text:
Q: How to insert into database with setting the default values in phpmyadmin I have two phpmyadmin both are version 4.2.7 and PHPversion is PHP Version 5.4.24 one of phpmyadmin is allowing null values and another not accepting the null values
Phpmyadmin - 1
INSERT INTO table_name (column1,column2,column3,...)
VALUES (value1,value2,value3,...);

Phpmyadmin - 2
On the second table i didn't give the values for column3 its error like
I got error:

General error: 1364 Field 'column3' doesn't have a default value.

Even though i didn't set the null for phpmyadmin-1 but its working fine. How can i solve this ? Any suggestion ?
INSERT INTO table_name (column1,column2,...)
VALUES (value1,value2,...);

A: Check your code is like this
when you creating database you should apply this option as well.
And in your code assign Your value3=NULL.
Then add the above function as same.
INSERT INTO table_name (column1,column2,column3,...)
    VALUES (value1,value2,value3,...);

A: Use this query:
SELECT `COLUMN_NAME`,`IS_NULLABLE` FROM `INFORMATION_SCHEMA`.COLUMNS
WHERE `TABLE_NAME` = 'table_name'

Here table_name is the name of your table, the only change.
Run this query and you will get a table with COLUMN_NAME and IS_NULLABLE as two columns.
Check it and make sure that you have the field with IS_NULLABLE = 'YES'

redpajama_set_name: RedPajamaStackExchange


This session on Technology and Innovation Powering Connectivity for Inclusive and Sustainable Industrial Development will take place at ITU Headquarters (ITU Tower building, Popov Room) in Geneva, Switzerland on Monday, 1 October 2018, from 09:30 to 12:30 prior to the ITU-D Study Group 2 Question 1/2 meeting dedicated to "Creating smart cities and society: Employing information and communication technologies for sustainable social and economic development".
The active engagement of all stakeholders (e.g. policy-makers, regulators, service providers/operators, manufacturers) is fundamental to enable and facilitate the future of ICTs and their applications in the society. Policies and decisions made today will impact sustainable development of infrastructures, cities, industries and societies in decades to come, fostering social and economic development and growth. Enabling policies in certain areas of technological adoption has led to major breakthroughs in the development of infrastructures and connectivity. This session will bring together key stakeholder representatives to discuss the impact of an enabling set of policies as well as global stakeholder alignment on the future of technological innovation, adoption and connectivity for a prosperous tomorrow.
How can public and private sector work together to ensure effective engagement of all relevant stakeholders as well as effective planning and design of infrastructure enabling innovative solutions across different sectors?
What are good practices and case studies of enabling policies for improving different types of infrastructure and connectivity?
How can countries in varying stages of development work together towards shared outcomes? What tools can be used to bridge the gaps in infrastructure and digital access to ensure no community is left behind?
Digitization has ushered in new levels of efficiency in the way we manage assets and resources. Nowhere else has this had a greater impact than in the development of more sustainable urban spaces. The Sustainable Smart City and Society (SSCS) concept has become a reality, and through the collection of massive data and big data analytics, Artificial Intelligence (AI), Internet-of-Things (IoT) and more, SSCS can now monitor and optimize quality, performance, cost-effectiveness and resource consumption of services better than ever before. This session will address the advent of SSCS and the role of emerging technologies such as AI and IoT, as well as the associated opportunities and challenges.
What will be the next wave of technologies and innovations in 4IR that can be utilized in SSCS?
What are the governing policies that foster innovation and enable efficient planning and development for SSCS?
How can the potential of big data analytics, AI and IoT be harnessed to drive greater efficiency and sustainability in smart cities and societies worldwide?
Giving the potential of ICT, how can governments adapt their approach to adopt ICT and to ensure that this potential leads to concrete difference in people's lives and to a digital transformation?
How can such new technologies improve industry production and alleviate the adverse effects of manufacturing and urbanization?
Q1/2 Final Report for the 2014-2017 study period "Creating the smart society: Social and economic development through ICT applications"


text:
Q: Box of theorem in RTL Languages In beamer I would like to have both theorem enviroment English and RTL Language (arabic) which means the box of theorem would be in right side
\documentclass[hyperref={hyperfootnotes=false},10pt]{beamer}

%% to use arabic language and arabic fonts
\usepackage{polyglossia}
\setdefaultlanguage{english}
\setotherlanguage[calendar=gregorian,numerals=maghrib]{arabic}
\newfontfamily\arabicfont[Script=Arabic, Scale=1.0]{Traditional Arabic}
\newfontfamily\arabicfontsf[Script=Arabic]{Amiri}
\newfontfamily\arabicfonttt[Script=Arabic, Scale=1.0]{Tahoma}
\setsansfont[Script=Arabic]{Simplified Arabic}

\makeatletter
\let\@footnotetext=\beamer@framefootnotetext
\makeatother

\begin{document}

\begin{frame}
\begin{frame}
\frametitle{Sample frame title}

\begin{block}{Definition}
this is theorem in english version
\end{block}

\begin{block}{\textarabic{تعريف }}
this is theorem in arabic version which the left box will be in right side of the theorem enviroment
\textarabic{نص التعريف}
\end{block}

\begin{alertblock}{Theorem}
this is theorem in english version
\end{alertblock}

\begin{alertblock}{\textarabic{مبرهنة}}
\textarabic{محتوى}
\end{alertblock}

\begin{examples}{Example}
bla bla
\end{examples}
\begin{examples}{متال}
\textarabic{متال}
\end{examples}
\end{frame}

\end{document}

A: % !TeX TS-program = xelatex

\documentclass[hyperref={hyperfootnotes=false},10pt]{beamer}
\usecolortheme{orchid}

%% to use arabic language and arabic fonts
\usepackage{polyglossia}
\setdefaultlanguage{english}
\setotherlanguage[calendar=gregorian,numerals=maghrib]{arabic}
\newfontfamily\arabicfont[Script=Arabic]{Times New Roman}
\newfontfamily\arabicfontsf[Script=Arabic]{Times New Roman}

\makeatletter
\let\@footnotetext=\beamer@framefootnotetext
\makeatother

\begin{document}

\begin{frame}
\frametitle{Sample frame title}

\begin{block}{Definition}
this is theorem in english version
\end{block}

{
\selectlanguage{arabic}
\begin{block}{\textarabic{تعريف }}
this is theorem in arabic version which the left box will be in right side of the theorem enviroment
\textarabic{نص التعريف}
\end{block}
}

\end{frame}

\end{document}


text:
Q: Implementing file request counter I have a Rails API project.
I am trying to implement a counter on the number of times a file is requested, say, the number of times an audio file is played.
This is my model
class Post < ApplicationRecord
  has_one_attached :audio_file
end

The frontend gets the file URL and makes a GET request to play the file:
GET localhost:3001/rails/active_storage/blobs/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBDQT09IiwiZXhwIjpudWxsLCJwdXIiOiJibG9iX2lkIn19--75d7e21e4e3727c21cb0e26a86c7366dea1bc36a/test_audio.mp3

When the request is performed, rails logs this:
Started GET "/rails/active_storage/blobs/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBDQT09IiwiZXhwIjpudWxsLCJwdXIiOiJibG9iX2lkIn19--75d7e21e4e3727c21cb0e26a86c7366dea1bc36a/test_audio.mp3" for ::1 at 2020-05-13 20:29:15 -0400
   (28.4ms)  SELECT "schema_migrations"."version" FROM "schema_migrations" ORDER BY "schema_migrations"."version" ASC
  ↳ /home/david/.rbenv/versions/2.6.0/lib/ruby/gems/2.6.0/gems/activerecord-5.2.3/lib/active_record/log_subscriber.rb:98

Processing by ActiveStorage::BlobsController#show as MP3
  Parameters: {"signed_id"=>"eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaHBDQT09IiwiZXhwIjpudWxsLCJwdXIiOiJibG9iX2lkIn19--75d7e21e4e3727c21cb0e26a86c7366dea1bc36a", "filename"=>"test_audio"}
  ActiveStorage::Blob Load (45.5ms)  SELECT  "active_storage_blobs".* FROM "active_storage_blobs" WHERE "active_storage_blobs"."id" = $1 LIMIT $2  [["id", 3], ["LIMIT", 1]]
  ↳ /home/david/.rbenv/versions/2.6.0/lib/ruby/gems/2.6.0/gems/activerecord-5.2.3/lib/active_record/log_subscriber.rb:98
  Disk Storage (18882.5ms) Generated URL for file at key: XoA9L6bBFrEeBuGMRPzHx6Wn (http://localhost:3001/rails/active_storage/disk/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDRG9JYTJWNVNTSWRXRzlCT1V3MllrSkdja1ZsUW5WSFRWSlFla2g0TmxkdUJqb0dSVlE2RUdScGMzQnZjMmwwYVc5dVNTSkxZWFIwWVdOb2JXVnVkRHNnWm1sc1pXNWhiV1U5SW5SbGMzUmZZWFZrYVc4dWJYQXpJanNnWm1sc1pXNWhiV1VxUFZWVVJpMDRKeWQwWlhOMFgyRjFaR2x2TG0xd013WTdCa1k2RVdOdmJuUmxiblJmZEhsd1pVa2lEMkYxWkdsdkwyMXdaV2NHT3daVSIsImV4cCI6IjIwMjAtMDUtMTRUMDA6MzQ6NDUuMDMyWiIsInB1ciI6ImJsb2Jfa2V5In19--b7120a24370e1afd709601363c463950bbb6ad22/test_audio.mp3?content_type=audio%2Fmpeg&disposition=attachment%3B+filename%3D%22test_audio.mp3%22%3B+filename%2A%3DUTF-8%27%27test_audio.mp3)
Redirected to http://localhost:3001/rails/active_storage/disk/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDRG9JYTJWNVNTSWRXRzlCT1V3MllrSkdja1ZsUW5WSFRWSlFla2g0TmxkdUJqb0dSVlE2RUdScGMzQnZjMmwwYVc5dVNTSkxZWFIwWVdOb2JXVnVkRHNnWm1sc1pXNWhiV1U5SW5SbGMzUmZZWFZrYVc4dWJYQXpJanNnWm1sc1pXNWhiV1VxUFZWVVJpMDRKeWQwWlhOMFgyRjFaR2x2TG0xd013WTdCa1k2RVdOdmJuUmxiblJmZEhsd1pVa2lEMkYxWkdsdkwyMXdaV2NHT3daVSIsImV4cCI6IjIwMjAtMDUtMTRUMDA6MzQ6NDUuMDMyWiIsInB1ciI6ImJsb2Jfa2V5In19--b7120a24370e1afd709601363c463950bbb6ad22/test_audio.mp3?content_type=audio%2Fmpeg&disposition=attachment%3B+filename%3D%22test_audio.mp3%22%3B+filename%2A%3DUTF-8%27%27test_audio.mp3
Completed 302 Found in 21681ms (ActiveRecord: 54.2ms)

Started GET "/rails/active_storage/disk/eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDRG9JYTJWNVNTSWRXRzlCT1V3MllrSkdja1ZsUW5WSFRWSlFla2g0TmxkdUJqb0dSVlE2RUdScGMzQnZjMmwwYVc5dVNTSkxZWFIwWVdOb2JXVnVkRHNnWm1sc1pXNWhiV1U5SW5SbGMzUmZZWFZrYVc4dWJYQXpJanNnWm1sc1pXNWhiV1VxUFZWVVJpMDRKeWQwWlhOMFgyRjFaR2x2TG0xd013WTdCa1k2RVdOdmJuUmxiblJmZEhsd1pVa2lEMkYxWkdsdkwyMXdaV2NHT3daVSIsImV4cCI6IjIwMjAtMDUtMTRUMDA6MzQ6NDUuMDMyWiIsInB1ciI6ImJsb2Jfa2V5In19--b7120a24370e1afd709601363c463950bbb6ad22/test_audio.mp3?content_type=audio%2Fmpeg&disposition=attachment%3B+filename%3D%22test_audio.mp3%22%3B+filename%2A%3DUTF-8%27%27test_audio.mp3" for ::1 at 2020-05-13 20:29:46 -0400
Processing by ActiveStorage::DiskController#show as MP3
  Parameters: {"content_type"=>"audio/mpeg", "disposition"=>"attachment; filename=\"test_audio.mp3\"; filename*=UTF-8''test_audio.mp3", "encoded_key"=>"eyJfcmFpbHMiOnsibWVzc2FnZSI6IkJBaDdDRG9JYTJWNVNTSWRXRzlCT1V3MllrSkdja1ZsUW5WSFRWSlFla2g0TmxkdUJqb0dSVlE2RUdScGMzQnZjMmwwYVc5dVNTSkxZWFIwWVdOb2JXVnVkRHNnWm1sc1pXNWhiV1U5SW5SbGMzUmZZWFZrYVc4dWJYQXpJanNnWm1sc1pXNWhiV1VxUFZWVVJpMDRKeWQwWlhOMFgyRjFaR2x2TG0xd013WTdCa1k2RVdOdmJuUmxiblJmZEhsd1pVa2lEMkYxWkdsdkwyMXdaV2NHT3daVSIsImV4cCI6IjIwMjAtMDUtMTRUMDA6MzQ6NDUuMDMyWiIsInB1ciI6ImJsb2Jfa2V5In19--b7120a24370e1afd709601363c463950bbb6ad22", "filename"=>"test_audio"}
Completed 200 OK in 1ms (ActiveRecord: 0.0ms)

I was thinking of adding a callback to ActiveStorage::Blob Load, that +1 a counter attribute in the Post model. My idea was to use after_find but I am not sure where I should add it.
Any other suggestions are very much appreciated.

A: How about providing new member action for posts_controller and use rails_blob_path helper?
in routes.rb definition
resources :posts do
  member do
    get :download
  end
end

in controller
class PostsController::ApplicationController
  def download
    post = Post.find params[:id]

    # counter business logic here
    post.increment(:download_counter)

    rails_blob_path(post.audio_file, disposition: "attachment")
  end
end


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in: Categories: News and Projects. Tags: NWO, partnerships, and smart city.
MCW is partnering in a new NWO-funded research project called "Designing for Controversies in Responsible Smart Cities". The mid-sized and centrally located municipality of Amersfoort is building a new Internet of Things infrastructure. A consortium of public and private partners will develop a government+citizen+academic+industry collaboration (a so-called 'quadruple helix') that allows a wide range of stakeholders to become involved in shaping their urban future. In a series of co-design sessions a number of ethical, juridical, and social controversies are made visible and debatable, as a way to garner broader engagement, agency and support. Consortium partners include The Municipality of Amersfoort, Marxman Advocaten, Aerovision, Kennislab voor Urbanisme, and the Design Innovation Groep. This collaboration helps to strengthen the overall research profile and impact of MCW in the field of Media and Urban Culture.


text:
#3 in Best Things To Do in Cusco
Claude LeTein/Getty Images
142 Portal Espinar
Churches/Religious Sites Type
Amid the many splendors found in the Plaza de Armas, the sky-high La Catedral is one of Cusco's finest architectural displays. Constructed in the 1550s with stones stolen from Sacsayhuamán, the baroque cathedral features opulent ceilings and gold and silver altars. It is also home to an impressive collection of colonial art that mixes Catholic traditions with indigenous legends.
La Catedral houses a world-renowned painting believed to depict the earthquake that shook Cusco in 1650. And across the building, you'll find a famous crucifix called Señor de los Temblores (Lord of the Earthquakes) who is said to have stopped the 17th-century earthquake from destroying the city.
Many of the works of art give insight into how the Andean people shifted to embrace Spanish culture and religion. For example, paintings of The Last Supper by Quechua artist Marcos Zapata depict Jesus and his disciples eating common ceremonial foods found in the region like cuy (roasted guinea pig) and chicha (a drink made from corn). Guests can also see images of the Virgin Mary depicting Pachamama (Mother Earth).
Recent visitors suggested exploring the church with a guide in order to hear the fascinating stories behind the structure and its artwork.
Visitors can stroll through the cathedral every day between 10 a.m. and 6 p.m. for 25 soles (about $7). Save some money by purchasing the Boleto Turístico ticket, which costs 130 soles (roughly $40) and includes admission to 16 of Cusco's attractions, including the La Catedral.
Hotels near La Catedral »
See all Hotels in Cusco »
More Best Things To Do in Cusco
Find Tours & Tickets
#1 Plaza de Armas
The history of the Plaza de Armas stretches back all the way to the Inca Empire when it was called Huacaypata or Aucaypata. The massive square (originally twice its current size) was built as a venue for festivals and ceremonies in ancient times.
According to legend, this plaza once marked the exact center of the Inca Empire, earning Cusco the nickname "the navel of the world." After Spanish conquistadors conquered the city in the early 1500s, they erected two churches on the either sides of the square – Iglesia de La Compañía de Jesús and La Catedral – where the former Incan palace once stood.
mckaysavage/Flickr
See full list of Best Things To Do in Cusco »
Explore More of Cusco
#1 in Best Places to Visit in the USA
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text:
Q: Django templating: is it possible to read field attributes of a form? Here's my form:
class ProfileForm(FormForceLocalizedDateFields):

    class Meta:
        model = Personne
        fields = ('sex', )
        exclude = ('user',)

    e = {'required': _(u'This field is required'),
         'invalid': _(u'This field contains invalid data')}

    a = _(u'Sexe:')
    sexe = forms.CharField(
        label=a, max_length=1,
        widget=forms.Select(attrs={
            'title': a,
            'data-row': 1,
            'class': 'form-control'},
            choices=[(k, Personne.TAB_SEXE[k]) for k in Personne.TAB_SEXE]),
        error_messages=e)

If you read carefully you'll notice my custom attribute 'data-row': 1,
Here's what I'd like to do in my template:
        {% for field in form %}
            {% if field.attr("data-row")==1 %}
            Blabla
            {% endif %}
        {% endfor %}

How would you do this?

A: If you use the attribute name datarow then you can do something like
{% if field.field.widget.attrs.datarow == 0 %}

However, you can't use the attribute data-row because of the hyphen. If you really need to do this, you can use a custom template filter that supports dictionary lookups.


text:
Q: Mp3 Song does not play in MediaPlayer In my application, in MediaPlayer online song does not play . It goes in preparing state. I have put my code.When it run on emulator, it gives black screen that means it should be in wait mode.
 I have use much ways for playing song but it couldn't play.When I use debugger and when mediaplayer goes prepare() state, it should come black screen no any output screen on logcat or anywhere else.
My code is as following:
package com.yeshuduniya;

import java.io.IOException;
import java.net.MalformedURLException;
import java.net.URISyntaxException;
import java.net.URL;
import java.net.URLEncoder;
import java.util.ArrayList;
import java.util.List;
import com.Model.GallryModel;

import android.app.Activity;
import android.app.ProgressDialog;
import android.content.Context;
import android.content.Intent;
import android.graphics.Color;
import android.media.AudioManager;
import android.media.MediaPlayer;
import android.media.MediaPlayer.OnCompletionListener;
import android.media.MediaPlayer.OnErrorListener;
import android.media.MediaPlayer.OnPreparedListener;
import android.net.Uri;
import android.os.Bundle;
import android.os.Handler;
import android.os.PowerManager;
import android.util.Patterns;
import android.view.View;
import android.view.View.OnClickListener;
import android.view.Window;
import android.view.WindowManager;
import android.view.animation.Animation;
import android.view.animation.TranslateAnimation;
import android.webkit.URLUtil;
import android.widget.Button;
import android.widget.ImageView;
import android.widget.LinearLayout;
import android.widget.SeekBar;
import android.widget.TextView;
import android.widget.Toast;
import android.os.PowerManager.WakeLock;

public class Songs_Player extends Activity implements OnClickListener ,OnCompletionListener
{
    Uri uri;
    URL url;
    private MediaPlayer mediaPlayer = null;
    private boolean      isPlaying = false;
    private String song_url;
    Handler seekHandler = new Handler();
    TextView txt_song_name;
    private static int classID = 579; // just a number
    SeekBar seek_bar;
    WakeLock wakeLock;
    ProgressDialog progressDialogue;

    private static final String[] EXTENSIONS = { ".mp3", ".mid", ".wav", ".ogg", ".mp4" }; //Playable Extensions
    List<String> trackArtworks; //Track artwork names
    ImageView bg; //Track artwork
    Button btn_Play,btn_prev,btn_next; //The play button will need to change from 'play' to 'pause', so we need an instance of it
    int currentTrack; //index of current track selected
    int type; //0 for loading from assets, 1 for loading from SD card
    ArrayList<GallryModel> songList;

    @SuppressWarnings({ "unchecked", "deprecation" })
    @Override
    protected void onCreate(Bundle savedInstanceState)
    {
        super.onCreate(savedInstanceState);
        requestWindowFeature(Window.FEATURE_NO_TITLE);
        setContentView(R.layout.activity_songs__player);

        getWindow().setFlags(WindowManager.LayoutParams.FLAG_FULLSCREEN, WindowManager.LayoutParams.FLAG_FULLSCREEN);
        //setVolumeControlStream(AudioManager.STREAM_MUSIC);
        PowerManager powerManager = (PowerManager) getSystemService(Context.POWER_SERVICE);
        wakeLock = powerManager.newWakeLock(PowerManager.FULL_WAKE_LOCK, "Lexiconda");
        setUI();
        Intent mIntent = getIntent();
        songList=(ArrayList<GallryModel>) mIntent.getSerializableExtra("SongsList");
        currentTrack = mIntent.getIntExtra("position", 0);
        if(savedInstanceState ==null)
        {

            mediaPlayer=((YeshuDuniaApplication) Songs_Player.this.getApplication()).medaiplayer;

            if(mediaPlayer.isPlaying())
            {
                stop();

                playTrack(currentTrack);

            }
            else
            {

                playTrack(currentTrack);
                //Toast.makeText(getBaseContext(), "Loaded " + Integer.toString(songList.size()) + " Tracks", Toast.LENGTH_SHORT).show();
            }

            //play(songList.get(currentTrack).getImage());
            btn_Play.setBackgroundResource(R.drawable.pause);

        }

        btn_next.setOnClickListener(this);
        btn_prev.setOnClickListener(this);
        btn_Play.setOnClickListener(this);

    }

    private void setUI()
    {
        //seek_bar = (SeekBar) findViewById(R.id.seek_bar);
        btn_next=(Button)findViewById(R.id.btn_mgallary_next);
        btn_prev=(Button)findViewById(R.id.btn_mgallary_previous);
        btn_Play=(Button)findViewById(R.id.btn_mgallary_Play);
        bg = (ImageView) findViewById(R.id.bg);
        txt_song_name=(TextView)findViewById(R.id.txt_song_name);

    }
    //  Runnable run = new Runnable() {
    //
    //      @Override
    //      public void run() {
    //          seekUpdation();
    //      }
    //  };

    //  public void seekUpdation() {
    //
    //      seek_bar.setProgress(mediaPlayer.getCurrentPosition());
    //      seekHandler.postDelayed(run, 1000);
    //  }

    @Override
    public void onResume(){
        super.onResume();
        wakeLock.acquire();
    }
    //Play Songs.
    @SuppressWarnings("deprecation")
    public void play(int currentTrack) throws MalformedURLException
    {  this.currentTrack=currentTrack;
    System.out.println("Playiong track is"+currentTrack);
    this.song_url=songList.get(currentTrack).getSongUrl();
    if (!isPlaying)
    {
        /*
         try {
     if(URLUtil.isValidUrl(song_url) || Patterns.WEB_URL.matcher(song_url).matches()) {
             song_url = URLEncoder.encode(song_url,"UTF-8");
             url = new URL(song_url);

            // so on
     } else {
             Toast.makeText(getBaseContext(), "Please enter valid URL.", Toast.LENGTH_SHORT).show();
     } */
        isPlaying = true;
        btn_Play.setBackgroundResource(R.drawable.pause);

        try {

                url = new URL(song_url);

                mediaPlayer.setLooping(false);

                mediaPlayer.setAudioStreamType(AudioManager.STREAM_MUSIC);
                uri = Uri.parse(url.toURI().toString());

                mediaPlayer.setDataSource(uri.toString());
                //mediaPlayer.setOnPreparedListener(this);
                mediaPlayer.prepare();
                mediaPlayer.start();

                mediaPlayer.setOnCompletionListener(this);
                // When song is ended then media player automatically called onCompletion method.

        }
        catch (MalformedURLException e)
        {
            btn_Play.setBackgroundResource(R.drawable.play);
            isPlaying=false;
            Toast.makeText(getBaseContext(), "File is not mp3 supported", Toast.LENGTH_SHORT).show();

            e.printStackTrace();
        }   catch (IllegalArgumentException e)
        {
            btn_Play.setBackgroundResource(R.drawable.play);
            isPlaying=false;

            Toast.makeText(getBaseContext(), "File is not mp3 supported", Toast.LENGTH_SHORT).show();
            e.printStackTrace();
        } catch (SecurityException e)
        {
            btn_Play.setBackgroundResource(R.drawable.play);
            isPlaying=false;

            Toast.makeText(getBaseContext(), "File is not mp3 supported", Toast.LENGTH_SHORT).show();
            e.printStackTrace();
        } catch (IllegalStateException e)
        {
            btn_Play.setBackgroundResource(R.drawable.play);
            isPlaying=false;

            Toast.makeText(getBaseContext(), "File is not mp3 supported", Toast.LENGTH_SHORT).show();
            e.printStackTrace();
        } catch (IOException e)
        {
            btn_Play.setBackgroundResource(R.drawable.play);
            isPlaying=false;

            Toast.makeText(getBaseContext(), "File is not mp3 supported", Toast.LENGTH_SHORT).show();
            e.printStackTrace();
        }
        catch (URISyntaxException e1)
        {
            btn_Play.setBackgroundResource(R.drawable.play);
            isPlaying=false;

            Toast.makeText(getBaseContext(), "File is not mp3 supported", Toast.LENGTH_SHORT).show();

            e1.printStackTrace();
        }
    }
    else
    {
        stop();

        play(currentTrack);
    }
    }

    //Stop song.
    public void stop()
    {
        synchronized(this)
        {
            isPlaying = false;
            if (mediaPlayer != null)
            {
                mediaPlayer.reset();

            }
            //stopForeground(true);
        }
    }

    //Pause song.
    public void pause()
    {
        if (isPlaying) {
            isPlaying = false;
            if (mediaPlayer != null)
            {
                mediaPlayer.pause();
                mediaPlayer = null;
            }
        }
    }

    @Override
    public void onPause()
    {
        super.onPause();
        wakeLock.release();

    }

    //Generate a String Array that represents all of the files found

    //Plays the Track
    public void playTrack(int currentTrack)
    {
        this.currentTrack=currentTrack;
        //this.song_url=currentTrack;
        if(!isPlaying )
        {
            try {
                play(currentTrack);
                Toast.makeText(Songs_Player.this, "Playing " + songList.get(currentTrack).getSongTitle(), Toast.LENGTH_SHORT).show();
            } catch (MalformedURLException e)
            {
                // TODO Auto-generated catch block
                e.printStackTrace();
            }

        }

    }

    @Override
    public void onClick(View v)
    { boolean flag=false;
    switch(v.getId())
    {
    case R.id.btn_mgallary_Play:
        synchronized(this){
            if(isPlaying)
            {
                isPlaying = false;

                if (mediaPlayer != null)
                {
                    mediaPlayer.pause();
                }

                btn_Play.setBackgroundResource(R.drawable.play);

            }
            else
            {
                isPlaying = true;
                mediaPlayer.start();
                btn_Play.setBackgroundResource(R.drawable.pause);
                //playTrack(songList.get(currentTrack).getImage());
            }
        }
        return;
    case R.id.btn_mgallary_previous:

        stop();
        if(currentTrack == 0)
        {
            isPlaying=false;
            currentTrack=songList.size()-1;

            playTrack(currentTrack);

        }
        else
        {
            isPlaying=false;
            currentTrack=currentTrack-1;
            btn_Play.setBackgroundResource(R.drawable.play);
            playTrack(currentTrack);

        }

        return;
    case R.id.btn_mgallary_next:
        stop();
        if(currentTrack == songList.size()-1)
        {
            isPlaying=false;
            currentTrack=0;
            btn_Play.setBackgroundResource(R.drawable.play);
            playTrack(currentTrack);

        }
        else
        {
            isPlaying=false;
            btn_Play.setBackgroundResource(R.drawable.play);
            currentTrack=currentTrack+1;
            playTrack(currentTrack);

        }

        return;
    default:
        return;
    }
    }
    @Override
    public void onCompletion(MediaPlayer mediaPlayer)
    {
        mediaPlayer.stop();
        mediaPlayer.reset();
        if(currentTrack != songList.size()-1)
        {  isPlaying=false;
        currentTrack=currentTrack+1;
        btn_Play.setBackgroundResource(R.drawable.play);
        playTrack(currentTrack);
        }
        else
        {  if(currentTrack == 0)
        {
            isPlaying=false;
            currentTrack=songList.size()-1;
            btn_Play.setBackgroundResource(R.drawable.play);
            playTrack(currentTrack);
        }
        else
        {
            if(currentTrack == songList.size()-1)
            {
                isPlaying=false;
                currentTrack=0;
                btn_Play.setBackgroundResource(R.drawable.play);
                playTrack(currentTrack);
            }
        }
        }

    }

}

I have used URLEncoder for removing spaces but it should give no url found. my song url's are play on browser. So Plz give me suggestion.
My e.g. url is,
http://www.yeshuduniya.com/admin/yeshuDuniyaMusic/34_Prabhu tu mahan/34_Prabhu tu mahan.mp3
http://www.yeshuduniya.com/admin/yeshuDuniyaMusic/bhoole_aur_bhatke_they_hum/14_bhoole_aur_bhatke_they_hum.mp3


Our logo tag line "Ask a Friend" recognizes that our current customers are our best source of new customers. So many of you have referred your friends and graciously written testimonials that referrals are, by far, our #1 source of new business.
To reward your kindness, we're introducing a new referral program, aptly named "Tell a Friend". Each time a new customer tells us they were referred by you, the new customer receives 10% off their first visit (up to $50), and you receive 10% off your next visit (up to $50).
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text:
{{Infobox politieke partij
| naam = United National Independence PartyVerenigde Nationale Onafhankelijkheidspartij
| afbeelding = Unip Zambia Flag.png
| onderschrift = Vlag van de UNIP
| partijvoorzitter = Tilyenji Kaunda (2001-heden)(Zie lijst)
| functienaam1 = Oprichter
| functie1 = Kenneth Kaunda
| partijleider =
| oprichting = 24 oktober 1959<ref>J. Momba: [https://www.eisa.org/pdf/rr17.pdf POLITICAL PARTIES AND THE QUEST FOR DEMOCRATIC CONSOLIDATION IN ZAMBIA], Eisa Publishing, Johannesburg Zuid-Afrika 2005, p. 16</ref>
| opheffing =
| zetels = National Assembly:
| actief in = Zambia
| hoofdkantoor = Lusaka
| krant = Times of Zambia (1975-1991)Zambia Daily Mail (tot 1991)
| richting = Links
| ideologie = PanafrikanismeAfrikaans socialismeZambiaans humanismeGrotpeter, Siegel 1998:479
| internationaal = Socialistische Internationale
| motto = "One Zambia, One Nation"| kleuren =  Groen, rood, zwart, oranje
| website =
}}
De United National Independence Party (Nederlands: Verenigde Nationale Onafhankelijkheidspartij) is een Zambiaanse politieke partij. De partij was van 1964 tot 1991 de regeringspartij van Zambia onder president Kenneth Kaunda.

De UNIP werd in 1959 opgericht als voortzetting van de in 1958 door de Britse autoriteiten in Noord-Rhodesië (thans Zambia) verboden Zambia African National Congress (ZANC) van Kenneth Kaunda. In 1960 werd Kaunda tot voorzitter van de UNIP gekozen.

In 1964 werd Kaunda president van Zambia dat onafhankelijk was geworden. In 1972 fuseerde de enige oppositiepartij van enige invloed, het ANC van Harry Nkumbula, met Kaunda's UNIP. Na een referendum in december 1973, waarbij 88% van de stemgerechtigden zich uitsprak voor een eenpartijstaat, werd de UNIP de enige toegestane partij in Zambia. Sindsdien mochten alleen UNIP-leden zich kandideren voor een zetel in de Nationale Vergadering. Wel werden er in de kiesdistricten voorverkiezingen gehouden met meerdere kandidaten.

In december 1990, na ongeregeldheden en een mislukte couppoging tegen Kaunda, besloot deze het politieke systeem van Zambia te liberaliseren. Nog in datzelfde jaar werd het machtsmonopolie van de UNIP opgeheven. Bij de presidentsverkiezingen van 1991 werd Frederick Chiluba van de Movement for Multi-Party Democracy (Beweging voor Meerpartijendemocratie) tot president van Zambia gekozen.

In 2001, 2011, 2015 en 2016 was Tilyenji Kaunda, de zoon van Kenneth Kaunda, presidentskandidaat namens de UNIP. Hij leidt de partij sinds 2001.

 Partijorganisatie
Van 1973 tot 1990 was de UNIP de enige toegestane partij. Aan het hoofd van de partij stond de voorzitter (Kenneth Kaunda). Tweede in de partijhiërarchie was de secretaris-generaal. De voorzitter en de secretaris-generaal hadden automatisch zitting in het Centraal Comité van de UNIP. Hoewel er een parlement was, werden de belangrijke beslissingen altijd in het Centraal Comité genomen. In tegenstelling tot andere landen met een eenpartijstelsel werd er in Zambia een scherpe scheiding aangebracht tussen staat en partij. Dit betekende dat een minister niet altijd lid was van het Centraal Comité waardoor partij en staat niet zo erg verstrengeld waren.

 Ideologie
De officiële ideologie van de UNIP was het Zambiaans humanisme, een vorm van het Afrikaanse socialisme. Het Zambiaans humanisme werd in 1970 aangenomen als partijleer. Het Zambiaans humanisme bevat zowel elementen uit het christendom als uit de Afrikaanse tradities. Uitgangspunt was de waardigheid van ieder mens en zijn plaats in de samenleving. Zowel politiek liberalisme (kapitalisme) als marxistisch socialisme (communisme) worden afgewezen. Gemeenschapszin speelt een belangrijke rol, maar het individu en dienst potenties mogen niet op de achtergrond raken. Streven naar maatschappelijk succes, klassenbewustzijn en het streven naar persoonlijk gewin worden verworpen.

 Zetelverdeling

 Voorzitters
1959-1992 : Kenneth Kaunda
1992-1995 : Kebby Musokotwane
1995-2000 : Kenneth Kaunda
2000-2001 : Francis Nkhoma
2001-heden: Tilyenji Kaunda

 Literatuur
 G. williams, B. Hackland: The Dictionary of Contemporary Politics of Southern Africa, Macmillan Publishing Company New York 1989, p. 245
 J.J. Grotpeter: Historical Dictionary of Zambia'', The Scarecrow Press, Inc., Metuchen N.J., Londen (VK) 1979, pp. 310-313

Zie ook
Kenneth Kaunda
Afrikaans socialisme
Harry Nkumbula

Verwijzingen

Zambiaanse politieke partij

redpajama_set_name: RedPajamaWikipedia


text:
Tiger Cooke – LAFIDKI 07.04.2011
7 of April, a thursday in the year 2011..
This weeks wonderfullen artists are..
TIGER COOKE, Irish uprising artist –
(look out for the reasons why you should come by, below..)!
L A F I D K I from Cambodia with French mix:
the crucial infomatix:
LAFIDKI
is Saphy Vong a sound and visual artist.
he has played alone and in collaboration on many places such as Pori (Galleria 3H+K), Bangkok (Nospace Gallery), London (113 Dalston Lane), Berlin (White Rabbit Gallery)..
He's an Paris/Nancy/France based solo musician from Cambodia who is messing around with abstract electronics, and sequenced multi-layered rhythms.
Playing live is for him always an experiment within the situation of spontaneous thinking and decision-making through the energy of people & space.
Collaborations include the projects METRO:LIBIDO (with Imran Khan), MONOSOURCIL (with Pavel Viry, Boris Viry and Gaetan Belhenniche) and Marie-Pascale Hardy (LEYLI) .He is running the label Steak au zoo and organizer of a concert series for noise, experimental and free music, "GROLDEBOX", in Nancy.
http://lafidki.free.fr/
Tadgh Cooke – Tiger Cooke
So, a few reasons why to come out Thursday night..
Plus, anyone open for housing the artist for one night?
"Talking to various music journalists, they all reckon that you're the
next big thing, in the way that Conor O'Brien and Villagers was last
year." – Newstalk
"One of the songs here is inspired by the death of Elliott Smith, but
in fact that tortured genius's influence can be heard all the way
through Fingertips Of The Silversmith – a dreamy, understated
collection of Americana-tinged folk-rock, marked out by Cooke's
poetic sensibility and keen eye for life's absurdities." – **** The
"Fingertips of the Silversmith is delivered in a crisp clean tone with
the songs banding together to form an incredibly tight, allusively
diverse record… Each one displays perfect melodies, excellent
structures and pure enjoyment… One of the strongest albums an
Irish artist has come out with this year." GoldenPlec
"Wünderschone Musik" Melle's Mixtape, Delta Radio, DE
"The arrangements are understated and the backing, courtesy of
players like drummer Kevin Brady and bassist David Redmond… is
stellar" HotPress Album Review
"Unique brand of shimmering rock… Soft yet strong, it's got that
Jeff Buckley quality to it that most vocalists crave." Hot Press
"Charting a course between noir-ish torch-songs and heart-on-
sleeve folk-pop" Metro
"Eminently likeable, utterly enviable." **** The Irish Times
"worth checking out!" U Magazine
"He's top class" The John Creedon Show, RTE Radio 1
"File under yum." HotPress, Single Review
"Artful, beautifully produced… simply fantastic!" Paddy-Whacked Radio
http://www.tigercooke.com/music/
Fingertips of the Silversmith- Track by track
Rid of Her
It's not as evil as the chorus makes it sound. It's full of contradictions, and basically show a mind filled with a confusion of guilt, hate, love and
need.
Andrea's Fault
I'd be lying if I said this was entirely about earthquakes.
I remember sitting on my porch on a sunny day writing this watching the dust shimmer in the sunlight, lamenting the fact that sometimes muses are
just muses.
It's essentially about the tensions and little mini-wars that are fought in relationships… everything seems fine on the surface, but there's always little
struggles going on. Perfectly healthy of course, but if you want to keep a good physical health, there are Online Fitness Training that you can follow to achieve your ideal fitness status.
This Isn't Easy
That was a tough one to write. I suppose it's partially about the complexities of break-ups in the modern era when a social network profile is just a
click away, when a person is just a drunken text or phonecall away… it doesn't make things easy.
Not In My Nature
I was trying to channel some aggression here, and use positive reinforcement. I am NOT a pushover. I AM a strong and confident man. Not sure if
it's worked, but I feel better anyway.
There's An Elvis In Us All
I started writing this around the time of Elliott Smith's death. I was recording the first album at the time. It was a real shock to me, because I'd
written quite a few songs on that album around the time when I discovered Smith's music in Paris. Anyway, the song's wondering about the self-
destruct button within. Do we all have it? I added the second verse during the recording, about all the recent deaths we've had of really frighteningly
young actors and musicians on totally legal prescription meds. I suppose the whole thing is part warning, part wondering, and part disgust at the
inevitable glamour of such young deaths…
Your Green Lights
This is about waltzing with strangers through the aisles of record shops, and the bliss of new love affairs.
I Knew Better
About leaving home and realising that regardless of the promises everyone makes to each other, that things will never be quite the same.
Your True North
This is partly inspired by Robert Louis Stevenson, and partly just a plain old lovesong. There's a part in one of his books, which I read a lot when I
was a child, where the characters were trying desperately to make it to the Highlands of Scotland, where they'd be safe from the English Redcoats.
So this is all about making it to the Firth of Forth, where I'll be safe


text:
Carrie Fisher, child of Hollywood who blazed a path as 'Star Wars' heroine, screenwriter and author, dies at 60
Actress and writer Carrie Fisher, who rose to global fame as the trail-blazing intergalactic heroine Princess Leia in the "Star Wars" franchise and later went on to establish herself as an author and screenwriter with an acerbic comic flair, has died. Fisher suffered a cardiac incident on Friday during a flight to Los Angeles from London, where she had been filming the third season of the Amazon comedy series "Catastrophe." Upon landing, she was quickly rushed to UCLA Medical Center, but after three days in intensive care, she died, a family publicist confirmed. She was 60 years old.
From the moment she first stepped onto the screen in 1977's "Star Wars," the character of Leia Organa — whip-smart, wryly funny and fearless enough to stand up to the likes of Darth Vader without batting an eye, with an instantly iconic set of buns on either side of her head — inspired generations of young girls to be bold and inspired crushes in generations of young boys. Decades later, when Fisher returned to the role in last year's "Star Wars: The Force Awakens," she reflected to The Times on her status as a new kind of role model in the pop culture landscape.
"I remember the first time it was weird to me was when someone wanted to thank me because they'd become a lawyer because of me," Fisher said. "The main thing they said is that they identified with me. I felt like that was somebody that could be heroic without being a superhero and be relatable."
Leia was a fierce and regal warrior against the Empire, but Fisher's offscreen life was marked by more personal battles, including bouts of drug abuse, a complicated family history and struggles with bipolar disorder — all of which she would use as material for lacerating comedy in her numerous works of fiction and nonfiction. Fisher would become an advocate on behalf of others struggling with mental illness, helping defuse stigma surrounding the issue through her own candor.
Fisher was born into Hollywood royalty on Oct. 21, 1956, to singer Eddie Fisher and actress Debbie Reynolds, who divorced when she was 2. But she rocketed to fame in her own right when director George Lucas cast her as Leia in his space opera while she was still a teenager. She reprised the role in 1980's "The Empire Strikes Back" and 1983's "Return of the Jedi." In the wake of "Star Wars," Fisher continued to act on occasion in films such as Woody Allen's "Hannah and Her Sisters" and the romantic comedy "When Harry Met Sally…"
But the shadow of "Star Wars" was not easy to escape, and it wasn't until Fisher turned to writing with the semi-autobiographical 1987 novel "Postcards from the Edge" that she began to define herself outside of the role of Princess Leia. In "Postcards from the Edge," Fisher satirized her own acting career, her offscreen struggle with drug abuse and bipolar disorder and her sometimes stormy relationship with her mother. (The bond between Fisher and Reynolds is explored in of an upcoming HBO documentary, "Bright Lights: Starring Carrie Fisher and Debbie Reynolds.")
"Postcards from the Edge"
was adapted for the big screen by director Mike Nichols in 1990 and went on to launch an entirely new career for Fisher as a bestselling author and screenwriter. Though Fisher's facility as a writer may have surprised fans who only knew her from her work in the galaxy far, far away, it was hardly news to those who knew her best.
"I started reading really early — I wanted to impress my father, who is unimpressable" she told The Times in 2008. "My family called me 'the bookworm' and they didn't say it in a nice way. I fell in love with words…. By about 16 I wanted to be Dorothy Parker." Fisher went on to write several more novels, including "Surrender the Pink" and "Delusions of Grandma," and, again using her life as material, published a 2008 memoir called "Wishful Drinking," based on a one-woman show she had performed on Broadway.
Less publicly, she also earned steady work as one of the film industry's most in-demand script doctors. At the time of her death, Fisher was on tour promoting her recently published book "The Princess Diarist." A memoir based on diaries Fisher kept around the time she filmed the first "Star Wars," the book revealed that the actress had carried on an affair with co-star Harrison Ford, who played the roguish smuggler Han Solo, with whom Leia had an often tempestuous romantic relationship. Indeed, Fisher — who was briefly married to singer Paul Simon in the early 1980s and had a daughter, Billie Catherine Lourd, from a later relationship with talent agent Bryan Lourd — was never one to shy away from uncomfortable or intimate subjects.
On social media, she cultivated a brash, wise-cracking persona, whether posting droll one-liners or photos of her French bulldog, Gary. When some moviegoers complained on social media about how much older she looked in "The Force Awakens" than when she had last played the character more than three decades earlier, she retorted on Twitter with her typical sharp wit, "Please stop debating about whether or not I aged well. Unfortunately it hurts all 3 of my feelings." Fisher had been confirmed to return to the role of Leia in the next installment in the franchise, "Episode VIII," due in theaters December 2017.
The film finished shooting this summer, but plot details — including what part Leia plays in the next chapter of the saga — have been kept tightly under wraps. Although some actors might bemoan being so closely associated with a single role for so many years, Fisher never seemed to resent being linked to Leia, even if she did admit to disliking the character's famous buns, calling them a "hair-don't instead of a hairdo." "It's not always fun, but it's certainly life-changing," she told The Times last year. "I have been Princess Leia exclusively. It's been a part of my life for 40 years…. I'm like the diplomat to a country that I haven't been to yet. I am that country."
Labels: bipolar, Carrie Fisher, catastrophe, darth vader, drug abuse, hans solo, harrison ford, icon, iconic, jedi, leia organa, light saber, mental illness, princess leia, r2d2, scifi, star wars, starwars, the force awakens
Location: Los Angeles, CA, USA
Carrie Fisher, child of Hollywood who blazed a pat...


text:
Tag: Marc Schmitt
Artemis Gallery announces special Oct. 20 auction featuring Marc Amiguet Schmitt Pre-Columbian and Hispanic cultural art collection
Posted on October 17, 2022 October 17, 2022 By RSS Post
After inheriting his Guatemalan grandfather's collection of Central American artifacts, Schmitt launched a career in antiquities and founded Amiguet's Ancient ArtBOULDER, Colo. – On Thursday, October 20, Artemis Gallery will conduct a very special auction featuring the cultural art collection of Marc Amiguet Schmitt, a respected lifelong antiquities dealer and owner of Amiguet's Ancient Art. While Marc only lived to age 49, his impact was great, especially in Pre-Columbian art circles.Chinese Ming to Qing Dynasty stone panel of guardian fu lion or 'foo dog' hand-carved in low relief against a scalloped panel, circa 17th to early 19th century CE, 16in long x 11¾in high. Provenance: Marc Amiguet Schmitt estate, Amiguet's Ancient Art. Estimate $3,600-$5,400"Since the 1990s, Marc Schmitt was the owner of Amiguet's Ancient Art, a name that is immediately recognizable in the field of Pre-Columbian art," said Bob Dodge, executive director of Artemis Gallery. "Marc's appreciation of both Pre-Columbian and Spanish colonial cultures came from his grandfather, Louis Amiguet, who emigrated to the United States from Guatemala sometime before 1950. Many of Marc's most cherished treasures were objects that his grandfather passed down to him even before Marc began his career as an antiquarian.'"Sadly, Marc passed away in January from natural causes. He left an incredible array of cultural objects from all over the world, but most especially, exceptional examples of Pre-Columbian art from Central America, South America and Mexico. It is with a sense of great pride, as well as a profound sense of sadness, that we offer on October 20th part one of these treasured objects from Marc's personal collection." Among the top Pre-Columbian items in the Schmitt collection is the auction opener: a 16-inch Pre-Columbian Olmec (southern Mexico to Guatemala) stone seated figure holding an offering bowl. Created circa 1200-800 BCE and carved from a single piece of
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EXCLUSIVE: The Nile Hilton Incident director Tarik Saleh has become attached to helm The Red Circle, a remake of Jean-Pierre Melville's classic 1970 cat-and-mouse thriller. Peaky Blinders creator Steven Knight, an Oscar nominee for Dirty Pretty Things, has written the script. Arthur Sarkissian Prods and Graham King's GK Films are partnered to produce with Studiocanal which fully-financed development.
The project has been in the works for a while, but now has real momentum. I understand Knight recently met with Saleh in London to discuss, and Saleh is now doing his own work within the current draft before going out to cast. Miss Sloane scribe Johnathan Perera has also done work on the script.
The updated story follows two escaped criminals from the West and an ex Hong Kong cop who plan an elaborate heist while trying to avoid a local crime boss and a relentless police investigator.
Saleh is a fast-rising talent. He wrote and directed The Nile Hilton Incident, which won the Grand Jury Prize at the 2017 Sundance Film Festival, as well as Best Film and four other prizes at the Swedish Guldbagge Awards and was nominated for a César Award for Best Foreign Film. His other work includes the 2009 animated film Metropia and 2014 crime thriller Tommy. Saleh also recently directed an episode of HBO's Westworld and also has the Liam Neeson starrer Charlie Johnson in the Flames, based on the Michael Ignatieff thriller novel. Saleh is repped by Gersh.
The Departed Oscar winner King has Queen biopic Bohemian Rhapsody at Fox, which comes out in November. Sarkissian most recently produced last year's Jackie Chan hit The Foreigner. Studiocanal is currently in post-production on Marjane Satrapi's Marie Curie story Radioactive and the David Heyman-produced The Secret Garden. The company's Ron Halpern is overseeing The Red Circle.


257-2017 (Stelli: Why do I feel so much anger inside? And, why is it so hard for me to accept love and to feel it inside of me?) First, we must talk about the fear that exists inside. Though there is on one level the conscious acknowledgement of the priority of God in your life, of being willing to accept what God and this life energy has to offer you, there is still sometimes the frustration of knowing that there is karma to be overcome. The frustration of knowing that every choice is not available. The understanding that freedom and the understanding of freedom need to be seen in a broader perspective. All of these things are challenging to the idea that you can have everything you want. There are attachments and desires that get in the way. These are true for every human being, and even though the universe exists because of the abundance of God, the true understanding of that abundance can only come when there is the complete surrender to the knowledge that the only thing that you need is God. In some ways, there is both the fear and the anger related to the fact that the ego and the understanding of one's identity cannot have what it wants, and that its understanding of the world in which we live needs to change. That it needs to surrender to a process of transformation over which it has no control and to which the ego fearing this lack of control becomes angry at the natural order of all things, because it truly is ignorant and does not understand all of the ways in which the abundance of God is provided. These are very deep-rooted fears; fears that the intellect can often explain away; fears that the ego can dismiss as unimportant or is not of equal value to its spiritual counterpart. These are things that the ego uses to assert a pseudo-spiritual understanding of freedom, of transformation, of abundance, of just about every spiritual understanding of God's process. The ego can use the knowledge that the abundance of God is available to everyone at any time and place, and yet mislead the individual with regard to the balance, the values, and the understanding of the order that is the essence of the universe. When these things come into conflict, it is frustrating and anger can erupt. But understand that the eruptions and the anger also signals that the answer is close at hand; that the transformation is coming, because the anger will run into its own creation, its own fear, and it helps identify the obstacle to one's inner peace. When the being sees this, just as we have described with karma, there is the sense that it has been learned, but the learning is always in the application of the knowledge, so that there is no magic giving or transformation that occurs simply because you know. And often the ego when confronted with this, having realized the trap that it has set for itself, it fears annihilation of its own doing and becomes angry at the spiritual order that exists. How different it is for Jeffrey if he can see the traffic in front of him is part of the spiritual order of the universe in which he lives. How different it is for Stelli to understand that the work she is doing in a seemingly material, unconscious realm of existence is part of the spiritual order in the universe in which she lives. And it is the same for everyone. An awareness of this carries with it a certain or special understanding of consciousness. And part of it is like holding the secret that both of you spoke about earlier: it's a secret that in many ways cannot be shared, because every person has to come to grips with these parts of their own being. And yes, you ask yourself, how is it that we all have to work on this, and yet at the same time, isn't it so amazing that everyone has to work on this. This is the world which all of you, each one of you has created. And knowing that everyone has created this same world, then it's no big surprise to understand why there is so much anger in this world. And all of you can keep trading it with each other if you wish or you can simply stop. Each person comes to this anger in the sense of it meets this anger through the particular circumstances of their own life. So yes, there are those things for women to overcome. There are those things for men to overcome. There are those things for all humans to overcome.


text:
Q: Output changes after returning value to main! (please give a simple fix) This is a program to print the largest element in a n(power of 2) sized array. The output is correct when i print inside the function but it changes when i return value to the main.
    #include <stdio.h>

    #define max(x,y) (((int)((x)<(y)) * (y)) + ((int)((y)<=(x)) * (x)))

    int compare(int *arr,int sze){
        static int i ;
        int nsize = sze/2;
        int arr2[nsize];
        for(i = 0; i < sze ; i += 2){
            int x = max(*(arr + i),*(arr + i + 1));
            printf("%d\n",x );
            arr2[i/2] = x;
        }
        if(nsize == 1){

            int t = arr2[0];
            printf("abc%d\n", t );   //correct output
            return t;
        }
        printf("\n");
        compare(arr2,nsize);
    }

    void main(){
        int size = 8;
        int arr[8] = {12,14,54,76,87,89,45,34};
        int maximum = compare(arr,size);
        printf("Maximum value in the array is %d\n", maximum ); //wrong output
    }

Output is:
    14
    76
    89
    45

    76
    89

    89
    abc89
    Maximum value in the array is 4195472

A: You do not return the value to main, and so have an undefined behaviour while using the "return value", e.g. the last line of compare should be:
return compare(arr2,nsize);

A: Your code has a warning that points right at the problem.
$ cc -Wall -g    test.c   -o test
test.c:22:5: warning: control may reach end of non-void function [-Wreturn-type]
    }
    ^

"control may reach end of non-void function" means you're missing a return. In this case when you recurse at the end of compare.
Some languages, like Perl and Javascript, if there is no return will return the "last evaluated expression". C won't do that. The behavior is "undefined" which means you'll get 0 or garbage or the program will crash.


text:
Every country deserves a functional records and archives centre, and Uganda is now finally in that league. In line with the Constitution of the Republic of Uganda, Article 189 Sixth Schedule (10) and the National Records and Archives Act, 2001 the Government with support from World Bank constructed the National Records Centre and Archives (NRCA) Phase I under the Ministry of Public Service to decongest the Registries and Records Centres; assure proper storage and preservation of the archival holdings of Uganda for posterity.
Official Opening of the National Records Archives Center by the Rt. Hon. Prime Minister
The mandate of the National Records Centre and Archives is to preserve and manage Uganda Archival records which are the national documented heritage for cultural, research and historical values.
The NRCA, located adjacent to the Ministry of Health Headquarters along Lourdel Road, Plot 8 – 10 was officially commissioned by the Prime Minister Rt. Hon. Ruhakana Rugunda on September, 29 2016.
Before the construction of the NRCA and the subsequent transfer of archives into it in November, 2015 the National Archives was located in the basement of the former Colonial Administration Building in Entebbe, where the National Agricultural Research Organization (NARO) Secretariat currently seats.
History of national records and archives
Long before Uganda got her independence from Britain in 1962, records and archives were already being kept in the Protectorate. The process of keeping national records in Uganda started in 1950 when the Secretariat Archives was established under the Chief Secretary's Office. These records were kept at the Protectorate Secretariat in Entebbe.
At independence, the Archives became Government Archives under the general preview of the Department of Management Information Services, in the Office of the President. With the recommendation of the Public Service Review and Re-organisation Commission Report of 1989/90, the National Records and Archives were transferred from Office of the President to the Ministry of Public Service, where they are to-date.
Before it became the National Records Centre and Archives (NRCA) as of today, it was known as the National Archives of Uganda.
Key Functions of the National Records Centre and Archives
The key functions of the National Records Centre and Archives are to:
Work with Ministries, Departments, Agencies and Local Governments to ensure that all the semi-current and archival records (manual and electronic) created in the Public Service are managed and exploited to the best advantage;
Ensure that all public records of permanent or continuing value to the nation are physically and legally transferred to the National Archives;
Identify all records originating outside the public service that, within the appropriate legislation, are deemed to form part of the national heritage, to take measures, to bring these records into suitable custody and exploit their value to the nation by appropriate means;
Preserve and conserve records of enduring value;
Provide reference service to Government;
Facilitate research nationally, regionally and internationally;
Facilitate information exchange and networking with institutions and organizations within Uganda and abroad;
Target Clients
The target clients are:
Genealogists
Records and Archives professionals
Ministries, Departments, Agencies
Services offered include:-
Storage and management of appraised semi-current and archival records from Ministries, Departments, Agencies and Local Governments;
Reference services;
Retrieval Services;
Search room services;
Outreach services such as publications, exhibition, media broadcasts, seminars and workshops;
Library services;
Sound recordings and oral history
Requirements for Service
All people intending to carry out research at the National Records Centre and Archives have to seek clearance from the Uganda National Council for Science and Technology (UNCST), which is the Government Agency mandated for the purpose.
Payments for academic and non-academic research is made to the Uganda National Council for Science and Technology prior to conducting research in the National Records Centre and Archives as follows
Foreign researchers USD 300
Nationals USD 300.
Students (Masters Programme and PHD) research USD 50.
National under graduate students intending to carry out research in the National Records Centre and archives are required to seek clearance from the National Council for Science and Technology through their Heads of Department.
Study tours/visits in the National Records Centre and Archives are conducted free of charge.
Sources of Archival Records
Sources of archival records include: –
Government institutions;
Records generated during transaction of business;
Private companies;
Communities;
Individuals;
Diplomatic missions, regional and international bodies;
Public and private broadcasting corporations;
Migrated archives.
What you can find at the facility
This Centre is Uganda's heritage. Ugandan researchers and even the general public can come here and view records from far back as 1888. This Centre tells the history of the country. So you can come and view the 1900 Agreement, the Governance records of Uganda from colonial to post independence period, the various Constitutions we have had among many other important documents, including photographs, Gazettes, News Papers. A country without archives has no history. This is our heritage and we should cherish this as a nation,"
The earliest records in the repository date as far back as 1888 covering the activities of the Imperial British East African Company from 1888 to 1893, the Commissioners of the Protectorate and the Foreign Office from 1894 to 1905 when the first Governor of the Protectorate was appointed can all be accessed at this facility.
Other notable records are those of Districts and Kingdoms. These are preserved because they are important to the Government in terms of public reference, long term research purposes and they provide information of value to the citizens of the country
Currently the Ministry is desirous to equip the facility with the state of the art equipment. Funds are being solicited to equip the NRCA to ensure efficiency and effectiveness in service delivery. The Ministry intends to establish an archival management system with adequate and secure storage infrastructure and supported by professional staff; and automated processes and systems.
After the operationalization of Phase I of the NRCA the Ministry intends to construct Phase II of the building at the same location. This phase will increase the capacity of the repositories, to ensure that the national documented heritage is fully acquired. The construction of this phase will also increase on the office accommodation of the NRCA. Funding is being sought for this.
Ugandans are encouraged to take advantage of the facility and all are invited to take an opportune time to visit the National Records Centre and Archives.
You are all welcome.
Click here to Search the Catalog at the Uganda National Records and Archives Center
Want to Visit the Uganda National Records and Archives Center?, Click here to apply


Constantia Flexibles Group will acquire a majority shareholding in the Indian film-based laminates producer Creative Polypack.
Constantia Flexibles is already a supplier of film-based flexible packaging for the Indian market since acquiring Parikh Packaging in 2013, which is based in Ahmedabad, western India.
Parikh is investing a double-digit million euro amount in a new greenfield site, which host a polyethylene blown film extruder, high-definition Flexo printing press and laminators that produce fully recyclable high barrier laminates. The extra capacity will come on stream in 2019.
"Through this acquisition, we will become the third largest flexible packaging company in India - the fastest growing packaging market globally, with double-digit growth rates driven by the megatrend urbanisation and the expansion of the retail sector," said Alexander Baumgartner, CEO at Constantia Flexibles.
Creative Polypack Limited is expected to achieve sales of about €75 million (approx. £65m GBP) in the business year 2017/2018 and currently has 850 employees at eight production sites in Baddi, Kanpur, Kolkata, Assam and Puducherry, in northern, eastern and southern India.
Financial details of the transaction were not disclosed and the transaction is expected to be completed in the coming weeks, pending regulatory approvals.


Published by jalbertini on May 28th, 2013 in Military, Radiation.
Thank you for your work on a Hawai'i DU Fact Sheet. Enclosed is "CONCERNS ABOUT DEPLETED URANIUM (DU) IN HAWAI'I", which I hope will be helpful.
…the radioactive uranium oxide plume would…disperse, not uniformly around the county, but would rain fine oxide particles preferentially in the community winning that day's radiation lottery.
…The probability may be low, but the consequences may be high.
I would add these concerns: DU that was never accounted for, questionable air monitoring, unauthorized Army activities with DU, Army proposals to avoid Nuclear Regulatory Commission (NRC) oversight, apparent misstatements in Army DU documents, and possible Army DU contractor bias.
Thank you for considering this information.
The Army didn't know, or didn't tell, about DU in Hawai'i, then was "outed" by citizens.
The Army planned and conducted unauthorized activities in DU areas.
The Army claimed the spotting rounds did not require a license, based on a RESRAD "computer model code designed to estimate radiation doses and risks" .
"The Army is requesting that NRC not require environmental radiation monitoring plans.
"The Army requests that staff not require monitoring when personnel or equipment exits the Battle Area Complex (BAX) Radiation Control Areas (RCAs) after training exercises because the Army did not detect contamination on personnel during BAX construction and because the Garrison does not have the equipment or personnel to support monitoring.
"The Army requests relief from environmental monitoring at all DU ranges.
"The Army states that [their directive]… does not prohibit firing high explosive rounds into areas containing DU.
"The study the Army provided to support the license application concludes that there was plant uptake of DU.
Concerns were raised about air monitoring methods.
The Army's DU contractor appears biased.
Cabrera Services, which did studies and operations on Hawai'i DU, calls findings of little radiation risk, in Hawai'i and elsewhere, "successes".
Concerns have been raised about Army documents on DU.
DU may migrate much farther than the Army claims.
The plan may contradict previous Army statements that fires could NOT generate tiny DU particles.
Only about 1,000 of the 51,000 acres of the Pohakuloa impact area were closely surveyed.
"To estimate the dosage workers in the area might encounter, the starting point [in Army reports on Hawai'i DU] was a radioactivity density obtained by dividing the estimated total amount of DU used in the training/firing area, by the area of the range to get the radiation per unit area.
Sounds mathematically obvious, but let us (at least my fellow ancient mariners) think back to the cold war days of atmospheric testing of nuclear weapons in the upper atmosphere. With the assumption that the total radiation produced was divided by the surface area of the earth, it might have been estimated that the fallout would be at 'safe' levels. Unfortunately for this mathematical construct, many folk bought Geiger counters and checked around their neighborhoods, thousands of miles from 'atmoshpere zero'. The meters would give an occasional 'beep', then the detector would pass over a tiny speck of ash and the speaker would go crazy, the needle would 'peg out' at maximum radiation level for the meter.
There is no "safe" level of radiation.
"The present industrial standard to my own experience, is 'ALARA', an acronym for 'As Little As Reasonably Attainable'. This is because in the past, the published 'safe' doses were adjusted downward by huge factors (e.g. to 1/3 last values), and it was finally realized that there is no 'safe' level. Each bit of exposure increases risk of biological damage. And workers on the range (and possibly citizens outside) are subject not to average levels, but the fluctuations along their daily path.
DU increases in radiation over time.
DU may contain other isotopes.
Over 2,000 spotting rounds may have been fired at Pohakuloa, based on three lines of evidence: old training manuals, the number of pistons found, and the Archive Search Report.
Councilmember Hoffmann Is there any possible support for a figure of 2,000 spotting rounds at PTA?
Instead of 2,000 spotting rounds, only a few rounds and fragments were found. Cabrera speculated the missing rounds had been cleaned up.
The number of DU spotter round bodies, aluminum fin assemblies and DU fragments are much fewer than would be expected given the total number of pistons which were identified.
"…the "ENVIRONMENTAL RADIATION MONITORING PLAN FOR DEPLETED URANIUM AND BERYLLIUM AREAS, YUMA PROVING GROUND" (Ebinger and Hanson, Los Alamos Report LA-UR-94-1838, May 11, 1994) prepared for the U.S. Army Test and Evaluation command [notes]…fired rounds have the propensity of skipping across the surface, like a thrown stone skipping across water, ending up at distances much greater than the calculated range of the munitions.
Aerial searchers looked for highly visible back/ rear plate assemblies as markers for old spotting round areas.
This might leave back/ rear plate assemblies on the truck instead of on the ground.
Hazardous disposal practices were used during the spotting round era.
Contrary to the Technical Memorandum, DU seems to be present, and in the dangerous oxidized form, and mobile.
"The report makes a comment that from the soil sampling done at PTA, there is no evidence that DU is present. This is based upon isotopic analysis of uranium and that the signature is not consistent with that of DU.
The activity ratio of natural uranium 234/238 is 1, suggesting secular equilibrium. The activity ratio of depleted uranium 234/238 is 1:5.5, a lower value, and up to the reader to determine degree of significance.
Of the 9 samples listed in Table 4-1, three have activities of 234-U below that of 238-U. Sample 4011 is 25 percent lower. A reasonable challenge to the "no DU" statement can be made based on the analytical results and the method of sample collecting. As the sample could be integrated over time and derived from several locations, it is very likely a mixture of natural and DU contaminated soils. Thus, DU is not only present but it is mobile!
…The report states (page 2-3) "The visual and scanning surveys identified no distinct surface areas with yellow, oxidized DU metal fragments." Yet the figure Photo 4-1 (page 4-7) clearly shows a partial metal DU fragment of a spotting round with yellow coloration on its surface. Later (page 4-8), the report states that only very minor oxidation is present, but again the subjective characterization is open to interpretation. Regardless, there is oxidation present and the oxidized form is readily converted to aerosols and thus available for migration.
Helicopter searches may have failed to find DU because rotor wash blew it away.
I would make comments on the technique used, and on the data for alpha spectrometry presented in the report.
The soil sample analysis method may have been inappropriate.
I assume that this meant to be "ASTM-D3972", which is a protocol for testing water samples for U. Water samples differ from soil samples, especially if trace alpha emitters are the focus. The protocol cited is not valid. How was a weightless sample obtained for the alpha spectroscopy?
Aerial survey methodology may have been inappropriate.
Blann recommended a "more sensitive assay of ground radiation".
"Solid angles: The altitudes cited were of 3-4 meters height. NaI detectors are usually right circular cylinders with PM tube mounted at the top of the cylinder with suitable reflector/light pipe. Resolution is poor for these detectors (e.g. vs. (HP)Ge), and the photoefficiency for the 2 gammas of interest is not cited- a guess might be around 0.4 (40%). Lacking the data on detector geometry, we might generously assume a cubic 4 liter crystal, so that one face would be 252cm**2. At 3 meters height, the area of a sphere would be 1.13×10**6 cm**2 ( 1.13 million square centimeters), so the solid angle of one NaI detector would be 2.2*10**(-4) . At 4 meters altitude the solid angle would be reduced to 1.25*10**(-4).
Count rates required for detection: The report states that the detector system travelled at 2-3 m/sec, with countsbeing taken at 1 second intervals. My own guess is that a minimum of 50 counts of either gamma would be required to resolve the appearance of a possible peak rising above the Compton scatter plus cosmic ray background. Trying to concentrate analyses of these gammas on just' regions of interest', without a proper unfolding of photo/Compton responses, beginning at the highest energies and working down, or by simultaneous least square fitting, is to my opinion asking for questionable results.
If the solid angle is 2.2*10**(-4), the BR( branching ratio) is 0.294, and the photopeak efficiency of the detector is 0.4, the number of dps necessary averaged over the 2-3 meters travelled, will be (50 counts detected)/[(0.4 photopeak efficiency)*(0.00022solid angle)*(BR=0.26 or 0.008)= 1.7*10**6 or 5.5*10**7 Pa234 dps. Since there is transient equilibrium with 238U, 234Th and 234Pa- and 234U, the actual dps implied will be triple these numbers. If the altitude during sampling were 4 m, these numbers would all be approximately doubled due to reduced solid angle. I have not divided by 4 due to use of 4 detectors, because I believe that each will require the 50 counts to be able to separate peak from background. If better detail had been given in the report, this point could be based more on fact than experience. From this exercise I deduce that the gamma ray measurements would only yield positive detector response if the average ground radiation levels were 4.5 milliCuries for the 1001 keV gamma, or nearer 0.15 milliCuries for the 766 keV gamma.
Difficult, dangerous conditions prevented a thorough search at Makua.
Some identical text appears in reports for different sites.
Identical photos—with different labels—appear in reports for different sites.
Again, difficult, dangerous conditions prevented a thorough search.
Surface scrapes of ash, soil, twigs and sticks were substituted for ash samples.
Some post-burn samples were collected away from pre-burn sample sites.
Pang says the study shows DU contamination and numbers were too small for analysis.
There are contradictory statements about the size of DU remnants.
The Army did not do monitoring as promised.
Concerns were raised about a civilian report.
DU was found at the detection limit of the technique, so the actual measurement could range from zero to twice the measured value.
Particle size was not measured, though smaller particles are more hazardous.
There was only one sample.
DU from spotting rounds may ignite spontaneously.
Wildfires and controlled burns may disperse DU.
Animals may carry radioactivity out of RCAs (Radiation Control Areas).
At Hanford nuclear reservation in Washington state, rabbits, mice, wasps, flies, and gnats have become contaminated. In 2009, 33 contaminated animals or animal materials (such as droppings) were reported on the site.
A new water well is not being checked for DU.


Soaring demand for single-malt Scotch is sucking distilleries dry. Here's a list of aged whiskies to stock up on before they disappear.
HERE'S A CHILLING scenario for a Scotch aficionado: You head to your local liquor store, anticipating the purchase of your favorite 12-year-old whisky, only to discover it's nowhere to be found. You search high and low, eventually settling for a similar but slightly different (aka suspect) bottle.
This scene will soon play out in shops across the country. As a result of high worldwide demand and a finite supply of single-malt Scotch—the production of a single distillery, which can be blended only with water, not other whiskies—some drinkers' preferred spirits are disappearing.
Lately, brands have been replacing the familiar 10-, 12- and 18-year-old range with whiskies that have no stated ages. Though aged—as all Scotch must be, by law, for at least three years—these "ageless" whiskies are younger than the whiskies they're replacing and can be released without hitting a specified maturity.
It was really only in the 1960s that single malts started to be sold in the U.S. and in the 1990s that they began to be marketed as superior to blended whiskies (and priced accordingly), with age cited as a key indicator of quality. Perhaps this strategy was too successful.
Now, with hundreds of Scotches available, selecting a bottle without a number to latch onto can be destabilizing. While age is no guarantee of quality—many experts believe excessive time in the barrel leads to too much tannic wood flavor—in the absence of that reference point, brands must bank on consumers being educated enough to know what they like and select accordingly.
"I think you could argue from one perspective that consumers of single malts have become a bit more sophisticated than they were and don't necessarily need to be given just numbers as a means of differentiating between different types and qualities of product," said Dr. Nick Morgan, head of whisky outreach for Diageo. The company owns 28 Scotch distilleries, including Talisker, Oban and Lagavulin, and is currently aging 8 million casks in its warehouses.
Take, for instance, Laphroaig 18-Year-Old. A few months ago the brand announced that what's currently housed in its distributor warehouses and available in stores will be it for the foreseeable future. A number of different limited-edition whiskies will take its place. Even more unsettling, the brand says it will no longer produce the standard range of whiskies and will, with the exception of the best-selling 10-Year-Old, make different spirits available at different times depending upon supply.
In 2012 (you might want to sit down for this one), the Macallan replaced its 10-, 12- and 15-year-olds in many markets around the world with a series of ageless malts. While the brand maintains it has no plans to do the same in the U.S., it may have little choice if demand continues to rise.
It's little wonder that the Scotch whisky industry as a whole can't keep up with demand for single malt. According to the Distilled Spirits Council of the United States, sales of single malt in the U.S. rose by an astonishing 149% from 2002 to 2014. And the U.S. spends more on single malts than any other country. After decades of losing market share to vodka, wine and beer, brown spirits have been rediscovered by Americans, and producers have flooded the market with a dizzying array of them—cashing in on a growing fascination with traditionally made and artisanal products.
Back in the late 1990s, however, when today's 18-year-old whiskies were distilled and set aside in barrels to age, forecasts for the volume of single malt that drinkers would demand in 2015 and beyond were relatively modest. Many popular single malts are no longer sold to blenders or independent bottlers. Some brands have gone so far as to buy back single-malt stocks from blenders. A number of distilleries are running around the clock; others have expanded their facilities. But the effect of these moves won't be felt for years.
In the meantime, many outstanding 10-, 12- and 15-year-olds may go the way of the dodo. While Diageo's Dr. Morgan assures me that whiskies without age statements are not, by definition, of any lower quality than their quantified counterparts, lovers of aged Scotch will, at the very least, need time to adjust—and whisky to drink while they do.


Mesomorph contains up to 4 times more muscle-building, skin stretching energy-igniting active ingredients over leading brands.
Mesomorph was the first to deliver full doses of its key active ingredients, not half doses typically seen in these types of formulas.Mesomorph also contains 388 grams per jug not the pint-sized products being put out now to maximize profits! APS Nutrition's Mesomorph is an extreme energy igniting, vein blasting, and fatigue fighting power formula. Mesomorph represents one of the most advanced, all-purpose energy, focus, hydration and exercise performance drinks ever created. If you're looking for one incredible all-purpose training formula then Mesomorph is guaranteed to deliver eye opening energy, focus, and stamina like nothing you've ever experienced before.
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Mosomorph exlusive premium ingredients include Creatine Nitrate, Creatinol-O-Phosphate, 4000 mg of Beta Alanine and pre-workout power Citrulline Malate, According to a study conducted by the University of California, Los Angeles, Creatine Nitrate is 1000% more water soluble than either Creatine Monohydrate or other creatine deriatives. Unmatched water solubility ensures better absorption and absolutely none of the traditional side effects of Creatine supplementation.
If you are experienced with beta alanine go right to 1 full scoop (MESOMORPH contains 4000g per serving). If you are not experienced with beta alanine start with 1/2 scoop of MESOMORPH. If no tingling or discomfort occurs take 1 full scoop on the next dose and thereafter. If tingling doesoccur continue 1/2 scoop for 7-10 days then increase to 1 scoop (or as soon aspossible). That warm tingle sensation is just Mesomorph at work. Although it can be strong in some, it is not harmful in any way and will subside once body adjusts. Suggested use: After tolerance has been determined 40 minutes prior to workout, mix one scoop of MESOMORPH with 8-10 ounces of water, stir adequately and consume immediately on an empty stomach. On non-workout days, consume 1/2 scoop MESOMORPH mixed in water on an empty stomach. Although you will feel MESOMORPH from day 1, best results begin to occur at day 15 and continue to improve up to day 60. After 8 to 10 weeks, it is recommended that you discontinue use of MESOMORPH and take at least 8 to 10 weeks off before resuming use. During this "off period" you may take a non-creatine product such as PLASMAGEN NITRATE to experience continued progress.
Warnings: As with any supplement, check with your physician prior to use. Do not use this product if you have any current or previous medical condition of any kinds. Such conditions may include but are not limited to high or low blood pressure, stroke, arrhythmias or palpitations. Any heart, thyroid, or liver condition. Seizures, anxiety or depression, prostate enlargement or inflammation. Do not use if you are nursing or pregnant. Do not use if you are taking MA01. If any adverse symptoms occur discontinue use immediately and consult a physician.
Keep out of reach of children. DO NOT take for more than 8-10 weeks without an 8-10 week off period. Before beginning any program of weight loss, consult your health care practitioner.


VH - indicates 6 vertical and 2 horizontal prints.
VVVH - indicates 7 vertical and 1 horizontal prints.
OVAL - indicates 2 oval openings.
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Ful medames Sudanese fava beans is an all-time breakfast dish of Sudan, South Sudan, Egypt and many Mediterranean countries. Sudanese call it Sahan ful (a plate of beans) or ful masri(Egyptian beans). It is a vegetarian protein rich dish garnished with fresh onions, tomatoes, rocket leaves, feta cheese, boiled eggs and sesame oil. Sudanese fava beans are served for breakfast, usually with bread.
We use dry fava beans to make ful medames. The scientific word for fava beans is Vicia fabaand according to Wikipedia it is native to North Africa and southwest and south Asia. Fava beans have been cultivated in old world agriculture, and along the Mediterranean around 6000BC. Fava beans are also called broad beans or horse beans. The fresh green beans are cooked into many dishes around the world.
Hi there. My name is Noela Mogga. I am a physician, mother, food blogger. I was born in South Sudan. I plan to showcase tasty South Sudan food recipes, traditional customs, and natural beauty regimens. When I am not busy practicing Anesthesiology in my adopted state of Texas, I can be found whipping delicious meals for my husband and children.


Log in Join Recently viewed Bookings Inbox. Review of Yak und Yeti. Ranked of 4, Restaurants in Vienna. Restaurant details Dining options: Reviewed 4 weeks ago via mobile.
Ask KLmomofthree about Yak und Yeti. Write a Review Reviews Show reviews that mention. All reviews nepalese food vegetarian momos all you can eat prices are reasonable delicious food spicier meat austria.
Review tags are currently only available for English language reviews. Read reviews in English Go back. Reviewed December 8, via mobile. Ask anastasiah about Yak und Yeti.
Reviewed May 18, Reviewed April 11, via mobile. A cultural experience combined with delicious food! Ask Rosy about Yak und Yeti. Reviewed March 31, Travelers who viewed Yak und Yeti also viewed.
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Taxes, fees not included for deals content. About Us Help Center. Never having been to Nepal or eaten other Nepalese food, this does however feel Food might not be really of my taste, but my girlfriend really enjoyed it.
Food was delicious and marpha-the nepalese apple brandy was the one that kicked warmth and saved us in a cold rainy I love this place. It is small and relaxed, especially the backroom where you have to be barefoot and sit on the floor at small tables.
BAT AND WIN Wir fruitinator app mit einem 10 Monate alten Kind dort und das Hotel bot wm frauen 2019 Kinderbett und einen Hochstuhl an. Die Angestellten waren nett und circus.be casino und freundlich. Flüge Ferienwohnungen Restaurants Aktivitäten. Allerdings hatte ich Probleme mit dem Zimmerservice-Team, der mir zuerst falsche Informationen bezüglich eines Menüpunktes gab und mir dann natürlich extra berechnet wurde für das, was ich für einen Nachteil paypsal. Sparen Sie bares Geld. Steuern und Gebühren sind in den Angeboten nicht inbegriffen. Dezember Eines der guten optionsto Aufenthalt in alte Manali. Für bis zu 5 Ihrer letzten Buchungen.
Die Zimmer sind geräumig und sauber. Dieses Haus ist sehr mit R. Das befindet sich gleich neben dem Messner Museum. Günstigste Preise für Ihren Aufenthalt. Gut war es, wenn auch die Portionen eher mikroskopisch sind. Ich brauchte eine ruhige Pause vom Chaos von Kathmandu. Können an diesem Ort Zutaten erworben book of ra fixed symbol, um das Essen selbst zuzubereiten? Tolles Hotel casino bonus 1 euro einzahlen sich zu erholen und zu entspannen! Wir verbrachten 13 Tage dort und jeder Tag war super! Klicken Sie hier für mehr Informationen. Verfügt dieses Restaurant über eine vollautomatische Vordertür, um Gäste mit Mobilitätseinschränkungen zu unterstützen? Alle Details anzeigen mahlzeiten, funktionen. Leider ist es nicht möglich, Buchungen für einen längeren Zeitraum als 30 Nächte durchzuführen.
Teilen Sie eine weitere Erfahrung, bevor Sie diese Seite verlassen. Geben Sie Ihr Feedback ein. Private Parkplätze stehen kostenfrei an der Unterkunft Reservierung ist nicht erforderlich zur Verfügung. Wir suchen für Sie nach weiteren Zimmerinformationen. Es ist empfehlenswert zu reservieren. Mai Nette Erfahrung, gutes Essen. Zurück Weiter 1 2 3 4. Das Personal ist sehr freundlich und authentisch. Erfahren Sie mehr oder ändern Sie Ihre Einstellungen.
Does the restaurant have an accessible-height sink in the bathroom? Sorry — there was an error submitting your response. Decorated in beautiful color palettes, this elegant air-conditioned room is equipped with a flat-screen satellite TV and mini-bar.
Private bathrooms come with a bathtub. Complimentary use of Club board room. Rooms are created, with an emphasis on the highest quality of materials, with smoke detectors, safe locks, working desks, LCD TV set with satellite reception, a direct call phone, free high-speed Internet connection, free mini-bar.
Offering stunning views of Kathmandu City, rooms are created with smoke detectors, safe locks, working desks, flat-screen TV with satellite channels, a direct call phone, free high-speed Internet connection, free mini-bar.
Featuring Nepali traditional architecture, the richly decorated rooms feature air-conditioning, safety deposit box and mini-bar. The rooms provide city and garden views.
The attached bathrooms are fitted with a shower, jet spray and free toiletries. Breakfast, Brunch, Lunch, Dinner.
Children and Extra Beds. All children under 5 years stay free of charge when using existing beds. Additional fees are not calculated automatically in the total cost and will have to be paid for separately during your stay.
Cards accepted at this hotel. Location for me, on a business trip, was excellent. My room had a plesant view overlooking the garden.
This place was a perrrrrrfect weekend away. We stayed with a 10 month old and the hotel provided a cot and high chair. Rooms are spacious and clean.
However, I had issues with the room service team, who first gave me incorrect information regarding a menu item and then of course billed me extra for what I think was thier fault.
The attached bathroom in our room had major issue of water clogging both in the basin area as well as the shower area. The food and service at the Chimeney restaurant was great.
Better communication prior to our arrival so that we could be picked up from the airport. Needed some touching up - particularly in the bathroom, though it was clean enough.
Was very comfortable and lovely grounds. Service at Chimes was excellent. The spa staff and experience was a little disappointing.
Great atmosphere, good location and a very good stuff. Smoking allowed inside the building. Standing of the room was below price and we had to upgrade.
In comparison, the Radison Hotel offers better value at a lesser cost. The staff were just amazing as well as the overhaul appearance.
Time to refurbish most areas. The rooms, for sure, do not justify the price. Everything is old and outdated. The carpets are faded and worn out in places.
Costs increase with high taxes. For the price, it was pretty ordinary. Not over the top luxurious by American standards. Service was probably better than American, because Nepali personality is more accommodating and wanting to please, to be helpful.
Please check your email and click the link to reset your password. Obtaining and paying the bill took at least 10 minutes. They need top hire more help.
As someone used to authentic Nepalese cuisine, I was disappointed. I would rank the experience as average at best for a Nepalese restaurant outside of Nepal.
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Dieses Haus ist sehr mit R. Das Lokal war eine längere Zeit geschlossen, geöffnet wieder vor 5 Wochen. Alle Fotos anzeigen 35 Wenn Sie fortfahren, stimmen Sie der Verwendung unserer Cookies zu. Nach ihrer Reise berichten uns unsere Gäste von ihrem Aufenthalt. Das gefiel Gästen am besten: Eine immer wechselnde Auswahl an verschiedenen gut gewürzten Speisen, zu Mittag als "All you can Eat" Buffet um nur Eur 7,5 - vor allem mit viel Gemüse in einem wunderbareren Innenhof - Gastgarten machen dieses Lokal besonders in der warmen Jahreszeit zu einem Highlight. Ihr Abreisedatum ist ungültig. Brauchen Sie die Landeswährung? Verfügt dieses Restaurant über eine vollautomatische Vordertür, um Gäste mit Mobilitätseinschränkungen zu unterstützen? Das Essen ist sehr gut, das Personal freundlich. Steuern und Gebühren sind in den Angeboten nicht inbegriffen.


Setting up SharePoint 2010 Search Service is easy…. if you are running a plain vanilla web application. But, if you are running a more sophisticated setup of SharePoint, you may be in for a rough ride.
In our case, we have a complex setup where we have multiple SharePoint web applications running on a single IIS server, each using HTTPS protocol and host headers.
Set a crawl rule for https://*.myurl.com with support for basic authentication enabled and the search user/password entered.
NOTE: This is required to allow the search service to logon to the web application.
And then we executed a full crawl….
after some digging around, it appears SharePoint search is accessing the web application through a middle layer (the sts4s part). As we are using Host Headers and basic authentication, the sts4s protocol appears to be ignored by IIS.
We know the crawl worked as we had thousands of Searchable items listed in the search server. To make the situation even more confusing, the Recent query rate showed the exact number of test queries we had executed.
Create new Server Name Mappings for each URL.
This entry was posted in SharePoint on August 23, 2010 by ArmgaSys.
Android 2.2 (FROYO) and Exchange connectivity issues.
At AIS, many of the development staff have become addicted to the Android based phone and their easy to configure and use MS Exchange active sync integration. So when Verizon performed an OTA push of 2.2 (FROYO FRG01B) and all upgraded phones suddenly stopped synced with our Exchange server, moribund panic ensued.
All in all, a plain vanilla Exchange setup.
If you have never used Microsoft's Exchange Remote Connectivity Tool, you really need to spend some time and check it out! This tool is a massive timesaver.
Firing up the Exchange Connectivity test website, we selected and performed the Exchange ActiveSync test.
Accept/Require client certificates were found. Set the IIS configuration to Ignore Client Certificates if you aren't using this type of authentication.
After some research into the settings for all of the virtual directories installed as part of MS Exchange, we discovered the virtual directory Microsoft-Server-ActiveSync was set to "Accept". It appears Microsoft's default install of the ActiveSync end point defaults to "Accept". With the new FRG01B build, the Android Exchange implementation does not play nicely with Client Certificates. Nice!
Reset your Mail profile on your handset.
This entry was posted in Android, Exchange on August 19, 2010 by ArmgaSys.