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Bouillabaisse with Sea Urchin Rouille
Phil Sperss April 5, 2019 April 5, 2019 French Recipes, Recipe
Bouillabaisse is a traditional Provençal fish soup that originated from Marseille in France. The dish originated from a way to utilise fish that was too bony to sell by stewing them together with a variety of herbs to make an amazing fish stew. This traditional dish was then adapted with the addition of more luxurious fish over time.
The ingredients that the soup of a bouillabaisse is made from does not vary considerably compared to the ingredients used to make fish stock. However, the method applied to make the soup is vastly different. For example, the end product of a fish stock should be clear and light, and thus only requires a quick gentle simmer of around 20 minutes to gently extract light flavours. In a bouillabaisse, the bones, vegetables and herbs are boiled (not simmered) from 45 minutes up to an hour. This allows the fish fats to be completely rendered and emulsified into the soup, making the soup creamy and rich. This soup is also traditionally flavoured with saffron, fennel and fennel seeds. Tarragon and star anise are also sometimes added as they both share the same herbaceous notes of fennel due to the same chemical compound Anthehole.
The Ferris Wheel at the old port of Marseille
In restaurants, after the soup was made, the fishes are slowly added to the pot to poach one by one according to their size and how fast they cook. To serve, the fishes are then strained out of the soup and plated on a large platter along with the shellfishes and potatoes. This large platter is then presented table size and carved in front of the costumer with great fanfare. The soup is also served alongside the fish with bread and rouille, a variation of Mayonnaise that contains breadcrumbs, thus altering its texture. This was in turn the origin of the name of this dish, which is derived from the Occitan word bolhabaissa, which comes from bolhir which points towards the boiling of the soup, and abaissar which points towards the gentle simmering of each fish.
It's hard to say what were the traditional fishes that went into a bouillabaisse except that they were fishes that were available at the port of Marseille. In that respect, its hard or almost impossible to attribute the need of a variety of specific fish in order to obtain a the soup's so called truly "authentic taste". That being said, we do know that certain fishes were more typically added to the soup compared to other fish. For example, the red rascasse (Scorpaena scrofa), a kind of rock/scorpion fish, is extremely bony and would have been one of the fish that were used in the soup due to its low market price. Red rascasse now on the contrary, is quite an expensive fish. Other fishes typically added to the soup include Red Gurnards, John Dory (or St. Pierre in French*), monkfish, bream and turbot. Mussels and prawns are also typically added, as well as sea urchin for a more luxurious version. The addition of langostines, lobsters and scallops to a bouillabaisse is something introduced by more modern day luxury restaurants.
John Dory
Red Rascasse (Scorpaena scrofa)
Nowadays, bouillabaisse can be found in many restaurants outside France, with different takes and styles being produced based on each chef's interpretation. The recipe provided below is my attempt at what I think would taste close to a bouillabaisse served in a traditional restaurant in Marseille but that itself was something I personally wanted to do. In terms of feasibility at home, it would require far too much work and feed far too many people. As such, as much more simple recipe for a "bouillabaisse" is given below the original recipe, which is simple enough to not require fish bones but uses fish stock cubes instead. As long as the soup is hearty with lots of herbaceous notes of herbs with a strong background flavour of fish, I would say you could call it a bouillabaisse.
*As a former fisherman himself, St. Pierre was the patron saint of fisherman and also the holder of the keys to the gates of heaven. The story goes that the black spot on the body of the john Dory is his thumbprint.
1 Medium Red Gurnard
1 John Dory
1 Medium Monkfish Tail
2 Small Of Conger Eel
1 Small Scorpion/Rock Fish
5 Tiger Prawns
500g of Mussels
Wash the mussels in cold water and remove any breads attached to the mussels. Scrub off any barnacles as well (this is tedious and optional).
Peel the skin away from the monkfish tail.
Descale the Rock Fish and Red Gurnard
Gut the Red Gurnard, John Dory, Rock Fish and Conger Eel.
Cut the head and fins of the John Dory and add to the fish bones required for the soup.
Cut up the monkfish tail into 2-3cm chunks.
Soup Ingredients:
100ml of Olive Oil
3 Litres of Water
1kg of Fish Bones/Scraps (no gills)
2 Large bulb of Fennel or 4 medium bulbs
4 Bell Peppers
20g of Salt
6g of Fennel Seeds
40g of Tarragon
800g of Tomatoes
2 Can of Tomatoes
60g of Tomato Paste
1g of Saffron
Bluefin Sea Robin, close relative to the Red Gurnard
300g of Potatoes
Crusty French Bread
Add the saffron to a small bowl with a little warm water to soak.
Cut off the fronds of the fennel bulbs and reserve as garnish. Deseed the bell peppers.
Roughly chop up the tomatoes, fennel bulbs and bell peppers.
Heat the olive oil and sweat the vegetables and salt in a large pot for 3 to 4 minutes without browning.
Add in the fish bones and scraps, fennel seeds and tarragon and continue to sweat for 5 minutes.
Deglaze the pan with white wine.
Add in the canned tomatoes, tomato paste, saffron, lemon juice from the lemons, water and and bring up to a boil.
Cook for 45 minutes to an 1 hour just under a rolling boil (but still gently boiling).
Use a hand blender to thoroughly blend the mixture together. The fish bones should be soft enough to be blended. Alternatively, blend using a food processor.
Strain the mixture using a chinois strainer or any available strainer. Press the solids in the strainer to extract as much liquid as possible.
Sea urchin at the Vieux Port Fish Market, Marseille
Sea Urchin Rouille:
12 Sea Urchins
70g of stale bread
1 lemon's juice
Use a scissors and cut the tops of the sea urchins. Gently rinse away any dirt with water and use a teaspoon to remove the gonads.
Mince the garlic cloves and stale bread.
Add the egg yolks, garlic cloves, sea urchin gonads and bread to a deep bowl and blend into a paste with a hand blender.
Whilst blending, slowly add in the olive oil one drop at a time, and then in a slow stream, allowing it to emulsify together. Salt to taste.
Sea Urchin Rouille
Peel and dice the potatoes into bite sized pieces.
Bring the strained soup up to a simmer and add in the potatoes.
Add in the monkfish and conger eel and let simmer for 2 to 3 minutes.
Add in the rest of the fish sequentially in size order, allowing 2 to 3 minutes between each fish.
Add in the mussels and prawns right at the end.
To serve, remove the fishes, prawns, mussels and potatoes from the soup and assemble on a dish. Ladle the soup into individual soup bowls.
The fish is then filleted and carved at the table size.
Serve with the rouille with warm bread and soup.
It is very easy to cut yourself on a John Dory so be very careful.
The fronds of the fennel are the top leaves of the fennel that look like dill.
Flavour extraction of saffron can be maximised by letting it soak in water overnight covered.
The fish should be added to the pot sequentially in order of size and cooking time to ensure even cooking.
Coast of Marseille
Simple Rough Homemade Bouillabaisse Approximation
1 Fish Stock Cube
1 Medium Sized Fennel Bulb
0.2g of Saffron
20ml of Olive Oil
200g of fish fillets per person
Add the olive oil to a large pot and sweat all the ingredients together for 4 to 5 minutes without browning
Add enough water to just cover the ingredients.
With the lid on, simmer for 30 to 40 minutes.
Blend everything together with a hand blender or food processor.
Strain the soup if you want a more refined version or serve as it is for a more rustic chunky version.
Add in the fish fillets to the soup and poach for 4 to 5 minutes until the fillets are cooked.
Serve with warm bread and mayonnaise.
Wine Pairing:
As this is a bright, acidic seafood dish, it would pair well a nice acidic white wine. This dish is far too light go with a red wine. I would recommend a nice Chablis for a treat or Alsatian Pinot Gris as the more affordable choice. A more unique wine pairing would be a white from the Rhone Valley, either from the Southern or Northern Rhone, as the unique rich texture, spice and floral notes of Marsanne and Roussane pair well with the intense herbs of this dish. For a new world wine pairing, I would go for a New Zealand Sauvignon Blanc, which pairs well with its intense grassy and herbaceous notes that balance the fennel.
Bouillabaisse, Fennel, fish soup, gurnard, hermitage, john dory, marseille, Provence, Recipe, Rouille, saffron, Sea Urchin, soup
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kathryninthekitchen says:
This is one of my all time favourite dishes. When I was last in France I couldn't resist having it again and again…the best by far was the one I had in Nice.. yum!


I try and find art in mundane places, that others may overlook or not consider worthy of artistic expression. All of these photographs explore color and pattern in the urban environment. Hopefully they serve as a reminder that beauty can be found in unexpected places.


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Presidentpalatset (polska Pałac Prezydencki, också känt som Koniecpolski-palatset, Lubomirski-palatset, Radziwiłł-palatset och Namiestnik-palatset) är ett klassicistisk palats i Warszawa vid Krakowskie Przedmieście. Det har alltsedan 1993 varit det officiella residenset för Polens president.

Palatset räknas som en av de vackraste byggnaderna vid Krakowskie Przedmieście och är ett av Warszawas största palats. Det såg ursprungligen annorlunda ut, och fick sin nuvarande form och det traditionella namnet Namiestnik-palatset (polska: Pałac Namiestnikowski) på 1800-talet efter en betydande ombyggnation. Palatset har historien igenom använts i nästan enbart officiella sammanhang.

Framför palatset står ett monument över Józef Poniatowski, en kopia av en ursprunglig skulptur av Bertel Thorvaldsen från 1832.

Historia

Presidentpalatset var från början ett barockpalats med Warszawas första italienska trädgård, bygd efter teckningar av Constantino Tencalla. Byggandet påbörjades 1643 av storhetman Stanisław Koniecpolski och fullbordades av hans son Aleksander. Efter Aleksanders död sålde hans son Stanisław palatset 1659 till felthetman och storkronmarskalk Jerzy Sebastian Lubomirski. År 1674 kom det emellertid i Radziwiłł-ättens ägo, och under de följande åren användes palatset för officiella sammankomster.

År 1818 köptes det av Kongresspolens regering som säte före namiestniken, och blev då också grundligt ombyggd i klassicistisk stil efter teckningar av Chrystian Piotr Aigner. Under Polens delningar hade palatset flera olika funktioner. 1821 placerades två stenlejon framför palatset, ett verk av Camillo Laudini.

År 1918 putsades palatset upp gjordes om till officiellt residens för statsministern och regeringen. Anmärkningsvärt nog skadades inte byggnaden särdeles mycket under andra världskriget, ehuru tyskarna byggde om palatsinteriören till ett lyxhotell med kasino kallat Deutsches Haus (tyska huset).

Efter kriget putsades palatset upp och byggdes om under ledning av Antoni Brusche och Antoni Jawornicki. Det användes i officiella sammanhang, som professorsnomineringar, nyårsbaler med mera. Det var här Warszawapakten undertecknades 1955. År 1989 huserade palatset Runda bordet – mötena mellan fackföreningen Solidarność och det realsocialistiska styret. År 1990 gjordes palatset om till residens för presidenten och presidentens kansli. Det rymmer även presidentens privata bostad under dennes ämbetstid. Lech Wałęsa var den första presidenten som flyttade hit 1994 från det förutvarande presidentresidenset Belweder.

Källor

Ecterna länkar

Regeringschefers residens
Byggnader i Warszawa
Slott i Polen
Politik i Polen

redpajama_set_name: RedPajamaWikipedia


Born: 12-9-1894 - Bristol, SD.
Died: 8-27-1982 - St. Helens, OR.
Born: 4-22-1915 - Bristol, SD.
Born: Abt 1905 - Bristol, SD.
Born: 2-26-1908 - Bristol, SD.
Died: 12-6-1986 - Bristol, SD.
Immigrated to US. in 1888 to Bristol, SD.
Worked for the Milwaukee railroad as a section foreman.
Immigrated to US. from Norway in September of 1893.
Born: 6-26-1909 - Minot, ND.
Born: 1947 - Bristol, SD.
Born: 1955 - Bristol, SD.
Worked in bank in Bristol, SD.
Very pleasant individual, refreshing to talk to.
Was treasurer for cemetery in Bristol.
Parents live in Seattle, WA.
Full of all kinds of information for Rankin, Farrington and Moxness.
Marriage: 8-23-1984 - New York, NY.
Kay is a dancer and teaches dancing.
Lives at 484 W. 43rd. St.
Marriage: 1942 - Coffeeville, OK.
Other Spouse: Evonne Smith - 8-31-1962 - Worthington, MN.
Born: 8-30-1946 - San Francisco, CA.
Born: 5-22-1896 - Bristol, SD.
Died: 11-6-1961 - Seattle, WA.
Born: 5-7-1905 - Madison, SD.
Born: 7-15-1924 - Bristol, SD.
Studied at U of Brookings, SD.
Had red hair. Was a runner in France for communications during WW1.
Something happened to his legs during war and used crutches for several years. Eventually his legs became better.
Was shorter than George M (hisbrother).
He was a woodworker for the US Plywood company.
Belonged to the "Eagles and the Veterans of WW1"
Now married to William Hanson on June 1963.
Born: 9-12-1928 - Bismark, ND.
Other Spouse: Clifford Coulter - Abt 1941 - Seattle, WA.
Born: 6-5-1956 - Seattle, WA.
Marr: 7-27-1985 - Seattle, WA.
Marriage: 7-27-1985 - Seattle, WA.
Born: 5-19-1958 - Seattle, WA.
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Born: 4-30-1893 - Bristol, SD.
Died: 12-30-1989 - Cape Coral, FL.
Marriage: 7-1-1955 - Luverne, MN.
Other Spouse: Ida Maud Rankin - 12-26-1912 - Bristol, SD.
Born on Sharp farm 2 1/2 miles NE of Bristol, SD.
Grew up in Bristol and played baseball (pitched).
Attended Bristol school till 10th grade.
Played baseball. In 1909, George broke his arm pumping the handle of an old style hand car, while on a trip to Holmquist with the rest of the team to play a game. Attended University of Brookings SD in 1910-1911.
His good friend Charles Martin and him played pool together. "Pool Sharks" Visited the Black Hills with Charles.
Married Ida Maude Rankin at Grandma Rankin's homestead in Bristol 12/26/1912 George was 19, (Horatio had to sign the consent form) and Ida was 18.
Lydia Steile and Clarice Rankin (Ida's sisters) stood up for them.
Took over dad's farm for a couple of years.
Had a threshen outfit, separator man's name was Walter Moved to Hysham Montana about 1916 (George W. was a baby) Moved from Hysham to Minneapolis in 1919 to attend Dunwoody Institute.
Moved to Stratford, SD. then to Mobridge, SD.
Had a Ford Dealership, sold Model Ts, Stars, and Durants. Also sold "Fridgidaire". Owned a Model T and a 1930 Star touring car.
Went into business with Owens Mayes---Refrigeration Engineering.
Sold and built locker plants. George sold most of them, over $500,000 per year. Had a large crew that worked to install these plants.
Later worked for D.K. Baxter of Sioux City, Iowa for 17 years.
Owned Sharp Heating in Sioux City, Ia.
Religion: Calvery Episcopal Church, Sioux City, IA.
Member Landmark Masonic Lodge #103 Sioux City, Iowa.
Married Ann Kortman after Ida died.
Moved to Cape Coral Florida. 5305 Bayshore Ave.
George combed his hair straight back like George William.
Like to fish, Raleigh Lake in Canada, for land locked Salmon.
Used copper lines fishing in 30ft depths. Caught 19-20 pounders.
Caught for in one day!
Also fished at Cass Lake (Pine Crest Resort) and at Black Duck, MN.
Liked to wear square top straw hats.
Liked to hunt for pheasants.
Visited George William in 1981 whem Bobby was stricken with cancer.
Visited up North (Iowa and Minn) on his 90th birthday.
Died in Cape Coral, cremated and the ashes buried in Memorial Park Cemetery of Sioux City, IA.
Married George Marion 3 years after Ida died.


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The human body is made up of mostly water and almost all of the body's functions will stop working without water. In this course, we will touch on many aspects of water: how we use it, the vulnerabilities of our water supply, examples of why we should store it in case of emergencies, and how and where to store water. In addition, we'll discuss how and where you might find hidden sources of water. We'll explore several ways to treat water in order to ensure that the water you store or collect during an emergency will be safe for drinking and everything else you may need it for. And finally, we'll help you put together a list of supplies you would need to store and treat water in planning for the possibility of our water supply being compromised. Ultimately, any emergency plan must include water, or it will be ineffective.


Through this article, the tattoos of model Misa Campo will be put under the scanner. The two tattoos which she has will be spoken about here.
The first ever black supermodel that was featured in French and British Vogue at 18. She has a tattoo on her left hand. To know more details about it, click here.
Frankie Ryder is a very talented and celebrated model with an amazing portfolio. She sports a small tattoo on her lower back.
Tyler Riggs is a successful model as well as a musically oriented artist and actor. He sports two tattoos one is a picture and the other a musical tattoo.
Lisa Faulkner is a very good Hollywood actress, with lots of talent inside. She has got a tattoo of flower on her body and also her body is well shaped like that of a model.
one of the most beautiful, hot looking women in the world. Isabel started her journey as a model. She has got many tattoos in her body and is very well designed.
Dita Von Teese, the individual who was responsible for re-popularizing Burlesque dance performances loves tattoos and she even has one on her upper left cheek bone, a beauty mark.
Elina Ivanova, an American model who is quite bold in her statement has three prominent tattoos on her body.
Joey Kirchner is a young and beautiful model. He has risen like a phoenix in the competitive modelling industry. He sports two tattoos one on his chest and the other on his arm.


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redpajama_set_name: RedPajamaCommonCrawl


At this moment Five, who had been anxiously looking across the garden, called out 'The Queen! The Queen!' and the three gardeners instantly threw themselves flat upon their faces. There was a sound of many footsteps, and Alice looked round, eager to see the Queen.
First came ten soldiers carrying clubs; these were all shaped like the three gardeners, oblong and flat, with their hands and feet at the corners: next the ten courtiers; these were ornamented all over with diamonds, and walked two and two, as the soldiers did. After these came the royal children; there were ten of them, and the little dears came jumping merrily along hand in hand, in couples: they were all ornamented with hearts.
Next came the guests, mostly Kings and Queens, and among them Alice recognised the White Rabbit: it was talking in a hurried nervous manner, smiling at everything that was said, and went by without noticing her. Then followed the Knave of Hearts, carrying the King's crown on a crimson velvet cushion; and, last of all this grand procession, came THE KING AND QUEEN OF HEARTS.
'Get to your places!' shouted the Queen in a voice of thunder, and people began running about in all directions, tumbling up against each other; however, they got settled down in a minute or two, and the game began.
Alice thought she had never seen such a curious croquet-ground in her life; it was all ridges and furrows; the balls were live hedgehogs, the mallets live flamingoes, and the soldiers had to double themselves up and to stand on their hands and feet, to make the arches.
The chief difficulty Alice found at first was in managing her flamingo: she succeeded in getting its body tucked away, comfortably enough, under her arm, with its legs hanging down, but generally, just as she had got its neck nicely straightened out, and was going to give the hedgehog a blow with its head, it WOULD twist itself round and look up in her face, with such a puzzled expression that she could not help bursting out laughing.
And when she had got its head down, and was going to begin again, it was very provoking to find that the hedgehog had unrolled itself, and was in the act of crawling away: besides all this, there was generally a ridge or furrow in the way wherever she wanted to send the hedgehog to, and, as the doubled-up soldiers were always getting up and walking off to other parts of the ground, Alice soon came to the conclusion that it was a very difficult game indeed.
She was looking about for some way of escape, and wondering whether she could get away without being seen, when she noticed a curious appearance in the air: it puzzled her very much at first, but, after watching it a minute or two, she made it out to be a grin, and she said to herself 'It's the Cheshire Cat: now I shall have somebody to talk to.' "How are you getting on?' said the Cat, as soon as there was mouth enough for it to speak with.
'How do you like the Queen?' said the Cat in a low voice. 'Not at all,' said Alice: 'she's so extremely—' Just then she noticed that the Queen was close behind her, listening: so she went on, '—likely to win, that it's hardly worth while finishing the game.' The Queen smiled and passed on.
The Queen had only one way of settling all difficulties, great or small. 'Off with his head!' she said, without even looking round. 'I'll fetch the executioner myself,' said the King eagerly, and he hurried off.
The executioner's argument was, that you couldn't cut off a head unless there was a body to cut it off from: that he had never had to do such a thing before, and he wasn't going to begin at HIS time of life. The King's argument was, that anything that had a head could be beheaded, and that you weren't to talk nonsense.
Alice could think of nothing else to say but 'It belongs to the Duchess: you'd better ask HER about it.' 'She's in prison,' the Queen said to the executioner: 'fetch her here.' And the executioner went off like an arrow.


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You are here: Home / Featured / News / Las Vegas senior is Nevada Poetry Out Loud champion
Las Vegas senior is Nevada Poetry Out Loud champion
March 18, 2019 By The Complete Nevadan Leave a Comment
March 18, 2019 Filed under:
CARSON CITY – Vanessa Aponte, a senior at Legacy High School in Las Vegas, is the 2019 Nevada State champion of Poetry Out Loud.
Vanessa Aponte, a senior at Liberty High School in Las Vegas, recites a poem during the 2019 Nevada Poetry Out Loud State Finals on Saturday in Reno. Aponte finished in first place after three rounds of competition. Guy Clifton/TravelNevada
The statewide competition for high school students started in the fall with more than 3,500 participants and narrowed to nine regional finalists for Saturday's championships at the studios of KNPB Channel 5 Public Broadcasting in Reno.
Sparks High School senior Noemi Valdez finished in second place, and Elko High School senior Mikalya de Guzman finished third.
The state championships consisted of three rounds with each poet reciting two poems and then the top three reciting a third poem for the final round. Aponte's three poems were "The Enigma" by Anne Stevenson, "The Lost Land" by Eavan Boland and "Often rebuked, yet always back returning," by Emile Bronte.
Aponte, an honors student who plans to attend UNLV and major in psychology and criminal justice before going on to law school, said winning the statewide competition was a dream.
"It means that all the hard work paid off," she said. "It means all the time I spent with my English teacher just practicing over and over, it all just paid off completely. I'm so grateful."
Aponte, the daughter of Xavier and Astrid Aponte, will now move on to represent Nevada in the National Poetry Out Loud competition April 30 to May 1 in Washington, D.C.
"I'm happy that I get to represent Nevada," she said. "I've lived here pretty much all my life and so it means a lot that I get to represent my state."
Poetry Out Loud is a program of the Nevada Arts Council, presented in partnership with National Endowment for the Arts and the Poetry Foundation. The state finals were recorded by KNPB and a 30-minute program will be televised in the weeks ahead.
019 Nevada State champion
Legacy High Schoo
Vanessa Aponte
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Q: How to calculate the joint probability: $\Pr \left( \tfrac{g_1}{g_3} \geq \theta_1, \tfrac{g_2}{g_3} \geq \theta_2, g_3 > \theta_3 \right)$? Question:
How to calculate the following?
$$\Pr \left( \dfrac{g_1}{g_3} \geq \theta_1, \dfrac{g_2}{g_3} \geq \theta_2, g_3 > \theta_3 \right),$$
where $g_i, i \in \{1, 2, 3\}$ is an exponentially distributed random variable with pdf given by
$$f_{g_i}(x) = \dfrac{1}{\Omega_i} \exp\left( \dfrac{-x}{\Omega_i}\right),$$
and $\theta_i, \Omega_i \in \mathbb R^+ \forall i$. Also, all the $g_i$s are assumed to be mutually independent.
Attempt:
For the case when we have to calculate the following
$$\Pr\left( \dfrac{g_1}{g_3} \geq \theta_1, g_3 > \theta_3 \right) = \dfrac{1}{\Omega_1 \Omega_3} \int_{y = \theta_1 \theta_3}^{y = \infty} \int_{x = \theta_3}^{x = y/\theta_1} f_{g_3}(x) f_{g_1}(y) \ \mathrm dx \ \mathrm dy.$$
However, I am stuck due to the third variable $g_2$. Any leads appreciated.

A: I assume those $G_i$ are independent. Then conditional on $G_3$ will simplify the calculations:
$$ \begin{align} & \Pr\left\{\frac {G_1} {G_3} \geq \theta_1, \frac {G_2} {G_3} \geq \theta_2, G_3 > \theta_3\right\} \\
= & \int_{\theta_3}^{+\infty} \Pr\left\{\frac {G_1} {G_3} \geq \theta_1,
\frac {G_2} {G_3} \geq \theta_2, G_3 > \theta_3 ~\Bigg|~ G_3 = g  \right\}
\frac {1} {\omega_3} \exp\left\{- \frac {g} {\omega_3} \right\} dg \\
= & \int_{\theta_3}^{+\infty} \Pr\{G_1 \geq g\theta_1, G_2 \geq g\theta_2\} \frac {1} {\omega_3} \exp\left\{- \frac {g} {\omega_3} \right\} dg \\
= & \int_{\theta_3}^{+\infty} \Pr\{G_1 \geq g\theta_1\}\Pr\{G_2 \geq g\theta_2 \} \frac {1} {\omega_3} \exp\left\{- \frac {g} {\omega_3} \right\} dg \\
= & \int_{\theta_3}^{+\infty} \exp\left\{- \frac {g\theta_1} {\omega_1} \right\}  \exp\left\{- \frac {g\theta_2} {\omega_2} \right\}
\frac {1} {\omega_3} \exp\left\{- \frac {g} {\omega_3} \right\} dg \\
= & \frac {1} {\omega_3} \int_{\theta_3}^{+\infty} \exp\left\{- \left(\frac {\theta_1} {\omega_1} + \frac {\theta_2} {\omega_2}  + \frac {1} {\omega_3} \right)g\right\} dg \\
= & - \frac {1} {\omega_3} \left(\frac {\theta_1} {\omega_1} + \frac {\theta_2} {\omega_2}  + \frac {1} {\omega_3} \right)^{-1}
\left. \exp\left\{- \left(\frac {\theta_1} {\omega_1} + \frac {\theta_2} {\omega_2}  + \frac {1} {\omega_3} \right)g\right\} \right|_{\theta_3}^{+\infty} \\
=& \left(\frac {\theta_1\omega_3} {\omega_1} + \frac {\theta_2\omega_3} {\omega_2}  + 1 \right)^{-1} \exp\left\{- \left(\frac {\theta_1} {\omega_1} + \frac {\theta_2} {\omega_2}  + \frac {1} {\omega_3} \right)\theta_3 \right\}
\end{align} $$

redpajama_set_name: RedPajamaStackExchange


text:
Q: Error en CRUD generado por Symfony 5.4.* Object of class App\Entity\Cliente could not be converted to string Estoy intentando aprender a utilizar Symfony, no tengo nada de experiencia con este framework, pero sí tengo con Laravel.
He creado mi entidad Reserva, luego ejecuté php bin/console make:migration, posteriormente generé las tablas de base de datos en base a las migraciones con php bin/console doctrine:migrations:migrate, luego cree un CRUD (Controller) con: php bin/console make:crud que me generó todas vistas y el controlador con las rutas y los métodos, por último ejecuté el servidor con php -S localhost:9000 -t public y entré a http://localhost:9000/reserva/ donde se me indica que no hay reservas. El problema es cuando quiero añadir una nueva reserva desde http://localhost:9000/reserva/ es donde recibo el siguiente error:
Object of class App\Entity\Cliente could not be converted to string

<?php

namespace App\Entity;

use App\Repository\ReservaRepository;
use Doctrine\Common\Collections\ArrayCollection;
use Doctrine\Common\Collections\Collection;
use Doctrine\ORM\Mapping as ORM;

#[ORM\Entity(repositoryClass: ReservaRepository::class)]
class Reserva
{
    #[ORM\Id]
    #[ORM\GeneratedValue]
    #[ORM\Column(type: 'integer')]
    private $id;

    #[ORM\Column(type: 'date')]
    private $fecha_inicio;

    #[ORM\Column(type: 'date')]
    private $fecha_fin;

    #[ORM\Column(type: 'smallint')]
    private $numero_huespedes;

    #[ORM\ManyToOne(targetEntity: Cliente::class, inversedBy: 'reservas')]
    #[ORM\JoinColumn(nullable: false)]
    private $cliente;

    #[ORM\ManyToMany(targetEntity: Habitacion::class, inversedBy: 'reservas')]
    private $habitaciones;

    public function __construct()
    {
        $this->habitaciones = new ArrayCollection();
    }

    public function getId(): ?int
    {
        return $this->id;
    }

    public function getFechaInicio(): ?\DateTimeInterface
    {
        return $this->fecha_inicio;
    }

    public function setFechaInicio(\DateTimeInterface $fecha_inicio): self
    {
        $this->fecha_inicio = $fecha_inicio;

        return $this;
    }

    public function getFechaFin(): ?\DateTimeInterface
    {
        return $this->fecha_fin;
    }

    public function setFechaFin(\DateTimeInterface $fecha_fin): self
    {
        $this->fecha_fin = $fecha_fin;

        return $this;
    }

    public function getNumeroHuespedes(): ?int
    {
        return $this->numero_huespedes;
    }

    public function setNumeroHuespedes(int $numero_huespedes): self
    {
        $this->numero_huespedes = $numero_huespedes;

        return $this;
    }

    public function getCliente(): ?Cliente
    {
        return $this->cliente;
    }

    public function setCliente(?Cliente $cliente): self
    {
        $this->cliente = $cliente;

        return $this;
    }

    /**
     * @return Collection<int, Habitacion>
     */
    public function getHabitaciones(): Collection
    {
        return $this->habitaciones;
    }

    public function addHabitacione(Habitacion $habitacione): self
    {
        if (!$this->habitaciones->contains($habitacione)) {
            $this->habitaciones[] = $habitacione;
        }

        return $this;
    }

    public function removeHabitacione(Habitacion $habitacione): self
    {
        $this->habitaciones->removeElement($habitacione);

        return $this;
    }
}


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The dazzling finish is achieved by applying multiple layers of chrome plating for a long lasting, durable, and importantly, rust free tap. Cleaning your bath taps is also no longer a chore with the integrated flow straightener.
Brilliant performing bathroom taps even on low pressure water systems.


text:
import os
import sys
import string

import xml.etree.ElementTree as etree
from xml.etree.ElementTree import SubElement
from utils import _make_path_relative
from utils import xml_indent

fs_encoding = sys.getfilesystemencoding()

def _get_filetype(fn):
    if fn.rfind('.cpp') != -1 or fn.rfind('.cxx') != -1:
        return 8

    if fn.rfind('.c') != -1 or fn.rfind('.C') != -1:
        return 1

    # assemble file type
    if fn.rfind('.s') != -1 or fn.rfind('.S') != -1:
        return 2

    # header type
    if fn.rfind('.h') != -1:
        return 5

    if fn.rfind('.lib') != -1:
        return 4

    if fn.rfind('.o') != -1:
        return 3

    # other filetype
    return 5

def MDK4AddGroupForFN(ProjectFiles, parent, name, filename, project_path):
    group = SubElement(parent, 'Group')
    group_name = SubElement(group, 'GroupName')
    group_name.text = name

    name = os.path.basename(filename)
    path = os.path.dirname (filename)

    basename = os.path.basename(path)
    path = _make_path_relative(project_path, path)
    path = os.path.join(path, name)
    files = SubElement(group, 'Files')
    file = SubElement(files, 'File')
    file_name = SubElement(file, 'FileName')
    name = os.path.basename(path)

    if name.find('.cpp') != -1:
        obj_name = name.replace('.cpp', '.o')
    elif name.find('.c') != -1:
        obj_name = name.replace('.c', '.o')
    elif name.find('.s') != -1:
        obj_name = name.replace('.s', '.o')
    elif name.find('.S') != -1:
        obj_name = name.replace('.s', '.o')
    else:
        obj_name = name

    if ProjectFiles.count(obj_name):
        name = basename + '_' + name
    ProjectFiles.append(obj_name)
    file_name.text = name.decode(fs_encoding)
    file_type = SubElement(file, 'FileType')
    file_type.text = '%d' % _get_filetype(name)
    file_path = SubElement(file, 'FilePath')

    file_path.text = path.decode(fs_encoding)

    return group

def MDK4AddLibToGroup(ProjectFiles, group, name, filename, project_path):
    name = os.path.basename(filename)
    path = os.path.dirname (filename)

    basename = os.path.basename(path)
    path = _make_path_relative(project_path, path)
    path = os.path.join(path, name)
    files = SubElement(group, 'Files')
    file = SubElement(files, 'File')
    file_name = SubElement(file, 'FileName')
    name = os.path.basename(path)

    if name.find('.cpp') != -1:
        obj_name = name.replace('.cpp', '.o')
    elif name.find('.c') != -1:
        obj_name = name.replace('.c', '.o')
    elif name.find('.s') != -1:
        obj_name = name.replace('.s', '.o')
    elif name.find('.S') != -1:
        obj_name = name.replace('.s', '.o')
    else:
        obj_name = name

    if ProjectFiles.count(obj_name):
        name = basename + '_' + name
    ProjectFiles.append(obj_name)
    try:
        file_name.text = name.decode(fs_encoding)
    except:
        file_name.text = name
    file_type = SubElement(file, 'FileType')
    file_type.text = '%d' % _get_filetype(name)
    file_path = SubElement(file, 'FilePath')

    try:
        file_path.text = path.decode(fs_encoding)
    except:
        file_path.text = path

    return group

def MDK4AddGroup(ProjectFiles, parent, name, files, project_path, group_scons):
    # don't add an empty group
    if len(files) == 0:
        return

    group = SubElement(parent, 'Group')
    group_name = SubElement(group, 'GroupName')
    group_name.text = name

    for f in files:
        fn = f.rfile()
        name = fn.name
        path = os.path.dirname(fn.abspath)

        basename = os.path.basename(path)
        path = _make_path_relative(project_path, path)
        path = os.path.join(path, name)

        files = SubElement(group, 'Files')
        file = SubElement(files, 'File')
        file_name = SubElement(file, 'FileName')
        name = os.path.basename(path)

        if name.find('.cpp') != -1:
            obj_name = name.replace('.cpp', '.o')
        elif name.find('.c') != -1:
            obj_name = name.replace('.c', '.o')
        elif name.find('.s') != -1:
            obj_name = name.replace('.s', '.o')
        elif name.find('.S') != -1:
            obj_name = name.replace('.s', '.o')

        if ProjectFiles.count(obj_name):
            name = basename + '_' + name
        ProjectFiles.append(obj_name)
        file_name.text = name # name.decode(fs_encoding)
        file_type = SubElement(file, 'FileType')
        file_type.text = '%d' % _get_filetype(name)
        file_path = SubElement(file, 'FilePath')
        file_path.text = path # path.decode(fs_encoding)

        # for local LOCAL_CFLAGS/LOCAL_CXXFLAGS/LOCAL_CCFLAGS/LOCAL_CPPPATH/LOCAL_CPPDEFINES
        MiscControls_text = ' '
        if file_type.text == '1' and 'LOCAL_CFLAGS' in group_scons:
            MiscControls_text = MiscControls_text + group_scons['LOCAL_CFLAGS']
        elif file_type.text == '8' and 'LOCAL_CXXFLAGS' in group_scons:
            MiscControls_text = MiscControls_text + group_scons['LOCAL_CXXFLAGS']
        if 'LOCAL_CCFLAGS' in group_scons:
            MiscControls_text = MiscControls_text + group_scons['LOCAL_CCFLAGS']
        if MiscControls_text != ' ':
            FileOption     = SubElement(file,  'FileOption')
            FileArmAds     = SubElement(FileOption, 'FileArmAds')
            Cads            = SubElement(FileArmAds, 'Cads')
            VariousControls = SubElement(Cads, 'VariousControls')
            MiscControls    = SubElement(VariousControls, 'MiscControls')
            MiscControls.text = MiscControls_text
            Define          = SubElement(VariousControls, 'Define')
            if 'LOCAL_CPPDEFINES' in group_scons:
                Define.text     = ', '.join(set(group_scons['LOCAL_CPPDEFINES']))
            else:
                Define.text     = ' '
            Undefine        = SubElement(VariousControls, 'Undefine')
            Undefine.text   = ' '
            IncludePath     = SubElement(VariousControls, 'IncludePath')
            if 'LOCAL_CPPPATH' in group_scons:
                IncludePath.text = ';'.join([_make_path_relative(project_path, os.path.normpath(i)) for i in group_scons['LOCAL_CPPPATH']])
            else:
                IncludePath.text = ' '

    return group

# The common part of making MDK4/5 project
def MDK45Project(tree, target, script):
    project_path = os.path.dirname(os.path.abspath(target))

    root = tree.getroot()
    out = open(target, 'w')
    out.write('<?xml version="1.0" encoding="UTF-8" standalone="no" ?>\n')

    CPPPATH = []
    CPPDEFINES = []
    LINKFLAGS = ''
    CFLAGS = ''
    ProjectFiles = []

    # add group
    groups = tree.find('Targets/Target/Groups')
    if groups is None:
        groups = SubElement(tree.find('Targets/Target'), 'Groups')
    groups.clear() # clean old groups
    for group in script:
        group_tree = MDK4AddGroup(ProjectFiles, groups, group['name'], group['src'], project_path, group)

        # get each include path
        if 'CPPPATH' in group and group['CPPPATH']:
            if CPPPATH:
                CPPPATH += group['CPPPATH']
            else:
                CPPPATH += group['CPPPATH']

        # get each group's definitions
        if 'CPPDEFINES' in group and group['CPPDEFINES']:
            if CPPDEFINES:
                CPPDEFINES += group['CPPDEFINES']
            else:
                CPPDEFINES = group['CPPDEFINES']

        # get each group's link flags
        if 'LINKFLAGS' in group and group['LINKFLAGS']:
            if LINKFLAGS:
                LINKFLAGS += ' ' + group['LINKFLAGS']
            else:
                LINKFLAGS += group['LINKFLAGS']

        if 'LIBS' in group and group['LIBS']:
            for item in group['LIBS']:
                lib_path = ''
                for path_item in group['LIBPATH']:
                    full_path = os.path.join(path_item, item + '.lib')
                    if os.path.isfile(full_path): # has this library
                        lib_path = full_path
                        break

                if lib_path != '':
                    if group_tree != None:
                        MDK4AddLibToGroup(ProjectFiles, group_tree, group['name'], lib_path, project_path)
                    else:
                        group_tree = MDK4AddGroupForFN(ProjectFiles, groups, group['name'], lib_path, project_path)

    # write include path, definitions and link flags
    IncludePath = tree.find('Targets/Target/TargetOption/TargetArmAds/Cads/VariousControls/IncludePath')
    IncludePath.text = ';'.join([_make_path_relative(project_path, os.path.normpath(i)) for i in set(CPPPATH)])

    Define = tree.find('Targets/Target/TargetOption/TargetArmAds/Cads/VariousControls/Define')
    Define.text = ', '.join(set(CPPDEFINES))

    Misc = tree.find('Targets/Target/TargetOption/TargetArmAds/LDads/Misc')
    Misc.text = LINKFLAGS

    xml_indent(root)
    out.write(etree.tostring(root, encoding='utf-8').decode())
    out.close()

def MDK4Project(target, script):

    if os.path.isfile('template.uvproj') is False:
        print ('Warning: The template project file [template.uvproj] not found!')
        return

    template_tree = etree.parse('template.uvproj')

    MDK45Project(template_tree, target, script)

    # remove project.uvopt file
    project_uvopt = os.path.abspath(target).replace('uvproj', 'uvopt')
    if os.path.isfile(project_uvopt):
        os.unlink(project_uvopt)

    # copy uvopt file
    if os.path.exists('template.uvopt'):
        import shutil
        shutil.copy2('template.uvopt', 'project.uvopt')

def MDK5Project(target, script):

    if os.path.isfile('template.uvprojx') is False:
        print ('Warning: The template project file [template.uvprojx] not found!')
        return

    template_tree = etree.parse('template.uvprojx')

    MDK45Project(template_tree, target, script)

    # remove project.uvopt file
    project_uvopt = os.path.abspath(target).replace('uvprojx', 'uvoptx')
    if os.path.isfile(project_uvopt):
        os.unlink(project_uvopt)
    # copy uvopt file
    if os.path.exists('template.uvoptx'):
        import shutil
        shutil.copy2('template.uvoptx', 'project.uvoptx')

def MDK2Project(target, script):
    template = open('template.Uv2', "r")
    lines = template.readlines()

    project = open(target, "w")
    project_path = os.path.dirname(os.path.abspath(target))

    line_index = 5
    # write group
    for group in script:
        lines.insert(line_index, 'Group (%s)\r\n' % group['name'])
        line_index += 1

    lines.insert(line_index, '\r\n')
    line_index += 1

    # write file

    ProjectFiles = []
    CPPPATH = []
    CPPDEFINES = []
    LINKFLAGS = ''
    CFLAGS = ''

    # number of groups
    group_index = 1
    for group in script:
        # print group['name']

        # get each include path
        if 'CPPPATH' in group and group['CPPPATH']:
            if CPPPATH:
                CPPPATH += group['CPPPATH']
            else:
                CPPPATH += group['CPPPATH']

        # get each group's definitions
        if 'CPPDEFINES' in group and group['CPPDEFINES']:
            if CPPDEFINES:
                CPPDEFINES += group['CPPDEFINES']
            else:
                CPPDEFINES = group['CPPDEFINES']

        # get each group's link flags
        if 'LINKFLAGS' in group and group['LINKFLAGS']:
            if LINKFLAGS:
                LINKFLAGS += ' ' + group['LINKFLAGS']
            else:
                LINKFLAGS += group['LINKFLAGS']

        # generate file items
        for node in group['src']:
            fn = node.rfile()
            name = fn.name
            path = os.path.dirname(fn.abspath)
            basename = os.path.basename(path)
            path = _make_path_relative(project_path, path)
            path = os.path.join(path, name)
            if ProjectFiles.count(name):
                name = basename + '_' + name
            ProjectFiles.append(name)
            lines.insert(line_index, 'File %d,%d,<%s><%s>\r\n'
                % (group_index, _get_filetype(name), path, name))
            line_index += 1

        group_index = group_index + 1

    lines.insert(line_index, '\r\n')
    line_index += 1

    # remove repeat path
    paths = set()
    for path in CPPPATH:
        inc = _make_path_relative(project_path, os.path.normpath(path))
        paths.add(inc) #.replace('\\', '/')

    paths = [i for i in paths]
    CPPPATH = string.join(paths, ';')

    definitions = [i for i in set(CPPDEFINES)]
    CPPDEFINES = string.join(definitions, ', ')

    while line_index < len(lines):
        if lines[line_index].startswith(' ADSCINCD '):
            lines[line_index] = ' ADSCINCD (' + CPPPATH + ')\r\n'

        if lines[line_index].startswith(' ADSLDMC ('):
            lines[line_index] = ' ADSLDMC (' + LINKFLAGS + ')\r\n'

        if lines[line_index].startswith(' ADSCDEFN ('):
            lines[line_index] = ' ADSCDEFN (' + CPPDEFINES + ')\r\n'

        line_index += 1

    # write project
    for line in lines:
        project.write(line)

    project.close()

def ARMCC_Version():
    import rtconfig
    import subprocess
    import re

    path = rtconfig.EXEC_PATH
    if(rtconfig.PLATFORM == 'armcc'):
        path = os.path.join(path, 'armcc.exe')
    elif(rtconfig.PLATFORM == 'armclang'):
        path = os.path.join(path, 'armlink.exe')

    if os.path.exists(path):
        cmd = path
    else:
        print('Error: get armcc version failed. Please update the KEIL MDK installation path in rtconfig.py!')
        return "0.0"

    child = subprocess.Popen(cmd, stdout=subprocess.PIPE, stderr=subprocess.PIPE, shell=True)
    stdout, stderr = child.communicate()

    '''
    example stdout:
    Product: MDK Plus 5.24
    Component: ARM Compiler 5.06 update 5 (build 528)
    Tool: armcc [4d3621]

    return version: MDK Plus 5.24/ARM Compiler 5.06 update 5 (build 528)/armcc [4d3621]
    '''

    version_Product = re.search(r'Product: (.+)', stdout).group(1)
    version_Product = version_Product[:-1]
    version_Component = re.search(r'Component: (.*)', stdout).group(1)
    version_Component = version_Component[:-1]
    version_Tool = re.search(r'Tool: (.*)', stdout).group(1)
    version_Tool = version_Tool[:-1]
    version_str_format = '%s/%s/%s'
    version_str = version_str_format % (version_Product, version_Component, version_Tool)
    return version_str

redpajama_set_name: RedPajamaGithub


introduction and only covers just a fraction of all of the features of SAS. SAS is a statistical software package that allows the user to manipulate and analyze data in many different ways. Because of its capabilities, this software package is used in many disciplines (not just statistics!), including medical sciences, biological sciences, and social sciences. Knowing the SAS programming language will help you not only in your current class or research, but also possibly in obtaining a job. This course provides a hands-on overview of the features and functionality available in the applications of the SAS Intelligence Platform. You work with the SAS Management Console, SAS Data Integration Studio, SAS OLAP Cube Studio, and SAS Information Map Studio to build a data mart. The information in the data mart is analyzed and reported on using SAS Enterprise Guide, the SAS Add-In for Microsoft Office, SAS Web Report Studio, and the SAS Information Delivery Portal.


***This project constituted numerous months of side work shared through live-action footage of the sun and moon and a heritage of esoteric, alchemical, and master work art. $2 is the minimum asking price, but you have the option to pay more which, if done, is greatly appreciated.
1) On this page, enter an amount equal to or greater than $2 for the amount you're willing to pay in the greyed out "2+" box.
8) You are sent to a page to download the Quicktime file. It is intended to be downloaded to your hard drive and not streamed from the website.Once you've purchased, these files can always be re-downloaded later if you don't want to store all of them on your end.
9) If you are having any technical problems purchasing or downloading the file, contact Niles at nilesheckman@aurora-lab.com and he will get back to you ASAP.
12) Continue working toward achieving equilibrium in your own life.
References + Influences - The Hermetic Marriage - Being a Study in the philosophy of the Thrice Greatest Hermes by Manly P. Hall, 1925, The Secret Teaching of All Ages by Manly P. Hall, Masonic Son and Moon by R. Cassario, The Kybalion by Three Initiates via William Waker Atkinson.
Shared through a world heritage of esoteric, alchemical, and master work art.


December 23rd: Christmas Eve Eve. Or as my kids like to call it, Christmas Adam. I kind of like that name, and judging from various posts on Facebook today, my kids are not the only ones to call it that.
Anyway, we started a fun tradition for Christmas Adam last year, which is to cuddle up together and watch George C. Scott's A Christmas Carol. Last year, Sophia was very afraid of the Ghost of Christmas Yet to Come, but tonight she was quite brave. And I think that this time around all of the girls got more out of the story than they did the first time we watched it last year.
What a wonderful story, isn't it? Such a great reminder that "mankind is our business" as Jacob Marley told Scrooge. And that while Christmas is a time to remember Christ and to serve and love our fellow man, that we should keep Christmas in our hearts all year round, just as Scrooge learned to do.
Do you have any Christmas Adam traditions?
We've never celebrated Christmas Adam. Maybe we'll have to start. =] Merry Christmas, Lara. Wishing you lots of love!
We celebrated Christmas Christmas Eve yesterday too! With Seafood---it's tradition.
Looks like you're almost ready!


text:
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George Washington Carver: Food Theme Page George Washington Carver (printable): American Inventor George Washington Carver: American Inventor Peanut Plant Printout Peanut Plant Today's featured page: George Washington Carver Cloze Activity: American Inventor
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George Washington Carver (1865?-______________) was an American _______________________, educator, humanitarian, and former _______________________. Carver developed hundreds of products from _______________________, sweet potatoes, pecans, and soybeans. His discoveries greatly improved the agricultural output and the health of Southern _______________________. Before this, the only main crop in the South was _______________________. The products that Carver invented included a _______________________ substitute, adhesives, foodstuffs, dyes, pigments, and many other products.
Carver was born in the state of _______________________ and was sickly as a _______________________. He was _______________________ when he was young, and was brought up by Moses and Susan Carver on their _______________________. He began school at age 12 and later attended Simpson College in Indianola, Iowa, where he was the first black student. He transferred to Iowa Agricultural College to study science, earning a Bachelor of Science degree (in 1894) and a Master of Science degree in bacterial botany and agriculture (in 1897). He then became the first _______________________ faculty member at that _______________________.
Booker T. Washington convinced Carver to _______________________ at the Tuskegee Normal and Industrial Institute for Negroes (now called Tuskegee University) in Alabama, USA, where Carver headed the agricultural department for 50 years. Carver _______________________ his life savings to a fund designed to encourage agricultural research.
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text:
Anarchy (Hewson Consultants/Rack-It, 1987)
Written for the Commodore 64 by Michael Sentinella.
In-game graphics by Michael Sentinella.
Title screen by BAY. Music by Nigel Greave.
Converted for the ZX Spectrum by Dominic Robinson.
Converted for the Amstrad CPC by Michael Croucher, with graphics by John Cumming and sounds by J. Dave Rogers.
The fourth season at FRGCB starts off with very little effort for myself - a comparison article that was originally written for the ninth issue of RESET magazine. The moment I was made aware that the magazine's theme was Hewson, I knew I was in trouble, because I didn't know of any Hewson games that would have just two versions available, at least from which the other was made for the C64, so I had very little options from those that had no more than three, just to get the amount of printed text and pictures to a minimum. In the end, Anarchy from Hewson's low-budget range was the only plausible, and really, possible choice for this issue.
My experience with the game is fairly limited, but it seemed to have surprisingly good reviews at the time of release - for example, Zzap!64 gave it 83% and Your Sinclair gave it an 8 out of 10. At the time of writing this entry, the original C64 version had an unexpectedly low score of 6.7 from a total of 52 votes at Lemon64, while 43 World of Spectrum voters rated their version 8.06; the score at CPC-Softs was 15.75 and the review at CPC Game Reviews has a score of 7 out of 10.
A short version of the game's official description could go something like this: You have been chosen to break into a security complex of the rebels who have taken over the planet Sentinel 4, and your mission is to destroy the rebels' entire supply with the help of your A.C.E. Mk2 Interceptor unit. I guess it always has to be something elaborate in order to get you in the mood.
Screenshots from the arcade game "Raiders5" by Taito/UPL in 1985.
Although it hasn't been confirmed anywhere, it is very clear that Anarchy was adapted for the Commodore 64 from a 1985 Taito arcade game called Raiders5. Thanks to Neo-Rio at Lemon64 for pointing that out. The basic idea is the same: you control a tank-like entity in a top-down 2D maze, in which your mission is to destroy all the necessary blocks while keeping your enemies at a safe distance. Once you have destroyed all the necessary blocks, an exit will appear and you must enter it in order to pass on to the next level. While in Raiders5, you really only need to destroy certain blocks (yellow ones from the midst of light grey ones), in Anarchy you need to destroy all the destroyable blocks before an exit will appear, and you also need to get to the exit with your weapons disabled. Naturally, the game grows more difficult as you make progress, and you will also come across some special enemies along the way. Although it has only 16 levels, Anarchy offers a nice challenge.
For what became to remain Michael Sentinella's only known game, Anarchy certainly proved his talent, and left us wanting for more. If nothing more, at least it serves as a good reminder, that Hewson had great little things to offer in the mid-price range as well.
There hasn't been a Loading section on the blog in a very long time, but since all the evidence point towards this game having only been released on tape, we might as well take a look at the usual threesome's loading times...
C64/Hewson: 2 min 36 sec
C64/Ozisoft: 2 min 17 sec
CPC/Hewson: 3 min 44 sec
SPE/Hewson: 4 min 30 sec
Strange, usually the Amstrad version is the slowest of the lot... anyway, unlike regular Hewson games, the lower-priced Rack-It titles feature no particularly interesting customized loaders. Since Rack-It was basically Mastertronic's UK distribution label for Hewson's titles with lower priority, the tape loaders were based on the same loading scheme used by Mastertronic's later 80's releases. This would mean, that on the C64, the Invade-a-Load! loader game would be replaced by loading screens, and there would be no music either. Of course, this just balances out the three versions, but since we're not counting this into the scores, it's all the same.
Loading screens, left to right: Commodore 64, Amstrad CPC, ZX Spectrum.
The loading screens show the cover art in three slightly different angles and different variations of colouring, the C64 version getting it the closest to the cover art in both colouring and angle. Only the Rack-It triangle has been mirrored for the C64 loader, probably due to a lapse in attention. Since the game has no proper title logo, every version has its own version of the title.
Anarchy is one of those games, in which gameplay is so solid and neatly structured, it's difficult to screw it up. Essentially, all three versions are very similar, but there are some slight, almost barely notable differences. In fact, one of the biggest differences is in the control methods: on C64, you can play with a joystick in either port, while both SPECTRUM and AMSTRAD force you to play with a predefined set of keys. The keys for the SPECTRUM version are A for left, S for right, L for up, comma for down and P for fire. The keys for the AMSTRAD version are either cursors or Q for up, A for down, N for left, M for right and ENTER for fire.
You move your tank in the four main directions only, and you can only shoot in the direction you are going. The levels are built of various types of destroyable blocks and single-type undestroyable ones, and you can only shoot the destroyable ones from a distance of at least one block between you and the block you're about to destroy. In later levels, you will also come across blocks that will respawn elsewhere in the level after having destroyed them once. There are a couple of different kinds of enemies roaming around, depending on the level: regular drones that can be rendered inactive for a while by shooting at them, and special security droids that cannot be destroyed or made inactive, and who will center on your location and follow you as straight as they possibly can. This will render them somewhat deceivable, but you still have a time limit you have to take into account.
There are practically only two differences that set the original apart from the two conversions. The first one you will notice from the C64 version having a title menu, which allows you to change the number of players and your tank's acceleration speed from three possible choices - slow, medium and fast. For some reason, these also correspond to novice, intermediate and hard difficulty levels respectively, although I couldn't find much difference in them that way. For the SPECTRUM and AMSTRAD versions, you only get a single player mode and fast acceleration speed, which on the other hand is quite enough for most of us.
The second difference is more important. The C64 version uses smooth push-scrolling method, which activate a few blocks from the edge of the screen. The other two also use push-scroll, but it is made to reveal a bigger chunk of the map at a time. On the AMSTRAD version, this isn't that much of a bother, but the SPECTRUM version has all the informative bits spread to all four corners instead of having them nicely lined up below or above the action screen, and so the score panels and all those sorts of things take up space you would need to see what would be happening in front of you. For example, in level 5, you might run into a regular enemy droid at the bottom right corner of the level, because it hides behind the score panel. I'd say that's a huge minus, which is unfortunate, because otherwise the SPECTRUM version plays very nicely.
If you want to nitpick about details, there are some minor changes made to level layouts for the SPECTRUM and AMSTRAD versions compared to the original, which I haven't really noticed having any real difference to the gameplay balance. Also, the regular enemy droids might have a somewhat better AI, but it's difficult to tell without being a coder. But, were it not for the exclusive options on the C64, I'd say the C64 and AMSTRAD versions play just about similarly enough to call it a tie between them, while the SPECTRUM version is let down by the info bits' locations. As it is, though...
C64 - 3
CPC - 2
SPE - 1
Anarchy. For anyone aware of the word's connection to the punk rock scene and the always fun to draw circle around the first 'A' letter in the word, the styling has become almost inseparable from the word. Perhaps there is something of a similar idea present in Hewson's Anarchy's plot, but how has the spirit been represented here?
Title screens, left to right: Commodore 64, Amstrad CPC, ZX Spectrum.
Not that well. Only the C64 version features the anarchy signal in some cheap digital imitation, but I guess it can be considered as a modern, machine-built clean rendition of an anarchy. The rest of the title screen is kind of busy with the flying drones and every line of text in their own separate boxes, and the official Hewson logo in the middle of it all. The CPC title screen is a bit boring, with no actual graphical content, apart from a special font used for all the text, and a light blue box around the Hewson copyright bit. The SPECTRUM title screen is almost as boring, but it does have a more Hewsonesque title logo, kind of reminiscent of Cybernoid and the like. All the rest of it is just text in another new font, but there's a lot of more colour used here than in the AMSTRAD version.
"Get Ready" and menu screens, left to right: Amstrad CPC, ZX Spectrum, Commodore 64.
Before you get to play, the C64 version gives you some options, as shown here in the screen with the blue background. The other two versions don't have an options menu, but they give you a small breather between each level with a traditional "Get Ready" screen instead.
Screenshots from levels 1 and 3, left to right: Commodore 64, Amstrad CPC, ZX Spectrum.
Once the game actually starts, the most immediately notable graphical difference between the three versions is the screen size. On the AMSTRAD and SPECTRUM, this has some actual importance, because neither of them have proper scrolling like the C64 version does. As it is, the C64 version's screen size falls between the other two, with the SPECTRUM version having less width and the AMSTRAD one having more. The way the C64 version's scrolling works is that your tank pushes the screen to either direction from the middle area of the screen, until it reaches either end of the level, whereupon the tank will move freely around at either side of the screen, depending on which end of the level you happen to be at. The AMSTRAD and SPECTRUM versions will force you to move closer to the far edge of the screen before the screen flips about half-way forwards, which leaves less time for you to react to any enemies. As the SPECTRUM version also has all the info bits slightly inside the action screen at each corner of the screen, your view is often blocked as you push the screen into either possible direction.
Design-wise, the SPECTRUM version can be considered the prettiest of the lot, but if you're like me and can sometimes have problems seeing things in environment where everything blends together, it's not your ideal version then. Both AMSTRAD and C64 use wider pixels, but the AMSTRAD version has more suitable colours for the game. The thing is, the AMSTRAD version doesn't have much of visual effects. Once you have destroyed all the necessary blocks from a level, the other two versions acknowledge the opening of an exit by some visual effect - on the C64, the background pattern starts scrolling, and on the SPECTRUM, the lights will fade off and on until you reach the exit. There is none of that on the AMSTRAD, and all the other animations have been left to the most essentials only. One of the most entertaining graphical differences actually has to do with animations - in the SPECTRUM version, an enemy that has been disabled, will starts showing signs of life by making the cross sign on the box spinning, while in the other two versions, the box with the cross sign flashes red and white.
Due to the futuristic, almost non-descriptive style of the graphics, it doesn't really matter much, what do all the blocks, enemies and backgrounds look like. What's more interesting is, are the graphics functional, and how appealing does the game look. The appeal factor, of course, is a personal matter, but the functionality part is mostly about how well do all the moving objects stand out from the backgrounds. In the AMSTRAD version, all the backgrounds are a bit overdecorated considering the wider pixels, but the well-balanced colouring does help the outcome. In the SPECTRUM version, the sprites are all monochrome, so they have a greater potential of blending in with the background graphics. Happily, the backgrounds have been designed in such a way that such a problem occurs only rarely. Perhaps the C64 version doesn't look the most appealing on first sight, but it has the most functional overall look.
High score tables, left to right: Commodore 64, Amstrad CPC, ZX Spectrum.
What I find funny about old arcade-like games for home computers is that so many of them have these obligatory high score lists, even though they were rarely possible to be saved for posterity. So, when a mid-priced game like this goes a bit extravagant in the size of the high score list, particularly when the game is only available on tape, you have to applaud the game designer's audacity to have this kind of cheek. The C64 version has 15 entries in the high score list, all displayed on one screen along with the surprisingly NES-like character table to write your name with. The AMSTRAD and SPECTRUM versions have more sedate high score tables, but for the SPECTRUM version, someone decided to do a little tech demo feature of scrolling bars in the foreground and background, while jamming the list itself in the middle. Nice touch.
Although I left out some bits here, the important parts have been dealt with, and most of the left-out bits are merely variations on the same things. Anyway, since we're focusing primarily on the quality of graphics here, less their functionality, I have to base the scores on colours, animations, effects and scrolling.
This is interesting. Had I not accidentally left the title sequence of the C64 version looping for quite some time due to something happening in the kitchen, I probably would not have noticed that the title screen features four different short tunes, which are played in turns. The way the loop sequence goes is, the title screen is on for about 10-15 seconds, after which the high score table is shown, and finally, another 10-15 seconds are spent on demoing the game. There is nothing particularly impressive about any of the four little tunes, but they fill their purpose, and a couple of them are even rather memorable.
The SPECTRUM version's title sequence only alternates between the title screen and the high scores table, at least until you have played the game one round, after which the game demo is shown as a replay from some part of your previous session. In terms of music, though, there is only one title theme tune, which is actually rather good and fitting for the game, and lasts for about 38 seconds. But lo and behold, the AMSTRAD version also has just one title theme tune, which is, frankly, even better and compositionally longer than the SPECTRUM tune, and loops as long as you like to hear it, because there is no separate screen for high scores, nor is there a demo mode lurking around the corner. In fact, I might take the unsafe route here and claim that the CPC version has the best music, even though the C64 has four nice, but short tunes.
But the sound effects are an entirely different matter. To me, at least, the sound effects on the original C64 version are a bit too weird, but more importantly, unfitting. Somehow, the sounds the game produces when destroying regular blocks reminds me of Donald Duck's Playground, only these are randomized, but still very similar sounds. There are some other noises as well, but none of them feel powerful or energetic enough. For this sort of a game, I would have expected something a bit more mechanical and clunky for sound effects. The SPECTRUM version has only sound effects for when you destroy anything, and they remind me mostly of DOS platformers like Commander Keen, but they're loud and effective enough to work. Also, due to their determinedly solid way of sounding, I'm more inclined to like them. The AMSTRAD sound effects are more akin to the C64 version, but your weapon has a more percussive and noticable sound to it. Now it's more like Donald Duck meets Cybernoid.
Anyway, quantity doesn't always mean quality, or vice versa. Surprisingly, the SPECTRUM version has the most fitting sound effects, and the AMSTRAD version has the best theme tune. But also, I'd say the AMSTRAD version has the best combination of both. Even though this is bound to shock many of you, I'm going to have to say the C64 version has my least favourite soundtrack, as it is the least impressive.
That didn't go quite as expected, but in the end, the results are as close to each other as one could possible hope for them to be. As it usually goes, the platform for which the game was designed, beats the conversions by some distance, but in all honesty, all three versions of Anarchy are quite playable and each of them have something to offer that the others don't have. See for yourselves.
Naturally, you should also have a go at the arcade game of which Anarchy is a clear descendant of. Raiders5 is definitely a different enough experience not to call Anarchy a straight clone of it, but perhaps it's all for the better this way. And as usual, this is only my personal view of how the three versions compare - you should try them by yourselves and see if a version I wasn't so happy with might be more suited to your playing style.
So, there's another season at FRGCB started up with relative ease. If you want to see how the article originally looked like in issue #9 of RESET magazine, click on the link. Thanks for reading, see you next time with something very different!
NGOTM: Reaxion (Cosine, 1994)
Achievements and tough decisions - Starting Year 4...


Horrornews.net in association with TeePublic has put together a TOP TEN LIST of horror t-shirts.
If there is one thing that goes hand and hand with a good horror movie, it's a great horror t-shirt.
This is the perfect pick for the number ten spot, with all the clown activity from 2016 and the upcoming remake of "IT" on the horizon, this cool clown image and tag line, "We All Float Down Here" is an instant winner.
Jason doesn't discriminate and that's why this "No Lives Matter" is so awesome. Everyone dies!
Machine gun leg – need I say more.
You've seen him in House of 1,000 Corpses and The Devil's Rejects, and if you are like me, you wish you could stop by him establishment and grab and chicken leg while you fill up your tank. Captain Spaulding is one of the best horror characters of modern times.
Watch out Michael Myers. Halloween isn't just a one killer holiday, Trick or Treat introduced us to Sam. Thank you!
This shirt will back great beach wear during your next family vacation to Amity Island, but I wouldn't go during shark week.
Honestly, I've always wanted to shirt that says, "all work and no play makes jack a dull boy". My number two picks makes that dream a possibility.


text:
import { Component, ChangeDetectionStrategy } from "@angular/core";
import { Link } from "./../../link";

let menuLinks = [
    new Link("setInterval example", "/timer/setinterval"),
    new Link("setTimeout example", "/timer/settimeout")
];

@Component({
    moduleId: module.id,
    templateUrl: "./../../examples-list.component.html",
    changeDetection: ChangeDetectionStrategy.OnPush
})
export class TimerExamplesComponent {
    public links: Array<Link>;

    constructor() {
        this.links = [];

        for (let i = 0; i < menuLinks.length; i++) {
            this.links.push(menuLinks[i]);
        }
    }
}


Please do not post a topic asking for someone to give you their spot in the academy if they can't go.
If someone cannot attend the academy, they will forfeit their deposit and we will offer the class back up for sale.
I hate to be the bearer of bad news, but I don't want to see this board turn into a request forum for something that cannot even be done.
Any spots that do become available will be offered in our "Returned Ticket Resale" on Tuesdays at noon.


It can be difficult to find a unique gift that is relevant to your line of work and isn't either too feminine or too masculine for everyone at the office. Our biggest sellers for office holiday parties are our personalized Christmas ornaments with career themed designs in brushed silver.
With several tree ornament body styles to choose from and an array of bead and ribbon colors, you can easily create a look that works for all of your recipients (male or female) and fits your company's color scheme.
With 63 different careers to choose from, our unique occupation themed ornaments are perfect for your 2013 Staff Holiday Party. Find industry gifts for hairdressers, lawyers, police officers, architects, teachers and more at Kyle Design.
Select from our line of Design Your Own Ornaments.
Add to cart and you're done!
It's that easy to make everyone at the office feel special. Show your hard-working staff how much you appreciate them with a unique job themed ornament that represents your industry.
Ready to design yours? Visit Custom Christmas Ornaments to get started. Most orders ship out in 1-2 business days even with an engraving, but with December being our busiest time of year we can't guarantee your item will ship that fast so please call to confirm a ship date. If ordering large quantities, you should also call us to ensure your design is available in the quantity you need.


text:
Posted by Ben Duchesney	on Aug 5, 2016	in Fly Fishing, Fly Tying, How To, Tips	| No Comments
There was a time back in the day where I was almost a professional fly tier myself. My little brother, the guy who actually got me into fly fishing in the first place, had started selling his flies at the local fly shop and was getting behind on his orders. I almost joined him and even started drafting plans to make the venture an actual company, but then I remembered I'm not a very good tier. Oh yea. (Good enough to make a video though).
I admire really good tiers, the guys that crank out picture perfect flies every time. I especially respect the real artists, the tiers cranking out new patterns and spinning up pure creativity at the vise. With all the latest advancements in fly tying materials and new techniques coming out, it's a very exciting time to be getting into the sport. One of those artists of fur and feathers that are pushing the envelope is Sam Looper, who's innovative patterns have me chomping at the bit to get out on the water. (Looper is also The Postfly Signature Tyer for the month of August, pick up his flies here).
Looper's flies reflect an obsession for chasing big warm water species on the fly.
The Life Of A Fly Tier
Like many fly anglers that start tying, Looper says the switch to tying up his own patterns was a natural progression. "I was fly fishing first then I got a fly tying kit for Christmas," he said. "The first time I got a trout on a fly I tied was pretty cool, but then I went to warmwater." Now Looper's patterns reflect that affinity for chasing those more aggressive warmwater species like bass and pike, especially his big streamer patterns and deer hair spook flies.
Influence from other tiers is present in Looper's work, much like every other tier these days, since social media has made sharing ideas so much easier. "I found Rich Strolis' musky patterns on YouTube, and my style of deer hair tying is inspired by Pat Cohen," said Looper. Known around the industry as the master of deer hair, Cohen packs tighter and more creatively, but he's also very good at helping other tiers develop ideas and new practices. "Cohen is my mentor, I call and talk to him twice a week," said Looper. "He's really influenced my style as a business too, because fly tying is really about understanding dealer and supplier relationships."
That other side of tying and running your own fly business may be even harder than constantly innovating and coming up with new patterns. Even if you have created something new, there's a chance that someone else in the tying world is going to being doing something similar. "It's hard to tie professionally without stepping on someone's toes or using someone's ideas," said Looper. "If you choose to tie some other people's patterns get permission first."
Looper is a fan of the big flashy streamer, and it seems the fish are too.
An Engineer At The Tying Vise
While some tiers like Pat Cohen spend every waking hour tying up new patterns, Looper splits his time as an engineer and a tier, but he considers both jobs full time gigs. "I spend 30-40 hours at the vice and another 40 hours as an engineer," he said, "I'll sleep when I die." After taking his kids to school in the morning and working at his engineering job during the day, Looper spends as much time at night whipping up new flies as he can. "I try to balance the work and family time with the vise time as best as I can," he said. "The job that pays me the least I love the most, but I have two incomes so I can't complain." Which brings up another point for most jobs in the fly fishing industry, it's not about the money, it's about the love of the game.
When Looper is thinking about spreading his brand and trying to increase his client list, it's all about social media. "I spend a ton of time on social media, that's so important in the fly tying world now," said Looper. Fly anglers that are good at posting high quality photos to social media regularly often out-compete other tiers that are more social media-inept. Staying on top of your social following will make sure you're too busy at the vise to fish. Almost. "More often than not I'll have orders to fill so I cant fish," said Looper, "but with the day job I travel a lot, so I get to fish while I'm traveling, usually once or twice a month. In the summer I also get to fish a couple times a week, so I maybe fish four to five times a month, on average."
Once you get your flies into the hands of customers, the reward of creating a pattern that catches both angler and fish is what it's all about. "It's a huge reward to see people get excited about something you've created," said Looper. "That's the best, getting people excited about flies and fly fishing and seeing their reactions and excitement when I get photos of fish they've caught on my patterns."
Like every job, there's always something waiting to get you down. For many professional fly tiers, that's the egos of other tiers. "Everyone's got something to prove, there's a lot of competition," said Looper. Dealing with the negative criticism can also be tough. You're not just putting out a product; you're putting out a piece of yourself into the big, bad world. "Fly tying is a form of art, just like painting or sculpture; it's a craft," said Looper. "You put a lot of heart into it and that criticism is sometimes tough to swallow." Regardless of the type of feedback you receive, learning to be patient is the key. "Patience is king," Looper said, "and be humble."
Looper's big, jointed streamers have been proven to catch giant apex predators.
First Step To Get The Job: Go Legit, Go Fast
Being successful in the fly tying world is less about turning out good patterns and more about turning out patterns fast. "If you can't do it efficiently and quickly, don't bother," said Looper. "You might as well work at McDonalds, because you wont be profitable."
Looper had one key tip for tiers trying to get faster: don't put down your scissors–ever. "Also, laying out everything you need, spending time getting materials ready to just pick up and put on the hook, that'll make you faster and speed is the key," he said. "You've got to calculate if a certain pattern is a worthwhile investment of your time, otherwise you're losing cash. The key is to maintain profitability."
If you imagine the world of fly tying as a bunch of bohemian artists trying to create works of art on a hook, you wouldn't be too far from the truth, but they're much more structured than that behind the scenes. Specifically, make sure the government knows you're an actual business, not just some dude selling flies out of the back of a car. "Follow the rules, pay your taxes, set up your tax ID number, get a business license, and do it legit–that's important," said Looper.
One way to legitimize yourself as a tier, not to the government, but to the rest of the fly tying community, is to create your own patterns. "If you choose to tie some other people's patterns get permission first, because sometimes you can make your own variation of the pattern and sell it, but only if they let you," Looper said. "There are no copyright infringement laws in fly tying, but you have to give credit where credit is due."
This is the final part in a series on the best jobs in fly fishing. Get an inside look of the best jobs anywhere and see if you have what it takes here.


The Joint Nominating Committee for the Presiding Bishop (JNCPB) kicked off its work on March 18-20 with a conversation with Presiding Bishop Katharine Jefferts Schori and a mapping of the committee's future work.
Meeting at the Barbara C. Harris Camp and Conference Center in NH, JNCPB is charged to present a slate of no fewer than three nominees for the office of Presiding Bishop to a joint session of the General Convention 2015 in Salt Lake City, UT (Diocese of UT).
In addition to the Presiding Bishop, Bishop Clay Matthews of the Office of Pastoral Development offered insights and information to assist in their tasks.
Communications, both internal to the committee and from the committee to the church and beyond.
"Nominations will open March 1, 2014," added JNCPB co-chair Sally Johnson, Province VI.


text:
Q: How do I do casting in Scala? For example suppose I have
val myDouble = 25.7
val myInt = 5

How would I do something like
val divide = (Int) (myDouble / myInt)

A: You can do (myDouble/myInt).toInt. You can also do toDouble, toLong, and toFloat.

A: or you could do...
 scala> val myDouble = 25.7
 myDouble: Double = 25.7

 scala> val myInt = 5
 myInt: Int = 5

 scala> val divide = (myDouble / myInt).asInstanceOf[Int]
 divide: Int = 5

A: My prefered way is to add a rounding method, to reduce any potential suprise in the conversion behavior:
val divide = (myDouble/myInt).ceil.toInt

or
val divide = (myDouble/myInt).floor.toInt


The Western Hemisphere Institute for Security Cooperation (WHISC or WHINSEC), formerly the School of the Americas (SOA; Spanish: Escuela de las Américas) is a United States Department of Defense facility at Fort Benning near Columbus, Georgia in the United States.
Between 1946 and 2001, the SOA trained more than 61,000 Latin American soldiers and policemen. A number of them became notorious for human rights violations, including generals Leopoldo Galtieri, Efraín Ríos Montt and Manuel Noriega, dictators such as Bolivia's Hugo Banzer, some of Augusto Pinochet's officers, and the founders of Los Zetas, a mercenary army for one of Mexico's largest drug trafficking organizations, the Gulf Cartel. Luis Posada Carriles was educated there in 1961, although he never graduated. Critics of the school argue that the education encouraged such internationally recognized human rights violating practices and that this continues in the WHINSEC. This is denied by the WHINSEC and its supporters who argue that the alleged connection is weak. According to the WHINSEC, the education now emphasizes democracy and human rights.
"The soldiers from the Atlacatl Battalion came at seven in the morning. They said they had orders to kill everyone. Nobody was to remain alive. They locked the women in the houses and the men in the church. There were 1,100 of us in all. The children were with the women. They kept us locked up all morning. At ten o'clock the soldiers began to kill the men who were in the church. First they machine-gunned them and then they slit their throats.
"By two o'clock the soldiers had finished killing the men and they came for the women. They left the children locked up. They separated me from my eight-month old daughter and my oldest son. They took us away to kill us. As we came to the place where they were going to kill us, I was able to slip away and hide under a small bush, covering myself with the branches. I watched the soldiers line up twenty women and machine-gun them. Then they brought another group. Another rain of bullets. Then another group. And another.
In 1993, the United Nations Truth Commission Report on El Salvador cited the officers responsible for the worst atrocities committed during that country's brutal civil war. Over two-thirds of those named were trained at the School of the Americas.
The right to organize is a basic human right of every worker. It is a right defended by the Universal Declaration of Human Rights. In Honduras, that right is being denied on a daily basis.
Since the 1980s, militarists in Honduras have trained paramilitary forces to torture and murder labor unionists and other activists to prevent the people from exercising their basic right to resist exploitation and oppression.
When the U.S.-backed military coup against the legally elected President Jose Manuel Zelaya took place last June, many of the military participants were the perpetrators of this travesty. They discharged their military, paramilitary and police forces to torture and murder labor union leaders, students, LGBT activists and peasants.
The U.S. government may claim that the election of José "Pepe" Lobo was a "triumph of democracy," but that is an out and out lie. The remnants and new recruits of the genocidal U.S.- trained Battalion 3-16 are still conducting political assassinations in Honduras.
Since the coup, our fellow labor activists have been murdered at an unprecedented rate, and murdered stealthily in a way that allows the Lobo government to claim that these murders were not political.
But the murder of the leader of the SITRAIHSS labor union (Workers Union for the Honduran Social Security Institute), Vanessa Zepeda, who was abducted when she was leaving a union meeting, leaves no doubt in our minds that this is an OFFICIAL POLICY and OFFICIAL COVER-UP by the fraudulently elected Lobo government.
U.S. labor unions as well as progressive organizations, declare our opposition to this official policy of neo- fascist repression in Honduras, and call upon our own unions to this illegitimate government, and to support our fellow unionists in Honduras. . .
Furthermore, we oppose the enabling role the U.S. government has played in the election and "legitimizing" of the Lobo regime, which is only an attempt to justify and sanitize the criminal coup of June 2009.
states where voters have legalized weed for medical uses.
seems that no one in the new administration told the DEA to stop raiding some of the state's storefront dispensaries. The DEA has hit a few dozen every year since they began appearing in 2003.
US senators have demanded a crackdown on offshore tax havens after a US congressional probe found tax evasion could be costing the US $100 billion a year.
On Friday, senators questioned the managing director of Westfield Group, an Australian firm, about its involvement with the LGT bank of Lichtenstein.
The Senate Permanent Sub-Committee on Investigations is looking at LGT Bank - and also the Swiss bank UBS - as part of a larger inquiry into wealthy US citizens who avoid taxes by hiding assets in Switzerland and Liechtenstein.
But Peter Lowy, the managing director of Westfield Group, cited his constitutional right to not give self-incriminating testimony when called to answer questions.
Al Jazeera's Rob Reynolds says the two banks are being investigated for allegedly peddling sophisticated tax-evasion strategies to super-rich Americans, using their countries' banking security laws as a shield.
"The actions of a few to scam their way out of tax obligations hurt all Americans," Norm Coleman, a Minnesota Republican, said on Friday.
"A privileged few believe they are entitled to shirk their obligations and heap their tax liability on the sagging shoulders of other Americans to make up for what they evade."
The hearings on Friday came a day after the US Government Accountability Office said a building on the British Carribbean territory the Cayman Islands was being used by 18,000 companies, of which five per cent are US-owned and another 40 per cent to 50 per cent have a US billing address or other connection.
Politicians accuse Lowy and his father, Frank Lowy, of hiding $68m in a foundation formed by LGT bank.
The scandal emerged when Heinrich Kieber, a former LGT computer technician, revealed hundreds of names and account details to tax authorities.
He is now wanted for arrest by the European state of Liechtenstein.
Jack Blum, a lawyer for Kieber, told Al Jazeera that the system of tax evasion operates on a global scale.
"It is the tip of an iceberg because what we are only talking about are US persons, one bank, in Switzerland. We are not talking about the worldwide scope of it," he said.
"The worldwide issue is this - there has been a wealth transfer from a bottom chunk of the world population to the top one half of one tenth of one per cent. And they have escaped all kinds of scrutiny."
US tax authorities have since served legal papers on UBS, and in June a UBS executive pleaded guilty in a US court to tax fraud.
And at a hearing last week, an official from UBS AG testified that the bank would overhaul its offshore private banking business and co-operate with summons by the IRS to provide names of US clients with undeclared accounts.
By Corinne Gregory and Lisa Finan, Huffington Post. Posted May 19, 2008.
Let's ask ourselves the tough questions about why there's so much bullying in schools, and actually be willing to be honest with the answer.
Tim Shorrock, investigative journalist and author of the new book Spies for Hire: The Secret World of Intelligence Outsourcing.
AMY GOODMAN: The Carlyle Group is one of the world's largest and most secretive investment funds. Nicknamed the Ex-President's Club, Carlyle's employees have included both President Bush, H.W. and George W. Bush, former British Prime Minister John Major, former Secretary of State James Baker, and former Defense Secretary Frank Carlucci. Amidst growing public scrutiny over its dealings, the company has recently scaled back its holdings in military contractors and its links to controversial political figures.
uld sell its government-oriented unit to Carlyle Group for $2.5 billion. Booz Allen has been a major figure in the privatization of government intelligence. Current National Intelligence Director Mike McConnell was Booz Allen's director of defense programs before his appointment last year. Booz Allen has been deeply involved in some of the Bush administration's most controversial counterterror programs, including the infamous Total Information Awareness data-mining scheme. The Carlyle-Booz Allen deal awaits shareholder and regulator approval.
Clive Stafford Smith, British born lawyer for over fifty detainees in Guantanamo Bay. He is the legal director of the UK charity Reprieve and has defended prisoners on death row for over twenty years. He is the author of Eight O'Clock Ferry to the Windward Side: Seeking Justice in Guantanamo Bay.
AMY GOODMAN: And the issue of Sami Al-Haj saying he was being repeatedly questioned about the leaders, about those who run Al Jazeera and about his colleagues at Al Jazeera?
CLIVE STAFFORD SMITH: Well, that was the focus. I mean, and Sami actually had to ask the intelligence folk in Guantanamo—and I was very interested listening to the person you were talking to before, Tim, about the whole process, because of course it's so true that the focus of a lot of these civilian folk who were doing the intelligence gathering, you know, I don't know how they think they get paid, but apparently they get paid just by the word. And they interrogated Sami Al-Haj roughly 120 times about people working at Al Jazeera, trying to get him to say that Al Jazeera was an al-Qaeda front. And Sami said, "It's just not true. I'm not going to say that." But this went on and on. And finally Sami had to ask them to interrogate him about himself and whatever allegations they might have against him.
AMY GOODMAN: Very quickly, Clive, did you say that you—that the US is taking prisoners to Iraq?
CLIVE STAFFORD SMITH: Oh, yes, they are. I mean, the US is taking an estimated forty to sixty, on average, prisoners a day around the world. And it doesn't take a lot of arithmetic to tell you how many people that is each month. And people are being taken to Iraq to be held in Abu Ghraib, even today, and also in other camps in Iraq. And this is a big challenge for us as the lawyers to try to bring—you know, reunite them with their legal rights, because I, for one, am sort of forbidden by my wife from spending too much time going to Iraq and getting shot at.
The Great American Streetcar Scandal, also known as the General Motors streetcar conspiracy or the National City Lines conspiracy, was the sequence of events in which General Motors, Firestone Tire, Standard Oil of California and Phillips Petroleum formed the National City Lines (NCL) holding company, which acquired most streetcar systems throughout the United States, dismantled them, and replaced them with buses in the early 20th century. It is alleged[who?] that NCL's companies had an ulterior motive to forcibly gain mass use of the automobile among the U.S. population by buying up easy-to-use mass light rail transportation countrywide and dismantling it, leaving populations with little choice but to drive.
When the scandal was brought to court, GM was fined $5,000 and each executive was ordered to pay a fine of $1 for a conspiracy to force the streetcar systems to buy GM buses instead of other buses (but not for dismantling the streetcar systems, which were also being dismantled by non-NCL owned systems).
Between 1936 and 1950, National City Lines bought out more than 100 electric surface-traction systems in 45 cities, including Detroit, New York, Oakland, Philadelphia, St. Louis, Salt Lake City, Tulsa, Baltimore, Minneapolis, Seattle and Los Angeles, and replaced them with GM buses. The scandal is rehashed in books like Fast Food Nation and the film Who Framed Roger Rabbit; testimony by Government Attorney Bradford Snell to a United States Senate inquiry in 1974 gave the scandal its current prevalence and weight in U.S. popular culture.
~gave the scandal its current prevalence and weight in U.S. popular culture.
After all, The People who suffer by unrestrained privatization will be us. Comrades!


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Dr. Moeness Amin, Professor and Director of the Center for Advanced Communications, kicked off the New Year by marking a prestigious professional milestone -- being elected Fellow of the Institute of Engineering and Technology (IET), one of the world's leading professional societies for the engineering and technology community, with more than 150,000 members in 127 countries.
A distinction awarded to members of the society who have demonstrated superior individual responsibility, sustained achievement, and significant professionalism during their career, Fellows of the IET personify the organization's mission to provide a global knowledge network to facilitate the exchange of ideas and promote the positive role of science, engineering, and technology in the world.
"I am honored to be selected to join this prestigious group of leaders in engineering from the industry and academia communities -- all of whom have made a significant, positive impact on our field," says Dr. Amin, who is also a Fellow of the Institute of Electrical and Electronic Engineers (since 2001) and a Fellow of the International Society of Optical Engineering (since 2007).
For selection, Dr. Amin was judged by the Fellow Evaluation Committee to have demonstrated clear success over an extended period in the areas of personal responsibility for significant technological innovation and original research resulting in international recognition. The author of more than 450 journal and conference publications, with more than 2,200 citations, Dr. Amin is a globally renowned expert in the areas of digital signal and array signal processing, smart antennas, time-frequency analysis, and radar imaging (including the emerging areas of through-the-wall radar imaging and compressive sensing). Under his direction, the CAC and its world class facilities and researchers have also gained international recognition from academic, industry, and defense organizations.