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Hit Side-Scrolling Indie Game Cuphead Will Be Getting A Netflix Adaptation – The Cuphead Show
Cuphead, the hit indie game from 2017, has officially been confirmed to be getting an animated Netflix adaptation, titled The Cuphead Show.
For those who have not heard of the game, Cuphead was a run and gun, side-scrolling shooter game featuring Cuphead and his good pal Mugman who set off on an adventure to help the devil collect his 'soul contracts' so as they save their own souls. The game is mostly centred around continuous boss fights, with players able to buy upgrades to help them in their fights. Not long after its release, the game received an overall positive reception, with many praising its retro 1930's-style animation and 'tough but fair' gameplay.
Much like the game, The Cuphead Show will feature the same animation style, meaning that it will be hand-drawn, though not entirely on paper this time and certainly not by Studio MDHR, but with Netflix's in-house animation studio instead.
In an interview with IGN, Cuphead's co-creator Chad Moldenhauer said, "The current goal is to stay as far away from [computer-assisted] puppeteer animation as possible. The idea will still be that every frame is hand-drawn. It's going to be hand-drawn but digitally. 'Tradigital'."
READ ALSO: Roach Is The Newest Star Reveal Of Netflix's The Witcher Series
Though there is no release date set for The Cuphead Show yet, we do know that the animated series will follow the adventures of Cuphead and Mugman throughout Inkwell Isle.
The official press release for the show describes it as such, "The character-driven comedy follows the unique misadventures of the impulsive Cuphead and his cautious but easily swayed brother Mugman. Through their many misadventures across their surreal home of the Inkwell Isles, they've always got one another's backs."
One thing's for certain, the creators of the game Chad and Jared Moldenhauer are determined to not re-tell the game.
"The game told its story. The cartoon will tell its [own]," Jared added.
The Cuphead Show will be co-produced by Netflix and King Features Syndicate, the license holder for a number of classic animations, such as Betty Boop and Felix the Cat.
animation cuphead indie Netflix
Dr. Mario World Releases A Day Early On iOS
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Roach Is The Newest Star Reveal Of Netflix's The Witcher Series
Yay or neigh?
Board GamesGeek BitsTV/Movies
Now how do you animate the Upkeep Step?
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We'll have some coffee and contemplation to go with our game.

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HomeHome & HealthKim Lewis' 77 F-150
Kim Lewis' 77 F-150
Cowboy's Daughter Staff - 03/21/2017
Texas-based designer Kim Lewis, no stranger to the spotlight, has come to appreciate the value of iconic design. As a production designer on "Extreme Makeover: Home Edition," Lewis helped design and renovate more than 120 homes across America over the course of six years.
"No pressure there," laughs Lewis, sitting on the back of her treasured workhorse – a vintage 1977 blue-and-white Ford F-150 Ranger she calls "Pearl." She bought the truck after moving back to Austin from Los Angeles to launch Kim Lewis Designs, and it's become an integral part of her global design business.
Lewis, hailing from a longtime Ford truck family, learned to drive in her grandfather's 1978 Ford F-150. That truck remains in the family to this day, and is what inspired her to find her own vintage Ford truck. "All around Texas, people know Pearl – we're two peas in a pod," says Lewis. "She's exactly what I needed to start my business and has become part of my brand. My Ford truck was built for life and built for my work."
In 2006, working as a marketing manager for a furniture company, Lewis seized on an opportunity to design for "Extreme Makeover: Home Edition." Her first project, which took her all the way to Alaska, was a success. Within two years, she would take over managing the show's entire design team.
"I was constantly running to and from the airport to work on projects all around the country," says Lewis. "It was a modern-day barn-raising, as we worked with local communities to help raise people up and inspire them."
Today, Lewis designs restaurants and tiny homes all around the world – using Pearl whenever possible to travel to job sites or to deliver furniture and accessories. She recently worked on a Thanksgiving Day makeover of Dallas Fire Station No. 43 with the Dallas Cowboys, Fox Sports, Leary Firefighters Foundation and Ford Motor Company, which donated a 2017 F-Series Super Duty to the firefighters.
Lewis has also launched an accessory line to provide women in places like Ethiopia, Ghana and Honduras with sustainable economic opportunities. She frequently travels to developing countries to train and assist women, finding new inspiration for design along the way.
For details on Ford's 40 Years Tough series, including more on Lewis and Pearl, or to share your F-Series story, visit www.40YearsTough.com.


Although Mr. Arnesby Brown divides the greater part of his time between Cornwall and the Norfolk Broads, he may be said to belong to the St. Ives School of painters, of whom he is the most prominent. His delightful pictures are very popular, and examples of his art grace many of the public galleries.
He was born In Nottingham in 1866, and attended the School of Art there before becoming a private pupil of the late Andrew MacCallum, under whom he learnt the importance of accurate observation and of correct painting. At that time he worked much in the open air, and the influence of his studies is found in his out-door paintings to-day. He joined the Herkomer School at Bushey in 1889, and remained there three years, during which his first Royal Academy picture, " A Cornish Pasture" (exhibited in 1890), was painted while he was on a visit to the "delectable Duchy." Ever since his first picture was shown he has been an annual exhibitor at Burlington House. " The River Bank" was painted in Norfolk, and appeared in the Royal Academy in 1902, the year before he was elected an A.R.A. It followed the " Morning," now in the Chantrey Collection, The picture is painted in rich, glowing colours, which, with the effect of atmosphere, invest the simple subject with the dignity of nature itself. Some cattle are grazing by the riverside on a showery day. The skins of the animals glow in the sunshine which irradiates the misty air. On the right of the picture part of a rainbow's arc is seen, stretching up into the sky, from which the clouds are breaking away in green and purple glories. It is a beautiful picture, full of the majesty and peace of nature in a wilful mood.
"Cows Grazing on a Marsh"


Many years ago when I worked as an extracorporeal technologist in open heart surgery, there was a doctor needing bypass surgery with a 3% chance of survival. While he was wheeled into the room, he said, "I am speaking at a medical convention in 6 weeks so let's get this done." I could always feel the patient's desire or lack of desire as I monitored the machine that kept the patient alive during the surgery. I told the Surgeons that I could feel the Doctor's desire to live and said 'this man will come flying off the pump"…and he did. Six weeks later he was at the medical convention.
The energy this Doctor exuded and I felt in the surgical room is the same feeling of the pent up desire for this real estate market and economy to take off. We thought we had started in the fourth quarter of 2013, only to find the first quarter of 2014 more sluggish than anticipated for the real estate market. Nationally the market was down 5.1% in January compared to December of 2013 and the first quarter of 2013. In the Coachella Valley, sales were moving at a nice pace in the fourth quarter of 2013. We anticipated a continued push upward in the market and to have many more sales than we had in the 4th quarter of 2013. That did not happen. Much like the economy, the real estate market moved in the very same way. We experienced fewer sales in January than in December and in the first quarter sales from a year ago. The primary reasons for this were lack of inventory, rising prices along with increased lending restrictions and guidelines that became effective the first of the year. The economy and real estate markets are wanting to surge and whether there are too many federal restrictions preventing the recovery from happening as quickly as it could is yet to be seen.
Investors accounted for a large number of sales in 2012 as they bought up many of the distressed homes. Among the 20 investment firms who were buying the most real estate in California, their purchases were down 70% in 2013. The drop in the number of home sales is partly a result of these investment firms pulling out of southern California. Their formula is to buy, improve and sell based on specific target numbers. The numbers are no longer penciling out for them so they are moving on to different markets. The investors made it harder for families to compete for the purchase of a home at the lower prices, particularly when the investors were paying cash and the families needed financing. This heavy demand has driven prices higher making it even harder now for first home buyers to qualify for the loan needed to purchase the homes. Home delinquencies are at their lowest level since the first quarter of 2008.
The inventory of homes on the market increased to about a 6 month supply in February. It is projected this will drop to about a 4.5 month supply by June. In the past few weeks, the demand for million dollar priced homes has increased significantly and million dollar homes that sat on the market for nearly six months in some cases now have the potential for multiple offers.
According to the Coachella Valley Total Homes Sold Report, there was a drop in the number of sales from 2012 and 2013. In the first quarter of this year homes selling for under $500,000 were down from 84.6% year ago to 77%. Homes over $500,000 represented 23% of all resales and homes over $ 1 million represented 7.1% of the market, the highest we have seen since 2007.
According to the National Association of Realtors, the number of second home sales jumped 30% in 2013, the largest gain since 2003. While second home sales is less than the high experienced in 2006, the increase in second home sales shows the changing sentiment about residential real estate. Vacation home sales accounted for 13% of all sales, up 2% from a year ago and accounted for 28% of all homes sold in the West. The South showed the highest with 41%. While there is a disparity between the income groups with the wealthier purchasing more of the vacation and second homes, this does increase the demand for employment which can affect positive changes for many.
On the Country Club sales report comparing 1st Quarter sales for both 2013 and 2014 for the 21 Country Clubs I track, we see fifteen of the clubs' average sale price up from a year ago. Ten clubs show a drop in the number of home sales from a year ago. This could be the result of the continued lack of the inventory of the homes the buyers want along with prices being higher than the buyer wants to spend for these properties. The average price per square foot for homes sold in the Country Clubs I track is now over $200 with the exception of three golf course communities. What is surprising is that in the three communities whose average is below $200 per square foot, the number of sales are also down from a year ago.
For the seven high end golf communities I track, the price per square foot ranges from $326 to $551. For the first quarter in 2014, the least expensive home in these high end golf communities was $915,000 and the highest at $10,450,000.
The demand for million dollar homes has seen a big increase since mid March. As noted previously, the Million Dollar + sales represented 7.1% of all sales in the first quarter, the highest it as been since 2007. The one to two million dollar homes represent most of the million dollar home sales.
In Toscana, eight homes sold in the first quarter of this year. Three were spec homes built by the builder and sold unfurnished. In the first quarter of 2013, ten homes sold. Three homes have closed in the month of April, one being a spec home. So as of April 26th, a total of sixteen homes have sold, twelve were re-sale, previously lived in homes.
The average sales price in Toscana in the first quarter of 2013 was $1,617,543 and $428.97 per square foot. As of April 27, 2014, the average is now $1,726,818 and a square foot price of $453.25. The average square foot price for the developer spec homes is $473.15 for the first quarter, showing that many buyers are willing to pay a higher price for a newer unfurnished home.
The goal to sell 50 new homes in order to complete the final eight golf holes on the north course is within reach as it appears there are approximately 32 homes either in the building stage or soon to begin construction. When I bring clients to Toscana and they see that fewer lots and homes are available, buyers see the high activity of sales activity within Toscana. While during the past five years the hardship was on the developer as they waited for this market for new home construction to rebound, this delay in new home construction should prove to be very positive for the community as it is one of a few that currently offer newer homes and new home construction keeping it high on the must see list for buyers.
So far this year, I have sold or have in escrow 30 homes. This is well ahead of last year's total of 75 homes. The focus of my business continues to be in luxury golf course communities throughout the desert. I have a knowledge of all the golf course communities and having rated and played all the courses. This knowledge gives my buyers the added information they need to know they are buying in the right community that fits their lifestyle.
I rank in the top 10 Real Estate Professionals out of nearly 4,000 agents. I am pleased to announce the addition of three people to my team since this season began. Kristi Kramer, a licensed agent with 17 years of experience in selling and staging homes in Las Vegas, and Barbara Merrill, with a long background in real estate investments. Both bring to the team knowledge and experience in the luxury home market. Laura Flannery is also new to our staff, handling all segments of our marketing and advertising programs. Add the support and assistance of other Windermere Real Estate Professionals, we, as a brokerage firm, are able to bring in more buyers, effect more sales and reach a broader market.


When teaching classes on Agile and DevOps, I am always presented with the comment, "We've been Agile for years, but…" The student then continues to describe an organization rife with Agile ant-patterns.
Agile and DevOps are primarily cultural transformations. To "be Agile," we need to unlearn many of our existing management and software development beliefs. We need to shift from a process-based to values-based mindset and belief system.
Over the past several years, many organizations have embarked on their Agile and DevOps journeys. They have acquired the new vocabulary, artifacts, ceremonies, and tools. But, they have not changed how they operate. To truly realize the benefits, organizations need to fundamentally transform their environment and culture.
Empowered, self-managing teams are the cornerstone of Agile and DevOps. Accepting and trusting the team to be self-managing is contrary to classical management beliefs. These beliefs are rooted in the industrial past and assume workers need to be managed.
Transforming the classic labor-management dynamic does not occur by fiat. Announcing an Agile transformation initiative and updating the organization chart is the first step. However, "being Agile" requires a long-term commitment to building and maturing the culture. It also requires trust and patience.
Few traditional teams are accustomed to working in this environment. For one thing, the behavioral patterns of self-management are new and not self-evident. The Agile coach and scrum master can play a critical role in this transformation.
The Agile coach plays a critical role in the transformational effort. The coach is a mentor to executives and managers, and helps guide the overall transformation effort. Coaches have experience working in multiple environments. They know the likely pitfalls, and can help the organization navigate the journey.
An Agile or DevOps transformation challenges our well-worn management patterns. Just like the Agile teams, the managers and leaders also need to adapt to this new environment. The agile coach can be the confidant, mentor, and guide through this process. They can teach and model the new behaviors needed to lead an Agile organization.
For example: coaches can support managers to curb their instinctual reaction to intervene when there is a bump in the road. Organizations undergoing an Agile or DevOps transformation often experience the J-curve effect. There is a dip in performance as teams adapt to then new environment. Understandably, many managers want to intercede and "lead the team." The coach can guide the managers through this phase and help channel their energy into more constructive behaviors.
The scrum master has the day-to-day responsibility to guide the team to adopt the new cultural. Experienced scrum masters observe the team and help them unlearn their long, ingrained patterns. They also teach the new patterns of engagement and behavior.
The scrum master plays a role similar to an athletic coach. Most athletes develop their way of throwing, running, or swimming without the benefit of a professional analyzing and correcting their form. A good coach will adjust the form to be more efficient or avoid injury. Unlearning muscle memory, and learning new patterns requires on-going observation and improvement.
Respect which creates an environment where people to admit when they are stuck or need help.
The sprint retrospective provides the venue for continually examining the team's performance. Teams should take this opportunity to critically and honestly review how they are working as a unit and ask how they can improve in the next increment.
The team should periodically review their documented working agreements (normative behaviors). Reviewing the agreements helps reground the team to their commitments and inform changes that need to be made.
Establishing clear and measurable performance objectives provides the team with a clear perspective on the progress.
For managers, shifting from a command-and-control style to being a servant-leader is hard. I have had managers ask, "what is my role if I am not providing direction or assigning work?" Empowering, delegating, coaching and mentoring require a great deal of trust and patience.
I often suggest the manager focus on outcomes rather than process. The team invariably develops its own solutions and methods. The team's approach will differ from the manager's. The manager should be satisfied as long as the team maintains its commitments to the customers and the enterprise.
Managers can use delivery commitments, velocity, and quality metrics to assess the performance. If teams are not meeting expectations, then managers can engage the Scrum Master and team in a constructive dialogue. What are the blockers and impediments? Often environmental or organizational factors are the real impediments.
When a manager initiates a performance conversation, it is not an invitation to step back into the old patterns. Rather, it is an opportunity to practice new, servant-leadership skills.
In Scrum, the product owner plays a critical role. Many organizations struggle with this new and unfamiliar role.
The product owner has sole responsible for maximizing the value of the product being developed. The product owner represents all of the stakeholders, which requires business knowledge, leadership skills, and self-confidence.
Organizations adopting Agile must recognize product ownership as a foundational building block. To be successful, the product owner should have a clearly defined role and power within the organization. People with the right background, skillset, experience, and influence should be assigned these roles. In other words, the product owner should have both domain knowledge and political capital.
Governance and control are tied to process milestones.
Embrace the principle of incremental development and minimum viable product.
These enterprise changes will help align the governance and funding ecosystem to the Agile development mindset and values.
Agile and DevOps are primarily cultural and organizational transformation efforts. They require the unlearning of the old ways of working and adopting new ones. These changes don't come easily or quickly. For enterprises to be successful, they need to commit to an ongoing process that addresses these cultural and organizational changes.
⟵If Agile is Better, Why is Adoption So Low?


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Titan shed 6m x 6.9m (with double lined gyprock walls, air conditioned, ceiling fans, lighting & plumbing).
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And… a prime address, only minutes to parks, shops, tavern, cafes, State schools, and Jubilee Primary. Easy drive to Westfield Helensvale, the railway station, and the M1 motorway.


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Q: Migrating jquery slider code to js vanilla I'm using the slider on codepen at this link and I'm trying to migrate the jquery code to js vanilla.
I am not able to migrate if ($group.is(":animated")), is there any properties that allow me to check if an element is animated?
There is another snippet that I am not able to migrate and it is as follows:
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redpajama_set_name: RedPajamaStackExchange


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When the www.loan for bad credit bubble bursts, these firms deftly use their economic weight and political influence to secure rescue money and subsidies from the public purse, which then has to be refilled by the general public through tax hikes and spending cuts. Petersburg made the critical connection; no one raised the collateral dispute as evidence of a potential fatal flaw in Goldman We all knew the trigger had been poor subprime lending, but I noted that this had been part of a much broader erosion of standards throughout corporate and consumer credit markets. Furthermore, this
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James O. Coplien. "C++ Idioms" (EuroPLoP98).
 Gamma et al. Design Patterns: Elements of Reusable Object-Oriented Software (Addison-Wesley, 1994).
Worker::doWork() // DANG! we've recursed into our slot.
t->start(); // start(), not run()!
QObject *obj = new QObject(this); // WRONG!!!


Our goal is for you to be emotionally and spiritually strong enough to offer help and comfort to a broken world. Your social work courses will teach you both theory and practical skills for meeting the needs of individuals and communities, while your liberal arts classes will help you understand the physical, social, political, economic and personal environments of your future clients. In addition, you'll learn how to integrate your faith with all areas of your life, including your career in social work.


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NETBible KJV GRK-HEB XRef Names Titles Articles Arts Hymns ITL - draft
Ezra 4
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Opposition to the Building Efforts
4:1 When the enemies of Judah and Benjamin learned that the former exiles 1 were building a temple for the Lord God of Israel, 4:2 they came to Zerubbabel and the leaders 2 and said to them, "Let us help you build, 3 for like you we seek your God and we have been sacrificing to him 4 from the time 5 of King Esarhaddon 6 of Assyria, who brought us here." 7 4:3 But Zerubbabel, Jeshua, and the rest of the leaders of Israel said to them, "You have no right 8 to help us build the temple of our God. We will build it by ourselves for the Lord God of Israel, just as King Cyrus, the king of Persia, has commanded us." 4:4 Then the local people 9 began to discourage 10 the people of Judah and to dishearten them from building. 4:5 They were hiring advisers to oppose them, so as to frustrate their plans, throughout the time 11 of King Cyrus of Persia until the reign of King Darius 12 of Persia. 13
Official Complaints Are Lodged Against the Jews
4:6 14 At the beginning of the reign of Ahasuerus 15 they filed an accusation against the inhabitants of Judah and Jerusalem. 16 4:7 And during the reign 17 of Artaxerxes, Bishlam, 18 Mithredath, Tabeel, and the rest of their colleagues 19 wrote to King Artaxerxes 20 of Persia. This letter 21 was first written in Aramaic but then translated.
[Aramaic:] 22
4:8 Rehum the commander 23 and Shimshai the scribe 24 wrote a letter concerning 25 Jerusalem to King Artaxerxes as follows: 4:9 From 26 Rehum the commander, Shimshai the scribe, and the rest of their colleagues – the judges, the rulers, the officials, the secretaries, the Erechites, the Babylonians, the people of Susa (that is, 27 the Elamites), 4:10 and the rest of nations whom the great and noble Ashurbanipal 28 deported and settled in the cities 29 of Samaria and other places in Trans-Euphrates. 30 4:11 (This is a copy of the letter they sent to him:)
"To King Artaxerxes, 31 from your servants in 32 Trans-Euphrates: 4:12 Now 33 let the king be aware that the Jews who came up to us from you have gone to Jerusalem. They are rebuilding that rebellious and odious city. 34 They are completing its walls and repairing its foundations. 4:13 Let the king also be aware that if this city is built and its walls are completed, no more tax, custom, or toll will be paid, and the royal treasury 35 will suffer loss. 4:14 In light of the fact that we are loyal to the king, 36 and since it does not seem appropriate to us that the king should sustain damage, 37 we are sending the king this information 38 4:15 so that he may initiate a search of the records 39 of his predecessors 40 and discover in those records 41 that this city is rebellious 42 and injurious to both kings and provinces, producing internal revolts 43 from long ago. 44 It is for this very reason that this city was destroyed. 4:16 We therefore are informing the king that if this city is rebuilt and its walls are completed, you will not retain control 45 of this portion of Trans-Euphrates."
4:17 The king sent the following response:
"To Rehum the commander, Shimshai the scribe, and the rest of their colleagues who live in Samaria and other parts of Trans-Euphrates: Greetings! 46 4:18 The letter you sent to us has been translated and read in my presence. 4:19 So I gave orders, 47 and it was determined 48 that this city from long ago has been engaging in insurrection against kings. It has continually engaged in 49 rebellion and revolt. 4:20 Powerful kings have been over Jerusalem who ruled throughout the entire Trans-Euphrates 50 and who were the beneficiaries of 51 tribute, custom, and toll. 4:21 Now give orders that these men cease their work and that this city not be rebuilt until such time as I so instruct. 52 4:22 Exercise appropriate caution so that there is no negligence in this matter. Why should danger increase to the point that kings sustain damage?"
4:23 Then, as soon as the copy of the letter from King Artaxerxes was read in the presence of Rehum, Shimshai the scribe, and their colleagues, they proceeded promptly to the Jews in Jerusalem 53 and stopped them with threat of armed force. 54
4:24 So the work on the temple of God in Jerusalem came to a halt. It remained halted until the second year of the reign of King Darius of Persia. 55
1 tn Heb "the sons of the exile."
2 tn Heb "the heads of the fathers." So also in v. 3.
3 tn Heb "Let us build with you."
4 tc The translation reads with the Qere, a Qumran MS, the LXX, the Syriac Peshitta, and the Arabic version וְלוֹ (vÿlo, "and him") rather than the Kethib of the MT, וְלֹא (vÿlo', "and not").
5 tn Heb "days."
6 sn Esarhaddon was king of Assyria ca. 681-669 b.c.
7 sn The Assyrian policy had been to resettle Samaria with peoples from other areas (cf. 2 Kgs 17:24-34). These immigrants acknowledged Yahweh as well as other deities in some cases. The Jews who returned from the Exile regarded them with suspicion and were not hospitable to their offer of help in rebuilding the temple.
8 tn Heb "not to you and to us."
9 tn Heb "the people of the land." Elsewhere this expression sometimes has a negative connotation, referring to a lay population that was less zealous for Judaism than it should have been. Here, however, it seems to refer to the resident population of the area without any negative connotation.
10 tn Heb "were making slack the hands of."
11 tn Heb "all the days of."
12 sn Darius ruled Persia ca. 522-486 B.C.
13 sn The purpose of the opening verses of this chapter is to summarize why the Jews returning from the exile were unable to complete the rebuilding of the temple more quickly than they did. The delay was due not to disinterest on their part but to the repeated obstacles that had been placed in their path by determined foes.
14 sn The chronological problems of Ezra 4:6-24 are well known and have been the subject of extensive discussion since ancient times. Both v. 5 and v. 24 describe the reign of Darius I Hystaspes, who ruled Persia ca. 522–486 b.c. and in whose time the rebuilt temple was finished. The material in between is from later times (v. 16 describes the rebuilding of the walls, not the temple), and so appear to be a digression. Even recognizing this, there are still questions, such as why Cambyses (530-522 b.c.) is not mentioned at all, and why events from the time of Xerxes (486-465 b.c.) and Artaxerxes (464-423 b.c.) are included here if the author was discussing opposition to the building of the temple, which was finished in 516 b.c. Theories to explain these difficulties are too numerous to mention here, but have existed since ancient times: Josephus, the first century Jewish historian, rearranged the account to put Cambyses before Xerxes and replacing Artaxerxes with Xerxes (for further discussion of Josephus' rearrangement see L. L. Grabbe, "Josephus and the Reconstruction of the Judean Restoration" JBL 106 [1987]: 231-46). In brief, it seems best to view the author's primary concern here as thematic (the theme of opposition to the Jewish resettlement in Jerusalem, including the rebuilding of the temple and restoration of Jerusalem's walls) rather than purely chronological. In the previous verses the author had shown how the Jews had rejected an offer of assistance from surrounding peoples and how these people in turn harassed them. The inserted account shows how, in light of the unremitting opposition the Jews experienced (even extending down to more recent times), this refusal of help had been fully justified. Some of the documents the author employed show how this opposition continued even after the temple was rebuilt. (The failure to mention Cambyses may simply mean the author had no documents available from that period.) For detailed discussion of the difficulties presented by the passage and the various theories advanced to explain them, see H. G. M. Williamson, Ezra, Nehemiah (WBC), 56-60.
15 sn Ahasuerus, otherwise known as Xerxes I, ruled ca. 486-464 b.c.
16 map For location see Map5 B1; Map6 F3; Map7 E2; Map8 F2; Map10 B3; JP1 F4; JP2 F4; JP3 F4; JP4 F4.
17 tn Heb "And in the days."
18 tn The LXX understands this word as a prepositional phrase ("in peace") rather than as a proper name ("Bishlam"). Taken this way it would suggest that Mithredath was "in agreement with" the contents of Tabeel's letter. Some scholars regard the word in the MT to be a corruption of either "in Jerusalem" (i.e., "in the matter of Jerusalem") or "in the name of Jerusalem." The translation adopted above follows the traditional understanding of the word as a name.
19 tc The translation reads the plural with the Qere rather than the singular found in the MT Kethib.
20 sn Artaxerxes I ruled in Persia from ca. 465–425 b.c.
21 tc It is preferable to delete the MT's וּכְתָב (ukhÿtav) here.
22 sn The double reference in v. 7 to the Aramaic language is difficult. It would not make sense to say that the letter was written in Aramaic and then translated into Aramaic. Some interpreters understand the verse to mean that the letter was written in the Aramaic script and in the Aramaic language, but this does not seem to give sufficient attention to the participle "translated" at the end of the verse. The second reference to Aramaic in the verse is more probably a gloss that calls attention to the fact that the following verses retain the Aramaic language of the letter in its original linguistic form. A similar reference to Aramaic occurs in Dan 2:4b, where the language of that book shifts from Hebrew to Aramaic. Ezra 4:8–6:18 and 7:12-26 are written in Aramaic, whereas the rest of the book is written in Hebrew.
23 tn Aram "lord of the command." So also in vv. 9, 17.
24 sn Like Rehum, Shimshai was apparently a fairly high-ranking official charged with overseeing Persian interests in this part of the empire. His title was "scribe" or "secretary," but in a more elevated political sense than that word sometimes has elsewhere. American governmental titles such as "Secretary of State" perhaps provide an analogy in that the word "secretary" can have a broad range of meaning.
25 tn Or perhaps "against."
26 tn Aram "then." What follows in v. 9 seems to be the preface of the letter, serving to identify the senders of the letter. The word "from" is not in the Aramaic text but has been supplied in the translation for clarity.
27 tn For the qere of the MT (דֶּהָיֵא, dehaye', a proper name) it seems better to retain the Kethib דִּהוּא (dihu', "that is"). See F. Rosenthal, Grammar, 25, §35; E. Vogt, Lexicon linguae aramaicae, 36.
28 tn Aram "Osnappar" (so ASV, NASB, NRSV), another name for Ashurbanipal.
sn Ashurbanipal succeeded his father Esarhaddon as king of Assyria in 669 B.C. Around 645 B.C. he sacked the city of Susa, capital of Elam, and apparently some of these people were exiled to Samaria and other places.
29 tc The translation reads with the ancient versions the plural בְּקֻרְיַהּ (bÿquryah, "in the cities") rather than the singular ("in the city") of the MT.
30 tn Aram "beyond the river." In Ezra this term is a technical designation for the region west of the Euphrates river.
31 tn The Masoretic accents indicate that the phrase "to Artaxerxes the king" goes with what precedes and that the letter begins with the words "from your servants." But it seems better to understand the letter to begin by identifying the addressee.
32 tn Aram "men of."
33 tn The MT takes this word with the latter part of v. 11, but in English style it fits better with v. 12.
34 sn Management of the provinces that were distantly removed from the capital was difficult, and insurrection in such places was a perennial problem. The language used in this report about Jerusalem (i.e., "rebellious," "odious") is intentionally inflammatory. It is calculated to draw immediate attention to the perceived problem.
35 tn Aram "the treasury of kings." The plural "kings" is Hebrew, not Aramaic. If the plural is intended in a numerical sense the reference is not just to Artaxerxes but to his successors as well. Some scholars understand this to be the plural of majesty, referring to Artaxerxes. See F. C. Fensham, Ezra and Nehemiah (NICOT), 74.
36 tn Aram "we eat the salt of the palace."
37 tn Aram "the dishonor of the king is not fitting for us to see."
38 tn Aram "and we have made known."
39 tn Aram "the book of the minutes."
40 tn Aram "of your fathers."
41 tn Aram "discover…and learn." For stylistic reasons this has been translated as a single concept.
42 tn Aram "is a rebellious city."
43 tn Aram "revolts they are making in its midst."
44 tn Aram "from olden days." So also in v. 19.
45 tn Aram "will not be to you."
46 tn Aram "peace."
47 tn Aram "from me was placed a decree."
48 tn Aram "and they searched and found."
49 tn Aram "are being done."
50 sn The statement that prior Jewish kings ruled over the entire Trans-Euphrates is an overstatement. Not even in the days of David and Solomon did the kingdom of Israel extend its borders to such an extent.
51 tn Aram "were being given to them."
52 tn Aram "until a command is issued from me."
53 tn Aram "to Jerusalem against the Jews."
54 tn Aram "by force and power," a hendiadys.
55 sn Darius I Hystaspes ruled Persia ca. 522–486 b.c.
1 2 3 4 5 6 7 8 9 10 ALL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
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text:
Ireland beat Kenya by 4 wickets
World T20 Qualifier, Stormont, 4 August 2008
Scorecard Report Photos Video Audio Ireland Team Venue
The semi-final of the 20/20 World Cup Qualifier was played at 9:30 AM. If Ireland won, they would, as finalists in this Qualifying Tournament, be in the World Cup finals in England in June 2009. However, in four attempts, between 1996 and 2007, Ireland had never beaten Kenya in a limited overs match. Happily, today, that negative record came to an end. Kenya were bowled out for 67 in only 17.2 overs. In 15.4 overs in reply Ireland found themselves 49-6. Eventually a six off the first ball of the 20th over won the match for Ireland.
For the third successive match in this Tournament Ireland were unchanged and many in the Kenya team were familiar to Ireland. Ireland had won Section A and thus faced Kenya who were runner-up in Section B. It was surprising that they were runner-up, finishing second to Netherlands, having been beaten by them. In the other semi-final Netherlands played Scotland and beat them.
It was a sunny morning when Ireland won the toss and sent Kenya in on a pitch which had a touch of green. It turned out to be quite a bowlers pitch.
The wicket-keeper Ouma and K.Obuya were Kenya's opening pair. They faced Connell and Kevin O'Brien. Ouma hit a two off Connell's first ball and a four to long-on off the fourth ball. He skied the fifth ball to a square third man. Cusack, running in, dived low to take a very good two-handed catch. 6-1-6. Odhiambo, a newcomer to the match against Ireland, was next. He faced the first ball of O'Brien's over. In it he scored a single, saw Obuya nearly caught off a skier to mid-on, and then got out LBW himself off the last ball. 12-2-1.
Now came Tikolo, the captain and best batsman. He did, in fact, make the highest score, 13, the only other double-figure score was Odoyo's 10. In O'Brien's second over, the fourth of the match, the third wicket fell. Obuya skied to short fine leg where Connell did well to hold on to the ball so high did it go but, at least, he did not have to move. 15-3-7. Obando joined his captain and the best stand of the innings, a mere 12 runs, ensued. It came in 17 balls. After six overs fielding restrictions ended. In the seventh over, bowled by Connell, Tikolo hit a 4 to square leg. The fifth ball accounted for Obando. He skied over mid-on. McCallan turned, ran back to deep mid-on, judged the ball coming over his shoulder and then dived forward for a two-handed catch near the ground. It was a very outstanding catch. 27-4-0.
Odoyo was number six. In O'Brien's last over he hit a four to fine leg. Both Connell and O'Brien had now bowled their regulation four overs. Next to bowl were Cusack, who came on for the ninth over, and Botha who came on for the 10th. Botha's first ball had Tikolo LBW. 38-5-13. Next in was Aga. Aga snicked his first ball for four. His second ball went for five wides. In fact, only two wide balls were bowled in the innings. Aga faced only six balls for five runs and his stand with Odoyo was worth 10 runs in seven balls. The second ball of Cusack's second over bowled Aga off stump. 48-6-5. Two balls later Kamande was also bowled. 48-7-0.
Suji played out a double wicket maiden. In the 12th over, Botha's second, 50 came up. Johnston replaced Cusack for over 13. Cusack had figures of 2-2 in two overs. Botha continued and he, too, took two wickets in this his third over but, in his case, they came in successive balls. Suji took a single off the second ball. Odoyo played over the fourth ball and was bowled, middle stump. 57-8-10. Odoyo was in for seven overs faced only 16 deliveries. Ongondo's first ball bowled him. 57-9-0. Botha was now on a hat trick.Varaiya survived the hat trick ball which was the last of the over.
The last pair, Suji and Varaiya, hung on very well. They lasted for 21 deliveries and scored 10 runs. Cusack bowled the 15th over for one run, replacing Johnston who had only bowled a single over. The 16th over was Botha's last. Johnson returned for Cusack bowled over number 17. The captain McCallan introduced himself for over 18. Varaiya was now facing. He played the second ball into the legside. A run was attempted but Porterfield's throw to Niall O'Brien easily ran out Suji.
The innings lasted 17.2 overs and 71 minutes. Ireland used six bowlers with Connell, O'Brien and Botha bowling their four over quota. Botha took 3-20 and Cusack, in three overs, 2-3.
Ireland started their innings just after 11 AM with Porterfield and Wilson. Both were out by the end of the third over. Odoyo, quickish medium, started and bowled two wides. The tall Ongondo, also quickish medium, bowled a maiden to Wilson. Off the first ball of Odoyo's second over, Porterfield was caught by Tikolo at second slip, one-handed low to his right. 2-1-0. Niall O'Brien scored a single off his second ball. The last ball of the over was hooked by Wilson. Suji, at short leg, turned, ran and caught the ball in a diving action as it came over his shoulder. Another excellent catch. 3-2-0.
Botha came in and hit the first boundary in the fifth over, a square cut off Odoyo. Only 10 runs were on the board after five overs. Aga, another quickish medium bowler, was on for over seven. Botha hit a four to extra cover. 20 were up in the eighth over. The ninth over, bowled by Aga, was a maiden to Niall O'Brien. Suji replaced Ongondo for over 10. It was the most expensive over of the innings. The first ball went for five wides. Then Botha hit three successive twos, one high over deep extra cover, who running back, dived, but could not make the catch. 12 runs in this 10th over and the score was now 35. Accordingly, 33 were needed in the remaining 10 overs.
Suji only bowled one over. Kamande, off spin, replaced him for over 12. His fourth ball bowled Botha, who drove at it. 41-3-22. 22 turned out to be the highest score of the match and his 34 balls were the most faced and his two fours were the most hit. In fact he struck two out of three fours hit in all. White came in, scored a single and was out to the second ball of Aga's next over, the 13th. He hooked to fine leg where Veraiya ran in, dived and caught a low catch two-handed. This was the fourth very good catch of this match. 42-4-1.
Cusack came in, square cut a two, and lifted the next ball to square cover. Two wickets had fallen in four balls for Aga in his last over. 44-5-2. With Kevin O'Brien joining his brother, 24 runs were needed in 44 deliveries. The O'Brien brothers scored five singles in three overs. In this 16th over, the first to be bowled by Kamande, Niall O'Brien played an awful cut shot far from his body and was caught by Tikolo at slip. 49-6-11.
Johnston came in with 26 balls left and 19 runs needed. Suji returned for over 17 and nine runs came off it. Kevin O'Brien cut a three and later hit a four to extra cover. Kamande's last over cost four. Then Odoyo came back for his fourth over, the 19th, in place of Suji and this over also cost four. Suji had one over left and bowled the 20th over with two runs required. O'Brien hit the first ball for a straight six to end the match and put Ireland into the next days final. It also put Ireland into the World 20/20 Cup.
The Netherlands beat Scotland in the second semi-final. The two beaten semi-finalists Scotland and Kenya played off for 3rd place. which, in certain circumstances, might qualify the winners for the 20/20 World Cup. Scotland won that game easily.
Subsequently Zimbabwe confirmed its withdrawal from the World 20/20. That meant that Scotland did qualify for the Tournament. Ireland, as top qualifier, would be in the same Group as India and Bangladesh.
Chris Broad with the two captains
Peter Connell bowling for Ireland
Wilson congratulates Cusack for his catch
The face of concentration
The O'Briens appeal ...(©ICC)
... and are delighted when when Hair raises his finger
Obanda skies it ...
... and McCallan takes a great diving catch
Cusack removes Aga's off stump
Ireland celebrate Aga's wicket
Kamande loses his leg stump
Suji drives off the back foot
Botha bowls Odoyo
Then bowls Ongondo next ball
Suji drives Cusack through the covers
O'Brien takes a return throw
Wilson leaves the ball
Kenya celebrate the early wicket
Wilson top edges ...
... and Suji takes a good diving catch
Botha down on one knee driving
Obuya lets one get past
Botha tries to go over the top ...
... but gets away with it
Cusack cuts the ball
Kevin O'Brien drives
Trent Johnston pulls a short ball
Johnston congratulates Kevin O'Brien after he hits a six to win the game
Ireland captain William Porterfield.
Ireland's Trent Johnston.
P Connell KJ O'Brien AC Botha AR Cusack DT Johnston WK McCallan WTS Porterfield GC Wilson NJ O'Brien AR White R Strydom


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Q: Generics error "bound dismatch" using Spring SimpleJpaRepository i am using Spring data and when i try to create a bean of SimpleJpaRepository the compiler marks me an error. This is the code
@Bean
protected <domainClass, Long> SimpleJpaRepository<domainClass, **Long**> getSimpleJpaRepository(Class domainClass) {
    return new SimpleJpaRepository<>(domainClass, this.entityManager);
}

That Long i marked with * has the error: "Bound dismatch: the type Long is not a valid substitute for the bounded parameter  of the type SimpleJpaRepository"
However, when i write this i have no errors
 private SimpleJpaRepository<Client, Long> support = new SimpleJpaRepository<>(Client.class, this.entityManager);

So, i thought that Long probably was not implementing Serializable and that was the cause of the error, but with this last line i have no error so i assume that Long is actually implementing Serializable.
Do you know how i would have to do to make the generic method works? Thanks!

A: You are using Long as generic type name, and you also supply Long as concrete type. Change the names to something like this
@Bean
protected <DC, L> SimpleJpaRepository<domainClass, Long> getSimpleJpaRepository(Class domainClass) {
    return new SimpleJpaRepository<>(domainClass, this.entityManager);
}


The Arabidopsis Information Portal (Araport) is an open-access online community resource for Arabidopsis research. Araport integrates gene structure with public data from TAIR, UniProt, PubMed, BAR, EPIC-CoGe, and other sources and enables biologists to navigate from the Arabidopsis thaliana Col-0 reference genome sequence to its associated annotation including gene structure, gene expression, protein function, and interaction networks. Araport offers a single interface through which to access a wide range of Arabidopsis information. Araport produced and hosts an updated version of the annotation of the Arabidopsis thaliana Col-0 reference genome sequence, named Araport11 that includes splice variants computed with tissue-specific transcript assemblies from over 100 RNA seq data. Araport annotation will incorporate community curation facilitated through the Araport web site. Araport users can query and view gene structure data including ThaleMine (an Arabidopsis-specific instance of InterMine), and JBrowse. In ThaleMine, users can not only save results but manipulate them, visualize them, and expose them as web services.
In all, the Araport strategy exploits existing scientific computing infrastructure, adopts a practical mix of data integration technologies, and encourages its user community to contribute suggestions, data sets, web services, and software.
The Plant journal : for cell and molecular biology. 2017-02-01; 89.3: 789-804.
Plant & cell physiology. 2017-01-01; 58.1: e4.
Araport: the Arabidopsis information portal.
Nucleic acids research. 2015-01-01; 43.Database issue: D1003-9.
The Plant cell. 2012-06-01; 24.6: 2248-56.
The Arabidopsis Information Portal is funded by a grant from the National Science Foundation (#DBI-1262414) and co-funded by a grant from the Biotechnology and Biological Sciences Research Council (BB/L027151/1).


Touch the rustic charm and feel the chic spirit of rural Ibiza.
It's in the countryside and interior of the island of Ibiza, in Santa Agnes, that travellers will find the Hotel Rural Es Cucons, a refuge of absolute charm for everyone who loves contact with nature, peace and romance.
This hotel is the result of the renewal of a magnificent country house, dated from 1652, and is the fruit of the owners' desire of creating a place full of tranquillity, in harmony with the environment, with a rustic feel and a chic detailed interior design.
The rooms and suites have a personalized and individual touch, in the decoration as well as in the architecture, and regional materials were used. The restaurant with terrace offers a creative Mediterranean gastronomy, lighter during the day and more elaborate at night, romantically accompanied by candle light and selected music.
In the gardens you may enjoy the swimming pool surrounded by tempting and comfortable beds, while you savour a refreshing juice or cocktail. You may also surrender yourself to the hands of the masseuse or discover your inner equilibrium in Yoga and meditation classes with a view of the countryside.
Wherever you go, you'll find varied art by artists who live on the island, be they nationals or foreigners. If you fall in love with some of these paintings or sculptures, pieces of furniture or exclusive lighting, you will be able to buy them and take a little of the unforgettable spirit of Es Cucons with you.
From de airport follow directions to Ibiza - Sant Antoni. On this road drive towards the village of San Rafael and then follow on to Santa Agnes.
Drive for 6 to 7 km, passing through Forada, and 1 km from Santa Agnes you will reach a crossroad (with the village straight ahead).
Turn left to Sant Antoni and after 800 meters you should turn into a small road to Cami des Pla de Corona. After about 1 km you should arrive at the hotel, with a car park on the left side and entrance on the right.


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LinkDDL.com
Keyword Analysis & Research: mr cooper payment issue
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How much does Mr. Cooper pay?
In December 2020, Mr. Cooper agreed to pay a $91 million settlement for allegedly violating consumer protection laws between 2012 and 2015.
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Mr. Cooper is a standard mortgage lender in that they offer home purchase loans and refinance loans. This has made them a top-20 home loan lender in the nation.
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Nationstar Mortgage is now officially Mr. Cooper. Nationstar's massive rebranding, which HousingWire first reported back in December 2015, became official on Monday morning, with the nonbank dropping the Nationstar name and becoming Mr. Cooper.
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At the webpage, it is shown that the Mr Cooper customer service telephone is 888-480-2432. Whilst the note below the amount, it is possible to earn a telephone at the working time.
Search Results related to mr cooper payment issue on Search Engine
Payment Information Center | The Mr. Cooper Blog
mrcooper.com
https://www.mrcooper.com/blog/2021/05/03/payment-information-center/
May 03, 2021 · A payment processing issue at our electronic payments vendor triggered multiple requests for funds from a number of Mr. Cooper customers' accounts. Was Mr. Cooper or my account hacked? No. This was a payment processing transaction error and neither your bank account, nor Mr. Cooper's systems or accounts were compromised.
Mr. Cooper Payments and Payment Methods
https://www.mrcooper.com/support/payments/payment_methods
Western Union can ensure your payment is sent and received on the same day. Just check their website or call 800-325-6000 to find your nearest location. When you arrive at Western Union, you'll be asked to complete a Quick Collect form. Be sure to include your name and loan number. You'll also need this information: Pay To: Mr. Cooper Code: MRCOOPER
Mr. Cooper Takes Rapid Action to Reverse Invalid Payments
https://finance.yahoo.com/news/mr-cooper-takes-rapid-action-002100851.html
Apr 28, 2021 · On Saturday April 24, 2021, Mr. Cooper discovered that its electronic payments vendor, ACI Worldwide, inadvertently issued incorrect mortgage payment drafts while conducting a test of their system.
Statement by CFPB Acting Director Dave Uejio on Mr. …
consumerfinance.gov
https://www.consumerfinance.gov/about-us/newsroom/statement-by-cfpb-acting-director-dave-uejio-on-mr-cooper-unauthorized-withdrawals/
Apr 27, 2021 · APR 27, 2021. WASHINGTON, D.C. – Today Consumer Financial Protection Bureau (CFPB) Acting Director Dave Uejio issued the following statement in response to apparent unauthorized withdrawals made by a mortgage servicer, Mr. Cooper. Unauthorized duplicate-payment drafts by Mr. Cooper appear to have resulted in hundreds of thousands of …
Mr. Cooper Withdraws Mortgage Payments Without
classaction.org
https://www.classaction.org/news/mr.-cooper-withdraws-mortgage-payments-without-authorization-class-action-claims
May 08, 2019 · In April 2019, the case continues, Mr. Cooper withdrew an amount the plaintiffs believe to be a full month's mortgage payment just one day after initiating a transfer for the previous month's second payment. The unauthorized transfer caused "a ripple effect" that resulted in at least three overdraft fees, the case alleges.
Local homeowners shocked by thousands in unauthorized
riverheadlocal.com
https://riverheadlocal.com/2021/04/24/local-homeowners-shocked-by-thousands-in-unauthorized-mortgage-payments-withdrawn-from-their-bank-accounts/
Apr 24, 2021 · Homeowners across the country, including eastern Suffolk County, woke up to a shock this morning when they learned their mortgage servicing agency had withdrawn multiple payments from their checking accounts overnight. Payments to the Texas-based mortgage servicing company known as Mr. Cooper left checking accounts overdrawn and people …
Mr. Cooper To Issue $90 Million In Refunds To Settle
mfi-miami.com
https://mfi-miami.com/2020/12/mr-cooper-to-issue-90-million/
The nation's largest nonbank servicer of mortgage loans will pay a civil penalty of more than $6.5 million. The lawsuit alleged the company violated the rights of over 115,000 customers whom it had illegally foreclosed on. Mr. Cooper then known as Nationstar bought thousands of mortgages on the secondary market. The lawsuit filed by the CFPB.
finder.com
https://www.finder.com/mortgages/mr-cooper-mortgage
toploanmortgage.com
https://toploanmortgage.com/articles/mr-cooper-mortgage-review-formerly-known-as-nationstar/
housingwire.com
https://www.housingwire.com/articles/41047-nationstar-no-more-nonbank-is-now-officially-mr-cooper
mrcoopermortgage.website
http://mrcoopermortgage.website/mr-cooper-customer-service-phone-number/


text:
Amy Poehler/Charlie Grandy NBC Comedy Pilot Casts Nico Evers-Swindell, Tim Baltz
Fox's 'Game Of Talents' To Be Paired With 'The Masked Singer'; New Variety Show Gets Premiere Date, Promo
February 9, 2016 8:45am
Rex/Shutterstock/ El Centro Management
Nico Evers-Swindell (Grimm) is set as the lead in NBC's untitled royal family comedy pilot (aka Dumb Prince) written by Charlie Grandy and executive produced and directed by Amy Poehler. Co-starring in the pilot, from Universal TV and Poehler's Paper Kate Prods. is Tim Baltz (Drunk History), with Jessie Ennis (Veep) also cast.
Primetime-Panic
Your Complete Guide to Pilots and Straight-to-Series orders
The comedy is set in the country of Modaria, known for
the manufacture of mopeds and tiny cars, where the Faber family has ruled for generations. Evers-Swindell will play Prince Karl (known as The Dumb Prince –not affectionately) who returns home from a year's exile in America after having passed out at the coronation of his seemingly hapless father, King Adrian. Baltz will play Prince Marco, the second son of Modaria's ruling family, and Ennis will play Princess Jana, the youngest child of the royal family.
Poeher, Dave Becky, and Brooke Posch executive produce with Grandy.
This is not Evers-Swindell's first royal leading role — he also played Prince William in the 2011 Lifetime movie William & Kate. He is with Gersh and Authentic.
Baltz, repped by ICM Partners, Jordan Tilzer at El Centro, and Lichter Grossman, is currently shooting Bazillion Dollar Properties for Seeso. He will next be seen in Mascots, the Christopher Guest-directed feature for Netflix. Ennis is repped by UTA and Underground.
Charlie Grandy
Nico Evers-Swindell
Tim Baltz
9 Richard Lindheim Dies: TV Executive & 'The Equalizer' Co-Creator Was 81
10 India's 'Master' Has A Blast In Global Debut; 'Soul' Now China's No. 3 Pixar Pic - International Box Office


text:
My recipe
Clip sachet
About Ubena
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Veal tenderloin in puff pastry with aromatic herbs
Pork roast with cinnamon
Pumpkin soup with orange and coconut milk
Panzerotti
Baked vegetables with aromatic herbs
Pasta (Penne) with vegetable ragu
Bruschetta with tomato and olives
Pancakes with cream
Stuffed courgette flowers
Fuchs Group


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Diego Maradona: Burj Khalifa Lights Up In Loving Memory Of Legendary Footballer
Legendary footballer Diego Maradona passed away earlier this week, leaving a timeless void in the sports world. The 1986 World Cup winner and the Argentinian team's former manager had been in hospital in Buenos Aires following a major surgery to remove a blood clot from his brain earlier this month. While he was being treated for alcohol dependency, his sudden demise came as a shock to his fans across the world. As tributes poured in from around the globe, Dubai's skyscraper Burj Khalifa was also lit up in Maradona's loving memory. The same was posted on Burj Khalifa's official Twitter handle.
نضيء #برج_خليفة الليلة لنستذكر مسيرة النجم الاستثنائي دييجو مارادونا الذي رحل عن عالمنا#BurjKhalifa pays tribute to the legendary #DiegoMaradona. May his soul rest in peace. pic.twitter.com/aePQtwIpKZ
— Burj Khalifa (@BurjKhalifa) November 27, 2020
The tower was lit with legendary pictures of Maradona from his heydays of being the best footballer in the world, with 1960-2020 written below the images. Several spectators arrived to get pictures with and of the Burj Khalifa. The Argentine Football Association made the announcement on Twitter, writing, "The Argentine Football Association, through its president Claudio Tapia, expresses its deepest sorrow for the death of our legend, Diego Armando Maradona. You will always be in our hearts." Soon after, the Argentine president declared three days of national mourning.
Coolie No 1 Trailer: Please Forgive Them, Govinda
His successful career made him a global star and the national hero of his home country. There were many who looked up to Maradona and admired his passion for football. Celebrities from Pakistan, Bollywood and Hollywood also paid homage to the 60-year-old late player, who was seen as a role model to his fans. From Shah Rukh Khan and Priyanka Chopra to Ranveer Singh and Kareena Kapoor Khan, artists condoled the death of the star footballer. SRK – who has previously confessed his undying love for the sport – mourned Deigo's death in a heartfelt Twitter post. "Diego Maradona, you made football even more beautiful. You will be sorely missed and may you entertain and enthrall heaven as you did in this world. RIP," he wrote. Previously, the Burj Khalifa was also lit up to celebrate King Khan's birthday.
Bano Qudsia: Google Doodle Pays Tribute To Legendary Pakistani Novelist


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Agewyz Podcast Archives
If you like what you hear please take a moment to show your support by posting a comment on the episode page. Thanks for listening!
Episode 186: VIP Care Management With Sonja Kobrin
Geriatric Care Manager Sonja Kobrin was in her twenties when she began caring for the grandparents who raised her. She had no help and was traumatized by the experience, but it informed her approach years later, when she cared for the biological father who had been...
Brent Wright is one of 64 million sandwich generation Americans who simultaneously cared for an aging parent and his kids, all under the same roof. What made their setup unusual? His mom moved in with Brent and his husband, Sandis, plus their two daughters. Brent...
Autism Village Founder Topher Wurts
One in 68 children born in the US today is diagnosed as being on the autism spectrum. The vast majority of them are being raised by single moms, and boys make up roughly three-quarters of those diagnosed. Faced with these and other alarming statistics, Topher...
Episode 184 – Shaista Kazmi: Serving Elderly Ethnic Minorities
Michigan resident Shaista Kazmi has firsthand knowledge of the isolation and guilt felt by millions of family caregivers. But as a Pakistani Muslim, she's had the added challenge of finding culturally competent home health aides for her elderly family members. To help...
Episode 183 – Suzanne Garber: Unraveling Global Healthcare
Single Payer, Medicare For All, Universal Healthcare - as these phrases get tossed around the presidential debate stage we get real with Suzanne Garber, whose documentary film, "Gauze: Unraveling Global Healthcare" compares and contrasts healthcare systems around the...
Episode 182 – Cynthia Lim: Carving a New Path After Loss
LA resident Cynthia Lim, author of the book, "Wherever You Are: A Memoir of Love, Marriage and Brain Injury," returns to the show a year after our first interview to talk about how her life has changed since the death of her husband, Perry. Retired from working in...
Jana's Story
Every caregiver has a story. Get the first 30 pages of Jana's story, "Scattered, My Year As An Accidental Caregiver" for FREE!
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Interview: Doug Borwick Keynote Speaker at the Central Oregon Arts Summit
by Brianna Brey
On Monday, Oct. 6, Bend will host the first Central Oregon Arts Summit, a product of the Oregon Arts Commission and the Arts and Culture Alliance's collaborations.
The summit is open to individual artists, arts supporters, arts-related businesses and volunteers, as well as staff and board members of nonprofit organizations. The keynote speaker, Doug Borwick is the author of the game changing academic guidebook, "Building Communities, Not Audiences: The Future of the Arts in the U.S." Borwick was the President of the Board of the Association of Arts Administration Educators and for nearly 30 years was Director of the Arts Management and not-for profit management programs at Salem College in Winston-Salem, NC. He touts himself as "over-educated in the arts" with a Ph.D. in composition from the Eastman School of Music. His theories on the state of arts organizations nationally, come from his long experience in the field, and assert that arts began as an expression of community, but during a long historical progression the two have grown dynamically apart.
gardfoundation.org
"It's time to bring them back together," said Borwick in an interview with the Source. "My fundamental thesis is that the arts establishment, basically the non-profit arts industry, has been, for a good deal of time separated from the person the street. It has to do with history, sociology and economic factors. As we look into the 21st Century, the model upon which that industry has been built is not a sustainable one. My role is two-fold. To advocate for closer connections between arts and communities in which they exist and also on the side of the art industry, to provide training and skills in how to do that."
Below is more of our interview with Borwick that didn't make it into the print edition of the newspaper.
Source Weekly: "Tell me about Building Communities, Not Audiences: The Future of the Arts in the U.S." and about how you came to write the book?
Doug Borwick: My fundamental thesis is that the arts establishment, basically with the non-profit arts industry, has been for a good deal of time, separated from the person the street. It has to do with history sociology and economic factors. As we look further into the 21st Century, the model upon which that industry has been built for a long time is not a sustainable one. My role is two-fold. To advocate for closer connections between arts and the communities in which they exist, and also on the side of the art industry, to provide training and skills in how to do that.
I'm a product of the arts establishment, and coming up no one talked to me about if this it was a good idea or how to do it. There are folks interested in this kind of work, but they don't know where to begin.
SW: In your arts philosophy you say that, "Communities should not be seen as a collection of market segments to be tapped in an effort to sell tickets or extend reach; they should be seen as indispensable partners in improving lives." Is this what you mean when you talk about arts making an authentic connection vs. an inauthentic one with the community?
DB: The way I describe it is community engagement—although, there's some misconception about that in the arts community—it is a mission strategy rather than a marketing strategy. It's the fundamental view of the arts organization as a contributor to the well-being of the life of the community.
Given the way the industry has evolved, there has been a tendency to think arts institutions are all about art and this has lead to a word I invented, artcentricity, meaning it's about art and if someone from the community would like to take advantage, I'm for that, but what I'm about is Beethoven Sonatas or fill in the blank depending on the discipline. My work is getting people to understand or perhaps convince them there is no such thing as art for arts sake.
SW: How do DIY arts organizations and movements play into your theory as they seem to be directly connected with communities, borne from the heart of them?
DB: I've done work around arts entrepreneurship with individuals, and the more an artist can imagine him or herself as a participant in things that are important to the community, the more options there are for them. Rather than sitting alone, waiting for a sponsorship to shower them with money, they can create ne opportunities for themselves.
SW: Can you give bullet points of how a small arts community can mend gaps and work together to support each other's organizations rather than competing for limited arts funding and support?
DB: In small and major cities, people think there's a small pool of money for the arts and I've got to get my share. It becomes a circular firing squad. But the effect the potential for collaborative work in the arts is really quite significant, and I think one of the things that is a new thought sometimes, is that working with communities provides access to sources of funds that have never been available before.
For me, it begins with a mindset that I want to be of value to people, to even the person on the street, as opposed to abstract expert. In reaching people at the point where you have that passion, then we can talk about at what point do the depth of work that is important to me meet the needs and interests and values of people who may not have been there before. There are lots of ways to do that.
When we are thinking of community, that doesn't mean we're talking about American Idol all the time. It does mean not talking down to people who don't have a background in the arts, and learning about them enough so the things I know and things I have been trained in can be applied in ways that really are meaningful for them. That really is the fundamental premise.
SW: Why do you see the the current model for arts funding as unsustainable?
DB: The big reasons have to do with economics and demographics. The arts are a labor intensive industry. There was a book written in late '60s, early '70s that said, "It will always take four musicians to play a string quartet." As labor becomes more expensive as it will inevitably, art can't improve productivity through technology like other industries. The arts industry is going to be more and more and more expensive as time goes by, and there is no way around that, at least not in mega trends terms.
In addition, while we do have increasing income inequality in this country, the amount of the change is not keeping pace with that increase money to sustain the industry. There's a disconnect, wealthier people are not as avid supporters of the arts as the people in the mid-20th century.
That's one side of the equation. The entire not-for-profit field is growing at an incredible pace, something like a 50 percent increase every 5-10 years. All those organizations are competing for funds, so traditional approaches to fundraising are becoming a problem.
[Traditionally in this country, high-art] has derived from European elite tradition of 18th and 19th centuries. When we arrive at a point where less than half the American population is form that cultural tradition, there's not an automatic link to that art and so arts organizations need to be aware of and respond to that change.
Hear Doug Borwick speak at the Central Oregon Arts Summit
Riverhouse Convention Center, 3075 Hwy 97.
$50 (fee includes box lunch).
Brianna Brey


A new survey by rate comparison site Ratehub.ca has found that many Canadians are still unclear about how insurance works when it comes to cannabis.
The study asked more than 1,200 Canadians questions about liability in cannabis production and insurance.
The survey found that 78.76% of homeowners and 59.44% of renters do not believe their homeowners' or renters' insurance would cover cannabis growing-related damages. Meanwhile, 5.0% of landlords believe their insurance policy will have to pay for their tenant's cannabis growing-related damages, while 28.0% think their policies should not, and a considerable 57.0% say they do not know.
People also seemed split on whether legalization would cause their home and insurance premiums to increase, the survey revealed; 32.56% said their insurance premiums will definitely rise after legalization, while 27.04% said they will not, and a good 40.40% said they do not know.
Ratehub senior business unit manager Matt Hands told Huffington Post Canada that while everyone in the cannabis industry has an opinion on where policies will go following legalization, insurers are not taking the initiative to educate consumers.
"That's where that uneasiness and that unknowingness is coming from the survey respondents we're talking to, so that's the general consensus we're getting — they just wish their insurance providers would be a bit more forthcoming with them with what's going on," Hands said.
69.58% of Canadians believe that getting caught while high on cannabis affects auto insurance premiums.
74.36% of the respondents said that drivers caught while high should be penalized similarly to those caught driving drunk.
80.24% of survey participants said they are not planning to grow cannabis at home.


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The Best of the Specials & Fun Boy Three is an album by Neville Staple comprising new recordings of the greatest hits of The Specials and Fun Boy Three, released in 2006.  The album is simply a reprint of the 2000 album Ghost Town - 13 Hits of The Specials and Fun Boy Three, which had already been reissued as The Very Best of The Specials and Fun Boy Three.

Track listing
"Our Lips Are Sealed"
"Man at C&A"
"A Message to You Rudy"
"Rude Boys Outa Jail"
"Leave It Out"
"You're Wondering Now"
"Running Away"
"Ghost Town"
"T'Ain't What You Do It's the Way That You Do It"
"It's You"
"Gangsters"
"The Lunatics (Have Taken Over the Asylum)"
"Too Hot"
"Ghost Town" (Chemical Submission Mix)
"Our Lips Are Sealed"

2006 compilation albums
Fun Boy Three albums
The Specials compilation albums

redpajama_set_name: RedPajamaWikipedia