It was the night before Christmas and all through the house, not a creature was stirring, not even a mouse. "Ah! Little did they know," alleged the cat.
The family turned in for the evening and the nightly escapades were about to begin for the cats, Friskers and Molly. They kicked and tossed colorful bows, and borrowed from gifts under the tree, in a spirited game resembling both soccer and badminton.
Soon the twinkling tree lights caught Frisker's eye. In their haste to prepare for the important next day, the family had forgotten to unplug them. The tree looked magical with its sparkling Christmas bulbs and shimmering garland. It seemed to dance as Friskers reached out to grab the twinkling lights.
Now he struggled to release the paw snarled in those teasing lights. The harder he pulled the worse things became. With a final tug, Friskers landed on his back surrounded by broken ornaments and tangled garland and cords draping down from the tree.
"Oh! What fun," thought Molly as she quickly joined the game. Feeling challenged when she couldn't reach the lights, she jumped up and opened her mouth to take a bite.
Meanwhile Bowser, the mutt, drank water from the new "dish" filled daily under the tree. "Wait! What is that smell," he pondered as the scent lured him to a new package at the back of the tree. It's Christmas he thought; it must be for me. Taking a deep breath, he quickly dug in.
Bowser woke later to a very different sight. The tree that was so magical that caused such a fuss was now dark. The cats lay sleeping peacefully in their beds. What had happened he wondered? Where things not as they seemed? Was this real or was it a dream?
Soon cries of Merry Christmas filled the room just as the tree came alive, the timer carefully set to a dime. The lights glistened among the ornaments displayed high on the tree. The Christmas cat toys, so articulately hung, adorned the low branches and cords remained securely intact. The sparkly cat balls and wool pom-poms that served as bows would no longer be needed; today was Christmas! Much to Bowser's delight was a package of meaty dog "truffles" with a tag that said, "Bowser: A Very Good Dog." His heart melted with love for his family. They always remembered him, took good care of him, and kept him safe. His worries and concerns were only a dream. To his family, he was special and that was no dream.
Holidays are important to our animals. They are part of our family and more social types enjoy being included when it's safe and appropriate. Please talk to them about what's ahead and your expectations. Changes in schedules, visitors, and added excitement can also be stressful. Consider having Bach Flower Essences Rescue Remedy on hand to help balance emotions or any of the many other essences for fear, anxiety, calming, barking, etc. to help your animal experience self-control and peace.
Chocolate (especially dark and rich chocolate) is toxic causing anything from vomiting and diarrhea to seizures and heart arrhythmias. Did you know fat trimmings, whether cooked or uncooked, can cause pancreatitis? Bones do often splinter. Onions, onion powder, cooked onions, garlic, leeks, and chives are toxic to cats and dogs. Garlic is five times more toxic than onions.
Raisins and grapes can cause acute renal (kidney) failure in dogs. Please keep all nuts away from dogs. Macadamia nuts and moldy walnuts are linked to seizures or neurological symptoms. Almonds, pistachios, and walnuts can obstruct your dog's throat and intestinal tract.
Did you know table salt is poisonous to animals? It's found in play dough, paint balls, and swallowed ocean water.
Pine needles, poinsettias, mistletoe, and holly are toxic to cats and dogs. Mistletoe can cause death and a single leaf from any lily plant is lethal to cats. Tree water can also contain fertilizers.
Electrical shock can occur from chewing on cords. Please use a grounded three-prong extension cord, it could save your animal's life. Place ornaments and decorations up high. Arrange lights, garland and other hanging décor out of the reach of a curious cat and discard bows and ribbons to prevent choking or ingestion.
Animals, like young children, are curious of lit candles. Not only can they burn themselves, but if knocked over can cause a house fire.
If you don't have emergency numbers and emergency veterinary office numbers close at hand, please consider doing so now. A little planning ahead can make all the difference in keeping your animals safe and happy this holiday season. Please include and advise family members and visitors how to best support your animal friends. Enjoy a safe and very special holiday season.


Along came 2008 and one of the most expected and vivid events of this year is clearly the Olympics in Beijing. The preparation for this event is in full course and we are trying not to lag behind.
Chinese designer Han Meilin drew the symbol or rather symbols of Fuwa. And our TurboMilk designer Olesia Kozlova who highly praised the style of the Olympics produced icons for these symbols.
This Fuwa icon pack is free to use for personal non-commercial purposes.
Please give credits to http://www.turbomilk.com in case of public use. We sincerely hope that these icons will make you happy and nobody get hurt. With Love, TurboMilk team.


Minimum requirements for a Splunk requirement.
Deployment server: Edit of serverclass.conf required in all cases?
This topic specifies Splunk Stream hardware and software requirements. For a list of network protocols that Splunk Stream supports, see Supported Protocols in this manual.
Before you install Splunk Stream, make sure that your underlying Splunk Enterprise deployment meets the requirements specified in Introduction to capacity planning for Splunk Enterprise in the Splunk Enterprise Capacity Planning Manual.
For baseline Splunk Enterprise hardware requirements, see Reference hardware in the Splunk Enterprise Capacity Planning Manual. Depending on the volume of network data that you plan to capture and index, additional resources might be required.
For information on Splunk Stream performance, see Performance test results and recommendations in this manual.
Linux kernel version 2.6.32 or later (64-bit).
Note: Independent Stream Forwarder installation is supported on 64-bit Linux (RHEL and Ubuntu) only.
Mac OSX version 10.11 or later.
Splunk Stream supports Local System and Administrator accounts only on Windows. For more information, see How the System account is used in Windows.
Splunk Stream runs on Splunk Enterprise. Before you install Splunk Stream, make sure that you are running the appropriate version of Splunk Enterprise.
Splunk Stream version 7.1.x is supported on Splunk Enterprise 7.1.x, 7.0.x, 6.6.x, 6.5.x and 6.4.x.
In a distributed Splunk Enterprise environment, you must install Splunk Stream on universal forwarders, indexers, and search heads, as applicable to your deployment. For details on Splunk Stream component requirements, see Deployment architectures in this manual.
Internet Explorer 9 or later. Internet Explorer version 9 is not supported in compatibility mode.
Splunk Stream does not require a separate license. You can install and use Splunk Stream on Splunk Enterprise with a single Splunk Enterprise license.
Splunk Enterprise licenses are based on the amount of data stored by your Splunk indexers per day. For more information, see How Splunk licensing works in the Splunk Enterprise Admin Manual.
To use targeted packet capture and file extraction, you must map your Splunk Stream deployment to a remote file server. For instructions, see Configure targeted packet capture and Configure file extraction in this manual.
Targeted packet capture and file extraction require Splunk Stream version 7.1.0 or later.
NefFlow data collection requires Splunk Stream version 7.0.0 or later.
Splunk Stream is certified for deployment on Splunk Cloud. For more information, see Deploy Stream on Splunk Cloud in this manual.
For more information on Splunk Cloud services, see the Splunk Cloud Products page.


text:
Does It Smell like Pollocks in Here?
Let me tell you about this interesting study. Turpin et al. (2019) took a bunch of abstract artworks – some computer-generated and others taken from MoMA's digital library – and assigned to these two types of titles, mundane ones (e.g. Canvas 8 or Version 4: Abstract Elements or Colour Mixing or Objects in Tint) and descriptive yet nonsensical ones (e.g. The Deaf Echo or Undefined Singularity of Pain or The Pathological Interior or Evolving Model of Dreams).[1] Armed with these, they ran four experiments.[2] (For some of the experiments, they also used a control group of paintings that were assigned no title at all.[3]) What they found was that subjects considered both varieties of artworks more profound if they were accompanied with a nonsensical descriptive title than with either a mundane title or no title at all.[4]
Now, I believe that meaning is closely related to association, that things have meaning for people if they can be connected to other meaningful things. Using that model, it seems perfectly natural for people to find more meaning in paintings with descriptive titles, even if those titles are nonsensical or nondescript, simply because they prompt the viewer to associate. The thing that mainly matters in a title is its ability to call to mind thoughts and memories in the observer. The lack of internal logic is – so I suspect – mostly a distraction. The point is the titles' descriptive quality. But that was not how the authors chose to frame their study. Instead, they chose to call these descriptive yet nonsensical titles "pseudo-profound bullshit titles" and to name their paper Bullshit Makes the Art Grow Profounder.[5]
Here is how they define "bullshit":
These statements (referred to as pseudo-profound bullshit)[,] while superficially impressive, are generated by a computer program randomly arranging a set of profound-sounding words in a way that retains proper syntactic structure; as such they lack any intent to communicate something true or meaningful. […] Research examining peoples' susceptibilities to pseudo-profound bullshit have utilized [Harry G. Frankfurt's] conception of bullshit as an absence of concern for truth or meaning. Thus, pseudo-profound bullshit is characterized not for its falsity but its fakery; bullshit may be true, false, or meaningless, what makes a claim bullshit is an implied yet artificial attention to truth and meaning.[6]
"Pseudo-Profound Bullshit" #
From what I can tell, the phrase "pseudo-profound bullshit" was coined by some of the same authors in a widely cited paper published in 2015.[7] You might wonder, as I did, if "bullshit" isn't just a synonym of "nonsense", but the authors will have none of that: "The Oxford English Dictionary", they write, "defines bullshit as, simply, 'rubbish' and 'nonsense', which unfortunately does not get to the core of bullshit."[8]
(The full definition in my digital version of the OED is "stupid or untrue talk or writing; nonsense". I could go on to mention that the definition on dictionary.com is "nonsense, lies, or exaggeration"; Merriam-Webster's is "nonsense; foolish insolent talk"; and that the one on Wiktionary is "false or exaggerated statements made to impress and deceive the listener rather than inform; nonsense". Only one of these references the speaker's intentions; three mention falsity; all four emphasise incoherence.)
A phrase like "hidden meaning transforms unparalleled abstract beauty"[9], the authors of that earlier paper write, is not only nonsense but also bullshit, because its structure implies that it was written to communicate something, and because it "does not contain adequate meaning or truth". Somewhat bizarrely, they contrast that with a phrase that is, so they write, merely nonsense, not bullshit, but which is in fact, so I claim, not even grammatical: "unparalleled transforms meaning beauty hidden abstract". What is that supposed to prove? That if you jumble the words in a sentence, you are no longer trying to communicate something? But what does that have to do with bullshit? This is all a little bit confusing to me. Is the difference there really between bullshitting nonsense and mere nonsense, or is it between grammatical nonsense and ungrammatical nonsense? Somebody draw a Venn diagram!
In the later paper, Turpin et al. make the following clarification:
Of course, "bullshit" in this context need not carry any negative connotation. If the goal of a piece of art is to inspire the feeling of profoundness in its viewers, whether this feeling originates from the art itself or is created by the viewer is of no consequence. […] These predictions are not intended to be taken as a value judgment on the quality of modern art, nor a dismissal of the subjectively derived meaning formed when exposed to such pieces. If anything, the production of good and satisfying "bullshit" (i.e., statements meant to be impressive regardless of truth) may simply be part of the artistic process as much as the production of a painting.[10]
But that seems a little naïve. Of course bullshit does not need to sound negative. But in this world, in the year 2021, it does. On the one hand, they write that the production of good "bullshit" is a part of the artistic process, which does not imply any sort of value judgment. On the other, they define "bullshit" as "an absence of concern for truth or meaning" and write that it's fakery. In one breath they imply that artists are conning their clientele, but in the next they assure us that they have nothing bad to say about artists. I wish they would just come out and say what they think instead of this nervous hedging.
But, well, fine. That is a semantic quibble. Another quibble would be that the experiments were carried out only with undergraduate students in a Western university.[11] But I am guessing that the results would generalise, at least in the West, so I won't argue that either. A third quibble would be that several of the pseudo-profound titles they used were not, in fact, nonsensical, for example: Virgin Desire, Trapped, Reflecting Shape, The Beaten Angel and so on. These all seem like perfectly sane titles that would suit any number of abstract artworks. But fine, the majority of the generated titles were indeed nonsensical, so I will put that aside, too.
Bullshit as a Viable Artist Strategy #
Having established that "bullshit makes the art grow profounder", the authors go on to write that it can therefore be a viable "low-cost strategy for gaining advantages in prestige awarding domains":
An agent working towards being successful in a domain, can engage in the long and arduous process of acquiring expert skills and knowledge that they could then leverage to accomplish certain goals. Alternatively, an agent could engage in a less effortful process that produces similar benefits (i.e., impressing others with bullshit). […] A quick and efficient way to impress others in this manner is with claims that imply, yet do not contain, any specifically interpretable truth or meaning (i.e., with bullshit).[12]
Is the contemporary art world full of grifters? Turpin et al. do not exactly show (or attempt to show) this. It is a prediction that they make based on their theory that it should be competitively advantageous and on their finding that people judge "pseudo-profound bullshit" similarly to International Art English (IAE) statements:
If the world of abstract art does in fact represent an ideal environment for bullshit to be deployed as an effective low-cost strategy for gaining prestige, then one would expect the presence of bullshit to be widespread in this domain.[13]
If that were true, I would think that the "pseudo-profound bullshit" strategy would have outcompeted all sorts of mundane titles like Number 3 (Pollock) or Composition No. 10 (Mondrian) by now, since it requires little effort and produces superior results. If it can't even do that, it doesn't seem like an effective strategy. So does it? I don't know for sure, but I did have a look at the MoMA collection data set. I took all their paintings since 1900 and used some (admittedly imperfect) regular expressions to label each painting as having a mundane title or not. Then I modelled the prevalence of mundane titles each year. This plot shows the medians and interquartile ranges of the model's posterior distribution:
The variance increases in the modern era due to the smaller sample size, but judging from this plot, mundane titles have if anything been steadily increasing in popularity during the last 120 years. It is true that procurement at MoMA is carried out by world experts, and Turpin et al. do write that one should expect, "[if] art expertise does allow one to spot the fakery characteristic of bullshit, […] that art experts, unlike non-experts, would not have their judgements of a piece of art affected by the presence of bullshit."[14] It's possible that bullshit is more common and successful in the lower strata of the art world. But in the professional contemporary art world, at least, it does not seem to be a significant force.
I suppose my main issue with the study is that it seems to imply that artists are bamboozling their audiences. This requires (1) artists to intentionally use so-called bullshit with the intention of misleading the audience; (2) the audience to be misled by the so-called bullshit (as opposed to being willing participants); and (3) artists really using "pseudo-profound bullshit" in the wild. But I am not sure any of those things are actually widespread.
That said, it is difficult for anyone who has read any number of artists' statements, exhibition guides, art magazines and so on to shake the suspicion that there really is a lot of bullshit (in every sense of the word) in contemporary art. My wife just reminded me of something that I'd forgotten. She told me how, at an exhibition at Kunstraum Kreuzberg/Bethanien last summer, with the very IAE title Interstitial Spaces, I had gone missing for a while. She found me, at my patience's end, in a room with a row of plinths or something like that, on which rested a number of pink books that I was reading. I had already found no less than ten grammatical errors. That's how a Words' Rights Activist is made.
Footnotes #
Turpin, M. H., Walker, A., Kara-Yakoubian, M., Gabert, N. N., Fugelsang, J., & Stolz, J. A. (2019). Bullshit makes the art grow profounder. Judgment and Decision Making, 14(6), 658-670. ↩
ibid. ↩
Pennycook, G., Cheyne, J. A., Barr, N., Koehler, D. J., & Fugelsang, J. A. (2015). On the reception and detection of pseudo-profound bullshit. Judgment and Decision making, 10(6), 549-563. ↩
If you recognised that as derived from the Twitter feed of the ghastly charlatan Deepak Chopra, congratulations. He, by the way, responded to news reports on this earlier paper with this hilariously wounded tweet: "Dear friends a 'scientific' study shows we (I and you) have lower intelligence". ↩

redpajama_set_name: RedPajamaCommonCrawl


DUBAI, United Arab Emirates (AP) — Pakistan's new prime minister, former cricket player Imran Khan, is in Saudi Arabia as part of his first official overseas trip.
Khan arrived in the kingdom on Tuesday and will later travel to Abu Dhabi, the capital of the United Arab Emirates.
While in Saudi Arabia, Khan traveled to Medina and visited the Prophet's Mosque. He then flew to Jiddah, Saudi Arabia's port city on the Red Sea.
He is expected to meet leaders in the kingdom on Wednesday before traveling to Abu Dhabi.
Both Saudi Arabia and the UAE provide vital overseas jobs for Pakistanis abroad. Saudi Arabia in particular maintains close security ties to Pakistan, while its Muslim holy sites draw many Pakistani pilgrims each year.


text:
Ніч перед випуском, ТЮГ, 1979 — театральна версія повісті  В.Ф.Тендрякова, створена у 1979 році у ТЮЗі імені Брянцева, Ленінград.

Передісторія

Театральна вистава починається з п'єси. Вже на початковому етапі Корогодському стало зрозуміло, що спеціально для театрів юних глядачів ніхто — не пише. Писали лише для «дорослих» театрів. Казка «Коник-горбунок»  (візитна вистава ТЮГу) писалася як казка і не була розрахована на постанову в театрі. Все це стосувалось і більшості інших п'єс, адаптованих під юних глядачів в самому театрі або за його замовами.

Режисер Корогодській розпочав працю з літераторами і драматургами. Процес зацікавив обидві сторони : амбітні автори отримували шанс побачити власний твір реалізованим на сцені, а ТЮГ отримував твір і прем'єру, невідому іншим .

З ленінградським ТЮГом або співпрацювали, або тут починали сценічне життя твори Євгена Шварца, Булата Окуджави, В. Тендрякова, В.Катаєва,  М.Рощіна, Ю.Ентіна, М.Бартенєва та інших .

В Ленінградському ТЮГі йшли щонайменше дві п'єси  В.Ф.Тендрякова.

Театральна версія в ТЮЗі

Зрозуміло, що всю повість Тендрякова показати у театрі було неможливо. Літературний твір і театральна версія мають свої властивості, бо в театрі сценічна дія має укладатись у певний часовий проміжок, а молодіжна аудиторія не витримає в театрі чорьох годин, тоді як за книгою — спокійно.

Тому ТЮГ зробив театральну версію, узявши від повісті тільки головні події і найважливіші діалоги. Драма від цього тільки виграла. Вступне слово перед декількома виставами говорив сам режисер Зіновій Корогодський. Пощастило тим, хто був запрошений на «прогон», тобто перший показ вистави перед прем'єрою, коли очільники театра перевіряли реакцію молодих глядачів на першу версію вистави 26 березня 1979 року.

Акторський склад  був розбитий на дві групи — вчителі і випускний клас. Вони були подані у виставі відокремлено, кожна група пристрасно обговорювала власні, болючі  проблеми. Вже у кожній були і свої лідери, і власні ідеї, і власні шляхи пошуків — куди йти,  з якими моральними настановами, які орієнтири попереду.

У вчителів через дорослість і гіркий досвід вчителювання багато чого прояснилося, хоча це не позбавляє від проблем і пошуків істин, перевірок істин на сравжність. У випускників — навпаки. Вони в процесі дорослішання і пошук істин для них тільки розпочався, але допоки він іде інтуїтивно. Захищеність школою і авторитетом вчителів після випуску закінчилася, що викликає тривогу і розгубленість. Адже відтепер рішення прийматимуть окремо і примушені брати відповідальність за власні рішення, часто без чорнеток, як то було на контрольних роботах. Ось відмінниця, що здивувала учнів і вчителів розгубленою промовою перед випускним балом. Відмінницю неполюбляли у класі, а після розгубленої і сміливої  промови вперше визнали «своєю». Вона і принципова (як того вимагали у школі), і розгублена, і вкрай натягнута як струна на музичному інструменті, що відгукується навість на сторонній подих, не те що на дотик. Вона важко шукає виходу зі свого непорозуміння у класі, причини власних негараздів у спілкуванні, власної відчуженості від однолітків. Її перші кроки до відвертого спілкування виявляються незграбними ( відмінниця запропонувала привабливому хлопцю поїхати разом у Москву заради влаштування у вишу. Але хлопець давно має симпатію до іншої, що викликало конфуз... )

Пошуки, що і як робити, примусили випускників вперше поговорити «до донця», дати оцінки кожному. Першим наважився вислухати оцінки собі «щасливчик». Йому і видали таку негативну оцінку, що той обурився і почав видавати негатив про кожного (зуб за зуб !).  Завдяки цим «викриттям» глядачі і познайомляться з подіями і вчинками, що відбулися перед випуском. Обурений «щасливчик» не пожалкує ні друга, ні дівчат у класі, ні кохану... Він оприлюднить сцену купання з коханою, коли дівчина, в котрий вже народилася жіноча жага подобатись, показалась коханому оголеною. Замість вдячності від коханого (і права на секрет події) дівчині завдали образи і знеславили.

Сократик Онучін видав чергову таємницю : обуреного «щасливчика» планують убити. Але ображені випускники не хочуть стати на його захист. На захист стане тільки відмінниця, адже разом вони можуть врятувати хлопця і це акт справедливості. Розгорілася запекла дискусія, що робити. Пристрасті вирували допоки перемогли аргументи рятувати життя хлопця. Так гра виговоритися «до донця» вперше приводить їх до виваженого рішення і до відповідальності за власне рішення, до початого процесу дорослішання — вже поза школою.

Післямова

Ні про який показ оголеної акторки у радянському театрі (тим паче для юнацтва у СРСР) не могло бути і мови 1979 року. У виставі йшлася лише згадка про подію. Виставу «Ніч перед випуском » у театрі  навіть через згадку про оголеність визнали тоді аморальною...

Див. також

 ТЮГ імені Брянцева
 Брянцев Олександр Олександрович
 Корогодський Зіновій Якович
 Шуранова Антоніна Миколаївна

Джерела

 https://otvet.mail.ru/question/65496413 (сюжет доідково)
 http://www.livelib.ru/book/1000015504/reviews
 http://www.teatr.gorodovoy.spb.ru/theatre/681136.shtml
 https://www.youtube.com/watch?v=fUpSwTPZ310 (версія другого театра на ю туб)

Посилання

Примітки

Вистави за алфавітом
Вистави 1979 року
Вистави доби СРСР

redpajama_set_name: RedPajamaWikipedia


A vulnerability in Symfony may allow remote attackers to read arbitrary files.
Symfony is a professional, open-source PHP5 web development framework.
Symfony does not properly sanitize input for upload requests.
A remote attacker could send a specially crafted file upload request, possibly resulting in disclosure of sensitive information.


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Бури Рам е една от 76-те провинции на Тайланд. Столицата ѝ е едноименния град Бури Рам. Населението на провинцията е 1 493 359 жители (2000 г. – 7-а по население), а площта 10 322,9 кв. км (17-а по площ). Намира се в часова зона UTC+7. Разделена е на 23 района, които са разделени на 189 общини и 2212 села.

Провинции на Тайланд


The City of Jackson will launch the new customer self-service portal on Monday, Aug. 1, providing convenience and useful information to the City's water customers. The portal allows water customers to pay bills online, view account balances and copies of previous months' bills, and monitor and track water usage.
Customers can visit https://waterwebcss.jacksonms.gov/OUCSSPortal">https://waterwebcss.jacksonms.gov/OUCSSPortal to set up an account.
Users of the self-service portal will see the same data that is available to the Water Department as they generate monthly bills. Data is available in near real-time and is supplied from the automatic water meter on your property. If customers need more information than what is available on the portal, they can contact the Water Sewer Business Administration at 601-960-2000.
Five-minute showers use about 10 gallons of water, or about 75% less water than baths.
Turning off the water while you brush teeth can reduce your water usage to less than 1 gallon, whereas letting the water run for 2 minutes will waste as much as 4 gallons of water.
Watering your lawn uses about 2 gallons per minute; consider how much time you need to water your lawn—and whether the lawn really needs it.
If you wash dishes by hand, you can use as much as 27 gallons of water. Consider scraping dishes first, letting them soak in soapy water before rinsing, and not letting the water run the entire time you're washing.


In our technically-obsessed world there has arisen one major God of business success and its name is Google. It is crucial to ensure that your website is noticed by Google because it directs around 90% of all the web traffic in the US. And while Google has helped some businesses rise very high indeed, it isn't always a benevolent deity!
Today we'll be looking at the first part of the equation, optimizing your website to give it the best chance of ranking well on Google.
Google's main method of differentiating pages from one another on the Internet is by the wording that is used on them. Include 300-500 words of unique wording on each page and Google will see your site as valuable, informative and unique from any other site on the Internet. If you simply copy wording form another website (even your own) Google will not give your new site any value at all. Google actively checks for content that is duplicated across the internet, and penalizes the sites that it is found on.
The title tags are the words that are displayed above the 'file' button on your Internet browser and are used as the headings of your SEO rankings. They are the first indication to Google of what a page is about and a critical to your SEO rankings. Use the keywords you want the site to rank for in the title tags and ensure every page is different to avoid the penalty for duplicate content.
While they aren't heavily weighted in Google's ranking algorithm, they do affect how many people click on your website in the SEO rankings. Use your meta descriptions to really sell the 'click' by giving users a reason to click through to your site. Look at what your competitors are saying and try to say something different, that really speaks to your prospects. Ensure that the meta description tags on each page are different to avoid duplicate content.
You already know that your title tags and meta tags must be different, and your main copy different to that on other websites, but you can still get snagged by the duplicate content demon. If you have long copyright text or privacy policies repeated on different pages throughout the site, Google might see your web pages as duplicate content and drop it off their main index. If you definitely need duplicated information on a range of pages, put it in an image so the spiders can't read it.
Extremely interesting post thanks for writing it I just added your blog to my bookmarks and will check back :) By the way this is a little off subject but I really like your web page layout.
Umh, I agree in part. We should also consider other aspects, further considered the trend of today.
Basic stuff but definitely sound advice. I can see a lot of noobs finding this page extremely helpful. Thanks for sharing!


I have a minor obsession with farmhouse décor, and during the process of decorating our new home I found pieces I loved at furniture or home décor stores, only to later see the very same pieces on Amazon for a fraction of the price. Although you may not think of Amazon as a place to shop for home décor, they have an amazing (and affordable) selection to choose from. I've rounded up my favorites above! Enjoy!
*This post contains affiliate links, which means I may earn a small commission if you make a purchase using one of these links. However, I only recommend items I personally love. Thank you for your support of Nineteen Windsor!


As I noted in Chapter 13, "Reading PNG Images", the basic style of PNG viewer that reads each image from a file in a single gulp is appropriate to some applications, but not all. In particular, web browsers and the like tend to read images from a network, and they often download more than one image at the same time. It is usually desirable for them to display whatever is available at regular intervals so the user can get some idea of the contents of the page as quickly as possible. The alternative--waiting the minute or more that some web pages take to download--went out of style almost as soon as Netscape Navigator became available late in 1994.
This style of display is known as progressive, and as one might imagine, it places strong constraints on the structure of the program. In fact, in many ways a progressive reader is completely inverted from the basic design showed in the last chapter: instead of giving the image library control for the duration of the decoding process, in a progressive reader, the main program retains control, effectively throttling the library by restricting the amount of encoded image data it makes available per call. This will become much clearer with a concrete example, so let us jump right in.


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Archive for category: 2016@en
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Sunday 11/12/2016 at 9:15am One more enjoyable hike to maintain the paths of Andros from Remata to Lefka & Ateni beaches – cancellation of the scrabble seminar !
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Sunday 27/11/2016 at 9:30am One more enjoyable hike to maintain the route Remata-Lefka & Ateni beaches !!
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At the maintenance hike from Paleopolis to Pitrofos & Menites
https://www.androsroutes.gr/wp-content/uploads/2016/10/20161009_112700.jpg 963 1712 olga https://www.androsroutes.gr/wp-content/uploads/2013/04/green.png olga2016-10-11 09:49:042016-10-11 10:07:37At the maintenance hike from Paleopolis to Pitrofos & Menites
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At the hike to maintain in Arni area… another arched stone...December 16, 2015 - 10:26
Clearing route no 14 and discovering an old small bridg...June 1, 2015 - 05:52
Panachrados Monastery-Agia Triada- ZagoraApril 12, 2019 - 18:12
Chora-Dipotamata-KorthiApril 12, 2019 - 18:10
2nd maintenance hiking – Circular Route of Aprova...January 30, 2023 - 21:54
A successful and useful 2-day event for the producers of...January 25, 2023 - 15:29
Footpaths all year round! Danish visitor for hiking in January...January 23, 2023 - 14:30
On Sunday let's hike at the beautiful circular route of...January 23, 2023 - 10:01
thank you dear Sarah... hope to see you soon on Andros ...August 10, 2016 - 13:54 by olga
We are still watching your work with interest and excitement....December 17, 2015 - 23:04 by Sarah Williams
You are all doing an amazing job. Thank you so much. We...June 6, 2015 - 11:27 by Barbara Vallender


Laban Konsyumer Inc. President and former Department of Trade and Industry (DTI) Undersecretary Atty. Victorio Mario A. Dimagiba spoke on behalf of consumers around the country, saying that ?the poor or the marginalized consumers suffer due to the direct and indirect impact of the TRAIN law, as they are the ones who feel the pangs of higher prices. The April 2018 Philippine Statistics Authority data shows that consumer price index for the bottom 30% income households in the country climbed to 5.3% in the 1st quarter versus 2.8% a year ago, and 3.5% a quarter ago.
The TRAIN law has had both direct and indirect impact on the cost of goods, with price hikes particularly felt by the poor. The government computed the direct effects of the tax reform law, as they say now that the suspension of the law may hurt the Build, Build, Build project of the country. However, the change in the tax reform law resulted in changes in the behavior of individuals. In fact, the government warned traders who commit profiteering and hoarding that they will be filed cases of economic sabotage. The high inflation in the past four months was also brought about by expectation of higher costs somewhere.
LKI further highlighted the Pulse Asia March 2018 survey on commodity prices that 98% of Filipino consumers says that goods or commodities they normally buy or spend became more expensive since January 2018 , and that food is most often cited by 92% of the consumers.
In its May 9, 2018 position paper submitted to the Senate Committee on Economic Affairs, LKI proposed to suspend the excise taxes on fuel products, and that any price increment in the prices of petroleum products and electricity rates will be negated by the removal or suspension of the excise taxes on petroleum products including bunker fuel and coal. Dimagiba pointed out that when the Value Added Tax or VAT was expanded to 12% under Republic Act No. 9337, Congress introduced mitigating measures to ?socially sensitive products ? and removed excise taxes on lpg, kerosene, diesel, the 3 % franchise tax on power distribution utilities like Meralco, as well as for air carriers..


Our online course will help clarify your personality, life purpose, relationships & career path as an NP type.
Known for their openness to new ideas, lifestyles, and possibilities, NP types (INFP, INTP, ENFP, ENTP) are well described as explorers and experimenters. Yet despite their curiosity and affinity for novelty, they also seek a stable sense of self and direction, one which can inform their careers, relationships, and other life choices.
Establishing a clearer identity and life path, while at the same time maintaining their characteristic openness, can be challenging for NPs. At times, they may feel lost, scattered, or full of doubt. Fortunately, with the right combination of knowledge and skills, they can advance in their quest for a more fulfilling and successful life.
Developed and presented by four-time author and founder of Personality Junkie, A.J. Drenth, this course was specially designed to bring clarity to your personality, life purpose, relationships and career path as an NP type. It is a doorway to transforming your inspiration into purposeful action and results.
"Perfect for NPs Who Feel Stuck"
Thoroughly fascinating! NPs will enjoy this deep dive into their personality. No doubt they'll walk away with a greater understanding of what makes them tick and what they need in life to thrive. Perfect for any NPs who currently feel stuck or directionless.
As an ENFP with friends who are NP types, I really enjoyed learning about our personalities and what motivates us. I've also been doing a lot of wrestling with my career path and this course gave me a ton of great insights in that respect. I would recommend this course to all NPs looking to better understand themselves and find their purpose.
This course is truly for the NP with an insatiable hunger for self-discovery. Where so many personality type resources rely on recycled information and meaningless platitudes, Dr. Drenth has put together a detailed, meaningful, well-researched course that will provide even the most curious NP with plenty to chew on. Dr. Drenth is especially conscientious about citing scientific sources and providing resources for further study, so you'll never be left wondering how to find out more. If you're prone to the typical curiosity of the NP, you won't be disappointed by this course.
I've been working to understand myself since my early twenties and have explored a wide range of interests and careers. I came across Personality Junkie a few years ago on a friend's recommendation and have found it incredibly insightful. Dr. Drenth does an excellent job in this course explaining our personality and struggles as NP types. He then outlines a number of strategies to help us with our careers, relationships, and self-discovery. While the course has already helped me a great deal, I'm eager to go through it again and glean some additional insights. I think all NPs will find it enlightening.
We NPs are an unusual breed and not always easy to pin down, but Dr. Drenth is surprisingly skilled at honing in our key features. I learned lot about myself in this course and why I behave the way I do. I've always had difficulty with commitment and follow-through and this course helped me understand why this is the case. It also includes practical exercises which I found really valuable. Thanks a million for this great course! It's been a real game-changer for me.
I am a personality educator and regularly conduct type-based training and certification programs. Having read much of A.J. Drenth's work and consulted with him on one of our programs, I can testify to his thorough knowledge of type, as well as his ability to present ideas in a clear and accessible fashion. In this course, A.J. elucidates NPs' personality characteristics, the specific challenges they face, as well as ways of navigating those challenges. I highly recommend it to NPs seeking growth, clarity, and direction.
Take it now and save $50!
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1. What if I'm unhappy with the course?
Like all of our products, we want you to be 100% satisfied with this course. If you're unsatisfied with your purchase for any reason, simply email us within 30 days of purchasing for a full refund. No questions asked.
2. How long can I access the course?
We're happy to offer you lifetime access, across all devices.
We're here to help. Feel free to email us at aj@personalityjunkie.com and we'll respond shortly.
A.J Drenth is a four-time author and recognized authority on personality typology. He founded Personality Junkie in 2009 which has since grown to see over 50,000 subscribers and one million annual visitors.
His work has been referenced in numerous books and publications and he currently boasts the two best-selling INTP books on Amazon.com.


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Danielle Renda - November 1, 2019
Tech Talk: Say 'Hello' To TikTok
Danielle Renda - October 31, 2019
Some people are familiar with TikTok only through its recent notoriety. The social media app, which allows users to make and share short videos, was fined $5.7 million by the Federal Trade Commission in February for violating children's privacy by collecting personal information from underage users. The news was covered briefly in PPB's October 2019 issue. But there's more to this tool that suggests marketers shouldn't judge a book—or an app—by its cover. Let's look into this new tool, what it offers and how consumers are using it.
What is TikTok? To understand what TikTok is, let's first look into how it got started. TikTok was formerly Musical.ly, a Shanghai-based social media platform launched in 2014 that allowed users to express themselves creatively by sharing 15-second clips of them lip-synching, dancing, singing and practicing comedy. Think digital karaoke, of sorts, for younger users. ByteDance, a Chinese IT company based in Beijing and worth more than $75 billion, according to TechCrunch, and the parent company of TikTok, purchased Musical.ly in November 2017 for $1 billion. TikTok and Musical.ly were popular in different parts of the world—Musical.ly in North and South America and Europe, and TikTok in Asia. ByteDance absorbed Musical.ly to draw users to a single, cohesive app. Currently, TikTok, which goes by the name of Douyin in China, has more than 300 million active users each month and has been downloaded more than one billion times.
How Do You Use It? Users, which mainly include teens and young adults, can download the TikTok app to their smartphone using Google Play for Android, or Apple's App Store for iPhone. TikTok's policy requires users to be at least 13 years old, and asks them to register using their email, phone number or through their Facebook, Google or Twitter account. Despite age requirements, the app has also garnered attention for being popular with underage, or "tween," users. Users can customize their username, privacy and profile settings, though there are no parental control options. On every video, there's a panel of icons along the righthand side, which users can select to "follow" the profile of the person in the video they're watching, "like" the video and view comments other users shared about the video. If the user clicks the spinning "record" icon, they will be taken to other videos that feature the same sound clip or song as the one they are watching. The app encourages collaboration and allows users to share screens with each other, known as a "duet."
Musical.ly was mostly about lip-synching, but TikTok is a bit more expansive. Dancing is particular popular to view on the app, along with other activities, like gymnastics and cheerleading. Media companies, like NBCUniversal and Seventeen, also host short "shows" on the app aimed at younger users. "Celebrities" have emerged in the app, some with millions of followers, and fans can donate anywhere from five cents to $50 to their favorite users, known as "Musers." Lisa and Lena Mantler, 14-year-old identical twins from Stuttgart, Germany—twins are popular on TikTok, too—whose account has since been deleted for unrelated reasons, were earning some $25,000 per month through partnerships in 2017, according to Slate. TikTok is also big with "challenges," which typically require users to follow a format for a video, adding their own interpretation. If you follow the hash tag #MatildaChallenge (the app uses hash tags to conduct searches), tagged videos feature users attempting telekinesis, as the main character does in the 1996 movie Matilda. If you follow the hash tag #UnMakeupChallenge, you'll come across users removing their makeup. The challenges are random and wide sweeping. And perhaps one of the biggest appeals of TikTok is that it's timeless. None of the posts are time-stamped, so if users come across a popular video, they won't know whether the video was created this morning or six months ago. This means any content shared on TikTok can go viral at any moment, no matter when it was created.
How Can Brands Use TikTok? Many brands have already established a presence on TikTok, from Chipotle Mexican Grill to Ralph Lauren and the National Football League, to the Washington Post, the San Diego Zoo, Guess and the United Nations' International Fund for Agricultural Development (IFAD). These brands are using the platform to communicate messages, oftentimes by creating their own "challenges," which is particularly crucial to engaging users in new ways. Here's three examples.
Chipotle started its #GuacDance challenge on TikTok as part of a campaign to celebrate National Avocado Day on July 31, when Chipotle offered free guacamole with any entrée purchased through its app or website. The challenge called for fans to create a dance to the "Guacamole Song" by musician Dr. Jean, which went viral on social media. The campaign received 250,000 video submissions and 430 million views in a six-day period on the app. On National Avocado Day, more than 800,000 sides of guacamole were served, and the use of avocado increased 68 percent to more than 420,000 pounds of the fruit. This turnout is impressive, considering the company has just over 81,000 fans on the app.
IFAD started a challenge with a different approach. The #DanceForChange challenge, launched in May, featured a video made by Sherrie Silver, a choreographer, and Mr. Eazi, an African recording artist, to demonstrate how self-expression and dance can be used to communicate a powerful message about hunger and food insecurity. The challenge, which included the slogan, "Make your moves matter," generated 5,000 videos or memes created by users throughout Canada, India, Germany, the UK and the U.S. Aside from the challenge, and unique to much of the humorous content shared on TikTik, IFAD publishes short videos of people farming internationally. The organization has nearly 12,000 fans on the app.
The National Basketball Association (NBA), which has 5.6 million fans on the app, uses TikTok to make its athletes, and overall brand, seem more relatable. Some of the short videos feature players sharing motivational quotes, exercising and dancing on the court, along with funny clips of the teams' mascots.
According to Retail Dive, since TikTok is still relatively new, the digital space hasn't been overcrowded by marketers yet, meaning that while many major brands are using it, many still aren't. This can be seen by the number of fans following popular brands. Though the NBA is considered to have a high following on TikTok, the corporation has more than 40 million followers on Instagram, and while Chipotle has more than 81,000 fans on TikTok, it has nearly 700,000 followers on Instagram. The app still has a lot of room to grow and a lot more users to gain, which means it can offer branding opportunities that separate companies from their competitors. For brands looking to walk the talk—or tick the tock—here's a few questions to consider before breaking into this new app.
What is the demographic of your audience or end user? TikTok mainly attracts younger users, and since it's new, not everyone may know about it. The app's success, thus far, has also been largely based on "the fear of missing out" (known as "fomo"), binge-watching and participating in the challenges; activities that are also characteristic of younger users. Make sure this is who you are targeting before using the app for a campaign.
What's the angle? Are you considering TikTok to create a campaign around a product or service, to call attention to a social issue or to show the more human side of the business? Or, do you have something different in mind? The challenges that prompt action, such as dancing, seem to be most popular on the app. If you use TikTok to launch a campaign, make sure it's one that has action behind it—and one that users, particularly younger ones, can get behind.
Are you considering working with influencers? Social media influencers aren't restricted to Instagram or YouTube. TikTok has plenty of influencers on its own. Partnering with an influencer, whether micro or major, may help get the word out about a new product, service or campaign with younger gens.
Danielle Renda is associate editor of PPB.
filed under TikTok | Social Media | Technology | November 2019 | Tech Talk | Fast Forward


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Q: Multiple regular expressions in python to check string I am trying to write a regular expression statement that checks a string meets the following:
begins with three zeros, is followed by up to four letters, is then followed by a dash, is followed by eight characters that are lower case letters or digits, another dash, then a suffix that is either ab cd or kys.
^[0]{3}[-](?=.*?[a-z])(?=.*?[0-9]).{8,}[-]([ab][cd][kys])

I'm a little confused on how I should be breaking up the eight charaters portion and the suffex portion. Can someone point me in the right direction?

A: I think you need this:
^[0]{3}[a-zA-Z]{,4}\-[a-z0-9]{8}\-((ab)|(cd)|(kys))$

redpajama_set_name: RedPajamaStackExchange


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Virginia Tech launching College Access Collaborative /
Current page: Virginia Tech launching College Access Collaborative
Graduating students attend the 2016 University Commencement ceremony.
Virginia Tech is forming the College Access Collaborative to strengthen the university's existing commitment to increase access to higher education.
Currently, Virginia Tech serves the Commonwealth of Virginia by partnering with communities that typically graduate a lower number of college-bound high school students. The collaborative's outreach efforts will be led by a newly created organizational unit with dedicated personnel and resources that will leverage current efforts and form new partnerships across the state.
"It is in our mission as a land-grant university to continue removing barriers that can prevent access to higher education. While Virginia Tech has been committed to this in the past, we realized there was an opportunity to do even more through the formation of the College Access Collaborative," said Provost Thanassis Rikakis. "Our motto, Ut Prosim (That I May Serve), and commitment to an inclusive community through InclusiveVT further exemplify the mission of this initiative. The university's dedication to expansion of these outreach efforts is synergistic with our stated goals of attracting and enrolling the 'VT-Shaped Student' – a student who will engage in a purpose-driven curriculum preparing the student to succeed in the global marketplace."
Karen Eley Sanders, associate vice provost for undergraduate academic affairs and director of student success, will lead the collaborative in her new role as associate vice provost for college access. She's coordinated precollege and pipeline initiatives through the Student Success Center, including a highly successful partnership with An Achievable Dream Academy in Newport News, Virginia, which will serve as a model for the Virginia Tech College Access Collaborative.
An Achievable Dream Academy is designed to support students who may otherwise struggle in school due to socioeconomic factors. Currently, 95 percent of their graduates go to college and the rest join the military. Virginia Tech formed a partnership with the school in 2009, providing resources, such as hands-on STEM-H experiential workshops, academic skills development sessions, and professional development for teachers, visits to campus, and scholarships for students.
"Our partnership with Achievable Dream has been a win-win for the school and Virginia Tech. Achievable Dream already had some wonderful things in motion to promote the success of first-generation, low-income, and underrepresented students. We were able to help take them to the next level and form valuable relationships along the way with some of their students making Virginia Tech their next stop," Sanders said. "We look forward to cultivating similar partnerships with new communities."
Provost Thanassis Rikakis (far left, back row) and Karen Eley Sanders (far left, front row) with Virginia Tech students from the Achievable Dream Academy at spring 2016 reception.
The collaborative will begin implementing programs incrementally across Virginia in some of its underserved communities, particularly inner cities and rural areas. Partnerships will involve a multipronged approach to provide support, outreach, and resources to students, parents, teachers, and counselors within identified schools. Services and activities will include seminars and advising on college preparation, teacher and counselor professional development workshops and mentorship, and student and parent visits to Virginia Tech, among others.
"There is no one-size-fits-all solution," Sanders said. "It will be important for the staff of the collaborative and our campus partners to form relationships with our new school partners to see what programs and resources best support their communities. The goal is for students to have a better K-12 educational experience and see college as a realistic next step, regardless of their socioeconomic status. Of course, we'd love for them to consider becoming a Hokie and will provide financial support for some of our partners' students to come here." (Related: Read about Achievable Dream and Virginia Tech graduate, Jaketa Linzy)
"The collaborative will join with other key partners in Enrollment Management, specifically with Undergraduate Admissions, University Scholarships and Financial Aid, and Summer Sessions, to facilitate access and provide a successful transition for students from these partner schools who decide to come to Virginia Tech," said Wanda Hankins Dean, vice provost for enrollment and degree management. "In addition, we will partner with the Student Success Center to ensure student have academic support and engagement throughout their college experience to help them succeed."
Virginia Tech has begun reaching out to school systems to identify future partnerships, including elementary, middle, and high schools.
As Sanders transitions to her new responsibilities overseeing the collaborative, Mary Ann Lewis will serve as interim assistant provost for student success initiatives in addition to her responsibilities as assistant provost for first-year experiences.


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Buena Vista Social Club & Ry Cooder - Buena Vista Social Club - 25th Anniversary Edition (2LP Vinyl)
Buena Vista Social Club' is both the name given to this extraordinary group of musicians and the album, recorded in just seven days in 1996 in Havana's 1950s vintage EGREM studios. It was clear from the atmosphere of the recording sessions that something very special was taking place. However, no
kr 399,00 -kr 50,00 kr 349,00
Buena Vista Social Club' is both the name given to this extraordinary group of musicians and the album, recorded in just seven days in 1996 in Havana's 1950s vintage EGREM studios. It was clear from the atmosphere of the recording sessions that something very special was taking place. However, no one could have predicted that Buena Vista Social Club would become a worldwide phenomenon - awarded a Grammy in 1997 and, at 8 million copies, outselling any other record in the same genre.
The acclaim of the original album has elevated the artists (including Ibrahim Ferrer, Rubén González & Omara Portuondo) to superstar status, inspired an award-winning film by Wim Wenders, and has contributed to popularising Cuba's rich musical heritage. Produced by Ry Cooder for World Circuit, the timeless quality of the music and the sheer verve of the veteran performers have ensured that this will go
down as one of the landmark recordings of the 20th century.
To celebrate the 25th Anniversary of the album's recording, producer Ry Cooder and World Circuit's Nick Gold have gone back to the original tapes and into the archive to produce this Deluxe Remaster package, featuring previously unheard tracks from the original 1996 recording sessions, previously unseen photos, and new liner notes.
LP - SIDE A
01. Chan Chan (2021 Remaster)
02. De Camino a La Vereda (2021 Remaster)
03. El Cuarto de Tula (2021 Remaster)
04. Pueblo Nuevo (2021 Remaster)
LP - SIDE B
01. Dos Gardenias (2021 Remaster)
02. ¿ Y Tú Qué Has Hecho? (2021 Remaster)
03. Veinte Años (2021 Remaster)
04. El Carretero (2021 Remaster)
05. Candela (2021 Remaster)
LP - SIDE C
01. Amor de Loca Juventud (2021 Remaster)
02. Orgullecida (2021 Remaster)
03. Murmullo (2021 Remaster)
04. Buena Vista Social Club (2021 Remaster)
05. La Bayamesa (2021 Remaster)
LP - SIDE D
01. Vicenta (Previously Unreleased Tracks And Alternate Takes From The Original 1996 Studio Session Tapes)
02. La Pluma (Previously Unreleased Tracks And Alternate Takes From The Original 1996 Studio Session Tapes)
03. A Tus Pies (Previously Unreleased Tracks And Alternate Takes From The Original 1996 Studio Session Tapes)
04. La Cleptómana (Previously Unreleased Tracks And Alternate Takes From The Original 1996 Studio Session Tapes)
05. Orgullecida (Alternate Trio Take) (Previously Unreleased Tracks And Alternate Takes From The Original 1996 Studio Session Tapes)
Reutgitt 2021
Sjanger World Music
Se alt av Buena Vista Social Club


Media on Exploiting the 80% of Systems You Aren't Using to Increase Your Business Profitabilty | Data Guidance Group, Inc.
This presentation includes information on free Email marketing tools, tools to close the loop with business networking by entering cards directly into your contact list, and information on using your business software such as ERP, CRM, and even QuickBooks to manage your business for increased profitability.
Inventory is a large asset and a large investment for many small and mid-sized wholesale and manufacturing businesses. This series presents leading edge techniques for managing inventory and controlling products in the warehouse.


I hadn't planned to take a holiday break, but looking at my Blogger dashboard, I see that I have. I kept up better with my other blogs, almost as though observing semester break but catching up with non-academic chores.
There's a lot to catch up with too: more budget crisis stories ~ spreading to more states; year-end updates; NFM plans for next year; ad-con and jobs panels at the MLA ~ and more.
In the meantime, I've been more diligent about tweeting updates: @NewFacMajority. Hey, even the MLA and its parodists are getting on board with social media.
The upside of this upside-down 7-foot pre-lit Christmas tree is that you'll have more room for presents underneath! This strange tree from Hammacher Schlemmer was originally designed for specialty stores to display ornaments while using as little floor space as possible.
Upside down as appropriate to our cause because isn't it totally upside and wrong side out for the teaching majority to be in the state it's in?
Don't want to bother with shedding pine needles or the hassle of putting together an artificial Christmas tree? You can make one out of books and magazines like this Shelf Tree by Frank Visser of IJM [Flash] instead. A perfect choice for the adjunct rich in books and education but little else.
Ypsilanti, MI -- Part-time lecturers at Eastern Michigan University have filed for a representation election with the Michigan Employment Relations Commission (MERC). A majority of these lecturers have joined the Eastern Michigan University Federation of Teachers (EMUFT), which already represents full-time lecturers at EMU. Part-time lecturers, who call themselves the Adjunct Lecturers' Organizing Committee (ALOC), filed an accretion petition and membership cards with MERC on Wednesday, December 9, 2009.
"For me, one of the central goals for bringing part-time lecturers into the EMUFT is to secure the fundamental right of all teachers to have a determining voice in the conditions under which we work," says Mark Wenzel, a part-time lecturer in the History and Philosophy department. "The adjuncts, who comprise 36% of EMU teachers and teach 1/3 of its contact hours, do not have job security," he adds. "If we think highly of our students, we'll cherish their teachers."
Full-time lecturers, which number about 98 and are represented by EMUFT, are eager to have their part-time colleagues as fellow union members. ALOC estimates EMU employs approximately 450 part-timers every semester.
Were relieved that the end of term was at hand.
While heads CRB-checked all passing St Nicks.
A "disproportionate" system for barring and vetting.
A u-turn, of sorts, was announced by Ed Balls.
Checks on once-a-month visitors will now be retracted. Balls claimed it was schools that had "overreacted".
So how many parents will face vetting vexations?
Up to nine million, from the Mail's calculations.
The academies' scores were dismissed as big fables For they used BTECs and DiDAs to climb the league tables.
But didn't think the courses would help kids get jobs.
An MPs' committee backed the home educators (Which may stop their moans that "Everyone hates us").
Their numbers are "growing" - but can that be true?
As they refuse to be registered we haven't a clue.
New nativity plays made traditionalists weep, As Jesus "has been replaced by an angel or sheep".
That, in The Grumpy Sheep, Jesus still stars in the show.
A Coventry primary showed even more mettle Producing a hooliganised version of Hansel and Gretel.
"I'll break your neck if you tell her that I pinched her pension".
But one parent moaned that it "killed the spirit of Christmas".
"Which spirit was that?" tired teachers might think.
Merry Christmas to all - you may need a stiff drink.
Examining "Reassigned Time: Tenure and the Adjunctification of Higher Ed"
Taking a turn around the blogosphere ~ revisiting that ole tenure thang, which must, I suppose, start with revisiting the much reviewed, forwarded, blogged and tweeted AAUP Report on Tenure Conversion. Skipping over those, although a link list would be informative (what is this academic compulsion to bibliographicate?), this is the one I stumbled over today via Gabriell Montell's post,"Saying No to a World Without Tenure," in the Chronicle's On Hiring blog.... following a trail that starting out from a humble Google alert set for "new faculty majority."
Organizing, yes, but for what? Richard Moser presents an intriguing summary of the current state of work and unionism in the U.S.. He argues that unions have tended towards an organizational culture which is resistant to change and unaccustomed to democracy. He traces the evolution of this process, mapping it against changes in work and society. Unions must develop a culture of organizing if they are to renew their influence and reconnect with their members. He then presents some recommendations on organizing, exploring the contradictory but creative tensions that animate union activity. These are the challenges faced by those who want to put the movement back into labor.
It's all about organizing and that's good news. Good news because it's in our hands. Good news because if we attend to the core mission of organizing we can become the authors of a new labor history—and it is a far, far better thing to be the author of your own world than a critic of the existing one. There are good reasons to believe that we can develop the capacity for renewal if we tap sources now nearly forgotten or largely unknown: the traditions of organizing and the transformative potential organizing still holds for the labor movement. Opportunity knocks, but, even the best of opportunities must be taken.
Organizing should be our top priority. Why? It is our most achievable major goal and fundamental to labor's entire mission.
Bob Samuel's blog Changing Universities is one of many but still a standout among the websites, mainstream and local news pieces, columns, op-eds and members only listserv ruminations covering the University of California budget crisis and protests. I have been saying, blogging and tweeting so ~ as anyone checking in here regularly can't help having noticed.
Today, Bob's column about the UC crisis appears in Inside Higher Ed, which is covering the story better than CHE but, so far, still behind the blogosphere / twitterverse.
"There are two main narratives battling to define the current crisis at the University of California . While the California situation is an extreme example of what is happening to public higher education these days nationally, these dueling narratives can be found in many other states as well."
Searching Google News for "University of California budget crisis" yields a flood of stories, 391 and links to hundreds more, from Time Magazine and New York Times to academic and activist blogs and Workers World, from local to international and all the virtual newspaces in between.
Briefly, HR 3221 amends the Higher Education Act of 1965 that authorizes most highered federal spending. Skimming brief overview ~ student loans, Pell Grants, Perkins Loans, college affordability issues, community colleges, retention/ completion stats, online education.
Contingent faculty issues? As ever conspicuous by their absence ~ the point of mounting a campaign. Ever the cynic, I somehow doubt solons will be keen to consider college affordability and ad-con issues on the same plate. Debra Leigh Scott has been pushing this too. It will take more than a few organizations and a handful of individuals to do this ~ coordinated mobilization of a mass letter writing and social media campaign.
Fact Sheet summary ~ http://edlabor.house.gov/documents/111/pdf/publications/SAFRA-FactSheet.pdf. The full bill should be online, no telling how long … Google on.
In case you didn't know, we tweet too @NewFacMajority. Follow and retweet please ~ spread the word... I'll get around to adding a twitter widget, but I want to the notion introduce to Steve gently and in stages.
Below: our 1st Tweet Cloud (there will be more). Comments welcome ~ there or here.
Hundreds of people stopped traffic at one of the main intersections in L.A. and then marched up through the campus. Over a thousand people participated in a boisterous rally outside the regents meeting (the rally got international coverage). Even though the police tasered and hit several students and workers, we kept coming back for more.
A very surreal moment happened during the public comments period.
I just finished watching a YouTube video of Regents Bonnie Reiss and Eddie Island make a quick get-a-way to their vehicle at UCLA - just after they voted to increase student fees by an unprecedented 32%. They were surrounded and followed by students chanting, "Shame on you!" Reiss represents the banking and finance industry; and Island, a retiree of McDonnell-Douglas, represents the defense industry. So, given that these two industries, with their ballooned subsidies and profits, have done nothing more than take this country down over the last several years, I'm thinking a lot about legitimacy. Not legitimacy related to governance. Rather, legitimacy in terms of representation and intent.
But now we have a new relationship that constitutes a mix of patronage and competition. It's been built with the finance industry, commercial real estate – Big Business generally – all of which the Regents represent.
UC protest news links ~ not a good day/ season for Crown Jewels. Most are from a Portside post, but I've added Marc Bosquet's latest at How the University Works and a few from my feed reader.
LOS ANGELES - Officers armed with beanbag guns stood by as hundreds of protesters chanted, marched and even took over a building Thursday on the UCLA campus, where University of California regents were scheduled to vote on a 32 percent student fee increase.
The movement to minimize the faculty role in higher education needs to be resisted, in part by explaining to the public why the role is crucial, writes Peter Katopes.
Inside Higher Ed has a new piece up this morning on the Southwestern College fiasco, bringing the story pretty much up to date. Go check it out.
Also this morning, a source on campus sent me a copy of the latest memo from the administration.
Saturday Nov 7th, 9:00AM to noon, The Cullen Room at Busboys and Poets @ 5th & K, 1025 5th Street, NW, Washington, DC 20001.
RSVP to Anne McLeer a 301-740-7122 or mcleera@seiu500.org.
Surely you've caught the buzz over U Akron's DNA and NFM VP Matt Williams' dramatic reaction that brought the administrative regulation out of the shadows and put it square in the public eye.
The story moved out of academic and college presses and blogs in short order, jumping into non-academic social and mainstream media, even crossing the Atlantic.
Surely that's worth its own story but not just yet. First, let's add our names to the online petition that Matt created.
The petition calls on The University of Akron to rescind the offending provision of University Rule 3359-11-22 that DNA sampling of applicants for employment.
Please repost on any other blogs, lists, or websites. We want to reach 10K signatures by the end of the week.


A true story of Liberté, a new devised family show about an inspiring historical heroine: Noor-un-Nisa Inayat Khan. In WW2, she was a secret agent and a super heroin undercover.
The show has been developed by Nadia Nadif, the RAF Museum and Exchange Theatre.
This is the world premiere of a brand new devised play, just a couple of weeks after an artist development programme residency at ArtsDepot supported by Arts Council England and Unity Theatre Trust and another research period at Out of Joint.
Exchange Theatre was founded in the ideal of a popular theatre and culture for all, their work is based on diversity at its core and made for diverse people, crossing class, cultural and geographical borders.
They now translate and present classics simultaneously in French and English with bilingual artists or create new works centered around the idea of fluid identities and multilingualism.
They produce an annual Festival where they bring the local and french communities together around cultural events.
Exchange Theatre presents Noor, a true story of Liberté, a new devised family show about an inspiring historical heroine: Noor-un-Nisa Inayat Khan.
In WW2, she was a secret agent and a super heroin undercover: the first female radio operator to be sent from London to serve the French Resistance in Paris.
The story, like a cluedo for the whole family, explores the many layers of her heroism and brings to the public eye the life of an extraordinary French-British-Indian Muslim woman, who found the courage to die fighting against narrow-minded fascism, with the strength and wisdom rooted in her own fascinating multiple identity.
Investigating through many characters and perspectives how her story was told by India, France or the Uk, the company brings together a diverse cast and several languages in the world premiere of a brand new multimedia play about history and identity.
Come and find out how a mega multi-cultural spy helped shape the world.


Make the most of your spring cleaning by using our spring cleaning checklist. Have you started? It is such a big job that you might feel overwhelmed. The to do list is big and it's hard to figure out where to start. Get your cleaning done, every room in your house – from bathrooms, bedrooms, kitchen to the entryway.
Download Clean4Real Spring Cleaning Checklist today. We made it printable and want to share it with you.
TIP: While the checklist is easy to follow, you can reward yourself with free time and contact the experts at Clean4Real today for your spring cleaning needs.
We've organized it room by room and have checkboxes, so you can keep track of your completed each task. Keeping track of your achievements is very rewarding, so make the best out of it.
Don't forget about your garage. During the winter months, it might have become your "temporary" storage for a lot of items you no longer use. Follow our 5 Steps to Organize Your Garage.


text:
/////////////////////////////////////////////////
// Basic-Type-Definitions
typedef unsigned char uchar;
typedef unsigned int uint;
typedef unsigned long ulong;
typedef unsigned short ushort;

typedef float sdouble;
typedef long double ldouble;
typedef FILE* TFileId;

typedef char int8;
typedef short int16;
typedef int int32;
#ifdef GLib_WIN32
typedef __int64 int64;
#elif defined(GLib_GLIBC)
typedef int64_t int64;
#else
typedef long long int64;
#endif

typedef unsigned char uint8;
typedef unsigned short uint16;
typedef unsigned int uint32;
#ifdef GLib_WIN32
typedef unsigned __int64 uint64;
#elif defined(GLib_GLIBC)
typedef u_int64_t uint64;
#else
typedef unsigned long long uint64;
#endif

#if (!defined(__ssize_t_defined) && !defined(GLib_MACOSX))
typedef ptrdiff_t ssize_t;
#endif

#if defined(GLib_UNIX)
#define _isnan(x) isnan(x)
#if defined (GLib_MACOSX)
  #define _finite(x) isfinite(x)
#else
  #define _finite(x) finite(x)
#endif
#endif

#if defined(GLib_WIN32)
#define _vsnprintf vsnprintf
#endif

typedef size_t TSize;
#define TSizeMx SIZE_MAX

/////////////////////////////////////////////////
// Localization
typedef enum {lUndef, lUs, lSi} TLoc;

/////////////////////////////////////////////////
// Messages
void WrNotify(const char* CaptionCStr, const char* NotifyCStr);
void SaveToErrLog(const char* MsgCStr);

inline void InfoNotify(const char* NotifyCStr){
  WrNotify("Information", NotifyCStr);}
inline void WarnNotify(const char* NotifyCStr){
  WrNotify("Warning", NotifyCStr);}
inline void ErrNotify(const char* NotifyCStr){
  WrNotify("Error", NotifyCStr);}
inline void StatNotify(const char* NotifyCStr){
  WrNotify("Status", NotifyCStr);}

/////////////////////////////////////////////////
// Compiler-Options
#if defined (GLib_WIN)
  #define snprintf _snprintf
  #define vsnprintf  _vsnprintf
  // disable warning 'debug symbol greater than 255 chars'
  #pragma warning(disable: 4786)
  // disable warning 'return type for 'identifier::operator->'
  // is not a UDT or reference to a UDT.
  //#pragma warning(disable: 4284)
  // 'declaration' : function differs from 'declaration'
  // only by calling convention
  //#pragma warning(disable: 4666)
  #pragma warning(disable: 4996)
#endif

#if defined (GLib_GCC)
  #define _CONSOLE
#endif

// use console output if console already exists, otherwise
// define GLib_COUT to use console (class COut)
#if defined(_CONSOLE)||defined(__CONSOLE__)
  #define GLib_Console
#endif

// create console if want to output but there is no console allocated
#if defined(GLib_Console) && (! (defined(__CONSOLE__)||defined(_CONSOLE)))
  #define GLib_CreateConsole
#endif

/////////////////////////////////////////////////
// Class-Definition
#define ClassT(TNm) \
class TNm{

#define ClassTV(TNm, TNmV) \
class TNm; \
typedef TVec<TNm> TNmV; \
class TNm{

#define ClassTVQ(TNm, TNmV, TNmQ) \
class TNm; \
typedef TVec<TNm> TNmV; \
typedef TQQueue<TNm> TNmQ; \
class TNm{

#define ClassTP(TNm, PNm) \
class TNm; \
typedef TPt<TNm> PNm; \
class TNm{ \
private: \
  TCRef CRef; \
public: \
  friend class TPt<TNm>;

#define ClassHdTP(TNm, PNm) \
class TNm; \
typedef TPt<TNm> PNm;

#define ClassTPE(TNm, PNm, ENm) \
class TNm; \
typedef TPt<TNm> PNm; \
class TNm: public ENm{ \
private: \
  TCRef CRef; \
public: \
  friend class TPt<TNm>;

#define ClassTPEE(TNm, PNm, ENm1, ENm2) \
class TNm; \
typedef TPt<TNm> PNm; \
class TNm: public ENm1, public ENm2{ \
private: \
  TCRef CRef; \
public: \
  friend class TPt<TNm>;

#define ClassTE(TNm, ENm) \
class TNm; \
class TNm: public ENm{ \
public: \

#define ClassTPV(TNm, PNm, TNmV) \
class TNm; \
typedef TPt<TNm> PNm; \
typedef TVec<PNm> TNmV; \
class TNm{ \
private: \
  TCRef CRef; \
public: \
  friend class TPt<TNm>;

#define ClassHdTPV(TNm, PNm, TNmV) \
class TNm; \
typedef TPt<TNm> PNm; \
typedef TVec<PNm> TNmV;

#define ClassTPVL(TNm, PNm, TNmV, TNmL, TNmLN) \
class TNm; \
typedef TPt<TNm> PNm; \
typedef TVec<PNm> TNmV; \
typedef TLst<PNm> TNmL; \
typedef TLstNd<PNm>* TNmLN; \
class TNm{ \
private: \
  TCRef CRef; \
public: \
  friend class TPt<TNm>;

/////////////////////////////////////////////////
// Forward-Definitions
class TSIn;
class TSOut;
class TStr;
class TXmlObjSer;
class TXmlObjSerTagNm;
template <class TRec> class TPt;
ClassHdTP(TXmlTok, PXmlTok)
ClassHdTP(TExcept, PExcept)
ClassHdTP(TXmlDoc, PXmlDoc)

/////////////////////////////////////////////////
// DefaultConstructor/CopyConstructor/AssignmentOperator-UnDefinition
#define UndefDefaultCopyAssign(TNm) \
private: \
  TNm(){} \
  TNm(const TNm&); \
  TNm& operator=(const TNm&)

#define UndefCopyAssign(TNm) \
private: \
  TNm(const TNm&); \
  TNm& operator=(const TNm&)

#define UndefCopy(TNm) \
private: \
  TNm(const TNm&)

#define UndefAssign(TNm) \
private: \
  TNm& operator=(const TNm&)

/////////////////////////////////////////////////
// Assertions
class TOnExeStop{
private:
  typedef bool (*TOnExeStopF)(char* MsgCStr);
  static TOnExeStopF OnExeStopF;
public:
  static bool IsOnExeStopF(){return OnExeStopF!=NULL;}
  static void PutOnExeStopF(TOnExeStopF _OnExeStopF){OnExeStopF=_OnExeStopF;}
  static TOnExeStopF GetOnExeStopF(){return OnExeStopF;}
};

void ExeStop(
 const char* MsgStr, const char* ReasonStr,
 const char* CondStr, const char* FNm, const int& LnN);

#define Fail ExeStop(NULL, NULL, "Fail", __FILE__, __LINE__)

#define FailR(Reason) ExeStop((Reason), NULL, "Fail", __FILE__, __LINE__)
#define FailRA(Reason, ArgStr) \
  ExeStop((TStr(Reason)+" ("+ArgStr+")").CStr(), NULL, "Fail", __FILE__, __LINE__)

#define EFail TExcept::ThrowFull("", TStr("[")+ TStr(__FILE__) + " line " + TInt::GetStr(__LINE__) + "]")

#define EFailR(Reason) TExcept::ThrowFull(Reason, TStr("[")+TStr(__FILE__)+" line "+TInt::GetStr(__LINE__)+"]")

#ifdef NDEBUG
#define Assert(Cond)
#else
#define Assert(Cond) \
  ((Cond) ? static_cast<void>(0) : ExeStop(NULL, NULL, #Cond, __FILE__, __LINE__))
#endif

#ifdef NDEBUG
#define AssertR(Cond, Reason)
#else
#define AssertR(Cond, Reason) ((Cond) ? static_cast<void>(0) : \
  ExeStop(NULL, Reason.CStr(), #Cond, __FILE__, __LINE__))
#endif

#define IAssert(Cond) \
  ((Cond) ? static_cast<void>(0) : ExeStop(NULL, NULL, #Cond, __FILE__, __LINE__))

#define IAssertR(Cond, Reason) \
  ((Cond) ? static_cast<void>(0) : ExeStop(NULL, TStr(Reason).CStr(), #Cond, __FILE__, __LINE__))

#define WAssert(Cond, MsgCStr) \
  ((Cond) ? static_cast<void>(0) : WarnNotify(MsgCStr))

#define SAssert(Cond) \
  ((Cond) ? static_cast<void>(0) : ExeStop(TSysStr::GetLastMsgCStr(), NULL, #Cond, __FILE__, __LINE__))

#define FAssert(Cond, MsgCStr) \
  ((Cond) ? static_cast<void>(0) : ExeStop(TStr(MsgCStr).CStr(), NULL, NULL, __FILE__, __LINE__))

#define FSAssert(Cond) \
  ((Cond) ? static_cast<void>(0) : ExeStop(TSysStr::GetLastMsgCStr(), NULL, NULL, __FILE__, __LINE__))

#define EAssert(Cond) \
  ((Cond) ? static_cast<void>(0) : TExcept::ThrowFull(#Cond, TStr(__FILE__) + " line " + TInt::GetStr(__LINE__) +": "+ TStr(#Cond)))

#define EAssertR(Cond, MsgStr) \
  ((Cond) ? static_cast<void>(0) : TExcept::ThrowFull(MsgStr, TStr(__FILE__)+" line "+TInt::GetStr(__LINE__)+": "+TStr(#Cond)))

#define EAssertRA(Cond, MsgStr, ArgStr) \
  ((Cond) ? static_cast<void>(0) : TExcept::Throw(MsgStr, ArgStr))

#define EAssertRAA(Cond, MsgStr, ArgStr1, ArgStr2) \
  ((Cond) ? static_cast<void>(0) : TExcept::Throw(MsgStr, ArgStr1, ArgStr2))

#define ESAssert(Cond) \
  ((Cond) ? static_cast<void>(0) : TExcept::Throw(TSysStr::GetLastMsgCStr(), \
  TStr(__FILE__) + " line " + TInt::GetStr(__LINE__) +": "+ TStr(#Cond)))

// compile time assert
// #define STATIC_ASSERT(x) { const char temp[ (((x) == 0) ? 0 : 1) ] = {'\0'}; }
template <bool BoolVal> struct TStaticAssert;
template <> struct TStaticAssert<true> { enum { value = 1 }; };
template<int IntVal> struct TStaticAssertTest{};

#define CAssert(Cond) \
  { typedef TStaticAssertTest<sizeof(TStaticAssert<(Cond)==0?false:true>)> TestStaticAssert; }

/////////////////////////////////////////////////
// Xml-Object-Serialization
template <class TRec>
bool IsXLoadFromFileOk(const TStr& FNm, const TStr& Nm, TRec& Rec, TStr& MsgStr);
template <class TRec>
void XLoadFromFile(const TStr& FNm, const TStr& Nm, TRec& Rec);

#define XLoadHd(Nm) \
  {TStr TypeNm=TXmlObjSer::GetTagNm(TStr(typeid(*this).name())); \
  TXmlObjSer::AssertXmlHd(XmlTok, Nm, TypeNm);}
#define XLoad(Nm) \
  Nm.LoadXml(XmlTok->GetTagTok(#Nm), #Nm);

#define XSaveHd(Nm) \
  TStr _TypeNm=TXmlObjSer::GetTagNm(TStr(typeid(*this).name())); \
  TXmlObjSerTagNm XmlObjSerTagNm(SOut, false, Nm, _TypeNm);
#define XSaveHdArg(Nm, ArgNm, ArgVal) \
  TStr _TypeNm=TXmlObjSer::GetTagNm(TStr(typeid(*this).name())); \
  TXmlObjSerTagNm XmlObjSerTagNm(SOut, false, Nm, _TypeNm, ArgNm, ArgVal);
#define XSaveBETag(Nm) \
  TStr _TypeNm=TXmlObjSer::GetTagNm(TStr(typeid(*this).name())); \
  TXmlObjSerTagNm XmlObjSerTagNm(SOut, true, Nm, _TypeNm);
#define XSaveBETagArg(Nm, ArgNm, ArgVal) \
  TStr _TypeNm=TXmlObjSer::GetTagNm(TStr(typeid(*this).name())); \
  TXmlObjSerTagNm XmlObjSerTagNm(SOut, true, Nm, _TypeNm, ArgNm, ArgVal);
#define XSaveBETagArg4(Nm, ArgNm1, ArgVal1, ArgNm2, ArgVal2, ArgNm3, ArgVal3, ArgNm4, ArgVal4) \
  TStr _TypeNm=TXmlObjSer::GetTagNm(TStr(typeid(*this).name())); \
  TXmlObjSerTagNm XmlObjSerTagNm(SOut, true, Nm, _TypeNm, ArgNm1, ArgVal1, ArgNm2, ArgVal2, ArgNm3, ArgVal3, ArgNm4, ArgVal4);
#define XSave(Nm) \
  Nm.SaveXml(SOut, #Nm)
#define XSaveToFile(Nm, FNm) \
  {TFOut SOut(FNm); Nm.SaveXml(SOut, #Nm);}

/////////////////////////////////////////////////
// Basic-Operators
typedef enum {loUndef, loNot, loAnd, loOr} TLogOp;
typedef enum {roUndef, roLs, roLEq, roEq, roNEq, roGEq, roGt} TRelOp;

/////////////////////////////////////////////////
// Comparation-Macros
#ifndef min
 #define min(a,b) ((a)<(b)?(a):(b))
#endif

#ifndef max
 #define max(a,b) ((a)>(b)?(a):(b))
#endif

/////////////////////////////////////////////////
// Comparator-Definitions
template<class T>
class TEq{
public:
  bool operator()(const T& x, const T& y) const {return x==y;}
};

template<class T>
class TNEq{
public:
  bool operator()(const T& x, const T& y) const {return x!=y;}
};

template<class T>
class TLss{
public:
  bool operator()(const T& x, const T& y) const {return x<y;}
  int Cmp(const T& d1, const T& d2) const {
    if (d1<d2){return -1;}
    else if (d2<d1){return 1;}
    else {return 0;}
  }
};

template<class T>
class TLEq{
public:
  bool operator()(const T& x, const T& y) const {return x<=y;}
};

template<class T>
class TGtr{
public:
  bool operator() (const T& x, const T& y) const { return x>y; }
  int Cmp(const T& d1, const T& d2) const { //** vprasaj Janeza za uporabo
    if (d1<d2){return 1;}
    else if (d2<d1){return -1;}
    else {return 0;}
  }
};

template<class T>
class TGEq{
public:
  bool operator()(const T& x, const T& y) const {return x>=y;}
};

template<class T>
class TCmp{
public:
  int operator()(const T& x, const T& y) const {
    if (x < y){return -1;}
    else if (x > y){return 1;}
    else {return 0;}
  }
};

/////////////////////////////////////////////////
// Operator-Definitions
template <class TRec>
bool operator!=(const TRec& Rec1, const TRec& Rec2){return !(Rec1==Rec2);}

template <class TRec>
bool operator>(const TRec& Rec1, const TRec& Rec2){return Rec2<Rec1;}

template <class TRec>
bool operator<=(const TRec& Rec1, const TRec& Rec2){return !(Rec2<Rec1);}

template <class TRec>
bool operator>=(const TRec& Rec1, const TRec& Rec2){return !(Rec1<Rec2);}

template <class TRec>
bool Cmp(const int& RelOp, const TRec& Rec1, const TRec& Rec2){
  switch (RelOp){
    case roLs: return Rec1<Rec2;
    case roLEq: return Rec1<=Rec2;
    case roEq: return Rec1==Rec2;
    case roNEq: return Rec1!=Rec2;
    case roGEq: return Rec1>=Rec2;
    case roGt: return Rec1>Rec2;
    default: Fail; return false;
  }
}

/////////////////////////////////////////////////
// Reference-Count
class TCRef{
private:
  int Refs;
private:
  TCRef& operator=(const TCRef&);
  TCRef(const TCRef&);
public:
  TCRef(): Refs(0){}
  ~TCRef(){Assert(Refs==0);}

  void MkRef(){Refs++;}
  void UnRef(){Assert(Refs>0); Refs--;}
  bool NoRef() const {return Refs==0;}
  int GetRefs() const {return Refs;}
};

/////////////////////////////////////////////////
// Smart-Pointer-With-Reference-Count
template <class TRec>
class TPt{
public:
  typedef TRec TObj;
private:
  TRec* Addr;
  void MkRef() const {
    if (Addr!=NULL){
      Addr->CRef.MkRef();
    }
  }
  void UnRef() const {
    if (Addr!=NULL){
      Addr->CRef.UnRef();
      if (Addr->CRef.NoRef()){delete Addr;}
    }
  }
public:
  TPt(): Addr(NULL){}
  TPt(const TPt& Pt): Addr(Pt.Addr){MkRef();}
  TPt(TRec* _Addr): Addr(_Addr){MkRef();}
  static TPt New(){return TObj::New();}
  ~TPt(){UnRef();}
  explicit TPt(TSIn& SIn);
  explicit TPt(TSIn& SIn, void* ThisPt);
  void Save(TSOut& SOut) const;
  void LoadXml(const TPt<TXmlTok>& XmlTok, const TStr& Nm);
  void SaveXml(TSOut& SOut, const TStr& Nm) const;

  TPt& operator=(const TPt& Pt){
    if (this!=&Pt){Pt.MkRef(); UnRef(); Addr=Pt.Addr;} return *this;}
  bool operator==(const TPt& Pt) const {return *Addr==*Pt.Addr;}
  bool operator!=(const TPt& Pt) const {return *Addr!=*Pt.Addr;}
  bool operator<(const TPt& Pt) const {return *Addr<*Pt.Addr;}

  TRec* operator->() const {Assert(Addr!=NULL); return Addr;}
  TRec& operator*() const {Assert(Addr!=NULL); return *Addr;}
  TRec& operator[](const int& RecN) const {
    Assert(Addr!=NULL); return Addr[RecN];}
  TRec* operator()() const {return Addr;}
  //const TRec* operator()() const {return Addr;}
  //TRec* operator()() {return Addr;}

  bool Empty() const {return Addr==NULL;}
  void Clr(){UnRef(); Addr=NULL;}
  int GetRefs() const {
    if (Addr==NULL){return -1;} else {return Addr->CRef.GetRefs();}}

  int GetPrimHashCd() const {return Addr->GetPrimHashCd();}
  int GetSecHashCd() const {return Addr->GetSecHashCd();}

  TPt<TRec> Clone(){return MkClone(*this);}
};

/////////////////////////////////////////////////
// Simple-String
class TSStr{
private:
  char* Bf;
public:
  TSStr(): Bf(NULL){
    Bf=new char[0+1]; Bf[0]=0;}
  TSStr(const TSStr& SStr): Bf(NULL){
    Bf=new char[strlen(SStr.Bf)+1]; strcpy(Bf, SStr.Bf);}
  TSStr(const char* _Bf): Bf(NULL){
    Bf=new char[strlen(_Bf)+1]; strcpy(Bf, _Bf);}
  ~TSStr(){delete[] Bf;}

  TSStr& operator=(const TSStr& SStr){
    if (this!=&SStr){
      delete[] Bf; Bf=new char[strlen(SStr.Bf)+1]; strcpy(Bf, SStr.Bf);}
    return *this;}

  char* CStr() {return Bf;}
  const char* CStr() const {return Bf;}
  bool Empty() const {return Bf[0]==0;}
  int Len() const {return int(strlen(Bf));}
};

/////////////////////////////////////////////////
// Conversion-Pointer64-To-Integers32
class TConv_Pt64Ints32{
private:
  union{
    void* Pt;
    uint64 UInt64;
    struct {uint Ls; uint Ms;} UInt32;
  } Val;
  UndefCopyAssign(TConv_Pt64Ints32);
public:
  TConv_Pt64Ints32(){
    Val.Pt=0; Val.UInt32.Ms=0; Val.UInt32.Ls=0;}
  TConv_Pt64Ints32(void* Pt){
    Val.UInt32.Ms=0; Val.UInt32.Ls=0; Val.Pt=Pt;}
  TConv_Pt64Ints32(const uint& Ms, const uint& Ls){
    Val.Pt=0; Val.UInt32.Ms=Ms; Val.UInt32.Ls=Ls;}

  void PutPt(void* Pt){Val.Pt=Pt;}
  void* GetPt() const {return Val.Pt;}
  void PutUInt64(const uint64& _UInt64){Val.UInt64=_UInt64;}
  uint64 GetUInt64() const {return Val.UInt64;}
  void PutMsUInt32(const uint& Ms){Val.UInt32.Ms=Ms;}
  uint GetMsUInt32() const {return Val.UInt32.Ms;}
  void PutLsUInt32(const uint& Ls){Val.UInt32.Ls=Ls;}
  uint GetLsUInt32() const {return Val.UInt32.Ls;}
};

/////////////////////////////////////////////////
// Swap
template <class TRec>
void Swap(TRec& Rec1, TRec& Rec2){
  TRec Rec=Rec1; Rec1=Rec2; Rec2=Rec;
}

redpajama_set_name: RedPajamaGithub


In my opinion, wine fairs are not the best place to taste a wine if you want to understand it fully. Good wine needs time, and I think the best test is to drink the whole bottle with your friends during the meal. Nevertheless, the fairs are useful to get a first impression of the style of a winemaker and to hear his gossips on the wines of the competitor. This is always a lot of fun and can help you to observe the trends.
For example, on this year's edition of Vinistra I heard a lot of opinions on how "real" Istrian Malvasia should be made. Some winemakers believe they have found the right way to make it, and that others are producing it badly. After tasting more than a dozen of different Malvasias, I can say I do not agree. More than 80% of the samples gave me more or less the same amount of emotions (quality), just the way they were telling me their story was different (style). Yes, their styles were different. Here are the main three styles in making Istrian Malvasia that I managed to discover.
The most spread one is the mainstream style, whose main representatives are Arman, Coronica, Benvenuti, De Grassi, Gržinić, Kozlović, Matošević, Rossi, Trapan, Zigante and many others. It appeared 15 years ago with the advent of small private wineries in Istria that started to produce a wine in line with the world trends of white wine vinification: no contact with the skin, fermentation in inox barrels under controlled temperature, introduction of non-indigenous yeasts. They produce a crisp and fresh white wine, greeny yellow to straw yellow color, aroma is mostly varietal and herbaceous, less fruity, medium body, to be consumed within year of two, excellent with seafood or as aperitif. In the last few years this ready-to-drink Malvasia has become the most popular white wine in Croatia.
Few years ago many winemakers introduced sur lie technique, where wine after the fermentation is left in contact with the yeasts for many months (6 – 12). This in turn produces Malvasia of more complex aroma and taste, that needs to be aged at least 10 months and have enhanced aging capabilities compared to the ready-to-drink version.
Within the mainstream style, there are wineries (Panjoka, Cuj, Tikel and many others) that produce a rustical version of Malvasia whose aroma is more varietal and fruity, of light to medium body, and that are nice easy-to-drink wines. Every sip invites another one.
To my knowledge, just two wineries are following the traditional methods to produce Malvasia – Clai and Roxanich winery. They use prolonged contact with the skin (maceration of at least 20 days), use only indigenous yeast, the fermentation is happening in large oak barrels, and temperature might be or not controlled. These wines need at least two years of maturation in large oak barrels, like in the old days, otherwise they would be to acidic. The usual white wine drinker will not immediately understand them and I find them also hard to describe them. Their color is full golden yellow, aroma is not at all fruity or herbaceous like in mainstream Malvasias. Instead, you feel earth, dried flowers and fruits and excellent minerals, in fact, aroma is more similar to some reds. In the mouth you immediately feel acidity and some tannins, but they should remain well balanced, smooth and silky on the tongue. Here are tasting notes of a Malvasia Antica from Roxanich, made with maceration with the skin of very long 60 days, and aged in large oak barrels.
Full gold yellow in color, it has aroma of dried figs, notes of dried mushrooms and dried wood crust, earthy and stony, dirty. Excellent spiky acidity and tannins are well balanced with smooth and silky flavors of paraffin, crushed stones and slightly spicy in the finish. Full-bodied. Excellent wine, but not for everybody. Excellent with more structured fish dishes, poultry, rabbit, pasta with thick and creamy sauces. Serve at 15º C. Price: 120 kn (18 euro) without tax.
Finally, I dare to declare that a third style is being born – the New World Malvasia that is being produced only by young winemaker Roberto Tercolo from Nova Vas near Poreč. Although he uses vinification techniques of the mainstream style, his Malvasia is different. The from 2008 has aromas that are easily discoverable and completely unusual for this variety, a funky wine and so funny to drink it. Perfect for people that are just starting to appreciate the wine. I should congratulate to Roberto for having courage and knowledge to produce a Malvasia totally different from all the others. And thanks for a nice discovery.
Straw yellow in color. Strong aroma of white flowers, banana, papaya with slight notes of solvent smell. In the mouth has nice acids, well balanced, smooth on tongue, with fruity flavors of peach and green apple. The finish is pleasant with mouthwatering minerals, with hints of tropical fruits. Medium body. Excellent with asiatic food, and in general with dishes with a lot of aromatic herbs. Serve at 10-12 ºC.
I was supposed to have visited Pula this summer, but other things came in the way. For the moment I´m planning to go next summer/autumn. I´m a fan of Istrian Malvazija.
For the moment one of my friends is staying in Pula this week.
I want him to bring me a really good bottle of Malvazija of the traditional style. I want a "orange" wine like 2006 Roxanich "Malvazija Antica" or similar.
Can you recommend some wines?
Can you give some tips about where to buy the wine in Pula?


text:
Is My Dress-Up Darling on Netflix, Funimation, or Crunchyroll?
Mirza Aaqib Beg
Based on Shinichi Fukuda's manga series of the same name, 'My Dress-Up Darling' is a slice-of-life romantic anime. The series follows a high school loner named Wakana Gojou, who is dedicated to becoming a traditional doll-artisan after getting inspired by his grandfather at a young age. Unfortunately, a traumatic incident in his past has made him uncongenial, but everything changes when a fellow classmate becomes his friend. In case the premise sounds interesting, and you wish to learn more about the show, then we have got you covered.
What is My Dress-Up Darling About?
Wakana Gojou was just a young boy when he first saw traditional dolls made by his grandfather immediately fell in love with his work. He dedicated himself to becoming a doll-artisan like him but knew that it would take years to be able to replicate his work. However, an incident in his childhood made him averse to social interactions, and Wakana soon became a loner who focused on art. When he reached high school, things did not change as he had no friends, and Wakana would spend most of his time in the home ec room.
When a popular girl named Marin Kitagawa learned about Wakana's secret hobby, she opened up about her interest in cosplay. But it was soon obvious that the two unlikely acquaintances had nothing in common. However, their strange interests continue to bring them closer. Can this be the beginning of a special relationship for Wakana, or will he get his heart broken again just like his childhood?
Is My Dress-Up Darling on Netflix?
Netflix subscribers will have to find some other alternative to stream the slice-of-life series as it is inaccessible on the streaming giant. However, one can instead watch other shows like 'Komi Can't Communicate.'
Is My Dress-Up Darling on Hulu?
'My Dress-Up Darling' is unavailable on Hulu as of now. Subscribers can look for the show on some other platform, or they can alternatively stream 'Clannad' or 'Haganai.'
Is My Dress-Up Darling on Amazon Prime?
The romantic anime is not a part of Amazon Prime's current offering. Viewers who are looking for shows of the same genre may like 'Hitorijime My Hero.'
Is My Dress-Up Darling on Crunchyroll?
Crunchyroll has licensed 'My Dress-Up Darling' for streaming outside Asia. People who have a subscription to the platform can watch the show here.
Is My Dress-Up Darling on Funimation?
The slice-of-life anime is also accessible on Funimation. Subscribers can stream all the episodes with original Japanese audio and English subtitles here.
Where to Watch My Dress-Up Darling Online?
Since 'My Dress-Up Darling' is streaming on Crunchyroll, there is a good chance that the series will eventually be available on VRV as well. Therefore, we recommend our readers regularly check for the show on the official website. In certain Asian countries, fans can watch the series on Bilibili and iQIYI.
How to Stream My Dress-Up Darling for Free?
Both Funimation and Crunchyroll come with a 14-day free trial for first-time subscribers. People who wish to stream the show for free can use the aforementioned offer. However, we encourage our readers to refrain from using illegal means and watch their favorite content online only after paying for it.
Read More: Best Slice-of-Life Anime