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Communication » Media » Fictional Media Content
Media content takes many forms and is differentiated by code and convention, genre and technology. The term "content" refers to the nature of the representations that are communicated by media genres and technologies rather than the medium in which they are carried. Fictional media content is one such classificatory grouping, signaling a similarity in the nature of the content on the basis of its intended relationship to a given reality, regardless of the specific media genre or technology in which the content is conveyed. This type of media content has received varying degrees of academic attention in communication, media, and cultural disciplines.
Definitions And Forms Of "Fiction"
Etymologically, the term "fiction" derives from the Latin root fict-, which in its original usage referred to an activity rather than cultural content. However, in contemporary culture fictional media content refers to all media output that is not concerned with representing events or issues as they are lived or experienced in the real world.
Media fiction commonly refers to content with a narrative structure in contrast to the singular use of images, for example. Most commonly, this covers media content that takes the form of a story, ranging from literary novels to television drama. Some fictional content takes the form of a discrete, one-off story-narrative that can vary in length and is characterized by the introduction of a setting and collection of characters, a set of main events or developments in the plot, and a conclusion where the plot is resolved, such as in feature films, radio plays, and novels.
Alternatively, the narrative structure of fictional media can take an episodic form, where short sections of narrative are broadcast or published in succession. This would include soap operas or comics, where an indefinitely continuing narrative is constructed. Cast members may be introduced or may leave, but the core themes and settings of the program or publication remain the same. For instance, the British soap opera Coronation Street has run continuously since 1960. Other narrative forms of fictional content include the serial, where a story-narrative is divided into several episodes that build toward a conclusion in a final episode, commonly called a "series." The more popular series may introduce subsequent series using the same characters or themes. Televisual forms of these narratives are particularly lucrative as they can be released in DVD/VHS format.
Fictional media content involves many cultures of production, ranging from the relatively solitary to the collective. However, most fictional media production begins with a written narrative. In the production of fictional literature, this is the main stage of production and it is followed by an editorial process. The writing of fictional literature is traditionally conducted by a solitary writer; however, it is becoming increasingly common for popular fiction novelists to co-author work, for instance the popular fiction writer Clive Cussler has co-authored several novels with his son. Popular fiction of this kind has received popular and academic criticism for its tendency toward formulaic plots, encouraged by the commercial pressures of the publishing industry.
The production of fictional feature films and television fiction frequently involves the production of a written narrative. This takes the form of a script or screenplay and, like fictional literature, this can be produced by a single writer, or as part of a writing team. In fictional content for the broadcast media, this is the first stage of the production process. It is followed by the practical planning of the production process, including costing and location planning. Choices at this stage play a crucial role in determining key features of the finished fictional content. The creative construction of the fictional content is then further developed in the processes of production by various members of production teams including actors, producers, and directors. Similarly to fictional literature, this is then followed by an editing process.
Fictional content is determined in relation to its conventional conceptual opposite: factual content. Whereas factual content claims to naturalistically represent real-world events, as for instance in current affairs programming, representations involved in fictional content refer to invented happenings despite bearing the recognizable conventions of narrative meaning. This means that although fiction may have a recognizable referent, such as a person or event, that referent may never have existed in lived experience. For instance, although the British soap opera Coronation Street features a recognizable community in spatial and communicative terms, it has not existed, nor will it ever exist, outside of the televisual text. Fictional media content is also contrasted with factual content on the basis of its narrative structure, where fictional features such as plots, characters, and scenes are set against nonfiction mass media content that features a nonnarrative structure, such as the current affairs program, the news, or documentary.
The Legacy Of Literary Criticism
The distinction between factual and fictional media content has had considerable implications for the ways in which fictional content has been studied. The critical repertoire for assessing fictional content is largely derived from literary criticism. As well as providing evaluative terminology, such as labeling discrete representational content as "texts," literary criticism has shaped the critical attention paid to fictional media in important ways. It has institutionalized the separation of factual and fictional content and as a result fictional media content has since been evaluated in these dichotomous terms. The development of this division in the evaluation of written or dramatic content has been maintained and applied to new forms of media content as they have developed through the nineteenth and twentieth centuries.
Particularly in early media studies, this critical legacy is easily visible. Fictional media content has often been evaluated on the basis of form and internal structure in relation to other fictional forms. Their subversive and political potential was, in the early period of media criticism, largely overlooked given their perceived disconnection from the reality of public and social life. In contrast, nonfiction representations have been considered in their relation to lived reality and their representational attributes have only more recently become subject to investigation.
Although having a long history in literary criticism, this separation was shared by media studies as it emerged in the early twentieth century out of the social commentary and philosophy of the Chicago School. The focus on the mass media's role in political communication and participatory democracy resulted in the critical elision of fictional media content in early media studies in favor of a focus on the news and current affairs media. Fictional media content, like written fiction, was considered a superficial counterpart to the serious business of civic participation. The examination of media content was adjudicated through the criteria of realist aesthetics, espousing either recognizable political credentials or aspiring to an ideal of objectivity. Fictional media content, certainly in its most popular forms, could make precious few claims to these rationalist benchmarks of cultural value and so received limited critical attention until well into the twentieth century.
The second bequest of literary criticism is the distinction between popular and literary fiction. This involves superimposing a hierarchical framework onto literary texts, creating a canon worthy of critical attention with the others cast aside as mass entertainment. F. R. Leavis in the 1920s and 1930s is one such literary scholar who has propagated this distinction. A cultural pessimist, he decried popular genres with mass appeal, such as romance fiction, as evidence of a crisis in literary standards, in contrast claiming the qualitative value of particular "classic" forms. Ward (1989) tracks the associated pessimism regarding mass mediated culture emanating in large part from the Institute of Social Research in Frankfurt. The Frankfurt School positioned mass entertainment, which was largely fiction, as antithetical to political engagement. So, where literary criticism allowed for a canon of elite texts based on formal textual attributes, the Frankfurt School evaluated media texts on a similar conservative textual basis, casting the vast majority of fictional media as de-humanizing and appealing to the lowest common denominator.
In elite, conservative circles, attention to fictional media content was framed largely as fiction's potential to incite criminal or antisocial behavior in the working classes. Springhall (1998) discusses this form of critique in relation to anxiety over crime and gangster movies of the 1930s and their potential effect on the young. Popular concerns over the effects of fictional media content continue to be prevalent and are largely premised on the assumption that fictional media can elicit a direct response from their audience. For example, there have been moral panics over so-called "video nasties" and violent behavior in children, fuelled by a few high-profile criminal cases such as the murder of James Bulger in 1993. In Marxist circles, critique was framed rather differently, centering on potential inaction rather than unregulated behavior as popular entertainment was perceived as threatening the possibility of radical thought and public engagement.
Feminist Criticism
In contemporary consideration of fictional media content, the evaluative dimension of textual analysis applied to fictional texts has largely been abandoned, at least in academic circles, as a result of several related shifts. Feminist media theory, particularly in film studies, has been one of the central intellectual movements away from hierarchical frameworks of cultural value applied to fictional media content. It has attacked the lack of attention paid to fictional content and exposed the gendered nature of the omission. The division of fiction and nonfiction media content has not only been premised on the putative cultural value of fact and fiction, but on the gendered affiliations of those two forms. Masculine genres coalesce around nonfictional forms, particularly in terms of television and literary media, while fictional content, particularly soap opera and romance fiction, has been considered to be feminine in its modes of appeal. This gendered division has meant that feminist critique has loomed large in the intellectual consideration of fictional media content. Bearing many of the technical hallmarks of literary criticism, such as a focus on the text as a carrier of meaning, feminist media criticism has seriously considered previously ignored forms of popular entertainment as worthy of critical attention, evaluating fictional works not in hierarchical terms relating to their mass appeal but on the basis of their relative textual attributes and psychological or other benefits to the (female) consumer.
Some of the early work in this domain focused critically on the gendered nature of fictional media content, for example considering how stereotypes are drawn on and reified in the texts, comparing gendered reality with gendered representations. Much of the work on gendered stereotypes considered television soap opera and Latin American telenovelas as well as prime-time content. For example, Jenrette et al. (1999) give a comprehensive account of the stereotypes of Hispanic women deployed in daytime soap operas and measure them against their own account of Hispanic women. In the field of film studies, the gendered nature of fictional content was also receiving burgeoning attention. Mulvey (1975) has been central to this movement, repositioning the female critic in relation to the masculinized text. Here, fictional content is considered a dimension of political interaction rather than disconnected from everyday politics. The content of media fiction is seen as connected to everyday reality, bringing fiction and nonfictional realities into view of one another. Film theory has also provided a plethora of alternative frameworks for analyzing fictional media content including "auteur" theory, genre analysis, and narratology. These approaches share a resounding emphasis on the meaning of the fictional text in itself.
Cultural Studies Approaches
Cultural studies approaches to media content form a second strand of the critical assessment of fictional texts, involving a shift away from the meaning-inherent-in-text mode of analysis. This shift is not completely distinct from feminist media research, as many theorists belong to both intellectual fields. From the Birmingham Centre for Contemporary Cultural Studies emerged a new approach to media texts that emphasized a new relationship between the audience and the media text. This became known as the active audience approach. Hall et al.'s (1980) encoding/decoding model suggested that meaning does not inhere in the fictional text but is a result of a negotiation between the audience and the text. This theoretical development was a watershed in the consideration of fictional content. Rather than being considered as a reflection of a given reality, fictional texts were involved in its constitution. Fictional content in this sense is allocated an equally important role in the construction of lived reality as nonfiction, therefore legitimating fictional content as worthy of critical attention. Dethroning the formal properties of the text and contextualizing fictional content in everyday life has resituated fiction within lived experience.
This has positioned cultural studies as central in redressing the critical imbalance between fiction and nonfiction media content. Feminist theorists have been keen to exploit the new seriousness with which "female" genres are being considered. Hobson (1982) has considered the practical and imaginative pleasures of the soap opera Crossroads and Hermes (1998, 166) has suggested that consuming popular fiction can have as much potential in the articulation of cultural citizenship as traditional, masculinized forms of communication. This engagement with fictional content has not revolved solely around the everyday politics of gender. The politics of class and ethnicity alongside gender and their intersections have also been key features of the cultural turn toward fictional content. Fictional forms are seen as resources for the construction of plural identities and also as providing literal and imaginative space for their articulation. The polysemic nature of fictional content makes it suitable for appropriation as resources for resistance and the subversion of dominant ideologies. In this theoretical perspective fictional media content is afforded the same active potential for constructing progressive meaning as nonfictional forms.
Boundaries Between Fictional And Nonfictional Media Content
Alongside the rebalancing of fiction in its relationship with factual content, there has been a parallel challenge to the very nature and premise of this distinction. This involves retracing the boundaries between genres of media content, specifically documentary form and drama. In early work of this nature, features of fictional content such as narrative structure were considered to be migrating across formal boundaries, resulting in hybrid genres such as dramadoc and docudrama. The boom in "reality television" alongside historical content heavily reliant on dramatic techniques of reconstruction has intensified this debate, stimulating consideration of the implications of increasingly blurred boundaries between fictional and factual media genres. This has historically been met with pejorative accusations of falsehood and fakery in academic and popular forums (Petley 1996). Fictional imperatives of entertainment were perceived as compromising the validity of factual genres. However, this view is being revised, taking into account the constructed nature of both factual and fictional representational forms and problematizing outright rejections of cross-fertilization between factual and fictional genres. Winston, for example, suggests that previous accusations have failed to appreciate the "symbiotic connection between documentary and 'reconstruction'" (2000, 106).
Postmodern critics have taken this blurring of boundaries a stage further to suggest that any differentiation between factual and fictional content has been removed altogether and that a disconnection of representations from their referent, factual or fictional, has rendered any evaluation on the basis of a connection to reality impossible. In this sense the organizing principle of mediated content is pastiche, and simulacra replace authentic signs, making coherent narratives or claims to lived experience redundant. Accounts of past lived realities cannot be separated from fictions, rendering accounts of the past subject to endless play and limitless revision. In postmodern media studies, the integrity of the criteria of fictional and nonfictional content has been compromised. While postmodernist critique is useful in undermining the rigid adherence to the critical dichotomy of fact and fiction, clearly it does matter for many people whether we have accurate, credible reporting of wars or financial fraud, or whether the Holocaust is represented as myth by anti-Semitic revisionists.
A less radical response to the blurring of factual and fictional content has been to separate the notion of "truth" from fiction and nonfiction. The common-sense assumption that factual content can make claims to truth where fictional content cannot is reevaluated, particularly in respect of historical accounts. Rather than tying the notion of truth to life as it was lived, truth is about making a contextual meaning of the past that has efficacy and resonance in the present. Stella Bruzzi (2000) argues that in documentary there are two kinds of truth: the factual images that we see and the meaning that can be generated from them. The reality depicted in a documentary remains a representation and is more than a collection of facts; claims are made to broader truths beyond the boundaries of the literal textual content. In this sense, fictional content can also make truth claims. John Steinbeck's portrayal of the American dust bowl of the 1930s in the novel Grapes of wrath is perhaps one of the most moving and "truthful" evocations of the historical moment of the Depression. It makes sense of a period that speaks beyond those fictional experiences to a broader sense of truth. In contemporary filmic forms debates move away from the "facticity" of dramatized history to the nature of the truths that emerge. Spielberg's historical drama Schindler's List and Lanzmann's documentary Shoah have been subject to these debates over claims to truth.
The relationship between fictional and nonfictional media content is becoming increasingly complex, but the intensifying intellectual debates surrounding it are generating ever more nuanced and sensitive accounts of media content and the politics of its classification and evaluation. This increased critical attention in terms of both importance and definition of fictional media content has re-charted traditional attributions of value in media studies and forced the categorization of media forms to be substantially revised.
Bruzzi, S. (2000). New documentary: A critical introduction. London: Routledge.
Hall, S., Hobson, D., & Lowe, A. (eds.) (1980). Culture, media, language: Working papers in cultural studies, 1972 –79. Birmingham, UK: University of Birmingham.
Hermes, J. (1998). Cultural citizenship and popular fiction. In K. Brants, J. Hermes, & V. Zoonen (eds.), Media in question. London: Sage.
Hobson, D. (1982). Crossroads: The drama of soap opera. London: Methuen.
Hoggart, R. (1957). The uses of literacy. London: Chatto and Windus.
Jameson, F. (1991). Postmodernism, or, Cultural Logic of Late Capitalism. London: Verso.
Jenrette, J., McIntosh, S., & Winterberger, S. (1999). "Carlotta!": Changing images of Hispanic-American women in daytime soap opera. Journal of Popular Culture, 33(2), 37– 48.
Leavis, F. R., & Thompson, D. (1937). Culture and environment: The training of critical awareness. London: Chatto and Windus.
Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 6 –18.
Petley, J. (1996). Fact plus fiction equals friction. Media, Culture and Society. 18, 11–25.
Springhall, J. (1998). Censoring Hollywood: Youth, moral panic, and crime/gangster movies of the 1930s. Journal of Popular Culture, 32(3), 135 –154.
Steinbeck, J. (1939). Grapes of wrath. London: Heinemann.
Ward, K. (1989). Mass communications and the modern world. Basingstoke and London: Palgrave Macmillan.
Winston, B. (2000). Lies, damn lies, and documentaries. London: BFI.


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verb (used with or without object), o·ver·pro·duced, o·ver·pro·duc·ing.
to produce in excess of need or stipulated amount.
Others who, because of a tumor in the pituitary gland, may overproduce HGH develop a different problem: gigantism.


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Iranian Journal of Medical Law
Announcement: Holding the "National Conference on Crime Prevention and Medical Malpractice" was postponed to a later date
| Post date: 2017/02/22 |
Public Relations Department of Medical Council of Islamic Republic of Iran announced that the holding of The "National Conference on Crime Prevention and Medical Malpractice" on 4 and 5 March this year have been canceled and will be held in May 2017. The venue and exact date will be announced later.
The Department of Public Relations
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The appointment of Ms. Tara Mohseni as the Executive Director for Journal of Medical Law
The appointment of Ms. Tara Mohseni, the Executive Director Journal of Medical Law
Doctor Mahmoud Abbasi - Concessionaire and managing director of the Journal of Medical Law and the head of Scientific Association of Medical Law, has appointed Ms. Tara Mohseni, Master's in Public Law of Tehran University, as the executive director for the scientific-research Journal of Medical Law. He expressed his hope that with her benefit of existing capacity in duties she would be successful and will provide improvements in scientific status of the journal.
Announcement of the next national conference on Prevention of Medical Malpractice and Crime
Doctor Mahmoud Abbasi - The Head of the Iran's Association of Medical Law and Scientific Secretary of the National Conference on Prevention of medical malpractice and crimes has announced announced the convening of this conference in March 2017.
The Iran's Association of Medical Law in partnership with the Medical Council of the Islamic Republic of Iran (IRIMC) and the Department of Social Affairs and crime prevention of the judiciary will held the conference at 22-23 February 2017 in the judiciary's conference-hall based in Tehran.
Topics of the conference include:
The causes and factors o medical malpractice and committing crimes
The role of ethics in prevention of medical malpractice and crimes
Guild and professional dimensions of prevention of medical malpractice and crimes
Prevention of medical malpractice and crimes: Strategies and Solutions
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The Iranian Scientific Association of Medical Law
Medical Law and Ethics Research Center
The Union of Scientific Associations of Iran Law Group

redpajama_set_name: RedPajamaCommonCrawl


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Q: JSDoc3 & NodeJS link to types from modules I try to find how to let JSDoc3 automatically generate links to classes from other modules.
I find it hard to explain in words, so let me give some examples. The following script generates the expected output:
/**
 * @constructor
 */
var SomeClass = function(){}

/**
 * @param {SomeClass} someParam description
 */
var someFunc = function(someParam){}

That is, JSDoc3 correctly generates a link from the parameter list of someFunc to the class description of SomeClass. However, when I put SomeClass in an external module I can't seem to let JSDoc3 generate the links:
/**
 * @file SomeClass.js
 * @module SomeClass
 */

/**
 * @constructor
 */
exports.SomeClass(){}

/**
 * @file main.js
 */
var SomeClass = require('./SomeClass');

/**
 * @param {SomeClass} someParam description
 */
function someFunc(someParam){}

Now JSDoc3 correctly generates the documentation for both files, but it doesn't link the parameter type of someFunc to the page of SomeClass. I tried replacing @param {SomeClass} with:

*

*@param {SomeClass.SomeClass}

*@param {SomeClass/SomeClass}

*@param {@link SomeClass}

*@param {@link SomeClass.SomeClass}

*@param {@link SomeClass/SomeClass}
But none of these worked: in all cases the documentation simply shows the text inside the curly brackets (even when I used @link).
How can I let JSDoc3 correctly generate links to the external modules?

A: Use the module: prefix when referencing modules. If the module's return value is the class itself, then use module:SomeClass. If it is a property of the module, use module:SomeClass.SomeClass. The @link tag shouldn't be necessary if jsdoc can find a reference to the existing class documentation.

A: Use typeof import
    /**
     * @param {typeof import("puppeteer").Browser} browser
     */

Docs here

redpajama_set_name: RedPajamaStackExchange


text:
News that Formula 1 has dropped its titillating 'grid girls' has received widespread media coverage. Which prompts me to republish the photo above. It first appeared two weeks ago in my article about the Marrkaech ePrix. This was a round in the emission-free Formula E motor-racing series that uses electric power for its cars. Instead of the traditional grid girls Formula E uses post-millennial 'grid kids' as seen in my photo. Formula E is a laudable exercise in showing there is life beyond fossil fuels. Oil is one our valuable natural resources and quite rightly considerable attention is focussed on its preservation; just as attention is focussed on the despoiling of other natural resources such as forestry and water reserves. But puzzlingly little attention is paid to the sustainability of those grid kids. We have forgotten that this young generation is our most valuable resource, because without them growing into wise and responsible adults there will be no need for oil, timber or water resources.
While in Marrakech for the ePrix I was exposed to thought-provoking polarities. During the day I was immersed in the high-tech world of Formula E. In the evening I was a guest of followers of the saint Sidi Muhhamad Ibn Al-Habib at a Sufi dhikr. This two hour remembrance of the power of the divine is rooted without compromise in traditional Islamic mysticism. Yet during the dhikr youngsters of all ages appeared and left seamlessly and silently. An elder explained that this Sufi group particularly focussed on engaging young Moroccans, who otherwise could fall into the polar opposite gravitational fields of Western materialism or Wahhabi extremism. There are countless other faith and non-faith groups doing similar priceless work with young people around the world. But they are in the minority; so increasingly our most valuable natural resource is being despoiled needlessly and thoughtlessly.
Today the young generation is seen as no more than an exploitable and dispensable market. This is a trap, incidentally, that Western classical music has fallen into by treating the 'young audience' as nothing more than a fungible commodity to be traded advantageously for the less valuable and shamefully derided 'ageing audience'. Pre-emptive disclaimer: I am no fan of Trump or Brexit. But as I read on social media the daily hate-filled anti-Brexit and anti-Trump rants by members of my generation - the baby boomers - I despair at the example that we are setting to the youngsters who will inherit the divine - or otherwise - global kingdom. My generation gave the world grid girls, David Cameron, Donald Trump, Hilary Clinton, Tony Blair, Facebook and Twitter, not to mention Bashar al-Assad, Osama bin Laden and Abu Bakr al-Baghdadi. Surely those youngsters in my photo deserved better than that.
Posted by Pliable at Saturday, February 03, 2018
Labels: Abu Bakr al-Baghdadi, Bashar al-Assad, Brexit, david cameron, Donald Trump, Formula E, Hilary Clinton, marrakech, osama bin laden, Sidi Muhhamad Ibn Al-Habib, sufism, tony blair
Synchronicity - http://www.bbc.co.uk/sport/formula1/42950040
Graeme said...
So Mozart's Requiem was commissioned by a noble who wanted to pass it off as his composition. The deception didnt work
Glad you highlight the hypocrisy. If reducing CO2 emissions is really worthwhile why does Formula 1 continue? The real answer is that climate science compared with physics is that climate science is about 1400, but without the cultural overlays that would makeitm useful


So, uh. It's been a while?
Yeah, yeah it definitely has. Where have I been? Well. Within the past month, I've graduated college, finished my bachelor's (two, plural!) degrees in Communication Disorders and Spanish, turned 22, and been celebrating to be quite honest. It's been a busy month, busy year, and I'm hoping now that it's not so crazy I'll have… Continue reading So, uh. It's been a while?


This week, Boston College released this information which details its records from the most recent fiscal year, which stretches from June 1, 2014 to May 31, 2015. With the completion of his first season as the head coach of BC men's basketball came the release of Jim Christian's 2014-15 salary. According to the University's Fiscal Year IRS Form 990, Christian, who was hired in April 2014, received a salary almost twice that of his compensation at Ohio, the school he worked at prior to BC.
Christian received a base salary of $930,215, with a total compensation of $1,140,225 when including various additional fees, according to the 2014-15 report. That's about a $100,000 increase from Steve Donahue's salary in his final year as head coach at BC. Donahue, however, still appears on the report. He received $685,234 in total compensation as a result of his firing on a six-year contract.
Director of Athletics Brad Bates and football head coach Steve Addazio received similar salaries to their first year on the books. Bates' total compensation was $643,739, a $50,000 decrease from 2013-14—however, Bates received nearly the same salary ($516,715 in 2014-15 vs. $516,701 in 2013-14). Like Bates, Addazio also had a slightly lower total compensation. His $2,333,628 intake in 2014-15 was $200,000 less than what he earned total in 2013-14. Yet, also like Bates, his base salary remained mostly the same ($1,890,130 in 2014-15 vs. $1,810,964 in 2013-14). For the second year in a row, Addazio was the highest-compensated employee at BC.
The biggest jump in compensation went to men's hockey head coach Jerry York, who signed a contract extension in December 2013 that kicked in after 2013-14 and will last until the 2019-20 season. York earned a base salary of $491,259, yet received $677,311 in "other reportable compensation." That, combined with other figures, led to a final total of $1,249,617. That total represents a 100 percent increase from his 2013-14 compensation of $626,953.
For the first time since he was fired in 2010, former men's basketball coach Al Skinner was not on the books in 2014-15. He was paid $585,069 in 2013-14, the fourth consecutive year he had been paid after leaving BC.
The section of the 990 that includes the compensation for BC's 20 highest-paid employees, however, ends in December 2014 at the conclusion of the calendar year. An employee's total compensation is calculated by the combination of what is reported as base compensation, "other reportable compensation," "retirement and deferred compensation," and nontaxable benefits. Federally tax-exempt organizations such as BC are required to fill out Form 990s with the IRS every year. BC's full 2014-15 report can be found here.
Carefully read the form. It only includes the top 5 paid employees not top 20. The 20 listed are those required to be reported for other reasons. There may well be employees between #5 Bates and the next listed one Zona.


text:
Crayon with AWS to Help Customers Leverage the Cloud
September 2, 2020 September 2, 2020 Digitaltech Media
With the aim to bring innovation to clients faster, and help them best leverage the transformational power, economics, and agility of the cloud, Crayon has signed a Strategic Collaboration Agreement with Amazon Web Services (AWS).
Enterprise customers are seen achieving their target business outcomes faster by transitioning to a modern, optimized, cloud-based model, thanks to their reliance on AWS. Crayon on the other hand has a strong track record in migration strategy, implementation, total cost optimization, and cloud economics services.
This alliance will help customers not only have a best-in-class service team but also understand the software and infrastructure they have and how to best manage their overall IT estate once they are operating in the cloud. According to both Crayon and AWS, this latest collaboration will benefit customers wanting to optimize their overall IT estate utilizing best practices in their cloud adoption framework.
Gartner predicts that spending on cloud infrastructure will grow by nearly 60% in the next two years, while investments in data center systems is projected to decline. Understanding that organizations will have to be smart about their IT investments, Crayon will provide the guidance, tools and expertise to properly manage costs, governance and security in the cloud.
Crayon Group CEO Torgrim Takle believes that collaborating with AWS has been a part of its strategy to build an even stronger commitment to its customers' success. "Alongside AWS we will deliver services to enable our customers to digitally transform, achieve operational efficiencies, and maximize cost optimization to strengthen their performance. Putting the customer first is in the DNA of Crayon and AWS, and together we will serve more organizations worldwide with world-class solutions," he said.
The digital transformation services leader has spent the last several years developing and diversifying its cloud services offerings.
Citing this collaboration with AWS as a natural & mature progression, Crayon India CEO, Vikas Bhonsle said that the company caters to customers including large global enterprises that are leaders in their industries. "Crayon is dedicated to help customers in achieving impressive cost savings while building scalable infrastructure and make digital and cloud transformation feasible for many applications and industry sectors today. This is a fantastic approach and this new move will inspire more Customers to make good use of our Strategic Partnership."
Expressing delight in having collaborated with Crayon, Doug Yeum, Head of Worldwide Channel and Alliances, Amazon Web Services, Inc. said that the partnership will continue to guide customers through their cloud adoption journey. "Crayon has demonstrated a longstanding commitment of putting customers first and helping them find effective ways to optimize the costs of their IT spend." Crayon caters to customers from more than 45 countries spanning Europe, the Middle East, Africa, North America, and the Asia-Pacific region.
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Using our animal templates and all the fabrics and buttons they need, the children compose and create their own cuddly toy!
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If you are a paid up member of SHYAC for 2010 then the cost is $10, otherwise $15 for non-members.
SHYAC members pay $10 audition fees, non-members $15. You can join SHYAC online at this website or pay on the audition day.


Wow, nearly famous, we are featured on Boho Weddings website catering for Sam and Louise's Wedding!
Welcome to the online home of Chocolate Fairy Catering by O'Neils, probably the most versatile caterers in Lincolnshire. Chocolate Fairy Catering by O'Neils is a caterer in Boston, Lincolnshire run by Fran Williams who is an experienced catering organiser and has famously demonstrated her wares at the same events as kitchen greats such as James Martin (see our gallery).
Based in the heart of historic market town Boston, Lincolnshire we have established ourselves as reliable and reputable caterer. Don't take our word for it, see what our clients have to say about us - testimonials.
Chocolate Fairy Catering by O'Neils are able to take care of all your requirements. We quickly build a fantastic rapport with our clients which makes sure you get the products and services perfect for your event whether it's a children's party, cocktail party, private dinner party or a stately home event.
Attending to our clients every need means that you will be able to sit back and relax whilst we sprinkle our fairy dust to make sure your event will be everything you had envisioned it to be and most importantly, stress free and a good job.
Special dietary requirements, allergens and intolerance guide can be found on our Sample Menu page.
To discuss your needs contact us or email Fran by clicking here. Thank you!
3) You enjoy your seamless event!
Check out our news section for our latest announcements.
Chocolate Fairy Catering by O'Neils has been established since 1993, enjoying more success and scope each year. The business is headed up by Fran Williams who comments: "Chocolate Fairy Catering by O'Neils offers a professional approach and the highest standards at all times. Expertise will be offered in all aspects of planning your event, no matter how large or small, formal or informal, which is why the company enjoys such an excellent reputation and we are ambassadors to perfection."
On this website you will find guidelines, menus and detials of services we offer, but of course you will wish to discuss this in more detail and we welcome your ideas. Need a quote for your specific event and budget? Just contact us.
Chocolate Fairy Catering by O'Neils in Boston, Lincolnshire offers quality food, always using the finest ingredients and freshest products including using local produce wherever possible. Fran continues: "We offer a friendly and enthusiastic service, consistently exciting new ideas and no detail spared on presentation!"


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Archive for August 1st, 2011
Mountain road to Darjeeling
Posted in Darjeeling, India, Memoir, Travelogues on August 1, 2011| Leave a Comment »
It was late afternoon when I climbed into the back of the jeep in Siliguri, having paid a mere 92 rupees ($2.25 Australian) for my seat. After settling in and stretching my legs on the surprisingly comfortable bench, I was soon forced to shuffle over to make room for someone else. It seemed that, in fact, 92 rupees bought only half a seat. This was going to be a fun ride.
I had flown into Bagdogra airport that afternoon, one of the few destinations in West Bengal for budget airlines. The flight was stunning. Heading east from Delhi, the plane's path tracked the line of the Himalayas, bathed as they were in bright sunshine; below, the yellow dust and fecund green of the great Gangetic plain lay dry, flat and ancient.
From Bagdogra, I had taken an autorickshaw into Siliguri – the nearest major town, situated roughly twenty minutes away. The drive took me past tea plantations and the roadside workshops of countless cottage industries; carpenters, woodcutters, masons, banana sellers. It was a lush and moist landscape; a welcome sight after the dusty dryness of Rajasthan and the baking heat of Delhi.
It took roughly half an hour for the jeep to fill and we set off immediately afterwards; around four in the afternoon. There were thirteen people inside: four across the front seat, four in the middle, including a pedigree Pekinese called Nora, and four huddled into the back with me. They were an interesting mix of Bengalis, Gorkhas and assorted other ethnicities. Already, just waiting around in Siliguri, I had noticed quite a number of people with very Asiatic features; some passably Chinese and others who struck me as ethnically Nepalese or Tibetan. A young Gorkha couple sat opposite me, the lady wearing a gorgeous bright blue sari, and something told me they were newlyweds. They had an air of amorous conspiracy that made one want to wish them well. I sat quietly in the back, smiling and nodding to everyone, then got on with listening to my iPod and shooting video through the open window.
After half an hour driving through a forest flashing with sunset, we reached the foothills of the Himalayan mountains. The road narrowed and began to wind, and very rapidly, the landscape changed in character. The dry, bright green and yellow-leaved forest had been cleared from the slopes and terraces to make room for tea and wheat. The rich soil was dotted with quaint, modest dwellings amidst fields made tropical by the occasional spray of banana leaves. Behind it all, the sharp rise of the mountains halted in a nightcap of fog.
Soon our driver brought us to a roadside bungalow, crowded about with other jeeps. He pulled in and hopped out, muttered something, then set off with his henchman into the bungalow. I climbed out from the back of the jeep, walked over and peered inside. It was a diner of sorts and, despite having stood around in Siliguri for half an hour before our departure, it seemed our driver was about to have his dinner. I shrugged and smiled at the ways of the world, then followed the lady with the dog as she wandered off down the road.
The slope rose sharply to the left of our heading; huddled with squat, dark and damp tea-bushes. Even here, at less than six hundred metres elevation, mist had begun to creep down in the cooling mountain shadow. A few workers were still in the fields, though they seemed, at this time of day, to be merely passing through. I took some photos, watched the men waiting by the jeeps, then sat down on the roadside to stare into the valley below.
I was soon roused by the sounds of an argument. It seemed our driver had finally returned to the vehicle after forty minutes and something was up. I assumed it was the length of the delay causing trouble, as none of the passengers had wanted to eat and were all waiting to leave. I wandered back over and stood to the side, watching. Despite not understanding what was being said, with the argument being conducted mostly in Hindi, Gorkha and Bengali, I soon determined that the dog cage of the Pekinese had fallen from the roof of the vehicle at some point on our journey and now seemed irretrievably lost.
The driver and his henchman were very defensive at first, almost dismissive. Yet, when the argument was joined by several other passengers, who cornered the driver and his sidekick to press their demands for justice, the response changed dramatically. One chap in particular, a very tall man with Han Chinese features, took up the lady's cause and argued a strong case against the driver. I could only determine this from his gestures, from his tone and air of authority, yet whatever he was saying, he was saying it very well. It was his championing of her cause that really got the driver scared. Being lectured in his native Gorkha tongue seemed to turn the tables on him, and, when he realised that he might be held financially accountable, he seemed to panic. He ran across to all the other jeep drivers, asking if any had seen a dog-box. He got on the phone, frantically calling people in Siliguri to see if the dog box had been left behind there. I gleaned from occasional English usages that the box was valued at around 2500 rupees, almost 75 dollars; a princely sum for any working-class Indian. Needless to say, the dog box was not to be found.
With all the passengers now deeply restless, we finally piled back into the jeep and set off again. The tall man had been sitting next to the driver in the front seat, and so he was for the rest of the journey. The multi-ethic, multi-linguistic debate had not stopped at all, but continued for another hour in the vehicle. I was impressed by the quiet dignity of the woman whose cage had been lost. She never raised her voice, and spoke with a polite and stern measure. The driver went very quiet; clearly downtrodden and pondering his liability. I began to feel sorry for him as it was a debt he could never afford to pay, and I doubted his bosses were likely to take responsibility. I still wonder whether or not he was ever held to the debt, or indeed, if the box was found.
Meanwhile, I returned to my iPod and stared through the jeep's back window. Now almost five thirty, the equatorial sun was in rapid descent and, as the elevation rose sharply, we entered the mist and cloud. The mountain road was potholed and open to a steep slope; crisscrossing it at various points ran the tracks of the so-called toy train; a narrow-gauge steam-engine which began operating in 1881. It was now merely a tourist attraction and slowly chugged its way from Siliguri to Darjeeling. The journey could take up to ten hours, and I'd read that it moved so slowly it was possible to hop off and shop, then catch up and hop back on.
The darkness settled in rapidly, as did the mist. By six o'clock, we were driving through a cold, white fog, backlit with the last reflected light of the sky. Through the back of the jeep, the road swung and wended, and soon the headlights of other jeeps began to sweep across the bends in the road. As the night took hold, we reached the half-way mark; entering the town of Kurseong. It was little more than a single strip of houses and shops, backed against the rising slope of the mountain. The wooden doors and stock bins of the shop-fronts sat tight on the railway tracks; barbers, grocers, cobblers, knitwear vendors, chai wallahs, and the ubiquitous general stores of India. Everything was just a little shabby like the road; damp and plundered daily by the weather.
The main, and seemingly only street, was clogged with traffic and we slowed to a crawl. I watched bearers carrying huge loads alongside us; straps hoisted up around their foreheads to take the strain on the heads. I watched a young man being shaved in a faded pale-blue barbershop; his face padded softly with a large sponge. A young Gorkha man did his hair in the window, checking and re-checking his fringe. The moustached hot-food seller behind a glass case full of samosas eyed the jeeps suspiciously, wondering why we stared yet did not stop to eat. It was clear that we had entered a different ethnic zone. This was the beginning of Gorkha-land, something broadly proclaimed in neat, functional graffiti on various walls.
We soon edged past the toy train's shed; the only place where the town appeared to spread out across the small, flat ridge along the slope. As we left the town, the shops and houses rapidly thinned until there were no permanent dwellings on the roadside. In their place sprang up a line of small wooden stalls; mostly covered in fruit and vegetables; lit only by oil lamps and candles. It had an ancient quality about it; such oil lamps and tapers have been lighting market stalls for thousands of years. The heavily shadowed faces that peered in chiaroscuro were mostly local Gorkha people, yet occasionally the darker-toned, heavier features of the Bengalis were apparent.
With Kurseong behind us, the road became once more a potholed, narrow curve around the mountain. I went into an even quieter mood, skipping the more upbeat tunes on my iPod and settling instead for more meditative music. Beethoven, Mendelssohn, Bach, Chinese traditional musicians, Pink Floyd. I felt a great welling of emotion within me as I stared through the scratched glass of the back window, watching the swinging headlights from those following. I was missing a girl I had farewelled in Rishikesh; I was missing the lost possibilities of a girl; I was missing something so utterly different to where I now was, that I felt only the loss but not the desire for what was lost. For in truth, nothing had prepared me for the beauty of this ride. That it could be so uncomfortable, so cramped, so cold, so dark and so much longer than expected, and yet, so compellingly beautiful, was a fortunate paradox.
When my iPod randomly offered up "This is Hardcore" by Pulp, this new, sad mood reached its zenith. The brooding, almost menacing creep of the keyboard – melancholy tinged with anxiety – the sexy noir of the lyrics, the sadness of a loss from which there is no return – all these elements were apparent. As the lengthy song reached its quiet break before concluding, I was overcome with emotion.
"This is the eye of the storm.
It's what men in stained raincoats pay for.
But in here, it is pure, yeah.
Oh this is the end of the line.
I've seen the story line
played out so many times before…"
Indeed, I whispered to myself. "This is hardcore. There is no way back for you."
And the jeep drove on through the thick fog; spotlighted in the sway of those jeeps that followed. The train tracks that had for so long, resolutely stuck to the side of the road, now seemed regularly to cross it, from one side to the other. Then, just as the tracks settled once again against the inner slope, we caught up with the train. Its steam engine chugged and puffed, and as we passed, the driver let out a great whistle; an ancient train in a more ancient land, singing like a lost soul in the heavy fog. Unexpected, and, in the dark, unseen by the others, I began quietly to shed tears.


Who is eligible to participate in Maine Adaptive programs?
Maine Adaptive programming is open to children and adults with a variety of disabilities. Check out our Guidelines for Participation on the Participate Page for details.
Does Maine Adaptive offer more than skiing?
Yes! Even though we are widely known for skiing, we do so much more. In the winter, you can join Maine Adaptive for skiing, snowboarding, Nordic skiing, and snowshoeing. If you are looking for summer activities, join Maine Adaptive for golf, cycling, tennis, paddling, or climbing.
How much do lessons with Maine Adaptive cost?
Nothing! All lessons with Maine Adaptive are 100% free of charge -- winter and summer – including your lift ticket/trail pass, your equipment, and the instruction you will receive.
No. Maine Adaptive has equipment to fit many shapes and sizes. We are ready to find the right equipment for your needs. If you already own your own equipment, you are welcome to use it during your lesson.
How do I get involved in Maine Adaptive programs?
Getting started is easy! All of the forms you need to get started with us are just a click away. Check out the Participate Page for more information.
What is a typical lesson with Maine Adaptive like?
All of the lessons at Maine Adaptive are taught by experienced and trained volunteers and stress safety, fun, and learning. When you arrive for a confirmed lesson, you will need to check-in. Check in with us at our meeting location, and our staff and volunteers will make sure you have what you need. After everyone has arrived, you will be paired up with volunteer instructors for your lesson. Talk to those volunteers about your goals for the lesson – they are there to work with you. You and your volunteers can decide when to take breaks or stop for lunch. At the end of your lesson, you can return any equipment you used and any trail pass you checked out. This is also a good time to talk to your instructors about your goals. Did you meet your goals for the lesson? What do you want to work on next time?
Do you have directions to the different Maine Adaptive programs?
Directions are available to all regular Maine Adaptive programs on the Directions Page.
Is transportation available to Maine Adaptive programs?
Transportation to all activities is the responsibility of the participant. The goal of Maine Adaptive is to get individuals active, so they can enjoy sports with their family and friends independently. However, one way people get to lessons is by carpooling with volunteers or other participants. We can provide you with the names and phone numbers of people in your area that would be willing to provide transportation. All you have to do is contact us!
What do I do if I need to cancel my lesson with Maine Adaptive?
Just pick up the phone and call us at (800) 639-7770. We understand that life is unpredictable and you may need to change your confirmed schedule. We ask that you contact us at least 24 hours in advance so that we can fill your lesson space. Our phone is always on – feel free to leave a message.
How will I know if Maine Adaptive cancels lessons because of weather?
Maine Adaptive only cancels lessons in the case of unsafe conditions. If you think this may be the case, call the office at (800) 639-7770 to hear any cancellation information. The machine is updated by 6:00 AM if lessons are cancelled for the day. If we are still holding lessons but you do not want to travel in the inclement weather, just leave a message letting us know.
You can also sign up for automatic alerts through a variety of services: By signing up with Rained Out you can receive a text message in the morning if we have to cancel. To register, all you need to do is text MaineAdaptive (no space) to 84483 from your cell phone. You will not receive anything other than cancellation notices, no spam.
code that you will need for the next step).
If you are already using Twitter, we will post on Twitter at the same time as we text out the alert. Just follow us @maineadaptive.


I'm sorry to hear that you're having some trouble. I'm a bit confused by your terminology "Link Editor". To me "Link Editor" refers to the dialog box that opens up when you click on the chain link icon on your text toolbar.
Are you perhaps referring to your HTML Editor? Can you please share with us your code or the page where you have tried to set this up?
Hopefully, we'll be able to get this sorted out quickly.


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IN BLANKSTARE NEWS: Did you start going gray … last year?
the average American woman says she feels four years older after the stress of last year. 65% of the women surveyed said they believe 2020 aged them more than ever – and that includes going gray.
Seems for many women, the color of 2020 was gray. A new OnePollsurveyfound that the average American woman says she feels four years older after the stress of last year. 65% of the women surveyed said they believe 2020 aged them more than ever – and that includes going gray. 52% said they've gone gray faster in the last year than they would have, and 42% said they discovered news strands of gray in their hair in the last year. 46% of those said it was the first gray hairs they'd ever had. The survey, which was commissioned by Garnier, found that 33% of respondents said they dyed their hair at home during the pandemic – with 88% saying they did it to cover up their grays. 44% said they colored their hair just to make a change and another 32% said they tried a new color because they were bored.
About T-Roy
Want to know more about T-Roy? Get their official bio, social pages & articles on iHeartRadio!Read More


text:
FA, Premier League and EFL agree on a plan for overseas transfers post-Brexit
Herts' Headlines
Football authorities agree on plan for overseas transfers post-Brexit
By Ryan Gray @ObserverRyan Senior Sport Reporter
William Troost-Ekong joined from Udinese in the summer. Picture: PA
Football authorities have agreed a plan of entry requirements for overseas players with the Government under the United Kingdom's post-Brexit system.
The Football Association, the Premier League and the English Football League submitted a Governing Body Endorsement (GBE) proposal last month, which has now been approved by The Home Office.
For more Hornets updates visit our Watford FC news Facebook Page
The criteria will provide the framework for clubs to sign overseas players when the UK leaves the European Union after December 31.
Post Brexit, players from EU countries will be required to gain a GBE, like the work-permit system for other overseas players.
The GBE will operate a points system based on senior and youth international appearances, club appearances and the quality of the selling club and its league.
Players accumulating the requisite amount of points will earn a GBE automatically, while players just below the threshold may be considered for a GBE by an Exceptions Panel.
The UK's exit from the EU will also mean that clubs will not be able to sign players from overseas until they are 18.
Premier League chief executive Richard Masters said: "Continuing to be able to recruit the best players will see the Premier League remain competitive and compelling and the solution will complement our player development philosophy of the best foreign talent alongside the best homegrown players."


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Menu Hall of Fame
Nomination Criteria
J. Michael Plumb
Class Of 2008, Olympian
| HALL OF FAME BIO
Name: J. Michael Plumb
Sport: Equestrian
Event(s): Cross-Country, Dressage, Jumping
Birthplace: Islip, N.Y.
Hometown: Syosset, N.Y.
High School: The Millbrook School (Millbrook, N.Y.)
College: University of Delaware
Seven-time Olympian (1960, 1964, 1968, 1972, 1976, 1984, 1992); six-time Olympic medalist (2 golds, 4 silvers)
Tokyo 1964, silver (mixed three-day, team)
Mexico City 1968, silver (mixed three-day, team)
Munich 1972, silver (mixed three-day, individual)
Montreal 1976, gold (mixed three-day event, team), silver (mixed three-day, individual)
Los Angeles 1984, gold (mixed three-day event, team)
Personal: Son of Meem and Charles Plumb...Grandfather and parents were all horsemen...Began riding at the Meadow Brooks Hounds Pony Club...Played quarterback for his prep school football team...Was voted U.S. Combined Training Association Rider of the Year 10 times...Taught horseback riding and trained horses...Was named one of the 50 most influential horsemen of the 20th century by "Chronicle of the Horse"...Father of three sons, Hugh, Matt and Charlie...Son Charlie is a horseman and his other two sons are racecar drivers.
John Michael Plumb is a seven-time Olympian and six-time medalist in the equestrian sport of three-day eventing. Born in Islip, New York, Plumb was raised by parents who were both equestrians, and he fell in love with the sport at a young age. In 1959, Plumb began his international competitive three-day event career at the Pan American Games in Chicago. He would go on to win three Pan American Games gold medals throughout his career. Beginning with his first Olympic Games in 1960, Plumb was selected to the U.S. team in every Games through 1984, and then again in 1992, becoming the U.S. Olympic athlete with the greatest number of appearances in any sport at the Games. He won his first Olympic medal at the Olympic Games Tokyo 1964 in team eventing, winning silver on a horse he had never previously ridden in competition. Plumb would win five more Olympic medals throughout his career, two gold and three silver, in team eventing and individual evening. After retiring from competitive eventing, Plumb was inducted into the U.S. Eventing Association Hall of Fame. He was also the first equestrian inducted into the U.S. Olympic Hall of Fame.


Understanding your debt-to-income ratio will help you become creditworthy.
Have you ever applied for a loan and been told that your debt-to-income ratio was too high? You may have wondered what that meant. Your debt-to-income ratio is the portion of your income that goes to debt payment, and it is a key component of creditworthiness. Lenders consider debt-to-income ratio along with credit score when deciding when to approve a loan.
In this scenario, the debt to income ratio is 39% ($1,475/$3,800.
Many lenders prefer a debt-to-income ratio below 36%. They look at debt-to-income ratio as an indicator of your ability to repay your debt. A low debt-to-income ratio means you make a lot more money than you owe, and are seen as likely to have the resources to pay back the loan. If it is too high, you are seen as having too much debt in relation to your income, and are likely to fall behind on your payments and possibly default on the loan.
Is your debt-to-income ratio too high?
If your debt-to-income ratio is higher than 36%, consider these two things to increase your creditworthiness.
Reduce your monthly debt payment load. Paying off a credit card balance is probably the easiest. If you have a car loan with a low balance, that is another easy debt to eliminate. Consolidate debt into one loan, and lower the payment. Finally, avoid taking on any new debt until you can reduce what you owe.
Increase your gross monthly income. Get a second job or discover other ways to capitalize on your skills. You can also ask for a raise, or even find a better paying job. Make sure you include your spouse's income if your debts are joint.
Managing your debt-to-income ratio, is one of the many things you can do to increase your personal financial stability and a secure future.
this was very helpful in order to understand why loans do not get approved. I did my debit ratio by scenario give above and saw that I titter the line for a loan. Please provide more examples in the future on this site for members to understand why loans get disqualified.


Under our "Simply the Best" design philosophy, we use high quality sustainable raw material and most strict production process control to make sure that TUBE is the best pioneer of KACO brand. As we do believe that the soul of classic comes from the combination of good design and excellent quality which will make our products and brand continuous growing and never fading charms.
TUBE pen is made of high quality ABS plastic material, together with anodized aluminum barrel. TUBE pen can match your company image very well and be a great help in the long-term brand promotion and brand awareness.
TUBE adopts with international exchangeable G2 refill. We use spring loaded top quality tips from PREMEC Switzerland . This kind of tip can effectively prevent from ink-leaking or ink-spilling, and provide excellent smooth writing experience. We only use imported inks with a variety of ink colors: blue, black, dark blue, red etc.


Hitler's Fate for Donald Trump?
President Donald Trump is wondering what is better ... Man of the Year? Or Person of the Year? Man of the Year? Or Person of the Year? He has no idea that they are planning to eliminate him just like they eliminated Hitler. Let's take a look.
Active Democracy knows all of Jewish Establishment malice ... we know all of the skins that they hide under and we know all of their criminal activities. We have also kept the White House in the loop and top political leaders are aware of this ideology and criminal systems. The Jewish Establishment is caught "red handed". There are direct verifiable links of Jewish monopoly in banks, media, politics and business in America. All evidence of their ownership and malicious systems is available in black and white. And this creates an increased urgency for these malicious elements to destroy America.
Russia frees 98% of Aleppo. US continues the genocide in Mosul.
Russia has a splendid victory in Aleppo. Trump is outshining Obama even before taking office. The "Russian Hacking Propaganda" is a fantastic way for the losers to poop over the victors in an attempt to hide their shameful loser faces. Let's take a look at the ongoing pooping spree in America.
For George Bush there was only one bad guy that he wanted to eliminate ... it was Saddam Hussein. Al Qaeda was a tiny group in one corner of the world. For this ... he started two major wars and kept America occupied in chaos for 8 long years. As per the agenda given to Donald Trump ... he sees not one bad guy but three races as bad ... Latinos, Blacks and Muslims ... and he thinks that the refugees are "waves of Jihadists" coming into America and Europe. Now, imagine the chaos planned under the Trump Administration.
For starters, this is not a performance worth even defending. This work and these deals are the most terrible and misdirected deals that are possible. If you know the reality behind these deals then you yourself will laugh at the stupidity of these deals.
America was supposed to be destroyed during the Obama Administration itself. The technique that they were following was ... carry out some events ... raise the flag of "Radical Islam" ... and wage war in more and more countries. Syria was a stepping stone into Iran. As per their plan ... the war with Iran should have already taken place ... a conflict with Russia should have already been initiated ... and as a result total destruction should have been accomplished.
Obama must be wondering ... why is this meeting so important ... why is this guy asking for a meeting? It is something like this ... the content on our website is the "diagnosis" of the problem and not the solution. Let me give you an example ... you are suffering from cough and fever ... and you have no idea what is happening to you. And the doctor asks you questions like ... do you have a sore throat ... do you have high temperature? And you are like ... this doctor is asking the right questions ... he is correctly analyzing the problem ... he knows exactly where the problem is.
This is what Bill and Hillary should realize ... Russia and Putin has nothing against America. Putin has not harmed a single American interest or individual despite the dozens of measures that have been taken against Russia that has rattled their country. Russia has not responded in any way that has impacted any American interest or citizen.
Just in case, if you think this is how my campaign will be ... then this is simply a great example of the "Superior Jewish Establishment Influence" over your decision making process. They are fooling you at so many levels with this. This actually forms a fantastic case study. Take a look.


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This plugin adds location based features to [OctoberCMS](http://octobercms.com).

* Easily add Country and State to any model
* Form widget for address lookups (Google API)

### Extended features

To integrate locations with front-end users consider installing the [User Plus+ plugin](http://octobercms.com/plugin/rainlab-userplus) (`RainLab.UserPlus`).

### Google API key requirement

As of June 22, 2016 the Google Maps service requires an API key. You may generate a key from the following link:

- [Get a Google API key](https://developers.google.com/maps/documentation/javascript/get-api-key)

Copy the key and enter it in the **Settings > Location settings** area. If you find the address finder is not working, you may need to enable the [Places API](https://console.developers.google.com/apis/api/places_backend/overview?project=_) and the [Maps JavaScript API](https://console.developers.google.com/apis/api/maps_backend/overview?project=_).

### Add Country and State to any model

This plugin provides an easy way to add location fields, country and state, to any model. Simply add these columns to the database table:

    $table->integer('country_id')->unsigned()->nullable()->index();
    $table->integer('state_id')->unsigned()->nullable()->index();

Then implement the **RainLab.Location.Behaviors.LocationModel** behavior in the model class:

    public $implement = ['RainLab.Location.Behaviors.LocationModel'];

This will automatically create two "belongs to" relationships:

1. **state** - relation for RainLab\Location\Models\State
1. **country** - relation for RainLab\Location\Models\Country

### Back-end usage

#### Forms

You are free to add the following form field definitions:

    country:
        label: rainlab.location::lang.country.label
        type: dropdown
        span: left
        placeholder: rainlab.location::lang.country.select

    state:
        label: rainlab.location::lang.state.label
        type: dropdown
        span: right
        dependsOn: country
        placeholder: rainlab.location::lang.state.select

#### Lists

For the list column definitions, you can use the following snippet:

     country:
         label: rainlab.location::lang.country.label
         searchable: true
         relation: country
         select: name
         sortable: false

     state:
         label: rainlab.location::lang.state.label
         searchable: true
         relation: state
         select: name
         sortable: false

### Front-end usage

The front-end can also use the relationships by creating a partial called **country-state** with the content:

    {% set countryId = countryId|default(form_value('country_id')) %}
    {% set stateId = stateId|default(form_value('state_id')) %}

        Country
        {{ form_select_country('country_id', countryId, {
            id: 'accountCountry',
            class: 'form-control',
            emptyOption: '',
            'data-request': 'onInit',
            'data-request-update': {
                'country-state': '#partialCountryState'
            }
        }) }}

        State
        {{ form_select_state('state_id', countryId, stateId, {
            id: 'accountState',
            class: 'form-control',
            emptyOption: ''
        }) }}

This partial can be rendered in a form with the following:

        {% partial 'country-state' countryId=user.country_id stateId=user.state_id %}

### Short code accessors

The behavior will also add a special short code accessor and setter to the model that converts `country_code` and `state_code` to their respective identifiers.

    // Softly looks up and sets the country_id and state_id
    // for these Country and State relations.

    $model->country_code = "US";
    $model->state_code = "FL";
    $model->save();

### Address Finder Form Widget

This plugin introduces an address lookup form field called `addressfinder`. The form widget renders a Google Maps autocomplete address field that automatically populates mapped fields based on the value entered and selected in the address.

Available mappings:

- street
- city
- zip
- state
- country
- country-long
- latitude
- longitude
- vicinity

Available options:

You can restrict the address lookup to certain countries by defining the `countryRestriction` option. The option accepts a comma separated list of ISO 3166-1 ALPHA-2 compatible country codes (see: https://en.wikipedia.org/wiki/ISO_3166-1_alpha-2).

By default the `street` mapper places the house number before the street name. However in some countries the number is commonly placed after the street name. You can reverse the order by using the `reverseStreetNumber: true` option.

Usage:

    # ===================================
    #  Form Field Definitions
    # ===================================

    fields:
        address:
            label: Address
            type: addressfinder
            countryRestriction: 'us,ch'
            reverseStreetNumber: false
            fieldMap:
                latitude: latitude
                longitude: longitude
                city: city
                zip: zip
                street: street
                country: country_code
                state: state_code
                vicinity: vicinity

        city:
            label: City
        zip:
            label: Zip
        street:
            label: Street
        country_code:
            label: Country
        state_code:
            label: State
        latitude:
            label: Latitude
        longitude:
            label: Longitude
        vicinity:
            label: Vicinity

redpajama_set_name: RedPajamaGithub


text:
Refugee claimants forced to turn to welfare as work permits stalled in federal bureaucracy
Emily Campbell Videojournalist
@ECampbellCTV Contact
Published Wednesday, January 15, 2020 7:44PM EST Last Updated Thursday, January 16, 2020 12:09PM EST
MONTREAL -- Nelson Frederic doesn't want to be on welfare.
Frederic is one of the thousands who came to Canada from Haiti and applied for asylum. He's been waiting for his hearing for years and applied to renew his work permit last September, but hasn't heard back from the government. Without documentation, nobody will hire him.
"I applied at McDonald's, at Maxi, at the Burger King, so that's not working out," he says. "They don't even look at you as a person."
In 2017, Quebec experienced a wave of refugee claimants streaming across the border to apply for asylum in Canada.
Many of those people are still waiting for their hearings with the Canadian government. They've been waiting so long their 2-year work permits are now expiring, and many people able and willing to find work on their own are out of a job and on public assistance.
Three refugee organizations confirmed with CTV that this is becoming a significant issue for refugee claimants.
Federal government data from 2017 shows wave after wave of asylum seekers coming to Canada, reflecting international headlines: 8000 Haitians applied as political instability rattled the Caribbean nation; nearly 6000 came from Nigeria as Boko Haram increased its activities in that country; 1200 came from Venezuela as discontent with the Maduro government grew there.
Frantz Andre, who works with one of the refugee organizations, Comité d'action des personnes sans statut (CAPSS), says the lack of government action is deplorable and cases like Frederic's are becoming more frequent.
"It's outrageous; these people are coming here and looking for hope. They don't want to be on welfare; they're very proud, they want to contribute, pay their taxes, and to show that they're coming here not to take away but to provide, to give, to share," he says.
The federal department of Immigration, Refugees and Citizenship Canada (IRCC) is responsible for processing the permits, but there's no indication that the agency is addressing the problem.
"If the individual applied for a work permit extension before their initial work permit expired, they can keep working until a decision is made on the extension application. They don't have to stop working and wait for a new work permit," IRCC spokesperson Rémi Larivière wrote in a statement sent to CTV News. "With this rule in place, work permit extension applications for asylum claimants are not expedited in the same way as their initial applications. Individuals can continue to work if they apply for a work permit extension before their initial work permit expires."
But Frederic says his employer doesn't want to take the risk of employing him without papers. Employing an unauthorized worker can land a Canadian employer in jail for up to 2 years, with fines up to $50,000. Without a valid permit to prove he is legal to work, and no documentation provided by the IRCC indicating his legality, Frederic was let go.
"It's very bad, it's very stressful," he says.
Refugee organizations like Action Refugee Montreal and Solidarity Across Borders have been reaching out to employers on their clients' behalf, but many are unwilling to take them at their word.
"Most employers are not aware," Andre says. "I do write letters letting them know, but they don't want to take a chance."
Canada, and particularly Quebec, is facing a labour shortage at the moment, with some 100,000 vacant jobs. To industry advocates like Dennis Darby, president of Canadian Manufacturers and Exporters, there's no excuse for keeping workers on welfare.
"We really encourage the government to find a way to expedite this process," he says. "If these folks have jobs and employers willing to employ them, there needs to be a way for the government to fix this backlog. There's no question that there's a shortage of general labour in Quebec and in Ontario, and we need to find a way to not have them on welfare because there's no need."
The provincial government is on the hook to pay for social assistance when willing workers like Frederic are out of a job.
All refugee claimants, like Frederic, can do is wait, squeaking by on welfare, while his work permit application is still sitting on a bureaucrat's desk.
Fewer than 850 irregular border crossers deported, hundreds more in limbo
By the numbers: How many irregular border crossers are coming to Canada?
Haitian Montrealers say Canada has a duty to do more, 10 years after devastating earthquake
Expanding access to English schools: 'it's Non/No', says PQ leader


Groups may book guided tours through the permanent collection or current special exhibitions. Pre-registered tours are offered in German, English, French, Japanese, Hungarian, and Dutch for normally max. 20 persons each. The general guide fee is plus admission for group visitors.
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Great Thunder, as discussed here, is Katie Crutchfield (from Waxahatchee) and Keith Spencer (bassist for Swearin', Allison Crutchfield's band), making music in their Philadelphia apartment. So, part domestic diversion, part collaborative passion, part-time fun. Groovy Kinda Love is their second full-length album, it's 30 tracks long, and it is like Wowee Zowee to the nth degree. This album shifts genres from song to song: adventurous punk, scuzz dispersions, acoustic greetings and laments, dead-eyed philippics, and casual gut-punch tunes like "Singer's No Star."
I like Keith Spencer's voice a lot, and he writes great lyrics. But Katie Crutchfield's voice is at once dismissive and tender, complexly rough, and it's a wonder to hear her sing with just piano accompaniment. I recently saw Waxahatchee (and Swearin') play in Portland, and Crutchfield sang her songs with a sneer on her face at some moments, and I couldn't tell whether that was because she was tired of singing them (mostly the ones from Cerulean Salt) night after night, or because those songs required her to sneer to even sing them rightly. "Singer's No Star" is so good, it is worth downloading the whole album just for this one song, though everything else is fantastic as well.
Calendar year 2013 accounting procedures coming up soon. Tens of favorite songs. Some prose. A picture or two.