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How Smoke Can Damage a Home!
Here we have a heavily smoke damaged house.
It is not very hard to figure out if, and where you have smoke damage in your home after a fire. Most commonly you will have discolored walls or ceilings, ash or soot on the floor, and charred items. Besides the visuals smoke damage can also produce odor and other side effects that can damage property and health. Although smoke damage usually is noticeable right away, but sometimes it does take a few days to surface. Another precaution to be aware of after a fire is that your electrical system could have easily been damaged as well. Electrical damage can range from signs of corrosion, experience of short circuits or just complete failure. Certain parts of a room may experience more damage then others. Ceilings are most common because of how heat rises. Also nail heads in the wall and ceilings will attract smoke particles. A fire will continue to cause issues even after it has been extinguished, don't put you or your family health at risk. Contact SERVPRO of Burlington Township/Mount Holly to help in any fire or smoke cleanup. It's always important to act quickly to minimize the health risks as well as repairs to be done on the house.


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We are a community of faith that ministers to the entire family, with an emphasis on children and youth. GNBC is a church that meets you right where you are. Whether you have been around church your entire life, or are just curious about church and God, you are welcome here. Our hope is that you will take the next step into this community. Be with us this Sunday and experience GNBC for yourself. As you do, you will begin to see that Great Neck Baptist Church is more than just a gathering place. GNBC is a community of people led by Christ to bring hope, strength, and change to the world one life at a time.
Sunday School for children and adults begins at 9:30 A.M.
Service begins at 10:55 A.M.


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Divinian
Federal Agency Updates Trademarks Hemp And CBD Products Rule
A federal agency responsible for patents and trademarks says in new a memo that it is implementing updated guidelines for registering hemp products in light of the 2018 Farm Bill, which federally legalized the crop.
In an examination guide released last Thursday, the U.S. Patent and Trademark Office (USPTO) emphasized that it would not register goods and services, including controlled substances, that violate federal law. But it recognized that while marijuana remains prohibited, the agriculture legislation signed last year did remove hemp and hemp-derived products from the Controlled Substances Act (CSA).
Applications for trademarks for products that meet the definition of hemp, which cannot contain more than 0.3 percent THC on a dry weight basis, could therefore be accepted, USPTO said—with certain exceptions.
First of all, the applications must have been submitted on or after December 20, 2018, when President Donald Trump signed the Farm Bill into law. Trademark applications for hemp goods and services that were submitted prior to the signing will be rejected "due to the unlawful use or lack of bona fide intent to use in lawful commerce under the CSA."
"Such applications did not have a valid basis to support registration at the time of filing because the goods violated federal law," USPTO wrote. "However, because of the enactment of the 2018 Farm Bill, the goods are now potentially lawful if they are derived from 'hemp' (i.e., contain less than 0.3 percent THC). Therefore, the examining attorney will provide such applicants the option of amending the filing date and filing basis of the application to overcome the CSA as a ground of refusal."
There's another caveat. Just because hemp and its derivatives are legal, that doesn't mean the agency will approve all trademark applications for related products; it will instead defer to the Food and Drug Administration (FDA) for applications involving hemp that's added to the food supply, for example.
"Applicants should be aware that even if the identified goods are legal under the CSA, not all goods for CBD or hemp-derived products are lawful following the 2018 Farm Bill," the new memo says. "Such goods may also raise lawful-use issues under the Federal Food Drug and Cosmetic Act (FDCA)."
Because FDA has said that it is presently unlawful to market hemp-derived CBD in the food supply—due to its approval as an FDA-approved drug in the form of Epidiolex and also because it hasn't been previously introduced to the food supply—applicants seeking a trademark for such products will also likely be denied.
That could change if the FDA identifies and pursues an alternative regulatory pathway for hemp-derived CBD, which it has repeatedly said it is doing. But until then, USPTO will adhere to FDA guidance.
"The U.S. Patent & Trademark Office's relatively quick recognition of the revised legal status of hemp and hemp-derived CBD is both commendable and encouraging," Larry Sandell, a registered patent attorney with Mei & Mark LLP, told Marijuana Moment. "Although a clear pathway for some businesses in the CBD space to protect their branding has been confirmed, many CBD businesses are still unable to federally register their trademarks."
Sandell recommended taking a preliminary step as the FDA determines how it will regulate CBD. He also offered an overview of intellectual property considerations for cannabis businesses in a sponsored article for Marijuana Moment last year.
"Ultimately, the best course of action for most CBD businesses seeking to secure their brands may be to join the rapidly increasing number of cannabis entrepreneurs that have filed 'Intent to Use' (ITU) Trademark Applications at the USPTO," he said. "These ITUs applications serve to stake ground until the USPTO considers each cannabis-related trademark to have been legally used in commerce under (future) federal law."
Another federal agency made a similar point about its FDA deference in post-Farm Bill updated guidance last month. The Alcohol and Tobacco Tax and Trade Bureau cited FDA policy as the reason it would not approve formulas for alcoholic beverages that contain CBD, regardless of its source.
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A free bus service for WORDS 2009 participants will be provided during the meeting days connecting Salerno and the University of Salerno. The buses leave one time a day from Salerno (in due time for the beginning of the activities) and one time a day from Fisciano (at the end of the activities), see Conference Venue page for more detailed information. Reservations are needed to use this service (please see the Registration form).
Room blocks have been reserved at several hotels in the list below and special rates for the conference have been negotiated with these hotels. To get these special prices, when booking a room please specify "WORDS 2009 Conference".
It is recommended that the reservations be made as early as possible (September is Summer season for Salerno) and in any case no later then July 31. It is understood that each participant will make his own reservation and will be responsible for the payment. Please, pay attention to the cancellation policy of the hotel you choose.
This prestigious hotel has a strategic location that allows to enjoy the natural and cultural attractions of the city and its fascinating surroundings: on the sea side, close to the green promenade along the sea, handy to the old city centre, to the shopping area and the main public offices; near the railway station (200 mt), the port (400 mt) and the highways.
30 rooms have been reserved until July 31.
If you choose this hotel, please book your reservation directly through this hotel registration form (.doc version ; .pdf version ).
This characteristic hotel is on the sea side, located in the modern area of Salerno, 2,2 km far from the railway station.
10 rooms are reserved until July 31. For reservations, please contact Mrs. Sabrina Arsie, by e-mail, or by fax (+39 089 750609), or by phone (+39 089 726407).
This hotel is located in a very central position, across the local railway station and near the departure of many buses.
15 rooms are reserved until July 31. Reservation: by e-mail, or by fax (+39 089 237311). Rates: € 57 single room, € 88 double room, € 68 double room for single use (rates per room, per night, VAT and breakfast included).
This hotel is located in the shopping center of Salerno, 400 mt. far from the station.
15 rooms are reserved until July 31. Reservation: by e-mail, or by fax (+39 089 229167). Rates: € 58 double room for single use, € 84 double room, € 94 triple room (rates per room, per night, VAT and breakfast included).
This is a newly built (2008), comfortable and stylish hotel with all the modern comforts. It is located in Baronissi, between Salerno (15 minutes by bus) and Fisciano (5 minutes by bus). Pick up are provided from/to Salerno, with cheap rates (ask to Reception of the Hotel).
Thanks to an agreement with the Fondazione Universitaria of the University of Salerno, very convenient rates are offered for WORDS 2009 participants, and 10 rooms are reserved until July 31.
This hotel is located in Fisciano, near the Conference site, foot distance to the Campus.
Reservation: by phone (+39 089 958050), or by fax (+39 089 958055), or by e-mail. Rates: € 55 double room for single use, € 65 double room (rates per room, per night, VAT and breakfast included).
The Lloyd's Baia Hotel is sited in Vietri sul Mare at the beginning of the enchanting Amalfi Coast and is built on a rock overlooking the sea. It is located 2 Km far from Salerno at the gateway to the wonderful Amalfi Coast and 3 km. from Salerno Railway Station.
Reservation: by phone (+39 089 7633111), or by fax (+39 089 7633633), or by e-mail.
This hotel is located on the sea side, in an excellent position, at the beginning of the Amalfi Coast, 2 km. far from Salerno and 3 km. from Salerno Railway Station.
Reservation: by phone (+39 089 210800), or by e-mail.


For nearly a decade, Jim LeBlanc, a long-time operations process leader at the Resolute Forest Products' Ponderay Newsprint plant in Usk, WA, struggled to maintain uptime at the plant's 40,000 pound per hour fluidized bed boiler. One major source of the mill's problems with the boiler ash system: the use of a flawed valve design in original construction that didn't seal properly and consequently repeatedly let moisture into the ash system that forced a shutdown.
There were also many times when the leaks caused by the valves would lead to a loss of the vacuum in the system and then fly ash would fill up in the boiler. "At times, it took us days to evacuate the fly ash from the boiler. This was a really costly problem for the plant," said LeBlanc, noting that downtime costs can be extensive.
It's not surprising then that LeBlanc and the rest of the plant leadership team were determined to put their valve problems behind them. And that's exactly what they did when the plant began replacing their existing single dump valves with Plattco double flap valves.
Outsource valve maintenance to reduce costs and address staffing restrictions.
LeBlanc did extensive field research before identifying Plattco Double Flap Airlock® valves as the right solution. "Everywhere I went, I'd say 90% of the places had Plattco valves. Obviously, a lot of people swear by Plattco products and that sold me on the fact the company's valves would be the best solution," LeBlanc said.
The Ponderay Newsprint Company produces 244,000 metric tons of newsprint per year.
The Ponderay plant has set up a schedule to have the seats and flappers on the valves reground by Plattco experts to help the plant extend the life of the valves. Ponderay also plans to use the Plattco Field Service Program and have a trained technician come in and perform annual servicing.


Hamilton's girls basketball team traveled to Colerain on Monday night for a GMC contest. Big Blue defeated the Cardinals 62-47 to run their record to 10-10 overall and 5-9 in the league.
CiCi Riggins set the tone leading all scorers with 23 points and 8 rebounds while Anna Cardwell contributed 15 points, Leah Smith 10 points, and Kira Ash 8 points. To view the complete game stats, scores, and information, visit the GMC Sports website by clicking HERE.
Hamilton will play on the road tonight at Lakota West at 6:00 and 7:30 pm.


Fresno Madera Farm Credit does not endorse the organizations sponsoring linked sites, and we do not endorse the views they express or the products/services they offer. In addition, we do not guarantee the accuracy of information presented on linked sites.
We suggest that you review the privacy and security policies for linked sites you visit before supplying them with any personal information. If any of these links do not work or if you have any comments about the links, please e-mail us at info@fmfarmcredit.com.


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'American Idol': 8 Must-See Performances From the Top 40 Part 1 (VIDEO)
Meaghan Darwish March 30, 2020, 10:35 am
ABC/Karen Neal
American Idol's Top 40 started the process of whittling down to a Top 20 in Sunday's episode, where hopefuls sang for a chance to continue into the coveted next round of the competition.
Taking to the stage at Disney's Aulani Resort & Spa in Hawaii, the contestants poured their hearts out for judges Katy Perry, Lionel Richie and Luke Bryan, who made a choice on some fates. Below, we're rounding up some of the evening's must-see moments ranging from soulful covers to inventive new versions of top hits. Check them out below and don't miss the next half of the Top 40's performances next Sunday.
'American Idol': 8 Great Solos From Hollywood Week Pt. 3 (VIDEO)
The last round in Tinseltown took place Monday night.
Dillon James sings "The Times They Are A Changin'"
This contestant's fate wasn't determined before the end of this episode, but he appears to have won over the judges and audience with his version of Bob Dylan's hit.
Francisco Martin performs "Falling"
After gaining some more confidence, Martin took to the stage with his cover of Harry Styles' song that earned applause from the judges and audience. Ultimately, it was enough to earn him a spot in the Top 20.
Just Sam sings "Como La Flor"
Calling her performance a metamorphosis, this Bronx native impressed the judges with her version of Selena's song earning her a spot in the Top 20.
'American Idol' Live Shows Pushed as Schedule Shifts Over Coronavirus
Find out what will air on ABC in its place.
DeWayne Crocker Jr. performs "Old Town Road"
This performer put a reggae spin on Lil Nas X's megahit and even had Lionel Richie dancing in the stands with the tune. In the end, Crocker moved on to the Top 20.
Faith Becnel sings "Ain't Nobody"
Becnel brought some fun to the Idol stage, and even though it wasn't the judge's favorite, it was enough to bring her forward in the competition.
Louis Knight performs "Castle on the Hill"
An early favorite for the judges, Knight's performance won the crowd over but not the panel of artists deciding his fate. After giving the singer a talking-to, they revealed he had earned a spot in the Top 20.
9 Must-See Duets From 'American Idol' Hollywood Week Pt. 2 (VIDEO)
Some brought their A-game while others fell short.
Jovin Webb sings "You Are the Best Thing"
Webb's soulful sound continued with his Ray LaMontagne cover and the stellar performance made his spot in the Top 20 an easy decision for the judges.
Jonny West performs "You Found Me"
West appeared to have won the crowd and judge Katy Perry's approval with his version of The Fray's song, but it was a close call as the singer barely made it into the Top 20.
American Idol, Sundays, 8/7c, ABC
'Legacies' EP on Josie's Trauma & the Musical Episode Yesterday, 4:00 pm


The members of the 9AM Music Ministry sing and play to accompany the 9AM weekly Sunday Liturgy, as well as combine with the other music ministries for special parish events and celebrations at other Mass times. Rehearsals are Tuesday evenings, 7:00 - 8:00 PM in the church.
The members of the 11AM Music Ministry sing and play to accompany the 11AM weekly Sunday Liturgy, as well as combine with the other music ministries for special parish events and celebrations at other Mass times. Rehearsals are Wednesday evenings, 7:00 - 8:00 PM in the church.
Ushers greet people before the liturgy and assist with seating as needed. Their responsibilities include coordinating the offering of gifts, distributing bulletins, assisting anyone with special needs, ensuring the church is ready for the next Mass, and other duties as necessary for special occasions.
Sacristans arrive early in order to prepare for the parish liturgies. With reverent and careful attention to set up and the handling of sacred vessels, they help make sure everything is ready for both Sunday and weekday liturgies.
The members of the 7PM Music Ministry sing and play to accompany the 7PM weekly Sunday Liturgy, as well as combine with the other music ministries for special parish events and celebrations at other Mass times. Vocal rehearsals are Monday evening, 7:00 - 8:00 PM, and instrumental rehearsals are Monday evening, 8:00 – 9:00 PM in the church.
Children from Grade 2 through Grade 8 lead the assembly in song during the liturgy. The choir sings once or twice per month at a Sunday Mass, as well as other parish special events and celebrations.
Children and youth in 4th grade and above are welcome to serve as altar servers. This ministry provides the opportunity to assist in the celebration of the liturgy as book bearers and table servers. Because of the intimate involvement with the liturgy, the ministry of altar server leads children to a greater appreciation of the Mass, and a deeper awareness of the importance of Christian service. Schedules are created based on family availability and needs of the parish.
Cantors are the leaders of song for all weekend Masses. The cantor's responsibilities include leading the assembly in hymns, songs and responses, teaching new music, and proclaiming the Responsorial Psalm when necessary. Cantors meet/rehearse with the weekly choir rehearsals. The psalmist proclaims the verses of the Responsorial Psalm, and leads the assembly in the refrain.


Those who earn a living from growing weed want their work to give them huge profits. A good way to do it is by increasing the number of harvests per season, which may be easy indoors but a bit more complicated outdoors, yet not impossible. The answer is just right there, before our eyes, and it's called light deprivation. It's basically a technique that tricks plants into thinking that the season is changing earlier than it really is so they flower 'artificially'. This allows us to achieve more than one harvest every year.
Light deprivation is particularly interesting for outdoor cannabis growers seeking new ways to accelerate the flowering process. With this valuable technique, also known as 'light dep', harvests become bigger and more numerous, even in regions with rather humid and cold climates.
How? By manipulating the hours of light outdoor plants receive. It's more or less as if we could turn lights on and off with a switch, making plants grow at will. For example, if we reduce the number of sunlight hours, plants will think autumn is approaching and will thus speed up the flowering process. The good news is that we will be able to 'create' two or more autumns every year.
European grows are believed to receive on average 12.5 hours of sunlight in September. In winter, they get no more than 7-9 hours. This means that most cannabis plants finish their flowering in October or in early November at the latest. Pinning all our hopes on just one shot is rather risky for the low temperatures and heavy rainfalls typically happening in autumn can lead to the appearance of fungal diseases and ruin the work of a whole year.
With the light deprivation technique, we force them to flower during the first half of the summer, when the temperature is more favorable and we get a far lower risk of mold and root rot, resulting in better quality harvests. This induced flowering and early harvest will not affect the budding in autumn, though.
The one thing we need to remember when putting this technique into practice is to cover our plants with a 100% light-proof cover. However simple this may seem, it's important to make sure no mistakes are made for it could be fatal.
To obtain two harvests per season, plants must be arranged in two different groups. Take the first one indoors and grow it with the help of artificial lighting 'till spring kicks off and it can be moved outside for the flowering to be induced. There, it's very important to use a quality black tarp that totally blocks out the sun.
That'd be the moment to start out with the second group. Exactly in the same way, it should be kept indoors until the first group of plants has been harvested and this one can be moved out. In this case, days will start to naturally become shorter, so it won't be necessary to artificially modify the hours of light.
As stated before, it's crucial to make sure plants receive the right number of sunlight hours. That's why we should ensure that they consistently get less than 12 hours of light and enjoy, at least, 12 hours of darkness. Plants should be covered up or fully exposed. There's no in-between. Alternatively, if your plants are still rather small, you could consider moving them into a dark room without having to get any tarps. Be careful, though, for they could stress out and the results won't be as expected.
The two annual equinoxes are the only times when the number of hours of light and of darkness are equal. Therefore, it's essential to choose the right moment to provide our plants with those additional hours of darkness. Some prefer the evening; others, the morning. It depends mostly on our personal habits or our availability.
- If we decide to do it in the evening, we must cover up the plants before dusk begins to fall. Don't forget to remove the cover before going to bed so plants can enjoy the warmth of a natural sunrise. This way, we make sure they receive a minimum of 12 hours of darkness, including those during the night cycle. If we know the sun rises by 6 o'clock, then we'll have to cover up our plants by 6 p.m. and gradually modify our timing according to the natural movement of light. Summer, from June 21 to September 21, is a long run where days start to become increasingly shorter, all depending on the latitude you're in, of course. So your schedule may have to progressively adapt to this change.
- Other cannabis growers simply prefer adding those hours to their mornings. In this case, we've got two options: covering our plants at night and during sunrise (being extremely careful with ventilation to prevent a heat and moisture build-up that could eventually lead to the development of fungi) or wake up early in the morning before the sun rises to cover them up and avoid the first hours of sunlight. In any case, it's important to get the times right and be consistent with the dark/light schedule. If it gets dark at 8 p.m., then we must uncover our plants 12 hours later, at 8 a.m.
If you follow our advice, you're quite likely to get the desired results. However, we've got some other additional tips that could be of great use. Do you want to hear them?
- Doing things manually is always great and many regard it as more traditional and even more valuable. Even if that's true, automating some processes using timers or electric curtain rails, particularly when growing in a greenhouse, could make a tedious task far simpler and all possible human mistakes would be avoided.
- The most important aspect when forcing our plants to flower is to ensure they consistently receive 12 hours of complete darkness every day. When in doubt, darkness is always better than light. Make sure there're no street lights, traffic lights or neighbors nearby that could cause light pollution.
- The climatic conditions in the area cannot be overlooked. If our plants are located in a windy spot, they are better off in a greenhouse. But remember: the curtains and tarps should be installed indoors so the strong gusts of wind don't move them and light gets to reach our plants when it shouldn't.
- Light dep outdoors has not only a very low environmental impact but the main advantage of outdoor growing: plants feed on sunlight, which definitely provides an extra kick. On top of that, since plants don't have enough time to turn into chunky beasts, growers can put them closer, leading to improved efficiency of every square meter.
Light deprivation is relatively easy. Far easier than it actually seems. All we need to do is carefully control every step of this process. By the time outdoor growers are waiting for their buds to fully develop, we will have already harvested our plants and it'll be time to enjoy them. Follow our tips and get generous quality yields. Enjoy it!


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Q: Js file not loading in node js server I have a node js server when I run HTML page in local host i get the error Uncaught SyntaxError: Unexpected token < in the console because my local js and css files are not able to be loaded.
i have gone through - Node.js serve HTML, but can't load script files in served page
but it didn't worked
i have a file structure
enter image description here
my server code server.js
Node js:-
var express = require('express');
var http = require('http');
var fs = require('fs');
var app = express();

app.use(express.static(__dirname + '/public'));

app.get('*', function(req, res) {
    console.log("Global");
    res.sendFile(__dirname + '/public/index.html');
});

var port = process.env.PORT || 7000;

http.createServer(app).listen(7000);

My HTML file index.html is
<!DOCTYPE html>

    <title>sample spa app</title>
    <link rel="stylesheet" type="text/html" href="css/style.css">

home

about

you are in index.html

A: <!DOCTYPE html>

    <title>sample spa app</title>
    <link rel="stylesheet" type="text/html" href="css/style.css">

home

about

you are in index.html

A:
<link rel="stylesheet" type="text/html" href="css/style.css">

The static handler will try and find a file sampleProject/public/css/style.css

The static handler will try and find a file sampleProject/public/public/js/app.js (yes, I wrote public/public).
None of these exist, therefore the static handler lets the request pass to the next route. The next route forces sampleProject/public/index.html to be served, whatever the request is. Hence your error.
Option A: isolate statically-served files

app.use('/public', express.static(__dirname + '/public'));

(As a side note you should require('path') and declare express.static(path.join(__dirname, 'public')), which is safer and more portable than manually concatenating.)
This tells the application to use the static handler only if the route begins with /public.
Option B: always try to resolve files as static
Move your css folder to public/css, and change the path when calling your JS to:

Read about the bases here.

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UrbanCCD Director and Computation Institute Senior Fellow Charlie Catlett was named one of 25 "Doers, Dreamers & Drivers" of 2016 by Government Technology. The honor celebrates his work creating partnerships between Argonne National Laboratory, University of Chicago, and the City of Chicago on innovative projects such as Array of Things, Plenario, and OpenGrid.
A champion of the movement to create partnerships between cities and research institutions, Catlett believes that researchers can take the massive amounts of data that government generates and put it to use.
"Most of that data goes unused because they don't have the [resources] to analyze it," he said.
Earlier this month, Government Technology wrote about Array of Things as a shining example of how these partnerships can succeed. The piece also focused on the MetroLab Network, which includes UrbanCCD, and how it is helping cities learn to do more with government data while researchers learn about the operations of cities.
Joining Catlett on the Doers, Dreamers, & Drivers list are CIOs and city managers from major cities such as Cincinnati, Los Angeles, and Boston, the states of Georgia, Mississippi, and New York, as well as data teams and personnel from the White House and other branches of the federal government.


Let's talk multi-material printing on desktop 3D printers. There are a lot of problems when printing in more than one color. The easiest way to do this is simply to add another extruder and hotend to a printer, but this reduces the build volume, adds more mass to the part of the printer that doesn't need any more mass, and making sure each nozzle is at the correct Z-height is difficult. The best solution for multi-material printing is some sort of mixing hotend that only squirts plastic from one nozzle, fed by a Bowden system.
[Prusa], the man, not the printer, has just released a multi-material upgrade for the Prusa i3 mk2. This upgrade allows the i3 mk2 to print in four colors using only one hotend, and does it in a way that allows anyone to turn their printer into a multi-material powerhouse.
The basic idea behind this multi-material upgrade is a four-way Y-shaped filament path. Each color of filament is loaded into a separate extruder, and when the material is changed the currently 'active' filament is retracted out of the heater block to just before where the filament paths cross. After the filament is swapped in the hotend, the remainder of the previous color of filament is squirted out onto a small (3x5cm) tower.
Because this is an upgrade to the i3 mk2, Prusa needed a way to add three additional stepper motors to the build without having to replace the printer's electronics board. He's doing this with an SSR-based multiplexer that allows one stepper motor output and a few GPIOs to control four motors.
If you have an i3 mk2, a four- material upgrade for your printer will be available for $249 USD in a few months. That means a full color, four-extruder i3 mk 2 costs less than $1000 USD, a price no other multi-material printer can touch.
You can check out [Prusa's] video of the multi-material upgrade below. The printer and the man will be touring the US for Maker Faire and Open Hardware Summit, and you can bet we're going to get some video of this multi-material printer in action.
← Ask Hackaday: How Do You Make A Hotplate?
Nice, this is cool.. just a shame it has to do the waste cube to clean.
I doubt even a "large" waste cube would add more than 5-10 cents to your average print cost. I guess any waste is bad, but this looks like a huge step up in pro-sumer level printing, so I look forward to seeing if it's wort hit.
I suppose the waste could be deposited inside of the print, in a non visible non load bearing location. But the 'waste block' assures consistent and reliable output.
Be nice if you could specify a small "function over beauty" object to print, that's gonna end up hidden. Something like a bracket or PCB holding clip, some hardware type part.
Heh, sooner or later someone will have to come up with a use for all those benchy boats, like clogs for underprivileged Dutch squirrels or something.
HaD should give some out as prizes or something.
Right, featured fail of the week gets a 20lb sack or something.
It would be ideal to specify a minimum distance from an external surface. Though it would get tricky when finalizing the print, as there would be no hidden space to put the mixed color plastic and there wouldn't be a tower at the same level to place it.
This looks really great – amazing how much one person can contribute to the world of 3D printing.
Just trying to tie this to the article series on 3D printing filaments, can this handle filaments that require different temperatures?
This is an interesting and worthwhile step forward but there are several use cases this doesn't help.
Oh, d'oh! I should've read the whole thing before blabbing. Thanks for the clarification.
> This is an interesting and worthwhile step forward but there are several use cases this doesn't help.
The most interesting use cases of multi extrusion is where this fails. Depending on your material choice the Y piece can also jam up due to strings being pulled from the hotend into the Y piece.
The feed rates of each material likely differ, but a multi-nozzle system is far more tricky to handle.
The dual temperature nozzle suffer from jams as the dormant feed line will expand while waiting, and is especially noticeable in a heated build chamber. The feeders will still hold the retracted filament in place, and a rivet like obstruction will from on the hot-end transition zone intake. The sacrificial towers are needed for more than preventing ooze out from spattering the print.
This project appears to have solved many of these issues, but I regret getting a dual-head kit every time we have to pull 4 grub screws to unjam the hot end that stood unused too long. The print job finishing routine must also account for this, and retract both filaments much further than a normal set-up.
If these guys actually solved these issues, than its a relatively trivial task for Slic3r to import several STLs, and assign a specific extruder to the union of models.
Interesting article & thanks for the comments, I'm interested to know if any subscribers or posters here have had much success with HDPE – I've been looking at this from a few perspectives with all sorts of (minor) negative reports which as a critical mass aspect means its far less attractive. I would be using it for bulk parts with filament thicknesses of 1mm or greater. So I'm curious as I don't recall seeing much re HDPE printing on hackaday much ?
I didn't find a lot of HDPE users, or even suppliers. A couple articles talk about extruding your own from shredded milk jugs. I have little experience with the material but I think it might be tough going. HDPE doesn't seem to like to stick to anything and it has weird handling characteristics, such as the line from going getting soft to runny being very thin.
I just remembered, eSun cleaning filament is HDPE. Yeah, from my experience handling that, I don't think it's going to 3D print well.
HDPE was one of the first plastics to be 3D printed on RepRaps. It's extremely difficult to print with as it has a high coefficient of thermal expansion and sticks to almost nothing. I've seen limited success printing with it.
so something like the octopus shown earlier?
I'm curious why the expansion multiplexer board is needed. Specifically with SSR multiplexing, which I have yet to see mentioned anywhere. Driving these extra steppers should be as simple as connecting a few extra stepper drivers, sharing the DIR / STEP signal, but with different enable pins. Unless of course, Brian actually mistakenly read the link to the predating MarlinKimbra multiplexer board as part of this.
Because four drivers cost money. You can't buy a stepper motor driver for less than a few SSRs.
here's something I made for driving multiple motor drivers with the same signal. A connector that costs ten cents more would do exactly what you're saying. All up, it's a $40-50 build. I doubt Prusa's multiplexer costs $10 in quantity.
That's nice. Your pricing is a little off though, I could build a board that does what I described for a little less than $25USD (based off prices I literally just paid for relevant parts to upgrade my 3D printer and an unrelated project), and have 9 blank boards left over, in bulk it would get a lot cheaper. I'm not including labor in my pricing, since I have no reference for that.
However, you seem to have overlooked my main point, that nowhere in the source article, is SSR multiplexing mentioned.
Hay, Josef Prusa. I remember purchasing a hot end from you years ago just to support your efforts. I've recently ordered an MK2, and I'm really looking forward to receiving it.
I'll gladly get this extension kit. Perhaps have two printers. One plain, one multi.
But really, I think you're headed towards full color extrusion. 4 colors (CYMK). Just figure out the blending ratios, and away you go! Of course that would require a different kind of melt zone, but I'm sure it's possible.
Now I really want to see if I could get one of these to do CMYK.
That would require a lot of changes. The controller only runs one extruder motor at a time, changing that requires a totally different controller. The existing hot end can only melt one color at a time. And you'd need to do CMYKW to get anything resembling full color. CMYK assumes you have a white medium to work against.
Instead of wasting the print material in between colour changes, would it not be wise to use this material for internal structure instead? In an area where the colour doesn't matter? Obviously this only applies if the difference in materials is just aesthetic.
Is it possible to upgrade a homemade prusa i3 to do this? Is the firmware avaliable?
Excuse my ignorance, but do you reckon that this upgrade can be integrated into a diy prusa mk2 derrivative (the toolson mk2 steel, to be exact)?


text:
```ruby
Faker::DragonBall.character #=> "Goku"
```

redpajama_set_name: RedPajamaGithub


text:
Q: Ionic project types: --type=angular vs --type=ionic-angular I am confused on what project type should I use. In official Ionic docs they suggest to create a new project by running - ionic start MyApp tutorial --type=ionic-angular. But from other source I found that I could ionic start MyApp tutorial --type=angular, which makes my life easier because I could use for ex. ng add to add dependencies and the project structure is like Angular. However, --type=angular doesnt have super project type, so I can't generate new app with ionic start MyApp super --type=angular, I can live with that, but need some advices on which project type is preferred - what criteria for choosing one over another (--type=angular vs --type=ionic-angular)?

A: With Ionic 4 you should use the cmmmand,
ionic start MyApp tutorial --type=angular

whereas in Ionic3 you would have used
ionic start MyApp tutorial --type=ionic-angular

basically going forward you should use the first way. However i would recommend to build apps using capcitor which makes life easier


text:
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Home » hip hop • interview » Shaun Boothe: History Through Hip-hop
Posted in hip hop, interview By Bill Kopp On February 29, 2020
Shaun Boothe: History Through Hip-hop
Shaun Boothe was inspired to create his Unauthorized Biography series after music icon James Brown passed away in 2006. "Brown was a big inspiration of mine, and a musical genius," says the Toronto-based rapper and public speaker. "His musical contributions are unparalleled. But what most people don't know too much about is that he was integral in the golden era of hip-hop. He's the most sampled musician of all time."
Boothe was working with a DJ, planning to rap a few bars over a mixtape. But he got the idea to do more. So he created a whole song in tribute to the Godfather of Soul. "And then came the idea to create a documentary style music video to go with the song that I had created," he says. Boothe's flowing, rapid-fire hip-hop rhyming compressed James Brown's achievements and influence into a five-minute audiovisual feast. The resulting YouTube video was a success. "It was so well-received that we decided to do another one, and then another," Boothe says with pride.
"I started off in the music industry as a hip hop recording artist," he explains. "I had aspirations of getting a record deal and going that route. And these bios did kind of help to kind of get me in doors and build relationships." He initially saw the videos as part of a way to make a name for himself. "If you didn't know or care about Shaun Boothe the rapper, but you did care about, say, Bob Marley, that was a way in for me," he says. But Boothe soon realized that he was onto something bigger than a hip-hop career. "So I created a business around it, and re-imagined myself as a speaker who also uses music in presentations."
Today there are 15 videos in Boothe's Unauthorized Biography series, highlighting the life and work of men and women from across the social, cultural and political landscape. He has created hip-hop videos spotlighting Muhammad Ali, Jimi Hendrix, Mahatma Gandhi, Rev. Dr. Martin Luther King, Oprah Winfrey, President Barack Obama and Canadian hockey superstar Terry Fox and several others. His live shows are an extension of those videos.
Many of Boothe's chosen subjects are people of color, but that wasn't a specific part of his vision for the project. "I just wanted to celebrate greatness," he explains. "This is really a passion project. I started it because I loved it, it was creative, it was fun and it was meaningful to me. And then it just kind of turned into something."
That something is a celebrated presentation series that finds Boothe traveling the world, bringing his profiles of greatness to widely varied audiences. "I started in schools about four years ago," he recalls. "Teachers would invite me in to speak through the lens of black history or music education."
He says that he fought quite hard to make sure his Unauthorized Biography performance didn't get pigeonholed into what he calls the "Black History Month box." Using his Muhammad Ali piece as an example, he emphasizes that "we can extract life lessons from his legacy that relate on an everyday level, one that's applicable to not just black people, but to all people."
The dynamic Unauthorized Biography presentation gets the audience involved. "Hip-hop artists are masterful at really engaging a crowd, and I've had a lot of fun integrating that into what I'm doing now," Boothe says. He points to the call-and response nature of the show, and a question-and-answer period. "I'm a believer that we all have a voice that is worthy of being heard, and we all have a message that we want to get across," he says.
Boothe believes we live in a time in which there's value in celebrating greatness, wherever we can find it. "I've often asked myself, 'When do I stop?' he says with a warm laugh. "But I'm still going. When it starts to feel like I'm forcing it, then that's when I'm going to gracefully bow out."
Tags:shaun boothe
Bill Kopp
With a background in marketing and advertising, Bill Kopp got his professional start writing for Trouser Press. After a stint as Editor-in-chief for a national music magazine, Bill launched Musoscribe in 2009, and has published new content every business day since then (and every single day since 2018). The interviews, essays, and reviews on Musoscribe reflect Bill's keen interest in American musical forms, most notably rock, jazz, and soul. His work features a special emphasis on reissues and vinyl. Bill's work also appears in many other outlets both online and in print. He also researches and authors liner notes for album reissues -- more than 30 to date -- and co-produced a reissue of jazz legend Julian "Cannonball" Adderley's final album. His first book, Reinventing Pink Floyd was published by Rowman & Littlefield in 2018, and in paperback in 2019. His second book, Disturbing the Peace: 415 Records and the Rise of New Wave, will be published in 2021 by HoZac Books.
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Pták, Vlastimil. "A quantitative refinement of the closed graph theorem." Czechoslovak Mathematical Journal 24.3 (1974): 503-506. <http://eudml.org/doc/12814>.
V. Pták, A theorem of the closed graph type, Manuscripta Mathematica, in print.


text:
Russia, Canada Leapfrog US in Wheat Export
The United States was once the world's leading wheat exporter, but now is losing its position to Russia and Canada due a stronger dollar, stagnant yields, rising competition and climate change.
According to analysts, exports of wheat may drop 9.3% to 21.1 million metric tons in the season ending May 31, the lowest since 1972.
"We're no longer going to lead in volume every year," Alan Tracy, president of US Wheat Associates told Bloomberg, adding that an increase in global wheat trade was the only hope for the country.
Nearly 40% of the US crop goes for export, according to the Department of Agriculture. The acreage for winter wheat fell to its second-lowest since 1913.
As US wheat is no longer the leader in global markets, American farmers are changing to corn and soybeans.
Russia is now the world's leading wheat exporter and is monopolizing Middle East markets, which were once the preserve of America.
Russia will harvest 62.5 million metric tons of wheat in 2016, the most in eight years, according the Moscow-based Institute for Agriculture Market Studies. Exports from the Black Sea area rose to $185 a ton last week, the highest since December. Prices increased 3.9% from a five-year low set in February and March, reports IKAR.
Compensating Ukraine Deficit
"Crop conditions currently are good, especially in the southern district," said Olivier Bouillet from Paris-based consulting company Agritel.
The richer harvest from Russia might compensate for the drop in Ukraine, where output may fall to about 9% to 7.2 million tons.
Ukraine and Russia's Black Sea region boast some of the best land for wheat. Russia was the world's top shipper. By 1972, however, wheat production had fallen so far because of communist mismanagement that the Soviet Union had to buy from America.
Today, Russia is again the No.?1 exporter, while Ukraine is in fifth place. They're swallowing the Middle Eastern markets, once American wheat's top destination. The weather in Canada, the second-biggest exporter, has gotten warmer, resulting in longer growing seasons and bumper crops. Argentina, Australia, France, Germany, Kazakhstan, and players in Eastern Europe are stepping up shipments.
The result is an end to clear US leadership in global markets, says Alan Tracy, president of US Wheat Associates, the industry's export promotion arm. "We're no longer going to lead in volume every year," he says. "The saving grace for us is that total global wheat trade has increased, and we can still sell plenty of what our farmers produce."
World's 11th Biggest Wheat Producer
Russia Record Wheat Exports to Surpass US, Canada
Russia Aims to Topple Qatar From LNG Top Spot
Wheat's Worst Plunge as Sellers Swell
Russia to Regain Wheat Export Leadership
Iran Weighing Wheat Ex-Im Needs


text:
Day 101 – Evil in Her Eyes
A fire crackled and burned in the suffocatingly small cottage. The warm glow of the fiery centrepiece served to battle the nocturnal frost and keep the chill from their bones. The cottage was simple; a thatched roof and tiny windows. There were only two rooms: one for sitting, cooking and eating and one for sleeping. There was only just enough room for four or five people at a time, but there were many more in the cottage that night.
Outside an owl screeched. Esmé the lugubrious little girl stared up at the lustrous stars and sighed to herself. Every night before sleep she would look out this very window and dream of somewhere different. She would always wonder who else was staring at the same constellations; who else was encapsulated by the craters of the moon and that star twinkling only just out of sight. Esmé had no siblings. She was the loneliest ten year old girl the world had ever known. By the age of five, her mother had died of disease and her father was left to bring her up by himself. Now, at the age of ten, she was not the same blue eyed angel that her father sung to at night to help her sleep.
A hand clasped her shoulder gently. It surprised her, though she did not visibly show it. Instead, her mystical gaze at the universe fell to the dark woods that surrounded the cottage. There was not another light for miles around. Esmé knew that she would be able to run into those woods and not meet another person for hundred and hundreds of miles. That freedom not only scared it, it excited her. She would often roam further than she was allowed and venture where the road did not take her. Esmé craved new places and new ideas; her father did not like that.
"Esmé, my child, it is time," her father said solemnly.
His voice was dark, heavy and gruff. He was a forester – a man of the woods. They were all people of the woods around here. The village was no more than four or five houses and each one was filled with strange minds and mysteriously inward people. Esmé had watched since she was small. She had seen how they kept themselves to themselves and only tended to the archaic ways of life. They did not believe in medicine, instead believing that demons entered bodies. Remedies could never be found in plants or time, water or fire. They believed in fairies, or something similar. Esmé had never been able to understand. From a very early age she had learnt what fire could do; she had played with flowers and mixed crushed berries with leaves and spices and warmed them over a gentle fire. With these recipes she could heal unimportant ailments and make life easier, though no one would ever try them. They feared her, they did. They feared the little girl with beliefs beyond their reckoning. A witch they had called her.
Earlier that evening they had gathered in the house. Her father had tried to tell them of Esmé's curiosity. Esmé had over heard them talking, whispering, accusing. They were conspiring to punish her, to torture the devil from her soul and to severe the demons from their prowess. Her father, though, had calmed their emphatic lust for primeval justice and had persuaded them to merely punish her emotionally.
An hour ago she was instructed to go to her room and to collect everything she held dear to her. Esmé had sat amidst her belongings and, one by one, reckoned their worth. She did not have many cherished affects. They were not a rich family. She had broken pottery pieces she had tried to make with her mother. She had sticks and twigs from the forest they lived in. From them she had crafted ornaments and decorations. These made her happy. These made her feel at home. She even had one shell from when they had walked for so long they had reached the sea. It was smooth and light orange, decorated luxuriantly with little black and grey dots. She held the shell tight against her ear and swayed her body as she imagined the tide crashing in against the jagged cliffs and rocks. But these were not dear to her, despite how much she loved them. After much deliberation, she picked a single stone that she had found in a river not long after her mother had died. It had been her inanimate companion for years. It was a friend to her.
The stone was locked in Esmé's grasp as her father pulled her away from the window and took her other hand.
"Have you chosen?" he asked.
"Come along, it will not be painful," he took her into the other room.
They were all standing around the fire; the flames licking their penetrating judgemental eyes. A few of them made signs with their hands, others clutched at beads and closed their eyes. One reached out a hand to snatch at her.
"The devil be gone! The devil be gone!" the hand's owner had chanted.
Her father steered her away from the crowd and directed her towards the fire.
"Kneel down," he instructed and she did, "Now, what did you choose?"
Esmé took her closed hand with the stone in it and held it in front of her. Every iris in the room was upon her hand. Whether they were expecting a spell book or a magical element of witchcraft, Esmé could not known. There were gasps of horror and fear as they anticipated the evil that she was about to reveal to them.
"May god have mercy on us for what we are about to see!" one woman shouted.
"Repent the evil from this girl, she does not know her own mind!" another echoed.
Carefully and very slowly, Esmé turned her hand over so that her fingers were now on top. Even more slowly she opened up her fingers like a flowering lotus and revealed the simple stone in the palm of her hand.
One man almost fainted, "The evil, the evil!" he cried.
Another jumped forward, pointing at her, "Her eyes, look at her eyes! There's evil in her eyes!"
"Quiet!" her father commanded, kneeling down beside her, "Now cast it into the fire."
She threw it into the fire and a roar erupted from the villagers.
"She be saved, she be saved!"
"The devil be gone, the devil be gone!"
"Her eyes, her eyes are free!"
Amongst the commotion and primal victory dances, her father put his arm around Esmé and whispered in her ear, "Why did you choose that rock?"
Esmé smiled, "I knew that you would ask me to ask me to burn something and I thought about what you said – something that was most dear to me – and then I knew. That which is most dear to you cannot be destroyed. That fire will just warm my little riverside friend."
~ by S.G. Mark on January 16, 2012.
This entry was posted on January 16, 2012 at 11:11 pm and is filed under Previous Stories.You can follow any responses to this entry through the RSS 2.0 feed.You can leave a response, or trackback from your own site.
Previous: Day 100 – Relinquish
Next: Day 102 – Evil Computer Part 255


McDonnell PJ. How do general practitioners manage eye disease in the community? Br J Ophthalmol. 1988 Oct;72(10):733-6.
Leibowitz HM. The red eye. N Engl J Med. 2000 Aug 3;343(5):345-51.
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3. Dayan M, Turner B, McGhee C. Acute angle closure glaucoma masquerading as systemic illness. BMJ. 1996 Aug 17;313(7054):413-5.
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5. Azari AA, Barney NP. Conjunctivitis: a systematic review of diagnosis and treatment. JAMA. 2013 Oct 23;310(16):1721-9.
6. Sheldrick JH, Wilson AD, Vernon SA, et al. Management of ophthalmic disease in general practice. Br J Gen Pract. 1993 Nov;43(376):459-62.
7. David R, Tessler Z, Yassur Y. Long-term outcome of primary acute angle-closure glaucoma. Br J Ophthalmol. 1985 Apr;69(4):261-2.
8. Dunlop A, Wells J. Approach to red eye for primary care practitioners. Prim Care. 2015 Sep;42(3):267-84.
9. Wagoner MD. Chemical injuries of the eye: current concepts in pathophysiology and therapy. Surv Ophthalmol. 1997 Jan-Feb;41(4):275-313.
10. Tuft SJ, Watson PG. Progression of scleral disease. Ophthalmology. 1991 Apr;98(4):467-71.
11. Canadian Paediatric Society. Recommendations for the prevention of neonatal ophthalmia. Paediatr Child Health. 2002 Sep;7(7):480-8.
12. The College of Optometrists. Clinical management guidelines: ophthalmia neonatorum. Oct 2016 [internet publication].
13. Matejcek A, Goldman RD. Treatment and prevention of ophthalmia neonatorum. Can Fam Physician. 2013 Nov;59(11):1187-90.
14. American Academy of Ophthalmology. Conjunctivitis Preferred Practice Pattern. Oct 2013 [internet publication].
15. Bal SK, Hollingworth GR. Red eye. BMJ. 2005 Aug 20;331(7514):438.
16. Rietveld RP, ter Riet G, Bindels PJ, et al. Predicting bacterial cause in infectious conjunctivitis: cohort study on informativeness of combinations of signs and symptoms. BMJ. 2004 Jul 24;329(7459):206-10.
17. Hart CA, Thomson AP. Meningococcal disease and its management in children. BMJ. 2006 Sep 30;333(7570):685-90.
18. Leibowitz HM. The red eye. N Engl J Med. 2000 Aug 3;343(5):345-51.
19. Rose GE, Pearson RV. Unequal pupil size in patients with unilateral red eye. BMJ. 1991 Mar 9;302(6776):571-2.
20. Chong NV, Murray PI. Pen torch test in patients with unilateral red eye. Br J Gen Pract. 1993 Jun;43(371):259.
21. Saeed A, Cassidy L, Malone DE, et al. Plain X-ray and computed tomography of the orbit in cases and suspected cases of intraocular foreign body. Eye (Lond). 2008 Nov;22(11):1373-7.
22. The College of Optometrists. Clinical management guidelines: sub-conjunctival haemorrhage. Oct 2017 [internet publication].
23. National Institute for Health and Care Excellence. Hypertension in adults: diagnosis and management. Nov 2016 [internet publication].


This first section will cover the equipment that members are required to purchase. Following that will be the equipment from the club's store.
There are generally two kinds of harnesses to choose from. The sport and the alpine harness.
There are many kinds of belay devices on the market, from the Figure 8, to the ATC, and the auto belay devices like the Gri Gri. For TMC's purpose the ATC device is best suited as it allows for smooth abseiling and also general purpose climbing.
There are alpine-styled backpacks that are lightweight and have minimal features. On the other hand there are heavier more feature-rich packs that are available too. The volume of the backpacks we recommend for TMC would be 65-75 litres depending on your preference. Important things to look out for would be the adjustable back rest that some models have and also a good waist strap that can offload to weight to your hips. Look out for gear loops that can store the ice axe and the snow stake that are issued to you. We recommend a 40-45l summit pack if you can afford it but if not, emptying your backpack for the summit push works too.
Slings generally come in two materials, Dyneema and Nylon. Dyneema is lighter more expensive, while Nylon is the heavier but cheaper. TMC members require 2 sewn slings at 120cm, and 4 HMS Screwgate Carabiners.
Sunglasses should have lenses rated at CAT 4 which have light transmission ratings at 3%-8% suitable for intense sunshine for high mountains, glaciers and not for use when driving or on the road. Affordable ones can be found at decathlon. Headlamps should have a lumens rating of about 60-100. A headlamp's fundamental purpose is to channel light to a target area. Headlamps are tested to determine how far (in meters) they can project usable light. While lumens tell you how brightly a headlamp glows (at its source), headlamp beam distance tells you how far it goes (to a surface you want illuminated).
This section will cover the equipment that will be rented out to TMC members. It is a privilege to be a part of this team and take care of the equipment issued is of the utmost importance. These equipment have been either donated by seniors or purchased by the school and it is every team's responsibility to ensure that they are kept in good condition for the future batches.
Crampons are rated according to the number of points.
We issue out 12 point crampons to all our participants.
The function of the gaiters is to seal the gap between the end of the trousers and the opening of the boots so that snow or ice will not get into your feet and get them wet.
Ice Axe/Tools, Snow Stakes and Ice Screws.
The ice axe is used for general arrest purposes and is not the same as the lighter ice tool that is used for ice-climbing. The curved shape of the handle differentiates the two. The snow stake on the other hand is used to build an anchor in the snow where the snowfall is deep enough. The ice screw would be used to build anchors in ice where the ice is strong enough. In TMC, we issue out Ice Axes and Snow Stakes to participants.
Helmets are essential when climbing, especially when loose rocks are insight. Ascenders are your best friend when climbing up steep inclines.
Sleeping bags we issue out are rated at different temperatures. Sleeping pads will also be provided as an additional layer of comfort.
Each TMC member will be issued a 120litre duffel bag to pack all of the equipment.