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text:
Q: AltBeacon lib: How to detect multiple beacons from different parsers simultaneousely I have set the layout parsers for altBeacon, iBeacon and EddyStone beacons.
The region to scan all beacons is set to null, null, null.
When I have more types of beacons on the table, the app detects only one of them.
Alone the beacons are detected.
How can the altBeacon library detect multiple beacons from different parsers simultaneousely?

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text:
Violeta Barba, née le , est une femme politique espagnole membre de Podemos.

Elle est présidente des Cortes d'Aragon entre 2016 et 2019.

Biographie

Profession
Elle est titulaire d'une licence en droit, obtenue à l'université de Saragosse. Elle possède un master en relations entre les genres. Elle reçoit lors de son parcours universitaire le Prix d'investigation de la Maison de la femme en 2014. Elle est avocate dans le domaine du travail et de la sécurité sociale.

Activités politiques
Militante dans divers mouvements sociaux, elle est membre du conseil citoyen de Podemos en Aragon. Elle est élue députée aux Cortes d'Aragon lors des élections régionales du .

Le , en vertu d'un accord avec le PSOE, elle est élue présidente des Cortes.

Elle est victime d'une agression le 24 septembre 2017 par des militants d'extrême droite.

Notes et références

Voir aussi

Articles connexes
 Cortes d'Aragon
 Président des Cortes d'Aragon

Lien externe
 Fiche sur le site des Cortes d'Aragon

Député de la IXe législature des Cortes d'Aragon
Président des Cortes d'Aragon
Personnalité politique espagnole du XXIe siècle
Personnalité de Podemos (parti espagnol)
Femme politique espagnole
Naissance en octobre 1987

redpajama_set_name: RedPajamaWikipedia


text:
O středisku Cedefop
Only part of our content is available in the language you selected. See what content is available in Čeština.
Press & media corner >
On the road to reform: European VET on Cedefop's 40th anniversary
Vocational education and training (VET) reform is opening up new routes for people into employment and for enterprises to develop the skills of their workforce to compete. However, reform still has some way to go for VET to meet 21st century expectations. But progress is being made, argues Cedefop Director James Calleja* on the occasion of the European agency's 40th anniversary.
Cedefop's anniversary theme is Old roots for new routes. 'The old roots of established European VET systems must provide new routes to jobs and careers' says Mr Calleja, 'but implementing change can be difficult. The idea behind our anniversary theme is to encourage continued improvement, by looking at progress Europe has already made. Less than 20 years ago the current extent of European cooperation in VET was unimaginable'.
Mr Calleja points out that the European Commission, EU Member States and social partners are working together to bring VET closer to labour market needs, make systems more flexible, encourage mobility for learning and working, and increase participation of adults in lifelong learning. 'This cooperation is substantially changing VET,' he adds.
More young people now stay on in education and training to at least upper secondary level. The EU is on course to meet its target of reducing early school leaving to an average of 10% by 2020. By 2025, around 40% of the EU workforce will have a tertiary level qualification.
In a video message to mark Cedefop's 40th anniversary Marianne Thyssen, European Commissioner for Employment, Social Affairs, Skills and Labour Mobility agrees, adding: 'We must further reinforce the link between training and labour market needs to reduce skills mismatch and ensure that such programmes act as a bridge to work. We must also do more to increase attractiveness of VET so that it becomes first choice – not a second option.'
Based in Thessaloniki, Greece, Cedefop continues to play an important role in strengthening European cooperation to develop VET policy. Its analyses of VET systems and policies are highly valued and Cedefop is recognised as a leading centre of expertise on qualifications frameworks and skills forecasting.
It is also beneficial for its host city as Mayor Yiannis Boutaris explains in his message: 'Cedefop's presence has given the city an opportunity to open up, to welcome people from other places, to experience new things and finally acquire a cosmopolitan feel that goes beyond the practical effects of having an international organisation based here.'
'Cedefop is very relevant to the challenges Europe faces today in terms of youth employment and developing skills for a strong and lasting economic recovery,' says Mr Calleja, concluding: 'We must continue the work to ensure that people and enterprises benefit directly from VET reform.'
* Cedefop Director James Calleja is available for interviews on the occasion of the agency's 40th anniversary. Please contact the Press Office.
Cedefop's Founding Regulation was published on 10 February 1975.
The agency's first home was in West Berlin, West Germany.
Cedefop was set up with the aim to assist the [European] Commission in encouraging, at Community level, the promotion and development of vocational training and of in-service training.
In 1995, Cedefop moved from Berlin to its current base in Thessaloniki.
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text:
En attendant la fin est une chanson de M. Pokora extraite de l'album Mise à jour.

Chanson de 2010
Chanson interprétée par M. Pokora
Chanson écrite par Yohann Malory


text:
Ogier: Monte Carlo is the WRC rally I want to win the most
The eight-time world rally champion will once again contest a partial campaign in 2023 for reigning champion Toyota, piloting a third car which he will share with Takamoto Katsuta.
After losing out to M-Sport's Sebastien Loeb last year when a puncture derailed a likely victory on the penultimate stage, Ogier is already eying the prospect of adding to his tally in the principality.
Ogier and …Keep reading Source


How to connect network receipt printer to POS?
I am trying to setup a receipt printer using IP address, I'm using a Bixolon SRP350 Plus III Receipt printer. I am able to connect using the usb setup and interface, but when I change the interface from USB to Ethernet, the connection fails. I am sure the receipt printer is working as I am able to do a test print with my PC. All the devices are connected under the same subnet and I am able to ping between the devices.
Are you able to ping the printer from your PC?
Also check your wireless settings for the router and make sure you don't have it set to isolate wireless devices.
It's a nice feature to protect your network, but it prevents wireless devices from seeing the other network devices.


text:
Lucia Dlugoszewski (* 16. Juni 1931 in Detroit; † 11. April 2000 in New York City) war eine US-amerikanische Komponistin der Neuen Musik, die auch als Interpretin und als Erfinderin neuer Instrumente Bedeutung hat.

Leben
Dlugoszweski wuchs als Tochter polnischer Migranten in Detroit auf. Sie studierte Klavier am Konservatorium ihrer Geburtsstadt. Nachdem ihr die Aufnahme eines Medizinstudiums verweigert wurde, zog sie 1950 nach New York City. Dort nahm sie zwischen 1952 und 1955 Klavierunterricht bei Grete Sultan; 1952/53 studierte sie am Mannes College of Music bei Felix Salzer; auch nahm sie Kompositionsunterricht bei Edgar Varèse. Sie arbeitete eng mit der Erick Hawkins Dance Company zusammen, für die sie als musikalische Leiterin fungierte und eine Reihe von Werken schrieb. Nach dem Tod von Hawkins, mit dem sie verheiratet war, leitete sie ab 1996 die Tanzcompagnie weiter; 1998 legte sie ihre erste Choreographie vor.

Wirken
Seit 1957 schrieb sie Werke für diese Tanzcompagnie, aber auch für die Foundation for Modern Dance, so  Journey of a Poet, das Mikhail Baryshnikov interpretierte, und Taking Time to be Vulnerable für Pascal Denichou. Weiterhin schrieb sie Musik für den Film Guns of the Trees von Jonas Mekas (1962). Auch schrieb sie nachträglich Musik für Marie Menkens Film Visual Variations on Noguchi.

Ähnlich wie Pauline Oliveros, Harry Partch oder Moondog wurde Dlugoszewskis musikalisches Schaffen, etwa das Suchness Concert (1958), durch die Entwicklung neuer Klänge angeregt. Nach eigenen Schätzungen entwickelte sie vor allem in den 1950er Jahren mehr als hundert Musikinstrumente, die sie mit dem Bildhauer Ralph Dorazio baute. Zumeist entwickelte sie Perkussionsinstrumente, baute aber auch Klaviere um. Noch für ihre Komposition Eight Clear Places (1961) wurden neue Instrumente entwickelt; später griff sie auf dieses Instrumentarium zurück und erkundete in weiteren Werken dessen Möglichkeiten. Andere Stücke waren konventioneller, etwa ihr Abyss and Caress, das 1975 von dem New York Philharmonic Orchestra unter Pierre Boulez uraufgeführt wurde. Weitere Kompositionsaufträge kamen vom Louisville Orchestra, American Composers Orchestra und der Seattle Symphony. Ihre Werke wurden vergleichsweise wenig auf Tonträger dokumentiert (für Nonesuch Records, Folkways und New World Records). Die erste CD unter ihrem Namen, Disparate Stairway Radical Other, wurde erst nach ihrem Tod veröffentlicht.

Auszeichnungen
Dlugoszewski wurde ein Guggenheim Fellow; auch erhielt sie als erste Frau eine Förderung der Rockefeller Foundation. 1977 wurde sie als erste Frau mit dem Koussevitzy International Recording Award ausgezeichnet, für ihr Werk Fire Fragile Flight, das vom Orchestra of Our Time interpretiert wurde.

Weblinks
Nachruf in The New York Times
Public Radio Feature über Dlugoszewski

Einzelnachweise

Klassischer Pianist
Komponist klassischer Musik (20. Jahrhundert)
Choreograf
Musiker (Vereinigte Staaten)
US-Amerikaner
Geboren 1931
Gestorben 2000
Frau


text:
Tree Rings Confirmed Climate Change
by Ruth Vinney | July 10, 2020 Science Nature
A study of annual rings on tree sections over the past 600 years has shown that extreme climate change began in the middle of the last century. The results are available in the journal Proceedings of the National Academy of Sciences.
Annual tree rings are a natural "document" that tells about the climate on the planet in a particular period. Working on the creation of the South American drought Atlas (SADA), scientists analyzed how the humidity of the soil in which trees grow has changed over the past six centuries.
It turned out that until the 1930s, droughts in South America were repeated with a certain frequency, then the intervals between dry periods increased, and since the 1960s, large-scale droughts were regularly observed once a decade. At the same time, the climate began to change in the direction of warming.
The new edition of SADA covers climate change in Argentina, Chile, Uruguay, Paraguay, most of Bolivia, southern Brazil, and Peru using data collected from 286 tree sections. The data obtained are supported by historical archival records.
According to the first author of the article, paleoclimatologist Mariano Morales of the National Research Council for science and technology of Argentina, prolonged droughts in recent decades have led to a difficult situation in agriculture in these and neighboring countries, and today the situation is such that many state food systems are at risk of collapse.
The authors note that extreme climate changes in time are associated with the activation of human activity in the region, although it is not possible to write off everything only on the anthropogenic factor.
"Our Atlas alone does not provide evidence of how much the observed changes are related to natural climate variability or warming caused by human activity," Morales says.
"We do not want to attribute all climate changes to humans indiscriminately. Many natural variability factors can mimic human impact," supports another author of the study, paleoclimatologist Edward cook (Edward Cook) from Columbia University.
Interestingly, the picture is not the same across the continent: while parts of Argentina and Chile experienced one of the worst droughts in history, the South-Eastern part of South America experienced abnormally wet conditions.
And it is more likely that the leading role still belonged to natural causes, among which the researchers identify three main ones: cyclical shifts in sea surface temperatures over the Pacific ocean and the Atlantic; changes in the belt of westerly winds around Antarctica, called the southern ring mode; and the phenomenon of Hadley cells, in which atmospheric circulation transfers warm and humid air from the equator to the poles, reducing the latitudinal temperature gradient.
All these phenomena are amplified against the background of global warming associated with anthropogenic greenhouse gas emissions.
"This is consistent with the idea that both wet and dry anomalies increase with global warming," said climate scientist Jason Smerdon of Columbia University, who also took part in the study.
Scientists hope that their results will allow us to better understand the relationship between natural and anthropogenic factors and predict long-term climate change.


text:
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 */
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 */
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redpajama_set_name: RedPajamaGithub


text:
Vol. 42, Issue No. 07, 17 Feb, 2007
Updated on 17 February 2007
Ban on Films: Break the Silence
The Gujarat government has not banned the film Parzania, which is based on the poignant and true story of a Parsi family in Ahmedabad that was caught in the communal pogrom of 2002. The same Bharatiya Janata Party government led by Narendra Modi did not ban Aamir Khan's films Fanaa or Rang De Basanti last year either. It is just that Modi's government has nurtured an atmosphere in the state that encourages fundamentalists to intimidate and dictate terms to anyone who does not toe their line.
Last year, Aamir Khan earned their wrath for speaking about the plight of those displaced but not rehabilitated by the Narmada dam and later for criticising the Modi government over the Vadodara communal clashes that claimed six lives. Overnight, the film actor was declared to be "anti-Gujarat"; Rang De Basanti had to be pulled out of theatres and Fanaa could not even be released. When the Supreme Court was petitioned in June last year to order the state government to ensure security to theatre owners, the court said that it cannot intervene and that it was up to the theatre owners to seek protection from the government. Of course, the theatre owners knew better and preferred not to show Fanaa at all. Again, the state governments of Punjab, Meghalaya, Nagaland, Goa, Andhra Pradesh and Tamil Nadu banned the film based on Dan Brown's Da Vinci Code because they feared a few Christian groups who claimed it portrayed Jesus Christ in an unconventional light. The Andhra Pradesh High Court not only quashed the ban but also ordered the state government to pay the costs of litigation to the petitioner.
Read more about Ban on Films: Break the Silence


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Bobcats ready to hit the floor
Jason Levy
The calendar has turned over to November, and in colleges and universities across America, that can mean only one thing: college basketball is right around the corner. The Quinnipiac women's basketball team starts their season on Friday, Nov. 19 against the Hofstra Pride in Bridgeport, Conn. If you listen to the mentality of this team, it could be the start of something big for the Bobcats.
Head Coach Trica Sacca-Fabbri said she likes what she has seen from this team so far in pre-season practices. "They give me everything, they are working fantastically and giving great effort. The returning players have really improved in leadership, growth and maturity. I love all 15 of them." But she did admit that they will sorely miss the skill and leadership of departed players Ashlee Kelly, Sara Esidore, and Katie Kielty. "We will completely miss the players lost," she said. "It was a tremendous class, and now it is time to establish what this team is about. It's a different cycle," Sacca-Fabbri said.
With the loss of Kelly, Esidore and Keilty, the Bobcats will be trying new game plans and styles to play to their strengths. Sacca-Fabbri said, "We've been talking about player personnel since June. It's going to take time for everything to get in sync. We'll continue with the up tempo offense, and use a match up zone defense, which fits our personnel better. We used to do about 80/20 man-zone defense, now it'll be about 50/50. The zone will be more effective against most teams, since they usually practice man-to-man."
Although Coach Sacca-Fabbri has yet to determine a starting 5 line-up, she says that 3 players are almost certain locks to make the starting five. Seniors Helen Ridley and Kim Fitzpatrick, and sophomore Krystal Pressley are slated to be starters. Ridley and Fitzpatrick, along with fellow senior Shirta Smith were named captains of the team, which Ridley is proud of. "It's a huge honor to be named captain of this team," Ridley said. She added how this year, the only goal she has is to win, saying, "Our goal is to go far in the NEC. My goal is just to help the team win. This is my last year, and the same goes for four others." The seniors on the Bobcats this year are Ridley, Fitzpatrick, Smith, Lindsey O'Neil and Kasi Perrin-Carpenter.
The freshmen are also looking to make an impact this season. The new recruits are Hannalee Pervan, Amber Anderson, Sofia Kyritsis and Monique Lee. Lee knows that this year will be an adjustment. "The play is another level, more intense and competitive. I don't know what to expect. But I'm excited to play with a good group of girls. It's also going to be an adjustment for social life. Balancing school, practice, community service is tough, but once you get in the swing of things, you learn to adjust."
The Bobcats road in the NEC will be as tough as ever this year. They hope to build on last years fourth place finish and NEC semi-finals appearance, which is something Coach Sacca-Fabbri said is more than possible. "We can finish top 4 in the conference, and win the NEC tournament when all is said and done, but we have to get through the first part of the season, and our tough non-conference games. But if we can hit our stride in conference play, we'll be playing our best ball at the end of the season." She also added there is one team in particular they, and everyone in the NEC has to watch out for. "We all have to watch out for St. Francis (Pa.) If someone else is going to win the conference, you have to go through them. They are the perennial winners. Sacred Heart, LIU and Monmouth will also be the teams to beat," Sacca-Fabbri said.
The Bobcats are going to have a tough road ahead of them, but with some gritty play, smart coaching, the leadership of the seniors and excitement from the freshmen, this could all end with an NEC title, and a birth in the NCAA Tournament.
No. 1 Quinnipiac tallies season high-nine goals, Perets ties university record in shutout win over Princeton
Quinnipiac men's basketball snaps 0-8 all-time road record against Rider in gutsy overtime performance
Wyatt Bongiovanni plays his 100th game and Ty Smilanic nets two as No. 2 Quinnipiac shuts out No. 18 Harvard 3-0
Quinnipiac's four-game winning streak ceases after Niagara achieves revenge in 76-66 win
Clarkson comes out victorious over Quinnipiac women's hockey in third-period shootout
Quinnipiac snaps two-game losing streak, handing Siena its 10th consecutive loss in 68-51 win
Quinnipiac's worst 3-point shooting game this season biggest reason for 70-60 loss to Monmouth
Schroeder, Samoskevich lead No. 4 Quinnipiac women's hockey to 1-1 draw at No. 1 Wisconsin
No. 4 Quinnipiac women's ice hockey falls to No. 1 Wisconsin in competitive 5-2 contest
Quinnipiac pushes winning streak to four, staving off a comeback in 77-68 win over Niagara


Men pay a dime to dance with Barbara O'Neill (Barbara Stanwyck) and her fellow taxi dancers. She marries Eddie (Monroe Owsley) and quits dancing, but not before meeting Bradley Carlton (Ricardo Cortez), a handsome and very rich customer who takes a liking to her.
Barbara eventually starts dancing again, since her marriage is plagued by financial tension, and Bradley begins visiting her again. Eddie becomes jealous, accusing his wife of infidelity. He sees that alleged infidelity as an excuse to steal money from Bradley.
Will Eddie succeed in his criminal pursuit, or will he realize how irrational he's being? And will Barbara stay with her angry husband, or leave him for her frequent dance partner?
These questions are answered in Ten Cents a Dance, the final directorial effort of famed actor Lionel Barrymore. The film was inspired by the popular song of the same name, published in 1930.
Ten Cents a Dance starts out a bit dull despite the perfect edge of bitterness that Stanwyck gives her character in the opening scenes, and the usual solid performance that she gives throughout the entire film.
It does pick up eventually and has the appeal of typical, suggestive pre-code dialogue, which can sometimes be very witty. Stanwyck remains the best thing about the film and is the reason to watch it. Overall, the script and characters are quite ordinary. Nothing unique is on the plate here.
The story is interesting in comparison with films released during the reign of the Code since it glorifies divorce, but audiences were no strangers to divorce films during the silent and pre-code eras. For avid viewers of films from those eras, this story won't stand out a bit.
Stanwyck's leading men, Ricardo Cortez and Monroe Owsley, do give very good performances. Owsley is particularly good. His character is not likable it all. He's ungrateful, pushy and hypocritical, treating his wife with very little respect. It's completely obnoxious and frustrating that Barbara puts up with him and remains loyal to him for so long, but the audience's hatred toward the character of Eddie is the signal of a highly effective performance. This can definitely make the film a bit tedious to watch, but Owsley's talent in the role is commendable.


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Johnny Dailey Takes Listeners Through Small Town Life on Debut EP, 'Dillashaw'
So much about country music is about the familiarity of home. The people, the sights, the sounds, the events; country music truly gives life to the phrase "home is where the heart is."
With the release of his debut EP, Dillashaw, Johnny Dailey proves that he is still rooted in his small town upbringing, and offers a glimpse into it. Named after a creek that ran through the land he grew up on, Dillashaw delves into stories of loss, love and the scenery that shaped the man Dailey has become.
We caught up with Dailey to chat about the success the early singles from Dillashaw, all about the EP, signing with a major publishing group, his plans for 2022 and more!
Pro Country: Your debut single, "Burns Like Whiskey," has earned over 500,000 streams since its release. Is there a sense of validation that comes with having that success on your debut release?
Johnny Dailey: That was my first song release, so it was definitely validation to keep putting out music! It gave me some confidence to keep putting out more music and I'm grateful people have responded the way they have.
PC: "24" has earned over 1 million streams since its release in October of 2021. What do you think it is about that song that has allowed it to connect with listeners the way it has?
JD: I think it connects with people because the lyrics are something we have all been through. Everyone has lost someone they love or have someone in their lives that they hate to think about losing. It's just an honest song that connects with a real emotion.
PC: What went into the decision to release "Trouble" as the last single prior to the release of Dillashaw?
JD: Ever since we recorded that one in the studio, it's been one of my favorites, because it keeps that small town nostalgia feel going. It felt like the right song to connect to the Dillashaw EP release.
PC: The EP title, Dillashaw, comes from a line in "Trouble." What was it about the name "Dillashaw" that you felt encapsulated the entire EP?
JD: It's a creek that runs through the land I grew up on. I've got so many memories out there, and my hometown really plays a big part in the man I am today. It's where it all started for me, so that's where my music had to start.
PC: "Bonnaroo" is one of our favorite songs from Dillashaw. Can you take us in the room and talk about the inspiration behind the song?
JD: Yeah, I really love that song. My co-writer, Scooter Carouse, and I were in the room fishing for ideas. We had a couple verses about this couple meeting at a festival, and next thing I know, Scooter just sings the line 'are we gonna stay in touch, or break up in Bonnaroo.' It's like it fell out of thin air. It's one of my favorite songs I've ever been a part of.
PC: What do you hope listeners take away from Dillashaw after listening all the way through?
JD: I hope it lets them in on the small town life I grew up on, and takes them back to where they grew up and those hometown experiences.
PC: You had the opportunity to share the stage with Old Dominion last summer. What was it like for you to be around musicians with that level of success and to be able to bring your music to new audiences?
JD: It was an amazing opportunity. Their show is so dialed in and it was great to watch and learn from them. Grateful for that experience!
PC: You recently signed a worldwide publishing deal with Endurance Music Group. What does it mean to you to be a part of the collective roster of talent that EMG has built?
JD: I moved to Nashville because I loved songs and songwriting. I really feel like EMG is all about the kind of songs I moved here to sing. I'm honored that they believe in me and my music, and I'm excited to continue this journey with them!
PC: Along with releasing Dillashaw, what are your plans for the rest of 2022?
JD: Get out and play some shows, meet fans and release more music this summer! Excited for 2022!
*Johnny's music is featured on The Best of Pro Country playlist!*
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Why I'm not going to get pregnant until my husband dies
There is a movement that is taking off that is changing the way people think about pregnancy and birth control.Called the Knight Moves, this new movement is empowering women to live lives free of the fear of pregnancy, by doing the right things.It's a movement known as Knight Moves because the goal is to get
Why Chess players are moving on to another sport
MoveOn.org, the activist organization for people who want to have more political influence in Washington, has released a list of players it says are moving away from professional chess.MoveOn is part of MoveOn, the nonprofit advocacy organization founded by MoveOn founder and former President Barack Obama.Move on is a 501(c)(4) organization.Moveon says it is not
Knight Moves Names to Sonos app, CEO Moves Moves News
Knight Moves names to Sonus app, Sonos CEO moves news to Sonics app.Knight Moves Names has more than 10 million monthly active users in more than 30 countries.


Melissani's Lake is 20 m under the surface, its length is 160 m and the water has a depth from 10-40 m. There are stalactites of 20.000 years old with odd shapes which adorn most of the cave area.
It is really worth - when visiting Kefalonia Island - to make boating into the cave, besides only by this way you can be fully guided into the cave. Boating starts first from the uncovered part of the cave where the light falls into the water and creates the most beautiful turquoise shades and continues in the covered part.
In the center of the lake, there is a small island on which artifacts which confirm the religious function of the cave were found since in ancient years prehistoric people worshiped God Panas and the presence of female figures known as nymphs.
For this reason, Melissani's cave is called 'Cave of the Nymphs'.
Opening hours : May - October / Monday – Sunday / 08:30 a.m. - 07.40 pm Excursion Duration: 4-5 hours.
The best time for above tour is during afternoon hours where the sun is amazing.


Our cabins are rustic, cozy, pet-friendly places to stay while you fish, hike, and explore Bishop Creek canyon from Spring through Fall.
The Bishop Creek Lodge Café and Bar is the perfect retreat for adventurers hungry for a hearty meal, cold beer or cocktail.
Start your morning fishing the gin-clear stream of Bishop Creek, working your way up to the hogs at South Lake or even beyond, to the high country.
Mon – Wed: 8 A.M. – 4 P.M.
Thurs – Sun: 8 A.M. – 8 P.M.
Mon – Wed: 8 A.M. – 6 P.M.


OverviewThe first commercial title developed by Jordan Mechner, Karateka is an action game that sets the player as a nameless Karate master off on a quest to rescue the beautiful Princess Mariko from the vile warlord Akuma.
Now you can add videos, screenshots, or other images (cover scans, disc scans, etc.) for Karateka (1984)(Broderbund)[a2] to Emuparadise. Do it now!


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Q: How do I change the maximum number of locks for OpenLDAP bdb? I'm trying to remove a memberUid from an LDAP group with ~50,000 members. It's failing with this error message:
5afc4c76 bdb(dc=example,dc=com): Lock table is out of available lock entries
5afc4c76 => bdb_idl_insert_key: c_get failed: Cannot allocate memory (12)

bdb is limited to 1500 locks:
#  db_stat -h /var/lib/ldap/ -c | grep "Maximum number of locks"
1500    Maximum number of locks possible
1514    Maximum number of locks at any one time
14  Maximum number of locks in any one bucket
476 Maximum number of locks stolen by for an empty partition
57  Maximum number of locks stolen for any one partition

I've tried editing the DB_CONFIG file as follows and restarting slapd:
# cat /var/lib/ldap/DB_CONFIG
set_cachesize 0 314572800 0
set_lk_max_objects 15000
set_lk_max_locks 15000
set_lk_max_lockers 15000

Unfortunately, this doesn't change the active values from 1500 to 15000.
How do I change the set_lk_max_locks value for an OpenLDAP bdb database?


Telescoping drapery treatment window curtain rod small size extends from 28 in. to 48 in.
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Ivilon drapery rod set comes ready to hang with all the mounting hardware, telescoping rods, finials, brackets, screws, anchors and instructions.
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If you have any questions about this product by Ivilon, contact us by completing and submitting the form below. If you are looking for a specif part number, please include it with your message.


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Intimate Bar Non Non at the Hilltop Hotel
Nine-seat Bar Non Non, where service is always understated and precise
Barmen Naoki Hasegawa (left) and Shin Onuma in the lounge at the Hilltop Hotel
Brillant at the Keio Plaza Hotel in Shinjuku, designed by Riki Watanabe
Bartenders Sho Hondo (left) and Yukio Uehara
Coaster at Suntory Lounge Eagle
Suntory Lounge Eagle in Shinjuku has been open since 1967
Old Imperial Bar at the Imperial Hotel in Tokyo hasn't changed since the 1970s and retains some of the original features from the 1923 incarnation of the Frank Lloyd Wright-designed hotel
Polished cherry-wood counter of the Old Imperial Bar
Vintage desk and telephones in the Old Imperial Bar
Yasuhiro Katsumata, one of the chief bartenders at the Old Imperial Bar
Immaculately turned-out staff at Star Bar Ginza
Star Bar Ginza
Star Bar Ginza stocks 300 whiskies
Expo 90: Movers and cocktail shakers
— Tokyo
Classic Japanese bars, with their soothing lighting, knowledgeable and immaculately turned-out bar staff and loyal clientele, have remained blissfully resistant to change. What are you having?
Hospitality, Japanese bars, Old Imperial Bar
Issue 90, volume 9
p.171-185
Fiona Wilson
Shinichi Ito
The interior at the Old Imperial Bar in Tokyo hasn't changed since 1970. The staff still wear bow ties and the regulars, several in their eighties, can expect their usual order without so much as a glance at the menu. Guests can still order a Mount Fuji: a gin, egg white, lemon, pineapple and sugar concoction, topped off with a maraschino cherry, that has been the Imperial's signature cocktail since 1924. Four seasoned bartenders stand behind the polished cherry-wood counter, all carefully watching the room. They would no sooner think of rushing their customers than leaving them with an empty glass. Timing is everything.
This is the world of the classic Japanese bar, a refreshing antidote to bartending showmanship, intrusive music and rotten interior design. These low-lit, unchanging oases offer customers somewhere to relax, safe in the knowledge that they won't be bothered by a badly made martini or unnecessarily flamboyant cocktail-shaking. The drinks are skilfully executed, the glasses just so and the ice chiselled. The word you hear again and again is kodawari, or "pursuit of perfection". This relentless attention to detail has produced some of the finest bars in the world; pockets of expertise that represent continuity in a city that constantly chases novelty.
At the Old Imperial the noise level is set at a soothing, conversational hum. "Talking to people is as important as making the cocktails," says Yasuhiro Katsumata, one of the chief bartenders, who has put in 16 years at the Imperial Hotel. "They come here to chat about things they don't talk about at work: it might be personal, it might be about golf. It's my job to listen." It's also his job never to forget a regular customer's preferred order: "You can ask once but never twice."
The Old Imperial still has original fragments – wall tiles, a mural and a standing light – from the 1923 incarnation of the Imperial Hotel designed by Frank Lloyd Wright. There is also a small table from the room occupied by Marilyn Monroe in 1954 and photos of visitors such as Cary Grant and Danny Kaye.
After 34 years at the hotel, Shigeyoshi Kagami is the longest-serving of the bar staff. "People don't come here for the depth of the menu: they come for the service," he says. "You have to understand the customers and how they want their drinks. If you don't do that you can't do the job." Japanese barmen are famously good at measuring with their eye and Kagami, who has an easy charm, can make a sidecar or gimlet in his sleep. Plus, like every member of staff here, he has his own way of making a martini (the Imperial's standard is a 9:1 gin-to-vermouth ratio).
Quietness and understatement are the defining qualities of the best Japanese barmen. "People appreciate that silence," says Naoki Hasegawa, a barman at Bar Non Non, a nine-seater establishment inside the literary Hilltop Hotel. "I'd almost say it's a wabi-sabi quality: delicate and quiet." His colleague Shin Onuma, who has spent 25 years working at the bar, says, "In terms of conversation, you need knowledge and skill to make your customer relax. It's more about listening than talking."
"Japan has the tea ceremony [sado] and it influences bar style here: it's quiet and precise," says Kazuya Watanabe, a former chairman of the Hotel Barmen's Association in Japan. "Overseas it's more about performance and entertainment." Watanabe is a legend in Japan's bar trade. The first barman to be awarded a Medal of Honour by the emperor, he has worked at the Keio Plaza Hotel in Shinjuku for more than 30 years, from where he oversees its numerous bars and lounges. The main bar is Brillant – by name and in nature – and opened in 1980; it retains its superb colour-saturated interior by Riki Watanabe (no relation).
"Hotel bars have their own style," says Kazuya. "We have such a broad range of customers that we can't be as detailed as a smaller bar." He is being modest: the precision and quality of bars at the Keio Plaza – including the delightful 45th-floor Polestar, a gem designed by Isamu Kenmochi – is superlative. Staff have to look after hotel guests and regular customers; at Brillant customers have 600 unfinished bottles of whisky on hold in the bottle keep.
Watanabe has seen many changes in drinking habits over the years. When he started most people drank whisky with water or mizuwari. Cocktails came to the fore during the bubble economy in the mid-1980s, then wine, then low-alcohol drinks and fresh-fruit cocktails. Watanabe works hard to keep up. He also visits wineries and distilleries: "I need to see and feel these places for myself." Like many others in the business he likes to go to Bar Orchard in Ginza, where the skilled proprietors quietly perform wonders with a blowtorch and liquid nitrogen.
All the bartenders agree that Ginza is the apex of Japanese bartending. "The level is so high there," says Onuma of Bar Non Non. "When I go there it's half-learning, half-pleasure. All the world champions, all the successful players are there. If you are recognised in Ginza you've made it professionally." Ginza bars are called machiba (town) bars to differentiate them from hotel bars and these are the heart of what people think of as old-school Japanese bar culture.
One of the most revered men in the Ginza bar world is Hisashi Kishi, whose Star Bar Ginza is among the elite of the elite. It's a small place with 300 whiskies. The members of staff are immaculately turned out and the ice is hand-cut with a wabocho (Japanese knife). "We didn't really know there was anything special about Japanese bartending," says Kishi. "It's something that people outside identified." He says that what is true about Japanese bars is also true of Japanese culture. "Japanese are meticulous about details," he says. "Look at the Shinkansen; there is an almost fetishist pleasure in making it run without delay. It was only when they sold the system abroad that they realised nobody else cared that much." Japanese barmen, he says, "like to push the rules as far as they can without actually breaking them".
Kishi got his start in a hotel bar as a student and was hooked. He went to bartending school in Shibuya and was told that he was a natural for Ginza. "It is the ultimate meeting point of food and drink. There are 3,000 bars and restaurants in an area only 1km long and 500 metres wide. Thirty years ago Ginza was even more unique. The customers were running huge corporations but they would talk about their war experiences, about the tough times they'd endured and how they started their businesses."
Kishi says there was a turning point when the internet and social media started opening up this world to a new audience. "In Japan, a bar is a unique place; it's not for everyone. It's only recently that some people have started venturing down dim stairs to places like this, particularly young people."
Kishi has won numerous awards: as well as being an International Bartenders Association world champion he was made a Gendai no Meiko (Contemporary Master Craftsman), has a Medal of Honour and is the president of the 5,000-strong Nippon Bartenders' Association. He is also the last person to boast about it.
"Japanese bartenders don't show off and nor do the customers," he says. "A small compliment from the customer will be gratefully and quietly received. Sometimes I've been at a bar seminar and a foreign bartender showcases a skill, say making a sphere of ice. I'm looking at the ice thinking, 'It's not finished, it's not perfect, it's not even round.' But the bartender is still showing off. A Japanese barman would never do that. I'm not criticising but that is a big difference."
Kishi sees the merit in perfecting the basic skills but is also willing to open the door to new ideas and is now sharing his talent at his own bartending school in Ginza. As for the use of words such as "mixologist", "It's just new terminology to describe something we've been doing for years."
Over in Shinjuku, Suntory Lounge Eagle has one of the most startling interiors of any bar in Tokyo. It's set over two basement floors and the upper floor has a long wooden bar, chandeliers, a backdrop of stone from Fukushima and an eagle motif on the wall. Almost nothing has changed since the founder, Toshimitsu Tsugawa, opened the place in 1967.
"Things were different back then," says manager Takashi Sasaki. "Isetan department store was the biggest building in the neighbourhood and a bar with all-male staff was unusual outside a hotel." There are 13 staff now, all in bow ties, led by Yukio Uehara, a benign presence who has been in the business for 30 years. He can read the atmosphere perfectly. "Some people don't want to talk, some do; it's our job to judge."
"We've been on this street for nearly 50 years and some people had never even noticed us," says Sasaki. "But the internet has changed things so much; people can see what it looks like before they come in." The interior is a huge draw but many people come because they've been doing so for years. "Everyone's surprised by the interior and the great customer service," says Sasaki. And the prices are surprising too: a whisky highball is just ¥250 (€1.90). The Eagle opens at 17.30 and within an hour it's full. It's a mixed crowd: heavy-smoking salarymen, women eating solo at the bar and young groups who come to see the retro interior.
"Everyone is treated equally," says Sasaki. "We have more young customers these days but it's not chaotic or loud like a university bar: we ask people to respect the ambience. It takes a lot of time and money to keep this place. We haven't changed much and people don't want us to change." When the bar needed a new pendant light, staff scoured antique shops for a matching one. Detail is all-important here.
Now that change is everywhere, staying the same suddenly seems fresh and modern. Flashy skills and innovative cocktails can never be a substitute for heartfelt service and a comfortable atmosphere. Watanabe sums up the attitude of the best Japanese barmen: "Hospitality comes first: your attitude and the care you take to look after the customer. Skill comes second." Uehara agrees that the job is all about making the customer happy. "You always have to put on your best face," he says. "Customers are all having good and bad days too but when they leave I want them to think, 'I'm glad I came here.'"
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The Monocle Travel Guide, Tokyo
The Tokyo guide is written by our bureau team in the city who have been covering the metropolis since Monocle began in 2007. In this 148-page hardback they reveal the places that they have got to know and love and show you…
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