text:
Jack Hardy and three tons of bricks
It was 1982 or thereabouts, in New York City, and I was walking up MacDougal Street with Jack Hardy.
It was early evening, and a meeting had just ended at his apartment on Houston Street. I'm pretty sure it had been a staff meeting for the Fast Folk Musical Magazine; there was a songwriter's exchange that also took place at Jack's apartment, but I can only recall having been at a couple of those. More likely, a Fast Folk Musical Magazine meeting. I was always at those.
The meeting had broken up, and we were on our way to a different meeting, this one for the Musician's Coop as a whole, taking place at the Speakeasy cafe. It seems to me, in my memory, that there was always some sort of meeting of some sort going on during that period, and this was not a bad thing.
I remember walking up that block of MacDougal sitting between Houston and Bleeker, and how that was a route that I rarely took, making the surroundings seem vaguely exotic to me. The empty basketball court, the trash cans, the quiet, brick buildings with no one out on the stoops – more residential than the block above Bleeker, where the Speakasy was located.
I was having one of those "Hey, I'm in New York" moments I often had in those days. Hey, I'm in New York. Walking toward Bleeker Street. With Jack Hardy.
The meeting at Jack's had been pretty big, and we were not the only ones heading up to the Speakeasy from there, but for some reason we had all spaced ourselves out, some running ahead, some lagging. I was lagging; so was Jack. Which put me more or less alone with Jack Hardy, walking up MacDougal.
Conversation was called for. I was still agonizingly shy in those days — but Jack wasn't saying anything, so it seemed to be up to me.
"You know," I began, "I was listening to " — I'm sorry, I can't recall the particular song after all this time, but it was one recently recorded on the Fast Folk Musical Magazine — "and I noticed the harmony… That was you singing, wasn't it? I mean, that really gorgeous, really high harmony part?"
He laughed. Jack had an interesting laugh: a one syllable, one note, huh! It could mean surprise, amusement, derision, self-deprecation, sarcasm, any or all in combination. (Listen for it on his live recordings. It's there.)
He made that sound now. Then: "Yeah, that was me."
"It was… so high, and pure…"
And different. Jack was famous for his odd, creaky, voice: sometimes more breath than note, or a grinding grumble, or a ringing tone like a cracked bell.
I once remarked to a friend that I really liked Jack's singing voice. Friend: "You like it? But, but he sings like — like the Devil himself!" Me: "Aha! That's it!"
Jack seemed to sing from some place different from the other singers I heard. Some ancient, dangerous place. How could I not like it?
But that was not what I had heard on that recording. Jack's part was the top line of a three-part harmony, and it had been high, clean, pure and flawless.
I had to check the credits on the album track. I knew the other voices, and recognized them. By process of elimination, the top part had to be Jack. The guy with the voice like the Devil himself could also sing like an angel.
"That's my natural voice," Jack said. "I'm really practically a counter-tenor."
"Wow. So… why don't you sing like that more often?"
"You can't deliver text up there."
I don't think that I actually stopped short in the middle of the sidewalk and stood dumbfounded; but I do know that I did the exactly corresponding mental equivalent of that.
Like the saying. Like the cliche. Ton of bricks.
Because, here's the thing:
I sang high. It was fun. I could hit all these crazy notes, how cool is that?
But every now and again, someone would say something like: Maybe you shouldn't be singing that high. The suggestion was usually imparted almost reluctantly, tentatively. Um, you know… maybe you should try singing… lower?
But other people — many, many more people, in fact — told me that they liked my voice. So, I had a quandry: who do I believe?
Well, Believe yourself, the self-improvment gurus today would say, decide what YOU like! But I was just learning my craft back then. You don't learn by sticking to your guns no matter what. You learn by paying attention, and discovering more. You learn by thinking about what you hear, and finding out what it means.
Ninety percent of the people who expressed an opinion to me said that they liked my voice. However, the handful of people suggesting I sing lower were people whose opinion I valued.
But whenever I asked them the obvious next question, Why?, they had no useful answer. It would sound better is just too vague. It's too obviously based on personal taste. I don't know, high just doesn't…work…
But why not? In what way doesn't it work? What's an example of it not working?
I continued to get no real answer. And given that I could not decide between two contradictory sets of information, I opted for No Change.
Because, if you're talking about art, and some people like it, and other people don't, then it's probably just a question of taste. Right?
But: You can't deliver text up there.
And text is the thing, text is the critical element. Text was what made this music the music I loved.
The music I heard as a kid was all Baby, Baby, I need your love, Love me, do, My baby done me wrong, can't live without that man of mine, my boyfriend's back and you're gonna be in trouble. It wasn't until my sister brought home a record of the Newport Folk Festival that I found out that there were other things to sing about.
Mining disasters. Indian rights. The cycle of time. Life, death. Longing, anger. Trains. The war in Vietnam. Emilia Erhardt. Take a stick of bamboo and throw it in the water, dammit. My home's across the river.
Love, sure, also love; but not only love.
The whole world; this was the music that let you sing about the whole world. Folk music, or urban folk, or contemporary folk, or literary folk — the terms aren't clear, and the categories blend into each other, but the word folk keeps recurring.
Folk music — that was the stuff, and the text mattered.
When you sing very very high, the note distorts the word. The physics of achieving the note alters the shape of your mouth. Your language sounds unnatural when you're hitting that high C. You're subverting meaning in favor of vocal gymnastics.
Sure, you can deliver text up there — if your text is la, la,la, or oooo-ee. I have a little more to say than that.
So, with Jack Hardy's casually dropped ton of bricks, I suddenly understood what my friends had been unable to get across to me. It made artistic sense. And I started singing lower.
Some people prefer the way I used to sound; some people prefer the way I sound now. What matters is that I see the connection between how I sound and what I say. Text matters.
That was ton of bricks Number One.
Here's ton of bricks Number Two:
Back before the Fast Folk, and before the Musician's Coop and the Speakeasy Cafe, I had a part-time programming job in Jersey City, right across the river from New York. I'd stay in Jersey City during the week and head home to Connecticut for the weekends.
This, I thought, was my opportunity to check out the music scene in New York, without having to actually live there (that came later). So I wandered over one evening, and checked out the Open Mike at Folk City on West 4th Street.
(I could go on and on about Folk City, and I will one day; but not now.)
And I do believe that it was that first night, as I was making my way across the room, when I heard the people on the stage sing:
Ruin has him in the wind at last,
Cries the Wolf of Time.
And I remember thinking: Wait, you can do that in a song? And it'll work?
This was Jack Hardy, with his brother Jeff on upright bass and his brother Chris on fiddle, both brothers doing backup vocals. And this was my introduction to the literary song.
Some other practitioners were Brian Rose and Suzanne Vega — and there were plenty more where they came from, as the saying goes. But Jack's voice was the first I heard doing something identifiably other than what I expected of Folk Music up to that time. The literary song is not just the subject matter, it's how you use the language. And Jack not only did it, he talked about it, promoted it, communicated with other musicians on behalf of the idea.
You can sing about anything, and you can use poetry to do it.
One more revelation from Jack Hardy (ton of bricks Number Three), and I'm calling it a night. It's late; I've been at this a while.
As I found out when I started going to Greenwich Village, and hitting the Open Mike nights, there really was a music scene for folk music in its various incarnations.
But it was cut-throat, difficult, limited. Small, and hard to break into.
Somewhere in there, an idea started circulating, and I don't know who came up with it, but it was this: We can make a music scene. We can create one. But first, we have to work together. And the Musician's Coop was born.
And then somebody (if you know who, please tell me) approached the owner of a languishing cafe with the offer of: you provide the place, we provide the music; we get the admission price, you get the money from all the drinks and dinners. And the Coop had a home base.
I jumped aboard pretty quickly; I was not one of the original instigators, but I gave it my all. My best contribution was running the sound board.
But out of the Coop, came the Fast Folk Musical Magazine. It was, if memory serves, Jack Hardy, Brian Rose and Angela Page who were the instigators. It was such a radical idea: a magazine that included a vinyl LP. Issued monthly. Non-profit.
This was before the Internet. No easy communication, no singing into a mike attached to a computer to get an near-instant MP3 file. No YouTube. Records were expensive and hard to make.
It was a brilliant idea that was also stunning. We could do it. Ourselves.
I wasn't on staff for the first issue, but by the second issue, I was right there.
And that's the third revelation, third ton of bricks: You can do it.
If there is no place for you, make a place. If no one's doing what you need done, do it yourself. If no one can hear you, create a forum.
If you don't like it, change it.
I could go on.
I could tell you about the Tinker's Coin, which I've actually seen; or about how Jack rose to my defense on radio in Italy; or the night we argued about which was more important, truth or beauty? (You can guess which side I came down on.)
But here's the thing: I like people who rewire my brain. I like to be startled, to be turned around, and to suddenly see everything from the opposite side.
I honestly don't know what Jack's opinion of me was, other than that he liked what I wrote for the Fast Folk. I have no idea what he thought of my music. (Perhaps he thought I was singing too high?) It's irrelevant, really.
Jack was an important figure during an important period of my life, and he rewired my brain over and over.
He had ideas, and he put them to work. He had views, and he stood up for them.
He made things happen.
It mattered that he was here; it matters that he's gone.
Jack's obituary in the New York Times
[addendum: Musician Josh Joffen tells me that it was Angela Page and Vincent Vok who approached Joseph Zbeda, the owner of the Speakeasy, about the deal with the Musician's Coop. Vinnie Vok was literally the first person I ever met in Greenwich Village, when I walked up to him in the sign-up line at Folk City, and asked, "Hey, what's going on here?"]
Tags: folk music, Greenwich Village, Jack Hardy, literary folk, Musician's Co-op, Musician's Coop
This entry was posted on Sunday, March 20th, 2011 at 12:05 am. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.
12 Responses to "Jack Hardy and three tons of bricks"
Tom Duval Says:
Your evocation in this essay is beautiful. Thank you.
I think, after a very long week of thinking about it, that that was the thing that drew me to him: there were possibilities. It was possible. You didn't have to have the contract. You could simply. Go. Do.
I remember those days so well. Thank you for bringing them to life again.
You must have had plenty of conversations with him about art, life, the universe and everything! You were right in the thick of it, traveling all over Europe, playing bass with Jack on tour. (It was bass, right? Or lead guitar?)
There's an example of Go and Do.
I never talked to him much, but I remember him well. I love The Tinker's Coin; I'd forgotten it until you posted the link. My favorite song of his was called, I believe, "The Night Train to Paris." But this is a very close second.
This is a beautiful tribute.
Sabine —
"The Tinker's Coin" was one that I added to my own repertoire, followed by "Woman of the Road" and "Night Train to Paris".
Jack used to tell the story of how he was touring in Europe one year, and realized he was about to turn thirty. He was in one of the less pleasant corners of Europe at the moment, and decided that if he was going to have to turn thirty, he was going to do it in Paris. So he left the band on their own, hopped the night train, and arrived in Paris in time for his birthday.
You might not recall that this was my inspiration for getting to Paris in time for my own thirtieth birthday.
I can't remember if I had learned to sing the song by then, but I do seem to remember singing some Jack Hardy song to you, when we were in Paris.
jeff gold Says:
March 21st, 2011 at 2:05 am
Rosemary,I remember you from the village and the coop, I really loved your remembrance of Jack, he had a profound affect on all who knew him and his loss is a great one for me.
Thanks, I remember you, too! "City Blues" was my favorite song of yours.
Nancy Hershatter Says:
Thanks, Rosemary– Your essay brought back so many vivid memories of that time in our lives, and articulated beautifully why Jack's presence in it was a gift pivotal to so many.
March 21st, 2011 at 4:29 pm
Nancy —
Thanks… and you know, I think that your choice of the word "pivotal" is brilliant, as referring to Jack's place in the Folk music scene of that period.
The presence of a pivot permits things to turn.
Vincent Vok Says:
Rosemary, nice article. Thanks for mentioning me. My mindset at the time was one of creating a scene, and one club does not do that, no matter how historic it was. Eric Frandsen and I tried to keep an open communication between the two clubs, but the exclusive energy just moved from one location to the other. I handed Speakeasy over to Jack and Angela because I knew they were the organizers. I just wanted to play. I'm glad it worked out for most of you. I finally made peace sit Jack about 10 years ago, showing up on Houston Street and chopping zucchini for the pasta. He kept the flame burning, and inspired songwriters to be as good as they could be. All personalities aside, he made us feel that as a songwriter, you belonged to the same family, and by that I regarded him as a brother, and I am sad at his passing.
Vinnie —
Well, I think you did a service to humanity, taking that first step and talking to Joseph Zbeda about the Speakeasy! And I'm grateful.
You're right that it would have been great if Speakeasy and Folk City could have had a sort of synergy working between them. But I think that it was Folk City that was the problem. I heard Joe (one of the owners of Folk City, for you readers who are going what? who?) say more than once that new performers who played at Speakeasy were not welcome at Folk City. Because Speakeasy was the competition. They were two businesses around the corner from each other, and what was good for one was not good for the other, according to Joe.
A community of people with shared interests was harder to implement in those days. Nowadays, communities seem to spring up online as soon as any interesting idea at all is mentioned!
Ansel Matthews Says:
I also remember having many of those "one on one conversations with Jack,brought about in the same manner in which you had yours. In this story he was relating his reluctance when he first came to Nyc to sign his 10yr apt. lease agreement(who wouldn't kill for one these days). He,like most of us, assumed fame and fortune was just around the corner and didn't want to be tied down to anything long term. Funny how in the long run, there was no one more enduring or more firmly rooted than Jack Hardy in the NYC folk music scene
apparently, Amazon has a blog feed on their author pages | Rosemary Kirstein Says:
[…] Jack Hardy and three tons of bricks On the passing of an artist who had a profound effect on my early creative life. […]


Jamaica is the new home of the International Reggae and World Music Awards (IRAWMA), according to event conceptualiser Ephraim Martin.
He made this known during the official announcement of 2018 nominees at the Jamaica Pegasus in New Kingston Tuesday evening. The event takes place at that venue on May 11.
The IRAWMA was last held in Jamaica in 2002. Martin believes that staging the ceremony on the island can help boost tourism.
"Thousands of people fly in to the show when it's held at other locations overseas and we expect Jamaica to be no different. We are also marketing it like the perfect time for a vacation where you can just come out, chill and relax then come to show. Maybe it won't be a grand boost this year, but as the years go by, it will pick up," said Martin.
He disclosed that for the IRAWMA's 37th anniversary, more than the location has changed.
"We will also be honouring those persons in the music fraternity like the foundation artistes and the musicians who are still making a difference in the world of reggae music today," he said.
Shaggy, Sean Paul and Koffee lead the nominations. There are 40 categories.
Bob Marley will receive the Special Emperor of Reggae and World Music Honour Award which was created specifically for him; American Civil Rights activist Jesse Jackson snagged the award for Special Freedom Fighter while Grange will receive the Martin's International Person of The Year 2018 award.
Nominees for Bob Marley Entertainer of the Year include Busy Signal, Chronixx, Damian Marley, Popcaan and Shaggy. Chronixx, Romain Virgo, Tarrus Riley, Protoje and Beres Hammond are nominees for Best Male Vocalist.
In the category of Best Female Vocalist, Etana, Estelle, Jah9, Koffee and Queen Ifrica are nominated.
Best Male Dancehall Artiste nominees are Aidonia, Govana, Masicka, Popcaan and Vybz Kartel. D'Angel, Dovey Magnum, Jada Kingdom, Spice and Shenseea are nominees for Best Female Dancehall Artiste.
In the Best New Entertainer category, Dalton Harris, Hood Celebrity, Jada Kingdom, Koffee and Rygin King are the nominees.
Established in 1982, IRAWMA acknowledges the accomplishments and contributions of reggae and World Music artistes, songwriters, performers, and promoters. It was first held in Jamaica in 1991 in Montego Bay. Voting is open to the public on the IRAWMA's official website.


text:
Q: What do I need to escape inside the html  tag I use the
 tag in my blog to post code. I know I have to change < to < and > to >. Are any other characters I need to escape for correct html?

A: TL;DR

*

*PHP: htmlspecialchars($html);

*JavaScript(JS): Element.innerText = "...";
Note that
 is just for styles, so you have to escape ALL HTML.
Only For You HTML "fossil"s: using <xmp> tag
This is not well known, but it really does exist and even chrome still supports it, however using a pair of <xmp> tag is NOT recommended to be relied on - it's just for you HTML fossils, but it's a very simple way to handle your personal content, e.g. DOCS. Even the w3.org Wiki says in its example: "No, really. don't use it."
You can put ANY HTML (excluding </xmp> end tag) inside <xmp></xmp>
<xmp>

 just any other html tags...
</xmp>

The proper version
Proper version could be considered to be HTML stored as a STRING and displayed with the help of some escaping function/mechanism.
Just remember one thing - the strings in C-like languages are usually written between single quotes or double quotes - if you wrap your string in double => you should escape doubles (probably with \), if you wrap your string in single => escape singles (probably with \)...
The most frequent - Server-side language escaping (ex. in PHP)
Server-side scripting languages often have some built-in function to escape HTML.
<?php
   $html = "
 or just any other HTML"; //store html
   echo htmlspecialchars($html); //display escaped html
?>

Note that in PHP 8.1 there was a change so you no longer have to specify ENT_QUOTES flag:

flags changed from ENT_COMPAT to ENT_QUOTES | ENT_SUBSTITUTE | ENT_HTML401.

The client-side way (example in JavaScript / JS&jQuery)
Similar approach as on server-side is achievable in client-side scripts.
Pure JavaScript
There is no function, but there is the default behavior, if you set element's innerText or node's textContent:
document.querySelector('.myTest').innerText = "...";
document.querySelector('.myTest').textContent = "...";

HTMLElement.innerText and Node.textContent are not the same thing! You can find out more about the difference in the MDN doc links above
jQuery (a JS library)
jQuery has $jqueryEl.text() for this purpose:
$('.mySomething .test').text("...");
Just remember the same thing as for server-side - in C-like languages, escape the quotes you've wrapped your string in.

A: What happens if you use the
 tag to display HTML markup on your blog:

Use a span tag with style attribute to hightlight words

This will pass HTML validation, but does it produce the expected result? No. The correct way is:

Use a <span style="background: yellow;">span tag with style attribute</span> to hightlight words

Another example: if you use the pre tag to display some other language code, the HTML encoding is still required:

if (i && j) return;

This might produce the expected result but does it pass HTML validation? No. The correct way is:

if (i && j) return;

Long story short, HTML-encode the content of a pre tag just the way you do with other tags.

A: Use this and don't worry about any of them.

${fn:escapeXml('

')};

You'll need to have jQuery enabled for it to work.

A: For posting code within your markup, I suggest using the  tag.  It works the same way as pre but would be considered semantically correct.
Otherwise,  and
 only need the angle brackets encoded.

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Census, land & surveys
Full list of United States records
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text:
WHY THIS ARCHIVE
At the initiative and under the responsibility of the Attica Department of the Association of Greek Architects (SADAS-PEA), it was decided that a Digital Archive of Greek Female Architects should be created, starting with the1923-1981 period.
This decision by the Administrative Council ratified a relevant proposal of the Scientific Workshop of the Attica Department of SADAS "Architecture Routes in Attica from the rise of Modernism until now", which, in the framework of highlighting important colleagues of the past, encountered the absence of prominent female colleagues. Priority was, therefore, given to the Digital Archive of Greek Female Architects, starting with University graduates up to 1981, with the intention of others to follow, that would shed light on neglected architectural personalities, both male and female.
The project was evaluated positively and was placed under the auspices of the Ministry of Culture and Sports, with the assistance of which the Archive's first phase was completed.
With the Digital Archive of Greek Female Architects, the Attica Department of SADAS aims on the one hand to substantiate their contribution to the country's built environment in the 20th and 21st centuries, and on the other hand to respond to the constant claim of female colleagues for equal opportunities in employment and fair acknowledgement of their work.
We believe that this Archive, the analytical description of which is given in the following Chapter 'About the Archive ', will offer valuable material for the History of Architecture and the architects' self-knowledge in our country. In addition, it brings up the importance of Architecture for the rational and democratic planning of our built environment. It could therefore be used, not only in architectural and historical studies, but also in sociological and political research.
The Digital Archive of Greek Female Architects brings to light their unacknowledged contribution to: town planning and regional planning; urban design and landscape architecture; social / working class housing and refugee housing programs; schools and educational buildings; health and social welfare facilities; public buildings and cultural facilities; hotels and tourist facilities; sports facilities; special-purpose buildings; architectural surveying and protection of traditional settlements and the restoration and adaptive re-use of monuments, etc. The increasing participation of women in the profession and civil service after World War II, as well as in the fields of architectural research, education, historiography and theory are also substantiated.
The Archive follows the architectural history and the history of the built environment in our country.
It should be noted that at this time, the educational and professional career conditions in Greece for female colleagues were extremely adverse. In fact, in the first decades of the 20th century, when there was not even a secondary practical education for women, future colleagues passed the entrance exams either taught at home or as graduates of male schools, and then, after their graduation, struggled to win promotion in the public sector on the basis of qualifications rather than gender. They also had to –and still have to– constantly prove that they are proficient in the profession, while also swaying themselves between their traditional role in the family and their role in society, as scientists and professionals.
The arduous compilation of the Archive is carried out by a scientific committee of architects, with the assistance of many active members of the Attica Department and the General SADAS, as well as with the participation of living colleagues listed on the Archive or their descendants-holders of their archive. The work of this committee is supported by colleagues with specialization relevant to the subject of the Archive – History of architecture and urban planning, archiving etc. – and by colleagues with experience in most fields of professional activity in Greece.
On the eve of one hundred years since the establishment of the Association of Greek Architects, the Attica Department of SADAS delivers to researchers, to the architectural community, and to society in general, a representative sample of the life and work of Greek female architects, as:
A tribute to the older ones, a light to their work and a springboard for the young ones, who –in defiance of the time– are increasingly strengthening the ranks of Architecture.
For the Administrative Council of the Attica Department of SADAS
Julia Tsaliki
The Secretary General
Ourania Oikonomou


Shortly after a fire in the mid 1970's damaged the Old Caln Meeting house located on King's Highway in Caln Township, a group concerned with bringing together all those interested in the history of the Caln area decided to form the Old Caln Historical Society. Eventually a non-profit organization was formalized with by-laws and a member elected Board of Directors.
While interest in the Old Caln Meeting House prompted the beginning of the Old Caln Historical Society, many other points of historical interest in the area have come to our attention and continue to be researched. To date, over 60 historical properties have been thoroughly researched and their stories made available for free to all interested parties. Replicas of twelve historical properties in Caln Township have been completed and are offered for sale to the public.
The Old Caln Historical Society conducts periodic public meetings; offers periodic free, expert speaker programs on historical interest to the general public; has an annual meeting and picnic for all members; there is a spring Craft, Antique and Flea market; and a Candle Light Christmas program of music by local groups.
One third of the Old Caln Meeting House is used as a museum to house the archives, artifacts and other historical memorabilia which have been collected by our Society during these recent years. This museum is open to the public on the first Sunday afternoon of each month, April through and including October.
• To bring together all residents and friends interested in the history of Caln Township and the surrounding area.
• To stimulate and maintain interest in the history of the area and its historical structures.
• To educate with regard to our history and, therefore, promote the social welfare of the community.
• To collect and preserve historical information including printed materials, documents and various other artifacts related to the history of the area.
• To disseminate historical information for the educational betterment and enlightenment of the residents and friends of the area.


text:
Lionel Richie: All Night Long (live)
New Express Bus Service For Weymouth - Dorchester
Published by The Wessex FM News Team at 12:10pm 25th May 2012.
A new express bus service will run between Weymouth and Dorchester. The Government's giving us £2.4M to support the greater use of walking, cycling and public transport.
A new express bus service will run between Weymouth and Dorchester.
The Government's giving us £2.4M to support the greater use of walking, cycling and public transport.
The money will also be used to expand local car clubs, where drivers share journeys.
The scheme was one of several projects in the South West that have been successful after bidding for funding.
Transport Minister Norman Baker said:
"The schemes we are funding will benefit those living in the South West by cutting carbon emissions, reducing congestion and stimulating economic growth in the area.
"By investing in these schemes we are signalling our commitment to green growth which will help to kick-start economic activity in the region while improving access to healthier forms of transport and addressing the problem of climate change."
HALF PRICE! Family Season Ticket for Minterne Gardens
HALF PRICE! 1x ticket to Ultra 90s at The Weymouth Pavilion
HALF PRICE! Back to Bacharach at Weymouth Pavilion
HALF PRICE! Family Taster Bouldering (Climbing) Experience
HALF PRICE! Family Tickets to Pirates Of The Pavilion
HALF PRICE! Single Season Ticket for Minterne Gardens


Story: When an evil spirit called Pitch becomes bent upon taking over the world by inspiring fear in the hearts of kids everywhere, a group of our greatest heroes --Santa, the Easter Bunny, the Tooth Fairy, the Sandman and Jack Frost - band together for the first time, determined to stand in Pitch's way. More than a collection of storybook subjects, The Guardians are also a band of superheroes, who possess their own special powers. Now joined in opposition of a common foe, the Guardians heed the call and combine their powers to defeat Pitch and protect the world from his campaign of fear.


On behalf of Dannenbaum Law Firm, PLLC posted in domestic violence on Wednesday, April 10, 2019.
On behalf of Dannenbaum Law Firm, PLLC posted in domestic violence on Thursday, March 29, 2018.
The recent school shootings are likely to have an effect on gun laws in Virginia and elsewhere. New restrictions may affect not merely mass shootings but also other forms of firearm homicide.
On behalf of Dannenbaum Law Firm, PLLC posted in domestic violence on Wednesday, September 20, 2017.
When disaster strikes in Virginia, those who are in abusive situations are often the most vulnerable due to the fact that disasters can restrict access to housing, food and water. Due to the additional stress caused by the disaster, the severity and prevalence of domestic violence can actually increase. As such, integrating domestic violence services into relief efforts is incredibly important.
On behalf of Dannenbaum Law Firm, PLLC posted in domestic violence on Thursday, September 29, 2016.
Virginia parents who are divorcing and who have been the victim of domestic violence might assume that this means they will get custody of their children, but unfortunately, this is not always the case. In some cases, a judge, looking at the child's best interests, might see that such a parent s in a less stable situation. This could lead to the other parent getting custody.
On behalf of Dannenbaum Law Firm, PLLC posted in domestic violence on Wednesday, September 14, 2016.
Many people in Virginia have heard about the traumatic brain injuries that affect professional football players. While football-related brain injuries are making big headlines, less is known about the brain injuries that are sustained by victims of domestic violence. Repeated blows to the head can cause chronic traumatic encephalopathy, and some researchers believe that there are many domestic abuse survivors with this condition.
On behalf of Dannenbaum Law Firm, PLLC posted in domestic violence on Wednesday, July 13, 2016.
One of the things that can have significant implications for individuals who have experienced domestic violence is what domestic-abuse-related laws are present in the state they live in. This includes what laws regarding protective orders are in place in their state.


Main / About us / Company news / Affiliate remuneration is more higher!
Affiliate remuneration is more higher!
We have improved our affiliate program - now remuneration is paid also for the clients' activity. Early it was available at Option accounts only. Since April 13 this reward has been available for every partner.
Additional reward is paid once for every client who has made 5 and more lots during the reporting period. The more you have active clients, the higher the remuneration for each one. Additional remuneration is paid for active trading on instruments FOREX MAJORS, FOREX EXT 1, FOREX EXT 2.
Partner has 15 and less active clients - $10 for each one.
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Attract more active clients and get additional reward!


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Britney Spears sued over perfume line
By Jessica Derschowitz
June 7, 2011 / 1:15 PM / CBS News
Britney Spears performs onstage during the Billboard Music Awards on May 22, 2011, in Las Vegas. Getty
(CBS) Britney Spears is being sued for more than $10 million by the licensing firm that helped the pop star launch her fragrance line.
Brand Sense Partners filed a breach of contract suit against Spears and her father, Jamie Spears, in Los Angeles Superior Court on May 30, and want the singer to submit to a deposition in the case.
Pictures: Britney Spears
Pictures: Stars with fragrances
Eminem drops surprise new album with call for changes to gun laws
Karlie Kloss opens up about Kushner family ties
New Netflix show shines light on kids' social anxiety
The worst movies of 2019
Attorneys for Brand Sense say they want to depose the 29-year-old before she embarks on her upcoming tour, CBS station KCBS reported on Friday, but Spears' lawyers say that the singer, who is still under a court-ordered conservatorship that was established in 2008, is incompetent to testify in a deposition.
The licensing firm now wants a judge to order Spears to submit to a deposition, according to the report.
In the complaint, obtained by TMZ, Brand Sense claims it brokered the pop star's deal with cosmetics giant Elizabeth Arden in 2004 and stood to receive a 35 percent commission on any of the Spears-branded fragrances sold. But, the company alleges, Spears told Elizabeth Arden to send all royalties to her, cutting the licensing firm out of the deal.
The lawsuit alleges that Spears' father - who is the conservator of the singer's estate - said the 35 percent commission was too high and that his daughter did not want to pay it, and that Spears "secretly made a separate deal with Elizabeth Arden in a sneaky, under-handed effort to circumvent and evade its obligations to Brand Sense."
A hearing is scheduled for July 11, KCBS reports. Spears' tour kicks off in Sacramento, Calif., on June 16.
Britney Spears 43 photos
First published on June 7, 2011 / 1:15 PM


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Q: 404 error using Spring MVC Security Java Config on JBoss I wrote a small Spring MVC application with Java Config and secured it with Spring Security 3.2.5. It is working perfectly fine on Tomcat but not on JBoss EAP 6.2. It gets successfully deployed on JBoss but I get this warning when I request any page defined by Spring MVC and 404 error in browser.
WARN  [org.springframework.web.servlet.PageNotFound] (http-/127.0.0.1:8080-1) No mapping found for HTTP request with URI [/example-web/pages/login.jsp] in DispatcherServlet with name 'dispatcher'
Since Spring Security is used, for any request that needs authenticated user e.g. http://localhost:8080/example-web/start, Spring Security redirects to https://localhost:8443/example-web/login   That is when I see the warning and 404 error.
Here you can see my code:
public class WebApplicationInitializer extends AbstractAnnotationConfigDispatcherServletInitializer {

@Override
protected Class<?>[] getRootConfigClasses() {
    return new Class[] { RootConfiguration.class};
}

@Override
protected Class<?>[] getServletConfigClasses() {
    return new Class[] { WebMvcConfig.class };
}

@Override
protected String[] getServletMappings() {
    return new String[] { "/*" };
}

@Override
protected Filter[] getServletFilters() {
    return new Filter[] { new HiddenHttpMethodFilter() };
}
}

Here is my Spring MVC configuration:
@EnableWebMvc
@ComponentScan("com.spring.example.w.controller")
@Configuration
public class WebMvcConfig extends WebMvcConfigurerAdapter {

    @Override
    public void addViewControllers(ViewControllerRegistry registry) {
        registry.addViewController("login").setViewName("login");
        registry.setOrder(Ordered.HIGHEST_PRECEDENCE);
    }

    @Bean
    public InternalResourceViewResolver getInternalResourceViewResolver(){
        InternalResourceViewResolver resolver = new InternalResourceViewResolver();
        resolver.setPrefix("/pages/");
        resolver.setSuffix(".jsp");
        return resolver;
    }
}

Below is my Spring Security configuration:
@Configuration
@EnableWebSecurity
public class SecurityConfig extends WebSecurityConfigurerAdapter {

    @Override
    protected void configure(HttpSecurity http) throws Exception{

        http
            .addFilter(myUsernamePasswordAuthenticationFilter())
            .authorizeRequests()
                .antMatchers("/login").permitAll()
                .antMatchers("/admin/**").hasRole("Admin")
                .antMatchers("/start/**").hasRole("Viewer")
                .antMatchers("/user/**").hasRole("User")
                .antMatchers("/**").hasRole("User")
                .and()
            .httpBasic().authenticationEntryPoint(loginUrlAuthenticationEntryPoint())
                .and()
            .logout()
                .permitAll()
                .and()
            .requiresChannel()
                 .anyRequest().requiresSecure();
    }

    @Bean
    public LoginUrlAuthenticationEntryPoint loginUrlAuthenticationEntryPoint(){
        LoginUrlAuthenticationEntryPoint loginUrlAuthenticationEntryPoint = new LoginUrlAuthenticationEntryPoint("/login");
        return loginUrlAuthenticationEntryPoint;
    }

    @Bean
    public ActiveDirectoryLdapAuthenticationProvider activeDirectoryLdapAuthenticationProvider(){
        ActiveDirectoryLdapAuthenticationProvider authProvider = new ActiveDirectoryLdapAuthenticationProvider(my_domain, my_url);
        authProvider.setConvertSubErrorCodesToExceptions(true);
        authProvider.setUseAuthenticationRequestCredentials(true);
        authProvider.setUseAuthenticationRequestCredentials(true);
        authProvider.setUserDetailsContextMapper(userDetailsContextMapper());
        return authProvider;
    }

    @Bean
    public UserDetailsContextMapper userDetailsContextMapper(){
        CustomUserDetailsContextMapper myAuthoritiesPopulator = new CustomUserDetailsContextMapper();
        return myAuthoritiesPopulator;
    }

    @Bean
    public CustomUsernamePasswordAuthenticationFilter myUsernamePasswordAuthenticationFilter()
            throws Exception {
        CustomUsernamePasswordAuthenticationFilter usernamePasswordAuthenticationFilter = new CustomUsernamePasswordAuthenticationFilter();
        usernamePasswordAuthenticationFilter.setAuthenticationManager(authenticationManager());
        usernamePasswordAuthenticationFilter.setAllowSessionCreation(true);
        SavedRequestAwareAuthenticationSuccessHandler successHandler = new SavedRequestAwareAuthenticationSuccessHandler();
        usernamePasswordAuthenticationFilter.setAuthenticationSuccessHandler(successHandler);
        usernamePasswordAuthenticationFilter.setAuthenticationFailureHandler(new SimpleUrlAuthenticationFailureHandler("/login?error"));
        usernamePasswordAuthenticationFilter.afterPropertiesSet();
        return usernamePasswordAuthenticationFilter;
    }

    @Autowired
    public void configureGlobal(AuthenticationManagerBuilder auth) throws Exception{
        auth.authenticationProvider(activeDirectoryLdapAuthenticationProvider());
    }
}

Then SecurityWebApplicationInitializer:
public class SecurityWebApplicationInitializer extends AbstractSecurityWebApplicationInitializer {
}

And RootConfig:
@Configuration
@ComponentScan
public class RootConfiguration {
}

And below is how I configured JBoss for SSL:
<subsystem xmlns="urn:jboss:domain:web:1.5" default-virtual-server="default-host" native="false">
    <connector name="http" protocol="HTTP/1.1" scheme="http" socket-binding="http" redirect-port="8443"/>
    <connector name="https" protocol="HTTP/1.1" scheme="https" socket-binding="https" enable-lookups="false" secure="true">
        <ssl name="ssl" password="<my_password>" certificate-key-file="c:\mykeystore.jks" protocol="TLSv1" verify-client="false"/>
    </connector>
    <virtual-server name="default-host" enable-welcome-root="true">
        <alias name="localhost"/>
        <alias name="example.com"/>
    </virtual-server>
</subsystem>

During deployment, I can see in the log that the requests do get mapped:
INFO  [org.springframework.web.servlet.mvc.method.annotation.RequestMappingHandlerMapping] (ServerService Thread Pool -- 71) Mapped "{[/start],methods=[GET],params=[],headers=[],consumes=[],produces=[],custom=[]}" onto public org.springframework.web.servlet.ModelAndView com.spring.example.w.controller.StartController.handleStart() throws javax.servlet.ServletException,java.io.IOException
INFO  [org.springframework.web.servlet.handler.SimpleUrlHandlerMapping] (ServerService Thread Pool -- 71) Mapped URL path [/login] onto handler of type [class org.springframework.web.servlet.mvc.ParameterizableViewController]
INFO  [org.springframework.web.context.ContextLoader] (ServerService Thread Pool -- 71) Root WebApplicationContext: initialization completed in 2530 ms
INFO  [org.apache.catalina.core.ContainerBase.[jboss.web].[default-host].[/example-web]] (ServerService Thread Pool -- 71) Initializing Spring FrameworkServlet 'dispatcher'
INFO  [org.springframework.web.servlet.DispatcherServlet] (ServerService Thread Pool -- 71) FrameworkServlet 'dispatcher': initialization started

Any help about why I get 404 error and this warning is highly appreciated. Once again I should emphasize that it is working on Tomcat. Thanks in advance.

A: Can you check if the connector port is enabled for SSL. This link has some details.
Redirecting from non ssl port 8080 to ssl port 8443
hope it helps


Outlook Magazine quotes me in the cover story.
Bharat Matrimony carries this interview with me.
A lovely reader's review appeared in this blog, by Erin Golsen.
Nai Duniya carried this article on Hitched.
Chatelaine magazine from Canada mentions Hitched, though the article is really about an arranged marriage my friend had.
The Hindu carries this article, which mentions my session at Lit for Life 2014, and also has me in the background, staring sulkily, as I'm prone to do.
Rediff carried this lovely interview with me, done by Abhishek Mande Bhot – this is the interview I most enjoyed doing, because Abhishek had read the book so beautifully, and asked me questions which I'd been wishing someone would. Longer version here.
The National, UAE, carried this interview with me. A couple of paraphrases which may have altered the meaning in there, so also check this.
The Sunday Guardian carried a review here (though this is really more about the reviewer's opinions than the book itself).
Rediff carried another extract here.
AFAQS quoted me in this article.
Rediff carried an extract here.
Time Out Delhi reviews Hitched here.
The astute Shruthi Padmanabhan reviews Hitched on her blog.
Femina carried this interview with me.
International Boulevard webzine carried this extract.
The Ladies Finger carried this interview by Shruthi Padmanabhan. Read the full version here.
Fountain Ink magazine carried this extract, and this self-interview.
The Hindu carried this interview with me. A longer version can be found here.
The Telegraph carried this awesome interview with me, the only entirely accurately quoted face-to-face one I've ever done. This is what happens when a journalist does record an interview.
The Hindu once again acknowledged my existence, and most of Madras woke up to the fact that I've written a book. Lots of aunties asked me why I didn't wear a pottu. Other aunties said I look just like Ma did at my age. I wanted to tell them, "Yeah, it's almost like we're mum and daughter." Before I could, they all told me, "But she used to tie her hair up. Sighhhhhhh."
(c) Hitched is not "in part autobiographical" – it does have some of my own experience in it – and my life does count as a "real life" too.
The Asian Age carried the following (erroneous) article about me, and the full text of the interview can be found here. In the interview, of course, I don't call my non-fiction book a 'novel'.
Business World Online carried an interview with me, done by Sanjitha Rao Chaini – read it here.
SIFY.com carried this interview with me. A longer version may be found here, for those who love me as much as I do.
SAKAL TIMES carries an interview with me. Either download the image here, or go here for the text of the interview.
THE WALL STREET JOURNAL carries an article here and an extract here. Also, do read the full interview here.
WOMEN'S WEB MAGAZINE carries a review of Hitched. Read it here or here.
TEHELKA carries an interview with me. Read it here. Shorter version here. For the record, I said "chai-tray" not "chai-trade".
DNA (Daily News & Analysis) has Hitched in their 'Fresh off the Shelf' segment!
The Hindu's Sunday Magazine carries this note about Hitched, on August 4, 2013. Here's a screen grab. If you're Tam Brahm and from Madras, you don't exist till The Hindu says you do, and so I'm mighty pleased about the newspaper my forefathers grew up drinking their morning's filter coffee with (as my future spawn will) being the first to acknowledge Hitched.


The autobiography and visual record of Canadian painter, William Kurelek (1927-1977) reveals the work of a prolific artist, resolute Canadian documentarian, and visionary narrator. Through the expression of his visual language, and the precision by which he selected his subject matter, Kurelek translated a lasting and dynamic vision of Canada's peoples, geography, and culture. Kurelek's artistic legacy also reflects his profound devotion to Christianity and the means by which he utilized visual art as a platform for evangelization. While Kurelek's visual record is indicative of his kinship and sensitivity to Canada's peoples and landscapes, he approached his artistic practice as that of a spiritual practice- one which was deeply inspired by: his conversion to Catholicism, literal translations of the Bible, and the legendary didactic masterworks of the Renaissance and Northern Europe. Examination of Kurelek's own body of moralizing work reveals his relationship with subjects such as: the Gospel According to St. Matthew, the Huronia Mission, the Catechism of the Catholic Church, abortion, the apocalypse, morality, and sin. Unbeknownst to most- who largely applauded and admired Kurelek for his pensively articulated Canadian landscapes, the artist dedicated a sizable body of his work to the discussion of Christian morality and ethics. It is in these works that Kurelek's emotional, opinionated, and obdurate opinions are revealed, and his relationship to society as that of a Christian missionary, affirmed. It is also important to note that during his short lifetime, Kurelek rendered more than 10,000 images.
My research on the subject matter of Kurelek began in 2009, whilst studying classical painting and iconography in Florence, Italy. Between 2009-2010, an extensive effort was undertaken to compile a digital archive of Kurelek's visual record, writings, and publications. Following a labyrinthine paper trail which took its starting point from Kurelek's autobiography (Someone With Me), an examination of site specific locations where Kurelek had lived and worked, inclusive of London, San Miguel Allende, the prairies of Alberta and Saskatchewan, and Toronto, ensued. It is critical to note that when Kurelek reached London in 1952, he voluntarily checked into the Maudsley Hospital, initially receiving care as an out-patient, though was later admitted as an in-patient – a time during which he painted many images, including The Maze, under the auspices of Maudsley's pioneering art therapy treatment program. Kurelek was later transferred to Netherne Psychiatric Hospital where he underwent electro-convulsive therapy.
Upon amassing the digital archive, a classification of Kurelek's work into recognizable thematic sequences followed. The classification of the digital archive also informed and supported the promulgation of my theories on Kurelek's position as Canadian documentarian and Christian missionary. To date, my research has resulted in the successful development of original course content, which I have presented and taught at the University of Toronto, Royal Ontario Museum, and Art Gallery of Ontario.
This entry was posted in William Kurelek - Canadian Painter on July 29, 2010 by mberenyi.


text:
Q: Multiset declaration with comparator using function pointers This is an extension of the question asked and answered here: How to define a multiset using a function pointer?
Unfortunately I do not have enough reputation to ask the user with the accepted answer my question as a comment (9 more to go ...), so here I am. Hopefully this was OK to do.
As in that question, I am also working through C++ Primer and am up to the same section. Using the simplified example given in the link above, I'm trying to understand this line:
std::multiset<A, decltype(compareA)*> m1(compareA);
As far as I am aware, this is the syntax for copy constructors. For example, initialising a multiset of integers m1 as a copy of multiset m2 is written as std::multiset<int> m1(m2);.
So what's going on here when we use function pointers? Is this just syntactic sugar to get the function pointer type returned by decltype(compareA)* to point to compareA? I think I'm fundamentally misunderstanding what this line is doing.
As a side note, how am I meant to read the documentation on std::multiset in order to answer this question? I feel like C++ documentation is much less accessible than, for instance, Java documentation, but perhaps I'm just looking in the wrong place.

A: The line std::multiset<A, decltype(compareA)*> m1(compareA) defines an object named m1 of type std::multiset<A, decltype(compareA)*> and passes compareA as a parameter to its constructor.
std::multiset's second template paramter is the type of comparator to use.  In this case, that's decltype(compareA)*: A pointer to the type of compareA.  Probably something like bool (*)(const A&, const A&): Pointer to a function returning bool and accepting two A parameters by const reference.  That type by itself can't do any comparisons, you need an actual object of that type that points to a specific function.  Normally std::multiset will value-initialize an object of its comparator type, but for a function pointer type that would be a null pointer.  To deal with this,  std::multiset has a constructor (constructor (1) on that page) that accepts an object of its comparator type that it will use to do its comparisons.  Function names are implicitly convertible to a pointer to that function, so passing compareA is equivalent to &compareA.
Taking this all together, m1's comparator type is "Pointer to a function accepting two As".  You pass a pointer to compareA to its constructor, which it will then use to call compareA to do the comparisons it needs.


This level has medium difficulty. For this level try to play near to cake and to break them as it will help to break the blockers. Combine special candies with each other to break more blockers. Or play near to Jam to spread it to near candies.
Can anyone tell me why my game only has 25 moves not 35?


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We understand our customized programs might be a bit different than what you're used to so we welcome all questions and will go out of our way to assist you in reaching whatever goals you've set for yourself.


Traditional dolls in Japan are known by the name of 'ningyō', which means 'human figure' in Japanese. Some experts see a continuity in the making Dolls of human images by the ancient Jōmon culture in Japan (8000-200 B.C.E.) and in the Haniwa funerary Dolls of the subsequent Kofun culture. Expert Alan Pate notes that temple records refer to the making of a grass dolls to be blessed and thrown into the river at Ise Shrine in 3 B.C.; the custom was probably even more ancient, but it is at the root of the modern Doll Festival or Hina Matsuri.
There are various types of Japanese dolls, some representing children and babies, some the imperial court, warriors and heroes, fairy-tale characters, gods and (rarely) demons, and also people of the daily life of Japanese cities. Many were traditional dolls made for household shrines, for formal gift-giving, or for festival celebrations such as Hina Matsuri, (March 3, the Doll Festival or Girls' Day) or Tango no Sekko or Kodomo no hi (May 5, Boys' Day or Children's Day). Some dolls were manufactured as a local craft, to be purchased by pilgrims as a souvenir of a temple visit or some other trip.
Around the year 1000, several types of dolls had already been defined, as we know from Lady Murasaki's great novel The Tale of Genji. Girls played with dolls and doll houses; women made protective dolls for their children or grandchildren; dolls were used in religious ceremonies, taking on the sins of a person whom they had touched. Probably the first professional dollmakers were temple sculptors, who used their skill to make painted wooden images of children Saga dolls. The possibilities of this art form, using carved wood or wood composition, a shining white "skin" lacquer called gofun made from ground oystershell and glue, and beautiful textiles, were vast. Important figures of this kind included very large images of legendary heroes, often with mechanical action built in, which topped festival carts brought out and hauled through town for a civic festival such as Kyoto's Gion Matsuri; mechanical theatrical scenes, which were a popular form of entertainment; and Bunraku puppets, a theatrical form which rivalled and inspired the Kabuki theater, and survives today.
In the Edo period (about 1603-1867), when Japan was closed to most trade, there developed both fine doll makers and a market of wealthy individuals who would pay for the most beautiful dolls set for display in their homes or as valuable gifts. Sets of dolls came to include larger and more elaborate figures, and more of them. The competitive trade was eventually regulated by government, meaning that doll makers could be arrested or banished for breaking laws on materials and height.
Karakuri puppets or dolls are mechanical; they include the large figures on festival floats and smaller entertaining scenes, often with a musical element accompanying the movement.
Hina dolls are the dolls for Hina Matsuri, the Doll Festival, also known as Momo no Sekku or the Peach Festival. They can be made of many materials but the classic hina doll has a pyramidal body of elaborate, many-layered textiles stuffed with straw and/or wood blocks, carved wood hands ,and in some cases feet covered with gofun, and a head of carved wood or molded wood compo covered with gofun, with set-in glass eyes (though before about 1850 the eyes were carved into the gofun and painted) and human or silk hair. A full set comprises at least 15 dolls, representing specific characters, with many accessories (dogu), though the basic set is a male-female pair, often referred to as the Emperor and Empress.


text:
The Michaels Organization Acquires 41 Affordable Apartment Communities From Developer Vitus
MARLTON, NJ - The Michaels Organization, the nation's largest, privately held owner of affordable housing, announced that it has acquired 41 apartment communities from affordable housing developer Vitus. The deal increases Michaels' affordable housing portfolio by more than 1,500 units and expands its nationwide footprint from 35 states to 36. The acquisition, which included properties in Arizona, California and Washington state, marks the first time Michaels will own and manage affordable communities in Washington state.
"We have tremendous respect for Vitus, who like us, are developers of innovative, sustainable, high-quality affordable apartments," said John J. O'Donnell, president of The Michaels Organization. "These communities align well with our existing portfolio and with our strategic plan for growth."
The majority of the units receive subsidy payments provided by either the U.S. Department of Housing or the U.S. Department of Agriculture, and all have been recapitalized with Low Income Housing Tax Credits.
"We appreciate that The Michaels Organization goes beyond 'sticks and bricks' to focus on creating opportunities for residents and empowering communities," said Stephen R. Whyte, Vitus' founder and managing director. "We are pleased that these communities will be in good hands for generations to come."
Whyte also said Michaels was uniquely qualified as the most suitable buyer for the portfolio, possessing both the ability to navigate the complexities of a myriad of financial, partnership and regulatory approvals, along with the capital relationships to bring to bear, ensuring successful execution of such a large, complex transaction.
Vitus will use the proceeds from the transaction to create and preserve additional affordable housing in markets across the country.
Source: The Michaels Organization / #Apartments #Multifamily


I am fairly happy with the day. Obviously, it is not ideal to have a gearbox issue on Friday, but I am not worried and it shouldn't have any impact on the weekend. In general it was a very good Friday. This afternoon P1 was somewhat tricky, as we struggled a bit on the hot track. But during P2 in the evening things calmed down, the car also calmed down, it was quite good and I was happy. In the long run I struggled a bit with the front end, maybe I was a bit too aggressive, but overall the car felt good. To be honest, i think we should have a good pace. Hopefully tomorrow we have a similar feeling in Quali and put the car where it belongs.
Obviously, today it was not ideal: in the first part of the race I span, I had some aquaplaning but I wasn't the only one. I think it was a good recovering in the end, it was difficult to come back, and I struggled to get past Sainz: I don't know why it took me a lot of laps before I really started to feel well in the car, and then it was too late. About the duel with Verstappen, I think I was racing side by side to him and he saw me. I still had a little bit of my nose ahead, he was much faster so it was about making the corner and he got past. Not a difficult passing manoeuver, but I don't think it was fully correct. But I wouldn't complain about anything today: I think I was not the only one who got caught out by the aquaplaning, but luckily I didn't crash.


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text:
Q: Recognizer not working efficiently after adding more words in grammar of sphinx 4 i have increased the size of grammar and hence added many more words in the dictionary with different accents by using different HMMs. But the recognizer is not working efficiently and taking absurd words or may not respond. It is happening mostly with large words added in grammar. for example i added word like stackoverflow in grammar and made entry in the dictionary too. But its not recognizing it.
Pls help.


[USA] The stock of CORBION NV (OTCMKTS:CSNVF) registered an increase of 4.03% in short interest. CSNVF's total short interest was 157,300 shares in December as published by FINRA. Its up 4.03% from 151,200 shares, reported previously.
It closed at $33.376968 lastly. It is down 0.00% since December 10, 2016 and is . It has underperformed by 16.70% the S&P500.
Corbion N.V. operates as a food ingredients and biobased chemical firm worldwide. The company has market cap of $1.82 billion. The firm primarily offers lactic acid, lactic acid derivatives, and lactides, as well as emulsifiers, functional enzyme blends, minerals, and vitamins. It has a 18.06 P/E ratio. It also provides biobased products made from renewable resources and applied in various markets, such as bakery, meat, pharmaceuticals and medical devices, home and personal care, packaging, automotive, coatings, and adhesives.
View original article at: Time to reconsider CORBION NV after more short sellers?


Denise Dumont-Bernier, PT, has been in the occupational health field for over 30 years, beginning her career as an on-site physical therapist contracted to several Maine businesses, managing occupational medical facilities for both large, nationally based for-profit healthcare companies and one of Maine's largest non-profit health systems.
Today, Denise serves as the Executive Director at Occupational Medical Consulting, (OMC WellnessWorks), a Maine based business recognized locally and nationally as a leader in effective health behavior change, health coaching and wellness designed to deliver results. OMC offers leading-edge worksite-based health coaching, using behavior change motivational interviewing methods, supported by propriety wellness software that tracks and reports results.
She holds a baccalaureate degree in physical therapy from Simmons College, Boston. She has years of experience with providing on-site occupational health, industrial rehabilitation and with integrating worksite wellness services for many well-known Maine employers. She works strategically with business owners, safety and HR professionals to enhance employee health and wellbeing, and track results. Denise has been a member of the Maine Employers Mutual Insurance Company (MEMIC) medical advisory board for over 20 years and was the chairperson for the "Healthy People of the Kennebec Valley" business-driven worksite wellness council. She has presented at numerous regional and national conferences on a variety of topics.
Denise has always been passionate about the injury prevention and the health and safety of Maine workers. She believes that employers have a critical role and the power to influence healthcare consumerism through their employees and their families. In partnership, a healthier community can be built, and healthy and productive employees mean healthier Maine businesses.


Paul Kenyon, a Bafta-winning BBC television reporter, has written a lively new account of the careers of seven long-ruling African dictators, with a focus on the methods that helped them cling to power – some of them to this day.
Skipping briskly around the continent, Kenyon shows us how Teodoro Obiang of Equatorial Guinea, Sani Abacha of Nigeria and Libya's Muamar Gadaffi were propped up by western oil corporations and governments which, so long as the crude kept flowing, were happy to ignore sadistic repression and the theft of billions of dollars from an impoverished continent.
In Zimbabwe, meanwhile, Robert Mugabe clung to power by exploiting not only justifiable anti-colonial grievances but also foreign aid, illegal land seizures and informal diamond mining, among other things. He even plunged his country into a war in the Democratic Republic of the Congo that was really none of its business, just so he and his lieutenants could join in the looting of that country's copper and diamonds.
Mugabe's troops had first arrived in the Congo as part of the 1997 uprising/invasion which finally deposed the egregious strongman Mobutu Sese Seko, who for 32 bloodstained years had manipulated ethnic and regional divisions while embezzling mineral wealth on a scale that Mugabe can only have envied.
But Mobutu could not have gained power in the first place were it not for the CIA, which helped him to depose and murder liberation leader Patrice Lumumba.
Felix Houphouet-Boigny, late president of the Ivory Coast, seems almost benign in comparison to some of these monsters. His bodycount was relatively low, but he was in his own way as corrupt and authoritarian. With the connivance of France and other western enablers, he redirected overseas an estimated $11 billion in revenues siphoned from his country's principal export, chocolate, prior to his death in 1993.
Before he went, he had the pleasure of seeing Pope John Paul II himself bless Africa's most spectacular white elephant, the half billion dollar basilica – a near-replica of Saint Peter's in Rome – which Houphouet-Boigny had built outside his home village in the forest, itself transformed into a Potemkin capital at a cost of at least $2 billion.
These are, according to the book's subtitle, The Men Who Stole Africa. Yet there are other notable African kleptocrats, like Omar Bongo of Gabon or Jean-Bedel Bokassa of the Central African Republic, who barely get a mention. One of the very worst, Eduardo dos Santos of Angola, doesn't even make it into the index.
Meanwhile,the seventh and final dictator whose story is glossed in this book, Isaias Afwerki of Eritrea, although by some measures the most totalitarian of the lot, is not actually a kleptocrat. An austere military leader who lives for much of the time in a tent, Afwerki – Kenyon points out – seems unable to move on from his glory days, when he led a 22-year guerrilla insurgency that eventually freed his country from a brutal occupation by its much larger neighbour, Ethiopia.
Unable or unwilling to give his people their expected peace dividends – democracy, pluralism, a free economy – Afwerki exploited a minor border clash with Ethiopia to put his country back on a war-footing. This gave him a pretext to eliminate close colleagues and domestic reformers, isolate his country from the outside world and instigate a near-universal system of conscription that has flatlined the economy and driven tens of thousands to flee abroad.
You could argue that Afwerki steals freedom, not money, and so merits his place under this book's subtitle. But so, among others, did his great military rival, Ethiopean dictator Mengistu Haile Mariam, who is only a fleeting presence here. Idi Amin isn't mentioned at all.
So this is a book about some but not all of the major African kleptocrats, and one of its many authoritarian warlords. Fine, as far as it goes. But when a book does not adhere to a clear mission statement, the niggling question arises: what exactly is it for? Who is writing it, and why?
Mr Kenyon is an esteemed TV reporter but he is not a professional historian. An historian would not, for instance, have written a sentence like "Angola became America's most humiliating Cold War defeat". This, clearly, was Vietnam.
He appears to have visited most of the countries he writes about (Equatorial Guinea is an admitted exception), but the map-hopping format provides little opportunity for him to display much in-depth knowledge.
The best non-fiction books written by Africa correspondents – for example, In the Footsteps of Mr Kurtz by Michela Wrong or Tim Butcher's Blood River – are usually based on prolonged acquaintance with a single country or conflict, and tightly focused on it.
Mr Kenyon's breezy writing style (he is fond of the wind, both as a metaphor and a descriptive element) sometimes gets in the way as he switches tense, tempo and point of view to generate a sense of pace and urgency.
Like many other modern journalists, he is fond of inserting first-person anecdotes, drawn from his reporting trips, to add colour to historical narrative. But his paths from the particular to the general are not always smooth, and sometimes come to grief in Partridgesque non-sequiturs.
Perhaps this is literary nitpicking. In the real world, people in the West do need to know a lot more about Africa. We especially need to understand why so many of its inhabitants are desperately trying to flee to our countries, and why the West cannot say that it's not substantially to blame.
Despite its minor flaws, Dictatorland is a humane, timely, accessible and well-researched book that shines a light on urgent African issues – ignorance, populism, contempt for democracy, violent repression, military adventurism, toxic corruption and kleptocratic offshore elites – that, when we consider the state of our own societies, can no longer be dismissed as merely somewhere else's problem.


Pretty in pink! This 0.8mm size became famous for the decorative knots seen in craft books. Made of braided nylon, it is used today in many shamballa bracelets and fans of kumihimo love it. Try making Bollywood Bracelets with this size for a chunkier look. The hole size will still fit through an 8/0 seed bead and can be strung twice through a 6/0. Made in China or Taiwan, dyes are colorfast but can vary from one batch to another.


Published by Vlasta on August 30th 2007.
Things have been quiet since March, but the development has not stopped. We have been busy improving the raster image editor user interface control and building a brand new application focused on photo retouching. The improvements in image editing will of course make it into future versions of currently available products.
The current raster editor looks a bit awkward and while it may be OK for icon or cursor editor, photographers are used to a more polished controls. The new raster editor window is able to display the image at arbitrary (non-integral) zoom, resampled with a gamma-aware algorithm for closest possible color reproduction.
When working with transparent images, the semitransparent areas are mixed with chequered background.
When only a part of the image is selected, the selected part is displayed …uhm… normally, while the non-selected is dimmed. This allows you to better focus on the interesting (selected) part.
The editor can also display a grid, control lines and control handles - all of them being smooth and unobtrusive.
User can at any time (regardless what drawing tool is active) move the image by dragging it with his or her mouse wheel or the "X1″ (aka "Back") mouse button. They can also zoom in and out by rotating the mouse wheel or dragging with the mouse wheel + CTRL key or with the mouse "X2″ button.
No, this is not just edge anti-aliasing (smooth mode).
Many drawing tools are now able to use floating point coordinates instead of integral ones. A circle may be be placed for example at coordinates [60.25, 100.5] an have a radius of 30.2 pixels.
A shape can be modified after it was added to the image. Once the initial click or drag occurs, the tool switches to "modify" mode and displays control handles that can be used to further finetune the shape. Only the last added shape can be modified in this way.
For example: a polygon starts as a triangle with 3 control handles at its vertices and 3 more handles (drawn with different color) at the edges. When user starts dragging this handle, the the edge is split into two and the triangle becomes a quad. On the contrary, when one of the vertex control handles is dragged and dropped over its neighbor, it is removed.
The sketch-and-fine tune principle is used with many drawing tools, including for example flood-fill or magic wand and makes the whole experience a bit more enjoyable.
An expensive tablet is not really useful without a good brush tool in an image editor. Well, our new brush is not as flexible as the Adobe Photoshop one, but we are heading in the right direction.
No, not really, there is a thing or two (or is it three?) that will remain secret until next post.
But one thing is not a secret, RealWorld Photos might be freeware and a (I hope ;-)) lot of fun to work with.
If you wish to get your hand on the beta-version as soon as it is ready or if you cannot resist the desire to create a drawing tool plug-in of your own, send an email to info@rw-designer.com or leave a comment here.


Welcome to unit three of writing in the Sciences.
writing, cutting clutter and using strong, active verbs.
This week we're going to continue our discussion of good writing.
we'll build up to writing strong paragraphs.
In this first module I'm going to talk about experimenting with punctuation.
This is not a course on grammar or punctuation.
that you may be neglecting in your writing.
These are the dash, the colon, the semicolon, and the parenthesis.
these punctuation marks in scientific writing.
That they are a little too exotic or a little too informal.
if you use them correctly.
and that's because they are super handy.
they allow you to vary your sentence structure.
I've been showing you how to strip all the extra words out of your sentences.
simple sentences is very monotonous, very boring.
I'm going to encourage you instead to vary your sentence structure.
you also need to include some longer and more complex sentences.
the parentheses, as I'm going to show you now.
I'll start with an example.
Before he left office President Obama guessed edited Wired Magazine.
He wrote an essay in that issue and I've provided a link to his essay here.
I'm going to to be drawing on examples from his essay in this module.
I love that use of science as a verb, we can science the heck out of it.
sentences along better than nouns as we talked about last week.
this example is that this sentence has a complex and compelling structure.
It's not simple and boring.
President Obama has used the dash here to make an engaging sentence.
description right into the middle of a sentence like this and it works.
simple boring sentences and aggregate them into one more complex sentence.
The original was, many types of cells in tissue develop a kind of directionality.
Certain events happen toward one end of the cell or tissue or the other.
It's a phenomenon called cell polarity.
That's okay, but it's a bit boring and monotonous, right?
All three sentences have the same simple structure.
it doesn't seem like we need three sentences to do this.
So what I did was to use a colon to pull all these pieces together.
cell polarity: certain events happen toward one end of the cell or tissue.
the sentence is more interesting, efficient, and elegant than the original.
power to separate, and I think this is a good way to think about it.
The comma has the least power to separate it gives the shortest pause.
because it denotes a complete stop.
But in between are these four other fun and useful punctuation marks.
The colon gives a bigger pause than the comma.
The dash gives an even bigger, more abrupt pause.
so it's a big pause.
slightly less formal than the comma, colon, semicolon, and period.
parentheses, but they were fine to use.
want to use them more sparingly.
You shouldn't have a dash or a parentheses in every sentence for example.
ready comfortable with the semicolon.
I'm going to be using the word clause today.
a subject and a predicate, that is a subject and a verb.
An independent clause is just a small sentence.
It has a subject, a predicate and it expresses a complete thought.
So here's my example of use of the semicolon.
Kennedy could be a cold and vain man, and he led a life of privilege.
But he knew something about the world; he also cared about it.
we have two short sentences that have been linked together with a semicolon.
What if we used a comma?
It would be he knew something about the world, and also cared about it.
we lose the emphasis on the he also cared about it part.
What if we used a period here?
It would read, But he knew something about the world.
He also cared about it.
so that it changes the feel of that sentence.
Another classic example is from Dickens.
because it's joining those two ideas.
It would completely change the feel of it if you used a comma or a period here.
For this prose to work, those two opposing ideas need to be linked with a semicolon.
Another use of a semicolon is to separate items in a list.
the items in the list contain internal punctuation.
then the comma is no longer sufficient to separate the items in the list.
You won't know where the boundaries are, so here's an example.
Because leaders enacted smart, forward-looking policies.
Notice there are commas within the last two items in the list here.
can no longer use commas to separate the items in the list here.
You need to use semicolons.
That's another important use of the semicolon.
All right, moving along to the parentheses.
without the material in the parentheses.
it shouldn't change the main point of the sentence.
are actually giving your reader permission to skip over it entirely if they want to.
an interesting but non-essential tidbit to your reader.
Here's an example, this was from an article on seahorses.
that allows them to cling to a piece of grass, or a lucky diver's finger.
you can take it out and the sentence still reads fine.
But it's a nice little detail that adds to the richness of the sentence.
from an article that I was writing about statistics.
And I slipped in a little joke.
This is me taking a risk in writing, just as I've encouraged you to do.
I don't know if the joke came off all right, or not.
But anyways, I slipped it in there with some parentheses.
eating too much red meat could directly cause accidents and injuries.
Unless, as one of my students quipped, red meat eaters are swerving to avoid cows.
That last part is my attempt to entertain the reader.
Notice that I slipped in a whole sentence in parentheses, this is allowed.
Moving now to the colon, the colon has several uses.
But it always has to come after a clause.
That means whatever comes before the colon has to have both a subject and a verb.
I'll give you examples of each of these.
less power to separate than the semicolon, and more formality than the dash.
Here's an example from Watson and Crick's famous paper on the structure of DNA.
They say, the hydrogen bonds are made as follows.
And then we get a list of the base purines.
purine position 6 to pyrimidine position 6.
optimistic about the future, the constant churn of scientific progress.
hey there's a reason I'm optimistic and I'm about to tell it to you.
And then, after the colon we get the reason.
on the constant churn of scientific progress.
In the second example, the column said of a punch line.
a chronic democratic disease, compound sentences.
By using a colon, we're building up the reader's anticipation.
We are getting them ready for the punchline.
Colons can also introduce lists and quotes.
Franklin Roosevelt's rendezvous with destiny.
And then the colon sets up a single quote here.
of defending freedom in its hour of maximum danger.
I do not shrink from this responsibility, I welcome it.
The second sentence, we have a colon that sets up a list of quotes.
the burden of a long twilight struggle, that uncertain balance of terror.
I want to point out one other thing here.
we get exactly three quotes from FDR's speech.
five, but he picked three.
When in doubt about how examples to share, three is often a good number.
In fact, there's a principle known as the rule of three's.
how many examples you print percent, three is a pleasing number.
It's enough to make the point, but not so much that it overwhelms the reader.
Now, this is just the rule of atomic.
It doesn't mean you always have to use three.
But when you are in doubt, default to three.
And I showed you this example earlier.
This is an example from President Obama's essay in wired.
And notice that he picked exactly three reasons.
He could have pick fewer or more, but he defaulted to three.
is itself an independent clause.
That is a complete sentence.
And this looks a lot like when we used a semicolon.
we have a full independent clause.
the second independent clause to amplify or build on the first.
So take the example here.
Companies use Marsh for the same reason that home sellers use real estate agents.
experience is supposed to help the client get the right deal at the right price.
Notice that first clause sets up the second one.
We are told that a reason is coming and then we're given the reason.
A semicolon wouldn't really work here because we'd lose the setup.
word of that second clause to let the reader know that it's a complete sentence.
So the is capitalized here.
I see a lot of misuses of the colon so I just want to point some of these out.
This example says two aspects of alcohol use are related to brain injury.
as a factor in TBI diagnosis, recovery, or survival.
You can hear that this sounds funny.
The problem is that aspects is a noun.
which means The reader is expecting nouns to follow the colon.
Instead, the reader gets prepositions, as.
To correct this, we need to use nouns after the colon.
its post-injury influences on diagnosis, recovery and survival.
Associations and influences are both nouns.
Alright, another example of the misuse of the colon.
The said in one project we have a nutritionist.
and dietitians: a whole range of specialties.
Well, of course, it's backwards.
We want to set up the list with a colon and then have the list follow.
a psychologist, statisticians, a computer specialist, and dietitians.
multiple dietitians but only one of the each of the others.
I think this was a job advertisement for a statistician, actually.
I'm going to end here with my favorite punctuation mark, which is the dash.
to insert an abrupt definition or description.
by setting it off by dashes and your reader's okay with it.
I think of it almost as get out of jail free card.
Because you can get a way with a lot with a dash.
You can get out of many jams because it so versatile.
I will warn you however that you don't want to over use the dash.
it's considered slightly less formal then the other punctuation marks.
And if you over use it, it also losses its impact.
I can remember when I was taking my first journalism class.
The instructor told us it was okay to use the dash.
to be able to write with a dash.
So I was using dashes all over the place.
telling me not to use dashes so liberally.
So I learned quickly to not overuse the dash.
But I do use it when I need it.
less formal than a colon, and more relaxed than parentheses.
only when a more common mark of punctuation seems inadequate.
In other words, reserve this tool for the really tough jobs.
Here's a fun example of the dash.
This was from an editorial by Thomas Friedman of the New York Times.
He happens to be one of my favorite writers.
that I've ever seen between two dashes so I wanted to share with you.
about one thing, we as a country have just done something incredibly reckless.
This example illustrates just how amazing the dash is.
much right into the middle of sentence, and it still works.
to put emphasis on that last idea.
too much space between the subject of the sentence and the main verb.
But it's okay because you can violate that if you use a dash.
So the subject of this sentence is whatever mix of mood is.
The verb, we don't get to until half, but the dash makes this okay.
The reader can find the verb because it's just right after the dash.
And so it works, it's an exception to the rule that I told you last week.
Here's a few more examples, so here's an example of using the dash to add emphasis.
The drugs did more than prevent new fat accumulation.
up to half their body weight.
Notice how the dash serves to emphasize the magnitude of the weight loss.
It puts emphasis on the up to half their body weight, here's another example.
not worms--are actually a scientific treasure.
the sentence just when we need it, to explain what we mean by mislabel.
cute little fact that shipworms worms are actually not worms.
parentheses rather than dashes in those two examples?
So if I'd used commas, the commas, if you use a comma you lose the emphasis, right.
significant amounts of fat, up to half their body weight.
it also takes the emphasis on the magnitude of the weight loss.
That's what's important here, they lost a huge amount of weight.
By using a comma, we lose the emphasis on that.
The second example is simply not going to work with commas.
It becomes a run on sentence, right?
Because "they're clams not worms" is actually a full clause.
Commas just won't work here.
With parenthesis, you end up burying the information.
we're giving readers permission to skip over it.
it's just half their body weight, it doesn't matter.
the size of the weight loss.
With the second sentence, I actually think parenthesis really don't work here.
not going to understand what we mean when we say that the animals are mislabeled.
I think that's actually essential information.
Okay, I have one more example to share with you.
that you can appreciate the brilliance of this sentence.
However, I grew up in New England, so I am a diehard Red Sox fan.
And probably many of you know that at one point.
The Red Sox were said to have a curse on them.
That's because they went almost a century without winning a World Series.
of winning the World Series several times and then lost it on the silliest errors.
So they were said to have a curse on them.
I actually remember watching the 1986 World Series.
they were leading the Series three games to two.
they were one game away from winning.
They needed to win the 6th game of the World Series.
That game went into overtime, it went into a tenth inning.
In the top of the tenth inning, the Red Sox scored 2 runs, so now they're leading.
All they need to is to get the Mets out.
And they get two outs, so they are now one out away from winning the World Series.
The Mets batter comes up to the plate, hits a routine grounder.
It should've been an easy out.
don't make the out, the Mets score three runs to win game six of the World Series.
everybody took this as proof of the curse.
Now, fast forward to the year 2004.
In 2004, the Red Sox finally did win the World Series.
After a 86 year dry spell, and they did it in dramatic fashion.
you have to win the American League series to make it to the World Series.
won four games in a row against the Yankees to make the World Series.
And then, they won the first three games of the World Series against the Cardinals.
So now, it's the fourth game of the World Series.
All they have to do is to win this game and they will win the World Series.
We get to the ninth inning.
The Red Sox are leading.
They make two outs on the other team.
So now they are one out away from winning the World Series.
Well of course at this point everybody is waiting for the other shoe to drop.
They are just waiting for the curse to rear its head.
So the Cardinal's batter comes up, hits a routine grounder to the pitcher.
simply would have thrown the ball to the first baseman and made the out.
It's a pretty simple play.
he is not taking any chances.
something wild is going to happen and they're not going to get the out.
So he trots right up to the first baseman and gets as close as he can to him.
the baseball into the first baseman's glove.
He is not taking any chances that something is going to get messed up.
They do get the out, the Red Sox win the World Series.
encapsulated the entire history of the Red Sox and the entire ethos of the Red Sox.
And so that's the set up for this example I'm going to present to you now.
the out-the little toss over to first base-when, wow, it ends.
practically handing him the ball.
about the history of the Red Sox.
which again just shows how amazing the dash is.
I pulled those examples here.