Pair:
                    switch (state.LastAction)
                    {
                        case Action.Check:
                            return chance > 500;
                        case Action.Call:
                            return villainPlayed ? chance > 150 : chance > 500;
                        default:
                            throw new System.InvalidOperationException();
                    }
                case SnapCall.HandRanking.TwoPair:
                    switch (state.LastAction)
                    {
                        case Action.Check:
                            return villainPlayed ? chance > 850 : chance > 750;
                        case Action.Call:
                            return villainPlayed ? chance > 350 : chance > 500;
                        default:
                            throw new System.InvalidOperationException();
                    }
                case SnapCall.HandRanking.ThreeOfAKind:
                    switch (state.LastAction)
                    {
                        case Action.Check:
                            return villainPlayed ? chance > 900 : chance > 800;
                        case Action.Call:
                            return villainPlayed ? chance > 700 : chance > 900;
                        default:
                            throw new System.InvalidOperationException();
                    }
                case SnapCall.HandRanking.Straight:
                    switch (state.LastAction)
                    {
                        case Action.Check:
                            return villainPlayed ? chance > 925 : chance > 750;
                        case Action.Call:
                            return villainPlayed ? chance > 650 : chance > 925;
                        default:
                            throw new System.InvalidOperationException();
                    }
                case SnapCall.HandRanking.Flush:
                    switch (state.LastAction)
                    {
                        case Action.Check:
                            return villainPlayed ? chance > 930 : chance > 875;
                        case Action.Call:
                            return villainPlayed ? chance > 725 : chance > 900;
                        default:
                            throw new System.InvalidOperationException();
                    }
                case SnapCall.HandRanking.FullHouse:
                    switch (state.LastAction)
                    {
                        case Action.Check:
                            return villainPlayed ? chance > 980 : chance > 925;
                        case Action.Call:
                            return villainPlayed ? chance > 920 : chance > 950;
                        default:
                            throw new System.InvalidOperationException();
                    }
                case SnapCall.HandRanking.FourOfAKind:
                    switch (state.LastAction)
                    {
                        case Action.Check:
                            return villainPlayed ? chance > 990 : chance > 985;
                        case Action.Call:
                            return villainPlayed ? chance > 985 : chance > 975;
                        default:
                            throw new System.InvalidOperationException();
                    }
                case SnapCall.HandRanking.StraightFlush:
                    switch (state.LastAction)
                    {
                        case Action.Check:
                            return villainPlayed ? chance > 998 : chance > 995;
                        case Action.Call:
                            return villainPlayed ? chance > 985 : chance > 975;
                        default:
                            throw new System.InvalidOperationException();
                    }
                default:
                    throw new System.InvalidOperationException();
            }
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Repair Man
The wreckage was still smoking; isolated fires still nurtured contently in hidden corners, flowing unnaturally in the zero gravity. Case Omnicron scrutinized the debris, focusing briefly on a promising crate or box before moving on. The assailants of the large cargo vessel hadn't left a lot behind. Normally, Case wouldn't stoop so low as to scavenge destroyed ships for scraps, but he made an exception this time as the cargo vessel was essentially a fresh carcass. Case had witnessed from afar the fierce battle between the cargo ship and the two frigates attacking it. The cargo ship put up a surprising amount of resistance, maiming one of the heavily armed frigates before going down itself, hinting at lucrative cargo on-board. Case had waited for the remaining frigate to finish rummaging through the wreckage, as the capsules of the destroyed vessels made their way to the nearest station. The reunion of the downed pirate with the crew of the cargo vessel on the station would undoubtedly be quite colorful.
Fifteen minutes later Case set his course away from the wreckage, his azure-colored ship streaking away from the smatter of asteroids that encircled the battle scene; he didn't want to spend too much time snooping around in case the pirates or the cargo vessel crew returned to the scene. Besides, he had just snatched a cargo container full of valuable trade goods and had no intention of getting caught with it. Case considered himself a lucky man. Ever since he first set out as the sole captain of a small space frigate some six months earlier, it seemed like fortune had smiled upon him. It was like he had an uncanny sense of being at the right place at the right time, without ever being able to explain this 'gift'. Yet he always had a nagging feeling that he was somehow wasting his time; that he was meant to be doing something far greater and nobler, but was never able to grasp what this elusive thing was. As Case aligned his ship towards the nearest stargate, this feeling of loss; of being the missing link in some grand inter-stellar puzzle devised by an unseen but all-knowing being haunted his thoughts once again. As he was about to activate the warp drive, his mind went blank; his unconscious body slumped inside the ship's capsule.
The two tiny ships approached Case's blue vessel at a leisurely pace. Their hulls, if they'd been visible, were a multi-colored swirl, like an oil spill. The ships glided silently to either side of the larger frigate, complex arrays of sensors prying apart every detail about the man and the machine they were focusing on. A quiet conversation between the two captains ensued. 'Is this the man we want?' said one. 'This is him,' the other replied. 'I will start my work.'
The one stood guard, while the other worked in silence. His mind subtly instructed the sensors, sending data directly into the mind of the comatose captain within the blue ship. It only took a few minutes. 'Is it done?' one said. 'It is,' the other said. 'I will awake him now.'
The two captains watched as the slightly bewildered Case Omnicron, oblivious to those watching him, finally made his way to the stargate. 'Has the behavioral pattern been aligned correctly?' asked one. 'Yes, he will do much better now,' the other answered with pride. Then, the hunter and the repair man, activated their own warp drives and started their journey home.


text:
Thomas A. Robinson
Texas workers compensation
Immigration Reform and Control Act
retaliatory discharge
Immigration Status
California workers compensation
Delaware workers compensation
Florida workers compensation
Illinois workers compensation
Missouri workers compensation
national workers compensation news
New York workers compensation
North Carolina workers compensation
Ohio workers compensation
Oklahoma workers compensation
Oregon workers compensation
Pennsylvania workers compensation
state-by-State Workers' Comp News
United States: Sixth Circuit Chooses to Dodge Federal Immigration Issue In Retaliatory Discharge Action
Reversing a decision of a federal district court that had ruled the retaliatory discharge provision of the Tennessee Workers' Compensation Act was preempted by the Immigration Reform and Control Act of 1986 ("IRCA"), the Sixth Circuit Court of Appeals held the trial court should have considered the preliminary issue of whether there had actually been any retaliation on the part of the employer. Without such retaliation, there would have been no need to consider the preemption question, said the Sixth Circuit. Federal courts should always endeavor to decide the cases before them on as narrow a ground as possible. The Sixth Circuit indicated that by taking up the IRCA preemption question first, the district court had engaged in answering what may well have been only a hypothetical question.
Thomas A. Robinson, J.D., the Feature National Columnist for the LexisNexis Workers' Compensation eNewsletter, is co-author of Larson's Workers' Compensation Law (LexisNexis).
LexisNexis Online Subscribers: Citations below link to Lexis Advance.
See Torres v. Precision Indus., 2019 U.S. App. LEXIS 26907 (6th Cir., Sept. 6, 2019)
See generally Larson's Workers' Compensation Law, § 104.07.
Source: Larson's Workers' Compensation Law, the nation's leading authority on workers' compensation law
For a more detailed discussion of the case, see


Happiness in your home often equates to happiness in your daily life. It is normal to spend a lot of time at home, so it should be comfortable. Try to turn your home into a nice place so that you will feel good in doing things while at home. Below, please find some great tips to make your home a place you love even more.
Your home needs to be a place that you are truly comfortable in. If little problems are making it hard for you to enjoy your home, then you need to be proactive about fixing them. To be completely happy in your life, you need to enjoy your home. If you are unhappy with something in your house, like an old bathroom that needs to be remodeled, take the time to change it into something that you really love.
It is wise to make your space larger. In some cases, you simply run out of space, and reorganizing just puts the same clutter in a different place. If this has happened to you, consider adding more space to your home. Even the addition of a bit more space can make the room or area feel less cluttered and confining.
Pools and hot tubs add recreational areas to your home. Not only will these objects provide you with extra entertainment, but they also make your home appear nicer. They have the added bonus of raising the value of your home as well.
Assess the lighting and light fixtures in your home. The type of lighting that you have can greatly alter the mood and look of an area. Consider installing new fixtures in a dark corner or updating existing figures with something brighter and more modern. As light fixtures can be changed quite easily, even for a beginner, consider doing this yourself to save costs.
Create a green space. Turn a corner or the whole of your yard into a beautiful, lush garden to give yourself one more great reason to stay at home. It doesn't matter if you already have a gardener. You'll still get pleasure from doing the work yourself. Plants also offer the benefit of making the air more pleasant, while being able to customize your garden to grow vegetables, herbs or flowers.
Updating your home by installing new windows or replacing the roof, or even repainting it, can improve the way you view it. By making these improvements in your home, you will be thrilled with the changes that have been made. You will feel happier when you approach the house.
Our homes are places where we spend an inordinate amount of time. A good investment for your future happiness and financial stability is improving your home.


text:
Q: Is it possible to carry local RSA keys to remote computer (live) and use securely? Is it possible to store an SSH-id in some sort of session (like expect or ssh) that is running on the local machine, swing into a remote box, and execute a shell command in the remote box as if the SSH-id is on that remote box, even though it is actually in-memory in the live session on the local box?
Basically, is it possible to proxy the shell on a remote, run shell commands on the remote, with the local ssh daemon in-the-loop?

redpajama_set_name: RedPajamaStackExchange


text:
Journal of the History of Medicine and Allied Sciences
Picturing the Book of Nature: Image, Text, and Argument in Sixteenth-Century Botany and Anatomy by Sachiko Kusukawa (review)
Daniel Brownstein
Picturing the Book of Nature: Image, Text, and Argument in Sixteenth-Century Botany and Anatomy by Sachiko Kusukawa
Daniel Brownstein, Ph.D.
illustrations, print culture, history of the book
Sachiko Kusukawa. Picturing the Book of Nature: Image, Text, and Argument in Sixteenth-Century Botany and Anatomy. Chicago, University of Chicago Press, 2012. xvii, 331 pp., illus., $45.00.
Rather than use "the book of nature" in a metaphorical sense, Sachiko Kusukawa makes a compelling case that illustrated books of anatomy and botany similarly directed attention to material structures of nature in sixteenth-century Europe. Showing that illustrated books stand in a complex relation to the practices they record, she argues in this beautifully produced volume that authors adopted engraved images to define "nature" as a material form of evidence in distinctly modern ways.
Kusukawa shows how the assembly of books restored the premium ancient writers placed on "seeing for oneself [autopsia]" in ways "integral to the Renaissance enterprise of reviving classical knowledge" (125). She argues that images in botany and anatomy texts after 1530 delineated natural structures both to resolve debates of translation and to synthesize observations by which natural structures "became visible" (257) in ways independent from stylistic shifts of art. Kusukawa demonstrates that naturalists defended their right to illustrate their work with the fixed outlines, volumetric shading, and delineation of wood and copper engravings, thus mediating their first-hand observations through printed form. Her argument extends the classic thesis of William Ivins that "exactly reproducible pictorial statement[s]" rationalized nature (Prints and Visual Communication, Cambridge: MIT Press, 1969, 23–24, 46). Her attention to how authors integrated images to create arguments rooted in observations unpacks Ivins's claim and extends his argument in at least three ways: by demonstrating the investment of a northern European milieu in securing privileges for prints to make knowledge claims in their illustrated books; by showing the value of the precision with which engraved images could embody synthetic observations; by highlighting the [End Page 496] common attention to preserving lifelike design both in commentary devoted to botanical images and anatomists' attention to deploying lifelike images of natural bodily structures.
Kusukawa argues that naturalists and anatomists both synthesized perceptions by appealing to the natural structures they observed: both cast their work as a form of research, deploying images to promote nature's legibility even in cultures skeptical of images' authority. The impact of these books revised the "assumptions and presuppositions for such a pictorial knowledge among university-educated physicians," (21) who viewed images as valuable "sites for viewing nature" (113). Visual arguments in the text mediated by single-line engravings provided a form of modernity in the printed book that distanced it both from mechanical expertise and from the rhetorical model. Kusukawa claims that the use of images as the "visualization of a method of identification" (111–13, 143) presented "laws of nature" (105) that Andreas Vesalius refined in his writings on human anatomy. Vesalius, often cited as a crucial figure in medical modernity, learned from botanists' how to use woodcuts as versatile media to synthesize observations, relating hidden structures of the human body to one another by modulated shading, letter-punch, cut-away views, and sequential images. This allowed Vesalius to make analogous critical arguments about differences between animal and human anatomy that revealed his own surgical expertise in the manner of botanists' illustrated books. She argues that the precedent of botanists like Fuchs encouraged Vesalius to picture body parts "according to nature [secundum naturae]" by a similar "pictorial argument" (227), leading Vesalius to deploy illustrations first in university lectures and then in books as a way to "delineate" the "natural form" of human from animal anatomy. His books included hundreds of carefully situated images with an abundance of detail, unlike earlier anatomical treatises (192–95). Vesalius invested energy and funds producing engravings for De humani corpris fabrica (1543) to explain relations between body parts by expanding the role of images to a "visual commentary" on skeletal, muscular, and venous anatomy. He did so with such authority that it became "inconceivable" not to use images in anatomy, irrevocably changing anatomical expertise (233ff.).
The evidence Kusukawa assembles departs...


Thanks! A combination of scheduling issues, and a lack of prospects that you'd want to drive 70 miles to see, kept me from seeing any a-ball games in North Carolina last summer, but it looks as though it'll be worth watching for when Greenville comes to town.
MY home teams are Asheville, Greenville and Hickory (all within 70 miles of me). Unlike prior years In 2018 they all seemed to run together, home at the same time and on the road at the same time. So every other week all were on the road and then when they all came home I had to choose between 3 match ups and they never seemed to favor Greenville. So I made just 3 trips instead of my typical dozen or so.
Fortunately this won't be an issue this yr.


In this article I will show you how you can bind image to a webgrid in an mvc application using c#.net. In this we will use to bind the image data to image control present in the mvc webgid. This article we can use in mvc3, mvc4, mvc5.
In my previous article I have shown you how to do MVC WebGrid Custom paging With Page no and Shorting Data Using C#.Net, How To Disable Sorting in Asp.net MVC Webgrid, How to Bind Data to Webgrid in ASP.net MVC Using C#.Net.
After this we will add an entity file in our application, after adding .edmx file we will add the table into our entity file.
Now we will create a model file, and add the below code into this.
Now we will add controller in our application. In this controller add the below code.
Now we will create view of the controller and add the below code in the view.
In above code we have added image in webgrid. Now run the application to view the output.


We are currently seeking a dynamic Care Coordinator to join our team at our office in Monterey Park, CA. The Care Coordinator is responsible for outreach, screening, tracking, and managing health plan members who are referred to the Beacon Care Management program for behavioral health. The Care Coordinator will work closely with the Beacon Clinical Managers, Team Leads and Care Manager to assist identified members with mild/moderate impairments. He/she will interact collaboratively with multiple systems to ensure appropriate linkage to services and community resources.
Foster a collaborative relationship between providers, community agencies, managed care organizations, and Beacon staff in order to ensure members receive timely and integrated access to services across the continuum of care.
Education: Bachelor's degree strongly preferred. High school diploma or GED required..
Minimum two years of experience working with the behavioral health system and/or social services sectors.
Experience providing patient navigation or community health worker services is a plus.
Must have excellent customer service phone skills.
Accurate and fast computer skills.
Experience in customer service, preferably within a mental health related field.
Ability to learn, master, and incorporate use of variety of clinical and administrative automated systems and software into daily work.
Must be self-directed and resourceful.


text:
A Way To Help Scots In Poverty, Now
The spectre of poverty hangs over yesterday's spring statement. 1.3 million more people will be pushed into poverty as the cost of living crisis bites. The squeeze on the standard of living will be the worst since the 1950s. With families across Scotland facing unprecedented difficulties every penny of support therefore needs to go towards those households which need it most.
Rise Up Scotland!
Last month marked 100 days since the gavel fell on COP26 in Glasgow. 100 days since the end of a conference that was going to 'save the planet' and avert climate catastrophe. Of course, neither of those goals were achieved – not that they were ever going to be. Without popular pressure, our governments will sit on their hands. As it did in Glasgow during COP26, it falls to us to create an environment in which they have no choice but to act, and act radically.
When I Came Back To Scotland, I Felt Like A Tourist In My Own Land. Here's How The Country I Love Can Move Forward Together
In the real world, we must start and build a movement for change. I think about lifting our eyes a little to the potential that Scotland has and the opportunities that are there for the taking – opportunities I have had in my own life.
We Can Help Scots to Recover From Drug Addiction by Working Together
In the wake of figures last year which showed that 1,339 people died from drug-related deaths in Scotland, Nicola Sturgeon pledged £250 million to tackle the issue. But Auditor General Stephen Boyle said last week that "it's still hard to see what impact policy is having on people living in the most deprived areas, where long-standing inequalities remain." I hate to say I told you so but this is exactly what we were warning about last year when the money was announced.
Let's Blow The Whistle On Bullies In Scottish Education
Recently, the leader of Scottish Borders Council apologised for the local authority's failure to investigate attacks by a teacher on vulnerable pupils in the local authority.
Widening Health Inequalities In Scotland Are A Scandal. We Need A Deep End Approach
The pandemic has taught us all how much we rely on the smooth functioning of our own health system. But it has also highlighted one of the major problems affecting the sustainability of health and social care – the rising health inequalities in our country between the rich and the poor.
The UK remains our best opportunity to contribute to the world
For those of us who believe in our responsibility as global citizens, the UK represents our best vehicle for influencing progressive change in the world.
Yes, but what has devolution ever done for us?
Why is the level of devolution so misunderstood? I would argue it's because politics in Scotland has become mired into a simple binary debate between Yes/No on the issue of Independence. This helps Nationalists as they have no interest in answering for their record on devolution because they see devolution as the wrong solution.
Forget Unionists And Nationalists, Nicola Needs A Futurist
If you're like me, new year's resolutions are rarely new. They're the same as last year's. Here's a policy resolution which should be kept precisely because it's not new: the Scottish Government should set up a First Minister's Strategy Unit. The appeal is that numerous countries have similar units. They blend futures, foresight and strategy work.
Scotland's Constitution – Obsessed Debate is Wrecking Local Democracy. Time for a Change.
We know the divisiveness of the constitutional question has led many to believe nothing can be better without Scotland becoming independent, that's not new. But a side-effect of our current polarisation is a reduction in understanding of the various different levels of government, and in voters confidence it can deliver better and fairer outcomes.


Check-in is required for all participants on the first day of attendance. Class will run from 8:00 AM until 5:00 PM. A continental breakfast is available before class on each day. Breaks are scheduled in the morning and afternoon.
Are you ready for the community to determine the fate of your investment? Outcomes can be delays in projects, cost overruns, more expensive capital finance, reputational damage and even a total veto, perhaps supported by violent protests. We will discuss some case studies, among many potential ones, of what can go wrong and the costs. What are the big issues? What is the legal (hard and soft) situation regarding the requirements on extractive projects now? What do NGOs want? The approaches to community by mining and oil & gas are now converging. What can we learn from each other? What are the basic concepts that are useful to your business in the area of social performance?
This day is particularly aimed at corporate, regional and site communities and social performance practitioners and managers, and presents the big-picture understanding of how the world for extractive business has changed and how we need to react to this.
Day two will include a visit to the Colorado School of Mines' Edgar Mine. This is a demonstration underground mine used for teaching by the School. The day will also include group discussion on key issues.
We will look at practical issues and questions such as: are you taking the risks presented by communities seriously? What are the key concepts to good social performance? What is required of leadership for success? What about on-the-ground at site or business unit level? How are you planning for responses to the inexorable advancement of high impact concepts such as Free, Prior and Informed Consent? Is the commodity downturn and reduced revenues sufficient excuses to ignore good social performance? How about high risk, complicated and expensive processes such as resettlement? How will you manage difficult governments?
We look at solutions here: what has worked in the extractive sectors? Case studies and good practice examples will be presented including on stakeholder engagement, agreement-making, grievance management, monitoring and reporting, local procurement, social investment, integrating social performance into your operation and the benefits of partnerships. The aim is to attain social license to operate as a competitive advantage.
Good social performance is no longer about the 'soft side' of donations, sponsorships or community development contributions. It can be approached with the same professionalism and rigor as the engineering, finance or geology aspects. This course will focus on how this can be done.
You will walk away from the course with a better understanding of why so many extractive projects have problems, a knowledge of global good practice through select case studies and a set of tools for practical implementation.


text:
Brown v. Board of Education NHS
When I visited the Monroe Elementary School, at the corner of 15th and Monroe Streets, the site was closed for renovation. But I got the stamp at park headquarters at 424 South Kansas Avenue, Suite 215.
Fort Larned NHS
Fort Larned, KS
The fort is 6 miles west of the town of Larned on route 156. The visitor center is the first building on your left after you cross the bridge. There are three stamps here: one for the fort, one for the Santa Fe National Historic Trail, and one for Nicodemus National Historic Site.
Fort Scott NHS
The site is in downtown Fort Scott, near the intersection of US-54 and US-69. The stamp is inside the visitor center bookstore.
Nicodemus NHS
Nicodemus, KS
The town of Nicodemus is located of US-24, halfway between Hill City and Stocktop in northwestern Kansas. The visitor center is in the Township Hall. The site is closed from Labor Day until Memorial Day, but you can still ride around the town site and view the historic buildings. I got the stamp at Fort Larned.
Tallgrass Prairie N PRES
Strong City, KS
This stamp is kept in the Ranch House Information Station, about 2 miles north of Strong City on route 177.


text:
'use strict'

import mongoose from 'mongoose'
import generator from '../../utils/shortIdGenerator'

let bundleSchema = mongoose.Schema({
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    required: true
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    type: String,
    default: 'quiz'
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  private: {
    type: Boolean,
    default: false
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  correctValue: {
    type: Number,
    default: 1
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  incorrectValue: {
    type: Number,
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  items: [{
    type: String,
    index: true
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  tags: [{
    type: String,
    lowercase: true,
    index: true,
    set: (val) => {
      return val.replace(/ /g, '-')
    }
  }],
  createdAt: {
    type: Date,
    default: Date.now
  }
})

bundleSchema.statics.list = function(skip, limit, filter = {}, select = {}) {
  try {
    let query = this.find(filter)
      .sort({ createdAt: -1 })
      .skip(skip)
      .limit(limit)
      .select(select)
    return query.exec()
  } catch (err) {
    return Promise.reject(err)
  }
}

bundleSchema.statics.get = function(shortId, select = {}) {
  try {
    return this.findOne({ shortId: shortId })
      .select(select)
      .exec()
  } catch (err) {
    return Promise.reject(err)
  }
}

bundleSchema.pre('save', function(next) {
  let ctx = this
  generator(ctx, next)
})

export default bundleSchema


Rigid Set Up Box With Printed Logo On Lid.
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text:
Sherman Alexie Explores
Categories: ExploreSherman Alexie
Essay, Pages 4 (960 words)
In his book of short stories, The Lone Ranger and Tonto Fistfight in Heaven, author Sherman Alexie explores the theme of Native Americans as outsiders and outcasts. Throughout many of his stories, Alexie's uses the motifs, imagery and figurative language to underscore the theme. Three of these stories are "Every Little Hurricane", "A Drug Called Tradition", and "Indian Education"; Alexie uses the motifs of storytelling, alcoholism, and the warrior to explore how the outsider status of his Native American characters affects them as individuals and shows the resiliency of their community.
Get a verified expert to help you with Sherman Alexie Explores
Alexie's use of imagery and figurative language help depict the distance between reservation Indians and the white culture, as well as the diminishing traditions of the past. Many of the characters in The Lone Ranger and Tonto Fistfight in Heaven benefit psychically from telling stories. Alexie suggests that storytelling offers both healing as well as a pathway for Native Americans to preserve their history and their cultural traditions.
He depicts many kinds of storytelling throughout this book. His stories offer insight on tribal history and how the Native American experience has changed over time. Alexie uses the character of Junior to tell stories that address the traditions of Native American and how they portray both reality and hope for their tribe.
In his story "A Drug Called Tradition", Alexie depicts the storytelling theme. Native Americans tell stories as a way of preserving their culture. These stories are usually accompanied by song and dance. Some dances celebrate victories and acts of bravery, while others symbolize renewal of life.
Academic Giant
Writer Lyla
The Ghost Dance carries a meaning of re-union; it symbolized the diminishing of the white man, and a return of land back to the American Indians. In "A Drug Called Tradition", Junior is telling a story about the Ghost Dance when he states, "I'll dance a ghost dance. I'll bring them back" … "With every step and Indian rises"… "We dance in circles growing larger and larger until we are standing on the short, watching all the ships return to Europe. All the white hands are waving good-bye and we continue to dance". Junior's story signifies the importance of his heritage. Also in this story, Alexie uses figurative language through the character of Victor to portray the dying of the Native American culture through each generation. The character of Victor is speaking of a Tommy story has told, "Ain't nobody else going to listen." "Some people say he got dropped on his head when he was little. Some of the old people think he is magic." This is representative of the distance between past and present Indian cultures. Alexie's use of imagery in "Indian Education" does a great job of capturing the outsider theme. He conveys this by using negative diction, for example; Alexie opens this story describing characters first grade year by saying, "My hair was short and the U.S. Government glasses were horn-rimmed, ugly…" His use of the word 'ugly' indicates the characters lack confidence in himself and shows how his appearance is seen as different and not accepted. Alexie continues by writing, "… in school the other Indian boys chased me from one corner of the playground to the other. They pushed me down, buried me in the snow until I couldn't breathe, thought I'd never breathe again." As the school years goes by Alexie introduces the warrior motif to help develop his theme.
Other than the fact that he longer gets physically hurt, nothing really seems to change regarding the characters treatment. He still feels ashamed and dejected from his own tribe and will always be a considered an outsider. Regardless of his status as an outsider, the character continues to go after his goals and prevails. The warrior motif is evident throughout this story, with each challenge he overcomes during his school years. Top of Form the His AA;ex The hardships of the Native American culture are showcased in the story "Every Little Hurricane." Alexie uses the motifs of alcoholism and poverty to highlight these hardships. Alcoholism is a very serious problem in the Native American community, and Alexie depicts a reservation where many lives have been destroyed by drinking. He describes the turbulence of a hurricane as a metaphor to the violence that stems from alcoholism and pain of their outsider status. Alexie uses figurative language to convey to his readers the feelings the Indians are experiencing. For example the following quote describes both pain and poverty of the characters, "Victor imagined that his father's tears could have frozen solid in the severe reservation winters and shattered when they hit the floor." …."Victor imagined that he held an empty box beneath his father's eyes and collected tears, held that box until it was full. Victor would wrap it in Sunday comics and give it to his mother." Although many of the stories in The Lone Ranger and Tonto Fistfight in Heaven are riddled with stories of hardships such as alcoholism, poverty, and isolation from society outside of their reservation; Alexie also emphasizes the inner strength and resilience that helps many Native Americans cope with these problems. Through each of these hardships there are stories that support the strong sense of community and support for each other. Through his use of the warrior motif, Alexie was able share the sense of community and resiliency which is an important aspect for the Indian cultures of the past and present times. Alexie's use the motifs of storytelling, alcoholism, and the warrior helped his readers explore the overall outsider theme of his Native American characters. He was able to depict the positive and negative affects on them as individuals, as well as show the resiliency of their community.
Sherman Alexie Explores. (2016, Feb 26). Retrieved from http://studymoose.com/sherman-alexie-essay
Native American Dances Pages: 10 (2872 words)
Major American Authors & Summary of Works Pages: 116 (34565 words)
Gta Series 1 Pages: 76 (22733 words)
Is Alcoholism A Disease? Pages: 9 (2512 words)
Impacts of Alcoholism on Family Welfare Pages: 17 (4977 words)
Native American Poverty Pages: 9 (2565 words)
Gris Grimly's Frankenstein by Mary Shelley" Pages: 9 (2408 words)
My Researching - Sherman Alexie Pages: 5 (1400 words)


Then you can start reading Kindle books on your smartphone tablet computer -. 2 bay personal cloud storage treiber download.
At an estimated cost of over $ 14. 1 Eingehende Anrufe werden meistens auf die Zentrale geroutet. Dieses besitzt in der Regel mehrere Ports die von 3CX mit den Nummern 10000 10002 usw. Das Phänomen kommt vor, wenn man ein ISDN- Gateway nutzt.
It took place in Russia from 14 June to 15 July. Durchnummeriert is the place to go to get the answers you need and to ask the questions you want. It was the first World Cup to be held in Eastern Europe the 11th time that it had been held in Europe.
was a manufacturer of systems and software for data storage and information management headquartered in Fremont, California, USA. 3PAR produced computer data storage products, including hardware disk arrays and storage management software. It became a wholly owned subsidiary of Hewlett Packard Enterprise after an acquisition in.
Your questions answered: How to protect your data in the cloud. The number of successful cyberattacks per year per company has increased by 46% over the last four years. Next Stop Honolulu!
The Story of the Oahu Railway & Land Company [ Jim Chiddix, MacKinnon Simpson] on. * FREE* shipping on qualifying offers.
" Next Stop Honolulu" is the story of the Oahu Railway & Land Company, a narrow- gauge railroad that served the island and its residents for nearly 60 years. It enabled ( and was made possible by) the sugar and pineapple industries that were.


Many people believe that 40 is the new 30, but if you have started losing volume in your face, you may feel older, not younger. Losing volume in your face is a normal part of aging, but you can still have a fresh, youthful appearance with Belotero® treatments at Arizona Facial Plastics, PC. Our board-certified facial plastic and reconstructive surgeon, Dr. Farhan Taghizadeh, specializes in Belotero® treatments for men and women who live in and around Phoenix, Scottsdale, Paradise Valley and the surrounding communities of Arizona.
Belotero® is an injectable dermal filler that restores facial volume. Around the age of 40, our faces lose volume, and the skin begins to sag downward. The repositioning of the soft tissue causes lines, wrinkles and even embarrassing creases around the mouth and nose. These are some of the most noticeable signs of aging, and before the advent of Belotero® men and women may have considered surgery to look younger.
What Can I Expect from Belotero®?
The injections of Belotero® contain hyaluronic acid (HA), a substance that naturally occurs in your skin. HA is responsible for attracting and binding with water that your skin needs for staying hydrated, smooth and free of lines and wrinkles. By increasing the amount of HA in older skin, Belotero® helps your skin fight the signs of aging naturally.
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While many injectable fillers can treat superficial lines and wrinkles, Belotero® is one of the few products that soften severe wrinkles and creases around the mouth and nose. The product is also preferred by men and women who want their anti-aging treatments to produce subtle, gradual improvements.
In order to produce a natural-looking improvement, Dr. Taghizadeh will make several injections along the lines and creases. The needle that is used for the procedure is smaller than what is used for your vaccinations, so you should be comfortable during the injections. Dr. Taghizadeh can use a topical numbing cream should you experience discomfort during the procedure. You will see a noticeable improvement immediately after the treatment. The HA in Belotero® will continue to attract water and improve skin texture for up to six months.
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Looking young and refreshed is part of the lifestyle in the Phoenix area, but sometimes the aging process wins the battle of maintaining a youthful appearance. At Arizona Facial Plastics, PC, we offer Belotero® treatments to improve skin volume and reduce lines and creases around your mouth and nose. If you live in or near Phoenix, Scottsdale, Paradise Valley or the surrounding communities of Arizona, contact us to schedule a personal consultation with Dr. Taghizadeh to learn more about Belotero® and our other injectable dermal fillers.


11/01/2012 [ACCESSWIRE] NEW YORK. Insurance Expert Network, LLC, a leading expert referral organization with over 500 experts in 120 insurance disinclines entered into a bi-lateral referral agreement with Innovation Insurance Group President, Ty Sagalow, permitting law firms to easily access Mr. Sagalow for expert testimony on D&O, E&O and Cyber related insurance litigation.
"I am privileged to have been asked to join such a prestigious list of insurance experts and look forward to Innovation Insurance Group's partnership with IEN", said Mr. Sagalow.
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text:
Home Technology/Modernization French Shipbuilder CMN: the three patrol ships contract has finally come into...
French Shipbuilder CMN: the three patrol ships contract has finally come into force in Saudi Arabia
Riyadh has put into effect the contract for the sale of three FS56 patrol boats manufactured by the shipyard of Cherbourg, CMN. The amount of the order is estimated at 250 million euros.
Initialed at the end of 2015, the contract for the sale of three FS56 patrol boats built by the shipyard of Cherbourg, CMN (Mechanical Constructions of Normandy) to the Saudi navy was finally finally put into effect (first deposit paid), according to several sources concordant . The contract is evaluated for these three fighter-type patrollers at 250 million euros.
Initially, these three patrol boats were to equip the Lebanese navy under the tripartite Donas contract signed in 2014 between Saudi Arabia and ODAS, on behalf of Lebanon. In disagreement with Beirut, Riyad finally took over for his army the Donas contract, now called the Saudi-French Military Contract (SFMC).
Despite the complicated relations between Saudi Arabia and France, Riyad has put into effect the contract signed by CMN, owned by Lebanese businessman Iskandar Safa. That's two years after the signing of this contract. This decision corresponds to a need of the Saudi navy for these warships and the strict application of the contract, whose execution continues under the control of ODAS, representing French interests in Riyadh.
Royal Saudi Navy
warship
Previous articleBrazil announce purchase of HMS Ocean for £84 million
Next articleSouth Korean navy receives first multipurpose training vessel


In fact, the new hybrid setup mates a 2.0 liter gas engine to a small electric motor to produce the same horsepower as a non-hybrid XV Crosstrek; 148 horsepower and 145 ft-lbs of torque. That is respectable, if not impressive.
Unfortunately, fuel economy recieved what could only be described as a very modest boost. Subaru says that the XV Crosstrek will deliver around 28 mpg city and 34 mpg highway, up from 25/33 on the non-hybrid. Part of the problem is that the hybrid technology adds an extra 300 pounds to the Crosstrek's curb weight, much of that from the 13.5 kWh nickel-hydride battery in the trunk area. Subaru also added start/stop features and regenerative braking, but all told, the fuel economy figures are kind of disappointing.
Subaru also debuted a new WRX concept vehicle, and while the radical design probably won't make it into production, the car seemed to be very well recieved. No details were given out, but when a new WRX does hit the market, expect at least a few of these design cues to come along for the ride.
Subaru fans, we want to hear from you; were you expecting better from Subie's first hybrid? Or does this work well enough for now?


A meeting of the Constitutional Council on Tuesday recommended Ayodhee Prasad Yadav for the post of chief election commissioner (CEC).
Yadav, 60, was appointed election commissioner in March 2013. He had earlier served as the election commissioner for six years since 2007 before he was reappointed in 2013. During his nine years in office-when Constituent Assembly elections were held in 2008 and 2013--Yadav oversaw distribution of voter ID card, election code of conduct and other logistical issues.
A gold medallist in Economics, Yadav is a PhD from Babasaheb Bhimrao Ambedkar Bihar University, Muzaffarpur, India. He is also the author of "Election Cost in Nepal", "Constituent Assembly Election 2008: At a Glance" and "Voter Registration System in Nepal" among other books.
The Parliamentary Hearing Special Committee (PHSC) now has to endorse the CC recommendation before Yadav is formally appointed the new CEC. When asked about his priorities once he is formally appointed, Yadav said he would do his best to hold local body elections by 2016 and federal elections in 2017. Local bodies are running without elected representatives for more than last 13 years.
"I will also ask the government to form a constituent delineation commission as soon as possible for holding federal elections in 2017," he said. The post of CEC was lying vacant after Neel Kantha Uprety retired. Posts of two commissioners are also lying vacant after the retirement of Dolakh Bahadur Gurung and PV Ram Bhakta Thakur.
With Yadav recommended for the post of CEC, the EC has only Ila Sharma left as the election commissioner.


text:
Media & News|
Training|
Chennai Runners
Wipro Technologies
Expo and Bib pick up
Pace Groups
Aid stations/ Hydration points
Route markers
Marshals and run etiquette
Finish area festival
Results and Timing Certificates
Marathon Photographs
Women and Running
Apollo Hospitals, one of Asia's largest integrated healthcare organizations with over 8,500 beds across 50 hospitals, more than 1200 pharmacies and over 100 diagnostic clinics. The Group also offers medical business process outsourcing services, health insurance services and clinical research divisions with a focus on Global Clinical trials, epidemiological studies, stem cell and genetic research. These achievements have earned Apollo Hospitals Group several accolades, including the Centre of Excellence from the Government of India and recognition from the Joint Commission International (seven of our hospitals are JCI accredited). In a rare honour, the Government of India issued a commemorative stamp in recognition of Apollo's contribution, the first for a healthcare organization. Apollo Hospitals Chairman, Dr Prathap C Reddy, was conferred with the prestigious Padma Vibhushan, in 2010.
© The Wipro Chennai Marathon
Media & News|Contact Us


text:
Q: Multiplying list elements in HTML based on class from input element I have a list of items with a
 tag and a specific class:

2 cars

I'd like to have an input field where the visitor is able to type a number and all elements with the "multiply" class would be multiplied, as such:
<input type="number">5</input>

Would change the
 value to:

10 cars

I assume there is a possibility to do this but all my searches have run dry.

A: Are you using some kind of framework (eg. Angular, React) or templating language for the HTML? Because in plain HTML the
 should be instead
.
There are multiple ways for this to work and each of them requires Javascript. You need to register an event on the input field: <input type="number" onchange="handleInputChange(this)" value="5" />.
Then in between a  tags you'll need to process the change and rerender the HTML.
Not going to details too much, but here is a working solution for that:
https://codepen.io/whirlion/pen/RwWPRyV

A: One approach is as below, with some modification of your HTML:

2 cars

This modification wraps the number to adjust with a  in order that it can be more easily targeted without relying on regular expressions, or needing to know where the number is located within the string. Further, those  elements have a custom data-* attribute and value which reflects the starting number, and we operate on that number (otherwise there's the risk of an exponential increase in the numbers.
That said, the JavaScript is:
// a named function defined using Arrow syntax (since we don't
// need to access 'this'; we pass in the Event Object ('e')
// automagically from the later use of EventTarget.addEventListener():
const multiply = (e) => {

  // e.target is the <input> element, and here we store the value:
  let n = e.target.value,

  // here we retrieve the  elements that are the children
  // of the .multiply elements:
    elems = document.querySelectorAll('.multiply > span');

  // using NodeList.prototype.forEach() to iterate over the
  // NodeList of  elements:
  elems.forEach(
    // 'el' is the current Node of the NodeList over which we're
    // iterating:
    (el) => {
      // here we set the textContent of the current  element
      // to be equal to the result of the input-value multiplied
      // by the value held in the  element's data-original
      // attribute-value:
      el.textContent = n * el.dataset.original;
    });
};

// we use document.querySelector() to retrieve the first - if any -
// <input> element in the document (there's no sanity/safety check
// here, in production you should probably guard against the element
// being absent as if it's not there the function returns null).
// We then use EventTarget.addEventListener() to bind the multiply()
// function (note the deliberate lack of parentheses) as the event-
// handler for the 'input' event:
document.querySelector('input').addEventListener('input', multiply);

const multiply = (e) => {
  let n = e.target.value,
    elems = document.querySelectorAll('.multiply > span');

  elems.forEach(
    (el) => {
      el.textContent = n * el.dataset.original;
    });
};

document.querySelector('input').addEventListener('input', multiply);

2 cars

66 chocolate bars

2 apples

<input type="number" inputmode="numeric" min="0" max="100" step="1" /> Enter a multiplier

References:

*

*Arrow function expressions.

*document.querySelector().

*document.querySelectorAll().

*Element.dataset API.

*EventTarget.addEventListener().

*Node.textContent.

*NodeList.prototype.forEach().


text:
News of the World sources back up Guido Fawkes claims about photographs
William Hague and his boyfriend Chris Myers have to be the worst kept secret in politics.
Fuck me, if you believe the £200 bottle of wine guzzling, Defence Secretary's claim that him and Myers shared a hotel room to save on costs you are one sorry dumb fuck. Source
As for Andy Coulson doing favours? Well he certainly did one for Gideon Bean when it came to killing the story of his S&M, cocaine fuelled, sex romps with a prostitute.
Just your average day in politics really
Politics blog said paper paid £20,000 for pictures of William Hague's special adviser in gay bar, but never used them
Political blogger Paul Staines, who writes a political blog under the name Guido Fawkes. Photograph: Sarah Lee for the Guardian
Sources who worked at the News of the World have confirmed an allegation, made at the Leveson inquiry by maverick blogger Paul Staines, that the paper paid him £20,000 to buy up a photograph of a special adviser to the foreign secretary, William Hague, which they subsequently never published.
Staines's claim is potentially explosive because the now-disgraced former News of the World editor, Andy Coulson, was acting at the time as the Cameron government's press adviser, and is likely to have been involved in what proved to be a successful battle to save Hague's job.
The photograph was bought at the height of a controversy about Hague sharing a hotel room during campaigns with a 25-year-old special adviser. Hague was forced to issue a detailed statement denying he had had a gay relationship, and the recently appointed adviser, Chris Myers, resigned.
Staines, who runs a gossip site under the name Guido Fawkes, told Lord Justice Leveson in sworn testimony: "We also had pictures of the special adviser in a gay bar … We took the photos to the News of the World. They bought them for £20,000 and never published them. I don't know very much but I know you don't pay £20,000 for photos not to publish."
He went on: "The News of the World was in regular contact with Downing Street, and perhaps to curry favour or for whatever reasons, they chose to buy up those pictures and take them off the market."
News International, the owners of the defunct tabloid, declined to comment on the allegations, saying they were not prepared to disclose details of payments made.
But two former executives at the paper confirmed the deal, on condition of anonymity. They said the purchase was negotiated via the paper's political staff, and authorised by the editor, Colin Myler.
One source claimed Myler bought the picture in order to "keep it off the market for a week" because he was planning to expose allegations of spot-fixing at Pakistan cricket matches, and wanted it to dominate the headlines that week.
But, according to Staines's testimony, he sold the photograph the week after the cricket story, which ran on Sunday 29 August 2010, along with printouts of on-line chat from a website.
The following week, after a statement by Hague describing his happy marriage and denying any gay relationships, every Sunday paper bar one carried news stories about the issue, with speculation about the foreign secretary's future. The sole exception was the News of the World
By Needlz • UK News • • Tags: Monarchy
I'd vote for him	Have a cup of wake up… We are not the good guys.
Hague is a cumtaster
maybe little 'Willie' Hague will be first into Syria as he always seems so keen for some 'action'… unless of course its the thought of all those muscley fit men in uniforms bending and crouching that's driving his decision making…
john carey
I remember him at Blackpool with Maggie making that speech when he was 16 and thinking anybody who wants `power` at that age should never ever get it, ever.
Just an arsehole – but will take us to Israel`s war.
The Warmongering over Syria and the Badger Murder ( Cull ) are both Lethal
and Destructive
I am Sickened at the " Mainstream " or should there be Moronstream " Newspapers "
that have Promoted the Badger Murder ( Cull ) Terrible Toff Rags
Is he quaire, i think so, so why all the cloak and dagger stuff.
Is he still living the farce of a married salt of the earth type with his wifey(fifi).
So why all the pretence, wifey must know that spending £200 on a bottle of plonk and then turning round and saying he is sharing his accommodation to save the taxpayer money, if she can't see that then she must be thick as shit(sorry fifi) and if she can then she is complicate in lying to the nation.
Have always despised the odious little prick as he is the original little lord fontelroy and has had a hand in planning and implementing every conflict for god knows how long.
Hague is a spunk rag. He lies for a living. Of course he was giving Myers one up the shit-canal, or maybe it was the other way around.
Lmfao @ Frank , how can anyone in their right mind even vote for these diseased ridden scum , they want drug testing at random and should be on zero hour contract's , smug evil cunts .
You have to wonder that if he admitted to batting for the other side, would his career in politics would be over. No leverage left to use. The top people all seem to have skeletons in their closets. Willie's wife surely knows the score and puts up with it in order to live in the manner to which she has become accustomed (or was promised) and knew from the start what Willie (I know it's William, but I think we all know he prefers Willie) was like and she won't be the first marriage of convenience in politics.
I truly believe that in Parliament every bloody vice known to man is represented, necrophilia included. It's fucking time to start counting lamp-posts.
No leverage left to use? Not sure about that. Could there be some humugous and odd-looking skeletons in Willie's closet?
Joe Kano
Very true, John Carey. I shared the exact same thoughts when he first crawled from under a stone and was give such huge publicity.


Variable Wind Quartet Gr. 2.5. Arranged by Jan De Haan. De Haske Ensemble Full Set. Published by De Haske Publications.
By Mike Curtis. For Woodwind Quartet (Flute, Clarinet, Oboe, Bassoon) and optional Percussion (2 Players). Woodwind Quartet. Full Score and Set of Parts. Published by Advance Music.
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By Cecile Chaminade. Arranged by Ralph R. Guenther. Woodwind - Quartet. Level: (III) (grade III). 16 pages. Published by Alfred Publishing.


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'The Little Price' by Kung-fu Panda director Mark Osborne – based on Antoine de Saint-Exupéry's timeless classic – is the biggest success of all time for a French animated film abroad, grossing $70 million worldwide so far.
Update: Republished to celebrate that, as of today, 'The Little Prince' can now be seen on Netflix. Enjoy!
How long did it take you to create the sound for The Little Prince? Were you involved in pre-production? When did you start working on the project?
I wasn't involved in pre-production. I got involved last fall for a very short temp mix. The director, Mark Osborne, really wanted to begin exploring what the sounds of the different worlds of the film were. So I came on for just three days, did a very quick pass through the movie to really focus on some important areas of the sound design. Mark knew the importance that sound would play in the film, and so I think maybe he was a bit relieved to find some people who also recognized that right away as well. So after that quick week, Chris Barnett, who had done the temp mix with me, and I were invited to do the movie. Chris handled dialog editing, and in the final mix, he mixed the dialog and music, which I handled effects and foley. The bulk of the work started in January and we wrapped the mix by April. So it wasn't a particularly long job.
There are a few visual aesthetics in the film. The most important are world of The Little Girl and her Mother which is 3D animation and the other one is stop motion animation of The Little Prince. I wanted to ask you about how visual styles affected the sound and how the process of finding individual tone for different visual worlds looked like.
That was very important and really the reason the film came to us in the beginning. There are two different worlds in the 3D animated sections of the world too: the world of the Little Girl, and the world of the Aviator. We knew that over the course of the film, those worlds would all be somewhat fluid, the sounds of the Aviator would slowly creep into the world of the Little Girl. So we had those three distinct worlds, and each needed their own sound. The sound of the stop-motion world we really wanted to be special, and those were some of my favorite parts of the movie to work on.
It's the literal part of the book, so I wanted those sections to have a very beautiful sound; haunting, lonely, magical, to match the amazing work of the stop-motion crew. So for sure the visual styles of the film gave us some great opportunities to play with creating different sound worlds. And certainly we followed the cues of the visuals to help create those worlds.
The world of the Aviator is entirely different, his is a lush world, so everything in his world reflects that. His house, his yard, they are filled with homemade sculptures, chimes, wind in trees, lush birds. Even something as simple as room-tone was worked on quite a bit to differentiate their two worlds. His house creaks, and ticks and pops, the wind gently whistles through the windows. The home of the Little Girl and her mother is very stifled, very still with air, almost like the house is holding it's breath.
We also have different places which have their own tone. For example corpo-world and home of The Little Girl is very well organized and focused on activity. Sound of this world is very often rhythmic and greatly complements the score, which is awesome by itself. I wanted to ask how your cooperation with composers (Richard Harvey and Hans Zimmer) looked like. There is a great short sequence of The Little Girl unpacking in new home, where music and sound effects create one coherent track. How was it made?
I didn't actually have much back and forth with the composer. Early on, I sent down an FX Stem of what I was working on, and I'm not positive if they used it much at all or not. But even in the script phase, sound had been thought out, and the one thing I did make an effort to protect were some of the sound transitions of the film. Moving in and out of the stop motion world is often accompanied with a sound transition. So I remember writing Mark, just before he was going down to spot with the composers, to ask them to be careful in those moments, to allow us to explore!
I really felt we had a great chance there to do some beautiful work, I'm grateful that they were very gentle around those areas, either avoiding them entirely, or keeping orchestration very simple around those moments. I think the score came that was written for the film is amazing, and really there were very few times at all that I found what they were doing and what I wanted to do with the sound to conflict. I give a lot of credit to Mark, who had done a great job marking up where there would be score in the film early on, and mostly we stuck to that. In the scene that you're talking about, the temp music that as there early on was very rhythmic, it has a very strong 'metronome' feel to it, so it was luckily picture was already built around sound in a lot of ways. The picture was really cut to have a lot of the those events line up with beats in the music, her putting the books on the shelf, etc.
You are also responsible for the mix of this film. There are a lot of great mix decisions, when music and sound effects help each other creating emotions. Like in the scene when The Little Girl takes off the plane and flies, where sound effects step back sometimes to leave space for music. When were this decisions made – during editing or during the mix? How do you communicate with composers when working on such complex scenes?
A lot of those decisions were made in the mix. In the take-off, we always knew that sound would play an important part in all the machinery and Rube Goldberg type machine that prepares the airplane for it's launch. But at some point, you need the emotion of the music to just take over and carry you though the 'soaring' part of the scene, so we certainly experimented a bit with where that handoff would occur. I know that sometimes sound effects guys have a reputation for always wanting to remove music from a film or fight for the effects, but that shouldn't be the case. There are times for each, and times for them to play together.
While mixing, we are always simply asking, what is the emotion of the film demanding right now, what is the storytelling demanding. I love great films score and have no problems with pulling all of the effects down at the right moment. And luckily we had a fantastic music editor, Bob Badami, who also recognized that it was OK to do the reverse sometimes too.
That was such a treat of this movie, we all wanted to make a track as beautiful as the movie, and to that end, there were never really any battles, it was a very creative mix. We floated ideas, "Hey what if we pulled out this here, and pushed this", and that's the way a mix should be.
I really have to say that I loved the sound and the editing of the biplane. Could you explain us how it was created? We have two versions of it, the first one is in stop motion animation world, which is stylized and unreal and the second one is in "real" (3D) animation world. What was the process of designing it?
The biplane was a lot of fun to work on. We actually found an old 1937 Waco biplane near us, and recorded it idling and revving. That became the basis of the onboard plane, and we layered in some various metal rattles and squeaks that we had recorded to make it sound a bit dangerous. Heikki, our foley artist, also supplied us with a great variety of rattles for the plane, so we were well armed. For the bys, I'm grateful to a sound designer named Richard Beggs who lent me a set of biplane recordings he had made years ago of an amazing sounding plane called a Speedwing Ultra.
So between those two sets of recordings, the 'real' biplane was mostly covered. For the sound of the biplane in the paper world, our foley artist, Heikki Kossi, who lives and works in Finland, did some amazing paper propeller sounds for us. We also found and made some other paper airplane propeller sounds, and our FX Editor Jon Borland also found a really neat recording that just sort of 'worked' for the sound we wanted. There is a bit of real biplane also layered into that world just to sell a bit of reality.
There is also amazing foley in the film. It adds a lot of personality and works a bit different than in feature films. How for example doing footsteps for animation films differs from feature films?
We were so fortunate to work with Heikki Kossi, in Finland, and simply one of the best foley artists I've ever worked with. When we had discussions early on, we knew that foley could and would have to help sell these different worlds, and so we experimented back and forth a bit with sounds for the stop motion world. In both effects and in foley we spent a lot of time working with paper, including buying up different types of paper from around the world.
I'm not sure if Hekki's approach would be a lot different than for a live action film, my guess would be that he would say that certainly in an animated film, the sounds get exaggerated a bit more, they need to be focused and clean, but that his job is largely the same in both. Too many people assume foley is about 'coverage', as in 'we just need footsteps because they are missing in the production.' But good foley is so much more than that. It's a true art form, and it's a very important part of a good soundtrack.
In animated films, there is always a lot of music. What is the difference in creating atmospheres/backgrounds for animations compared to feature films? When you had a chance to listen to the first mocaps of music?
We heard the music quite late actually, I don't remember exactly when it came in, but because we had a short schedule, it was fairly late. I'm not sure there is a big difference between animation and live action, except that animated films offer you the chance to create a much cleaner track I think. Usually in live action, the production audio that you are working with, has a certain amount of noise, you're using some layer of production effects.
In animation, you start with a clean slate, there is nothing but cleanly recorded dialog. While this is a challenge in that you have to create everything, it also give you carte blanche to build a complete track that you want. We had temp music from the start, it was a roadmap of where the music would be, and would give you the overall emotion of what they would be going for. But it was a real treat to hear the full score for the first time. I agree that animated films tend to have a lot of music, and Little Prince certainly has a fair share, but I actually think we came away with a lot less music than a lot of directors may have put in there. Again that credit goes to Mark, who clearly came into the film knowing the importance of not just music, but other sound as well. I think a lot of filmmakers would have looked at all the transitions in and out of the stop-motion storyline, and thought, "Well music will have to cover that." But from the beginning, in the earliest cut we saw, it was clear that Mark had thought of those transitions with sound effects.
There's even one transition that is purely a sound one, it takes place over black! That's the mark of a very astute director in my book, to really have thought about, and recognized what sound can do long before arriving in the mix stage.
Stars play important role in The Little Prince. Again, I would like to ask about your cooperation with composers in creating their lovely sound. Was it only sound design or mix of it with music? How did you create all those layers and textures?
I'm glad you noticed, it was probably the biggest challenge, but such a fun thing to work on. The composers had also done something thematic for the stars, and in fact, they sounds that they used, while musical, were also in a similar style to what I was working with. So in the end, because that was one area we found the sounds sometimes conflicted, we used mostly the sounds from the effects side for the stars. The sounds really came from a few different sources, and a lot of experimentation. There's the sort of 'ringing' sound of the stars overhead, for instance, when you see the stars descend on strings. These were largely created with some crystal candle holders I found at a local thrift shop. For the 'tinkle' of the sounds, I spent a lot of time trying out various sets of chimes. The book refers to the sound of the stars as a million little bells, and so I knew whatever sound I found had to be both bell like, and also crystalline.
Way back when I was working on Lord of the Rings, my friend and sound designer David Farmer had found and recorded these beautiful chimes that were made from obsidian, the black volcanic glass. In the end, I found on eBay a set of obsidian needles, that would have traditionally have been used for Native American leatherwork, things like that. They're basically very narrow shards of obsidian. I took hours and strung up a set of chimes, and the sound was just magical. Slightly metallic, slightly crystal. That became the sound of stars more than anything.
I took hours and strung up a set of chimes, and the sound was just magical. Slightly metallic, slightly crystal.
I also somehow loved that the sound of the stars came from a volcano, since in the book, volcanoes are on the planet of the Little Prince. Somehow that helped me feel we had the right sound, that it somehow tied into the book. We used those sounds to nice subtle effect in the sound of the Aviators world as well. We gave him a series of chimes and bottles and things as if he surrounded himself with that sound to the best of his ability. There's a moment where a star is crushed, and for that we took some light bulbs, and slowly crushed in the in a vase until they just cracked and shattered. We recorded it using a very high end preamp and high sampling rate microphone. Those cracks were also used when the large dome of stars cracks and collapses.
You use a lot of wind textures in the film, which beautifully enhances emotions and transitions. What was the sources for it and did you use a lot of pitch manipulation in creating it?
I tried to use as much natural wind as I could. I've always loved recording wind and have accumulated a fair number of recordings. But certainly the sound of the stop-motion world is one of wind and sand, as well as stars. So I was very fortunate that Ken Fischer, one of the best effects editors in the world, came on board to help with with the sound of the backgrounds. I gave him a lot of sounds, and really let him weave them into something beautiful.
I try not to do too much manipulation of any sounds, it's just not the way I tend to work. I find that there is a very common 'sound' that accompanies too much manipulation. You can just 'hear' it. That might be fine doing a Sci-Fi movie, but in a movie like this, I wanted the sounds to feel as natural as possible. So I would much rather spend time finding or recording the right sound, than trying to manipulate sounds 'into' that. That isn't to say no sounds were manipulated, and certainly pitching sounds down or up a bit once the final music is in, of course we do those things as well. But until that point, I try to keep the sounds as clean and pure as I can. For instance I love the sound of wind through trees, and wind through grass.
I try not to do too much manipulation of any sounds, it's just not the way I tend to work.
It's a difficult sound to record cleanly, but I've spent a fair amount of time gathering those sounds, so that when the time comes to work on that scene, I have at my disposal a fairly good set of recordings, and it becomes more about picking the right emotional sounds instead of trying to 'make' something.
In the end I wanted ask about emotional character of sounds. There are a lot of characterful sounds in the film. Sometimes they are funny, sometimes tiny and cute and sometimes ominous. How do you approach to creating those specific moods?
The first question to always ask is, what is going on in the film, and in the story, right at any given moment. The film should really give you all the information you need, and if there are any moments that are ambiguous, or the decision is to play something 'against' what you would think, those should come from the director. So that's the first thing, how does this sound tie in with the story. At times the desert has to feel lonely and vast, you need the sound to sell that. But at other times, the desert is calm, almost a warming presence, for instance when they are looking for the well in the daytime. The same thing goes for something as simple as ambience work. I was able to sneak in a sound that I had recorded years ago, and never thought I'd find a film to use it in. While living in New Zealand, in the house I was saying, there was a rose bush, and during these wind storms, it would make this great sound as it scraped against the windows.
In the Little Girl's room, you can see the shadows as if there are plants outside her window blowing in the wind. It was a enough of a cue to sneak in those sounds, and to me it because a very successful part of the 'emotion' of that storm. Maybe nobody else will notice it, but I do think it plays a part for sure. I wouldn't tell Mark, our director, what the sound was until we finished the mix because I was afraid if I told him, he would have thought about it literally, and make me take it out. Because it's not a literal sound, it's an emotional sound, and it's always important to think in those terms. It's a tiny detail that probably nobody will notice, but that doesn't mean it isn't effective as well!
Could you explain a bit about the process of working with Mark Osborne? How was the collaboration, what was the process of working with him?
It was really a dream job in many ways. We got involved as I mentioned early on in a short temp mix. After we were hired to stay on the film, Mark came to the ranch a couple of times to hear what I was working on. He certainly had clear ideas on the sounds of the different worlds, but also really allowed me to experiment a lot as well. Not only allowed, he encouraged it. Working with Mark you really feel a part of the film, and a real and true collaborator.
All of us working on the film, we could 'feel' how passionate he was about the film, how he just wanted to do this amazing story justice. And when you work with someone like that, all you want to do is do justice to their passion and dedication. Mark had so many things going on trying to finish the film, my job as I see it is partly to try and make his life a easy as possible, at least with regards to the sound! Luckily, we seemed to have very similar taste in sound, so it was really a fun, and inspiring and smooth process. There were plenty of little hurdles along the way, schedules, and budgets, and all of the stuff that every film deals with. But more than anything, I have to say, we all had so much 'fun' on this movie. And I'm incredibly proud of the work that our team did, and incredibly appreciative that we got to be a part of this magical film.
What is your favorite sound moment in the film?
You know, it's in a way something very simple. I think it would be the transition where the Aviator blows across the hands of the Little Girl, and we transition into the scene where we meet the Fox. That blowing fluidly moves into the sound of wind blowing in grass, and it's for me just a really simple, and beautiful moment. It's a very simple transition in a lot ways, but actually took a bit of experimenting to get it 'right'.
It sort of encapsulates for me the entire experience of the movie, simple and beautiful. I remember in our first little three day temp, I had laid in that sound. And I remember that as the moment went by on screen, the director, Mark, turned to the producer and smiled.
I think maybe that was the moment he knew that I got it, that our tastes and understandings of the film were aligned, and that I also understood how important it would be to get this sound job 'right' for this film. I still get goosebumps every time I play across that scene. Who knows, maybe it was that wind gust that got me the job!
A big thanks to Tim Nielsen for the story behind The Little Prince, and to Michal Fojcik for his great questions! Find out more about the film here.