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Pagina-afbeeldingen
Critical and Miscellaneous Essays, Volume 2
Door Thomas Babington Macaulay Baron Macaulay
archy must be equally so. No person would have been more quicksighted than Johnson to such a contradiction as this, in the logic of an antagonist.
The judgments which Johnson passed on books were, in his own time, regarded with superstitious veneration ; and, in our time, are generally treated with indiscriminate contempt. They are the judgments of a strong but enslaved understanding. The mind of the critic was hedged round by an uninterrupted fence of prejudices and superstitions. Within his narrow limits, he displayed a vigor and an activity which ought to have enabled him to clear the barrier that confined him.
How it chanced that a man who reasoned on his premises so ably, should assume his premises so foolishly, is one of the great mysteries of human nature. The same inconsis. tency may be observed in the schoolmen of the middle ages. Those writers show so much acuteness and force of mind in arguing on their wretched data, that a modern reader is perpetually at a loss to comprehend how such minds came by such data. Not a flaw in the superstructure of the theory which they are rearing escapes their vigilance. Yet they are blind to the obvious unsoundness of the foundation. It is the same with some eminent law. yers. Their legal arguments are intellectual prodigies, abounding with the happiest analogies, and the most refined distinctions. The principles of their arbitrary science being once admitted, the statute-book and the reports being once assumed as the foundations of jurisprudence, these men must be allowed to be perfect masters of logic. But if a question arises as to the postulates on which their whole system rests, if they are called upon to vindicate the fun. damental maxims of that system which they have passed their lives in studying, these very men often talk the language of savages, or of children. Those who have listened
to a man of this class in his own court, and who have wit. nessed the skill with which he analyzes and digests a vast mass of evidence, or reconciles a crowd of precedents which at first sight seem contradictory, scarcely know him again when, a few hours later, they hear him speaking on the other side of Westminster Hall in his capacity of legislator. They can scarcely believe, that the paltry quirks which are faintly heard through a storm of coughing, and which cannot impose on the plainest country gentleman, can proceed from the same sharp and vigorous intellect which had excited their admiration under the same roof, and on the same day.
Johnson decided literary questions like a lawyer, not like a legislator. He never examined foundations where a point was already ruled. His whole code of criticism rested on pure assumption, for which he sometimes gave a precedent or an authority, but rarely troubled himself to give a reason drawn from the nature of things. He took it for granted, that the kind of poetry which flourished in his own time, which he had been accustomed to hear praised from his childhood, and which he had himself written with success, was the best kind of poetry. In his biographical work, he has repeatedly laid it down as an undeniable proposition, that during the latter part of the seventeenth century, and the earlier part of the eighteenth, English poetry had been in a constant progress of improvement. Waller, Denham, Dryden, and Pope, had been, according to him, the great reformers. He judged of all works of the imagination by the standard established among his own contemporaries. Though he allowed Homer to have been a greater man than Virgil, he seems to have thought the Æneid a greater poem than the Iliad. Indeed he well might have thought so; for he preferred Pope's Iliad to Homer's. He pronounced that, after Hoole's translation of Tasso, Fairfax's would hardly be reprinted. He could see no merit in our fine old English ballads, and always spoke with the most provoking contempt of Percy's fondness for them. Of all the great original works which appeared during his time, Richardson's novels alone excited his admiration. He could see little or no merit in Tom Jones, in Gulliver's Travels, or in Tristram Shandy. To Thomson's Castle of Indolence, he vouchsafed only a line of cold commendation, - of commendation much colder than what he has bestowed on the Creation of that portentous bore, Sir Richard Blackmore. Gray was, in his dialect, a barren rascal. Churchill was a blockhead. The contempt which he felt for the trash of Macpherson was indeed just; but it was, we suspect, just by chance. He despised the Fingal, for the very reason which led many men of genius to admire it. He despised it, not because it was essentially commonplace, but because it had a superficial air of originality.
He was undoubtedly an excellent judge of compositions fashioned on his own principles. But when a deeper philosophy was required, — when he undertook to pronounce judgment on the works of those great minds which "yield homage only to eternal laws,' — his failure was ignomini
He criticised Pope's Epitaphs excellently. But his observations on Shakspeare's plays, and Milton's poems, seem to us as wretched as if they had been written by Rymer himself, whom we take to have been the worst critic that ever lived.
Some of Johnson's whims on literary subjects can be compared only to that strange nervous feeling, which made him uneasy if he had not louched every post between the Mitre tavern and his own lodgings. His preference of Latin epitaphs to English epitaphs is an instance. An English epitaph, he said, would disgrace Smollett. He declared that he would not pollute the walls of Westminster Abbey with an
ous.
English epitaph on Goldsmith. What reason there can be for celebrating a British writer in Latin, which there was not for covering the Roman arches of triumph with Greek inscriptions, or for commemorating the deeds of the heroes of Thermopylæ in Egyptian hieroglyphics, we are utterly unable to imagine.
On men and manners, at least, on the men and manners of a particular place and a particular age, - Johnson had certainly looked with a most observant and discriminating eye. His remarks on the education of children, on marriage, on the economy of families, on the rules of society, are always striking, and generally sound. In his writings, indeed, the knowledge of life which he possessed in an emi. nent degree is very imperfectly exhibited. Like those unfortunate chiefs of the middle ages, who were suffocated by their own chain-mail and cloth of gold, his maxims perish under that load of words, which was designed for their ornament and their defence. But it is clear, from the remains of his conversation, that he had more of that homely wisdom which nothing but experience and observation can give, than any writer since the time of Swift. If he had been content to write as he talked, he might have left books on the practical art of living superior to the Directions to Ser.
vants.
Yet even his remarks on society, like his remarks on literature, indicate a mind at least as remarkable for narrowness as for strength. He was no master of the great science of human nature. He had studied, not the genus man, but the species Londoner. Nobody was ever so thoroughly conversant with all the forms of life, and all the shades of moral and intellectual character, which were to be seen from Islington to the Thames, and from Hyde-Park corner to Mile-end green. But his philosophy stopped at the first turnpike-gate. Of the rural life of England he knew noth
ing; and he took it for granted that everybody who lived in the country was either stupid or miserable. • Country gentlemen,' said he, 'must be unhappy ; for they have not enough to keep their lives in motion.' As if all those peculiar habits and associations, which made Fleet Street and Charing Cross the finest views in the world to himself, had been essential parts of human nature. Of remote countries and past times he talked with wild and ignorant presumption. The Athenians of the age of Demosthenes,' he said to Mrs. Thrale, 'were a people of brutes, a barbarous people.' In conversation with Sir Adam Ferguson, he used similar language. The boasted Athenians,' he said, ' were barbarians. The mass of every people must be barbarous, where there is no printing.' The fact was this : he saw that a Londoner who could not read was a very stupid and brutal fellow : he saw that great refinement of taste and activity of intellect were rarely found in a Londoner who had not read much ; and because it was by means of books that people acquired almost all their knowledge in the society with which he was acquainted, he concluded, in defiance of the strongest and clearest evidence, that the human mind can be cultivated by means of books alone. An Athenian citizen might possess very few volumes ; and even the largest library to which he had access might be much less valuable than Johnson's bookcase in Bolt Court. But the Athenian might pass every morning in conversation with Socrates, and might hear Pericles speak four or five times every month. He saw the plays of Sophocles and Aristophanes ; he walked amidst the friezes of Phidias and the paintings of Zeuxis ; he knew by heart the choruses of Æschylus ; he heard the rhapsodist at the corner of the street reciting the Shield of Achilles, or the Death of Argus; he was a legislator, conversant with high questions of alliance, revenue, and war; he was a soldier, trained under a
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Media & Commentary, Policy & Commentary Published March 23, 2012 February 16, 2016
Parks and Recreation St. Louis Style
If Civic Progress, CityArchRiver2015 Foundation, City of St. Louis Mayor Francis Slay and St. Louis County Executive Charlie Dooley get their way, we'll all by paying an additional 0.1875% sales tax in the near future. Why? A quiet addition to a bill in the state legislature would put the tax increase to a popular vote, with proceeds providing funds to issue $120M in bonds for the Arch grounds renovation project and additional funding for regional parks and trails.
The Post-Dispatch only gets at a small part of the issue when the editorial board takes exception to how the bill was introduced in the state legislature, offering a rather soft rebuke. The editorial glad hands project organizers, stating that they "have taken great pains to share their vision with citizens (and) seek input on new designs." This simply is not true. The design as it stands is not the result of public input. (Who decided it is a good idea to remove eight blocks of city streets to "better connect" the city to the riverfront?)
In addition to the initial legislative process, the initiative itself is flawed and represents a bait and switch by project organizers. To date, the source of funding has been intentionally vague, most often described as "a combination of government and private sources." Additional detail sometimes included mention of "foundations, companies and individuals." While not definitively ruling out the option, that clearly doesn't sound like a local sales tax.
by Alex Ihnen 5 min
If Civic Progress, CityArchRiver2015 Foundation, City of St. Louis Mayor Francis Slay and St. Louis County Executive Charlie Dooley get their way, we'll all by paying an additional 0.1875% sales tax in the near future. Why? A quiet addition to a bill in the state legislature would put the tax increase to a popular vote, with proceeds providing funds to issue $120M in bonds for the Arch grounds renovation project and additional funding for regional parks and trails.
The Post-Dispatch only gets at a small part of the issue when the editorial board takes exception to how the bill was introduced in the state legislature, offering a rather soft rebuke. The editorial glad hands project organizers, stating that they "have taken great pains to share their vision with citizens (and) seek input on new designs." This simply is not true. The design as it stands is not the result of public input. (Who decided it is a good idea to remove eight blocks of city streets to "better connect" the city to the riverfront?)
In addition to the initial legislative process, the initiative itself is flawed and represents a bait and switch by project organizers. To date, the source of funding has been intentionally vague, most often described as "a combination of government and private sources." Additional detail sometimes included mention of "foundations, companies and individuals." While not definitively ruling out the option, that clearly doesn't sound like a local sales tax.
An enormously beautiful transformation of the Arch grounds and riverfront has been whittled away. Long gone are many of the elements that made the initial plan exciting: an increased pedestrian zone on the Eads Bridge, a pedestrian bridge adjacent to the Poplar Street Bridge, east side improvements, water gauges in the Mississippi, Cathedral Square with a restaurant and event space, an expansive new entry to the Museum of Westward Expansion… All replaced with more highway infrastructure, closing city streets and a price tag that's doubled. We've gone from truly transformational vision to be paid for by federal, state and private funds, to a vastly underwhelming (and in some cases simply bad) design to be paid for in large part by increasing local taxes.
Revenue from the new tax provision would fund local parks in the City of St. Louis and St. Louis and St. Charles counties in addition to the Arch grounds project. Just four months ago, the City of St. Louis passed a $64M parks bond issue. The major selling point on the bond issue was two-fold: the new funding would not require a tax increase and would serve to leverage a $100M fundraising campaign by Forest Park Forever. St. Louis County is experiencing its own park funding drama. Where's the leadership? Where's the community engagement? Where's the vision for our parks? All three should be prerequisites for even introducing the option of introducing a vote on a tax increase.
So why the proposed tax increase? It's simple math. The Arch project cost stands at $553M. The hope that federal and state funds would be made available for the project has evaporated. A TIGER III grant provided $22M and MoDOT has dedicated $25M in state highway funds. Add to that the $15M put up by Great Rivers Greenway (GRG) and you very nearly have the sum total raised to-date: $62M. What's left? Levy a local tax. Tying it to ballot measure that in short asks residents if they want to fund their local parks (oh by the way, we'll take $200M+ in total taxes to pay the bond issue for the Arch grounds), is at once smart and devious. The GRG commitment would be repaid and more if the measure passes.
In 2010, the existing tax created in 1999, provided $10,799,815 to GRG. The new tax would give 60% of revenue to GRG with half of that to be allocated to the Arch project, and the remaining 40% to be split between local park districts. GRG is a great organization and has completed some great projects. What's missing entirely, however, is a public discussion regarding funding and projects. A case for need has not been made, neither by CityArchRiver, GRG, or anyone else. A time for that will come, supporters say, once a few hurdles are crossed.
And this is how we do things. We're told not to worry, the measure might have been tucked into an existing bill winding through the Missouri state legislature, but it only authorizes jurisdictions to put it on the ballot if they chose to. What's the harm? City of St. Louis Mayor Francis Slay recently Tweeted, "A bill to help fund parks and the Arch grounds is in Jeff City. STL Beacon lists the hurdles." and linked to the Beacon story. Focusing on the hurdles is another way to brush off any discussion of whether it's a good idea. We're told, don't worry, it's just a first step and there are so many hurdles and… We can't know at this point if the measure will ultimately be put to a vote and pass, but anyone who believes that the bill's supporters would ever consider returning to the first step to engage the public is wrong. At the same time we're being told not to take the issue too seriously, supporters call the effort "a huge part" of getting the Arch project completed.
It is estimated that the tax would generate $38M per year if passed in the City of St. Louis ($6.2M), St. Louis County ($24.9M) and St. Charles County ($7.2M). The levy would only go into effect if 2 of 3 counties approved the measure. Given the numbers, clearly St. Louis County would need to be one of them. It's no stretch to say the tax will be most difficult to pass in St. Charles County, leaving the burden on the central metro area. Ultimately, county councils, and the city's Board of Aldermen will decide whether to put the issue to the public. If successful, supporters hope to introduce the bill to St. Claire and Madison Counties in the metro east.
At the heart of the issue is the challenge of an urban National Park. No one would expect Wyoming residents pay for Yellowstone, but the core of our metro region is going to be asked to cough up more than $200M for the Arch project and millions more for GRG and other parks. Needless to say, the national park itself isn't working well for the city and has been especially detrimental to business development immediately next to what should be a magnet for cafes, corporate headquarters and more. The Arch grounds investment is predicated on attracting more visitors to the Arch each year as attendance has flagged. It's a "heads on beds" strategy that attempts to fight nationwide macro-trends of museum and destination attraction attendance decline. It's an unproved strategy that's been invoked for every massive redevelopment project in the city's history.
Perhaps CityArchRiver should be applauded for tackling an effort that may have been doomed from the start, one the Danforth Foundation abandoned after years of effort. If the NPS refuses to allow the earth to be moved two feet, how is a new museum entrance to be constructed? Then again, why would one solicit expansive and radical plans in that case? The adherence to an October 2015 deadline has been accepted as the only way to keep the many constituent groups moving forward, but is now beginning to look more and more as a date that will be known for what wasn't completed. Now the rush is on the get the tax measure on this November's ballot to secure funding for at least part of the project. This highlights to lack of process created and the blind devotion to silver bullet planning projects St. Louis can't seem to quit. It may be the project itself more than the execution, but it's difficult to see the current plans as anything more than throwing good money after bad.

redpajama_set_name: RedPajamaCommonCrawl


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Jeff Hulett – "Around These Parts"
Album Reviews | By Eric Althoff on Dec 2nd, 2018
Record Label: Small Batch, American Grapefruit
Genre: Indie Rock / Singer/songwriter
Link: facebook.com/hulettthadogsout
The "Memphis Sound" has evolved and changed over the decades, and it's that very dynamism that keeps rock 'n' roll's birthplace such a continually dynamic city. Jeff Hulett of the band Snowglobe has released a solo disc, making greater use of that sound on the travelogue "Around These Parts."
"Back in the Day" is a journey through nostalgia through some memories that maybe were better left alone, with a mournful fiddle dirge providing a killer bridge at mid-song. This is followed by the upbeat "Home," which continues the reverie of the previous song but in a more positive vein.
"This Is the Life" is a lovely love song about keeping in focus the things that are truly important—family, love and joy—with Hulett intoning "This is the life, life, life, life, life, life, life, life" in reaffirmation. "Shoes All Muddy—Tape" is a delightfully strange song, with Hulett spinning a yarn about discovering a tape (remember those?) with hidden voices from the past. It's a bit simplistic at points during the tune, but it's a fun journey to take with the songwriter.
Hulett continues the somewhat-bluesy mood on "She Got Gone" and "Trick," with the latter evincing a rather healthy dose of the Southern sound that is simultaneously celebratory while also a bit downbeat in subject.
"Neutral Milk Hotel" may be the most unusually whimsical song title likely to come out anywhere this year, but give a closer listen to its subject matter or how "we are born in milk" and how sometimes getting back to the basics can be the best balm of all. Hulett ends the disc with "Don't Wait," a stern reminder that today is the day to make it happen. Yes, we all have regrets, but don't live there; live in the now. It's quite likely the album's best track.
Notable Tracks: Home, This Is the Life, Shoes All Muddy—Tape, Trick, Neutral Milk Hotel
album review, around these parts, indie rock, jeff hulett, singer/songwriter, small batch american grapefruit
Previous: Sick of It All – "Wake The Sleeping Dragon!"
Next: Milkmen – "Milkmen"
Cheerleader's Second Album 'Almost Forever' Out February 7th
Aaron Burdett – "Rockefeller"
ReadJunk Playlists – New Music (November 2019)


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Is Trial within the Outback a real story and what occurred to child Azaria Chamberlain?
IT WAS often known as the trial of the century, when Lindy Chamberlain appeared in court docket accused of murdering her personal child.
What then occurred was one of many largest miscarriages of justice in Australian historical past.
Linda Chamberlain, now 72, was famously accused of murdering her personal childCredit score: Getty Photographs – Getty
Is Accused: Trial within the Outback a real story?
This two-part documentary IS a real story and takes a have a look at the notorious case of a child who was stolen by a dingo whereas on a tenting vacation in Central Australia.
This opening episode of this docu-series explores the case which noticed Azaria's mom, Lindy Chamberlain, be wrongly accused of murdering her baby and face a gruelling trial by press.
The documentary will characteristic contributions from the Chamberlain household.
Lindy and her relations, together with investigators who labored on the case, will talk about the heartbreaking true story.
Two month previous Azaria was snatched by a dingo as she slept in a tentCredit score: Lindy Chamberlain-Creighton
What occurred to child Azaria Chamberlain?
Azaria was an Australian two-month previous child woman who was killed by a dingo – an Australian wild canine – on the night time of August 17, 1980, on a household tenting journey to Uluru within the Northern Territory.
Her physique was by no means discovered.
Her dad and mom, Lindy and Michael Chamberlain, reported that she had been taken from their tent by a dingo.
Lindy was, nevertheless, tried for homicide and spent greater than three years in jail.
She was launched when a chunk of Azaria's clothes was discovered close to a dingo lair, and new inquests had been opened.
In 2012, 32 years after Azaria's demise, the Chamberlains' model of occasions was formally supported by a coroner.
How can I watch Accused: Trial within the Outback on TV?
Lindy and Azaria's story is about to be retold in a Channel 5 documentary.
This two-part mini-series kicks off tonight (December 8, 2020) at 9pm and concludes tomorrow (December 9, 2020) on the identical time.
Should you miss it, you'll be able to meet up with it on Channel 5's My5 catch up service.
Trailer for Lindy Chamberlain: The True Story
Azaria
Susanna Reid reveals terror at assembly convicted youngster killer on loss of life row for murdering her sons
Disney+ followers 'can't cease crying' after watching Isla Fisher's emotional new Christmas movie Godmothered
Joe Biden's daughter Ashley reveals she's 'worried' for his safety at inauguration after Capitol riot in first interview


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text:
Q: Update same column with multiple values at different positions using Overlay function in Postgres I have two columns in table test as below. I want to update 2nd position in message with 'K' and 4th position as 'N' where id = 1 using Overlay function. I am able to update 2nd position as per below query but unable to find solution for 4th position.
Could you please provide me some guidance? Thank you.
Table test
    id | message
    ------------
    1  | ABCD
    2  | PQRS

I wrote below query:
update test
set message = overlay(message placing 'K' from 2 for 1)
where id = 1

I got reference from Postgres String Functions and Operators

A: If you want to do this with overlay(), you need to call it twice:
overlay(overlay('ABCD' placing 'K' from 2 for 1) placing 'N' from 4 for 1)

You could also use substring():
substring(message, 1, 1) || 'K' || substr(message, 3, 1) || 'N'

Or, if message can contain more than 4 characters:
substring(message, 1, 1) || 'K' || substr(message, 3, 1) || 'N' || substr(message, 5)

Finally: a neater option (although probably less efficient) uses a regex:
regexp_replace(message, '^(.)(?:.)(.)(?:.)', '\1K\2N')

redpajama_set_name: RedPajamaStackExchange


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Suburban School Board Member Under Fire For Racist Facebook Post
By Samantha Abernethy in News on Apr 20, 2012 10:00PM
Pan Xunbin / Shutterstock.com
Parents in Berwyn and Cicero are angry a member of the schoolboard made a racist comment on his Facebook page, and now some are calling for his resignation. Michael Iniquez is on the board for Morton High School District 201 and is an employee of the Town of Cicero.
He says his 15-year-old son wrote the post, but also admitted "getting drunk at a Cubs game and comparing the White Sox ballpark to a ghetto."
The Sun-Times writes:
The Sun-Times reported Wednesday that on Iniquez's Facebook wall was the post, "IT'S FRIDAY NI--A'S," next to a picture of a nearly naked black child dancing. The whole word — a version of the n-word — was spelled out on the wall of Iniquez's Facebook page. His entire Facebook page appears to have since been removed.
"Certainly, if these allegations are true, he has no place on this school board," Berwyn CARES President Robert Pauly said.
The Town of Cicero is conducting an internal investigation of Iniquez, and the group says it is awaiting results from that before asking for his resignation. Cicero Town President Larry Dominick has condemned Iniquez's post, and Berwyn Alderman Marge Paul openly called for his resignation.
berwynchicago suburbsciceropolitically correctstrange news


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Begins Wednesday, September 9 at 6:45pm.
The Jewish Community Center of Northern Virginia (Fairfax) is currently seeking instructors for all styles of dance. Dance Instructors are responsible for planning class content and curriculum and choreographing pieces for the end-of-program performances. Classes are offered in Ballet, Jazz, Hip Hop, Modern, and Tap. The J is a member of the National Dance Education Organization and the Virginia Dance Coalition.
The Dance Instructor of j.dance will impart basic understanding of techniques including placement, posture, carriage, alignment, strength, flexibility and style of the arms, legs and torso, as well as stretches, plies, leaps, turns, and combinations. They will pass on a basic understanding of the history of the style of dance they are teaching, and stay up to-date on the ever-changing techniques they are teaching. We are currently seeking an instructor for Tap, but will also accept applications for Jazz, Modern, Hip Hop, and Ballet instructors.
j.dance is committed to providing a safe and nurturing learning environment where students of all skill levels can embrace this expressive art form. Our program is based on an appreciation and respect for the art of dance and strives to instill each student with confidence and grace.
Qualifications: Ideal candidates will be professional, energetic, and have experience teaching children ages 5-15. Bachelor's degree preferred. This is a part-time position. Salary is dependent on experience.
To apply, please send your resume along with 2 professional references, indicate the type(s) of dance in which you specialize or are able to teach, your experience and training in dance, and your availability to Barri DeFrancisci, j.dance Director.
This entry was posted in Job Postings, Opportunities. Bookmark the permalink.


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Caroline Blatter
Born and educated in Argentina, and then Belgium and England, Caroline learnt to adapt to an often changing environment, and developed a passion for languages, travel and embracing other cultures. She trained as a Physiotherapist, and over the years has worked in a variety of places, from a London hospital, Sydney's Royal North Shore, to volunteering in Antigua with their 'Search and Rescue Organisation – ABSAR'. She also qualified to teach children with learning difficulties, and worked in Mallorca for several years at the international schools whilst based there.
With a love for the sea and boats, she has sailed over 30,000 miles with Andrew, in the Med and Caribbean, chartering, managing a prominent new build, and living on their own boat with their growing young family for 6 years! Home has been Antigua for the past 11 years, though they now live in England.
Having set Superyacht Publications up with Andrew in 2002, Caroline manages the operational & online side of the business, researching/writing & editing for all the Guides. She continues to love the outdoors/ sport & travel when time permits, as well as sharing family life with four children!
Email Caroline Blatter


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Q: Chaining async functions with promises Nodejs var fs = require('fs');
var node_dir = require('node-dir');
var bluebird = require('bluebird');
var moviesClient = new ApiClient(...)
var musicClient = new ApiClient(...)
var lib = require('./index.js');

var generateMovieMetaData = async function(){
  var json = { movies: [] };

  node_dir.files(path, function(err, files) {

    bluebird.mapSeries(files, function(file){

    return moviesClient.send(new lib.requests.Movie(file))
       .then((movie) => {
      // movie is json
      /* do some loops and work with the movie json*/
      json.movies.push(movie);
       });
    })
    .then(function(movies){
      fs.writeFile('./movies.json', JSON.stringify(json), 'utf8', (err)=>{
         if(err) console.log(err)
         else {
          console.log('File saved');
          }
      })
      return json; // go to the next function if any
    })
    .catch(function(err){
      console.log("Movie metadata could not be generated due to some error", err);
    });
  });
};

var generateMusicMetaData = async function(){
  var json = { music: [] };

  node_dir.subdirs(config.music.path, function(err, subdirs) {
    if (err) throw err;

    bluebird.mapSeries(subdirs, function(dir){

    return musicClient.send(new lib.requests.Album(dir))
      .then((album) => {
      // album is json
      /* do some loops and work with the album json*/
      json.music.push(album);
      });
    })
    .then(function(music){
      fs.writeFile('./music.json', JSON.stringify(json), 'utf8', (err)=>{
         if(err) console.log(err)
         else {
          console.log('File saved');
          }
      })
      return json; // go to the next function if any
    })
    .catch(function(err){
      console.log("Album metadata could not be generated due to some error", err);
    });
  });
};

Above, I have two async functions generateMovieMetaData and generateMusicMetaData each of them has Promise.mapSeries logic
When I call them on their own, they work correctly without throwing errors.
I want to chain the two functions in a composite function like this
var generateMetaData = function(){
  generateMusicMetaData()
   .then(() => generateMovieMetaData());
}
generateMetaData();

Calling generateMetaData returns TypeError: Cannot read property 'push' of undefined error from the first function:
Album metadata could not be generated due to some error TypeError: Cannot read property 'push' of undefined
[0]     at musicClient.send.then (/mnt/c/Users/ridhwaan/Source/homehost/server.js:179:23)
[0]     at tryCatcher (/mnt/c/Users/ridhwaan/Source/homehost/node_modules/bluebird/js/release/util.js:16:23)
[0]     at Promise._settlePromiseFromHandler (/mnt/c/Users/ridhwaan/Source/homehost/node_modules/bluebird/js/release/promise.js:51
2:31)
[0]     at Promise._settlePromise (/mnt/c/Users/ridhwaan/Source/homehost/node_modules/bluebird/js/release/promise.js:569:18)
[0]     at Promise._settlePromise0 (/mnt/c/Users/ridhwaan/Source/homehost/node_modules/bluebird/js/release/promise.js:614:10)
[0]     at Promise._settlePromises (/mnt/c/Users/ridhwaan/Source/homehost/node_modules/bluebird/js/release/promise.js:693:18)
[0]     at Async._drainQueue (/mnt/c/Users/ridhwaan/Source/homehost/node_modules/bluebird/js/release/async.js:133:16)
[0]     at Async._drainQueues (/mnt/c/Users/ridhwaan/Source/homehost/node_modules/bluebird/js/release/async.js:143:10)
[0]     at Immediate.Async.drainQueues [as _onImmediate] (/mnt/c/Users/ridhwaan/Source/homehost/node_modules/bluebird/js/release/a
sync.js:17:14)
[0]     at runCallback (timers.js:756:18)
[0]     at tryOnImmediate (timers.js:717:5)
[0]     at processImmediate [as _immediateCallback] (timers.js:697:5)

EDIT 1: Ok I changed the code to look easier. Am getting the same error dunno why
Logging shows that bluebird.mapSeries in both functions is happening at the same time, then throwing the error

A: I wasnt resolving a promise in each function, I only had a return. I changed the line where I have return json; to resolve(json);
var generateMusicMetaData = function() {
  return new Promise(function(resolve, reject) {
  ...
  r̶e̶t̶u̶r̶n̶ ̶j̶s̶o̶n̶;̶
  resolve(json);
  ...
  });
};

var generateMovieMetaData = function() {
  return new Promise(function(resolve, reject) {
  ...
  r̶e̶t̶u̶r̶n̶ ̶j̶s̶o̶n̶;̶
  resolve(json);
  ...
  });
};

then i have
var generateMetaData = function(){
  generateMusicMetaData()
    .then(function(result) {
      return generateMovieMetaData();
    });
}

A: There are a number of problems with the original implementations that make it so they don't return a promise that is resolved when all the async operations in each function are completely done.  Because of that, you can't coordinate them with other asynchronous operations.
So first let's fix the implementation of your two functions.  It's a lot simpler to just use ES6 async/await for that implementation:
const Promise = require('bluebird');
const fs = Promise.promisifyAll(require('fs'));
const node_dir = Promise.promisifyAll(require('node-dir'));
let moviesClient = new ApiClient(...)
let musicClient = new ApiClient(...)
let lib = require('./index.js');

async function generateMovieMetaData(path) {
    var json = { movies: [] };

    let files = await node_dir.filesAsync(path);

    for (let f of files) {
        let movie = await moviesClient.send(new lib.requests.Movie(f));
        json.movies.push(movie);
    }

    await fs.writeFileAsync('./movies.json', JSON.stringify(json), 'utf8').catch(err => {
        console.log("Movie metadata could not be generated due to some error", err);
        throw err;
    });
    return json;
}

async generateMusicMetaData function(path) {
    var json = { music: [] };

    let files = await node_dir.subdirsAsync(path);

    for (let d of dirs) {
        let album = await musicClient.send(new lib.requests.Album(d));
        json.music.push(album);
    }

    await fs.writeFileAsync('./music.json', JSON.stringify(json), 'utf8').catch(err => {
        console.log("Album metadata could not be generated due to some error", err);
        throw err;
    });
    return json;
}

Note that there are no plain callbacks at all in this implementation.  Everything is done using promises and asynchronous operations that don't naturally return promises were "promisified".  I used Bluebird here for that since you already showed you were using it, but you could have also used util.promisify() which is built into node.js now.
Now, we have it so each of these functions returns a promise that resolves with the json and onlyh resolves when all the asynchronous operations inside are done.  That sets it up well for sequencing using async/await:
function async generateMetaData(path){
    let music = await generateMusicMetaData(path);
    let movie = await generateMovieMetaData(path);
    return {music, movie};
}

generateMetaData(path).then(results => {
    console.log(results);
}).catch(err => {
    console.log(err);
});

But, since these appear to be two completely unrelated operations, you could do them in parallel:
function generateMetaData(path){
    return Promise.all([generateMusicMetaData(path), generateMovieMetaData(path)]).then(([music, movie]) => {
        return {music, movie};
    });
}

generateMetaData(path).then(results => {
    console.log(results);
}).catch(err => {
    console.log(err);
});


text:
Lane closures on Bagshot Road (A322) expected to start next month
Cllr Chris Turrell said the work follows "successful" improvements at the Twin Bridges and Horse and Groom roundabout
Jennie Slevin
Cllr Chris Turrell said the work on Bagshot Road follows "successful" improvements at the Twin Bridges and Horse and Groom roundabout
Drivers may have to rethink their journeys after six weeks of lane closures at one of the borough's roundabouts were announced.
Work to the Bracknell Leisure Centre roundabout junction on the A322 Bagshot Road will be carried out off-peak, between 9.30am and 4pm, and is expected to begin in November.
The work is being done to upgrade Bracknell Forest's road network before an expected increase in traffic as a result of the town centre regeneration and planned housing growth.
The changes are part of an upgrade to the A322 and will include traffic lights on the Bagshot Road entries and exits of the roundabout.
The next stage will begin in 2015 with plans to replace the Coral Reef roundabout with four-way traffic lights over a period of 18 months and is expected to be complete by autumn 2016.
Councillor Chris Turrell, Bracknell's executive member for planning and transport, said: "The work we are undertaking at the sports centre roundabout in November and next year at the Coral Reef junction will follow the successful works at Twin Bridges and the Horse and Groom roundabout.
"The existing roundabout at Coral Reef will not be capable of accommodating the future demands placed on it unless the junction is improved. The scheme will reduce congestion and improve travel through the borough and beyond in the years to come."
The work is being part-funded by a £7 million government grant secured through the Thames Valley Local Enterprise Partnership (LEP).
Will these roadworks effect you? Call Jennie Slevin on (0118) 918 3030.
Bracknell Town Centre


Guillermo Del Toro is a master of the modern fairy tale. In The Shape of Water, he tells the story of a budding love between a mute woman named Elisa and a captive fish creature. Like the very best of Del Toro, the film blurs the line between reality and fantasy and succeeds as an allegorical tale about the transformative power of love. Set in the Cold War Era, most of the story takes place in a secret government facility replete with scientists, gung-ho military jerk-offs, and spies. This setting provides the canvass for Del Toro's peculiar aesthetic, as well as the majority of the tension. The performances are outstanding, from the supporting characters to the leads to the man in the Fish Monster suit. Simply put, The Shape of Water is a gorgeous little tale and the reason why movies can be so magical.
The film opens with a classic fairly tale intro in the form of a voice-over setting the stage. It's visually engrossing as well: the main character Elisa sleeps suspended in her completely flooded apartment. As the water drains away, the real world settles in, and we're in for quite a ride.
The plot of The Shape of Water focuses on a pair of cleaning ladies at a secret government facility (Elisa, played by Sally Hawkins and Zelda, played by Octavia Spencer). They're expected to keep their heads down and ask no questions. One day, a new asset is delivered to a large room with a tank: it's a strange Fish Man from South America resembling the creature from the black lagoon (played expertly by Del Toro mainstay Doug Jones). A government official named Richard Strickland (Michael Shannon) is in charge of gathering data from this asset, though he delights in torturing the creature along the way.
Meanwhile, a scientist played by Michael Stuhlbarg fights back against Strickland, imploring that they treat the creature with respect because of all that it can teach them, but his pleas mostly fall on deaf ears. When Elisa is sent into the room with the creature to clean it, she takes a liking to the Fish Man, offering him a hard-boiled egg. The two become fast friends, and once she learns that he is in danger, she hatches a jailbreak plot. The story then becomes a heist, morphs into a love story, and then ends just as it started: a beautiful fairy tale.
Each and every one of the performances in The Shape of Water are absolutely incredible. Michael Shannon is always the perfect blowhard, and you love to hate him here just as much as you always have. Sally Hawkins is responsible for carrying the majority of the pathos of the film, as she is the character that actually has to convince us that one could fall in love with a Fish Man. Doug Jones also does astounding work, as he is able to emote clearly but subtly through a huge rubber suit. Octavia Spencer, Michael Stuhlbarg, and Richard Jenkins each add their own amazing elements to the story. Whether headlining or supporting, whether naked or adorned with a rubber suit, the performances are outstanding.
The actors are certainly helped by Del Toro's fantastic aesthetic. The design of the creature is awesome, and the Soviet-era backdrop of the film lends a Cold War kind of paranoia to most scenes in the research lab. Things are dingy and cold, and most of the time the mood of the film seems hard and unfeeling. Though this is a real era in US history, the set design and overall aesthetic lends the film a distinct out-of-time quality, which helps to create Del Toro's distinctly magical nature of the fairy tale story. It isn't too dissimilar from Pan's Labyrinth – both are set during an identifiable historical era but hold fantastical elements at the heart of the story.
Similarly, though The Shape of Water is ostensibly a science fiction film, it might make more sense to classify it as a fantastical allegory. There are just too many moments where Del Toro plays with the idea of an "elastic" reality to take this story at face value. With that in mind, the themes in the film lean towards the archetypal and universal: the fighting for freedom and life, finding one's place in the world, and the power and universality of love. The magic of Del Toro is that he is able to convince the spectator that all of these strange things make a certain fundamental sense. This is Del Toro as visionary, as a teller of unique and distinctive stories. He has always championed the power of fables to communicate essential truths, and consistently provides stunning examples of this kind of storytelling.
The Shape of Water is an awesome experience. As a mute girl and a fish creature from the Amazon fall in love, the spectator is treated to a brilliant combination of fantasy storytelling, engrossing visuals, and essential themes. Del Toro's aesthetic shines in this film, and he also gets multiple superlative performances out of his actors. Though the film will undoubtedly weird out some viewers, The Shape of Water is one of the most interesting, distinctive, and magical films of recent memory.


Hot Air Ballooning in New Mexico….In October!
The month of October begins with the first weekend. It is traditionally the opening weekend of the Albuquerque International Balloon Fiesta. It is the largest gathering of hot air balloons in the world. We fly at sunrise for the nine days of Fiesta, weather permitting. October has always been my favorite month of the year! There is a chill in the air, the leaves are changing, color is everywhere….especially in New Mexico.
On the way back home, a number of us stop off in Gallup, NM to fly in the gorgeous canyons of Red Rock state Park. We are there for the annual Post Fiesta Siesta Hangover Layover. This year the get together set a record with 40 balloons in attendance.
The weather could not have been better. A cold morning of 28 degrees with a cloudless sky greeted us with gentle, light and variable winds that allowed us to play in the fingers of the canyons for hours before continuing on our journeys home.
It was a great flight taking off with my Az flying buddy, John Ross. Flying and photographing in the gentle winds was fun and relaxing as we gently moved thru the fingers of the canyons. Before long, John caught up with me as he landed right where I did.
As most people across the country are parking their balloons for the winter, our flying season has just begun. The desert does have it's benefits, aside from the hot summer days. There are many festivals in the winter, here on the Colorado plateau. I'll be sure to keep you all up to date on where and when we fly, accompanied by some more beauty from the air!
Great joy, Ken — thanks for sharing!
Thank you for sharing. Yes it was a great day for flying. And for writing this article. The pictures were magnificent.


text:
Under 1000: God Tiny
By Zach Raffio @@zachraffio · On March 1, 2017
Hello! Welcome to "Under 1000", a new column highlighting artists with under 1000 likes on their official Facebook pages. Each piece will profile and interview an artist we feel is worthy of your "like", with the hope of spreading their sound and getting them that all important fourth digit. Thanks for checking it out!
Artist: God Tiny
Facebook likes (at the time this was written): 868
Rock is dead.
We've all grown quite accustomed to hearing this phrase, a sprawling exaggeration intruding on music-based conversations for the last several decades. People will claim that the young bands of today lack the edge, the innovation, and the honesty of rock artists past; rock and roll's golden days are far gone, and no amount of talent or ignition of spirit can bring them back into our grasp – unless, of course, you have two ears and know what Bandcamp is.
Rock continues to evolve, maturing and redefining itself every time someone picks up a guitar – or in some cases, even when they don't. Classic ideals and modern innovations keep the life-breath of rock music pumping steadily, with no end in sight, no cap to this iconic bottle.
For every collective of rockers fawned over for keeping the genre intact, dozens of other scrappy, energetic folks are doing their own due diligence in protecting this sacred ground. One band wearing this badge is God Tiny, a Brooklyn-based 5-piece fronted by rockstar incarnate Jeremy Kolker. The band expertly tosses elements of pop and soul into their sonic repertoire, but make no mistake – they are a rock band, true and true.
Take the track "Sadhu" off their upcoming LP, due out this spring. The track bursts into the room with a jangly riff not far from the classic rock playbook, but quickly transform it into something new, showing off the band's full confidence in where they are and their right to be there. Kolker's friendly tenor croons a melody that wouldn't be out of place if stripped of the instrumental and placed over a classic soul jam, while the final refrain resounds the track in what is essentially a big, gospel singalong.
For this week's Under 1000, I spoke to Kolker and guitarist Pete Spengeman about their influences, the recording process, and the weirdest show they've ever played. Find our conversation below.
Jeremy Kolker: Music is my therapy, my medication, my coping mechanism for navigating through the painfully chaotic world we live in. As cliché as it is, I make music because I have to. I'd almost certainly be institutionalized without it. Also, as a singular human being fighting for positive change, I feel that music is the most powerful tool I have to offer.
Pete Spengeman: I guess it's cliché to say that I make music because I have to, but I really can't see myself in a place in life where that wouldn't be true. That's the selfish reason – that despite working a full time job and doing my best to skate by with bills and rent, music is my best outlet to escape from everything. It's an ongoing hobby and labor of love. But I also make music because I think it's the best way to connect to people. It lets you become a part of a community, and it's led me to meet some really amazing people. Honestly, playing music is the coolest thing a person can do in my opinion.
MEB: Your lyrics often delve into the concept of spirituality – what does spirituality mean to you and how does it affect your songwriting process?
JK: I'm trying to create music that promotes higher consciousness, spiritual enlightenment, or whatever uplifting state of being one may find themselves yearning for. Music that rips the listener from their normality and forces them to confront physical and psychological restrictions. It's spiritual music in that it hopefully enables one's spirit to take control. We leaded such spiritually confined, emotionally suppressed existences. To me spirituality is the triumph of the unabashed wildness we're forced to restrict in our daily living. I'm not trying to promote any God except that tiny God within you, telling you to be free to be your freaky self.
MEB: How does your recorded music translate to a live setting?
JK: Our live shows are generally a full blown rock the f*ck out high energy explosive release. You never really know what you're gonna get. We tend to turn certain songs on their head and adapt them to the live setting. The recorded album has a lot of sonic dynamic, a more orchestral approach to the songs. For us recording is its own art form, as is performing. I think if you see us live, you can tell we grew up in punk scenes. If you listen to the recordings, you can tell we are all in love with The Beatles' studio work.
MEB: Pete, who would you say is the biggest "classic" influence on your guitar-playing? Who would you say is the biggest modern influence?
PS: As far as classic influences go, Jimmy Page has to be number one. I can't deny that he's shaped the way I attack guitar solos, and it's intrinsic in a lot of the riffs I play. Another "classic" influence that I'm into recently is Richard Lloyd of Television. Both him and Tom Verlaine have crazy chemistry and the way the interweave guitar parts is something I think God Tiny tries to incorporate in our arrangements. The album Marquee Moon is one of the best guitar albums ever, and it's been a really big influence for me in the past year or so.
As far as a modern influence, I would say that Annie Clark is probably the biggest. The way she plays the guitar is unlike anyone else, and now that rock n' roll has been around for decades it's really refreshing to hear someone play the instrument in a new way. The way she can play heavy in a pop setting is admirable to me, and her songwriting is incredible.
JK: Oh man, we've played too many weird shows to pick a clear winner. The one that comes to mind for me – we somehow got booked to play a metal bar in Austin, Texas nearly 6 years ago, when I was fresh out of high school and God Tiny was on our first cross-country tour. I had lost my voice the day before so we decided to just have an improvisational, total far out jam. We stroll into this tough guy stronghold looking like lovey supersonic hippie motherf*ckers, no one had any idea what to expect.
We set up, started to jam, our photographer friend ended up getting manhandled out of the bar for underage drinking during the first song. We went on to space jam for the next 45 minutes while this hardcore caricature of a muscled dive bar bouncer glares at us with more hatred than I thought possible to transmit by one's eyeballs. They really didn't like us.
PS: Oh man. Last June we got invited to play the annual Bushwick Block Party, sort of last minute. We were the first band to play, so that meant we started at 11:30 am, which is vastly different from what we're used to. I don't know if we ever have or ever will again play in the morning. It was weird drinking coffee onstage instead of beer. It was awesome though, to be playing in that setting with people walking by, being part of the background. It was also wild because way later in the day, Jadakiss was performing as the headliner. We all thought it was really funny and random that we got on the bill. It was great to see the flyer with Jadakiss' name at the top and then at the very bottom there was "God Tiny". So yeah – playing in the morning again? Very unlikely. Playing with Jadakiss again? That's probably not going to happen.
JK: Another one I'm now remembering – played a show at this now extinct DIY venue by Bard College, the stage was in the kitchen of this house, amp right in front of the fridge. Every song there were four to five kids squeezing behind me to grab a beer. I don't know, we also went through a kind of dark period, where something always went wrong, someone was too f*cked up, and there was always some sort of catastrophe. I think I've probably blocked out the memory of our truly weirdest show.
MEB: What's your ultimate rockstar fantasy?
JK: I mean, for any musical kid who grew up near NYC, selling out MSG, yet alone playing there, would be the pinnacle, the tippy top. That would be a dream come true. I fantasize about moving God Tiny over to Asia for a while, would love to do a proper, in depth tour of Japan, China, Indonesia, Korea, etc. that would totally be a dream come true. And I think they'd really like us over there.
PS: As a humble response, my rockstar fantasy is just being able to tour the country and beyond. I would love to travel and I would love for music to be my vehicle in doing so. Even if just for a few years, it would be great to make this my job. Playing rock music to make a modest living and to have that experience for the rest of your life, regardless of whether or not it lasts forever. I would just like to be able to survive off of this, to take a break from the nine-to-five lifestyle, and to play our music for as many people as possible.
MEB: What's the one thing you hope people take away from your music?
PS: I think that all of us in God Tiny hope that whoever is listening to our music feels it in a genuine way. We consider ourselves rock n' roll, which admittedly is a very broad term. But I think that we want to pick up the torch for all the incredible rock n roll musicians that came before us and carry it alongside the incredible rock n rollers of today.
We want the music to be accessible to my 52-year-old aunt and my 8-year-old cousin and everyone in between. I'm not saying that the music has to be simple, because I don't think it necessarily is. But I am saying that for people to get into it, the gateway should be simple. We're the ones communicating the music, and if we're not projecting openness, love, and good energy for all those listening, then I think it's hard for the audience to reciprocate that feeling.
JK: To love a little more. Be kinder to yourself and the world around you. Be a force for lightness. Embrace the terrible, wonderful weight of existence. All of that jazz. None of us are alone, yet we're all isolated in our insecure minds, in our money-obsessed culture. Fly your damn freak flag and confront what's holding you back. It's not as easy as it sounds, but simply loving in the immediate, all encompassing sense is a revolutionary act. Let's revolt!
Stream first single "Cosmos" below, and look out for their debut LP The Space Inside Your Head out 5/26. Of course, if you like what you hear, give God Tiny a fancy ol' "Like" on Facebook HERE.
Do you have under 1000 Facebook likes? Let me know about you! Feel free to reach out via the form below.
Annie ClarkBrooklynFacebookgod tinyJadakissjimmy pagerockrock n' rollTelevisionThe Beatles


C1 Health Centre > Chiropractic > "I've got sciatica" – well, no, you probably haven't.
It's been a day of patients coming in and telling us that they have got sciatica. I am now pretty skeptical about this diagnosis. It is used, badly, to describe any pain in the buttocks or down the legs. Unhelpfully, it is also used by patients when they go to their GP. This can lead to the GP accepting the diagnosis without actually checking and then treating the problem incorrectly.
How often does sciatica occur?
So, because the term sciatica is used so loosely to describe any form of leg pain, estimates of its prevalence vary widely. Some researchers have estimated it will affect up to 43% of the population at some point. I think it is far less prevalent and it's been a long time since I have seen a patient with true sciatica.
Real sciatica is caused because the sciatic nerve is irritated. If you check your anatomy books, you'll see that the sciatic nerve passes from your spine at the 4 and 5th Lumbar spine area. It is also made up of large nerves that come out of the holes on the inside of your sacrum. This is even lower than the lumbar spine. These all then meet up at around 2cm from where the last nerves come out of your sacrum and form the sciatic nerve. These then travel through your buttock region and down your leg. This means that these nerves have to pass through lots of structures that can compress or irritate them. Now, if this does actually happen then you have real sciatica.
Constant pain in only one side of the buttock or leg, but rarely in both sides.
Pain that originates in the low back or buttock and continues along the path of the sciatic nerve—down the back of the thigh and into the lower leg and foot.
It will feel better when patients lie down or are walking but worsens when standing or sitting.
Pain typically described as sharp or searing, so nerve-like, rather than dull.
A "pins-and-needles" sensation, numbness or weakness, or a prickling sensation down the leg in some cases.
Weakness or numbness when moving the leg or foot.
Severe or shooting pain in one leg, making it difficult to stand up or walk.
Pain and other symptoms in the toes, depending on where the sciatic nerve is affected.
Lower back pain that, if experienced at all, is not as severe as leg pain.
Symptoms may intensify during sudden movements, such as a sneeze or cough, or when changing positions, such as when moving from a sitting position to standing up.
So, what we see is patients with pain in the outer hip area with a referral down the outside of the leg to the outer calf. We also see patients with buttock pain stretching down into the leg but not below the knee. None of these are sciatica, they are something far more common (that'll I'll blog about next week!).


J Clin Gastroenterol. 2002 Nov-Dec;35(5):391-7.
Matos C1, Porayko MK, Francisco-Ziller N, DiCecco S.
AASLD Advanced Hepatology Fellowship, Thomas Jefferson University, Philadelphia, PA, USA.
Nutritional abnormalities almost uniformly accompany the metabolic disturbances of severe chronic liver disease and may adversely affect patient well-being and survival, especially surrounding liver transplantation surgery. The exact metabolic alterations responsible for malnutrition and its consequences in these patients have been debated and are a focus of this review. Disturbances in energy production and utilization, as well as macro- and micronutrient metabolism have been appreciated but are not always easily identified or quantifiable. Interestingly, the manifestations of poor nutritional status can vary substantially between patients, even in those having the same etiology and severity of illness. Proper assessment of patients with liver disease for malnutrition carries its own challenges, but some of the more easily applied techniques, such as anthropometry, can be comparable in accuracy to more sophisticated measuring tools. Gaining an appreciation and understanding of how nutritional disturbances develop and can contribute to morbidity and mortality will help combat inappropriate nutritional losses in this specialized group of patients. In many instances, simple adjustments in diet can offset losses and stabilize or improve the patient's nutritional status.


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Die Kohle-Manufaktur
It's a Question of Faith: Charcoal vs. BBQ briquettes
It's a Question of Faith: Charcoal vs. BBQ briquettes Cologne, 6 August, 2015: Whether the decision goes to charcoal or barbecue briquettes depends on many factors, and often simply on personal preferences and beliefs. Charcoal and barbecue briquettes differ in particular in material properties, ignition behaviour, burning time and heat. Premium BBQ Briquettes by Die Kohle-Manufaktur set new standards.
While charcoal is made of carbonized wood, briquettes are made of charcoal dust and small pieces of charcoal or alternatively from activated carbon. These are pressed under high pressure with organic starch as a binder. The fuel in Premium BBQ Briquettes by Die Kohle-Manufaktur is pure carbon of the highest quality, which is also used as activated carbon. Unlike charcoal, this activated carbon does not contain carbon or hydrocarbon compounds, which are harmful both to health and in their impact on the environment in combustion. Our Premium BBQ Briquettes consist of more than 80 percent carbon, which is mixed with food starch as a binder. Conventional briquettes have a much longer burning time of about three hours due to their higher density, compared with charcoal at just one hour. Die Kohle-Manufaktur's Premium BBQ Briquettes perform even better due to their purity and unique composition, giving an impressive burning time of up to 4.5 hours. Briquettes are much better suited for dishes that require long cooking times or for a long and leisurely barbecue – doing away with the troublesome business of having to top up the coal.
Charcoal needs about 25 minutes to reach optimum heat. BBQ briquettes, though, need about 50 minutes before the barbecuing fun can begin. However, this can be reduced to about 30 minutes with a conventional charcoal chimney. Charcoal pieces vary in size, resulting in an uneven distribution of heat on the grill. Briquettes glow evenly, slowly and controlled. However, there are big differences between different briquettes. Cheap barbecue briquettes often disintegrate and ash can land on the food. In addition, tropical wood is often used to make them. BBQ briquettes from Die Kohle-Manufaktur are produced exclusively in Germany from home-made actived carbon and are therefore a genuine "Made in Germany" product. A common misconception is that the barbecue briquettes contain sulphur due to their light beige ash. "We can rebut this rumour 100 percent", explains Product Developer Frank Stormanns. "Quite the contrary: The resulting limestone colour results from mineral ingredients of natural origin."
Conclusion: Quality has its price
If you want to quickly grill some sausages or a steak, a few barbecue briquettes or normal charcoal will do. For a long leisurely barbecue among friends however, our barbecue briquettes are much better with their uniform distribution of heat and long-lasting burning time.
You shouldn't really bother with cheap briquettes either but instead rely on home-produced briquettes – such as those by Die Kohle-Manufaktur. Our Premium BBQ Briquettes are especially suitable for high-quality food and for dishes that require a long cooking time. Combined with Premium Fuel Paste by Die Kohle-Manufaktur they provide smokeless lighting and pure barbecuing enjoyment.
Now let's be honest: It's really time for a break.
More and more people, especially with the frenzied pace of big city life, yearn for a little break every now and then. Just to slow down a bit. Or better still, to switch off completely and muse over something genuine and down-to-earth. Such as a cosy barbecue with friends.
We have developed our Premium BBQ Briquettes precisely for these people – for people like you – a real quality product "Made in Germany". Our Premium BBQ Briquettes are produced from domestic coal and manufactured and refined in Germany – no tropical wood, no wood waste, no long transport routes.
What we say is: with only the best on the grill, you should have only the best under it. Our Premium BBQ Briquettes are a really great product.
Making charcoal with a VW camper-van.
They still exist: the irrepressible tinkerers, changing the world in their garages or basements with new product ideas. In our case, he's a passionate barbecue fan and was driven by a mission to develop the perfect coal briquettes.
In his spare time he made many attempts to find the perfect formula. But one day he hit a brick wall. He just didn't have a suitable press to form the coal into briquettes and test them. But as luck would have it, a little later on he came across a few BBQ-crazy Brits. When he told them about his quest to develop the perfect coal briquettes – and the lack of a press – they listened to his story with interest. Because those Brits had exactly the charcoal press that he was looking for!
It was in a garden shed at home, unused for years. The deal: their old coal press from England for his old VW T1 camper-van. The British had taken quite a shine to it you see. And our intrepid tinkerer?
He agreed. And that was the birth of Premium BBQ Briquettes.
In the spirit of the inventor.
The birth of our Premium BBQ Briquettes already says a lot about our values – an honest product, striving for the best possible result and great attention to detail. Of course, we now produce them with high-tech equipment – if only to maintain our quality standards – and no longer in the garage. But the ongoing development of our briquettes still takes place manually using a hand press at home.
And so the inventive spirit lives on in our company.
Die Kohle-Manufaktur also attaches great importance to the origin of our high-quality products. We take this commitment seriously and use and refine only domestic coal, with the whole production process taking place in Germany. We guarantee 100% Made in Germany in each bag of our Premium BBQ Briquettes.
Copyright © 2015 Kohle-Manufaktur. All rights reserved.
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Q: Combine column values, and then randomize it so, what I mean by this is, when you use to combine, usually it will come out like this right?
https://i.imgur.com/SwZ07jb.jpg
this is the formula: =A2&C2&E2
but, what i want is to combine it, but the column is random, so it will become like this:
https://i.imgur.com/EQnmLFy.jpg
so column A, Column C, and Column E, will have a randomized position. does this possible?

A: If you have Excel 365, try the following formula:
=TEXTJOIN("",TRUE,CHOOSE(SORTBY(SEQUENCE(3), RANDARRAY(3)),$A2,$C2,$E2))


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ENERGYASIA-PACIFICPAKISTAN
Huge potential hydrocarbon reserves make Pakistan an investor's paradise
Whilst just one-third of the country has been explored, Pakistan presents enormous reserves of coal and shale oil and gas. Moreover, the govt offers spectacular incentives to investors
RECENTLY DISCOVERED OIL AND GAS SEEPAGES HAVE LED SOME INDUSTRY EXPERTS TO CLAIM THAT PAKISTAN COULD BE A NEW OIL STATE IN FIVE YEARS' TIME
Pakistan sits on the periphery of one of the most prolific oil-producing regions in the world, yet it is hardly known as an oil giant.
The Asian country is home to estimated recoverable oil and natural gas reserves of over 1 billion barrels and some 53.4 trillion cubic feet, respectively, yet of its 320,000 square miles of total sedimentary area, a mere 10 to 20 per cent of this has been explored to date. Moreover, according to the US Energy Information Administration (EIA), Pakistan is a net importer of crude oil and refined products. Whereas domestic oil production has been fluctuating between 55,000-70,000 barrels per day (bpd) over the last two decades, consumption hit 440,000 bpd in 2012.
As the majority of the country's thermal power plants run on natural gas, demand for the resource is also high and growing, yet local production is limited and a lack of infrastructure means that for now, at least, Pakistan can't import from neighbouring Iran. By the end of 2012, domestic gas shortage had reached 1.6 billion cubic feet per day (cfd).
This tale of doom and gloom is about to end, however. The simple reason behind Pakistan's low production is not because of a shortage of resources, but rather an overly passive approach towards hydrocarbon exploration and production during previous governments – which has ultimately accumulated into what is today Pakistan's worst energy crisis in decades.
Fortunately, the current government is looking for ways to overcome the crisis. The Federal Minister for Petroleum and Natural Resources, Shahid Khaqan Abbasi, underscores the country's strength in terms of natural resources. "The Sustainable Development Policy Institute's studies show that Pakistan's oil and gas reserves are far greater than available reserves in other countries of the region."
Moreover, Pakistan ranks ninth in the world in terms of shale reserves, ahead of Canada and Indonesia. A report by the EIA in June 2013 highlighted that Pakistan has 227 billion barrels of shale oil, out of which 9.1 billion barrels are technically recoverable with the best use of technology. Consequently, the Ministry of Petroleum and Natural Resources is in the process of devising a strategy to harness available shale oil and gas reserves – most of which are in Ranikot and Sembar, in the lower Indus basin region of the province Sindh.
In 2012, Pakistani geologists carried out a study in the Federally Administered Tribal Areas (FATA, located in a semi-autonomous region in north-western Pakistan), where they discovered seven new oil and gas seepages, leading the scientists to observe that the FATA could compete with Dubai in terms of oil production in five years' time and could become a 'new oil state'.
The government's strong consideration to utilise shale gas and oil as well as its focused attention on exploration and production of domestic resources can certainly help Pakistan to overcome the energy crisis. "Right now, the potential and the estimates are there, but we have to look at how much is technically exploitable, and how much is commercially exploitable," says Mr Khaqan Abbasi.
Meeting at a March workshop organised by the University of Cambridge and two Pakistani institutions, the Centre for Advanced Studies in Energy (CAS-E) and the University of Engineering and Technology (UET), a team of experts determined that Pakistan's shale oil and gas resources are sufficient to meet the country's energy needs for over half a century and would drastically cut down on the $15 billion currently spent each year on energy imports. Moreover, by being such a labour-intensive industry, it could generate jobs for hundreds of thousands of people.
The government is now formulating shale gas/oil exploration policy "to attract investment into these sectors and also to commercially exploit them," says the minister.
Exploration strategy
Although domestic interest is already high, the Ministry of Petroleum and Natural Resources seeks to further raise international interest in exploiting its hydrocarbon potential, starting with licenses to explore blocks and incentives for investors. In the fiscal year 2013-14, 110 wells are to be drilled to increase the production of gas.
"Many companies prefer to come and invest in Pakistan because of the ease of working here. They are happy with the investment climate in the oil and gas sector"
Shahid Khaqan Abbasi, Minister of Petroleum & Natural Resources
Statistics alone should suffice to incentivise investors. The success rate for the 810 exploratory wells drilled in Pakistan's sedimentary basins from the 1950s until September 2012, as well as for the 252 oil and gas fields created around the country, is a remarkable 1:3.2. Compared with the international success rate of 1:10, Pakistan would seem a safe bet.
The country's seemingly endless coal reserves, concentrated mainly in the Thar Desert, are also turning heads. The government plans to convert various power stations to run on coal, thus reducing the cost of power production and better balancing the energy mix.
"We have seen a lot of interest from foreign investors in Pakistan's energy, power, and oil and gas sectors. For the first time we are using coal power generation and there are huge projects. We are targeting 6,600MW," explains Mr Khaqan Abbasi.
One foreign company already familiar with the local oil and gas sector is OMV (Pakistan), which has been present in Pakistan since 1990, when it was originally conceived as a joint venture along with Italy's Eni and local players Pakistan Petroleum Ltd (PPL) and Oil & Gas Development Co Ltd (OGDCL). OMV's gas production of more than 110,000 barrels of oil equivalent per day from the Kadanwari-Miano and Sawan fields represents approximately 16 per cent of the total gas produced in the country.
For its part, Eni has been directly involved in Pakistan since 2000. Last year, it discovered onshore gas in the Sukhpur Block in Sindh, where production tests found gas flowed at a rate of up to 33 million standard cubic feet per day (mmscfd).
State-owned exploration company PPL is no stranger to joint ventures with private companies. Along with Government Holdings (Private) Ltd and Asia Resources Oil Ltd, it operates Block 2568-18 (Gambat South). The joint venture made two back-to-back gas-condensate discoveries in the block during June and July last year. The first from well Wafiq X-1, with cumulative flow potential estimated at about 40 to 45 mmscfd gas and 280 to 300 bbl/d condensate, and second from well Shahdad X-1 in which initial testing flowed 27.8 mmscfd of gas and 337 bbl/d condensate.
What's in the new pipeline
In fiscal year 2012, just under half of Pakistan's energy needs were met by indigenous gas, yet these reserves are rapidly depleting given the country's voracious appetite for the resource. And it is gas, perhaps, that is the most coveted of power resources there. According to Mr Khaqan Abbasi, gas is used for domestic consumption, gas-fired power plants, fertiliser production, industry and compressed natural gas (CNG). Pakistan currently ranks second in the world for the number of CNG-powered vehicles on the road and has some 3,500 CNG stations operating around the country.
Nevertheless, "the issue is that gas is scarce – we have more demand than supply," he says, and that is precisely why the ministry is working on a multi-pronged solution. Mid-to-long term solutions include improving the supply of gas through indigenous production and building pipelines to import gas from Central Asia.
"The exploration success ratio in Pakistan is 3:1, which is a high probability but the discoveries of gas are small," adds Mr Khaqan Abbasi. So for now, "the short-term solution is LNG. Pakistan has tried in the past but not been very successful. We have unbundled the system now. We hope to have the first LNG cargo delivered in November 2014."
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UK government worries over fallout of state corruption in SA
20 October 2017 • Local, News	• No Comments
The UK government on Thursday said it was taking allegations of state-linked corruption in South Africa very seriously, as possible links to British banks could sully the reputation of the UK's financial industry.
The House of Lords, the UK Parliament's upper chamber, was debating money laundering and state corruption in SA.
"We are taking this very seriously because we realise the consequences of not doing so for the reputation of the City of London and the UK," said the UK Minister of State for the Department for International Development, Lord Bates.
Anti-apartheid campaigner Lord Peter Hain had asked Bates how the UK government was preventing money laundering through British banks by "families and business people linked to the government of South Africa".
"We realise that London, as the largest financial centre, is a target which can be used for this purpose [corruption], but we are determined to root it out," said Bates in his response.
"That is why, when we are provided with information – as when the noble Lord, correctly, wrote to the chancellor setting out that detail – immediate action is taken to refer it to the relevant authorities to ensure that they can pursue the matter and that justice is done, and is seen to be done," he said.
[Source: News24]


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FEATURED WEDDING
Kyle & Eva's Intimate Union Wood Co. Affair
Kyle Howe will be the first to admit that his marriage proposal to longtime girlfriend Eva McMillan didn't quite go as planned. But when the pair tied the knot in April, the reception went off without a hitch thanks in large part to the deft touch of Railtown Catering's Events and Marketing Manager Marli Anderson.
It was last December in frigid Montreal when Kyle and Eva were visiting friends that Kyle hatched his plan to pop the big question in front of the house where the two first met as part of a beer-drinking team back in their collegiate days. He roped in a friend to casually drive by the house and another to wait nearby with a bottle of champagne and two glasses.
"I was trying to convince Eva to walk through this certain area of Montreal where we first met but she just wanted to hang out with friends. I got my friend to drive by the neighbourhood but Eva was upset and didn't understand where we were going," Kyle relates, laughing. "My other friend who was supposed to appear with the champagne was huddled in an apartment building somewhere nearby trying to recharge her phone, which had died in the cold, so I couldn't get a hold of her."
However, all's well that ends well. They eventually arrived at the appointed spot, Kyle got down on one knee and Eva — who admits that she began to get an inkling something romantic was afoot when they approached the house and Kyle began waxing poetic about love — tearfully accepted his offer. Even the champagne eventually appeared.
With the proposal out of the way, it was time to turn their attention to the wedding and reception. In keeping with their desire to showcase the many breweries, restaurants and artisans that lend an authentic and eclectic vibe to the East Vancouver neighbourhood they now call home, Kyle and Eva turned to the event-planning experts at Railtown Catering.
Much like the couple themselves, it was an ideal fit at first blush.
"I used to cater at a high-end facility in Massachusetts and I found that catering can be very cookie-cutter and a lot of companies — ironically — won't actually cater to what you specifically want to do. But when we started talking to Marli, she was excited and interested in helping us develop something really unique and that was so appealing to both of us," said Kyle.
For their intimate ceremony and reception, which was held April 30 at Union Wood & Supply Company in the Clark Drive industrial district, Kyle and Eva asked Railtown to design, deliver and serve an unforgettable, gourmet family-style meal.
"We knew we wanted family-style service even before we got engaged," said Eva. "We like to eat and drink and hang out with our friends and we had everyone seated at long tables at Union Wood Co. and it had a real community feel to it," said Eva. "We have friends from all points of the globe who were coming and didn't know each other, so sharing food was the perfect way to encourage that."
Railtown's talented team of chefs began with a salad course consisting of both Purple Watercress Salad with heirloom carrots, fresh goats cheese, candied almonds and a white balsamic dressing and a Baby Kale Salad with shaved apples and fennel, crispy squash and a sherry vinaigrette.
For dinner, Railtown rolled out all the stops with platters of Whole Fraser Valley Chicken with wild mushrooms and creamed baby leeks and Madeira jus, Pan-Seared Salmon Fillet with braised savoy cabbage, shaved radish and riesling beurre blanc and Rigatoni Pasta with roasted Mediterranean vegetables, San Marzano tomatoes and basil pistou.
Quite unlike the initial proposal, the reception was smooth as silk.
"Marli and her team were there for us every step of the way, no matter what we needed — even if it was last-minute on the day of the wedding. The whole experience from start to finish, from the tasting to the service itself, was awesome. We never worried about anything once they were involved," says Eva. "And the food? Phenomenal. People could not stop talking about it. We actually had a chef attend our wedding and his hashtag that he used was '#bestweddingfoodever'."
For more information on Railtown Catering or to book your customized wedding-day celebration, call 604-568-8811 or send an e-mail to [email protected].