text:
Q: Where is BuildConfig.DEBUG? My project doesn't seem to be aware of this new constant that's apparently auto-generated in Android Tools r17 builds:
"Added a feature that allows you to run some code only in debug mode. Builds now generate a class called BuildConfig containing a DEBUG constant that is automatically set according to your build type. You can check the (BuildConfig.DEBUG) constant in your code to run debug-only functions such as outputting debug logs."
I've confirmed that this class is not being auto-generated anywhere in my project by the new tools. I deleted all project outputs (including all gen folders) and rebuilt, and only R.java classes are being generated.
Why are the tools not generating the BuildConfig class? It may be relevant that I'm using IntelliJ.

A: IntelliJ Idea now supports generating of BuildConfig in newest EAP
Relevant links:
http://youtrack.jetbrains.com/issue/IDEA-83336
http://confluence.jetbrains.net/display/IDEADEV/IDEA+11.1+EAP

A: IntelliJ doesn't generate the BuildConfig java and class files.
I assume this function is provided by the ADT plugin for Eclipse, and isn't a part of the SDK tools/common build stuff.

A: I've just checked. It is generated here (in all your projects):
gen/package_name/BuildConfig.java

And contains the following:
/** Automatically generated file. DO NOT MODIFY */
package package_name;

public final class BuildConfig {
    public final static boolean DEBUG = true;
}

A: IntelliJ apparently doesn't support generation of this file. I use IntelliJ to edit my code but ant to compile it, and the BuildConfig stuff is being generated for me. So you could either wait for IntelliJ to produce an update which generates BuildConfig or switch to ant for compilation.

redpajama_set_name: RedPajamaStackExchange


TOKYO -- Cancer is poorly understood. Researchers are doing their best to change that.
Recent studies show that cancer cells that can adapt to changing environments thrive. These findings are expected to change the way cancer is diagnosed and patients are treated.
Pancreatic cancer affects many people, the majority of whom are diagnosed when it is already too late.
Most people who get pancreatic cancer are diagnosed when it is already too late. A group of researchers from Japan and the U.S. in 2013 called the process of a cancer's beginning, growth and metastasis "Darwinian evolution."
"We studied how a tumor grows and spreads, with a focus on gene mutation, and created a model," said Shinichi Yachida of Japan's National Cancer Center, one of the researchers. "It was similar to Darwin's theory of biological evolution."
The model was based on a 2010 paper Yachida published in the journal Nature with colleagues at Johns Hopkins University, where he worked at the time. They removed tumors from deceased pancreatic cancer patients in their pancreas, as well as those that had spread to the lungs, liver and peritoneum. The group then studied how some 20,000 genes changed compared with normal cells.
Cancer occurs when normal cells mutate and damage genes because of factors such as diet, ultraviolet radiation and aging. The researchers hypothesized that they may be able to track the growth of cancer based on gene mutations.
The group found two phenomena in gene changes: those at primary sites, pancreas, as well as at metastatic sites -- other parts of the body to which the cancer spread; and those only at metastatic sites. The primary site group includes such mutations as KRAS and P53. One patient was found to have had more than 30 mutations. In the metastatic sites, the genes undergoing mutations increased most in the peritoneum, followed by the liver and then the lungs.
Mutations are more common farther from the center of tumors, the researchers found. Cancerous cells on the outside of tumors are more similar to mutated cells in other parts of the body.
"Our theory is that cells in the pancreas mutate separately and undergo repeated divisions," said Yachida. "Those cells that have mutated in a way that enables them to thrive even with low levels of oxygen and nutrients survive and proliferate in other organs." This process is similar to Darwin's evolution theory, in which species that adapt to the environment survive.
Scientists have in the past proposed ideas of cancer's evolution. Bert Vogelstein in the 1980s suggested a theory of cancer having a multistage nature. He argued that as cells undergo divisions, damaged ones accumulate and become cancerous in several stages. Ralph Hruban in 2002 proposed a similar theory for the pancreas, but there was no way to test the hypothesis at that time. Advancements in genetic analysis technologies since the mid-2000s enabled the breakthrough. The theories were proved correct by the researchers.
How does understanding cancer's evolution help diagnosis and treatment?
It will lead to the "development of early detection techniques, ways of assessing drug tolerance and predicting chances of recurrence," said Seishi Ogawa of Kyoto University, a kidney cancer expert.
Yachida's group computed the speed of pancreatic cancer growth based on the accumulation of genetic mutations of cells. They found that it takes more than a decade from the time of the first cell mutation to the development of an operable tumor measuring 1-2cm in the pancreas. "If the tumor can be surgically removed during this period, the five-year survival rate will increase about tenfold," Yachida said. The rate currently stands at around 5%.
Imaging technology is inadequate for diagnosis of pancreatic cancer in the majority of patients. Early detection may be possible by checking DNA with a blood test, he added.
One problem with treatment is cancer drug resistance. The ability to precisely determine the specific genetic mutations in cancerous cells would also enable physicians to identify drugs that do not work in particular patients, eliminating the unnecessary administration of medicine, Ogawa said.


Growing up in West Virginia, I am no stranger to moonshine. One of the very few times I ever saw my dad drink alcohol, he was sitting in his boat, in the garage, having a swig of moonshine out of a mason jar. That being said, when I decided to write this article, I called up my father to get me in touch with a real life moonshiner and posed the question "What is moonshine and how is moonshine made?"
Native Americans were producing liquor with native plants long before America was colonized. When the English settlers arrived, they began making moonshine as we know it today. Strict tax laws were put in place soon after, and shootouts weren't uncommon. This eventually led to the Whiskey Rebellion.
When states decided to prohibit the production and sale of alcohol, people were naturally unhappy. Federal prohibition severely backfired, and the moonshine business boomed.
NASCAR also got its start from the moonshine industry. Bootleggers were in charge of delivering the goods, and often had to outrun law enforcement and revenue agents in the process. During their free time, bootleggers would race each other, which led to the NASCAR franchise.
You may now be wondering, how do I make moonshine? To make traditional sour mash, corn-based moonshine, you will need equal parts spring water, sugar, and corn. After combining these in a mash barrel, yeast is added to begin the fermentation process, because ~science.~ The mash is stirred daily for a week until the fermentation process is complete. At this point, the liquid mash is separated from the corn.
We now move on to the distilling process. There are two types of stills: the copper pot still with a thumper and the reflux still. As the mash heats to a temperature of 170ºF, the alcohol vapors move through the system and into a worm, or cooling tower, that is surrounded by cool water. This converts the vapors to distilled liquor.
Traditional copper pot stills typically yield a proof between 80 and 100, whereas reflux stills will yield 150 to 180. To put this into perspective, Everclear, that liquor every college freshman is warned about, is bottled at 190 proof.
Before the mash reaches a boiling point of 212ºF, the distillation process is stopped. The distilled liquor is proofed by cutting it with spring water until the desired proof is reached on an alcometer.
The moonshine is now ready to drink straight as white lightening, or can now be mixed with fruit and fruit juices to get delicious flavors such as apple pie, cherry, or pineapple.
The top definition of moonshine on Urban Dictionary states, "Local police usually ignore moonshiners because 'they ain't hurtin' anyone.'" I asked my moonshiner if there was any truth to this and he said, "I've been asked several times, 'Have you ever sold to the police?' My answer is, 'No, you have to give it to them!'"
Side note: moonshine is illegal because you must obtain a license and pay federal taxes in order to make and distribute alcohol.
Bottom line, moonshine has been around longer than America. It will continue to be a supplemental source of income for many. I'm all about supporting a local business, but it is important to keep in mind that illegally made moonshine is not necessarily made to the same standards as store-bought. It has an extremely high alcohol content and should only be enjoyed in moderation.


A recent decision of the National Labor Relations Board provides employers with a reason to carefully evaluate disciplining employees who make negative comments about their company's products. Specifically, on 3/25/2016, the Eight Circuit Court of Appeals confirmed an NLRB decision that a Jimmy John's franchisee violated the employee rights of six employees when it fired them. The illegal terminations arose out of the Jimmy John's employees making public complaints about sick leave and tying those complaints to questions about restaurant food safety.
The franchisee, MikLin Enterprises Inc., fired six employees for participating in the publicity campaign. These employees claimed the company's policy on medical absences compromised the health of the workers preparing customers' sandwiches. At issue in the case was a flier that linked worker leave to public health risks. Specifically, union supporters took the dispute public by posting in and near MikLin restaurants fliers that pictured identical sandwiches side-by-side above a message "Can't Tell the Difference?" The flier further labeled one sandwich as being made by a healthy worker and one by a sick worker. The union supporters asserted that employees didn't get paid sick days and couldn't even call in sick. These policies put the public at risk, or so the argument went.
These terminations resulted in an unfair labor practice charge filing with the NLRB. An administrative law judge found the discharges violated Section 8(a)(3) of the NLRA. That section prohibits discrimination due to union activity, and Section 8(a)(1) prohibits interference with employees' NLRA-protected activity. The Board affirmed this decision in 2014, which was then appealed to the Eighth Circuit Court proceeding. MikLin Enterprises argued the employees had no legal right to make claims it considered false.
There was also evidence that the employees were told to report to work while sick.
Accordingly, the Court agreed with the NLRB that there was sufficient evidence to conclude the employees' claims about MikLin's leave policy weren't intentionally false or maliciously motivated.
Jimmy John's as a brand has taken a few unflattering hits in the last year on its employment policies. In one example, we covered it here, Jimmy John's franchise came under fire for requiring its low-wage sandwich makers and delivery drivers to sign non-compete restrictions. One concern we had about Jimmy John's use of non-compete restrictions for its sandwich and delivery is that rarely if ever should an employer have a "one-size-fits-all" non-compete policy.
Similarly, companies can't assume a blanket policy for disciplining employees who are critical of company products or services will be lawful. In fact, this opinion shows how much controversy surrounds whether employee rights should be given legal protections when it comes to disseminating negative publicity about their company's products. Accordingly, employers need to consider carefully whether such dissemination is protected activity.
For more information about investigating employee misconduct or responding to an unfair labor practice charge, contact employment attorney Jason Shinn.


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World 07/07/2019
Crimson Moon announce new album with "Godspeed - Angel Of Death" single release
Crimson Moon Archgoat Absu Demoncy All My Sins Debemur Morti Productions Black Metal Stream
American black metallers Crimson Moon are to release their new album "Mors Vincit Omnia" on August 30 via Debemur Morti Productions. Ahead of the release, the band has unveiled the single "Godspeed — Angel Of Death" from the upcoming LP.
The band's founder and leader Scorpios Androctonus comments: "'Godspeed — Angel Of Death' is a hymn towards the Destroying Angel, with sword drawn and dripping with gall... The omnipresence of death in a sonic soundscape accompanied with the guest vocals of Lord Angelslayer (Archgoat) and Proscriptor McGovern (Absu) that grants the obolus to the listener to embark on the journey towards the underworld."
Alongside Lord Angelslayer and Proscriptor McGovern, the album also features guest vocals from Ixithra (Demoncy) and Phaesphoros (Kawir, All My Sins) who in addition to mixing the record also performs wooden recorder. The cover art was created by Italian artist Daniele Valeriani, who previously collaborated with Dark Funeral and Lucifer's Child.
Read also: Review of All My Sins' single "Zov iz Magle"
"Mors Vincit Omnia" will be released on CD, vinyl, and digital. The album is available for pre-order in North America, Europe, and via Bandcamp.
Altars Of Azrael
Godspeed Angel Of Death
Upon The Pale Horse
Parcae — Trinity Of Fates
Mors Vincit Omnia
Funeral Begotten
"Mors Vincit Omnia" cover
← World

redpajama_set_name: RedPajamaCommonCrawl


text:
'Westworld' Review: Episode 7 Struggles to Introduce the Human Element of a Robotic War
Aaron Paul shines, even while dumping exposition with "an insane A.I." But Caleb's big reveal doesn't pay off, and neither does Dolores v. Maeve, round two.
Ben Travers
@BenTTravers
Aaron Paul in "Westworld"
John P. Johnson / HBO
[Editor's Note: The following review contains spoilers for "Westworld" Season 3, Episode 7, "Passed Pawn."]
Aaron Paul is staring directly into the camera. Tears are filling his eyes. But he isn't talking to the viewer. Not really. He's not really talking to anyone. The former "Breaking Bad" star is straining to convey the pain his "Westworld" character, Caleb Nichols, feels at this climactic moment. Finally, after weeks spent seeing flashes of a traumatic past, strapped to a chair, caught in a war, or holding a dying friend, Caleb is learning the truth: that the truth was erased from his mind and replaced with false memories. The traumatic thoughts he's struggled to reconcile weren't based on reality, but what a computer simulation said was best for a future reality. All his suffering was not only a lie, but a lie purposefully constructed by powerful people to keep him in line.
So horrified by what was done to him, what was kept from him, and why, Caleb can barely bring himself to recap what he's discovered — that he killed his best friend; that he did it because he had to, because his best friend was willing to kill him; that they were both ordered to kill each other by an app on their phones; that such a small, inhuman thing could tear apart a flesh-and-blood friendship; that they only knew each other in the first place because a computer deemed them "outliers" who were too unpredictable to go unregulated; that a computer, operated by a rich madman, was running the world.
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But he does. He recaps. He goes on and on, talking to Solomon, the giant orb housing a "schizophrenic" A.I that's been divulging secrets from his life. There's no acknowledgement of how silly such a discussion would seem to any outside party (aka viewers at home), and his clarity-providing spurts are a rather painful means to provide necessary exposition — both for Caleb and the audience watching — but at least there's a reason for him to say all this out loud. When you can't trust your own mind, giving voice to your thoughts could provide comfort; Caleb needs to speak the words, to put them into reality, in order to fully appreciate that they really happened.
Any appreciation of these weighty realizations comes from Paul, his slack jaw, and those glassy, untethered eyes. The three-time Emmy winner expresses such a raw reaction to such a dense upending of his character's reality, he's almost convincing enough to make you believe someone, anyone, could process all that so quickly. And yet, you know they can't because you, dear reader, were trying to do it at the same time. "Westworld" lays exposition on top of emotion in Episode 7, trying to make Caleb's long-awaited unmasking as affecting for the audience as it is informative, but there's simply too much there. When you're just trying to keep up with the bare-bones plot, with what every new bit of information means for what happens next, it's hard to devote a moment to Caleb's feelings, even when Paul is masterfully channeling so many of them into one mesmerizing look.
It doesn't help that Caleb's big reveal isn't all that surprising. Given the prominence placed on Francis (Paul's "Need for Speed" co-star Kid Cudi), it was obvious there was more meaning to the soldier than what was conveyed back in Episode 1. Honestly, I thought Francis and Caleb were in love, and that technically could still be true, but that Caleb killed the man he's been mourning is a knotty emotional twist that takes some untangling to appreciate. But the way "Westworld" blends it in with key plot points — that they were both "outliers," that Caleb went through "reconditioning therapy," that he was one of the few to survive it — means it's only later, upon reflection, that you can piece together Caleb's emotional puzzle. And that's only if you're invested enough to make the effort.
The way "Westworld" treats its characters like puzzles doesn't end with Caleb; after seven episodes, lots of chatter, and two big brouhahas, it's hard to fully understand why Maeve (Thandie Newton) and Dolores (Evan Rachel Wood) are fighting each other — and that's after an episode where they try to explain their rationales to each other. Maeve's daughter is being held hostage by Serac (Vincent Cassel), so Maeve has to kill Dolores to get her daughter back. Setting aside the fact that her daughter isn't real, she's just an idea put in Maeve's head that was then shipped off to a virtual world, the clearest path for Maeve to her goal is to do what Serac says (kill Dolores) and then find a way to kill Serac. She has to know Dolores is right — that as long as humans like Serac are controlling the hosts on earth, then Maeve will never be free anywhere else — but instead of explaining as much to Dolores, she just doubles down on the idea that Dolores is bad.
Evan Rachel Wood in "Westworld"
Courtesy of HBO
It's a narrow-sighted, unconvincing position to give Maeve, and Dolores' vague insistence on "a revolution" isn't much better. If she's really going to wipe out the human race, she's not the protagonist in this fight — not that there has to be a clear champion for audiences to root for. Complicated characters are great, but these two feel manipulated into a fight to a) serve a longterm goal (we'll find out their real motivations later), and b) provide a reason for a big robot battle.
Point B could be enough, too, if the fight itself wasn't hugely disappointing. Not only is the choreography a bit clunky, but the battle is based on a contradiction. When Dolores first approaches the compound, an extended assassination sequence shows just how precise her little drone gizmos can be — she can kill five guys with five shots right through their hearts without even being able to see them. But when Dolores and Maeve's remote weaponry tries to shoot them, the robots' shots always miss? What? Why? Because they're under a shack with a flimsy little roof? At one point, Dolores even lays on the ground outside the shack, and her robot assailant fires three shots a good five feet wide of its slowly rolling target. How can you introduce a battlefield with the idea that technology makes you vulnerable, no matter where you hide, and end it by showing that the same tech can't even hit Dolores in the chest when she's out in the open?
All this adds up to an episode trying to do a lot at once without doing any of it well. The action isn't as satisfying as it once was, tracing the plot continues to be more work than it's worth, and experiencing empathy for a character shouldn't require mental gymnastics. That Season 3's main characters all require post-episode homework to appreciate what they're going through points to a serious narrative misalignment. Instead of making Aaron Paul do all the work, maybe the "Westworld" team should've asked Solomon — or, you know, a sane A.I. — to chart a better course.
Grade: C-
"Westworld" airs new Season 3 episodes Sundays at 9 p.m. ET on HBO.
This Article is related to: Television and tagged HBO, TV Reviews, Westworld


Last night I happened to pass a junk shop last night in East London in a rather intoxicated condition, which is, of course, nothing particularly exciting. Though, looking through the crazy paraphernalia generally displayed in the shop window, I couldn't help noticing several stacks of 16mm film canisters. It has to be noted that such things always attract my attention, since I happen to be one of those people who tend to collect just about anything that could possibly have some creative value. Ogling these canisters I noticed that they happened to have such tags as 'Grand Prix Belgium 1982' 'Ferrari F1 reel' 'Grand Prix 1971' 'House of Stewart' and 'Manx TT'. You can probably imagine my surprise, excitement and disbelief at the same time. Had the pints I had earlier had such a devastating effect on my mind that I was now imagining film canisters apparently containing the holy grail of any serious motorsport collector; original film footage from the most exciting eras of motorsport, or could it actually, possibly, be reality?
So, obviously I was up at the crack of dawn to return to the shop and investigate.. Now comes the anti-climax: all the canisters were empty! When I asked the Cockney (i.e. East Londoner) what happened to the films inside he replied dryly: "They threw it all away".. Of course, at first I was perplexed and asked myself, why on earth would you do that? Giving it a second thought, I thought, not quite, knowing full well that many of the orginal East Londoners are generally fluent in speaking 'cack,' otherwise known as 'rubbish,' it occured to me that that just could not be possible. Taking another look at the labels for a few more clues, I noticed the words 'Brunswick films,' which rang a bell. Indeed, after a Google I found out it is one of the most comprehensive motorsport film archives around, based in London, providing footage for documentaries and even the upcoming film 'Rush' dramatising Niki Lauda's 1976 Grand Prix accident. Having digitalised vast amounts of their archive they probably had no use for the analog film and its canisters and disposed of it. With the canisters ending up in an East End junk shop. So, sadly no footage of 1970s Grand Prix racing, but being the businessman the junk shop owner was, he felt it necessary to offer me some 1970s 16mm 'gymnastics' films instead. "Well", I replied prudently: "I will stick to car footage, if you don't mind.." Ah well, still a lovely Sunday though!


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Cape Town, the Garden Route & Big Five Safari 2023
Cape Town, the Garden Route and Big Five...
Extraordinary South Africa
Experience one of Africa's most spectacular cities, some startling scenery, and the giants of the animal kingdom.
Join us for a perfect introduction to South Africa, one of the world's most beautiful countries, on an extraordinary-value tour crammed with unforgettable highlights. Relax in the sun-kissed surroundings of some of South Africa's finest vineyards, cross the arid plain of the Little Karoo, go in search of the Big Five in a private game reserve, then discover spectacular Cape Town in its glorious setting beneath Table Mountain and gaze out at rugged Indian Ocean-washed shores.
Four game drives in search of the Big Five
Ride Table Mountain's rotating cable car
Spend two nights in the privately owned Garden Route Game Lodge
Tour the beautiful Cape Peninsula
Visit the whale-watching town of Hermanus
Discover South Africa's Cape Winelands and beautiful Western Cape
Wine-tasting on a Franschhoek wine estate
See the extraordinary Cango Caves and visit an ostrich farm
Journey to Knysna, on the beautiful Garden Route
Take a cruise on Knysna Lagoon
Tour of Stellenbosch with included bubbly and nougat experience
A spectacular whale-watching cruise (September to November departures only)
Nine nights' bed and breakfast accommodation at hotels in Hermanus (1), Albertinia (2), Mossel Bay (2), Stellenbosch (1) and Cape Town (3 nights), plus two nights on the aircraft
Three lunches and four dinners
Return flights to Cape Town via Johannesburg
Comfortable, air-conditioned coach travel and transfers throughout
Day One – Fly to Cape Town
Fly from the UK, via Johannesburg, to Cape Town.
Day Two – Transfer to Hermanus
Upon arrival at Cape Town, meet your guide and journey east to Hermanus, a famous whale-watching centre from July to November and a year-round seaside resort. En route to Hermanus, you'll call at Stony Point, home to a unique colony of African penguins.
Departures between September and November will include a whale-watching cruise. Tonight, enjoy an included dinner at La Pentola, close to your hotel
Day Three – Included game drive at the Garden Route Game Lodge
This morning you'll journey to the Garden Route Game Lodge, in the heart of a privately operated reserve where you'll spend the next two nights. During your stay here, in the shadow of the Langeberg mountains, you'll enjoy all the wonders of safari game drives to see the Big Five (lions, rhino, elephants, leopards and buffalo) while staying in comfortable lodges and enjoying typical African dinners looking out over the reserve.
This afternoon, enjoy your first game drive, then perhaps enjoy a sun-downer beside the authentic Boma (camp fire) before dinner.
Day Four – Two included game drives
A second day at the lodge begins with a pre-breakfast game drive. Enjoy some free time for a siesta - perhaps by the pool - before setting off on a second evening game drive and enjoying another memorable dinner under the stars.
Day Five – Included visit to the Cango Caves and the Little Karo
Travel on to Oudtshoorn, the Ostrich Capital of the World, in the heart of the Little Karoo plain. The world's strangest, largest and often most-valuable bird has been farmed here for 130 years – first for its plumage, and more recently for its high-protein, low-cholesterol meat. Enjoy a taste at your barbecue lunch, before visiting the world-renowned Cango Caves, with their caverns of stalactites and stalagmites.
Day Six – Knysna Lagoon and the Garden of Eden
This morning, you'll travel to coastal Knysna for a cruise on the beautiful lagoon, which hugs the edge of the fascinating Featherbed Nature Reserve. After the cruise, you'll travel in a 4x4 up to the headland for some spectacular views, listening as your expert guide tells you about the local history, flora and fauna. A buffet lunch will be served at an outdoor restaurant under a picturesque canopy of milkwood trees.
After some free time to explore Knysna's charming waterfront, enjoy a guided walk around the Garden of Eden in the Harkerville Forest, before transferring to Mossel Bay for a two-night stay. Tonight, you'll enjoy a traditional South African barbecue.
Day Seven – Included Winelands tour and visit to Franschhoe
Head west into the verdant Cape Winelands region and to wine-producing Franschhoek for lunch (own account) and a wine tasting in the fabled Franschhoek Wine Valley, before continuing to Stellenbosch, deep in the heart of this scenic landscape.
With its oak trees and picturesque, European-style Cape Dutch houses, Stellenbosch is a delightful place to spend a night.
Day Eight – Included Stellenbosch and wineries tour
Enjoy a guided introduction of historic Stellenbosch, followed by a glass of bubbly and some local nougat. Lunch will be included in a wine estate.
This afternoon, you'll journey to Cape Town where you will spend the next three nights. The remainder of the afternoon and evening is at leisure to perhaps explore the Mother City, with its renowned Waterfront and cultural landmarks such as the Zeitz Museum of Contemporary Art Africa or vibrant Bo Kaap.
Day Nine – Included Cape Town city tour and Table Mountain
Meet your tour manager for an orientation tour of the city. You'll see historical landmarks like the Castle of Good Hope, the House of Parliament, and the leafy Company's Gardens. You'll also enjoy a stroll past the colourful Bo Kaap colonial district and, weather permitting, ascend Table Mountain in a rotating cable car that offers a 360-degree panorama as it climbs to the 1000-metre high summit. You will return to the hotel on time for lunch.
After the tour, you're free to relax in one of the world's most stunningly located cities. Why not take a stroll along the redeveloped Victoria and Alfred waterfront or catch a boat to infamous Robben Island, where Nelson Mandela was imprisoned?
Day 10 – Cape Peninsula tour and Kirstenbosch Gardens
Enjoy a fascinating full-day tour on which you'll visit treacherous Cape Point, where the Atlantic meets the Indian Ocean, Kirstenbosch, famous for its Botanical Gardens and Hout Bay, and – weather-permitting – breathtakingly scenic Chapman's Peak Drive.
Day 11 – Free time and return flight
Spend the morning at leisure before transferring to the airport for your overnight flight home via Johannesburg.
Day 12 – Arrive in the UK
You'll land back home this morning, at the end of a wonderful holiday in South Africa.
Cape Town, the Garden Route & Big Five Safari Touring Hotels for 2023
You will be staying in a series of comfortable hotels that are conveniently located for your tour itinerary.
Occasionally, for operational reasons, we may have to change the order of the excursions on your holiday. The final day-by-day itinerary will be confirmed on your Final Travel Documents, which you will receive approximately three weeks prior to your departure.
The transfer time from the airport to your hotel is approximately one hour.
A visa is not required for UK citizens travelling to South Africa, but your passport must be valid for six months beyond the date of entry to the country and have two adjacent blank pages. Special entry rules apply for children under 18 years.
Luggage allowance
You are permitted to take one suitcase per person on the aircraft, which should not exceed 23kg.
The majority of our tours involve a certain amount of walking, including a short walk from the coach stop to the town, attraction or venue you're visiting. If you are bringing a wheelchair, please let us know at the time of booking so that appropriate arrangements can be made. In many developing countries access is sometimes not as easy as at home. Should you have walking difficulties, getting around monuments and attractions may be harder and, in some cases, impossible. Should you have any concerns whatsoever please do contact us prior to travel.
Changes to your hotels
Should circumstances require, we reserve the right to accommodate you in alternative hotels, of a similar standard, nearby. Full details of your hotels will be sent with your Final Travel Documents.
In developing countries road networks are continually being improved and expanded, which can mean that, from time to time, roadworks and rough road surfaces can extend journey times. Some journeys are made on winding mountain roads and passes, which may also make for slow travelling - although the scenery is usually worth it! Many roads do not have separate pavements or safety barriers, and great care should be taken when crossing or walking alongside roads.
The hotels used on our tours will meet the standard of a good, three-star European hotel. Rooms will have private bathrooms, telephones and TV. The vast majority will also have tea- and coffee-making facilities. There will always be a bar or restaurant on site or nearby.
Marine Hotel, Hermanus (night 2)
Perched on top of the cliffs overlooking Walker Bay, this hotel has stylishly decorated rooms with magnificent views of the sea, and the mountains or the beautiful courtyard and gardens.
Garden Route Game Lodge, Albertinia (nights 3-4)
You'll find a host of wildlife, including the Big Five at this private game reserve. The lodge has a restaurant, bar, swimming pool and spa. The guest rooms are air-conditioned and have either a balcony or patio, tea- and coffee-making facilities, fridges and microwaves.
Ilita Lodge, Mossel Bay (nights 5-6)
This hotel boasts panoramic Southern Ocean views from its hill overlooking the Great Brak River. A sun terrace with sun loungers surrounds the pool. The guest rooms are air-conditioned, and have private balconies with sea views, seating areas and satellite TV. Each has a minibar. (On selected departures you will stay at the Premier Resort The Moorings, instead.)
De Zalze Lodge Hotel, Stellenbosch (night 7)
This Dutch vernacular style lodge stands opposite a golf course. It has a pool, a restaurant and a bar, and all the guest rooms have private facilities, TV and tea- and coffee-making facilities. (On selected departures you will stay at the Stellenbosch Hotel, instead.)
Bantry Bay Suite Hotel, Cape Town (nights 8-10)
This boutique hotel is situated in a prime seafront location. It has two restaurants, and offers accommodation in spacious suites with kitchenettes. (On selected departures you will stay in the Park Inn Foreshore, instead.)
Should circumstances require, we reserve the right to accommodate you in conveniently located, alternative hotels of a similar standard.


How to surprise new year to your love?
Any celebration, irrespective of the occasion, is incomplete without a cake. A cake has become a quintessential part of any and all celebrations. A cake needs to be cut. Cakes are sweet and they are perfect to celebrate any occasion. So, surprise your loved one and send them a cake. You can even choose for midnight delivery and it will be delivered as the clock strikes 12. Just imagine the look of surprise on their faces, totally worth it!
A flower, by itself might not be a great surprise, although a good one. You can complement the surprise of beautiful flowers. Only are flowers vivid in color, they also have fragrance which spread happiness and joy. So perhaps a bouquet of flowers might be a really great surprise, especially when you are miles away.
If you think that a cake and a bouquet of flowers do not suffice as a gift, you might want to consider a gourmet hamper. A gourmet hamper contains a variety of sweet eatables such as chocolates, toffees and cookies. This gift will not only be delicious and sweet but will also be a great surprise for your loved ones, it will be a gift they will love. And, if you're lucky enough, they might just save some for you when you return.


Student loan forgiveness is always the talk of the town. Earlier this year, US Congress authorized a $350M fund to improve the existing student loan forgiveness program. However, ~90% of applicants who applied for the temporary expanded public service loan forgiveness (TEPSLF) program have been denied. The Typical Student team learned what went wrong.
Why Are US Students Denied PSLF?
Many US student borrowers faced a situation when after over a decade of loan payments, they would learn they didn't qualify for the PSLF. This mostly happens because these students are enrolled in the wrong payment plan.
The main advantage of public service loan forgiveness (PSLF) is that specific not-for-profit and government employees can have their federal student loans canceled after a decade of on-time payments. However, the majority of borrowers are rejected for not fulfilling the requirements of the program.
What Are The PSLF Requirements?
Below you'll find the public service loan forgiveness requirements. In case a student borrower doesn't meet one of them, they can make changes to comply.
Student borrower must have federal direct loans.
Borrower's employer must be a government organization at any level, a 501(c)(3) not-for-profit organization or other type of not-for-profit providing public service.
By the end of the payment period, a borrower needs to have made 120 qualifying, on-time payments. These can be made either in an income-driven repayment plan, or the standard repayment plan.
Should Student Borrowers Wait For Improvements In the System?
This year's fix to the program implemented by the Congress, was meant to help people who had been "denied the loan forgiveness simply because they had been repaying their debt in a disqualifying plan." So, the program basically gave them a second chance to have their debt canceled. However, the fix has proved to have too many imperfections. As told by CNBC, the government are working to make necessary improvements to help more students with their debt.


There is nothing more important than clear and precise communication at work. Many people consider becoming better speakers as the key to improving their communication, and as a result improving listening skills is often overlooked. In today's complex work environment it takes effective listening skills to comprehend thoughts and ideas. Often we miss out on valuable information due to a lack of concentration, which can result in misunderstanding and disappointment. This programme is designed to give you the fundamental information you need to improve your listening skills and become an effective communicator, so that you can listen to win.


text:
Ukiah police and fire log: Tuesday, May 22, 2018
By Ukiah Daily Journal | udj@ukiahdj.com |
PUBLISHED: May 21, 2018 at 12:00 a.m. | UPDATED: August 23, 2018 at 12:00 a.m.
SHERIFF'S REPORTS
The following were compiled from reports prepared by the Mendocino County Sheriff's Office:
BOOKED: Vernon Lockhart, 68, of Willits, was arrested on May 4 at 7 p.m. on suspicion of use/under the influence of a controlled substance, felon/addict/possession of a firearm, possession of ammo by a prohibited person. He was booked into the county jail on $25,000 bail.
BOOKED: Alicia Elliot, 36, of Covelo, was arrested on May 5 at 1:30 p.m. on suspicion of resisting/delaying a police officer, threats to commit a crime resulting in death or great bodily injury, battery against a person with whom the defendant had a dating, engagement, marriage or domestic relationship, use/under the influence of a controlled substance and possession of drug paraphernalia. She was booked into the county jail on $65,000 bail.
BOOKED: Sophia Piceno, 36, of Talmage, was arrested on May 6 at 2:15 p.m. on suspicion of burglary and vandalism damage less than $400. She was booked into the county jail on $50,000 bail.
CHP REPORTS
The following were compiled from reports prepared by the California Highway Patrol:
ARREST: Aaron Griffin, 36, of Ukiah, was stopped on May 4 at 12:52 p.m. on suspicion of driving under the influence and hit-and-run misdemeanor.
ARREST: Joshua Meng, 33, of Ukiah, was stopped on May 5 at 2:04 p.m. on suspicion of driving under the influence, driving with a suspended/revoked license for DUI and revoked probation.
ARREST: Gabriel Hernandez Ramirez, 27, of Petaluma, was stopped on May 5 at 7:25 p.m. on suspicion of driving under the influence, giving false information to a peace officer and revoked probation.
ARREST: Eduardo Juarez Zambrano, 22, of Potter Valley, was stopped on May 5 at 7:55 p.m. on suspicion of driving under the influence and driving without a license.
ARREST: Ellen McCoy, 28, of Arcata, was stopped on May 6 at 4:45 a.m. on suspicion of destroying or concealing documentary evidence, resisting, delaying or obstructing any public officer, peace officer or emergency medical technician, use/under the influence of a controlled substance, and possession of drug paraphernalia.
ARREST: Nicholas Campbell, 30, of Arcata, was stopped on May 6 at 4:45 a.m. on suspicion of driving under the influence and possession of drug paraphernalia.
Those arrested by law enforcement officers are innocent until proven guilty. People reported as having been arrested may contact the Daily Journal once their case has been concluded so the results can be reported. Those who feel the information is in error should contact the appropriate agency. In the case of those arrested on suspicion of driving under the influence of an intoxicant, all DUI cases reported by law enforcement agencies are reported by the newspaper. The Daily Journal makes no exceptions.
The Ukiah Daily Journal reserves this space to correct errors or make clarifications to news articles. Errors may be reported to the editor, 468-3500.
Covid-19: Tracking down the elusive vaccine in Ukiah
Mendocino County expanding vaccine call center; scheduling portal coming soon
Covid-19: Ukiah fairgrounds hosts general vaccination event
Vehicle burns in Ukiah parking lot Tuesday
Covid-19: 100 doses of flagged vaccine batch were administered in Mendocino County
CalMatters: California's technology woes deepen
Ukiah Daily Journal
Covid-19: Collaborative vaccination event held on MLK Day in Ukiah
Hikes and lambs at UC Hopland Research and Extension Center
Justice delayed: Courts overwhelmed by pandemic backlog


Associate Director for Research Kristen Purcell will join social media practitioners from local museums and arts organizations for a lively discussion about the value of social media to our institutions. Are our current social media practices engaging online communities to their greatest potential? What outcomes are we hoping to achieve? And how can we better evaluate the success of our efforts and take our social media engagement to the next level?


text:
Home Forums > General Chat > Frontpage news >
Microsoft Details Its Velocity Architecture Behind the Xbox Series X:
Discussion in 'Frontpage news' started by Hilbert Hagedoorn, Jul 14, 2020.
almighty15 said: ↑
Then you're missing the point, I'm saying that the additional SSD head room that PS5 has (Even more so now with Oodle) could translate in to increased visuals as it has the ability to stream more data in to memory before the system starts to stutter.
And in a few years when PC's have caught up to consoles I/O, PS5 will likely be able run at higher settings for certain things as it's SSD won't age as poorly as Series-X's will and will thus require less cut backs.
I believe only PS5 exclusives will really showcase any possible benefits of their custom NVMe. In my case, if I want PS5 exclusives, I'd buy a PS5, for the games, not because it has faster storage.
theoneofgod, Jul 17, 2020
almighty15 Member
8800GT SLI
Carfax said: ↑
I'm not talking about pop in, I'm talking about LoD. With pop in you could be right because a game that is designed around faster storage will likely have much less, if any pop in. But LoD is something else. LoD is about performance enhancement as well and making sure that the GPU isn't being forced to render everything at maximum detail regardless of distance.
What if the UE5 demo had been in a valley with trees and grass in the distance? So the GPU is going to render every leaf and blade of grass? That's my point.
So you're telling me what's on the screen isn't in memory? In a well designed game, everything visible and close to the camera will always be in memory; especially for open world games.
This was a huge problem for consoles apparently because of their slow HDD and their unified RAM, but for PCs, it's less of a problem because we have system RAM which acts like a huge cache between storage and VRAM.
UE5 didn't use any LOD's, and LOD has always been more about saving memory then performance as in some games increasing draw distance doesn't impact on frame rate all that much.
The GPU renders what is in memory and what ends up on the screen is a result of that. You phrased it incorrectly, not me.
And as an FYI it is entirely possible for something on screen to be flushed from memory once it's been rendered by the GPU.
And PC has it's own issues, so bring them up is pointless unless you want to start detailing what problems it has to deal with.
almighty15, Jul 17, 2020
A game doesn't have to be exclusive to offer better textures, animation, reduced/no pop-in........those are just variables in a games config file.
It helps that PS5's SSD is set-up like a PC SSD.
Series-X's is the one that's a funky set-up and won't be used in all but exclusives.
So a multiplatform developed game will saturate the PS5 NVMe while having to dial it all back for PC and Xbox. I'd love to see this.
Carfax Ancient Guru
You are seriously talking out of your ass on this one. First off the UE5 demo did use LoD, it was just much more subtle than what we're accustomed to because of the nanite technology and the faster streaming.
Secondly, LoD has always been first and foremost about optimizing performance. Memory efficiency is a part of that so they aren't distinct. There's no point in having huge amounts of detail in a scene if your framerate tanks down into the single digit territory.
I never said it was impossible. Cut scenes probably do that a lot because the player isn't typically in control of the camera and it's a linear scripted event. Heck, it may even be pre-rendered. But in a regular gameplay scenario, the GPU will have anything in the surrounding vicinity of the player in VRAM to have it quickly accessible in case it needs to be rendered, and even if it is rendered, it's not flushed unless the memory usage algorithms dictate that it should be.
You're quite defensive of the consoles I see!
Carfax, Jul 17, 2020
I've noticed that you've implied several times throughout this thread that the PS5's SSD somehow allows it to have higher quality animations. What makes you think that's true?
The animation quality is dictated by the CPU, so I don't see how faster storage would improve the animation quality.
Where did I say dial it back on PC? Why are you putting words in to my mouth?
Animation is processed on the CPU but high quality animation requires a lot or storage space.
Unless you think giving a modern CPU animation data from a game released in the year 2000 will result in animation of the same quality we have in today's games? As you know...... 'the quality is dictated by the CPU"
You don't seem to have a grasp of how games function do you?
Your average PC gamers storage is equal to PS5 storage capabilities? What's the big deal then
EPIC have clearly stated in the UE5 demo there was no LOD's with Nanite as it renders down to the pixel level.
You do know there's more memory that a GPU can access then just VRAM right? Internal caches are generally flushed after each frame.
What has me talking about PC's storage and I/O got to do with defending consoles? You're getting a little off topic.
PC has the advantage of using more RAM to pre-load......Series-X doesn't have that luxury.
But PC's don't have unified memory...
And that's really held it back from being the most powerful platform over the years hasn't it
Ah perfect. I was reading into this like the PS5 would give a huge update, but you're saying I have it already, as I have plenty of RAM. Good to know
Fox2232 Ancient Guru
6900XT+AW@240Hz
So much nonsense in that particular comment.
And with their sub-par I/O performance expect RAM requirements on PC to increase more then they normally do at the release of another console generation.
Can't compare efficiencies on a how a piece of hardware performs in a PC to a console as console developers have much tighter control on things like that.
The UE5 demo does a good enough job of proving the first sentence incorrect.
The second comment is also silly, you can still stream data in for a 60fps game, you will just have less to use per frame, if they can do it on current gen consoles at 60fps with HDD's then it won't be an issue on next gen hardware with SSD's.
Adding insanely high resolution texture packs on PC games never tends to hit the GPU hard, it just uses more memory.
Case in point Crysis 1, you put Rygels high res textures in and the frame rates will be the same, the VRAM usage on the other hand will be higher.
So having higher resolution assets without massively impacting core GPU performance is entirely plausible.
There's also been some developers on Twitter claim that they could get photo-realism on current hardware if they had the memory and storage for it.
But why do people always focus on loading and graphics for an SSD when there more advantages then just that?
You have simple problem. Bad memory. That's reason why you do not remember official statements from EPIC. And one of them is that unlike PC's GPUs, their method will not cache unnecessary data into memory. And that it will enable them to use more memory per frame.
You are not being viewed negatively for having different opinion. But you give out clear indication that your opinions are not based on actual knowledge of basic HW principles.
Instead you repeat propaganda without critically thinking about it. And sadly, you are not even aware of technical part of what that propaganda used to support such claims.
Fox2232, Jul 17, 2020
Fox2232 said: ↑
Good job on not addressing a single one of my points.
Oh it's storage space now? So the XSX will have the advantage here according to you, since it comes standard with a 1TB SSD while the PS5 has an 825GB SSD
This is a nonsensical statement, because a game released in the year 2000 will have animation quality that was created for a CPU from that time (P4, Athlon etcetera) that is vastly inferior to what we have today.
The point is, that animation quality is dictated by the CPU (especially single threaded performance), because the CPU has to process it. A fast CPU will be able to playback more complex animations much faster, smoother and more fluidly than a slower CPU, which is why I referred to the quality. One of the biggest reasons why animation quality (and physics) hasn't improved at the same rate as graphics in the consoles, is because the PS4 and Xbox One both have comparatively much weaker CPUs than what is available on PC.
Forgive me, I had no idea I was talking to an expert!
It addressed them all. Opinions not based on actual knowledge of inner workings of HW. You imagine magical performance boost from alleviating storage bottleneck that does not exist and believe "improving" statements that that would actually lead to other kinds of bottlenecks.
I have no reason to play "make belief" with you. Anything and everything that you are posting has been addressed multiple times in other threads.
And that's has been done in arguments with and against people who has several magnitudes more knowledge than you shown here.
There we had entertained different scenarios and performance angles. Can you guess result?
Spoiler: Answer:
Only bottleneck PS5's storage subsystem alleviates will be artificial bottleneck that will be created to show difference. And that will come at pretty high cost which will pay user through unnecessarily wasted space on storage.
The point is, that animation quality is dictated by the CPU (especially single threaded performance), because the CPU has to process it. A faster CPU will be able to playback more complex animations much smoother and more fluidly than a slower CPU, which is why I referred to the quality. One of the biggest reasons why animation quality (and physics) hasn't improved at the same rate as graphics in the consoles, is because the PS4 and Xbox One both have comparatively much weaker CPUs than what is available on PC.
Every generation the size of the animation data increases, it increases because it's captured at a higher quality. This is what decides the quality of the animation, not the CPU.
You seem to have a problem understanding the simple things.
You have no understanding which is why you're simply playing the 'You don't understand' card and running away without having a rational discussion.


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The Most Heartbreaking Album Ever Recorded | Frank Sinatra's "In The Wee Small Hours"
February 13, 2015 / Leave a Comment
It's the eve before Valentine's Day, and having been single for a few years, this time of year always draws me to songs about headache or longing. A few years ago, I was gifted a few, remastered, audiophile vinyl records from the Capitol Records vault. One of those albums was Frank Sinatra's album "In The Wee Small Hours".
"In The Wee Small Hours" was Frank Sinatra's 9th studio album and was released in April of 1955. For the music lovers who are into the history of music, this album has been called one of the first concept albums ever recorded. It is an album that's filled with themes of lost-love, introspection, melancholy and loneliness.
Despite it's heavy subject matter, this album was a commercial and critical success and has been placed on many publications' lists of "greatest albums of the all time". If you aren't a fan of traditional vocalists or classic/traditional jazz standard, this may not be your cup of tea, but it would definitely make my Top 100 list.
The voice and music aside, the album takes on a whole new meaning when you know about the history of how this album came to be. Let's take a look at it all.
By the time Frank Sinatra started recording this album, he had experienced the highest of highs and the lowest of lows, both commercially and personally. He saw his singing career in decline with his fans seemingly abandoning him, and was subsequently dropped by his record label (Columbia Records) but also had newfound success as an actor, winning an Best Suporting Actor Academy Award for his work in "From Here to Eternity". He found a new record deal with Capitol Records, but many critics thought that his singing days were over.
He separated from his first wife, Nancy Barbato, on Valentine's day 1950 no less, while having a not so clandestine affair with Ava Gardner. And even though he married Ava Gardner following his divorce from Nancy Barbato, that relationship was riddled with extramarital affairs and jealously by both parties. The relationship seemed doomed from the outset. Frank and Ava divorced two years after the album was released.
The Recordings
You can hear how broken Frank Sinatra is with each recording. The orchestral arrangement of each song is sparse. There's no "extra" instrumentation in any recording, as it seems like there was a focus to keep the music as simple and barren as possible, adding to the already prevalent sense of melancholy.
Frank's deep and worn baritone voice is in complete contrast to the voice who immortalized songs like "New York, New York" or "My Way". The Voice, known for it's bravado, was now devoid of it's strength, and revealed a tender, shattered man, warts and all. Are we actually hearing Old Blue Eyes cry? Listen to the youtube link below, and make your own call.
Here, I've decided to edit/cobble my favorite lyrics, in order, from the album. Soul crushing, huh? The most heartbreaking album ever recorded? Quite possibly.
1. "In the Wee Small Hours of the Morning"
"In the wee small hours of the morning,
While the whole wide world is fast asleep,
You lie awake and think about the girl
And never, ever think of counting sheep.When your lonely heart has learned its lesson,
You'd be hers if only she would call,
That's the time you miss her most of all."
2. "Mood Indigo"
"Always get that mood indigo,
Since my baby said goodbye.
In the evenin' when lights are low,
I'm so lonely I could cry.'Cause there's nobody who cares about me,
I'm just a soul who's
Bluer than blue can be.
When I get that mood indigo,
I could lay me down and die."
3. "Glad to Be Unhappy"
"Look at yourself, do you still believe the rumor
That romance is simply grand?Fools rush in, so here I am
Very glad to be unhappy
I can't win, but here I am
More than glad to be unhappy"
4. "I Get Along Without You Very Well":
"I get along without you very well,
Of course I do,
Except when soft rains fall
And drip from leaves, then I recall
The thrill of being sheltered in your arms.
Of course, I do,
But I get along without you very well.I've forgotten you just like I should,
Of course I have,
Except to hear your name,
Or someone's laugh that is the same,
But I've forgotten you just like I should.
What a guy, what a fool am I,
To think my breaking heart could kid the moon.
What's in store? Should I phone once more?
No, it's best that I stick to my tune.
Except perhaps in Spring,
But I should never think of Spring,
For that would surely break my heart in two."
5. "Deep In A Dream"
"I dim all the lights and I sink in my chair.
The smoke from my cigarette climbs through the air.
The walls of my room fade away in the blue,
And I'm deep in a dream of you.
The smoke makes a stairway for you to descend;
You come to my arms, may this bliss never end,
For we love anew just as we used to do
When I'm deep in a dream of you.
Then from the ceiling, sweet music comes stealing;
We glide through a lover's refrain, you're so appealing
That I'm soon revealing my love for you over again.
My cigarette burns me, I wake with a start;
My hand isn't hurt, but there's pain in my heart.
Awake or asleep, ev'ry mem'ry I'll keep
Deep in a dream of you."
6. "I See your Face Before Me"
"I see your face before me
Crowding my every dream
There is your face before me
You are my only themeIf you could share the magic
Yes, if you could see me too
There would be nothing tragic
In all my dreams of you
Would that my love could haunt you so
Knowing I want you so
I can't erase your beautiful face before me"
7. "Can't We Be Friends"
"She didn't mean it,
I should have seen it,
But now it's too late.
I thought I'd found the girl of my dreams,
Now it seems,
This is how the story ends:
She's gonna turn me down and say,
'Can't we be friends?'
I can see the way this ends:
Why should I care though she gave me the air,
Why should I cry,
Heave a sigh,
And wonder why?"
8. "When Your Lover Has Gone"
"When you're alone, who cares for starlit skies
When you're alone, the magic moonlight dies
At break of dawn, there is no sunrise
When your lover has goneWhat lonely hours, the evening shadows bring
What lonely hours, with memories lingering
Like faded flowers, life can't mean anything
When your lover has gone"
9. "What Is this Thing Called Love?"
"What is this thing called love?
This funny thing called love?
Just who can solve its mystery?
Why should it make a fool of me?
I saw you there one wonderful day
You took my heart and threw my heart away
That's why I ask the Lawd up in Heaven above
10. "Last Night When We Were Young"
"Last night when we were young
Love was a star, a song unsung
Life was so new, so real so right
Ages ago last nightToday the world is old
You flew away and time grew cold
Where is that star that seemed so bright
Ages ago last night?
So now, let's reminisce
And recollect the sighs and the kisses
The arms that clung
When we were young last night"
11. "I'll Be Around"
"I'll be around,
No matter how
You treat me now
I'll be around from now on.Good-bye again,
And if you find a love like mine
Just now and then,
Oh drop a line to say you `re feeling fine
And when things go wrong
Perhaps you'll see
You're meant for me
So I'll be around when he's gone."
12. "Ill Wind"
"Blow ill wind,
Blow away,
Let me rest today.
You're blowin' me no good,
No good.You're only misleadin' the sunshine I'm needin',
Ain't that a shame
It's so hard to keep up with troubles that creep up
From out of nowhere,
When love's to blame."
13. "It Never Entered My Mind"
Once I laughed when I heard you saying
That I'd be playing solitaire
Uneasy in my easy chair
It never entered my mindOnce you warned me that if you scorned me
I'd say a lonely prayer again
And wish that you were there again
To get into my hair again
It never entered my mind"
14. "Dancing On The Ceiling"
"At night I creep in bed
And never sleep in bed
But look above in the airShe dances overhead
On the ceiling near my bed
In my sight
I tried to hide in vain
Underneath my counterpane
There's my love up there above
I whisper "go away my lover it's not fair"
But I'm so grateful to discover that she's still there
I love my ceiling more since it is a dancing floor
Just for my love"
15. "I'll Never Be The Same"
"I'll never be the same
Stars have lost their meaning for me
Nothing's what it once used to be
And when the sun-birds that sing tell me it's spring
I can't believe their song
Once love was king
But kings can be wrong."
16. "This Love of Mine"
"This love of mine goes on and on,
Tho' life is empty since you have gone.
You're always on my mind, tho' out of sight
It's lonesome thru the day,
But oh! the night.
I cry my heart out it's bound to break,
Since nothing matters, let it break.
I ask the sun and the moon,
The stars that shine,
What's to become of it, this love of mine."
Category: Music News, Opinion Tags: break up songs, Frank Sinatra, heart break, In The Wee Small Hours, lyrics, sad songs, saddest love songs, Songs for the heartbroken, The Most Heartbreaking Album, The Most Heartbreaking Album Ever Recorded, The Saddest Album, The Saddest Album Ever Recorded, valentine's day
← VIDEO: What Ever Happened to the B-Girl In Missy Elliot's "Work It" Video?
Breakbot, Irfane, So Me & Franki Chan | Sound Nightclub | 2/12/15 [Video] →


text:
US white supremacists groups are spreading vaccine misinformation to Aboriginals to do them 'harm': Premier
White supremacists in the US are spreading vaccine lies to Aboriginals because they want to do them harm, one premier warns.
Melissa Iaria
@Mel_Iaria
December 3, 2021 - 10:33AM
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White supremacists groups from the US are spreading vaccine misinformation to Aboriginal communities because they "want to harm" them, Western Australia Premier Mark McGowan says.
The premier attended a roundtable of community leaders from the state's Goldfields region on Thursday, and said he learned false information was being spread via social media to Aboriginals.
The information was found to have originated from the extremist groups in America.
"At the meeting just now we heard from one Aboriginal person who said white supremacist groups are sending information to Aboriginal people that they shouldn't get vaccinated," Mr McGowan told reporters.
"Now, the suspicion is these white supremacist groups out of America wouldn't be unhappy if bad outcomes occurred to the health of Aboriginal people in Australia.
"Some of these groups spreading misinformation like white supremacist groups are doing it because they want to harm Aboriginal people, so I just urge Aboriginal people to listen to the experts.
"The experts say the vaccine is safe and effective and it'll save their lives."
Extremist groups are spreading lies to Aboriginal groups, Premier Mark McGowan says. Picture: Jackson Flindell, The West Australian
Western Australia's vaccination rate was at 87 per cent first dose and 76 per cent, double dose.
However, across the Goldfields regions the rates are significantly less, prompting Thursday's meeting in the Kimberley with leaders from the Aboriginal, medical and community groups on how to lift rates.
Mr McGowan warned if vaccination rates don't rise, extra rules may be applied to keep people safe.
"There'll be certain parts of regional Western Australia, particularly Aboriginal communities that may have to have very strong restrictions on who can come in and come out if they don't get to high enough levels of vaccination," he said.
"That's something we're currently working through, but it's the Goldfields, the Pilbara and the Kimberley we're most concerned about.
"We just need people to get vaccinated to a far higher degree in each of those regions."
The Pilbara region was the "most worrisome".
Extra rules may be enforced across WA's Goldfields region if vaccine rates don't rise. Picture: NCA NewsWire / David Geraghty
"The virus will actually kill Aboriginal people. That's a fact," Mr McGowan said.
"If they don't get to high levels of vaccination, we will have to put rules in around those communities as to who can come in and out.
"I just urge Aboriginal people, that's what we're here for, to get to higher levels of vaccination as soon as they possibly can."
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I have been thinking about color, probably because the QuiltArt list has been talking about color. That discussion started when someone said they were having a hard time working with "bright" colors. Lots of advice has followed which has included, "don't use bright colors if you don't feel comfortable with them" to "here are some exercises to use to help in your desire to brighten your palette." I have offered no advice, but have been thinking about what my advice would be. I tend to believe that the color palette we use evolves and in time becomes our own, regardless of efforts to adopt a particular way of working with color.
I found it particularly interesting that this person was striving for an ability to use brights. I think that most beginning artists, and maybe I am thinking more about painting, tend to start with a bright palette and work toward a more modulated, sophisticated, if you will, palette. On the other hand, perhaps this person comes from a traditional quilting background and was originally drawn to antique quilts and the modern fabrics that mimic the old, faded, earthy colors of the antique quilts, and that is where she is coming from.
One of the other threads that came out of the original question is the uses of the color wheel, especially using complementary colors to "brighten" each other. (I'm not going to go into the fallacies of that concept, just throwing it out as what's been discussed).
1. Do you find that you use a consistent color palette in your work?
2. If you answered yes to #1, did you consciously choose that palette or did it evolve in an unconscious way?
3. Do you use a color wheel? (I'm talking about an actual chart or revolving wheel thingie) and if so, how do you use it—ie what answers does it provide for which questions?
4. Do you use an internalized knowledge of the color wheel and color relationships to help you make color decisions, and how does that internal dialogue go?
5. Do you choose color in a purely visceral, instinctive way?
I think I use a combination of 4 and 5, leaning most heavily toward 5, but having studied color it is probably in the back of my mind. I also know that when I can observe that a particular color is not working I tend to fall back to the known relationships to find a way to fix what is wrong. I also feel that a background in painting and mixing paint, in particular, is one of the most valuable tools I have when it comes to working with color in fabric work.
The photos are just for fun. The first is, of course, Mondrian, whose color palette is very distinctive and instantly recognizable to most people. The second is the same piece recolored. I think the new palette is a nice combination of colors but would never be recognized as the work of Mondrian. Color is very personal.
I think Mondrian's work relies so heavily on his colour schemes.
The balance of black and white is perfectly secure and controlling, and the cyclical equilibrium of the primary colours is similarly rooted in simple, but fundamental reactions to colour.
There's an instinctive human connection with the colours used and also an artistic core as from black, white, red, blue and yellow spring all the colours of the artist's pallete.
Mondrian's schemes were perfect reflection of the structural elements of the interesecting lines. In my eyes his De Stijl works are powerful comments on the balance of positive and negative in all art.
I have been following this discussion when I could over the last few days and am fascinated with all the thoughts about color. I also find I am in agreement with so much of what you all are saying. Eileen's comment that she was told "don't use colors that look like they came straight out of the tube of paint" rang true as I remember that same dictum from university painting class. I bought that premise wholly and have followed that advice for 40 years–not because it was a "rule" but because colors out of the tube are lacking in nuance and most of all, intention. I want more control over my choices than that. I am also aligned with June, favoring the outside edges of the primaries and secondaries over the dead center. I always talk about "off green" or "off blue". I like June's "Toad (toward) yellow"!
And while I am well-educated in color theory, when I am making choices it is always "I'll know it when I see it".
Many thanks to all for picking up the topic and running with it. Since June has already broken the rules concerning discussion of grandchildren, I don't want to further risk the wrath of Maggie, so I will simply point you toward my blog for photos of the the most beautiful baby in the world.
http://www.andsewitgoes.blogspot.com And add my thanks for your private good wishes, that were forwarded by June.
News Flash: Terry now has a granddaughter, Sofia Graciela Molina. Emily had a long labor so everyone — baby, Mom, Pop, Terry and Ray — are now resting. And yes, I violated all Maggie's Ragged Cloth Rules — but then, new births among our contributors override the rules every time.
I loved what you did to the Mondrian, Terry. We could have a Renaissance one, a Japanese one, Caribbean, Pompeii, etc. Every time and place seems to have a palatte.
My personal palette is jewel toned. Blacks and greys (blueish, not brownish!), and a little pure white, blue reds, blues, purples, periwinkle, and pink, and lots of dark greens as background. I love having lots and lots of shades, tints and values of each color.
When I began to think of myself as an artist, rather than a quilter, I purposely stopped using "my" colors and for almost 3 years worked exclusively in colorways I didn't instinctively love or understand or feel confident about until I felt that I could use any color. It was very very hard, but very satisfying.
I, too look for color combinations in nature, architecture, fashion and art and think about how they could be used in something I'm working on.
I don't use a color wheel (real or virtual) because I have to see the combination "in real life." I put lots and lots of fabrics together until I see the right choice.
My use of colour is totally instinctive and although I know about the colour wheel from the printing aspects of my publishing days I never consciously use one in my textile work or when I am using pastels. My colour use reflects mood and emotion and my decisions are driven by my subject matter rather than an abstract decision about the look of a piece. On the other hand, seeing a 'colourway' (i.e. a combination of colours) in the earth, or a wall, or somesuch, can spark an emotion or memory which leads to a specific work.
that are aimed at a more casual audience and with lower prices. If I want to have something in here, I want it to sell and that means using a more commercially acceptable pallette–brighter colours. Am I "selling out"? I don't think so. I need to be able to buy the supplies for the good stuff, even if that means mass producing quick sale items. But I'm strssing over doing it. Not to worry, I'll survive, but I wonder if others have been able to change their pallette in erspnse to an external stimulus.
I've discovered in my art travels that textile artists are often really sophisticated about color — far more so than painters who are early in their careers, for example. I can tune out the color lectures in my painting classes — I've known all that stuff about making mud and split primaries for years, mostly from dyeing but also from designing on the design wall. I even know the varieties of brown that one achieves when the various complements run into one another (as in low water dyeing). It surprised me that in this regard I was way ahead of the others who were painters.
I always think in split primaries — that is, the alarzarin red that leans toward blue and the cadmium red that leans toward yellow; the cadmium or yellow-gold that leans toward red and a lemon yellow that leans toward blue and then the ultramarine purple that is a blue leaning toward red and cerulean (or greenish blue) that leans toward yellow.
The split primary system really make sense when you are mixing colors, whether in dyeing or in paintings. You can avoid or make stunning muds and have a sense of control that is very nice.
One of my instructors told an anecdote about not understanding his teacher who talked about "toad" yellow and "toad" blue — meaning "toward." That has stuck with me.
Someone mentioned the difference between visual mixing and physical mixing of colors, and said that they require different color combinations to achieve similar results. I am curious about this — I've read a little on Hilary Page's watercolor site http://www.hilarypage.com/VisualComplements.html , but I am still confused. Can anyone cast further light on the subject?
By the way, I'm pretty inconsistent in my color choices, and I generally move instinctively, although I often check my internalized color wheel when I get stuck or know that I need a specific effect but can't achieve it automatically.
It's really interesting, Pat, that you started with traditional colors. Lighter shades are easy to achieve with dyeing (ask me how I know!) but I find them more difficult to find except in the kind of baby colors in commercial fabrics.
By the way, Terry is waiting for a grandchild to be born (the child is making motions but seems to be having doubts), so we'll have to take over while she's tending to the mom-to-be. I'm sure we can manage….
Looking at the Mondrian, I had to look up my art history notes… The style is literally "The Style" or "De Stijl" (pronounced 'shtail', rhymes with 'pail'). His compositions used only vertical and horizontal lines; only the primaries and white, black or grey. The composition is non-objective. Mondrian played with the nature of color; for example does the red advance, what effect does the area have on the color. the wikipedia entry at http://en.wikipedia.org/wiki/De_Stijl has examples of a chair and the Schroder House (very cool!) which conform to the 'rules' of De Stijl.
as for myself and color – for most of my pieces i can't say i really plan out a color scheme. usually i am more concerned with the 'moods' of the colors, are they evocative of a certain season or time of day (or night), does the sky fabric make sense with the water fabric, if it is an overcast sky in the scene are the other colors also subdued.
however for large commissions i definitely do plan it out, and usually with the help of a color wheel divided down to the tertiaries. i have a general idea of at least one color i want to start with, and then look at different combinations, such as using an equilateral triangle, isosceles triangle or rectangle in the center to 'point' at the combinations.
i challenge myself to use 'muddier' and thus more complex colors. Some good advice i was once given – don't use colors that look like they came straight out of the tube of paint.
I think most people would recognize my work by its use of bright hues — and I find myself often drawn to "challenging" color schemes — complementary, split complementary.
I think its fairly conscious, as I find monochromatic and analogous color schemes too easy and it often bores me to work within that kind of scheme — though I like a lot of work that is more neutral and subtle, it just isn't me. I think part of it is my love of folk art and folk craft.
Sometimes I consult an online color wheel or site that shows one interesting color schemes, but I know that I carry an internal wheel in my head. I am pretty darn close with my choices. Not to say that some people (and some show jurors) think my color sense is way to "chromatic".
4. Do you use an internalized knowledge of the color wheel and color relationships to help you make color decisions, and how does that internal dialogue go? SEE ABOVE. The dialogue happens on my design table (not board). I pile up stuff, audition fabrics, keep playing with layers and often change it all at the last minute, often towards something riskier! Yes, I literally hear colors talking to each other. I think its a mild form of synathesia.
Yes, but informed by that internal color wheel.
instinct" is informed by all I have recently learned about choosing a palette for a specific fabric design, and I am less hesitant to try something different.
I feel I must reply as I believe it was my original query that lead to the discussion on the QA list. Colour is the first consideration in any work I do. I usually use my internal understanding fo the colour wheel to guide my colour choices, but once in awhile consult an actual wheel. My choices tend to be shades of a hue rather than the pure hue. My background is more in stitchery than quilting, but yes, most of my early influences were traditional. I took my first colour course in the very early 80's from Wilke Smith. I have often said that her inspiration has had more effect on my work than any other course or technique I've ever been exposed to-and there have been many. I've had positive feedback for my use of colour in any work I've had judged. Now I want to stretch myself by introducing lighter shades of colour into my work.


text:
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  calendarDep.changed();
};

var calendarDep = new Deps.Dependency();

var selection = { }; // selection.day, selection.month, selection.year

Meteor.startup(function() {
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  selection.day = date.getDate();
  selection.month = date.getMonth();
  selection.year = date.getFullYear();
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redpajama_set_name: RedPajamaGithub


text:
Bast Tholus is een heuvel op de planeet Venus. Bast Tholus werd in 1985 genoemd naar Bastet, godin van de vruchtbaarheid in de Egyptische mythologie.

De heuvel heeft een diameter van 83 kilometer en bevindt zich in het quadrangle Atalanta Planitia (V-4).

Zie ook
 Tholus (planetaire geologie)

Tholus op Venus

redpajama_set_name: RedPajamaWikipedia


Facebook For Iphone 4: Facebook Mobile is an attribute that allows a customer to accessibility Facebook from their cell phone via sms message, e-mails, downloaded applications or an internet internet browser. Released in 2007, Facebook Mobile was created to offer Facebook users the capacity to check out and update their pages on-the-go.
Status updates, wall surface posts, and image uploads can all be done with message and photo messaging, while browsing through to the Mobile internet site from your phone's internet internet browser permits you to see close friends' updates. Numerous mobile phones additionally allow a user to download and install a Facebook application, which comes equipped with much of the the very same features offered on the conventional internet site. In May 2010, Facebook introduced "Facebook Absolutely no," a mobile internet site which would acquire no information costs, on over 50 provider all over the world.
You could access Facebook features using a mobile phone like a cellular phone in 3 methods: mobile sms message, mobile uploads and mobile Internet surfing. Let's have a look at each of these in turn.
Sms message utilize a standardized mobile text transfer approach called Short Message Service (SMS) or Multimedia Messaging Solution (MMS). SMS allows you to send as well as obtain text messages to services like Internet site, voice-mail systems as well as e-mail web servers. An SMS message could just depend on 160 characters long. The MMS requirement is an improvement on TEXT, without size limit to messages (though very large messages call for a sophisticated 3G phone network to transfer with the system). Not all phones have SMS or MMS abilities.
When you send a sms message from your phone to Facebook, the message transmits to a mobile changing facility (MSC), which sends the signal to a signal transfer point (STP). From there, the message mosts likely to a brief message service facility (SMSC), which after that sends out the message to Facebook. When Facebook sends a message to your phone, the procedure is turned around. Utilizing text messages, you could seek out basic participant profile details, send messages (consisting of jabs as well as wall posts), include buddies to your network as well as connect with some Facebook applications.
Mobile posts work in a comparable method to text, but should use MMS. MMS enables you to send not only text, yet also sound data, video as well as images. The transfer technique resembles TEXT, but it needs a handheld tool suitable with the MMS requirement. Because some devices typically aren't MMS suitable, service providers in some cases build in a function that signals an individual when he or she has received a multimedia message. The message typically tells the individual to check out a Websites connect to see the message.
With MMS messages sent out from your phone, you can publish photos to your profile-- they'll appear in an unique uploaded pictures area. You can additionally submit notes or video clips from your phone to your account. In either situation, you should create your multimedia message first, after that send it to the ideal e-mail address.
Your phone has to have Web surfing capacities in order for you to visit Facebook from it. You'll need to direct your phone's web browser to m.facebook.com, Facebook's website made specifically for mobile surfing. To upload notes to Facebook, you send out the message to notes@facebook.com. For pictures or videos, you send out the message to mobile@facebook.com.
Unlike typical Facebook web pages, the mobile counterpart's code is in Extensible HyperText Markup Language (XHTML). XHTML is a more restricted language than standard HTML. One of the reasons for this is that the World Wide Web Consortium (W3C), an international company that develops interoperable technologies for the Internet, recognized the demand for a Web language that mobile phones could quickly analyze. Computer systems have much more resources compared to mobile devices, and could interpret a lot more complicated Web pages than a mobile phone or similar gadget. XHTML assists to level the playing field.


text:
.class public Landroid/renderscript/Double2;
.super Ljava/lang/Object;
.source "Double2.java"

# instance fields
.field public x:D

.field public y:D

# direct methods
.method public constructor <init>()V
    .locals 0

    .prologue
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    .line 30
    return-void
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    .prologue
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    .line 33
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    .line 34
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    .line 35
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.end method


text:
Datawallet 3.0 Allows Developers to Build with Truly Ethical, Cross-Platform Data
NEW YORK–(BUSINESS WIRE)–July 25, 2019–
Datawallet, the company building the digital wallet for all your data, has released their developer-focused product Datawallet 3.0 – Developer Edition alongside their Developer SDK. All Datawallet tools are designed to give consumers complete control over their data, and to give companies access to the most ethically sourced, highest quality data in the market.
Datawallet 3.0 – Developer Edition & Developer SDK
Datawallet 3.0 (Developer) is a simple, yet powerful tool for users to control their personal data. It allows users to automatically source from websites such as Facebook, Google, and Amazon, and securely store their data in a locally encrypted vault to ensure maximum privacy and control. At no point during the sourcing process does Datawallet touch the data. Additionally, once stored, neither Datawallet nor any other organization can access the data without the users' active initiation and consent. When users permission their data, it enables them to power a new generation of apps that utilize ethical, cross-platform data. The user consent is written onto the blockchain in Datawallet's private testnet, acting as an immutable ledger between companies and their customers for ultimate transparency. Providing proof-of-concept, Datawallet 3.0 (Developer) sets a new standard for sourcing, storing, and utilizing personal data with its initial vision of the world's first decentralized data ecosystem, and paves the way for Web3.
"Datawallet 3.0 is the critical first step to the realization of Web 3. The vision of creating a decentralized internet, where every application runs locally on a person's own device, hinges critically on our ability to first locally source and store our data in order to fuel these applications. This technical challenge is what we solved with Datawallet 3.0," said Serafin Lion Engel, Founder & CEO of Datawallet. "It's the safest and most seamless way to gather the data you create on the internet, cryptographically store it on your own device, and through Datawallet's personal API, share it with any application you like. Datawallet 3.0 is the cornerstone of Web 3."
The Datawallet SDK empowers developers to leverage a completely new data universe to build the most advanced applications to date. It provides an intuitive and documented flow for querying data with consent from the user. Exposing a familiar GraphQL interface and a unified flow across devices that users will understand, developers can easily write queries and build a new generation of state-of-the-art applications.
"With Datawallet 3.0 we wanted to show that it is possible to give people direct control of their data, effectively inverting the traditional data ecosystem," said Daniel Hawthorne, Co-Founder & CTO of Datawallet. "Instead of users' data being stored on their behalf with little transparency or control, they can instead securely store their own data and conscientiously permission it. We are excited to see a new data ecosystem evolve around user empowering tools like Datawallet 3.0."
Datawallet is providing tools to create and support a digital economy where individuals truly own and control their own data. Companies serve consumers better than ever before with the best quality, ethical, first-party data available, and consumers have privacy, transparency and control over their data. Pioneers Tim Draper and Marc Benioff were among the earliest investors in Datawallet back in 2014. Since then the company has built a world-class team of PhDs and graduates from Stanford, Harvard, and MIT, hired veteran Executives from industry, and – most importantly – developed the tools to securely support companies and their customer's personal data around the world.
Contact for Datawallet
Yannick Sokolov
yannick@datawallet.com


text:
Media Mogul Byron Allen To Acquire Bayou City Broadcasting For $165 Million
ADW News Desk
Byron Allen's Entertainment Studios Inc., one of the largest independent producers and distributors of film and television, with 43 shows on the air, and owner of nine 24-hour HD television networks now serving nearly 160 million subscribers — including The Weather Channel television network — has acquired Bayou City Broadcasting Evansville, Inc., and Bayou City Broadcasting Lafayette, Inc. Allen is purchasing the station groups through his company, Allen Media Broadcasting LLC.
Allen, who recently joined Sinclair Broadcast Group to purchase the Fox/Disney 21 Regional Sports Networks (RSNs) for $10.6 billion, has been aggressively pursuing additional media assets.
"Byron Allen is a visionary, and a brilliant entrepreneur who always gets it done," said Bayou City Broadcasting President and CEO DuJuan McCoy. "Byron Allen's companies, which exemplify excellence, are perfectly positioned to continue the strong tradition these stations have in serving their communities."
"This is another milestone for our company, as we have now agreed to purchase our very first broadcast television stations and continue to look for other opportunities to grow our global media company through strategic acquisitions," said Allen, founder, chairman and CEO of Entertainment Studios/Allen Media LLC.
Allen's expansion into broadcast television is the latest step Entertainment Studios has taken in further expanding the global reach of its programming and content. The Entertainment Studios divisions now include: broadcast television network affiliates, streaming services, broadcast television syndication, production and distribution of 43 television programs, nine 24/7 HD television networks, theatrical motion picture production, acquisition and global distribution, digital movie acquisition and distribution, and global news publishing — making Entertainment Studios one of the largest privately-held media companies in the world. The 26-year-old Entertainment Studios is 100% owned by Allen.
Entertainment Studios produces, distributes, and sells advertising for 43 television programs, making it one of the largest independent producers/distributors of first-run syndicated television programming for broadcast television stations. With a library of over 5,000 hours of owned content across multiple genres, it provides video content to broadcast television stations, cable television networks, mobile devices, multimedia platforms, and the World Wide Web.
Tags: Byron Allen, Entertainment Studios Inc.
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text:
Ahmed Derias, né le , est un homme politique algérien. Membre du Front de libération nationale, il est député de la sixième circonscription électorale de la wilaya de Batna au cours de la troisième législature (1987-1992).

Bibliographie
 Annuaire de l'assemblée populaire nationale, III législature.

Sources, notes et références

Député de la wilaya de Batna
Naissance en juin 1933
Membre du Front de libération nationale (Algérie)
Député algérien de la IIIe législature


my music merry-go-round: two for the price of one!!
congrats to--in no particular order-- ben, kaylee, jodi, jo (my mom) and rachel!! you all get two of my CDs, Kelly Jo Mitchell, Smile for the price of one!
so cash in when they come in. you will not be disappointed!
for everyone else, there will be more chances to win... pass it on and tell your friends.
time for bed. tomorrow marks the final day in the studio .. I PROMISE.. just remixing the mistakes by my first engineer.
thank you reid kruger, of waterbury music in minneapolis for your patience, guidance and support!! you rock my socks off. and your fiance makes a mean stir fry!
In no particular order....just wanted to let everyone know that I was Numero Uno!
meetings-- not just for corporate america.
so i have a twitter account but no tweets for me.
My name is Kelly Jo Mitchell. I am based in the greatest city in the Midwest, Minneapolis. The city with elevated streets in the sky, that more often than not, confuse me. But I grew up in a small town in Wisconsin, with no streetlights and a great family. I have a handful of amazing friends; too many memories, some mistakes and always a song that will tell you a little bit about the good and the bad. Did I mention I have a great family? I write music because my mind would overflow with a useless jumble of words if kept it all in. I write music because I can. I pound on the keys of my Yamaha P60 at odd hours of the night and hope my neighbors won't mind. I wrote my first song Heaven Filled With Gold for a teacher who inspired to me to pursue music when I was 14. I have been playing ever since. I play simple chords with simple melodies because it makes sense to me. And now, I want to share with you the process-- uncensored-- they call making a CD after spending a year making my second one, Kelly Jo Mitchell, Smile.


Free day at laisure. Optional tour available.
Return to Bali by charter flight and transfer on arrival to Sanur.
Transfer to the airport for your flight to Borneo via Kuala Lumpur.
On arrival at Kota Kinabalu International Airport, you will be met and transfered to your hotel.
At 09:00, depart from your hotel in Kota Kinabalu and travel 2 hours along the ridges of the Crocker Range to Kinabalu Park.
Here you will enjoy a guided nature walk with your naturalist guide. After lunch, you travel back to Kinabalu National Park for a video presentation and guided walk to the mountain garden to see a rare collection of mountain plants and flowers. Transfer to Poring hot springs walkway to observe the rainforest from the canopy.
This morning you'll leave Kinabalu Park and travel to Borneo Nature Lodge. In the late afternoon, there will be a river cruise to Menanggol River, a tributary of Kinabatangan River in search of wildlife, including the unique Proboscis monkey, Macaques, Hornbills, Kingfishers and many others. The Kinabatangan Wildlife Sanctuary is one of the best places in South East Asia to observe wildlife.
Wake up to the calls of birds, insects and animals. At 6.00am take a morning cruise up to the Kinabatangan River and onto Kelenanap Ox-Bow Lake for bird watching and in search of other wildlife. Take a short jungle walk (if weather permits) and experience the wilderness of Borneo before returning to the lodge for breakfast. Free at leisure to explore the surrounding areas or nearby village. In the evening, boat cruise along the river to see many species of flora and fauna of the rainforest.
Another early morning as you proceed to Sepilok Orangutan Rehabilitation Centre situated in the Kabili-Sepilok Forest Reserve. Learn about the rehabilitation of young or strayed orangutans before taking a boardwalk through the lowland rainforest to a viewing platform. Witness the feeding of orphaned orangutans at 10:00. An early Lunch is followed by a transfer to airport for your departure flight.