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Scott & Lisa Perry Scott and Lisa live in beautiful Floyd, VA where they raised two boys and more than a few eyebrows! Scott is a teacher, author and musician. Lisa is a certified health coach, writer, and artist. Together they live abundantly through life's uncertainties and inspire others to do the same. Join a community sharing lessons and resources for living bolder, more connected, and thriving!
How Do We Serve Those Who Serve Those Who Serve?


This beautifully designed home in Kingston 6 showcases a modern lower level fully furnished 3 bedrooms, 2 bathrooms flat with updated bathrooms and kitchen with stainless steel appliances, cutlery and "high end" modern furnishings in all spaces. The property boasts its own private entrance with an electronic gate that leads to the flat's entrance along a well maintained lawn area. Also, the property offers a "stand alone" fully furnished 1 bedroom guest cottage with all appliances and cutlery that may be negotiated separately. The house is in close proximity to Mona campus, supermarkets, restaurants, gas stations and other activities. This property is perfect for a Corporate rental. Call for appointments.


text:
Q: Repeated measures Lmer and random terms interaction I am having some issues in defining a syntax for a repeated measure log regression using the lmer() function from the lme4 package.  Some of you were really helpful when I first posted my doubts.  However, after reading your answers and some of the links that you kindly posted, I am still struggling. I have 62 participants, each participant sees 120 trials, so the same trial is seen by all 62 (only once).  In each trial, participants have to report either 1 (yes) or 0 (no).  I am interested in the effect of trial as well as subject since I know that most participants (not everyone) tend to say more Yes more often as the number of trials increases (i.e., towards the end of the experiment). I was first recommended to model like this:
model<-glmer(DV~X+Y+Z+Y:Z + (1|Subject), data=data)

But this, to my knowledge, only captures the random effect of Subject.  How do I control for Trial?  Should I define an interaction effect between Subject and Trial?
I thought about the following model:
model<-glmer(DV~X+Y+Z+Y:Z + (1|Subject:Trial_Order), data=data)

redpajama_set_name: RedPajamaStackExchange


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This is no ordinary Haggadah.
If you've ever suffered through a Seder, you're well aware of the fact that the entire evening can last as long as the exodus from Egypt itself. There are countless stories, dozens of blessings, and far too many hand washings while the meal turns cold. Now prepare to be entertained by another version of the book that's responsible for this interminable tradition.
First of all, let me just say that this Assignment is Stupid. You are Dead.
Why am I writing a letter to Some dead guy I've never even met?
Starred Review. Saturday Night Live writing alum and Thurber Prize winner Zweibel (The Other Shulman) returns with a collection of essays, short stories and ephemera that should solidify his place among American satirists.
A long time ago, when you were little, Mom and I took you to where we wanted to build a house. . . . I remember there was one tree, however, that the three of you couldn't stop staring at. . . .
Alternately comic and heartbreaking, the play follows Alan and Gilda from SNL through their bumper-car lives right up to her death from ovarian cancer. Their loyalty and love glows through every scene.
The tale of a young boy who declares himself a free agent and travels the world in search for the perfect parents.


text:
This article is about the band. For the television series, see In Living Color.
Living Colour in 2017
New York, New York, U.S.
Rock[1]
hard rock[2]
funk metal[3]
alternative metal[4][5]
Free Form Funky Freqs
Headfake
Jungle Funk
Wood Brass & Steel
Yohimbe Brothers
Vernon Reid
Corey Glover
Will Calhoun
Doug Wimbish
Muzz Skillings
Living Colour is an American rock band from New York City, formed in 1984. Stylistically, the band's music is a creative fusion influenced by heavy metal, funk, jazz, hip hop, punk, and alternative rock. Their lyrics range from the personal to the political, in some of the latter cases attacking Eurocentrism and racism in America.
Living Colour rose to fame with their debut album Vivid in 1988.[6] Although the band scored a number of hits, they are best remembered for their signature anthem "Cult of Personality", which won a Grammy Award for Best Hard Rock Performance in 1990. They were also named Best New Artist at the 1989 MTV Video Music Awards and won their second Grammy Award for their follow-up album Time's Up. After disbanding in 1995,[6] Living Colour reunited in late 2000.[7]
1.1 Early years (1984–1986)
1.2 Mainstream success (1986–1991)
1.3 Second line-up and breakup (1992–1995)
1.4 Reunion and subsequent events (2000–present)
2 Acclaim and legacy
5.1 MTV Video Music Awards
Early years (1984–1986)[edit]
Find sources: "Living Colour" – news · newspapers · books · scholar · JSTOR (July 2008) (Learn how and when to remove this template message)
English-born guitarist Vernon Reid had formed a number of bands, and after a few years, he formed Living Colour in New York in 1984, using the British spelling of "colour".[8][9] Reid assembled a number of bands under the name Vernon Reid's Living Colour from 1984 to 1986.[10] Reid was well known on the downtown New York jazz scenes because of his tenure in Ronald Shannon Jackson's Decoding Society.
Early band members included bassists Alex Mosely, Jerome Harris and Carl James, drummers Greg Carter, Pheeroan akLaff and J.T. Lewis, keyboardist Geri Allen, and vocalists D.K. Dyson and Mark Ledford, with Reid occasionally singing lead vocals himself. The band's sound was vastly different from the songs that showed up later on their major label recordings. Material from this period included instrumental jazz/funk workouts, politically pointed punk rock burners, experimental excursions via Reid's guitar synth, and an early version of the song "Funny Vibe", which was reworked for their debut album Vivid.
Mainstream success (1986–1991)[edit]
In 1986 a stable lineup was formed, consisting of vocalist/actor Corey Glover, guitarist Vernon Reid, bassist Muzz Skillings, and drummer Will Calhoun (who had graduated with honors from Berklee College of Music),[6] and the band hired managers Jim Grant and Roger Cramer. Soon after, the band became experienced at touring, including performing regular gigs at the club CBGB. Vivid, released on May 3, 1988, gathered sales momentum only when later that year, MTV began playing the video for "Cult of Personality". The album reached No. 6 on the U.S. Billboard 200 chart. On April 1, 1989, the band performed on NBC's Saturday Night Live. Four months later, the band gained further exposure as an opening act, along with Guns N' Roses, for The Rolling Stones' Steel Wheels/Urban Jungle Tour.
In 1990 the band's second full-length album, Time's Up, featured songs in numerous musical contexts; jazz fusion, punk rock, Delta blues, hip hop (cameos by Queen Latifah and Doug E. Fresh), funk, thrash metal, jive, and hints of electronica were all represented.[11] The album reached No. 13 on the Billboard 200,[6] and won a Grammy Award for Best Hard Rock Performance. Other guests included Maceo Parker and Little Richard.[6]
In 1991, Living Colour joined the inaugural Lollapalooza tour, and released an EP of outtakes entitled Biscuits.[6]
Second line-up and breakup (1992–1995)[edit]
In 1992, Skillings left the band and was replaced by Doug Wimbish.[6] This new line up released their third full-length album, Stain, in March 1993. The album reached No. 26 in the U.S., a further drop since their debut.[6]
Despite retaining their strong fan base, Living Colour disbanded in January 1995, after failing to settle on a common musical goal during sessions for their fourth studio album.[6] Four of these tracks were included on the compilation Pride.
Following the breakup, individual band members released a variety of solo efforts.
Reunion and subsequent events (2000–present)[edit]
Living Colour re-formed on December 21, 2000, at CBGB as a gig billed "Head>>Fake w/ special guests". Head>>Fake was the current drum and bass project headed by Calhoun and Wimbish. Glover was on the bill to sing a few songs and Reid came on after three songs. The reunion was followed by the release of the band's fourth studio album, Collideøscope, in 2003, their first album not to chart in the United States, although it was critically praised.[12][13] In 2005, Sony Records released Live from CBGB's, a live album recorded on December 19, 1989, as well as another best-of compilation, Everything Is Possible: The Very Best of Living Colour, with songs from Vivid to Collideøscope.
Sziget Festival - 2006.08.15
In August 2006, Glover took on the role of Judas Iscariot in a national tour of Jesus Christ Superstar, touring with JCS veteran Ted Neeley. Doug Pinnick, vocalist and bassist of King's X, filled in for Glover on lead vocals.[14] Glover's tour of the musical ran through June 2008, and he then rejoined the band. On September 22, 2006, Skillings joined the band for the first time in fourteen years when they played at a private party which drummer Jack DeJohnette threw for his wife Lydia. Wimbish was unable to come back from his base in London to play for the event, so Skillings agreed to take over for the special private event.
Corey Glover and Doug Wimbish (2008)
Living Colour, San Diego, CA, March 2013
The band performed a week-long European Tour starting on December 12, 2006. In May 2007, the band released their first live DVD - On Stage At World Cafe Live. On July 11, 2008, the band performed at the 1980s hard rock-themed Rocklahoma festival at Pryor, Oklahoma. Once again, Skillings performed with them in August 2008 for a Black Rock Coalition Band of Gypsys tribute in Harlem. They performed "Them Changes" and "Power of Soul".
On October 25, 2008, MVD Audio and CBGB Records released CBGB OMFUG MASTERS: August 19, 2005 The Bowery Collection, a soundboard collection of songs from the Save CBGB's benefit show. On November 25, 2008, Inakustik and MVD released The Paris Concert, a DVD recorded at New Morning, in Paris, France, during their 2007 European Tour. The band released their fifth studio album, The Chair in the Doorway, on September 15, 2009 on Megaforce Records. The album sold approximately 2,800 copies in its first week and landed at No. 159 on the Billboard 200. This was the band's first album to chart since Stain in 1993. The band toured the world in support of the record.[15]
In an interview on breakdownroom.net, Glover hoped to release another album with the band next year. "We're going to do something different [for us] and make a real record, right now, right after we've done this one," Glover said with a laugh. The band's song "Cult of Personality" received fresh exposure from 2011, as it was used as the entrance music for professional wrestler CM Punk. In 2013, Living Colour performed the song live during Punk's entrance at WrestleMania 29.
On July 2, 2014 Living Colour announced on their official website that they were putting the finishing touches on their upcoming sixth album Shade, which was released on September 8, 2017.[16] "Shade is the sound of a band coming to terms with its shadows and light, From the blue pulpit of Robert Johnson to the mean red streets of Brooklyn to the golden lure of Hollywood, Shade is the next chapter of a unique American journey," Reid stated on the official website. The album includes 10 originals and 3 covers: Robert Johnson's "'Preachin' Blues", Notorious B.I.G.'s "Who Shot Ya?" and Marvin Gaye's "Inner City Blues'" available on CD, MP3, and vinyl.
On August 19, 2016 the band released a cover of The Notorious B.I.G.'s "Who Shot Ya?", from an upcoming EP entitled Mixtape which was released on September 9.[17] It features appearances from Chuck D, Black Thought, Pharoahe Monch, Prodigal Sunn, and Kyle Mansa.[18]
Acclaim and legacy[edit]
Living Colour was ranked No. 70 on VH1's 100 Greatest Artists of Hard Rock.[19]
"Cult of Personality" was part of the Grand Theft Auto: San Andreas repertoire of radio songs in Radio X. It was also the first song to be confirmed for the track list of Guitar Hero III: Legends of Rock. The version featured in Guitar Hero III is a new master recording of the song that features an updated solo, as the original masters could not be used.
In October 2006, "Love Rears Its Ugly Head" was ranked and voted 303 out of the 2006 songs featured in the Triple M Essential 2006 Countdown.
Rolling Stone have called the band "funk metal pioneers."[20]
In early 2009, WWE used "Cult of Personality" in the video promoting the induction of Stone Cold Steve Austin into its Hall of Fame. WWE performer CM Punk used the song as his entrance theme in Ring of Honor for a period of time.[21] CM Punk used other licensed music while working with WWE, but, after feigning a departure from the company in July 2011, he returned with "Cult of Personality" as his entrance theme. CM Punk also entered to the song at his debut in the world of mixed martial arts at UFC 203 and subsequently at UFC 225 for his fight versus Mike Jackson.
Members[edit]
Vernon Reid – lead guitar, guitar synthesizer, programming, laptop, backing vocals (1984–1995, 2000–present); lead vocals (1984–1985)
Corey Glover – lead vocals, occasional rhythm guitar, occasional tambourine (1985–1995, 2000–present)
Will Calhoun – drums, percussion, keyboards, samples, loops, programming, backing vocals (1986–1995, 2000–present)
Doug Wimbish – bass, drums, guitar, programming, backing vocals (1992–1995, 2000–present)
Alex Mosely – bass
Jerome Harris – bass
Carl James – bass
Greg Carter – drums
Pheeroan akLaff – drums
J.T. Lewis – drums
Geri Allen – keyboards
D.K. Dyson – lead vocals
Mark Ledford – lead vocals
Muzz Skillings – bass, backing vocals (1986–1992, one-off show in 2006)
Main article: Living Colour discography
Vivid (1988)
Time's Up (1990)
Stain (1993)
Collideøscope (2003)
The Chair in the Doorway (2009)[6]
Shade (2017)
MTV Video Music Awards[edit]
1989 - Best New Artist ("Cult of Personality")
1989 - Best Group Video ("Cult of Personality")
1989 - Best Stage Performance ("Cult of Personality")
Grammy Awards[edit]
1990 - Best Hard Rock Performance (won) ("Cult of Personality")
1990 - Best Rock Performance by a Duo or Group with Vocal (nominated) ("Glamour Boys")
1991 - Best Hard Rock Performance (won) (Time's Up)
1994 - Best Hard Rock Performance (nominated) ("Leave It Alone")
^ The following sources refer to Living Colour as a rock band:
Mahon, Maureen (June 23, 2004). Right to Rock: The Black Rock Coalition and the Cultural Politics of Race. Duke University Press. p. 5. ISBN 9780822333173.
Caramanica, Jon (February 2002). "Electric Warriors". Vibe. p. 88.
Vladimir Bogdanov; Chris Woodstra; Stephen Thomas Erlewine, eds. (2002). All Music Guide to Rock. Hal Leonard Corporation. p. 663. ISBN 9780879306533.
Larkin, Colin (May 27, 2011). The Encyclopedia of Popular Music. Omnibus Press. p. 926. ISBN 9780857125958.
^ The following sources refer to Living Colour as hard rock:
Chuck Klosterman (1 November 2007). Fargo Rock City: A Heavy Metal Odyssey in Rural North Dakota. Simon and Schuster. p. 165. ISBN 978-1-4165-8952-5.
Chuck Klosterman (14 September 2010). Chuck Klosterman on Rock: A Collection of Previously Published Essays. Simon and Schuster. p. 33. ISBN 978-1-4516-2449-6.
Martha Bayles (15 May 1996). Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music. University of Chicago Press. p. 338. ISBN 978-0-226-03959-6.
"Living Colour: Keeping The Music Alive". All Things Considered. NPR. December 6, 2009. Archived from the original on April 29, 2016. Retrieved April 29, 2017.
^ The following sources refer to Living Colour as funk metal:
McIver, Joel (17 November 2011). Overkill: The Story of Motorhead. Music Sales Limited. p. 162. ISBN 978-0-85712-718-1.
Mark Katz (3 April 2012). Groove Music: The Art and Culture of the Hip-Hop DJ. Oxford University Press. p. 180. ISBN 978-0-19-991301-5.
^ "Alternative Metal". Allmusic. Rovi Corporation. Archived from the original on 23 December 2015. Retrieved 29 September 2015.
^ Heller, Jason (July 9, 2013). "One of Living Colour's hits illustrates an era in transition". AV Club. Archived from the original on October 30, 2016. Retrieved April 29, 2017.
^ a b c d e f g h i j Strong, Martin C. (2000). The Great Rock Discography (5th ed.). Edinburgh: Mojo Books. pp. 580–581. ISBN 1-84195-017-3.
^ Dustin Schoof (March 29, 2013). "Living Colour singer Corey Glover looks back on 25 years of 'Vivid'". LehighValleyLive.com. Archived from the original on March 4, 2016.
^ James, Joseph (30 April 2017). "Cult of Personality: An interview with Will Calhoun (Living Colour)". Will Not Fade. Archived from the original on June 16, 2019. Band founder Vernon Reid is English, so made a deliberate choice to spell 'colour' with the 'U' included. But most Americans spell it incorrectly out of habit. It's not much of an issue.
^ Burgess, Mick (September 25, 2017). "We chat to Corey Glover from Living Colour ahead of Newcastle Riverside gig". ChronicleLive. Archived from the original on November 9, 2017.
^ David Fricke (November 1, 1990). "Living Colour's Time Is Now". Rolling Stone. Archived from the original on September 12, 2017.
^ Greg Prato. "Living Colour Time's Up". AllMusic. Archived from the original on August 6, 2015. Retrieved August 21, 2015.
^ Davey Boy (March 4, 2009). "Review: Living Colour Collideoscope". Sputnikmusic.
^ Dave Mount (March 6, 2008). "Living Colour Collideoscope". Prefixmag. Archived from the original on September 24, 2015.
^ "Note from Vernon Reid". www.livingcolourmusic.com. Archived from the original on 4 July 2013. Retrieved 5 May 2018.
^ Living Colour Back With Fifth Studio Album Archived 2013-04-23 at the Wayback Machine Billboard.com. Retrieved on 2009-07-08.
^ "LIVING COLOUR To Release 'Shade' Album In September; Cover Artwork Unveiled". Blabbermouth.net. May 12, 2017. Archived from the original on May 15, 2017. Retrieved May 14, 2017.
^ "LIVING COLOUR To Release 'Mixtape' Featuring Reinvention Of NOTORIOUS B.I.G.'s 'Who Shot Ya'". Blabbermouth.net. August 19, 2016. Archived from the original on August 22, 2016. Retrieved August 22, 2016.
^ "Living Colour Enlist Chuck D, Black Thought, More for Notorious B.I.G. "Who Shot Ya" Remake: Listen - Pitchfork". pitchfork.com. Archived from the original on 22 November 2017. Retrieved 5 May 2018.
^ "VH1 100 Greatest Artists of Hard Rock - YouTube". YouTube. Archived from the original on 21 May 2017. Retrieved 5 May 2018.
^ Fricke, David (November 13, 2003). Living Colour: Collideoscope : Music Reviews : Rolling Stone. Archived from the original on April 12, 2009. Retrieved February 1, 2012.
^ "What Happened After SmackDown, Punk's Theme Song, Updates on Finlay & Cara - WRESTLESCOOP". wrestlescoop.com. 28 July 2016. Archived from the original on 4 March 2016. Retrieved 5 May 2018.
Living Colourat Wikipedia's sister projects
Data from Wikidata
Alex Mosely
Jerome Harris
Carl James
Greg Carter
Pheeroan akLaff
J.T. Lewis
Geri Allen
D.K. Dyson
Mark Ledford
Collideøscope
The Chair in the Doorway
Live from CBGB's
Instant Live: Avalon, Boston, MA 10/17/04
What's Your Favorite Color?: Remixes, B-Sides and Rarities
Everything Is Possible: The Very Best of Living Colour
Extended plays
"Cult of Personality"
"Glamour Boys"
"Open Letter (To a Landlord)"
"Funny Vibe"
"Type"
"Love Rears Its Ugly Head"
"Solace of You"
"Elvis Is Dead"
"Talkin' Loud and Sayin' Nothing"
"Leave It Alone"
"Ausländer"
"Nothingness"
"Bi"
"Sunshine of Your Love"
Time Tunnel
On Stage at World Cafe Live
MusicBrainz: dc6f8c1f-626b-42b0-9115-7e66ae4cecd6
Retrieved from "https://en.wikipedia.org/w/index.php?title=Living_Colour&oldid=905727611"
1984 establishments in New York (state)
African-American rock musical groups
African-American hard rock musical groups
African-American heavy metal musical groups
American alternative metal musical groups
American funk metal musical groups
Epic Records artists
Grammy Award winners
Heavy metal musical groups from New York (state)
Megaforce Records artists
Musical groups reestablished in 2000
Musical groups from New York City
Musical quartets
Political music
Rock music groups from New York (state)

redpajama_set_name: RedPajamaCommonCrawl


text:
module DeepBanana.Layer.CUDA.Numeric (
    llog
  , inv
  , lexp
  , scale
  , scaleByCst
  , scaleByCst_
  , multiply
  , add
  , add_
  ) where

import DeepBanana.Device
import DeepBanana.Layer
import DeepBanana.Layer.CUDA.Monad
import DeepBanana.Prelude
import DeepBanana.Tensor

-- elementwise log (useful for cost fct)
llog :: (Device d, MonadCudaError m, Shape s, TensorScalar a)
     => Layer m a '[] (Tensor d s a) (Tensor d s a)
llog = combinePasses' fwdlog bwdlog
  where fwdlog inp = return $ liftFixed1 log inp
        bwdlog inp _ = return $ \upgrad ->
          unsafeRunCudaError $ liftFixed2 (*) upgrad (liftFixed1 recip inp)

inv :: (Device d, MonadCudaError m, Shape s, TensorScalar a)
    => Layer m a '[] (Tensor d s a) (Tensor d s a)
inv = combinePasses' fwdInv bwdInv
  where fwdInv inp = return $ liftFixed1 recip inp
        bwdInv inp invinp = return $ \upgrad ->
          unsafeRunCudaError $ liftFixed2 (\dy y -> dy * (-(y*y))) upgrad invinp

-- elementwise exponential
lexp :: (Device d, MonadCudaError m, Shape s, TensorScalar a)
     => Layer m a '[] (Tensor d s a) (Tensor d s a)
lexp = combinePasses' fwdExp bwdExp
  where fwdExp inp = return $ liftFixed1 exp inp
        bwdExp inp einp = return $ \upgrad ->
          unsafeRunCudaError $ liftFixed2 (*) upgrad einp

scale :: (Device d, MonadCudaError m, Shape s, TensorScalar a)
      => Layer m a '[] (a, Tensor d s a) (Tensor d s a)
scale = combinePasses' fwdscale bwdscale
  where fwdscale (x,y) = return $ liftFixed1 (x *^) y
        bwdscale (x,y) _ = return $ \upgrad -> unsafeRunCudaError $ do
          case toAnyFixed $ shape y of
           AnyFixed fshp -> do
             fy <- shapeConvert fshp y
             fdy <- shapeConvert fshp upgrad
             withValidUniqueDevice (device y) $ \dev' -> do
               dfy <- deviceConvert dev' fy
               dfdy <- deviceConvert dev' fdy
               return (dfy <.> dfdy, liftFixed1 (x *^) upgrad)

scaleByCst :: (Device d, MonadCudaError m, Shape s, TensorScalar a)
           => a -> Layer m a '[] (Tensor d s a) (Tensor d s a)
scaleByCst c = Layer $ \_ x -> do
  (y, bwd) <- forwardBackward scale (W Z) (c,x)
  return (y, \dy -> let (_,(_,dx)) = bwd dy in (W Z, dx))

scaleByCst_ :: (Monad m, VectorSpace t)
            => Scalar t -> Layer m (Scalar t) '[] t t
scaleByCst_ c = combinePasses' fwdScaleByCst bwdScaleByCst
  where fwdScaleByCst t = return $ c *^ t
        bwdScaleByCst _ _ = return $ \dy -> c *^ dy

multiply :: (Device d, MonadCudaError m, Shape s, TensorScalar a)
         => Layer m a '[] (Tensor d s a, Tensor d s a) (Tensor d s a)
multiply = combinePasses' fwdMul bwdMul
  where fwdMul (x1,x2) = liftFixed2 (*) x1  x2
        bwdMul (x1,x2) _ = return $ \upgrad ->
          unsafeRunCudaError
          $ pure (,)
          <*> liftFixed2 (*) x2 upgrad
          <*> liftFixed2 (*) x1 upgrad

add :: (Device d, MonadCudaError m, Shape s, TensorScalar a)
    => Layer m a '[] (Tensor d s a, Tensor d s a) (Tensor d s a)
add = combinePasses' fwdadd bwdadd
  where fwdadd (x,y) = liftFixed2 (+) x y
        bwdadd (x,y) _ = return $ \upgrad -> (upgrad, upgrad)

add_ :: (Monad m, VectorSpace t)
     => Layer m (Scalar t) '[] (t,t) t
add_ = combinePasses' fwdadd bwdadd
  where fwdadd (x,y) = return $ x ^+^ y
        bwdadd _ _ = return $ \upgrad -> (upgrad, upgrad)

redpajama_set_name: RedPajamaGithub


What if your car could warn you that you were missing something before you pulled out of the parking lot? Lost-item-locator startup Tile and Jaguar Land Rover are teaming up to make this scenario a reality.
Tile, a four-year-old company, makes $25 Bluetooth-enabled trackers that you can stick onto your belongings and locate them within a 100-foot range. Users can essentially call their missing items, and they'll emit a sound until they're located again.
Related: Hate Losing Your Stuff? You'll Love Tile.
Jaguar Land Rover today announced that it will be integrating the Tile app into all its models with the InControl Apps system. The app will be enabled in the automaker's vehicles, and with Bluetooth technology, drivers will be alerted if any of their items aren't in the vehicle. Directions to the belongings last known location will pop up on the car's central touch screen.
"We believe this integration will provide many benefits, such as improved assurance and peace of mind about the whereabouts of essential items, helping drivers save time," said Tile CEO Mike Farley in a joint statement.
The San Mateo, Calif-based startup brought in $43 million in revenue in 2015, and has shipped 4.5 million individual Tiles to users within the last year and a half.


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Why choose Ergo-Motion's retainer program?
For more information, please call 1-877-841-3508 or email retainer@ergo-motion.com.


HOOQ has partnerships with the biggest names with kids' entertainment—Nickelodeon, Nick. Jr., Kids Like Us, Hasbro, Turner and MoMedia—to bring some of the most popular kids titles into its catalog.
"HOOQ continues to deliver premium content for everyone in the Filipino family, and this includes entertainment for kids. This is why we continue to expand our catalog for kids," said HOOQ Philippines Content and Programming head Jeffrey Remigio.
On June 7, HOOQ will air the Emmy-nominated show "Ben 10 Alien Force," the second iteration of the Ben 10 franchise and the sequel of the original Ben 10 series.
"Regular Show," a fantasy cartoon for older kids, will air on June 7.


* 4. What makes PUREVIBE different from all other vape pens?
* 5. What do we use for flavoring?
* 6. What are the five standard flavors?
* 7. Our oil is a minimum of what percentage THC?
* 8. Pick two favorites so we can send you sporadic gifts!
* 9. Mailing Address - So we can spoil you with goodies!


text:
Q: Determine acceptable content types in ExceptionHandler In a Spring application, I have an endpoint which normally returns an image (produces = MediaType.IMAGE_PNG_VALUE).
I also have @ExceptionHandler functions to handle various functions.
I'm trying to find a way to determine, from within the @ExceptionHandler, if the client will accept text/plain or text/json so in the event of an error I can return back one of those, or omit it if they are only expecting image/png.
How can I determine what acceptable content types I can return for a given request?

A: You can access the request to inspect headers and return an appropriate response. It is standard Content Negotiation.
Here's an example:
@ControllerAdvice
public class MyExceptionHandler extends ResponseEntityExceptionHandler {

    @ExceptionHandler(value = {RuntimeException.class})
    protected ResponseEntity<Object> handleMyException(RuntimeException ex, WebRequest request) {
        List<String> acceptableMimeTypes = Arrays.asList(request.getHeaderValues(HttpHeaders.ACCEPT));
        if (acceptableMimeTypes.contains(MediaType.TEXT_PLAIN_VALUE)) {
            return ResponseEntity.ok()
                    .header(HttpHeaders.CONTENT_TYPE, MediaType.TEXT_PLAIN_VALUE)
                    .body("hello");
        }
        throw ex;
    }
}

There are some arguments that spring-mvc can automagically inject into controller methods, and WebRequest (which is spring's representation of an http request) is one of those. If the client has sent an Accept : text/plain header with the request, the above example returns the string hello if there's a RuntimeException. If there's no exception, this logic won't get triggered at all, so the endpoint will just return whatever it normally returns. You can read more about @ControllerAdvice and @ExceptionHandler here.
Of course, be sure to think about the exact exception types you want to handle, and semantically appropriate status codes to return so that the clients know how to correctly interpret the response.

A: This is the answer I came up with. It's similar to YoungSpice's, but it is a little more flexible and uses MediaType directly (which means it'll handle wildcard types like text/* and the like):
private ResponseEntity<String> buildResponse(WebRequest request, HttpStatus status, String message) {
        HttpHeaders httpHeader = new HttpHeaders();
        List<MediaType> acceptHeader =
                MediaType.parseMediaTypes(Arrays.asList(request.getHeaderValues(HttpHeaders.ACCEPT)));

        if (acceptHeader.stream().anyMatch(mediaType -> mediaType.isCompatibleWith(MediaType.APPLICATION_JSON))) {
            httpHeader.setContentType(MediaType.APPLICATION_JSON);
            return new ResponseEntity<>("{ \"error\": \"" + message + "\" }", httpHeader, status);
        } else if (acceptHeader.stream().anyMatch(mediaType -> mediaType.isCompatibleWith(MediaType.TEXT_PLAIN))) {
            httpHeader.setContentType(MediaType.TEXT_PLAIN);
            return new ResponseEntity<>(message, httpHeader, status);
        } else {
            return ResponseEntity.status(status).body(null);
        }
    }

Basically, it uses MediaType.parseMediaTypes() to parse the Accept header, then I stream through them and use the mediaType.isCompatibleWith() function to check if my target is acceptable. This will let it handle if the header has something like application/* instead of application/json directly.
It also seems like if Accept isn't explicitly provided in the request, there is an implied */*, which seems to work as intended.


We've also designed these powerful blocks with two countersunk holes on either side, making them some of the most versatile magnets we carry. Perfect for aquariums, marine environments, construction sites, outdoor applications and so much more! Super strong and super tough!


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Screenwriter Interviews
Writers: If you've finished first, second, or third in any screenwriting competition listed on MovieBytes, we'd like to interview you! First, make sure the contest results for the year you won are posted on MovieBytes, including your name, so we can verify your submission. Then submit our online interview form for that contest. We'll notify you via email when your interview has been posted.
MovieBytes Interview:
Screenwriter Stacie Shellner
An interview with screenwriter Stacie Shellner regarding the Cinequest Writing Competition.
Q: What's the title of the script you entered in this contest, and what's it about?
A: The title is Saint Chloe. Here is the logline: "After a tragic event, a mother and her young daughter are forced to move back to her childhood home. Their frayed relationship begins to heal, along with the entire small town, when the little girl is visited by Jesus." Some have referred to it as a "faith-based" script, though I myself have never seen it that way as Jesus' presence is never truly confirmed.
Q: What made you enter this particular contest? Have you entered any other contests with this script? If so, how did you do?
A: I entered into Cinequest on a whim, just simply because I appreciated their mission. I have submitted Saint Chloe to the Nicholl Fellowship in 2014, and it advanced all the way to Semifinals!
Q: Were you satisfied with the administration of the contest? Did they meet their deadlines? Did you receive all the awards that were promised?
A: The people at Cinequest are amazing! Just an incredible festival dedicated to every aspect of filmmaking. I couldn't be more satisfied with my experience.
Q: How long did it take you to write the script? Did you write an outline beforehand? How many drafts did you write?
A: I'm a "throw it against the wall and see what sticks" kind of writer. Not so big on outlining, though I know I should be. However, I do like to do beat breakdowns. I probably wrote about three complete drafts before getting to this version, and wrote this one quickly - in a matter of about two months.
Q: What kind of software did you use to write the script, if any? What other kinds of writing software do you use?
A: I told a fellow writer that I don't use software and was branded a "purist." Haha! It's really just that when I first started writing, I was poor and couldn't afford software so I taught myself the margins and such. It's just what I'm used to at this point.
Q: Do you write every day? How many hours per day?
A: Absolutely. If I don't write every day, I get antsy. It's the only way you grow as a writer. Since I work a regular full-time job, I squeeze in as much time as possible during the week, and do the bulk of my writing on the weekends.
Q: Do you ever get writer's block? If so, how do you deal with that?
A: I drink a lot of wine. Seriously, though, I've found that writer's block is just a sign that you're not quite ready to tell the story yet. That's where the wine comes in!
Q: What's your background? Have you written any other screenplays or television scripts?
A: I actually got a B.A. in theater, so I guess you could say my background is theater. I didn't go to film school - I'm completely self-taught. And I've written around six features now.
Q: Do you live in Los Angeles? If not, do you have any plans to move there?
A: I live about an hour outside of Los Angeles.
Q: What's next? Are you working on a new script?
A: Working on another rewrite, working on getting some representation, and submitting my scripts to all the upcoming contests!
Posted Wednesday, March 4, 2015


Located in Guachipelin de Escazu, in an area characterized by its high value, rapid growth and accelerated development experienced in the last decades such as various economic activities, office and corporate developments, housing developments, free zones parks, among others.
Multipark office and shopping center, located in Guachipelín de Escazu, one of the areas with the highest added value in Costa Rica.
Multipark is an office and shopping center. With a leasable area of 30,953 m² and 50,306 m² of total construction, it meets the highest technological standards, parking, security and architectural design companies are looking for today.
The complex has four buildings named after geographic sites in Costa Rica: Térraba and Tapantí, which have an approximate area of 3,100 m² each and the Tempisque and Turrubares buildings, which have a leasable area of 8,500 m² each one.
Multipark, has a commercial area of convenience that includes two stand alone and 16 business premises that offer a variety of services such as cafeteria, pharmacy, restaurants, bookstore, laundry, among others.


Brandables Ltd is a leading UK supplier of personalised promotional products, printed promotional products, corporate gifts, business gifts, promotional items and products. We offer a professional service along with low prices, great value and reliability. Save £'s on promotional gifts, products and printed corporate merchandise items including promotional pens, mugs, pedometers, umbrellas, pads, keyrings, sports bottles – perfect for any event.
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Brandables caters for any size of business, and its employees have experience dealing with anything from a Church Group, to a School, to a Blue Chip company. We try to offer the most effective products, and be as creative as possible, to ensure you obtain greatest value for money, and maximum results.


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Deer Creek High School "Deer"
Deer Creek High School Building 1947
Submitterd by Robert A. Chaffer
Deer Creek – Mackinaw Grade School 2007
Former Deer Creek High School
The History of Deer Creek High School
Deer Creek (population 605) is located in north central Illinois in eastern Tazwell County. U.S. Route 150 runs through the south edge of town. Deer Creek is approximately 15 miles southeast of Peoria. The Norfolk & Western Railroad also runs through the town of Deer Creek..
According to the town's official web site, www.deercreekillinois.com, Deer Creek was established in 1830. The town was named after the creek that ran by the northwest side of town (now known as Mud Creek) and the herd of red deer that used to visit the creek for drinking purposes.
The first school was established in Deer Creek in 1835 at the home of Edward Durham with Nancy Parker becoming the first teacher. It was probably in the late 1800s that high school courses started being offered at Deer Creek School. An actual high school may have been established as late as the early 1900s, this information is in need of research. It is known that Deer Creek High School served the town of Deer Creek through at least 1948. At that point the towns of Deer Creek and Mackinaw (located 8 miles south of Deer Creek) decided to consolidate their efforts. The result was the creation of the Deer Creek-Mackinaw School District.
Robert A. Chaffer adds the following information about Deer Creek:
"I am too young to have attended that high school but my father, his brother, and his sister all graduated from Deer Creek H. S.
The school mentioned as established in 1835 was a one-room country school which existed in several iterations until 1948. The location of that country school was at the original site of what became Deer Creek but it is about 2.5 miles southwest of Deer Creek's modern location. The very small town moved twice before taking root at its current site when the railroad was built through the township. I attended that country school (which was known as the Chaffer School) for three years until 1948 when the Deer Creek-Mackinaw Consolidated School District was formed. As part of the consolidation, Deer Creek High School was repurposed as Deer Creek Grade School (grades 1-8) and the high school of the district was located in Mackinaw."
The high school for "DeeMack" is located in Mackinaw. Grades 4 – 6 attend school in Deer Creek. It is not currently known if the Deer Creek Grade School building pictured above is the former Deer Creek High School building. For more information on Dee-Mack High School go to www.deemack.org.
Deer Creek High School Quick Facts
Consolidated to: Deer Creek-Mackinaw High School
School nickname: the "Deer"
The Deer Creek High School Deer definately competed in boys basketball. It is thought that baseball and track may have been offered as well. However there is no mention of the Deer Creek High School athletic program winning any IHSA hardware during its existence. We are hopeful an area resident can help us here by filling in the missing information.
We know that the Deer Creek High School boys competed in basketball. We are searching for more season records and accomplishments.
1925-26 12 – 8
1926-27 Tazwell County Tourney Champs
The Deer Creek High School Deer of 1927 had a good run. The boys won the Tazwell County Championship as was told to us by Robert A. Chaffer:
"I am attaching a photo of the Deer Creek High School basketball team from about 1927. My father and uncle are included. I believe that the plaque being displayed indicates that the team won the Tazewell County championship that year."
Deer Creek HS Basketball Team of 1927
Submitted by Robert A. Chaffer
**From Robert A. Chaffer:
"A school annual was published in 1952 when I was in the 7th grade at the Deer Creek Grade School that had been the Deer Creek High School in 1947. The attached picture of the school building was included on page 1. It appears to be the same building with a little remodeling of windows etc in the newer version.
I also found the season schedule and record of the 1925-26 Deer Creek boys basketball team. They won 12 and lost 8 games (one of the wins was against the alumni team.) They had a high-powered scoring machine, rolling up 30 or more points on four occasions. No opponent scored over 26. Part of their success was due to Theodore (Ted) Maybee who played "standing guard" and was over 6 ft. in height."
Need your Assistance
If you have ANY further information about Deer Creek High School and its historic past, please send it to us via e-mail. Athletic accomplishments, as well as overall high school information is being sought. Photos and information can be sent to us at ihsgdwebsite@comcast.net. You can also write to us at:
Previous: Decatur Stephen Decatur High School
Next: DeKalb Notre Dame High School for Girls


I've heard amazing things about Renee Carlino's writing for years now and I don't know why Wish You Were Here is my first read from her but WOW! I had no idea what I was missing. This book- GAH- THIS BOOK! It gave me every feel. There were moments when I laughed, moments when I swooned and moments when I was a weepy mess.
Charlotte was adorably awkward and so like-able. She was also a hot mess. I loved how she was willing to try almost anything and put herself on the line time and again. Even when she was looking back on that one night that made her pause. One random, spectacular night with Adam opened up Charlotte's world and mind and heart and made her believe that there was something more out there for her. And she tried to find it, oh did she try. From online dating to a new roommate, she gave it everything she had.
The true beauty of this book lies in when Charlotte gives up the fight of trying to please everyone and starts living for herself. Adam taught her that. Their time together may have been way too brief but it's impact, Adam's wake, was a force unlike any other.
Wish You Were Here was just so real. Renee Carlino gave me a new, what I like to call, "life book". There was personal growth, acceptance and perseverance through all the garbage life throws your way and love. For others. For your friends. For your family. For yourself. It's not an easy lesson and some never learn it, but watching Charlotte transition into her true self was an incredible ride. AND THAT ENDING!! Absolutely, positively, most definitely, without a doubt, the perfect way to conclude Charlotte's journey.


Chapter 13 - Why do people file a Chapter 13 bankruptcy?
Why do people file a Chapter 13 bankruptcy?
Many people find themselves overwhelmed by debt. Unexpected medical expenses, rapidly rising credit card payments, a reduction in income, rent increases, car repairs, lawsuits, unaffordable balloon payments, a new baby … the list of reasons people find themselves with unmanageable debt is endless.
There are different ways of dealing with a debt crisis. No single solution is right for everyone. For some people, debt renegotiation or loan modifications are possible. For others, a chapter 7 bankruptcy is the answer. For many people, a chapter 13 bankruptcy is the right choice.
Not every debtor can liquidate debts in a chapter 7 bankruptcy. The Bankruptcy Code creates a "means test." If your average monthly income is higher than the median income in your state, you might not be eligible to file under chapter 7. Chapter 13 provides an alternative for debtors with a regular monthly income who do not qualify for a chapter 7 bankruptcy.
Not all debts can be discharged in a chapter 7 bankruptcy. Student loan debt, most taxes, fines and penalties owed to the government, alimony and child support, and damage judgments in lawsuits for intentional conduct and drunk driving are among the kinds of debt that you cannot discharge. Including those debts in a chapter 13 plan allows you to take advantage of the automatic stay to avoid collection efforts and harassment by your creditors while the plan remains in effect. The debts will not be discharged at the end of the chapter 13 plan, but the plan give you an opportunity to make up missed payments and to pay off arrearages during the years that the plan remains in effect.
If you have secured debts, including a home loan that is secured by a mortgage or a car loan that gives your lender a lien on your vehicle, your creditor may eventually be entitled to pursue foreclosure or repossession if you file a chapter 7 bankruptcy. A chapter 13 plan gives you the chance to catch up on missing payments. While the plan remains in effect, you can continue living in your house and driving your car. If you can bring your payments up to date by the time the plan ends, you avoid foreclosure and repossession.
Sometimes a borrower has a friend or relative cosign a loan. If the borrower files a chapter 7 bankruptcy, the cosigner can be held responsible for paying the balance of the loan. Including that loan in a chapter 13 plan prevents the creditor from pursuing your cosigner for payment.
Some people worry about the stigma of discharging debt in a chapter 7, or they just don't feel good about themselves if they don't pay their debts. If you owe debts to friends or family members, to an employer, or to businesses that you depend upon, you might worry that your relationship will be damaged if you fail to pay your debt. Filing a chapter 13 gives you the benefit of knowing that you made your best effort to repay everyone to whom you owed money, particularly the people you care about.
« Previous FAQ - What is a Chapter 13 bankruptcy?


The Bell Tower | Can This President Get Any Worse?
Can This President Get Any Worse?
It can't be articulated any clearer than that. Instead of pursuing productive tax and regulatory policy, America is pursuing destructive monetary policy to pull us out of the economic sewer. Even China thinks we're crazy at this point. The president says he wants to double exports. Great, but rather than do it by helping America make competitive products, he wants to pursue international regulations to give us a "fairer" trade environment. Translation: he wants the world to subsidize his disastrous domestic economic policies. Everyone else slow down while we destroy the value of the American dollar and sell you crappy American products. Meanwhile, consumers at home (IE: the poor and middle class) will see their purchasing power eroded. It's the war on wealth writ large.
Everybody gets it. Except the White House. I sure wish Jimmy Carter was still president.


text:
X-SciTech
Three space station fliers close out 173-day mission
By William Harwood
Updated on: April 10, 2017 / 4:20 AM / CBS News
Astronaut Shane Kimbrough and his two Russian crewmates - Soyuz MS-02 commander Sergey Ryzhikov and flight engineer Andrey Borisenko - undocked from the International Space Station and plunged back to Earth Monday, landing on the steppe of Kazakhstan to close out an extended 173-day mission.
Launched in October from the Baikonur Cosmodrome, Kimbrough and his Soyuz crewmates departed the station's upper Poisk module at 3:57 a.m. EDT (GMT-4), leaving behind Soyuz MS-03 crewmates Oleg Novitskiy, European Space Agency astronaut Thomas Pesquet and NASA astronaut Peggy Whitson.
After moving a safe distance away from the station, Ryzhikov and Borisenko monitored an automated four-minute 38-second rocket firing that slowed the ferry ship by about 286 miles per hour, just enough to drop the far side of the orbit deep into Earth's atmosphere.
About 25 minutes later, just before plunging into the discernible atmosphere, the central crew module separated from the upper orbital compartment and the lower propulsion module.
Oriented head shield first, the capsule then slammed into the thick lower atmosphere at an altitude of about 62 miles, enduring peak heating and deceleration loads over the next six minutes or so.
An instant before touchdown, powerful braking rockets fired to slow the descent, a jarring moment for the returning crew. NASA
The capsule's parachutes unfurled at an altitude of about six-and-a-half miles and 15 minutes later, the spacecraft settled to a jarring rocket-assisted touchdown at 7:20 a.m. EDT (5:20 p.m. local time) near the town of Dzhezkazgan.
Spectacular live television views captured almost all of the parachute descent, showing the capsule's braking rockets firing an instant before touchdown and then the capsule being pulled onto its side and dragged briefly before the chute was released.
Russian recovery crews, flight surgeons and NASA support personnel stationed nearby reached the spacecraft within minutes to help the returning station fliers out of the cramped descent module as they begin re-adapting to the unfamiliar tug of Earth's gravity after more than five-and-a-half months in space.
Carried one at a time to nearby recliners, all three appeared in good spirits, smiling and chatting with support crews and enjoying comfortable, late afternoon weather on the steppe of Kazakhstan.
After initial medical checks and satellite phone calls home, all three were to be flown by helicopter to nearby Karaganda. From there, Ryzhikov and Borisenko will be flown by jet to Star City near Moscow while Kimbrough will board a NASA jet for the long flight back to the Johnson Space Center in Houston.
At touchdown, Ryzhikov, completing his first space flight, had logged 173 days three hours and 15 minutes off planet. Veteran Borisenko's mark stood at 337.3 days while Kimbrough, veteran of a 2008 shuttle flight, chalked up 188.9 days over two flights.
Over the course of their mission, Kimbrough and his crewmates completed 2,768 orbits covering 73.3 million miles. They welcomed four visiting vehicles and Kimbrough participated in four spacewalks. Including two EVAs during his earlier shuttle flight, Kimbrough has logged 34 hours of spacewalk time.
Kimbrough, left, Ryzhikov, center and Borisenko, right, appeared healthy and in good spirits during initial medical checks and satellite phone calls home to friends and family. NASA
During a brief ceremony Sunday, Kimbrough turned over command of the station to Whitson, who is making her third flight. She served as commander of the station during her second visit in 2008 and currently holds the world record for most spacewalk time by a female astronaut: 53 hours and 22 minutes.
"We've had a great time up here, it's been an amazing experience for almost six months now for Andrey and Sergey and I, and we've gotten to enjoy Peggy and Thomas and Oleg for about four-and-a-half-months of that," Kimbrough said. "We've really enjoyed having them around.
"It's really neat to be part of something this big, something bigger than ourselves, for one, but even bigger than a nation. We get the ability up here to interact with things that actually benefit all of humanity. So it's really humbling for one, but very neat and special to be part of something like that."
Whitson said crews aboard the station "don't wear shoes, but Shane's leaving some really big socks for me to fill."
"Expedition 50's been incredibly successful, (we) conducted four spacewalks, grappled two visiting vehicles, we packed and unpacked three cargo vehicles in relatively short order and got an amazing amount of science done, all thanks to the Expedition 50 crew and the leadership of Shane Kimbrough," she said.
Said Soyuz commander Ryzhikov: "We have a very nice crew, we have excellent commander and we have beautiful ground support and we have unforgettable memories about our beautiful ... time aboard ISS. Thank you everybody."
With the departure of the Soyuz MS-02 crew, Whitson, Novitskiy and Pesquet will have the station to themselves for just 10 days before the arrival of the Soyuz MS-04 crew, commander Fyodor Yurchikhin and NASA flight engineer Jack Fischer on April 20.
Four days later, Whitson will set a new record for most cumulative time in space by a U.S. astronaut, passing Jeff Williams' mark of 534 days two hours and 48 minutes over four missions. She also may participate in another spacewalk in early May, which would push her EVA total to third in the world, with almost 60 hours of EVA time over nine excursions.
Whitson originally planned to return to Earth on June 2 with her Soyuz MS-03 crewmates. Instead, NASA and Roscosmos, the Russian space agency, agreed to extend her stay by three months to maximize U.S. research. As a result, Novitskiy and Pesquet will return to a landing in Kazakhstan with one empty seat, leaving Whitson behind aboard the station with Yurchikhin and Fischer.
Soyuz spacecraft normally carry three crew members to and from the station but the Russians have opted to reduce their crew size in the near term to save money. As a result, the MS-04 spacecraft will launch with an empty seat loaded with supplies. Whitson will take that seat when she returns to Earth with Yurchikhin and Fischer on Sept. 3.
"This is great news," Whitson said in a NASA statement when the extension was announced. "I love being up here. Living and working aboard the space station is where I feel like I make the greatest contribution, so I am constantly trying to squeeze every drop out of my time here. Having three more months to squeeze is just what I would wish for."
The Soyuz MS-02 spacecraft, moments after undocking from the International Space Station. NASA
A fresh three-person crew -- Soyuz MS-05 commander Sergey Ryazanskiy, NASA astronaut Randy Bresnik and ESA astronaut Paolo Nespoli -- is scheduled for launch July 28.
Between June 2, when Whitson's two Soyuz MS-03 crewmates land, and the arrival of Ryazanskiy's crew, the station will be staffed by one Russian, Yurchikhin, and two Americans, Whitson and Fischer. That will enable continued research operations in the U.S. segment of the lab that otherwise would have been curtailed if just one astronaut was available.
It also preserves the option for a contingency spacewalk if a major problem crops up with the U.S. segment of the station.
In any case, assuming a landing Sept. 3, Whitson will have logged 289 days aloft since launch last November, pushing her cumulative total to a U.S.-record 666 days over three missions and moving her up to No. 6 on the list of world's most experienced space fliers behind five cosmonauts. The record for the longest single flight by a U.S. astronaut is held by Scott Kelly, who logged 340 days aloft in 2015-16.
Setting a new endurance mark "indicates that our program, the space program, is increasing its capability with every record that we break," Whitson told an interviewer.
"I think it's a stepping stone to future exploration," she said. "It's important for us to understand and know what happens to the human body (during long stays in space) and it's just one of those data points we have to gain knowledge from. In that perspective, yes, it is important. But it's also important for us to continue to expand beyond that."
Kimbrough's mission also was extended after a Russian Progress supply ship was destroyed during launch Dec. 1 when the upper stage of its Soyuz booster malfunctioned. Downstream station launches were delayed until the Russians completed a failure investigation.
The Russians successfully resumed flights Feb. 22 with launch of another Progress freighter, clearing the way for landing of Kimbrough and his crewmates and launch of Yurchikhin and Fischer.
During his stay aboard the station, Kimbrough and his crewmates welcomed three cargo ships and one Soyuz. Kimbrough also participated in four spacewalks, two with Pesquet and two with Whitson, to continue ongoing work to prepare a second docking port for commercial crew ferry ships being built by Boeing and SpaceX.
Kimbrough, Pesquet and Whitson, who holds a Ph.D. in biochemistry, also carried out a wide variety of scientific research, ranging from medical studies to basic physics and biology, including gene sequencing experiments.
"Our pace has been really good, I think we've all worked really hard the entire time, we haven't really had any lulls," Kimbrough said a few weeks ago. "We just got in a nice rhythm as a crew, and we've been able to accomplish a lot more than a lot of people expected, I think."
Columbus' long-lost ship, the Santa Maria, may have been found
Fiona the hippo: Cutest baby pictures from the Cincinnati Zoo
William Harwood
Bill Harwood has been covering the U.S. space program full-time since 1984, first as Cape Canaveral bureau chief for United Press International and now as a consultant for CBS News. He covered 129 space shuttle missions, every interplanetary flight since Voyager 2's flyby of Neptune and scores of commercial and military launches. Based at the Kennedy Space Center in Florida, Harwood is a devoted amateur astronomer and co-author of "Comm Check: The Final Flight of Shuttle Columbia."
First published on April 10, 2017 / 1:31 AM


The Cressi Scuba Diving Mask is a black-themed snorkeling and diving mask is designed with comfort and pleasure in mind.
The mask is unique among other masks because of its frameless design and wide field of vision. Because it's frameless, anyone can easily fold it flat and store it anywhere without being bothered by the bulk.
Unique among other masks, the Cressi F1 frameless mask has a lens made of good quality tempered glass, manufactured clear and non-fogging.
This black-themed mask is also very durable, featuring a 100% silicone skirt for a watertight seal around the face.
This frameless mask offers a panoramic view of the ocean deep since the lens sits close to the eyes.
It allows easy adjustability options with its quick strap adjustment and a push-button buckle directly molded into the skirt to reduce drag and for a more flexible fit.
The Cressi F1 frameless mask is distinct in its capability to fold flat easily, making it a go-to mask for swimmers who travel a lot and pack light.
The single-lens and frameless design has very low volume which makes it easier to clean in case of flooding. Additionally, because of its low volume, only a little amount of air is needed to empty it out in case of flooding.
Adjusting the strap can be easily and quickly with the strap buckles conveniently attached directly to the skirt. This allows for more lateral, as well as vertical head movement.
With the buckle designed to be located at the skirt, folding the mask flat is possible, greatly reducing the bulk of the whole mask for packing.
This set includes in its package the Cressi Desert Dry Snorkel, the first submersible dry snorkel in the Cressi collection.
The dry top closes automatically when you dive into the water to prevent your snorkel from being flooded.
It has a streamlined tube with ergonomic contouring for breathing easily. A splash guard also eliminates the chance of small amounts of water entering the snorkel.
An angled hypoallergenic silicone mouthpiece is comfortable and flexible inside the mouth.
A one-way purge valve helps to easily expel water that enters the snorkel. It has a water collection well, with a large elliptic valve for quick and easy removal of water.
Because of the frameless design, overall weight is reduced as well as volume for easy removal of water in case of flooding.
It can also be folded flat which saves on luggage space during travel and is not bulky if you want to carry it around in your pocket.
The mask can effectively seal out water from getting inside even for those who have facial hair, which says a lot about the quality of its watertight seal.
Good visibility and a comfortable fit.
The push-button buckle provides easy and precise adjustments to fit various head sizes.
Some people who reviewed this product complained that the strap was not durable and easily broke down after continued use.
A few reviewers also reported that the mask did not fit their face.
The nose piece is quite big for some individuals and is not made of soft material.
The lens fogged up quickly.
The Cressi F1 Frameless snorkel set offers a more portable option since it can be folded flat. Additionally, it offers an unobstructed view of your surroundings which is great considering its price.
The Cressi Scuba Diving Snorkeling Freediving Mask Snorkel Set is a good set to consider since it's made by a well-known brand and it's also affordable.
The frameless design is both stylish and convenient since you can fold it up flat, very portable and easy to pack up for individuals who are always on the go.


text:
Q: Google Apps Class to JList I am trying to display a load of groups in a JList for the user to select. I gather all the groups from the account and then I want to return them in a format to put into a model to display in a JList.
Would it be better to:

*

*Use only what information I need to display (name and id) and then just get the single group again from the server using this data when the user makes a selection; or

*Store each group in an object and create a toString() method so that when the user selects the item the user can call methods on the returned object right away without having to fetch the object.

There shouldn't be too many groups to get but if this method is used again for, lets say, users it may be a lot more.
I can see pro's and con's for both but I'm curious about what everyone else thinks and what method would be used. If there is a better way too I'm all ears

A: It's difficult to say what's is better here. I would determine an interface here.
public interface Group {
  long getId();
  String getName();
}

And use this interface in your list. So you can use both approaches, and if you need it - switch at runtime. In this case the dependend component should be prepared that it can get both variants of Group - basic and full.


Holiday booking website HolidayCottageCompare.com needed a fresh design to make their offering more compelling to users, and more useable on touch screen devices such as smartphones and tablets.
Our brief was to come up with a new mobile-friendly design and interface refresh which would be handed to their development team for implementation.
We conducted user research, as well as stakeholder interviews with the business owners, to help us understand what users wanted from the website, and what would make the re-design a success for all stakeholders.
This allowed us to pinpoint areas of the user flow that could be improved. The new designs needed to make the website easier and more enjoyable to use, with the goal of increased numbers of holiday booking sales.
It became clear early in the project that a responsive design was a key objective, to make the website more useable on a wide range of devices.
After the user research, we created a set of user flows which outlined the most common tasks that a website user might want to complete. Then we started wireframing to create a structure and information architecture for the newly designed website.
We took into account the different behaviours that users can exhibit depending on the type of device they're using: desktop PC users want different things from the website than smartphone visitors do.
When we'd completed a set of wireframes, we applied the user flows to them, so test the new structure. When the wireframes were finalised, we began the visual interface design. The Holiday Cottage Compare development team were keen to receive interface designs for a smartphone view, as well as tablet and desktop, so that they had a set of blueprints for how to set up the CSS.


text:
How a Plan to Save Journalism Stumbled Out of the Gate
Brooklyn-based Civil tried a novel approach: cryptocurrency. But it failed to launch. Where does it go from here?
By Tyler Woods - November 29, 2018
Matthew Iles, founder of Civil, which calls itself "the decentralized marketplace for sustainable journalism" (Photos courtesy of Civil)
Combining blockchain technology with a journalism platform, Brooklyn-based Civil has been one of the most talked-about startups in both worlds. Of all the schemes being hatched to shore up journalism with new business models, Civil's idea was one of the most creative—perhaps inordinately so.
Last month was to be its launch, with a multimillion-dollar sale of the Bitcoin-like token, called CVL, that was predicted to serve manifold purposes including raising money, paying employees, and engaging readers. As it turned out, Civil's cryptocurrency token sale ended on Oct. 10 with head-scratching failure. In the final days of the token sale, as money barely trickled in, the plan started to evaporate.
The company had set a minimum goal of $8 million for the sale to be a success. If the total were to fall below that level, all the money would be returned. Onlookers waited with interest to see if large donors would come in at the end and lift the company over the threshold. When the end of the day came, Civil had sold only about $1.4 million worth of CVL tokens. In the days that followed, it emerged that $1.1 million of that had come from the founder of its parent company, ConsenSys, meaning that after months of hype, planning, hiring, and hope, the CVL token was stillborn. But can Civil find another way to survive?
The Promise of a New Idea
Since its conception in August 2017, Civil caught the eye of those in journalism as a potentially useful new way to solve the intractable problem of the industry: how to get news readers to pay for what they read.
"The advertising market has just shrunk radically," explained Sarah Bartlett, the dean of CUNY's Craig Newmark Graduate School of Journalism. She said she has been following Civil and is intrigued by the project. "The print world has just collapsed and the revenue stream for digital news is still very limited. That's the internet transformation we've seen over the last 20 years or so. Everyone can be a publisher on the internet and there's a lot of free content out there. I think you're seeing a move to people expecting to pay for quality news. You're seeing that in publications that have strong brands, but you're not seeing it at smaller places."
The banner of the website Popula, one of Civil's newsrooms
Civil has seemed to be offering some new thinking on that front, with its seed funding for small publications, plans for a platform of micro-payments, and reader direction in newsroom governance.
Founded by Matthew Iles, whose career had previously been in marketing, Civil aimed to create a payment platform on which readers could donate to their favorite publications with the CVL token. Readers could also use their tokens to have a voice in the governance and management of that publication, if the readers held a sufficient amount of CVL tokens.
"This was one of the most ambitious experiments aimed at creating a brand new model in journalism," said Mathew Ingram, a writer on the topic of digital media for the Columbia Journalism Review. "Not just to charge readers, but to create a brand-new economic and journalistic platform," he said. "They came up with a Civil constitution and an advisory council…and it wouldn't be controlled by a company or a billionaire, it would be owned and controlled by token holders. That was a pretty radical way of looking at how to build a journalistic entity."
Civil came about at a propitious moment in the life cycle of cryptocurrencies and blockchain technology. It was founded just as cryptocurrency values were headed for the stratosphere, when money and enthusiasm were abundant. Civil's seed money of $2.5 million was invested by ConsenSys, the hyper-fast-growing developer of applications for the Ethereum blockchain platform.
Joseph Lubin, founder of ConsenSys, which has funded Civil with about $6 million (Photo courtesy of ConsenSys)
Based in a sticker and graffiti-covered brick building in East Williamsburg, ConsenSys was founded by the co-creator of Ethereum, Joseph Lubin, who is believed to be the single-largest holder of the Ethereum-based cryptocurrency, ether (ETH). In February, when ether was near its peak valuation, Forbes estimated his fortune at between $1 billion and $5 billion. But ether's price has dropped 75% since then.
ConsenSys now employs more than 1,100 people around the world and has more than 50 portfolio companies, called "spokes" internally, all of which are paid for by ConsenSys. One of the main criticisms of ConsenSys, and of blockchain technology as a whole, is that it has yet to produce a useful application. With Civil, ConsenSys found a unique application, in journalism, to try out some of the asset-transfer features of blockchain technology. And, being in the journalism industry, it got a lot of press. (Editor's note: the writer previously worked at OpenLaw, a ConsenSys portfolio company.)
"We didn't get into this for any other reason than we think there's an urgent problem facing the journalism world and, by extension, society, and we want to take a swing at something different," Iles told The Bridge this week. "We're emboldened by the community and the mostly positive reaction we've received."
Last spring and summer, Civil went about funding startup newsrooms. The first one was called Popula, which produces articles about culture and politics, led by veteran reporter Maria Bustillos. Soon after came Sludge, a newsroom that tracks money in politics. At this point, at least 18 newsrooms run on the Civil platform. Fourteen of these newsrooms have been given cash grants by Civil, and all of them have received the rights to tokens.
Civil employs more than 20 people itself and the number of workers at its newsrooms reaches to 200. So far, Civil has raised $6 million from ConsenSys. In an interview, Iles declined to say when additional funding might come along, or its sources. The newsrooms are expected to produce their own revenue, in time, and some already have started to do so, from donations and other sources.
Problems With the Sale
Arguably the biggest story of the blockchain world in the last two years has been initial coin offerings (ICOs), also called token launches. In a token sale, a company creates a certain number of tokens and then sells those tokens around the world over the internet. The tokens can then be used to interact with that company's product.
The more a company's product is used by the public, the more valuable its token would become, the thinking goes. Since there are essentially no barriers on who can buy tokens, they open up a world of startup investing to everyday players, who otherwise face regulatory obstacles designed to protect small investors from getting burned by risky ventures.
In 2017, startup after startup raised major funding by offering tokens directly to the world. Filecoin, a company akin to Dropbox for the blockchain, raked in more than $250 million selling its token. A new blockchain protocol called Tezos raised more than $230 million. The list goes on. All this money raised the eyebrows of the Securities and Exchange Commission (SEC), which put a damper on ICOs in the U.S. when its chairman said in February that every ICO he'd seen looked like a security, meaning it would fall under the regulatory purview of the SEC.
Civil co-founders Julia Himmel, product designer, and Matt Coolidge, who focuses on brand strategy and communications (Photo courtesy of Civil)
It was in this environment that Civil chose to launch a token offering of its own. Its goal was to raise between $8 and $24 million through the sale of CVL. It would also comply with securities law, meaning that the token was not marketed as an investment, but rather as a useful key to be able to use for its intended purpose of supporting journalism.
The plan was to create 100 million CVL tokens. One third of them would be sold to the public, one third would be kept by Civil for distribution to its employees and future costs, and one third would be given to strategic partners, including the newsrooms on the platform. The tokens would be distributed to buyers in proportion to how much they pledged. Civil set a minimum threshold for the sale to be valid, similar to the way Kickstarter campaigns operate.
Prior to the sale, Civil hoped for a sale of between $8 and $24 million. At $24 million, each CVL token would come out to be worth about $0.70. At an $8 million raise, each token would be worth about $0.24.
Civil did not meet its minimum or anything close to it.
"This isn't how we saw this going," founder Iles wrote in a Medium post on the sale's final day.
When the dust cleared, Civil received just $1.4 million. Since $1.1 of that came from Joe Lubin, the company by itself raised just $300,000 (this would have valued the CVL tokens at $0.008). The company has now returned the money to those who pledged.
Civil's parent company, ConsenSys, has been quiet about the token sale. In the company's monthly report for October, it mentioned only the number of Civil newsrooms and linked to one of the newsrooms' podcasts about trusting yourself in startup-entrepreneurland.
When The Bridge asked ConsenSys's chief strategy officer, Sam Cassatt, about the sale at a conference recently, the company's marketing official accompanying him said it was time for lunch and all Civil questions would have to be directed to Civil.
According to Iles' Medium post, the failed sale won't put Civil under by any means. "We are backed by our investor, ConsenSys, and as a venture-backed, for-profit company, will likely continue to fund operations via equity investment until such time that we can sustain ourselves via commercial activity," he wrote.
One of the problems that occurred during the sale was the difficulty users faced in participating. According to the NiemanLab at Harvard, there were 44 steps that needed to be taken to buy a CVL coin, due to the cumbersome nature of buying cryptocurrency and the steps necessary to have Civil's bases covered with the SEC.
"You were required to study for and pass a test to show you understood Civil and cryptocurrency," recalled Ethan Zuckerman, director of the Center for Civic Media at the MIT Media Lab. He participated in the token sale, attempting to buy about $70 worth of CVL because he thought it was an interesting new direction for journalism and he wanted to be a part of it, he said.
Said Iles in an interview: "This is what we signed up for and we're not out of the first inning yet" (Photo courtesy of Civil)
"They pointed you towards various documents, videos and written documents. The quiz asks you what's the difference between a hot wallet and a cold wallet and what it means if you don't have sufficient gas to complete a transaction. I believe it was like half a dozen questions. A number of people mentioned that they'd taken it and failed it. It was not a gimme quiz."
Zuckerman himself got stuck in the process but happens to be friends with Vivian Schiller, the chairman of the Civil Foundation, who helped get his purchase to go through.
Was CVL just too much of an awkward, in-between device? "The idea of this feature is that it would kind of undercut an argument that it's a security because no one would purchase with a view to an investment if you have to actually use it," explained a securities lawyer working in the blockchain space, who asked not to be named. "This is a new model [for ICOs]. Was it the structuring or the product itself? It's really hard to raise $8 million. And it had to be from consumers. No big funds are going to want to go in. So now you're at a place where it's not really an investment and [as a pre-product sale] consumers aren't really incentivized to buy it either. It's a tough space to be in."
"I think they overhyped demand and then smothered demand by making it really hard to buy [the tokens]," said CJR's Ingram. "That might have been by design to keep out speculators, but I think it also kept out supporters. It was hugely overambitious and probably over-engineered. Eventually people just turn off. If you can give them a hundred bucks, great, but if you have to jump over these barriers …," he said. "They at least started, or helped start, a bunch of newsrooms. That's gotta be worth something. I think their heart's in the right place."
Not everyone agrees with that.
Internal Problems
"What is Civil doing that it offers to the world? And why is there a token? What does that do that a dollar can't do? This is a whole stinking pile of shit," said Daniel Sieberg, one of the earliest hires at Civil, who joined with a title of co-founder in November 2017. He was fired from the company in July of this year.
Sieberg, who had been a correspondent for CNN and CBS News and an executive at Google, said he became disillusioned by the product Civil was building over the summer—and by the constant delays.
"The doublespeak, the Orwellian-ness of this. Coming soon? What's coming soon? I don't know how anyone can look at this and think it was anything other than a massive failure or a massive fraud," he said. "If I had a bitcoin for every time I heard 'Coming soon,' I would actually be a millionaire."
In an interview, Iles and cofounder Matthew Coolidge bridled at the allegation of any deception.
"To suggest that Civil is a fraud is borderline slanderous," Coolidge said. "We're not. We're 24 people that are working our tails off to try to make this a reality. This is not any kind of get-rich-quick scheme and there are warts and all, and obviously there have been plenty of warts. But I draw the line at fraudulence."
A scene from this year's Ethereal Summit, where blockchain aficionados gather to talk about the technology's potential uses (Photo by Steve Koepp)
"I strongly refute questioning the integrity of the project," added Iles. "You could say 'I don't think this is a good idea' and 'I don't think someone should pay for this' but I do not think Civil is a fraud."
Another angry former employee spoke up this week. Jay Cassano worked at the Civil newsroom Sludge until this month. He told The Bridge that he was paid in part in promises of CVL tokens, which he said Civil brass led him to believe would be worth around $0.75 each.
When he joined the company, in March, Cassano was offered several packages with various proportions of money and future CVL tokens. Cassano said he was pressured to take a package with a higher percentage of tokens, which meant he made very little money for the first four months he was there, during which time he took on debt to get by.
"At that point, Civil was saying that the token sale would happen in May and the platform would launch in June," Cassano said this week. "After a few months Civil realized they were completely out of their depth and they were trying to build a new [content-management system] from scratch and decided they would launch all their publications on WordPress and that the technology they would deliver would actually be WordPress plug-ins." (WordPress is the workhorse of content-management systems, running tens of millions of websites, including The Bridge.)
"That was sort of the first alarm bell and some reporters were concerned by that because it showed that there wasn't going to be that much technology differentiation," said Cassano, "and it also showed a level of incompetence that they spent all this time building a platform they threw out for this WordPress. They kept pushing things back and still are."
Cassano acknowledged that after his first five months on the job under his initial contract, he signed a new, more conventional agreement, in which he got paid fully in dollars at a competitive salary.
His boss at Sludge, David Moore, disputes the idea that Civil implied the tokens would be worth a certain value.
"The newsrooms had good communications and clarity from Civil that this was a new consumer token and it would come with all these restrictions," Moore explained. "The token had so many regulations around it … that we weren't expecting the token to be dollar-valued initially."
"It's hard to describe this without sounding bearish," Moore said, "but we were expecting our newsroom to be primarily sustained through fiat [currency] donations, collected through Stripe. I can be quite direct and forthright that there were no representations from Civil of a price floor. We knew the token would be volatile and could be valued in the markets at low rates."
Another reporter, who remains employed in a Civil newsroom and asked not to be named, noted that salaries are on the whole quite good for reporters at Civil, but agreed that the company gave a rosy impression about the sale.
"My recollection is on group calls or conference calls that there was the impression that the tokens would be [worth] around 75 cents or a dollar or even up to $3 or $4," the Civil journalist said.
Another journalist, also still at a Civil newsroom, agreed there was talk of the tokens being worth in the $0.75 to $1 range, but said that the estimates were based on hope, not on dishonesty.
"Startup publications are always in danger of folding, that's kind of the caveat emptor of this industry. They have some money here and are trying something and paying you to write. I didn't take this job thinking these tokens were something I could count on being worth a lot," the reporter said.
What Is Civil's Future?
Iles said Civil won't do another token sale. "We're not quite ready to speak in much detail about what comes next. What we are definitely not doing is what we did before," he said. "Tokens are very much a part of our future. What we're not doing is a token sale in the kind we did last time, with a soft cap and a hard cap."
People remain interested.
"I was and I remain very intrigued by it," said the Newmark school's Bartlett. "I think the blockchain technology offers some really interesting opportunities for journalism, so I like that there are people trying to experiment with that… I think they've attracted really smart people, so there's a lot of talent in their content production. Those are good people with good ideas, so to see capital being used for those purposes makes me happy."
At Sludge, Moore's seed funding from Civil is set to end in March, a year after he brought the newsroom online. He said his team will continue to raise money in other ways to keep it running, including crowdfunding, through partnerships and collaborations with other publications, even from an eventual token sale.
"There's going to have to be a new plan for getting these tokens out into people's hands and there's more to come on that," he said. "We'll continue to build our base of donors and be a pioneer so that when people can touch the tokens on our website they will hopefully see that this is a different experience and it gives them a say on the governance of the platform, it gives them a say on the ethics of the newsroom. When more people have CVL tokens in a wallet and can conduct transactions on the site, we think we can generate more partnerships with other newsrooms. It will be different than just setting up a WordPress site, setting up a Mailchimp and setting up a Patreon."
Iles says a new plan is coming soon.
"This is what we signed up for and we're not out of the first inning yet. If you think this is stressful, wait till we get out of this and start taking on the incumbents. We're not even born yet."
Tyler Woods is a technology reporter and farmhand based in New York and New Jersey. Previously he worked at OpenLaw, a ConsenSys-related blockchain application. Among his journalism roles, he was the lead reporter for Technical.ly Brooklyn
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text:
Human Slaughterhouse to Feed Pigs: 'Foodmaster' by Atelier Van Lieshout
July 21, 2009, 1:30 pm 3 Comments
"Foodmaster," Atelier Van Lieshout, 2009. Photos: Eveline van Egdom, via stroom.typepad.com
In the installation "Foodmaster" by art/design firm Atelier Van Lieshout, a slaughterhouse works in reverse — here, humans are slaughtered to feed the pigs. It's part of the ongoing "Foodprint. Food for the city." program in The Hague, Netherlands, a two-year series of exhibitions, symposiums, and art projects that "focuses on the influence food can have on the culture, shape and functioning of the city."
Serving as a critique of nightmarish industrialized animal food production, "Foodmaster" features humans hung up like hogs, a series of operating/butchery tables, and a machine that turns anonymized humans into food for pigs. From the installation's description (this is a rough translation from Dutch):
"Foodmaster" shows a pig-feed machine, and operating tables that are necessary for the efficient processing of pig meat to people. In an attempt to rationalize industrial food production, "FoodMaster" presents a critical commentary on our modern consumer society. On the other hand, "FoodMaster" is also a solution to the problem of feeding the ever-growing world population. In this system, only simple production work is needed — the process is as simple and easy as possible. The machine works on human remains that are first crushed, then dried, and sterilized. Thus the man himself becomes part of the fully-industrialized food chain that he has created.
"Foodmaster," Atelier Van Lieshout, 2009. Photo: Rob Kollaard, via stroom.nl
"Foodmaster," Atelier Van Lieshout, 2009. Photo: Dorine Rüter, via flickr.com
"Foodmaster" by Atelier Van Lieshout
June 27 through August 23, 2009
BINK36, Binckhorstlaan 36, The Hague, Netherlands
[via Happy Hotelier]
The Disquieting Food Art of Stephen J Shanabrook
'Food and the Future of it' by Matt Brown [food art]
Chocolate Waterboarding by Stephen J Shanabrook [food art]
Tags: Atelier Van Lieshout, Food Art, Netherlands
Wonder if they listen to Cattle Decapitation at all. (the members are all militant vegans.)
July 21, 2009, 2:53 pmReply
Morta Di Fame
This is some creepy, creepy art. I can't help but be reminded of the Holocaust. But I guess that's sort of the point.
July 21, 2009, 11:54 pmReply