How do I customize Cloudflare error pages?
Generally, 5xx error codes indicate that an error or unresolvable request occurred on the server side, whether that is a proxy or the origin host. The server was able to detect the error and thus will not return the potentially malformed response to the client.
These error codes be used as a response to any request method.
The origin server should include an explanation, which should be displayed by User-Agent, with the exception of a HEAD request. The following errors are typically returned by the origin web server.
The origin web server has encountered an unexpected condition and was unable to fulfill the request. This is a blanket error message for any internal errors that prevented the origin web server from fulfilling the request and that were not caught at the origin.
In the rare event that an exception throw with the Cloudflare edge or an internal DNS timeout occurred, Cloudflare will return a 500 with the page stating "cloudflare". If you don't see this, the issue is occurring at the origin web server and you should work with your hosting provider to address the issue.
The origin web server either does not recognize the request method, or it unable to fulfill the request. Usually, this implies future availability (e.g., an upcoming feature or web-service API).
This error is cacheable by default, unless otherwise indicated by the method definition or explicit cache controls.
The origin web server is not configured to handle the requested domain name at the targeted IP address. This may happen when DNS records change. Keep in mind that DNS TTL determines how long a record is valid in the DNS cache.
The server at the origin is overloaded or unreachable at the time the request was made. This could be due to the server crashing, traffic spikes, or lack of connectivity to the server.
An application or service used at your origin is either timing out or being blocked.
In the unlikely to see a 502 error without the branding shown above but with "cloudflare" (see image below). If you see the error version shown below, file a support ticket immediately and include the output of your site CND trace (go to yoursite.com/cdn-cgi/trace and copy/paste the contents). This might mean there are potential issues at the local Cloudflare datacenter. We may also serve this when your origin is returning both compressed and uncompressed data.
If Always Online is enabled, this status code will trigger an Always Online page to be served. For more Cloudflare relevant information see: Why am I getting a 502 error?
The origin web server is overloaded or having maintenance issues and unable to handle the request at this time.
The retry header may be included by the server to specify an appropriate time for the client to retry the request.
Note that not all web servers will serve this response. Some will simply refuse or drop the connection. If a drop in communication happens from the origin web server to Cloudflare, a 522 error response is generated.
A 503 is returned from your origin web server.
I'm Under Attack mode is enabled.
The Always Online feature was triggered.
For more Cloudflare relevant information see: Why am I getting a 503 Error?
This error might appear while connecting to an upstream server on the backend. A gateway or proxy is trying to reach the origin web server and while waiting for a response, the connection timed out.
If Always Online is enabled, this status code will trigger an Always Online page to be served. For more Cloudflare relevant information see: Why am I getting a 504 error?
The origin web server cannot or does not wish to support the HTTP version requested by the client.
The server should indicate why it would not support that version.
In order to help website owners determine why a user's request that was proxied through Cloudflare resulted in an error, Cloudflare implements custom HTTP status codes. The status codes add human-readable details to what is going on with the backend.
Cloudflare generates an entire response and messaging when one of the error conditions is met. The behavior of the origin web server toward a Cloudflare request is what determines which of these status codes will be used; however, the status code is not delivered from the origin web server.
Paying customers can customize and brand these error pages. Having custom error pages helps provide a consistent experience for your users, even in the event of a page load error. Read more about Custom Error Pages.
This is a catch-all response for when the origin web server returns something unexpected or something that is not tolerated/interpreted (protocol violation or empty response).
If Always Online is enabled, this status code will trigger an Always Online page to be served. Fore more Cloudflare relevant information see Error 520: Unknown Web Server Error.
This error response indicates the origin web server refused the connection from Cloudflare. This means Cloudflare tried to connect to your origin web server on port 80 or 443 but received a connection refused error. The origin web server is actively refusing the request, so this is not a network error.
This Error response occurs when establishing a TCP connection with the origin web server and Cloudflare.
When someone visits a Cloudflare-enabled website, a connection is established between Cloudflare and the site's origin web server. To establish a connection, TCP uses a three-way handshake.
SYN: Cloudflare sends three SYN packets to the origin server.
SYN+ACK: In response, the origin server replies with a SYN+ACK.
ACK: Finally, Cloudflare sends an ACK back to the origin server.
At this point, both Cloudflare and the origin server have received an acknowledgement that the connection and communication was established. If the origin web server does not send a SYN+ACK back to Cloudflare within 15 seconds, a 522 error will occur and the connection is closed.
Error 523 indicates that an issue with the origin web server has occurred and the site is unreachable.
Cloudflare was able to make a TCP connection to the origin, but the origin did not reply with an HTTP response before the connection timed out. The Cloudflare edge will typically wait for an HTTP response from your server for 100 seconds.
If no response is sent by your server in that time, we close the connection and serve a 524 error page.
This error indicates that a failure in the SSL handshake between Cloudflare and the origin server that hosts the domain has occurred. This means that Cloudflare is set to use Full SSL in the Cloudflare settings for the domain, so Cloudflare attempts to make a connection using SSL (for requests beginning in https://) to the web server that hosts the domain.
If Always Online is enabled, this status code will trigger an Always Online page to be served. More information at Error 525: SSL Handshake Failed.
This error happens where there's a problem validating the SSL certificate on the origin web server and the Cloudflare SSL configuration on the website is set to "Full SSL (Strict)".
More information at Error 526: Invalid SSL Certificate.
The request timed out or failed after the WAN connection had been established. This could result from an interruption or anomaly upstream from the Railgun Sender in the path to the Listener at the site origin web server.
527 error could also occur due to an issue within the host environment when the Railgun Listener is unable to complete or establish a connection to the origin web server to receive a requested page.
Cloudflare cannot resolve the A or CNAME DNS record requested. Even if Cloudflare's Anycast address is resolving correctly, the record that should be specified in the DNS app of your Cloudflare dashboard cannot be found or is a CNAME record to an external domain that cannot be resolved.
More information at Error 530: Origin DNS Error.


Poor Margaret Elizabeth. It is going to rain on her wedding day. Roger's daughter doesn't want her father's young bride to show her unlined face. The fabulous former Mrs. Sterling tried to propose a compromise. Roger and June (ha!) could host their own table; she'll sit with the in-laws. Roger had the arrogance to suggest that he could find his ex a date if little Margaret was worried about an odd number of guests. Oh, he's a low down dirty dog. Jane be damned. A date has been set. November 23, 1963. It rained that day on the East Coast as a nation mourned. November 23, 1963. JFK's body was returned to the White House for a private family memorial.
For now he is just the petulant father of the bride, piqued that his little girl no longer worships him. Roger should be used to disappointing women by now. He shared a look with Joan in the office that spoke volumes. After greeting a very polished Betty ("oh look, Princess Grace swallowed a basketball!") who had come to meet Don for a dinner date, Roger gazed for a moment at Joan. "Good night, Mrs. Harris," he said tenderly, while she held her wedding ring like an amulet. That answers that mystery, hey folks? Our Joan got hitched to the damned doctor. She has until June 1 to get away cleanly. Once he becomes Chief Resident, she told Betty, he wants her knocked up. The aggressiveness of that expression feels fitting. In every great dramatic series, there's that first moment when you realize your favorite characters, and thus you, will not be spared (ie., think Wallace from the Wire). I'll never get over Joan having to smooth down her skirt so she and the doc could make their dinner reservations.
Frustrated by his daughter's disapproval, Roger initiated a sideways conversation with Peggy on the elevator. So much focus on the bustling downstairs lobby these last two episodes, and the literal upwards and downwards movement of the characters! Roger deemed Peggy a young girl. He determined her to be "the only one around here who doesn't have that stupid look on her face." (Roger, old chap: This first slap is for Joan. This sherry on your head is for the telephone operators. And this knee to the groin is for the Sterling Cooper secretaries who are hired specifically for their eager, girlish, slightly scared pretty faces.) Roger glibly wondered what her old man would have to do to get disinvited from her own wedding. Peggy told him her father was dead. He smirked, not unkindly. But he smirked.
After a few passing glances last week, Peggy strode into the spotlight last night. Sterling Cooper is trying to win a Pepsi diet drink account and the client wants a campaign á la Ann-Margret in Bye Bye Birdie. As the Sterling Cooper boys got boners under the table for the winning redhead, except for Sal who admired the gal's sass, Peggy sat there with a cocked eye. The client is wrong-headed, she insisted. They should be catering to a woman's fantasy, not Ken's or Harry's or even Sal's. The boys called her a prude. Though Harry said kudos for not being a fatso anymore.
NEXT: The bar sceneHome alone in a night gown straight out of the Sound of Music, Peggy gave her mirror her best Ann-Margret. She swished her skirt, she swung her hair, she sang into her brush "Guess I'll always care!" I'd been thinking all episode how lucky Peggy was to be free and self-contained as various families hissed and scratched each other. And yet this scene was so lonely and so evocative of what she's given up that I half-cheered when she forced herself into a neighborhood bar to find a little action.
She'd butted heads with Don earlier that evening. These two, the only people on the show who ever really talk and listen to each other, are such real admirers of one another. But whereas Don's big hurting and insatiable heart treats cynicism like a life preserver, Peggy still seems to rely on hope. Maybe it's their age difference. Don knows their business is corrupt, and that what they're selling is a fraud. He may be moved by Ann-Margret. "It's pure, it makes your heart hurt," he tells Peg. He may be so taken by a dancing barefoot woman on a spring day that his hand droops to the ground to feel the warmth of the grass beneath him. But he'll use the fantasy of Ann-Margret to sell diet schlitz to sad women. "Look how happy I am that I drink….Patio," he said, trailing off miserably. And the innocence of his daughter's teacher is moving and all, but why the hell wasn't he watching his daughter? They are not artists, he lectured Peggy.
NEXT: Peggy's morning-after walk…no shamePeggy went home to the French fry's apartment. Our lady has learned a valuable lesson. No Trojan, no homerun. But listen, guy, she told him, surely we can run around a couple bases. He invited her out to breakfast, but she wanted to wake up in her own bed. He didn't give his phone number; she didn't ask for it. The girl deserved an innocent make-out session. At work that morning, she marched right into Don's office and the two went back to work.
While Peggy experimented with freedom, Don looked more tired and trapped than ever. Betty was snippy because she's subsisting on Melba Toasts. His old drinking buddy Roger annoyed him because he's a shallow charmer who runs away from his family obligations. (And dammit, if there's one thing Don just can't forgive it's that.) His father-in-law was beached in his socks and skivvies in the guestroom or hallucinating in the kitchen. At work, Don wooed clients with beautiful sonnets of spin. The man behind Madison Square Garden was sick of feeling villainized by nostalgic New Yorkers who didn't want to see their beloved Penn Station leveled. Don saw no point in romanticizing the struggle between new and old. "Let's also say change is neither good nor bad, it just is," he said to the skittish client. "It can be greeted with terror or joy, a tantrum that says 'I want it the way it was' or a dance that says 'Look, something new!"' (Look, out yonder under the maypole, something new, and with flowers in her hair!) Don is the perfect PR man for a changing city. The man literally, forcibly, has no history. Why should anything? But he's kidding himself. He yearns for nostalgia, for a closeness to the ground and the people around him.
The Sterling Cooper Agency — good to still see that company name in the lobby for now — looks like it might be history by season's end. When Don landed Madison Square Garden, Mr. Price said the head office in London wanted them to walk away from the new lucrative client. It seems the big guns want them to fail. Out with the old.
So help me, TV watchers, on this whole notion of out with the old. Why do you think Don stepped up and insisted that his father-in-law, whom he can't stand, move into his house? When Betty realized what Don had done, she gave him the first tender look of the entire evening. Don is a private man. We saw how callously he abandoned his brother. You'd think this was a man who would pay for a fancy nursing home to deal with his wife's drooping Dad. So what do you think was at work here? Would the Don we know really have offered up his home? Was it his erratic though extreme moral code kicking in? Did he see himself in Gene? Can this generosity last? Help me understand what is happening in the Draper home!


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Share this Story: Trojans 'pumped' with semifinal berth
Trojans 'pumped' with semifinal berth
Darryl G. Smart
Heading into the Central Western Ontario Secondary School Association AAA boys soccer championships, Badr Elbadri and his North Park Collegiate teammates wanted to play with a chip on their shoulders.
Winning the Brant County regular season title, then getting bounced by the Assumption College Lions in the semifinal, the Trojans wanted to do more than be the host team.
That's exactly what they did by qualifying for Thursday's semifinals at John Wright Park.
"We're pretty pumped to be playing in the semifinal," Elbadri said.
"I guess it's been a long time since a team from the school has gotten to CWOSSA and to be going to the semifinals is great."
He said the sting of not getting to the Brant County finals still lingers and was a huge motivator during Wednesday's pool play.
"I think we want it more now," Elbadri said.
"Losing like that motivates you. We finished first in the regular season and want to still show why we came first our league."
And in the Trojans opening game against the Southwood Secondary School Sabres, from Cambridge, they flexed their muscle early, scoring a pair of goals in a 3-2 win.
"We got a couple of quick goals that got us going," Elbadri said. "They came back and scored a couple though."
Dakota Culbert scored two goals for the Trojans, while Tyler Froates added one.
Dylan and Nathan Tomaz scored for the Sabres.
An hour and a half later, they took on the defending champion Preston High School Panthers and played to a 1-1 draw.
"Between the two games the coaches told us to just rest up because we knew we had a big one coming up," Elbadri said. "It was a good game It was our second game of the day, so we knew it would be tough.
"It was a chippy game," he said. "We just had to keep our heads into it. Everyone played with a lot of heart."
After playing to a scoreless draw in the first half, Culbert gave the Trojans a lead, that was erased by Ben Doering, who scored in the final minutes of the game.
"We were hoping for the win but they got that goal on us in the last couple of minutes," Elbadri said. "We all thought it was offside, so a lot of us stopped playing. The whistle didn't blow and he scored."
With their 1-0-1 record, the Trojans will face Jacob Hespeler in one semifinal, while Southwood plays St. David in the other at 9:30 a.m.
The final set for 1:30 p.m.
darryl.smart@sunmedia.ca
twitter.com/darrylsmart1
At the CWOSSA AA tournament at Norwell District Secondary School in Palmerston, the Paris Panthers were eliminated after losing 6-2 to Wellington Heights and drawing Walkerton's Sacred Heart 1-1.
The St. John's College Green Eagles punched their ticket to Thursday's CWOSSA AAAA semifinals thanks to a win and a draw.
In the opener at Woodside Park in Kitchener, the Green Eagles reeled off a 4-0 win over Orangeville District Secondary School, before having Kitchener's Eastwood Collegiate Institute score in the dying seconds to level their game at 1-1.
The semifinals with the Green Eagles playing St. Mary's High School and Cameron Heights against ECI are at 9:30 a.m., with the final set for 1:30 p.m.
Trojans 'pumped' with semifinal berth Back to video

redpajama_set_name: RedPajamaCommonCrawl


(PRLEAP.COM) Long Beach, CA - Hooman Toyota, one of the leading Toyota dealerships in the Long Beach area, is excited to report that the new 2014 Toyota 4Runner will be available. The new Toyota 4Runner has received a new, more rugged exterior design, along with attractive refinements to the interior.
The Toyota 4Runner has long been the go-to choice for drivers who like to be able to drive anywhere. The fifth-generation 4Runner stands alone as a fully featured and capable mid-size SUV, complete with quality construction and comprehensive suspension technology. For those crave maximum off-road capabilities in their SUVs, the new 4Runner comes in the Trail grade. The Toyota 4Runner also features the optional full-time multi-mode 4x4, along with a powerful five-speed automatic transmission paired with a 4-liter, 270-horsepower V6 engine.
On top of the new 2014 Toyota 4Runner SUV, the Hooman Toyota in Southern California offers a full line-up of quality Toyota vehicles. Among Hooman Toyota's available new and pre-owned vehicles, customers can find the Toyota Yaris, Toyota Corolla, Toyota Camry, the Toyota Prius, and many more. According to a spokesperson for the Long Beach Toyota dealership, "We're proud to offer our customers the very best in Toyotas, plus a complimentary membership in the VIP program that's worth nearly $7000."
For a number of years, the Hooman Toyota dealership has provided Long Beach, California with quality service and unmatched value. The company features an exclusive VIP Membership Program for loyal customers, offering several complimentary services for every Toyota sold. From pre-owned to new cars to specials, there's something for every customer at this Toyota dealer, and with the new 4Runner SUV, off-road enthusiasts have even more to appreciate.


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Minnijean Brown-Trickey's suspension notice February 6, 1958
Some girls made history by simply going to school and claiming their right to belong. Minnijean Brown is one of those girls. In 1957, she and eight classmates integrated the all-white Central High School in Little Rock, Arkansas, during the civil rights movement. White students physically and verbal
Statue of Liberty Hannukah Lamp 1986
Artifacts, Primary Sources
Many immigrants sought to preserve their cultural heritage while at the same time embracing their new identity as Americans. Manfred Anson did so in designing this Hanukkah lamp to mark the centennial of the Statue of Liberty in 1986. Anson, who escaped Nazi Germany as a teenager, later reunited wit
Swanson TV Dinner Tray
The TV dinner represented a change in the way Americans were thinking about food. Introduced in 1954 by Swanson & Sons, of Omaha, Nebraska, it offered women--more and more of whom were working outside the home but still assumed to be responsible for cooking--an alternative to time-consuming meal pre
The National Youth Summit
Interactives & Media, Lessons & Activities
The National Youth Summit brings middle and high school students together with scholars, teachers, policy experts, and activists in a national conversation about important events in America's past that have relevance to the nation's present and future. Mark your calendars for the next
Resident I.D. card
These identification cards were issued to residents of the internment camps. In order to exercise control and maintain surveillance over the population, internees were given family numbers and their physical characteristics were recorded.
The Declaration of Independence Desk
In 1776 Thomas Jefferson wrote the Declaration of Independence on this portable desk of his own design. It features a hinged writing board and a locking drawer for papers, pens, and inkwell. By the summer of 1776 members of the Second Continental Congress prepared to declare thei
Civic Ideals
Reviewed Websites, Lessons & Activities
This historical investigation is aligned with the C3 Framework and is from C3teachers.org. This inquiry is an exploration into the concept of responsibility, beginning within the home and then expandi
This historical investigation is aligned with the C3 Framework and is from C3teachers.org. This inquiry is an exploration into the concepts of time, continuity, and change in a community with the dual
Latino Family Stories Through Art
Reference Materials, Primary Sources, Lessons & Activities
Student activity collection analyzing the work of two very different Mexican American artists, identifying aspects of culture and exploring expressions about Latino experiences in art. Included in this collection, are five paintings highlighting Latino families, paired with observation and analys
Read Seven Brave Women
Reference Materials, Lessons & Activities
Author Betsy Hearne wanted to know more about the women in her family's past, so she researched her family for the book Seven Brave Women, which tells the story of her female ancestors dating back to the Revolutionary War. You, too, can explore the women in your family or community who
Carolyn Reeder
Orphaned, angry, and bitter, twelve-year-old Will arrives in the Virginia Piedmont immediately after the Civil War to live with relatives he has never met. Now, Will lives with his uncle who didn't fight in the war that robbed him of his entire family and come to terms with his feelings regarding
Songs from the Loom: A Navajo Girl Learns to Weave
Monty Roessel
A Navajo family shares their tradition of weaving.
Sylvia Stark: A Pioneer
Victoria Scott
Chronicles the life of a woman who was born a slave in Missouri in 1839, moved with her family to California, and later lived on a small island off the coast of British Columbia until she was 105.
Tea Cakes for Tosh
This touching story about Tosh, his grandma, and her recipe for tea cakes, reflects how food can connect people to each other and to the past.
The Arabic Quilt
Aya Khalil
Kanzi's family has moved from Egypt to America, and on her first day in a new school, what she wants more than anything is to fit in. Maybe that's why she forgets to take the kofta sandwich her mother has made for her lunch, but that backfires when Mama shows up at school with the sandwich. Mama
The Boy Who Harnessed the Wind
William Kamkwamba
When a terrible drought struck William Kamkwamba's tiny village in Malawi, his family lost all of the season's crops, leaving them with nothing to eat and nothing to sell. William began to explore science books in his village library, looking for a solution. There, he came up with the idea that woul
The Glory Field
Walter Dean Myers
Novel traces a family's ongoing quest for equality throughout many generations a societal changes.
Mildred D. Taylor
In the stories Taylor tells the stories of her African American family in the Deep South during and after the Civil War, a time of ugly, painful racism.
The Matchlock Gun
Walter Dean Edmonds
In 1756 New York state was still a British colony and the French and Indians were still a threat to those living there. This story is the tale of a young man's challenges when left home to protect his family.
The Only Road
Alexandra Diaz
Jaime is sitting on his bed drawing when he hears a scream. Instantly, he knows: Miguel, his cousin and best friend, is dead. Everyone in Jaime's small town in Guatemala knows someone who has been killed by the Alphas, a powerful gang that's known for violence and drug trafficking. Anyone who re


In November 2013, I facilitated my first Startup Weekend EDU during Global Startup Battle (GSB) with an organizing team led by Jess Falkenthal. It was Jess' 15th or 16th Startup Weekend (I'm not sure how she keeps count!) and I was impressed by how many weekends she'd spent pitching, building, and presenting new startups. A year later, after six SWEDUs in six different cities, I get it…these are addicting!
On November 21, ahead of the official beginning of the holiday season and as a part of GSB 2014, I organized and facilitated Boston Startup Weekend EDU. This was our first event in over 2 years and only second education vertical in Boston – surprising for a city renowned for its academic prowess. While the four months of planning and weekend packed full of logistics was certainly exhausting, I rolled back into work Monday morning feeling both grateful for and inspired by the people and teams that gave us a small glimpse into their interests, passions, and talents.
We kicked off the weekend on Friday night with 36 pitches, mostly targeted toward the K12 markets with some lifelong learners and higher ed enthusiasts mixed in. I announced 11 ideas that had made it through the voting round and came out on top, but even as early as Friday close, these didn't end up as the teams moving forward the next morning. You see, the team formation process very much resembles real life – you've got a great idea and other people agree it's great, but now you have to hustle and convince them that they should spend their next 48 hours helping bring your idea to life. This is usually our participants' first lesson that execution is everything!
Saturday morning is always a bustling time. People are still pumped from the night before and looking for their first cup of coffee to get things rolling. To incentivize people to get started bright and early, we scheduled two workshops first thing. I've done this a few times at SWEDUs and have always been fortunate that talented and generous people in the local startup community want to donate their time by giving free classes. This time around, we chose a 90 minute session on Lean Startup Methodologies by Brendan Kohler and a crash course in coding from Firehose Project. I liked that both taught participants something they could immediately put into practice, and acted as a teaser for topics they may want to explore in more depth later on. Another thing I learned from #SWEDUBay with Jess and have successfully implemented a few times now is that ice cream breaks make people really happy and can pull you up out of your Saturday night slump.
By Sunday morning, I notice that people are rolling in later – a sign that it was a late night of working. At this point, teams were still in flux and as we go into pitch practice with our group of coaches, the roster only partially resembles what we ended with on Friday night. But this is what Startup Weekend is all about…the constant return back to the drawing board, some shuffling of team members, new people dropping in halfway through – organized chaos. One team announced that they decided not to pitch the morning of, and by 5pm that day had come up with and presented a completely new idea entirely. Another team decided to pursue a different idea on Friday night only to have all but one team member bail by Saturday morning, but made a compelling pitch all the same. If you only attend Friday and Sunday evenings, you'd probably only be able to connect half the dots.
Newhall: A dynamic community geared towards high school students that allows users to securely showcase personalized portfolios of their interests, hobbies, and talents both inside and outside the classroom and which can later be accessed by teachers, recruiters, colleges, and employers. Our judges endearingly called it a "social network for nerds" with many possibilities. Vote for them in Global Startup Battle here.
Parent Primer: A site to help parents better engage with their students by providing them with videos about what their children are learning in school and how these lessons are commonly taught – a Khan Academy for parents. Our judges loved that the team identified a real barrier to better parent engagement.
Lean Gap: A gap year / summer program for high schoolers to engage in real entrepreneurship by building a viable business during the course of the program. Team leader Eddy Zhong is a 17-year old three-time entrepreneur himself and made a compelling case for why high schoolers are both well-prepared for and need this kind of education. I think we only need to look as far as the competitiveness of the Thiel Fellowship to get validation for Lean Gap.
We had great prizes for our winners with the goal of providing them with the resources and support they need to keep pursuing their ventures. However, despite significant incentives to win, I would say that the level of competition is rather low with a strong emphasis on collaborative learning. I tell participants upfront that perhaps the most valuable takeaway is the connections they form with each other, and at least one agreed, noting, "It was a valuable experience just being in a room full of passionate and talented people wanting to make an impact".
I love to hear that our events help people realize their passions and interests or gives them the confirmation they needed that they can pursue them – it's what sets SWEDU apart from a typical hackathon or business competition. It's the reason organizers and facilitators volunteer their time…they want to spread the magic!
I want to end with a big thank you to my organizing team, coaches, judges, and all of our participants who spent their weekend with us…and a call to action. I was ecstatic to hear that people want to organize the next Startup Weekend in Boston and their hometowns. I can't wait to help you get started. But there are still other ways to get involved, keep this community engaged, and open it up to new folks. Plan a bootcamp on topics you want to learn more about, launch a edtech meetup group (there are great examples from other cities), help me organize a SWEDUBos reunion! If any of this sounds interesting or you have your own brilliant idea, let me know at vicky.guo@startupweekend.org. Remember – No talk. All action.
For more coverage of Boston Startup Weekend EDU, check out these posts by Julie Zhou and Fernando Albertorio. If you want to share your experience on the Startup Weekend EDU and UP Global blog, e-mail it to bostonedu@startupweekend.org.
Attendees for Boston Startup Weekend EDU came together from all over North America to work on problems relevant to the education space. Participants had varied backgrounds as educators, students, developers, etc. but each participant had the same passion and excitement to learn and cooperate with each other. Of the thirty-six pitches presented on November 21st, eleven teams were formed. Please cheer them on and look forward to what they produce throughout the weekend!
Come join us at Demo Night tomorrow, November 23rd at 51 Melcher Street, Boston beginning at 5pm and see what the teams have produced. If you're not local, watch the live stream at www.bit.ly/swedubosdemo.


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Menu na týden
Bistro Fair Food jedním z pražských gastro tipů podle The Guardian
https://www.theguardian.com/travel/2019/jun/03/locals-guide-to-prague-czech-republic-10-top-tips#comments
Bistro v časopise Nový Prostor
Kwon Brian and McMurtry Avery for Youth Included Team
Goal: sense of homeliness and comfort
Before going to Fair Food Club Bistro, I, like many people, had no idea what to expect from Georgian cuisine. Despite my unfamiliarity, I was wonderfully surprised by my experience at the bistro. Fair Food Club Bistro is located at U Nemocnice 4, Praha 2. On our way there, we walked passed the building before finding it. It is quietly tucked away off of the street, giving it a quiet secluded feeling in the best way possible. Upon entering, there is an area to order, with food out on display and a big chalkboard displaying the menu on the wall. The main dining area almost resembles a greenhouse; its ceiling and right side are made of glass, drenching the space in natural light. This is all the more refreshing as the weather begins to cool down and less and less time is spent outdoors. The walls are painted white as well, enhancing the feeling of brightness and light created by the sunshine. Plants lined the windowsills along the length of the room and ink illustrations are hung on the walls.
The rich decorations gave the sense that a great deal of care had been put into the restaurant environment. I immediately felt a sense of homeliness and comfort in the bistro, which I later learned was the goal of the owner, Lela Kukava. "Everywhere, I'm trying to make the atmosphere of home. After all this history I had with the migration and so forth, I'm trying to make it as home-y as possible. Basically, this is not a restaurant, this is a canteen. I wanted to make it like a modern canteen, and that's why I put up all the curtains, tablecloth, all this stuff, so that it looks like home. So that a person who's coming, even if he's not buying the food, he can still feel at least rested for a while and enjoy this feeling of home." Lela strives to not only make a comfortable and welcoming place for her customers, but for her employees as well. At her previous place of employment, she witnessed women getting only one-time catering jobs, which she wanted to change.
"I was dreaming if I could make something of my own, where the women would have a normal, permanent, full-time job, and once in a while they could get a one-time order. That was basically the reason why I started this kind of social entrepreneurship with this place." "The women who are working here, they got not just employment but safe employment. We have a very good atmosphere here, and I'm really proud that we have done that."
The service was friendly, attentive, and kind. I felt welcome as soon as I walked in. The restaurant staff recommended their favorite dishes to us and we sat down. Everything we had to eat was delicious. The quiche was rich and filling. The vegetable risotto was delicious and unexpectedly hearty for a vegetarian dish. We also got a large serving of mushroom soup which has to be the best soup we have tasted in Prague. My favorite dish was the bread filled with Balkan cheese. It was served warm and was dangerously tasty. As for dessert, we had baklava that was to-die-for.
The food at the bistro is a blend of many different cuisines, which Lela attributes to the diversity of her employees: "We have a lady who is from Afghanistan, a lady from Georgia, a lady from Ukraine, and it's kind of like a mixture of different cuisines here. And we even have some Czech cuisine, but it is not very traditional because we're trying to do something a little bit healthier."
I believe what makes the Fair Food Club Bistro special is not only is it a great restaurant, but it is founded in high ideals: a place that feels like home and where the customer and employees are treated not only fairly, but with a great deal of genuine care as well.
"We are making it carefully and with love, so the person who is coming here is not getting food with chemicals or nothing. It's very carefully and properly done. The idea is that the person who is coming here is eating like he's getting food from home. And at home, you are usually not trying to save on the ingredients. So this was the original idea."
Authors: Kwon Brian and McMurtry Avery
Youth Included Team,
e-mail: youthincluded@gmail.com
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With Small Steps Changing the World
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text:
Andromaque: tragédie
Escrito por Jean Racine
Dans aucune il n'a mis plus de paganisme ni plus de christianisme à la fois; dans aucune il n'a embrassé tant d'humanité ni mêlé tant de siècles; dans aucune il n'a répandu un charme plus délicieux et troublant; dans aucune, à ne considérer que la forme, il n'a été plus poète et plus artiste." It is the story of Phaedra, the wife of Theseus, who falls in love with her stepson, Hippolytus. Theseus, six years absent, is reported dead. Phaedra reveals her love to Hippolytus, who spurns her. Theseus returns. Fearful lest her fault be discovered, Phaedra allows her nurse to accuse Hippolytus; Theseus in anger prays Neptune to avenge him. In response to this prayer Hippolytus is killed by a sea monster, and Phaedra, in despair, confesses her crime and kills herself. Practically all the details of the plot are to be found in Euripides and Seneca, but the treatment of Phaedra's passion is thoroughly Racinian. She is presented as a noble soul, who abhors even the thought of crime. Fatality and blind circumstance lead on to her ruin. That is what Lemaître alludes to in the passage cited above. And, in sum, that was quite in harmony with the fundamental tenet of the Jansenists, the weakness and helplessness of man in conflict with sin. So Racine himself considered it; he was convinced that he had taught a great moral and religious lesson: "le vice y est peint avec des couleurs qui en font connaître et haïr la difformité" (preface). And that, too, was the view taken of it by his old
J friends and masters of Port-Royal, who saw in it, besides, signs of an inclination on the part of the poet to return to the fold.
Nor were they deceived: the poet was tired of the stormy life he had been leading, tired of literary quarrels and of the petty intrigues of jealous rivals. These last had attended his career from the "Andromaque" on; they reached their climax when a second-rate poet, Pradon, attempted to forestall his " Phèdre" with another upon the same subject. On this occasion the partisans of Pradon even went so far as to buy up the houses and pack them for the first representations of the rival plays.1 Sick of it all, Racine, in the plenitude of his power, with new tragedies planned and partly written out (" Iphigénie en Tauride," "Alceste ") severed all connection with the theater. He listened with a willing ear to the overtures of his old friends, and, returning to the faith of his youth, retired to Port-Royal to spend his remaining days. Except for the advice of friends he would have taken orders. He followed their counsel, however: he married that same year (1677) Catherine de Romanet — a good woman, who had never read his tragedies. "L'amour ni l'intérêt n'eurent pas de part à cette choix," declares his son. They had five daughters and two sons, and in the midst of this family Racine spent his remaining years in exemplary fashion. No conversion, perhaps, has ever been more complete.
Yet he did not entirely abandon literary work. In 1677 he was named royal historian, and, together with Boileau, prepared an " Histoire du royaume sous le règne de Louis XIV" of which the manuscript is said to have been burned in 1726. In his last years, too, Racine composed an "Histoire de PortRoyal" in which he made reparation for the wrongs he had done that institution. He also composed a considerable amount of religious verse, and two opportunities came to him for employing his dramatic genius without running counter to his religious convictions. Madame de Maintenon had founded a school for young ladies at Saint-Cyr in which she took the greatest interest. It occurred to her that the poet might prepare for these young ladies a theatrical diversion which would be free from the demoralizing influences attributed to the secular drama. The result was " Esther," a drama following the biblical narrative, interspersed with choruses "comme dans les anciennes
1 A similar though less spectacular attempt was made on the occasion of "Iphigénie." For a full discussion of this phase of Racine's career see F. Deltour, " Les Ennemis de Racine au Xvik siècle," 6e édition, Paris, 1898.
tragédies grecques " (preface). The piece was played with great success (1689), first at Saint-Cyr, then by the young ladies at court before very select audiences. It was followed by " Athalie" (1691), which was also based on the Biblical narrative, and composed in the same manner for the same purpose. By many it is considered Racine's greatest work. But, although superior to "Esther," it met with little success for the time being. Madame de Maintenon found that Racine's first effort had succeeded too well: the heads of her young charges had been quite turned by their histrionic success. Accordingly, many restrictions were put upon the staging and the costuming of the piece; besides, the play is one that demands all the resources of trained artists. Its great success as a play dates from its first public representation in 1716, some years after the poet's death. The poet's last years were saddened by the disfavor of the king. He died the twenty-first of April, 1699.
Three adjectives indicate quite clearly the progress of tragic composition in France during the seventeenth century: héroïque, romanesque, and passionnée. In la tragédie héroïque the characters, by the force of their convictions and their will-power, rise superior to all considerations of family, love, or self-interest. Its great representative is Pierre Corneille, at his best in " Le Cid," "Cinna," "Horace," and "Polyeucte." In la tragédie romanesque love is the mainspring of all actions: love conquers all obstacles, and these obstacles are as varied and as complicated as the ingenuity of the poets can make them. But it is a romançiçal love, very virtuous, very noble, very aristocratic, always between princes and princesses, very correct, very elaborate, and very verbose—love-gallantry in short, not love-passion. Some of Pierre Corneille's plays, notably the "Don Sanche d'Aragon"; the "Timocrate" (1656) of his brother Thomas, perhaps the masterpiece of the type; all the tragedies of Quinault, — these are its most noteworthy productions. Its vogue extends from about 1650 on through the early plays of Racine. The tragédie passionnée is inaugurated and carried to its highest degree of perfection by Racine. Love-passion is the central theme in all his tragedies from "Andromaque" to " Phèdre," although with somewhat less intensity in " Britannicus," "Mithridate," and "Iphigénie." The term love-passion is to be taken quite literally. It is not merely love as a sentiment, but rather as a force, which drives those possessed by it to perform great deeds, undergo great sacrifices, or commit great crimes: even to become weaklings and perjurers. In the characters of Agrippine (" Britannicus ") and Athalie, Racine showed his power in depicting other passions (ambition), as in the character of Andromaque he showed his ability in the portrayal of maternal love; but in general he chose to specialize in the presentation of love as a passion, a perverting force, with all the impulses and emotions to which it gives rise; and in that field he has no equal.
Whence did he derive this power? He has himself given us a clue. In 1694, five years before his death, he wrote these verses:
Mon Dieu, quelle guerre cruelle!
Je trouve deux hommes en moi:
L'un veut que plein d'amour pour toi
Mon cœur te soit toujours fidèle.
L'autre à tes volontés rebelle
Me révolte contre ta loi.
Hélas! en guerre avec moi-même,
Où pourrai-je trouver la paix?
Je veux, et n'accomplis jamais.
Je veux, mais, 6 misère extrême!
Je ne fais pas le bien que j'aime,
Et je fais le mal que je hais.
That this was not merely a poetic fancy, is indicated by the remark which Louis XIV is said to have addressed to Madame de Maintenon, on hearing these verses sung: "Madame, voilà deux hommes que je connais bien." Now one of these men in Racine, filled with the austere religious doctrines of Port-Royal, waged a stubborn uphill battle with the other, who was dazzled by literary ambitions and favored at court, and who loved, with what he keenly felt to be a guilty love, the two most beautiful actresses of his day. And so Racine studied in his own heart the struggles which he portrays in the characters of his tragedies. This is one, and not the least important, of the reasons why in the portrayal of his passion-torn characters nothing escapes Racine: every impulse, every transition, every conflict, is noted with a virtuosity which is amazing when one stops to consider the virtuoso's part in it.1
Compared with the universality of Shakespeare, the field of Racine seems quite limited. It is so, if one considers it from the external side, of the number of characters or the variety of social classes represented. From another point of view it is much less so. Shakespeare's method is diffusive and analytical, Racine's concentrated and synthetic. In reality, Racine's tragedies are quite as representative of life as those of any other. It has often been pointed out how, shorn of their royal or mythological names, these tragedies always present problems and situations which are constantly arising in the life we lead. In these problems and situations there are certain representative or universal motive impulses which enter into the performance of any act which seems to us good or evil. Now the characters of Racine present, so to speak, epitomes of these universal impulses. Thus his tragedies represent a very large part of the moral experiences of humanity, boiled down, as it were, into a concentrated solution; whereas Shakespeare and Balzac represent these moral experiences in what we may term separate doses. Or, to
1 Garrick, commenting upon Racine's tragedies from the actor's standpoint, complained that nothing was left to the actor's interpretation except the mere elocution of the verses.


text:
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Trump Is Said to Set Aside Career Intelligence Briefer to Hear From Advisers Instead
WASHINGTON — President Trump has dispensed with intelligence briefings from a career analyst in favor of updates from political appointees including John Ratcliffe, the director of national intelligence and a longtime partisan defender of his, in the closing weeks of an election targeted by intensifying foreign interference, according to interviews. […]
WASHINGTON — President Trump has dispensed with intelligence briefings from a career analyst in favor of updates from political appointees including John Ratcliffe, the director of national intelligence and a longtime partisan defender of his, in the closing weeks of an election targeted by intensifying foreign interference, according to interviews.
While the president has long distrusted the intelligence community and displayed frustration with head of the C.I.A. and antipathy toward the F.B.I. director, Mr. Ratcliffe has served as a more supportive figure. He secured influence in part by delivering on the president's political agenda, chiefly by declassifying documents related to the Russia investigation, moves said to please Mr. Trump.
Critics have attacked Mr. Ratcliffe's embrace of Mr. Trump, saying Mr. Ratcliffe cannot be trusted to deliver unvarnished facts in this highly polarized election and is focused on politics in what is supposed to be an apolitical role. Mr. Ratcliffe, who took the job in May, has shown little interest in the work force or making sure the intelligence community's budget is being properly allocated, former officials said.
Cliff Sims, a senior adviser to Mr. Ratcliffe, said the director had "kept his commitment to keep politics out of intelligence." Administration officials said there was no evidence that Mr. Ratcliffe was slanting intelligence or withholding information from the president.
Mr. Trump has not had a briefing led by his designated briefer, the veteran intelligence officer Beth Sanner, in more than a month, people familiar with the matter said. The last formal intelligence briefing led by Ms. Sanner was scheduled for Oct. 2, though administration officials said it was canceled after the president disclosed early that morning that he had tested positive for the coronavirus.
Instead, Mr. Trump has relied on Mr. Ratcliffe to brief him two or three times a week, including one delivered Thursday, the people said. He supplements those meetings with informal briefings from Robert C. O'Brien, the national security adviser; Mark Meadows, the White House chief of staff; and others.
The shift toward briefings conducted by Mr. Ratcliffe reflects Mr. Trump's busy campaign schedule and an effort to reduce the number of people around him as he was sick with Covid-19, according to two administration officials defending the move. They also said the president was getting the information he needed, pointing to his fielding of questions about the state of the cease-fire between Armenia and Azerbaijan.
Early in Mr. Trump's presidency, aides shrunk the size of traditional intelligence briefings to prevent leaks, officials have said.
Ronald Reagan was the last president not to regularly hear from his designated intelligence briefer. Mr. Trump is also the first president to rely primarily on the director of national intelligence to deliver his intelligence since the position was created in 2004.
"The president is doing something highly unusual, at least for the last 15 years," said David Priess, a former C.I.A. officer and the author of "The President's Book of Secrets," a book about intelligence briefings.
Directors of national intelligence have typically provided "color commentary" about the intelligence presented by the president's designated briefer, said Chris Whipple, the author of "The Spymasters," a history of relations between the White House and the intelligence chiefs. Given Mr. Ratcliffe's history, Mr. Whipple warned, the director may be telling Mr. Trump only "what he wants to hear."
Mr. Ratcliffe's displays of loyalty extended to public appearances, as well; he has appeared on Fox News defending Mr. Trump. And ahead of a nationally televised news conference last week where Mr. Ratcliffe and other officials revealed Iranian and Russian attempts to influence the election, he altered comments prepared for him to read from, according to two officials.
Mr. Ratcliffe deleted a reference to the Proud Boys, the far-right group whom Iranian hackers pretended to be when sending spoofed emails to voters, and added the fact that Iran's effort was intended to hurt Mr. Trump's re-election campaign. The changes, which Politico reported earlier, did not alter the accuracy of the comments, intelligence officials said. But they made the remarks more palatable to Mr. Trump, who often bristles at discussions of election interference.
Mr. Sims said Mr. Ratcliffe's influence with the president was good for the intelligence community.
"Their unique insights are reaching the highest levels and informing policy decisions," Mr. Sims said.
Mr. Trump's animosity toward the intelligence community dates to its early 2017 assessment that Russia interfered in the 2016 election and developed a preference for his candidacy.
But there is evidence that the president's unease with Christopher A. Wray, the F.B.I. director, and Gina Haspel, the C.I.A. director, is growing.
Mr. Trump displayed his unhappiness with Mr. Wray on Twitter after Mr. Wray testified on Capitol Hill in recent weeks about two well-documented issues, Russia's election interference and far-right violent extremism, that the president has sought to de-emphasize.
The president does not even like to hear about the F.B.I. during intelligence briefings, people familiar with them said. Mr. Trump has told aides that Mr. Wray has actively undermined him and that he intends to fire him after the election, said people familiar with Mr. Trump's thinking. The president's eldest son, Donald Trump Jr., said recently that if his father won re-election, he has "to break up the highest level of the F.B.I."
The White House did not respond to a request for comment about Mr. Trump's plans to dismiss Mr. Wray. The F.B.I. declined to comment, but a senior bureau official pointed to a recent letter from associations representing current and former F.B.I. agents backing Mr. Wray.
Mr. Trump has also grown weary of Ms. Haspel, though aides are divided over whether he would oust her after the election.
"Director Haspel continues to proudly serve at C.I.A., and we'll leave the election season speculation to others," said Timothy Barrett, the agency's spokesman.
Mr. Trump has privately expressed frustration for what he sees as a failure by Ms. Haspel to adopt his priorities, namely her opposition to Mr. Ratcliffe declassifying documents about the Russia investigation and related matters. While Ms. Haspel was said to express concern that their release would reveal the C.I.A.'s sources of information and methods of intelligence gathering — among the agency's most closely held secrets — Mr. Trump's allies saw the material as important political fodder for his re-election campaign.
Last year, when Mr. O'Brien took over as national security adviser, Ms. Haspel was meeting with the president two or three times a week, according to a senior official. But when Richard Grenell, a close political ally of Mr. Trump's, took over as acting director of national intelligence in February, Ms. Haspel's attendance at White House briefings grew more infrequent, and it has tapered off further since Mr. Ratcliffe took up the post, according to current and former officials.
Ms. Haspel's decreased trips to the White House are at least in part because of the pandemic and also a reflection of the fact that Mr. Ratcliffe has the lead on election interference, the most urgent national security issue of the moment, according to people familiar with the matter.
Ms. Haspel has also avoided the spotlight and Washington power battles, allowing Mr. Ratcliffe to emerge as the more influential figure in the latest iteration of turf battles between C.I.A. directors and directors of national intelligence.
"Trump clearly has a level of comfort with Ratcliffe," Mr. Priess said. "Ratcliffe is seen not just as the director of national intelligence, he is seen first and foremost as a political ally and someone who is on the president's team."
Eric Schmitt contributed reporting from Washington, and Maggie Haberman from New York.
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The constellation of Cepheus contains many dusty gems including the Dark Shark Nebula,LDN 1235 an extended red emission nebula, LDN 1251, a dark nebula, and vdb 152, a dusty region condensing to form protostars.
This image shows the large extent of dust in a 7 2/3 by 4 1/4 degree region of Cepheus. The image is cropped to 73% of its original size. In this image, North is to the right.
Date November 14, 2014, August 13 and August 15, 2015 for base images.
Software Used Images Plus 5.75 for camera control, calibration, and stacking. Images Plus 6.0.5 for DDP stretching and ArcSinH stretching, star size reduction, smoothing and noise reduction, feature mask, and color channel splitting and recombination. Photoshop CS5 used for levels and curves, screen mask invert, high pass filter, lab color, saturation adjustments, selective color, and match color. Gradient Xterminator for gradient removal. Carboni Tools for additional noise reduction and smoothing. HLVG for additional color correction. Registar 64 for subexposure alignment and color channel alignment. Pixinsight 1.8 for automatic background extraction, color calibration, histogram transformation, star mask generation, median transformation, and morphological transformation.
Notes This astrophoto is a composite image using a 200mm lens to capture the breadth of the field of view. For each of the main nebulae in the image, the details were enhanced by blending in data captured with a 600mm lens. In this way, the image shows the larger field of view with improved resolution in the primary nebulae contained within the astrophoto. As with many of these dusty regions, the image was very challenging to process, as it's very difficult to bring out the faint nebulosity without overwhelming the image with a plethora of stars. I tried a number of recently learned techniques to process this image, and I'm overall pretty pleased with the final result.
I originally started this image in 2014, but much of the data I collected suffered from some problems introduced with my newly acquired Nikon lens. While the final image includes a total of 54 hours of data, I actually had to toss an additional 36 hours of data! As such, I have over 90 hours of imaging time invested in producing this final result.
I figure its about time to move on to another constellation!


text:
Ipomoea es un género perteneciente a la familia de las convolvuláceas. Comprende entre 600 a 700 especies oriundas de las regiones tropicales y subtropicales del mundo. La mayoría de ellas habitan en África y en las zonas tropicales de América. Casi todas las especies del género son enredaderas herbáceas, aunque existen unas pocas que son arbustivas o arborescentes. La batata, también llamada camote o boniato (Ipomoea batatas), una de las especies más conocidas del género, se cultiva desde tiempos precolombinos, debido a sus raíces de gran valor alimenticio. Sus especies se conocen vulgarmente como campanitas, aunque en Cuba, a las que florecen por Navidad se las denomina aguinaldo.

Descripción

Son hierbas perennes, raramente anuales, a veces se encuentran lignificadas en la base. Pueden ser rizomatosas o tuberosas, pubescentes o glabras. Los tallos son volubles, raramente decumbentes, de sección poligonal o circular, con látex hialino, raramente de color blanco.
Las hojas son enteras o lobadas, a veces muy variables en el mismo tallo, pecioladas. Las inflorescencias son cimas dicasiales y axilares, rara vez con flores solitarias; pedúnculos de longitud variable. Flores pentámeras, cortamente pediceladas, con 2 brácteas opuestas o subopuestas, poco desarrolladas, que no ocultan el cáliz. Cáliz con sépalos libres, subiguales, glabros o pubescentes, herbáceos. Corola infundibuliforme, plegada, con prefloración contorta, con cinco lóbulos poco profundos, glabra. Estambres desiguales, insertos en el cuarto inferior del tubo de la corola, inclusos o exertos; filamentos estaminales filiformes, de base pubescente; anteras sagitadas, con ápice retuso, medifijas. Nectario intraestaminal de margen liso. Ovario cónico, bilocular, normalmente con dos rudimentos seminales en cada lóculo, con un estilo filiforme, incluso o exerto, glabro, con la parte basal persistente hasta la fructificación y terminado en 2-3 estigmas globosos. Fruto en cápsula subglobosa, con paredes coriáceas y dehiscencia valvar ± irregular y con 1-2 semillas por lóculo. Semillas con testa coriácea, lisa o papilosa, a veces pubescentes en los ángulos; cotiledones anchos,emarginados.

Distribución y hábitat
Tienen una amplia distribución en zonas tropicales y subtropicales de todo el mundo, en ambos hemisferios.
A la llegada de los españoles a América, se conocía el cultivo de camotes, desde México hasta Perú; restos arqueológicos en este último país datan de 2.000 años a.C., y aún antes. A la llegada de Magallanes a Oceanía, en 1521, el camote era cultivado en casi todas las islas. Como el término para designarlo en Oceanía tiene afinidad con el nombre "kumura" que se usa en Perú, y como la expansión polinésica es mucho más reciente que las culturas americanas en que se conocía el cultivo, es de asumir que el camote fuera llevado de América a Oceanía. En Argentina, crecen 52 especies, once de las cuales son endémicas o propias.

Cultivo y usos

Requieren suelos bien drenados y exposición soleada, con temperaturas que no desciendan de 10 °C. Las especies trepadoras necesitan soporte de sujeción. Se multiplican por semillas que, debido a su dureza, se suelen sumergir en agua unas horas antes de la siembra. Las especies perennes también se pueden multiplicar por esquejes.
Muchas de las especies se utilizan en jardinería como ornamentales por la profusión de flores, el rápido crecimiento y su hábito trepador, lo que las hace idóneas para cubrir muros u otras superficies. En climas fríos se cultiva como planta anual, pero en los cálidos su facilidad de germinación la puede convertir en especie invasiva.

Plagas y enfermedades
Enfermedades
 Manchas en las hojas. Cercospora y Alternaria.
 Roya: habitualmente las especies Puccinia y Coleosporium ipomoeae
 Chancro, producido por el hongo Vermicularia ipomoearum.

Plagas
 Sufre ataques de pulgones, en ocasiones del escarabajo Cassida vittata y de orugas de la especie Heliothis armigera.

Importancia económica y cultural

Varias de las especies del género se han cultivado y utilizado desde la antigüedad con fines medicinales, nutricionales y en rituales religiosos.
Por ejemplo, la raíz tuberosa de Ipomoea batatas se consume prácticamente en todo el mundo por su contenido en hidratos de carbono. Las semillas de I. tricolor, así como de otras de las especies, fueron utilizadas ya en tiempos precolombinos como alucinógenos, al contener derivados del ácido lisérgico, también se conocen las propiedades fitotóxicas de I tricolor.

Taxonomía
El género fue descrito por Carlos Linneo y publicado en Species Plantarum 1: 159. 1753. La especie tipo es: Ipomoea pes-tigridis L.

Etimología
Ipomoea: nombre genérico que deriva de las palabras griegas:  ips, ipos = "gusano" y hómoios = "semejante", por el hábito voluble de sus tallos.

Nombres comunes
Otros nombres comunes usados en español
Tumbavaqueros, cacastlapa, castlapa, espanta lobos, espantavaqueros, limpiatunas, maromero, pegajosa, quiebraplato, tanibata, tlaxcapan, manto (Martínez, 1979). En El Bajío, se conocen como campanita, quiebraplatos, quiebracajetes, Santa María del Campo y tumbavaqueros (Carranza, 2007).

Nombres comunes en idiomas indígenas de México
Linares et al. (1999) mencionan que se le conocía en náhuatl como cacamotic, nombre con el que se describen varias plantas del género Ipomoea.

En idioma maya, se conoce como x'hail (pronunciado ish-jaíl).

Referencias

Bibliografía
 Cabrera, Á. Buenos Aires, 1978. Manual de la flora de los alrededores de Buenos Aires. Editorial Acme, página 503.
 Dimitri, Fescher, Oliveri. Buenos Aires, 1980. Enciclopedia argentina de agricultura y jardinería. Editorial Acme, página 902.
 Ipomoea en www.discoverlife.org

Enlaces externos

Plantas descritas por Linnaeus
Plantas descritas en 1753

redpajama_set_name: RedPajamaWikipedia


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Turkmenistan plans to close its 'Gates of Hell' fire crater in Darvaza
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Video of 'flying' deer baffles internet
A mysterious fire crater nicknamed the 'Gates of Hell' is set to be extinguished after spewing 'devil breath' flames for decades.
Turkmenistan's dictator president Gurbanguly Berdymukhamedov has demanded officials put out the flames at the Darvaza gas crater in the middle of the vast Karakum desert, The Sun reports.
In 2010, Mr Berdymukhamedov also ordered experts to find a way to put out the flames that have been burning ever since a Soviet drilling operation went awry in 1971.
But this failed and he has now demanded the fiery crater be quelled because it "negatively affects both the environment and the health of the people living nearby".
He said: "We are losing valuable natural resources for which we could get significant profits and use them for improving the well-being of our people," he said in televised remarks.
The fiery Darvaza gas crater is located in the Karakum Desert and its origin remains a secret.
The surreal site, also known as "Door to Hell", is a natural gas that field collapsed into a cavern in the village of Darvanza.
The gas crater burning in Darvaza. Picture: Bjoern Holland/AFP
People visiting 'The Gateway to Hell' on June 11, 2014 in the heart of Turkmenistan's Karakum desert. Picture: Igor Sasin/AFP
Although there are no records of how the burning pit was originally discovered, the most popular theory suggests it was created in 1971, when Turkmenistan was still under Soviet rule.
According to the theory, geologists hit a pocket of natural gas while were drilling for oil which caused the earth to collapse.
It is believed that in order to prevent the spread of methane, they set it on fire and it has been burning ever since.
The crater was featured in an episode of the National Geographic Channel series Die Trying in 2013.
Canadian explorer George Kourounis was the first to descend into the 100-ft deep pit of fire, was unable to explain the origin of the pit.
Turkmenistan's President Gurbanguly Berdymukhamedov has given orders for the gas crater to be extinguished. Picture: Igor Sasin/AFP
Burning for decades
At the time, he said it looks like "a volcano in the middle of the desert," and admitted he felt "a bit like a baked potato," according to National Geographic.
"It is burning with a tremendous amount of flame like there is a lot of fire down there," he said.
"Day or night, it is clearly burning. You can hear the roar of the fire if you stand at the edge.
"The heat, if you are downwind of it, is unbearable. There are thousands of little flames all around the edges and towards the centre.
"Then there are two large flames in the middle at the bottom, and that is probably where the drilling rig hole was for the natural gas extraction."
Local Turkmen geologists believe the crater was formed in the 1960s and wasn't lit until the 1980s.
The Darvaza gas crater has been burning for decades in the middle of the vast Karakum desert. Picture: Igor Sasin/AFP
There is mystery around how the gas pit was created.
Shrouded in mystery
And as at the time Turkmenistan was under Soviet rule, any record of the crater's creation is now classified information.
In 2013, Mr Berdymukhamedov declared the part of the dessert with the pit, a natural reserve.
The mystery surrounding the fire pit has turned it into a popular tourist attraction, with thousands visiting the area every year to see the hellish pit closely.
It comes as another strange location was recently explored for the first time.
A brave team of cave divers have made the first journey down into the 200ft deep "Well of Hell" in Yemen.
The 100ft wide hole is located in the desert in the eastern province of Al-Mahra and locals believe it is a prison for demons.
The country with 'no Covid cases'Nation accused of 'hiding' Covid outbreak
But despite the tales of evil spirits, the divers from the Oman Cave Exploration Team have only discovered snakes, dead animals and cave pearls.
This story first appeared on The Sun and has been republished here with permission
An Aussie influencer who sparked anger after demanding a refund from a small business has now apologised for a racially insensitve post.
A widely criticised decision to grant right-wing commentator Katie Hopkins a visa is reportedly set to be investigated by the nation's human rights watchdog.
Onlookers who witnessed a deer jumping to astonishing heights while have seen their video go nuts on social media with thousands of views.


text:
Q: Can one induce a user-defined error from an OpenCL kernel? For debugging purposes, I would like to be able to induce an OpenCL error of my choosing from a kernel. My intended use case would be to use this capability like an assertion
__kernel void myKernel(...)
{
  ...
  if(i < j){
    InduceOpenCLError(-9999);
  }
  ...
};

Is this possible, and if not, is there any other useful way to include an "assertion" which will obviously induce a runtime error if a certain assumption is not true?
This question is related, but slightly different:
OpenCL: Manually throw an exception in kernel

A: Unfortunately, this is something missing from OpenCL.  As the question you referenced suggested you do have printf to report an error, but even that is kind of clunky and doesn't help you detect an error programmatically.
If you are really set on returning an error codes, I can think of a couple options (none easy).
First, you could pass a buffer to contain all the status values for each work item.  After running the kernel, you'd need host code to go through and check the values.  You could conditionally include this code as shown below just for debugging. (The following being totally untested.)
#ifndef RETURN_STATUSES
#define RETURN_STATUS(S) \
  do { \
    _kernel_status[get_global_id(0)] = (S); \
    return; \
  } while (0)
#else
#define RETURN_STATUS(S) return
#endif

kernel void myKernel(
  ... normal args
#ifdef RETURN_STATUSES
  , global int *_kernel_status
#endif
  )
{
  ...
  if (i < j) {
    RETURN_STATUS(-9999);
  }
}

Another option might be to atomically set a single value. Again, this has significant performance impact and would be good for debug only.
The lack of an efficient way to indicate error in OpenCL kernels is definitely a sore point for me too.

redpajama_set_name: RedPajamaStackExchange


text:
Debut, Features, Interviews, Music May 28, 2021 June 4, 2021
Making a Poet Black: A Dialogue with McKinley Dixon
by Ben Niesen
McKinley Dixon © David Muessig
There was a time when McKinley Dixon shirked the moniker of rapper, now he has come to embrace what he calls the power in Blackness. We sat down with Dixon to discuss what changed with the release of his new record 'For My Mama And Anyone Who Look Like Her', out on Spacebomb records now.
'For My Mama And Anyone Who Look Like Her ' – McKinley Dixon'
"Want this to sound soft like poetry/
But came strong as her veins/
Under the sun, you can see blemishes/
Under my blemishes, sun still remains."
–"protective styles," McKinley Dixon
Ask McKinley Dixon when he recognized his handle as a rapper and he will admit that the timeline is fuzzy.
For a period between his first and third efforts, he juked any effort to tag him with the title, fearing the sobriquet to be a critical cul-de-sac of style, a no-exit dispensation to muzak.
Listen to Dixon's debut mixtape/album — even he isn't quite sure how it qualifies — Who Taught You How To Hate Yourself, and one will sink into a hip-hop groove that harnesses a jazz-classical cadency with ease. Engage the second offering, The Importance of Self-Belief, and listen as Dixon embraces soul power and gospel for liberation.
In truth, he's mostly still under wraps as a popular rapper. Lonnie "Pops" Lynn — who is decidedly not McKinley Dixon's contemporary (he's actually Common's recently deceased father) — once remarked, however, that "true hip hop is just like the Underground Railroad, if the message is not for you, it can sit on your nose and your brain remain froze."
For My Mama And Anyone Who Look Like Her – McKinley Dixon
Now, signed to Spacebomb, Dixon's label debut For My Mama And Anyone Who Look Like Her is heating up the presses. Dixon's been named Consequence of Sound's artist of the month, featured on BandCamp's own editorial page and enguled with interviews. Here at Atwood Magazine, it's no different and the chance to mix words with this rising MC was not an offer to be passed up. The conversation spanned all of his first three records, bouncing betwixt the boxes to find some semblance of true hip-hop.
Dixon worked with producer/arranger Onirologia for a third time to craft the record. Together they have solidified the signature sound of McKinley Dixon the persona. It's not perfect—some times the harp still melds into the mix and becomes damn near impossible to distinguish—but it's impressive how a sound five years old at this point still sounds so raw.
Normally a critic talks about artists "smoothing out the rough edges" with each successive but Dixon starts his third like a stiletto; twisting and spitting the opening to "Chain sooo Heavy."
The song has been in his repertoire since before 2018 and bebops its way from big-band to gospel to straight-out scat. The saxophone blisters with him as fingers are twisted into guns. Dixon's voice follows an internal momentum, speeding for intensity, rolling on exhaustion.
The cut emphasizes a greater control over his message: that in Blackness lies a bridge through history and that in hip-hop lies the power to cross it.
•• ••
A CONVERSATION WITH MCKINLEY DIXON
Atwood Magazine: What would you say the meaning is behind For My Mama And Anyone Who Look Like Her?
McKinley Dixon: The meaning behind that title is that the books I used to read were being made by Black people and they would have to have these titles that are kind of shocking… The title "make a poet Black" is from an older book and the cover is just [those words] in red and the background is black. It's this really cool 20th century book. I think a lot of old authors that I look up had to do that.
For My Mama And Anyone Who Look Like Her is a strong enough title that encapsulates a lot for the album… These are stories and tales for these people who look like my mom whoever they are whatever their background is, the culture of Black people.
In the press release you mention the concept of home as one very important to Blackness and how Black artists are afforded the ability to straddle space and time and dissect the personalities of past and present. Where do you think this skill comes from?
McKinley Dixon: I think a lot people don't know that they're doing it when they do it but I think that Blackness has, inherently, storytelling and history to exist.
When we view time as something that can be conquered we don't see the little things that can be considered as time travel. Time travel is something we think we can control and we can use and manipulate but time travel is something as simple as me hearing a story that reminds me of my past while somebody's talking about their past.
When we view time as something that can be conquered we don't see the little things that can be considered as time travel.
You said that Who Taught You To Hate Yourself? was more beats-focused but it also has a bit of classical elements there, who brought those classical elements to that album and did you bring (those elements) to For My Mama And Anyone Who Look Like Her as an intentional thing, as a bridge from album one to album three?
McKinley Dixon: I kind of knew I wanted to do something bigger and more experimental from rap. And since because I didn't have the language musically, I thought "what was the obvious opposite?"
With The Importance of Self-Belief, I tried to hone a little bit more with "Trouble Everyday" where it's literally just orchestral music.
After all that and after listening to more artists, hearing how other people incorporate all these different elements into [music,] For My Mama kind of became this thing where it's like… I can just go to jazz where jazz is chaotic enough it can kind of rival any genre and be the antithesis… if really you want it to be. So, leaving home led me back to it.
You've done something that I think has eluded Miles Davis, y'know, the jazzheads who always wanted to combine fundamentally Black music with fundamentally White music, combining jazz with classical is something has been the great enigma since jazz was invented.
McKinley Dixon: Everything I know comes from someone before me. There's just so much music out there so there's probably plenty of Black women who have done what I've done. I don't think anything really sets me aside, I think it's who I am, definitely, but I draw so much from like Kamasi Washington.
I started looking at how he arranges things, and he also was on To Pimp A Butterfly, which is really cool because a lot of people think my sound is related to [that album] – when my sound really comes from Kamasi.
You also introduce new stuff though, there's this Arabesque melody in the opening in "make a poet Black," where did that come from?
McKinley Dixon: Yeah, so, it's funny 'cuz I was walking down the local block in Richmond and there was this cat, Patrick Confortola playing on the street with his little dog, Reptar, playing [the Koto]. That's not an instrument you just see on the street every day.
So, I walked up to him and… one day, in the following weeks, I went to his house and we recorded thirty-minutes long of him just playing and then I only found ten seconds for chorus and the verse and just looped it up, and that's where that came from.
Dixon professes on the press release that one of the most empowering aspects of Blackness is the ability to craft a sense of time and place, particularly one of "home."
It reveals two truths, the first being that the evolution of Black music is like watching one home transport in one place over four centuries. The structure and foundation are the same, but the interior changes with each successive generation.
Dixon's style recalls the wordsmithing prowess of the once-underground legends A Tribe Called Quest, Jurassic 5 and the Soulquarians mixed with modern hip-hop soup of melodic rap and the cutting, sampling opuses of new jazz titans Robert Glasper, Jeff Parker and Kamasi Washington.
That the future of jazz balances on the history of hip-hop has been the blatant truth since Q-Tip himself declared "Daddy, don't you know that things go in cycles?" from the opening sounds of The Low End Theory. Wherein all the aforementioned influences used hip-hop techniques to sample jazz greats, among others, Dixon plays the reverse, favoring to front a live band.
Dixon professes a deep admiration for the chronoskipping skill of Kamasi Washington, who in turn, he reminds, has worked on Kendrick Lamar's own out-of-time opus, To Pimp A Butterfly.
Certainly, Dixon's Spacebomb debut has the same time traveling quality that made that story so celebrated. The leading single, "make a poet Black" juxtaposes a knifing koto with a spidery piano break and orchestral string sections.
There's a comparison to be made to Lamar's own oeuvre. The poem which lined every cut on To Pimp A Butterfly deals much with the rigged game of a rapper's paradise. Dixon instead threads that thought deep into the fabric of "make a poet Black." It's a titular sample of J Saunder's poetry anthology and it all rests on the hilt of Dixon's own unhinging lyricism about the rapper's game as a false deliverance.
Dixon does admit he finds it frustrating when people hint he is simply warming the throne for Lamar. He doesn't shy away from the similarities, however, nor does he identify himself as the King. That's just not his bone to pick.
The second truth came when Dixon's concept of home and hip-hop, time and place tinted my thoughts while listening, once again, to Nicolas Jaar's rework of Mike James Kirkland's "Doin' It Right" wherein, Jaar recuts the opening line into a soul-crushing finality: "this old house is all I have."
Dixon's third album in four years steeps in the sense that America is that old house and that Dixon is searching for some therapy somewhere within its walls. The svelte, homely, Soul-crushing cut "protective styles" says as much.
"Pardon my Black ass," Dixon interjects the Stevie Wonder bass with Richard Pryor flair, "but my n***** need the-rap-ay."
"Pardon my Black ass/ but my sistas need ther-rap-ay," he repeats, cementing his reframed cause: psychological liberation.
Like the cello's bow that follows his voice, Dixon holds the note on a deep soulful healing, something that reaches from the speaker straight into the chest and cradles it with the delicacy of a gardener tending his flowerbed. A purpose that will take months, years, decades, generations even, to nurture.
Dixon states he received the line from friend and graphic artist Malcolm Peacock in a spur of the moment. The lyrical turn broaches a cultural dialogue mental health with Pryoresque humor. No one album, much less song, can redress institutional racism, fully treat its wounds or fade its scars. However, Dixon's lyrical inspiration performs what no insurance policy or reparation payment could: he addresses the psychological medicine it will take.
His music is an epiphany delivered in comedy, but not a cure presented on a platter.
Atwood Magazine: The song "protective styles" employs the phrase "pardon my Black ass" in a way that is a desperately beautiful plea for recognition and also elicits a laugh from me in a way that Richard Pryor would elicit a laugh from me. It lends this kind of sincerity. Do you find that there was comedy in that phrase when you employed it and do you think that comedy, intended or unintended, helps music in conveying a message?
McKinley Dixon: That whole line was from my friend Malcolm Peacock and I like using comedy as a sort of switch up. My music is so serious to your average listener and people will think I am so serious because I do that kind of stuff.
I just kind of think that there's so much in Blackness that it's natural for me to be sometimes stoic… but that line by Malcolm was just so brilliant… And then the next line is serious. But the sting of the seriousness actually comes from the comedy. I want to do more comedy for the next album.
"protective styles" uses a bass groove that reminds me a lot of Stevie Wonder, was that intended?
McKinley Dixon: Yeah, I was listening to a lot The Secret Life Of Plants when creating this album. It definitely has this upbeat rhythm. The kind of unprompted, unknowing happiness that comes with that third Stevie Wonder album. I really enjoyed the melodies on that piece of work.
While I was doing research, I stumbled on this quote where you decried the double standard of rap and music criticism for tossing around the term "genre-bending" willy-nilly, regardless of truth, while most rap albums are considered just rap and that's it. Where do you feel this double standard comes from?
McKinley Dixon: The double standard comes from not being seen as music that skills and takes effort and that cannot be critically challenging because people don't view it as something that uses instruments. When you're locked into an instrument you have these preset categories, but in rap music it's wild that technically somebody rapping could do it over anything… It's just easy for people to say what they know is genre-bending when they're not used to the fact that rap is so multi-faceted.
EVERYBODY ALBUM IS GENRE BENDING UNLESS YOU MAKE RAP MUSIC. So many of y'all DONT make "genre bending" music but publications love throwing that word around. Until a rapper make things that goes into other genres then it's "the all encompassing umbrella of rap."
— my father's name (@McKinleyDixon) April 15, 2021
Would you say genres in America have a racial layer baked in?
McKinley Dixon: One-hundred percent.
How would you say that affects a Black artist in America today, do you think that is a handicap?
McKinley Dixon: Yes, it's a handicap on both sides, because since there's not much space for rap music a white audience will make rappers within the same category have competition. Then you, as the rapper, start to internalize it because you hear it so much. Top Dawg [Entertainment] just announced they're going to release a new artist, a new song and a lot of people were like "if it's not Kendrick, then I don't want it."
That kind of others the six other rappers on that label… There was a point where rappers didn't put their stuff on BandCamp and BandCamp is such an incredible tool and resource that's available to you… It's definitely hard for a rapper who doesn't have the language for these kinds of things to see themselves as making rap music and traveling and doing all these things that other genres are "allowed" to do.
Do you look to create music that breaks this paradigm or do you just make music that satisfies and interior criterion?
McKinley Dixon: At one point I didn't want to be considered a rapper because I thought rap was so limiting to be called that.
I think there was a lot of internalized angst on my part based off those around me so at one point I didn't want to be a rapper. But now, I love… being a rapper that can do live shows with punk bands. I love being the only rapper in a room full of non-rappers because then everyone is asking what the fuck is going to happen next.
At one point I didn't want to be considered a rapper because I thought rap was so limiting to be called that. I think there was a lot of internalized angst on my part based off those around me so at one point I didn't want to be a rapper.
Genre-bending is going to be what happens next.
McKinley Dixon: Exactly, a crazy set is going to happen next.
What do you think of the term "social-consciousness rap" is there an argument to be made that all rap is socially conscious?
McKinley Dixon: That is the exact argument that should be made. Consciousness is just thought. If there are rappers whose consciousness is having sex all day, every day, then that is conscious music right there. If there's another rapper who is like "Black oppression is what I see and what I think every day" then that's also consciousness.
Blackness is so inherently political in the West that people don't actually realize that I'm just talking. I'm not saying anything specific, I'm just talking about my experiences that happen to overlap so easily with other people that are Black because the Black experience is so easily politicized.
Blackness is so inherently political in the West that people don't actually realize that I'm just talking.
The corrosive drama of "make a poet Black" sets the table for the reparative admission that renders "protective styles" animus so compelling.
The guitar intro emulates a sound normally derided as Sesame Street souljazz when used as pastiche, but here on For My Mama, it works. Dixon reclaims some safe space for Black psychology. It's a less bombastic sampling of a similar emotion that made Chance's "Same Drugs" so addictive.
Dixon is able to capture his joy and misery in words that are as poetic as they are punishing. He cuts with a gnashing of the teeth and sings with a baritone of soul. While mumble rap can trickle into his execution, he doesn't rely on it.
Like his Soulquarian roots, Common and Mos Def, his vocabulary is refined yet delivered raw and ready. References to sun and light as both an oppressor and animator abound his lyrics. Dixon reclaims natural hair and blockwide scenes to key in his listeners to the setting. And the proverbial chain, so heavy, swings like a pendulum between liberty and slavery.
He slices bars like a guillotine, rolling the body of his sentences and then cutting them at the last word. It's a tactic he uses to great effect on "protective styles," "Mama's Home" and "Twist My Hair" as a finishing touch where his forebears would employ it as an opener or ensconce it in the verse.
His supporting musicians help him showcase emergency, therapy and debauchery with deft touch. "B.B.N.E." features a delicious electric bass and emotive mourning violin. The rest of the strings imitate klaxon emergency service sirens, mirroring the nihilistic menace in Dixon's lyricism with the tragedy of senseless violence.
For the banger-curious, Dixon produces the purple drank drenched vocals of "Swangin'." The jarring rhythmic swagger of a man unleashed on the block betrays none of Dixon's daring musicality. Still, a harp, lain across the song, accents a jazz quartet of piano, bass, drums and electric guitar.
While the record doesn't embody the same novelty or immediacy as his first, nor empower like the second, it's more therapeutic. For My Mama And Anyone Like Here plots Dixon embracing the right to be angry, to be scared, to seek shelter.
"Mama's Home" showcases all three points, featuring that elegant (and sometimes subtle) harp, a jazz flute and supporting piano. The instrumentals of this song are simultaneously nothing new to Dixon's music and yet beyond belief, embedding the strings among a soul-infused hip-hop duet. Dixon and Alfred. collapse all of the themes of time-travel, home and Blackness into a juxtaposition of childhood lessons and dreams of Peter Pan concluded in a singular, definitive "fuck."
There's more release in that single expletive than in most records. And it affords Dixon another chance. One more to dish on the nature of death and consent, contrasting the lack thereof in the narratives of police shootings and "Black-on-Black" crime evident along "Chain sooo Heavy."
Dixon and Ali Thibodeau (dit Deau Eyes) perform a duet to bear and bare it all over "Twist My Hair," whether the fear for posterity or the pain hidden in hair. Dixon tightens his rhetoric together and then, to borrow a bar, picks it out, gushing to violins and harps. His breath turns heavy and his sentences spur death in this old house.
In a fell swoop, Dixon reclaims something that skips under the stars of the Big Dipper and along the bars of the Underground Railroad; something that cruises in the neighborhood and bumps in the house party; something that encapsulates the soup of jazz, gospel, blues, soul and cut-up funk that engenders the charismatic nature of hip-hop.
They aren't all the same song, but they are the same, all equals under the ears of a hip-hop head. What's true doesn't even factor into it.
:: stream/purchase McKinley Dixon here ::
Connect to McKinley Dixon on
📸 © David Muessig
:: Stream McKinley Dixon ::
Ben Niesen
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when the production volume is relatively large (greater than 1000 tons/ day), it is recommended to adopt multiple airborne splitting machines (2~3)Station), or another mobile hydraulic power station equipped with 2~3 splitting machine.


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This enchanting production is an interactive adventure full of activities, acrobatics, and charm that will enthral the young ones these school holidays.
The audience is invited to dress up and join in the fun! Come as a fairy, an elf, a Jedi, pirate or a superhero! Everyone is welcome to join this sparkling adventure with a special visit to 'Bubble Land' to help Tinkerbell and her new fairy friends find the lost wings.