text:
package kerb.token;

import org.haox.asn1.type.Asn1FieldInfo;
import org.haox.asn1.type.Asn1Integer;
import org.haox.asn1.type.Asn1OctetString;
import org.haox.asn1.type.Asn1SequenceType;

/**
 AuthorizationData       ::= SEQUENCE OF SEQUENCE {
     ad-type         [0] Int32,
     ad-data         [1] OCTET STRING
 }
 */
public class AuthzDataEntry extends Asn1SequenceType {
    static int AD_TYPE = 0;
    static int AD_DATA = 1;

    public AuthzDataEntry() {
        super(new Asn1FieldInfo[] {
                new Asn1FieldInfo(AD_TYPE, Asn1Integer.class),
                new Asn1FieldInfo(AD_DATA, Asn1OctetString.class)
        });
    }

    public int getAuthzType() {
        Integer value = getFieldAsInteger(AD_TYPE);
        return value;
    }

    public byte[] getAuthzData() {
        return getFieldAsOctetBytes(AD_DATA);
    }
}

redpajama_set_name: RedPajamaGithub


Best Python Web Framework ?
Previous message (by thread): Best Python Web Framework ?
Next message (by thread): Best Python Web Framework ?
> First , my english is not good .
> PYTHON :S ) Correct ?
> That's not correct ? Then youtube is PHP application ?
> That's correct ; Which python web framework in friendfeed ? Web.py ?
> Django ? web2py ?
you and what you need to do with it.
If you want a large and feature-rich framework, try django.
Dunno what youtube or friendfeed use. Google might tell you.


text:
President's Recognition Ceremony honors ASU employees
President's Awards, SUN Awards honor contributions of ASU faculty and staff
Arizona State University President Michael M. Crow honored ASU employees for their contributions to the university and community on Tuesday, May 28, at the 2019 President's Recognition Ceremony, held at the Student Pavilion on the Tempe campus.
The reception, hosted annually by the President's Office, honors recipients of the President's Award for Innovation, President's Award for Sustainability, President's Medal for Social Embeddedness and Top Multiple SUN Awards.
Here are this year's honorees.
2019 President's Award for Innovation
iTeachELLs Teacher Quality Partnership Grant Project
Mary Lou Fulton Teachers College student feedback in 2014 determined that graduates do not feel prepared to work with learners whose primary language is not English (students identified as English Language Learners). As a result, a team of experts proposed a project to answer the call of preparing educators to teach culturally and linguistically diverse learners.
The project is funded by the United States Department of Education through their Teacher Quality Partnership Grants: "Integrating STEM, Literacy, and Language to Prepare all Teachers to Work with English Language Learners: iTeachELLs."
The research team explored the best practices for the work and created a new instructional technique, titled Problem-Based Enhanced Language Learning (PBELL). This collaborative endeavor between the Teachers College and the local education agencies has increased access to rigorous content for all students. The approach emphasizes intentional planning for language and solving for a meaningful problem in classroom instruction.
Over 1,500 Arizona teachers have completed iTeachELL's professional development and delivered over 170 PBELL lessons. PBELL is harnessing the problem-solving power of over 30,000 K-12 students, increasing their learning engagement, confidence and autonomy.
Recipients:
Mary Lou Fulton Teachers College
Leads: Wendy Farr and Melanie Baca
Silvia Aparicio, Brad Bostick, Erin Bryan, Malissa Chavez-Thibault, Stephanie Lund and Anne Smith
2019 President's Award for Sustainability
Banner Bag Program
The Banner Bag Program turns discarded vinyl banners into stylish, upcycled tote bags. These bags are handmade by women from The Centers for Habilitation, which provides job skills training to individuals with disabilities.
ASU provides the no-longer-needed banner material and pays for the labor and additional materials to produce the bags. The bags are locally made in Tempe, at FABRIC — a fully equipped, no-minimum fashion manufacturing facility, created in partnership with the city of Tempe to help newcomers break into the fashion industry. The Julie Ann Wrigley Global Institute of Sustainability, together with Arizona Apparel Foundation and in support of ASU Zero Waste goals, piloted this innovative program. Today, the bags are sold in the Sun Devil Campus Store at the Orange Mall location. Through continued partnership with ASU Print and Imaging Lab at the origination of banner orders and ASU Zero Waste at the end of a banner's useful life, the goal is that ASU will divert 100% of its banners from the landfill through this program by 2020.
Auxiliary Business Services, Bookstore, Julie Ann Wrigley Global Institute of Sustainability, Print and Imaging Lab, University Sustainability Practices and Zero Waste
Lead: Travis Buckner
Mick Dalrymple, Jim Dwyer, Joshua Ellner, Alana Levine, Val Ross, Courtney Russell, Katie Schumacher, Michelle Schwartz, Meredith Simpson, Cathy Skoglund and Paul Strauss
Fashion And Business Resource Innovation Center (FABRIC)
Sherri Barry and Angela Johnson
The Centers for Habilitation
Jeff Bernick, Nabora Blea, Kimberly Calvert, Hannah Dexter, Sandra Harris, Jim Hodges, Katie Holm, Ryan Mcalister, David Prather and Madison Ryan
2019 President's Medal for Social Embeddedness
¡Viva Maryvale!
Obesity and Type 2 diabetes disproportionately affect Latino children, families and communities. ¡Viva Maryvale! is a solution-oriented, multilevel, multisector collaborative approach that leverages individual, social, cultural and community-level resources to support health promotion and diabetes prevention among high-risk Latino families living in Maryvale, Arizona.
¡Viva Maryvale! brings together a network of collaborating partners that include the ASU Center for Health Promotion and Disease Prevention, the St. Vincent de Paul Family Wellness Program, the Watts Family Maryvale YMCA, the Maryvale branch of Mountain Park Health Center, and the Diabetes Prevention and Control Program at the Arizona Department of Health Services. By developing a shared mission and vision, ¡Viva Maryvale! enhanced the collective capacity of the partners to address diabetes-related disparities among vulnerable and underserved families in Maryvale. The impact of the enhanced capacity is substantiated by significant reductions in diabetes risk factors and increases in quality of life among participating families. A paper describing the development, implementation, and results of ¡Viva Maryvale! was published in the January 2019 issue of the American Journal of Preventive Medicine.
Center for Health Promotion and Disease Prevention, Edson College of Nursing and Health Innovation,
Lead: Gabriel Shaibi
Erica Basco, Jessica Camacho, Chris Gonzalez, Neeku Navabi, Armando Pena, Arlene Ramos, Erica Soltero and Allison Williams
Arizona Department of Health Services
Omar Contreras, Teresa Manygoats, Addey Rascon and Wayne Tormala
Maria Isabella Munoz
Anna Alonzo
Mountain Park Health Center
Uriel Castaneda, Alexa Diaz, Valentina Hernandez, Jenny Mendez, Marta Ormeno, Crystal Ramos, Saray Vera and Ugonna Woods
Saguaro Evaluation Group
Monica Parsai
Maria Gonzalez, Monica Gutierrez, Elva Hooker, Yolanda Konopken, Elvia Lish and Maria Silva
Watts Family Maryvale YMCA
Libby Corral, Karen Davis, Nayeli Quiroz and Heidi Wildy
Top SUN Award Recipients
SUN Awards are a way for ASU co-workers to give specific, immediate recognition to each other and to honor employees for supporting university goals.
Here are this year's top recipients.
Katie Senzig
Student Recruitment Coordinator Senior
College of Health Solutions
Cassie Barbieri
EdPlus
Lindsey Morris
Academic Success Specialist
Ira A. Fulton Schools of Engineering, The Polytechnic School
Diana Herrera
Business Operations Manager
New College of Interdisciplinary Arts and Sciences
To learn more about ASU's employee recognition program, visit: https://cfo.asu.edu/recognition.
ASU News Office Of The President Community involvement Grants / Awards Faculty Staff Announcements
Two ASU professors elected to American Academy of Arts and Sciences
Tempe campus
Two Arizona State University professors have been elected to the American Academy of Arts and Sciences. Jane Buikstra, a Regents' Professor in the School of Human Evolution and Social Change, and Asunción Lavrin, an emeritus professor in the School of Historical, Philosophical and Religious Studies, were chosen for their foundational work in their respective fields.
They are among more than 200 members in the 2019 class recognized for their outstanding achievements in academia, the arts, business, government and public affairs.
"With the election of these members, the academy upholds the ideals of research and scholarship, creativity and imagination, intellectual exchange and civil discourse, and the relentless pursuit of knowledge in all its forms," AAAS President David Oxtoby said.
Buikstra is a renowned bioarcheologist and is known for forming the discipline of bioarcheology, which combines archeology with forensics, pathology, genetics and other fields to understand the lives of past peoples.
Buikstra is currently working on a number of efforts that explore the experiences of ancient humans from around the world. These include projects on the everyday lives of those who lived in Athens, Greece, during the eighth through fourth centuries B.C.; the spread of M. tuberculosis from South to North America and how it evolved as it moved between humans and other hosts; the connections between environmental change and social complexity for ancient indigenous peoples who lived along North American river systems; and how the Chiribaya culture of South America made radical social changes between 1,000 to 1,500 years ago.
"I'm especially honored to be part of a body that recognizes the significance of humanistic endeavors along with the sciences," Buikstra said. "The AAAS election is a most welcome recognition that significant research is often broadly based and seeks to push boundaries, as is encouraged at ASU."
Asunción Lavrin is an award-winning author and historian with more than 100 publications to her credit. She has covered the topics of gender and women's studies in colonial and contemporary Latin America, and religion and spirituality in colonial Mexico.
Considered a pioneer in Latin American women's history, Lavrin has studied and published extensively on women in Latin America, especially women in Mexico. Her work has significantly contributed to the historical record of Roman Catholicism in Mexico, beginning with a number of her early articles on nuns and nunneries, culminating in her 2008 monograph "Brides of Christ: Conventional Life in Colonial Mexico."
The academy was founded in 1780 by John Adams, John Hancock and others who believed the new republic should honor exceptionally accomplished individuals and engage them in advancing the public good. The Academy's dual mission remains essentially the same 239 years later with honorees from increasingly diverse fields and with the work focused on the arts, democracy, education, global affairs and science.
The new class will be inducted at a ceremony in October in Cambridge, Massachusetts, and they will join the company of academy members elected before them, including Benjamin Franklin (elected 1781), Ralph Waldo Emerson (1864), Charles Darwin (1874), Albert Einstein (1924), Margaret Mead (1948), Martin Luther King Jr. (1966) and more recently, Michael Bloomberg (2007) and Judy Woodruff (2012).
Mikala Kass contributed to this article.
ASU News Tempe campus School of Human Evolution and Social Change School of Historical, Philosophical and Religious Studies The College of Liberal Arts and Sciences Environment Health Gender Humanities Science Social science Grants / Awards Faculty Announcements
Director , Media Relations and Strategic Communications
Music professor to host international brass conference at ASU
Deanna Swoboda, associate professor in the ASU School of Music, has enjoyed a vibrant career as a performer, educator and entrepreneur, but she said one of her most challenging roles yet is serving as the official conference host for 500-plus brass players at the International Women's Brass Conference at ASU on May 21–25.
Swoboda, an Eastman tuba artist, carved a path for herself as a tuba player performing and teaching around the world when there were only a handful of women with careers playing tuba and serving as role models for female musicians. She has played the tuba in hundreds of concerts, solo recitals and presentations throughout the U.S. and Europe; taught tuba and euphonium; developed music and entrepreneurship programs; coached chamber music; and presented at prestigious conferences and meetings as an advocate for music education. Swoboda, an ASU alumnus (DMA '10), co-hosted the 2012 conference at Western Michigan University and was invited by IWBC to host the international conference held at the ASU School of Music this year. ASU School of Music Associate Professor Deanna Swoboda carved a path for herself as a tuba player performing and teaching around the world when there were only a handful of women with careers playing tuba and serving as role models for female musicians. Download Full Image
"I was excited to accept the IWBC invitation to host the conference as it features women brass players, is a great recruiting opportunity for potential students and provides great visibility for ASU," Swoboda said.
She said IWBC is the largest conference she has ever been involved with and this year's conference has record numbers of registrations and competitors. Conference attendees will be a combination of mostly professors and college students from different universities, some professional performers and some high school students. The conference is open to all genders but features mostly women and new works, and conference featured artists include seven women who have held or still hold major prominent brass positions.
"One of my best hopes for this conference is to make women in music — specifically women brass players and women composers — more visible to the global community," said Swoboda.
The conference schedule includes recitals, presentations, master classes, mock auditions, competitions, exhibits and evening concerts open to the public. There are solo and small ensemble competitions throughout three days, with 150 to 200 competitors and mock auditions for orchestras and military bands. Two of the evening concerts will open with student ensembles. All participants have the opportunity to play in an ensemble led by a professional. The various ensembles, including euphonium, horn, trumpet and trombone, will perform in concert on Saturday. The U.S. Army Bands for Horn and Tuba, a conference exhibitor, will also be holding auditions on Saturday for available positions in their horn and tuba bands.
Evening concerts will be held at the Evelyn Smith Music Theatre in the Music Building on ASU's Tempe campus and are open to the public:
May 22, 7:30 p.m.: Tempe Winds with Phoenix Brass Collective
May 23, 7 p.m.: Athena Brass Band
May 24, 7 p.m.: Women in Jazz
May 25, 7:30 p.m.: Monarch Brass Ensemble
Creativity Tempe campus Herberger Institute for Design and the Arts School of Music Arts Music Faculty Community Announcements
Lynne MacDonald
communications specialist, School of Music
480-727-7189 Lynne.MacDonald@asu.edu
Richard Amesbury joins ASU as new School of Historical, Philosophical and Religious Studies director
Arizona State University's School of Historical, Philosophical and Religious Studies has announced its new director: Richard Amesbury.
Amesbury is a philosopher and scholar of religion and has served in many leadership roles prior to coming to ASU. While at the University of Zurich in Switzerland he was director for the Institute for Social Ethics and the Ethics Center. He has also served on many committees, journal and boards. Most recently, he was the chair of the department of philosophy and religion at Clemson University. Richard Amesbury Download Full Image
He received his doctorate in religion from Claremont Graduate University, a diploma in theology from Oxford University and his artium baccalaureus with a concentration in government from Harvard University.
"I am thrilled to have Dr. Richard Amesbury join us as the new director," said Jeffrey Cohen, ASU's dean of humanities. "He is a scholar with interdisciplinary strengths who understands the unique mission and strengths of ASU. Under his leadership I am certain that the vibrant intellectual community that is SHPRSSchool of Historical, Philosophical and Religious Studies will continue to flourish for many years to come."
His research focuses on the intersection of ethics, philosophy of religion and political theory. He has published many academic, online and encyclopedia articles, books and reviews on these topics and has more forthcoming.
"The world is rapidly being reshaped by a series of interrelated megatrends, including economic reorganization and increasing inequality, climate change, global migration, political disruption, technological acceleration and the digital revolution," Amesbury said. "The humanities — disciplines like history, philosophy and religious studies — are well equipped to help us understand these changes and also to respond to them."
Philosophy Professor Joan McGregor was a member of the hiring committee for the new director. She says Amesbury is thoughtful, considerate and an active listener.
"A particular strength of Richard Amesbury is that he has demonstrated an ability to increase the connection between the disciplines of history, philosophy and religious studies and he has a compelling vision of the humanities," she said.
"As a scholar with interests in multiple fields, I am delighted to be joining an interdisciplinary school of humanities," Amesbury said. "SHPRS is renowned for pathbreaking scholarship, innovative teaching and vibrant community engagement. I am honored to have been invited to build on that tradition and to help position the school to address new challenges."
Beginning in July, Amesbury will succeed religious studies Professor Tracy Fessenden, who has been the interim director of the School of Historical, Philosophical and Religious Studies for the past year.
"It is an honor to serve as interim director of SHPRS," Fessenden said. "I look forward to continuing our fruitful collaboration as we await Professor Amesbury's arrival and to extending to him our warmest welcome."
Amesbury will be the school's fourth director, after Mark Von Hagen, Matthew Garcia and Matthew Delmont.
ASU News Tempe campus The College of Liberal Arts and Sciences School of Historical, Philosophical and Religious Studies Humanities Faculty Student Staff Announcements
Rachel Bunning
Communications program coordinator, School of Historical, Philosophical and Religious Studies
Rachel.Bunning@asu.edu
The College welcomes new leaders to three distinctive social science units
Whether used to explore the nuances of human evolution or to examine the political, ecological and cultural facets shaping the human experience today, the social sciences give us the tools to decipher our world.
To Elizabeth Wentz, dean of social sciences in The College of Liberal Arts and Sciences at Arizona State University, creating academic units capable of capturing that breadth is both a challenge and an opportunity.
"We have social science faculty whose research and classes are closer to physical sciences, and others that are very much in line with the humanities," she said. "Leading these units requires a 30,000-foot view to bring people together who conduct their work in very different ways."
That big-picture outlook is only continuing to grow as the School of Social Transformation, the School of Transborder Studies and the American Indian Studies program gain new leadership this July.
Each unit possesses qualities that are unique to ASU. The School of Transborder Studies is the only unit of its kind in the country. The American Indian Studies program is distinguished by its autonomy from other schools and broad range of research, faculty and degree tracks. The School of Social Transformation serves as a platform where a multitude of disciplines spanning anthropology, sociology, cultural studies and social justice come together under one roof.
"These are three very interdisciplinary schools where faculty from many backgrounds come together around particular themes like inequality and the social, political, historical and cultural drivers behind it," Wentz said. "We wanted to find leaders who fit into that field and also aligned with the access and impact-minded mission of the ASU charter."
With 13 total units, the social sciences account for the largest division in The College — which is itself the largest academic body at ASU — and incorporate components of anthropology, sociology, justice studies, urban planning, communication and more.
Wentz said identifying how all those components fit into the larger ASU ecosystem keeps them in a constant state of evolution.
"Social sciences are all over the university, and while we can define ourselves by discipline, we can also define ourselves based on the problems we solve," she said. "These new leaders present a chance to launch their schools into a new era."
Stephanie Fitzgerald, American Indian Studies
Stephanie Fitzgerald is a Cree tribal member who comes to the American Indian Studies program after overseeing a similar unit at the University of Kansas. Her research explores the relationships between indigenous groups, land tenure, climate change and tribal, state and federal law.
She is the author of "Native Women and Land: Narratives of Dispossession and Resurgence" and the co-editor of "Keepers of the Morning Star: An Anthology of Native Women's Theater," among other publications.
While other universities have indigenous and Native American studies programs, they are often integrated into umbrella departments like English, anthropology and history. By contrast, Wentz said dedicating an autonomous unit to the American Indian Studies program allows interdisciplinary academics and research to thrive.
"Our physical position in the United States with the number of tribal nations here really demands that we have an independent program at ASU," Wentz said. "Stephanie Fitzgerald brings an incredible level of scholarship, but also an appreciation for the expansive goals of the program."
Fitzgerald also highlighted the unit's size and focused platform as being key aspects that brought her to ASU.
"This is a vibrant program with strong support from the public and the ASU administration, in a state with 22 tribal nations," she said. "I see coming to ASU as a chance to continue building that up."
Pardis Mahdavi, School of Social Transformation
Pardis Mahdavi is a medical anthropologist whose research has focused on sexual and gender politics and their interaction with labor migration and social movements across the Middle East and Asia.
She is the author of several publications on the subjects, including her first, "Passionate Uprising, Iran's Sexual Revolution," in 2008, and her most recent, "Crossing the Gulf: Love and Family in Migrant Lives," in 2016.
She comes to ASU from the Josef Korbel School of International Studies at the University of Denver. As part of The College, she hopes to help drive global platforms forward through international research collaborations and dual-degree programs.
"One of the things that drew me to this program is that it has transcended the idea of interdisciplinarity," she said. "People inside The College are doing something that I consider to be a next-level intersectionality among the studies."
Mahdavi will succeed Bryan Brayboy, a professor in the School of Transformation who has served as its interim director over the last year.
"The aspiration of social transformation and the global perspective it hopes to reach is huge," Wentz said. "Bryan BrayboyBryan Brayboy also serves as the director of ASU's Center for Indian Education and the special adviser to the president on American Indian Affairs, a position created by ASU President Michael Crow to oversee university initiatives related to Native American and indigenous issues and programs. has really been a steady hand in opening up the pathway to get this unit to a collaborative place I believe Pardis Mahdavi wants to continue to shape."
Irasema Coronado, School of Transborder Studies
Irasema Coronado comes to ASU from an endowed professorship in the Department of Political Science at the University of Texas in El Paso.
Raised in the border-hugging city of Nogales, Arizona, she has spent over 25 years studying cross-border resource management, water rights and environmental policies, in addition to immigration, asylum and deportation in the Arizona-Sonora region.
Coming to ASU was a chance to continue that work and help increase the impact of the School of Transborder Studies.
"This is the only doctoral program in the country for border studies, which is my specialty," she said. "I also believe research should be measured by the difference it makes in people's lives, and I think The College and this school exemplify that."
Developed in 2011, the School of Transborder Studies looks at the borderland as a concept in itself. Whether it's the international line between the U.S. and Mexico, or the boundary separating North and South Korea, faculty and students within the school explore the ecological, historical and social components that make these areas unique.
"There are people doing fabulous research on Mexican American issues, and the School of Transborder Studies itself emerged from a form of Chicana/o studies, but that's not necessarily doing research on the border itself," Wentz said. "Irasema Coronado is truly a border scholar, and that is really what she brings to the table."
Top photo: Armstrong Hall on the Tempe campus is the new headquarters for The College of Liberal Arts and Sciences. With 13 programs and schools that transcend traditional studies, the social sciences are the largest division within The College. This summer, three of its units will welcome new leaders.
ASU News Tempe campus School of Social Transformation The College of Liberal Arts and Sciences American Indian Studies Program School of Transborder Studies Social science Social Justice International Grants / Awards Science Humanities Latino / Chicano Native American Student Faculty Staff Prospective student Announcements yes Faculty The College of Liberal Arts and Sciences
Alisa Reznick
Writer , The College of Liberal Arts and Sciences
480-965-5870 alisa.reznick@asu.edu
RefWorks subscription to end June 30
Over the last year, the ASU Library has helped the ASU community prepare for the end of its subscription to RefWorks, effective June 30.
Since August 2018, the ASU Library has sent out multiple communications, held drop-in sessions and offered one-on-one help to RefWorks users to move their citations into another citation manager. Due to low usage and new technology platforms, the ASU Library will be ending its subscription to RefWorks, effective June 30. Download Full Image
If you still have citations in RefWorks, please plan to move them from RefWorks to another citation manager before June 30. After that date, your citations will no longer be available in RefWorks.
For more information on this transition, visit the ASU Library's RefWorks Transition page, which includes step-by-step instructions on how to move your citations from RefWorks to another citation manager.
If you have questions or concerns, or need additional help, please email RefWorks@asu.edu. The ASU Library's citation management team will be happy to help you.
ASU Library Faculty Staff Graduate student Student Announcements
ASU's green waste goes full circle
Circular resource system turns campus waste into compost for ASU's grounds
Arizona State University continues to create a more sustainable and resilient future — and not just during Earth Month.
The university has implemented a closed-loop process for composting green waste on all campuses.
Video of Composting at ASU: Recycling organic material on a large scale
Video by Ken Fagan/ASU Now
Composting is the act of recycling organic material, plant matter and food scraps. The materials become compost, a finished product that can be used as a soil amendment. Compost provides several benefits:
Acts as a fertilizer for your landscape.
Helps your soil become a water filter, reducing runoff and improving water quality.
Keeps plant diseases and pests away.
Reduces how much, and how often, you need to water.
ASU Grounds Services, the ASU Zero Waste department and the city of Phoenix participate in the university's composting process, which supports ASU's circular resource system sustainability goal.
A circular resource system aims to achieve zero waste by diverting materials from landfills for productive use.
"ASU's green waste composting program is a great example of a circular economy," said Josh Ellner, ASU Zero Waste department manager. "Partnering with the city of Phoenix allows ASU to achieve benchmarks regarding our landfill diversion goals by having a large enough local operation to process a large amount of material and also have enough finished product to sell back to ASU Grounds."
ASU's green waste — tree trimmings and grass clippings from all campuses — is collected and hauled to a city of Phoenix composting facility where it spends six to eight weeks in the composting process. ASU purchases the finished product to use on flowerbeds, lawns and fields throughout the university.
Video of Learning how to compost at the ASU Polytechnic community garden
"The compost carries a certain amount of nutrient value on its own, but it also helps to retain water and nutrients," said Michael Meyer, ASU Grounds Services manager. "The soil in the Valley of the Sun tends to be poor in organic material, and the compost counters that to some degree."
ASU sent an average of 41.6 tons a month of green and wood waste to be composted in 2018. In November, ASU purchased back 190 yards, about 120,000 pounds, of finished compost that was placed on the Tempe Sun Devil Fitness Complex fields, annual flowerbeds and other campus lawns.
According to Meyer, the composting program supports ASU's overarching goal to achieve 90% landfill diversion by 2025.
"We do get some satisfaction from knowing that we are keeping material out of the landfill where it would contribute to the production of harmful greenhouse gases. For us, it is truly a win-win situation."
Top photo: A student sifts a pile of compost at the Polytechnic campus. Photo by Ken Fagan/ASU Now
Solutions Office of Business and Finance University Design Environment Sustainability Student Staff Faculty Community Announcements
Carbon Free Day: Do your part
Shorten your shower, drive less, buy local foods for April 17 Carbon Free Day.
Bike to work, take the stairs, eat a plant-based meal: New signature event for Earth Month encourages ASU community to make pledge
Glaciers melting. Record storms. Rising sea levels. Problems quite off the human scale.
What can little old you do about all of that?
Quite a bit, it turns out. And that is the point of Arizona State University's Carbon Free Day on April 17: to demonstrate small things everyone can do on a daily or weekly basis that add up.
"ASU is a major force in the area of sustainability education," said Stefanie Lindquist, deputy provost and vice president for academic affairs. "So I like the idea of our active participation in this Carbon Free Day. As such a large institution, we could save putting a lot of carbon into the atmosphere if we committed ourselves to a day of active efforts to reduce our collective carbon footprint."
ASU is committed to becoming climate positive by 2035. The university has made great strides to reduce its carbon emissions since making that pledge. Total emissions are down 28% compared with a 2007 baseline.
"That's despite the fact we've added over 40% gross square footage and almost 31% in our student population in that same period," said Corey Hawkey, assistant director of University Sustainability Practices. "We're on the path to meet our goal, but there is still work to be done. It's part of the reason we're doing this day. … We've made great progress, and it's something we should all be appreciative of."
The university — staff, students, faculty and physical buildings together — is estimated to emit about 768 tons of carbon per day. One day of emissions is the equivalent of more than 131,000 average one-way commutes. It's also close to 24 days of air conditioning in an average-size home. Or, looking through the lens of food, about 232,000 servings of beef.
"That hopefully gives some perspective on how large our emissions are, but also what an impact just a day makes," Hawkey said.
ASU will be purchasing carbon offsets and planting 218 trees to mitigate the university's emissions for the day. Join the commitment by making a pledge for Carbon Free Day to reduce carbon emissions. Choose from transportation, food and energy pledge categories or create your own.
"Some believe it is only great power that can hold evil in check, but that is not what I have found. It is the small everyday deeds of ordinary folk that keep the darkness at bay. Small acts of kindness and love." — Gandalf, "The Fellowship of the Ring"
Mind you, none of these involve moving into a yurt, biking to Tempe from Buckeye or quitting bacon forever.
"It was important for us to come up with some unique pledges people might not be thinking about, like keeping adequate air pressure in your tires, so your car drives more efficiently and you use less gas," said Susan Norton, program manager of Sustainability Practices.
Transportation pledges include riding a bike, creating a meal plan to cut down on trips to the store during the week or being an energy-efficient driver. The latter means starting and stopping more slowly and keeping a steady speed. You can keep a ton of CO2 out of the atmosphere just on these alone (the same amount a tree in Arizona absorbs during 10 years), plus you'll save a lot of money on gas.
Student Casey Rapacki rides a bike 15 minutes each way to campus every day.
"It helps me get some daily activity in, allows me to come and go as I please — no catching the bus! — had a one-time fee and does not contribute to daily car traffic or greenhouse gas emissions," she said.
She has also run into fellow School of Sustainability friends on their bikes.
"We all rode our bikes together," she said. "We were kind of like a biker gang, except fuel-efficient and harmless."
JC Porter is a bicycling beast. Assistant director of University Parking and Transit Services, Porter commutes 20 miles each way to the Tempe campus, five days a week. "If I am feeling lazy, I commute 7 miles each way to the Polytech campus," Porter said.
Deservedly, Porter won Tempe's 2018 Bike Hero award.
Jonathan Kelman, an instructor in the School of Sustainability, rides to work at least four days a week. He gets to think; he saves money on gas, car maintenance and parking; and it's faster than battling rush hour traffic. Another bonus: "I can commute in to campus on my mountain bike, teach class and then hit the trails in Papago Park north of campus, and ride back home. There may be a burrito involved on the return trip. That's hard to beat!"
Let's address the obvious excuse against biking right off the bat: The Tempe campus has two free places to shower — the Sun Devil Fitness Complex and Wrigley Hall.
When it comes to food pledges, you don't have to go vegan, even though one plant-based meal during the week won't kill anyone. Buy some local groceries from a farmers market. Don't waste food. Cut down on beef by eating a rack of baby back ribs or a fried chicken. Most emissions from meat production come in the form of methane gas, which cows breathe and excrete via their manure. Eating chicken or pork helps reduce emissions. Who's not down for ribs?
The point is to commit to make whatever small changes you can.
"Everybody plays a role in it," Hawkey said.
View the Carbon Free Day pledge choices on the Earth Month website.
Top image: School of Sustainability students and staff bike on the Tempe campus on April 4. Image by Deanna Dent/ASU Now
Arizona Impact Tempe campus Office of Business and Finance School of Sustainability Environment Sustainability Campus life Faculty Staff Student Announcements
Scott Seckel
480-727-4502 scott.seckel@asu.edu
Go ahead, try this at home
Citizen Science Day asks everyone to help April 13 and fast-forward Alzheimer's research
From phone apps that measure light pollution to crowdsourced maps that track parasites, the process of collecting scientific data has never been so accessible or so scalable.
"Scientists are looking for information, and people like to contribute. Citizen science is making that happen on a major scale," said ASU Librarian Dan Stanton, who specializes in citizen science and is coordinating Arizona State University's participation in the fifth annual Citizen Science Day, a global event scheduled for Saturday, April 13.
Described as a collaborative process between scientists and the public, citizen science relies on public participation and access to tools to spur the collection of data, a process that can take years — sometimes decades — for researchers to complete.
This year, Citizen Science Day will center around a "Megathon" activity called stall catching, in support of data collection for Alzheimer's research underway at Cornell University using the EyesOnALZ online tool created by the Human Computation Institute. The research explores a connection between the disease and clogged blood vessels in the brain, known as "stalls." Participants will be asked to "catch" stalls by viewing videos documenting the blood flow in the brains of mice and then scoring blood vessels as "flowing" or "stalled."
It's estimated that if 100,000 people come together to participate in the activity, it will save researchers at Cornell one year's worth of analysis.
"In just one day, we have the power to accelerate Alzheimer's research by one whole year," Stanton said. "That's pretty cool."
Stanton is inviting people of all ages and abilities to participate. Anyone can join the Megathon from anywhere in the world as long as they have an internet connection and a desire to help mankind.
The ASU Library will be hosting the Megathon at four campus locations. To join the ASU team virtually, register here.
Citizen science wants you!
You may be like Darlene Cavalier, who lacked a formal science degree yet remained passionate about participating in the scientific enterprise.
Now a professor of practice in ASU's School for the Future of Innovation in Society, Cavalier went on to found SciStarter, an online platform that connects people and communities all over the world to more than 3,000 citizen science projects.
"I discovered citizen science in grad school and created a project finder to track and write about opportunities for people to engage in science," Cavalier said. "That project finder became the heart of SciStarter."
Cavalier leads an interdisciplinary team at ASU that is aiming to position public libraries as key facilitators of citizen science — a strategy that makes sense given the role of libraries as access points to educational resources and one's local community.
"Libraries are safe, open spaces accessible to everyone," said Cavalier, who serves on the National Academy of Sciences committee on citizen science. "Citizen science enables patrons to borrow instruments, such as air-quality sensors or rain gauges, and fully engage in projects at home, or to converge at the library to learn about and participate in real science together as a community. Some libraries are installing sensors and equipment on-site, turning libraries into labs!"
Cavalier and her team, including Stanton, were awarded a grant in 2017 from the Institute of Museum and Library Services to develop field-tested toolkits for public libraries to loan out to their citizen science patrons for two-week periods — a pilot project that has resulted in a growing partnership between ASU and six public libraries in the Phoenix metropolitan area. (These libraries will also be hosting Megathons on April 13.)
With today's technologies, citizen scientists can participate more easily in scientific data collection, such as measuring light pollution in the night sky using their smartphone.
Darlene Cavalier, a professor of practice in the School for the Future of Innovation in Society, is the founder of SciStarter, an online platform that connects people and communities all over the world to more than 3,000 citizen science projects. She also serves on the National Academy of Sciences committee on citizen science.
Cavalier and her team at ASU's 2016 Citizen Science Maker Summit. With recent grant support, the team is working to position public libraries as community facilitators of citizen science.
Additionally, this year, the team was awarded a grant from the National Network of Libraries of Medicine (Pacific Southwest Region) to develop Citizen Science Day resources, support related events in libraries and produce the Librarian's Guide to Citizen Science, which includes details about the kits.
"There's been sizable growth in usage of the kits," said Stanton, who is working with Cavalier and her team to develop the next phase of kits that more strategically address community needs. "We're hoping to move from the participatory 'hey, that's cool' Phase 1 kits to more 'use-inspired' Phase 2 kits that are specific to Arizona."
The new library kits will include tools that monitor air quality around the Valley as well as wet-dry mapping to measure surface water, an area of concern for Arizona's water policy and conservation. These and other kits and tools will also be made available to libraries across the country through SciStarter's new "Build, Borrow, Buy" feature, thanks to a recent grant from Schmidt Futures.
"Citizen science is growing in the United States and globally," Cavalier said. "Increasingly, citizen scientists help set the research agenda."
In work that aligns with ASU's universal learning initiative, Cavalier and Stanton are working to formalize the progress of citizen scientists and their contributions to the research community through the development of a series of assessments for credentialing and certification for students enrolled at ASU as well as lifelong learners.
Additionally, Cavalier is developing more customized, data analytics-driven SciStarter portals for K–16 learning environments, Girl Scouts USA, companies and federal agencies where more people can gain access to curated, supported citizen science experiences and contribute to ongoing knowledge — what Stanton says citizen science is all about.
"Citizen science is educational and participatory. It's about matching people with projects they can do, projects that interest them, in an effort to bring communities together and make a positive difference," Stanton said.
The opportunity to contribute to knowledge about Alzheimer's disease is driving this year's Citizen Science Day. Those interested in participating are encouraged to get registered and are welcome to join others at any of these four ASU locations from 10:30 a.m. to 12:30 p.m., on Saturday, April 13.
Citizen Science Day coincides with the last day of the American Library Association's National Library Week.
Top photo: Participants in this year's Citizen Science Day Megathon activity will be asked to "catch" stalls by viewing videos documenting the blood flow in the brains of mice and then scoring blood vessels as "flowing" or "stalled."
Discoveries ASU Library School for the Future of Innovation in Society Research Community involvement Health Science Community Student Staff Faculty Announcements
Alumni Association seeks nominations for ASU Leadership Institute
The Alumni Association is seeking nominations for the second cohort of ASU Leadership Institute. Applications are being accepted now through May 17 for this professional and personal leadership development program.
Sun Devils interested in learning more about ASU Leadership Institute are invited to a special reception at 5:30 p.m. Thursday, April 18, at Pitchforks and Corks, 600 S. College Ave. (second floor of College Avenue Commons). The reception will include a brief presentation about the ASU Leadership Institute and an opportunity to meet members of Class 1. Class 1 of the ASU Leadership Institute participates in a leadership learning exercise with executives from the W. P. Carey School of Business. Download Full Image
"We launched this program to develop the next generation of leaders invested in higher education and impacting their communities," said Christine K. Wilkinson, ASU Alumni Association president and CEO. "The Leadership Institute immerses participants in ASU's teaching, learning and discovery environment equipping them with critical leadership skills. We know the importance and value of continued learning and development. Our inaugural class of this program featured a diverse group of individuals who have demonstrated a strong commitment to leadership, civic engagement and making a difference, and we look forward to recruiting a strong class for the second cohort."
ASU Leadership Institute Class 1 member JB Etchamendy, business banking relationship management associate with Wells Fargo Bank, says the program has provided valuable insights for both his professional career and civic engagement.
"Leaders are passionate about the goals they set out to achieve," he said. "If your goal is to discover and understand your own value in whatever it is you are passionate about, then the ASU Leadership Institute is the conduit to tap that passion and add your own value to it."
The program will help participants understand and develop critical leadership skills. The cohort of Class 2 will participate in a leadership assessment tool that provides in-depth analysis and insights identifying key strengths to further develop and areas to enhance.
"The ASU Leadership Institute is an incredible program that offers alums the priceless opportunity to remain connected to the vast ecosystem of the university," said Morgan Dick, director of money in politics for the Arizona Advocacy Network. "The opportunities for continued growth in leadership both professional and personal, shepherded by ASU, has been a transformative experience."
ASU Leadership Institute features nine ASU Innovation Days throughout the course of the program led by experts from fields including business, military, nonprofit management, media, health and science, technology, design and the arts, and applied-use research. The programs works to enlighten, inspire and transform leaders from a variety of professions and communities.
"The Leadership Institute has given me a closer look at what makes ASU No. 1 in innovation," said Class 1 member Brian Lee, chief financial officer for Landings Credit Union. "Besides gaining access to discover the diverse programs at ASU, we have also engaged in dialogue with the amazing leaders who are constantly finding ways to advance the work at ASU."
Applications for Class 2 of ASU Leadership Institute must be received by May 17. Successful candidates from the private, public and nonprofit sectors are chosen through a competitive selection process. For more information about ASU Leadership Institute, visit alumni.asu.edu/engage/leadership-institute.
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redpajama_set_name: RedPajamaCommonCrawl


Great news for Bentley Racing fans: there will be a Bentley GT3 car after the current generation Continental GT3 program.
I'm a little jealous of Manuel Carillo. He procured a $278,000 Bentayga for a day in the desert. Lucky for us, he recorded the day. Enjoy his review of this beautiful red (Dragon Red?) Bentayga below.
The Bentayga has received more praise as WardsAuto named it to their 2017 Best Interiors list.
Bentley's all new Continental GT was caught on video at the Nürburgring.


Behaviorism and the professionalization of American psychology : a study of John Broadus Watson, 1878-1958.
Buckley, Kerry W., "Behaviorism and the professionalization of American psychology : a study of John Broadus Watson, 1878-1958." (1982). Doctoral Dissertations 1896 - February 2014. 1392.


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The Freedom Project: Your 9 week guide to limitless living is open for enrollments!
I'm so excited, this day has finally arrived. Today, I'm opening the doors to The Freedom Project: Your 9 week guide to Limitless Living.
This ecourse is unlike anything else out there. It's deep. It's powerful. It's profoundly transformative.
"For as long as I can remember, I thought that freedom in my life meant that I had to be the one in control of everything. If I gripped tightly enough to my life, I would be safe. How very wrong I was. Claire Obeid and her inspiring Freedom Project taught me the art of surrender. Ever so slowly, I began to loosen my grip, and sure enough – along came true freedom. The less control I had, the more liberated I felt – Claire completely opened me up to a whole new way of living.
Through Claire's teachings, I felt like I came home to the person I was. Who I was without the shackles, without the judgement and without resistance. Less suffocating layers – more vulnerability. I walked away from the Freedom Project feeling more like myself than ever before. I finally feel FREE and for that I am eternally grateful.
Check out what some of the other members of The Freedom Project had to same about this transformative and power-packed ecourse.
If this all sounds like a YES to you (and you'll feel it, if it is) then click HERE and jump onboard.
If you still need some more information, feel free to explore The Freedom Project site.
Check out the Welcome Video from me.
Click HERE to learn about what's inside the actual ecourse.
Don't forget: the early-bird rate (only $149!) ends on January 22nd.
I can't wait for you to join us.
P.s I like to be fully present + have the time to commit to the beautiful souls in this course, so with that in mind I won't be running this course again before winter.
The Wellness Project Podcast is here!
The Pregnancy Wellness Guide Wrap-up + GIVEAWAY!
2012. MY YEAR IN PICTURES.


This three-phase process for creating proposals that meet prospect expectations covers what to do before, during and after presenting.
Rejection hurts, so most salespeople try to avoid it for as long as possible. It's far smarter to bring objections to the surface as early as possible. Sales acceleration specialist Jeb Blount offers a few powerful tactics to help you do so.
Salespeople learn when they're listening, as getting prospects talking gives a producers the information needed to make the sales. Here are 8 questions that will do the job.


For thousands of Cubans who escaped to the U.S. when Castro took over the country and confiscated their lands and dreams in the name of Communism, there was always the hope of return. Fifty years later the hopes have manifested into reality. Adelaide Mestre, of Cuban ancestry, was one of those who followed her dream to return to her Cuban roots.
Hers was an incredible journey, which took on an unusual mission: to search for the piano her concert-pianist father played as a child. In her solo performance piece, Top Drawer, a poignant, funny and meaningful look back at her childhood from her ("top drawer") life on the Upper East Side to her present-day re-connection with her Cuban heritage on her visit to Havana, Mestre weaves an emotional, humorous portrait that touches the heart and uplifts the soul.
When I saw Top Drawer, your solo performance at The Triad in New York City – which I loved, by the way – I enjoyed the humor and pathos and how the show held so beautifully together. How did the show evolve?
The full title is Top Drawer, Stories of Dysfunction and Redemption from Park Avenue to Havana. The show had a slow evolution and actually came together in pieces. Initially, I wrote a piece about music in my family that was an assignment from a writing teacher that had been a writing prompt. In that piece came out the history of my family and music. For example, how the love of music went back generations and how the thwarted ambition[s] of my parents all got passed down to me.
That piece about music in my family connected to a singing teacher I met later in life. Manny, my singing teacher, became a character in the show. And the piece also was about how I finally was able to free myself up enough to sing.
Then I took this extraordinary trip to Cuba. And I wrote a separate piece about what it was like returning to Cuba and looking for my father's piano.
It never occurred to me that these stories belonged together. But a good friend said, "You see what you have here. Don't you?" And all of a sudden, the light went [on] in my mind: Searching for the piano and the story of music in my family connected. I added details: all of the personal family drama growing up, told with and through music, while searching for my father's piano.
Adelaide Mestre with Doug Oberhamer on the piano in 'Top Drawer', directed by Coco Cohn. Photo courtesy of the production.
Who were some of the individuals who helped you evolve the show?
I had a really great team. There were many people who helped with the evolution and I love collaboration. I originally started with this dear friend who is a writing teacher. He teaches solo show performance. I was taking his class and that's when I first [started writing] the music piece. He's always been a cheerleader and fan.
We found this surprisingly wonderful collaboration. She knows me, my life, my mom. She's a beautiful actress and an amazing director with an incredible eye. She drew out parts of the story and edited me like crazy and we started weaving it together. We found the back and forth of the two worlds of Cuba and the Upper East Side and different elements and themes in the story.
How did you know when you were done evolving it?
People think because it's autobiographical and I have a life event, I'm going to add more to the show. I don't include recent life events. There have been many iterations and a lot of rewrites and it was an evolving script for quite a while. [From] the time I debuted it at the International Fringe until now, there have been about four versions. While you're doing it, you're always thinking you could include something and that you're never finished. If the show were to go to Broadway, and somebody said, "It's perfect…but it needs…" maybe I'd write a whole new scene. But I think I've told the story and finished it.
What inspired you to apply to the International Fringe Festival? Was it a need for an audience to see it, for feedback to help shape it into the successful work you've accomplished?
Absolutely. At some point you have to throw it against the wall to see what sticks. I needed a deadline. There were some muddy parts and things I wasn't sure about. The Fringe would give me a deadline to tighten the script, get it in order and coalescing. I also wanted to see what worked and what went over, what felt good, and solidify the show's humor.
The material is quite serious. I confide about my father's suicide, my father's coming out and his pain and suffering. There were delicate subjects. I had to figure out what tone to strike with them.
My approach is to take the audience as my confidant. I take them on my journey quest. That was something I had to discover: Exactly what was my dialogue with the audience? Then I had to incorporate that in a presentational, theatrical way. I needed to figure out the right balance, like, "Well, I want to share this with you and give you this little aside." I needed to discover these elements in front of an audience.
Adelaide Mestre in 'Top Drawer' directed by Coco Cohn with Doug Oberhamer on the piano. Photo courtesy of the production.
So you performed it four times for the four different iterations? Were the audiences different?
I performed it in four different runs. I don't know if the audience was so different, but the show was different. After each run, I learned. Then I rewrote it and presented something different. The feedback shaped it. I was feeling out the response to the script and seeing how it worked on stage. As a storyteller, I noticed the back and forth with the audience. I also gauged how I felt telling the story. If it didn't seem complete or feel quite right, I'd go back and do another rewrite and present it again a year later.
Changes happened when I found a Cuban niche audience. At some point it got in the Cuban pipeline and a lot of Cubans started showing up. I got a lot of response to the Havana visit. It strengthened the show. In the first iterations, there was more weight to the history and big events, my Dad's suicide, his coming out, the breakup of my parents' marriage. The quest for the piano wasn't in the forefront. It was in my show and I knew it was important, but it didn't carry the weight it needed to carry.
Performing, I felt a connection with the Cuban people who lived in exile for 50 years. They're hearing the story of their homeland, connecting to something that is still there. For me it was the piano. For them it could be whatever it is that is still there, that has disappeared and perhaps can be found. These experiences just brought the gravity, the weight, the poignancy, the depth and richness to the themes and story.
For example, you know the scene where I go to see my Grand Aunt in Cuba? When I do that for a Cuban audience or an audience that has many Cubans in it, sometimes I can barely keep it together, because I can sense them feeling whatever relatives they've been separated from, whomever they left behind. I feel the ache that they live with.
And there are some nights when there is just silence. It is terrifying. There is a lot of humor in the show. When I don't get that laughter, I'm not completely sure that they're with me. I think, "No. It's not going over." A part of me is panicking inside and I walk off the stage and I think, "Oh it was a disaster." Then I go out and people are on their feet applauding. I learned that people are responding differently to other elements of the story. They're responding to the pain and the loss. They're riveted, but they can't laugh.
Adelaide Mestre in 'Top Drawer' at Guild Hall, East Hampton, NY on July 26th. Photo courtesy of the production.
Tell me about the performance I saw at The Triad on June 21.
I hadn't performed in two years. I had a baby and then my Mom passed away and I took some time off. Then in October, 2015, a Cuban charity hired me to perform the show as a benefit. So I got the show back in shape, and performed it and realized how much I loved doing it. I realized I missed performing and I felt the resonance of the story and the impact of it with people's response to it. I felt that I had to do it again. So when I was doing the show at The Triad, I was doing it after the time I took off.
You are performing at Guild Hall out in East Hampton on July 26th at 7 PM. Could you talk a bit about that?
It was like Audra McDonald in Shuffle Along leaving the show because of her pregnancy.
Yes. We were having such great houses with momentum then. It's the same now. I think because Cuba opened up, that news added a new excitement and interest. I feel then and now there is a sparkle and a crackle going on. The opportunity opened up in East Hampton at Guild Hall this July. I've always loved that theater, I love being out there in the summer and the momentum for the audience is there.
How did you select the music for the show?
We had help. I knew I wanted to expand the show, but I wasn't sure how. My dear writing teacher asked me to write down all the significant episodes in my life that happened in and around music. As I did, it turned out that many of the stories hinged on a song.
Some of selection was obvious. It was like, "Oh! There was that time I was watching my mother do a cabaret act and she sang 'In a Very Unusual Way.'" As a result, I wrote about my parents' marriage as a scene. The song emphasized the love between them and their doomed love affair because he was gay and she could never have him.
As I was digging deeper, culling more material, I sensed there was a story that would resonate. For example there is a scene that takes place in Newport, Rhode Island, an actual concert that my opera-singer-socialite Mom performed, which was an evening of repertoire. Initially, I selected an aria and told the connected story. I did the show with this scene and it worked fine but I didn't feel it was [claps her hands] really working with snap.
My director said, "I think we need to rewrite that scene." I chose another song that was part of the concert repertoire, which inspired a whole different element about an episode with my step-brother. So, that's how that music was selected. Sometimes I'd be writing and I'd remember significant events, like the excitement of seeing Annie as a kid. I knew the songs; that led to another selection for the show. It was an intuitive process. I found the song and the material came along; I found the material and the song came along. Either way, the process revealed themes and events that were going on in my life.
When I was stuck one time and couldn't decide the next show segment, I went for a walk with my iPod on. The opening number of the show came up, "Without You," "Sin Ti," a bolero. As I listened to "Without You" ("Without you it is useless to live, like it is useless to want to forget you"), I thought, "OK. I have to write about my Dad." Originally, I had included stories about my mother. So that's another illustration of how I evolved a music selection that changed based upon process.
I think Top Drawer resonates not only with Cubans but with others in terms of how we learn to understand our parents. You obviously learned other aspects of who you are by writing this. Any revelations you had about yourself?
Writing and performing the show gave me perspective about myself and revealed a lot about my parents. That was the beautiful thing about performing it. It gave me compassion for my mother. I recognized how much my parents loved each other. In spite of the fact that theirs was a flawed marriage, they didn't make it, they separated and my father was gay, the show tracked their courtship – their falling in love, their coming together, their divorce. The song my Mom sang, tracing the romance, as failed as it was, reveals that there was a true love affair between them. Their love was very unconventional, but it endured through time. Long after my father died, my mother was singing about him in a cabaret act.
That realization was a revelation for me. Having gone through some of the experiences I went through, losing my Dad very young, the trauma of their divorce, the crazy step-dad, the chaos and all that I cover in my show, especially my Dad's suicide, I didn't always come upon the most warm and accepting, loving embrace of myself. It was important understanding that I came from this deep love; that realization had a big refrain for my life. I was the product of this beautiful love between these two people, which made me see them differently and myself differently. I was able to look at myself and them through this warm lens of love and affection. Though there was a history of difficulty and pain, yet I could hold all of it in a loving embrace.
The show is a testament to your desire to grow and your ability to learn through the creative process. How long did that process take?
Two years; with the rewrites five years; in some ways 10 years. Ten years prior to writing the initial script, I sat down and tried to write a show about my family history. I got about two minutes in and felt devastated and overwhelmed. I just couldn't do it.
Everything has its time, and now the time is very ripe for Top Drawer.
Adelaide Mestre is performing Top Drawer Tuesday, July 26 at 7 PM at Guild Hall in East Hampton, NY.
'Olé Olé Olé!: A Trip Across Latin America' is the most gorgeous tour documentary I've ever come across. It's a religious experience for Rolling Stones fans and a testament to what they mean to people all over the world.


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invest@propwealth.co.uk +447500166982
Services & the Team
Investing Process
Off Plan & New Build
Resales & Refurbs
How South Africans can invest in the UK?
Property in the UK offers an opportunity to build wealth and benefit from monthly cash returns in sterling. While setting up a company as a hedging strategy helps guard against the uncertain economic climate in South Africa.
Why South Africans are taking their businesses to the UK
It's all about stability, along with one of the lowest corporation tax rates in Europe.
Going Offshore
Part of any astute investor's strategy is to position a portion of their portfolios offshore, as has been reflected in the amount of personal foreign exchange allowances exiting South Africa over the past months. This is according to Anthony Doyle, from UK based Propwealth.
Many South African investors then ask, what to do with the funds, and how can they benefit from opportunities in the UK.
Like many major investment classes, the UK property landscape has changed radically during 2020 in the wake of Covid-19 pandemic.
READ | A step by step guide to buying property overseas (It's easier than you think)
Specialising in property investment as a business
"There are amazing opportunities in UK property now, in keeping with the far-reaching trends that have developed in the past 6 months. We see a major impact on the market that will benefit property investors who have a medium to long-term approach," Doyle..
Opportunity in Residential investing
Retail and office investing more high risk, according to Doyle, plenty of stock is becoming available, as larger UK retailers reduce overheads, including retail and commercial spaces.
"Void periods will likely increase, and potential tenants will want to negotiate rents, bringing down yields, as 'work-from-home' scenario become the norm." He believes office and shop conversions to residential homes could become a major opportunity.
Testing entry-level properties
South African investors have been looking at entry-level properties around the £45 000 to £200 000 mark as they test, and understand, the legal and investing procedures in the UK. Overall, there seems to be more confidence in residential investments post Covid-19.
Propwealth director Craig Illman says, the UK property market is poised for a new future. For long distance investors residential property looks a safer option owing to demand and institutional aspects like easier rezoning.
READ | Affordable UK investments: 3 new property concepts
Much like South Africa, the United Kingdom has seen a mini residential property boom in June and July this year as pent up demand during lockdown was released.
And fortunately for investors, the future looks positive for traditional residential buy-to-let, says Doyle.
Setting up shop in the UK
Starting an entirely new business in the UK as an investment is not impossible either.
Britain is known for its complex bureaucracy, but if you have your paperwork in order it is an efficient process to get started.
"Incorporating a company is relatively quick and easy – The set-up can be done in 48-hours. Most people take the subsidiary option, opposed to branch. When it comes to a branch, you would have to declare your overseas company's result at Companies House in the UK and most people don't want to do that," says Doyle.
"I would recommend that if an individual is looking to incorporate a company, they should go for the simplest structure possible; this would be one person being the director and one person being the shareholder which can be the same person. Over time more people can be added."
Tax number applications including PAYE and VAT can usually be applied online though there are a number of questions and if completed incorrectly will lead to queries from HMRC. However, if completed correctly, you should receive the tax numbers within 5-10 working days.
Visit our FAQs or email us at info@propwealth.co.uk if your question is not answered.
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When leveling, go Holy. It gives you a projectile weapon that, frankly, rips apart enemy encounter design up until the final boss.
The soul saving minigame never really gets appreciably harder so don't even worry about it and accept the absolute tedium of a minigame as the rewards are more useful for the one playthrough you'll do.
Always explore both ends of each bone pole and rope to make sure to get all relics, damned souls and experience fountains. Same goes with running towards the camera or in the opposite direction the camera points to whenever entering a new room or "scene". Pretty much standard GOW "secret location logic".
There's enough Holy/Damned experience in the game to max out one of the two skill trees at level 7 and get the other one to level 5. This can be done without grinding, just make sure to level up the two relics granting up to 30% extra experience early in the game. Maybe 6/6 is also possible, but why would one want to do that?
You can game these +x% Holy/Unholy XP relics, due to how the Holy/Unholy XP and leveling up of relics work. The (Un)Holy XP is awarded immediately when the activity finishes. The associated souls, which are what levels the relics, have a travel time and will hit 1-2 seconds later. In that time window, one can switch the bonus XP relic out for one that still needs leveling.
The Holy side of the skill tree is focused on defensive magic, survival and and ranged attacks via the cross, the Unholy one is more focused on offensive magic and melee attacks via the scythe.
You'll want to have the Soul Stabber/Crusher/Shatter triplet of Unholy skills for the final boss and two other types of elite enemies in the second half of the game. Not having these will make your life a pain.
On the holy side, definitely get the upgrades that lower damage taken as well as the ones that make the Holy Shield magic restore your HP. Fully upgraded, this almost fully refills a 3x upgraded health bar.
Easiest path through the game in my opinion is Unholy to level 1, then Holy to level 3, then Unholy to 3, then Holy to 5 (3rd relic slot), Unholy to 4 (4th relic slot), Holy to 7, rest into Unholy. With this path, I have about half a dozen damned souls left when I reached Holy level 7.
Lastly, the question marks on the very left of the Unholy tree relate to magics you get later in the game, so unless you want to go heavy into offensive magic, don't save up for them.
One relic to definitely upgrade is the one that extends the combo hit timer (Coin of Plutos). Without this, you will hate your life in the 8th circle of hell.
Other relics of note that should be leveled on higher difficulty are the mana regeneration one, increased scythe and cross damage (the former will make the end boss easier) and defensive ones like decreased damage received, chance to absorb damage or increase of counter attack window, as there are a few enemy types that will sooner or later hit you.
This page was last modified on 12 July 2017, at 16:49.


I knew I could only be in Kazakhstan when I saw the priests. Two of them—half-bears, half-men—walked up to the Soyuz on its pad at the fabled Baikonur Cosmodrome, their robes blowing in the desert wind. Then they sang at the rocket and bowed at the rocket and finally threw holy water at the rocket, and then they came over to us, the assembled reporters, and they threw holy water at us, too, because we probably looked like we could use it. I'm not a religious man, but I accepted my soaking under a boundless blue sky and thought what I suspect most of the people on the pad were thinking: Can't hurt.
The entire Russian space program seems built on the guiding principle of can't hurt. I was there for Esquire to report "Away," a story about the future, about Scott Kelly, the first American who will spend a year in space, one more stepping-stone on our long journey to Mars. But in Kazakhstan, it felt more as though I were visiting the past, returning to a time when romance and witchcraft hadn't yet made way for science. Over nearly 50 years of manned flight—every last one of those launches, from Yuri Gagarin on, having sprung from the same slab of cracked concrete—the Russians have acquired layers and layers of ritual, all of it either silly or sacred depending on how magical your thinking.
The Soyuz is always drawn out of its massive assembly building at exactly 7 o'clock in the morning, pulled along by a locomotive with one of its headlights mysteriously put out. The cosmonauts spend one of their last nights on Earth at their hotel in town and watch a pretty bad movie, White Sun of the Desert, and they always walk out to the bus that will take them to the pad to the same song, by a band called Earthlings. Later, they all climb out of that bus and piss on one of its tires because Gagarin allegedly did so; female cosmonauts and astronauts pour out a pre-filled cup.
And then, with a far better success record than the Americans could ever claim, they strap into their rocket, ancient and blessed, and launch into space.
I made the pilgrimage to Florida to watch three shuttle launches. I saw only one actually happen, because of faulty heaters and rain. (The one successful launch I did see was moving and spectacular. When something that big departs the earth, you can feel its leaving noises in your guts.) On NASA's charter flight from Moscow to Baikonur, I worried aloud that we'd booked our return the day after the Soyuz's scheduled launch. What if it was delayed? Rob Navias, the voice of the agency, smiled and shook his head at me. He had attended nearly 70 Soyuz launches. Every last one had taken off when scheduled. The Soyuz is never scrubbed, and it is never late. Even blizzards don't stop it.
Is that because bearded men douse it with holy water? Of course not. If that locomotive's second headlight were lit, it wouldn't have any effect on anything that happened after, the way a ballplayer eating chicken before a game won't change its outcome. The Soyuz works because it's a simple and reliable machine, well tested and beautifully designed. It's because the Russians are expert at building it and they resist changing anything about it that doesn't need changing. It's because humans are capable of care and wisdom and competence and resilience. It's because lighting a fire under a missile usually means that missile will end up going somewhere.
And yet since Baikonur, since my time spent in that colony of ghosts, I've caught myself wondering about the value of reverence, the worth of superstition.
For us that's a derisive word, but doesn't it just mean doing things the way we did them when our dreams came true before? That is almost purely rational. We should learn from our past, stand on the shoulders of those who came before us. That's how success breeds success. The great lure and challenge of Mars is that we haven't done anything like it before. Right now, it's beyond us, which means we have to be especially mathematical and mindful about it. We have to go a day, a month, a year into space, until we cover the miles by the millions. Our most complicated machines run almost entirely on experience.
While we're at it, though, maybe throwing a little holy water into the mix can't hurt.
READ THE REST OF "AWAY"—THE INCREDIBLE NEW STORY BY CHRIS JONES—RIGHT HERE.
A sign marks the entrance to the town of Baikonur, Kazakhstan.
A Russian Orthodox priest blesses the Soyuz TMA1-14M spacecraft at the launch pad of the Cosmodrome on September 24, 2014.
Russia's Soyuz TMA-13M spacecraft blasts off from Russian-leased Baikonur Cosmodrome on May 29, 2014.
Security monitors the Soyuz TMA-11M rocket at the Cosmodrome on November 5, 2013.
The Soyuz TMA-11M rocket is rolled out to the launch pad by train at the Cosmodrome on November 5, 2013.
People take photographs as Russia's Soyuz TMA-11M spacecraft carrying an an unlit Olympic torch for the 2014 Winter Games in Sochi aboard blasts off from the Baikonur cosmodrome on November 7, 2013.
Specialists prepare a Soyuz TMA-20 rocket at a rocket assembly line at the Russian-leased Baikonur Cosmodrome on December 12, 2010.
The Soyuz TMA-01M rocket being rolled out by train to the launch pad at the Baikonur Cosmodrome, Kazakhstan on October 5, 2010.
A missile launching pad destroyed by an explosion in 1989 during a military test at Baikonur Cosmodrome.
Cosmodrome before launch of the 'Energia' launch vehicle with the Buran spacecraft, October 22, 1988.
Soyuz 28 on the launch pad at the Cosmodrome, 1978.
Russian cosmonaut Yuri Gagarin and rocket engineer Sergey Korolyov at the Cosmodrome, 1961.
Picture from the Soviet daily Pravda dated 13 November 1957 of the dog Laika, the first living creature ever sent in space, onboard Sputnik II.
Picture dated 04 October 1957 shows the world's first artificial satellite Sputnik I, launched by the Soviet Union from the Baikonur Cosmodrome in Kazakhstan.


The Little Prince, based on a much-beloved novella from 1943, begins when a pilot crashes his plane into the Sahara Desert. Stuck, alone and thirsty, he encounters a young prince from an asteroid, who tells him stories of his life in the cosmos. The Lookingglass production tackled the story with minimal props, swooping aerial effects and a stockpile of wet-erase window markers. Click on the images below for a closer look.
David Catlin, DIRECTION: The illustrations in the Little Prince book are hand drawn by the novelist. Those drawings are not visually complicated—they're simple, clearly made up of just lines. We took some cues from that—we wanted it to feel like the play could be happening on a page. And a sheet of paper can contain whatever you want to draw on it. Throughout our adaptation, the pilot is drawing in a notebook, so we thought it would be great if he could actually write on the stage [above right]! We used window markers, and found we were able to wipe it off every night. The set was made of vinyl flooring that was flipped over, so there was no texture to hinder the drawing. Having these characters in costume interact with each other, in a space with very little scenic detail, made them just pop off the page.
We also wanted to fully occupy the space, not just in front of the audience but around them. Sometimes characters rolled out into the audience; others were flown in from above. That's one of the ways that the story traveled out to them, and enabled them to participate a bit in the telling of it.
Sylvia Hernandez-DiStasi, ACROBATIC/CIRCUS CHOREOGRAPHER: As an artistic associate of Lookingglass, I have done several shows with David Catlin. Little Prince lent itself perfectly to aerial work, because it's all about planets floating through space—no offense to David, but it almost writes itself [laughs]. My job was to help David see what he wanted to see—and he's an awesome collaborator who's open to suggestions. With the rose [right photo], I was pretty forceful about wanting her to be in the fabric and rising out of the stage as she blossoms. There's a trap underneath the set, and she got lifted out of the stage. The silk at her feet represented the stem, and her costume was all folded up like a bud. When she got to the top, she pulled the string of her costume and it blossomed. The actress was hanging by her shoulders, which was kind of painful—we didn't know if she could do the whole scene from that high up! The Little Prince involved a lot of trial and error—we'd ask the actor, "Can you do this?" and the actor would say, "I can't do that, but I can do this." And together, we enhanced the story and made it accessible for everyone.
The Little Prince by Rick Cummins and John Scoullar, based on the book by Antoine de Saint-Exupéry, ran at Lookingglass Theatre in Chicago Dec. 5, 2013–March 16, 2014, in association with the Actors Gymnasium. The production was under David Catlin's direction and featured scenic design by Courtney O'Neill, costume design by Sally Dolembo, lighting design by William Kirkham, sound design by Rick Sims, acrobatic/circus choreography by Sylvia Hernandez-DiStasi, properties design by Maria DeFabo, rigging by Lee Brasuell, stage management by Tess Golden, production management by Joel Hobson and technical direction by Chad Hain.


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'In-Line Launch' at Waterford Airport as part of the Irish Hot Air Ballooning Championships
Some 30 Hot Air Balloons are set to launch in a single line at Waterford Airport as part of the Irish Hot Air Ballooning Championships while the festival takes place in the City from September 20th to 25th 2015.
The record making in-line launch was achieved at Waterford Airport back in 2009 when 24 eye-catching hot air balloons took to the skies above the airport and booked their place in history as the largest ever number of hot air balloons taking off in-line at an airport in Ireland and in the UK and around the 21st of September the balloon pilots plan to break the record which still stands.
Commenting on the record attempt, event organiser and balloonist Joe Daly said, "We are very much looking forward to the festival and bringing the colourful spectacle to Waterford. While Waterford city is hosting the 45th Irish National Championships, at Waterford Airport we will attempt to break the standing record of 24 balloons taking off in a single line simultaneously at an Airport. It will be a sight to behold."
Hot air balloons have the same aviation regulations as aircraft for landing and take-off at Waterford Airport as well as the use of the adjacent air space and Waterford Airport will provide Air Traffic Control assistance to the balloon crews at the festival and for the record attempt.
The Irish National Hot Air Ballooning Championships, sponsored by Imtech Suir Engineering, are the longest running such event in the world and balloons from throughout Ireland, the UK, France, Holland, Italy and USA will travel to take part in the visually spectacular aviation event. The first event was held in 1971 county Longford and was attended by a handful of balloons. The event now attracts over 40 balloons annually and is the biggest of its kind in Ireland, with the ancient aircraft taking to flight entirely depending on the wind for direction.
Each morning and evening of the festival, a launch of the balloons will take place from a different location subject to flyable conditions. Locations include The Peoples Park, Woodlands Hotel, Waterford Castle, Curraghmore House and Waterford Airport. In addition to the launches, the balloonists plan to provide a spectacular Night Glow, thanks to RE/MAX
Further information can be found on www.flywaterford.com or www.irishballoonchampionships.com


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Latest Tomorrow's transport
Oxbotica nets $47m to take autonomous vehicle software global
Project Titan: Apple eyes 2024 for self-driving car launch
Voi is testing wireless e-scooter charging with an Imperial College spin-out
Mobility startup Bolt raises €150m in biggest funding round to date
Tier Mobility makes UK e-scooter push as trials poised to start
Robert Scammell 30th June 2020	(Last Updated June 30th, 2020 11:43)
Tier Mobility
Micro-mobility firm Tier Mobility is braced to launch in the UK's nascent electric scooter rental market as the government prepares to make an announcement on e-scooter trials later today.
The German firm says it has more than 1,000 e-scooters in its UK warehouse that are ready to be deployed. Like rival micro-mobility firms, the e-scooters can be unlocked using a mobile phone app and rented by the minute.
E-scooters are currently legal to buy in the UK but illegal to ride on the road or pavement. In May the Department for Transport said it was looking to fast track e-scooter trials as part of a sustainable transport push. E-scooters have also been touted as a means for commuters to avoid crowded public transport during the coronavirus pandemic.
These trials – which do not extend to privately owned e-scooters at this stage – are widely expected to get underway today. The government is also reviewing the regulations around rental e-scooters and carrying out an inquiry into the viability of having them on UK streets.
Tier Mobility scoops senior Uber staff
On Monday, Tier Mobility announced two big-name hires from Uber as it geared up for a UK launch. Fred Jones, formerly Uber's general manager of UK and Ireland, will become Tier's UK general manager. Benjamin Bell previously headed up Uber's public policy and has joined Tier as head of public policy for Northern Europe.
"The arrival of e-scooters was rightly fast-tracked in the wake of Covid-19," said Bell.
"By providing safe, green transport for millions of people, they can play a crucial role in getting the UK back to work. TIER is already a partner to governments across Europe and we look forward to building lasting relationships in the UK and beyond."
Tier is understood to be working closely with the government on UK e-scooter trials. The firm, launched in 2018, operates in over 20 cities across nine countries: Austria, Denmark, Finland, France, Germany, Norway, Sweden, Switzerland and UAE. Its 40,000 e-scooters have completed 20 million rides by three million commuters, according to Tier's own figures.
Tier will make helmets available as part of the rental process, which may smooth the process with regulators. It also claims that its design – a bigger front wheel, wider footplate and double kickstand – improves safety.
The startup says it has 20% of the global rental e-scooter market, but it will not be alone in the battle for Britain's micro-mobility network. US firms Bird and Lime are also eyeing a move into the UK's untapped market. Swedish micro-mobility startup Voi is also reportedly in talks with the UK government to seek permission to test its e-scooters.
Lime may be at an advantage because it already offers e-bike rental schemes across the country. Meanwhile riders have been using Bird e-scooters on private land in London's Olympic Park as part of a trial, which may work in the startup's favour.
Read more: E-scooter wars: is there substance behind market domination?
Robert Scammell


Emanuel visited a safe haven for children on the city's Southwest Side Monday, and was asked if he thought the work stoppage was a way for union leaders to embarrass him politically.
"That's the wrong thing to do. Don't take it out on the kids of the City of Chicago. If you've got a problem with me. That's wrong," said Emanuel.
Just one week after Emanuel addressed the Democratic National Convention, he is back in national news as mayor of a city where more than 20,000 public school teachers are on strike and more than 300,000 students are out of school.
The timing of the strike follows a summer in which Emanuel had to explain the city's skyrocketing gun violence and homicide rates.
"I think it will cost the mayor if he doesn't resolve this," said Bishop Larry Trotter, Sweet Holy Spirit Church.
Trotter, who says he wants the mayor to succeed, said Emanuel's campaign promised stable finances, safer streets and stronger schools.
"He is in a position now to win the peoples' hearts or to lose them forever. If you want to hurt somebody, start talking about the kids," said Trotter.
Meanwhile, Republican presidential candidate Mitt Romney issued a statement on the strike as he visited Chicago for campaign fundraisers.
"President Obama has chosen his side in this fight, sending his vice president last year to assure the nation's largest teachers union that 'you should have no doubt about my affection for you and the president's commitment to you,'" the statement said.
The White House denied the president had taken sides.
"The president, as you've just heard from me, has not expressed any opinion or made any assessment about this particular incident," said Jay Carney, White House press secretary.
"I don't really give two hoots about national comments, scoring political points or trying to embarrass, or whatever, the president," said Emanuel.
During a news conference Monday, Emanuel had strong words for teachers, calling the strike the wrong choice for children.
Emanuel held firm on his position that teachers should be evaluated by local principals as opposed to the central office under metrics set by union contract.


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Q: Can the salt in the encryption key can be different for encryption and decryption? I have a java application that encrypts and decrypts strings. It generates one key for encryption and one for decryption.
Key Generation:
 SecretKeyFactory keyFactory = SecretKeyFactory.getInstance("PBKDF2WithHmacSHA256");
 char[] passwordChars = password.toCharArray();
 KeySpec spec = new PBEKeySpec(passwordChars, salt.getBytes(), iterations, 256);
 SecretKey key = keyFactory.generateSecret(spec);
 byte[] passwordHash = key.getEncoded();
 SecretKey secretKey = new SecretKeySpec(key.getEncoded(), "AES");

My goal is to have the password stay the same for both the encryption and decryption key. But have a different salt for each of them. Is this possible or do I need to have the same salt for both keys?
Whenever I try to change the salt for the decryption key, I get this error:
javax.crypto.AEADBadTagException: Tag mismatch!
at java.base/com.sun.crypto.provider.GaloisCounterMode.decryptFinal(GaloisCounterMode.java:623)
at java.base/com.sun.crypto.provider.CipherCore.finalNoPadding(CipherCore.java:1118)
at java.base/com.sun.crypto.provider.CipherCore.fillOutputBuffer(CipherCore.java:1055)
at java.base/com.sun.crypto.provider.CipherCore.doFinal(CipherCore.java:855)
at java.base/com.sun.crypto.provider.AESCipher.engineDoFinal(AESCipher.java:446)
at java.base/javax.crypto.Cipher.doFinal(Cipher.java:2207)

A: https://crackstation.net/hashing-security.htm - the salt should be different for each piece of encrypted information. I believe its often derivable from the user's other details... so dob + last name (for example) are used as the salt for encrypting passwords so that each password is encrypted to a different value, even when two users share the same password.
Edit: the salt should be the same for the encryption and decryption key, but unique for the individual passwords being encrypted/decrypted. Please read the information at the URL for a better understanding

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Lead Volunteer
Youth Advisor
Group Workshops
Individual Opportunities
Me You Us Them
El Akl Festival & Tandem Shaml
East Belfast Projects
The Belfast Tempest
Arrivals3
Arrivals2 Photos
Ulster Kama Sutra - 2011, 2012, 2013
Macau - 2007, 2008, 2009
It's Not All Rain & Potatoes - 2007
" 'What a thought provoking, inspirational and incredible performace. The script is so enjoyable and the time flies by...I didn't want it to end.'"
— Audience Member, Seamus Heaney Home Place
This was a quirky, funny, romantic, shocking play that was both engaging and thought provoking. Featuring a talented duo of up-and-coming actors, written and directed by Andrea Montgomery, based on hours of off-the-record conversations with people across Northern Ireland about race and modern relationships. This was fresh modern theatre delivered with raw talent and simplicity.
Melissa Dean and Stefan Dunbar rehearse the final scene of Me You Us Them.
Me You Us Them used a series of monologues and dialogues that are as powerful, quirky and unexpected as anything Terra Nova's track record of previous exciting work. The play is (just) free of strong language; suitable for young people aged 12 and up.
The first tour of Me You Us Them has just closed. The project is currently is planning a second tour in 2019. Read a review here or watch the video for more information.


These are some lies we made up about Fraser.
Alexander the Great was made out in a deserted neighborhood close to Fraser.
The extraterrestrial technician of an alien spaceship was spotted hitch-hiking down a gloomy highway in the vicinity of Fraser.
The ghost of an airline pilot has regularly been made out mailing a container at a Fraser post office. According to what the residents assert, this ghost enjoys startling foolhardy people who dare to interrupt the silence in Fraser. Regardless of what, this is an intimidating spirit that is preferably not interrupted.
An enormous alligator has been distinguished on a handful of instances discussing into the night as if someone in addition was nearby.
Count Dracula can frequently be seen walking a German Shepherd late at night on a gloomy Fraser road.


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Electricity generation up
By Mirsaid Ibrahimzade
In recent years, the country has turned from an electricity importing country into a country exporting electricity. Azerbaijan, which has been exporting electricity to neighboring countries for a long time, has already begun exporting energy to European countries.
Since early May 2019, Azerenergy has started supplying electricity to Greece, Romania, Bulgaria and Hungary through Georgia and Turkey. In the coming months, the company also plans to export electricity to Austria and Italy.
The volume of electricity generation in Azerbaijan in the first half of 2019 amounted to 11.967 billion kW/ h which recorded the growth by 5.6 percent compared to the same period of 2018, the State Statistical Committee of Azerbaijan told local media.
At the same time, the production of commercial electricity in the country in this period amounted to 11.549 billion kW/h (an increase of 5.8 percent).
Thermal power plants of OJSC Azerenergy generated 10.611 billion kW/h of commercial electricity (an increase of 7.1 percent) and hydroelectric power stations produced 859 million kW/h of commercial electricity which recorded a decrease of 12.9 in January to June 2019.
Azerenergy is the main exporter of electric energy in Azerbaijan. The total power generation capacity of its stations exceeds 6,000 MW, which allows generating about 24 billion kWh of electricity annually.
The electricity exports to Russia, Georgia, Iran and Turkey increased by 175 million kilowatt-hours or 14.2 percent in 2018 compared to 2017. Azerenergy OJSC is the main exporter of electric energy in Azerbaijan.
In addition, the country produced commercial wind electricity in the amount of 57.7 million kW / h (8.5 times increase) in the first half of 2019, while solar electricity output reached 21.1 million kW / h (an increase of 9.3 percent).
The difference between the general and commercial indicators of electricity production is explained by the fact that Azerenergy OJSC uses part of the electricity produced to meet its own needs.
According to the Ministry of Energy, the volume of electricity generation in Azerbaijan in 2018 amounted to 25.256 billion kW/h, which is 13.7 percent more than in 2017.


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est un album de jazz du trompettiste Cy Touff.

Enregistrement
L'album enregistré en deux sessions comprend des titres originaux composés et arrangés par Al Cohn et Ernie Wilkins. Les musiciens sont tous des Chicagoans. Cy Touff y joue de la trompette basse.

Musiciens
Les sessions sont enregistrées par un quintet qui est composé de:
 Cy Touff (btp), Sandy Mosse (ts), Ed Higgins (p), Bob Cranshaw (b), Marty Clausen (d).

Dates et lieux
 et  Chicago, Illinois

Titres

Discographie
 1958, Argo Records - LP 641 (LP)

Référence
Ralph J. Gleason, Liner notes de l'album Argo Records, 1958.

Album de Cy Touff
Album de Sandy Mosse
Album de Bob Cranshaw
Album d'Eddie Higgins
Album de Marty Clausen
Album publié par Argo Records
Album musical sorti en 1958

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