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Files with zpk extension are used by the Zend Studio.
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Fully DVB compliant ,Live FTA Digital Picture and Sound, 3.5 inch LCD Colour Screen, Lithium-ion 3000mA Battery ,Normal work up to 4 hours..
Fully DVB-S/DVB-S2, MPEG-2/MPEG4 compliant, Digital meter for signal strength and quality.
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Lithium-ion 3000mA battery, normal work up to 4 hours..
Support AV in and AV/HD out function, 13V / 18V / LOCK status panel LED display directly and battery power display..
Plug and Play installation, with an easy to use menu system..


To kick things off for Gloucestershire's zero waste week, we spent some time giving Andy Vivien, Radio Gloucestershire reporter, a tour of Chez Green.
He delved into my shopping bags, lifted the lid on my reusable containers and shuffled through my recycling. It was quite an experience I can tell you! I had to do all of this with a big furry microphone shoved under my nose and a 6 foot man peering at my eccentric antics.
Still, he spent a long time working with us, picking though our brains and erm, our rubbish and I had the opportunity to blab on about a subject I feel passionately about – reducing rubbish and achieving zero waste.
The programme was aired between 6 and 9am Saturday morning on the Tom Lowe show, but don't worry if you missed it; we've captured it for you! Get comfy for 8 minutes and have a listen. The interview is split into two, but we've done all the cutting and splicing for you; all you need to do is relax and listen in……….
An excellent broadcast with correct information and good advice for listeners. The truth is that once the good habits have been taken on they become the norm. Further change is sure to occur.
Today I phoned EnTrading, Glasgow, to order a 5 litre Lemon/Aloe Vera Washing-up container from Ecover. A refillable system with no waste plastic bottles/lids: another waste item bites the dust.
Lovely to hear your broadcast. Well done The Greens! Our neighbour tuned in to hear you live on Saturday and was fascinated to learn about the tops on the plastic bottles. He says they will change their practice of binning them separately from now on. They, and we, were also delighted to hear about the facility for recycling polythene wrapping. Saga can now send as many brochures as they like!
We all continue to learn. I now have a new query. How do we recycle aluminium foil? Gone are the days when it was coveted by every cub pack in the country.
yay great interview! and great start to the zero waste week!
Hi Grandma Green; it's great that your neighbour tuned in to listen! Regarding foil; you can take it to Hempsted. I don't know how often you visit, but foil can be stored for quite a long time and doesn't take up much space. Alternatively, squash it all into a ball and bring it with you to me – we go past our recycling centre once a week, so it's no bother to put it in for you…..
Mrs A and Di – thank you!
Good job guys! You are becoming quite the regular radio celebrities. I must say though, if you're willing to make your own yogurt and bread, you really should give pasta a go. Little Miss Green would love it, and it really is easy and cheap!
Jen, the thought of making pasta terrifies me! I think bread is enough for one week LOL! Don't I need a pasta maker to roll it all out thinly enough?
1. Why can't you compost cooked leftovers? This is the first I've heard of that!
2. Making own pasta – I use my bread machine to mix the dough and a manual pasta machine to make it into pasta dough. The first step involves dumping some flour and egg/water in and pressing start. The 2nd step is very much fun (I have to fight my daughter for a turn) and makes for a superior product. You can also make dough in a food processor. I didn't get the dough-making gene so have been happy to find alternatives.
3. Forgot what 3 was with kids asking me questions. Darn.
One more thought. I run a business and some of my inventory needs to be shipped with a bit of protection. I would be very happy indeed to have a free source for used bubble wrap. As it is, I have never bought any packaging materials but rather saved all peanuts, paper and plastic bubble wrap that were sent my way in large storage bins, but at some point I will go to some local shops to see what I can scavenge because I will run out. In the US, I have just been made aware of http://boxcycle.com/ for getting rid of used boxes – I have been giving mine away on freecycle as moving boxes – but still no known source of used packing materials.
@ThinkingWoman: Hiya, composing cooked leftovers can attract vermin such as rats which is why it is not recommended.
I keep all our packing materials too and have had to Freecycle a lot of it as I have accumulated so much! Thanks for the link, that could be great for some of our US readers.


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How much did Manchester profit from slavery? Have your say
Revealing Histories: Remembering Slavery
A partnership project from eight museums in Greater Manchester
In Greater Manchester
How money from slavery made Greater Manchester
The importance of cotton in north west England
The Lancashire cotton famine
Smoking, drinking and the British sweet tooth
Black presence in Britain and north west England
Resistance and campaigns for abolition
The bicentenary of British abolition
Africa and the workings of the slave trade
Colonialism and the expansion of empires
Stereotypes, racism and civil rights
Who resisted and campaigned for abolition?
Slave resistance, rebellions and the Haitian revolution
by Dr Alan Rice
'Whites feared black retribution in proportion to the violence they meted out, on a daily and generally unregulated basis, to their human possessions. The worst fear must have been that slaves might behave like slave owners.' James Walvin
Hilary Beckles has argued that there was effectively a 'Two Hundred Years War' that was fought from the arrival of the British in the West Indies in 1638 until the end of slavery in 1838. This war included numerous full scale rebellions. It took place in enslaved African societies throughout the Americas. Resistance to slavery took many forms: from embracing African inspired religions and culture to economic sabotage to violent fight backs. Often these forms of resistance were interlinked. For instance, in the Antigua rebellion in 1735-6, led mainly by a group of enslaved Coromantee Africans from the Gold Coast, the beginning of the act of rebellion was a mass military shield dance (an 'ikem'). This dance enabled the leaders of the rebellion to assess their following before striking against slavery.
In response to this and other rebellious acts, slave owners sought to limit cultural resistance. They banned the use of African drums and ceremonials. They also introduced 'Slave Codes' that controlled the movement and activities of enslaved Africans.
Toussaint L'Ouverture and Haiti
Rebellions happened throughout the Americas. The most important was the only large scale successful revolt. This took place in French controlled Saint-Domingue. Again, cultural forms that the Africans had brought with them from Africa were at the heart of the revolt. It started with a religious ('vodun' or 'vodou') ceremony led by Boukman in August 1791. The rebellion lasted throughout the 1790s and early 1800s led by the talented and inspiring Toussaint L'Ouverture whose armies fought troops from France, Spain and Britain. Although Toussaint L'Ouverture was captured and died in 1803, his successor Jean-Jacques Dessalines continued the fight. Finally in 1804 the rebellion triumphed and the independent state of Haiti was established.
This success was inspirational for enslaved Africans elsewhere. It stunned slave owners and their supporters and led to ever more brutal punishment regimes to stop rebellion. As an example, there were revolts in the British West Indian islands of Barbados (1816), Guyana (1823) and Jamaica (1831-32) inspired by the example of Haiti. These revolts were put down brutally. The punishment for enslaved Africans who rebelled was horrific. News reached Europe of this punishment. The revulsion the news caused was a key factor in bringing about the abolition of slavery. So even unsuccessful revolts played a part in causing the downfall of slavery.
'Slave resistance was often cultural as well as political: the resistance of a people to being swallowed up by a foreign way of life. In this case resistance may be understood as a refusal to abandon one's values and traditions as well as – at another level – singular acts ranging from quiet sabotage to organizing and fighting back.' Michael Mullin
Uncle Tom and Little Eva
James Watkins abolitionist
Bust of Richard Cobden
The Slave
Pair of wheatsheaves
Renaissance North West

redpajama_set_name: RedPajamaCommonCrawl


Download "TABLE OF CONTENTS. Letter from the Bishop Page 4. I. Theological Content Page 5"
3 I. Theological Context Have always therefore printed in your remembrance, how great a treasure is committed to your charge. For they are the sheep of Christ, which he bought with his death, and for whom he shed his blood. The Church and Congregations whom you must serve, is his Spouse, and his body. And if it shall happen the same church, or any member thereof to take any hurt or hindrance by reason of your negligence, ye know the greatness of the fault, and also the horrible punishment that will ensue. The Book of Common Prayer (1551) The Church has always recognized that those who are set apart for ordained ministry bear a particular responsibility to pattern their lives according to Jesus example. Not only are bishops, priests and deacons regarded by the faithful and the world as examples of what Christians lives should be, but any moral offense by clerics is especially hurtful because it betrays that trust committed to them by the Church to nurture and care for every member. Cranmer words, in the 1551 Book of Common Prayer, are a forceful reminder of how serious is this responsibility. Responsibility for patterning one's life after the example of Jesus Christ is not limited to ordained persons. In the Baptismal Covenant all persons vow to accept Jesus Christ as Savior and, among other things, to respect the dignity of every human being. In more concrete terms, we wish to ensure that the Church is maintained as a safe, secure place where care givers, teachers and leaders, paid and volunteer, ordained and lay persons, minister appropriately to the manifold needs and concerns in the church and in the world about us. Sexual misconduct on the part of a clergy person as pastor, employer, teacher and religious leader is especially harmful to our Baptismal Community. Ordination is a sacrament that sets apart one among the baptized to gather the community, to teach and proclaim the message of the Gospel, to administer the sacraments and care for the people of God especially entrusted to him or her. Great authority, and therefore great responsibility, are conferred upon bishops, priests, and deacons. As those who are entrusted with power in the lives of the faithful, and bear a deep trust relationship to them, they must at times put the welfare of those they serve before their own. Abusing this power and violating this trust by sexual misconduct destroys the spiritual integrity of the ordained and cannot be tolerated. All persons involved in incidents of sexual misconduct are in need of healing. Although the Bishop s role as overseer of the Diocese may restrain him/her from personally providing pastoral care to all parties in situations where there has been an allegation of sexual misconduct, the bishop will act to ensure that all persons are afforded pastoral care. The primary intent of this policy is not to protect the diocese, its clergy or others from litigation. Rather, it is an attempt to prevent the occurrence of sexual misconduct in the first place and to ensure that, where allegations of sexual misconduct are made, the response to any allegation or instances of sexual misconduct will be just and compassionate, as so may allow God s grace to work redemptively.
4 This manual is intended to establish clear standards concerning sexual misconduct and, where allegations of such misconduct are made, to establish procedures which afford a full and fair hearing to persons making complaints, alleged victims (if not the person making the complaint) and to alleged offenders. Consistent with principles of fairness, persons accused of sexual misconduct shall be presumed to be innocent until the occurrence of misconduct has been established. The Diocese of East Carolina joins with the National Church in making every effort to ensure that the Church is a safe place for all. Our policy and procedures for responding to allegations of sexual misconduct reflect our conviction that the consistency of uniform procedures ensures that all involved will be treated with compassion.
5 Policy: Statement & Definitions II. Policy Concerning Allegations and Incidents of Sexual Misconduct It is the intent of this policy to cover or exceed all warranties required by the Church Insurance Corporation; and, to the extent that it does not, this policy statement is amended to include them. Statement of Policy The Diocese of East Carolina strictly prohibits sexual misconduct of any type by any ordained person, aspirant, postulant, candidate, or seminarian sponsored by or working in this Diocese, and by any lay employee or volunteer working in any capacity for the Diocese of East Carolina, any diocesan related institution or any parish or other congregation in the Diocese of East Carolina. The Diocese of East Carolina strictly prohibits interaction with children and youth by anyone with a civil or criminal record of child abuse or who has admitted prior sexual abuse or anyone known to have a paraphiliac diagnosis (e.g. pedophilia, ephebophilia, exhibitionism, voyeurism, etc.) as defined by the American Psychiatric Association. As a diocese, we recognize that sexual abuse, exploitation, and harassment are clear violations of the promise in the Baptismal Covenant to respect the dignity of every human being. It is the responsibility of church workers to do all they can to make the church a safe environment. Activities that are harmful to others physically, emotionally or spiritually are simply not permitted. Definitions Sexual misconduct means any of the following: (1) Sexual Abuse is sexual involvement or contact by a member of the clergy, other church employee or volunteer with a person who is a minor or who is legally incompetent. It is diocesan policy to make such reports immediately to the local Department of Social Services and to cooperate fully with law enforcement officials in investigating any allegations of sexual abuse, canonical responsibilities permit. Sexual abuse also includes those acts of a sexual nature as defined as criminal acts in Chapter 14 of the General Statutes of the State of North Carolina. (2) Sexual harassment includes, but is not limited to, sexually oriented humor or language, questions or comments about sexual behavior, unwelcomed or undesired physical contact, repeated requests for social engagements, or inappropriate comments about physical appearance or clothing. Sexual harassment may occur in a situation where there is an employer, mentor or collegial relationship, and includes harassment of aspirants, postulants and candidates and seminarians sponsored by or working in the Diocese of East Carolina.
7 Procedures: Statement III. Diocesan Procedures for Responding to Complaints of Sexual Misconduct Statement of Procedures The process which follows as part and parcel of this policies apply to all clergy, lay employees and volunteers of the congregations and other bodies within this diocese. A. Building Principles This procedure is intended to acknowledge the following concerns: a. that all allegations, for the sake of the alleged perpetrator, the complainant (and the alleged victim if not the same) as well as the whole of the Christian community, shall be taken seriously; b. that every allegation that reaches the Bishop deserves a response from the Bishop; c. that the Bishop, by necessity, shall involve others in assessing and evaluating the substance of allegations; d. that the Bishop will employ these procedures in each instance of allegation unless the Bishop is absolutely persuaded that the allegation is obviously unfounded or of a trivial nature; e. that the Bishop holds both pastoral and disciplinary responsibilities; f. that a shared approach, involving legal, mental health and pastoral resources is desirable. g. that litigation by its very nature is a recourse available to anyone; h. that a uniform procedure intends that all cases will be treated with compassion and justice, as well as consistency; i. that the Bishop s pastoral concern is directed to both alleged perpetrators, as well as alleged victims, their families and the affected Christian community; j. that the Bishop may consult, in confidence, with any person so chosen to review issues and materials regarding any alleged incident(s) of sexual misconduct. k. that the Bishop should refrain from placing conversations regarding allegations within sacramental framework, but is well advised to guard the privacy of all individuals concerned with utmost care; l. that the Bishop may refer cases for further investigation under relevant canonical procedures when deemed appropriate.
8 Procedures: Response Team & Notifications and Responses B. Response Team The Bishop will appoint both lay persons and clergy to serve on Response Teams. Individually or in teams, they may be called upon to investigate all complaints of clergy sexual misconduct referred to them, serve as the Bishop s liaison with complainants, or lead the process for healing in the congregation (as described below). No member of a Response Team will serve simultaneously as an advocate or liaison for an alleged victim and as an investigator of the complaint made by the person. All Response Team members will have received training in the areas of case intervention and interviewing alleged victims, the accused and witnesses. Such training will be supervised by the Office of the Bishop. Response Team members will not be assigned to investigate any complaint where their judgment or objectivity may be impaired by relationship to any of the parties to a complaint. C. Notifications and Responses 1. All complaints of sexual misconduct shall be reported immediately to the Bishop. 2. If the complaint is against a lay staff worker, the head of the employing agency involved may be notified and will immediately notify the Bishop. 3. Complaints involving a violation of federal or state laws regarding sexual abuse of a minor or incompetent adult must be reported immediately to the local Department of Social Services as well as to the Bishop. The Bishop, Church officials or employees with knowledge of such alleged abuse, will cooperate fully with authorities, insofar as canonical responsibilities permit. 4. Within three working days after receiving a verbal or written complaint of sexual misconduct the Bishop will assign the complaint to a Response Team for investigation. 5. The Bishop s office will immediately notify the complainant(s) and the alleged offender that a complaint has been filed and assigned to a Response Team for investigation. 6. The Bishop will notify the Chancellor and/or Standing Committee, as appropriate, as well as appropriate insurance officials. 7. As soon as it is received, subject to the advice of the Chancellor, a copy of the written complaint will be given to the accused.
9 8. The Bishop will immediately issue a pastoral directive to the alleged offender proscribing any contact with the complainant until after the Response Team has completed its investigation. The Bishop may recommend the accused obtain private legal counsel (not from the Chancellor s office or attorneys representing the parish). 9. The Bishop may, consistent with Title IV of the Canons of the Episcopal Church and with the advice of the Chancellor, place on leave of absence with pay the person who is the subject of the allegation during the investigation. This leave is without prejudice and does not imply the guilt or innocence of the person under investigation. 10. The Bishop, with the advice of the Chancellor, may prepare a written official statement to the congregation stating only the relevant information. No further official statements about the alleged incident will be made without the advice of the Bishop and/or the Chancellor. 11. The Bishop, or person(s) appointed by the Bishop, may meet with the vestry, congregation, and/or interim minister to assist the parish in responding to their crisis. 12. If the accused wishes the sacrament of penance or pastoral care, it is recommended that the accused obtain those ministries from someone other than from within the parish or from the Bishop s office. The Bishop will ascertain and address the pastoral care needs of the accused. 13. Reporting and notification requirements as contained in the diocese, parish or other liability policies shall be strictly followed. 14. The Bishop is advised not to: a. Post bond for the accused; b. Advance legal or other expenses; c. Advocate for or rationalize the accuser s behavior; d. Act as prosecutor of either the complainant or accused; e. Express opinions during the investigation, but to speak only to known facts; f. Admit liability, discuss or seek settlement; g. Expect nor accept any quick cure of the accused; and, h. Transfer the accused to another position where a similar offenses might be repeated. 15. Nothing in these procedures is intended to limit the discretion of the Bishop in assisting individuals to obtain appropriate care and treatment.
10 Procedures: Investigation D. Investigation 1. The Bishop and the Response Team will meet with the complainant(s) within five working days of receiving notification of the complaint unless good cause exists for delay. The complainant(s) may be accompanied by a person of his or her choice. The purpose of this meeting is to advise the complainant(s) of the procedures which will be used in investigating the complaint, to introduce the members of the Response Team, and to provide information to the complainant(s) as to the policies and procedures of the Diocese. 2. The Bishop and the Response Team will meet with the accused for the same purpose as the initial meeting with the complainant(s). The accused may be accompanied by a person of his or her choice. 3. The Bishop will specify to complainant(s) and to accused appropriate guidelines for privacy. The complainant(s) and accused will be kept informed at all stages of the process and told of its outcome. Communication with the complainant(s) and the accused during the course of the investigation should be through one or more designated members of the Response Team, and not through the Bishop. 4. Prior to undertaking the investigation of the complaint, the Response Team will obtain from the complainant(s) a written statement including: dates, times, location, and specific details of the alleged misconduct. The statement is to include names, addresses and telephone numbers of all complainant(s) and witness. The complainant(s) will be asked to sign and verify the written statement and will be furnished a copy of the signed statement. 5. The Response Team will meet with all witnesses and such other persons the Team consider appropriate. If desired, any party or witnesses to the alleged misconduct will be permitted to submit a statement in writing. The accused will be afforded an opportunity to insert into the record a written statement. The Bishop will not participate in the investigation except as set out in these procedures. 6. The Bishop may arrange for a Professional Rehabilitation Assessment of the accused, by a person with appropriate professional credentials and experience approved by the Church Insurance Company. Neither the request nor the fact of an evaluation implies a finding or presumption of guilt or innocence. The results will be furnished to the Bishop. The Diocese may pay for the evaluation. 7. The Bishop may, after investigation, take disciplinary measures, including the initiation of proceedings in accordance with canon law.
12 Bishop or a representative will discuss what disciplinary actions the Bishop intends to take, and when indicated after assessment, refer the accused for appropriate therapy. d. The Bishop will ensure that all recommended actions are being pursued by the accused and will receive periodic reports from the providers of therapeutic services, without clinical details, concerning general progress and recommendations for further services. e. In making any decision about professional rehabilitation and future employment of the accused, the Bishop will be guided by the professional rehabilitation assessment of a credentialed professional approved by The Church Insurance Company. In many cases, significant involvement in personal psychotherapy and employment outside the Church will be required before any deployment in the Church will be considered. Public acknowledgment of the misconduct, including exoneration of and restitution to the victim, will normally be required. f. The Bishop, or the Bishop s representative, will inform the victim(s) that actions are being taken, without specifically disclosing the clinical content. g. If the accused cleric is not willing to pursue the courses of therapeutic action recommended, he/she will continue under temporary inhibition while other alternatives are considered. Failure to comply within a reasonable time will be grounds for further disciplinary action. h. The Bishop may invoke any of several sanctions, as deemed appropriate: Caution: In a case where conduct has been unwise behavior, but not necessarily unethical, the Bishop may give a verbal caution to the person. Warning: In a case of clearly inappropriate and possibly unethical behavior, the Bishop may give a verbal warning to the person. Reprimand: In a case involving unethical behavior, the person will appear before the Diocesan Bishop and will be given a reprimand in writing. Censure: A record of the action will be put in the individual s personnel file. Appropriate Diocesan personal rehabilitation will be required as needed, with ongoing (at least one year) accountability to the Diocesan Bishop. Inhibition: The inhibition will continue subject to Title IV of the Canons of The Episcopal Church. i. Misconduct sanctions in the case of other than ordained persons will be invoked in accordance with the Diocesan canon law in conjunction with the Bishop s recommendation.
15 2. prior to the individual s being eligible for future or continuing employment with any insured entity, there will be: a. professional rehabilitation assessment by a credentialed professional approved by Church Insurance Company; b. if ordained clergy, endorsement by the bishop of canonical residence and the bishop of current jurisdiction (if different); and c. a requirement that the offender make amends to any aggrieved parties to the satisfaction of ecclesiastical superior; F. it will provide a signed statement documenting on-going compliance with and implementation of the contents of this warranty prior to the inception date of this policy and each renewal thereof. Compliance with the terms of this warranty constitutes a condition precedent to coverage under this policy. The failure of any Named Insured to comply with any portion of this warranty will constitute a material breach. V. Legal Summary North Carolina General Statutes 48-A-2 provides that a minor is any person who has not reached the age of 18 years A. A juvenile under the North Carolina Juvenile Code, General Statutes 7-A, Articles 41-44, is in fact a minor. B. Section 543 of that Code, Confidentiality, reads as follows: Any person or institution who has cause to suspect that any juvenile is abused, neglected, or dependent...or has died as a result of maltreatment, shall report the case of that juvenile to the Director of the Department of Social Services in the county where the juvenile resides or is found. C. Section 550 provides immunity to the reporter in subsequent proceedings so long as the reporter was acting in good faith, and good faith is presumed until it is shown to be otherwise. D. Section 551 removes the availability of any privileged relationship (except the attorney client relationship in the particular case) either as grounds to report or to exclude evidence developed from such a report.
16 Implementation of Policy & Procedures A. Personnel Procedures VI. Implementation of Policy & Procedures Concerning Allegations and Incidents of Sexual Misconduct In accordance with applicable civil legal requirements, prior to ordination, employment or acceptance into the Diocese (either through initial licensing or acceptance of a letter dimissory) thorough background check shall be made of all clergy, volunteers who regularly supervise youth activities (including unpaid Sunday School teachers), and employees. Among other things, such background checks shall include current or past sexual misconduct allegations, criminal records or paraphiliac behavior. Background check shall include, at a minimum: inquiries of all bishops having past or present canonical authority over the individual; all schools attended by the individual during the past five years; and all employers of the individual during the past five years. Written records documenting compliance with the Policy shall be made contemporaneously and retained indefinitely. Background check forms are available through the office of the Canon to the Ordinary and at The congregation in which the person is employed or is a volunteer is responsible for beginning the background check process. All cleric and lay background checks will be reviewed by the bishop. The bishop will notify the appropriate person in the event of a red flag. Once completed, all cleric background checks will become a permanent record of their personnel file. All lay background checks will be archived by the office of the Canon to the Ordinary. The cost of background checks will be borne by the parish. B. Adoption of the Policy by Parishes and Separate Congregations Unless otherwise approved in writing by the Bishop of East Carolina, the vestry of each parish and congregation in this Diocese shall adopt this policy by a formal resolution, the text of which shall be recorded in the official minutes of the vestry. In addition, on an annual basis: 1. The vestry of each parish and congregation shall reaffirm the applicability of these policies to all clergy, lay employees, and volunteers of each parish and congregation; and 2. All clergy, all lay employees, and all volunteers who regularly supervise youth activities shall be furnished with a copy of this policy by the Diocese -- after they have completed the appropriate training.
This Pastoral Statement by Cardinal Roger M. Mahony, Archbishop of Los Angeles, was issued February 21, 2002.


Who wouldn't wish for universe-changing level superpowers? Carol Danvers is widely considered to be one of the most powerful heroes of every part of the multiverse. Does that hold true in Earth-199999, the cinematic universe?


text:
Q: Splitting Data into Training, Validation, and testing Working on a project for an introductory R course we've been asked to partition our data into Training, validation, and testing groups based on example code in our textbook.  The code we've been given to work off of is:
mower.df <- read.csv("RidingMowers.csv")
set.seed(111)
train.index <- sample(row.names(mower.df), 0.6*dim(mower.df)[1])
valid.index <- setdiff(row.names(mower.df), train.index)
train.df <- mower.df[train.index, ]
valid.df <- mower.df[valid.index, ]

I'm not sure how I adapt this code to split the data into three groups however.

redpajama_set_name: RedPajamaStackExchange


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text:
import {Expense} from '@schkola/finance/FinanceApiBase'

import {Component, OnInit} from '@angular/core';
import {TableDataService} from '../../../../../template/services/data.service';
import {ExpenseDataService} from '../../service/expense-data.service';

@Component({
  selector: 'app-expense-view',
  templateUrl: './expense-entity-view.component.html',
  styleUrls: ['./expense-entity-view.component.scss'],
  providers: [{provide: TableDataService, useClass: ExpenseDataService}]
})

export class ExpenseViewComponent implements OnInit {

    expense: Expense;

    constructor(public expenseDataService: ExpenseDataService) {}

    ngOnInit(): void {
        this.expense = this.expenseDataService.getFirst();
        this.expenseDataService.checkRoute(this.expense);
    }
}

redpajama_set_name: RedPajamaGithub


text:
Targeting FAK in human cancer
Human being proximal tubule (HK-2) cells are generally utilized as cellular
Posted on May 31, 2019 by Miriam Richards
Human being proximal tubule (HK-2) cells are generally utilized as cellular models to understand the mechanism by which inflammatory mediators cause renal injury. studies have indicated that activated protein C plays a renoprotective role, thus inhibiting the inflammatory responses and attenuating renal injury, presumably by activating the same cell surface receptor. In this study, we show that HK-2 cells express endothelial protein C receptor (EPCR) and that the occupancy of this receptor by protein C switches the signaling specificity of thrombin so that the activation of PAR-1 by thrombin inhibits the TNF–mediated synthesis of IL-6 and IL-8 and down-regulates the TGF–mediated expression of ECM proteins. These results suggest a possible protective role Rabbit Polyclonal to AKR1A1 for EPCR in acute kidney injury. Thrombin is a plasma serine proteinase that activates platelets and cleaves fibrinogen to stop bleeding at vascular injury sites (Mann et al., 1988). Thrombin also down-regulates its own production by a feed back inhibition mechanism when it forms a complex with the endothelial cell surface receptor thrombomodulin (TM) to activate protein C to activated protein C (Esmon, 1993b). Activate protein C (APC) functions as a potent anticoagulant by proteolytically degrading factors CPI-613 supplier Va and VIIIa, which are essential cofactors for thrombin generation in both extrinsic and intrinsic pathways (Walker and Fay, 1992; Villoutreix and Dahlback, 2005). Furthermore to these pivotal tasks in the clotting cascade, thrombin offers regulatory tasks in swelling, angiogenesis, apoptosis, manifestation of growth elements and tissue redesigning (Nierodzik et al., 1992; Esmon, 1993a; Grand et al., 1996; Huang et al., 2001; Ruf et al., 2003; Li et al., 2004; Coughlin, 2005). The non-hemostatic mobile ramifications of thrombin are mediated through the activation of G-protein combined receptors, referred to as protease-activated receptors (PARs), that are indicated on the top of endothelial cells and several additional cell types (Grand et al., 1996; Coughlin, CPI-613 supplier 2005). Among the four people from the PAR family members, PAR-1, PAR-3, and PAR-4 could be cleaved by thrombin. PAR-2, nevertheless, does not look like a substrate for thrombin, nonetheless it could be cleaved by elements VIIa and Xa as well as the non-plasma protease trypsin (Coughlin, 2005). Cultured vascular endothelial cells communicate all PARs and the original view would be that the activation of PAR-1 by thrombin up-regulates proinflammatory reactions in endothelial cells. Therefore, it's been demonstrated how the thrombin activation of PAR-1 promotes the discussion of leukocytes with endothelial cells and up-regulates the manifestation of cell adhesion substances through the activation from CPI-613 supplier the NF-B pathway (Kaplanski et al., 1998; Joyce et al., 2001; Riewald and Feistritzer, 2005; McLaughlin et al., 2005). Thrombin in addition has been proven to induce apoptosis also to disrupt the hurdle permeability function of endothelial cells (Ruf et al., 2003; Buret and Flynn, 2004; Feistritzer and Riewald, 2005). Nevertheless, in some recent research we found that the occupancy of endothelial proteins C receptor (EPCR) by proteins C blocks all in vitro indices from the PAR-1-reliant proinflammatory actions of thrombin. Therefore, just like APC, the activation of PAR-1 by thrombin initiated powerful anti-inflammatory reactions in endothelial cells (Bae et al., 2007a; Rezaie and Bae, 2008, 2009). If the occupancy of EPCR can change the PAR-1-reliant signaling specificity of thrombin in nonvascular cells hasn't been examined. It really is known that severe renal injury can be from the activation CPI-613 supplier from the clotting cascade as well as the initiation of inflammatory reactions that culminate in the deposition of fibrin and build up of extracellular matrix (ECM) protein inside the interstitial areas and cellar membranes of glomerular and tubular cells (Klahr et al., 1988; Tipping et al., 1988; Kaizuka et al., 1999; Grandaliano et al., 2000; Shirato et CPI-613 supplier al., 2003; Vesey et al., 2005). Latest in vitro data possess indicated that thrombin, through the activation of PAR-1, plays a part in.
This entry was posted in General and tagged CPI-613 supplier, Rabbit Polyclonal to AKR1A1 by Miriam Richards. Bookmark the permalink.


text:
Lucio Bubacco
artist, flamework glass, lamp work, Lucio Bubacco |
Lucio Bubacco was born on the island of Murano in 1957. At fifteen, he received his artisan's license and began marketing Venetian lampwork collectibles. In 1980, he began studying anatomical drawing with the Venetian artist Alessandro Rossi and figures in movement became a central theme of his work, transcending traditional application of lampworking. His work has been selected for numerous solo exhibitions around the world including Habatat Galleries in Chicago, IL; Museo del Vidrio in Monterrey, Mexico; Hakone Venetian Glass Art Museum in Otaru, Japan; and Muriel Karasik Gallery in New York. Collections including his work can be found at the Museum of Art and Design, New York; Museo del Vetro in Italy; Musée Atelier du Verre in France; and Glasmuseum Frauenauand in Germany, among others.
Murano born and trained Venetian artist Lucio Bubacco merges traditional glass forms with three-dimensional sculpture to create a matrix of a living force encased in glass. Bubacco is a frequent visiting artist at WheatonArts, a Creative Glass fellow in 1993 and a returning artist to demonstrate in the Glass Studio during special events. He brings along his vast knowledge of the many techniques of glassmaking and his arsenal of multicultural iconography and forms.
50th Anniversary Visiting Artists
Bubacco's The Eternal Moments 1, The Eternal Moments 2, and Faces of Pompeii display his cross-cultural infusion of the past and the present. Referencing the Ruins of Pompeii, these pieces were made in Lafayette, Indiana, an American location where traditional Italian techniques were used to create these contemporary art pieces.
Left to right: The Eternal Moments 1; Faces of Pompeii; The Eternal Moments 2 (from the Pompeii Series), 2019. Collection of the artist. Photo: Diego Lazzarini


text:
import gmpy2
import math
import uuid
import numpy as np

from federatedml.secureprotol.hash.hash_factory import Hash
from federatedml.util import consts, LOGGER

SALT_LENGTH = 8

class BitArray(object):
    def __init__(self, bit_count, hash_func_count, hash_method, random_state, salt=None):
        self.bit_count = bit_count
        self._array = np.zeros((bit_count + 63) // 64, dtype='uint64')
        self.bit_count = self._array.size * 64
        self.random_state = random_state
        # self.hash_encoder = Hash(hash_method, False)
        self.hash_method = hash_method
        self.hash_func_count = hash_func_count
        self.id = str(uuid.uuid4())
        self.salt = salt
        if salt is None:
            self.salt = self._generate_salt()

    def _generate_salt(self):
        random_state = np.random.RandomState(self.random_state)

        def f(n):
            return str(n)[2:]
        return list(map(f, np.round(random_state.random(self.hash_func_count), SALT_LENGTH)))

    @property
    def sparsity(self):
        set_bit_count = sum(map(gmpy2.popcount, map(int, self._array)))
        return 1 - set_bit_count / self.bit_count

    def set_array(self, new_array):
        self._array = new_array

    def get_array(self):
        return self._array

    def merge_filter(self, other):
        if self.bit_count != other.bit_count:
            raise ValueError(f"cannot merge filters with different bit count")
        self._array |= other._array

    def get_ind_set(self, x):
        hash_encoder = Hash(self.hash_method, False)
        return set(int(hash_encoder.compute(x,
                                            suffix_salt=self.salt[i]),
                       16) % self.bit_count for i in range(self.hash_func_count))

    def insert(self, x):
        """
        insert given instance to bit array with hash functions
        Parameters
        ----------
        x

        Returns
        -------

        """
        ind_set = self.get_ind_set(x)
        for ind in ind_set:
            self.set_bit(ind)
        return self._array

    def insert_ind_set(self, ind_set):
        """
        insert given ind collection to bit array with hash functions
        Parameters
        ----------
        ind_set

        Returns
        -------

        """
        for ind in ind_set:
            self.set_bit(ind)

    def check(self, x):
        """
        check whether given instance x exists in bit array
        Parameters
        ----------
        x

        Returns
        -------

        """
        hash_encoder = Hash(self.hash_method, False)
        for i in range(self.hash_func_count):
            ind = int(hash_encoder.compute(x, suffix_salt=self.salt[i]), 16) % self.bit_count
            if not self.query_bit(ind):
                return False
        return True

    def check_ind_set(self, ind_set):
        """
        check whether all bits in given ind set are filled
        Parameters
        ----------
        ind_set

        Returns
        -------

        """
        for ind in ind_set:
            if not self.query_bit(ind):
                return False
        return True

    def set_bit(self, ind):
        """
        set bit at given bit index
        Parameters
        ----------
        ind

        Returns
        -------

        """

        pos = ind >> 6
        bit_pos = ind & 63
        self._array[pos] |= np.uint64(1 << bit_pos)

    def query_bit(self, ind):
        """
        query bit != 0
        Parameters
        ----------
        ind

        Returns
        -------

        """
        pos = ind >> 6
        bit_pos = ind & 63
        return (self._array[pos] & np.uint64(1 << bit_pos)) != 0

    @staticmethod
    def get_filter_param(n, p):
        """

        Parameters
        ----------
        n: items to store in filter
        p: target false positive rate

        Returns
        -------

        """
        # bit count
        m = math.ceil(-n * math.log(p) / (math.pow(math.log(2), 2)))
        # hash func count
        k = round(m / n * math.log(2))
        if k < consts.MIN_HASH_FUNC_COUNT:
            LOGGER.info(f"computed k value {k} is smaller than min hash func count limit, "
                        f"set to {consts.MIN_HASH_FUNC_COUNT}")
            k = consts.MIN_HASH_FUNC_COUNT
            # update bit count so that target fpr = p
            m = round(-n * k / math.log(1 - math.pow(p, 1 / k)))

        if k > consts.MAX_HASH_FUNC_COUNT:
            LOGGER.info(f"computed k value {k} is greater than max hash func count limit, "
                        f"set to {consts.MAX_HASH_FUNC_COUNT}")
            k = consts.MAX_HASH_FUNC_COUNT
            # update bit count so that target fpr = p
            m = round(-n * k / math.log(1 - math.pow(p, 1 / k)))
        return m, k


text:
$.fn.drizzag = function bestowDrizagging() {
	var dragTargetElement = this.get(0);

	this.on("dragenter", "*", function(event) {
		event.stopPropagation();

		if (!dragTargetElement) dragTargetElement = document.documentElement;

		var toEnter = [];
		var current = this;
		while (!current.contains(dragTargetElement)) {
			toEnter.push(current);
			current = current.parentElement;
		}

		for (var i = toEnter.length - 1; i >= 0; i--) {
			$(toEnter[i]).triggerHandler("enter.drizzag", event.originalEvent);
		};

		dragTargetElement = this;
	}).on("dragleave", "*", function(event) {
		event.stopPropagation();

		var current = this;
		while (!current.contains(dragTargetElement)) {
			$(current).triggerHandler("leave.drizzag", event.originalEvent);
			current = current.parentElement;
		}
	})
}


text:
{{taxobox
| name = Campyloneurus longitergum
| image file =
| image descr = Наездник Campyloneurus longitergum
| regnum = Животные
| phylum = Членистоногие
| classis = Насекомые
| ordo = Перепончатокрылые
| subordo = Стебельчатобрюхие
| superfamilia =
| familia = Бракониды
| subfamilia = Braconinae
| genus = Campyloneurus
| species = Campyloneurus longitergum
| latin =
| wikispecies = Campyloneurus longitergum
| categories = Campyloneurus longitergum
| section name = Синонимы
| section text =
| itis =
| ncbi =
}}Campyloneurus longitergum — вид паразитических наездников рода Campyloneurus из семейства Braconidae.

 Распространение
Китай (Yunnan)

 Описание
Мелкие бракониды (около 7 мм). Усики тонкие, нитевидые, состоят из 54 члеников. От близких видов отличается следующими признаками: пятый тергит метасомы грубо скульптурирован (пятый тергит метасомы в значительной степени гладкий у сходного вида Campyloneurus cingulicauda); шестой и седьмой тергиты метасомы полностью чёрные (у C. cingulicauda беловато-жёлтые сзади); проподеум чёрный (у C. cingulicauda красновато-коричневый); яйцеклад равен 0,4 длины переднего крыла.
Третий тергит брюшка в задней части с хорошо развитой зазубреной поперечной бороздкой. Усики длиннее переднего крыла; дорсальный клипеальный край килевидный; брюшко гладкой и блестящее. Предположительно эктопаразитоиды личинок жуков.

 См. также
 Mama mariae''

Примечания

Литература
 Тобиас В. И. Сем. Braconidae //

Ссылки
 waspweb.org: Campyloneurus
Campyloneurus
Насекомые Азии
Эндемики Китая
Животные, описанные в 2020 году

redpajama_set_name: RedPajamaWikipedia


text:
Leadership for Kids
Dance Courses
Contemporary-Lyrical
Creative and Intro to Dance
Leaps and Turns
Strength / Conditioning / Pilates
Class Leveling Info
Apprentice Teachers
DAUPC Auditions
DAUPC Audition FAQ
DAUPC Requirements
DAUPC Boot Camp
DAUPC Audition Results
Team Opportunities
Hip Hop Teams
Jazz Teams
Lyrical/Contemporary Teams
Tap Teams
Recital FAQs
Locations/Directions
Recital DVD
Dress Rehearsal Schedule
Dance Academy USA Teachers
Ms. Angel
Angel, a native of Santa Cruz, has been dancing since the age of two. As a child, she won the Royalty Miss Pageant in elementary school and stared in several musical theatre productions for Children's Musical Theatre in middle school. She also danced competitively on a salsa team from San Jose, kicking off off 12 years of competitive dance training.
Before graduating from Abraham Lincoln High School in 2010, she was part of the National Championship winning dance team, The Convertibles. Angel was the principle dancer and choreographer for both Bliss Dance Company and Illusion Dance Company at Ohlone College in Fremont. She has trained with studios throughout the Bay Area, including Nena Dean Dancers, Dance Attack, Dance Kraze, Ballet San Jose, T and Company, Infinity, and Motion Pacific Dance. Her greatest dance inspiration is her mother.
Angel currently teaches adult Lyrical at Ariel Dance Productions, Tap/Ballet at Dance Academy USA, and multiple styles at Santa Teresa Academy of Music and Dance. In her free time, she enjoys watching movies, spending time with friends and family, going to the beach, reading, and dancing.
Mr. Ben
Originally from Seattle, Washington but raised in the Bay, Ben has been dancing since the age of eight and couldn't stop moving since! He has danced with multiple crews around the Bay Area in urban dance hip hop choreography. Currently, Ben dances with a hip hop urban dance team known as Syndicate based out in San Jose, California. As a dancer and teacher, he believes that dance should always be fun and to enjoy the journey and work hard always!
Ms. Caitlin
Caitlin Malone grew up in Cupertino, and started dancing at the age of 3. She became a part of the Dance Academy USA family in 2011, when she joined DAUPC. She has trained in jazz, tap, ballet, hip hop, lyrical/contemporary. While attending Monta Vista High School, she was a member of the Monta Vista dance team, and was an officer her junior and senior years, leading the team to Nationals in 2016 & 2017 where they received 1st place both years.
Caitlin is currently attending San Jose State University, hoping to become an elementary school teacher and she is thrilled to be back at DAU, teaching the next generation of dancers. A fun fact about Ms. Caitlin: she has two pugs named Mac & Ollie.
Charlene has over 23 years of experience dance training in the disciplines of Ballet, Tap, Jazz, Lyrical, Contemporary and even Cheer-leading. For over 12 years, she participated in conventions and competitions where she had the opportunity to be instructed by several professional dancers and choreographers. In high school, Charlene was captain of the Archbishop Mitty Varsity Competitive Dance Team. She was awarded USA All-Star for her rigorous dance technique ad dynamic personality on stage. She was also named Scholar-Athlete of her dance team.
Charlene attended Cal Poly, San Luis Obispo, where she received a degree in Graphic Communications. While in college, Charlene was a member of Orchesis Dance Company. She regularly took classes at the world renowned EDGE and Millennium Dance studios in LA. Her professional credits include Alice in Wonderland and The Nutcracker. In 2011, Charlene started her own business, Tutu Doll, which combines her love of dance and design. Charlene taught at DAU for 7 years before taking some time off with her husband to start a family. She has 2 beautiful children, one of which is already following in mom's footsteps here at DAU. Charlene is excited to be back teaching at her dance home!
Ms. Corrine
Corrine grew up in San Jose and has over 18 years of dance and cheer experience. She started in cheer at the age of 4 years, in her cheer life she won over 7 National title ships in song pom performance. She joined her first dance studio at the age of 8, with styles in Jazz, Ballet, Tap, Lyrical, and Hip Hop. She was apart of her studios performance and competition team winning four Crystals in tap and many others. With her studio was able to attend various conventions and learned from many different professionals such as Mia Michaels, Kenny Wormald, and Sonya Tayeh. During high school at Santa Teresa was on the Song and Cheer competition team.
Now graduating from San Francisco State University, with a BA in Dance and a minor in Special Education. In college she honed her studies in Ballet, Modern, and Jazz. She also was chosen to perform with the schools University Dance Theater, and has done work with Janice Garrett, and Cathleen Mccarthy. Also has been able to learn from Jessica Lang Company. With her college career coming to a close she is excited to being her new path of teach the next generation. She hopes to in the future become a Dance Movement Therapist and work with kids to adults with disability and making dance possible for anyone.
Mr. Daniel
Mr. Gwatkin started ballet training at age 7, and received a scholarship to attend the Royal Ballet School, London at age 11 under the instruction of Richard Glasstone and Murray Kilgour. After dancing as a corp de ballet, a senior corp de ballet, a soloist and a senior soloist for the three years at the Performing Arts Council of Transvaal (PACT) in South Africa, he was promoted to a principal at 21 years of age, the youngest in the history of PACT. In South Africa, he danced many classical and neo-classical principal roles in full length ballet productions. He received the Marilyn Jenkins Award for the Best Performance as Porthos in the Three Musketeers, awards from The Friends of Ballet and AA Vita, Dalro Award for the Best Performance for dancing Spartacus in Spartacus. He premiered Spring Waters Pas de Deux for PACT, choreographed by Asaf Messerer, and was invited to the Bolshoi Theater by Messereer.
He guested with the CAPAPB Ballet in Cape Town, Smuin Ballet, London City Ballet for Coppeliea and Giselle, and Los Angeles Classical Ballet for the Nutcracker and the Midnight Summer's Dream. He danced principal roles, and coached and rehearsed company dancers for the Ballet San Jose for the last 15 years. He also taught students in preparation for professional dancing careers. He has a profound understanding and extensive experience in dancing various ballet styles and working with choreographers of different genre over 25 years of his dancing profession. Daniel is married with two children and as such, brings an understanding to the classroom of how children learn and grow.
Ms. Denise
Denise brings along over 30 years of dance teaching experience with her to Dance Academy USA, including 15 years as an Assistant/Artistic Director. Denise is the director of the studio's Performance Team that began in 2012. She is responsible for overseeing this special team of students that performs at local community and charity events in the area.
Denise began her training at the age of three studying Jazz, Tap, Ballet, and Tumbling to name a few. While attending Fremont High School, she was a member of the award-winning dance team the "Fremont Featherettes." She began student teaching and coached the Monta Vista High School Dance Team for four years, including the year they took first place at the USA Cal State and Nationals championships.
Denise is the mother of three wonderful children, with whom she has found time to become involved in their extracurricular activities as well. She has been a board member for the Sunnyvale Southern Little League, volunteered at many Sunnyvale Pop Warner events, and was named "Volunteer of the Year" at Cherry Chase Elementary. She has choreographed for many local elementary and junior high events and talent shows and has had the pleasure of performing at Disneyland and many 49ers half-time events.
When she's not at DAU, Denise volunteers at HOPE teaching dance classes for adults with disabilities. For the past seven years, she has also worked with "Starting Arts," a non-profit organization that provides dance at elementary and high schools in the area. Denise continues to attend many conventions with her students, including JUMP, NUVO and Hollywood Connection, to stay abreast in the dance world. Her passion and commitment to her students makes her one of DAU's most in demand teachers. She loves teaching and finds it rewarding to watch her students grow and blossom into artistic, talented dancers and express their love for what she is passionate about. Have fun, and "Dance From your Heart!"
Ms. Erica
Erica is a San Jose native, and started dancing at the age of 5 with Nancy Doize. She is trained in ballet, jazz, lyrical and hip hop, and has been teaching and choreographing around the Bay Area for over 18 years. She competed with Pioneer High School's award-winning dance team, and was also 1st Runner Up in Miss Cal State USA – Northern CA. She has also danced professionally with the Golden State Warrior Girls, the San Jose SaberKittens, and the San Francisco 49ers Gold Rush teams. While with the 49ers, she was able to perform with Huey Louis and the News, and the Backstreet Boys.
She has choreographed for Nancy Doize's School of Dance, leading her teams to be national champions. She has also choreographed for the 49ers Gold Rush dance team, and has studied with teachers such as Mia Michaels and Benny Smith, to name a few. A cosmetologist by trade, she is happy to be sharing her talent and passion with her dance students. We are so excited to have her join our team!
Ms. Gabriella
Gabriella Bruno is a professional dancer and choreographer originally from the Bay Area. She has studied all genres of dance including tap, jazz, ballet, modern, hip-hop, contemporary, world dance, and musical theater. Her dance career and training have taken her to LA and NYC, but her heart has always been in NorCal.
Gabriella received her BFA in Dance Performance from Chapman University and graduated Magna Cum Laude with a minor in English. She has performed in various highly-acclaimed venues in both Northern and Southern California as well as throughout New York City. She has been an integral member and performer of such dance companies as Tap Overload, Suku Dance Lab, abunDANCE, and Psychosomatic Dance. She also had the honor of being a principle dancer in Keomi Tarver's hit 5-woman production of, Love and War, which debuted as a sold out show in NYC in 2016.
Gabriella is honored to be a member of the Dance Academy USA family as well as the Tap Director. She looks forward to working hard and having fun creating movement and rhythms!
Mr. Grant
Grant Torino has been dancing as long as he can remember, but started his formal training at age 16 after auditioning and being selected for a dance team, Future Shock, San Jose. He has been training ever since, further developing his passion for hip hop, street style, and urban choreography. He has battled and competed on teams such teams as Gen Two, The Company, Versatile Styles, and currently competes for The Tribe. He has performed in San Diego, Los Angeles, Las Vegas, Sacramento, Irvine and all over the Bay Area. Grant has been teaching for three years now and loves helping students cultivate a passion for learning and appreciation of dance.
Mr. Jacob
Jacob trained with Alexi Zubiria and Alison Share, performed in numerous shows, increased classical and neo-classical repertoire, and eventually graduated from Western Ballet in 2018. He is excited to be on board at DAU to share his Ballet knowledge.
Ms. Jaelyn
Jaelyn Andrade has trained extensively in tap, jazz, ballet, lyrical/contemporary, and hip hop starting when she was three years old. She began dancing at West Coast Dance FX in Hollister where she competed for ten seasons, attending multiple competitions and conventions throughout the Bay Area. When she began high school she became a teacher's assistant, working with multiple levels of students at her studio. Around age fifteen she began teaching classes of her own in all genres, which is where she really decided she wanted to pursue dance as a career. Since then, she has served several roles such as competition team director, studio manager, as well as an instructor at several studios getting a glimpse into multiple aspects of the dance world.
On top of it all, Miss Jaelyn is currently attending San Jose State University where she is continuing her training as a Dance Major and will graduate in the spring of 2020. She owes her entire dance career to her long time instructor Miss Jessica Smiley Kim, who has always given her excellent advice and inspired her to chase her dreams, and of course her family who supports all of her dreams. Jaelyn is forever grateful for the all of the opportunities she's been given and can't wait to continue sharing her talents and passion!
Mr. Jaylen
Jaylen Pea – a native of San Jose – has been dancing for 7 years. His dance journey started in high school with a junior hip hop team named A-Youngin', and ever since then, his love for dance has grown every day! He eventually joined a competitive hip hop dance team named Hungry Fam and then moved to a new team - Syndicate - which enlightened his journey even more.
From there, he started to develop his own artistic voice, leading him to teach at local studios/workshops. He is currently signed to a dance agency, Clear Talent Group in Los Angeles, traveling back and forth for auditions to live his dreams of becoming a working dancer. Mr. Jaylen is looking forward to joining our family at DAU, and working with the next generation of dancers!
Jane Carter, Founder and Artistic Director. Ms. Jane was born in Fort Bragg, North Carolina as the daughter of a three-war veteran---World War II, Korea, and Vietnam. She earned her Bachelor's Degree from San Jose State University where she was a member of the Spartan Spectrum Dance Team. At SJSU, she studied Human Performance/Fitness with a minor in Nutrition and Food Science.
In 1985, Ms. Jane was selected by Dole Corporation to be the company's ambassador to promote dance, modeling, and aerobics in Japan. That same year, she was on the very first dance team for the NBA Golden State Warriors that consisted of ten dancers. After two seasons with the Warriors, she went-on to dance for the San Francisco 49ers as a Gold Rush cheerleader. She frequently represented the Warriors and 49ers at charity events, promotional business, and television appearances. These unique experiences allowed Ms. Jane to be introduced to some of the best choreographers in the world.
More background. Ms. Jane has been featured in Fit & Runner's World magazines, Evening Magazine, San Jose Mercury News, San Francisco Chronicle, and several local papers. She also danced in a Jeep commercial as well as Super Bowl XIX. She was the Managing Director of American Spirit Association (ASA), which held 3-5 day dance camps at colleges all over the United States. Ms. Jane was also the Artistic Director of School House Sports (SHS); SHS was the largest dance studio outreach program in Northern California at one time and offered dance classes to pre-schools, public schools, and private schools. She is also the Former Director of the NBA Warrior Dance Team and former Creator and Director of Arena Football's, San Jose SaberKittens.
In 2013, Ms. Jane was awarded America's Dance Educator of the Year by Co. Dance.
In 2014, she won the most prestigious dance teacher award in the United States of America; Dance Teacher Magazine awarded Ms. Jane the 2014 Dance Teacher Award in the Private Studio/Conservatory Category. She was presented this extraordinary honor in New York City; there is no higher honor in the dance education industry.
Ms. Jane founded Dance Academy's USA's competition team in 1991; she named the team, The Production Company. The Production Company has grown from ten members to almost two hundred, and, regarded nationally as a California powerhouse. Ms. Jane's students have won awards and scholarships, received national titles, and attended a wide range of universities including Juilliard, American Musical and Dramatic Arts, UCLA, USC, NYU and many more. Ms. Jane has seen many of her students grow and develop into professional teachers, professional dancers, Broadway performers, and world-class choreographers.
On a personal note, Ms. Jane has been married to Jim Carter since 1988. They met in college where Jim played football and was awarded "All-American". Jim has been involved in the real estate industry since 1993 as a broker, syndicator, investor and now President of the Real Estate Coaching Organization. As somewhat of an empty-nester hobby, he has published two books: A Guide to MAKING IT in Real Estate (non-fiction); and, The Rip-Off (fiction-novel).
Jim and Jane are proud of all three daughters, Jessie, Jamie and Jodie. Jessie graduated from USC and is a former USC Song Girl, NBA Clipper Girl and NFL Charger Girl; she is a sales professional for EMC-Dell and will be starting, a post-graduate business program at Harvard in July. Jamie also graduated from USC and is a former USC Song Girl. She is currently finishing a Master's Degree in Finance (also at USC) and will be moving to Utah in August to work at Goldman Sachs. Jodie is graduating from UCSB in June and will be moving to Texas in August to begin a Master's Degree in accounting at University of Texas. She has a job waiting for her at PWC when she finishes her Master's Degree.
Ms. Jane is exceptionally proud of the DAU staff, parents and dancers for collectively making Dance Academy USA a place of warmth, friendship, encouragement and teamwork.
Ms. Jen
Jennifer has been teaching for 34 years. She studied Classical Ballet, Tap, Jazz, Acrobatics and Lyrical. Her ballet training consists of Russian technique as well as Royal Academy of Dance technique. Jennifer continued her training with Gus Giordano, Frank Hatchet, Sam Fiorello and Ballet Mistress Herida May (RAD-UK) and attended Dance Masters of America teacher training program at Kent State University.
She directed the New England Children's Dance Company for 1990-2001, where she received many awards for choreography and coached the Company to be dance world champions in 1999. Her choreography and dancers were presented at the Gus Giordano World Congress opening ceremonies in 1998. Many of her students have received scholarships to Joffrey Ballet, School of American Ballet, and have gone on to work with Prince, Madonna, Ricky Martin, Brandy and Mandy Moore. Jennifer owned and operated her own dance studio and dance company from 2003-2009
before moving to California. As artistic director she wrote, directed and choreographed several children's ballets as well as directed The Nutcracker.
Since Moving to California Jennifer has had the opportunity to choreograph for two
independent short films.
Ms. Jessalyn
Jessalyn is a native of the Bay Area. She is a graduate from the University of California, Santa Barbara with a BA in Psychology and Sociology and also has an extensive background of choreography and dance. With her education and passion for dance, Jessalyn has taken two roads of success in her life.
In the world of dance Jessalyn has been a dancer and choreographed for several professional dance teams and hip-hop crews which include Richmond Rocket Girls, Silhouette, THYCK, Fusion Latina, Culture Shock Oakland, Phase II, Oakland Raiderettes and the NLL Stealth's Spy Girls. She is the choreographer and currently dancing in Great America's CULTure Pop. She was also a feature performer in the show Mixed Element, had the lead role of Doris in the School of Rock Live musical and was a part of the traveling Las Vegas Legends in Concert production. Jessalyn also had the privilege of working with artists such as LL Cool J, Amerie, "Weird Al" Yankovic and choreographed the Oregon tour for the Universal Recording Artist Dol Re'. While working with all the groups and artists she has also managed to keep the movement and inspiration of dance alive while currently being a Master Instructor and Choreographer for several dance studios and youth dance teams in the Bay Area.
With her passion in Psychology & Sociology, she is currently a Case Manager for the Bill Wilson Center working with at-risk adults in the Bay Area. She is committed to empowering today's society through counseling, the teachings of education and values.
Jessalyn is devoted to her craft, committed to sharing her dance knowledge, education, and passion for life with students and dancers of all ages. "Life isn't about finding yourself. Life is about creating yourself." - George Bernard Shaw
In her free time Jessalyn enjoys traveling and exploring the world. Spain, Italy and Hawaii are amongst her favorite vacation spots. She enjoys baking for family and friends and loves to sing, play the piano and watching movies. Jessalyn feels truly blessed to be a part of the DAU family. She is excited to be a part of such amazing staff and talented dancers.
Ms. Jessie
Jessie Carter is another DAU legacy; she is the eldest daughter of Ms. Jane and Ms. Jane's husband, Jim Carter. She started dancing at 2 years old, and trained in ballet, pointe, tap, jazz lyrical, contemporary, and hip hop. She was a member of DAUPC for 13 years, and was a T.A. for 5 years, eventually becoming an Apprentice Teacher when she was 15.
Jessie is a graduate of the University of Southern California, and holds a degree in Communication. While at USC, she was a member of the world renowned USC Song Girls traveling all over the country for USC Athletic Events and London to perform at the Olympics. Jessie was also a NBA Los Angeles Clippers Spirit Dancer, and a NFL San Diego Chargers Girls. Jessie taught dance to junior high and high school dance teams for the United Spirit Association (USA) as a Song Leader, as well as teach Dance as an Elective at Birmingham High School in Southern California. Today Jessie is an Account Executive at Dell Technologies supporting some of Silicon Valley's biggest companies.
Ms. Jessie believes that "the skills you attain through dance class – commitment, hard work, time management, teamwork, leadership, persistence, responsibility – will transfer to a successful college career and eventually to a successful career and family life. Acknowledge that, be proud of your dedication to dance, and take confidence in knowing you have these skills."
Ms. Joy
Joy is a DAU Alumni who has trained at DAU for 18 years, since the young age of 3. She was an esteemed member of DAUPC and has been a staff member for the past 4 years. Ms. Joy has been classically trained in all styles including, Ballet,Jazz, Tap, Hip Hop, and Contemporary. She is excited to share her expertise in Contemporary, Hip Hop, and Jazz with all of her students!
Ms. Joyce
With a teaching career that spans over 40 years, Joyce is one of the most respected Ballet instructors in Silicon Valley, not to mention one of the most beloved teachers at DAU. She trained at the Stone-Cameron School of Ballet in Chicago and went on to study with and teach for the legendary Gus Giordano. Joyce has also had an impressive professional career. In Chicago, Joyce danced in the Stone-Camryn Ballet Company. After more than a decade of teaching in Illinois, Joyce moved to the Bay Area where she has taught for over 30 years. She has performed with the Palo Alto Theater Company and the Picalilly Players, an improvisational comedy group. She has also choreographed for performances at Archbishop Mitty High School and Yerba Buena High School.
Over 25 years ago a colleague recommended she check out Dance Academy USA, a then new studio looking for new teachers, and the rest is history! As our very first Ballet teacher who started in 1990, Joyce is the foundation of our thriving Ballet program and a much loved member of the DAU family. Over the years she has watched the Ballet program evolve and grow into what it is today. She looks forward to the days she comes to work at DAU and credits her students for keeping her so young!
Her passion for Ballet and her students' success shows in her work. Joyce sees each child as an individual and teaches each one to reach his or her potential. For decades, her students have credited Joyce with providing them with a strong technical foundation, a love of classical Ballet and the discipline necessary to succeed in the dance studio and beyond. When she's not in the studio, Joyce enjoys attending local Ballet performances throughout the Bay Area and encourages her students to do the same to expand their knowledge and love of this beautiful art form.
Ms. Karli
Karli Koelliker (Moats) began her dance training at Starstruck Academy of Dance in Denver, Colorado, and was a member or their company team for 12 years. She has trained in ballet, jazz, lyrical, contemporary, and hip hop. Karli was also a member of her high school varsity pom team. Her and her team were 3 time state champions and placed top 5 at UDA Nationals in Florida.
Karli went on to dance with the BYU Cougarettes from 2010-2013. She was the head dance captain, and won 4 National titles with the Cougarettes in Hip Hop and Open Dance. Karli graduated from BYU with a degree in Public Health in 2014.
Karli has been dancing on a contemporary company called Divinity Dance Company for the past two years in Salt Lake City, Utah. She has also been able to work with Bonnie Story on multiple projects including a commercial for Marriott Hotels, and most recently the Hallmark Christmas Movie "My Christmas Love".
The past 4 years Karli has teaching dance in Salt Lake City, Utah and choreographing for dance teams and studios throughout the nation. She recently moved with her husband John to San Francisco and is so excited for the opportunity to start teaching at DAU!
Kelsey Kroening came to us with 13 years of dance experience. She has studied the disciplines of jazz, tap, ballet, hip- hop and lyrical. Kelsey began competition dancing in 2004 after her years of performing in cheerleading. During her years at Valley Christian High School she performed on the cheerleading for three years as well as Nor Cal Elite.
In 2012, she transferred from West Valley to St. Mary's College of California in Moraga. During her time at St. Mary's she joined the rowing team as the coxswain for the 6 and 4 boat in novice. While on the rowing team she helped her team earn two medals, one including first place at the Head of the lagoon in Foster City. At St. Mary's she studied communications and earned her bachelor's degree in communication in 2014.
In 2010, she continued her passion of performing by joining the San Jose Saberkittens. After two years on the San Jose Saberkitttens, she began a season with the San Francisco 49ers Gold Rush in 2013.
Kelsey's passion for dance and working with children made her realize that her next step was to become a teacher and help others see the meaning behind dance. To her dancing allows you to forget about everything else and express yourself in a different way.
Outside of dance Kelsey is a sales executive and tutors children grades Junior High to High School.
After sneaking into her older sister's closet to try on her ballet shoes, Kimberly decided that she wanted to take her first dance class. She first stepped foot in a San Jose dance studio at the age of five and has since then acquired over 22 years of training and dance experience ranging from Jazz, Tap, Ballet, Hip Hop, Lyrical, and Creative Movement. Aside from years of recitals, competitions, and conventions,
Kimberly's highlights and credits include dancing for Nickelodeon at former Paramount's Great America for two years, touring as a dancer for vocal artist Yvette Jones, and dancing alongside Brittany Murphy in Paul Oakenfold's "Faster Kill Pussycat" music video.
As a fierce advocate of performing arts education, Kimberly returned to the studio environment as an instructor for local studios in the Sacramento area. Outside of the studio, Kimberly brought dance to children in charter schools, Boy Scout troops, and the Parks and Recreation department of Sacramento. These environments allowed her to adapt her dance expertise and teaching skills to a variety of students, all from different walks of life.
Although Kimberly still loves performing, and occasionally does with a local dance team, she feels most at home inspiring students to be just as inspired as she is by music and dance. Understanding the positive impact of the arts in one's development is one of the driving forces behind her passion for the performing arts.
Currently Kimberly keeps herself on her toes as a mother (to her very own tiny dancer) and a K-8 dance instructor at The Harker School in San Jose, and teaching classes at DAU. She loves introducing the younger generation to creative movement, "It is the first taste of dance for these kids, and I love getting to be the one to expose them to that. You always hope it's going to be an enjoyable experience for them." Kimberly is thrilled to pass down her passion for dance, and is excited to continue her love of teaching at here at DAU.
"Music is a more potent instrument than any other for education because rhythm and harmony find their way into the inward places of the soul."
Ms. Mahina
Mahina Haughey is a DAU Alumni who has trained at DAU for 16 years. Mahina has danced recreationally since the age of 2 and later joined DAUPC at the age of 13. She has been classically trained in all styles such as jazz, hip hop, tap, lyrical/contemperary, ballet, pointe and more. Mahina wishes to inspire others through dance and pass down technique and knowledge to future dancers.
Ms. Marcie
Marcie, a Silicon Valley native, discovered her passion for dance at age seven when she enrolled in her first ballet class - she truly felt at home in the studio. She enjoyed making new friends, learning technique, and most of all loved the feeling of camaraderie as her class worked on their recital routine. Marcie continued her study of dance in the disciplines of ballet, tap, jazz, modern, and ballroom for twelve years. Her love of the performing arts led her to audition for her first musical theater production at the age of fourteen, and from that point on she couldn't shake the theater bug.
Over a series of twelve years Marcie starred in countless theatrical productions throughout Northern California and Massachusetts. Her favorite roles included Gladys in Pajama Game, Bonnie in Anything Goes, Little Red Riding Hood in Into the Woods, and Kristine in A Chorus Line. She married a fellow musician and actor, Steve Shapiro, and the two of them enjoyed performing together as well as teaming up to choreograph and music direct local community theater.
Marcie's studies led her to a professional career in bio-tech and hi-tech where she exercised her skills in marketing communications and public speaking. Her comfort level with delivering corporate presentations stemmed directly from her years of experience in the performing arts.
After she and Steve became parents to two little girls, Marcie decided to leave her corporate life and volunteer her time in her daughters' classrooms where she found true joy working with young kids. And now, having the opportunity to combine her love of children with her passion for the performing arts is a dream come true. She is absolutely thrilled to "return home" to the studio and teach the young students of DAU.
With all her life experiences, Marcie understands that her time with students is not just about dance. Studio time is also about discovering an inner confidence, one that will allow her students to shine and be the best they can be in their life ahead. Helping children develop that inner confidence is just about the most rewarding job Marcie can imagine.
Ms. Michaela
Michaela is a Santa Cruz native, born and raised. She has been studying dance since the age of 3, and started competing with her home studio at age 10.
She performed in the Santa Cruz Ballet Theater Nutcracker for 8 years as part of their senior company. She has also studied Polynesian and Ballroom dance on the side. Her focuses are in ballet, contemporary, jazz, and tap.
Ms. Mimi
Native of San Francisco, Mimi started with learning all types of dance from ballroom to traditional cultural dances from a young age. She officially started her formal hip hop training back in 2015 with competition team, Str8jacket (San Mateo), with her focus and passion mainly for Waacking, a type of underground hip hop style.
She has competed in competitions such as Prelude Norcal, Collaboration & World of Dance: Bay Area, Los Angeles & Finals. She then moved on to performing with the Tribe Dance Company (San Carlos) in events like SF Hip Hop Dance Festival as well as performing in productions such as Hip Hop Cinderella & The Hip Hop Nutcracker.
Now mostly focusing on teaching, freestyling & further development in her own style, Mimi's goals are to not only continue the learning & development in her students techniques, but to also be able to help build their confidence in their own styles as rising dancers.
Ms. Nicole
Ms. Nicole comes to DAU with training in all classical dance styles but has a strong focus on Ballet. She has trained extenseively with the Colorado Ballet/International Ballet School, the National Ballet Academy of Denver, and Belliston Ballet Academy. She has performed with Ballet San Jose as a dancer on the company and as a Guest Artist for Ballet Arts Center, Morgan Hill Dance Center, Western Ballet Company, Cassand Ballet, and Peninsula Ballet Theater. Ms. Nicole has experience teaching Ballet throughout the Bay Area at highly credible schools including Western Ballet School & Company, Morgan Hill Dance Center, Lana's School of Dance, Academy of American Ballet, Mission Dance & Performing Arts, First Position Dance, Urban Body San Jose, Academy of Classical Ballet, and Menlo Park Academy of Dance.
Ms. Nicole received her B.S. in Business Administration & Finance from SJSU, graduating Magna Cum Laude. She is also certified teaching in Pilates through Urban Body San Jose.
Mr. Neil
Neil Caliboso aka the "NeilDeal" has been dancing for over 7 years in various original hip-hop styles, specializing in breakdancing. Neil's unique style brings popping, locking, and breakdancing grooves and moves together known back in the day as "a triple threat" and teaches strong foundational techniques he has learned over the years from experts that has helped various levels how to merge/flow the styles in the dance.
Neil has performed on various stages showcasing, soloing, and preforming all over the bay area for several years such as with Mission in the Mix, SF Hip Hop International, Tribe Dance Company's Cinderella and Hip-Hop Nutcracker, various street shows, corporate parties, schools etc. He has competed in local jams or competitions all over California and as he takes a step back to develop more of his style, Neil has found the joy and the reward to passionately teach what he has learned by giving back as others has done for him.
Sarah Chan began her dance training in classical ballet, pointe, and modern at the age of 3. She studied at Eastern Connecticut Ballet under Gloria Govrin, a former New York City Ballet soloist, and Libby Nye, a former Jose Limon dancer. She has performed lead roles in multiple ballets here, including The Nutcracker, Interplay, Balanchine's Raymonda Variations, and Tarantella. Sarah also participated in ABT and Atlanta Ballet Summer Intensive Programs.
She graduated from Ohio State University with a B.S. in Human Nutrition and a minor in Dance and is now also a Registered Dietitian. During her time at OSU, Sarah danced and choreographed for Dance Connection, a student-led organization, while performing in various Dance Department shows. Upon graduation, Sarah joined Columbus Modern Dance Company and had the pleasure of performing with them and teaching their open adult ballet class. Sarah is currently a dancer for ArcTangent Dance Company. Sarah has 4+ years of dance teaching experience and is excited to bring her knowledge and passion to Dance Academy USA.
Ms. Tami
Tami Burton is a California native and grew up in Palo Alto. She started dancing after graduating from college (proving that it's never too late to start dancing!), and trained in jazz, lyrical, contemporary, tap and hip hop. She happened to walk by a jazz class at Foothill College and decided it would be a fun class to try and was hooked forever.
She attended San Diego State University and has a Computer Science degree. She worked at Franklin Resources (now Franklin Templeton), Cypress Semiconductor and Electronics for Imaging, Inc. before becoming a full-time dance instructor. She continues to volunteer, dance and assist for the Foothill Repertory Dance program run by director, Bubba Gong. Foothill has community performances and often collaborates with other community colleges, especially City College of San Francisco, West Valley College and most recently was the main performance entertainment for the 2017 Community College League of California annual conference held at the San Jose Fairmont last November. Her groups have also performed at several San Francisco Chinese New Year parades.
Being a director of a performing company and attending conventions on a yearly basis offered her the opportunity to take classes from a variety of master teachers such as Tyce Diorio, Jackie Sleight, Kobi Rozenfeld, Scott Fowler, Gregg Russell, and many more. She took classes from Charlie McGowan in San Jose before he landed roles as an actor in movies, such as A Chorus Line and Grease 2.
She has previously danced with a small modern company, Dogpatch Superstars, and also Allegra Dance. She recently choreographed a piece for Adobe and is currently working with the Palo Alto Children's Theatre student programs.
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7 Nights | 7-DAY WESTERN CARIBBEAN FROM ORLANDO (PORT CANAVERAL)
About Great Stirrup Cay, Bahamas
George Town is a city situated on Grand Cayman island of the Cayman Islands. It serves as the capital of the Cayman Islands, in the British West Indies. As of 2007, the city had a population of 28,836, making it the second largest city (by population) of all the British Overseas Territories. George Town's famous Seven Mile Beach is a long crescent of coral-sand beach extending up to the West Bay region of Grand Cayman and is the most popular and populated area for tourists on the island.
Falmouth is the chief town and capital of the parish of Trelawny in Jamaica. It is situated on Jamaica's north coast 18 miles east of Montego Bay. It is noted for being one of the Caribbean's best-preserved Georgian towns. Founded by Thomas Reid in 1769, Falmouth flourished as a market centre and port for forty years at a time when Jamaica was the world's leading sugar producer. It was named after Falmouth, Cornwall in the United Kingdom, the birthplace of Sir William Trelawny, the Governor of Jamaica, who was instrumental in its establishment. The town was meticulously planned from the start, with wide streets in a regular grid, adequate water supply, and public buildings.
Great Stirrup Cay
Great Stirrup Cay is a small island that is part of the Berry Islands in the Bahamas. Norwegian Cruise Line purchased the island from the Belcher Oil Company in 1977 and developed it into a private island for their cruise ship passengers. The northern part of the island has a sandy beach surrounded by rocks with snorkeling areas. The southern part features a helicopter airfield (with a sign reading "Great Stirrup Cay International Airport"), a large area without vegetation, and numerous concrete blocks. These are all remnants of a previous U.S. military installation and satellite tracking station. The island's lighthouse was originally constructed in 1863 by the Imperial Lighthouse Service. Great Stirrup Cay is adjacent to Little Stirrup Cay, Royal Caribbean Cruises' private island.
11-DAY ANCHORAGE DENALI EXPRESS - SOUTHBOUND CRUISETOUR
Vancouver, Juneau, Ketchikan
17-DAY VOYAGE TO SOUTH AMERICA FROM SAN DIEGO
From Lima
Lima, City of Valparaiso, Chiapas, Arica, Huatulco, San Diego, Rena, Salaverry, Coquimbo
11-DAY O'AHU EXPLORER ALOHILANI RESORT STANDARD VIEW CRUISETOUR
From Kailua-Kona
Kailua-Kona, Honolulu, Hilo, Kahului, Nāwiliwili, Coast
3- DAY BAHAMAS FROM MIAMI - FREE OPEN BAR
4-DAY WESTERN MEDITERRANEAN FROM CIVITAVECCHIA
Cannes, Marseille, Barcelona, Livorno, Civitavecchia
5-DAY BAHAMAS & FLORIDA FROM TAMPA
Nassau, Tampa, Key West, Great Stirrup Cay
11-DAY MEDITERRANEAN & ADRIATIC FROM ROME (CIVITAVECCHIA)
From Split
Split, Dubrovnik, Katákolo, Venice, Corfu, Valletta, Koper, Civitavecchia
9-DAY GREEK ISLES FROM ROME TO ATHENS: SANTORINI, MYKONOS & ISTANBUL
From Santorini
Santorini, Piraeus, Civitavecchia, Istanbul
5-DAY BERMUDA FROM NEW YORK
From Bermuda
Bermuda, New York City


At least 37 people have been killed and more than 100 injured in two separate attacks in , according to local officials.
Early on Friday, a suicide car bomber killed 12 people in Quetta in the volatile south-west.
In the afternoon, twin blasts hit a market in Parachinar, the largest city in the Federally Administered Tribal Areas, killing at least 25 and injuring more than 100, medical officials said.
The explosion in Quetta seemingly targeted the office of the inspector general of police. Four officers were among those killed in the blast, which occurred after a car carrying explosives was pulled over at a checkpoint.
Rahmat Ullah, 35, a police officer, was leaving the inspector general's office when he felt the explosion. It filled the air with dust and covered the ground in shattered glass, he said. He ran until he fell and passed out.
The twin attacks in Parachinar appeared to target civilians and took place in a busy market in an area populated mostly by Shia Muslims.
After the first explosion, which struck as shoppers were preparing for Eid, people gathered around the victims. Three minutes later, another explosion ripped through the crowd, said Sajid Hussain Turi, a local lawmaker.
One witness, Amjid Ali, said he was close to the market during the first attack. "I mentally prepared myself to go and rescue victims but, as I got closer to the area, another explosion happened. It was horrifying," he said.
He said authorities did little to help ferry victims from the attack site. "All those who died are Shia Muslims, and aren't even considered Muslims in this country. No one has come for help," Ali said.
Muhammed Sabir Hussain, a medical officer at Parachinar hospital, said 25 people had been killed and 90 were being treated.
Two helicopters were dispatched from Peshawar to evacuate the severely wounded, ISPR, the media wing of Pakistan's armed forces, said.
Jamaat-ul-Ahrar, a faction of the Pakistani Taliban, and a local affiliate of claimed to be behind the Quetta attack.
No group immediately claimed responsibility for the bombs in Parachinar. The Pakistani has claimed two previous attacks in the city this year.
The incidents came after a series of brazen assaults in neighbouring Afghanistan, which authorities there have blamed on Pakistan-based militants. Meanwhile, Pakistani officials often voice concerns about terrorist groups allegedly operating from .
A foreign ministry official previously said had shelter in Afghanistan. Quetta and Parachinar are close to the country's border.
Despite continued bloodshed, there has been a marked decrease in violence in Pakistan in recent years. Deaths declined by almost two-thirds between 2014 and 2016.
Last year, in terrorist attacks in Pakistan, about 600 of them civilians, according to the South Asia Terrorism Portal.
The latest attack in Quetta followed the release by the Pakistani military of a supposed video confession by for alleged espionage.
In the video, Jadhav said Indian intelligence had organised terrorist attacks in Quetta to disrupt the China-Pakistan economic corridor. Jadhav has not been granted diplomatic assistance, and India has said his trial is unfair.
Also on Friday, four police officers were killed by gunmen on motorcycles as they left a hotel in Karachi after eating iftar, the dinner to break the Ramadan fast.