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United States Representative
Ep 170: Bill Foster - United States Representative, US Congress
Background in Business and Physics
Are you the only scientist in Congress?
Bill Foster, a Congressman from the 11th District in Illinois, was, for many years, the only PhD scientist in Congress. Foster started out his undergraduate studies at the age of 16 at the University of Wisconsin majoring in physics. When he was 18, Foster worked with his brother to invent a system using the newly invented microprocessor to control stage lighting. His brother's expertise in technical theater, coupled with Foster's experience working with computer chips, brought the product together and they identified a need in the market. They originally marketed their product through pre-established main players in theatrical lighting. The company Foster helped start now manufactures about 70% of all the theatrical lighting in the U.S. After serving as president of the company for a decade, Bill Foster returned to school to pursue a PhD in physics. His PhD thesis was on the search for proton decay.
Discovery Made During the Search for Proton Decay
How could the Office of Science at the Department of Energy afford your research on proton decay?
Bill Foster's program had letters from Nobel Laureates supporting the importance of his research on proton decay, which was funded by the Office of Science at the Department of Energy. Foster learned that, in fact, the proton did not decay. He did, however, make the discovery that 167,000 years ago a star blew up in the greater Magellanic cloud, bringing a flash of light and a burst of neutrinos that was visible in Earth's underground detector in 1987. After finishing his graduate degree, Foster spent most of his career at Fermi National Accelerator Laboratory (Fermilab) outside of Chicago. For the first ten years at Fermilab, Foster designed and analyzed data from experiments, such as smashing protons and antiprotons together. The discovery of the top quark was achieved during this experiment.
How do quarks make up an atom?
The field theory is an operator function of space-time, an infinite dimensional matrix at every point in space-time. Particle physics sees great advances and qualitative new discoveries when more powerful accelerators are created. This pattern also exists with the Large Hadron Collider (LHC) which was able to detect the Higgs particle. Nuclear energy is the most recent direct commercial application of subatomic physics. There are many spinoff technologies, such as superconducting cable used by MRI's, which was a product of an attempt to discover the top quark. Foster's first ten years at Fermilab was spent designing experiments and analyzing data, followed by ten years of designing and building the actual particle accelerators. Bill Foster invented the last of the antiproton recycler ring built at Fermilab and led the team that built the magnets for it.
Physics in Congress
How did you turn from physics to a political career?
Bill Foster's father was also a scientist who gave up his career to become a civil rights lawyer and wrote much of the enforcement language behind the Civil Rights Act of 1964. After putting his technical skills to use for the Navy during World War II and seeing the damage his work was doing, Foster's father returned home. Foster's father saw civil rights as the great moral challenge of his generation. In the back of Foster's mind was a feeling that he ought to spend part of his life trying to make the world a better place. Almost every issue discussed in Congress has a technological component. Foster's scientific expertise has been a valuable asset many times while serving in Congress. In 2008, right when the economy was collapsing, Foster first took office and understood the technical and mathematical aspects of structured financial products. Another example is the Iran Nuclear Deal, which had extensive technical mandates for reactor core specifications that would limit the functionality of Iran's heavy water reactor for production of large amounts of weapons grade plutonium. A one year breakout time was part of the Deal, which allowed Foster to brainstorm different pathways to creating bomb materials and verify whether the one year breakout was a valid limitation.
Office of Technology Assessment
Is Congress fundamentally set up to be handling extremely technically challenging topics?
Bill Foster sees the defunding of the Office of Technology Assessment (OTA) as a recent tragedy that happened when Newt Gingrich and Republicans took over Congress in an effort to downsize Government. OTA was a group of very highly trained scientists, mostly academic, with direct connections to true subject matter experts that can provide highly qualified, technical advice to Congress. Foster participated in a long crusade to restore OTA's funding and recently achieved this through the Appropriations Committee budget proposal out of the U.S. House, which is now awaiting Senate approval. This would be a historic reversal of the office defunding.
Climate Change Solutions
What's your take on climate change?
Bill Foster sees two major problems facing climate change: decarbonizating the U.S. and decarbonizating the rest of the developing world. The U.S. has enough money, looking at household net worth, to decarbonize the economy. The cost to decarbonize in the U.S. is significantly less than the household net worth. If technical solutions are used that are too expensive to be adapted in India or Africa, then only 5% of the problem will have been solved. Research for developing low cost techniques of decarbonizing an energy intensive economy should be prioritized. Carbon dioxide extraction techniques do exist, but are expensive, and geoengineering is also in consideration. These technologies work decently well in simulation, but could have unintended side effects. One possibility to remove existing carbon from the atmosphere is aggressively developing bioengineered plants that are much more effective at sinking carbon. Emissions have to be reduced, which could be avoidable with things like efficiency and nuclear energy.
Economics of Decarbonization
Why can't we first invent technology to remove carbon from the atmosphere and eventually use it to solve new emissions?
The McKinsey curve looks at technologies in which carbon emissions can be reduced or eliminated and identifies limits that exist for each technology. Each technology has a total amount of carbon that can be averted and a total cost. The curve shows which technology avoids the most carbon per dollar and identifies which technologies should be pursued. Nuclear is more complicated and has failure modes that can't happen at other power plants; it costs money to ensure those events are unlikely to happen at a level that is socially acceptable. Some advanced nuclear techniques are walkaway safe and are attractive economically since they don't need the same level of safety systems. However, people are nervous about things they cannot see, since they cannot conceptualize its level of danger. Due to a lack of detailed understanding, the public demands a higher level of safety.
Accelerator-Driven Nuclear Energy
What do we do to get ourselves out of this [advanced nuclear] situation?
Bill Foster is trying to push aggressively in Congress to get a handful of advanced nuclear systems prototyped. Foster is enthusiastic about the accelerator-driven systems in which a target gets hit by a particle beam creating a cascade of neutrons, and liberating the energy that would come from a nuclear reactor, but itself is not a reactor. These designs have a natural off-switch which can be multiplied by other safety systems. This technology is not only intrinsically safe, but also has the ability to burn the waste very deeply to decrease the amount of nuclear waste that is left over. To get a bill passed to enable this kind of technology, there are two relevant Congressional Committees: one committee, the appropriators, splits up the pie, and the other committee, authorizes the spending. This system is in place to have multiple sets of eyes, just as the Senate and House work together.
Strategy for Passing Laws in Congress
What does it take to round up the support to get funding for a project?
An individualized strategy is needed for each project to be considered, to serve allies and opponents in order to get committal. A large number of projects may be ready to move the ball forward at any given time, waiting for the political stars to line up. The Stock Act was a ban on insider trading by members of Congress, since the members get market moving information on a confidential basis as part of their hearing. In the past, this inside information had been used to make money on the stock market and it had never been illegal for this to happen. During the depths of the financial crisis, "60 Minutes" did a story on insider trading and began talking to members of Congress, leading to a law against insider trading. Foster's father talked about a similar struggle with the Civil Rights Act and how great things can happen when the political stars line up.
© 2020 Production of the Energy Impact Center


We are pleased to announce the FishPal Malloch Trophy will be presented to this years winner, Wayne Longstaff, on the evening of Wednesday 25th March at the Tweed Foundation Seminar, Ednam House Hotel, Kelso.
Mark Cockburn, FishPal CEO, says "This year we wanted to bring the most prestigious trophy in game angling to the winning river. What better place than in one of the iconic fishing hotels in Scotland, on the banks of the Tweed overlooking the famous Junction pool and at a Tweed Foundation seminar on salmon".
The FREE seminar at Ednam House Hotel, 7pm, Wednesday 25th March, will focus on all aspects of Tweed Salmon, including what happens to these incredible fish during their life cycle as they make their way up and down our river system each year. Spawning, Tweed salmon at sea, catches, and trends in size and age will be some of the topics covered during the evening by their speaker – read more.
Wednesday 25th March at 7pm. Venue: Ednam House Hotel, Kelso, Scotland.


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France wants to allow divorce by mutual consent
PARIS (AP) — The French government plans to allow divorce by mutual consent to proceed without a judge, to simplify and accelerate the process.
Details are to be discussed Tuesday in the lower house of parliament during debate on a bill to modernize the country's justice system.
Family associations, however, have expressed fears that the best interests of children would not be protected enough.
Justice minister Jean-Jacques Urvoas said the process would cost about 50 euros ($56) at the notary office. Each spouse would be required to have a lawyer. The divorce would still need to be pronounced by a judge if a child requests to be heard by a magistrate.
Urvoas told France Inter radio on Tuesday he wants judges "to focus on the litigious divorce cases."
France has 66,000 divorces by mutual consent every year already, representing 54 percent of all divorces in 2015, according to the justice minister.
The country's ombudsman Jacques Toubon expressed "strong reservations" to the plan and urged lawmakers to be "especially vigilant" not to weaken children's fundamental rights. He recommended that divorces without a judge be restricted to childless couples or couples with adult children.
Associated Press 2016

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What are my organization's member approval settings in Practice?
As an Organization Administrator you have the ability to manage how new members join your Organization.
To get to your Approval settings, select the Org Admin icon at the top of the page.
Partially Open: Approval is only required for new accounts when an account is created via group link with an email domain that is not a part of your whitelist. When you select Partially Open, type the email domain that you want whitelisted here . To add another email to your whitelist select Add New Domain .
Fully Open: There is no approval needed when someone creates an account via group link in your Organization. Learn how to invite a member to via Group Link here.
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eCornell Bolsters Batali & Bastianich Hospitality Group's Growth with Online Training
Global Hospitality Group Partners with Cornell for Scalable, Ivy League Professional Development
eCornell announced today that it has been selected by the acclaimed Batali & Bastianich Hospitality Group (B&BHG), an industry leader in hospitality, to provide an online professional development program for employees working at each of the group's 26 restaurants . The one-year contract begins July 1, 2013.
"We're thrilled to partner with B&BHG to help prepare their staff and operations for continued growth and success," said Chris Proulx, eCornell's Chief Executive Officer. "The restaurant business isn't an easy one, but B&BHG's focus on continuous education and improvement is one way to ensure the group remains innovative and one step ahead."
B&BHG's learning and development program will support its business strategy and the eCornell partnership is just one of these initiatives. Selected staff members will be invited to take one course from a hand-picked survey of eCornell courses across multiple disciplines.
"At B&B, our primary focus continues to be growth. We're rapidly expanding and to move forward, we need a learning and development solution that we can implement quickly and scale up easily. For us, eCornell was the only choice — it combines Cornell's high-caliber content and industry thought leadership with a flexible, scalable online platform," said Rajan Lai, Vice President of Human Resources for B&BHG.
To continue to be a leader in the hospitality industry, B&BHG is diversifying its concepts geographically and striving to meet the demand for high quality, affordable, and unique dining experiences. Partnering with B&BHG allows eCornell to assist with improving the group's operational quality and service.
eCornell's approach to e-learning combines the experience and insight of Cornell University's world-class faculty members with the flexibility of a self-paced, instructor-facilitated online learning environment. Classes of 20 to 30 participants per course gain critical knowledge and practice through videos, lectures, case studies, and applied exercises. Students also build their professional networks and collaborative skills using eCornell's interactive online platform.
eCornell, a wholly-owned subsidiary of Cornell University, provides many of the world's leading organizations with online professional and executive development in the areas of leadership and management; human resource management; financial management; healthcare; marketing; and hospitality and foodservice management. eCornell's proven course development model and asynchronous instructor-led course delivery provide students with an engaging, rigorous, and interactive learning experience. eCornell has delivered online courses to more than 50,000 students across more than 200 countries. For more information, visit www-ecornell-com.masterblog.staging.wpengine.com.
About the Batali & Bastianich Hospitality Group
Batali & Bastianich Hospitality Group (B&BHG) is a premier (restaurant) group that owns and operates 26 restaurants in the United States, Singapore and Hong Kong. B&BHG is owned in partnership by Mario Batali, chef, restaurateur, cookbook author, and television personality; Joe Bastianich, restaurateur, wine maker, and author; and Lidia Bastianich, chef, best-selling cookbook author, restaurateur, and owner of a flourishing food and entertainment business. B&BHG's restaurants include Babbo Ristorante & Enoteca, Bar Jamón, Becco, Casa Mono, Del Posto, Esca, Felidia, Lupa Osteria Romana, Otto Enoteca & Pizzeria, and Tarry Lodge in New York; Tarry Lodge Enoteca & Pizzeria in Westport, Connecticut; Lidia's in Pittsburgh and Kansas City; B&B Ristorante, Carnevino, and Otto Enoteca & Pizzeria in Las Vegas; Pizzeria Mozza, Osteria Mozza and Mozza2Go in Los Angeles; Pizzeria Mozza in Newport Beach, California; and Pizzeria Mozza and Osteria Mozza in collaboration with Nancy Silverton in Singapore and Carnevino and Lupa in Hong Kong. B&BHG is also an industry leader in sustainability, with fourteen certified Green Restaurants and counting. For more information, visit http://bandbhg.com.
For inquiries, please contact
pr@ecornell.com
Program of Interest (required)
Program of Interest *Data Science & AnalyticsDiversity & InclusionEngineeringEnvironmental, Social, GovernanceFinanceFood and Plant ScienceHealthcareHospitalityHuman ResourcesLawLeadership and Strategic ManagementMarketingNutritionPlant-Based NutritionProject Leadership and Systems DesignReal EstateTechnology


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Q: How to post time using bootstrap datetimepicker from view to controller I am using bootstrap datetimepicker for date time functionality. While I am trying to post only 'Time' to controller from view the time is coming as '00:00:00' and not the actual selected the time is coming.
Below is my code
Model
[DataType(DataType.Time)]
public TimeSpan StartTime { get; set; }

[DataType(DataType.Time)]
public TimeSpan EndTime { get; set; }

View
@Html.TextBoxFor(model => model.StartTime, new { @class = "form-control", @id = "txtStartTime",@name= "StartTime" })
@Html.TextBoxFor(model => model.EndTime, new { @class = "form-control", @id = "txtEndTime", @name = "EndTime" })

Code written in document.Ready function to show only 'Time' from datetimepicker
$('#txtStartTime').datetimepicker({ format: 'LT A' });
$('#txtEndTime').datetimepicker({ format: 'LT A' });

However, on form submit I am getting the value as '00:00:00' only, attached is the screenshot

Any help on this appreciated !

A: Beacuse you are using the wrong format
$('#txtStartTime').datetimepicker({ format: 'hh:mm:ss'  });
$('#txtEndTime').datetimepicker({ format: 'hh:mm:ss'  });

If you want to use your format make StartTime and EndDate strings in your model and then parse them in Controller.

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These are pictures of all of the styles produced by the designers we carry and some off these dresses may not be in stock.
Our stock of Mother of the Bride dresses, Gala Gowns, Prom Gowns, Cocktail Dresses and dresses for Showers and Luncheons changes on a daily basis. To see if this item is currently in stock, look in "Items Available Now" box below.


Prue has been involved in operational and strategic management in aged and community care for a 'number' of years! A nurse by trade, Prue's post graduate studies were in Human Resource and Industrial Relations, with a particular focus towards organisational culture and change management.
She loves variety and her roles have incorporated training and development, leadership and management of multiple aged care facilities and community care packages, culture change and project management of the development and commissioning of new facilities. Prue has received state and national recognition for leadership and management within the aged care sector and is currently managing the implementation of electronic documentation and medication management systems for a private organisation and continues to liaise broadly with 'for profit' and 'not for profit' providers.
Ability to create individual preference options through the use of 'fresh food bars' eg fresh fruit and salads.


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Priests with Credible Allegations |
Spiritual Resources Article
Mar 25 Worship Liturgy (Liturgia), Website (Sitio Web)
Meditate on the Scriptures
While it is not a replacement for Community worship, these resources are meant to provide support for when you cannot gather as a community.
Listed below are the daily readings from the USCCB as well as free access to the digital files of Maginificat and Give Us This Day. While it is not a replacement for community worship, these resources are meant to provide support for when we cannot gather as a community.
Daily Readings from the USCCB
Magnificat Resources
Give Us This Day
The Word Among Us
Daily News from Pope Francis
Dr. Patricia Hughes
Director of Worship
Shaped initially as a parish organist, Dr. Patricia Hughes has ministered in the Church for over forty years. Currently the Director of the Office of Worship for the Diocese of Dallas and an adjunct professor in the Neuhoff Graduate School of Ministry at the University of Dallas, Dr. Hughes has served in similar roles in Louisville, Kentucky and Grand Rapids, Michigan. In 2017 she authored Celebrating Sunday for Catholic Families, keynoted the National Gathering on Christian Initiation in 2018, and has a regular column for Pastoral Liturgy magazine.


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from ....pipeline import engine as pe
from ....interfaces import fsl as fsl
from ....interfaces import freesurfer as fs
from ....interfaces import meshfix as mf
from ....interfaces import io as nio
from ....interfaces import utility as niu
from ....algorithms import misc as misc
from ....interfaces.utility import Function
from ....workflows.misc.utils import region_list_from_volume, id_list_from_lookup_table
import os

def get_aparc_aseg(files):
    """Return the aparc+aseg.mgz file"""
    for name in files:
        if 'aparc+aseg' in name:
            return name
    raise ValueError('aparc+aseg.mgz not found')

def create_getmask_flow(name='getmask', dilate_mask=True):
    """Registers a source file to freesurfer space and create a brain mask in
    source space

    Requires fsl tools for initializing registration

    Parameters
    ----------

    name : string
        name of workflow
    dilate_mask : boolean
        indicates whether to dilate mask or not

    Example
    -------

    >>> getmask = create_getmask_flow()
    >>> getmask.inputs.inputspec.source_file = 'mean.nii'
    >>> getmask.inputs.inputspec.subject_id = 's1'
    >>> getmask.inputs.inputspec.subjects_dir = '.'
    >>> getmask.inputs.inputspec.contrast_type = 't2'

    Inputs::

           inputspec.source_file : reference image for mask generation
           inputspec.subject_id : freesurfer subject id
           inputspec.subjects_dir : freesurfer subjects directory
           inputspec.contrast_type : MR contrast of reference image

    Outputs::

           outputspec.mask_file : binary mask file in reference image space
           outputspec.reg_file : registration file that maps reference image to
                                 freesurfer space
           outputspec.reg_cost : cost of registration (useful for detecting misalignment)
    """

    """
    Initialize the workflow
    """

    getmask = pe.Workflow(name=name)

    """
    Define the inputs to the workflow.
    """

    inputnode = pe.Node(niu.IdentityInterface(fields=['source_file',
                                                      'subject_id',
                                                      'subjects_dir',
                                                      'contrast_type']),
                        name='inputspec')

    """
    Define all the nodes of the workflow:

    fssource: used to retrieve aseg.mgz
    threshold : binarize aseg
    register : coregister source file to freesurfer space
    voltransform: convert binarized aseg to source file space
    """

    fssource = pe.Node(nio.FreeSurferSource(),
                       name='fssource')
    threshold = pe.Node(fs.Binarize(min=0.5, out_type='nii'),
                        name='threshold')
    register = pe.MapNode(fs.BBRegister(init='fsl'),
                          iterfield=['source_file'],
                          name='register')
    voltransform = pe.MapNode(fs.ApplyVolTransform(inverse=True),
                              iterfield=['source_file', 'reg_file'],
                              name='transform')

    """
    Connect the nodes
    """

    getmask.connect([
        (inputnode, fssource, [('subject_id', 'subject_id'),
                               ('subjects_dir', 'subjects_dir')]),
        (inputnode, register, [('source_file', 'source_file'),
                               ('subject_id', 'subject_id'),
                               ('subjects_dir', 'subjects_dir'),
                               ('contrast_type', 'contrast_type')]),
        (inputnode, voltransform, [('subjects_dir', 'subjects_dir'),
                                   ('source_file', 'source_file')]),
        (fssource, threshold, [(('aparc_aseg', get_aparc_aseg), 'in_file')]),
        (register, voltransform, [('out_reg_file', 'reg_file')]),
        (threshold, voltransform, [('binary_file', 'target_file')])
    ])

    """
    Add remaining nodes and connections

    dilate : dilate the transformed file in source space
    threshold2 : binarize transformed file
    """

    threshold2 = pe.MapNode(fs.Binarize(min=0.5, out_type='nii'),
                            iterfield=['in_file'],
                            name='threshold2')
    if dilate_mask:
        threshold2.inputs.dilate = 1
    getmask.connect([
        (voltransform, threshold2, [('transformed_file', 'in_file')])
    ])

    """
    Setup an outputnode that defines relevant inputs of the workflow.
    """

    outputnode = pe.Node(niu.IdentityInterface(fields=["mask_file",
                                                       "reg_file",
                                                       "reg_cost"
                                                       ]),
                         name="outputspec")
    getmask.connect([
        (register, outputnode, [("out_reg_file", "reg_file")]),
        (register, outputnode, [("min_cost_file", "reg_cost")]),
        (threshold2, outputnode, [("binary_file", "mask_file")]),
    ])
    return getmask

def create_get_stats_flow(name='getstats', withreg=False):
    """Retrieves stats from labels

    Parameters
    ----------

    name : string
        name of workflow
    withreg : boolean
        indicates whether to register source to label

    Example
    -------

    Inputs::

           inputspec.source_file : reference image for mask generation
           inputspec.label_file : label file from which to get ROIs

           (optionally with registration)
           inputspec.reg_file : bbreg file (assumes reg from source to label
           inputspec.inverse : boolean whether to invert the registration
           inputspec.subjects_dir : freesurfer subjects directory

    Outputs::

           outputspec.stats_file : stats file
    """

    """
    Initialize the workflow
    """

    getstats = pe.Workflow(name=name)

    """
    Define the inputs to the workflow.
    """

    if withreg:
        inputnode = pe.Node(niu.IdentityInterface(fields=['source_file',
                                                          'label_file',
                                                          'reg_file',
                                                          'subjects_dir']),
                            name='inputspec')
    else:
        inputnode = pe.Node(niu.IdentityInterface(fields=['source_file',
                                                          'label_file']),
                            name='inputspec')

    statnode = pe.MapNode(fs.SegStats(),
                          iterfield=['segmentation_file', 'in_file'],
                          name='segstats')

    """
    Convert between source and label spaces if registration info is provided

    """
    if withreg:
        voltransform = pe.MapNode(fs.ApplyVolTransform(inverse=True),
                                  iterfield=['source_file', 'reg_file'],
                                  name='transform')
        getstats.connect(inputnode, 'reg_file', voltransform, 'reg_file')
        getstats.connect(inputnode, 'source_file', voltransform, 'source_file')
        getstats.connect(inputnode, 'label_file', voltransform, 'target_file')
        getstats.connect(inputnode, 'subjects_dir', voltransform, 'subjects_dir')

        def switch_labels(inverse, transform_output, source_file, label_file):
            if inverse:
                return transform_output, source_file
            else:
                return label_file, transform_output

        chooser = pe.MapNode(niu.Function(input_names=['inverse',
                                                       'transform_output',
                                                       'source_file',
                                                       'label_file'],
                                          output_names=['label_file',
                                                        'source_file'],
                                          function=switch_labels),
                             iterfield=['transform_output', 'source_file'],
                             name='chooser')
        getstats.connect(inputnode, 'source_file', chooser, 'source_file')
        getstats.connect(inputnode, 'label_file', chooser, 'label_file')
        getstats.connect(inputnode, 'inverse', chooser, 'inverse')
        getstats.connect(voltransform, 'transformed_file', chooser, 'transform_output')
        getstats.connect(chooser, 'label_file', statnode, 'segmentation_file')
        getstats.connect(chooser, 'source_file', statnode, 'in_file')
    else:
        getstats.connect(inputnode, 'label_file', statnode, 'segmentation_file')
        getstats.connect(inputnode, 'source_file', statnode, 'in_file')

    """
    Setup an outputnode that defines relevant inputs of the workflow.
    """

    outputnode = pe.Node(niu.IdentityInterface(fields=["stats_file"
                                                       ]),
                         name="outputspec")
    getstats.connect([
        (statnode, outputnode, [("summary_file", "stats_file")]),
    ])
    return getstats

def create_tessellation_flow(name='tessellate', out_format='stl'):
    """Tessellates the input subject's aseg.mgz volume and returns
    the surfaces for each region in stereolithic (.stl) format

    Example
    -------
    >>> from nipype.workflows.smri.freesurfer import create_tessellation_flow
    >>> tessflow = create_tessellation_flow()
    >>> tessflow.inputs.inputspec.subject_id = 'subj1'
    >>> tessflow.inputs.inputspec.subjects_dir = '.'
    >>> tessflow.inputs.inputspec.lookup_file = 'FreeSurferColorLUT.txt' # doctest: +SKIP
    >>> tessflow.run()  # doctest: +SKIP

    Inputs::

           inputspec.subject_id : freesurfer subject id
           inputspec.subjects_dir : freesurfer subjects directory
           inputspec.lookup_file : lookup file from freesurfer directory

    Outputs::

           outputspec.meshes : output region meshes in (by default) stereolithographic (.stl) format
    """

    """
    Initialize the workflow
    """

    tessflow = pe.Workflow(name=name)

    """
    Define the inputs to the workflow.
    """

    inputnode = pe.Node(niu.IdentityInterface(fields=['subject_id',
                                                      'subjects_dir',
                                                      'lookup_file']),
                        name='inputspec')

    """
    Define all the nodes of the workflow:

      fssource: used to retrieve aseg.mgz
      mri_convert : converts aseg.mgz to aseg.nii
      tessellate : tessellates regions in aseg.mgz
      surfconvert : converts regions to stereolithographic (.stl) format
      smoother: smooths the tessellated regions

    """

    fssource = pe.Node(nio.FreeSurferSource(),
                       name='fssource')
    volconvert = pe.Node(fs.MRIConvert(out_type='nii'),
                         name='volconvert')
    tessellate = pe.MapNode(fs.MRIMarchingCubes(),
                            iterfield=['label_value', 'out_file'],
                            name='tessellate')
    surfconvert = pe.MapNode(fs.MRIsConvert(out_datatype='stl'),
                             iterfield=['in_file'],
                             name='surfconvert')
    smoother = pe.MapNode(mf.MeshFix(),
                          iterfield=['in_file1'],
                          name='smoother')
    if out_format == 'gii':
        stl_to_gifti = pe.MapNode(fs.MRIsConvert(out_datatype=out_format),
                                  iterfield=['in_file'],
                                  name='stl_to_gifti')
    smoother.inputs.save_as_stl = True
    smoother.inputs.laplacian_smoothing_steps = 1

    region_list_from_volume_interface = Function(input_names=["in_file"],
                                                 output_names=["region_list"],
                                                 function=region_list_from_volume)

    id_list_from_lookup_table_interface = Function(input_names=["lookup_file", "region_list"],
                                                   output_names=["id_list"],
                                                   function=id_list_from_lookup_table)

    region_list_from_volume_node = pe.Node(interface=region_list_from_volume_interface, name='region_list_from_volume_node')
    id_list_from_lookup_table_node = pe.Node(interface=id_list_from_lookup_table_interface, name='id_list_from_lookup_table_node')

    """
    Connect the nodes
    """

    tessflow.connect([
        (inputnode, fssource, [('subject_id', 'subject_id'),
                               ('subjects_dir', 'subjects_dir')]),
        (fssource, volconvert, [('aseg', 'in_file')]),
        (volconvert, region_list_from_volume_node, [('out_file', 'in_file')]),
        (region_list_from_volume_node, tessellate, [('region_list', 'label_value')]),
        (region_list_from_volume_node, id_list_from_lookup_table_node, [('region_list', 'region_list')]),
        (inputnode, id_list_from_lookup_table_node, [('lookup_file', 'lookup_file')]),
        (id_list_from_lookup_table_node, tessellate, [('id_list', 'out_file')]),
        (fssource, tessellate, [('aseg', 'in_file')]),
        (tessellate, surfconvert, [('surface', 'in_file')]),
        (surfconvert, smoother, [('converted', 'in_file1')]),
    ])

    """
    Setup an outputnode that defines relevant inputs of the workflow.
    """

    outputnode = pe.Node(niu.IdentityInterface(fields=["meshes"]),
                         name="outputspec")

    if out_format == 'gii':
        tessflow.connect([
            (smoother, stl_to_gifti, [("mesh_file", "in_file")]),
        ])
        tessflow.connect([
            (stl_to_gifti, outputnode, [("converted", "meshes")]),
        ])
    else:
        tessflow.connect([
            (smoother, outputnode, [("mesh_file", "meshes")]),
        ])
    return tessflow

def copy_files(in_files, out_files):
    """
    Create a function to copy a file that can be modified by a following node
    without changing the original file
    """
    import shutil
    import sys
    if len(in_files) != len(out_files):
        print("ERROR: Length of input files must be identical to the length of " +
              "outrput files to be copied")
        sys.exit(-1)
    for i, in_file in enumerate(in_files):
        out_file = out_files[i]
        print("copying {0} to {1}".format(in_file, out_file))
        shutil.copy(in_file, out_file)
    return out_files

def copy_file(in_file, out_file=None):
    """
    Create a function to copy a file that can be modified by a following node
    without changing the original file.
    """
    import os
    import shutil
    if out_file == None:
        out_file = os.path.join(os.getcwd(), os.path.basename(in_file))
    if type(in_file) is list and len(in_file) == 1:
        in_file = in_file[0]
    out_file = os.path.abspath(out_file)
    in_file = os.path.abspath(in_file)
    print("copying {0} to {1}".format(in_file, out_file))
    shutil.copy(in_file, out_file)
    return out_file

def mkdir_p(path):
    import errno
    import os
    try:
        os.makedirs(path)
    except OSError as exc:  # Python >2.5
        if exc.errno == errno.EEXIST and os.path.isdir(path):
            pass
        else:
            raise

def getdefaultconfig(exitonfail=False, rb_date="2014-08-21"):
    config = { 'custom_atlas' : None,
               'cw256' : False,
               'field_strength' : '1.5T',
               'fs_home' : checkenv(exitonfail),
               'longitudinal' : False,
               'long_base' : None,
               'openmp' : None,
               'plugin_args' : None,
               'qcache' : False,
               'queue' : None,
               'recoding_file' : None,
               'src_subject_id' : 'fsaverage',
               'th3' : True}

    config['src_subject_dir'] = os.path.join(config['fs_home'], 'subjects',
                                             config['src_subject_id'])
    config['awk_file'] = os.path.join(config['fs_home'], 'bin',
                                      'extract_talairach_avi_QA.awk')
    config['registration_template'] = os.path.join(config['fs_home'], 'average',
                                                   'RB_all_{0}.gca'.format(rb_date))
    config['registration_template_withskull'] = os.path.join(config['fs_home'], 'average',
                                                             'RB_all_withskull_{0}.gca'.format(rb_date))
    for hemi in ('lh', 'rh'):
        config['{0}_atlas'.format(hemi)] = os.path.join(
            config['fs_home'], 'average',
            '{0}.average.curvature.filled.buckner40.tif'.format(hemi))
        config['{0}_classifier'.format(hemi)] = os.path.join(
            config['fs_home'], 'average',
            '{0}.curvature.buckner40.filled.desikan_killiany.2010-03-25.gcs'.format(hemi))
        config['{0}_classifier2'.format(hemi)] = os.path.join(
            config['fs_home'], 'average',
            '{0}.destrieux.simple.2009-07-29.gcs'.format(hemi))
        config['{0}_classifier3'.format(hemi)] = os.path.join(
            config['fs_home'], 'average',
            '{0}.DKTatlas40.gcs'.format(hemi))
    config['LookUpTable'] = os.path.join(config['fs_home'], 'ASegStatsLUT.txt')
    config['WMLookUpTable'] = os.path.join(config['fs_home'], 'WMParcStatsLUT.txt')
    config['AvgColorTable'] = os.path.join(config['fs_home'], 'average', 'colortable_BA.txt')

    return config

def checkenv(exitonfail=False):
    """Check for the necessary FS environment variables"""
    import sys
    fs_home = os.environ.get('FREESURFER_HOME')
    path = os.environ.get('PATH')
    print("FREESURFER_HOME: {0}".format(fs_home))
    if fs_home == None:
        msg = "please set FREESURFER_HOME before running the workflow"
    elif not os.path.isdir(fs_home):
        msg = "FREESURFER_HOME must be set to a valid directory before running this workflow"
    elif os.path.join(fs_home, 'bin') not in path.replace('//','/'):
        print(path)
        msg = "Could not find necessary executable in path"
        setupscript = os.path.join(fs_home, 'SetUpFreeSurfer.sh')
        if os.path.isfile(setupscript):
            print("Please source the setup script before running the workflow:" +
                  "\nsource {0}".format(setupscript))
        else:
            print("Please ensure that FREESURFER_HOME is set to a valid fs " +
            "directory and source the necessary SetUpFreeSurfer.sh script before running " +
            "this workflow")
    else:
        return fs_home

    if exitonfail:
        print("ERROR: " + msg)
        sys.exit(2)
    else:
        print("Warning: " + msg)

redpajama_set_name: RedPajamaGithub


Shine Corporate (ASX:SHJ) has formed a Long Black candlestick. This means, SHJ has traded with strong selling pressure throughout the day adding strength to previous short term trends. Given the limited timeframe in which signal has formed, further confirmation is required through volume and additional technical indicators.
This candlestick implies relatively strong selling pressure and shows that prices declined during the day significantly from open to close and the sellers were aggressive.
Shine Corporate Limited provides damages based plaintiff litigation legal services in Australia; and insurance recovery consulting services in New Zealand. It operates through two segments, Personal Injury and Emerging Practice Areas. The company offers legal services related to personal injuries practice area, including medical negligence, public liability, catastrophic injuries, workers' compensation, and motor vehicle accidents; and other practice areas, such as disability insurance and superannuation claims, professional negligence, social justice, class actions, first party insurance recovery claims, landowners' rights, aviation, product liability, family law, and asbestos compensation. Shine Corporate Limited was founded in 1976 and is based in Brisbane, Australia.


text:
Q: Get word count and average length from frequency dictionary If I have a frequency dictionary that includes the words from a text as the keys and the number of times they appear in the text as the value. How can I get the word count and average length by making sure to take into account of words that appear more than once? Right now what I have is to just make a list of the keys (since they are the words) and then just use len() for word count.
wordcount=len(list(freq.keys()))
report["count:"]=wordcount
#for average length:
avg=list(freq.keys())
average=sum(map(len,avg))/len(avg)
report["avglen"]=average

A: Use the sum function and dict.values():
freq = { 'test' : 10, 'rep' : 100 }
wordcount = sum(freq.values())
average   = sum(len(w) * c for w, c in freq.items()) / wordcount
print(wordcount, average)

A: number_of_words  = int(raw_input("Enter the number of words. "))

word_dict = {}

for i in range(number_of_words):
    word = raw_input("Enter word. ")
    if word in word_dict:
        word_dict[word] += 1
    else:
        word_dict[word] = 1

print word_dict

print sum([len(word)*word_dict[word] for word in word_dict])/number_of_words

A very similar question: https://stackoverflow.com/questions/20143947/word-frequency-counter-python/20145320#20145320


WHAT DOES NORTH AMERICAN TITLE GROUP, LLC FAMILY OF COMPANIES DO WITH YOUR PERSONAL INFORMATION?
How? All financial companies need to share customers' personal information to run their everyday business. In the section below, we list the reasons financial companies can share their customers' personal information, the reasons North American Title Group, LLC Family of Companies ("NATG") chooses to share, and whether you can limit this sharing.
Reasons we can share your personal information Does NATG share? Can you limit this sharing?
Who is providing this notice? North American Title Group, LLC Family of Companies (identified below), which offers title insurance and settlement services and property and casualty insurance.
How does NATG protect my personal information? To protect your personal information from unauthorized access and use, we use security measures that comply with federal law. These measures include computer safeguards and secure files and buildings.
Our affiliates include companies with a Lennar name; financial companies such as Eagle Home Mortgage, Eagle Home Mortgage of California, CalAtlantic Mortgage, Inc., and Rialto Capital Management; and nonfinancial companies, such as Lennar Corporation, Lennar Multifamily Companies, Lennar Commercial, Lennar Homes USA, Lennar Family of Builders, CalAtlantic Homes, Lennar Sales Corp., SPH Title, Inc., Sunstreet Energy Group, Five Point Communities, WCI Communities, LLC, Watermark Realty Referral, Inc., and WCI Realty, Inc.
Nonaffiliates we share with can include collection agencies, IT service providers, companies that perform marketing services on our behalf, and consumer reporting agencies.
North American Title Agency, Inc.
CalAtlantic Title of Maryland, Inc.


text:
Central Square Theater breaks ground for new hall
Sarah Gallop, Office of Government and Community Relations
The groundbreaking ceremony for the Central Square Theater on Massachusetts Ave, celebrated by many members of the Cambridge, MIT and theater communities, ended with a parade led by the Second Line Brass Band.
From left to right: Catherine Carr Kelly, campaign manager, Central Square Theater; Debra Wise, artistic director, Underground Railway Theater; Mimi Huntington, artistic director, The Nora Theatre Company; Carl Barron, president, Central Square Business Association; Steve Marsh, managing director, real estate, MIT Investment Management Company; Jarrett Barrios, state senator; Marty Walz, state representative; and Ken Reeves, mayor of Cambridge. Behind the groundbreakers are various members of the state legislature, Cambridge City Council, and Cambridge School Committee.
Cambridge Mayor Ken Reeves, left, applauds as MIT's Managing Director of Real Estate Steve Marsh addresses the crowd at the groundbreaking for a new building to be built on MIT property that will ultimately house the Nora Theatre and the Underground Railway Theater.
The Central Square Theater had a lot to celebrate on May Day 2007. With more than 300 supporters and enthusiasts looking on, local officials broke ground at a vacant site at 450 Massachusetts Ave., marking the start of construction of a mixed-use development that includes a state-of-the-art black box theater. The new performance hall will serve as the permanent home for the Nora Theatre and the Underground Railway Theater, now combining their talents as the jointly run Central Square Theater.
The celebration was long in coming, and MIT has been at the table from the very start. The Institute is the owner and site developer of the project.
The 450 Massachusetts Ave. location currently looks like a construction site, but it has an impressive history. One of the two buildings that was previously located on this site was referred to as South Row and included structures from a group of Federal period row houses built in 1806. MIT purchased the buildings in 1979.
For many years, the buildings were occupied by the Bradford Café and the Day and Night Convenience Store. When the structures deteriorated with age, the two establishments could no longer safely operate in the buildings. In the early 1990s, MIT began to examine options for the buildings' recovery and reuse. It was then that the two theater companies approached the Institute about the possibility of locating a new black box theater on the site.
Working closely with the Cambridge Historical Commission and its executive director, Charles Sullivan, MIT set out to restore and rehabilitate historically significant aspects of the buildings in its effort to design the new theater. Unfortunately, the delicate condition of the structure combined with the contaminated state of the urban soil could not allow for the restoration of the buildings. Instead, MIT is developing a replica of the original building as part of a larger development that will include the theater and retail and office space. The designer of the project is Pfeufer/Richardson Architects PC.
At the groundbreaking ceremony, Steve Marsh, managing director for real estate in the MIT Investment Management Company, observed that the development "will be a vibrant tribute to former historic structures" and thanked staff member Michael Owu for his dedicated work in bringing the project to fruition.
Marsh was joined in the program by Cambridge Mayor Ken Reeves, state Sen. Jarrett Barrios, state Rep. Marty Walz, Central Square Business Association President Carl Barron and the Central Square Theater's Steering Committee chair, Marty Blatt. Reeves acknowledged MIT's role in the project as critical and thanked the Institute for its support of the community.
After the speaking program, attendees joined in a parade with puppets, streamers and costume-clad revelers, led by the Second Line Social Aid and Pleasure Society Brass Band, to a community reception including theatrical performances at the Cambridge YMCA.
Construction of the Central Square Theater is now under way, with the first production planned for winter 2008.
A version of this article appeared in MIT Tech Talk on May 9, 2007 (download PDF).
The Underground Railway Theater
The Nora Theatre Company
Cambridge, Boston and region
Special events and guest speakers


Welcome to my blog! My name is Vjekoslav Babić, I am a Microsoft Dynamics NAV consultant and this blog is a place where I share my thoughts, ideas, solutions, explanations, all kinds of things that cross my mind, and have something to do with an ERP system called Microsoft Dynamics NAV.
Looking for information about Microsoft Dynamics NAV may be tougher than you might guess at first. That's what I learned myself when I first started learning about it back in 2002. Other than some general information about it being a business management application, or an Enterprise Resource Planning system, I couldn't really find anything useful. Things have changed a little bit, but still, answering the question of What Microsoft Dynamics NAV truly is? reminds me of the question Apart from the sanitation, medicine, education, wine, public order, irrigation, roads, the fresh water system and public health, what have the Romans ever done for us? from Monty Python's legendary Life of Brian. While you might find a lot of generic info about what kind of features it packs together and what general functionality it contains, finding something really useful, something that will make you decide for it over fierce competition, something that really matters to you or your business, might be difficult.
Then you may look at it from a completely different perspective. You are a consultant, or a developer, working with the system on daily basis, pulling plugs and pushing switches, diving down deep into code to achieve what no man has achieved before, only to face questions with seemingly no answers. Documentation explains only as much as development team felt was necessary, product web site mostly deals with marketing the product. However, this information alone won't bring a single implementation project to a successful conclusion. What makes a difference is experience, and experience is hard to find in written form. The mission of this blog is to provide some of it, a bit of it that grew with me, on my projects, with my customers, in real life.
There is another reason I started this little project of mine. It's called simplicity. You might notice that there is a lot of explanations of elementary stuff related to accounting, business, ERP systems in general, development, technology, etc. These are here to help all those people starting to learn about these concepts, and finding simple explanations out there might sometimes be a tough job. What I truly hope this blog will become is a collection of simple explanations of most concepts people get in touch when working with ERP systems.
I am not one of those people having worked with NAV since Pleistocene, and I am definitely not the biggest authority out there, not even remotely close to it by any means. My experience with NAV is relatively short-termed, going back less than five years, so I am still learning, and I hope this process never ends. And in this process I also hope I give you something to get away, something you didn't know before, or some new insight or perspective of the things you did know.
My life didn't start with NAV. Before I started working with it, I was a developer, a web developer, a systems administrator, a database administrator, a trainer, and an entrepreneur. One of most notable projects that I don't consider relevant any more, because it has nothing to do with NAV, was for UNAIDS, the UN agency for fighting AIDS globally. I was lead architect and developer on project of E-Workspaces, which is still very much alive. Other than that, most of my projects are local and if I listed them here, they wouldn't do any difference, because most of you would just go huh? What would make sense the least would be naming twenty or so web sites that I brought to life with two of my friends, when we started our own part-time business without a penny in our pockets, in mid nineties, the time when mentioning word Internet in Croatia was most likely to provoke a follow up question of can I eat it? Too bad real companies were paying better money for my services, so I decided to follow the opportunities.
Today, I am running my own company specializing in providing customers and partners with expert services around Microsoft Dynamics NAV, mostly around web services integration, .NET interoperability, performance, scalability, and quality assurance. I started this blog out of my enthusiasm to evangelize the value and the potential of Microsoft Dynamics NAV, and I wish you a pleasant stay!


text:
Wjatscheslaw Georgijewitsch Sobtschenko (; * 18. April 1949 in Duschanbe) ist ein ehemaliger sowjetischer Wasserballspieler. Bei Olympischen Spielen gewann er mit der sowjetischen Nationalmannschaft 1972 und 1980 Gold, 1982 war er Weltmeister.

Sportliche Karriere
Der 1,87 m große Wjatscheslaw Sobtschenko trat für Trud Moskau und für TSSK VMF Moskau an.

Seinen ersten internationalen Titel gewann der Torhüter bei den Olympischen Spielen 1972 in München. Er wirkte in allen acht Partien mit und wechselte sich mit Wadim Guljajew ab. Die sowjetische Mannschaft verlor kein Spiel, die Partien gegen die Ungarn und gegen das US-Team endeten Unentschieden. Am Ende lagen die Ungarn nach Punkten gleichauf mit der sowjetischen Mannschaft, die aber durch die bessere Tordifferenz die erste olympische Goldmedaille für die Sowjetunion im Wasserball gewann. Acht Jahre später bei den Olympischen Spielen 1980 in Moskau wechselte sich Sobtschenko mit Jewgeni Konstantinowitsch Scharonow im Tor ab. Die sowjetische Mannschaft siegte vor den Jugoslawen und den Ungarn. Im letzten Spiel bezwang das sowjetische Team die jugoslawische Auswahl mit 8:7. Außer Sobtschenko waren mit Oleksij Barkalow und Alexander Kabanow zwei weitere Spieler bei beiden Olympiasiegen der sowjetischen Wasserball-Nationalmannschaft dabei. Bei der Weltmeisterschaft 1982 in Guayaquil erreichten vier Mannschaften die Endrunde. Die sowjetische Mannschaft erkämpfte den Titel vor den Ungarn, den Deutschen und den Niederländern. Auch bei diesem Turnier waren Scharonow und Sobtschenko die Torhüter der sowjetischen Nationalmannschaft.

Weblinks

Fußnoten

Wasserballnationalspieler (Sowjetunion)
Olympiasieger (Wasserball)
Weltmeister (Wasserball)
Olympiateilnehmer (Sowjetunion)
Teilnehmer der Olympischen Sommerspiele 1972
Teilnehmer der Olympischen Sommerspiele 1980
Sowjetbürger
Geboren 1949
Mann

redpajama_set_name: RedPajamaWikipedia


A few days ago, the prime minister of Trinidad and Tobago, Dr Keith Rowley, lashed out at mainly Indo-Trinidadian (Indian) critics by saying that they were 'trying to stir up racial hatred' in the multi-ethnic society.
He was reported in the media as saying that his ruling People's National Movement (PNM) party 'continues to be the only true national party' in Trinidad and Tobago where 'every creed and race find an equal place'.
Rowley added: 'Just remember half of the PNM Government is Indian' and that 'those Indians [critics] are insulting the Indian population . . . please have a conversation with them [Indians in the Government]'.
Rowley was trying to deflect criticism by ethnic, religious and women's groups that his party had promoted violence on a sari-clad Hindu and Indian woman in a skit at its Sports and Family Day on Sunday 12 August 2018.
There are 23 PNM members of parliament (MPs) in the House of Representatives.
Of these, there are only two Indians: Faris Al-Rawi and Terrence Deyalsingh. Indians, therefore, constitute a trifling 9% of PNM MPs in parliament.
Apparently, Rowley miscounted. Half of the PNM government is not Indian. There are only 26% (or six) Indians in cabinet as ministers, viz. Clarence Rambharath, Terrence Deyalsingh, Kazim Hosein, Rohan Sinanan, Franklin Khan, and I reluctantly threw in Faris Al-Rawri too in the daal pot.
Seventy-four per cent or 17 ministers in government are non-Indians. There is a margin of error of plus or minus one minister whose ethnicity could not be determined.
According to a government Central Statistical Office (CSO) population survey conducted in 2011, Indians account for 35% of the population, the largest ethnic group in the country. Comprising 26% in the government, Indian ministers are, therefore, under-represented and do not find a proportionately 'equal place' in Rowley's PNM administration.
The ministers in Rowley's government who are all members and representatives of the PNM enjoy a wide array of rights, powers and privileges. Pursuant to Chapter 5, Section 74.1 of the constitution, the prime minister and ministers in his cabinet have been empowered to 'have the general direction and control of the government of Trinidad and Tobago . . .'.
Rohan Sinanan is the only Hindu in cabinet and Kazim Hosein is the only Muslim.
These two non-Christians were installed in the cabinet in June and November 2016, respectively, more than a year after the PNM took government in September 2015.
Rowley appointed these two non-Christian ministers after complaints by Hindus and Muslims that they were not represented in government. Sinanan represents 6% of the Hindus and Kazim 20%, respectively, in the population. According to the CSO survey of 2011, Hindus comprise 18% of the population and Muslims 5%. Sinanan can, therefore, be seen as window dressing because Hindus are grossly under-represented in government.
Operating under a republican constitution, the prime minister in Trinidad and Tobago heads a cabinet of ministers who are chosen by him or her. In the current administration, Rowley has the power to appoint and dismiss ministers in his cabinet.
The book Caribbean Islands, edited by Sandra Meditz and Dennis Hanratty, states that in Trinidad and Tobago: 'The prime minister is by far the most powerful figure in the government and is responsible for running the government. The prime minister chooses cabinet ministers from Parliament, who are then appointed by the president, and he can change ministers and ministries at will'.


text:
The Cinema Resource Centre (TCRC)
Cinema beyond borders.
About TCRC
People behind TCRC
TCRC in the news
Contact TCRC
Contribute to TCRC
Tag Archives: Lord Muruga
From Book to Celluloid : Valli Thirumanam
Posted on April 21, 2017 by tcrcindia
By Sugeeth Krishnamoorthy
Introduction: Of thousands of mythological stories passed on to us today by our ancestors, possibly no other story could have a more direct and closer bearing to us now than the story of Lord Muruga—who is the Native God of the ancient Tamil people. Valli Thirumanam tells the story of how Valli, a tribal girl, came to be Lord Murugan's second wife. This story has been passed on orally through storytelling and staged plays, long before the print medium arrived. Even today, Valli Thirumanam continues to be one of the most popular plays in rural India, although, like most contemporary stages of its nature, they unfortunately smack of vulgarity, rendering the 'Bhakthi' rather ineffective. Though, only a century ago, rural stage drama was an effective means for disseminating 'Bhakthi' propaganda and reaching out to the masses. it has sadly declined now.
Valli Thirumanam by Shankardas Swamigal PC: unknown
Given its huge reach and its evolution over time, the story of Valli Thirumanam has undergone some minor changes here and there, the central theme—the challenges faced by Lord Muruga during his courtship of Valli—have been universally retained.
The play was also published in the literary form as well, and article reviews one such adaptation by Pammal Sammandha Mudaliar, for reference[1]. This play was published under the title 'Valli Manam' in the late 1930s. The second edition of this book was published in the year 1940. [2]
Story Synopsis : Nambirajan the tribal chief, fails to send Valli, his beautiful duaghter, tend to the millet crops. The customary practice of the tribe is to send girls of marriageable age to look after and keep vigil on the crop, a portion of whose harvest is to be offered to Lord Subramanyam. The failure of tribal chief to carry out this duty is believed (by the Priest) to anger the Lord, which causes all crop to fail subsequently. Nambirajan, realising his folly, orders Valli, to leave for the forest immediately, taking her friend along. Valli requests Nambirajan to send the youngest of her elder brothers, 'Kutti Anna',along as well and the chief agrees. Kutti Anna, as we infer from the play, is possibly not of sound mind, and the playwright has modified this character's dialogues[3] to infuse humour in the play.
During her sojourn, Lord Murugan appears in Valli's dream and becomes the object of her affections. Firm in her love for him, she refuses to entertain other suitors. Lord Naradar who has come to earth, chances to hear a sweet voice and is surprised to discover that it belongs to a lovely girl albeit from the tribal community.[4] On enquiring he comes to know that Valli was born of noble birth to a deer that abandoned her in a tangle of creepers[5] immediately after birth. Nambirajan, who already had seven sons found her amidst the bushes and adoped her. In the past, Lord Murugan had helped Naradar, and so, as a token of gratitude, Naradar decides to offer Valli as a bride to the Lord as Guru Dakshina. When he reveals his plans to Valli, he is shocked at her downright refusal and at her claims of having fallen in love with a man who appeared in her dreams. Naradar vows to get Valli married to Murugan. Knowing that Murugan, already married to Deivanai (also proposed by him) would be alarmed at this second proposal, Narada goes armed with the plea that he has already taken a vow or sabatham and that it must be seen through. He prevails upon Murugan to help him complete his sabatham, even if that means taking Valli against her own will.
To do so, Murugan then takes the avatar of a tribal hunter, who tries to woo Valli in the forest. When she doesn't relent, he becomes a magic tree, and still later a lecherous old man whose every advance and proposal of marriage is rebuffed. Valli remains set in her adorations. praying to her Lord during every tribulation to protect her.
In the face of this failure, Lord Murugan seeks the blessing of his brother Vinayagar, hoping that this may help him achieve success. Assuming the guise of the 'old man' again, he invokes his brother who appears in the form of a wild rampaging elephant in the forests where Valli tends to her crop. Chased by the elephant, she calls out in fear to the Old Man. He promises to help on the condition that she marries him, to which she agrees, in desperation. Happy at having succeeded in his mission, he calls off the elephant (his brother), which vanishes.
When he seeks the reward of marriage, Valli, who has come out of her fear-crazed state, refuses again. Defeated yet again, but not willing to give up yet, he goes against the rules of the game and recalls his brother in the form of the elephant, asking him to trouble her.
Vexed and helpless, Valli calls out to Lord Murugan for protection. Murugan, who can no longer ignore the earnest pleas of the unswervingly loyal Valli, makes the elephant, the 'old man' and the tree disappear and appears in their place, promising to take her away and marry her.
When Valli is chased by the Wild Elephant, she agrees to marry, and Murugan sends back the Elephant. She later refuses to marry him. This cannot happen, since Valli has given her word and promises could not be broken in Hindu mythology. So, here lies the catch.
When chased by the Wild Elephant, Valli says this out of fear – 'Okay, I will marry' ( She does not specify who to the 'Old Man', she only said that 'she will marry', and in her heart, she promises to marry only Lord Murugan). The happy old man sends back the elephant.
Later, when the Old man seeks her hand in marriage, she now says, I said 'Okay, I will marry' but did not say 'Okay, I will marry you'.
So, technically, Valli has not broken her promise to the old man. It was the old man, who was fooled
When Valli seeks forgiveness for insulting the 'hunter' and the 'old man', he forgives her and sends her home. But he is not yet done with his trickery.
Taking another disguise, he goes to her father, the Tribal Chief, and warns of the schemes of a thief to kidnap his daughter. The Chief dispatches his sons to keep vigil. However, Murugan manages to steal into the house unnoticed (by the sleeping brothers) and takes off with Valli to Kazhagu Malai, setting the king and the brothers on a chase. Eventually, Murugan reveals himself to the family.
The family seeks his forgiveness, but Murugan refuses. He says that he is now the 'son-in-law' of the family and cannot forgive them, but will still be magnanimous enough of give them his blessings. Valli and Murugan are then married and live happily ever after.
Analysis : The story gives us elements of understanding of our own history. At some point in time, may be thousands of years ago, our ancestors were migrants. They were tribals and the concrete jungles in which we live today, were once agricultural lands and forests. In the play, we understand large forest lands are slowly being transformed into agricultural lands where 'Thinai' (millets) are grown. We surmise that lands were part of the forests as characters in the play mention the sight of wild animals like tigers, bears and wild elephants.[6]
The drama also reinforces the long accepted practice of polygamy. The happenings in this drama beg the questions: How could Lord Murugan, who was already married, accept another woman in his life? Why should Valli waive her rights to conjugal exclusivity, and share them with Deivanai? In the play, there is little attention given to Deivanai, and her reaction to this arrangement is only to be assumed as being favourable (as suggested by the fact that they all live together).[7] Naradar is not free of blame either, letting his ego overcome the fact that Lord Murugan was already married to a bride brought by him
The other aspect that is very clearly visible throughout the drama is the 'male dominated society' of its time. Murugan, Naradar, Vinayagar[8] are al male chauvinists at some level, and the women are accepting and submissive.
For instance, Valli seeks forgiveness to Lord Murugan, for shouting at his various avatars (the hunter, the tree and the old man), and Murugan graciously agrees to forgive her. But common sense says that it was in fact Murugan's fault in the mater, and Valli was entirely innocent as she had no idea that it was her Lord Murugan taunting her. Logically, shouldn't Murugan have sought Valli's forgiveness?
This leads to the other interesting question. Why then, did Lord Murugan have to take various avatars to conquer Valli, and more importantly, taunt and frustrate her at various points? When he knew that Valli desired him, all that he needed to do was to go to her in his original form. Obviously, if that was so simple, there would be no story to begin with, so the author offers an explanation, which appears logical on the face of it:
Valli desires to marry Lord Murugan and tells Lord Naradar that she would marry only the man of her dreams. Now Murugan has to fulfill this wish of Valli. But Naradar, on being insulted by Valli's outright rejection of his proposed (but undisclosed) suitor, vows to avenge his defeat. Without knowing who was actually inside Valli's heart, he swore that Valli would end up marrying Lord Murugan and no one else. So, he goes to Lord Murugan and tells him that there is someone else in Valli's heart, but he should conquer and marry her, come what may.[9] So, Lord Murugan, in order to appease both his devotees, has to play a balancing act wherein he has to take on various guises to taunt Valli (to humour Narada), but finally appears as himself (the only guise Valli recognises) to ask for Valli's hand in marriage. He thereby fulfills the wishes of both Valli and Naradar making it a win-win situation for them.
Scientific Approach Analysis : "Valli Thirumanam' can also be explained through a more scientific approach. By the standards of her time, Valli was definitely a 'hot headed' and independent woman, who insisted on choosing her own life partner. It was natural therefore that the ablest of the opposite sex would fight it out and the winner would be the one chosen to produce through marriage the finest (healthiest) offspring. So, there is the need for an alpha-male in this context. Here, Lord Murugan plays that role.
The alpha-male ( Lord Murugan) must seduce and subdue 'unyielding, stubborn, and egoistical' female ( Valli) and win her over, all the while demonstrating his superior prowess through song, lyricality, poetics and histrionics, and heroism to convey his (physiological and reproductive) superiority as a suitor
Film Versions : Valli Thirumanam has been adapted many times to the film format. The iconic R.Natraja Mudaliar made the play a silent film in the early 1920s. It was made into a 'Talkie' in the year 1933. It was made as a film in the 60s, as well, but for this analysis, we chose the film 'Sri Valli' made by A.V. Meiyappan in the year 1945. Although the film bears a slightly different name, the core elements of the film are the same.
Valli Thirumanam (1933) an ad from The Indian Express archives
T.R. Mahalingam plays the lead role of Lord Muruga, while the role of Valli is played by Kumari Rukmini[10]. The film's script retains basic elements of the legendary script.
In the film, the hunting party of the tribal chief finds an abandoned baby girl. The chief picks up the girl and adopts her. The girl grows up into a charming maiden, who is subsequently sent to the Thinaipunam[11] —to tend to the chief's crop —along with her friend and her youngest, elder brother 'Kutti Anna' ( also called 'Killi' in the film version.) This role was essayed by the legendary comedy actor T.R. Ramachandran, whose clever emoting and body language, suited the role ( of a man of stunted emotional and intellectual development) to a T.
The aspects of Lord Naradar meeting Valli, the subsequent challenges, Lord Murugan's avatars as the hunter, the magic tree and the lecherous old man have more or less been retained in the corresponding scenes of the film version. The film provides additional weightage to the scene where Valliis been chased by the wild elephant—a classic AVM company marketing strategy. There are minor changes to the script. For example, in the scenes where the Chief sees Valli with another man, feels ashamed and puts her in prison; where Lord Murugan rescues her, slays his pursuers (using his divine powers), and then revives them upon Valli's earnest appeals; and where the chief then humbly requests Lord Murugan to accept his daughter in marriage, which Lord Murugan does.
The movie ends with the marriage of Murugan to Valli and a still frame of Murugan with Valli and Deivanai, on either side.
Additional Commercial Elements in Film :
Songs and Aesthetics: A film made on this scale should naturally have additional filler elements, unlike a stage play. The songs rendered by the lead pairs were great hits. In fact, the 'Meiyyadha maan' song is very popular even today. [12] The 'Mayile Thoothu Sellaiyo' song is also quite pleasant to hear. The scenes with the Thinaipunam set in a large tract of forest land is convincing and aesthetically pleasing as the studio sets have been designed to simulate large swathes of open land, with accents such as birds, like the peacock, which elevates it even further. Fortunately for us, a good print of this film has survived, the viewing of which will surely help us appreciate the film better.
Comedy Track: In the original play, 'Kutti Annan' has no romantic interest, but in the film version, there is an attempt to create a love interest for him, in the form of Valli's friend who is part of her entourage. Also part of this story line are the almost invariable comedy couple fixtures of T.R. Mathuram and N.S. Krishnan. Subamma (T.R.Mathuram) plays the role of a sanskaari woman who lives in wait for her athai paiyan[13], despite knowing that he is in love with Valli. Later, he realises his folly and with the help of Lord Muruga, he marries Subamma.
Bharathanatyam: The late '30s saw a political and cultural movement strongly in favour of reviving Bharatanatyam[14]. Baby Kamala[15] had come to become the symbol of this revival in film. So, Bharatanatyam was used in many films, mainly as an additional commercial element, even if it had no logical bearing to the original script of the film. In this film, Kamala plays the role of the younger Valli, who performs Bharatanatyam to a song in the film,[16] although how a girl born and bred in a tribal community with no exposure to the art could do so, obviously defies logic.
Valli's characterisation in the film: Consistent with that in the play, Valli's portrayal is that of an egoistic, dominant and an arrogant female in the film. In fact, she even calls the Vedan (Hunter) 'da' in retaliation when he called her 'di'. Valli's nature is accentuated by using Subamma's polar opposite character as a foil. Subamma is very submissive, and the suggestive lyrics that she sings out also tells us about her, when she calls out to her Machaan (N.S.Krishnan) and tells him "I will even behave like a prostitute ( if need be) and enhance your pleasure"[17]. So possibly, the question being posed in the perspective of a male (chauvinist) of the time could have been, "if Subamma could be like this, why should Valli be like that?", thereby adding more weight to Valli's character in the film.
The film presents a great opportunity for us to understand various facets of life, not only of our own past, but of early Tamil cinema, of society and its thinchief. Since, the copyright of the film has possibly expired, the film can be seen on public access websites like YouTube. [18]
[1] Another version of 'Valli Thirumanam' available on the Internet has been penned by the legendary playwright— Sankaradas Swamigal. This version, along with the original song couplets which were played on stage, can be downloaded from the Tamil Heritage Foundation website: http://www.tamilheritage.org/old/text/ebook/ebook.html
[2] The book is available for free download on the 'Internet Archive', as the copyright of the book has likelu expired.
[3] While all the characters speak in Literature based Tamil, Kutti Anna speaks in Local Madras Bashai. "Annathai' instead of 'Anna' for example. The character has now been replaced on stage by a dedicated buffoon.
[4] Elements of Racism – Naradar cannot believe that a girl from the Tribal community look so divine and have such a sweet voice.
[5] Valli Kodi (creeper)
– Hence, she was named Valli.
[6] Valli was once chased by a wild elephant, and ever since was in fear of wild elephants. Lord Murugan uses the knowledge of her fear to his advantage while seeking her marriage.
[7] Through an equivalent form of 'divorce' or otherwise.
[8] Who agrees to come in the form of a wild elephant and frighten Valli.
[9] Again, another example of male chauvinism— Naradar felt that upholding his vow of marrying Valli to Murugan, to preserve his ego, was more important than Valli's desire to marry someone of her own choice.
[10] Actress Lakshmi's mother.
[11] Forest Lands, where Thinai ( Millet) was grown.
[12] This song has even been satirised in local TV Programs that offer stand-up comedy.
[13] First Maternal cousin— It is customary for maternal cousins to marry amongst themselves in Tamilnadu.
[14] The political movement was launched against Devadasi women, who had allegedly added erotic elements to a traditionally pure dance form and polluted it. The advocates of the Anti-Nautch movement wanted to bring the Devadasi girls to mainstream society and purify and restore the dance as a symbol of culture and Bhakti. This has been described in the 'Sevasadanam' article.
[15] Baby Kamala was a child prodigy and her Bharatanatyam skills were used extensively.
[16] The older Valli ( Kumari Rukmini) also performs Bharathanatyam in this film.
[17] The phrase Daasiyai Pol Nadandhu Inbam Kooduven in the song 'Amman Maganai Nee Aati Vekira' is a typical male chauvinistic song.
[18]Film Viewing Link—https://www.youtube.com/watch?v=5oCVp7BDvkM
Posted in From Book to Celluloid, Tamil Cinema	/ Tagged A.V.Meiyappa Chettiar, AVM, Baby Kamala, Bhakthi, Kumari Rukmini, Lord Muruga, Muruga, Murugan, N S Krishnan, Nataraja Mudalaiar, Pammal Sambandha Mudaliar, Sankar das Swamigal, Sri Valli, Subamma, T R Mahalingam, T R Muthuram, T R Ramachandran, Valli, Valli Manam, Valli Thirumanam	/ Leave a comment
Filmy Ripples : Exotic Child Stars of bygone era (Part 2)
By P V Gopalakrishnan
M.N.Rajam
M.N.Rajam, born 1940, started as a stage actor when she was hardly seven years and debuted into Film with 'Nalla Thambi" (1949) in the role of an orphan girl. This movie was written by C.N.Annadurai, produced by N.S.Krishnan & directed by the duo Krishnan-Panju. And before her fifteen years of age she had acted as a minor in as many as fifteen films, some of which were Pavalakodi, En Thangai, Ratha Kanneer, Kanavane Kan Kanda deivam, Mangayar Thillakam, Needhipathi & Town Bus. Since then she had acted with many leading stars of Tamil screen.
Rajam got married to the Playback Singer A.L.Raghavan in 1960. They have a happy family with their children & grandchildren well qualified abroad.
'Baby' Sachu
Kumari Saraswathi aka Sachu (born 1948) was another notable child star of early Tamil Cinemas. 'Maadi' Lakshmi & Bay Saraswathi were dancing duo in the fifties, the former being Sachu's elder sister, with her "Maadi' title referring to their upstairs residence opposite to P.S.High School in Mylapore.
Sachu debuted in the film 'Rani' (1953), at her five, by director A C Sami. Sachu acted as the junior Bhanumathi in this film. Her next movie was "Sorga Vaasal". Then more notable films such as Maya Bazaar, Avvaiyar, Shyamala followed where she acted along with many legends. In Avvaiyar she was the baby Avvai. The chubby-faced Sachu went on to fill the vacuum left by Baby Saroja.
Baby Sachu in Avaiyar PC: From the archives of TCRC
Her first film as heroine was "Veera Thirumagan" (1961) with Anandan, the father of Disco Shanthi. This movie, produced under AVM Banner, was directed by A.C.Trilokchandar, MSV-TKR scored music for this film & the duet 'Roja malare Rajakumari' from the film is evergreen to date.
Sachu had since acted in more than 500 films in five different languages and a few television serials. Her role pairing with the legend Nagesh in Sridhar directed 'Kathalikka Neramillai' was superb. After this, she did several comedienne roles along with major comedians such as Suruli Rajan, `Thengai' Srinivasan, Cho, Thangavelu, M.R.R.Vasu and M.R.Radha in many films from 1964 to 1989. The late 1970s and 1980s saw her playing supporting roles in films Kamal & Rajani too. She moved on to the small screen in the 2000s and has starred in many serials & stage plays.
K.Balaje
The late Actor-Producer Balaje too entered films as a child star in Gemini's Avvaiyar, donning the role of Lord Muruga. Balaje's love for acting was right from his school days. In fact, Gemini Vasan identified him at one of his school dramas, before casting him in Avvaiyar.
Balaje as Murugan in Avaiyar PC: unknown
K.Balaje, in his early life, also worked as Production Manager with Narasu Studio (owned by Narasu's Coffee people) at Guindy, where he became acquainted with Gemini Ganesan, Savitri and Sivaji Ganesan. He also ran 'Balaji Nadaga Mandram', which served as a launch pad for many veterans including Nagesh. He founded Sujatha Cine Arts & Sujatha Recording Studio. He was well known for remaking blockbuster movies from Hindi. Balaji, whose daughter is married to Malayalam Super Star Mohanlal, passed away in 2009.
Sukumari
The late Sukumari was a veteran actor with great track record both In Tamil & Malayalam screen. But she debuted as a child star at her ten in the AVM produced Tamil film 'Oar Iravu' (1951) as a dancer in a cameo role in the initial part of the song 'Vasantha Mullaiyum malligaiyum' in the music of R.Sudarsanam, as featured in the video below.
Sukumari was a cousin of Lalitha, Padmini & Ragini, popularly known as Travancore Sisters. She again appeared in ta dance sequence much later in the film "Pasa Malar' in the song "Vaaray en thozhi varayo" as an youngster. She also used to act in Cho's plays in the sixties. Her very many stellar roles in Malayalam screen are ever memorable.
A versatile actor, she acted the with big names of the industry, including Mamooty, Mohanlal, Rajinikanth, Kamal Haasan, MGR, Sivaji Ganesan, Nageswara Rao & Prem Nazir.
Wife of famous film director-producer late Bhimsingh, Sukumari received numerous accolades, including Kalaimamani Award, the Kerala State Award on four occasions, Padmashri & the National Award for the best supporting actress in 2011.
One can easily equate her to the late Thespian Manorama of Tamil screen. Sukumari succumbed to third degree burns in 2013.
E.V.Saroja
The dancing star E.V.Saroja debuted, as MGR's kid sister, in the Film 'En Thangai' (1951), which was later remade in Hindi as 'Choti Bahen' by L.V.Prasad.
An image from the film "En Thangai"
Further her performance in the films 'Gulebakavali', 'Veera Thirumagan' & 'Madurai Veeran' were notable ones. In all, she had a track record of acting in some forty films & dancing in about a hundred films. She learnt Bharathanatyam under the famous Guru Vazhuvoor Ramaiah Pillai. She also choreographed dances. She was married to popular film producer and director T V Ramanna. E.V.Saroja passed away in 2006 at her seventy.
Daisy Irani
Daisy Irani, a Parsi girl child from Bombay film Industry was imported into Kodambakkam to play a crucial child role as a cute & smart boy in the Tamil Film "Yaar Paiyyan" (1957), screen-played by Sridhar, based from a well-known Bengali story, 'Sekelar'. Daisy Irani, along with Gemini Ganesan & Savithri, contributed to the success of this film and Daisy Irani instantly became the darling child artiste of Tamil Cinema goers. "Yaar Paiyyan" was directed by noted filmmaker T.R. Raghunath, in the music score of S. Dakshinamurthi.
Song Book of Yaar Paiyan PC: From the archives of TCRC
However, Daisy did not act in any other Tamil film as she got very busy with her Hindi Films at Bombay. In 'Yaar Paiyan' she had plum role along side even veteran Comedian N.S.Krishnan.
Born in a Parsi family of five children, as the little girl of just two-and-a-half years, Daisy Irani made her debut in a Movie as a male child. When Director Bipin Gupta was on the look out for a small boy to act in his movie, he spotted Daisy playing in her brother's clothes and he mistook her for a boy. Nevertheless it was a boy's role. Much against the wishes of her conservative Parsi father who ran a Irani Café in Bombay, she was signed for her debut movie, duly fuelled by her mother. Then others like Satyen Bose & B.R. Chopra came forward and she became a hot property. As a 'boy' child star! Her first release was the film Taksal.
After she had played a boy in films, they never let her become a girl, in Hindi films. She played a child artist role in movies like Hum Panchi Ek Dal Ke (National Award winner), Musafir, Sahara, Bandish, Ek Hi Raasta, Naya Daur, Jagte raho, Hum Panchhi Ek Dal Ke, Jailor, Qaidi No 911 and Do Ustad in the 1950s. She co-starred with great stars like Ashok Kumar, Balraj Sahni, Meena Kumari, Madhubala, Lalita Pawar and Nirupa Roy. Daisy became very busy doing three shifts of shooting. Travelling in plush cars to shoot she used to fall asleep, standing in the cars owing to fatigue.
Daisy Irani in an interview to Mumbai Mirror in 2012 recounted that she & her sister Honey Irani, having been thrusted into films, had no childhood, no education, as they couldn't go to school. By the time they grew aware of their predicament, their childhood was gone. They made a lot of money, but got none of it, as their mother blew it all up. During her career as a child star, she said, the production staff used to physically abuse her by hitting & pinching if there was a need to cry in any sequence.
As Daisy Irani grew up the offers for cinema rolls as a child star stopped coming. Then she started doing stage shows. By this time the movie. 'Bachpan' produced by her mother flopped incurring heavy in debts. The family lost their seven cars one by one.
At the insistence of her mother she acted as a heroine in Gujarati and Punjabi movies when she was hardly 14 years. However, to get a break in Hindi films was very hard, as she was known for her roles as a child star.
Then she fell in love with Director K.K.Shukla and got married to him. Following that she started her own successful Acting School in 1990. Films such as Aakhen, Katti Patang, Talash, Arzoo are some of her works before she quit film scene.
Daisy's sister, Honey Irani long gave up Cinema for marriage to Javed Akhtar. Daisy is the maternal aunt of famous film personalities such as Farah Khan, Sajid Khan, Zoya Akhtar and Farhan Akhtar.
….. and so, the legacy of Child Actors continues in our films.
Posted in Filmy Ripples, Tamil Cinema	/ Tagged A C Sami, A C Trilokchandar, A L Raghavan, Anandan, AVM, AVM studios, Avvaiyar, Baby Sachu, Balaji Nadaga Mandram, Bhimsingh, C N Annadurai, Choti Bahen, Disco Shanti, E V Saroja, En Thangai, Gemini Ganesan, Gulebakavali, K Balaje, K Balaji, Kanavane Kan Kanda Deivam, Kathalikka Neramillai, Krishnan Panchu, L V Prasad, Lord Muruga, M N Rajam, Mangayar Thillakam, Maya Bazaar, MGR, MSV-TKR, Mudarai Veeran, N S Krishnan, Nagesh, Nalla Thambi, Narasu Studio, Needhipathi, Oar Iravu, Pasa Malar, Pavalakodi, R Sundarsanam, Rani, Ratha Kaneer, Sachu, Shyamala, Sorga Vaasal, Sridhar, Sujatha Cine Arts, Sujatha Recording Studio, Sukumari, T V Ramanna, Town Bus, Veera Thirumagan	/ Leave a comment
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