New Jersey was one of ten states that participated in a three-year infant and early childhood mental health (I-ECMH) learning community facilitated by the National Center on Children in Poverty, ZERO TO THREE, and the BUILD Initiative, and funded by the Alliance for Early Success.
In 2013, New Jersey completed the process to bring the Michigan Association for Infant Mental Health Endorsement® system to the state. Since its inception in January 2014, over 60 professionals have received the New Jersey Infant Mental Health Endorsement (IMH-E®).
The Keeping Babies and Children in Mind (KBCM) training was developed by Montclair State University-Center for Autism and Early Childhood Mental Health to help professionals address I-ECMH in their work with infants, children from birth through age eight, and their families. This free training series reached over 1,850 individuals in the 10-county impact area. KBCM also provided 24 hours of reflective supervision to over 100 professionals throughout the 10 counties. KBCM has now become a foundational training for early childhood professionals across the state and is continuing with funds from New Jerseys Race to the Top-Early Learning Challenge Grant (RTT-ELC).
New Jersey brought the CSEFEL (Center on the Social and Emotional Foundations for Early Learning) Pyramid Model to the state. A Master Cadre of 12 individuals completed training in 2015 and an implementation pilot began soon after.
New Jersey implemented Project LAUNCH activities at the state level and in Essex County.
New Jersey's centralized intake system, developed by the Department of Children and Families in collaboration with the Department of Health, has now expanded to all 21 counties and extends beyond home visiting to focus on broader early childhood services. This work at the local level includes early screening and assessment using the Perinatal Risk Assessment and appropriate referral as needed. Central intake sites have an information system to support collecting and tracking data. State partners are providing technical support to strengthen local linkages and continuous quality improvement.
New Jersey brought other models to the state (e.g. Incredible Years and Circle of Security) to look at how they can be part of a continuum of strategies to support I-ECMH and how they intersect with the CSEFEL Pyramid Model.


text:
Le savon de Marseille est un type de savon résultant de la saponification d'un mélange d'huiles, généralement végétales, par de la soude. Particulièrement efficace par son pouvoir nettoyant, ce produit utilisé pour l'hygiène du corps peut être fabriqué de façon industrielle ou artisanale.

L'appellation de « savon de Marseille » n'est pas une appellation d'origine contrôlée, elle correspond seulement à un procédé de fabrication codifié garantissant une teneur minimale d'acides gras. D'autres matières grasses que l'huile d'olive peuvent être utilisées dans ce procédé, y compris du suif, d'origine animale. La méthode traditionnelle demande cependant que les huiles utilisées soient d'origine végétale.

Le premier savonnier est recensé dans la région de Marseille en 1370. La formule de ce savon a été réglementée au  sous le roi . En 1688, Colbert passe un édit limitant l'utilisation du nom « savon de Marseille » aux savons fabriqués à l'huile d'olive dans la région de Marseille. Historiquement, une teneur de 72 % en masse d'acides gras était garantie dans le savon de Marseille traditionnel, uniquement préparé à partir d'huile d'olive.

La région de Marseille compte  au  et connaît son apogée en 1913 avec  produites. Après 1950, l'essor des détergents de synthèse précipite son déclin. La Chine et la Turquie sont aujourd'hui les plus gros fabricants de savon de Marseille.

Histoire

La création de l'industrie du savon de Marseille
En France, le savon est utilisé depuis l'Antiquité. L'encyclopédiste romain du , Pline, rapporte dans son Histoire naturelle (, 191) que les Gaulois emploient un produit à base de suif et de cendres pour se teindre les cheveux en roux. Ce savon sert de gel et de décolorant à cheveux.

Le savon de Marseille trouve son origine dans le savon d'Alep en Syrie, qui existait depuis des milliers d'années. Le mode de fabrication de celui-ci, à base d'huile d'olive et de laurier, s'est répandu à travers le bassin méditerranéen, à la suite des Croisades, en passant par l'Italie et l'Espagne, pour atteindre Marseille.

La cité phocéenne possède des manufactures de savon à partir du  qui utilisent comme matière première l'huile d'olive extraite en Provence la plus proche. La soude, terme qui à l'époque désigne un carbonate de sodium plus ou moins pur, provient des cendres des plantes des milieux salins, en particulier la salicorne. En 1371, le premier savonnier marseillais qui utilise la soude se nomme Crescas Davin. En 1593, Georges Prunemoyr, dépassant le stade artisanal, fonde la première fabrique marseillaise.

Au début du , la production des savonneries marseillaises peine à satisfaire la demande de la ville et son terroir. Le port de Marseille reçoit même des savons de Gênes et d'Alicante. Mais la guerre rompant l'approvisionnement d'Espagne, les savonniers marseillais doivent augmenter leur production de façon à pouvoir fournir l'Europe occidentale, d'abord le nord du Grand Royaume de France, les îles britanniques, la Hollande et surtout l'Allemagne, où les acheteurs pressent leurs commandes avant le grand collapsus de la Guerre de Trente Ans.

En 1660, on compte dans la ville sept fabriques dont la production annuelle s'élève à près de . Sous , la qualité des productions marseillaises est telle que « le savon de Marseille » devient un nom commun. Il s'agit alors d'un savon de couleur verte qui se vend principalement en barre de  ou en pains de .

Le , un édit de , signé par Jean-Baptiste Colbert de Seignelay fils de Colbert, secrétaire de la Maison du Roi, réglemente la fabrication du savon. Selon l' de l'édit : . Les manufactures de savons doivent cesser leur activité l'été car la chaleur nuit à la qualité du savon. Le respect de cette réglementation assure la qualité du savon et fait la renommée des savonneries marseillaises.

Dans le même temps, des fabriques de savon s'installent dans la région, à Salon-de-Provence, Toulon ou Arles.

L'industrie du savon
En 1786, quarante-neuf savonneries produisent à Marseille , emploient  et un volant de main d'œuvre au plus fort de la saison de fabrication,  forçats prêtés par l'arsenal des galères.

En 1794, puis à partir du blocus continental en 1806 et surtout de la guerre d'indépendance espagnole en 1808, les savonniers de Marseille se trouvent privés des soudes naturelles importées d'Espagne. En 1809, Napoléon en profite pour imposer leur remplacement par des soudes artificielles obtenues à partir de sel de mer, d'acide sulfurique résultat de la combustion du soufre, de calcaire et de charbon de bois, par application du récent procédé chimique de Nicolas Leblanc, puis il interdit totalement l'importation de soude. Il en résulte un essor spectaculaire de l'industrie chimique dans la région des étangs. Les Bouches-du-Rhône comptent quatorze soudières artificielles en 1810 ; l'industrie marseillaise continue à se développer jusqu'à compter soixante-deux savonneries en 1813.

À partir de 1820, de nouvelles matières grasses sont importées et transitent par le port de Marseille. Les huiles de palme, d'arachide, de coco et de sésame en provenance d'Afrique ou du Moyen-Orient sont utilisées pour la fabrication du savon.

Les savonneries marseillaises subissent la concurrence des savonneries anglaises ou parisiennes, ces dernières emploient du suif qui donne un savon moins cher.

Au début du , la ville de Marseille possède quatre-vingt-dix savonneries. François Merklen fixe en 1906 la formule du savon de Marseille : 63 % d'huile de coprah ou de palme, 9 % de soude ou sel marin, 28 % d'eau. Cette industrie est florissante jusqu'à la Première Guerre mondiale où la difficulté des transports maritimes des graines porte gravement atteinte à l'activité des savonniers. En 1913, la production représente  et n'est plus que  en 1918.

Après la guerre, la savonnerie bénéficie des progrès de la mécanisation bien que la qualité du produit reste due à l'emploi des anciens procédés et la production remonte pour atteindre  en 1938. Lorsque la Seconde Guerre mondiale éclate, Marseille assure encore la moitié de la production française mais les années qui suivent sont désastreuses. Le savon est supplanté par les détergents de synthèse et les savonneries marseillaises ferment les unes après les autres.

Dans la région marseillaise, seules six savonneries continuent à fabriquer du savon comme il se fabriquait il y a trois siècles et produisent encore le fameux cube de  estampillé avec le nom de la savonnerie et la mention « 72 % d'huile » :
 la Savonnerie du Fer-à-cheval ;
 Savonnerie du Midi ;
 Marius Fabre ;
 la Savonnerie le Sérail ;
 Rampal Latour;
 [La Licorne].

La fabrication de savon d'huile dans les îles grecques
Dans les îles grecques, à Corfou et à Mytilène notamment, il existait encore il y a une centaine d'années des petites usines qui fabriquaient du savon à base d'huile d'olive.

Dans les villages, on extrayait l'huile d'olive avec des presses en bois et le fabricant de savon rachetait les déchets riches en huiles (le grignon). Le fabricant possédait des presses à huile en métal et extrayait l'huile restante très chargée en acide (aujourd'hui une huile de ce type est raffinée). L'huile extraite servait de base à la fabrication de savon et les déchets de l'extraction ultime servaient à entretenir les feux.

On retrouvait un tel procédé à Mytilène et à Rhodes. À Rhodes, le fabricant venait de Mytilène et s'appelait Agiakatsika. Les maisons qu'il fit construire pour ses filles sont des chefs-d'œuvre du néo-classicisme grec.

Fabrication du savon de Marseille

La saponification de corps gras est la réaction que les maîtres savonniers marseillais conduisaient dans des cuves traditionnelles ou industrielles.

La saponification

Le savon de Marseille résulte d'une réaction chimique de saponification. C'est une simple hydrolyse alcaline, de corps gras par une base forte. Les esters que sont les corps gras issus de graisses sont hydrolysés en milieu alcalin par une base, la soude (NaOH). L'hydrolyse des esters produit du glycérol (glycérine) et un mélange de carboxylates de sodium, c'est-à-dire des sels ioniques d'acides gras, qui constituent le composant déterminant du savon sous une phase condensée, parfois dénommée semi-cristalline après séchage.

Le procédé marseillais
Le procédé marseillais est un procédé discontinu de fabrication du savon. Il se compose de plusieurs étapes :

L'empâtage et l'épinage
On introduit en même temps les matières grasses (le grignon d'olive) et la soude dans une cuve ou une chaudière que les savonniers appellent le chaudron, de grande contenance, et on les mélange tout en les chauffant à . La saponification démarre. La température élevée sert à accélérer la réaction de saponification. Les graisses et la soude ne sont pas miscibles. Pour faciliter la réaction, on met un fond de savon provenant d'une précédente fabrication qui sert à former une émulsion entre les phases huileuses et aqueuses. C'est pour la même raison qu'on agite le mélange.

On soutire ensuite la glycérine obtenue, qui rejoint la phase aqueuse en fond de cuve. Ainsi, l'industrie du savon donne naissance à des industries annexes. Un exemple d'industrie annexe est la « stéarinerie » ou fabrication des bougies par précipitation de l'acide stéarique en ajoutant un acide dans une solution de savon à base de gras saturé comme le suif.

La cuisson
On rajoute de la soude pour avoir une réaction plus complète des matières grasses. Si une partie des matières grasses ne réagissait pas avec la soude, elle risquerait de rancir et poserait des problèmes de conservation. La pâte est cuite plusieurs heures.

Le relargage
La pâte est nettoyée à l'eau salée pendant plusieurs heures pour éliminer la soude en excès. On opère avec une solution aqueuse saturée en chlorure de sodium soit  de NaCl par litre d'eau. Le savon est très peu soluble dans l'eau salée à la différence de la soude. Il forme un précipité que l'on récupère par soutirage.

Le savon terminé ne contient plus du tout de soude, car, si le lavage est soigné, l'eau salée a entraîné la soude, les autres impuretés de l'huile ainsi que la glycérine. C'est la délipidation du savon.

La liquidation
La pâte est mise au repos. Elle est lavée à l'eau.

Le coulage et le séchage
La pâte fluide est versée dans des moules, puis le savon humide est mis à sécher pour le durcir.

Le découpage et l'estampillage
Le savon solidifié est découpé en cubes, puis marqué. À l'origine, le savon de Marseille traditionnel affiche 72 % d'huile d'olive. Il contient cette teneur massique en acide gras, acide gras provenant de l'huile d'olive. Ce pourcentage était estampillé sur le savon.

Le savon de Marseille aujourd'hui

Utilisation
Le savon de Marseille est d'abord un produit de propreté dont l'usage corporel quotidien est avéré depuis plusieurs siècles, en particulier pour les mains et le visage. Il sert aussi comme nettoyant ménager et pour le lavage du linge. On trouve des paillettes de savon de Marseille pour la lessive. On l'emploie notamment pour laver le linge des personnes allergiques et des bébés parce qu'il ne contient pas d'ingrédients allergisants. Antimite et bactéricide, il a contribué à la baisse de la mortalité infantile au . Selon une croyance populaire, mis au fond d'un lit il éviterait d'avoir des crampes.

Une définition officielle
Le terme « savon de Marseille » n'est nullement une appellation d'origine contrôlée, il correspond seulement à un procédé de fabrication qui est approuvé depuis mars 2003 par la Direction générale de la concurrence, de la consommation et de la répression des fraudes (DGCCRF), placée sous l'égide du ministère des finances. Cette méthode est issue d'un code validé unilatéralement par l'Association française des industries de la détergence, de l'entretien et des produits d'hygiène industrielle (AFISE). Ce code définit la méthode de fabrication, basée sur les quatre étapes historiques que sont l'empâtage/cuisson, le relargage de la glycérine, le lavage et la liquidation, afin d'assurer l'obtention d'une phase cristalline lisse à 63 % d'acides gras minimale. Elle définit également des contraintes en matière de chargement de corps gras, exclut les huiles acides exception faite des huiles de grignon d'olives. Elle admet le suif sous réserve d'une qualité conforme au règlement européen CE 1774/2002 sur les dérivés animaux utilisables en cosmétique.

Enfin, ce « code du savon de Marseille » limite les additifs et exclut en particulier les tensio-actifs de synthèse. Les additifs utilisables doivent être conformes à la directive CE 76/768 puis au règlement (CE) 1223/2009 relatifs à la mise sur le marché des produits cosmétiques, d'hygiène et de toilette. Ce code distingue une qualité dite savon de Marseille brut, sans colorant, sans parfum, sans additifs. Il n'y a donc pas d'obligation de fabriquer un savon à Marseille pour qu'il puisse avoir l'appellation. L'appellation est liée à la méthode de saponification dite « marseillaise », mise au point grâce au procédé Leblanc de fabrication chimique de la soude caustique.

Ce code est très large et permet à une grande quantité de savons d'origines diverses de bénéficier de l'appellation Savon de Marseille. De ce fait, la Chine et la Turquie sont les plus gros fabricants de savon de Marseille.

Beaucoup de sociétés se disent savonnerie ou revendiquent la notion de Maître Savonnier. Ce ne sont en fait que des « conditionneurs » de savon. La base savon provient essentiellement d'Asie du Sud-Est et le travail consiste uniquement à colorer, parfumer et mouler cette base savon fabriquée selon un procédé moderne qui peut bénéficier de l'appellation Marseille selon le code de l'AFISE.

Le savon de Marseille français
Le savon de Marseille fabriqué en France devient une exception, certains cependant continuent à produire du savon de Marseille dans plusieurs régions de France.

Dans la région Marseille-Provence, on recense actuellement cinq savonneries artisanales qui respectent la recette d'origine  . Elles fournissent plus de 30 % de la fabrication nationale avec, à Marseille, la savonnerie le fer à cheval (quartier Saint-Barthélémy), une trentaine d'employés,  par an ; la Savonnerie du Midi (quartier des Aygalades), une vingtaine d'employés,  par an ; le Sérail, à Sainte-Marthe ; et, à Salon de Provence, Rampal Latour, une quarantaine d'employés, qui détient 2 brevets INPI , et Marius Fabre, une trentaine d'employés,  par an .

Nantes a été également un site majeur de production de savon en France, industrie apparue dans la ville depuis 1830. Le procédé marseillais y a été introduit en 1844 par l'industriel Henri Serpette (né en 1821 à Louvencourt dans la Somme - mort en 1887 à Nantes, et père du compositeur Gaston Serpette), qui créa la « savonnerie Serpette » à la suite d'un voyage dans la cité phocéenne. La ville comptait naguère une quarantaine de savonneries qui employaient  à temps plein, concurrençant leur confrères marseillais. La dernière savonnerie encore en activité dans l'agglomération nantaise, qui est aussi la dernière de type industriel en France, est la « Savonnerie de l'Atlantique » située dans la banlieue sud à Rezé. Employant , et fabriquant  de savon dont  « Marseille », 32 % de sa production va à l'export.

Le savon artisanal

Un véritable savon de Marseille traditionnel est reconnaissable à quatre caractéristiques : il doit être en forme de cube ou de pain, de couleur brun-vert ou blanc, porter une empreinte sur ses six faces et ne pas contenir plus de six ingrédients naturels. La couleur du savon à l'huile d'olive oscille entre le marron et le vert. Cependant, cette fabrication traditionnelle est gravement concurrencée par un savon artisanal dit à l'huile d'olive, mais aujourd'hui composé d'huile d'olive, d'huile de coprah et d'huile de palme.

On trouve aussi du savon de Marseille blanc, composé d'huile d'arachide, d'huile de coprah et d'huile de palme.

Le savon industriel
Le savon de Marseille vendu en grande surface est un savon de ménage ou de toilette qui contient différents acides gras, provenant de la saponification de différentes matières grasses. Les principales matières grasses utilisées et les acides gras obtenus sont mentionnés dans le tableau ci-dessous :

Le savon de Marseille industriel contient également des additifs variés : agents anticalcaires, conservateurs, colorants, parfums… Ces additifs sont souvent polluants, c'est-à-dire difficilement biodégradables ou ayant un potentiel toxique à terme dans l'environnement fluvial ou limnique.

Les produits dérivés
Le savon de Marseille, quel qu'il soit, conserve une image positive qui évoque naturel, simplicité et propreté « à l'ancienne ». En plus des savons, les industriels proposent donc d'autres produits à base de savon de Marseille comme des produits nettoyants et des lessives.

L'industriel Johnson & Johnson utilise cette image dans la gamme de produits Le petit Marseillais, rachetée en 1985, dont le logo intègre un carré rappelant le cube des savons de Marseille. La marque a pour origine un petit poème édité par la parfumerie savonnerie Paul Auzière qui vantait les mérites du savon quotidien parfumé « Le petit Marseillais », alors en vente dans sa boutique, paru dans « la petite Gazette rimée ».

Notes et références

Notes

Références

Voir aussi

Bibliographie

Articles connexes

 Savon
 Savonnerie
 Saponification
 Savon d'Alep
 Savon blanc
 MuSaMa - Musée du Savon de Marseille

Marseille
Marseille

redpajama_set_name: RedPajamaWikipedia


text:
Little green men visited Queens in summer of 1952
By The Greater Astoria Historical Society Posted on July 14, 2013
By The Greater Astoria Historical Society
The year 1952 will be remembered as the summer of UFOs on the East Coast. Since the 1947 sightings of unidentified flying objects over Roswell, N.M., Americans from various parts of the country had been reporting seeing strange phenomena in the night skies.
July 1952 was a banner month for close encounters. On July 18, the Star-Journal advised readers, "If you see a flying saucer, call Mitchel Field [on Long Island] right away. That's official. It's a complete reversal of policy on the part of the big Air Force base. The number to call is Garden City 3-4000. Tell the operator, 'I want to report a flying saucer.'"
"The Air Force promises you won't get the brush-off. Major John Barron, public information officer at Mitchel Field, said today that all flying saucer reports received locally will be relayed to Wright-Patterson Air Force base in Dayton, Ohio. They will be 'co-ordinated' there — which means that Air Force technicians are taking the flying saucers seriously. In Dayton, Captain E.J. Ruppelt, head of Operation Bluebook, the Air Force group studying reports of unidentified aerial objects, said ground radar had tracked some aerial objects at speeds ranging between 1,500 and 2000 miles per hour.
"'We're convinced that persons making these reports actually see something in the sky,' Rappelt said. 'But what they see is another question.'"
On the night of July 19, there were several reports of strange lights in the skies over Washington, D.C. Radar at the capital's airports picked up strange objects traveling at high speeds. And on July 23, the Star-Journal broke the news in a banner headline: "3 Astounded Astoria Housewives Spot Queens' First Flying Saucer."
A strange globular object glowing with its own light was seen gliding "higher than any plane could go" across the starlit skies of Queens at 10:35 last night" by three local residents.
Florence Carver admitted she could not be sure she had seen one of "those flying saucers, but it certainly was the strangest object I've ever seen in the sky."
Emily Stone and May Curbs were also with Carver and bear witness to the strange flying disc. The women agreed the mysterious object was a round disc, larger than a star and reddish-orange in color.
"It couldn't possibly be a plane," Mrs. Carver said indignantly. "We certainly know what a plane looks like, here in Astoria. But this thing was far too high for any plane, and it was going too fast. And it's easy to see that it was perfectly round.'"
The following day, on July 24, the Star-Journal's count was up: 50 sightings of saucers had been reported in the past five days by Queens and Long Island residents.
The account by Mrs. Daniel Etheridge was typical. Shortly after midnight on the night of July 23, she saw what she described as a "fireball" circling over Flushing.
"It was orange with a small green glow at one edge," she said. "It was very high and moving at a speed that an ordinary airplane could not match."
And as the reports came flooding in, Astoria's claim to be first in the flying saucer stakes was called into question.
Francis Exkeben, of Fresh Pond Road in Maspeth, reported he spotted an "oval-shaped light, blue-green in color, and faster than any airplane," over Maspeth July 15.
"Perhaps these things are a new type of jet plane," he wrote.
For more information, call 718-278-0700 or visit astorialic.org.
LaGuardia Community College receives federal funding to expand vocational training for the unemployed
Carl Goodman to step down as director of Astoria's Museum of the Moving Image
WATCH: Deranged SUV Driver Smashes into Astoria Produce Store, Knocks Woman to Pavement

redpajama_set_name: RedPajamaCommonCrawl


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Oh, you're looking for entertainment? Not a problem. From local to world-class talent, we have that covered, too. If live theater, concerts and shows with well-known and up-and-coming performers are what you crave, your appetite will be satisfied here. CMAC, (the Performing Arts Center at Finger Lakes Community College,) the Smith Opera House and Bristol Valley Theater boast event lists that cater to everyone's taste.
With two colleges in Ontario County, there are frequent talks, performances and lectures that are open to the public.
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Feeling lucky? Place a bet at Finger Lakes Gaming & Racetrack. Want to learn some new tricks in the kitchen? Take a hands-on cooking classes at the New York Kitchen.
What are you waiting for? The Finger Lakes is ready to entertain you.


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Learn From Christine Dion How To Create Nutcracker Characters Makeup!
Tis the season for Christmas Holiday shows and of course the most popular of all, the Nutcracker, will be presented by studios across the country. In many cases this will be presented on a large stage and may require a little more facial enhancement than a typical small stage performance. The makeup used for the nutcracker features many characters. With the following performances, a simple eye makeup change is all that's needed to add drama and help enhance the theme of the look.
1. Sugar Plum Fairies and the Land Of Snow. Where traditional ballet makeup is required keep in mind that the brows need a little more enhancement and extending. Eyeliner will need to be extended a bit further at the ends. Be sure to not meet the lower and upper lines at the sides.I like to use a brown cake/shadow liner below lower lashes and a black cake/shadow liner at the end of upper lashes to create a softer look. A Mode Dion Pro Pallet eyeshadow compact has all the colors you need. Keep eyes wide with white pencil in between. Add a little white shimmer like Mode Dion's Shimmer Pot to the center of lid, brow arch and inner eye corner to open eyes even more. False lashes will be a must to create big elegant eyes. Adding a bit of magical glimmer to the cheekbones and eyes can really create more enchantment. Use glitter in opal/white like Mode Dion's Crystalina and secure it with spirit gum like Mode Dion's Diva Glue.
2. Arabian dancers can quickly get the look just by extending the black cake/shadow liner towards the inner eye corner creating a cat eye appearance. White pencil will help define the look by applying a little at the inner eye corner and between the two lines out at the end of the eye corners. Extend liner a bit there too as this will lengthen eyes creating a more exotic effect. (photo Arabian) Rhinestones placed along the upper brow line can create more drama. Place little dots with your eyeliner first to get the design and spacing right then adhere them with eyelash glue. If the costume is sparkly, enhance that with matching glitter secured with Mode Dion's Diva Glue.
3. Chinese Dance only requires a very red lipstick applied just at the middle of the upper and lower lip to create a tiny rosebud mouth and lengthened eyeliner extended out at the sides of the eyes up. Meet the upper and lower eyeliners at the sides to close and angle eyes for an Asian look. If lids are naturally full they can easily be reduced to a more Asian almond eyed look by using black shadow across the lid. Very red cheeks just on the apples will make the face look rounder. This tutorial is a very dramatic version to create a classic Shanghai Doll look. For a softer effect use brown onto the lid instead of black.
The Doll/Toy look is an easy twist form a standard stage makeup look. Add more red cheek color to the rounds of the cheek. Remove lip color from the sides of the mouth and create a more rounded lip look for a baby doll lip. Highlight center of upper and lower lip so lips look even more pulled forward. Draw lines below lower lashes to look like painted on lashes and in between use white pencil to help them look more pronounced from a distance. Apply shimmer highlighter like Mode Dion Shimmer Pot (opaque shimmer) to cheekbones, chin, forehead and down center of nose to make skin look light reflective like plastic.
4. Clara and other children in the party scene should have a softer more natural looking makeup. Skin should appear flawless by applying a matte oil-free foundation and powder. Brows should be well defined and shaped along with lips and cheeks slightly flushed. Mode Dion's Stage Red cheek color and Rhubarb lipstick add just enough color to look natural and show up on stage.
5. Men and boys should be sure to wear foundation, concealer to cover dark circles under eyes and powder to set. A cheek contour shade under cheekbones and along sides of nose will help further define features. Shade sides of mouth with a natural lip pencil and apply a lipstick close to the same shade as lips. Define brows, line eyes with brown liner lightly and apply black mascara.
Christine Dion has been setting the trends in stage beauty for over 30 years. As a Speaker, Author, Columnist and Stage Cosmetic Designer in the Dance Beauty Industry.
MODE DION offers high quality stage make-up and professional products with support and education including books & DVD's. The company website www.modedion.com is a full beauty resource featuring beauty training from street to stage, Christine's many magazine articles under "Media", "How to Videos", Shopping and step by steps. Connect through the website and find more training on the You TubeChannel at "Mode Dion Makeup University", Newsletter "Look of the Month", Face Book and Twitter with tips/updates.
Make-up kits and bulk discounts available for studio owners. Call (760) 837-9433 for more info!


Photo by Oliver McCrum– Falanghina and Salty Fried Fish.
One of my favorite terroir-minded producers from the area around Naples is La Sibilla, a winery owned and operated by 5 generations of the Di Meo family. I love Southern Italian wines, especially from Campania. This is where you can go deep into Italy's history, and uncover the really authentic, time-tested grape varietals. More importantly, you'll also find winemakers here like La Sibilla who love and respect these local grapes, and with them continue to craft elegant and authentic wines. Volcanic ash dominates the soil, the sea surrounds the vineyards and the local viticultural practices all combine to highlight what makes these wines special: salt and acidity.
I became enthralled by the La Sibilla wines after having found them in California, thanks to Oliver McCrum, Italian Wine Importer Extraordinaire. Rule of thumb if you love Italian wines- get to know your importers. If you find one whose palate you appreciate, you'll likely enjoy most of their wines. For me, Oliver McCrum is a great example. I will buy anything they import!
Basically, you should never be without a bottle of this wine in your fridge!
I was already enchanted by these wines, but now I am also in love with Vincenzo Di Meo, his sun-drenched vineyards, his adorable accent, and his beautiful family. Even at such a young age his philosophy is wise beyond years, "I am 24. She [the vine] is 100. I cannot change her. I can only take the best she can give to me." Now that's some wine-making I can get behind.
Let the vineyards speak for themselves. Invite us into your home, your vineyard. Let us discover what is so special about your particular place in the world- your history, your family.
La Sibilla Falanghina and salty fried fish? Sign me up!


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Basic Advice For Giving Useful Feedback To Creators
Just a simple and basic guide to giving writers and character creators feedback and advice that will help them create better works in the future.
Give Constructive Criticism
In essence, constructive criticism gives creators an idea of how to their stuff better, rather than simply tells them it's awful and needs to be burned with fire. Telling people things like "your story is bad/boring" or "your character seems like a Mary Sue" does nothing to help creators - all it does is tell them that something is wrong, but doesn't actually point them toward what it is that needs fixing.
To give constructive criticism, you first need to identify exactly what it is you don't like about something so you can highlight the issue and thus give them an idea of what to change and improve. If you're having difficulty figuring out exactly what it is about a story or character that's bothering you, ask yourself:
Was there something you hoped to see that didn't happen?
Did someone act in a way that felt forced, unrealistic, or out-of-character?
Did a plot or story element feel forced, contrived, or too convenient?
Were things confusing or unclear because certain things were omitted or rushed over?
Or was there too much time or detail spent on something?
Did it take too long for anything interesting to start happening?
Did a character you were supposed to root for act in a way that made xir difficult or impossible to like?
Was the story so straightforward, formulaic, or so much like another story that you knew exactly what was going to happen?
Did something that was supposed to evoke an emotional reaction fail to do so, or evoke the wrong emotion? Why?
Once you've got it narrowed down exactly what's got you annoyed and discontent, you can describe and elaborate on what it is and try to shed some light on how you think it could be improved. For example:
"I find it difficult to believe that a group of criminals who are accustomed to being cheated and backstabbed by other criminals would trust and follow an escaped convict so easily. I think Lex needs to do something to earn their trust first."
"As dangerous as the scepter is, I find it hard to believe that they'd store it someplace where a servant could just walk in and take it with nothing more than a few basic spells. Given how many enemies they have who probably tried to steal it already, I'd find it more plausible if security was a lot tighter."
"Lana takes down her enemies so easily that there's no real suspense in any of the fights, which made them all predictable and boring to read. It would be more exciting and interesting if she faced some real difficulty and didn't win every time."
"The way everyone talked about Derek being the most dangerous sorcerer ever, I was looking forward to an epic fight with him at the end. The way he was taken out with a single magic fireball without getting to put up any real resistance felt anticlimactic."
Thus is the essence of constructive criticism - it identifies and highlights flaws, explains why and how these flaws hurt the creation, offers potential solutions, and never resorts to petty insults or attacks on the creator.
Give Constructive Praise
Telling someone that a creation is awesome and that you loved it is definitely nice and will make the creator feel good, but if you can use the above advice for criticism and apply it to praise you can also do creators huge favors by shedding light on exactly what it was you liked about something so they have a better idea of what to put into future creations. As before, stop and ask yourself a few questions if you're having trouble putting your finger on exactly what it was you liked:
Was there something that made the characters or setting feel especially real?
Was there anything that made you really like or connect to the characters or setting?
Did a clever or well thought-out solution, resolution, or twist really impress you?
Was the story's pacing just right - not too slow and not too fast?
Were characters, objects, or events described with just the right amount of detail - not too little and not too much?
Was there something that felt particularly emotionally gratifying to see play out? What made it so gratifying?
Did something evoke the right emotions for the right reasons? Why?
Was there something that made it just plain fun? Why?
Some examples of constructive praise:
"The way the two leads occasionally bantered about silly things like cartoons they watched as children and the way they were shown as being comfortable in each other's spaces and easily picking up on each others' feelings really helped make them feel like a pair of old friends."
"I really like how after the captain died in the attack, Elise was able to stay calm and direct people on what they needed to do to keep the place defended. That, to me, really made her feel like a leader I could respect."
"The complexity and diversity of the cultures in your world really helped to make them feel more like real people who really could exist somewhere."
As it is, many creators and companies with works that became popular knew that their works were liked, yet didn't quite have a full grasp on why they were liked. When they later tried to replicate the success of their first works they ended up putting out something that let people down, as they emphasized things that hadn't really been a major factor in the success of the original while minimizing or excluding many of the things had made the original work. So by telling people precisely why you liked something, you can help them avoid falling into this trap.
Also, these might be relevant to you:
Tips To Help People Improve Their Creative Work
Before You Go Declaring Other Peoples' Characters Mary Sues...
A Few Things You Really Need To Know As An Anxious Writer And/Or Artist
Dealing With Criticism & Negative Reviews
Back to General Storytelling & Other Things
Go to a random page!


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Tides. A novel (London: Longman, 1993).
Letteratura Orale dell'Africa Subsahariana. A macropedia project. Milan (Italy): Jaca Book, 1993.
African Oral Literature: Backgrounds, Character, and Continuity (Bloomington: Indiana University Press, 1992).
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[Ed] The Heritage of African Poetry (London: Longman, 1985).
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Myth in Africa: A Study of Its Aesthetic and Cultural Relevance (Cambridge: Cambridge University Press, 1983).
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text:
Thank God we live in a free country...
mini mouse | 06.07.2005 19:44 | G8 2005 | Repression
I spent the day on the streets of Edinburgh, where I witnessed democracy and the right to peaceful protest in its full glory.
After months of negotiations, G8 Alternatives had negotiated the right to protest against the policies of the G8 counties, seen by many not as the solution to the world's ills, but the principal part of the problem.
March Goes West
Happy singalong with buskers
The Western Pen
The first snatch
Negotiating the return
Slow return east
Leaders are harrassed
Reinforcements to pen crowd
Another arrest
and another
pushed to the ground
Mounted police push pen up the mound
No journos allowed as witnesses
A thousand or so people showed up to board their coaches to Gleneagles. From the outset they were told either that the march had been cancelled, or that the location was dangerous and that they were advised not to attend.
But the choice to go was theirs.
Clearly their choice to go was the wrong choice, for the buses were immediately prevented from leaving by a blockade of police vans. Only a sit down protest persuaded the police that it would be a neater solution to allow them to leave,
Except that many of the coaches were then stopped and corralled well before their destination.
Phone calls back to Edinburgh persuaded many not to bother boarding the remaining coaches, and a hasty negotiation between G8 Alternatives and the police led to a concession to march in Edinburgh.
Despite the change of plan, the march of 250 - 300 started off along Princes Street towards the West End. A line of police kept progress at a snail's pace, and on its eventual arrival at St John's Church a pen was set up where marchers were left to stand in the heavy rain.
With aplomb similar to the grand Old Duke of York, the police now decided to march them down again. And at a similar pace, the march retraced its steps through the rain to the National Gallery, where a new pen was put in place.
The march was in every way peaceful. Impromptu buskers set up by the side of the road, and the crowd was cheerfully singing along to the Pink Floyd's "Teachers, leave those kids alone". Bubbles flew from the crowd, balloons were launched, young coppers chatted up some of the women.
Then an extraordinary thing happened.
New divisions of police, Met and Greater Manchester arrived and were quickly deployed around the marchers. Lines of police forced bystanders back from the pen.
And then snatch squads were sent in, pulling people from the crowd. I saw several people fall heavily on to the road as they were removed, then dragged bleeding to police vans. Some shouted, "Why are you arresting me? I did nothing, this is a peaceful protest."
Protesters responded with boos, but the remarkable thing was the response of the local, Edinburgh bystanders.
"Disgrace", "Whose streets? Our streets", and "How can you call this a free country?" were amongst the calls. And this from middle-aged couples and mum's with toddlers in pushchairs.
And then it got worse.
Mounted police were brought in to force the small pen of protesters up The Mound. Three lines of police were formed to prevent bystanders - and accredited press - from seeing what was going on.
When Riot Police arrived on the steps of the National Gallery and were deployed round the East side I insisted on being let through the police line. But, along with other journalists, including one sarky reporter from the Daily Mail, we were refused.
What statute were they invoking, I asked? No reply. How can they prevent the press witnessing the outcome of a squad of riot police being set on peaceful protesters?
What happened on the hill? Right now I don't know.
I just watched the BBC news coverage of the event and they didn't mention it. Presumably they were excluded also.
So what's this all about?
Clearly the intention of the police, controlled by their political masters is to deny peaceful protests, replacing it instead with propaganda material designed to divert attention from the real issues of Gleneagles.
Together with remission alkies like Midge Ure ("I don't understand what they're protesting about") and Saint Bob ("Already Bush has made concessions as a result of Live8") the intention is to dupe the world into thinking the G8's mission is to save Africa and eliminate AIDS, a noble cause that's being deflected by mindless violence.
And the willing lackies of the corporate press are spewing the message out - what do we all think tomorrow's headlines are going to say?
So isn't it good to live in the free world, where you can say what you want without fear of hindrance?
If what I saw today is democracy, no wonder the Iraqis don't want it.
Display the following 10 comments
Media Madness — squirrel nutkin
About turn at Lothian Road — anon
their favourite trick — Main Street
the bloke with the camera rig... — maybe it's because I'm a Londoner
the photographer — anon
Wow a Photographer! — Beatle Bug
well since you asked — AO
I was there — Mad Mac
A Great Day For Defending The Right To Portest — Redpigfarmer
not all of the coaches were stopped — 'the red baron'


Here is the latest stock price and chart of BETEX (P). For a sector overview, read our textiles sector report.
BETEX INDIA last traded price had tanked 5.0% to Rs 27.6 on the BSE. The total volume of shares traded was 0.0 m.
Over the last 30 days, the BETEX INDIA share price is down 9.4%. And over the last one year, BETEX INDIA share price is up 0.0%.


Elizabeth Berrien's airy, openwork wire sculpture is as GREEN and environmentally responsible as metal art can get. Consuming less than 1% of the materials of solid metal art, she creates substantial works of art from tiny amounts of wire!
When possible, recycled steel, copper or aluminum wire is used to hand-twist and weave lace-like creations. The low-tech process creates such a sturdy structure that Berrien doesn't use welding equipment or release chemical emissions.


A departure from what made the series good, but it has its own epic moments.
YuGiOh is a difficult show to review. It's almost as if you have to put yourself in the mind of a twelve year-old child and go in to it as if it were a Saturday morning cartoon. I don't mean that in a negative sense, as the show is absolutely aimed at kids, but outside of nostalgia, this series of YuGiOh drifts a little too far from the lore that I found interesting. With that said, it leans well enough on its decent cast of characters to trigger a tinge of excitement in those of you that may remember the original series. Unfortunately, it's hampered by how far we've come since. In a nutshell, if you're a huge YuGiOh fan (so much so that you're probably annoyed by my SEO friendly version of the spelling), this box set is for you, but you already knew that. If you're not, this obviously isn't a great jumping in point and even in the realm of YuGiOh, it doesn't make much sense. Read on for our full YuGiOh Season 4 Review.
Yu-Gi-Oh is a visual throwback. It's consistently well crafted animation, but it's also mostly static screens with the occasional exaggerated movement or background shift. It's not like there's a fluid battle to animate with truly difficult set pieces. I'd argue that Season 4 is the best looking of the original series and the art style is more true-to-manga than our current slog of long-running shows.
It's in a 4:3 aspect ratio, so no widescreen, but that also means no forced stretching. It's worth noting that this series originally aired in 2003, so it's natural for it to seem dated, but as far as being true to its source material in looks at least, it's spot on.
There are moments that drop in quality, but they're minor moments, I noticed most of them with minor characters on Disc 5. Tristan's face. Look for it.
My issue with Yu-Gi-Oh's presentation is its insistence on being obvious at all times. Loud musical cues for important moments, hard camera cuts to serious faces etc. It might seem nit-picky, but it happens so often that it becomes bothersome. Once again, though, it's a kids show, but perhaps I have more faith in a young person's intelligence.
Ultimately, it's nice enough to watch visually, the character designs are iconic, but the direction of the show is a little too on-the-nose for my taste. Still, it's important to state that Yu-Gi-Oh improves throughout its run, I imagine due to its success at the time, so the quality does build over time and that benefits Season 4.
In Season 4, we pick up from where we left off: Yugi has just defeated Marik in the Battle City Tournament and won all of the Egyptian God Cards as a result. Not content with a bit of peace, Yugi has his Egyptian God Cards stolen and the world becomes infested with actual duel monsters, harming people the world over. Having caught up to the thieves, Yugi is challenged to a duel wherein, if he loses, he'll lose his soul as a result. Thus, Season 4 kicks off with a new threat and brings back some familiar faces.
At this point, we'll be getting in to SPOILER TERRITORY so if you're just after the overall impression, scroll on past everything from here.
The plot of Season 4 failed to engage me for the most part. Fresh off of the focused narrative of Marik in Season 3 with heavy connections to Yami the Pharaoh's Ancient Egyptian past, it was always going to be hard to top in regards to relating the story to Yugi and Yami themselves. Even so, this season almost pretends to be about that and then pulls a complete shift away from it. We begin with Yugi and Yami looking for the secrets to be found in the ancient stone tablet that depict the original duel monsters games. Not long after, we're focused on a Biker Gang that starts wreaking havoc on behalf of the thieves that stole Yugi's God cards. From here, we're led down a completely different narrative about Atlantis because, that's right kids, duel monsters is older than Ancient Egypt! Now it has a history of 10,000 years at least and is the primary cause of Atlantis' destruction.
The reason this caused me to question my interest is because I'd always appreciated the Egyptian focus, and I thought we were getting closer to a look at that world, along with the Millennium Items in full effect. This time around, the Millennium Items are practically meaningless, having no impact (mostly) against the Seal of Orichalcos cards that steal the souls of the duel's loser. Everything that made Yu-Gi-Oh intriguing from a narrative stand-point is left by the wayside: the Shadow Realm, Egypt, a meaningful villain; all of it.
In some odd form of compensation, Season 4 brings back fan favourites like Pegasus to feature and ground it in the original narrative in some way. Of course, Yugi's usual cast of buddies and rivals return to assist him in this baffling quest to stop a nonsense bad guy from causing a catastrophe.
This season isn't without some merit, however. There are some genuinely interesting characters that take a while to come to fruition but ultimately they do, like Rafael. His initial approach compared to where he ends up is the most believable and engaging plot throughout, going from seemingly evil to having a tragic past and finding redemption. He's the only fully realised character in the series. Alister, too, had a decent backstory that also grounded Seto Kaiba firmly in this season.
Of course, with Rafael comes a whole heap of let-down narratives. Mai Valentine, Dartz the Stereotypical Villain and even Yami-Yugi himself have weak ties to this entire plot. Mai outright abandons her friends to be "evil" because she's afraid of being weak out of seemingly nowhere. This causes a pretty great duel between Joey and Valon featuring Armour Cards, but it weakens what used to be one of the most interesting characters in the show. Dartz takes the entire season to reveal his motivations and intentions, too long to wait and too short a time to become invested in it. As for Yugi's issue, it's more an issue with how the season redirected, as I thought we were taking a deeper dive in to Egypt before it began its nonsense obsession with Dartz.
The whole Leviathan threat is necessary for an over-arching plot, as are the legendary Dragons to counter it. It's not really interesting, but knowing that the souls being captured as used to feed the Leviathan's strength at least lends the plot some credence.
What didn't really matter was Dartz's purchase of the major dueling corporations. Nor did Yami's "darkness". He loses Yugi because he gave in to it. He "might" have been an evil Pharaoh. Guess we'll never know! The plot was all over the place in my eyes. That's not to say it can't be dumb fun, but dumb it certainly is.
I have many points to make on why Season 4 is a departure from what makes Yu-Gi-Oh interesting, but I think I've made my case. If you're a huge Yu-Gi-Oh fan, maybe this doesn't bother you and maybe you found some investment here, but for me it felt like filler laced with familiar terms. Also, although Seto Kaiba is the most interesting protagonist this time around, he's still so very annoying. Having endured all that he has, he still refuses to acknowledge the magic in his world. What was once an amusing, stubborn outlook is now a nuisance to hear. That's more of a personal gripe with a decent character.
In the final few episodes, we are given more insight in to how Dartz knows Yami from the past, but his reasons for not confronting the Pharaoh back then are flimsy at best.
My final note? Knight of Destiny is pretty awesome. As was Blue Eyes Tyrant Dragon. There were some good duels in this otherwise flat season.
The Region 2 DVD features only the English Dub. There are dependable stalwarts, such as Yami-Yugi and Seto Kaiba, but Mai Valentine's change in voice actor is jarring.
It's a decent dub, not great, but it's also horrible in certain moments. Valon's misuse of the word "bloke" is one such example. That accent is a nightmare that no British person should have to endure. Who approved that?
As always, Joey Wheeler's voice is unintentionally hilarious. The New Jersey, Italian-American stereotype is strong in this one.
Outside of the terrible attempt at an English accent, the dub is bearable-to-good. That's from a man that enjoys his dubs. Perhaps it's a sign of the times, as we have such good talent now compared to the few we had back then. As I said, it's not awful for the most part.
Look; Yu-Gi-Oh has always been a bit of dumb fun and an excuse to sell trading cards. This season is no exception. This time, however, it felt like they didn'really try to keep it grounded in the admittedly interesting past of the Pharaoh. A few thin ties, but nothing significant until the final episodes, and a terrible villain. If you do find yourself enjoying this season more than I did, there's 880 minutes of card clashing to be had. That's plenty of time to D-D-D-D-DUEL! For me though, Yu-Gi-Oh is akin to the Pharaoh himself: a relic of the past. Season 4 does away with the best bits for the sake of introducing new cards and characters. It's great value for how much you get out of the box set, but your enjoyment will depend entirely on how invested in Yugi's journey you are.
(Note: Review copy provided by Manga UK. Screenshots unavailable due to HDCP protection and no streaming options).


text:
Trinidadiaanse hockeyploeg (mannen)
 Trinidadiaanse hockeyploeg (vrouwen)


text:
Q: Javascript, looping through specific object properties I have a problem looping through variables, with my current know-how I was unable to implement any of the search results I got. The problem is on the line ctx.arc(Autom1.posX,Autom1.posY,5,0,2*Math.PI); I want to go through all "Autom"-variables. I have tried Autom+i and all the variations of it that I can think of, I also tried using an array to loop through them.
What I am trying accomplish, is to get a dot on a map for each of those entities. So how do I loop through them? Is there a more elegant way of doing this?
<script>
window.onload = function() {
var c = document.getElementById("myCanvas");

var pMeters = ['Autom1', 'Autom2', 'Autom3'];

var Autom1 = {type:"Automaatti", posX:590, posY:505, Visits: 1, Hits: 1, Value: 0.5};
var Autom2 = {type:"Automaatti", posX:580, posY:515, Visits: 1, Hits: 1, Value: 0.0};
var Autom3 = {type:"Automaatti", posX:570, posY:525, Visits: 1, Hits: 1, Value: 0.0};

var odds = Autom1.Hits/Autom1.Visits*100; //Remember to loop these too!!
odds = odds.toFixed(1)+"%";

var ctx = c.getContext("2d");
var img = document.getElementById("map");
ctx.drawImage(img, 10, 10);

for (i = 0; i < pMeters.length; i++) {

    ctx.beginPath();
    ctx.arc(Autom1.posX,Autom1.posY,5,0,2*Math.PI); // Ask online
    ctx.fillStyle = 'rgba(0,100,200,0.4)';
    ctx.fill();

    ctx.stroke();
    ctx.font = "9px Arial";
    ctx.fillStyle = 'black';
    ctx.fillText(odds,Autom1.posX+10,Autom1.posY-10);
 }
}
</script>

A: Save your data in array pMeters instead of variables.
<script>
window.onload = function() {
var c = document.getElementById("myCanvas");

    var Autom1 = {type:"Automaatti", posX:590, posY:505, Visits: 1, Hits: 1, Value: 0.5};
    var Autom2 = {type:"Automaatti", posX:580, posY:515, Visits: 1, Hits: 1, Value: 0.0};
    var Autom3 = {type:"Automaatti", posX:570, posY:525, Visits: 1, Hits: 1, Value: 0.0};

var pMeters = [Autom1, Autom2, Autom3]; //Note that there are no Quotes

var odds = Autom1.Hits/Autom1.Visits*100;
odds = odds.toFixed(1)+"%";

var ctx = c.getContext("2d");
var img = document.getElementById("map");
ctx.drawImage(img, 10, 10);

for (i = 0; i < pMeters.length; i++) {

    ctx.beginPath();
    ctx.arc(pMeters[i].posX,pMeters[i].posY,5,0,2*Math.PI); // Ask online
    ctx.fillStyle = 'rgba(0,100,200,0.4)';
    ctx.fill();

    ctx.stroke();
    ctx.font = "9px Arial";
    ctx.fillStyle = 'black';
    ctx.fillText(odds,pMeters[i].posX+10,pMeters[i].posY-10);
 }
}
</script>

A: Since global vars are properties onto window object, could you use this:
<script>
window.onload = function() {
    var c = document.getElementById("myCanvas");
    var Autom1 = {type:"Automaatti", posX:590, posY:505, Visits: 1, Hits: 1, Value: 0.5};
    var Autom2 = {type:"Automaatti", posX:580, posY:515, Visits: 1, Hits: 1, Value: 0.0};
    var Autom3 = {type:"Automaatti", posX:570, posY:525, Visits: 1, Hits: 1, Value: 0.0};

    var odds = Autom1.Hits/Autom1.Visits*100; //Remember to loop these too!!
    odds = odds.toFixed(1)+"%";

    var ctx = c.getContext("2d");
    var img = document.getElementById("map");
    ctx.drawImage(img, 10, 10);

    for(var i=1; i<=3; i++) {

                ctx.beginPath();
                ctx.arc( window["Autom"+i].posX,
                          window["Autom"+i].posY,
                          5,
                          0,
                          2*Math.PI);
                ctx.fillStyle = 'rgba(0,100,200,0.4)';
                ctx.fill();

                ctx.stroke();
                ctx.font = "9px Arial";
                ctx.fillStyle = 'black';
                ctx.fillText(odds,Autom1.posX+10,Autom1.posY-10);
             }
            }
    </script>

A: You can have an array of object. Like this:
 <script>
 window.onload = function() {
 var c = document.getElementById("myCanvas");

 var pMeters = [{type:"Automaatti", posX:590, posY:505, Visits: 1, Hits: 1, Value: 0.5}, {type:"Automaatti", posX:590, posY:505, Visits: 1, Hits: 1, Value: 0.5}, {type:"Automaatti", posX:570, posY:525, Visits: 1, Hits: 1, Value: 0.0}];

 var ctx = c.getContext("2d");
 var img = document.getElementById("map");
 ctx.drawImage(img, 10, 10);

for (i = 0; i < pMeters.length; i++) {
   var Autom1 = pMeters[i];

   var odds = Autom1.Hits/Autom1.Visits*100; //Remember to loop these too!!
   odds = odds.toFixed(1)+"%";

   ctx.beginPath();
   ctx.arc(Autom1.posX,Autom1.posY,5,0,2*Math.PI); // Ask online
   ctx.fillStyle = 'rgba(0,100,200,0.4)';
   ctx.fill();

   ctx.stroke();
   ctx.font = "9px Arial";
   ctx.fillStyle = 'black';
   ctx.fillText(odds,Autom1.posX+10,Autom1.posY-10);
  }
}
</script>

redpajama_set_name: RedPajamaStackExchange


"Gas-Phase Acidity Computations of Silanols and Their Sulfur Analogs" by Mark S. Gordon, Robert Damrauer et al.
β-Methyl and β-ethyl substitution of silanols has been reported to give small acid weakening effects in an earlier experimental study. In this study, ab initio computations have been used to assess β-methyl and β-ethyl substitution effects and have demonstrated that such effects are very small. Such results contrast with the commonly accepted acid strengthening β-alkyl substitution effects first demonstrated in alcohols.
Reprinted (adapted) with permission from Journal of Physical Chemistry 97 (1993): 7820, doi:10.1021/j100132a006. Copyright 1993 American Chemical Society.
Gordon, Mark S.; Damrauer, Robert; and Krempp, Michèle, "Gas-Phase Acidity Computations of Silanols and Their Sulfur Analogs" (1993). Chemistry Publications. 247.


For those of us keeping tabs on the effort to protect seventeen miles of the National Wild & Scenic Chetco River from being mined, the clock is now ticking.
July 30, 2014, was the one-year mark for the 5-year temporary mineral withdrawal, put in place by the Secretary of Interior at the request of the U.S. Forest Service.
The purpose of the withdrawal is to give Congress time to pass a law that would provide permanent protection for our river and its extraordinary values from mining.
In the meantime, Congressman DeFazio and Senators Wyden and Merkley—long-time champions of protection for the Chetco River—have introduced bills into Congress that would permanently withdraw the "Scenic" and "Recreational" sections of the river from the 1872 Mining Law, upstream of the Forest Service boundary.
However, what was once called the Chetco River Protection Act has become lodged in what's now called the O&C bill, a controversial piece of legislation that our elected officials hope can allow for a substantial increase in logging on BLM lands in western Oregon to fund broke counties while also providing some important increases in environmental protection, including increased wilderness in the Rogue watershed, a salmon and botanical area in the upper Illinois watershed, and more. The language for permanent protection of the National Wild and Scenic reach of the Chetco remains included in the latest version of Senator Wyden's O&C bill, released on Aug. 2014.
If you've been following the news, you know that the O&C bill is disliked by most all stakeholders --it does not increase timber harvests enough to satisfy industry and the counties, yet from the perspective of most environmental groups, it allows too much cutting, reduces riparian buffers, and significantly rolls back the opportunity for public involvement through appeals. Nevertheless, Senator Wyden remains committed to finding a way to move his bill forward.
And so, unfortunately, the fate of our river remains entangled in this highly contested legislation.
Here at summer's end, with record low flows, the need to protect the Chetco's watershed and river bed remains particularly apparent. At times like these, with drought taxing natural systems, resilience is of key importance. Protecting the National Wild and Scenic Chetco from a future of instream mining threats is an important investment in the future our our watershed's health.


The weather was hot but the spring was cool. Last weekend the boys had a great Longhouse at Blue Springs Park. While there was an egg toss, critter race and zip line for entertainment, the real hit is always the Blue Springs, especially the high dive platform.
Big Bobcat and Big Tree cooked up an amazing meal with the help of the Kickapoo tribe. We ate pulled pork, brisket, ribs, beans, potato salad and chips, with plenty of drinks for the kids.
Eagle Heart and his assistant set up a flawless sacred fire display and provided a great setting for the breaking arrow ceremony. Timucuan Federation also celebrated the departure of many of its pathfinders as enjoyed the presentation of special gifts for both Kicking Buffalo and Flaming Arrow.
Chief Spirit Bear and Chief Big Red.


The Basque language (Euskara) is unique. It is the only European language that remains from before the arrival of indo-European languages. This means that it pre-dates the languages that arrived in Western Europe around 1.000 years BC.


text:
Home/Betting
Special Jets Betting Promo: Win $150 Free by Betting Ravens vs Jets in Week 1
By Joe Summers
Sep 6, 2022 | Updated: Sep 8, 2022, 10:23 AM EDT
It's important to be realistic. Sure, the New York Jets might be huge underdogs to the Baltimore Ravens in Week 1. Sure, Joe Flacco might be the starting quarterback while Zach Wilson recovers from injury. And sure, the Jets might have covered the spread just twice in their last dozen games against the Ravens.
But, it's also important to be optimistic. Wouldn't it be easier to wipe those tears away with a bunch of dollars? Say, $150 in free bets worth?
Thought so. Thanks to FanDuel Sportsbook's absurd new promo for Jets fans, those tears from a Week 1 loss won't last long.
Bet $5, Win $150 Free at FanDuel
If the Jets are likely to lose, we might as well make some money off it, right? With FanDuel's new risk-free offer, we're all winning no matter what.
CLAIM HERE -> bet $5, win $150 in free bets guaranteed
Your part couldn't be easier: just sign up for FanDuel Sportsbook, make a $10 or more deposit and wager at least $5 on any Ravens vs Jets bet. That's it! You'll have $150 in free bets uploaded to your account faster than an Elijah Moore slant route.
There's a lot of people in New York, so this offer won't last long. Claim your $150 in free bets before the rest of your friends beat you to it.
Bet $5, Win $150, Sign up for FanDuel now!
Here's how I'm spending my $150 on this Week 1 matchup:
Ravens vs Jets Prediction and Pick
Ravens -6.5 (-118) vs Jets
It's unfortunate the Jets have to play Baltimore to open the season, because I'm expecting huge things from the Ravens this year. Lamar Jackson is still a cheat code, and the team as a whole should be much healthier in 2022.
I love the skill position players New York assembled in the offseason. Elijah Moore, Garrett Wilson, Corey Davis, Michael Carter Jr., and Breece Hall are all pieces to what will be a successful offense. That being said, Joe Flacco hasn't been a good quarterback for nearly 10 years now, and New York is simply overmatched.
The Jets are 1-4 against the spread (ATS) in their last five games as home underdogs and won't be able to contain Lamar. Baltimore is familiar with Flacco's limitations from his time with the Ravens, and the coaching staff should exploit his inadequacies.
It's okay to bet against your team if it makes you money. There's nothing wrong with a nice little emotional hedge, after all! Back Baltimore to open the season with a convincing win as Flacco proves he's not capable of filling Zach Wilson's shoes.
Elijah Moore Any Time Touchdown Scorer (+250)
FanDuel not only lets you bet on the game itself, but you can bet on individual performances as well. I'm targeting Elijah Moore to score a touchdown with beautiful +250 odds, as I think the Jets will have to play catch up from the opening quarter.
Drafted Elijah Moore again last night….it feels good every time. pic.twitter.com/MSndNWObNY
— TheOGfantasyfootball (@TheOGfantasy) September 1, 2022
Moore scored a touchdown in four of his final five games last year, emerging as one of the best young wide receivers in the NFL. Baltimore's secondary remains suspect, and Moore will have ample opportunity to cash in on this prop with a healthy dose of targets.
Even if we lose these bets though, we can't lose! Thanks to FanDuel's exclusive offer for Jets fans, that $150 in free bets is ours no matter what. Don't miss out on this chance to snag some free cash and get signed up before it's too late.


Bungie just dropped the news that the Destiny beta will be coming to PlayStation 3 and PlayStation 4 first.
It was announced at the PlayStation 4 launch event that Sony's systems would be the first to get a crack at Destiny's beta in 2014. Bungie unveiled a new trailer exclusively for the event, showing in-game footage of Destiny's Guardians using their skills and taking down mobs.
While the PlayStation 3 and PlayStation 4 might be getting access to the beta first, it's still unknown exactly how much of a head start Sony fans will have. We'll keep you updated as Bungie and Activision reveal more about their beta plans for Destiny. Until then, look forward to seeing more from the persistent-world shooter in 2014.


text:
La estación de Morlanwelz es una estación de tren belga situada en Morlanwelz, en la provincia de Henao, región Valona.

Pertenece a la línea  de S-Trein Charleroi.

Situación ferroviaria
La estación se encuentra en la línea 112 (Marchienne-Louvière).

Intermodalidad

Véase también
 S-Trein Charleroi

Referencias

Estaciones de ferrocarril de Bélgica
Charleroi


text:
Q: Python, pandas, cumulative sum in new column on matching groups If I have these columns in a dataframe:
a     b
1     5
1     7
2     3
1,2   3
2     5

How do I create column c where column b is summed using groupings of column a (string), keeping the existing dataframe. Some rows can belong to more than one group.
a     b     c
1     5     15
1     7     15
2     3     11
1,2   3     26
2     5     11

Is there an easy and efficient solution as the dataframe I have is very large.

A: You can first need split column a and join it to original DataFrame:
print (df.a.str.split(',', expand=True)
               .stack()
               .reset_index(level=1, drop=True)
               .rename('a'))
0    1
1    1
2    2
3    1
3    2
4    2
Name: a, dtype: object

df1 = df.drop('a', axis=1)
        .join(df.a.str.split(',', expand=True)
                      .stack()
                      .reset_index(level=1, drop=True)
                      .rename('a'))
print (df1)
   b  a
0  5  1
1  7  1
2  3  2
3  3  1
3  3  2
4  5  2

Then use transform for sum without aggragation.
df1['c'] = df1.groupby(['a'])['b'].transform(sum)
#cast for aggreagation join working with strings
df1['a'] = df1.a.astype(str)
print (df1)
   b  a   c
0  5  1  15
1  7  1  15
2  3  2  11
3  3  1  15
3  3  2  11
4  5  2  11

Last groupby by index and aggregate columns by agg:
print (df1.groupby(level=0)
          .agg({'a':','.join,'b':'first' ,'c':sum})
          [['a','b','c']] )

     a  b   c
0    1  5  15
1    1  7  15
2    2  3  11
3  1,2  3  26
4    2  5  11


With over 30 major expeditions to date, Mark Wood has reached the Magnetic North Pole, the Geomagnetic North Pole twice, has completed solo expeditions to both the Geographic North and South Poles and led a team on an ascent of Mount Everest. Mark Wood has been a part of major BBC and Channel 5 documentaries and over the years has trained and led people in the extremes of the planet.
In 2013, Mark Wood attempted a 72 day expedition to ascend Mount Everest. The remarkable part of this journey was that he connected to over 10,000 school children worldwide using mobile technology from the extremes of the mountain and in real time. Making Everest one of the most incredible and inspiring classrooms in the world.
In 2017, Mark Wood will attempt to summit Everest again to an extraordinary new level. Mission 8848 will connect with over one Million students. Using the latest cutting–edge cameras, 3d projections, 360 immersive and virtual reality technologies the climbers will connect through live-stream broadcast into over 8848 classrooms around the globe.
The reason is to demonstrate how modern day explorers operate, to encourage students to understand the effects of global warming and to inspire them to think differently about their own lives. This is more than just a walk on a mountain.
Mark Wood's own award winning documentaries have shown the life of dog teams in Alaska – a solo survival film in the extremes and more recently a complex cutting edge expedition film which explains the harsh reality of global warming and its effect on the Arctic Ocean as his team crossed to the North Pole.
Mark Wood shares his experiences through his leadership talks and focuses on the many similarities between the difficult challenges faced by organisations today and the challenges faced by explorers in very dangerous and hostile regions. Mark is able to deliver a highly thought provoking, inspirational and motivating speech to his audiences.
Documentary Film Maker, Author and Presenter.
Highly amusing and anecdotal, challenging and inspirational, Frank is renowned as one of the best motivational speakers around.
The Undercover Economist reveals the economic ideas behind everyday experiences, while he also writes op-eds, interviews and long feature articles for the FT.


text:
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Why control matters
Pitch management
Media performance
Commercial governance
Digital acceleration
DiPA™
TViQ™
OFCOM annual review – 10 key takeaways for media
By Andy Pearch, 13 August, 2018
READ TIME: 3-4 MINS
OFCOM's annual review of the UK communications sector is a hefty tome, weighing in at 93 pages, so if you don't have the time to read it, here are the 10 Key Takeaways for Media Planners, Buyers and Advertisers.
1. We are witnessing a power shift between local and global video platform providers. U.K. revenues for Amazon Prime and Netflix stand at £895m, subscribed to by 40% of households. Meanwhile, Pay TV revenues declined last year, an indicator that OTT video services are substituting Pay TV services. The jury is still out on whether OTT will become ubiquitous or will now start to plateau.
When it arrives, as it surely will, Amazon's free, ad-funded Prime will offer new opportunities for advertisers and create new competition for the UK's commercial broadcasters.
2. People are spending the equivalent of a day online each week, with the smartphone the internet device of choice for 78% of the population. Meanwhile fixed broadband has plateaued at 80%, which suggests online and mobile penetration have peaked. It is starting to feel like the days of easy growth are nearly over for digital advertising, and we are entering into a more settled period perhaps for the UK's traditional display media.
Expect to see digital budget increases receiving a "haircut".
A future thorn in Google's side, a potential game-changer for the radio industry, the smart speaker could also be the next big thing for brands if growth continues
3. Smart speakers (most of which are Amazonian) are now in 13% of UK households. From an advertiser perspective, these devices are highly versatile, able to carry standard linear ads, to implant addressable ads or to meet search requests. A future thorn in Google's side, a potential game-changer for the radio industry, the smart speaker could also be the next big thing for brands if growth continues and Amazon can surmount privacy concerns.
Every brand should be developing a strategy for Alexa.
4. Digital radio ownership stands at 64% and is about to overtake analogue radio penetration. 11% of adults regularly listen to a podcast each week, and 16-34s represent 49% of all podcast listeners. So TV is not the only media where 16-34s are carving out their own media repertoires, choosing between live, downloaded, streamed and owned content.
Listened to through headphones, podcasts deliver highly engaging content in an intimate way – a powerful combination for content creators and advertisers.
5. Whereas 95% of 16-24s have a smartphone, only 51% of over 55s own one. Whereas the highest growth in reach (+24%) for Facebook came from over 55s, its reach among 18-24s fell by 4%. In fact, Instagram will be used by more 18-24s than Facebook in 2018. It's becoming clear that millennials just don't want to be seen on the same platforms as their parents and grandparents.
As the inter-generational media consumption divide widens, to build awareness advertisers need to adopt a more segmented media planning approach.
Brands know very well that algorithms are not perfect and many advertisers are moving their ads back to more curated environments
6. Last year children's TV viewing fell (again) by 15%. YouTube and Netflix have higher brand recognition than BBC and ITV among 12-15 year olds. The next wave of consumers are used to getting what they want when they want it, but they are also being served content on an increasingly algorithmic basis. Brands know very well that algorithms are not perfect, and many advertisers are moving their ads back to more curated environments.
Better understanding children's perceptions of and responses to online advertising is an important issue where OFCOM and advertisers alike must show leadership.
7. The number of Soaps garnering audiences of 8 million or more has plummeted from 526 in 2011 to just 63 in 2017. By comparison, Drama has remained solid with 46 programmes achieving audiences of 8 million or more in 2011, which increased to 52 in 2017. As third-party funding for Drama from international sales will sustain the genre, the days of broadcasters investing in local Soaps may be numbered.
For media buyers, securing slots within Live Sport and First Run Drama are now absolutely key to drive reach for TV advertisers.
8. For the first time in 2018 women under 55 spent more time online than their male counterparts. 16-34 women and smartphones have powered this growth. Many advertisers have perceived the internet as a predominantly male domain.
There are clearly untapped opportunities for content providers and advertisers to engage with and monetise female audiences online.
9. Smartphone video advertising is now a £1.2 billion market in the UK. The online video advertising in total is valued at £1.7 billion. With the unstoppable rise of video advertising, desktop banner advertising spend was overtaken by video for the first time and is now in decline.
With advertising converging on video the premium on creative excellence has never been higher, and matching video content to the right choice of video format will emerge as a core media planning discipline.
10. Last but not least, the amount of time spent online on smartphones by the average Briton is 2 hours 28 minutes a day. This rises to 3 hours 14 minutes among 18-24s, exactly TWICE as much time as they spend in front of the TV. If you're reading this article on your mobile you're going to check your phone again in about 12 minutes time. The habitual and repetitive nature of smartphone usage is a phenomenon that brands are still learning to navigate.
With stats like these, brands should be investigating more closely the controls in place on their digital media buys to mitigate wastage.
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