BANGKOK — Air pollution around Bangkok is expected to worsen again this week with an increase in the level of PM2.5 dust particles.
Pollution Control Department chief Phuwiang Prakammin said the current improved air quality around Bangkok is due to better air circulation, causing fine dust particles and smoke to dissipate.
Bangkok's air pollution readings for Sunday remain "moderate", while the Northeast has another bad day with smog and smoke pollution settling around the agricultural areas.
Metropolitan police deputy commissioner Pol Maj-Gen Jirasant Kaewsaeng-aek said almost 8,000 vehicles found to be emitting excessive black exhaust had been seized in the first week of February. He said the number of vehicles found violating pollution rules had dropped from an average of 500-600 a day to about 400.


text:
L'8ª edizione dei Nickelodeon Kids' Choice Awards si è svolta il 11 maggio 1996 presso l'Universal Studios Hollywood, nella contea di Los Angeles. L'edizione è stata presentata da Rosie O'Donnell e Whitney Houston, divenendo quest'ultima la prima conduttrice a presidere più di un'edizione dei Kids' Choice Awards.

Sul palco della premiazione si sono esibiti i seguenti artisti: Whitney Houston col brano "I'm Every Woman", gli All-4-One con "These Arms", Monica con "Before You Walk Out of My Life" e i BoDeans con "Closer to Free".

Candidature
I vincitori sono indicati grassetto.

Televisione

Miglior serie televisiva

 Quell'uragano di papà
 Willy, il principe di Bel-Air
 Otto sotto un tetto
 Sister, Sister

Miglior attore

 Tim Allen – Quell'uragano di papà
 Martin Lawrence – Martin
 Will Smith – Willy, il principe di Bel-Air
 Jaleel White – Otto sotto un tetto

Miglior attrice

 Tia e Tamera Mowry – Sister, Sister

 Tatyana Ali – Willy, il principe di Bel-Air
 Roseanne Barr – Pappa e ciccia
 Queen Latifah – Living Single

Miglior serie animata

 I Rugrats
 I Simpson
 Animaniacs
 Doug

Cinema

Miglior film

 Ace Ventura - Missione Africa
 Casper
 Toy Story
 Batman Forever

Miglior attore

 Jim Carrey  – Batman Forever e Ace Ventura - Missione Africa

 Tom Hanks – Apollo 13
 Jonathan Taylor Thomas – Le avventure di Tom Sawyer e Huck Finn
 Robin Williams – Jumanji

Miglior attrice
 Mary-Kate e Ashley Olsen – Matrimonio a 4 mani
 Kirstie Alley – Matrimonio a 4 mani
 Nicole Kidman – Batman Forever
 Alicia Silverstone – Ragazze a Beverly Hills

Musica

Miglior gruppo musicale

 TLC
 All-4-One
 Boyz II Men
 Green Day

Miglior cantante

 Brandy
 Coolio
 Janet Jackson
 Michael Jackson

Canzone preferita

 "Gangsta's Paradise" – Coolio
 "Baby" – Brandy
 "One Sweet Day" – Mariah Carey e Boyz II Men
 "Waterfalls" – TLC

Sport

Miglior atleta uomo

 Michael Jordan
 Shaquille O'Neal
 Troy Aikman
 Emmitt Smith

Miglior atleta donna

 Kristi Yamaguchi
 Shannon Miller
 Nicole Bobek
 Nancy Kerrigan

Miglior squadra sportiva

 Orlando Magic

 Atlanta Braves
 Dallas Cowboys
 San Francisco 49ers

Miscellanea

Miglior videogioco

 Donkey Kong Country

 Ms. Pac-Man
 Tiny Toon Adventures: Buster Busts Loose!
 X-Men: Children of the Atom

Celebrità animale preferita

 Willy – Free Willy 2
 Amy – Congo
 Babe – Babe, maialino coraggioso
 Marcel – Friends

Miglior libro

 Tales to Give You Goosebumps Special Edition #1, dalla serie Piccoli Brividi
 The Babysitter IV, di R.L. Stine
 The Indian in the Cupboard
 Pocahontas - versione illustrata

Hall of Fame

 Tim Allen

 Whoopi Goldberg
 Whitney Houston
 Janet Jackson

Note

Collegamenti esterni

Musica nel 1996
Nickelodeon Kids' Choice Awards

redpajama_set_name: RedPajamaWikipedia


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I never understood what made this game good, and Mempf always raved about it, and now I will get to see.
The only thing I'm enjoying more than this marathon at the moment is Mempf yelling at Teclis when he goes from somewhat good to not good at playing this game.
Part 7 cracked me up. Methinks the padawan has much to learn about Kingdom Hearts still….only future parts will tell.
Great Marathon maybe you guys should complete the KH games by playing chain of mem for ps2 which was ported in english… maybe… please.


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Oscar Gold: Oliver!
Commentary, Oscar Gold
Lou Harry February 5, 2020 February 3, 2020
It's not Oscar season if someone isn't upset. It's absurd that such-and-such movie didn't get nominated. That piece of crap got in? Man, insert pandering / boring / uninventive movie here is going to win, isn't it? For something many cinephiles purport to brush off, we sure care a lot about the Oscars. That's because they're a barometer by which more casual moviegoers in our lives measure what's best. Instead of carping about controversial selections for Best Picture — which could fill a year's worth of columns no one would read — we figured it would be more interesting to arguments from advocates for these choices. Welcome to Midwest Film Journal's Oscar Gold.
I'm into stage musicals.
Unapologetically.
In my CD collection, cast recordings and theatrical songbook collections easily outnumber all other genres combined. I've travelled significant distances to see lesser-known shows such as Children of Eden and was thrilled when I moved to Indianapolis and found that a local theater was staging the Kander & Ebb obscurity The Happy Time. I've hosted bus trips to musicals in Chicago and have written pieces for The Sondheim Review.
And yet …
When it comes to movie versions of stage musicals, there are only a handful that I ever want to watch more than once.
Of course there are the train wrecks, including Richard Attenborough's "huh?" version of A Chorus Line and the Rob Marshall transformation of Nine into an Italian perfume commercial. But there are also the good-enough film versions of such shows as Into the Woods and Sweeney Todd. I've seen multiple stage versions of each — including the original Broadway companies — and I'll likely see more. But I have no desire to watch either onscreen again. Hairspray would be fine if John Travolta didn't get in the way. And I'd watch Cats again before I suffered through what Hollywood did to Mame or Camelot.
Which brings us to Oliver!, the occasionally maligned film that I believe deserved its Best Picture win at the 1969 Oscars.
It's competition included Funny Girl, another stage-to-screen transfer, that one featuring Barbra Streisand and a hit-packed score to save a merely fair film; The Lion in Winter, with the unmatchable cast of Katharine Hepburn, Peter O'Toole and Anthony Hopkins as well as a smart-smart script; Rachel, Rachel, which I haven't seen and you probably haven't either; and Romeo and Juliet, whose youth focus earned attention but really loses energy after Mercutio and Tybalt bite the dust. (Sorry. Should I have posted a spoiler?)
Now I know there were other terrific films that year. And some that broke new ground. I see you, 2001: A Space Odyssey and my beloved Planet of the Apes. But the Oscars are rarely about groundbreaking films. And when they think they are (Birdman, The Artist) they really aren't. And I have to look at the choices given.
In this case, I believe a great, enduring film won.
Short answer: Oliver! provides a horribly dark and surprisingly joyful experience featuring terrific songs, a range of great characters, a story with strong forward motion, a set of indelible performances and one of the greatest villains in cinema.
If you've read this far, you probably already know the plot, but here are the basics anyway.
The titular orphan finds residence in a workhouse where he is peer-pressured into asking for more gruel at mealtime. Sent out for sale, he eventually runs away and finds himself in London, where he falls in with a gang of junior pickpockets. Their den master, Fagin, does business with the evil Bill Sikes, who sees a potential payoff when the kid gets a social upgrade.
Digression: The stage musical was something of an oddity. For decades, musical theater as we know it was primarily a U.S.-born thing with the number of notable musicals birthed in England being few and very far between. Oliver!, though, proved a breakout, setting a record with a six-year run in London — which remained unbroken until Andrew Lloyd Webber came along with Jesus Christ Superstar. A healthy year-plus run on Broadway helped build its reputation in the U.S.
Digression within the digression: I wouldn't dare compare Oliver! to Hamilton, but it is worth noting that it's that rare musical hit where a single person — in this case, Lionel Bart — wrote the book, music and lyrics.
I'll confess that I've only seen the stage version once — in a high-school production during my formative years. But I don't see how any stage production could top the film.
In part because scale serves this story.
A handful of workhouse orphans craving "Food, Glorious, Food" can't rival the movie's army of kids progressing down the stairs for their disgusting meal (especially the young dude in the second room when their imagination kicks in). The way the London streets come alive when on-the-lam Oliver arrives in town and meets the charming Artful Dodger. And the way a simple morning call from a street vendor evolves into the joyful explosion of "Who Will Buy?"
The close-ups are just as important.
Ron Moody's Fagin telling a kid to "shut up and drink your gin" before breaking into the life-lesson tune of "You've Got to Pick a Pocket or Two." Shani Wallis' Nancy trying to convince herself that standing by her awful man is worth it as she sings "As Long As He Needs Me." And the murderous look on Bill Sikes' face when he realizes that a silly sing-along in the bar actually is merely a distraction to thwart him. Thanks to set design, costuming and makeup design, the scenes almost have their own smells, tastes and textures. The air seems dramatically different in Fagin's den than it does in the bedchambers of the rich.
There's a weight to what's happening here. Unlike frivolous musicals, the events here matter. And the forces acting against our young protagonist feel real.
I can't think of a more terrifying musical villain than Sikes, as played by Oliver Reed. Bart and company wisely upped the chill factor by giving him minimal lines and no songs at all. As much as I like a good villain song ("Poor Unfortunate Souls" from The Little Mermaid being a particular favorite), they can often diminish rather than increase the tension in musicals. Sikes' silence — his non-singing — sets him apart.
But it's not all black and white. One of Oliver!'s major strengths is the zone between evil and good. On the one hand, Fagin is a thief and corrupter of children. On the other, he's also the first adult Oliver encounters who actually cares for him. Dodger is out for himself, too, but also protective of his protege as he enthusiastically welcomes him into this new world. And neither Dodger nor Fagin finds a path back to the strictly straight and narrow.
Another side note: Jack WIld's performance as the Artful Dodger is up there with Barry Gordon in A Thousand Clowns on the short list of my all-time comic-kid performances.
None of that would matter as much without a solid song stack. Rarely do musicals — especially those with any weight to them — integrate musical numbers so smoothly into their cinematic language, providing repeated opportunities to bask in the emotional life of a song without losing the drive of the story. The music and lyrics may not be wildly ambitious here, but there isn't a dud in the lot.
Yes, Oliver! has been accused of being "Dickens Light." I'm not going to argue with that. But it's also "Dickens De-Light" — a rare stage-to-screen musical I delight in every time I see it.
My Guy: Results
Oscar Gold: Kramer vs. Kramer

redpajama_set_name: RedPajamaCommonCrawl


October 26, 2018 October 26, 2018 thewildlifevolunteer15Leave a Comment on We have the first of our charities to book a table at #TEAMEARTH Conservation Day 2019 ~ Ovaid !!
We have the first of our charities to book a table at #TEAMEARTH Conservation Day 2019 ~ Ovaid !!
FORMED IN 2014, ORANGUTAN VETERINARY AID (OVAID) IS A ZERO SALARY, VOLUNTARY RUN CHARITY WHICH PROVIDES VETERINARY EQUIPMENT, MEDICINES AND PRACTICAL VETERINARY PRESENCE AND ASSISTANCE FOR ORANGUTAN RESCUE GROUPS AND CENTRES IN INDONESIA AND MALAYSIA.
BY IT'S ACTIONS THE CHARITY WORKS TO IMPROVE RESOURCES FOR RESCUED ORANGUTAN AND TO IMPROVE WELFARE. IN A WORLD OF INCREASING KNOWLEDGE BASE, THE CHARITY ACTIVELY ASSISTS VETERINARIANS WORKING IN THE FIELD OF ORANGUTAN CONSERVATION THROUGH UP-SKILLING, TRAINING PROGRAMMES AND THE OVAID BRONWYN WATSON SCHOLARSHIP.
THE CHARITY ALSO CONSIDERS IT VITAL TO SPREAD AWARENESS OF THE NEGATIVE EFFECTS OF DEFORESTATION FOR THE ORANGUTAN, COUNTLESS OTHER WILDLIFE SPECIES AND HUMAN POPULATIONS.
THE CHARITY IS INDEPENDENT AND FREE TO CHALLENGE.
I came across OVAID when I attended The Ape Alliance Annual Panel Meeting in Bristol, fellow West Country folk, when I asked if they would like to attend, WHEN it was just a atom of an idea, they straight away said YES !!
Next We have the first of our confirmed guests at #TEAMEARTH Conservation Day 2019 ~ Ian Redmond OBE !!


Bari Lynn watermelon headband adorned with Swarovski® crystals.
For in-store inquiries, use sku #2625327.
Bari Lynn headband with crystal embellished 3D crown atop marabou feathers. Satin wrapped flexi-ribbing. Polyurethane backing. Made in USA of imported material.
Exclusively ours. Bari Lynn glittered bunny ear headband with crystal trim. Dyed fox (China) fur bow to side. Satin-wrapped flexi-ribbing. Made in USA of imported material.
Bari Lynn glittered bunny ear headband. Multicolored pastel tulle flower trim at top. Adorned with Swarovski crystals. Satin-wrapped flexi-ribbing. Polyurethane backing. Made in USA of imported material.


This guide was developed by nurses with experience in the clinical care and programmatic management of TB and DR-TB in both high- and low-resource settings. Nursing and DR-TB literature were reviewed to establish best practice nursing assessment and intervention guidance. Nurses caring for patients with DR-TB field tested the job aid and provided feedback which was used to inform final content and format. A link to this guide online can be found here.
Citation: International Council of Nurses and Curry International Tuberculosis Center. Nursing guide for managing side effects to drug-resistant TB treatment. Geneva. 2018.


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Category Archives: Yves Saint Laurent
5 best high heels in the world... ever!, Designer, Latest news, Yves Saint Laurent
Saint Laurent's Tribute sandals – and the Tribtoo too
Saint Laurent's platform Tribute sandal made its debut in 2004 under the brand's then creative director Stefano Pilati.
Back then, Saint Laurent was known as Yves Saint Laurent and Tribute fast became a celebrity favorite.
Production of the shoe continued after French fashion designer Hedi Slimane took over the brand in 2013, rebadging YSL as Saint Laurent.
Tribute's distinctive strappy look and longevity mean it is instantly recognisable as an iconic designer shoe.
Tribute is currently available in a range of colors and heights at Barney's. The version pictured here costs $895.
The Tribtoo platform pump with its distinctive square heel (also known as the Trib Too) evolved from the Tribute sandal at some point during this period and became another go-to shoe for celebrities.
Tribtoo has been seen on A-listers such as Paris, Salma, Brittany, Heidi, Victoria, Christina, Drew… pretty much anyone actually. The shoe retails via Barney's for $795.
Saint Laurent's iconic Tribute high heel is one of the five high heeled shoes you should own before you die.
To see the others, take a look at the shoes we've rated as five of the best high heels in the world ever.
Casadei, Christian Louboutin, Essential reading, Gianmarco Lorenzi, Iconic heels, Latest news, Manolo Blahnik, Yves Saint Laurent
Picking just five heels as the greatest high heels in the world was tough business, but we've made our list.
They're all modern classics, all available right now and come from the most famous shoe designers on the planet. And they're all amazing.
Here's our list of five designer high heels you must own before you die.
Cesare Casadei's Blade high heel: a magnificent obsession.
A heel so difficult to manufacture that it very nearly didn't happen.
Christian Louboutin's Pigalle high heel: "the design that encapsulates my career"
The red-soled Pigalle is Christian Louboutin's best selling shoe of all time.
BB pump by Manolo Blahnik: "totally timeless and very chic and flattering"
Manolo Blahnik's classic pump is named after a 1950's sex symbol, and comes in over 50 colors.
Gianmarco Lorenzi's double platform sandals: creating dreams on women's feet
The double platform heel may be the standout of Gianmarco Lorenzi's 30 year shoe designing career.
Saint Laurent's Tribute has been a celebrity favorite for over 10 years, and has spawned the Tribtoo as well.
Celebrities, Latest news, Yves Saint Laurent
Kate Moss wears Saint Laurent pumps on the cover of Playboy
Bad-ass supermodel Kate Moss has appeared on the cover of Playboy's 60th anniversary edition wearing a pair of Saint Laurent high heels. The stilettos are Saint Laurent's classic Paris Escarpins ("escarpin" is French for a high heeled pump). The shoe is the signature pump of the French brand still commonly known as Yves Saint Laurent (or YSL) even though the "Yves" was dropped from the women's ready-to-wear line back in 2012.
Paris is notable for its square suspended high heel which is visible on Kate's pair above, but can be seen better in the close up below. According to the Saint Laurent website the shoes have a 10.5cm high heel (4.2 inch) high heel and are made in Italy of 100% calf-skin leather.
The Kate Moss Playboy photoset for the January / February 2014 edition was "shot" by fashion photographers Mert Alas and Marcus Piggott. The duo shared the above picture of the official US cover via their Instagram account back at the end of 2013. I haven't seen the photos (and good God I don't want to) but if the cover is any guide then Kate's Saint Laurent high heels are the only thing about the pictures that haven't been photoshopped within an inch of their life.
When the star turned up to publicise the Playboy anniversary edition at a signing at the Marc Jacobs store in London, she was all but unrecognisable from the cover photo. Gone were the Saint Laurent pumps, replaced by a pair of red-soled Christian Louboutin pumps.
More significantly though, gone were the smooth tanned legs from the cover photo. The reality instead disclosed that Kate has two crooked, veiny, misshapen, wrinkled and probably misaligned pins that reflect all the hard-living and body-bashing that the model has inflicted on herself over a 25 year career. As for her top half, I couldn't bear to look.
Still, aren't the shoes nice?
Python Perfect
October 2, 2013 highup
With lashings of rock and roll attitude, the YSL Janis boots are everything we want in hot-to-trot footwear. There's the uber cool python finish which adds a totally textural, 1970s vibe. The deep, inky goes-with-everything black. The so cool it hurts dramatic arch. The skyscraper 5 inch heel and 1 inch platform. Not to mention the silver buckle and bondage-inspired strap. At £1360 they do come under the heading of an investment piece but, with YSL's design heritage they're an instant classic that you'll wear again and again. £1,360 from Net-a-Porter.com.
ankle bootshigh heel bootsJanisysl
Tribtoo-Woo
August 6, 2013 highup
At four inches, with oodles of slim line, sexy, stiletto heel to admire, these Tribtoo lovelies make Monday seem A-ok as far as we're concerned.
Made in Italy, the homeland of all that is beautiful and truly covetable on the footwear front, the Yves Saint Laurent Tribtoo is textured, patent, leather perfection with a super sized platform and super stylish square toe.
The blush pink version is just a half inch shy of a six inch heel height but the black 4 inch is equally mouthwatering. Decisions, decisions. Buy online at Barneys NYC. Pink version currently out of stock, black version priced at $875.
Tribtoo Pumps
Christian Louboutin, Christian Louboutin, Latest news, Yves Saint Laurent
Christian Louboutin's red soles are a valid and enforceable trademark
Christian Louboutin has a valid and enforceable trademark in his red soles, so the United States Court of Appeals for the Second Circuit has found this week. After hearing argument in an appeal filed by Louboutin in his litigation against Yves Saint Laurent, Circuit Judges Cabranes, Straub and Livingston reversed an earlier decision of the District Court that found that a single color could never serve as a trademark in the fashion industry.
However, there was a catch. The judges found that Louboutin had an enforceable trademark in his red soles only where the use of the red lacquered outsole contrasted with the color of the adjoining upper (for example, black high heels with red soles). The Second Circuit affirmed the District Court's decision insofar as it refused to find that "monochrome" shoes (ie shoes where the outsoles were the same color as the shoe itself) infringed Louboutin's trademark. That means that high heels like Louboutin's red Filo patent leather pumps above (£408.33 from net-a-porter) do not receive trademark protection.
The court case had begun in 2011 when YSL prepared to market a line of monochrome shoes including an all red version. The upshot of the appeal decision is that YSL is free to market its monochrome red shoe, but that the court has confirmed that Louboutin has effective trademark protection in respect of the use of the red sole with a contrasting (ie non-red) upper.
The judgment of the court referred to other instances where a single color had held to be capable of trademark protection, such as pink insulation batts and yellow taxi cabs. The judges stated that that there was no per se rule that governed the protection of single-color marks in the fashion industry any more than it could do so in any other industry. The appeal court found that the District Court judge's finding that a single color could never serve as a trademark in the fashion industry was erroneous and inconsistent with a prior decision of the Supreme Court of the United States.
The appeal court held that the contrasting red soles met the required test for "distinctiveness" because they had acquired, through use, "secondary meaning" in the public eye. Secondary meaning is acquired when in the minds of the public, the primary significance of a product feature is to identify the source of the product rather than the product itself.
In considering this question, the appeal court referred to the extensive evidence of Louboutin's advertising expenditures, media coverage and sales success. It found that Louboutin had demonstrated that, in his contrasting red soles, he had created a symbol that had gained secondary meaning that caused it to be uniquely associated with the Louboutin brand.
As further evidence of the notoriety of the brand, the court referred to the confiscation last month of over 20,000 fake Louboutins that were illegally shipped to the United States. The judgment described the seizure as an "example of the interest of plagiarizers in "knocking off" Louboutin's mark."
You can read the whole decision of the Second Circuit in Christian Louboutin S.A. v. Yves Saint Laurent Am. Holding, Inc here.
courtred solestrademark


Discussion in 'What's Going on?' started by Jason76, Jan 19, 2019.
I'm very excited. Well, I did pay to get the members - but they're good ones. There is quite a number of really enthusiastic drummers - gotten by being very specific in promotion.
Congratulations Jason, you'll soon be at 1,000 members. Hope you get more members soon.


Performance management has been getting increased attention in the last couple of years, with many questioning its return on invested time and attention, and the effectiveness of the process. We wanted to explore this further—especially with the recent buzz about eliminating performance ratings. In the 2016 Workforce Mindset™ Study, we asked employees and managers for their thoughts about performance and preferences for performance management. And we've identified opportunities for improvement each step of the way.
It's clear that performance management—in its many forms—is important and valuable. It's also clear that in many organizations, the process is not truly delivering on its promise. Employers—and their employees—may not be getting the value they expect from the effort they put in.
What are employees saying about performance management?
Seven of 10 employees surveyed took the time to answer this question: "If you could change one thing about how your company manages individual performance, what would you suggest?" The most common suggestion is more frequent performance and feedback conversations.
Managers need to make the time to know their employees and understand the work they do on a daily basis.
Current processes are said to be "one size fits all," but shouldn't be; ratings and reviews should be more individualized.
Managers and employees are looking for a simple, streamlined performance management process.
With all the effort that goes into the performance management process and year-end performance ratings, employers can take active steps to improve the outcome. Start with understanding the current state of performance management in your organization—perhaps asking some of the same questions we asked in this study.
What do managers and employees say about the mechanics of performance management? Is it simple and intuitive? What steps are you willing to take to improve the process?
How well do managers and employees know and accept their roles—for example, who drives goal setting and regular check-ins? How are individuals held accountable?
What tools and training do you offer to help managers gain confidence and credibility in discussions?
How often do managers and employees actually talk about performance—formally and informally? Enough that employees know how they're doing and have the opportunity to improve? Enough that managers can give accurate performance ratings?
How valuable are performance conversations at your organization? How do you measure this value?
If managers and employees aren't having enough performance conversations or those conversations aren't valuable, what's getting in the way? Priorities? Capabilities? Relationships? Accountability?
What qualitative measures best align with how employees work and would encourage performance improvement?


text:
Q: How to set keyboard layout at machine level in Windows 8 I have 2 laptops running Windows 8 and I am using my Microsoft Account between them.
Trouble is, one laptop has a UK keyboard and the other a US keyboard.
So far it seems that the keyboard layout is now attached to my profile and not the machine, which is a problem.
I sit down at the UK keyboard and the layout is set to US. I keep typing " instead of @ and vice-versa.
So I change it over to UK layout and all is well.
Later I open up the US keyboard and its got a UK layout and I'm typing @ instead of " again.
So- Does anyone know of a way to force a keyboard layout to be machine-specific when using Microsoft accounts?

A: This drove me crazy too.  I think I've figured it out.

*

*Go to the charms area (slam into the right-top/bottom corner)

*Click on the settings cog

*Click on "Change PC settings"

*Click on "Sync your settings"

*Switch "Language preferences" to "Off"

Pain reduced.

redpajama_set_name: RedPajamaStackExchange


text:
Le Al Jahra Sporting Club (en ), plus couramment abrégé en Al Jahra, est un club koweïtien de football fondé en 1966 et basé dans la ville d'Al Jahra.

Le français Kamel Djabour est l'entraineur depuis 2018.

Histoire

Palmarès

Personnalités du club

Présidents du club
  D'Ham Al Shammari

Entraîneurs du club

Notes et références

Club de football au Koweït
Club de football fondé en 1966


text:
Q: Reduction modulo p of a linear group over the rational numbers A paper (http://arxiv.org/pdf/1407.3158v2.pdf) contains the following theorem:

Suppose $\mathbb{G}$ is a connected, simply connected, semisimple algebraic group defined over $\mathbb{Q}$, and let $\Gamma \leq \mathbb{G}(\mathbb{Q})$ be a finitely generated Zariski-dense subgroup. Denote by $\mathbb{G}_p$ the smooth reduction of $\mathbb{G}$ over $\mathbb{F}_p$. Then for all sufficiently large prime numbers $p$, the reduction $\Gamma_p$ of $\Gamma$ is equal to $\mathbb{G}_p (\mathbb{F}_p)$.

What confuses me is the so-called smooth reduction happening. I would understand this if $\mathbb{G}$ were defined over $\mathbb{Z}$ because then we can just take all the matrix entries modulo $p$, but what can it mean for a rational number to be reduced in this way, if that is indeed what is happening?
EDIT
It would help to have also an example of how this reduction would apply to an element of $\operatorname{GL}_n(\mathbb{Q})$.
EDIT 2
I received the following answer to this question in a chatroom, but it is far too complicated for me to understand. In particular, I know little to no algebraic geometry, and I am only beginning to learn category theory.

$\mathbb{G}$ is defined over $\operatorname{Spec} \mathbb{Q}$, so it's of finite type (over $\operatorname{Spec} \mathbb{Q}$), and so you can take the ideal sheaf locally and restrict it to $\mathbb{Z}$.
-- hodgeclass

A: The top of page 2 in the linked paper on the arXiv seems to suggest this is the definition:

Let $\mathbb{G}$ be a connected simply connected, semisimple algebraic group defined over $\mathbb{Q}$ with a fixed embedding $\mathbb{G} \hookrightarrow GL_n$. Then
  $$\mathbb{G}(\mathbb{Z}) = \mathbb{G}(\mathbb{Q}) \cap GL_n(\mathbb{Z}).$$

This allows one to consider the reductions. I do not think that $\mathbb{G}(\mathbb{Z})$ is independent of the embedding chosen, but again the arXiv paper seems to suggest it is for primes outside of some finite set.


text:
Staff battle to reduce waiting times
STAFF at Ipswich Hospital have admitted that although waiting times at A&E were within national guidelines, they were still unacceptable to patients who had to wait the longest.
David Hodgkinson, director of A&E services said: "Those who are waiting the longest are the patients with the non-urgent problems.
"That group of patients may have to wait because of what is happening to the more serious and critically-ill patients.
"We have waiting times unacceptable for these patients, staff and the trust and we have to improve these waiting times."
His words comes after an independent watchdog warned waiting times in casualty departments across the country are growing, and are set to get worse.
Mr Hodgkinson said waiting times have increased over the last five years, but in line with national trends. Ipswich has seen a two per cent annual rise in emergency patients.
Referring to a report by the Audit Commission Mr Hodgkinson said: "We submitted data to the audit report in 1996, 1998, and 2000 which was used to compare Ipswich with other large hospital trusts, such as Norfolk and Norwich, Brighton, Blackpool, Victoria. Our figures are in the middle and are not at any extreme.
"In the last five years overall the waiting times have gone up slightly in A&E across England and Wales.
"But what is hidden amongst these figures is that accident and emergency departments are doing a lot more for their patients. We are seeing more patients and are also doing more for our patients."
He said Ipswich Hospital's A&E department has a triage system, as featured in the Evening Star, which prioritises patients by quickly sorting critical and seriously injured patients from non-urgent cases.
He welcomed the government's announcement of special funding to tackle waiting list problems.
Last month 96pc of people who came into Ipswich's A&E department were assessed within the first 15 minutes. A total of 84pc waited less than two hours.
Ipswich Hospital spokeswoman Jan Rowsell, said: "We monitor all the information from the accident and emergency department very carefully every month.
"Figures show we are treating more people. But we are achieving the national target."


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Audi Factory Racing, Dakar Rally
Half-time results at the Dakar Rally:Three Audi RS Q e-tron prove innovative strength
Six podium finishes in the daily results, reliably working electric drive systems, full competitiveness on debut and fascination with e-mobility at the world's toughest rally: Audi already puts an exclamation mark on the first half of the Dakar Rally with its innovative strength.
"What I have seen from our team up to the rest day of the Dakar Rally impressed me," says Oliver Hoffmann, Audi Board Member for Technical Development. "Our team has developed the Audi RS Q e-tron in record time. Right off the bat, we are strong on a sporting level. Our drivers, co-drivers and the entire team are showing a great team performance. And our advanced technology fulfills the expectations placed in it." Carlos Sainz/Lucas Cruz caused great excitement and high media attention as early as on the fourth day of the competition: The three-time Dakar winners managed the Audi RS Q e-tron's first stage victory on the 338-kilometer special stage from Al Artawiya to Al Qaisumah in the Saudi Arabian desert. In the process, the two Spaniards achieved an average of 138 km/h – an impressive figure on unpaved tracks. The entire Team Audi Sport received the two stage winners with jubilation in the bivouac afterwards.
Audi's interim tally after seven days includes one first, two second and three third places in the stage results. In addition to Sainz/Cruz, fourteen-time Dakar winner Stéphane Peterhansel with his co-driver Edouard Boulanger as well as Mattias Ekström/Emil Bergkvist, who are contesting only their second Dakar Rally, have contributed to this track record.
"The spirit that prevails in the team makes me proud," says Julius Seebach, Managing Director of Audi Sport GmbH and responsible for motorsport at Audi. "The cohesion throughout the first half of the rally shows how quickly this young team has grown into a unit. Even the preparation phase was extremely intensive in order to be 'race ready' at the start. From the white sheet of paper to the desert we only had one year of development time for the most complex vehicle in Audi Motorsport history. For me, the cohesion in the team is crucial for the successes already achieved, which exceed what newcomers can expect at their first Dakar."
The complexity of the three prototypes is extremely high: For the first time, the alternative drive concept combines an electric powertrain with a high-voltage battery and a highly efficient energy converter. Despite a very short test phase, the systems of all three cars run without complaint in the tough everyday desert conditions.
Despite all its successes, Audi also had to face Dakar-specific challenges on almost 4,700 kilometers in the meantime. In addition to difficulties with navigation on the second day, suspension damage robbed the team of all chances. Stéphane Peterhansel presumably damaged a rim and the lower wishbone of the rear left suspension on a stone on the second day, resulting in consequential damage. The Frenchman had to wait for the race truck for the repair. The subsequent direct drive to the bivouac, which is usual in such cases, and the checkpoints missed as a result additionally earned the team 16 penalty hours. Afterwards, last year's winners put themselves entirely at the service of the team and repeatedly helped Carlos Sainz change the shock absorbers on the sixth and seventh stages. "That was first-class and shows the qualities and team spirit of our drivers," said Julius Seebach.
While the team is already incorporating improvements in many areas of the car on site, Stefan Dreyer, Head of Development Audi Sport racing, has a list of medium- and longer-term optimization points that is filling up with each day of the rally. "We were surprised that the only obstacles so far have been in conventional areas like the suspension. It's impressive that our innovative and highly stressed drive concept has worked flawlessly so far and that the vehicle's performance is right as well," says Dreyer. "At the same time, we know that the rally still has a long way to go. Our goal remains to arrive in Jeddah in a week's time with all three cars." After more than 8,000 kilometers, the participants will reach the rally's destination in the port city on the Red Sea on January 14. Currently, Mattias Ekström as the best Audi driver is in 14th place overall, Carlos Sainz is 25th and Stéphane Peterhansel 71st.
Source: https://www.audi-mediacenter.com/en/press-releases/half-time-results-at-the-dakar-rallythree-audi-rs-q-e-tron-prove-innovative-strength-14464
January 10, 2022 /by manager
http://canadaaudiclub.com/wp-content/uploads/2020/03/canadaAudiClub-1.png 0 0 manager http://canadaaudiclub.com/wp-content/uploads/2020/03/canadaAudiClub-1.png manager2022-01-10 12:20:322022-01-10 12:20:34Half-time results at the Dakar Rally:Three Audi RS Q e-tron prove innovative strength
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Audi RS 3 LMS again "TCR Model of the Year" Audi RS Q e-tron at the Dakar Rally: Successful start into a new era


Capral's operations are mainly based at their Kurri Kurri smelter that has recently resumed its full capacity of 150ktpa. With depressed domestic demand, it's pursuing specialised opportunities in the automotive and broader world markets. Capral is also looking at expanding its extrusion activities into the Asian region. With aluminium prices expected to keep rising in the coming years, smelter costs decreasing and the expansion of downstream opportunities, we recommend that investors BUY the stock on any weakness.


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Joanne Clifton on quitting Strictly Come Dancing: "I achieved what I wanted to in dance… my heart's always been in musicals"
Joanne talks to RadioTimes.com about the Strictly door being left ajar and pursuing her dreams in musical theatre
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By Frances Taylor
Thursday, 22nd June 2017 at 11:00 am
You wouldn't blame Joanne Clifton for wanting a bit of a rest after making the decision to quit Strictly Come Dancing after three years.
But less than a day after it was confirmed that she wasn't going to return to the ballroom this year, it's been announced that she's left the show to take on the lead role in a touring musical production of Flashdance.
RadioTimes.com got on the phone to Joanne to ask her why she thought now was the right time to leave "the best thing on TV", wanting to turn her hand to TV acting and why the door is most definitely left open for her to return to the Strictly family one day…
Joanne, how are you feeling now that the news is out about you leaving Strictly?
"Yesterday I was feeling a bit weird about the whole Strictly announcement – it was strange because I had made the decision and everything but when it came out officially, everyone on Twitter was so sad. I had a weird day!"
Were you surprised by the huge reaction you had from fans of the show?
"I didn't realise it would go that mental! I was getting message after message going 'Oh no, I can't believe it – what are you doing?' and I was going – wait until tomorrow! Now that it's been announced about Flashdance I'm feeling so much love, it's wonderful!"
Was it a difficult decision for you to make?
"It is a massive, massive decision. I talked a lot with my agent who's like my mentor – it was tough. It's tough because I love the show, I love everybody on it and I'm so grateful to be on it – it's the biggest show on TV and the best show on TV in my opinion. But I feel like I've achieved everything in ballroom dancing in terms of competing and results and stuff.
"I did my world championship, British championship, European championship and then Strictly. And then won it somehow last year so I feel like I achieved what I wanted to achieve in that side of things. My heart's always been in musicals anyway and I felt like now was the right time."
Did you go backwards and forwards with the decision?
"I think after Ore and I won I think I had made up my mind almost straight away and I've stuck by it. There have been moments where I've been like 'Awww'…because it is like one of the toughest decisions I've had to make. It is the best thing on TV and I'm honoured to have been a part of it but my heart's in musicals so I think I've made the right decision!"
If you perhaps hadn't won the show last year with Ore Oduba, would you have stayed on Strictly longer?
"Maybe….I don't know! I really don't know. I have always wanted to do musicals and obviously doing Thoroughly Modern Millie has made me realise that's what I want more than anything is the musical side of things. The kind of plan when I came back to England was to do three maybe four years on Strictly anyway, and then work in the meantime in my singing and acting for musicals. So it got to the third year and I won it so it was probably time to get out!"
What will you miss the most – and least – about being a part of Strictly?
"It's very stressful and hectic. It's a hectic schedule – us pros work seven days a week, because the Sunday the celebrities get the day off but we have to choreograph so it's very, very tiring. But at the same time, so lovely to be on. I know that everyone says it and people go 'Oh God…', but it is like a family. It's just a wonderful, wonderful environment that show and that's what I'm going to miss."
Would you say the door is completely closed on Strictly? Or could you come back for maybe one of the Christmas specials or to do the annual tour?
"Maybe… if they'll have me, I'd love to. Never say never!"
How do you think Shirley Ballas will fare as Len Goodman's replacement as Head Judge on the show?
"I think she's going to be wonderful. She's taught a lot of us pros in the past – I know Kevin and I used to have lessons with her when we were children. She helped us win our British championship when we were like 14, but I think she's taught quite a lot of the pros. She's a big name in the ballroom dancing world, she's won so many titles and I think she'll be perfect for the job."
We'll be seeing you in Flashdance this year but what other productions would you love a role in?
"I'd love to be Calamity Jane and Sally Bowles in Cabaret, and when I'm older I want to be Rose in Gypsy! I saw the recent production of it with Imelda Staunton five times – she's like my idol! I have to be like her when I'm older."
With all this acting on stage, would you like to transfer that to TV acting in the future too?
"I would absolutely love that as well. Obviously I'm learning a lot about the acting side of things doing live theatre, but one day! One day if I'm good enough that'd be amazing."
Will you be watching Strictly this year – either at home or in the studio audience?
"I'll have shows on a Saturday night on tour so I don't think I'll even be able to go once, unless maybe in December? But yeah, I'll definitely be watching it because I've still got my family on there. So I'll be watching it – but on catch up!"
Joanne Clifton stars in Flashdance – The Musical in theatres across the UK later this year. For full details of tour venues and dates, visit www.flashdanceuktour.co.uk.
Joanne Clifton
Kevin Clifton
Ore Oduba
Joanne Clifton quits Strictly as new professional dancer line-up is confirmed
Who is Dianne Buswell? Strictly Come Dancing 2017 professional dancers guide
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Dr. Michael Stelmachowicz, former director of higher ed, dies
Dr. Michael J. Stelmachowicz, who served more than 40 years as an LCMS educator and education executive, died in his sleep Dec. 30 at a retirement home in Wauwatosa, W is. He was 82.
A funeral service was held Jan. 6 at St. Paul Lutheran Church, Austin, Texas, where he had served as assistant pastor after his retirement — from 1992 to 2006.
Dr. Stelmachowicz was executive director of the Synod's Board for Higher Education from 1984 to 1991.
He also served as president of two LCMS colleges: St. John's College, Winfield, Kan. (which closed in 1986), from 1973 to 1978, and Concordia College, Seward, Neb. (now Concordia University Nebraska), 1978-84.
Dr. Stelmachowicz was superintendent of the Lutheran High School Association of Greater Detroit from 1968 to 1973; taught at Concordia, Seward, from 1961 to 1968 (while there, he also served as director of placement and dean of students); served as principal at Lutheran High School South, St. Louis (1957-61); and taught at Holy Cross Lutheran School, St. Louis (1950-54).
During his career, he served on numerous boards and commissions, including the Lutheran Educational Conference of North America and the Synod's Board of Youth Ministry and Commission on Theology and Church Relations. He was appointed by the Lutheran University of Brazil as ambassador to North America, and helped start Concordia Academy, the Lutheran high school in Austin.
He is a 1950 graduate of Concordia, Seward, and graduated in 1957 from Concordia Seminary, St. Louis. He earned his doctorate in education administration in 1966 from the University of Nebraska, Lincoln.
Dr. Stelmachowicz is survived by five children — all educators: Candyce (Bryan) Seider of Milwaukee; Cheryl (Roland) Wawrzyniak of Austin; Cary (Carla) Stelmachowicz of Jackson, Wis.; Crystal (Michael) Welter of Jackson, Wis.; and Corrie (Daniel) Klatt of Kansas City, Kan. His wife, Betty, died in 2003.
Corrie Klatt, a teacher at Calvary Lutheran School in Kansas City, Mo., said her dad "had both a passion and a gift for Lutheran education" and influenced her decision to become a teacher. She and her four siblings all went to Lutheran schools — from elementary school through college — and all 16 of their children are doing the same.
She recalled watching the movie "It's a Wonderful Life" with her dad when she was in about fifth grade.
"As the movie climaxes and Jimmy Stewart's character, George Bailey, realizes how much his life influenced and touched others, my dad said to me, 'Corrie, this movie has so much more meaning when you are a Christian. As a Christian, the Holy Spirit can use you to touch so many people in so many ways, and you may never know how you helped someone.'
"He went on and told me, 'So, as you go about life and growing up, never forget that God is always using you to do His work.' I have never forgotten!
"As more and more people send their condolences, messages, and prayers, I am comforted as I see how God used my father to do His work," Klatt said. "As I reread their heartfelt messages, it is clear to me that my dad really did have a wonderful life!"
Dr. Mark S. Nuckols, senior pastor of St. Paul, Austin, called Dr. Stelmachowicz "a very gifted man," one "whose attributes as a seasoned veteran of the cross gave him such rich insights into the eternality of the church.
"He was very realistic about the church, but very positive, seeing her for what she is, the bride of Christ," Nuckols told Reporter. "His involvement with so many of the educational institutions of our Synod allowed him to rub shoulders with an accurate cross-cut of our church body and her idiosyncrasies, begetting such realism about her, and yet such conviction of Christ's promises concerning her. I have been privileged to have served with him and to have communed with him as my brother and father in the faith."
Memorials may be made to Concordia Academy, Austin; Living Word Lutheran High School, Jackson, Wis.; Kansas City Lutheran High School; any school in the LCMS Concordia University System; "The Lutheran Hour"; and St. Paul Lutheran Church and School, Austin.
LCMS Communications
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January 'Witness': Living a chaste and decent life
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BOD covers much ground in wide-ranging meeting
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sjalvportratt
Swedish Realist Painter, 1853-1919 Swedish painter, illustrator and printmaker. He came from a poor family and studied (1866-76) at the Konstakademi in Stockholm, supporting himself throughout this period. From 1871 to 1878 he contributed illustrations to the comic journal Kaspar and the Ny illustrerad tidning. From 1875, for several decades, he was a prolific book illustrator, his most renowned work in this field being his drawings for Föltskärns beröttelser ('The Barber-surgeon's tales'; pubd 1883-4) by Zacharius Topelius, and the Rococo-inspired watercolours for the Samlade skaldeförsök ('Collected attempts at poetry'; pubd 1884) by the 18th-century Swedish author Anna Maria Lenngren. Related Paintings of Carl Larsson :. | daniels mats framfor sitt hus- daniels mats i bingsjo | Graziella Asking Whether She will do as a Model Ething | Fishing | The Ribbon Weaver | pa vikingatag i dalom |
Jan Brueghel the Younger
(September 13, 1601 C September 1, 1678) was a Flemish Baroque painter, and the son of Jan Brueghel the Elder. He was trained by his father and spent his career producing works in a similar style. Along with his brother Ambrosius, he produced landscapes, allegorical scenes and other works of meticulous detail. Brueghel also copied works by his father and sold them with his father's signature. His work is distinguishable from that of his parent by being less well executed and lighter. Jan the Younger was traveling in Italy when his father died of cholera and swiftly returned to take control of the Antwerp studio. He soon established himself and was made dean of the Guild of Saint Luke in 1630. That same year he was commissioned by the French court to paint Adam Cycle. In the following years, he also produced paintings for the Austrian court, and worked independently in Paris, before returning to Antwerp in 1657. He collaborated with a number of prominent artists including Rubens, Hendrick van Balen (1575-1632), Adriaen Stalbemt (1580-1682), Lucas Van Uden (1596-1672), David Teniers the Younger and his father-in-law Janssen. Jan the Younger's best works are his extensive landscapes, either under his own name or made for other artists such as Hendrick van Balen as backgrounds.
Lev Feliksovich Lagorio
(Russian: 1828-1905) was a Russian painter, known for his paintings of seascapes. Lagorio was born in Feodosia, Crimea (now Ukraine) and later studied in the Imperial Academy of Arts in Saint Petersburg. His teachers were Maxim Vorobiev and B. P. Villeval'de. While he lived in Feodosia, he was influenced by the painter Ivan Aivazovsky. In 1845 Lagorio went on a sea voyage on the warship Groziashchy to study the arrangement of the ship. Lagorio spent eight years in Italy. The paintings he created there brought him to the status of professor on his return home to Russia. In his later years, he painted the coastal views of Finland and Norway. He also painted motives of the Russian-Turkish war.
LIGOZZI, Jacopo
Italian painter, Florentine school (b. 1547, Verona, d. 1627, Firenze) Italian painter, draughtsman, miniaturist and printmaker. He was one of the most productive artists in 17th-century Florence, although in the context of the Florentine Baroque, with its pageantry and decorative form, Ligozzi remained as much a foreigner in terms of his precise drawing, veristic figures and expressive content, as he was by birth. He was the son of the painter Giovanni Ermanno Ligozzi ( fl 1572-88; d before 1605) and came from a Veronese family of painters and designers of armour, tapestries and embroidery on silk. Other members of the family who were painters (Fumagalli in 1986 exh. cat.) were Jacopo's brother Francesco (d before 1635), whose career seems to have been in Verona, his cousin Francesco di Mercurio, who worked for the Medici in Florence in 1590-91


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What's wrong with jumping the gun a little? We already know that Def Leppard, Tool, and Slipknot are headlining DL2019, so let's look to the future and get guessing for next year's festival early!
Anyone that has been around long enough will know that one of us had made a guess of this every year since we started up, and we keep getting it horribly wrong. I guess that's just part of the fun though. Nothing like a bit of false hope!
Come on, surely it's time for Cardinal Copia and his nameless Ghouls to make their mark as a large festival headliner? 2018 saw Ghost rise in popularity massively, and 2019 is only going to get even bigger for them, especially with them being Metallica's main support on their upcoming stadium tour!
I'll probably keep pushing this as I strongly believe it needs to happen, and with any luck 2020 will be the year we see it! Their headline show at the Royal Albert Hall last year was enough to prove their worth of a UK festival headliner, if you ask me.
It's been a few years since Metallica ripped up the Donnington stage. 2020 seems like a good time to do it once again! Age is just a number to these guys, and they're still a very enjoyable live experience even after 39 years of playing together by this point.
As mentioned before, Metallica are giving Europe the stadium tour treatment, so it would be pretty cool if they were to come back for download the year after.
I know that it's unclear on what AC/DC's future future holds right now since the unfortunate passing of Malcolm Young, legal trouble with drummer Phil Rudd, retirement of Cliff Williams and departure of Brian Johnson, but if the recent reports of Rudd and Johnson making a return are true, then a Download headline spot would be a brilliant return to form – even if it's just a one off show.
It's hard to say if this is possible, there's no saying Rudd and Johnson are coming back just because they were saw with their former band mates in a recording space, but it's a possibility. We'll wait and see.
Do you think these are possible candidates for a good DL2020? Or do you have better ideas for who could be taking up the main stage next year? Let us know in the comments below.


The 10 Best Places for Mac & Cheese in New York!
Creamy, savory, crispy, mouth-watering… however you like your macaroni and cheese, there's a restaurant in New York crafting it to perfection. This simple American staple has grown to include unique flavors and unique ingredients at the eateries across the Empire State. Here are 10 places with amazing macaroni and cheese in New York!
The classic version of the macaroni and cheese at Beecher's is crafted with melty cheddar, gruyere, and jack cheeses and cream. Downstairs in the Cellar, mac and cheese is dressed up with pork belly, breadcrumbs, and veggies.
Just a few doors down from the iconic Murray's Cheese Shop is this buzzing cheese bar, which channels the expertise behind the cheese purveyor into an assortment of cheesy pub favorites. The mac and cheese dish, made with a blend of four cheeses, is a fan favorite.
This East Village restaurant does one thing, and they do it well—make incredible, melt-in-your-mouth macaroni and cheese. The menu contains multiple creative takes on the comfort-food classic, including Alpine (made with Swiss and bacon), Napoletana (with mozzarella, tomatoes, and basil), and Cheeseburger (you guessed it).
Although Dino's macaroni and cheese is merely a side dish, according to many, it deserves to be front and center at this barbecue joint. Creamy, savory, and cheesy, it's attracted a fan following of its own.
One of the best mac and cheeses n Buffalo can actually be found in a food truck on the UB campus. The Big Blue doles out savory macaroni with white cheddar and Panko breadcrumbs, among other varieties, in a to-go box for easy eating between classes.
Mooney's takes macaroni and cheese creation seriously. It even has its own section on the menu—and the website! Take your pic from 16 flavors and a variety of sizes, from munchkin-size to Mac Packs, which serve up to eight people.
A self-described "soul food paradise," Pepe's Place in New Rochelle masterfully blends culinary influences from around the world in its cuisine, resulting in dynamite combinations like Tahitian vanilla bean yams and aged cheddar mac and cheese.
Druther's Brewing has won the capital region's Mac-n-Cheese Bowl event two years in a row, stealing the hearts of both judges and patrons. The secret to their success is unknown, but it probably has something to do with the seven cheeses, shell pasta, crumbled chops, chicken, bacon, and ranch that goes into the dish.
Westville is known for its impressive, upscale takes on diner fare, and its smoky mac and cheese dish is no exception. Made with ultra-creamy Gouda and cooked to a slight crisp (only the top layer), this dish has mac-and-cheese enthusiasts swooning.
Rich and savory, the mac and cheese at the Smith has caught the attention of nearly anyone who's tasted it. Although it's listed as a side, the sheer amount of buzz surrounding The Smith's mac and cheese warrants an upgrade to menu-front-and-center.
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text:
News from Karolinska Institutet
Nyheter startsida
Published: 24-09-2021 13:46 | Updated: 24-09-2021 13:47
Two KI researchers elected to the Young Academy of Sweden
Karolina Kauppi, researcher in medical biology, and Janina Seubert, researcher in psychology at Karolinska Institutet have been elected to the Young Academy of Sweden. Photo: Stefan Zimmerman, Gunilla Sonnebring
Karolina Kauppi, researcher in medical biology, and Janina Seubert, researcher in psychology at Karolinska Institutet have been elected to the Young Academy of Sweden, an organisation that brings together younger, leading researchers from all fields and all parts of the country.
On 22 September, the new members were welcomed to the Young Academy of Sweden. Out of a total of eight researchers, two were from Karolinska Institutet. The term of office of as a member is limited to five years. Karolina Kauppi at the Department of Medical Epidemiology and Biostatistics, is excited about the assignment.
"I want to promote science so that it will have a strong and positive role in society, with increased knowledge and trust in research among the general public. I also want to help shape sustainable and attractive career paths for young researchers that will also promote the quality of the research conducted," she says.
Karolina Kauppi received her PhD from Umeå University in 2013 in genetics, memory and brain function and has since been a postdoc at Oslo University and the University of California San Diego. She then returned to Sweden to build up her own research group focusing on mapping the genetic factors that affect, above all, the cognitive impairments often seen in normal ageing, but also in several neuronal diseases. Her work today is interdisciplinary, integrating methods from different fields and building favourable collaborations between KI and Umeå, and she thinks it is fun and valuable to be able to collaborate with people with different areas of expertise.
Janina Seubert at the Department of Clinical Neuroscience is also looking forward to her time as a member. A key issue she is passionate about is diversity in academia.
"I strongly believe that it is by taking advantage of our differences in experiencing the world, whether by virtue of our different areas of scientific expertise, culture or upbringing, that we can create the best research ideas," she says.
Janina has worked extensively in interdisciplinary and international contexts; during her PhD period on the boundary between clinical psychiatric research and basic neuroscience research, and during her postdoc in an interdisciplinary centre for smell and taste research where psychologists and molecular biologists worked under the same roof. During that time, she experienced how paralysing it can feel not to have a planned future in academia, despite being well published and good at attracting external research funding.
"During my time as a member of the Young Academy of Sweden, I will therefore work hard to establish clear career paths for young independent researchers who, despite high scientific performance, have ended up outside of the assistant senior lecturer system," concludes Janina Seubert.
The Academy also includes KI researchers Petter Brodin at the Department of Women and Children's Health and Gustaf Edgren at the Department of Medicine, Solna, as well as the alumni Jens Hjerling-Leffler at the Department of Medical Biochemistry and Biophysics and Camilla Svensson at the Department of Physiology and Pharmacology.
About the Young Academy of Sweden
The Young Academy of Sweden was founded in 2011 and since its inception has had a total of 95 prominent researchers as members, many alumni are currently in leading positions in the research system. Scientific innovation, leadership and an interdisciplinary approach permeate the academy's operations. In 10 years, the organisation has created a strong voice among decision-makers in the scientific community both nationally and internationally.
Anna Svensson 24-09-2021


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text:
/********************
MCU:M032SE3AE(ULQFP64)
Base Clocks:
LIRC:38.4000kHz
HIRC:48MHz
LXT:32.7680kHz
HXT:12MHz
PLL:72MHz
HCLK:48MHz
PCLK0:48MHz
PCLK1:48MHz
Enabled-Module Frequencies:
ACMP01=Bus Clock(PCLK1):48MHz
ADC=Bus Clock(PCLK1):48MHz/Engine Clock:48MHz
CRC=Bus Clock(HCLK):48MHz
EBI=Bus Clock(HCLK):48MHz
HDIV=Bus Clock(HCLK):48MHz
I2C0=Bus Clock(PCLK0):48MHz
I2C1=Bus Clock(PCLK1):48MHz
ISP=Bus Clock(HCLK):48MHz/Engine Clock:48MHz
PDMA=Bus Clock(HCLK):48MHz
PWM0=Bus Clock(PCLK0):48MHz/Engine Clock:48MHz
PWM1=Bus Clock(PCLK1):48MHz/Engine Clock:48MHz
SPI0=Bus Clock(PCLK1):48MHz/Engine Clock:48MHz
SYSTICK=Bus Clock(HCLK):48MHz/Engine Clock:24MHz
TMR0=Bus Clock(PCLK0):48MHz/Engine Clock:48MHz
TMR1=Bus Clock(PCLK0):48MHz/Engine Clock:48MHz
TMR2=Bus Clock(PCLK1):48MHz/Engine Clock:48MHz
TMR3=Bus Clock(PCLK1):48MHz/Engine Clock:48MHz
UART0=Bus Clock(PCLK0):48MHz/Engine Clock:48MHz
UART1=Bus Clock(PCLK1):48MHz/Engine Clock:48MHz
UART2=Bus Clock(PCLK0):48MHz/Engine Clock:48MHz
USBD=Bus Clock(PCLK0):48MHz/Engine Clock:48MHz
USCI0=Bus Clock(PCLK0):48MHz
WDT=Bus Clock(PCLK0):48MHz/Engine Clock:38.4000kHz
WWDT=Bus Clock(PCLK0):48MHz/Engine Clock:23.4375kHz
********************/

#include "M031Series.h"

void nutool_modclkcfg_init_acmp01(void)
{
    CLK_EnableModuleClock(ACMP01_MODULE);

    return;
}

void nutool_modclkcfg_deinit_acmp01(void)
{
    CLK_DisableModuleClock(ACMP01_MODULE);

    return;
}

void nutool_modclkcfg_init_adc(void)
{
    CLK_EnableModuleClock(ADC_MODULE);
    CLK_SetModuleClock(ADC_MODULE, CLK_CLKSEL2_ADCSEL_PCLK1, CLK_CLKDIV0_ADC(1));

    return;
}

void nutool_modclkcfg_deinit_adc(void)
{
    CLK_DisableModuleClock(ADC_MODULE);

    return;
}

void nutool_modclkcfg_init_crc(void)
{
    CLK_EnableModuleClock(CRC_MODULE);

    return;
}

void nutool_modclkcfg_deinit_crc(void)
{
    CLK_DisableModuleClock(CRC_MODULE);

    return;
}

void nutool_modclkcfg_init_ebi(void)
{
    CLK_EnableModuleClock(EBI_MODULE);

    return;
}

void nutool_modclkcfg_deinit_ebi(void)
{
    CLK_DisableModuleClock(EBI_MODULE);

    return;
}

void nutool_modclkcfg_init_hdiv(void)
{
    CLK_EnableModuleClock(HDIV_MODULE);

    return;
}

void nutool_modclkcfg_deinit_hdiv(void)
{
    CLK_DisableModuleClock(HDIV_MODULE);

    return;
}

void nutool_modclkcfg_init_i2c0(void)
{
    CLK_EnableModuleClock(I2C0_MODULE);

    return;
}

void nutool_modclkcfg_deinit_i2c0(void)
{
    CLK_DisableModuleClock(I2C0_MODULE);

    return;
}

void nutool_modclkcfg_init_i2c1(void)
{
    CLK_EnableModuleClock(I2C1_MODULE);

    return;
}

void nutool_modclkcfg_deinit_i2c1(void)
{
    CLK_DisableModuleClock(I2C1_MODULE);

    return;
}

void nutool_modclkcfg_init_isp(void)
{
    CLK_EnableModuleClock(ISP_MODULE);

    return;
}

void nutool_modclkcfg_deinit_isp(void)
{
    CLK_DisableModuleClock(ISP_MODULE);

    return;
}

void nutool_modclkcfg_init_pdma(void)
{
    CLK_EnableModuleClock(PDMA_MODULE);

    return;
}

void nutool_modclkcfg_deinit_pdma(void)
{
    CLK_DisableModuleClock(PDMA_MODULE);

    return;
}

void nutool_modclkcfg_init_pwm0(void)
{
    CLK_EnableModuleClock(PWM0_MODULE);
    CLK_SetModuleClock(PWM0_MODULE, CLK_CLKSEL2_PWM0SEL_PCLK0, MODULE_NoMsk);

    return;
}

void nutool_modclkcfg_deinit_pwm0(void)
{
    CLK_DisableModuleClock(PWM0_MODULE);

    return;
}

void nutool_modclkcfg_init_pwm1(void)
{
    CLK_EnableModuleClock(PWM1_MODULE);
    CLK_SetModuleClock(PWM1_MODULE, CLK_CLKSEL2_PWM1SEL_PCLK1, MODULE_NoMsk);

    return;
}

void nutool_modclkcfg_deinit_pwm1(void)
{
    CLK_DisableModuleClock(PWM1_MODULE);

    return;
}

void nutool_modclkcfg_init_spi0(void)
{
    CLK_EnableModuleClock(SPI0_MODULE);
    CLK_SetModuleClock(SPI0_MODULE, CLK_CLKSEL2_SPI0SEL_PCLK1, MODULE_NoMsk);

    return;
}

void nutool_modclkcfg_deinit_spi0(void)
{
    CLK_DisableModuleClock(SPI0_MODULE);

    return;
}

void nutool_modclkcfg_init_systick(void)
{
    CLK_EnableSysTick(CLK_CLKSEL0_STCLKSEL_HIRC_DIV2, 0);

    return;
}

void nutool_modclkcfg_deinit_systick(void)
{
    CLK_DisableSysTick();

    return;
}

void nutool_modclkcfg_init_tmr0(void)
{
    CLK_EnableModuleClock(TMR0_MODULE);
    CLK_SetModuleClock(TMR0_MODULE, CLK_CLKSEL1_TMR0SEL_HIRC, MODULE_NoMsk);

    return;
}

void nutool_modclkcfg_deinit_tmr0(void)
{
    CLK_DisableModuleClock(TMR0_MODULE);

    return;
}

void nutool_modclkcfg_init_tmr1(void)
{
    CLK_EnableModuleClock(TMR1_MODULE);
    CLK_SetModuleClock(TMR1_MODULE, CLK_CLKSEL1_TMR1SEL_HIRC, MODULE_NoMsk);

    return;
}

void nutool_modclkcfg_deinit_tmr1(void)
{
    CLK_DisableModuleClock(TMR1_MODULE);

    return;
}

void nutool_modclkcfg_init_tmr2(void)
{
    CLK_EnableModuleClock(TMR2_MODULE);
    CLK_SetModuleClock(TMR2_MODULE, CLK_CLKSEL1_TMR2SEL_HIRC, MODULE_NoMsk);

    return;
}

void nutool_modclkcfg_deinit_tmr2(void)
{
    CLK_DisableModuleClock(TMR2_MODULE);

    return;
}

void nutool_modclkcfg_init_tmr3(void)
{
    CLK_EnableModuleClock(TMR3_MODULE);
    CLK_SetModuleClock(TMR3_MODULE, CLK_CLKSEL1_TMR3SEL_HIRC, MODULE_NoMsk);

    return;
}

void nutool_modclkcfg_deinit_tmr3(void)
{
    CLK_DisableModuleClock(TMR3_MODULE);

    return;
}

void nutool_modclkcfg_init_uart0(void)
{
    CLK_EnableModuleClock(UART0_MODULE);
    CLK_SetModuleClock(UART0_MODULE, CLK_CLKSEL1_UART0SEL_HXT, CLK_CLKDIV0_UART0(1));

    return;
}

void nutool_modclkcfg_deinit_uart0(void)
{
    CLK_DisableModuleClock(UART0_MODULE);

    return;
}

void nutool_modclkcfg_init_uart1(void)
{
    CLK_EnableModuleClock(UART1_MODULE);
    CLK_SetModuleClock(UART1_MODULE, CLK_CLKSEL1_UART1SEL_PCLK1, CLK_CLKDIV0_UART1(1));

    return;
}

void nutool_modclkcfg_deinit_uart1(void)
{
    CLK_DisableModuleClock(UART1_MODULE);

    return;
}

void nutool_modclkcfg_init_uart2(void)
{
    CLK_EnableModuleClock(UART2_MODULE);
    CLK_SetModuleClock(UART2_MODULE, CLK_CLKSEL3_UART2SEL_PCLK0, CLK_CLKDIV4_UART2(1));

    return;
}

void nutool_modclkcfg_deinit_uart2(void)
{
    CLK_DisableModuleClock(UART2_MODULE);

    return;
}

void nutool_modclkcfg_init_usbd(void)
{
    CLK_EnableModuleClock(USBD_MODULE);
    CLK_SetModuleClock(USBD_MODULE, CLK_CLKSEL0_USBDSEL_HIRC, MODULE_NoMsk);

    return;
}

void nutool_modclkcfg_deinit_usbd(void)
{
    CLK_DisableModuleClock(USBD_MODULE);

    return;
}

void nutool_modclkcfg_init_usci0(void)
{
    CLK_EnableModuleClock(USCI0_MODULE);

    return;
}

void nutool_modclkcfg_deinit_usci0(void)
{
    CLK_DisableModuleClock(USCI0_MODULE);

    return;
}

void nutool_modclkcfg_init_wdt(void)
{
    CLK_EnableModuleClock(WDT_MODULE);
    CLK_SetModuleClock(WDT_MODULE, CLK_CLKSEL1_WDTSEL_LIRC, MODULE_NoMsk);

    return;
}

void nutool_modclkcfg_deinit_wdt(void)
{
    CLK_DisableModuleClock(WDT_MODULE);

    return;
}

void nutool_modclkcfg_init_wwdt(void)
{
    CLK_EnableModuleClock(WWDT_MODULE);
    CLK_SetModuleClock(WWDT_MODULE, CLK_CLKSEL1_WWDTSEL_HCLK_DIV2048, MODULE_NoMsk);

    return;
}

void nutool_modclkcfg_deinit_wwdt(void)
{
    CLK_DisableModuleClock(WWDT_MODULE);

    return;
}

void nutool_modclkcfg_init_rtc(void)
{
    CLK_EnableModuleClock(RTC_MODULE);

    return;
}

void nutool_modclkcfg_deinit_rtc(void)
{
    CLK_DisableModuleClock(RTC_MODULE);

    return;
}

void nutool_modclkcfg_init_base(void)
{
    /* Enable clock source */
    CLK_EnableXtalRC(CLK_PWRCTL_LIRCEN_Msk | CLK_PWRCTL_HIRCEN_Msk | CLK_PWRCTL_LXTEN_Msk | CLK_PWRCTL_HXTEN_Msk);

    /* Waiting for clock source ready */
    CLK_WaitClockReady(CLK_STATUS_LIRCSTB_Msk | CLK_STATUS_HIRCSTB_Msk | CLK_STATUS_LXTSTB_Msk | CLK_STATUS_HXTSTB_Msk);

    /* Disable PLL first to avoid unstable when setting PLL */
    CLK_DisablePLL();

    /* Set PLL frequency */
    CLK->PLLCTL = (CLK->PLLCTL & ~(0x000FFFFFul)) | 0x0008C02Eul;

    /* Waiting for PLL ready */
    CLK_WaitClockReady(CLK_STATUS_PLLSTB_Msk);

    /* If the defines do not exist in your project, please refer to the related clk.h in the Header folder appended to the tool package. */
    /* Set HCLK clock */
    CLK_SetHCLK(CLK_CLKSEL0_HCLKSEL_HIRC, CLK_CLKDIV0_HCLK(1));

    /* Set PCLK-related clock */
    CLK->PCLKDIV = (CLK_PCLKDIV_APB0DIV_DIV1 | CLK_PCLKDIV_APB1DIV_DIV1);

    return;
}

void nutool_modclkcfg_init(void)
{
    /*---------------------------------------------------------------------------------------------------------*/
    /* Init System Clock                                                                                */
    /*---------------------------------------------------------------------------------------------------------*/
    //CLK->PWRCTL = (CLK->PWRCTL & ~(0x0000000Ful)) | 0x0231001Ful;
    //CLK->PLLCTL = (CLK->PLLCTL & ~(0x000FFFFFul)) | 0x0008C02Eul;
    //CLK->CLKDIV0 = (CLK->CLKDIV0 & ~(0x00FFFFFFul)) | 0x00000000ul;
    //CLK->CLKDIV4 = (CLK->CLKDIV4 & ~(0x0000000Ful)) | 0x00000000ul;
    //CLK->PCLKDIV = (CLK->PCLKDIV & ~(0x00000077ul)) | 0x00000000ul;
    //CLK->CLKSEL0 = (CLK->CLKSEL0 & ~(0x0000013Ful)) | 0x0000003Ful;
    //CLK->CLKSEL1 = (CLK->CLKSEL1 & ~(0x7777777Ful)) | 0x4477773Bul;
    //CLK->CLKSEL2 = (CLK->CLKSEL2 & ~(0x00300033ul)) | 0x00200023ul;
    //CLK->CLKSEL3 = (CLK->CLKSEL3 & ~(0x07000000ul)) | 0x04000000ul;
    //CLK->AHBCLK = (CLK->AHBCLK & ~(0x0000009Eul)) | 0x0000009Eul;
    //CLK->APBCLK0 = (CLK->APBCLK0 & ~(0x180723FDul)) | 0x180723BDul;
    //CLK->APBCLK1 = (CLK->APBCLK1 & ~(0x00030100ul)) | 0x00030100ul;
    //CLK->CLKOCTL = (CLK->CLKOCTL & ~(0x0000003Ful)) | 0x00000000ul;
    //SysTick->CTRL = (SysTick->CTRL & ~(0x00000005ul)) | 0x00000001ul;

    /* Unlock protected registers */
    SYS_UnlockReg();

    /* Enable base clock */
    nutool_modclkcfg_init_base();

    /* Enable module clock and set clock source */
    nutool_modclkcfg_init_acmp01();
    nutool_modclkcfg_init_adc();
    nutool_modclkcfg_init_crc();
    nutool_modclkcfg_init_ebi();
    nutool_modclkcfg_init_hdiv();
    nutool_modclkcfg_init_i2c0();
    nutool_modclkcfg_init_i2c1();
    nutool_modclkcfg_init_isp();
    nutool_modclkcfg_init_pdma();
    nutool_modclkcfg_init_pwm0();
    nutool_modclkcfg_init_pwm1();
    nutool_modclkcfg_init_spi0();
    nutool_modclkcfg_init_systick();
    nutool_modclkcfg_init_tmr0();
    nutool_modclkcfg_init_tmr1();
    nutool_modclkcfg_init_tmr2();
    nutool_modclkcfg_init_tmr3();
    nutool_modclkcfg_init_uart0();
    nutool_modclkcfg_init_uart1();
    nutool_modclkcfg_init_uart2();
    nutool_modclkcfg_init_usbd();
    nutool_modclkcfg_init_usci0();
    nutool_modclkcfg_init_wdt();
    nutool_modclkcfg_init_wwdt();
    nutool_modclkcfg_init_rtc();

    /* Update System Core Clock */
    /* User can use SystemCoreClockUpdate() to calculate SystemCoreClock. */
    SystemCoreClockUpdate();

    /* Lock protected registers */
    SYS_LockReg();

    return;
}

/*** (C) COPYRIGHT 2013-2020 Nuvoton Technology Corp. ***/

redpajama_set_name: RedPajamaGithub


text:
Q: jQuery flicker on slideUp() in all browsers ... sample page attached I know this has been discussed several times, but I have an issue that is a little different.  when .slideUp() is called and the browser wind has been scrolled down to see all the bottom content, it flashes many times as the div is sliding closed.
Example page is below, just click where it says to, then slide to the bottom and close one of the upper divs.
    <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd">

        <title>This is the title</title>

Title Goes Here

            Click here Click here Click here Click here Click here Click here Click here Click here Click here Click here Click here Click here
                ... click for more

                CourseDescription

                    Content Content

                    Content Content

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                    Content Content

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                    Content Content

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                    Content Content

                    For more information, contact:

                    Content Content

                    Content Content

                    Content Content

                    Content Content

                    To enroll:

                    Click on a link below and complete the registration form.

                Click on this line

                    Content Content

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Title Goes Here

                Click here Click here Click here Click here Click here Click here Click here Click here Click here Click here Click here
                ... click for more

                CourseDescription

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                    For more information, contact:

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                    To enroll:

                    Click on a link below and complete the registration form.

                Click on this line

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                ... click for more

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A: An easy fix is to check the computed height of the body element before closing a collapsible element, then set the body's computed height as its CSS height property.
$('div.Accordion > div.collapsePanelHeader').click(function() {

    var body = $('body');
    body.css('height', 'auto');
    body.css('height', body.height());

    $(this).slideToggle(1000);
    $(this).next('div.Content').slideToggle(1000);
 });

This forces the body element to maintain its height, even when closing a tall panel that would normally reset/redraw the body to its earlier default height.
Note also that before checking the computed height, the CSS height is reset to auto, otherwise jQuery bypasses the computed style and uses the value set during the previous pass.

A: Did you try detecting if the window is scrolled and centering or moving the window.
This only happens when the window is scrolled all the way down and the content get smaller so you don't need to scroll anymore, the scroll bar / window is changing in height and starts to flicker. But i guess this might be a bit of an overkill.
Another idea that just popped in my head, you could try to detect if your at the bottom of the screen and just add a container that will hold the total height of the screen, this should fix the flickering you will end up having a blank space at the bottom of the page.
P.S.: if you find a good solution to this problem i would be very interested to hear it.