ST 4411	MERRIOTT 1626/9/10004	Tail Mill II Former sailcloth textile factory, with later industrial and office use, partially vacant at inspection. Early C19, ( chimney base dated 1836) with late C19 additions, and early C20 alterations. Rubble stone with ashlar quoins and dressings, red brick arched heads to opening and slated roof coverings with later replacements in profiled C20 sheeting. PLAN: Irregular plan form, reflecting gradual evolution of integrated site, with earlier buildings sited close to the mill pond and leat to the south of the site, with later buildings grouped around a northern courtyard by 1888, and subsequently covered. The site comprises a WAREHOUSE with attached DWELLING, TEXTILE MILL with internal engine and boiler houses, SLUICE GATES to watercourse , CHIMNEY BASE, north light WEAVING SHED, single storeyed ANCILLARY BUILDINGS, and a second, external ENGINE HOUSE. WAREHOUSE at south-east corner of site, of 3 storeys with attics, with symmetrical 8 bay front, wide gable to centre, and coped gables with polygonal finials. Former full height double doorway to centre of ground floor, now with part-glazed entrance screen with integral single doorway. Above this, tall double doors, and a further opening to the gable apex. Flanking the central gable, ground floor doorways and 2 -light windows beneath shallow brick arched heads to all floor, some to left side of first floor altered. Some window frames with one light glazed, the other with ventilation louvres. Interior: warehouse floors carried on massive timber beams spanning front and rear walls. Roof trusses, each with queen struts supporting a collar on which is set a diminutive king post with an expanded, diamond-shaped head, support double purlins. The lower 2 storeys have cross walls which segregate the loading area of the central 2 bays from the flanking ranges. Trap doors survive in the floors of the central section, formerly served by a hand- operated hoist drum and wheel mounted between the roof trusses, ( now dismantled and stored in attic ). North end of attic segregated by timber partition and door. HOUSE attached to north west gable of warehouse, of 2 bays and 2 storeys, and probably a mid- C19 addition, with domestic scale openings, including a tall transomed 3-light window with glazing bars to the upper lights to the front elevation. Interior : Not inspected. TEXTILE MILL to the north-west of the warehouse, of 9 bays, 2 storeys and attics, with projecting brick stair and hoist tower extension to north wall, and low walled enclosure against east gable. South elevation with off-centre, semi-circular arch -headed opening to former internal engine house to bay 3, and multi-paned windows beneath shallow arched heads , 2 to the left and 4 to the right of the doorway. East end with a doorway and plain planked door to bay 8, and a further window. Central part of elevation with 3 blocked arched of different sized, marking the positions of former water wheel chambers.( East arch corresponds to position of mill race shown on 1844 Tithe Map. ) Rear elevation with gabled stair and hoist tower, its external door on the east wall. Interior: Ground floor retains evidence of internal boiler house at west end, with high-level boxed-in beams and a masonry cross wall separating it from the former internal beam engine house alongside, with a second cross wall to the east. Full height engine house compartment with brick fireproof ceiling at attic floor level, cast-iron entablature beam and beams supporting end of the entablature beam floor remain in situ. Metal ceiling beams retain pairs of lifting rings used for engine installation. Elsewhere, conventionally detailed floors with deep crossbeams and joists, with mid-C19 cast-iron columns support beams in various positions. Queen strut roof trusses with princess struts, and collar beams supporting diminutive king struts. The trusses carry triple purlins, and were also used to support line shafting for powered machinery. The attic floor is double boarded, the upper layer formed of unusually wide Elm planks. SLUICE GATES, formerly part of water control sytem for the textile mill, to the south-east and south west of the mill, on the banks of the former mill pond. Timber gates with wrought iron raising mechanisms to control outflow from the pond. CHIMNEY BASE , formerly supporting full-height mill chimney, and partially enclosed within a later building to the north of the mill. Ashlar masonry with stepped plinth, projecting cornice, and semi- circular arched opening to the north face, with inscriptions above which read " Richard Haywood Erected in 1836" and "Built by Tho Ward Bridport". WEAVING SHED with north light roof and of rectangular plan occupies north-east corner of site, of 11 full bays with 3 narrow bays at the north west end. Interior: Tall roof with substantial timber trusses supporting the 3 roof compartments. Full-width scarfed tie beams supported by 2 intermediate arcades of cast iron . Near vertical glazing with pivoting centre sections to lights. Shaft boxes for line shafting to each of the 3 sections are located in the end walls. Narrow bays to north-west originally with open north-east side, and partition wall to separate it from the main shed, suggesting it housed a separate process which required ventilation. ANCILLARY BUILDINGS. Single storeyed buildings to the west , north west and north-east of the textile mill housed the secondary and finishing processes, and were added between 1844 and 1886. All are of rubble construction with pitched roofs. That to the immediately west of the mill has undergone C20 alteration, that further west is of broad span with a continuous ventilation louvre to the roof apex, and a 6-bay roof with timber principles linked by wrought iron tie rods. Tall side wall windows with shallow arched heads and composite frames, comprising glazing to the lower half and louvres above. Further north, 2 ranges set at right angles, that to the north-west of 14 bays, with an apex ventilation louvre, and narrow dormers to the west roof slope. King-post truss roof. The northern boundary of the site was formed by a range running east -west, of which the 4 eastern bays survive. A further single storey, 11 bay range forms part of the eastern site boundary, and is attached to the south-east corner of the weaving shed. It has a prominent apex ventilation louvre, with slatted sides operated by an extant lever and pulley system, all supported upon asymmetrical queen strut trusses. ENGINE HOUSE to south-west of weaving shed added post 1886, and seemingly built to replace the engine house which powered the weaving shed and the attached single storeyed ancillary range. Gabled roof with collared trusses, supporting king posts. Blocked arch for former fly wheel recess in east part of south side wall. HISTORY: Tail Mill was a sail cloth making factory, established on the site of a former water-powered grist mill. By 1825, the site was occupied by Richard Haywood, a prominent sailcloth maker with a mill at West Chinook. The firm became one of the most important of Somerset's sailcloth manufacturers, and occupied Tail Mill until c.1929. Mid-C19 inventory evidence suggests that the site was operating as an integrated flax mill, using water and steam power, and with a weaving shed and agas works. Sail cloth, tow ( a product made from flax waste) and webbing were being produced by 1868. Tail Mill is a highly significant site in the history of the Somerset sailcloth industry, dating from the early C19. It is an evolved integrated textile factory, retaining characteristic structures from all periods of its development, including ancillary structures used for secondary and finishing processes. These, together with its mid- C19 weaving shed, and the very clear evidence of both water and steam power provision form an unusually complete and coherent survival, which despite C20 alterations clearly demonstrates the major phases of development of a significant branch of the textile industry of south-west England Source. Tail Mill Merriot, Somerset.' English Heritage. 1999. N.B.R.98658.


text:
Q: Help in SQL query for beginners, max of column I have 2 tables, one holds questions the other holds answers to the questions, each answer has a number of likes, I need to print each question with its most liked answer.
I have added a picture to show elaborate the question better.

the code I have written so far and does not work well:
SELECT q.q_text,a.a_text

FROM answers as a
JOIN questions AS q
on a.q_id = q.id

WHERE (SELECT max(answers.likes) from answers)
GROUP BY q.id;

A: This approach has a great problem, if you have two or more answers with the same number of likes, you would see both or more in the result set.
If you want only one answer per question, you have to define which answer you prefer
That would be best realized with another column, that would indicate the "best" from all the max likes.

CREATE TABLE questions (
  `Id` INTEGER,
  `question_text` VARCHAR(10)
);

INSERT INTO questions
  (`Id`, `question_text`)
VALUES
  ('1', 'question 1'),
  ('2', 'question 2');

CREATE TABLE answers (
  `Id` INTEGER,
  `question_id` INTEGER,
  `likes` INTEGER,
  `answer_text` VARCHAR(19)
);

INSERT INTO answers
  (`Id`, `question_id`, `likes`, `answer_text`)
VALUES
  ('11', '1', '3', 'question 1 answer 1'),
  ('12', '1', '20', 'question 1 answer 2'),
  ('13', '1', '5', 'question 1 answer 2'),
  ('21', '2', '500', 'question 2 answer 1'),
  ('22', '2', '10', 'question 2 answer 2'),
  ('23', '2', '80', 'question 2 answer 3');

SELECT
    q.question_text, a.answer_text
FROM
    answers AS a
        JOIN
    questions AS q ON a.question_id = q.Id
WHERE
    a.id IN (SELECT
            id
        FROM
            answers
        WHERE
            (`question_id` , likes) IN (SELECT
                    `question_id`, MAX(likes)
                FROM
                    answers
                GROUP BY `question_id`));

question_text | answer_text
:------------ | :------------------
question 1    | question 1 answer 2
question 2    | question 2 answer 1

db<>fiddle here

A: Short and optimized query on SQL Server:
Select
    A1.question_id,
    A1.answer_text
From answers A1
RIGHT JOIN
(
    Select
        question_id, Max(Likes) as likes
    From answers
    Group by question_id
) A2
ON A1.question_id=A2.question_id and A1.likes=A2.likes
RIGHT JOIN questions Q
ON Q.Id = A1.question_Id;

Result:

redpajama_set_name: RedPajamaStackExchange


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Misty Copeland grew up in Los Angeles. So did Robyn Gardenhire. Both are beautiful black ballerinas, Misty, of course, is the first African-American principal dancer of American Ballet Theatre. And in the 1990s, Robyn danced in the company's corps de ballet.
Robyn, a very active, admired and even beloved member of the Los Angeles dance community, is included in the circle of African-American classical ballet talent featured in "A Ballerina's Tale." The documentary, a portrait of a dancer, will soon open at Laemmle Theatres.
Robyn, who instructs children of all colors at the Pico-Union school of City Ballet of Los Angeles, has a brief turn as a talking head in the movie. She will be my honored guest in interview at a special screening event hosted by Dance Camera West co-presented by the American Cinematheque at the Aero Theater in Santa Monica. Please read Robyn's bio here.


text:
Before Sunset
It's Cryin' Time: "The Pursuit of Happyness" and "Charlotte's Web"
By M. McNeil
THE PURSUIT OF HAPPYNESS and CHARLOTTE'S WEB
A few days ago, in preparation for my forthcoming year-end recap, I was perusing the list of movies I've caught in 2006, and among my favorite cineplex offerings, I noticed several rather surprising themes. Very few family-friendly works, and none that were animated, despite the release of what felt like a new one every other week. An unusual preponderance of sequels and remakes. And, oddly, almost no works that really got to me emotionally - very few that made me cry.
Western Union: "Brokeback Mountain"
In Ang Lee's agonizingly fine romantic western Brokeback Mountain, two taciturn young men - Ennis del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) - are hired, in the summer of 1963, to tend flocks of sheep on a Wyoming expanse. During the early days of their tenure, the men barely speak. Yet as the months pass, they form a solid friendship, and on one particularly cold night atop the mountain, Ennis and Jack share a bottle of whiskey and a sleeping bag, and - experiencing wordless, nearly aggressive desire - have sex. Despite the inevitability of the encounter, the sheer, naked hunger of the scene is startling, but a greater surprise comes some 20 minutes (and four years of screen time) later, in a scene so powerfully, emotionally true that - like much of Lee's transcendently moving work - it hits like a slap in the face.
Smith and James Elevate "Hitch" - a Little: Also, "The Wedding Date" and "The Motorcycle Diaries"
As Hollywood romantic comedies go, the Will Smith vehicle Hitch isn't bad, which, unfortunately, isn't the same as actually being good. But judging by the film's sensational box-office intake - not to mention the enthusiastic audience response at the screening I attended (people actually applauded throughout) - no one seems much bothered by the movie's mediocrity; many viewers prefer a romantic comedy that doesn't challenge or excite them in the least to films such as Before Sunset and Eternal Sunshine of the Spotless Mind and Sideways, works that understand and explore the nature of romance in ways that feel revelatory.
"Baby" Tops in 2004 - and Eastwood's Career: "Million Dollar Baby," "Hotel Rwanda," and "In Good Company"
Despite featuring a few peripheral figures, Clint Eastwood's Million Dollar Baby is essentially a three-character mood piece, yet Eastwood, co-stars Hilary Swank and Morgan Freeman, and screenwriter Paul Haggis invest the material with so much emotional and intellectual accuracy that the results border on the overwhelming.
Linklater Re-Captures Magic in "Before Sunset": Also, "First Daughter"
Richard Linklater has directed some marvelous films in the past - particularly Dazed & Confused, The School of Rock, and (his best work until now) 1995's Before Sunrise - but he has never created one as stunningly, ravishingly alive as Before Sunset.

redpajama_set_name: RedPajamaCommonCrawl


text:
What we do How we work Who we are Voices
Discrimination and Equality
National Security and Counterterrorism
Strategic Litigation
Legal Empowerment
Collaborative Partnership
Subscribe for Updates About Our Work
Using the Courts to Change the World: Insights from Experience
By Erika Dailey
Supporters of the three Kenyans who were tortured by the British Government in the 1950's leave the High Court in London, England, on October 5, 2012. © Matthew Lloyd/Getty
This year, India's Supreme Court freed millions of gay Indians from the fear of being imprisoned. Meanwhile, in Hong Kong, the Supreme Court there upheld the right of freedom of expression even as the territory is increasingly silenced by China.
And that was just in September.
These cases involved so-called public interest, or strategic litigation cases—cases brought by lawyers seeking a ruling that goes beyond the particulars of a case to benefit the rights of a larger group of people. Such rulings form the bulwark of human rights jurisprudence and practice. Together, they serve as an important counter-weight to the increasingly noisy attacks on human rights institutions and principles.
Now, a new report by the Open Society Justice Initiative, Strategic Litigation Impacts: Insights from Global Experience, offers an unprecedented overview of the diverse ways strategic human rights litigation is practiced around the world. It draws from hundreds of interviews with litigators, judges, victims, and activists in a dozen countries, looking at access to education, the prohibition against torture, and the rights of indigenous peoples to their historic lands. The study offers eight key lessons, addressing both the risks of undertaking strategic litigation, so that they can be minimized in the future, and its innovations and successes, in the hope that they can be adapted elsewhere.
As Insights from Global Experience illustrates, strategic litigation is often the tool that ultimately dislodges entrenched social ills where all else has failed. In South Africa, for example, lawyers took the government to court over its failure to provide decent school conditions for the country's poorest students, winning a judgment that lead to the replacement of unsafe mud structures with 138 new schools in the Eastern Cape. In India, strategic litigation led to changes that brought 90 percent of truant children in the state of Karnataka back into the classroom in just two years. In the United Kingdom, it compelled the government to award Kenyans tortured by the British colonial administration about $25 million in compensatory damages, and to issue the survivors an apology.
In spite of these victories, the report's case studies from Argentina, Paraguay, Kenya, and elsewhere illustrate that strategic litigation can be a painfully slow process, and be alienating, expensive, unaccountable, and risky. It can wreak havoc on the people and communities filing suit. Bringing a case compels them to place their fates in the hands of strangers whose legal language and thinking they often do not understand. They can lose the case, ending up worse than when they started. Or they can win, but suffer backlash. Kenyan torture survivors who sued for compensation because they were rendered unable to work were publicly ostracized as dissemblers and money-grubbers.
Most significantly, the study reveals that litigation should be viewed not as a single legal intervention, but as something that must be mutually reinforcing with social movements. The judge presiding in the case to allow pregnant mothers in South Africa ready access to HIV/AIDS drugs may have been influenced by the sea of pregnant mothers in matching t-shirts, chanting for their rights outside the courthouse. At the same time, those pregnant women could not have secured the drugs without recourse to the courts. With such symbiosis, sometimes the threat of litigation alone can bring the desired results.
Ultimately, the study encourages retiring the binary notion of "winning" or "losing" a case. Instead, around the world, effective practitioners see opportunities to add value, or "win," at various stages of the often lengthy process. When carefully crafted, strategic litigation can ensure that even a negative judgment can provide complainants with a sense of pride and accomplishment that can inspire others to challenge injustice in their own way.
Erika Dailey
Erika Dailey is senior officer for research and publications at the Open Society Justice Initiative.
Visit the International Justice Monitor
© 2020 Open Society Foundations, some rights reserved.


text:
Q: Setting base tag of iframe C# How can I set the base tag of an iframe from code-behind, knowing that the iframe's content is set by srcdoc Attributes['srcdoc'], My code:
string baseUrl = ""
string content = Model.RequestDocumentContent(out baseUrl);
Content.Attributes["srcdoc"] = content;

<iframe id="Content" name="Content" src="" runat="server" frameborder="0"></iframe>

The content contains images that I need to set the base of them to host URL in order to view them.
Is there any way that I can do that in code-behind?


text:
Q: Error for azure function created on visual studio with NotificationHub Integration I am getting an error for an azure function when is deployed on azure where the func cannot find the notification hub connection string settings.
Error indexing method 'NotifyMobiles.Run'Unable to resolve app setting for property 'NotificationHubAttribute.ConnectionStringSetting'. Make sure the app setting exists and has a valid value.

The function signature looks like below and I am getting weird error that I believe is result of being using beta library(Microsoft.Azure.NotificationHubs) and is that the deployed function is looking for connections strings that have prefixed AzureWebJobs even is the connections string is named SERVICEBUS in the app setting. Thus I added the prefix to avoid the error and is finding now the Service bus element but no the Notification Hub
        [FunctionName("NotifyMobiles")]
        public static async Task Run(
            [ServiceBusTrigger("MobileNotifications", AccessRights.Manage, Connection = "SERVICEBUS")] QueueItem queueItem,
            TraceWriter log,
            [NotificationHub(HubName = "push-notification-hub", ConnectionStringSetting = "NOTIFICATIONHUB", TagExpression = "{Tag}")] IAsyncCollector<Notification> notification)
        {}

A: Please remove the "AzureWebJobs" prefix from "NOTIFICATIONHUB" setting name. It should match ConnectionStringSetting value in your code.
You may delete the connection string key.


text:
Arrow Icon News
Actors announced for Beckett in Folkestone
We are delighted to confirm an all star cast are set to take part in Beckett in Folkestone. Performing new written works by Helen Oyeyemi, Rupert Thomson and Eimear McBride will be Jade Anouka, Russell Tovey and Harriet Walter
Beckett in Folkestone is an immersive multimedia experience for an audience of one at a time, inspired by a curious event in the life of one of the greatest writers in history. Set to be one of the highlights of this summer's Folkestone Book Festival, Beckett in Folkestone invites you to step back in time to 1961.
On 25 March 1961, following a fortnight of dodging reporters, hiding from the public and generally 'trying to be invisible' in Folkestone, Nobel laureate, novelist and playwright Samuel Beckett was married to his long-time partner Suzanne Deschevaux-Dumesnil at a secret ceremony in the town's Registry Office.
Inspired by this little-known moment in Beckett's life, Beckett in Folkestone will take place over the weekends of 4-6 and 11-13 June. The festival audience will be invited to follow Beckett's footsteps around Folkestone, guided into a hotel on the Leas, on to a pub and finishing at the Registry of Births, Death and Marriages. At each location, they will hear new fictional monologues, written by Helen Oyeyemi, Rupert Thomson and Eimear McBride
The monologues will be presented as short films in each location featuring an all star cast. We are delighted to annoucne that Jade Anouka (His Dark Materials, Small Axe), Russell Tovey (The History Boys, Years and Years) and Harriet Walter (Atonement, Killing Eve) will be featuring in Beckett in Folkestone.
Tickets are still availble for Beckett in Folkestone. Click here for more information and to book your tickets. Unable to join us in Folkestone for the Book Festival? For just £15 you can enjoy the festival from wherever you are in the world with our Digital Pass. Click here to get your Digital Pass.


text:
07400 776869 kevin@citadelsolicitors.co.uk
Serious Crime
In the Media / News
Ex-Rolls-Royce executive, 28, accused of raping a woman during a one-night stand wept in court as he was cleared
A former Rolls Royce executive accused of raping a woman on a one-night stand cried in the dock after he was cleared by a jury.
Daniel Pires Leal, 28, had been accused of attacking a woman on a night out after offering her a place to stay when she confessed to having a 's***** night'.
A man with a gun asking for help at a health centre told staff: "If police turn up there will be shots fired." 20/09/2019
Citadel Solicitors and Advocates Ltd in Cornwall 15/02/2019
Citadel Solicitors and Advocates Ltd in Bristol 15/02/2019
Citadel Solicitors in Exeter 15/02/2019
Disgraced doctor David Waghorn and son James sentenced for VAT fraud 09/10/2018
Most Common Traffic Offences 17/08/2018
Ex-Rolls-Royce executive, 28, accused of raping a woman during a one-night stand wept in court as he was cleared 18/07/2018
Case against Plymouth police officer thrown out by court 29/06/2018
How to Choose a Criminal Defence Solicitor in Plymouth 19/06/2018
Overview of Services 07/12/2017
Tobias Ruth has sentence cut over mix-up 28/03/2014
kevin@citadelsolicitors.co.uk
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Registered business number: 12303960
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SRA Number: 643878
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AsusTek Computer Inc. or ASUS is a computer and phone hardware and electronics company founded in 1989. The name was originated from the winged horse of Greek mythology called "Pegasus". They were started with the slogan "Rock Solid. Heart Touching" but eventually it evolved to "Inspiring Innovation. Persistent Perfection." and finally it becomes "In Search of Incredible."
This original equipment manufacturer (OEM) company has a large number of network routers that can compete with Belkin's Linksys routers. These latest routers equipped with some special features such as built with Broadcom chipsets, increased storage capability with faster processor, powerful removable antennas and USB ports etc. Asus routers are incorporated with open source Linux-based firmware such as DD-WRT, OpenWrt, Tomato Firmware and DebWRT to provide higher security with performance and flexibility of customization.
These user-friendly routers have easy settings for login & setup or you can use a router app for compatibility. Compared to the other routers available in the market we offer better deals with the best price in Bangladesh. Among the variety we have dual band WiFi router with MU-MIMO and parental controls, high power access point/range extender 3-in-1 router, tri-band gigabit wireless router and gaming router. Have the review of the products and choose the right one you in need. We have online delivery facility in all the major cities such as Rangpur, Chattagram, Dhaka, Khulna & Sylhet. Order your precious router online and receive the delivery at your place.


with unprecedented levels of growth. We are looking for an enthusiastic Transport Planner to help us with the planning of a wide range of multi-modal infrastructure, management and technology projects and to prepare business cases to support these projects. Our work includes iconic transportation projects such as Auckland's Supporting Growth Alliance.
As a result of recent success across the business and our growth in the region, we have an opportunity for a motivated Senior Transport Engineer to join our team.
Beca is involved with a wide variety of traffic engineering design and road safety work for clients in the area. Our Transport Advisory team is looking for a talented individual, to join our growing and successful team in Christchurch – you will ideally have experience in preparing leading traffic engineering design and road safety projects and you will be given the opportunity to shine.
You are a team player and work well in a mutually beneficial environment.
As part of our national multi-specialist team you will have many opportunities to diversify and develop in your career, including national and overseas assignments.
Beca has a multi-cultural work force and a friendly and supportive team environment. Our Christchurch office in particular is a great gateway to the wider South Island and all the outdoor activities accessible. Our local team regularly get involved in these activities and you'd be most welcome to join them. If needed, we offer support and advice towards a move to New Zealand including visa, relocation and accommodation.


text:
The most dangerous thing about Pandora is that you might grow to love her too much
Directed by James Cameron
Written by Josh Friedman, Shane Salerno, Rick Jaffa, Amanda Silver, and James Cameron
Spoilers: high
It's been thirteen years now since James Cameron rocked our world with a fantasy of guiltless existence captured on the moon Pandora, and, light lag being what it is, thirteen years is inevitably how long it took for a follow-up. But I can't quite shake the nagging feeling that whatever Cameron intended, Avatar itself never wanted any follow-up, because its fantasy was already complete. Even the strongest attempt to continue its story—which Avatar: The Way of Water at least gets pretty close to being—would reopen the wound it had once dreamed closed. Logically, that checks out. I mean, logically, humans return to Pandora with full intention to commit genocide, rather than attempting to do so by way of a tantrum and in something close to a fair fight, at which point it's game over for any folks still at the bottom of a gravity well when their opponents are at the top.
It's a beckoning fantasy, though—albeit one prone to being mischaracterized, all the more in 2022 than in 2009, as Way of Water arrives upon a culture that has, they'll tell you, "moved on," though what they mean is a culture that has (ironically, given how little anybody cares about anything anymore besides fantasy intellectual properties) become unremittingly hostile to allegory and dream as modes of artistic expression, so that while I'll easily concede one of the things going on with Avatar was, putting it glibly, some white dude's bizarre transracial fantasy about becoming a Space Indian, it wasn't the thing. Not very surprisingly, the Canadian used North American First Nations as a starting point, but it was always more atavistic than that, as honestly might make it even less sensitive, but this is something that should be apparent from the basic fact that for all that the Na'vi stand in metaphorically for the indigene mistreated by every earthly conquest, I'm at a loss to name even one indigenous culture, or even any Neolithic one, that rejects, in turn, agriculture and metallurgy and the technology to build, like, roofs over their fucking heads. (They have houses now in Way of Water, which I'm not sure I like. But the Na'vi barely had art in the first film, and have only slightly more now.) It's a movie where I'm fairly sure they only still have bows and arrows because bows and arrows are cool, and you gotta kill space marines with something; it's a movie where animal domestication happens without any of the technology or technique humans developed to tame non-human life, but instead happens with animals who have co-evolved to be tamed, as a fully natural part of their life cycle, so that they practically want to be dominated, pretty much precisely in the sexual sense that this implies, given that the same Na'vi organs are involved in both acts. Look, it was all very visionary, and I love it. I fancy I've thought enough about the foundations of its appeal to, you know, grok it in its fullness. And I still don't know how enough other people loved this extravagantly weird shit to make almost three billion dollars.
Unless, perhaps, they responded to that most human of all fantasies, about giving up being human, about dispensing with every human weakness and every human sin such as are borne by our hero Jake Sully (Sam Worthington), and about having trippy telepathic furry sex such as Jake has with his impossible girlfriend Neytiri (Zoe Saldaña), and about keeping just enough human individuality to still experience the awe of living in a world where a literal worldmind connects you in literal harmony with nature, the kind that humans like to pretend exists, while every human society has only ever done what all successful life forms on Earth do, because on Earth there never was any God to tell any of us, from the mightiest civilization down to the humblest cyanobacteria, to stop. But, on Pandora, there is.
Profound and practically unusable, which is what makes it such good fantasy; but it's not necessarily fantasy made better by turning Jake and the Na'vi's mythic victory against the Sky People into never-ending pain, nor by turning Jake and Neytiri's off-putting furry pornography into Jake and Neytiri's off-putting domestic sitcom, nor, really, by complicating it in any way. Way of Water diminishes Avatar, just by existing.
Not that that's some unforgiveable crime. If you need a justification for returning to the world of Pandora, that justification is sitting right there in your local theater being amazing (I have every hope it has Avatar's legs, too, because the damage is already done, and if we're going to have one sequel we might as well have all four, for it surely beats anything they've done with fucking Star Wars in thirty-nine years). It is, it's true, not as novel an experience as Avatar was back in 2009, when it revolutionized mocap animation and resurrected 3-D, confirming the wildest possibilities of CGI if you were willing to put the time in, as well as legitimating 3-D as a potentially profound aesthetic tool if you used it well. But one can say with little fear of contradiction that this is the best CGI or 3-D since 2009. Now, I've long-since firmly committed to the opinion that Gravity is the better 3-D experience, but that doesn't necessarily mean it was better at using 3-D; and Way of Water handily surpasses its predecessor on both counts, particularly in the underwater sequences where the 3-D gets that look of refracted, dimmed light juuuust right. The mo-cap CGI, meanwhile—the "performance capture," to have it Cameron's way for one sentence—somehow feels almost as much of a quantum leap as the first film's, which isn't objectively so, but after thirteen years of studios too often not putting the time in, Way of Water reaffirms what CGI modeling and rendering should always be like in 2022.
In its splendid photorealism, there remains something about Pandora, not that I reject, but that my brain rejects, as really real (in a sense, then, it may just be doing its job), so I still perceive it as a CGI cartoon. (It's probably the prevalence of blue pigmentation, a vanishing rarity in our biosphere.) But what a cartoon it is: "real" or not, this is as immersive as CGI animation gets, the addition of 3-D making it moreso, but probably not even serving as a necessary condition for that superlative. The rigging of the CG faces dropped onto the actors is—it's kind of unbelievable how good it is, so that while maybe my brain refuses to entirely concede the physical reality of the Na'vi, their dragons, their leviathans, etc., there is no such barrier to embracing the emotional reality therein, presumably mapped down to the very smallest discrete exertion of muscle tissue in the human faces beneath these non-human faces. Suddenly, my favorite works of CGI-animated acting (Rapunzel of Tangled, if "pure" CGI animation counts, and Andy Serkis as Caesar if not) are knocked down to, like, honorable mentions. The pantheon is now occupied by every member of this film's Na'vi principal cast and numerous members of its secondary cast (in fact, Cliff Curtis, playing the chief of a new Na'vi clan, is potentially turning in the second-best performance in a film where he's playing the thirteenth most important character, thanks to mo-cap that captures his particular subtleties so well that the funniest thing in a movie that's surprisingly low-key funny, particularly in its performances, comes down to the way he moves his eyes in an embarrassed frown). But then, those best performances might also number a space whale.
And this is just in the hard daylight, intensified by the light reflected off the water—Way of Water having the best lighting and, appropriately, the best water. In several night scenes, meanwhile, lit by flames that have an uncanny cast to them, quite possibly because Cameron is a freak who would insist that fire burn a little hotter/quicker on a moon canonically stated to have a higher oxygen concentration, even my brain's quibbles about "physical reality" were silenced. Every droplet of water and sheen of sweat presents itself as simply undeniable; suddenly, it was impossible to perceive these shadows and this firelight dancing on anything besides true-blue flesh. There's excess here: I will never be convinced, for example, that Cameron's demand that everybody learn how to hold their breath for twenty minutes or whatever had any point beyond confirming the worst things I already thought about Cameron as a person, and says nothing whatsoever about him as a filmmaker (except he's willing to expend resources on inconsequential shit, because it might be the best cartoon but it's still a fucking cartoon, not an Esther Williams musical, and, Christ, there's no single take that lasts remotely as long as his cast's longest reported free-dives); but, you know, the swimming looks more than outstanding, it looks right. There is a credibility to this newly-envisioned, even-more-indulgent Pandora that earnestly might outstrip the first film in spectacle and world-building.
Since I'm holding forth about the tech before arriving upon whatever the story is, it's unfortunate that I have to continue delaying that, since the tech is not all positive: Way of Water's innovation in the arena of THEATRICAL EXPERIENCE comes with its particular spin on high framerate presentation, where Cameron apparently flipped a coin as to whether to present a scene, or a shot, or, sometimes, half of a shot, in 48 frames-per-second or ordinary 24. Speaking as a proponent of HFR, Cameron's way is, emphatically, not the way forward, which is disappointing given that Cameron's whole career has been gracefully handling one technical bleeding edge after another. I'm sympathetic to the notion that Way of Water's prodigious length—192 minutes—suggested caution, for 192 straight minutes of HFR really might've been too much. But it's possibly even more enervating in microdose; Cameron doesn't do us many favors by operating entirely outside of any comprehensive scheme. It's more prominently used in "big" scenes (not all big scenes being action scenes, though all action scenes being big scenes), but this isn't uniform; there are expositional dialogue shots that go 48 FPS, and there's action in 24, and it's unnecessarily punishing that neither are we allowed to just get accustomed to this uncanny blurless motion (that doesn't represent real movement very well, incidentally, and just wave your damn hand in front of your face if you don't believe me), nor is it purely confined to sequences where its hyperrealism could function as an escalation of the experience's intensity, though it frequently bumbles into functioning that way. Some of it, disagreeably, feels like it should have "NOT IN-GAME FOOTAGE" in Papyrus fine print underneath it, especially the flight scenes, where the absent motion blur is downright grating. I'm tempted to say that it should've been withheld entirely until Jake's family arrives at the sea, maybe not until his daughter's first dive into the ocean; because for the same reason it doesn't work for flight, it works sumptuously for swimming through an undersea wonderland.
So that story, which is pretty much exactly that: "let us swim through this undersea wonderland, which, somewhat later on, we will realize is being mutilated by human greed just like the forest wonderland was in Avatar and also in the first hour of this film." I'm not sure "hour" is precise, but I won't join the complainers who insist that Way of Water doesn't manage till it finds its title; HFR caveats aside, I was perfectly content to spend some time being reintroduced to Pandora's jungles, reintroduced to Jake and Neytiri and the Omaticaya who live there (Way of Water doesn't demand it, but it suggests that we now begin memorizing the names of these fictional ethnicities on a fictional moon), and reintroduced to the depredations of humanity who flatten what looks like several dozen square kilometers of those jungles just by landing on them. We also need to be introduced, for the first time, to Jake and Neytiri's children—their biological offspring, teen brothers Neteyam (Jamie Flatters) and Lo'ak (Britain Dalton) and young daughter Tuk (Trinity Jo-Li Bliss), plus their adopted daughter, roughly the same age as Netayam, the "transliteration" calling her "Kiri" though her name sounds in every instance more like "Kitti" or "Kiði" (Sigourney Weaver), and whom you might be able to guess, given her performer, is the child of human scientist Grace Augustine's avatar body, the result of a mysterious conception that isn't very mysterious if you remember Grace's attempt to link to the Eywa worldmind. Attached to this family but apart from it, for obvious reasons, is "Spider" (Jack Champion), a human abandoned in his infancy during the colonial pause taken eighteen years ago, whose hair feels like active trolling on Cameron's part (I'm not sure I disapprove besides the pettiness, though if JC really wanted to troll it would've been Quaritch's daughter, and we'd see how the costume designers managed to barely hide nipples without recourse to the Na'vi tradition of magical digital glue). Like Jake before him, Spider desires above all things to be Na'vi, but is relegated to painting blue stripes on himself and tagging along underfoot in a CO2 filter mask being, ultimately, worse than useless, since unlike Jake he has no massive scientific-military complex to give him the body of a big blue demigod.
You know who does, though? Col. Miles Quaritch (Stephen Lang), previously dead and presently resurrected as an uploaded save-state into a recombinant Na'vi avatar along with a clutch of other villainous space marines, and sent by the colonial forces' new general (Edie Falco) to eliminate the insurgency Jake's been leading since they returned, specifically by eliminating Jake and the Sullys. In the film's first stumble over even the mildest complexity, Quaritch actually accomplishes this mission immediately, and with Jake's full cooperation, for in the face of Quaritch's sworn vengeance he takes his family and self-exiles to the far-flung islands, so that the colonizers' strategic goal—neutralizing the major source of their opponents' insights into human tech and military operations—Jake concedes without a fight. (Some generals turn out to just be tacticians, I guess.) Whatever this entails for the Omaticaya is not this Avatar movie's concern, like, at all, but it certainly leaves Quaritch some free time to pursue his personal grudge against Jake and Neytiri, snatching up Spider in the process and being confronted with the revelation that the abandoned child is his own eighteen year-old whoopsie, while also giving the Sullys leave to enjoy, for a while, their new sanctuary, provided by the aquamarine Na'vi of the sea, the Metkayina.
This is very straightforward, in principle, even if it's clunky getting there, but I still have not entirely decided how annoyed I am by this film's plot in its execution, and the substantive objections it generates above and beyond my personal, extrinsic objection, "Avatar is no longer a singular event and the last myth of American cinema, and now is just another IP to be flogged until it dies like everything else," though these objections are bound together: for all that Cameron hates Marvel movies, there's a whole lot about Way of Water that fucking feels like a Marvel movie, in that it does not exist as its own self-contained story but to set up future Avatar stories. It's known that Way of Water is, basically, the first half of a single movie, and I've enough faith in Cameron that I expect it will feel more self-contained when it's joined by Avatar 3; but that is a fanboy excuse for the effort this film expends on setting up conflicts and concepts that don't actually matter to this movie. This is particularly the case with Kiri the Kyrie, who might be mesmerizing in the strangeness of Weaver pretending to be a teen (very successfully, even, so that here's the film's very best performance), but only technically matters to the movie in the end, and not entirely in ways that feel that organic to it. Consider, similarly, the portentous exposition that Falco is tasked with giving regarding the ecological dissolution of the Earth-that-was, and the intimation that Pandora is no longer just a resource but a destination for full-on exodus. I'll at least give it credit enough that it doesn't belabor how this could be, leaving it to ominous implication that Avatar 3 will be centered upon the perverse spectacle of thousands of human settlers in Na'vi avatars, but that's just a little thing anyway; the abandonment of the ongoing Omaticaya struggle to spend all our time instead with the Sullys' tropical vacation comes off almost like an accident, like nobody even noticed, and that is a big thing.
And this is nothing besides the actual sin of commission here, in that Spider is absolutely superfluous until fifteen minutes before the movie ends, whereupon he suddenly finds himself at the center of a terrific and even queasy (in a good way) (I think) plot convolution, albeit one that doesn't quite pay off: it gives the film permission to reverse-Empire Strikes Back itself but is too half-hearted in the execution to actually be the emotional climax of a whole small movie's (not necessarily always a good movie's) worth of screentime centered upon Spider, who's also just had his infinite trust betrayed and his allegiance very badly complicated. (A thing that I perceive has gone undiscussed about Way of Water is that it is nastier than Avatar, that is, grayer, and more morally compromised. It's another aspect of a film that's really only half a film, in that I can't know how I feel about this yet.) Anyway, the finale in general is indeed a little small—not emotionally small, and I'm actually startled that an enormous cosmic epic of 192 minutes could possibly be satisfied with stakes as small as the good guys determined to make one particular son of a bitch pay—but despite coming at the end of a forty-five minute third act that is basically one giant action scene that sharpens itself down inexorably into a small, intimate action scene, it somehow feels like it's still missing about three minutes of hopeless reversal if it's supposed to be our finale. In this way it belies that description: what it is is what it still feels like, the rejiggered middle of a six-hour movie.
I could register other, minor complaints, and since one of them is so pervasive it threatens to become major, it's worth mentioning: I assume responding to the criticism that the dialogue of Avatar was too arch, the dialogue of Way of Water is sometimes obnoxiously naturalistic, to the extent that retitling the film Avatar: The Bros of Water might better-reflect its content, in the same way that Dude, Where's My Car? reflects its. (Though what really chaps my ass is how freely and interchangably the brothers use both "bro" and "cuz," which might be fine for Earth teens—well, in the year 2000, when James Cameron stopped paying even slight attention to how young'uns talked—but is unacceptable for Pandora teens speaking translated Omaticaya. So here's a madperson complaint: I would have liked it if this entire movie were actually in subtitled Na'vi. For the record, I still think you're dumb for getting upset over a font. Anyway, I'm mildly annoyed that the language barrier between the Omaticaya and Metkayina, so long-isolated that the latter have, like, freakin' fins growing out of their arms, is overcome in what feels like an afternoon.) I will not, I believe, complain about Cameron's valedictory self-plagiarism, pretty rampant and shameless throughout, though besides the obvious (The Abyss, plus the plot is basically Terminator 2) there are some extremely specific self-quotations here, from T2, Titanic, and maybe everything except True Lies. I may complain slightly, however, how much recycling there is, structurally, from the first Avatar.
That is, I realize, a lot of complaining for a story that, even if I don't love it (even if a non-Quaritch version of this story, which turns out to have a perfectly sound basis for a whole new villain, would've worked just as well), is nonetheless awfully sturdy at supporting what Way of Water actually wants to do. As the bro-centric dialogue suggests, this is actually much more focused on the Sully kids, legacy sequeling in a way that doesn't quite feel like conventional legacy sequeling, so that it genuinely feels like the story of a family, thereby earning both its teen yammering and its significant length. Cameron has lost none of his skill in the intervening thirteen years in establishing immediately-recognizable personalities and dynamics. (One of the best little but for that reason entirely perfect details about the movie involves a character I doubt even has a name, a female avatar marine blowing bubblegum during an atrocity.) Nor has he lost his even-older skill in creating familial rapport. The sheer elementalism of an Avatar might make it even keener, rendering Worthington's narration (also for the record, I like Worthington, despise his narration) totally redundant in the way it spells some of this shit out, since from the onscreen interactions one already comprehends, instinctively, that this is a story of FATHERS, and MOTHERS, and DAUGHTERS, and SONS, in exactly the blunt way those capitals connote, the latter posed against the former in a bid to individuate themselves in a milieu where individuation could only be that bluntly-expressed. The "I see you" callback, in its new context, made me realize, with terrible suddenness, I actually care a lot about this blue kid whose name might've been either Neteyam or Lo'ak. (It's Lo'ak.)
It works completely, despite its very patent weaknesses, and though we (theoretically) go to Cameron for action over everything else, and the final hour of this film is just a superb work of classical action filmmaking, in which Cameron turns his eye towards fixing a new 19th century injustice (that in this case actually was almost entirely fixed), it may actually work best of all in that middle hour, which I've scarcely even mentioned, but which is the heart of it. It's what makes Way of Water almost unique in the annals of blockbuster cinema, and accordingly almost inutterably distinct in the context of contemporary blockbuster cinema, which has gotten so lore-obsessed and talking-in-rooms it barely remembers it's supposed to be sensation anymore.
There are still character dynamics throughout this hour, principally between Lo'ak and his 80s movie bully counterparts amongst the Metkayina, but it almost ceases to be narrative cinema the way it's currently understood, happy—ecstatic—to become a quasi-documentary teen movie about, well, the way of water, devoting astonishingly long stretches of screentime to just existing in the shallows and not-so-shallows of the reef, delighting us with the new sights and sounds of this corner of Pandora, from the my-heart-actually-skipped unveiling of the Metkayina's flying seahorse things (in the process, somehow transforming the dumbest-seeming sci-fi creature I've ever seen into something incredibly bad-ass and cool), to the obligatory glow-in-the-dark mysticism, to some of the awesomest, most specific dorkiness I've ever had the pleasure of witnessing in any movie, an idea only a creator of a certain age and a very, very particular ideological bent could even come up with as a joke, and this is no joke, but a pure slice of somebody's soul, taking the form of wondrous, super-intelligent space whales, eventually placed in the dire straits of being whaled by ravenous humans but unable to fight back because they're all such pacifists they would rather die than commit the slightest act of violence even in self-defense, and I want to italicize the last thirty fucking words to emphasize how eco-hippie splendid that is to me.
It seems absurd, but one of my favorite scenes in this movie, which is pretty much all "favorite scenes" anyway, is a bunch of cartoon alien humanoids having sign-language conversations with cartoon alien whales about, like, their day, and how things have been going. As exciting as it can be, I'm not stoked about further atrocities wrought upon the Na'vi and their world, not really. But this? I can get stoked about this.
Score: fuck it, 10/10, the main thing holding it back was HFR shenanigans
Labels: 10/10, 2022, Action, Adventure, Cartoon, epic, film as ornamentation, James Cameron, Sam Worthington, Science fiction, Stephen Lang, the undersea realm, Transparent allegory, Zoe Saldana
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Transparent allegory


In the Indian Subcontinent, dal refers to pulses such as lentils and beans, and split peas. The word is actually Sanskrit for 'split'.
Western countries tend to refer to dal as a particular type of dish made with these pulses, and in appearance are similar to curries, but usually less spicy.
This cashew dal will go well with rice, potatoes, or flat bread.
Soak the yellow split peas in boiling water for half and hour.
Dice the onion and garlic, mix in the spices, and fry in with coconut oil for a few minutes.
Drain the split peas, add them to the frying pan, along with coconut milk and 250ml vegetable stock, and simmer for thirty minutes.
Meanwhile, soak the cashews in the remaining vegetable stock for ten minutes, then blitz in a blender until smooth.
Stir the spinach and cashew butter into the split pea mixture, until the spinach has wilted.


On 28 September 2018, Lorenzo Forni of Prometeia invited me to give a short comment on the relationship between 'populism' and economic policy-making. Although, I hadn't thought about that relationship before, I came up with four things I think we might want to consider (in addition to what we might useful think of as 'populism' in the context of the question Lorenzo asked). My argument was that populists bring new people into the policy-making process. They also bring a healthy dose of unpredictability. Their messaging on policy issues is not great, which causes problems in a world defined by rational expectations, and they tend to be skeptical toward independent agencies like central banks. Finally, populists are disinclined to international policy coordination. The combination is not wholly bad — sometimes change is for the good! — but the results are often below the promises that populists make to the electorate. The text of the presentation follows.
I am very grateful to Lorenzo Forni for inviting me to talk about politics in a room full of economists. I am even more grateful that he has allowed me to do so in English. I am most grateful of all that he has given me such an interesting topic – populism and economic policy. I am working on a book that tries to understand how established political elites in advanced industrial economies lost some of their control over macroeconomic policy-making and democratic processes at roughly the same time. It had not really occurred to me to focus on the flip side of that story – how new political elites manage the economy once they get into power. I honestly cannot explain why that question did not occur to me, particularly since I live here in Italy. What I can say as I watch the ongoing budget negotiations is that I have no doubt that the question is important.
So what does populism have to do with economic policy? As it turns out, it can be quite a lot. I am going to focus my comments on four different dimensions of influence.
What happens when populists in one country bump heads with populists in another.
Before I can do any of that, though, we should straighten out what I mean with the term 'populism.' I have a number of colleagues who define populism through the lens of discourse and ideology. They have important things to say about what ideas bind people together and drive them apart. Specifically, they talk about populists as that group of politicians that promises to represent the 'true people' against the 'corrupt elite'.
My own starting point is a little different – primarily because I am interested in understanding how populists become mainstream and what happens to them along the way. Silvio Berlusconi was a populist in 1994;fast forward to 2018 and Berlusconi is the establishment. Moreover, his case is not unique. Recep Erdogan was a populist in 2002 and now he is absolute ruler of Turkey; Viktor Orban took a populist turn in 1998 and now he dominates Hungarian politics. My point here is not that all populists succeed. Ross Perot vanished after two unsuccessful runs for president of the United States; Pim Fortuyn was assassinated; Nigel Farage declared victory and walked away. That said, the populists who get to power tend to find a way to stay there. Somehow along the way, it must be hard for them to represent the 'true people' against the 'corrupt elite'. They can try, of course. Donald Trump still talks about his great electoral victory over Hilary Clinton. But they lose authenticity.
If you look at this life cycle a different way, though, the evolution is easier to understand. You start by asking how people get political power. They can either lead a political party, they can dominate a new and important issue, they can promise to represent a specific group of people, or they can do some combination of three – party, issue, constituency. Anyone who rises in the traditional way through an existing political party is going to be hard to describe as a populist. Rising up through existing political parties is how elites are made.
Populists are people who try to come to power from outside traditional parties. They tend to run against traditional parties. They may even challenge the whole party system. In doing so, they have to explain how they can represent voters without that formal institutional intermediation. They also have to explain why those voters are not already represented by the traditional institutional array. This explanation may focus on an issue – think of the environmental movements of the early 1970s or the peace movements of the early 1980s; now thing about immigration today. In any case, the explanation usually focuses on the identity of the people. There is something about these people, populists argue, that the mainstream parties are ignoring. It could be their culture, their religion, their place in society, or their economic circumstances. The important thing is that something makes these people special. The populist claims to see that uniqueness and to celebrate it. The appeal is direct, and it is personal.
That appeal has to be direct and personal because populists do not have access to the kinds of resources that political parties and traditional political institutions have to offer. That is the point. Populists have to work outside the system. They have to find new ways to do things. Sometimes that is easy. If you own your own national television network and publishing empire, you do not really need a political party to get your message out. More often it is harder. Populists have to create everything from scratch. That is why they often spawn movements. It is also why they embrace new technology. Think about Podemos. Now think about what Barack Obama did to Hilary Clinton in 2008.
When populists come to power from outside the existing party system, they face immediate challenges that traditional political parties do not face. Often, for example, they do not have a deep bench of economic policy experts. They face a choice between co-opting the existing bureaucracy that they ran against in coming to power or bringing someone new in to take over those policy responsibilities. Usually, they rely on a mix of the two – co-opting whomever they can and bringing in new actors with little or no economic policy experience. This is the first point I want to make. Populists influence economic policy by bringing new people into the policy process. They do not have much choice.
New is not necessarily bad. But new is often different. Sometimes that difference is retrograde. Usually this happens when populists draw upon experts from the business community. These are the 'practical men' that Keynes talks about at the end of his General Theory. They have some experience in economics, but they do not have deep familiarity with the models and assumptions behind the tag lines – so they end up pushing arguments as ideological commitments instead of conditional probabilities. But populists may also draw on economists from outside the mainstream. Think of Peter Navarro in the United States. He is not a mainstream economist. By implication, you get more variety in terms of economic policy than the mainstream parties would bring. Those parties all clustered at the center of the economic policy discourse around arguments that there is no alternative to doing what everyone agrees makes sense; populists change that calculus by bringing in people who do not know the mainstream consensus or who live outside that mainstream.
This is my second point. The new variety populists bring to economic policy-making can create confusion both because of the content of the policies and because of the process. Mainstream political parties spend a lot of time honing their economic programs and fine-tuning the machinery for making and explaining their economic policies. Populists tend to improvise. Ina world of rational expectations, improvisation can be a little disconcerting. It is not a good thing to suggest you are going to take Italy out of the euro, for example. It is particularly alarming when that shows up in an early draft of a government contract. But that is a hallmark of working outside the mainstream.
Of course, mainstream politicians can think the unthinkable as well. The difference between mainstream politicians and populists is the strength of their message discipline. Mainstream politicians will still make mistakes. Silvio Berlusconi talked about taking Italy out of the euro in 2006 and that did not inspire a lot of confidence. Berlusconi's team knew how to walk that idea back without doing any real damage. Populists have a harder time correcting their mistakes. As a result, their policies tend to look inconsistent both relative to past governments and on their own merits. Moreover, the more inconsistent those policies look, the less effective the policies are in having their desired effect – because in a world of rational expectations, shaping those expectations is an important policy instrument.
This is where I get to my third point. Populists tend to be less effective in managing the economy. I do not want to hit this point too hard. There are moments where it is good for governments to try new things.Consensus is not always the hallmark of good policy. Nevertheless, the point about rational expectations is worth emphasizing because of the time-inconsistency problem that has become so central in the way we think about economic policy-making. Sometimes what works in the short-term is not good in the longer term. Donald Trump may be able to brow-beat countries into granting trade concessions and he may be able to brow-beat firms into holding onto existing plants, but those short-term victories are likely to add up to longer term problems. Political parties – as institutions – are better at focusing on the longer term. We always joke about how politicians never look further ahead than the next election, but political parties are an important corrective on that tendency. Populists lack that corrective. Long-run economic performance tends to suffer as a consequence.
Worse, populists tend to distrust institutions that are designed to resolve the time-inconsistency dilemma. They view those institutions as constraints. Here I am talking both about politically independent central banks and about international patterns for macroeconomic policy coordination. Of course, some populists come to power and immediately put on the clothes of responsibility. I have already mentioned Barack Obama in this context. He was a populist at the beginning, but he quickly became the mainstream – and his original supporters still sting for the speed of that transition. Other populists take a different turn. One of Viktor Orban's first tricks when he came to power in 2010 was to challenge in the independence of the Hungarian central bank. Recep Erdogan took longer to get around to that,but he did so eventually. Now Donald Trump is taking a hard look at the Federal Reserve and the World Trade Organization. I do not even need to mention the current Italian government's attitude toward the European Commission.
These challenges are worth noting because they complicate the process of coordinating economic policies across countries. This is my fourth point. Populism tends to weaken economic policy-making at the international level. That is true in terms of monetary policy, fiscal policy, and trade policy. You can see the evidence everywhere around us. Moreover, the problems tend to get worse the longer populists stay in power and the more thoroughly they penetrate or take over the economic policy machinery. Of course, that is not always or necessarily the case. I am probably overusing the Obama allusion,but think about what Emmanuel Macron is doing. He came to power as a populist. He quickly morphed into the elite. He brought a cracker-jack economic policy team with him from the old stalwarts of Dominique Strauss Kahn. And he is pushing aggressively to reform the country's institutions. He is not always successful,but he is pushing toward and not away from the mainstream consensus. In other words, it is possible for populists to do the right thing.
Often, though, they push in the other direction. This is partly because the people they bring into the policy machinery do not know what they are doing and so have to learn on the job. It is also partly because the existing bureaucracy tends to get disillusioned with public service and so leaves to find other opportunities. Worse, populist governments end up pushing in the wrong direction because some of the people who get brought in with the big changeover in economic policy-making are actually looking to profit from their new-found influence. Political parties tend to impose discipline on their members as they socialize new generations of elites. They teach an ethic of public service that is consistent with a high level of responsibility. Unfortunately,one of the side effects of populism is that it brings people into politics without that socialization or ethics. You can see that in Hungary, Poland, and the Czech Republic; you can also see that in Turkey. I do not even want to mention what is going on in the United States.
This abuse of public office is an international problem because it changes the way policymakers view each other across countries.International cooperation requires mutual respect. This is where I get to my final point. Every country right now faces the challenge of populism. Sometimes that challenge leads to renewal. All too often it heads in the opposite direction. Where the mainstream faces a threat at home, it those mainstream elites are going to be very intolerant of any failure or confusion abroad. If you want to know why the Dutch government is taking such a hard line on macroeconomic governance reform at the European level, that is your explanation. Mainstream Dutch politicians simply do not trust the new elites that are popping up in other countries and they are having a devilishly hard time fending off populist challengers at home. If they show weakness abroad, they will suffer politically. The Dutch government has a one seat majority in parliament. They cannot afford to suffer.The Dutch are not alone. I could tell the same story about Germany. The bottom line is that the question Lorenzo asked me to consider – what is the relationship between populism and economic policy? – is a vitally important question. The answer tells us a lot about why our economies are struggling. It also tells us a lot about the future of Europe. It is worth stressing, however, that future is not predetermined. I do not think that populists are necessarily bad for democracy. I do not think we should resist change in politics. We just need to find ways to adapt to this new situation. I do not know how to do that, but that does not mean adaptation is impossible. It just means Lorenzo will have to invite me back to talk about a different question. Many thanks for your attention.


text:
package com.lchli.angithub.common.utils;

import android.app.Activity;
import android.content.Context;
import android.graphics.Rect;
import android.util.DisplayMetrics;
import android.view.Window;
import android.view.WindowManager;

/**
 * Utility for screen.
 * get the screen width and height, get status bar height etc..
 */
public class ScreenHelper {

    /**
     * get screen width. {@link DisplayMetrics#widthPixels}
     */
    public static int getScreenWidth(Context context) {
        DisplayMetrics dm = context.getResources().getDisplayMetrics();
        return dm.widthPixels;
    }

    /**
     * get screen height. {@link DisplayMetrics#heightPixels}
     */
    public static int getScreenHeight(Context context) {
        DisplayMetrics dm = context.getResources().getDisplayMetrics();
        return dm.heightPixels;
    }

    /**
     * get device width. {@link Display#getWidth}
     */
    public static int getDeviceWidth(Context context) {
        WindowManager manager = (WindowManager) context
                .getSystemService(Context.WINDOW_SERVICE);
        return manager.getDefaultDisplay().getWidth();
    }

    /**
     * get device height. {@link Display#getHeight()}
     */
    public static int getDeviceHeight(Context context) {
        WindowManager manager = (WindowManager) context
                .getSystemService(Context.WINDOW_SERVICE);
        return manager.getDefaultDisplay().getHeight();
    }

    /**
     * get status bar height.
     *

     * rely on the fact that te status bar is shown at the time you make your computation,
     *
     * getWindow().setFlags(WindowManager.LayoutParams.FLAG_FULLSCREEN, WindowManager.LayoutParams.FLAG_FULLSCREEN)
     * this will not work!!
     *
     *
     * @param activity
     * @return
     */
    public static int getStatusBarHeight(Activity activity) {
        Rect frame = new Rect();
        activity.getWindow().getDecorView().getWindowVisibleDisplayFrame(frame);
        return frame.top;
    }

    /**
     * get status bar height from dimension resource called status_bar_height.
     *
     * @param context
     * @return
     */
    public static int getStatusBarHeight(Context context) {
        int result = 0;
        int resourceId = context.getResources().getIdentifier("status_bar_height", "dimen", "android");
        if (resourceId > 0) {
            result = context.getResources().getDimensionPixelSize(resourceId);
        }
        return result;
    }

    /**
     * get status bar plus app bar height, just content's({@link Window#ID_ANDROID_CONTENT}) top.
     *
     * @param activity
     * @return
     */
    public static int getContentTopHeight(Activity activity) {
        return activity.getWindow().findViewById(Window.ID_ANDROID_CONTENT).getTop();
    }

    /**
     * get app bar height
     *
     * @param activity
     * @return
     */
    public static int getAppBarHeight(Activity activity) {
        return getContentTopHeight(activity) - getStatusBarHeight((Context) activity);
    }
}

redpajama_set_name: RedPajamaGithub


text:
The Africa Portal is a research repository and an expert analysis hub on African affairs.
Conflict in the DRC: a critical assessment of the Lusaka ceasefire agreement
Hussein Solomon
Gerrie Swart
61pages PDF
South African Institute of International Affairs (SAIIA)
Peace treaties
Lusaka ceasefire agreement
Inter-Congolese dialogue
"This report provides a brief background to the conflict in the DRC as it erupted in 1998. It also briefly examines the pre-negotiation stages, which ultimately led to the Lusaka Ceasefire Agreement. The Agreement itself is assessed in terms of its main provisions. Whether the agreement has been a success, considering the various events and incidences of violence and instability that have preceded and followed the peace agreement at various stages, has remained a matter shrouded in scepticism and doubt. The discussion also assesses the Inter-Congolese Dialogues provided for under the Lusaka Agreement and debates whether these deliberations have contributed to securing any genuine successes among the failures and losses that have been incurred on the road to the Lusaka Peace Agreement."
Africa Portal Roundup newsletter
Sign up for the latest analysis and policy research on Africa
View highlights from our past newsletters
Copyright © 2017 [email protected]


The driver's license was suspended, the Florida Highway Patrol said.
HILLSBOROUGH COUNTY – A Winter Haven man was critically injured this morning (May 27) in a one-car crash in Hillsborough County, the Florida Highway Patrol said.
Eric Gregory Swilling, 25, of Winter Haven, was airlifted to Tampa General Hospital. The driver, Dalton Lang Storie, 26, and the other passenger, Raven Uriah Walters, 25, both of Bartow, suffered minor injuries. Neither was taken to the hospital.
The crash happened about 1 a.m. on State Road 674 several miles east of County Road 39. Troopers said Storie swerved to the south shoulder of the road to avoid several deer, then over-corrected to the north. Storie lost control of the BMW 318 he was driving and spun. The car entered the tree line on the north side of the road and struck numerous trees and brush before it came to a rest.
Troopers said Storie was cited for driving with a suspended license and having no insurance.
The driver's license was suspended, the Florida Highway Patrol said.


In terms of IT compliance having valid GPOs is essential. They must be update to date and the GPO directory should be free of any unlinked GPOs. Retrieving a list of unlinked GPOs in the management console is impossible. With PowerShell it is quite easy.
Wirte-Warning "No unlinked GPOs found"
Make sure the group policy PowerShell module is installed.


I listened as a fellow professional described how he links customer experience success to his employee's experience success; that unless his employee experience is thriving at work, his customers' experience cannot be expected to thrive either. We've heard plenty about employee engagement, but this was a direct link as to why it matters in everyday work-life and I loved it!
I've realized the same customer service concept applies to interviewing. As an HR professional, my time as an interviewer outweighs that of a job seeking candidate. However, as a military spouse, working at each new assignment, I have been a candidate more than most and this concept of customer service on both sides of the interview equation makes complete sense to me. The Interviewer's experience and the candidates experience are equally linked. This has led me to coach interviewing candidates in a completely new way.
In the hiring process, both the candidate and the interviewer are in new customer roles, both seeking service and information to make a big decision. This presents a paradox that weighs heavy on the interview process because neither truly understands what the other 'customer' expects. Generally, when we don't understand what our customer wants, we tend to get anxious, flounder, guess, and hope. The unknowns involved within the interview process, indeed, drive a lack of enthusiasm from both HR and job seeking candidates.
HR is the pinnacle hiring arm to any organization and we tend to think hard on how we attract and treat talent. We know that hiring and/or keeping the wrong people, is not fair to the right people. So, keeping the customer experience in mind, how we treat a candidate through our process IS our customer service, which lays the foundation of what the new hire will be carrying into our organization when hired.
On the other hand, the interviewing candidate, must take the time to understand what is needed to be heard, felt, and experienced by the interviewer. Although most candidates become well versed in presenting their accomplishments with all the 'bells and whistles' of the skills they've used in the past, few realize this is only one side of the customer service equation. Great customer service also involves providing information about what may be experienced in the future. Ironically, few candidates know how to provide information from this perspective.
The solution is for each candidate's answer to include information about "what did that experience teach me?" or "how does that experience affect the way I solve problems today?" If done, it is amazing how much information is gleaned by the interviewer. By being the candidate that offers this type of information, the interviewer now has more information to make a more informed decision. Just like a company stands apart due to their customer service, providing this type of information in the job interview positively sets the candidate apart from the crowd too.
Carole Stizza, SHRM-SCP, ACC, is a speaker, trainer and coach for professionals who want to create the Career Roles that give perspective and energy back into their life (what she lovingly considers the 'Career Hungry'). She can be reached at Carole@relevant-insight.com.


Open the doors of your room to a retro floral summer!
Here are some suggestions to transform it into a colorful and scented garden where you can: listen to some music with a retro radio, follow the rhythm with a romantic guitar and… perhaps get to dance wearing a totally flowery Monnalisa outfit!… Also, why not drink some tea in the garden using a flower printed cup and teapot while we read a wonderful flowery pop-up book!
Girls gorgeous dress by Monnalisa Chic made with soft neoprene. It has a beautiful floral print in muted pinks, greens, and yellows, with brown writing across the shoulders.
The fitted bodice has three quarter length sleeves with pretty ruffle cuffs and fastens with a zip. The full skirt has pleats around the waist and there is a pink synthetic leather belt, with a bow to finish.
Monnalisa Chic, girls soft neoprene skirt. A flared style with a wide elasticated waistband and pleating around the waist, fastening with a zip at the side.
A pretty and comfortable skirt, which would soon become a favorite, with a subtle darker ivory flower print under the beautiful floral print in muted pinks, greens, and yellows.
Girls ivory jacket by Monnalisa Chic, with a lovely pink, blue and yellow rose print. Made of lightweight neoprene, it is paneled at the front and back with over-stitching and has a round neck, becoming a 'v' at the front. Closing with a popper at the front, the jacket looks equally good worn with a smart dress or casually with jeans.
Girls gorgeous ivory beret style hat by Monnalisa Chic. Made with soft felted wool, It has a pretty flower appliqués in muted tones of green beige and ivory.


text:
Q: Oracle and C# - UDT array as return value I am trying to have C# read an array of a PL/SQL user defined type.
This is the definition of each object of the array:
CREATE OR REPLACE TYPE "REPORTDATUM" AS OBJECT
(
            FIELD1                                                   VARCHAR2(20),
            FIELD2                                                   VARCHAR2(3000),
            FIELD3                                                   NUMBER(15),
            FIELD4                                                   DATE,
            FIELD5                                                   DATE,
            FIELD6                                                   VARCHAR2(4000),
            FIELD7                                                   TIMESTAMP,
            FIELD8                                                   VARCHAR2(10),
            FIELD9                                                   NUMBER(35),
            FIELD10                                                  VARCHAR2(80),
            FIELD11                                                  VARCHAR2(50)
);

CREATE OR REPLACE TYPE "REPORTARRAY" IS TABLE OF REPORTDATUM;

This is the signature of the function which I am trying to call:
FUNCTION getReport(startTime IN DATE, endTime IN DATE) RETURN REPORTARRAY;

Now, based on a guide I found here: http://appsjack.blogspot.com/2010/09/pass-custom-udt-types-to-oracle-stored.html
I created the ReportDatum.cs class as follows:
public class ReportDatum : INullable,  IOracleCustomType {

    private bool objectIsNull;

    [OracleObjectMappingAttribute(Constants.ReportDatum.Aliases.Field1)]
    public string Field1 { get; set; }

    [OracleObjectMappingAttribute(Constants.ReportDatum.Aliases.Field2)]
    public string Field2 { get; set; }

                            [...]

    [OracleObjectMappingAttribute(Constants.ReportDatum.Aliases.Field11)]
    public string Field11 { get; set; }

    public static ReportDatum Null {
        get {
            ReportDatum reportDatum = new ReportDatum();
            reportDatum.objectIsNull = true;
            return reportDatum;
        }
    }

    public bool IsNull {
        get { return objectIsNull; }
    }

    public void FromCustomObject(OracleConnection databaseConnection, IntPtr userDefinedTypePointer) {
        if (string.IsNullOrEmpty(this.Field1) == false ) {
            OracleUdt.SetValue(databaseConnection, userDefinedTypePointer, Constants.ReportDatum.Aliases.Field1, this.Field1);
        }
        if (string.IsNullOrEmpty(this.Field2) == false) {
            OracleUdt.SetValue(databaseConnection, userDefinedTypePointer, Constants.ReportDatum.Aliases.Field2, this.Field2);
        }
        [...]
        if (string.IsNullOrEmpty(this.Field11) == false) {
            OracleUdt.SetValue(databaseConnection, userDefinedTypePointer, Constants.ReportDatum.Aliases.Field11, this.Field11);
        }
    }

    public void ToCustomObject(OracleConnection databaseConnection, IntPtr userDefinedTypePointer) {
        this.Field1 = parseString(databaseConnection, userDefinedTypePointer, Constants.ReportDatum.Aliases.Field1);
        this.Field2 = parseString(databaseConnection, userDefinedTypePointer, Constants.ReportDatum.Aliases.Field2);
                                            [...]
        this.Field11 = parseString(databaseConnection, userDefinedTypePointer, Constants.ReportDatum.Aliases.Field11);
    }

    private string parseString(OracleConnection databaseConnection, IntPtr userDefinedTypePointer, string columnName) {
        string valueToReturn = String.Empty;
        try {
            valueToReturn = ( String ) OracleUdt.GetValue(databaseConnection, userDefinedTypePointer, columnName);
        }
        catch (Exception e) {
            error("Exception while attempting to parse string value of column [" + columnName + "]. Message [" + (e == null || e.Message == null ? "NULL" : e.Message) + "]", e);
        }
        return valueToReturn;
    }

 }

I've also proceeded to create ReportDatumFactory.cs as follows:
public class ReportDatumFactory : IOracleCustomTypeFactory {

    public IOracleCustomType CreateObject() {
        return new ReportDatum();
    }

}

This, according to the guide I linked above should be sufficient to handle each item that composes the array.
In order to handle the array itself, I created the below classes.
ReportArray.cs
public class ReportArray : INullable, IOracleCustomType {

    [OracleArrayMapping()]
    public ReportDatum[] reportArray;

    private bool objectIsNull;

    public bool IsNull {
        get { return objectIsNull; }
    }

    public void FromCustomObject(OracleConnection databaseConnection, IntPtr userDefinedTypePointer) {
        try {
            OracleUdt.SetValue(databaseConnection, userDefinedTypePointer, 0, reportArray);
        }
        catch (Exception e) {
            error("Exception while populating OracleUdt from ReportArray.", e);
        }
    }

    public void ToCustomObject(OracleConnection databaseConnection, IntPtr userDefinedTypePointer) {
        try {
            reportArray = ( ReportDatum[] ) OracleUdt.GetValue(databaseConnection, userDefinedTypePointer, 0);
        }
        catch (Exception e) {
            error("Exception while reading values from OracleUdt related to ReportArray.", e);
        }
    }

}

And the associated factory class
ReportArrayFactory.cs
public class ReportArrayFactory : IOracleCustomTypeFactory, IOracleArrayTypeFactory {

    public IOracleCustomType CreateObject() {
        return new ReportArray();
    }

    public Array CreateArray(int numberOfElements) {
        return new ReportArray[numberOfElements];
    }

    public Array CreateStatusArray(int numberOfElements) {
        return null;
    }

}

Now, in regards to the method that calls the stored procedure, this is what I have:
Report.cs
    private void executeStoredProcedure2(OracleConnection databaseConnection, string schema, string storedProcedureName, DateTime startTime, DateTime endTime, int numberOfElements) {
        OracleCommand databaseCommand = new OracleCommand();
        ReportArray reportArray = new ReportArray();

        debug("Attempting to populate the report array");
        if (databaseConnection != null && databaseConnection.State == ConnectionState.Open) {
            try {
                databaseCommand.Connection = databaseConnection;
                databaseCommand.CommandType = CommandType.StoredProcedure;
                databaseCommand.CommandText = schema + "." + storedProcedureName;
                databaseCommand.Parameters.Add(createUserDefinedParameter(numberOfElements, reportArray));
                databaseCommand.Parameters.Add(Constants.ReportDatum.ParameterNames.startTime, OracleDbType.Date, startTime, ParameterDirection.Input);
                databaseCommand.Parameters.Add(Constants.ReportDatum.ParameterNames.endTime, OracleDbType.Date, endTime, ParameterDirection.Input);
                databaseCommand.ExecuteNonQuery();
                //How do I populate the reportArray object?
            }
            catch (Exception exception) {
                error("Exception while executing stored procedure [" + storedProcedure2 + "].", exception);
            }
            finally {
                databaseCommand.Dispose();
            }
        }
    }

    private OracleParameter createUserDefinedParameter(int size, ReportArray reportArray) {
        OracleParameter valueToReturn = null;
        try {
            valueToReturn = new OracleParameter();
            valueToReturn.ParameterName = "reportData"; //this is the name of the REPORTARRAY object in the Oracle function that is being returned.
            valueToReturn.OracleDbType = OracleDbType.Array;
            valueToReturn.Direction = ParameterDirection.ReturnValue;
            valueToReturn.CollectionType = OracleCollectionType.PLSQLAssociativeArray;
            valueToReturn.UdtTypeName = Constants.ReportDatum.arrayDataTypeDefinition;
            valueToReturn.ArrayBindSize = new int[size];
            valueToReturn.ArrayBindStatus = new OracleParameterStatus[size];
            valueToReturn.Size = size;
            valueToReturn.Value = reportArray.reportArray;
        }
        catch (Exception e) {
            error("Exception while attempting to create user defined parameter.", e);
        }
        return valueToReturn;
    }

The problem I am facing is that I am unable to obtain the array back in C#. Has anyone faced this problem? What am I missing?
I have reason to believe the SQL code is working. It's only the C# that is creating the problem at the moment.

A: There look to be a few things wrong.
Firstly, the factories need OracleCustomTypeMapping attributes.  Without them, Oracle won't pick up that these mapping factory classes should be used at all:
    [OracleCustomTypeMapping("SCHEMA.REPORTDATUM")]
    public class ReportDatum ...

and
    [OracleCustomTypeMapping("SCHEMA.REPORTARRAY")]
    public class ReportArray ...

Secondly, the array mapping factory has a bug in it: when creating an array, you want to create an array of ReportDatum objects.  At the moment you're creating an array of ReportArray objects, i.e. an array of arrays, which you don't want.  In other words, replace
    public Array CreateArray(int numberOfElements) {
        return new ReportArray[numberOfElements];
    }

with
    public Array CreateArray(int numberOfElements) {
        return new ReportDatum[numberOfElements];
    }

Thirdly, remove the line
        CollectionType = OracleCollectionType.PLSQLAssociativeArray,

from your createUserDefinedParameter method.  The returned value isn't a PL/SQL associative array (it's a different kind of collection) so this property should not be used.  If you use this property you will probably find that the return value coming back from the stored function is an empty object array.
Finally, to get the array back from the stored function call, add the following line after the call to databaseCommand.ExecuteNonQuery():
    reportArray = (ReportArray)databaseCommand.Parameters["reportData"].Value;


text:
/* jscs:disable requireCamelCaseOrUpperCaseIdentifiers
/* jscs:disable requireCapitalizedComments */
/* jshint -W106 */
'use strict';
var rootDir = __dirname.split('/');
rootDir.pop();
rootDir = rootDir.join('/');
var app =
  { rootDir: rootDir
  };
var jwt = require('jsonwebtoken');
var path = require('path');
var config = require(path.join(__dirname, '/config'));
var checkRole = require(path.join(__dirname, '/checkRole'));
var genErr = require(path.join(app.rootDir, '/lib/error'));
var logger = require(path.join(app.rootDir, '/lib/logger'));
var User = require(path.join(app.rootDir, '/models')).User;
var Role = require(path.join(app.rootDir, '/models')).Role;
var Token = require(path.join(app.rootDir, '/models')).Token;
var Route = require(path.join(app.rootDir, '/models')).Route;

/**
 * Ensure a user is authenticated
 * @param {function} next the next function to call from the generator
 * @return {object} Koa route instance
 * @swagger
 * securityDefinition:
 *   Authorization:
 *     type: apiKey
 *     name: Authorization
 *     in: header
 *     description: Bearer Token
 */
function *ensureAuth(next) {
  var request = this.request;
  if (!request.headers.authorization) {
    this.status = 401;
    this.body = genErr('NO_AUTH');
    return this.body;
  }

  var token = request.headers.authorization.split(' ')[1];
  var payload = null;
  try {
    payload = jwt.verify(token, config.token_secret);
  } catch (err) {
    logger.error('Error:', err.message);
    this.status = 401;
    this.body = genErr('NO_AUTH');
    return this.body;
  }

  var whitelist = yield Token.find({
    userId: payload.sub
  });

  if (!whitelist) {
    this.status = 401;
    this.body = genErr('NO_AUTH');
    return this.body;
  }

  if ( payload.exp <= Date.now() &&
       whitelist.indexOf(token) === -1
     ) {
    this.status = 401;
    this.body = genErr('TOKEN_EXPIRED');
    return this.body;
  }

  var user;
  try {
    user = yield User
      .findById
      ( payload.sub
      , { include:
          [ { model: Role
            , include:
              [ Route
              ]
            }
          ]
        }
      );
  } catch (e) {
    logger.error('Error pulling user.', e.errors || e.message || e);
    this.status = 500;
    this.body = genErr('NO_AUTH');
    return this.body;
  }

  user = JSON.parse(JSON.stringify(user));
  // Delete password from object
  delete user.password;

  this.auth = user;
  try {
    var doesPass = yield checkRole.apply(this);
    if (doesPass === true) {
      // Convert 'Me' to the user id
      if (this.params.id === 'me') {
        this.params.id = this.auth.id;
      }
      yield next;
    } else {
      throw new Error('IP');
    }
  } catch (e) {
    if (e.message === 'IP') {
      this.status = 403;
      this.body = genErr('INSUFFICENT_PERMISSIONS');
    } else {
      throw e;
    }
    return this.body;
  }
}

module.exports = ensureAuth;


text:
Notgrove – wieś w Anglii, w hrabstwie Gloucestershire, w dystrykcie Cotswold. Leży 28 km na wschód od miasta Gloucester i 126 km na zachód od Londynu.

Przypisy

Wsie w hrabstwie Gloucestershire

redpajama_set_name: RedPajamaWikipedia


text:
Zaphod Beeblebrox was a ByWard Market nightclub in Ottawa, Ontario, Canada featuring live band performances.

It was themed after The Hitchhiker's Guide to the Galaxy, with drinks like the Pan Galactic Gargleblaster and other cocktails, and the Zaphod Beeblebrox style, which is described as "...the worst dressed sentient being in the universe, and even though he didn't try to be cool, he was."

Eugene D. Haslam originally opened the venue on Rideau Street in August 1989, but was shut down in January 1991 when Bell Canada purchased the club's property for its telephone facilities. Haslam reopened Zaphod Beeblebrox on York Street in March 1992. Haslam later acquired and reopened Barrymore's, an Ottawa live music venue in 1996, and opened another short-lived club on Bank Street which was named Zaphod's 2.

The club introduced Electronic Mondays in July 2012, a free-admission event hosted by DJ Lowpass featuring many genres of electronic music.

Zaphod's hosted many Canadian artists who would go on to international success such as Alanis Morissette or Nickelback.

On August 29, 2005, the Rolling Stones shot the music video for "Streets of Love" at the club.

During the week of March 4–10, 2012 Zaphod's celebrated its 20th anniversary with week-long concerts and DJ sets.

On May 1, 2017, it was reported that the club would be closing within two weeks. It closed its doors for the last time on May 14, citing "uncertain economic times".

References

Music venues completed in 1989
Music venues in Ottawa
Nightclubs in Ottawa
Former music venues in Canada
Event venues disestablished in the 2010s
1989 establishments in Ontario
2017 disestablishments in Ontario