Launched in 2011, ASPIRE is a unique academy-based programme designed to raise the aspirations of gifted and talented learners. The aims of ASPIRE are to secure the highest academic attainment, to enable learners to progress to the top universities, best apprenticeships and careers and for some to overcome economic and social disadvantages. To achieve these long-term aims we have developed a programme that is designed to raise aspirations, equip and motivate learners with excellent learning habits and life skills and develop a broad intellectual and cultural curiosity about the world.
ASPIRE is organised into a 'lower' school (Years 5 to 8) and an 'upper' school (Years 9 to 11) with learners potentially joining a couple of times a year. This unique and comprehensive programme is tailored to the learner's needs and includes a wide range of activities— day workshops delivered by experts or visiting artists / writers, cultural trips, residential courses, 'master classes', and one-to-one coaching sessions. The programme is delivered in partnership with Exeter University, local and national businesses, charities and gifted and talented organisations.
Learners from primary schools in the Axe Valley Learning Community can be nominated by their class teacher between Years 4 – 6. Attainment in two of the core subjects (English, Maths and Science) needs to be within the top 10% nationally and is based on teacher assessment. Learners at Axe Valley Academy will be nominated if their attainment is in the top 10%. For Years 7-11 this is based on a cognitive test and national curriculum levels for English, Maths and Science.
We are determined to ensure that social and economic disadvantage does not hold back learners from achieving their potential. As a result we aim to recruit at least 20% of learners who receive Free School Meals.
We expect members of ASPIRE to apply themselves fully to all aspects of the programme from induction to completion. In return, the academy pledges to provide a first class development programme for each learner.
For more information please contact Miss Dawn Coghlan, ASPIRE Co-ordinator on dcoghlan@axevalley.devon.sch.uk.


Born and raised in San Diego, Alvin Phiavongsa graduated from the San Diego School of Creative and Performing Arts, as well as San Diego Miramar College. He has more than five years in the industry, and is currently our Assistant Video Editor.
Professionally, Alvin is passionate about audio editing and video production. He previously worked on music videos for independent artists, which he credits to his drive for creativity. At Ignite Now Media, he specifically enjoys the friendly, supportive environment.
Interestingly enough, Alvin is also a singer-songwriter known as Dane Amar. He's participated in two seasons of Show Me the Money, a Korean reality television show, and his song, "Fade Away," just hit over 100,000 plays on Spotify.


The KG Cadet rear plastic bumper is now approved for use, see here.
Smaller or new classes, or variations to the major classes, will have their own set of regulations, usually by way of a KTE (Kart Technical Exemption).
Clubs can also offer the Clubman classes (which are lower powered and do not need the driver to take the ARKS Test so Clubman licence is required and can be taken out on the day of the race if necessary) or Libre classes (which do need the ARKS Test). Between them they cater for engines which are no longer homologated with their own class structure, or clubs wishing to combine a class with several compatible engines or use an engine that may not be in the regular homologated class approvals. Motorsport UK / Karting UK is open to new approvals for Clubman or Libre.
Formula Clubman, and approved variations for Honda Senior, World Formula and Junior Clubman with one Honda engine.
2016 Honda Technical Regulations V11a (MSA approved 23.5.16 for immediate implementation for the clarifications listed) and this version is needed for those with T1 engines.
Homologations are a method of certifying certain equipment, and are usually valid for a certain number of years, with regular dates (often every three years) for new applications. This method means that the sport has stability as equipment cannot be updated at a whim by the suppliers. The fiche is the technical document describing the equipment in often great detail. Competitors should have copies of the homologations and fiche for the equipment they are using.
Club regulations (supplementary regulations or championships regulations) must be approved by the MSA and must reference which classes are being offered and where the regulations for these classes can be found. Clubs usually put their local regulations on their website, see club listing. The championship regulations will also show how points and penalties are calculated.
# means year of the birthday. OK Junior driver must hold a National A licence.
Many class regulations call for specific tyre markings on the tyres e.g. ABKC, JAG, MSA, GB etc, See Kart Race Yearbook.
Junior classes have a minimum driver weight, for safety reasons. Junior TKM 38kg & MiniMax 39, Junior Max, 42.5, and seniors for under 16's.
*250/210 Gearbox has two weights, one when short circuit or no bodywork is fitted, the heavier for when wings or long circuit bodywork is fitted.


text:
person to persona
keith gallasch: sydney: william yang, rosie dennis, alexandra harrison
William Yang, My Generation
photo Heidrun Löhr
SOLO SHOWS BY WILLIAM YANG, ROSIE DENNIS, ALEXANDRA HARRISON AND MARTIN DEL AMO IN PERFORMANCE SPACE'S FIRST 2010 SEASON AND, SOON AFTER JOHN WATERS AND MIAOW MIAOW (SEE RT97) AT THE SYDNEY OPERA HOUSE, STIMULATED MY CASUAL THINKING ABOUT PRESENCE AND CHARISMA AND HOW TO DEFINE THE ENDURING APPEAL AND CRAFT OF PARTICULAR PERFORMERS—ESPECIALLY THOSE WHO ARE NOT ACTORS AND WHO ADDRESS US DIRECTLY, APPEARING TO BE PERFORMING THEIR OWN LIVES.
william yang
I've been watching William Yang's performative slide shows since 1987. Now and then, one of them, like his latest, My Generation, leaps out as very special. This is partly because of its epic sweep, from the 70s—when Yang finds a place in the theatre firmament with Rex Cramphorn, Robyn Nevin, Jim Sharman, Kate Fitzpatrick)—through the 80s and 90s extending the photographer's world to include the visual arts (Brett Whitely, Martin Sharpe), fashion (Jenny Kee, Linda Jackson, Flamingo Park) and the richly creative gay culture that overlapped and entwined with these through the likes of Peter Tully. And then there's Patrick White, a daunting presence in My Generation but at his most apparently vulnerable in Yang's exquisite portraits. And Tiny Tim. Over such a long period we witness artists and friends grow old or die, careers falter and friendships fail. Although Yang's tone is light and, as ever, slightly detached if measuredly frank, the sense of mortality in tandem with hard-won survival is pervasive.
Yang's performance persona across two decades has been remarkably stable. His confidence as a performer has certainly grown, but the basic ingredients, a coolish if affable, slow delivery, short carefully constructed sentences and physical fixity before a microphone all persist. The persona suggests someone who is possibly shy and requires a stable performative format—the rhythm of the slides might change but the spoken delivery varies little. Yang mentions in this performance that someone once described his photography as "not quite candid, a little bit formal." It applies equally to his performance. Yes, the photographic work is candid, lined flesh and sweat are brightly lit everywhere, and there are the occasional surprises (a litter of post-party, naked bodies), but there are limits—Yang tells us about the photographs that got him into trouble (he is no paparazzi, the people he shoots are often his friends and this kind of work can put friendship at risk) if remaining unclear about how often he seeks permission to exhibit his images. His stage performance is likewise candid, but carefully constructed: like a novelist foreshadowing an incident, Yang will show a photograph, mention that he saw something in its subject that concerned him or was predictive, and quickly leave it. It's a jolt, but inevitably he will come back to that person. Sometimes Yang's comments seem unfair because you simply do not have enough information from him to understand what happened, and why, to a friend's child who barely figures in the narrative—the thread in the weave is sometimes too thin. My Generation is also awash with personalities less well known, if at all, to newer generations, but remains valuable history if requiring clarification here and there.
My Generation is culturally rich with a strong sense of not just people but homes and events (for example, he says, when Mardi Gras used to be a cultural festival), meals shared, collaborations, openings and parties. A sense of privilege and furtiveness co-exist in the pleasure felt at seeing inside the homes of Patrick White and Margaret Fink and empathising with those who lose theirs. When Yang finds a home for himself and decides to live alone, he says it's the closest to freedom he's come. If candid about himself in previous works, perhaps Yang goes further in My Generation. As he and we watch other people's children die or mature on the screen, Yang declares, "The pictures are like my children; they will tell my story when I am gone." The William Yang performance persona hasn't changed in any essential way over 20 years, but with each work we learn more about the man and his world. It's rumoured that his body of work is destined for DVD, a welcome documentation of a life-in-progress, its milieu and the cultural life of Sydney, if likely viewed with the unease that perversely makes Yang's work popular—that play between formal and candid, which one audience member described to me as passive-aggressive. Of course that might fit any number of people who use the camera as a tool for social engagement. [Sandy Edwards' appreciation of My Generation is well worth reading at www.arthere.com.au/whatson/?p=92. Eds]
Rosie Dennis, DOWNTOWN
My earliest memory of Rosie Dennis was of a barely audible voice emerging close by from the shadows in the old Performance Space as Eleanor Brickhill danced among us. These oddly complementary performances were, well, strangely primal, hard to nail down, even in those heady days of wilful opacity and theory-driven performance. Dennis' amplified voice was distinctive—quiet but urgent, interrupted but oddly coherent, the words almost refusing to be given up. This seemed something more than performance poetry. When I later saw Dennis perform on her own, the surprise was even greater: the work was short, intense, un-miked, close-up, almost scary and sometimes funny as words and movement patterns locked into spasmodic loops, as if the performer was trapped in a moment of emotional recall from which there was no escape. The seemingly obsessive-compulsive drive yielded a memorable poetry and rough-hewn dancerliness that evoked a persona struggling to tell us something important if only the words would flow and voice and body come together.
These days, Dennis' performances are more formal occasions—framed as a lecture or report, deploying props to illustrate the events in her anecdotalising or ideas in her scientific or metaphysical speculations. These loop back wryly into her stories with a Paul Auster-ish sense of the synchronistic interconnectedness of the cosmos. Perhaps she'll dance, but wordlessly and privately. Perhaps she'll sing, but with Sydney's Gay and Lesbian Choir at the end of her latest performance, Downtown. The difference between early and current Dennis appears great—once I was alarmed by a 'condition' that shook up the notion of art, now I'm charmed by a presence that takes its all too willing audience (there's a legion of fans) firmly in hand as confidante.
For Downtown, Dennis set herself the task of "walking and talking with strangers [in] inner suburbs of Sydney" and during a week-long residency at Performance Space reported daily on the construction of her performance which was then delivered complete on a Friday evening as "part process/part product." Although the 44 people she approached (only three rejections) play a curiously small role in the performance, a funny email exchange with Yoko Ono looms large suggesting a personal 'chemistry' which is literalised in an onstage chemical experiment demonstrating "what we can do when we work together." Downtown is a whimsical, even sentimental, work-in-progress from an artist who surprises us nowadays with subtleties and metaphysical turns but still fixes us as one with a searching eye and vocal rhythms that, although now comforting, still incline to the pulse of poetry, especially when Dennis is not striving to be poetic. While some performance personae stay pretty well fixed, others, like Dennis', fascinatingly mutate and grow older, and stranger, with us.
Alexandra Harrison, Dark, Not Too Dark
alexandra harrison
In whatever work she appears, dancer and physical theatre performer Alexandra Harrison exudes a powerful presence. Here I'm seeing her for the first time as a solo performer, in a long dance work of her own making, Dark, Not Too Dark. In a RealTime-Performance Space Forum she described the work as "abstract", the motivation for it explained in part in her program note where she writes, "My great grandfather wrote to Concetta, his Aeolian island bride, asking her to send him a photo. And when she did he took the picture of her by an empty chair…to a photographer and created another image, placing himself in the chair…her hand on his shoulder." Another note defines remanence as "the residual magnetism left behind when the magnetising body no longer remains." In Dark, Not Too Dark, Harrison appears to have absorbed the magnetism of her grandmother, resulting in a gothic channelling, unleashing pent-up gestures and dance movements.
As a voiceover intones the word "forever" over a growing hum and percussive glitching in Bob Scott's musical score, Harrison, close to her audience, holds out her arms, palms down, sustaining the pose at great length until she begins to vibrate, the music deepening. She is entering another state of being. At last she lowers her arms, looks up and, in a series of moves, leans back, places a hand on her brow, and angles her whole body. The shape of it evokes a heroine locked in anguish in a 19th century melodrama or silent movie. The image of this transformation will recur across the work's duration. In one of its most engaging passages, Harrison approaches an old gramophone horn which emits a strumming to which she responds with a burst of 20s-style dancing, raising her knees high, as if pulled in and out of the music and into the past as it grows louder. At times she looks like a novitiate, at times a mature woman or a creature caught in a tracking follow spot or endangered by a chandelier—she takes it away, smashes it, a new one, or the same one, descends. The word "forever" returns. As does Concetta, appearing eerily on the photographic studio backdrop.
Dark, Not Too Dark largely defies literal interpretation. The low light, repeated movements and strange images induce a kind of gothic delirium—a la Edward Gorey if without the laughs—but Harrison is, as always, fascinating to watch, driven, possessed, as if working through a very private madness, such is the work's intensity, but to what end? A dark, but not too dark resurrection of the spirit of a forbear, an experiment that is both frightening and liberating? I'd like to experience the work again, a more economical version and with the sound score restrained (it's emotionally over-inflated despite its many virtues). In Dark, Not Too Dark at its best, Alexandra Harrison envelops us in her vision creating an ambiguous persona, part grandmother, part herself.
My Generation, words, visuals William Yang, musician Daniel Holdworth, producer Performing Lines, Performance Space, Feb 23-March 6; Downtown, writer-performer Rosie Dennis, assistant Jacob Patterson, Sydney Gay & Lesbian Choir, Performance Space, March 5; Dark, Not Too Dark, creator-performer Alexandra Harrison, sound Bob Scott, design consultant Kate Davis, lighting Richard Manner, dramaturg Benedict Anderson; Performance Space, CarriageWorks, Feb 17-20
See Keith Gallasch's critical appreciation of Tom Holloway's new play Love Me Tender at Belvoir St.
RealTime issue #96 April-May 2010 pg. 36
© Keith Gallasch; for permission to reproduce apply to realtime@realtimearts.net

redpajama_set_name: RedPajamaCommonCrawl


Emirates Airlines will add 17 new flights to its Asia Pacific route next month. Beginning in December, the carrier will introduce a fourth daily flight service to Bangkok, a third daily flight service to Sydney, two more flights to Manila, and another service to Jakarta. The Dubai airline said in a statement it will add a total of 17 new flights between December and January, increasing it seat capacity by 13 percent and its total number flights per week to 187.


text:
Karl Lindholm (en rus Карл Линдхолм, 5 de maig de 1860 – 4 de febrer de 1917) va ser un regatista rus que va competir a començaments del .

El 1912 va prendre part en els Jocs Olímpics d'Estocolm, on va guanyar la medalla de bronze en la categoria de 10 metres del programa de vela. Brasche navegà a bord del Gallia II junt a Esper Beloselsky, Ernest Brasche, Nikolai Puschnitsky, Aleksandr Rodionov, Iosif Schomaker i Philip Strauch.

Referències

Medallistes russos als Jocs Olímpics d'estiu de 1912
Regatistes russos
Persones de Turku
Regatistes finlandesos

redpajama_set_name: RedPajamaWikipedia


text:
Q: Insert & alter table SQLite-Eclipse-Android i need your help to improve my android application.
First - I have three tables (Contacts, Products and Order), when is adding a new Product registration i need to get it's name and with that info add a new Order column, to do that just know i need an alter table but i don't know where put it.
This is where the tables creates..
// NOTE: PEDIDOS = ORDER ... SORRY !!
public class DatabaseHandler extends SQLiteOpenHelper {

// All Static variables
// Database Version
private static final int DATABASE_VERSION = 1;

// Database Name
private static final String DATABASE_NAME = "BDDatos";

// Contacts table name
private static final String TABLE_CONTACTS = "contacts";
// Products table name
private static final String TABLE_PRODUCTS = "products";
 // Products table name
private static final String TABLE_PEDIDOS = "pedidos";

// Contacts Table Columns names
private static final String KEY_ID = "id";
private static final String KEY_NAME = "name";
private static final String KEY_PH_NO = "phone_number";
private static final String KEY_EMAIL = "email";
private final ArrayList<Contact> contact_list = new ArrayList<Contact>();

// Products Table Columns names
private static final String KEY_PROD_ID = "prod_id";
private static final String KEY_PROD_NAME = "prod_name";
private static final String KEY_DESC = "desc";
private static final String KEY_PRES = "presio";
private final ArrayList<Product> product_list = new ArrayList<Product>();

// Request Table Columns names
private static final String KEY_PEDIDO_ID = "pedido_id";
private static final String KEY_PRODUCT_ID = "product_id";
//private static final String KEY_CANTIDAD = "cantidad";
private final ArrayList<Pedido> pedido_list = new ArrayList<Pedido>();

public DatabaseHandler(Context context) {
super(context, DATABASE_NAME, null, DATABASE_VERSION);
}

// Creating Tables
@Override
public void onCreate(SQLiteDatabase db) {

String CREATE_CONTACTS_TABLE = "CREATE TABLE " + TABLE_CONTACTS + "("
    + KEY_ID + " INTEGER PRIMARY KEY," + KEY_NAME + " TEXT,"
    + KEY_PH_NO + " TEXT," + KEY_EMAIL + " TEXT" + ")";

db.execSQL(CREATE_CONTACTS_TABLE);

String CREATE_PRODUCTS_TABLE = "CREATE TABLE " + TABLE_PRODUCTS + "("
    + KEY_PROD_ID + " INTEGER PRIMARY KEY," + KEY_PROD_NAME + " TEXT,"
    + KEY_DESC + " TEXT," + KEY_PRES + " TEXT" + ")";

db.execSQL(CREATE_PRODUCTS_TABLE);

String CREATE_PEDIDOS_TABLE = "CREATE TABLE " + TABLE_PEDIDOS + "("
        + KEY_PEDIDO_ID + " INTEGER PRIMARY KEY," + KEY_PRODUCT_ID + " INTEGER REFERENCES PRODUCTS(KEY_PROD_ID)"+ ")";

db.execSQL(CREATE_PEDIDOS_TABLE);

}

// Upgrading database
@Override
public void onUpgrade(SQLiteDatabase db, int oldVersion, int newVersion) {
// Drop older table if existed
db.execSQL("DROP TABLE IF EXISTS " + TABLE_CONTACTS);
db.execSQL("DROP TABLE IF EXISTS " + TABLE_PRODUCTS);
db.execSQL("DROP TABLE IF EXISTS " + TABLE_PEDIDOS);

// Create tables again
onCreate(db);
}

/**
 * All CRUD(Create, Read, Update, Delete) Operations
 */

// Adding new contact
public void Add_Contact(Contact contact) {
SQLiteDatabase db = this.getWritableDatabase();
ContentValues values = new ContentValues();
values.put(KEY_NAME, contact.getName()); // Contact Name
values.put(KEY_PH_NO, contact.getPhoneNumber()); // Contact Phone
values.put(KEY_EMAIL, contact.getEmail()); // Contact Email
// Inserting Row
db.insert(TABLE_CONTACTS, null, values);
db.close(); // Closing database connection
}

// Adding new product
public void Add_Product(Product product) {
SQLiteDatabase db = this.getWritableDatabase();
ContentValues prod_values = new ContentValues();
prod_values.put(KEY_PROD_NAME, product.get_prodName());
prod_values.put(KEY_DESC, product.get_prodDesc());
prod_values.put(KEY_PRES, product.get_prodPresio());
// Inserting Row
db.insert(TABLE_PRODUCTS, null, prod_values);
db.close(); // Closing database connection
}

/*public void OnUpgrade_table(SQLiteDatabase db){

    ContentValues prod_values = new ContentValues();
    final String columna_producto = product.get_prodName();
    db.execSQL("ALTER TABLE" + TABLE_PRODUCTS + "ADD COLUMN" + columna_producto + "STRING");

}*/

// Adding new pedido
public void Add_Pedido(Pedido pedido) {
SQLiteDatabase db = this.getWritableDatabase();
ContentValues pedido_values = new ContentValues();
pedido_values.put(KEY_PRODUCT_ID, pedido.get_contact_id()); // Contact Name
//pedido_values.put(KEY_CANTIDAD, pedido.get_prodDesc()); // Contact Phone
// Inserting Row
db.insert(TABLE_PEDIDOS, null, pedido_values);
db.close(); // Closing database connection
}

// Getting single contact
Contact Get_Contact(int id) {
SQLiteDatabase db = this.getReadableDatabase();

Cursor cursor = db.query(TABLE_CONTACTS, new String[] { KEY_ID,
    KEY_NAME, KEY_PH_NO, KEY_EMAIL }, KEY_ID + "=?",
    new String[] { String.valueOf(id) }, null, null, null, null);
if (cursor != null)
    cursor.moveToFirst();

Contact contact = new Contact(Integer.parseInt(cursor.getString(0)),
    cursor.getString(1), cursor.getString(2), cursor.getString(3));
// return contact
cursor.close();
db.close();

return contact;
}

// Getting single product
Product Get_Product(int id) {
SQLiteDatabase db = this.getReadableDatabase();

Cursor prod_cursor = db.query(TABLE_PRODUCTS, new String[] { KEY_PROD_ID,
    KEY_PROD_NAME, KEY_DESC, KEY_PRES }, KEY_PROD_ID + "=?",
    new String[] { String.valueOf(id) }, null, null, null, null);
if (prod_cursor != null)
    prod_cursor.moveToFirst();

Product product = new Product(Integer.parseInt(prod_cursor.getString(0)),
        prod_cursor.getString(1), prod_cursor.getString(2), prod_cursor.getString(3));
// return contact
prod_cursor.close();
db.close();

return product;
}

// Getting single pedido
Pedido Get_Pedido(int id) {
SQLiteDatabase db = this.getReadableDatabase();

Cursor cursor = db.query(TABLE_PEDIDOS, new String[] { KEY_PEDIDO_ID,
    KEY_PROD_ID }, KEY_PEDIDO_ID + "=?",
    new String[] { String.valueOf(id) }, null, null, null, null);
if (cursor != null)
    cursor.moveToFirst();

Pedido pedido = new Pedido(Integer.parseInt(cursor.getString(0)),
    cursor.getString(1));
// return request
cursor.close();
db.close();

return pedido;
}

// Getting All Contacts
public ArrayList<Contact> Get_Contacts() {
try {
    contact_list.clear();

    // Select All Query
    String selectQuery = "SELECT  * FROM " + TABLE_CONTACTS;

    SQLiteDatabase db = this.getWritableDatabase();
    Cursor cursor = db.rawQuery(selectQuery, null);

    // looping through all rows and adding to list
    if (cursor.moveToFirst()) {
    do {
        Contact contact = new Contact();
        contact.setID(Integer.parseInt(cursor.getString(0)));
        contact.setName(cursor.getString(1));
        contact.setPhoneNumber(cursor.getString(2));
        contact.setEmail(cursor.getString(3));
        // Adding contact to list
        contact_list.add(contact);
    } while (cursor.moveToNext());
    }

    // return contact list
    cursor.close();
    db.close();
    return contact_list;
} catch (Exception e) {
    // TODO: handle exception
    Log.e("all_contact", "" + e);
}

return contact_list;
}

// Getting All Products
public ArrayList<Product> Get_Products() {
try {
    product_list.clear();

    // Select All Query
    String selectQuery1 = "SELECT  * FROM " + TABLE_PRODUCTS;

    SQLiteDatabase db = this.getWritableDatabase();
    Cursor prod_cursor = db.rawQuery(selectQuery1, null);

    // looping through all rows and adding to list
    if (prod_cursor.moveToFirst()) {
    do {
        Product product = new Product();
        product.set_prodID(Integer.parseInt(prod_cursor.getString(0)));
        product.set_prodName(prod_cursor.getString(1));
        product.set_prodDesc(prod_cursor.getString(2));
        product.set_prodPresio(prod_cursor.getString(3));
        // Adding contact to list
        product_list.add(product);
    } while (prod_cursor.moveToNext());
    }

    // return contact list
    prod_cursor.close();
    db.close();
    return product_list;
} catch (Exception e) {
    // TODO: handle exception
    Log.e("all_product", "" + e);
}

return product_list;
}

// Getting All Pedidos
public ArrayList<Pedido> Get_Pedido() {
try {
    pedido_list.clear();

    // Select All Query
    String selectQuery2 = "SELECT  * FROM " + TABLE_PEDIDOS;

    SQLiteDatabase db = this.getWritableDatabase();
    Cursor pedido_cursor = db.rawQuery(selectQuery2, null);

    // looping through all rows and adding to list
    if (pedido_cursor.moveToFirst()) {
    do {
        Pedido pedido = new Pedido();
        pedido.set_pedidoID(Integer.parseInt(pedido_cursor.getString(0)));
        pedido.set_prod_id(pedido_cursor.getString(1));
        //pedido.set_reqCant(pedido_cursor.getString(2));
        // Adding contact to list
        pedido_list.add(pedido);
    } while (pedido_cursor.moveToNext());
    }

    // return request list
    pedido_cursor.close();
    db.close();
    return pedido_list;
} catch (Exception e) {
    // TODO: handle exception
    Log.e("all_request", "" + e);
}

return pedido_list;
}

// Updating single contact
public int Update_Contact(Contact contact) {
SQLiteDatabase db = this.getWritableDatabase();

ContentValues values = new ContentValues();
values.put(KEY_NAME, contact.getName());
values.put(KEY_PH_NO, contact.getPhoneNumber());
values.put(KEY_EMAIL, contact.getEmail());

// updating row
return db.update(TABLE_CONTACTS, values, KEY_ID + " = ?",
    new String[] { String.valueOf(contact.getID()) });
}

// Updating single product
public int Update_Product(Product product) {
SQLiteDatabase db = this.getWritableDatabase();

ContentValues prods = new ContentValues();
prods.put(KEY_PROD_NAME, product.get_prodName());
prods.put(KEY_DESC, product.get_prodDesc());
prods.put(KEY_PRES, product.get_prodPresio());

// updating row
return db.update(TABLE_PRODUCTS, prods, KEY_PROD_ID + " = ?",
    new String[] { String.valueOf(product.get_prodID()) });
 }

// Deleting single contact
public void Delete_Contact(int id) {
SQLiteDatabase db = this.getWritableDatabase();
db.delete(TABLE_CONTACTS, KEY_ID + " = ?",
    new String[] { String.valueOf(id) });
db.close();
}

// Deleting single product
public void Delete_Product(int id) {
SQLiteDatabase db = this.getWritableDatabase();
db.delete(TABLE_PRODUCTS, KEY_PROD_ID + " = ?",
    new String[] { String.valueOf(id) });
db.close();
}

// Getting contacts Count
public int Get_Total_Contacts() {
String countQuery = "SELECT  * FROM " + TABLE_CONTACTS;
SQLiteDatabase db = this.getReadableDatabase();
Cursor cursor = db.rawQuery(countQuery, null);
cursor.close();
// return count
return cursor.getCount();
}

// Getting products Count
public int Get_Total_Products() {
String countQuery = "SELECT  * FROM " + TABLE_PRODUCTS;
SQLiteDatabase db = this.getReadableDatabase();
Cursor cursor = db.rawQuery(countQuery, null);
cursor.close();

// return count
return cursor.getCount();
}

// Getting pedido Count
public int Get_Total_Pedido() {
String countQuery = "SELECT  * FROM " + TABLE_PEDIDOS;
SQLiteDatabase db = this.getReadableDatabase();
Cursor cursor = db.rawQuery(countQuery, null);
cursor.close();

// return count
return cursor.getCount();
}

}

A: onUpdate method is there to help You update a database schema in new version of app.
In Your code I see You taking common approach of deleting all tables and calling onCreate.
So You have to adjust CREATE TABLE... queries in onCreate and increase value of DATABASE_VERSION constant.

redpajama_set_name: RedPajamaStackExchange


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For specific information regarding our current machining capacities and machine specifications check out our Machine Capacities Chart.


We are pleased to announce our first show of 2017!
New York's house and disco evangelist Eli Escobar has been a familiar face on New York's scene for the last two decades. Whether tearing it up at clubs across the capital (and beyond) or throwing down super-charged disco bombs on labels like Nervous and Strictly Rhythm, Escobar rarely steps out of his four-four beat. As one third of the Tiki Disco parties in Bushwick, as well as running his own Night People label, Escobar has been putting his own twist on the city's house and disco soundtrack, joining the dots between yesterday's golden era classics and today's club anthems.


Fact or opinion? What's the difference? This set of worksheets will teach your students.
The following collection of worksheets will present different statements to the student, and ask for a determination of whether the statement is a fact or an opinion. Some worksheets will present a subject, and ask the student to write both a fact and an opinion about it. Others will ask the student to explain why a given statement is a fact or an opinion. Answer keys have been provided for each activity sheet.
Remind your students that while people are entitled to their own opinions, they cannot have different facts. Facts exist independently of what anyone thinks.
Read each sentence. Determine if it is true/false or just someone's throught process. Write answer on the line.
Sentences include: Dresses look nicer and more professional than a pants suit. The Big Mac is the best hamburger sold.
Baseball season is the greatest sports season of the year. Throwing a baseball is a fun activity for a father and son.
Sentence Examples Include: In 2011 a nuclear plant in Japan was damaged by an earthquake. Sally thinks her grandmother is the most loving grandmother in the world. A lunar eclipse occurs when the moon passes behind the earth. The average American black bear weighs around 880 pounds.
Sentence Examples Include: Rocks are naturally occurring solid aggregates of minerals or mineraloids. I agree that diamonds are a girl's best friend. The city of Los Angeles has entertaining places to visit on a family vacation. Rain is a liquid form of precipitation and sleet is a frozen form. Heliotherapy is an alternative medical therapy involving exposure to the sun.
Write a complete sentence fact and opinion about each word. Example provided.
Fact: Thunderstorms are transient, sometimes violent storms with thunder and lightning. Opinion: Thunderstorms are scary when you are home alone.
Fact: Liver is high in cholesterol. Opinion: Liver is not an appetizing meat to have at a meal.
Fact: Cursive writing is a style of handwriting that connects all letters in a word. Opinion: With computers, cursive writing is outdated and unnecessary.
Fact: A museum is a building where works of art and other objects of permanent value are kept. Opinion: One of the most educational field trips is a trip to a museum.
Is it a Provable Fact or Just an Opinion?
Very short sentences for very quick assessment.
Read each statement. Circle your answer to the best of your ability. If it's a fact, explain how it can be proven. If it is an opinion, write that it cannot be proven.
Read each statement. If it's a fact, explain how it can be proven. If it is an opinion, write that it cannot be proven.
Read each statement. Is it a fact or an opinion? Write eitheer on the line.
A fact is something that is true, or can be proven. An opinion is what someone thinks or feels about a subject.
Write one fact and one opinion about each topic.
Read each statement. Is it a fact or an opinion? Color in the tiger next to each fact.
Read each statement. Is it a fact or an opinion? Write your answer on the line.
A fact is something that can be proved to be true. An opinion cannot be proven; it is the expression of someone's thought or feeling about a subject.
Read each sentence. If it is a fact, write an F on the line. If it is an opinion, write an O on the line.
Check the correct box. Ham sandwiches are delicious and Charles Dickens wrote David Copperfield.
Write down as many facts as you can about the assigned topic. Then, on the lines below, express your opinion about the topic.
Identify whether each statement is with a reason or purpose behind each choice. Write down how you can prove each fact.


Carmel Mountain Ranch, simply known as CMR, is a residential and planned community in San Diego that is located to the northeast of the city. Located close to Rancho Penasquitos, Rancho Bernardo, and Sabre Springs, Carmel Mountain Ranch is a highly accessible community within San Diego County.
Carmel Mountain Ranch is known as a family friendly community in San Diego with all the necessities of life within close proximity. There are five major shopping and retail centers across CMR that cover all your basic needs. The Poway Unified School District serves Carmel Mountain Ranch and administers to the Mt. Carmel High School.
The Carmel Mountain Ranch Community Park is the landmark site in the region and is conveniently accessible from different parts of the community. The Carmel Mountain Ranch Country Club is where weddings, events, golf tournaments, and conventions are held for the local community. The housing and development activity in the region means that finding a property today is not as difficult as it was before!
Carmel Mountain Ranch is recognized for its affordable lifestyle where property prices are generally lower than that of San Diego. Property owners in Carmel Mountain Ranch may go from weeks to months before they get in touch with tenants. This is because, as families generally move to Carmel Mountain Ranch, they prefer working with property management services to find suitable properties for rent.
As such, if you have a rental property in Carmel Mountain Ranch, you should consider working with a property management service to make the process easier. This will allow you to find tenants that match your monetary and tenancy needs, quickly and efficiently. With a property management service like ours, you can rest assure that you are working with the best in CMR. Highlighted below are some of the services that CKS Property Management offers it's clients.
Tenant Recruitment – Our unique approach to placing quality tenants in a CKS managed property starts well before the rental property becomes vacant. At CKS Property Management we recruit prospective tenants in advance. By creating a tenant pool, we are in a position to place a tenant into a rental property much faster. This proactive approach is just one example of the many ways CKS Property Management provides quality property management services to both tenants and owners.
Tenant Placement – At CKS Property Management we understand that one of the biggest concerns for a property owner is "covering the mortgage". That's why we take pleasure in removing the pressure from this process and ensuring a positive outcome that is fair, compliant and extremely thorough. We find that tenants also appreciate our unbiased and efficient approach to this process putting them in the right frame of mind from the beginning. Our process helps ensure a win-win result that keeps your rental property investment on track.
Additionally, our Tenant Placement program can be used to "test drive" CKS while deciding when to get out from under the stress of being a landlord. The transition to our full-service agreement is painless and usually self-funding. CKS Property Management utilizes multiple websites and other optional forms of print media to market your property. Once we've attracted the right prospective tenant, our dedicated BRE licensed real estate agent uses a 9-step tenant screening process that enables us to deliver high-quality prospective tenants for final approval. Our goal is to increase the chances of a long-lasting relationship with a responsible tenant.
Financial Reporting – Our property owners have a always told us that a clear, simple and easy to read financial report is a top priority among our many property management services. Therefore, at CKS Property Management we have designed just that. Even better, it is available 24 hours a day, seven days a week for property owners to log in to their personal account and view a monthly detailed operating statement, cash flow 12-month summary and net income statement. There is no better way to stay current with your investment property or better prepared for your tax adviser. No more wondering what's happening, just click and print if you need a paper copy.


Where - St John's Innovation Centre, Cambridge.
We are a technology-enabled startup, combining an innovative online marketplace with professional service offerings, with a clear vision to improve the way Western businesses engage with China.
We are looking for an ambitious Project Manager who is passionate about West-China business interactions, and capable of delivering high quality project management service to clients.
Experienced in management consulting, market research, operational management and business development.
If you've read this far, you'll realise this role is offering a unique opportunity to be part of a growing business and an awesome team.
Please send your full resume and application to career@crayfish.io.
The University of Oxford has been successful in raising donations from a broad range of donors, including alumni, non-alumni, foundations and trusts, and corporations. The support for the future of Oxford is world-wide: 50% of the income comes from overseas. Building on our fundraising success, the University is expanding our overseas fundraising. We are now seeking a Senior Development Manager to support our fundraising work in China. To be successful in this role you will be an experienced fundraiser with an impressive track record in building strong relationships with prospects and donors (in the UK and/or internationally) and in securing significant major gifts at the six or seven figure level.
A graduate or equivalent, you will be tenacious, ambitious and self-reliant and adept at developing excellent relationships with senior University officers, academics and colleagues.
Confident and credible at a senior level, you will be experienced in the identification and cultivation of major prospects.
Your background is likely to be in higher education or the not for profit sectors and you must be able to work well under pressure in a complex, multi-national and culturally diverse environment.
Fluency in Mandarin (written and spoken) is essential.
Proficiency in Cantonese (writing and reading traditional Chinese) desirable.
This role will require regular travel to China. Flexible working including working from London will be considered.
You will be required to upload a letter of application as part of your online application.
Only applications received before 12.00 noon on 7 January 2019 can be considered. Initial interviews are anticipated to take place on 24 or 28 January 2019.
Description: Generation UK – China programme supports students to undertake up to a year's study of Chinese language alongside other non-degree programmes like law. The placements are for September 2016/17 academic year so primarily aimed at final year students or those who have recently graduated in 2015.
The programme is open to students of all disciplines. This is a great opportunity to enhance your CV and boost your skills set, as well as to gain valuable international experience abroad. The British Council offers scholarships for this programme which cover tuition, monthly living allowance and accommodation.
Essential skills required: This opportunity is available to students of all disciplines.


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Q: how to remove 8080 from URL Could someone please tell me, what can I do to give my application a simple URL. Right now I call my app with this URL -
http://localhostname:8080/MyProject

I would like to call it with this URL -
http://localhostname/MyProject

I'am using JBoss 7.1.0 Final version

A: As said above in Alexander Pavlov's comments the easiest way to go about this is using port 80.
Applications servers normally have a config file (usually xml) in which you specify the port for your application to use.  The default for most application servers is port 8080 so your url will look like this: http://<server IP or name>:8080.
If you modify your applications server configuration to make the default port 80 then you will only have to do this: http://<server IP or Name>

A: I was in the process of researching this very topic (for a single instance though) and came across a recommendation from the RedHat Discussions.
This is Linux specific for a single instance. OP didn't specify environment. But this should point OP down the right path if using Linux.
Using port 80 & 443 requires root to run the JBoss instance. Chances are, the SA isn't going to grant this to the user, so an alternative is to have the SA modify the iptables. Credit goes to PixelDrift.NET Support over in the RedHat Discussions for the great lead.
iptables -I INPUT -i eth0 -p tcp --dport 8080 -j ACCEPT
iptables -I INPUT -i eth0 -p tcp --dport 8443 -j ACCEPT
iptables -A PREROUTING -t nat -i eth0 -p tcp --dport 80 -j REDIRECT --to-port 8080
iptables -A PREROUTING -t nat -i eth0 -p tcp --dport 443 -j REDIRECT --to-port 8443

My SA modified the iptables to our needs.
iptables -I INPUT -p tcp --dport 8380 -j ACCEPT
iptables -I INPUT -p tcp --dport 8443 -j ACCEPT
iptables -I INPUT -p tcp --dport 9990 -j ACCEPT
iptables -I INPUT -p tcp --dport 9443 -j ACCEPT
iptables -A PREROUTING -t nat -p tcp --dport 80 -j REDIRECT --to-port 8380
iptables -A PREROUTING -t nat -p tcp --dport 443 -j REDIRECT --to-port 8443
iptables -A INPUT -p tcp --dport 80 -m limit --limit 25/minute --limit-burst 100 -j ACCEPT

After the changes were applied, I was successfully able to access the application using http://bar.foo/baz without the necessity of including the port number.


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Q: Scraping strings for numbers So I have a bunch of strings that look like this:
var string = "0.1 - 1";

I'd like to pull out the value that's to the left of "-" as well as the value to the right. In this case that would be:
leftValue = 0.1, rightValue = 1. Any idea how to achieve this?

A: This will work assuming your string is always a number, a dash, and another number. It will not work with negative numbers since it splits on all dash characters.
var string = "0.1 - 1";
var splitStr = string.split("-");
var leftValue = parseFloat(splitStr[0]);
var rightValue = parseFloat(splitStr[1]);


I have a deep and inexplicable adoration of high school television dramas. I can rattle off Dawson's Creek stats, I own way too many box sets of The O.C., and have watched a lo-ot of Greek. With that information in mind, it shouldn't be a fair stretch of the imagination to determine that tonight I will be watching Pretty Little Liars.
The intensely addictive ABC Family mystery follows the lives of four preternaturally attractive high school girls as they work to solve the mystery of their best friend's death. It is spooky (in the shadows lurking in the corner kind of way), there are love triangles (in the someone always walks in at the exact wrong moment kind of way), and everyone looks generally fabulous. It's a fantasy world that doesn't teeter too far into the realm of vampires and werewolves. Pretty Little Liars (or PLL for fans) is all about impossible situations ... that could happen ... maybe ... one day?
In anticipation of tonight's Halloween episode, which takes place on a moving train, the show's executive producer Marlene King sat down for an interview with The Hollywood Reporter. She let a few spoilers drop about tonight's episode that are sure to get the PLL fan base geared up: namely, that someone from Rosewood dies on the train tonight, and that A "definitely has a master plan."
You see, the girls are haunted, stalked, followed (insert any other creepy word here) by a mysterious and all-knowing person/team/force called A. A knows secrets about the girls' lives that no one should ever know. And, as fans learned on the last episode, Team A includes Toby (Keegan Allen) who we all assumed was a devoted boyfriend of one of the girls in the infamous quartet. No this isn't quite life as we know it, but what the program manages to balance is incredibly real depictions of emotions; love, fear, friendship. And this treatment of emotion is what let's the show run with the best of the soap operas out there.
Murder mystery aside, there is something deeply realistic about the show. It is escapism, but escapsim that keeps a finger on the pulse of reality. Oh, and the addictive story line doesn't hurt.
Pretty Little Liars airs tonight on ABC Family at 8:00 p.m.


Take a look at where the Bears stacked up both as a team and individually in the NFL rankings after wrapping up the regular season.
On Top & Rolling - The Bears finished the season 12-4 and are winners of nine of their last 10 games heading into the playoffs. It's the first time Chicago has won 12 games in a season since 2006 when the Bears went 13-3 and made it to the Super Bowl.
Turning D into O - Chicago led the league with 107 points off of takeaways.
Points please - The Bears ranked tied for ninth in the league in average points per game, averaging 26.3 points per contest this year.
Possession priority - The Bears ranked third in the league in average regulation possession time (31:59).
Gimme six - The Bears finished tied for ninth in the league in touchdowns per game, averaging 3.1 per contest.
Half & Half - The Bears were the only team to hold a second-half lead in every game this season, and Chicago led the league in fewest first-half points allowed (96). The Bears held opponents to six or fewer halftime points in nine games this year, most in the league.
Take out, please - Chicago finished first in the NFL with 36 takeaways and tied for second in the NFL with a +12 turnover margin.
Red means stop - The Bears ranked first in the league in fewest opponent red zone scoring attempts per game, with the opposition averaging just 2.5 per contest.
Don't rush - The Bears ranked first in the NFL in fewest rushing yards allowed per game, giving up an average of just 80.0 per game. They also ranked first in fewest rushing plays allowed of 10+ yards (28) and fewest rushing touchdowns (5) allowed.
Three downs you're out - The Bears finished fourth in the league in opponent third down conversion percentage (.343).
Don't pass go - The Bears are first in the NFL in lowest passer rating allowed (72.9).
Sack 'em up - The Bears ranked tied for third in the NFL in total sacks with 50 this year.
Pick 'em off - The Bears finished first in the league with 27 interceptions, six more than any other team. Chicago also is first in the league with five interceptions returned for touchdowns.
The low down - The Bears finished first in the NFL in fewest first downs allowed per game (17.4).
Not by air, not by ground - The Bears ranked third in the league in total defense, allowing just 299.7 total yards per game.
Got the force - The Bears' 19 forced fumbles ranked tied for seventh most in the league.
Catchin' Cohen - Running back Tarik Cohen led all NFL running backs with seven catches of at least 25 yards. He also led the NFL with 411 punt return yards and ranked third in the league among backs with 725 receiving yards.
Trust in Trubisky - Quarterback Mitchell Trubisky ranked fifth in the NFL among quarterbacks in rushing yards with 421. The second-year quarterback had four games of 300+ passing yards, tied for the most by a Bears QB in a single season and became the sixth quarterback in Bears history to eclipse 3,000 passing yards in a season, finishing with 3,223 yards.
Rookies Rocking - Linebacker Roquan Smith finished with a team-high 122 tackles this season, two short of the Bears rookie record for tackles set by Brian Urlacher in 2000. Receiver Anthony Miller finished second in the NFL among rookie receivers with seven touchdown receptions this year. His seven touchdown catches are the most by a Bears rookie receiver since 1983.
Fuller up - Cornerback Kyle Fuller's seven interceptions were tied for the most by any player in the league. Fuller also led the league with 21 pass breakups. Fuller's seven interceptions are the most by a Bear since Tim Jennings had nine in 2012, which led the NFL that season.
Mack Attack - Linebacker Khalil Mack led the Bears with 12.5 sacks this season and his six forced fumbles were the most of any NFC player. Mack's 49 sacks since the beginning of the 2015 season are tied for third most in the league over that span.
Hick, Hick, Hooray - Defensive tackle Akiem Hicks led the team with 12 tackles for loss and was second with 16 quarterback hits this year. His 7.5 sacks and three forced fumbles both ranked second on the team.
Jackson Six - Safety Eddie Jackson finished fourth in the league with six picks this season. His five defensive touchdowns since 2017 are tied for most all-time by a player in his first two NFL seasons. Jackson also had 15 pass breakups this season, tied for fifth most in the NFL.


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You are here: Home » Articles filed under: 'News' » Article: 'Do Museums have a future?'
Do Museums have a future?
March 16th, 2017 | Browse other: News. | Tagged with: Museums Victoria, Patrick Greene, the future of museums |
The Welcome Map exhibit in the First Peoples exhibition at Bunjilaka Aboriginal Cultural Centre at Melbourne Museum. Source: Museums Victoria.
Dr J Patrick Greene, OBE, Looking Forward, Do Museums Have a Future?, Insite Magazine, February to April 2017
After nearly fifteen years as CEO of Museums Victoria, Patrick Greene is moving on, but not before reflecting on what has been achieved and what lies ahead for museums as they evolve their relationship with audiences and respond to world events.
On 14 February 2017 I will step down from my position as Chief Executive Officer of Museums Victoria. It will be my fifteenth year in Melbourne, following nineteen years as Director of the Museum of Science and Industry in Manchester and twelve years excavating the site of Norton Priory in Cheshire. I have a vantage point to examine the future of museums by examining where some current trends may take us.
A careful look at the history of what is now Museums Victoria reveals a story of advances and reverses, with good times interspersed with bad, but always the power to adapt and survive. The capacity to think of the long-term, especially where collections are concerned, means that each phase of the museum's existence leaves an enhanced legacy for the next. The Museum is the product of the enterprise and determination of all who have worked for it throughout its existence.
From the outset the prospect of leading a museum with several sites and encyclopaedic collections and knowledge excited me, but I was all too aware that many large museums fall victim to silos, rivalries and departmentalism. The networked museum was the antidote and what a success it has been. It has embraced all of our activities, including research, communication, exhibitions, public programs, customer service, members, governance, and commercial ventures. Put simply, it is a culture of collaboration of 'Teams and individuals working in different places and spaces to achieve shared goals and a shared
During the past fifteen years, numerous exhibitions have taken place, public programs have expanded enormously, there is a single collections database instead of fifty individual ones, over one million items are searchable on the Museums Victoria Collections database, hundreds of research papers have been published in refereed journals, a number of new planetarium shows have been developed and a range of awards have been won.
Our commercial side has also expanded–we took responsibility for the operation of the Royal Exhibition Building, the IMAX cinema and the Melbourne Museum carpark that had private sector operators previously, and have made a success of all of them. Of course we also operate shops, our 'Museum Spaces' venue hire business and touring exhibitions, all of which produce income that helps to sustain the museum's activities.
So the lesson that I have learnt is that an organisation that has been around for more than a century and a half can be innovative and successful and therefore safeguard its future. Age is no barrier to doing so.
Museums are increasingly responding to challenges facing society, such as the rise in the number of people with dementia. At Museums Victoria, we are increasing our efforts, using the 'creating dementia-friendly communities' toolkit developed by Alzheimers Australia, applying it in aged care settings through our out-reach program.
Another example of a resource for a section of the audience who have particular needs is the 'autism-friendly museum' initiative that Museums Victoria has applied to all three of its museums, developed in partnership with Amaze/ Autism Australia. Advice on preparing for the visit, social stories to help visitors with autism, and the identification of quiet areas are all ingredients.
The way in which digital technologies are transforming so many aspects of our lives is astonishing in both impact and speed of change. The newspaper industry is struggling to survive and the future looks bleak for print journalism. Museums, on the other hand, have benefited. A good example is the first app that Museums Victoria developed, the Field Guide to Victorian Fauna that was launched in 2011.
The award-winning app has now been downloaded over 137,000 times, and has been rolled out across Australia on a collaborative basis with our colleague museums in the other states and territories. It has also been enhanced by crowd-sourcing images, birdsong and frog calls from the public.
Looking to the future, what else are we likely to see? Virtual Reality is something that has been about to happen on a big scale for at least a quarter of a century, but there are signs that this time it really will take off. It will be interesting to observe how museums utilise VR and whether the public want to experience it in a museum setting rather than their own sitting rooms.
Will the urge to create new museums ever stop? Again and again, the response to an anniversary, a notable person, a technological advance, a tourism opportunity and almost anything else is 'Let's create a museum about it.' Luckily, there are organisations such as Museums Australia (Victoria) who can ask the hard questions, the most important being 'do you realise what you are taking on?' closely followed by 'do you realise that, once established, the museum is with us forever?'
A very precious asset that museums possess is the way in which they are trusted sources of information. With that trust comes a responsibility to use it to benefit the community. The implications of a 1.5 degree rise in global temperatures are enormous; the implications of a 2.0 degree rise are terrifying. Museums are in a perfect position to spell out the issues for the local communities that they serve, for example by using historic records to demonstrate the impact of a warming climate on the locality. Museums Victoria's planetarium show Our Lving Climate provides a vivid reminder of the precarious nature of life on Earth.
Museums also contribute to community cohesion, from active participants in the life of small rural communities to specific programs aimed at countering racism and extremism in an urban setting. Museums are also active in presenting the 50,000 year story of Indigenous Australians in ways that are respectful and enlightening.
In the Bunjilaka Aboriginal Cultural Centre in Melbourne Museum, the First Peoples exhibition continues to attract visitor's social media comments, such as: "In Bunjilaka, the Museum tells the story of survival against the odds and celebrates vibrant Aboriginal cultures through performances, storytelling, artwork and more. It's a beautiful experience with the story being told in many ways through objects as well as photographs, moving image etc. I enjoy the rest of the museum but this is always the highlight for me."
The reason that Bunjilaka strikes such a chord with the people who experience it is because it results from an unparalleled partnership with Victoria's Aboriginal communities. Museums have moved a great distance in the last few decades from a position that was highly protective of their knowledge authority to one that values the input of the people they serve. In my experience, a welcoming attitude to people with knowledge always pays dividends.
I am proud to be part of a remarkable international community that contributes so much value to our lives. My final comment is this: very few people understand the extent of the activities we undertake or know much about the skilled work that our members of staff and volunteers carry out. We are in the business of communication, so isn't it time we became more effective at communicating our work and achievements?
Dr J Patrick Greene OBE, CEO, Museums Victoria. Visit Museums Victoria at: https://museumsvictoria.com.au


DEVASIA is the most popular 19971.st name in USA (... 19969.bromert , 19970.kirtibala , 19971.devasia , 19972.nitia , 19973.bergado ...). One in every 351,102 Americans is named DEVASIA and popularity of name DEVASIA is 2.85 people per million.
If we compare the popularity statistics of DEVASIA to USA's population statistics, we can estimate that as of April.24.2019 20:41 there are 948 people named as DEVASIA in the United States and the number is increasing by 7 people every year.
First Names which are compatible or rhyming with DEVASIA. They will be the best brother/sister names for DEVASIA.


Things I learned watching the X Games: When you lose control of a snowmobile, it pretty much turns into a movie monster. Also, the X stands for XTREME.
At the X Games on Sunday, biker Jackson Strong was trying his hand at the Snowmobile Best Trick competition. It didn't go well.
— leaving Strong unhurt but a little, uh, helpless.
Here's another view of Strong's crash. But where'd the snowmobile go?
Ahh — oh man. Oh boy.
The snowmobile crashes into the fence boundary, sending fans sprawling. One teenager was treated for injuries but later released; everyone else appears to have been a-OK.
Here's a GIF of the whole gnarly experience. Happens to the best of us!


Watch Nai Palm of Hiatus Kaiyote fire dance in her new video for "Homebody" below. "Shooting the video for 'Homebody' was really personal for me," Palm tells Complex. "I wanted to celebrate where I come from. My stage name Nai Palm was originally my fire performance name predating any music endeavors. The Hume Weir where we filmed is close to Mount Beauty where I grew up. It was once a valley that was lived in and was eventually evacuated to become a dam. The old eucalyptus trees are still standing in the water and in my early teens I was haunted by their presence. This is my first attempt at executing visual concepts, editing, etc." Read more at COMPLEX.com.
Listen to her solo debut album Needle Paw here. The vinyl edition featuring 2-LP 180 gram records in gatefold jacket is set for release Feb. 2. It also comes with a lyric insert and art print. A pre-order for that is available on Palm's official website.


Debuts don't come more dazzling, fully realized or powerful than EP1, the opening musical statement of singer, songwriter, producer and multi-instrumentalist Sam Lewis, a.k.a. Pleasure Craft. Heads are going to spin.
EP1 is that rarest of releases, one that scans effortlessly as pop, alternative and 80's throwback, yet is beholden to none. Powered equally by vivid lyrics and Lewis's plaintive delivery, which conjures Nick Cave and David Byrne by way of Ian Curtis, this brilliant sonic taster boldly announces a towering new talent.
Indeed, the Toronto-based Lewis has distilled a lifetime's worth of experiences —including (but not limited to) guitar by age 10, trumpet by age 11, solo world travel, aeronautics training, gigging with retro-rockers Lovers Touch, and a heap of fly-on-the-wall observing — into five utterly unique songs that seep into the consciousness and stay firmly put.
Written by Lewis between 2016 and 2018, and recorded at home and at Humber Recording Studios with notable assists from multiple guest singers and musicians — many encountered by Lewis while studying jazz trumpet at Toronto's acclaimed Humber College — EP1 clarifies the prevailing Pleasure Craft ethos: music created by Lewis but buoyed by input from collaborators.
The new spellbinding video for single 'Back In The Game' perfectly encapsulates the aesthetic of the project. Sleek production envelopes the dry, matter-of-fact vocals. Think LCD Soundsystem if James Murphy ever made music as a young man. Confident, stylish, and most importantly infectious, 'Back In The Game' is an instant game-changer for the artist. His paranoid world both alien and captivating in equal message. There's a depth to Lewis's sonic blueprint. You're caught up in his universe, slightly unsettled, but not looking for an escape. You're more than happy to revisit over and over again. Pleasure Craft has our attention.
The Return to Tipp: Feile Classical 2018, Thurles, Co. Tipperary, Ireland.


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'Fringe':Seth Gabel talks Lincoln Lee, Season 4
By fringeobsessed Email Post 9/20/2011 08:30:00 PM Categories: Fringe, Interview, Season 4, Seth Gabel
'Fringe': Seth Gabel talks Lincoln Lee, Season 4September 19, 2011 9:00 am
"Fringe" returns Friday night after a summer of hanging questions. Has Peter Bishop been erased from history? How will the two universes' Fringe teams interact? Whatever happened to Amy Jessup, that new FBI agent they introduced awhile back? If any show is good at keeping its secrets, it's "Fringe." Though one welcome spoiler did slip out over the summer months: Seth Gabel is moving from guest star to cast member in time for Season 4. That means we'll be seeing more of Gabel's character, Lincoln Lee.
When I chatted with Gabel about the promotion, I asked if it came with any hazing. Did John Noble make him do key stands? Clean his trainer? "It's actually the opposite." Gabel laughed. "John is a very protective person. He realized I was stepping into a new situation; he took a parental approach. Actually, I had to show him after a while that I was OK. When we went to Comic-Con he was introducing me to people saying, 'This is Seth. He plays Lincoln Lee.' I had to let him know I could handle it."
Fans of "Fringe" know exactly who Lincoln Lee is. Besides having one of the coolest names in television, Lincoln is also a key member of the other universe's Fringe team, which made him very prominent last season. It's been a big leap for a character who was originally planned for a one-episode gig. "My first introduction to the show was very unpredictable as far as how I'd be involved in the future of the story. I was just signed on for one guest episode. It was very open-ended on whether or not I'd even survive, but as we were shooting it, Akiva Goldsman, who was the writer and director of that episode, kept on putting in little hints that my character would be much more involved in the show. I started to get very excited, but I had to wait a whole summer if, in fact, I'd be back."
"Fringe" ultimately made the decision to bring Lincoln Lee back, but not until after they had blown him up. "That was brutal," Gabel said. "I had to go through four or five hours of makeup each day that I went to work. It's pretty intense. They're putting glue in your hair and your scalp. Everything is sticking to each other and itself. But then you see the results, and it's mind-blowingly fun to look at yourself and see what it is they created and what you have to work with. Unfortunately, the moments that will end up looking great on screen are usually our most uncomfortable moments. Where we're in hazmat suits just sweating our butts off inside of a hot sound studio, but then you see dailies and know that it's definitely worth it."
Not only did Lincoln come back, he came with a vengeance. He led the alternate Fringe team as they fought people full of bugs and a guy who kills with a pen, becoming one of the show's action stars. "I was nervous when they started writing the character in that direction: a very heroic action hero," Gabel said. "That's not something I'd ever played before, and I wasn't sure I could really pull it off. I'd never really seen myself with a gun. Never really thought I could look cool holding a gun. As the first few episodes started to come in, I felt more confident when I realized I didn't look like a total doofus."
You may remember a Lincoln Lee popping up in this universe last season. He's also an FBI agent, but not an action hero like the other side's Lincoln. "He's a version of Lincoln that doesn't quite understand his power yet. Or believe in himself," Gabel said. "He has a certain confidence when it comes to figuring things out scientifically and strategically, but as far as physical confidence, he hasn't quite found that yet."
Gabel's new status on the show means we'll spend more time with each universe's Lincoln Lee. "We see a lot more of our Lincoln. The glasses-wearing Lincoln." So does either Lincoln have a nickname? Like Walternate? "There's Olivia and Bolivia. I don't have one. I just have Glasses-Wearing Lincoln and Earring Lincoln."
The world of "Fringe" must be an actor's funland. Does getting to play two versions of the same person keep one from getting bored? "It's not that you get bored playing a character, but it's fun to switch it up and experience a different side of yourself through the alternate characters," Gabel explained. "It's that nature vs. nurture conversation. They share the same nature but have different timelines. Their nurture is very different. It's fun to create that and imagine what might have happened differently. What did the Lincoln Lee from our side experience in high school that made him less confident than the Lincoln Lee in the alternate universe?"
The Lincoln Lee from our universe comes into Fringe Division with fresh eyes, untarnished by the crazy science running rampant in the world. "You need a layman's perspective from time to time," Gabel pointed out. "The show has gotten so deep into this crazy, surreal scientific world that you need someone to enter every now and then to remind you this is not the common experience. You need someone to show you how far down the rabbit hole you've gone, so you don't become desensitized to it. I think Lincoln serves that for a while."
"I was just talking to some of the actors on the set about how I need that now," Gabel continued. "I'm starting to accept all these things as reality and starting to lose that 'wow' factor. We were talking about how it must be similar in ways to how soldiers go to war. Dealing with these huge stakes day after day. It's not that you become desensitized to it, but there must be a part of you that accepts it being your reality. If you don't, the mind can't quite handle the stress of that situation every day. It's interesting to see how these characters deal with the out-of-the-ordinary experiences but come to treat it as an ordinary part of their lives."
"Fringe" always has done an excellent job of tying all its crazy science to the human consequences. "I'm so happy the show has a real humanity to it," Gabel said. "On the one hand, it could be a show that's just a procedural with new events every week, but instead we get a deep feel for these characters and a love for them. You get to see what they're fighting for is, yes, to save the world from all these different threats, but they're also fighting for each other. It really helps drive you as an actor to have the stakes be something that's very personal."
Now our long summer is over. Gabel and his fellow cast members will be back Friday.
Source:latimes.com
Ali said...
It's interesting that Gabel mentions that "wow" factor. When I first watched "Stowaway" and we were first introduced to Our!Lincoln, I was struck by the fact after a few seasons of crazy events, the viewer (and the Fringe team) gets used to it and even expects it. In contrast, Our!Lincoln had never been exposed to the other-worldliness (literally) of the Fringe Division and their cases. He was shocked by the idea of a woman who had seemingly died and come back to life, whereas the Fringe Team was less shocked and more curious as to how it was happening.
Bellivia: "Well, you know, stranger things have happened."
Lincoln Lee: "Um, no, they haven't."
A woman who can come back to life after a seeming death isn't too strange to William Bell and the Fringe team, but to Lincoln Lee, it's pretty strange.
Sorry for the mini essay. In summary, kudos to the writers.
Matthew M said...
I like Seth Gabel and both of his Lincoln Lee portrayals. Looking forward to seeing how this all fits together.
Don't even get me started on Amy Jessup. They introduced her and set her up like she would be a recurring character only to disappear her after her second episode. Then when the two boy wonders finally addressed her they said she was only a guest star which made NO sense at all. I liked her and wanted to see what her take on things was going to be. They start these threads and then drop them, I hate when that happens!
Anyway, only two more days and I am ready - LET'S DO IT!
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text:
Professional Errors
Lawrence G. Theall
Jeffrey A. Brown
Christiaan A. Jordaan
Dylan J. Cox
Nabil Mahmood
Faiza Tariq
Court Denies Covid-19 Business Interruption Coverage Claim
Jan 20, 2023 | Insurance
By: Dylan J. Cox, Partner
In Sir Corp v. Aviva,[1] an Ontario judge dismissed an application by a restaurateur for a declaration of coverage for business interruption losses. The losses resulted from orders made in March 2020, following the outbreak of Covid-19 across Ontario. This is the first decision our office is aware of addressing the merits of a Covid-19 business interruption claim. Aviva's policy contained language very different from other Aviva business interruption policies that are the subject of Covid-19 claims. Therefore, although Aviva succeeded in this case, it may not be victorious in other claims.
SIR Corp. was the owner and operator of approximately 60 Canadian restaurants. Its property insurance was historically underwritten by Arch. In 2017, when Arch exited the Canadian property market, Aviva agreed to assume SIR's Arch policy.[2] Like other property policies, subject to conditions and exclusions, SIR's policy covered direct loss or damage to insured property. However, under a section entitled "Policy General Conditions", Aviva also agreed to insure the following risks:
Civil or Military Authority:
This Policy insures loss, as covered herein, which is sustained by the Insured as a result of damage caused by order of civil or military authority to retard or prevent a conflagration or other catastrophe.
Interruption by Civil or Military Authority:
This Policy is extended to include the loss sustained by the Insured during the period of time while business is affected as a result of order of civil or military authority, but only when such order is given as a direct result of loss or damage of the type insured by this policy, or threat thereof …
Ingress/Egress:
This policy is extended to include the loss sustained by the Insured during the period of time when as a result of a peril insured or threat thereof, ingress to or egress from any part of premises of the Insured or of others is prevented or impaired, including prevention or impairment of such access by any civil or military authority …
On March 17, 2020, to manage the spread of Covid-19, the Ontario government ordered the closure of sit-down restaurants. As a result, SIR had to close its restaurants to in-person dining. It argued that the government's measures constituted orders of civil authority, triggering coverage for resulting income losses and food and beverage spoilage. SIR brought an application for a declaration of coverage. If successful, SIR argued a reference should be directed to determine the quantum of its covered losses.
Coverage Claim Dismissed
Inadmissible Evidence
The Judge refused to consider extrinsic evidence the parties tendered in support of their respective policy interpretations, including an affidavit sworn by Aviva's Chief Technical Underwriter in another Covid-19 business interruption claim against Aviva. The Judge explained that the provisions in a policy should be interpreted by reading the entire policy. Only if that reading reveals some ambiguity should the court look to extrinsic evidence, including conduct of the parties after the policy was issued. The parties both argued (and the judge agreed) that the policy was not ambiguous, so extrinsic evidence was irrelevant.
Civil or Military Authority Coverage
Policy General Condition 14 (i.e., Civil or Military Authority – excerpted above) did not provide coverage. The main coverage grant (the "Main Grant") stated that the policy insured against all risks of direct loss or damage to insured property (except where otherwise excluded). Condition 14 only insured "loss, as covered herein". The use of "herein" indicated that coverage could not be triggered unless the insured suffered the kind of loss covered elsewhere in the policy (i.e., direct loss or damage to insured property).
The judge then concluded that the Covid-19 virus could not cause direct physical loss or damage. She did not explain her reasoning. This is unfortunate, because although this conclusion may be accurate for business income claims,[3] it would not have applied to SIR's separate claim for food and beverage spoilage. The reasons do not clarify if SIR's policy deemed its food and beverage supplies to be insured property, but this is true for many property policies issued to restaurateurs. Under those policies, food and beverage spoilage would constitute direct physical loss of insured property. When Covid-19 requires the shutdown of a restaurant, which results in the restaurant's food and beverage supplies perishing, that is arguably an example of the Covid-19 virus causing direct physical loss or damage to insured property.
Aviva noted that Policy General Condition 14 also required the insured's loss or damage to be caused by an order made to retard or prevent a conflagration or other catastrophe. It argued that "conflagration" and "catastrophe" referred to "physical events", such as fires, not the spread of Covid-19. Since the judge concluded that the Covid-19 virus did not cause any loss or damage to SIR's insured property, she found she did not need to decide this issue. However, she also said she "would tend to agree" with Aviva on this point.
Given the above comments about SIR's food and beverage loss, if this matter is appealed, the Ontario Court of Appeal may need to clarify "conflagration" and "catastrophe". However, success on this point may not assist Aviva, if food and beverage spoilage is covered elsewhere in SIR's policy (e.g., under the Main Grant).
Other Coverages
Nor did Policy General Condition 15 (Interruption by Civil or Military Authority) provide coverage. SIR had to show the government shutdown orders affecting its business were given as a result of "loss or damage of the type insured by this policy, or threat thereof". The policy insured against direct physical loss or damage to insured property. The orders were not made to protect SIR's insured property from any insured loss or damage.
Finally, Policy General Condition 16 (Ingress/Egress) was also not triggered. SIR had to show that ingress or egress to its property was impaired due to a peril insured (or a threat of the occurrence of an insured peril). The perils insured by the policy were "all risks of direct physical loss or damage to insured property" (except where excluded). The orders impairing ingress or egress to SIR's property were not made due to threats of direct physical loss or damage to SIR's property.
SIR's policy contained language different from the policy language in several other Covid-19 business interruption claims against Aviva. Those policies generally only require the insured to show a loss of income caused by an order of civil authority resulting from an outbreak of a contagious or infectious disease that is required by law to be reported to government authorities. In other words, unlike Policy General Condition 14, coverage is not limited to the kinds of losses insured elsewhere under the policy. Unlike Policy General Conditions 15 and 16, coverage is not limited to scenarios where an order is made (or ingress or egress is impaired) due to a threat of direct physical loss or damage to insured property.
Therefore, although Aviva secured a dismissal of SIR's claim, it may not necessarily succeed in other pending claims against it.
[1] 2022 ONSC 6929
[2] In later years, Aviva issued endorsements modifying certain provisions in the policy, but the judge found that none of those endorsements were relevant.
[3] Many insurers argue that to the extent an insured's Covid-19 income losses are caused by an inability to use its premises, such losses do not constitute direct physical loss or damage. They argue that a loss of use of property is different from a loss or damage of the property. This issue was recently addressed by the Ontario Court of Appeal, although in the context of a specific policy provision (i.e., an exception for "resulting damage" contained within a corrosion exclusion) – see MDS Inc. v. Factory Mutual Insurance Company, 2021 ONCA 594.
Dylan Cox is a Partner at Theall Group LLP. He maintains a general civil and commercial litigation and alternative dispute resolution practice, specializing in insurance coverage and product liability matters. He has appeared before the Ontario Superior Court of Justice, Ontario Court of Appeal, and the Manitoba Court of King's Bench, as well as in private arbitrations.
For more information, visit https://theallgroup.com/
Photo courtesy of Tim Mossholder on Unsplash
Extrinsic Evidence and the Duty to Defend
Insurer Ordered to Defend Negligent Construction Action
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text:
Q: Reading from pipe issue I am writing on a pipe 10 integers, so i call write 10 times and then i want to call read pipe only once and store the written integers into an array of size 10 and after that add all the integers from the array into a total sum. The problem is that i get only 9 integers after reading. What i am doing wrong?
int main()
{
    int fd[2];
    int total = 0;
    int result;
    int nbytes;
    int child;
    int subVector;
    int written;
    static int readSum[P];
    int partialSum;
    if(pipe(fd) < 0){
        perror("pipe");
    }

    for(child = 0; child < P; child++){
        if((pid[child] = fork()) < 0){
            perror("fork");
            exit(1);
        }
        else if(pid[child] == 0){
            close(fd[0]);
            partialSum = getSubvectorSum(elementsList,child,P,SIZE);
            //printf("Partial sum: %d by child #%d\n",partialSum,getpid());
            written = write(fd[1],&partialSum,sizeof partialSum);
            //printf("Child #%d has written: %d bytes.\n",getpid(),written);
            if(written == 0){
                printf("Writting not performed.");
            }
            close(fd[1]);
            exit(0);
        }
    }

    close(fd[1]);
    int status = 0;

    nbytes = read(fd[0],&readSum,sizeof readSum);
    printf("Parent reads %d bytes\n",nbytes);
    if(nbytes > 0){
        for(child =0;child<P;child++){
            total += readSum[child];
            printf("Partial sum in father: %d\n",readSum[child]);
        }
    }
    else{
        printf("Failed to read.");
    }
}

A: You are ignoring the wisdom of the sage Rolling Stones and not accepting that you can't always get what you want but sometimes you get what you need.
(1) There is no guarantee all your children have run and written to the pipe before the parent tries to read.
(2) There is no guarantee even if (1) did take place that your read would return all 10 integers in one read.  read can (and often will) return less than you ask for.
One way to cover this is to have your parent wait on its children so you know they completed and then to read in a loop until you read everything you need.

A: http://linux.die.net/man/2/read
Read returns available data, not the requested amount, use cycle and check return value on each iteration.


text:
import { moduleForComponent, test } from 'ember-qunit';
import hbs from 'htmlbars-inline-precompile';

moduleForComponent('bs-modal/header', 'Integration | Component | bs-modal/header', {
  integration: true
});

test('Header has default markup', function(assert) {
  this.render(hbs`{{bs-modal/header title="Header"}}`);

  assert.equal(this.$('.modal-header').length, 1, 'Modal header exists.');
  assert.equal(this.$('.modal-header button.close').length, 1, 'Modal header has close button.');
  assert.equal(this.$('.modal-header .modal-title').length, 1, 'Modal header has title.');
  assert.equal(this.$('.modal-header .modal-title').text().trim(), 'Header', 'Footer title is correct.');
});

test('Header can have custom block content', function(assert) {
  this.render(hbs`{{#bs-modal/header}}<div id="custom">Test</div>{{/bs-modal/header}}`);

  assert.equal(this.$('.modal-header div#custom').length, 1, 'Modal header custom block.');
  assert.equal(this.$('.modal-header #custom').html().trim(), 'Test', 'Block content is shown.');
  assert.equal(this.$('.modal-header button.close').length, 1, 'Modal header has close button.');

});

test('close button can be removed', function(assert) {
  this.render(hbs`{{bs-modal/header title="Header" closeButton=false}}`);

  assert.equal(this.$('.modal-header button.close').length, 0, 'Modal header has no close button.');
});

redpajama_set_name: RedPajamaGithub


text:
Tags Presidential Debate
Tag: Presidential Debate
CNN: Watch the key moments from the vice presidential debate
asianct - October 10, 2020 0
Vice President Mike Pence and Democratic vice presidential nominee Kamala Harris took the stage in Utah and debated issues ranging from...
BBC: Presidential debate: Rules to change after Trump-Biden spat
The commission that oversees US presidential debates says it will change the format to ensure the remaining two encounters between Donald Trump...
BBC: Presidential debate: How the US news networks reacted
asianct - September 30, 2020 0
"A hot mess"? A debate "unlike anything that has ever happened"? There's been a range of opinions on the...
NPR: Trump Derails 1st Presidential Debate With Biden, And 5 Other Takeaways
This was maybe the worst presidential debate in American history. If this was supposed to be a boxing match,...
BBC: Presidential debate: How the world's media reacted
US voters have endured the first of three presidential debates between President Donald Trump and Joe Biden. The event...
NPR: Coronavirus Concerns Shift Presidential Debate From Michigan To Florida
A presidential debate scheduled for Oct. 15 will no longer be held at the University of Michigan. University President...
Cristiano Ronaldo and Lionel Messi both score in exhibition
Culture asianct - January 26, 2023 0
Cristiano Ronaldo scored twice in his first game in Saudi Arabia and Lionel Messi was also on the scoresheet as Paris St-Germain...


text:
Rockford felon sentenced to 4 years on weapons charges
by: John Clark
Photo: Winnebago County Jail
ROCKFORD, Ill. (WTVO) — Dontrel Brown, 24, was sentenced to 4 years in prison on the charge of being a felon in illegal possession of a firearm.
According to the U.S. Department of Justice, Brown was in possession of a 9mm pistol with an obliterated serial number.
He had been arrested in May 2020 after allegedly firing at a police officer and was apprehended after a foot chase. After conducting an investigation, authorities determined Brown did not fire shots at the officers
Brown's sentence is to be followed by 3 years of supervised release.
CORRECTION: This story has been updated. The original version incorrectly stated Brown had been sentenced to 2 years in prison.
Open seat on Winnebago County Board after Republican Jas Bilich resigns


text:
Jerusalem Post World News
Are Democrats' gains in House good for Israel?
Pro-Israel community looking to caucus leaders to set the party's policy for the Israeli-Palestinian conflict and to keep Democrats in line.
By MATTHEW E. BERGER
lieberman 298.88
(photo credit: AP)
Democratic victories in the House of Representatives will shift control of that chamber next year, but major shifts in US policy on Middle East hot spots are less certain. Supporters of Israel are expected to lean heavily on the party's incoming House Democratic leadership to vocally counterbalance any negative comments about Israel that might come from some within their caucus. Concerns have been raised in recent weeks about some senior liberal House Democrats, including some likely incoming committee chairmen, who are seen as problematic on support for Israel.
More Jews in Congress than ever before House Democrats are already fighting back, saying their caucus has always been supportive of Israel and the pro-Israel community needs to acknowledge that. "There has been an outrageous smear campaign against Democrats and Democratic leaders that went largely unanswered in the pro-Israel community," said Matt Dorf, a Democratic strategist who advises the Democratic National Committee on Jewish outreach. "Democrats take the second seat to no one in their support for Israel." Democrats picked up at least an additional 28 seats in the House of Representatives which will allow the party to take control of the chamber for the first time since 1994. The leadership of the Senate remained unclear Wednesday, with Democrats and Republicans each holding 49 seats - including two independents expected to caucus with the Democrats. At press time, the race in Virginia was too close to call and likely heading towards a recount. Democrats said Tuesday night that the election was a mandate for change. "And nowhere did the American people make it more clear that we need a new direction than in the war in Iraq," said Rep. Nancy Pelosi (D-Calif.), who will likely become the first female Speaker of the House. "'Stay the course' has not made our country safer, has not honored our commitment to our troops and has not made the region more stable." One Democratic congressional aide said Wednesday that he expected the victory to have a real effect on the country's policy in Iraq. "There will be a push in the House and the Senate for a real plan from the president about what our strategy and commitment will be," said the aide. He said Congress's actions on issues related to Israel are likely to be less dramatic than under a Republican majority, where leaders were quick to put through resolutions in support of the Jewish state. "I think you'll find more of a focus on policy and less on politics," the aide said. "I don't think you'll see the leadership leaning on Bush from day one to bring the parties to the table. But there will be more inclination to push Bush in that direction." Sources said the pro-Israel community is expected to look to Pelosi and other caucus leaders, most of whom are strong backers of Israel, to set the party's policy for the Israeli-Palestinian conflict and keep in line any House Democrats that may seek a more even-handed policy. "You've got to start at the top," said William Daroff, vice president for public policy of United Jewish Communities. "Nancy Pelosi has a longstanding, friendly relationship with the Jewish community." Republicans are also disputing the notion they have been painting Democrats as bad on Israel. "We raised some legitimate concerns about the impact of certain Democratic leaders and officials and illuminated troubling concern about erosion of support for Israel," said Matt Brooks, executive director of the Republican Jewish Coalition. "We never painted a broad brush and said there wasn't bipartisan support." The number of Jews in Congress increased in both houses Tuesday. The Senate gained two new Jewish members, bringing the total to 13. Both of the new faces are current congressmen: Representative Benjamin Cardin (D) of Maryland and Representative Bernie Sanders (I) of Vermont. Senator Joseph Lieberman, who ran as an independent in Connecticut after losing the state's Democratic primary, also won handily. In the House, at least six new Jews are expected to take office next year, bringing that contingent to 30. One race, pitting Gary Trauner, a Jewish Democrat, against incumbent Representative Barbara Cubin (R) for Wyoming's only House seat, remained too close to call Wednesday. American Jewish leaders said Wednesday that they were excited to work with the new Democrat leaders, particularly on domestic issues. The Democratic Party is seen as more supportive of the views of the majority of the Jewish community on domestic policy, including the separation of church and state and stem cell research. "It makes it possible to move forward on several initiatives that we couldn't move forward on under Republican leadership," said Hadar Susskind, Washington director of the Jewish Council for Public Affairs. Jewish groups have been pushing in recent years for comprehensive immigration reform and an increase in the minimum wage, both of which will likely receive a better reception under a Democratic House. And Democratic control of at least one part of the legislative process means a lot of the issues a majority of Jewish groups have been fighting to block, from same-sex marriage bans to school vouchers, are not likely to come to fruition. While control of the Senate remains unclear, the Jewish community lobbyists said their issues have always had a better bipartisan reception there and even if the House stays Republican, they expect domestic policy initiatives that pass that chamber to have a chance of seeing the light of day. Matthew E. Berger is a reporter for Congressional Quarterly.


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