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text:
"May I write words more naked than flesh, stronger than bone, more resilient than sinew, sensitive than nerve." –Sappho
← Bagels!
Part I, Sparta– Beginnings →
Posted on March 2, 2016	by Michael Butchin
It was a beautiful, clear day. The sky was a deep azure, and the sun, in its chariot, tumbled across the heavens in its course. King Kekrops stood upon the hill above the thriving city he had founded. Work was going on. Houses were being built below. A market was convening. City walls were being erected. Ports were being built by the sea. And here on the hill, shrines and temples were being prepared for the Gods.
It had taken many years to civilize the people of Attica and the Thriasian Plain. Kekrops taught them to reverence Zeus, and the Gods of Olympus. He set up altars for them, and taught the people to sacrifice to the Gods. He instituted marriage amongst the people. He gave them laws, and taught them how to administer their affairs. He taught them the arts of navigation, and commerce. And now, to make this city complete, he needed a divine patron.
Kekrops and his daughters, Herse, Pandrosus, and Aglaurus, went up upon the Acropolis and made offerings of cakes, baked into the shape of oxen, and supplicated Zeus. And they raised their voices in song, crying
"We will sing of Zeus-
Chiefest among the Gods, and Greatest!
All-Seeing, the Lord of all,
The fulfiller who whispers words of wisdom to Themis,
As she sits leaning toward him;
Be gracious, All-Seeing Son of Kronos,
Most excellent and great!
Be gracious, Zeus of the Council!
Oh, Watcher of the Sea-Havens, and Giver of Good,
Look down upon us, and grant unto our city a patron!
Grant unto us a guardian and guide,
Zeus, Gracious and Merciful!"
From the distant peaks of Olympus, the home of the Gods, Zeus hearkened to Kekrops' prayer. He called together the Gods who dwelt there with him: Hera, Poseidon, Demeter, Athena, Apollo and Artemis, Ares, Aphrodite, Hephaestus, Hermes, and Hestia. And also Persephone, the Grim Mistress came, though her husband Hades remained in his place, not caring to venture forth. And Dionysus answered Zeus' summons, and The Muses as well.
And Zeus made known to them that Kekrops sought a patron for his city. "Is there such a man anywhere else in the world? One who honors the Gods with his whole heart? Who loves his people, and has handed down laws and customs for them, that they might prosper and live long on the face of the earth? Come– Who would be patron and protector of his city?"
Hera declined, for she was a jealous and vindictive Goddess, and wished to preside as mother over her children, and as queen over the Gods. Demeter declined, for she wished to devote her energies to the turning of the seasons, and to the blessings of agriculture and fertility. Apollo declined, for he was occupied with commanding the sun in its course, and his sister Artemis also declined, being occupied with commanding the moon in her course. Ares was rejected, for his concern was for carnage, blood, and death. Aphrodite was also rejected for her feckless character, and her innumerable adulterous affairs. Hephaestus declined the honor, as he cared only to ply his craft for the Gods and Heroes of Olympus. Hermes declined, for he devoted his energies to comforting and escorting mortals down to Hades' realm when their time came. Hestia declined, for she was devoted to safeguarding the hearths of all families, no matter their city. And The Grim Mistress was rejected, for she was too terrible a Goddess, inspiring fear amongst mortals, and she spent her time with either Demeter, her mother, or Hades, her consort.
In the end, there were two who offered themselves as patrons for Kekrops' city; Poseidon and Athena.
"They are a good sea-faring people, and the riches of the sea and their commerce upon it, will make them a great power," said Poseidon. "I will be their patron."
"Kekrops is full of Wisdom and Understanding. And his people are industrious and skilled, and will one day be great warriors," said Athena. "I will be their patroness."
And the contention between Athena and Poseidon was so sharp, that they descended to Mount Lycabettus to do battle. Poseidon rose up from the sea, brandishing his trident, the earth quaking beneath his feet as he stood on the plain between Kekrops' city and sea. Athena descended upon the north side of the hill, wielding her spear, the tasseled Aegis about her, and shook the very foundations of the mountain with thunder. They raised their weapons, and rushed at each other.
But before the battle was joined in earnest, Kekrops cried out to the Gods, lest in their furious rivalry, they destroy the city. And Athena and Poseidon stayed their hands, and turned to the king, and stood by him.
"Your city is built by the sea, and the sea will make your city wealthy and powerful," Poseidon declared. "I will be your patron."
"This is a place of Learning and Knowledge, and your people are industrious and skilled," Athena spoke. "I will be your patroness."
And again, the contention between the two Gods grew heated, and they again nearly came to blows. But Athena, full of wisdom and counsel, relented, and prevailed upon Poseidon, saying "If we contend over this city, we will bring destruction upon it." She turned, to look at Kekrops. "Let us allow the king to choose between us."
"But how shall he make his choice?" Poseidon asked. And he also turned to Kekrops, awaiting an answer.
"Let us hold a contest," Kekrops suggested. "Whichever one of you offers the best gift, as judged by the people, will be patron of this city." And Poseidon and Athena agreed to Kekrops' idea. The next day, Kekrops and his daughters, and the elders of the city, and a great crowd of citizens, met on the Acropolis. Athena and Poseidon descended and met them there, and they both` swore by Styx that they would abide by the king's judgement.
The elder of the two, Poseidon went first. He lifted his trident, and with a broad flourish, he struck the ground with it. Immediately, there sprung up a great spring of water. At first, the people were delighted, for sources of fresh water were scarce in that place. But when the people came to taste the spring Poseidon had called forth, they found it to be salty, like the sea.
Laughing, Athena took her turn next. She quietly knelt there upon the hill, and planted something in the ground. Then, standing, she pointed at the spot with her spear, and from that spot, an olive tree sprung up. This pleased the people very much, for the fruit was good for food, the oil was useful for cooking and lighting their lamps, and the wood was good for the construction of their ships and homes.
Kekrops judged that Athena's gift was the superior of the two, and so he decided the contest in her favor. Henceforth, Athena would be the patroness of the city.
But Poseidon was furious at this humiliation, and in his fury, he caused the sea to come up and flood Thriasian Plain, and tried to drown all of Attica. Athena then stood up against him, and rolled the waters back to their place, saving the land. But Poseidon pronounced a curse upon Kekrops' city, declaring that they would forever suffer shortages of fresh water. The people tried to placate the Earth-Shaker by dedicating a temple to him, the Erechtheion. But Poseidon's anger would not be soothed.
He turned to Athena and told her, "This city should have been mine. One day, dear Niece, I will take away something precious of yours."
About Michael Butchin
I was born, according to the official records, in the Year of the Ram, under the Element of Fire, when Johnson ruled the land with a heavy heart; in the Cradle of Liberty, to a family of bohemians. I studied Chinese language and literature at Rutgers University, New Brunswick. I spent some years in Taiwan teaching kindergarten during the day, and ESOL during the evenings. I currently work as a high school ESOL teacher, and am an unlikely martial artist. I have spent much of my life amongst actors, singers, movie stars, beautiful cultists, Taoist immortals, renegade monks, and at least one martial arts tzaddik. I currently reside in Beijing's Fangshan district
View all posts by Michael Butchin →
3 Responses to Prologue
cav12 says:
Michael Butchin says:
Tune in Wednesday to find out! 🙂
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redpajama_set_name: RedPajamaCommonCrawl


Palgrave Macmillan and the editorial team have selected this set of papers from the archive of the journal to give a representative sample of the best of our content.
These papers, listed in chronological order, are available free to read and download.
Early initiation of antiretroviral therapy and universal HIV testing in sub-Saharan Africa: Has WHO offered a milestone for HIV prevention?
Commentary: 'Rights-based approaches' to health policies and programmes: Why are they important to use?
Book Review: Is the era of electronuclear power drawing to a close?


Agricultural Erosion Control Plan (ECPA) to convert approximately 6.5 acres of oak woodland to vineyard. The project involves the clearing of vegetation, earthmoving, and installation and maintenance of erosion control measures. For more information see linked Application File and Plans, or contact the project planner, listed below.


Print article This entry was posted by hhcblog on February 2, 2014 at 9:23 pm, and is filed under Footwear. Follow any responses to this post through RSS 2.0. You can leave a response or trackback from your own site.


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China coronavirus outbreak: All the latest updates
China's National Health Commission reported on Thursday said at least 114 new deaths from the coronavirus outbreak as of the end of Wednesday, bringing to at least 2,118 the number of fatalities nationwide. The national health commission also reported 394 new confirmed cases, significantly lower than the 1,749 cases reported nationwide the previous day, bringing…
China's National Health Commission reported on Thursday said at least 114 new deaths from the coronavirus outbreak as of the end of Wednesday, bringing to at least 2,118 the number of fatalities nationwide.
The national health commission also reported 394 new confirmed cases, significantly lower than the 1,749 cases reported nationwide the previous day, bringing the total to 74,576.
Facial recognition: Concerns over China's widespread surveillance
Why does Indonesia have no reported cases of coronavirus?
Singapore allocated $4bn to support virus-hit economy
The drop, the largest in almost a month, came after Chinese authorities changed their methodology for counting cases in Hubei province, the epicentre of the outbreak, to only include those confirmed through genetic testing.
Here are all the latest updates:
KLM airlines extends ban on China flights due to coronavirus
KLM, the Dutch arm of Air France KLM, has said it will extend a ban on flights to China due to the coronavirus outbreak.
"All KLM flights to Beijing and Shanghai have been suspended until 28 March 2020," the airline said on its website. "Flights are expected to resume on 29 March 2020."
Coronavirus cases on Japan cruise ship rise to 634: Ministry
Another 13 people on board a cruise ship that was quarantined off the coast of Japan have been diagnosed with the new coronavirus, the country's health ministry said on Thursday.Confirmation of the new cases, from 52 additional test results, brought the total number of infections diagnosed on board the Diamond Princess so far to 634, the ministry said in a statement.
634 people on board the Diamond Princess have been diagnosed so far [Franck Robichon/EPA]
Three more infections reported in Iran
Three patients have tested positive for the coronavirus in Iran, a health ministry spokesman said.
"Two people have tested positive for COVID-19 in Qom and one person in Arak, bringing the total of confirmed cases to five in Iran," Health Ministry spokesman Kianush Jahanpur said in a tweet.
Ukraine residents protest evacuees landing
Residents in central Ukraine protested the arrival of a plane carrying evacuees from China's Hubei province on Thursday, fearing they could be infected with the coronavirus despite authorities insisting there was no danger.
Protesters from the village of Novi Sanzhary blocked the road leading to a sanatorium where the evacuees are due to be held in quarantine for at least two weeks to make sure they were not carrying the virus.
In this handout photo provided by the Ukrainian Presidential Press Office, a group of medical personnel stand ready at the Ukrainian aircraft chartered by the Ukrainian government for evacuation from the Chinese city of Wuhan [The Associated Press]
South Korea reports first death
South Korea health authorities have reported the first death from coronavirus in the country.
Infections have ballooned in recent days, raising the total to 104, with many traced to a church in the central city of Daegu. On Thursday alone, the country announced 53 new cases.
Workers wearing protective gear spray disinfectant against the coronavirus in front of a church in Daegu, South Korea [Lee Moo-ryul/The Associated Press]
Egyptair to resume flights to China from next week
Egyptair has said in a statement that it will resume some flights to and from China starting next week.
The national airline suspended all flights to China in early February over the coronavirus outbreak."Egyptair has decided to resume a flight weekly every Thursday," the statement said.
China lab says conspiracy theories hurting efforts to curb virus
An outbreak of disinformation in China and elsewhere has hurt global efforts to combat the new coronavirus, said a specialist infectious disease lab located at the epicentre of the epidemic – and at the heart of a number of conspiracy theories, including that it had "artificially synthesised" the virus.
In a statement, the state-backed Wuhan Institute of Virology said "internet rumours" had "received close attention from all walks of life" and "caused great harm to our research staff on the front line of scientific research".
In this article:China, coronavirus


Originally released in 2000, the DIO concept album gets a well deserved, if only marginally improved, deluxe edition reissue.
The first disc has the entire original album recording. The story tells the tale of the world of Blessing and the tale of Eriel, Challis and the fight against Shadowcast and the forces of Evilsyde.
The story combines both science fiction and fantasy in a way that DIO had mainly confined to a song by song basis in the past and gives it the full blown out story treatment.
And what a story it was. The album comes with Ronnie's story fully written out for those that read the album liner notes. You can listen to Ronnie narrate the story on the first cut of the second disc (it was the last track on the original release of the album).
While his early solo albums will likely always be recognized as his best or at least most popular releases, I stand in my conviction that Magica is one of the best recordings of DIO's entire career. From the standout number "Fever Dreams" (one of my favorite DIO songs ever) to heavy rockers like "Feed My Head" and "Losing My Insanity", DIO and his musical compatriots lay down both pure rock greatness and tell a story that would be a knockout prose novel.
And what he does to give a love song dramatic heft and a extra helping of testicular fortitude is amazing. "As Long As It's Not About Love" is one of the best ballads Ronnie was ever involved with.
So the first disc is a pure A PLUS, 10 out of 10, or 5 Stars depending on what scale you might prefer to use.
Where the release gets a little hinky for me is on disc 2. It isn't so much what's being offered but the seemingly haphazard way it was put together. I looked up information on the release and there was some conflicting stuff out there in Internet land.
But first, the two "new" songs related to the Magica storyline were "Annica" and "Electra". The former was actually released as a Japanese only bonus track back in 2000. It's an instrumental song and while it is decent, for me really didn't add anything to the mystique of the CD. Meanwhile, the latter song was written and recorded for what was planned to be the Magica 2 & Magica 3 releases. Unfortunately, Ronnie James Dio died from stomach cancer before any more work could be done towards finishing those projects. The song is decent but is a bit of a distraction when you consider you don't really know where the song fits in during the story that we'll never see told.
There are reports that the press release included the mention of an extra live cut, <>"Turns To Stone", being included, but it is nowhere to be found on the disc. The five live recordings of songs from the album that did make the cut are well done though.
In the album liner notes, there is an essay by British music journalist Mick Wall. While overall it is a good read, it did show that someone needed to do a better job before the package was released. In the essay, Wall alludes to an audio interview with DIO and says that it is included on the reissue.
Except it wasn't. I asked why on DIO's Facebook page and the answer I got was " We thought at first there was going to be one. It wasn't included on the final master."
That's fine, but someone should've gone back and edited Wall's essay to take out that reference.
All in all, I am glad that Magica got the reissue treatment. I don't normally go after reissues but in the case of DIO, I felt I had to both in order to show my support for what I feel is Ronnie James Dio at his writing and performing best, but also so I could do a review that would hopefully help give the album another crack at a wider recognition by any music fan that overlooked it the first time around.
I just wish there'd been a bit more attention paid to the quality control so the mistakes enumerated above didn't serve as more of a distraction and instead the ENTIRE focus could've been on celebrating an artist at his peak.


text:
Birdland is a studio album by the reconstituted English rock group the Yardbirds, which was released in 2003, and the band's fifth studio album overall. Original drummer Jim McCarty and rhythm guitarist Chris Dreja reformed the group in 1994 and, for the album, the Yardbirds lineup included lead singer and bassist John Idan, lead guitarist Gypie Mayo, and harmonica player Alan Glen. The album features contributions by several guests, including Joe Satriani, Steve Vai, Slash, Brian May, and original group guitarist Jeff Beck.

The album contains seven new originals, composed mainly by McCarty or Dreja, and eight remakes of classic Yardbirds songs from the 1960s. The song "An Original Man (A Song for Keith)" was dedicated to Keith Relf, original Yardbirds singer who died in 1976.

Birdland reached number 25 on Billboard's Independent Albums chart in the US and number 67 in Germany.

Critical reception
In a review for AllMusic, critic Richie Unterberger gave the album two out of five stars. He noted that while the new lineup cannot be compared to the original, it "is a lot better than you'd expect, and certainly far more respectable than most reunion/comeback efforts by decimated lineups of classic outfits". He added that the remakes of some of the classic Yardbirds songs are "not done badly, though you feel as though you're listening to a really good Yardbirds tribute band rather than the real deal".

Jason McNeil, in a review for PopMatters, wrote: "Perhaps the greatest thing the group has going for it is sounding contemporary without sounding like your run-of-the-mill roadhouse covers band". In going through the album's songs, he praises the remakes of "I'm Not Talking" and "The Nazz Are Blue", but faults those of "Train Kept a Rollin'" and "Over Under Sideways Down".

Dan Forte, writing for Vintage Guitar magazine, believed that McCarty and Dreja were still very strong performers and that new member Gypie Mayo's (formerly guitarist with Dr. Feelgood) "blues roots and over-the-top daring are the perfect combination". He also identified the remakes of "Mister, You're a Better Man Than I" with Brian May on guitar and "Happenings Ten Years Time Ago" with Steve Lukather as "the best cameos".

Track listing

Personnel
The Yardbirds
 Chris Dreja – rhythm guitar
 Alan Glen – harmonica, percussion
 John Idan – bass guitar, lead vocals
 Gypie Mayo – lead guitar
 Jim McCarty – drums, percussion, vocals

Additional musicians
 Jeff "Skunk" Baxter – guitar
 Jeff Beck – guitar
 Steve Lukather – guitar
 Brian May – guitar
 Joe Satriani – guitar
 Slash – guitar
 Steve Vai – guitar
 Johnny Rzeznikguitar and backing vocal
 Martin Ditchamadditional percussion

References

2003 albums
Favored Nations albums
The Yardbirds albums

redpajama_set_name: RedPajamaWikipedia


text:
Essential Breaks With Break
Feb 09, 2015	Chris Muniz
If we look back at the history of sample-based music, there can be no denying the pivotal role that drum breaks have played in its ongoing evolution. From the birth of hip-hop in the 1970s on through to revolutionary forms like breakbeat hardcore, UK garage, jungle and drum & bass, there is no denying that the art of sampling percussion-only breaks from vintage funk and soul records served, and continues to serve, as the raw backbone of entire genres of music.
But what is a breakbeat? In its rawest, classic form, DJs and producers would dig through countless crates of vinyl records, looking for those moments in a song when the percussive breaks or beats of a tune were clean and clear enough to sample. This was often found in the "breakdown" sections of songs, where the drummer would often get a solo; or sometimes there were moments in a song where a simple roll or fill used to bridge one section to another would be enough. Regardless, it was from this vinyl source that producers would then "sample" or record the "break" into a sampler, where they could then "chop" it into smaller elements, manipulate, shape, stretch, dissect and layer with other breaks and beats to create entirely new rhythms and forms.
It's from this history that beat junkies like Bristol's own Break has not only drawn his name from, but built his legacy on. Having earned his stripes on imprints like Ram, Metalheadz, Shogun, Exit, Critical, Soul:r, Eastside and most recently, Playaz, the backbone of each Break tune is a master lesson in creating futuristic music built on the DNA of vintage grooves. Who better to sit down with for an in-depth look at five essential breaks than the man Break himself?
"I was so obsessed that I even played with pots and pans before I had a proper drum kit; so I got the idea of beats and breaks pretty early on."
When did you become aware or know what a breakbeat was?
I played the piano from age seven, and drums from about 12–13 years old, and always loved the sound of drums. I was so obsessed that I even played with pots and pans before I had a proper drum kit; so I got the idea of beats and breaks pretty early on. I always loved DJ Premier's production, and DJ Shadow really inspired me with the use of samples and songs with heavy beats with no MCs.
At what point did you get into production, and what kind of gear were you using when you started out?
My friend at school, [who] had a sampler, introduced me to production when I was about 15. I was amazed he made his own tunes when I was just DJing and scratching. Chopping up my first Amen break on a Yamaha SU10 sampler was amazing! I could finally play my own versions of that beat. I got an Emu sampler a year later, and things got a lot more professional.
How did you get the name "Break," and what did it signify to you when you were starting out?
I actually got the inspiration from DJ Hype and DJ Die. I liked short DJ names that an MC could shout out well in a lyric at a rave. I had my first club gig when I was 17 and had to get a name in for the flyer. Originally it was DJ Break, as I liked breakbeats and thought it was quite punchy to shout out. When I released my first record, A-Sides suggested I drop the "DJ" prefix and just go with "Break"; it stuck from there.
Talk a bit about layering breaks, as I know that's an art form in itself. Give the bedroom producers out there a quick tip that may have taken you a while to figure out, but once you did, made your beats sound and flow better.
When you speed up a slower beat to D&B speed, a lot of the noise in between the hits becomes exaggerated; gating the drums helps keep it punchy, but leaving some flow in the top-end keeps the funk and realism. Often the old breakbeats don't have much low-end, so it can help layering a new kick underneath for fatness. But picking the right one that blends in is the key, so it doesn't sound computery and synthetic. In saying that, layering often creates problems with phase and loss of groove, so a lot of my tunes are just the original beat with a lot of hours re-equalizing and programming to make them sound modern. It's much easier to use single hits, but you don't get the funk or groove most of the time.
Are there any undiscovered breaks left in the world?
I reckon there are still loads out there; Latin music has great recordings and rhythms, and there are a lot of old, unknown tunes. I do have a few gems that most people don't have. Annoyingly, often you use a rare break, and it ends up sounding like one that people already know, so it can be disappointing.
Do you have a secret stash or arsenal of breaks that you don't mention, for fear of them getting played out?
There are many I've found on random vinyl that I know no one in D&B has used, which has definitely helped some of my tunes stand out. But sometimes you fall in love with a breakbeat while wishing you never started using it, as the groove is great. But I'll go round for hours trying to polish something that's rusty and crusty from the get-go; it's the most frustrating part of sampling. That's why a lot of the classic breaks are classic. They have the best of both worlds: recording and groove.
Have you ever tried to create your own original breaks?
I have recorded my own breaks in some tunes, but never to a level that I was that happy with. Virtual drum programs, such as Addictive Drums and BFD, let you create your beats with a pretty realistic sound, and quite a lot of my tunes have featured Addictive Drums. A big part of the sound of breaks, though, is the recording, cutting to vinyl, sampling, chopping in ReCycle, pitching up and then remixing. So the hope for new ones is endless, but I doubt anyone will make anything as good as an Amen break in a computer. I've definitely tried and failed!
Seems like the perfect moment to hit us with your Essential Breaks.
It was definitely hard to choose, as I can't remember where many of my favorites are from or what they're called—plus, I'm not particularly organized. But these are five favorites that spring to mind:
Make the page jump to listen to the music…
And here you go…an in-depth look at five essential breaks from the man Break himself.
1. "Let a Woman" Break
Source: Dyke & the Blazers "Let a Woman Be a Woman – Let a Man Be a Man" (Original Sound, 1969)
I'd heard it in hip-hop, but when Digital and Spirit used it in "Phantom Force" it blew my mind, as it's one of the chunkiest beats I've ever heard. The groove is perfect for D&B, as it's slow to start with and has a really good swing on the rides in the middle. I used it quite edited and gated on "Evil Twin," "Vanishing Point," "The Drone" and "Is This What You Want?" It was annoying, as I wanted to do a full tune with the original-sounding break, but Digital and Spirit had already nailed that with a classic track; hats off to them. I've nearly worn out my vinyl from playing it out so much.
2. "Amen" Break
Source: The Winstons "Amen Brother" (Metromedia, 1969)
This one has to be in the list, as it's basically what got me into jungle. I've never managed to buy the vinyl, since it was always very pricy for a mint copy, but I do have several CD and vinyl rips of it. Two of my best Amen tunes I made were "Yes" and "Food for Thought." On "Yes," there is only the original Amen on its own for the whole tune, with no layers, as that was my goal at the time. I split the Amen break into five layers: kick, snare, hats, distortion and transients. It was a two-day mission but totally worth it.
3. "Isis" Break
Source: Power of Zeus "The Sorcerer of Isis" (Rare Earth, 1970)
Bit more of a rare one, but a great groove and sound. A lot of the breaks I've used take a lot of work and often aren't that recognizable from the original, but the original swing and drum sound are the most important thing I look for. Often the slower, less busy beats are great for two-step or neuro patterns, but sometimes all those ghost snares and kicks can be a problem at 174bpm. I used this one on "Isis." A lot of my track names are an homage to the breakbeat used, so that's a good clue to finding out other ones in my catalog.
4. "Dog" Break
Source: Love "Doggone" (Blue Thumb, 1970)
This one is like a James Brown beat crossed with an Amen. The track features a really sick, long drum solo, and there's loads of stuff in there I haven't used. The main groove is really fat and woody, with chunky hats. I used it in my track "The Myth," and even though the recording is good, I spent a while on that one trying to make it sound like Dillinja. You've reminded me to pull that one out again.
5. "Come Dancing" Break
Source: Jeff Beck "Come Dancing" (Epic, 1976)
I used this break on "Let It Happen" and added a lot of high mids, as it sounds great as a warm, '70s funk/rock beat. But to cut over heavy sub bass, I did a lot of crunching out. The groove is just so rolling on the open hats and ghost snares, that a lot of the credit for "Let It Happen" is due to the original break.
BreakPlayaz
Tuesday Breakdown: September 17, 2019
Break Delivers Low-Slung, Thugged-Out Beats on "Keepin' It Raw"


text:
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Pallavi obtained an MSc Economics from the London School of Economics and Political Science (LSE) and a Master of International Law and Economics (MILE) from the World Trade Institute (Bern). She graduated with Honours in Economics from the Lady Shri Ram College for Women, Delhi University (Delhi).
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Altea offers a good range of different types of accommodation from its premier five star hotel to cheap but well run hostals and campsites. You'll also find plenty of self catering apartments and holiday villas to rent in and around the town.
The five star Altea Hills is one of the best hotels to be found anywhere on the Costa Blanca. In a prime hillside location, three kilometres north of the town, the hotel boasts breath taking views and first class facilities.
The accommodation is comprised of a presidential suite, 50 other suites and 54 high grade double bedrooms. All rooms have a minibar, fax and computer connection, satellite TV and a large terrace with sea views.
The hotel has an excellent restaurant serving local and international cuisine as well as a cafeteria. Sports and entertainment facilities include three outdoor tropical lake style swimming pools, an indoor heated pool, tennis and squash courts and a health and fitness centre offering massage, beauty treatments, aerobics classes etc.Hotel Cap Negret is a three star hotel on the beachfront to the north of the town on the Valencia Alicante national road. The hotel has six suites, 219 double rooms and 25 singles. Facilities include a bar, restaurant, satellite television, gardens and a disco.
If you prefer to be in the town itself, try the two star Hotel Altaya in Calle Sant Pere. The hotel has 24 double rooms, a bar and café.
A two star hostal on the seafront is El Trovador at Cap Negret. The hostal has a good range of facilities including a bar, restaurant, satellite television, terrace and gardens. It gives wheelchair access and is dog friendly!
Another two star hostal is the Hostal Paco, located in the town in Avenida Fermin Sanz Orrio. It has 24 double rooms and three singles. Facilities include a bar, restaurant, café and laundry service.
For a clean and comfortable one star hotel with a wonderful dining terrace overlooking the bay, try Hotel San Miguel on the beachfront.
You'll find two official beachside campsites at Cap Blanch on the southern side of Altea. The Cap Blanch site has a full range of facilities including tennis courts and a laundry. The site is geared for wheelchair access and admits pets.
The Miami campsite has a lake and its own supermarket. It also provides wheelchair access and is dog friendly.
Several local agents handle the letting of holiday villas and beachfront apartments. Facilities and prices vary but you'll find some of the villas are top of the range with luxury accommodation, private swimming pools and gardens and wonderful sea views.


text:
Department of Water and Power of the City of Los Angeles - California 1962
Beautifully engraved specimen certificate from Department of Water and Power of the City of Los Angeles dated 1962. This historic document was printed by the Jeffries Banknote Company and has an ornate border around it with a vignette of a well dressed Spanish woman standing in the middle of various natural and industrial scenes. This item has the printed signatures of the Company's President and Secretary and is over 34 years old.
Certificate Vignette This Spanish pueblo (which officially became Los Angeles in 1850) first relied on the Los Angeles River for its water supply. The river water was channeled through a distribution system of crude dams, water wheels and ditches (or zanjas). It wasn't until 1860 that the city of Los Angeles' Water Company completed its first water system. On Feb. 3, 1902, the city formally took ownership of the first Los Angeles municipal water works system. The population of Los Angeles leaped from 5,728 in 1870 to 102,479 by 1900. Along with inherent growth problems, the city faced a serious water shortage. The new municipal Water Department, under the leadership of William Mulholland, its first superintendent and chief engineer, began enlarging the Los Angeles River system. Greater storage capacity was provided to conserve a large portion of the river's flow. Construction of new reservoirs and distribution mains provided added capacity and efficiency for the system. Conservation efforts were initiated at this early date with the installation of meters to discourage wasteful use of water. A man of vision, Mulholland met the challenge of fulfilling the water needs of the thirsty, growing city by looking north. Under direction of then Mayor Fred Eaton, Mulholland conceived of an engineering marvel: a plan to build an aqueduct system that would transport water from the Easter Sierra mountains to Los Angeles, using gravity to keep the water flowing. That plan was met with support by the citizens who, in 1905, voted a bond issue of $1.5 million to purchase Owens Valley lands and water rights. Two years later, voters approved another bond issue of $23 million for construction of a 233-mile long aqueduct. Mulholland's dream was realized in 1913 when water from the Eastern Sierra Nevada came gushing down the cascades into the Los Angeles Basin. As the Los Angeles population grew by leaps and bounds, the Department built a 177-mile second aqueduct from the Owens Valley, completed in 1970, which had capacity to bring an additional annual flow of 152,000 acre-feet to Los Angeles. The Los Angeles Aqueduct did more than supply water to the city. It also brought power to Los Angeles. During the building of the aqueduct, the Department brought online the city's first power plant--located at Division Creek and built in 1905--to supply hydroelectric power for the aqueduct's construction. The Bureau of Los Angeles Aqueduct Power (forerunner to the Department of Water and Power) was established in 1909, with Ezra F. Scattergood named as chief electrical engineering. As Mulholland's counterpart for the Power System, Scattergood became the driving spirit in the development of the municipal electric system. As Los Angeles grew, the Department of Water and Power continued to face the challenges of providing sufficient water and electricity to the booming city. The Department built San Francisquito Power Plant 1, north of Los Angeles, in 1917, marking its first step in becoming an independent electricity provider. The LADWP continued to acquire smaller electric companies, and by 1939, was the sole provider of electricity for Los Angeles. As more people moved to Los Angeles, LADWP joined partnerships to bring power from Boulder Dam (now Hoover Dam). A 266-mile transmission line was erected from the dam to downtown Los Angeles. It was the first time the Department ventured out of state to bring power, and set a precedent to join consortiums to build power plants in Utah, Arizona and Nevada. After World War II, the city's population grew to 2 million people, and with it, so did the Department's power base. In the 1950s and 1960s, the Department added a number of power plants, including the Owens River Gorge Hydro electric Project, Valley Generating Station, Scattergood Generating Station, and Haynes Generation Station to accommodate power needs. Since 1970 and into the 1990s, the LADWP has focused on reliability, ensuring a smooth power supply by diversifying its energy portfolio. The Department also began advocating the feasibility of using renewable resources and alternative energy. For instance, LADWP launched pioneering efforts to promote solar energy and clean, hydrogen fuel cell power generation. History from company press information.
About Specimens Specimen Certificates are actual certificates that have never been issued. They were usually kept by the printers in their permanent archives as their only example of a particular certificate. Sometimes you will see a hand stamp on the certificate that says "Do not remove from file". Specimens were also used to show prospective clients different types of certificate designs that were available. Specimen certificates are usually much scarcer than issued certificates. In fact, many times they are the only way to get a certificate for a particular company because the issued certificates were redeemed and destroyed. In a few instances, Specimen certificates we made for a company but were never used because a different design was chosen by the company. These certificates are normally stamped "Specimen" or they have small holes spelling the word specimen. Most of the time they don't have a serial number, or they have a serial number of 00000. This is an exciting sector of the hobby that grown in popularity over the past several years.
California Bank - Los Angeles, California 1897
Cypress Petroleum Company of California- Los Angeles, California
Giambastiani- Los Angeles, California
Soledad Mining - Los Angeles, California
Department of Water and Power of the City of Los Angeles
Los Angeles International Airport - California 1989
Southern California Railway Company signed by George C. Magoun - California 1889
Roy C. Seeley Company - Los Angeles, California
Times Mirror Company with Norman Chandler as Chairman - Los Angeles, California 1967
Los Angeles and Vernon Street Railway Company- Los Angeles, California 1887
State of California Unemployment Relief Bond Act of 1933 ( Issued during Depression) - California 1934
Pennsylvania Oil Company - Los Angeles, California 1901
Turlock Irrigation District - California 1911
Allied Amusement Company of Los Angeles- California 1923


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Never allow anyone else to access your account.
Sometimes a dishonest player will offer to "dupe" items, or will promise to add certain rewards to your account. Such offers are bogus and you should never give anyone access your account for those reasons or any others that you may be given. And remember: ArenaNet and NCsoft will never ask you for your access information.
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text:
Q: Pass variable in Python module I am working with image processing project with Python. I need a good GUI, so I have generated a GUI using PAGE.
Now I have three .py files:

*

*PAGE generated GUI class file.

*PAGE generated GUI Support file.

*My image processing file.

PAGE generated GUI support file defines global veritable for storing GUI component values.
PAGE generated GUISupport.py:
#! /usr/bin/env python
#
# Support module generated by PAGE version 4.8.6
# In conjunction with Tcl version 8.6
#    Nov 16, 2016 07:58:07 AM

import sys

try:
    from Tkinter import *
except ImportError:
    from tkinter import *

try:
    import ttk
    py3 = 0
except ImportError:
    import tkinter.ttk as ttk
    py3 = 1

global frm #this is the global variable
frm=None

def init(top, gui, *args, **kwargs):
    global w, top_level, root
    w = gui
    top_level = top
    root = top

def destroy_window():
    # Function which closes the window.
    global top_level
    top_level.destroy()
    top_level = None

if __name__ == '__main__':
    import GUI
    GUI.vp_start_gui()

PAGE generated GUI.py. I have added a show_frame() function separately. According to this information.
#! /usr/bin/env python
#
# GUI module generated by PAGE version 4.8.6
# In conjunction with Tcl version 8.6
#    Nov 16, 2016 07:58:02 AM
import sys
import Tkinter as tk
import Image, ImageTk

try:
    from Tkinter import *
except ImportError:
    from tkinter import *

try:
    import ttk
    py3 = 0
except ImportError:
    import tkinter.ttk as ttk
    py3 = 1

import GUISupport

def vp_start_gui():
    '''Starting point when module is the main routine.'''
    global val, w, root
    root = Tk()
    top = MainForm (root)
    GUISupport.init(root, top)
    root.mainloop()

w = None
def create_MainForm(root, *args, **kwargs):
    '''Starting point when module is imported by another program.'''
    global w, w_win, rt
    rt = root
    w = Toplevel (root)
    top = MainForm (w)
    top.show_frame()
    GUISupport.init(w, top, *args, **kwargs)
    return (w, top)

def destroy_MainForm():
    global w
    w.destroy()
    w = None

class MainForm:
    def __init__(self, top=None):
        '''This class configures and populates the toplevel window.
           top is the toplevel containing window.'''
        self._bgcolor = '#d9d9d9'  # X11 color: 'gray85'
        self._fgcolor = '#000000'  # X11 color: 'black'
        self._compcolor = '#d9d9d9' # X11 color: 'gray85'
        self._ana1color = '#d9d9d9' # X11 color: 'gray85'
        self._ana2color = '#d9d9d9' # X11 color: 'gray85'

        top.geometry("850x500+318+153")
        top.title("MainForm")
        top.configure(background="#d9d9d9")

        self.lblFrame = Label(top)
        self.lblFrame.place(relx=0.01, rely=0.02, height=471, width=764)
        self.lblFrame.configure(background="#d9d9d9")
        self.lblFrame.configure(disabledforeground="#a3a3a3")
        self.lblFrame.configure(foreground="#000000")
        self.lblFrame.configure(text='''Label''')
        self.lblFrame.configure(width=764)

    def show_frame(self):
        img = Image.fromarray(GUISupport.frm)
        imgtk = ImageTk.PhotoImage(image=img)
        self.lblFrame.imgtk = imgtk
        self.lblFrame.configure(image=imgtk)
        self.lblFrame.after(10, show_frame)

if __name__ == '__main__':
    create_MainForm(Tk())

This is my image processing code written using OpenCV
import numpy as np
import cv2

import GUISupport as guis

cam=cv2.VideoCapture(0)

while 1:
    _,f=cam.read()
    cv2.imshow('frame',f)
    guis.frm=cv2.cvtColor(f, cv2.COLOR_BGR2RGBA) #this is the variable passed using GUISupport.py

    if cv2.waitKey(1) & 0xFF == ord('q'):
        cv2.destroyAllWindows()
        cam.release()
        break

I have run this code. But, I got this error:
File "C:\Users\user\Documents\Visual Studio 2013\Projects\testforCAmFeed\testforCAmFeed\GUI.py", line 74, in show_frame
    img = Image.fromarray(GUISupport.frm)
AttributeError: class Image has no attribute 'fromarray'

I need to pass my video and other variable to the GUI module and need to pass tkinter GUI controller data to image processing module.
How to do this?

redpajama_set_name: RedPajamaStackExchange


text:
Jenner releases "To Live is to Suffer"
Published on Friday, 2 December, 2022 - 22:44
JENNER is a Heavy/Thrash Metal band from Serbia founded in December 2013. The band was founded as a quartet and played in local clubs covering their favorite heavy metal bands like Warlock, Judas Priest, Grim Reaper...
In 2014 the band began writing original songs with a slightly harder sound. Now their the repertoire included covers of bands Agent Steel, Megadeth, Overkill, Anthrax. In 2015 they recorded their first 2 demo songs "Hear the Thunder Roar" and "On the Judgment Day" and continued working on their debut album.
In February 2017, they released their first full-length album called "To Live is to Suffer" for the French label Infernö Records. The album consists of 8 fast and energetic songs that were well-received by the audience. The first print run of the album was completely sold out within a few years, making it a bestseller of the label. After promoting the album in Serbia and the region, the band had some changes in the line-up and continued to work as a trio.
In March 2020, JENNER released their second release, EP "The Test of Time" again for Infernö Records. The EP includes two original songs and one cover. In June 2021, the band released an exclusive limited edition "Demo 2015" cassette featuring two demo songs recorded in 2015 with a live performance of one song, released by Burning Sun Records from Hungary.
In October 2022, JENNER signed to Fighter Records will re-issue their debut album "To Live is to Suffer" in February 2023 while the band is currently active with concerts, and also finishing songs for a new album and will enter the studio again in 2023 to record their second full-length album.
The tracklist for "To Live is to Suffer" is as follows:
1. Factory of Death
2. Hear the Thunder Roar
3. Demon's Call
4. The Heath is Coming Again
5. On the Judgement day
6. How Deep is Your Greed
7. Silent Killer
8. Opened (On the Table)
The release date for JENNER's "To Live is to Suffer" will be the 9th of February 2023 through Fighter Records on CD, 12"LP, Cassette & Digital formats. In the meantime, check out JENNER's official Facebook site here: www.facebook.com/jennerserbia and watch the official video clip of one of the songs of the album on the following link: https://youtu.be/YnWy81FF61U
11:43 Henry Rollings - 2023 European GOOD TO SEE YOU Tour Begins Next Week!
11:10 Exdestrier To Unleash Brutal EP 'Glorious Barbarism'


A few months ago, I attended the first DTG Symposium in Provo, Utah. DTG stands for Dental Technician's Guild.
It's more of a friendly club for elite technicians who share tips, show-off work, and work hard to excel and handcraft high quality aesthetic dental restorations.
Sadly, like in a number of professions, many dental technicians treat their job like a J.O.B.
They're not concerned about excellence. They don't invest the time to perfect and refine their skill or knowledge. They want to do the minimum, finish their work for the day, as fast as possible, avoid headaches, and go home. There's nothing wrong with that.
But the people I met at the Symposium were a lot like me.
We were all craftspeople who love our work. We have a passion for what we do. It matters to us the quality and level work we send to dentists and patients.
In many ways, we're not much different than a painter or musician or a 5-star chef.
The details matter a whole lot. We see the nuances that are invisible to most others technicians. I'm happy to be part of this brotherhood (or sisterhood).
Waterfall off scenic highway 189/Alpine Loop Provo, Utah.
The symposium was held in Provo, Utah. It was my first trip to Utah. I had no idea how gorgeous the state is. After the symposium, I did a little driving around and was just floored by the landscape.
Lucky for us, it wasn't all work and no play. After one of the sessions we boarded a bus and drove around to the nearby sights.
After a long day indoors, its great to get out!
This was the view from my hotel room. The picture doesn't do it justice. Those mountains were majestic and a great way to wake up each morning.
We heard from many interesting and insightful speakers. Some were technicians, some were dentists.
I got a lot of great information I've been able to apply in the lab over the past few months!
I plan on coming back next year!
Are you looking for a new dental technician? Let me help!


Today's xkcd on unhelpful tech support reminded me of a dilemma I had recently determining the proper response to tech support agent at Time Warner who clearly didn't seem to have much experience. Our cable modem died, and it was clear I needed them to come replace it. I understand that they might need to do some verification of my assessment first, as it does make sense that you don't send a truck out or send new hardware out just because a customer thinks his cable box is bad. I have no issue with walking through standard troubleshooting steps just to be sure.
Have you optimized your web browser?
It turns out the Time Warner agent was asking trying to ask if I had cleared my browser cache and cookies. Silly me - I thought a cache was supposed to be a performance optimization by reducing the need for reloading pages over the network. Of course, in some cases that could be a useful troubleshooting step, but would it be possible to actually say that rather than make up nonsense term?
It's funny, but my real dilemma was trying to figure out how to respond. Should I just hold back and politely say yes? Should I come up with a snarky response like "No, do I need to charge my flux capacitor first?" I ended up going halfway with the simple "I'm not sure that means anything", but I can't help but feel I missed the chance to give a truly quality response.
October 15, 2010 by Norman Richards.


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Charles Archibald MacLellan
Date: American painter, illustrator, 1887–1961
Biography: Charles Archibald MacLellan was born in Trenton, Ontario, in 1887, and moved to Chicago when he was six or seven. He attended the Art Institute of Chicago, where his fellow students included Harvey Dunn, E. Roscoe Schrader, Edward A. Wilson, and Gayle Hoskins. After two and a half years of study there, he took a position with an engraving firm and later opened his own studio. In Chicago he did a few designs for stained glass and a great deal of advertising and poster work for the Marshall Field and Co. department store. His career as an illustrator began in Chicago with cover work for magazines.
In late 1909 or early 1910 MacLellan and Edward Wilson, friends since boyhood, recalling the inspiration they had received from Howard Pyle's lectures at the Art Institute of Chicago in 1905, decided to move to Wilmington to attend Pyle's weekly lectures and benefit from his instruction. MacLellan occupied one of the Pyle studios at 1305 N. Franklin Street from 1910 until his death. In 1926 he received special permission to enter the professional class at the Pennsylvania Academy of the Fine Arts, where he studied still life and life painting, apparently in preparation for taking up easel painting. About 1930, MacLellan began to have trouble with his eyes and gave up illustration to concentrate on portraiture and figure studies. He also became an expert on early American furniture, organizing an exhibition for the Wilmington Society of the Fine Arts in 1926 and serving as an advisor and agent for Henry Francis du Pont in the formation of the Winterthur Museum collections as well as in the formation of other private collections. MacLellan was also one of the Studio Group teachers from 1943 to 1958.
MacLellan specialized in magazine covers. His work until about 1920 was largely of a broadly humorous nature — naughty children or domestic scenes — done in a vignette style. After 1920 his covers tended to be "pretty girl" subjects.
During his career in Wilmington, MacLellan was chairman of a 1926 exhibition presented by the Wilmington Society of the Fine Arts entitled "Early American Furniture." He was also a member of the Accessions Committee at the Society from 1943 until 1958, and he taught at the Studio Group, located at Howard Pyle's old studio, from 1943 until his death in 1961. After his death, a memorial exhibition of 33 of his works was held at 1305 North Franklin Street, from December 3 through December 17, 1961.
Source: Rowland Elzea and Elizabeth Hawkes, editors. A Small School of Art: The Students of Howard Pyle (Delaware Art Museum, 1980)
A Young Singer
Cover for Collier's Weekly, May 20, 1919 / woman golfer and caddy
Swimmer and Dog
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David Casseres, "Beyond Word Processing: The Online Text System"
Source: David Casseres, "Beyond Word Processing: The Online Text System" (3 October 1979)-- in "The Macintosh Project: Selected Papers from Jef Raskin (First Macintosh Designer), Circa 1979," document 21, version 0.
The purpose of this paper is to stir up some interest in the possibility of an Apple implementation of a unique and powerful personal computer tool, the Online Text System (OTS).
OTS is a personal system for entering, editing, and studying text. It differs radically from today's concepts of "editors" and "word processors" as explained below, and is optimized for the user who wants to use text in large quantities as a primary intellectual tool.
As explained below under "History," the essential concepts presented here are not new. They have been implemented in a research prototype system and exhaustively tested in a work environment for several years by a team of up to twenty technical, clerical, management, and documentation people.
There is reason to think that someone besides me is thinking about implementing these ideas on a personal computer.
Editors: Direct or indirect descendants of hacks developed (often decades ago) by programmers who needed to edit source code.
Word Processors: Elaborately integrated systems to be used by a clerical operator.
The proposed OTS is more like an editor than a word processor, in that it is to be operated personally by the creative worker. Also, it does not incorporate hard-copy formatting at all--this is done by any of a whole family of external processes with various specializations. All formatting done by OTS is screen formatting, and OTS is heavily optimized for this.
For example, while almost all editors and word processors are at least partly line-oriented, OTS is line-ignorant. It breaks statements into lines according to current display parameters, and does not store lines as such except when the user explicitly wants it to.
OTS is designed with large, complex texts in mind. The problem in dealing with such texts on a screen is the difficulty of orienting oneself to the structure and content of the text. When you try to study, you get lost very quickly. Anyone who has tried this can understand the problem. It has never been addressed in a meaningful way by any production text system.
OTS does address this problem. By letting hard-copy formatting be an external function, OTS is able to have a study function as well as the traditional capture and modification functions of an editors. The same features that optimize OTS for studying the text also optimize it for ultra-efficient editing (since study is a key part of editing).
Existing systems treat the computer as a tool for developing hard copy, under the assumption that hard copy is THE medium for text. Such systems are based on partial simulation of hard copy on the CRT. OTS treats the computer/CRT as a new medium for text in its own right.
The tree structure is chosen because it is natural for both documents and computers. It is also an easy structure to understand. Writers who use it as an organizing principle soon learn to love it, and documents written this way are merely obeying the ancient high-school teaching: start by making an outline. It is not limiting, since the user is perfectly free to write all statements at the first level. This result is a "conventional" structure, i.e. linear.
The success of any OTS implementation depends critically on the beauty of its human interface. The interface must feel extremely responsive. Speed of human input and speed of system response are both important.
Human input is of two kind: command mnemonics and cursor positioning.
Cursor positioning is done by means of an analog device such as a joystick, forcestick, graphics pad, or mouse. Cursor control keys are absolutely not adequate, and it is critically important to make cursor positioning as easy as possible.
It is desireable to have two control buttons available on the cursor-positioning device: one is used for a "command accept" function, and the other for "command delete."
Who knows? My own position has always been that the potential market for this kind of tool is far, far greater than anyone has yet guessed--at least if it is as cheap as it now can be. Many of the capabilities have to be used to be fully appreciated, and my guess is that to sell as full-dressed OTS (or even half-dressed) would require some serious educational efforts. The implication is that if an OTS is worth doing, it's worth doing right.
The engineering that went into NLS was extremely impressive. For example, the "mouse" device was invented in connection with this project. Some of the technical people on the project were Bill English, Jeff Rulifson, Bill Parxton, Chuck Irby, Don Andrews, Dave Hopper, Bill Duvall, Mimi Church, and Bruce Parsley, many of whom later went to Xerox PARC.
At the time of its development, NLS was strictly a demonstration of concept, as far as any public beyond the ARPA community was concerned. It was very expensive to user, its human interface depended on then-exotic hardware, timesharing systems were unreliable and inefficient. The concept of computer text processing was not thought to involve anything better than justified margins on a Flexowriter. Eventually funding dried up, most of Engelbart's technical people went to Xerox PARC where they were forever walled up in ivory, and NLS was forgotten--by most people.
I was until 1969 the technical writer for the project, and have been carrying some of the ideas around ever since. I always thought it was a great pity that such a spectacular tool for writing and studying text was forgotten. It is now clear to me that future Apple systems are ideal for a modern descendant of NLS, optimized for an individual user. OTS is such a descendant, and I believe that if Apple does not eventually implement something like OTS, someone else will.


These goddamn robots are always working against us, and sometimes they explode before you know how to work 'em. Well, I had a similar issue and there's a lot of episodes that, except for their live broadcasts, never saw the depressing, artificial light of the internet. I dug up some of these robot corpses and lo and behold: Welcome to the first installment of Zorch Radio: Exhumed!
Back in July, there was a great episode which featured a call-in from Knuck of Dragstrip Riot/Graceland Five, plus Nicole DeVille came in for a guest DJ session. Nicole's an active musician and has performed with bands like The Hatchetwounds, Nicole Deville and her Man-Hands, The Handlebar Mustangs, Tumbledown, and the timely holiday act, The Ho-Ho-Ho's.
Nicole is also the womanly-craft-head-honcho over at Spineless Clothing Company. Need to buy a girly-deal for a female on XMAS? Her items are 100% unique, 100% hand-made, and 100% fair-trade (no slaves). They make great Kwanzaa/Hanukkah/Chinese-New-Years gifts for the females in your life, and she has nothing to do with Wal-Mart (independant, +5 points). Her merch is also offline at Fat Fancy, Fingers Duke, and Sugar Daddy's.
These exhumed issues are a bit out of date, and my playlists only existed on paper for some (Gasp! Physical data?!). Since then, they've been thrown out, and I'd rather dig up more episodes then dedicate a few hours to typing these out. If you're curious about a song, feel free to contact me through The Twitter or the The Face Book. You can also send postcards to the info is on the contact page.


These days, working with the best staff part in a warm assignment and in addition keeping up that staff part is extremely hard; organizations should know the requests of the staff part in the work environment. Managers are taking significantly more find about laborer health, because of the way that a developing number of individuals are again and again getting the stressed and furthermore hurt while protection scope and furthermore restorative costs continue rising.
To lessen a couple of these medicinal issues, consider considering useful outlines. Utilitarian plans are a vital component for an association's wellbeing and security and furthermore health program and furthermore to the workers and also representatives that get ready to take the commitment to diminish their own special damage avoidance.
– lessening the clinical issues.
– Ergonomic seats and occupation things are furnishing solace alongside work finish fulfillment.
– Workers are relating to work early.
– offer preparing in crucial solace outlines to all staff and also announcing about the risks.
– perceiving those dangers and in addition instruct how to incredibly lower.
– Acquisition some human-accommodating ergonomic office things, for example, best ergonomic mice, ergonomic consoles, ergonomic seats, and so on.
– A technique for looking at the ergonomics program.
– If you are influencing utilization of an ergonomic seat for the first run through, to use it for 3 or 4 days regularly. Guarantee that your ergonomic seat was straightened out fittingly. Top quality seats, for example, the human scale freedom seat will be helpfully rearranged and adjusted to fit a considerable measure of the masses.
Ideal here are some standard issue and furthermore approaches to illuminate them.
– Inaccurate seat rise: you could include your seat rise and ensure your knee is in standing stature and your feet are put on the floor.
– Inaccurate seat profundity: when you sit in the seat, ensure there is a void between your legs and additionally the front of the seat. This space could be 2 to 3 fingers.
– work area or console is too high: use console plate and change your seat height and make sure your feet are on the floor or on the stool.


text:
Q: Выделяет красным строки с v-for в Vue.js По какой то причине у меня постоянно выделяется красным строчки
 <option v-for="user in users" v-bind:value="users">{{user.name}}</option>

и

{{user.name}}

Общий вид кода:

    <template>

Атрибуты формы

    Введите фамилию*:
    <input type = "text" v-model = "lastname" placeholder = "Например, Петров"/>

    Введите имя*:
    <input type = "text" v-model = "firstname" placeholder = "Например, Иван"/>

    Введите отчество:
    <input type = "text" v-model = "lastname" placeholder = "Например, Васильевич"/>

    Введите дату рождения*:
    <input type = "date" v-model = "date" class="form-control"/>

    Введите номер телефона*:
    <input type = "phone"  value = "+7(   )"  maxlength = "16" />

    Пол:
    <input type = "text"  placeholder = "Например,Женский" v-model = "text"/>

    Группа клиентов:
     <select v-model="selectedUsers" multiple>
          <option v-for="user in users" v-bind:value="users">{{user.name}}</option>
     </select>

{{user.name}}

</template>

Версия Vue.js у меня стоит 4
Не пойму, что ему надо((

A: Вот тут можно почитать об этом. И вот тут. Проще говоря, всегда используй атрибут key при отрисовке списков.
<option v-for="(user, index) of users" :key="index" :value="users">{{user.name}}</option>