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Trinity School of Medicine Students Combine Study Break and Outreach, Host Carnival at Children's Home
by Trinity School of Medicine, on Dec 13, 2016 12:00:00 PM
Trinity School of Medicine's student group "Kid Companions" returned to the St. Benedict Day Nursery and Children's Home in Georgetown, St. Vincent at the end of November, continuing their service, this time, to host a carnival for the home's residents.
Since it's founding in February of 2016, Kid Companions has made regular visits to St. Benedict Day Nursery and Children's Home (the last being in early October). Each visit is organized to provide entertainment and support of a different kind, and includes activities like playing games, coloring, and painting. While Trinity's involved students are very busy with their own medical education, they still endeavor to add a new element of support, stability, and fun for the home's residents.
Co-president Emily Satkovich noted, "This is my third term at Trinity, I've been coming to the home since term one. The kids know me now, and it's a great feeling. They're beginning to recognize Trinity as a group as well, that bond is really forming. That bond is really important. Seeing new faces is great, but there's something comforting in the consistency of knowing the Kid Companions group is coming. The kids know that (for a few years, at least) they can rely on specific people coming to see them." Co-president Shirley Samuel reinforced this, "Every time we come, there is a constant reminder for these kids that we care; that we love them. They get really excited to spend time with us. The students really enjoy coming here to be with the children, too. How could you not? It is so evident in the way they interact with them."
The most recent trip, a carnival, was another hit. Upon arriving at the home, Trinity's visiting companions split themselves up into groups, switching off spending time with the kids while others set up ring toss, water balloon toss, Pin the Tail on the Donkey, and face painting. Additionally, a winner's area was set aside where the children would collect their tokens after completing each game.
Each student paired up with a child, and the crowd moved on the playground to experience what term three student, Obie Kouider, called it, "A huge success." St. Benedict's residents laughed, ran around, played, and fully took part in the carnival. The experience, according to Emily Satkovich, was positively life changing. "A carnival was a great way to bring all the kids together to be involved with each ot her as well as the students from Trinity. It looks like they really had a lot of fun."
Trinity student and Kid Companion member Dallas Boodhoo was moved by the experience, "The kids had a great time, and the break was so therapeutic for us," prompting Co-president Shirley Samuels to add, "We're in medical school, we're always busy, but we take the time for these kids."
The consensus was clear among students: medical school is a long, rigorous process that challenges them daily to strive to absorb information and understand it deeply, and breaks from that, when possible, are essential for success. And while philanthropy is admirable, sometimes it can get lost along the way, never for Trinity students, though.
Students at Trinity School of Medicine consistently use their free time to better the greater community of St. Vincent and in doing so, they have learned a crucial secret to success in medicine: service to others reinvigorates you like no other use of your time.
Topics: trinity school of medicine Community service Caribbean medical schools Outreach Kid Companions
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Trinity's admission process is unlike any other. We put the interview at the beginning, not the end, to let you tell the story your transcripts and test scores can't alone. Apply today to start in 2020.
Stay up to date on the activities and advances happening at Trinity School of Medicine. Our blog is highly focused on our students and their outreach, achievements, and experiences.
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The B group is the smaller car in our fleet with only limited luggage space. Its suitable for 2, 3 and 4 person, although by law, you may be 5 accupants in it.
One back seat can be folded down leavin more space for luggage if required.
Group B is a good choice if looking for a cheap car hire Malaga for a few people.
These rentalcars have rather small engines ranging from 1.1 - 1.4 liters and hence they are not very strong in acceleration when fulluy loaded with 4-5 persons plus luggage.
Group C gives somewhat more space for the group of 4 - 5 persons is the maximum accupants this car will take, although not recommendable if larger adults.
Perfect for the smaller family with 2 kids, depending on amount of luggage and the size of each suitcase.
All cars in this group are 5 door hatchback models with a limited luggagespace in the boot.
Engine sizes range from 1.2 - 1.6 liters in this car group.
Examples og mediium rental cars Malaga: Ford Focus, Seat Leon, Peugeot 308, Hyundai i30, Renault Megane, Opel Astra, VW Golf.
Group D is the medium sized family rental car, perfect for the small family of 2 adult and 2 children, or group of 4 adults.
Confortable and therefore suitable for daytrips and longer drives. All models are HATCH BACK so the luggage space, although larger than C, is still somewhat limited.
Examples og mediium sized automatic rental cars Malaga: Ford Focus, Seat Leon, Peugeot 308, Hyundai i30, Renault Megane, Opel Astra, VW Golf.
Same as group D - only difference being that this is the automatic gearshift version.
This is the "standard" sized estate car as we all know them, suitable for the group of 4-5 adults with luggage, and or the family or golf group with additional luggage such as pushchairs, golfbags and the like.
Examples of spacious cars to rent Malaga: Citroen Berlingo, VW Caddy, Peugeot Partner, Fiat Dobló.
This group which is a type of small van, is quite spacious and with wide backseats, and has become increasingly popular amongst famlilies and golf groups because of its large boot.
It is comfortable to drive and gives the feel of any "normal" car.
With its 2 back doors and sliding door on one side, it makes loading an easy task.
Examples of 7 seaters for rent in Malaga: Opel Zafira, Toyota Verso, Chevrolet Orlando, VW Sharan, Renault Gran Scenic.
The ideal traveling car for the group of 5 adults with plenty of luggage.
2 foldable seats at the back - kept down they can be used for luggage.
A good option for the group of 6 persons since 1 seat can be kept folded down, leaving additional space for luggage.
Accomodates maximum 7 persons (5 + 2 seats) - however, luggage space is limited if all seats are in use.
Examples of automatic 7 seaters for rent in Malaga: Opel Zafira, Toyota Verso, Chevrolet Orlando, VW Sharan, Renault Gran Scenic.
Same as group F but with automatic gearshift.
Doubts? ...just drop us a quick mail and let us help you find the right car hire Malaga for your next holiday.


text:
package com.intellij.codeInspection;

import com.intellij.codeInspection.util.InspectionMessage;
import com.intellij.lang.annotation.ProblemGroup;
import com.intellij.lang.injection.InjectedLanguageManager;
import com.intellij.openapi.diagnostic.Logger;
import com.intellij.openapi.editor.Document;
import com.intellij.openapi.editor.colors.TextAttributesKey;
import com.intellij.openapi.project.Project;
import com.intellij.openapi.util.TextRange;
import com.intellij.openapi.util.objectTree.ThrowableInterner;
import com.intellij.openapi.vfs.VirtualFile;
import com.intellij.pom.Navigatable;
import com.intellij.psi.*;
import com.intellij.psi.util.PsiTreeUtil;
import com.intellij.psi.util.PsiUtilCore;
import org.jetbrains.annotations.NotNull;
import org.jetbrains.annotations.Nullable;

import java.util.stream.Stream;

public class ProblemDescriptorBase extends CommonProblemDescriptorImpl implements ProblemDescriptor {
  private static final Logger LOG = Logger.getInstance(ProblemDescriptorBase.class);

  @NotNull private final SmartPsiElementPointer<?> myStartSmartPointer;
  @Nullable private final SmartPsiElementPointer<?> myEndSmartPointer; // null means it's the same as myStartSmartPointer

  private final ProblemHighlightType myHighlightType;
  private Navigatable myNavigatable;
  private final boolean myAfterEndOfLine;
  private final TextRange myTextRangeInElement;
  private final boolean myShowTooltip;
  private TextAttributesKey myEnforcedTextAttributes;
  private int myLineNumber = -1;
  private ProblemGroup myProblemGroup;
  @Nullable private final Throwable myCreationTrace;

  public ProblemDescriptorBase(@NotNull PsiElement startElement,
                               @NotNull PsiElement endElement,
                               @NotNull @InspectionMessage String descriptionTemplate,
                               LocalQuickFix @Nullable [] fixes,
                               @NotNull ProblemHighlightType highlightType,
                               boolean isAfterEndOfLine,
                               @Nullable TextRange rangeInElement,
                               boolean showTooltip,
                               boolean onTheFly) {
    super(descriptionTemplate, filterFixes(fixes, onTheFly));
    myShowTooltip = showTooltip;
    PsiFile startContainingFile = startElement.getContainingFile();
    LOG.assertTrue(startContainingFile != null && startContainingFile.isValid() || startElement.isValid(), startElement);
    PsiFile endContainingFile = startElement == endElement ? startContainingFile : endElement.getContainingFile();
    LOG.assertTrue(startElement == endElement || endContainingFile != null && endContainingFile.isValid() || endElement.isValid(), endElement);
    assertPhysical(startElement);
    if (startElement != endElement) assertPhysical(endElement);

    TextRange startElementRange = getAnnotationRange(startElement);
    LOG.assertTrue(startElement instanceof ExternallyAnnotated || startElementRange != null, startElement);
    TextRange endElementRange = startElement == endElement ? startElementRange : getAnnotationRange(endElement);
    LOG.assertTrue(endElement instanceof ExternallyAnnotated || endElementRange != null, endElement);
    if (startElementRange != null
        && endElementRange != null
        && startElementRange.getStartOffset() >= endElementRange.getEndOffset()) {
      if (!(startElement instanceof PsiFile && endElement instanceof PsiFile)) {
        LOG.error("Empty PSI elements must not be passed to createDescriptor. Start: " + startElement + ", end: " + endElement + ", startContainingFile: " + startContainingFile);
      }
    }
    if (rangeInElement != null && startElementRange != null && endElementRange != null) {
      TextRange.assertProperRange(rangeInElement);
      if (rangeInElement.getEndOffset() > endElementRange.getEndOffset() - startElementRange.getStartOffset()) {
        LOG.error("Argument rangeInElement " + rangeInElement + " endOffset"+
                  " must not exceed descriptor text range (" + startElementRange.getStartOffset() + ", " + endElementRange.getEndOffset() + ")" +
                  " length ("+(endElementRange.getEndOffset()-startElementRange.getStartOffset())+").");
      }
    }
    if (rangeInElement != null) {
      TextRange.assertProperRange(rangeInElement);
    }

    myHighlightType = highlightType;
    Project project = startContainingFile == null ? startElement.getProject() : startContainingFile.getProject();
    SmartPointerManager manager = SmartPointerManager.getInstance(project);
    myStartSmartPointer = manager.createSmartPsiElementPointer(startElement, startContainingFile);
    myEndSmartPointer = startElement == endElement ? null : manager.createSmartPsiElementPointer(endElement, endContainingFile);
    if (myEndSmartPointer != null && endContainingFile != startContainingFile) {
      LOG.error("start/end elements should be from the same file but was " +
                "startContainingFile="+startContainingFile + " ("+(startContainingFile == null ? null : PsiUtilCore.getVirtualFile(startContainingFile))+"), "+
                "endContainingFile="+endContainingFile + " ("+(endContainingFile == null ? null : PsiUtilCore.getVirtualFile(endContainingFile))+")"
      );
    }

    myAfterEndOfLine = isAfterEndOfLine;
    myTextRangeInElement = rangeInElement;
    myCreationTrace = onTheFly ? null : ThrowableInterner.intern(new Throwable());
  }

  private static LocalQuickFix @Nullable [] filterFixes(LocalQuickFix @Nullable [] fixes, boolean onTheFly) {
    if (onTheFly || fixes == null) return fixes;
    return Stream.of(fixes).filter(fix -> fix != null && fix.availableInBatchMode()).toArray(LocalQuickFix[]::new);
  }

  public boolean isOnTheFly() {
    return myCreationTrace == null;
  }

  @Nullable
  private static TextRange getAnnotationRange(@NotNull PsiElement startElement) {
    return startElement instanceof ExternallyAnnotated
           ? ((ExternallyAnnotated)startElement).getAnnotationRegion()
           : startElement.getTextRange();
  }

  protected void assertPhysical(@NotNull PsiElement element) {
    if (!element.isPhysical()) {
      LOG.error("Non-physical PsiElement. Physical element is required to be able to anchor the problem in the source tree: " +
                element + "; parent: " + element.getParent() +"; file: " + element.getContainingFile());
    }
  }

  @Nullable
  public Throwable getCreationTrace() {
    return myCreationTrace;
  }

  @Override
  public PsiElement getPsiElement() {
    PsiElement startElement = getStartElement();
    if (myEndSmartPointer == null) {
      return startElement;
    }
    PsiElement endElement = getEndElement();
    if (startElement == endElement) {
      return startElement;
    }
    if (startElement == null || endElement == null) return null;
    return PsiTreeUtil.findCommonParent(startElement, endElement);
  }

  @Override
  @Nullable
  public TextRange getTextRangeInElement() {
    return myTextRangeInElement;
  }

  @Override
  public PsiElement getStartElement() {
    return myStartSmartPointer.getElement();
  }

  @Override
  public PsiElement getEndElement() {
    return myEndSmartPointer == null ? getStartElement() : myEndSmartPointer.getElement();
  }

  @NotNull
  public Project getProject() {
    return myStartSmartPointer.getProject();
  }

  @Override
  public int getLineNumber() {
    if (myLineNumber == -1) {
      PsiElement psiElement = getPsiElement();
      if (psiElement == null) return -1;
      if (!psiElement.isValid()) return -1;
      LOG.assertTrue(psiElement.isPhysical());
      InjectedLanguageManager manager = InjectedLanguageManager.getInstance(psiElement.getProject());
      PsiFile containingFile = manager.getTopLevelFile(psiElement);
      Document document = PsiDocumentManager.getInstance(psiElement.getProject()).getDocument(containingFile);
      if (document == null) return -1;
      TextRange textRange = getTextRange();
      if (textRange == null) return -1;
      textRange = manager.injectedToHost(psiElement, textRange);
      int startOffset = textRange.getStartOffset();
      int textLength = document.getTextLength();
      LOG.assertTrue(startOffset <= textLength, getDescriptionTemplate() + " at " + startOffset + ", " + textLength);
      myLineNumber =  document.getLineNumber(startOffset);
    }
    return myLineNumber;
  }

  public int getLineStartOffset() {
    PsiElement psiElement = getPsiElement();
    if (psiElement == null || !psiElement.isValid()) return -1;
    InjectedLanguageManager manager = InjectedLanguageManager.getInstance(psiElement.getProject());
    PsiFile containingFile = manager.getTopLevelFile(psiElement);
    Document document = PsiDocumentManager.getInstance(psiElement.getProject()).getDocument(containingFile);
    if (document == null) return -1;
    return document.getLineStartOffset(getLineNumber());
  }

  @NotNull
  @Override
  public ProblemHighlightType getHighlightType() {
    return myHighlightType;
  }

  @Override
  public boolean isAfterEndOfLine() {
    return myAfterEndOfLine;
  }

  @Override
  public void setTextAttributes(TextAttributesKey key) {
    myEnforcedTextAttributes = key;
  }

  public TextAttributesKey getEnforcedTextAttributes() {
    return myEnforcedTextAttributes;
  }

  @Nullable
  public TextRange getTextRangeForNavigation() {
    TextRange textRange = getTextRange();
    if (textRange == null) return null;
    PsiElement element = getPsiElement();
    return InjectedLanguageManager.getInstance(element.getProject()).injectedToHost(element, textRange);
  }

  @Nullable
  public TextRange getTextRange() {
    PsiElement startElement = getStartElement();
    PsiElement endElement = myEndSmartPointer == null ? startElement : getEndElement();
    if (startElement == null || endElement == null) {
      return null;
    }

    TextRange startRange = getAnnotationRange(startElement);
    if (startRange == null) {
      return null;
    }

    if (startElement != endElement) {
      TextRange endRange = getAnnotationRange(endElement);
      if (endRange == null) return null;
      startRange = startRange.union(endRange);
    }
    else if (myTextRangeInElement != null) {
      if (myTextRangeInElement.getEndOffset() > startRange.getLength()) {
        // became invalid
        return null;
      }
      startRange = startRange.cutOut(myTextRangeInElement);
    }
    if (isAfterEndOfLine()) {
      int endOffset = startRange.getEndOffset();
      return new TextRange(endOffset, endOffset);
    }
    return startRange;
  }

  public Navigatable getNavigatable() {
    return myNavigatable;
  }

  @Nullable
  public VirtualFile getContainingFile() {
    return myStartSmartPointer.getVirtualFile();
  }

  public void setNavigatable(Navigatable navigatable) {
    myNavigatable = navigatable;
  }

  @Override
  @Nullable
  public ProblemGroup getProblemGroup() {
    return myProblemGroup;
  }

  @Override
  public void setProblemGroup(@Nullable ProblemGroup problemGroup) {
    myProblemGroup = problemGroup;
  }

  @Override
  public boolean showTooltip() {
    return myShowTooltip;
  }

  @Override
  public String toString() {
    PsiElement element = getPsiElement();
    return ProblemDescriptorUtil.renderDescriptionMessage(this, element);
  }

  @Override
  public LocalQuickFix @Nullable [] getFixes() {
    return (LocalQuickFix[])super.getFixes();
  }
}

redpajama_set_name: RedPajamaGithub


text:
Innocent till proven guilty in Tunisia
It is reported that in Tunisia under Ben Ali, no prisoner died on hunger strike – some prisoners died under torture. This is a first.
Kacem Jlidi
Tunis Carthage Festival is one of the cultural events that luckily did not get cancelled this year due to security concerns, mainly blamed on the Salafist groups. Cinemas and theatres in Tunis filled up more seats this week than they usually do and the festival also had a different flavour.
One of the movies I attended was really upsetting. A short documentary based on political activists' testimonies of all the torture and the ill treatment they and their immediate and extended families and relatives have been subject to under the former regime.
I was deeply touched by these personal stories not only as a way of looking at the prison situation under Ben Ali, but because we must ask ourselves, has anything really changed?
Despite the attempt to calm us down with the soothing declarations of the Ministry of Justice to the effect that the judicial system is independent and transparent, the latest is that two Salafists, Mohamed Bakhti and Bechir Gholli, accused of being involved in the attack on the US embassy in Tunis that took place on 14 September, died last week after nearly two months (58 days) of a hunger strike to protest their arrest, claiming their innocence and denouncing their conditions of detention.
Though some might felt relieved that these group leaders, known for spreading radical conservative values and disrupting law and order as in the Manouba school incidents, are dead - their deaths must raise much more difficult questions.
It is reported that under Ben Ali, no prisoner died on hunger strike – some prisoners died under torture. This is a first. For two Islamists to lose their lives under the rule of an Islamist Government claiming reform and transparency raises serious questions about the severe prison conditions which have not changed, and the painfully slow process to bring justice about through fair trials. Isn't 58 days a very long period of time for someone to go on hunger strike?
Then again, the Government led by the Ennahda Islamist party, is also being criticised for not being firm enough in applying the law against the criminal actions of Salafist groups. They sometimes seem to abuse freedom of expression with impunity, to the extent of physical attacks, such as those on the showings of the Persepolis movie, the attacks on the art gallery and lately the US embassy, in a frenzied response to the 'innocence of Muslims' movie.
Two more detained Islamists also said to belong to the Salafist movement got transferred in the middle of this week to a hospital in Tunis according to the Ministry of Justice as a result of deterioration in their health. They are on the same hunger strike protest: against being held for a long period with no charges or trials.
In fact, unverified high numbers (100 - 200) of Salafists are reported as having been arrested. No trials are being processed. Is this the Government's best stab at addressing the situation, by abusing a group's human rights?
The situations remains unclear, but the Ministry is losing it's credibility and there are increasing calls for the Minister to resign. This seems unlikely to happen.
The Tunisian people come second!
Written by: Kacem Jlidi All articles by: Kacem Jlidi
Human rights in Tunisia: between stagnation and regression
You tell us

redpajama_set_name: RedPajamaCommonCrawl


text:
Coming up 1/13/20 at 9:00am pst - Laura B. Whitmore shares all of the details of the up-coming SHE ROCKS AWARDS January 17th!
LISTEN to today's conversation
with featured guest Laura B. Whitmore!
Gloria Gaynor, Linda Perry, Lzzy Hale, Suzi Quatro and More to be Honored at the 2020 She Rocks Awards
Iconic vocalist Gloria Gaynor, multi-platinum producer and songwriter Linda Perry, Halestorm frontwoman Lzzy Hale, and legendary bassist, singer and musician Suzi Quatro are among this year's diverse recipients
Tickets on sale now
Top row L to R: Gloria Gaynor, Linda Perry, Lzzy Hale, Suzi Quatro, Beatie Wolfe
Bottom row L to R: Myrna Sislen, Judy Schaefer, Suzanne D'Addario Brouder, Ebonie Smith, Tara Low
PHOTO CREDITS: Beatie Wolf – Ross Harris; Linda Perry – Angela Izzo; Suzi Quatro – Tina K
ANAHEIM, Calif., October 2, 2019 – The Women's International Music Network (the WiMN), proudly announces a stellar array of honorees for the 2020 She Rocks Awards. Paying tribute to women in the music industry, the eighth annual She Rocks Awards will take place at 7:30p.m. on Friday, Jan. 17, 2020, at the House of Blues Anaheim, during the NAMM Show. This high-energy evening includes live music, awards and speeches, celebrity appearances, a fabulous silent auction, amazing gift bags and much more.
The event is open to the public, and tickets can be purchased at sherocksawards.com.
The 2020 She Rocks Awards recipients include:
Gloria Gaynor, GRAMMY® Award-winning artist, GRAMMY Hall of Fame inductee, and the legendary voice behind the iconic hit "I Will Survive"
Linda Perry, GRAMMY, Golden Globe, Critic's Choice-nominated artist, Songwriter Hall of Fame inductee, multi-platinum producer and former frontwoman for 4 Non Blondes
Lzzy Hale, GRAMMY Award-winning artist/songwriter and frontwoman for Halestorm
Suzi Quatro, pioneering bass player, singer, musician and actress who played the role of Leather Tuscadero on Happy Days
Beatie Wolfe, Singer-songwriter, pioneer of immersive music formats, UN Women role model
Suzanne D'Addario Brouder, Executive Director of the D'Addario Foundation
Tara Low, Music-based entrepreneur and editor and founder of Guitar Girl Magazine
Myrna Sislen, Owner of Middle C Music in D.C., classical guitarist, philanthropist, former music professor
Judy Schaefer, Marketing Director at PRS Guitars
Ebonie Smith, Founder and President of Gender Amplified, Inc, and Atlantic Records audio engineer and producer
Additional honorees and featured guests will be announced soon.
This year's opening performers will be Japanese act D_Drive, hosted by Marshall Amplification. Consisting of Seiji and Yuki on guitar, Toshi on bass and Chiiko on drums, they play high energy, instrumental rock music with a combination of jaw-dropping guitars and a fireball rhythm section delivering a unique sound.
"We're ready to kick off 2020 in a big way, and our upcoming honorees are an exciting part of that," says The WiMN founder Laura B. Whitmore. "These women go above and beyond in their respective corners of our industry and are perfect examples of why we are proud to celebrate women in music."
Gearing up for its eighth consecutive year, the She Rocks Awards pays tribute to women who display leadership and stand out within the music industry, and has become a standard at the NAMM Show. Previous award recipients include Melissa Etheridge, Pat Benatar, The B-52s, Colbie Caillat, Sheila E, Chaka Khan, Ronnie Spector, Orianthi, Lisa Loeb, The Bangles, and many more, plus a collection of role models from all walks of the music and audio industries.
Tickets are now on sale for the 2020 She Rocks Awards, available in four tiers that include dinner and more. This event is open to the public; a NAMM Show badge is not required to attend the She Rocks Awards. Find out more and purchase tickets at sherocksawards.com.
The 2020 She Rocks Awards is sponsored by Sweetwater, PRS Guitars, Marshall Amplification, Reverb, NAMM, Rat Sound Systems, Zildjian, Fishman, D'Addario, PreSonus, Shure, Roland, M.A.C Cosmetics, Monster Energy, 108 Rock Star Guitars, Soundgirls, Parade magazine, Guitar Girl Magazine, The Music & Sound Retailer, KVR Audio, IK Multimedia, and more. For information regarding She Rocks Awards sponsorship opportunities, please contact info@thewimn.com.
Learn more about the She Rocks Awards at sherocksawards.com.
L to R: Nita Strauss at the 2019 She Rocks Awards; Aiza performs at the 2019 She Rocks Awards
photo credits: Andie Mills
About The Women's International Music Network (WiMN)
Founded in 2012, the Women's International Music Network unites women who work within all facets of the music and audio industries. With theWiMN.com as its hub, the WiMN provides a community for women within the industry while enriching their careers and musical experiences through networking and sharing. The Women's International Music Network produces events such as the #SheRocksIt panel & networking series, WiMN She Rocks Showcases and the She Rocks Awards, and is founded by music industry veteran Laura B. Whitmore. For more information, visit www.thewimn.com.
Leslie Buttonow
Mad Sun Marketing
leslie@mad-sun.com
She's Back! Emmy Winning Voice-Over Artist, Emmy N...
1/27/20 @9:15am pst - "The Soledad Children" (Art...
1/27/20 @9:00am pst - RECLAIMING MY DECADE LOST IN...
1/13/20 @9:30am pst - Kerry Hannon, a leading auth...
Coming up 1/13/20 at 9:00am pst - Laura B. Whitmor...
Rachel Friedman, author of AND THEN WE GREW UP: On...
1/9/20 - Kelly McGonigal, PhD speaks with Janeane ...


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Q: D3JS Treemap renders but the colors don't show So the colors are not showing up on the individual nodes in the treemap until I move the slider.  I was hoping maybe someone else has ran into this problem before.

Here is the JS behind it. The css file is pretty slim if you want me to post that too.
$(function () {
// Load templates
$('.template').each(function () {
    var me = $(this);
    var src = me.attr('src');
    var data = $.get(src, function (template) {
        me.html(template);
    });
});
var slider = $('#sliderControl').slider({
    formatter: function (value) {
        return "Show errors over " + value.toFixed(0) + "% in red";
    }
});
var width = 0,
    height = 0;
function calcDim() {
    var container = $('#graph');
    width = container.width();
    height = width * 0.5;
    container.height(height);
};
calcDim();
var canvas = d3.select('#graph');
var scaleArr = buildColorScaleDomain();
var color = d3.scale.linear().domain(scaleArr).range(['#62A35D', '#D4FFD5', '#FEC5C7', '#D36461']).clamp(true);

var sizes = d3.scale.linear().domain([0, 10000]).range([1, 1000]).clamp(true);

// Use sig to scale from 0+ to decrease/increase the fidelity (higher) or speed (lower) of the graph
var sig = 5;
var resolution = Math.pow(10, sig);

var params = 'map?';
//if (provider.length > 0)
//    params += 'provider=' + provider + '&';
//if (version.length > 0)
//    params += 'version=' + version + '&';
//if (type.length > 0)
//    params += 'type=' + type + '&';
//if (dateBeg.length > 0)
//    params += 'dateBeg=' + dateBeg + '&';
//if (dateEnd.length > 0)
//    params += 'dateEnd=' + dateEnd + '&';
//Envision.Init();
var _url = '/api/report/' + params;
var urlParts = document.location.href.split("/");
_url = "/" + urlParts[3] + _url;

d3.json(_url, function (data) {
    var treemap = d3.layout.treemap().size([100 * resolution, 100 * resolution]).value(getSelectedPerformanceValue()).sort(function (a, b) {
        return a.total - b.total;
    }).sticky(true);

    var node = canvas.data([{
        children: data
    }]).selectAll('.node').data(treemap).enter().append('div').attr('class', 'node').style('background', function (d) {
        return color(1 - d.quality_of_messages_received);
    }).call(position).attr('title', function (d) {
        return d.provider_desc;
    }).attr('data-content', function (d) {
        return "" + d.sending_facility + "
AA: " + d.AA_count + "
AE: " + d.AE_count + "
AR: " + d.AR_count + "
Total: " + d.total + "
Quality: " + ((d.quality_of_messages_received) * 100).toFixed(2) + "%
Errors: " + ((1 - d.quality_of_messages_received) * 100).toFixed(2) + "%
Grade: " + calcGrade(d);
    }).html(function (d) {
        return d.sending_facility;
    });

    slider.on('slide', function (ev) {
        var me = $(this);
        var scaleArr = buildColorScaleDomain();
        color.domain(scaleArr);
        canvas.selectAll('.node').style('background', function (d) {
            return color(1 - d.quality_of_messages_received);
        });
    });

    $(".node").popover({
        html: true,
        trigger: 'hover',
        placement: 'auto right',
        container: 'body'
    });

    $('#dataSelect').on('change', function (e) {
        node.data(treemap.value(getSelectedPerformanceValue()).nodes).call(position);
    });

    $(window).on('resize', function (e) {
        calcDim();
    });

    ko.applyBindings(new function () {
        var self = this;
        this.data = data;
        this.getDataRows = function () {
            return self.data;
        };
        this.getProviderName = function (data) {
            return data.provider_desc;
        };
        this.getProviderVolume = function (data) {
            return data.total;
        };
        this.getProviderErrors = function (data) {
            return "" + ((1 - data.quality_of_messages_received) * 100).toFixed(0) + "%";
        };
        this.getProviderGrade = function (data) {
            return calcGrade(data);
        };
    });
});

function position() {
    this.style('left', function (d) {
        if (d.children) return;
        return (d.x / resolution) + '%';
    }).style('top', function (d) {
        if (d.children) return;
        return (d.y / resolution) + '%';
    }).style('width', function (d) {
        if (d.children) return;
        return (d.dx / resolution) + '%';
    }).style('height', function (d) {
        if (d.children) return;
        return (d.dy / resolution) + '%';
    }).style('font-size', function (d) {
        if (d.children) return;
        return (Math.min(d.dx, d.dy) / resolution) + "%";
    });
}

function getSelectedPerformanceValue() {
    var fn = function (value) {
        return function (d) {
            return d[value];
        }
    };
    var me = $('#dataSelect :selected');
    var val = me.val().toLowerCase().trim();
    switch (val) {
        case "total":
            fn = fn('total');
            break;
        case "aa":
            fn = fn('AA_count');
            break;
        case "ae":
            fn = fn('AE_count');
            break;
        case "ar":
            fn = fn('AR_count');
            break;
        case "quality":
            fn = function (d) {
                return d.quality_of_messages_received;
            };
            break;
        case "errors":
            fn = function (d) {
                return 1 - d.quality_of_messages_received;
            };
            break;
        default:
            fn = fn('total');
            break;
    }
    return fn;
}

function buildColorScaleDomain() {
    var slideValue = slider.data('slider').getValue();
    var outerLimits = 10;
    var bottom = 0.001;
    var a0 = Math.max(slideValue - (outerLimits * 2), 0); // greener
    var a1 = Math.max(slideValue - outerLimits, bottom);
    var a2 = Math.max(slideValue, bottom * 2); // redder
    var arr = [a0 / 100, a1 / 100, a1 / 100, a2 / 100];
    return arr;
}

function calcGrade(data) {
    var quality = Math.floor(data.quality_of_messages_received * 10).toFixed(0);
    switch (quality) {
        case '10':
        case '9':
            return "A";
        case '8':
            return "B";
        case '7':
            return "C";
        case '6':
            return "D";
        default:
            return "F";
    };
}

})

A: I believe I have a cleaner solution for you. Check out my video here. I run through a couple other neat features of D3Js as well. Here is a great tutorial I found as well when I first started with D3JS https://www.dashingd3js.com/table-of-contents

A:    function buildColorScaleDomain() {
        var slideValue = slider.data('slider').getValue();
        //The value was NaN, had to initialize it
        if (!slideValue)
            slideValue = .05;
        var outerLimits = 10;
        var bottom = 0.001;
        var a0 = Math.max(slideValue - (outerLimits * 2), 0); // greener
        var a1 = Math.max(slideValue - outerLimits, bottom);
        var a2 = Math.max(slideValue, bottom * 2); // redder
        var arr = [a0 / 100, a1 / 100, a1 / 100, a2 / 100];
        return arr;
}

redpajama_set_name: RedPajamaStackExchange


text:
Brij Lal's final interview
by Iva Tora
A young Brij Lal with his parents, Somai and Dhan Raji, in Tabia, Labasa, Fiji	(Lal family)
Written by	Iva Tora
About eight weeks ago, I received a call from Brij Lal suggesting I interview him. I had been sharing regular email exchanges and telephone conversations with him over the course of the previous year. We had been collaborating on a book project with two other Fiji colleagues and had plans to catch up in Melbourne where he and his wife, Padma, intended to visit their son and to welcome their newest grandchild.
But when Brij approached me on November 4 with this 'new' suggestion, I simply thought it curious that it came out of the blue. We had no plans as to where or when it would be published and I refused to entertain any notion of it as a posthumous tribute.
Professor Lal had been in ailing health and had poor vision. In retrospect, it seems he may well have accepted the discomfiting likelihood that he might not be welcoming in 2022. So it is with a profound sense of emptiness and sadness that I write this piece on someone who I regarded as a dear mentor and whose encouragement of my writing, advice and guidance I held with the highest respect.
My only misfortune is that I had not known him earlier. That said, it still feels like the proverbial light has been switched off.
Brij Lal was born on August 21, 1952, in Tabia, Labasa, the grandson of a Girmitiya or indentured labourer who arrived in Fiji in 1908. The story of Lal's rise from a rudimentary tin shack school – Tabia Sanatan Dharam School – to his appointment as Professor at the Australian National University, is the quintessential Indo-Fijian story.
Politics and the coups
In all my discussions with him, Brij Lal was not one to indulge in any kind of self-pity or to talk in any great detail about his treatment – or mistreatment – at the hands of the military of which he was a vocal critic. This was a dark period of his life which I appreciated had taken an enormous psychological, mental and physical toll on his life.
The little material I have of the abuse he suffered comes from snippets, personal accounts and anecdotes from friends and colleagues. In one such account, we are told that "a senior military officer in the Republic of Fiji Military Forces [RFMF] had detained Lal in 2009, slapped him and spat on him. A soldier also smashed his spectacles without which he could barely see. Lal was told to catch the next flight out of Fiji or his family would have to retrieve his dead body from the mortuary."
In his analysis and views on Fijian politics Brij Lal was consistent in providing a multi-faceted dimension, a different and always incisive perspective and as one observer opined, surprisingly restrained critique.
"Bainimarama called his 2006 coup a 'clean up campaign' of corruption endemic in Fiji. But a coup by any other name is still a coup", Lal said. "And the 2006 misadventure was not about saving the Fijian nation, it was about saving Bainimarama's bacon. That is his contract which was under the threat of non-renewal."
Over time, a number of people, including former Fiji people living in Australia and New Zealand, retired academics in their twilight, and others joined Bainimarama, offered him moral and practical support which bought him time and a modicum of credibility. "Once these people had outlived their usefulness, and Bainimarama was safely ensconced in power, he discarded them."
Departure of the old order and chiefly influence
Bainimarama's intervention was historic in Fijian politics, Lal argued, as it ushered in a new period that spelt the demise of the politics of confederacies, and chiefly influence that had dominated Fijian politics throughout the 20th century. "Bainimarama's autocracy ended the assumptions and understandings of 20th century Fijian politics."
They were coming to an end anyway; he (Bainimarama) merely accelerated them. "For example, the demographic situation. By the early years of the 21st century, Indo-Fijians were about a third of the total population and iTaukei about two-thirds. With this change disappeared the fear of 'Indian domination' which so plagued the politics of 20th century Fiji", Lal said.
One of the most significant changes was the departure of the guardians of the old order, namely, the paramount chiefs such as Ratu Mara and Ratu Penaia Ganilau. "The politics of traditional entitlement was gone as was the politics of confederacies."
Now more Fijians are living in urban and peri-urban areas, exposed to all the challenges of modern living. The old catch phrase, Ratu Mara's favourite that "race is a fact of life", has no meaning or relevance for them. "But the problem for Bainimarama's legacy is that everything is so personalised and so focused on him. His government lacks openness and transparency. This won't wash with future voters who will be more educated, more demanding. This top-down approach is anachronistic."
Bainimarama and stability in Fiji
Fiji may have the appearance or image of a democracy and stability, but it is anything but, Lal argued. "Fiji is not a democracy, but a duopoly. Bainimarama and his A-G have everything sewn up between them. If Fiji gives the appearance of stability, it is a very fragile stability."
"The whole thing could easily crumble once Bainimarama goes. I am not at all certain that Khaiyum enjoys much support among the iTaukei, even those who are in government. They see him as the nemesis of indigenous interests – fairly or unfairly. Important institutions of the State are staffed by handpicked people, including from the military and a narrow circle of people."
"I fear Fijian democracy will be on a short leash from the military. The military enjoys a powerful position in the 2013 Constitution. It has an entrenched guardian role to look after the 'wellbeing' of Fiji. What does this mean? An elected parliament should be the guardian of the constitution, not the military which, properly speaking should be its servant. The military has no business interpreting or preempting the will of the people. Its proper role should be to enforce it. Fiji faces the very real prospect of a militarised democracy."
Lack of protest
A major lament of Professor Lal was what he saw as the general malaise or lack of interest among Fijians and Indo-Fijians in history. "There is a general malaise among Fijians that prevents them from any kind of self-reflection, any kind of honest moral, psychological or inventory of their history and their political journey. This explains why their situation has not moved at all since 1987", he once told me.
For any seismic shift to take place, there has to be a political will in place to generate the kind of activity and grassroots action that will generate the impetus for a change. "Yet interestingly what we see is women, rather than men, taking front of stage, to voice their opposition to Bainimarama and what is essentially a militarised democracy."
Professor Lal also lamented the drop in educational standards, singling out the USP as a case in point. "There are students at the USP who can't even spell properly; their grammar is appalling. It wasn't at all like that in my day."
In 2009, Brij Lal and his wife, Padma, were banned by Frank Bainimarama's government from Fiji after which they moved to Australia where they remained in exile despite numerous appeals by academics, community leaders and other groups to lift the ban.
Throughout the 1980s to his twilight years, Lal gave numerous interviews on ABC TV and other media outlets. He was quite often in high demand for his views on Fijian politics. For someone as distinguished a scholar and as renowned a public intellectual as he was, Brij Lal made me feel like I was every bit his equal. Such was the gentle humility and humanity of this son of Tabia.
Brij Lal gave us a profound awareness and understanding of a particularly dark period of Fiji's early Girmitiya history – all of which were meticulously documented in the countless books and articles he authored. He also bequeathed us a rich legacy of writings and invaluable insights that will prove indispensable to scholars of history and remain, significantly, critical to our collective understanding of Fiji and its peculiar brand of politicking.
His final published piece was essentially a love letter to his beloved homeland, published in the November 2021 edition of Islands Business Magazine, wherein he reminisced on the past and bemoaned the coup culture that destroyed so much of the promise it held at the dawn of its independence.
Professor Brij Lal died on Christmas Day in Brisbane and is survived by his wife, Padma, two children – Niraj and Yogi – and five grandchildren.
May this gentle son of Tabia rest in eternal peace.
This is a shortened version of 'The life experiences of a man from Tabia', published in the Fiji Times on 28 December 2021, and reproduced with permission. This interview together with a series of tributes to Brij Lal will be collated at #Brij Lal.
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Iva Tora
Iva Tora is a freelance media/communications specialist based in Melbourne.


The inherent adaptability of OER can support equitable participation in adult education.
Openness is a concept that has been gaining influence in a number of domains, namely, governance, academia, and IT. As a philosophy, it embraces transparency, collaboration, cooperation and the free access and sharing of information in decentralized networks.
Since education has always been an act of sharing, openness in education is a natural fit. Here's what you should know about Open Educational Resources (OER).
can be legally and freely copied, used, adapted and re-shared by anyone.
1. How can adult education benefit from using OER?
According to the UNESCO, widespread usage of OER is a significant factor in reaching its Sustainable Development Goal #4 (SDG4), namely ensuring inclusive and equitable quality education and promoting lifelong learning opportunities for all.
OER can facilitate creation, adaption and sharing of learning materials between all stakeholders in adult education, resulting in innovations in teaching and learning, improved adaptability to different needs of different learners and a lower per-learner cost.
For example, online courses under an open license can be copied by different educational providers, free of charge. They can then be modified in structure and content by the supervising tutor to the special requirements of another target audience, without the need to obtain explicit permission from the original creator. This inherent adaptability of OER can support equitable participation in adult education.
2. Why should I care about OER?
National and international copyright laws can be very restricting for adult educators who want to (collaboratively) create teaching materials and share them with colleagues and learners, digitally or otherwise. Most European countries do not have a fair use doctrine. This means any copies or modifications of copyrighted material is legally prohibited by default.
OER offer a legally sound complement to existing copyrighted materials and a simple opportunity to share not only materials, but also experiences and methods that accompany them. By applying open licenses to their works, creators can grant permissions, like the ones mentioned in the example above, to users by default.
Since creators are usually credited for all the using, adapting and re-sharing of their creations, sharing can add to the professional renown of the provider.
Last but not least, OER are a great source of ideas and concepts for your own work in education, with the vast majority being provided free of charge.
Naturally, to fulfil its promise and improve availability and sustainability of materials, the OER movement needs educators who not only benefit from, but also contribute to the shared pool of resources.
3. Where can I find OER or publish my own OER?
There is no central European repository for OER. OER policy among the EU's member states is quite heterogenous, as are national efforts to build OER infrastructure.
A good way to find OER and make your own creations public is the OER World Map, a publicly funded non-profit project hosted in Germany. Individuals and organizations can create an account free of charge and reference their OER activities and creations in their profile.
For the purpose of hosting your own creations of digital OER, there is multitude of possibilities, ranging from nationally funded repositories, your own website, the website of the company or institution you are working for, to commercial file hosting providers or social platforms like SlideShare. Choose your method of publishing according to your own needs and criteria.
For more in-depth information on Open Educational Resources, I strongly recommend consulting this basic guide published by UNESCO in 2015.
The most commonly used open licenses in OER are provided by Creative Commons, a non-profit organization. Creative Commons have also provided a handy overview as well as useful information on license application on the Creative Commons website.
is currently working as a research assistant at the German Institute for Adult Education in Bonn, Germany. He is involved in the German OER Information Hub (OERinfo), a project spanning multiple educational sectors and tasked with providing information, transfer and networking regarding open educational resources. His special interests include the impact of digital technology on education and society, media literacy and game-based learning.


The lodging Charlotte is a lodging of 110m ² for 6 people located on the first floor, in the eaves of the wine cellar ZEYSSOLFF. It has an electric heater and individual air conditioning. Its exposed beams combined with white and taupe tones make this apartment an authentic and modern cottage. It has a small entrance with a closet. A living room with flat screen TV and DVD player, sofas and armchairs invite you to relax. A fully equipped kitchen area is at your disposal (dishwasher, washing machine and dryer, microwave, fridge-freezer, hob and oven). 2 independent rooms are composed each of 2 beds, plus 1 independent room composed of a large bed with bathroom (shower). Second bathroom with shower and toilet. Independent toilet. A dressing room of 9m².
Electric heating and air conditioning included, charges and taxes included. Free WIFI. Non-smoking cottage. No pets.
Sofas and armchair, flat screen TV, DVD player, mini chain, 1 large table and 6 chairs.
4 ceramic hobs, oven, microwave, fridge-freezer, dishwasher, washing machine and tumble dryer, food processor, blender, kettle, toaster, coffee maker, raclette machine and crockery.
Maximum capacity (7), Linen provided, 5 bed (s) 90 x 190 cm, 1 bed 160 x 200 cms.
2 showers, 2 large single basins with cupboard, toilets in one of the bathrooms + separate toilets.
Flat screen TV, TNT, DVD player, mini radio and CD channels, iron and ironing board, hair dryer and vacuum cleaner.
1 bottle of wine offered on arrival, cellar visit and free tasting during the stay.
Sheets provided with 6 beds and beds made on arrival. Bath mat and kitchen towel provided. Cleaning not included in the price (80 €), optional baby kit (bath, high chair and cot) (10 € per week), Towels (1 bath towel, 1 towel and 1 washcloth) optional : 5 € the week. Extra bed and sheets on request and extra.
In Barr, 2 kms away, you will also find the Restaurant du Manoir with its Alsatian dishes as well as the restaurant du Soleil.
In addition to the amenities of your cottage, a lingerie common to all the cottages is free of charge, in which you will find a washing machine, a dryer, drying clothes, a table and an iron, outdoor games (bowling, snowshoeing ...) for children.
Schöne Wohnung nette Vermieter !!
Leider ist die Gegend ein bisschen verlassen und man brauch ein Auto selbst zum Brötchen holen. Aber gute Möglichkeit für Ausflüge nach Colmar,Strasbourg,Freiburg,Rust etc.
Sehr nette Vermieter und Kellerbesichtigung und Weinprobe inklusive. Matratzen etwas gewöhnungsbedürftig, vorallem das siebte Bett. Gute Lage für Ausflüge nach Straßburg, Colmar und das restliche Elsass. Supermarkt in Laufnähe mit großer Auswahl.
Ferienwohnung hat alles was man braucht und ist gemütlich eingerichtet.
Auch bei unserem Besuch im Winter angenehm warm.
Saubere geräumige Wohnung, alles vorhanden, was man für ein Wochenende benötigt. Nette Mitarbeiter.
Mitten im Elsass.Zwischen den Weinstöcken gelegen. Guter Ausgangspunkt für alle Aktivitäten. Nette Vermieter und tolles Weingeschäft mit Führung und Weinverkostung.


1.2L 3 cylinder Revotron petrol engine delivering 85ps power and 114Nm torque .
1.05L 3 cylinder Revotorq diesel engine delivering 70ps power and 140Nm torque .
Advanced AMT for the most convenient clutch pedal- free driving experience .
Shift Assist Manual Mode : Easily select the best gear to drive in.
Experience power of 2 engines in 1 . City and Eco - Manual transmission , City & Sports - Advanced AMT . Designed to deliver superior fuel economy and peppy drive experience whenever needed .


This online vintage emporium specialises in restoring, re-purposing and, 're-loving' 1950s/1960s vintage furniture and lighting, especially unique pieces from the past with an amazing story to tell. See everything from pinball machines converted to unique, stunning coffee tables and mid century classics refurbished in eye-catching Scandinavian fabrics.
With over 10 years of experience, sisters Nicola and Vanessa started out running an award-winning boutique café and vintage furniture shop in London which you can read all about on their website. They have now taken their vintage passion online, sourcing and renovating beautiful iconic pieces to add a wealth of character to both midcentury and contemporary homes.
Shipping all over the world, with friendly and informative customer service, this dynamic duo can answer all your questions. Visit the website and prepare to marvel at their pieces.


daniel5698 13 days ago Computer mbox to pst thunderbird mail to outlook All http://www.articleted.com 2 Comments Published New Discard Success!
Thunderbird and Outlook both are the very commonly used email client applications. But for business purposes, Outlook is mostly desired by small or large companies' users due to its advanced functions and simple-to-use interface. Each organization uses a desktop email application to fulfill their emailing requirements that suits them for management and staying under budget. But day by day, the organization needs completely change when they look for new platforms.


We realise it's not always possible to work out the best way forward in terms of enforcing your judgment but don't worry we will give you straightforward advice on your options and we are here to help you make the best enforcement decision.
Between Shergroup Enforcement and Shergroup Legal we can usually come up with a plan on how to deal with the enforcement of your judgment. We just want to say at this point that not every judgment is enforceable because sometimes the people you have a judgment against just can't or won't pay you and you need to be open to that advice as and when we offer it to you.
We also know that many creditors have taken advantage of the Money Claim Online website but are left without a solution when it comes to the actual enforcement of the court's judgment.
Again we can step in and help guide you on your options.
But if you really are stuck we do encourage the creditors who come to us for advice to look at using a visit by a Shergroup Recovery Agent to visit and interview your debtor so that we can find out more information about their real situation.
If we can meet with your debtor then we will carry out an interview and ask your debtor to complete a statement of their income and expenditure. This approach is cheaper and quicker than a formal court application at a cost of only £60.00 including VAT for the initial visit.
During the interview your debtor will be encouraged to set up a payment plan and commission at 15% will be charged to you as the creditor on money which is collected.
For anyone who wants to use a court based application to elicit information from a debtor then there is the Order To Obtain Information application. This is a formal interview using a court order to compel your debtor to come to the court and give information about assets. You will have to pay a court fee to issue the order, and a further fee to organise service by a county court bailiff.


This iPod challenger has a flat-out better video player than Apple's and a powerful little audio player. But Creative's smartest choice was to go with the SD slot. If Apple doesn't follow suit next week with new iPods, we might have an actual fight!


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Lidar and natural disasters
In the second of a three-part series, we explore the role lidar has come to play in preparing for and reacting to natural disasters and our increasing reliance on lidar data for flood risk management, earthquake preparedness, agriculture and precision farming, and environmental assessment.
BY Sumona Datta January 22, 2018
The destruction caused by the raging fires in California, the untold loss of life and property due to the wrath of hurricanes Harvey, Irma and Maria along the Caribbean and the US Gulf Coast, the 369 deaths in a 7.1 magnitude earthquake in Mexico City and the dozens killed in avalanches on the Pakistan-Afghanistan border are only a few results of natural disasters that our planet faced in 2017. While we cannot prevent the occurrence of these disasters, the use of remote sensing technologies has definitely allowed us to track and monitor their progress and prepare critical response and recovery operations. The easy and affordable access to lidar data and other remote sensing technologies has played a significant role "in quantifying post-disaster damage, monitoring recovery and reconstruction progress after significant disasters and in developing information on our urban infrastructure."
Improving Conservation with an England-wide Map
Image courtesy of the UK Environment Agency
At the end of 2017, the UK Environmental Agency (UKEA) announced that by the year 2020 they would map England's entire landscape using airborne lidar technology data "to assess flood risk and inform conservation work". This map will cover all 130,000 km2 of the country, including rivers, fields and national parks — an area that can accommodate 32 million football fields (a statistic sure to warm the hearts of a football-crazy nation). They will use the data to plan flood defences across entire river basins, assess wildlife habitats, and help environment officers catch people dumping waste illegally by detecting sudden changes in the landscape. This may seem far-fetched, but in 2014 they detected and fined eight people in Cornwall for dumping 4,500 m3 of waste based on the data in their existing lidar maps.
The 3D Elevation Program (3DEP) is a major initiative by the US Geological Survey (USGS) to gather high-quality lidar elevation data of the United States, Hawaii and US territories. These 3D representations of natural and constructed above-ground features are expected to benefit federal, state, and local governments, as well as private industries. Collection is on-going, but the partially completed maps are already bearing fruit: In one instance, with the help of lidar data the USGS discovered a surface rupture along the State of Washington's Tacoma Fault. This could have severely impacted the $735-million Tacoma Narrows suspension bridge, so a redesign of some of the bridge's structural elements was set in motion, thereby averting a potential disaster.
Lidar in Paradise
Image courtesy of UP-TCAGP
More than 7000 islands make up the beautiful green archipelago of the Philippines. However, the islands also have the unfortunate distinction of being visited by 20 typhoons in a normal year. Flooding, mud and landslides are part and parcel of life in this part of the world. In 2011 the government invested in the Disaster Risk and Exposure Assessment for Mitigation (DREAM) Program in the hope of producing up-to-date, detailed, and high-resolution 3D flood hazard maps for critical river basins. The DREAM Program subsequently transitioned into the Phil-LiDAR 1 Program, with the target of mapping 262 river basins. Now, the Phil-LiDAR 2 Program aims to produce detailed resource maps using lidar technology for various applications: production of high-value crops, irrigation assessment, aquaculture production, forest protection and discovery of renewable energy sources. In the future, they hope to use lidar in wind-flow modelling and the pre-construction design of wind farms.
Lidar, the future of disaster management
Airborne lidar systems make it easy to collect high-resolution elevation data over truly massive areas. With this detailed bird's-eye view, planners can model how natural disasters may play out, and how to reduce the harm that they pose. England, the Philippines and America have led the way in the use of lidar for disaster management, but many more are sure to come!
SEE MORE: 3D imaging, environment, environmental conservation, geography, lidar, mapping, technology


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People danced at the first Pan African festival on Saturday, Aug. 12.
TRIBUNE PHOTO: LYNDSEY HEWITT
Hundreds visited Pioneer Courthouse Square on Saturday for the first-ever Pan Africa festival.
Valin Primus and his daughter Vada, 3, enjoyed the Pan African festival on Saturday, Aug. 12.
Pan Africa festival helps people remember their roots
Lyndsey Hewitt
The city's first Pan African festival offered a contrary picture to one that's often painted of Portland: that it's whitewashed.
Large crowds, the majority people of color, filled Pioneer Courthouse Square on Saturday, Aug. 12, to get a taste and feel of Africa.
Music from local groups like DIOLOG featuring Charles Robertson filled downtown, performing genres like R&B and soul.
Audiences, mainly made up of people of color, clapped, danced and sang along to joyful gospel tunes, while othes lined up for delicious culturally-specific eats, including West African and Jamaican cuisine.
African Americans and other people of color came out in droves to support and relish their heritage, whether they hail from Portland or were a refugee from Mozambique.
Many came dressed in traditional African attire: bold-colored shirts embroidered with square and triangular patterns. Some men wore a dashiki, which mainly comes from West Africa, while women could be seen wearing kangas, African dresses.
"I have to come out to this, you know. There's not too much of this in Portland. It's really important," said Valin Primus, also known as DJ Prime, who was there with his daughter, Vada, 3. He was holding a snake, which fascinated his daughter. He came from St. Lucia, an island in the Caribbean.
"I want to expose my daughter to more culture and diversity," he said.
Several political leaders made appearances, including State Sen. James Manning, Multnomah County Commissioner Loretta Smith, State Rep. Janelle Bynum, Sen. Lew Frederick, and Mayor Ted Wheeler.
"When you think about the history of Oregon and what our city and state looks like today, it wasn't very positive," Bynum said. "But it's up to us to make sure that the images that are out there are reflective of the good in all of us."
Maria Alves, who was attending the festival, is a political refugee from Zambia. She's lived in Portland for 18 years, formerly in Northeast Portland, now living closer to Gresham. Many African Americans had been displaced from North and Northeast Portland because of gentrification.
Alves just came to support her culture and share it with her family. She said there's sometimes smaller more targeted festivals for one country, but hasn't been something that celebrated the culture in its entirety. She was happy the Pan African festival appealed to a broader audience.
"In Africa, they have many countries. There are a lot of our kids growing up here, and they forget where they come from," she said.
Geography Of The United States
Pan-africanism
Industry: Gold Mining
Banks - Nec
Entities: Loretta Smith
Valin Primus
Lew Frederick
Janelle Bynum
Maria Alves
Charles Robertson
Pioneer Courthouse Square
Northeast Portland
Political Leader


Home to the fastest sports on ice, the Olympic Sports Complex is worth a visit any time of year! Join us on a bus or self-guided tour of the facility, learn all about the historic 1932 Olympic track, and get an up-close look at its successor—the 1980 Olympic Combined Track. When we say up-close, we mean it—you'll stand at the start of the new track, seeing just what world-class bobsled, skeleton and luge racers see as they begin their 80-mph runs! Then you'll follow in their tracks, walking down the interior of the course and taking the same twists and turns at your own pace. You'll also get a chance to hike the upper half of the 1932 run. Hand-laid for the first Winter Olympics in the United States, the track was recently added to the National Register of Historic Places. The Olympic Sports Complex Tour and many other activities is FREE with your Olympic Sites Passport!
This activity is FREE with your Olympic Sites Passport. Bus tours are not available during the winter season.
Groups of 20 or more should contact groups@orda.org for special pricing information.
Adult: 20-64 | Teen: 13-19 | Junior: 7-12 | Senior: 65+ | Military discounts available with valid I.D.
Home of the combined Bobsled, Luge, and Skeleton Track, as well as Mt. Van Hoevenberg Cross Country and Biathlon Center.
Olympic Sports Complex Tours will not be available from April 14 - November 2019 due to our exciting projects at the venue this summer! Visitors can still enjoy Paintball Biathlon and Cross Country Mountain Biking at the Biathlon Center, located just past the entrance to the Olympic Sports Complex on your right.
The Best Winter Job You'll Ever Have!
Applying to the Olympic Sports Complex is easy. Take our quick survey, and we'll be in touch with more info on this season's job opportunities. Chat with us at one of our job fairs this fall!


This essay will discuss the changing roles and work done by technical services professionals and the ways in which they can develop the skills needed for these new roles and opportunities. While catalogers needed to have an in depth knowledge of AACR2 and MARC in order to independently catalog physical materials, metadata librarians need to be familiar with a much wider range of metadata standards, work with digital objects, and work cooperatively on project teams that design digital library projects. How will these roles continue to change as further opportunities arise?
Metadata and Digital Collections: A Festschrift in Honor of Tom Turner; Ithaca, NY; CIP (CU Library Iniatives in Publishing); 2008; 96-110.


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Oakland County maintains AAA bond rating on…
Oakland County maintains AAA bond rating on delinquent property tax notes
By Paul Kampe |
PUBLISHED: June 2, 2016 at 11:45 a.m. | UPDATED: June 17, 2021 at 6:58 a.m.
Oakland County has once again achieved the highest possible bond rating for $25 million worth of delinquent tax notes.
Moody's Investor Service issued AAA and MIG 1 ratings, the highest given to short-term bonds, according to Oakland County Treasurer Andy Meisner.
The AAA rating is expected to keep borrowing costs low for county residents.
"Oakland County's AAA bond rating saves taxpayers real money and is an example of our absolute commitment to fiscal responsibility," Meisner said in a press release.
"Our credit rating is the highest possible. We can pay a lot less than others pay," he added.
S&P assigned the tax notes an SP-1+ rating, also the highest available.
The county expects to use the proceeds from the notes to purchase delinquent taxes from local cities, villages and townships in an effort to help them with their cash flow.
"It allows them to keep doing what they do," Meisner said.
Delinquent taxes on real property in the county totalled nearly $69 million in 2015, a dramatic reduction from a spike to more than $155 million at the height of the economic recession in 2009, according to figures provided by Meisner's office.
Meisner attributed the reduction to the continued decline in property tax foreclosures.
"We're really seeing dramatic improvement," he said. "People are in a better position to pay."
Mortgage foreclosures also are down dramatically, Meisner noted.
The county has held a AAA rating for tax notes for several years, but instability caused by the City of Detroit's municipal bankruptcy threatened to jeopardize the county's standing, Meisner said.
"There was a time we worried about getting downgraded because of things that were happening," he said. "Losing it would have been a terrible thing."
The county's MIG 1 rating for the delinquent tax notes reflects predictability and a history of timely repayment as well as a history of solid financial operations and fiscal management, according to a press release from Meisner's office.
The report also predicted the county's financial position will remain strong in the future due to its fiscal management practices.
Oakland County Executive L. Brooks Patterson's staff recently presented the county's five-year budget outlook to the Board of Commissioners Finance Committee.
"It's that long-term outlook that enables us to be responsible stewards of the taxpayers' money and continue to earn the highest credit ratings available," Patterson said in a press release.
Michigan COVID-19 cases, hospitalizations drop slightly
Oakland County Clerk Lisa Brown named chair of the Michigan Association of County Clerks District 5
Paul Kampe


A new, fully traditional, Hebrew & English weekday siddur, in which photographs give focus to the meanings of tefilah — a siddur for praying with.
Nehalel beChol: a complete, strictly traditional weekday siddur in which photographs depicting central meanings of the texts direct your attention to what prayers are about. Both volumes of Nehalel are modeled on the Nevarech bencher, which in 1999 pioneered the idea of juxtaposing prayers with photographs portraying their meanings.


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Moreno in the kingdom of the children
Click here to download the artilce.
As a very young man Moreno's. play with children in the gardens of Vienna proved to be a seedbed from which his therapeutic methods developed. He wrote about these story games in Das Koenigreich der Kinder (The Kingdom of the Children) in 1908. It was not without pride that he described how, given the opportunities he provided, one child after another revealed true dramatic talent. Some went on in later life to distinguished careers in the theater.
Of these, perhaps the most talented and most widely acclaimed was the actress Elisabeth Bergner. An ornament to the stage in Max Reinhardt"s theater in Berlin, in London with Charles Cochran, in films with Alexander Korda and her husband Paul Czinner, and on tours around the world, the films she made are considered cinema classics. Among her films was her greatest success, Escape Me Never. Its title could serve to describe her feelings toward Moreno.
Now Elisabeth Bergner has written her autobiography, Bewundert Viel und Viel Gescholten (Much Admired and Much Chided). With grace and felicity she discharges her debt to Moreno. By permission of her publishers-C. Bertelsmann Verlag of Munich-I have translated the following excerpts:
I am still ten, ... my Papa ... brings Moreno into my young life. Certainly, certainly, I had the best father on earth. Jacob Moreno, medical student at the University of Vienna, approximately twenty, but at most twenty three years old. To me he looked like a hundred because he had a beard. In those days only very old men wore beards. My father had a mustache. Moreno had a Christbeard, as I recognized much later. He was tall and slender, had grippingly beautiful blue eyes that always smiled, and dark hair. I believe he was wondrously beautiful. I still believe that today. Most fascinating was his smile. That was a mixture of mockery and kindness. It was loving and amused. It was indescribable. I still believe today that he was deliciously amused at our entire family.
Moreno, that was thus our new tutor. I believe my father knew his mother or something of that sort. But I know nothing more specific about how he suddenly came to us. He was just there. Now a new time chronology begins. It is the start of my spiritual birth. If I were to succeed in making clear what Moreno meant in my life and at this time of my life, then maybe this questionable undertaking of an autobiography would serve a purpose. I have read somewhere once: "History is a Mississippi of lies." I am often forcibly reminded of that while reading biographies, not to speak of autobiographies. And here I am not thinking at all of conscious or deliberate untruths. But what do we really know about ourselves? About our growing and becoming, about the influences-not merely conscious ones-to which we are exposed, which then awaken in us this or that, leading to certain consequences?
So, Moreno is our new tutor, God bless my Papa, about whom it would be perhaps more interesting to write a book than about myself. It soon became clear that neither my sister nor my brother had any sense of what to do with Moreno, besides lessons. Nor he with them. He belongs to me, to me alone entirely. No, I belong to him! And how! He does not only do lessons with us. He goes also with us into the Augarten and the Prater. Until then, my small brother and I had gone only with the then current cook to the Prater. She took us mostly to the "Artists" in the "Wurschtlprater". The Wurschtlprater is that part of the Prater which is ideally suited for children, domestics and soldiers. It has a roller coaster and a train that runs through grottos and a tramway, sausages and an "artists' theater". We loved the Wurschtlprater, my brother and I. Most especially the "artists". These were, after all, my first experiences with theater.
The "artists" was an open beer garden with an elevated stage and a curtain of red gold silk. There were acrobats, magicians, dancers, clowns
and mimes to be seen. My brother preferred the magicians, the mimes bewitched me. In the normal course of events, the cook would take us there and "accidentally" meet a soldier she knew who would invite us to his table on which stood a glass of beer.
We were very satisfied and gazed with fascination at the stage without noticing that the cook and the soldier would appear only two or three hours later at the table. "Come, come, it is already quite late," she would say then and we returned home again. This edenic epoch ended abruptly when we, at one time, my brother and I, sitting all alone with a beer glass, witnessed a tense pantomime in which the eyes of a man were put out. I began to scream and weep. The other spectators and the artists were disturbed and vexed; they noticed suddenly that two children sat there alone, without an attending adult. The cook and the soldier were searched for and found and we left in haste. For a long time I was unable to stop crying and my brother consoled me.
"Don't be stupid, that was not real blood, that was only red dye that he had on his face and the cook spoke up, "If you don't stop crying I won't ever be able to take you to the 'artists' anymore".
By the time we reached home I had stopped weeping and no one noticed anything that evening. But, during the night it started again. Screaming and crying I awakened and told my frightened parents about the put-out eyes and the bloody face and that was the end of the "artists" epoch. We were never again permitted to go there.
But this I have to establish here: I am deeply grateful for the memory of the "artists" and quite convinced that this "artist period" awakened in me a fascination for the theater. At least the fascination of being a theater goer. Although until this day I am unable to attend a performance of "Lear" without fleeing into the foyer for the scene of Gloucester's blinding. Merely looking away is not good enough then, I have tried it. It is also possible that this "artists" experience showed my parents the need not to trust us to the cook any longer-and brought Moreno into the house.
Thus, with Moreno a new era begins. The ease and speed with which the schoolwork was accomplished was soon no longer the most important. I was given poems to learn. And not just "The Bell" and "The Hostage" and such things from the school reader, but the wildest, most beautiful "unknown" poems: "The moon is risen, the little golden stars are resplendent"; "Ride, ride, ride through the day, through the night, through the day"; "Many must surely die there where the heavy rudders of ships are streaking"; "Thus far too many things there are at which we smile with confidence, because our eyes do not see them." Oh, it was a new world.
Or, when Moreno went with us to the Prater, we did not go to the "Wurschtl" but very deep, far away into the main avenue where the beautiful large meadows are.
"But you don't need a skipping rope for skipping! Come, let's give the skipping rope to a poor child who never had one!"
"But you don't ueed a ball to play ball! Come, I'll toss the sun to you, catch it!"
"Ow, I burnt myself!"
"Come, come, I'll make a bandage for you till the sunburn has cooled."
And on the way to the Prater he would take along a few children whom we met on the street. And all the toys we owned were given away to the children. Then we all had to sit in the meadow and he would say,
"So, now we will think up our own fairy tales! Once upon a time there was a king who had seven sons. What were their names? What became of them?"
And every child had to create a name, a character and a fate. In between he would pose questions to help the story along. Many children did not like this game at all and did not return. Others always came back and brought along still more children. I loved these games beyond description, my brother found them dull.
Then Moreno started to play theater with us and to rehearse plays. My first role was that of Toinette in "The Imaginary Invalid" by Moliere. All the children played along. l was as if thrown into the water and able to swim.
What I saw in Moreno is most clearly explained by relating how I once came home too late from ice skating and he was there an half hour before me. I was very frightened.
"Doesn't matter", said the cook who opened the door to me, "he's drinking coffee with your mother, just go on in!"
I was as if turned to stone. "Coffee! He drinks coffee, like the rest of us? Like an ordinary human being." But that was slander! He certainly was not an ordinary human being. She shoved me to the keyhole and I peeped through it and I saw: He drank coffee with my Mama. He laughed and bit off large pieces from a bun. In my speechless amazement I became aware then that I had perceived him quite differently. I was very disappointed.
Not until later did I realize that there was something greater here. That an ordinary flesh-and-blood-person could nevertheless be so uncommon. He remained thus for four years in my life. Indescribably important years, as I know today. In the twenties a new word became fashionable in our vocabulary, the word "abstract". When l pondered over this word and its meaning, I recognized that this idea, "'abstract" was, so to speak, my mother's milk. My entire education by Moreno was, after all, the familiarization with and absorption of the "'abstract".
At one time he said in my presence to my parents, "She will become an actress". "That's all we need," replied my Papa and they laughed. That was the first time I heard it, but I did not laugh. l have just never forgotten it, "She will become an actress ..."
These four years were full of new learning and growing for me. For Papa and Mama they were full of private dramas which led finally to their ultimate, much belated divorce. My sister and I moved with Mama to a different home, my poor little brother moved with Papa to another home.
Curtain ....
At about this time Moreno's graduation must have taken place. He disappeared. He started his career as physician in some hospital in Vienna and we lost sight of each other completely. At least for the unconsollable moment. I explain this as our both being preoccupied with what would happen with us, then and in the future.
My guess is that Moreno was at that time approximately twenty five or so. Regrettably, I was still not fifteen. One had to be fifteen in order to be admitted to the Imperial and Royal Academy. Before fifteen it was impossible .... Meanwhile I was allowed to go to a private drama school, for the few months I was still short of fifteen .... For the entrance examination I declaimed a poem by Freiligrath .... The first role I was given to learn was Rautendelein from "The Sunken Bell". I did not know the play but fell undyingly in love with Gerhart Hauptmann. Until then I had only known Schiller and Hauff and the poems and fairy tales and The Imaginary Invalid to which Moreno had introduced me. But now it was up to me. So, Rautendelein ....
From the ivory tower in which I live today, I believe that Moreno, Thomas, Xaverl, Viola and finally Paulus the Czinner [translator's note: important friends and the last, Elisabeth Bergner's husband Paul Czinner who was also her only film director], surely were the good angels who God placed at my side as I prospered through life.
[Much later, after she is established in Zurich, she will go on tour to Vienna with the theater troupe. She is engaged to play Rosalind in "As You Like It".]
In Vienna! In Vienna! I will be acting in Vienna! Rosalind! In Vienna! Before Mama and Papa and Uncle Max and Uncle Rudolf and Aunt Sophy and Aunt Sally. Thomas was somewhere in the war, Moreno was somewhere in Vienna . ...
[Still later, when she has achieved star status in Berlin she reports on a meeting with Moreno as she goes once more on an extended tour through Austria and Czechoslovakia.]
Now we come again to Vienna. One of the most important promises l had made to Viola was that she would get to meet Moreno. I knew that he
had his own practice in Baden, near Vienna and it was very exciting for me to see him again. Accompanied by Viola, Xaverl and Thomas we travelled to Baden. [Xaverl was her own name for Albert Ehrenstein, a poet. Moreno published some of his work when he was editor of Der Neue Daimon, a literary magazine.] Moreno welcomed us warmly and unsentimentally. He appeared unchanged, only the beard was gone. The smile was the same. My "world-shaking career" seemed neither to amaze nor to interest him particularly. I was enormously surprised that he had become a gynecologist. I don't know why I found that astounding. Had he become a pediatrician or a surgeon I would not have been astounded at all. I believe it was like that time I saw him drinking coffee through the keyhole.
As we were all sitting and talking, he suddenly pointed to Viola and said: "She has fever".
"For God's sake, no, Ijust have a troublesome cough", she answered.
"So much the better", was his response, "I will come tomorrow morning to your hotel and take a look at the cough".
And he came and found that Viola had something wrong with her lungs and should go to Switzerland as soon as possible, to Davos or Arosa for at least three or four months. We were speechless. I knew him well enough to be aware that he knew what he was talking about. Viola and Xaverl insisted upon a second opinion and they obtained verification two days later from a lung specialist. Vienna had been our last but one stop, now Prague had to be cancelled.
We had departed from home in very high spirits and returned greatly saddened. Thank God, in the end it turned out to be not nearly as bad as it
had appeared at first. ...
[Years later, after having made a name for herself in England, and then having lived and worked abroad, Bergner returns to England and meets a young producer, Peter Daubeny.]
He proposed that I play Toinette in The Imaginary Invalid, in a new version, with a new, very young director, etc., etc. The young director had achieved a tremendous success in Manchester with this version and Peter Daubeny took an oath on him and on the script. I had my doubts as far as Peter Daubeny was concerned, as well as of the script with which I was not familiar. But as far as Toinette was concerned I was very confident. After all, that had been my first role under Moreno. Moreno was the decisive reason why I finally consented ....
The Moliere script was sent to me by Daubeny and I did not like it at all. l attempted to cancel the contract but did not succeed .... What then took place was suffering without end for me. The director hated me. His wife had played Toinette in Manchester and he could not see why, etc. The costume designer hated me, I don't know why. The wardrobe mistress hated me, I don't know why. The male lead hated me. The other colleagues were all very nice. I do not have to detail how dreadfully unhappy l was in this performance. l was totally unable to do it. The production failed, finally, God be praised. It was truly horrible. I was in no way torn to shreds by the press, as I had feared. l was treated very respectfully. A number of friends came to see me and asked me with total dismay why I had accepted this role. Yes, why? I could not very well tell them about Moreno.


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That's Why Pluto Is Not a Planet Anymore
Posted in BRIGHT SIDE
If you were in elementary school before 2006, there's a good chance you had to memorize the order of the 9 planets in our solar system; Mercury, Venus, Earth, Mars, Jupiter, Saturn, URinus—also pronounced UrANUS, and finally Neptune, and Pluto. Now, if you're currently in elementary school, you might be saying, "Wait, there were nine planets?"
So, what happened to Pluto? It's not like it's gone anywhere. It's still out there on the edge of the solar system, as cold and far away as ever, so what changed?
Other videos you might like:
What If Just One Planet Disappeared from the Solar System
9 Earth-Like Planets We Can Move On Right Now
10 Facts About Our Planet You Didn't Learn In School
What happened to Pluto? 0:46
What does the word planet mean? 1:26
How large is Pluto? 3:12
If it has a satellite, is it a planet? 4:03
The discovery of Eris 4:59
What does it take to be a planet now? 5:31
Scientists who believe Pluto is a planet 6:11
#pluto #spacefacts #brightside
-Pluto hasn't changed, but our understanding of it has. We know way more about space than we did one hundred years ago.
-From the age of Galileo to the nineteenth century, planet referred to any object orbiting the Sun. So astronomers kept finding countless planets.
-We know that Pluto is only one 459th the size of planet Earth, making it smaller than the moon and only about twice the size of the former planet Ceres.
– Charon may be smaller than Pluto, but not that much smaller. One half the diameter might seem like a big difference, but not compared to the differences in size between the other planets and their moons.
-While Eris is slightly smaller than Pluto, initial measurements placed it as somewhat more massive. This added one more strike against Pluto's status as a planet.
-First, a planet must orbit the Sun. Number two is that the object must be a sphere, or at least nearly so. Pluto checks the first two boxes but runs into trouble with number three, which says a planet must have "cleared the neighborhood" around it.
-Scientists who disagree with the IAU's ruling and want to call Pluto a planet once more propose that any object with enough mass to maintain a spherical, or nearly spherical, shape would qualify as a planet.
Preview photo credit:
Global Mosaic of Pluto in True Color: By NASA/JHUAPL/SwRI,
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Some people are lucky-they don't do Atkins alone. Ernesto and Donna Santiago had the perfect buddy system: The two both wanted to lose weight. Ernesto is a construction worker, and, at five feet eleven inches and 258 pounds, this 42-year-old was definitely hefty. At five feet nine inches tall Donna weighed 210. One day this 36-year-old saw pictures of herself on videotape and broke down in tears.
The two of them decided to come to the Atkins Center for Complementary Medicine and soon began doing Atkins.
Ernesto says: "When I was tempted to cheat, Donna helped me stay strong. And when she was tempted, I'd help her. As they were slimming down, they started taking martial arts classes together, and this brought them even closer. After two months doing Atkins, they had each dropped 30 pounds. It took about eight months for Donna to reach 147 and Ernesto to get down to 182. I've seen pictures of them training in jujitsu, and they look like a pretty trim couple to me. Incidentally, Donna lowered her LDL cholesterol from 189 to 137 and raised her HDL from 58 to 74. And Ernesto lowered his LDL from 159 to 126 and raised his HDL from 42 to 62. No cardiologist could ask for anything more.
It is often easier to try something new if you have a partner to share your experience with. If you don't have one, come to our website at www.atkinscenter.com. We'll serve as your surrogate partner and help reinforce that your efforts will provide you with a healthier life. Or find a friend or co-worker to support each other's efforts.


What does it mean to forgive? How do you forgive your father when he had your mother murdered? What does God say about forgiveness, and why is it so important to forgive others as God forgave us? We're talking about all that and more on today's inaugural podcast.
What a powerful testimony and teaching!


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Paramilitary group abducts Muslims, demands ransom
[TamilNet, Sunday, 18 June 2006, 14:02 GMT]
11 Muslim dairy farm workers out of a group of 18, going out to work from the Muslim village of Thambalai, were abducted Saturday by the Karuna paramilitary group on Pollonaruwa-Sunkavil road, 10 k.m. east of Pollonaruwa. The abductees were being held in the close by jungles of Sinnavil, with ransom demands of 1 million rupees, relatives of the farm workers said. Thambalai villagers have managed to collect 100,000 rupees, and paid the abductors who then released 5 farm workers, and demanded 500,000 rupees for the release of the remaining 4.
The abductees are detained and guarded by 6 armed paramilitaries in Sri Lankan Army (SLA) uniform and 1 in casual dress, Thambalai villagers said.
The paramilitaries released two of the workers, a father and his son, to communicate the 1 million rupees ransom demand on Saturday.
Local police, though aware of the incident, are not taking any action saying no complaints were made, said village sources.
The incident has taken place in the Bulasthigama police division.
The fear stricken villagers are fleeing the village to stay in safety with friends and relations elsewhere.
Thambalai is located 13 km northeast of Polonnaruwa. Sinnawil is located 3 km southeast of Thambalai, in the Mahaweli river (Mahaweli B) area.