text:
The Pick and Roll
Aussies in WNBA: Whitcomb breaks record in sizzling display
Alanna Jarry Jun 3, 2017
About a week ago, Sami Whitcomb did something only one other WNBA player had ever done. The guard put up 22 points (6 three-pointers included) in Seattle's second half against New York to spark a major comeback for her team. Alongside her 22 points, Whitcomb also made 4 rebounds.
Whitcomb single-handedly turned things around after sinking three triples in a row in the final 15 minutes. She also managed to hit the three to edge the Storm in front.
https://www.youtube.com/watch?v=DrGmwG6aBDI
Rebecca Allen did what she could for her team, with 2 points and 9 rebounds. However it wasn't enough to combat a red-hot Whitcomb who was feeling it.
Seattle continued with their winning form, surpassing Indiana at 94-70. Whitcomb was much quieter in this contest but still impactful, providing 9 points, 3 rebounds and 3 steals.
The Phoenix Mercury absolutely dominated the Dallas Wings at 107-65. Leilani Mitchell top scored for the match in a brilliant display, banking 19 points, 3 rebounds and 4 assists. The Mercury have been in good form and took advantage of an inexperienced and injury-hit Wings side.
https://www.youtube.com/watch?v=WNrg6qiSfbM&feature=youtu.be&a
Fellow Aussie Cayla George who made 10 points and 5 rebounds, and Steph Talbot who baked 5 points, 3 rebounds and 1 assist, complimented Mitchell's efforts in the match.
Phoenix continued their great run, bringing home a good win over Chicago at 99-91. The story of this match was Diana Taurasi's 37 points which set the WNBA career 3 pointers record, and put her into No.2 of all time on the WNBA career scoring list. Mitchell also continued her incredible form, with 14 points and 4 rebounds to her name. Talbot had 4 points, 2 rebounds and 3 assists and George had 3 rebounds.
Rebecca Allen's Liberty had a tough week, after their loss to Seattle they couldn't get over the line against the LA Sparks, going down 90-75. Allen was only able to make 1 rebound, while her teammate and WNBA Veteran Tina Charles did her best with 25 points.
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Public limited company is a company where two or more members can form a Company while offering shares to the general public. Shares can be held by anyone where holders have limited liability to an extent of paid up of shares. Offering shares to general public is a best mean to raise a capital. Here ownership and management are two different segments with limited liability. Among the different forms of corporate in India; public limited company formation in India is one of the common one usually carried for prominent and authentic projects. For a public limited company in India it requires minimum of 3 directors and 7 shareholders.
Below are the benefits of public limited company formation in India.
Here shares can be offered to general public.
One can advertise for selling of share publicly.
Can access to capital and easily enter to stock market.
Can put value to shares and define extra financial status.
Get prestigious status in the society.
Thus, if you need to have prestigious profile, need to offer opportunity to public in respect of buy or selling of shares and need to have greater access to capital then you must go for public limited company formation in India.
Below are the documents require for the public ltd company formation in India these documents comprised of legal forums, company profile documents and other applications need to apply for certifications.
Firstly apply for approval of company's name while filing an application to ROC.
Then it is require to get file an application for company registration.
Then submit fees along with other documents like legal forums, company documents and other formalities like MOA / AOA.
Finally after incorporation of company; need to apply for certification of commencement of business. But before that below points must be complied by the company.
Need to attach a statement in Form INC - 21 for a declaration of compliance by the directors of the company under the provisions of Section 11 of the New Companies Act, 2013.
Thus, call at +91-8800-100-284 or mail at contact@company-registration.in for varied services in company law services including public limited company formation in India.


text:
Henry Moore OM, CH
Working Model for Three Piece No.3: Vertebrae
1968, cast c.1968
© The Henry Moore Foundation. All Rights Reserved
Spotlights: Henry Moore
Henry Moore OM, CH 1898–1986
Object: 1080 x 2360 x 1220 mm, 948 kg
Display caption
This work is related to Three Piece No.3: Vertebrae, a vast sculpture over twenty-four feet long and the even larger Three Forms Vertebrae outside Dallas City Hall, which is about forty-feet long. Moore argued that the size of a sculpture should be determined by where it is. As he received commissions for sculptures to be sited next to large buildings, the scale of the works grew. According to Moore, it was the intrinsic monumentality of the sculptures which allowed them to be successfully enlarged to such sizes.
Gallery label, August 2004
Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.
Working Model for Three Piece No.3: Vertebrae is a large-scale model for a monumental bronze sculpture measuring over seven metres long. Tate's work represents the intermediary stage in the gradual enlargement of the sculpture, which comprises three individual parts mounted on a bronze base (fig.1). These three bone-like components are arranged horizontally along the length of the rectangular base and feature projecting forms that interlock with those of the adjacent component. While each part is uniquely shaped and orientated, Moore ensured that they were sufficiently similar to create uniformity across the sculpture. Each piece has three main spurs: a thin, tubular form that terminates in a rounded tip, a short bulbous form, and another tubular form with a wide circumference that bends at a right angle and culminates in an engorged pyramidal point. Cumulatively, the sculpture is made up of contrasting spiky and rounded protrusions and curved and sharp edges. The thinner tapered tubular limbs of the outer two pieces book-end the sculpture, while the right-angled section of the middle piece creates a cantilevered, horizontal bridge-like form (fig.2). The work is designed to be viewed in the round so that no two views are the same and there is no definitive front or back. Considering the full-size version of this sculpture, the art historian Norbert Lynton noted in 2006 that although 'the three elements are similar but not identical ... the experience offered is still one of variety within repetition'.1 The sculpture has a smooth, highly polished and reflective surface that heightens its tactile qualities.
From plaster to bronze
Origins and interpretation
The Henry Moore Gift
Alice Correia
Norbert Lynton, 'Three Piece Sculpture: Vertebrae 1968', in David Mitchinson (ed.), Celebrating Moore: Works From the Collection of the Henry Moore Foundation, London 2006, p.289.
See Alan Bowness (ed.), Henry Moore. Volume 4: Complete Sculpture 1964–73, London 1977, p.51, no.578. The maquette was later cast in a bronze edition of seven plus one artist's copy.
Henry Moore cited in Gemma Levine, With Henry Moore: The Artist at Work, London 1978, p.123.
Henry Moore in 'Henry Moore Talking to David Sylvester', 7 June 1963, transcript of Third Programme, BBC Radio, broadcast 14 July 1963, p.18, Tate Archive TGA 200816. (An edited version of this interview was published in the Listener, 29 August 1963, pp.305–7.)
Alan G. Wilkinson, Henry Moore Remembered: The Collection at the Art Gallery of Ontario in Toronto, Toronto 1987, p.231.
Henry Moore cited in 'Interview: Conversation between Sir [sic] Henry Moore, Wolfgang Fischer and Erich Steingräber in Much Hadham on April 3, 1978', in Erich Steingräber, Henry Moore Maquetten, Munich 1978, p.55.
Richard Wentworth, 'The Going Concern: Working for Moore', Burlington Magazine, vol.130, no.1029, December 1988, pp.927–8.
Henry Moore cited in John Hedgecoe (ed.), Henry Moore, London 1968, p.300.
Bowness 1977, p.11.
Henry Moore, letter to Heinz Ohff, 8 March 1967, Henry Moore Foundation Archive.
Moore cited in Hedgecoe 1968, p.248.
Three Piece Sculpture: Vertebrae 1968–9 was cast in an edition of three plus one artist's copy. Examples are held in the collections of the Seattle Art Museum; the Israel Museum, Jerusalem; and Himmelreichallee, Münster. The artist's copy remains in the collection of the Henry Moore Foundation.
Roger Berthoud, The Life of Henry Moore, 1987, revised edn, London 2003, p.449.
See http://www.publicartwalkdallas.org/en/art/20.shtml, accessed 20 March 2014.
Henry Moore cited in Bill Marvell, 'The Dallas Piece: It Just Fits the City', Dallas Times Herald, 6 December 1978, Henry Moore Foundation Archive.
Moore 1963, pp.31–2.
Moore cited in Hedgecoe 1968, p.77.
[Richard Morphet], 'T.2054 Henry Moore: Four-Piece Composition 1934', The Tate Gallery 1976–8: Illustrated Catalogue of Acquisitions, London 1979, p.121.
Bowness 1977, p.9.
Henry Moore cited in David Mitchinson (ed.), Henry Moore Sculpture with Comments by the Artist, Barcelona 1988, p.204.
Richard Calvocoressi, 'Henry Moore, Working Model for Three Piece No.3: Vertebrae 1968', The Tate Gallery 1978–80: Illustrated Catalogue of Acquisitions, London 1981, pp.141–2.
György Doczi, 'Hidden Harmonies of Henry Moore's Sculpture "Vertebrae"', Leonardo, vol.16, no.1, winter 1983, p.37.
Ibid., p.38.
Moore cited in Marvell 1978.
See 'Note on the Henry Moore Gift', 1978, Tate Public Records TG 4/6/10/4.
These figures are based on those listed in a memo in the exhibition's records. See Tate Public Records TG 92/344/2.
Norman Reid, letter to Mary Danowski, 31 August 1978, Tate Public Records TG 4/6/10/4.
body(4,960)
bone(48)
spine(11)
fragmentation(237)
Henry Moore OM, CH Working Model for Three Way Piece No.1: Points
1964, cast c.1964–9
Henry Moore OM, CH Working Model for Knife Edge Two Piece
1962, cast 1963
Henry Moore OM, CH Three Piece Reclining Figure No.1
1961–2, cast date unknown
Henry Moore OM, CH Atom Piece (Working Model for Nuclear Energy)
1964–5, cast 1965
Henry Moore OM, CH Three Piece Reclining Figure No.2: Bridge Prop
1963, cast date unknown
Henry Moore OM, CH Two Piece Reclining Figure No.5
Henry Moore OM, CH Two Piece Sculpture No.7: Pipe
Henry Moore OM, CH Locking Piece
1963–4, cast c.1964–7
Henry Moore OM, CH Working Model for Reclining Figure (Lincoln Center)
Henry Moore OM, CH Working Model for Three Way Piece No.2: Archer
Henry Moore OM, CH Working Model for Unesco Reclining Figure
1957, cast c.1959–61
1960, cast 1961–2
On display at Tate Britain part of Spotlights
Henry Moore OM, CH Studies for Sculpture: Two and Three Piece Reclining Figures

redpajama_set_name: RedPajamaCommonCrawl


"No one said adopting a dog was easy, or that a rescue dog was 'perfect' but we think it is worth it. There is definitely an adjustment period with your new pup but the settling in doesn't just happen naturally. Patience is key yes, but structure and guidance is also very important!
It's funny because we were walking her the other night, which means we were looking at Lulu and talking about Lulu and I turned to my wife and said, "What did we even talk about before we got the dog?" And she laughed, because it's true. We've become those people. We haven't even had her for two months, and I have trouble remembering what my life was like without her.
Thanks for the support. We're proud to be part of the Save Our Scruff family. And there's a good chance we'll be back for more."


While we've been busy thinking Brixton was a hat company, they've been busy proving us wrong. From the people who've brought us plaid driver's caps and captain's hats, comes one of the best soft goods programs I've seen from them yet. West-Coast based, Brixton has managed to offer up classics with subtle twists which whisper "less is more, but a little more is enough." The pin-striped henley is one of my favorites with the Pirates-nod, double-ringer coming in a solid second. Don't let the lookbook fool you either, word on the street is that Brixton allows you to wear their clothes even if you don't ride a bike, skate, or play in a rock band.


Washington Park: Cliffs & Seals & Porpoises, Oh My!
As you might have guessed by the exciting title, I had an adventure yesterday. Lots of fun stuff. Thankfully, the weather decided to cooperate for once. 😛 So, Squink and I tagged along with our Auntie A's little explorer group. They needed a few extra helpers since the chosen location was a trail at Washington… Read More Washington Park: Cliffs & Seals & Porpoises, Oh My!


Since when were Business Analysts a one stop shop for all project needs? We are expected to be Superheros; well-rounded BAs as well as Change Managers, Test Analysts, Project Managers and Implementation Managers. The boundaries of these other disciplines is often unclear so this article seeks to explore the activities that fall into business analysis and those that should be undertaken within the other disciplines.
While others are moving forward introducing new banking products, the Americans find themselves in the role of constantly fighting fires. You cannot move forward until you put your house in order by bringing standard practices and discipline into your work effort. This is what happens when you treat system design as an art form, as opposed to a science.
They took a software approach for designing MIDAS as opposed to a system approach. For example, they probably created a data base quickly, then tried to figure how to get data in and out of it. I would suspect the program source code was well written, probably using "Agile" techniques, but the fact remains none of it was designed to work in a concerted manner.
...the fact remains, you cannot build anything of substance, be it a system or otherwise, without a methodology. The question then becomes, how to construct a methodology suitable for your company or a given project. To this end, I offer this tutorial on designing methodologies.


This be remembered as the game when Blaine Hardy – usually a reliever, sometimes a starter, mostly solid – took a no-hitter into the seventh inning.
OAKLAND, Calif. — Blaine Hardy knew what was going on.
When he took the mound for the bottom of the seventh inning on Friday night with the Oakland Coliseum scoreboard showing a lot of zeroes, one jumped out at Hardy.
Hardy, the Detroit Tigers' versatile left-hander, couldn't sustain his no-hit bid. When Jed Lowrie hit a slow roller into the hole at shortstop, he knew it would end on an infield single. But Hardy finished the seventh inning, throwing a career-high 106 pitches, for unquestionably the best outing of his Major League career.
"I'm not going to say I'm happy it happened, but I mean, I can't tell you if I would have been able to get through nine," Hardy said.
No, the person with that power was manager Ron Gardenhire, who said afterward that he was not going to over-extend Hardy — a reliever for most of the season — to chase a no-hitter.
In Hardy's second start of the season against the Athletics, he had them lunging and looking at a lot of change-ups. The scouting report, he assumed, based on his previous start early last month at Comerica Park, was to look for cutters. Those didn't come.
Hardy threw seven scoreless innings — upping the scoreless innings streak for Tigers' starting pitchers to 17 — and allowed just one hit. He struck out six batters and walked two.
Both of those walks came against Matt Olson, who nearly ended the no-hit drama as it was just beginning: In the bottom of the second, Olson hit a full-count change-up deep to right field, but just wide of the foul pole.
The umpires reviewed the play.
"It was like, 'Great, now I'm going to have a homer overturned to the one lefty in the lineup,'" Hardy said.
Olson was almost single-handedly responsible for pushing Hardy's pitch count higher: He saw 23 pitches — 21 percent of Hardy's total. In the second inning, he saw 13 pitches for a walk. In the fifth, eight for another walk. But in the seventh, after his no-hit bid was busted, Hardy got the last laugh with an inning-ending double play.
The Tigers ended up losing, 1-0, in 13 innings. It marked their 14th shutout of the season, tops in the Major Leagues. The bullpen nearly equaled Hardy's seven scoreless innings with five of their own before Buck Farmer allowed a walk-off double. Even so, this game will be remembered for Hardy's six no-hit innings.


Our bodies are meant to move: movement is life.
Sitting is considered the "new" smoking. A sedentary lifestyle has been associated with higher mortality and disease rates. Researchers of a sedentary lifestyle study with people 45 years old and above have found that the negative health effects created by long hours of sitting down can be reduced by daily exercise. Thirty to sixty minutes of exercise a day – depending on how many hours you sit a day – can reverse the downside of being an office worker or a 'sitter' and that's good news.
Imagine a sluggish stream, clogged with trash, fallen branches, and the like. There is no movement there and this inertness cannot support life. Our bodies can be like this sluggish streams or just the opposite, if we exercise correctly and regularly.
New studies are telling us that a daily walk can add seven years to our life!
Regular daily walking has been found to trigger an anti-aging process and help repair old DNA. Walking is an essential movement that we all require, ideally in addition to a regular exercise program. If you walk outdoors, even better!
The use of Nordic Walking Canes activates 90% of the body's muscles and can burn up to 46% more calories than regular walking. A 26% increase in aerobic effect can also be a result compared with regular walking.
Nordic Walking can decrease load and strain on the lower body while it tones the upper arms, shoulders, and back muscles. Additional pluses could be better lateral movement of the spine and the development of "core" strength.
Nordic Walking Canes can help those with balance problems as they relieve pressure on the hips (closed chain exercise).


text:
Q: Why do I see VLAN tag in my ARP IP packet even though I have disabled the module 8021.q in CentOS 7? I have disabled 802.1Q module in my Cento 7 VM and did arping through one of the interface to it's gateway IP and captured packet traffic on that interface from the same VM.
[root@vm1 ~]# lsmod | grep 8021q
8021q                  33208  0
garp                   14384  1 8021q
mrp                    18542  1 8021q
[root@vm1 ~]# modprobe -r 8021q
[root@vm1 ~]# lsmod | grep 8021q

My expectation was that exgress packets wouldn't have any VLAN tags.
The machine I pinged is the windows host and also VLAN tags support was not added in the windows host. So, I also expect that the ingress packets also won't be having any VLAN tags.
But I see VLAN tag with default ID: 1 on both the packets.
So, is the module 8021.q in Centos 7 is obselete and not needed at all?

Edit 1:
I checked again by analyzing ping traffic. For ping, there is no VLAN tag ids added (with and without 8021q module loaded)

A: Issue is with the decoding type I have selected. I selected decoding as VLAN for link and then selected decoding as do not decode. Thus somehow ended up with the above wrong decoding.
I just need to clear decoding to see the actual data and the VLAN tag is then added only when the 8021q module is loaded + when a VLAN tagged interface is created.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Is there any way the removal of a cell doesn't refresh the entire listview? I use two JavaFX Timeline objects to create a countdown timer and a progress bar (i.e. a shrinking JavaFX Rectangle) inside of a ListCell.  When the timer reaches zero, the width of the rectangle becomes zero and the cell is removed from the ListView.  However, the entire ListView is automatically refreshed causing the Timeline in the other cell to reset.  Here is what it looks like starting with two cells:

In the code, the updateItem method gets the number of seconds from the model and sets the text for the timer label.  When a cell is removed from the ListView, updateItem is called with a CellData object containing the string "20" which resets the timeline.  But I want the cell with the unfinished timer to continue; not start from the beginning.  Here's the minimum, reproducible example:
public class AnimatedCells extends Application {
public class MyCell extends ListCell<CellData> {
    private CellComponent cc;
    private Timeline rectTimeline, timerTimeline;
    private KeyValue rectWidth;

    public MyCell() {
        cc = new CellComponent();
        rectTimeline = new Timeline();
        timerTimeline = new Timeline();
        rectWidth = new KeyValue( cc.getRect().widthProperty(), 0 );
    }

    @Override
    protected void updateItem( CellData item, boolean empty ) {
        super.updateItem(item, empty);

        if (empty || item == null) {
            setText(null);
            setGraphic(null);
        } else {
            if ( item.getData() != null ) {
                System.out.println(item.getData());

                cc.getTimer().setText( item.getData() );

                rectTimeline.getKeyFrames().add( new KeyFrame( Duration.seconds( Double.parseDouble( cc.getTimer().getText() ) ), rectWidth ) );
                timerTimeline.getKeyFrames().addAll(
                        new KeyFrame( Duration.seconds( 0 ),
                            event -> {
                                int timerSeconds = Integer.parseInt( cc.getTimer().getText() );

                                if ( timerSeconds > 0 ) {
                                    cc.getTimer().setText( Integer.toString(--timerSeconds) );
                                }
                                else {
                                    rectTimeline.stop();
                                    timerTimeline.stop();
                                    super.getListView().getItems().remove(this.getItem());
                                }
                        }),
                        new KeyFrame( Duration.seconds( 1 ) ) );
                timerTimeline.setCycleCount( Animation.INDEFINITE );
                setGraphic( cc.getCellPane() );
                rectTimeline.play();
                timerTimeline.play();
            }
        }
    }
}

public class CellComponent {
    @FXML
    private Pane cellPane;

    @FXML
    private Label timer;

    @FXML
    private Rectangle rect;

    public CellComponent() {
        FXMLLoader fxmlLoader = new FXMLLoader(getClass().getResource("/fxml/listcell.fxml"));
        fxmlLoader.setController(this);
        try
        {
            fxmlLoader.load();
        }
        catch (IOException e)
        {
            throw new RuntimeException(e);
        }
    }

    public Pane getCellPane() {
        return cellPane;
    }

    public void setCellPane(Pane cellPane) {
        this.cellPane = cellPane;
    }

    public Label getTimer() {
        return timer;
    }

    public void setTimer(Label timer) {
        this.timer = timer;
    }

    public Rectangle getRect() {
        return rect;
    }

    public void setRect(Rectangle rect) {
        this.rect = rect;
    }

}

public class CellData {
    private String data;

    public CellData() {
        super();
    }

    public CellData(String data) {
        super();
        this.setData(data);
    }

    public String getData() {
        return data;
    }

    public void setData(String data) {
        this.data = data;
    }

}

@FXML
private ListView<CellData> listView;

private ObservableList<CellData> observableList = FXCollections.observableArrayList();

public void initialize() {
    observableList.add( new CellData("20") );
    observableList.add( new CellData("10") );

    listView.setItems( observableList );
    listView.setCellFactory( listView -> {
        MyCell cell = new MyCell();
        return cell;
    });
}

@Override
public void start(Stage stage) throws Exception {
    Parent root = new FXMLLoader(getClass().getResource("/fxml/listmanager.fxml")).load();
    Scene scene = new Scene(root);
    stage.setScene(scene);
    stage.show();
}

public static void main(String[] args) {
    launch(args);
}

}

Also, why is updateItem called three times on startup when there are only two rows of data?  The lone print statement in the above code outputs:
20
20
10
I am using Java 11.0.6.

A: A Cell's job is to determine how to display data.  The underlying data must not be changed in the Cell's updateItem method, because a single Cell instance can be used for multiple values.
From the documentation for Cell:

Because TreeView, ListView, TableView and other such controls can potentially be used for displaying incredibly large amounts of data, it is not feasible to create an actual Cell for every single item in the control. We represent extremely large data sets using only very few Cells. Each Cell is "recycled", or reused.

You will need to move all Timelines into the CellData object.  And the Cell must not modify those Timelines, or the ListView's items.
It's customary, and useful, to make data objects have observable properties, so visual components can bind visual properties to them.
The CellData objects shouldn't know about the ListView that contains them.  You can give each CellData instance a Consumer or other function which does the work of removing the data.
So, you'll want something like this for the data class:
public static class CellData {
    private final StringProperty data;

    private final ReadOnlyDoubleWrapper secondsRemaining;

    private final Timeline timeline = new Timeline();

    public CellData(Consumer<? super CellData> finished) {
        data = new SimpleStringProperty(this, "data");
        secondsRemaining =
            new ReadOnlyDoubleWrapper(this, "secondsRemaining");

        data.addListener((o, oldData, newData) -> {
            try {
                double startTime = Double.parseDouble(newData);

                timeline.stop();

                timeline.getKeyFrames().setAll(
                    new KeyFrame(Duration.ZERO,
                        new KeyValue(secondsRemaining, startTime)),
                    new KeyFrame(Duration.seconds(startTime),
                        new KeyValue(secondsRemaining, 0.0))
                );
                timeline.setOnFinished(e -> finished.accept(this));

                timeline.play();
            } catch (NumberFormatException e) {
                System.err.println(
                    "Cannot start timer for invalid seconds value: " + e);
                Platform.runLater(() -> finished.accept(this));
            }
        });
    }

    public CellData(String data,
                    Consumer<? super CellData> finished) {
        this(finished);
        this.setData(data);
    }

    public StringProperty dataProperty() {
        return data;
    }

    public String getData() {
        return data.get();
    }

    public void setData(String data) {
        this.data.set(data);
    }

    public ReadOnlyDoubleProperty secondsRemainingProperty() {
        return secondsRemaining.getReadOnlyProperty();
    }

    public double getSecondsRemaining() {
        return secondsRemaining.get();
    }
}

An instance would be constructed with something like this:
new CellData(secondsText,
    c -> list.getItems().remove(c)));

This allows the cell class to be much simpler:
public static class MyCell extends ListCell<CellData> {
    private CellComponent cc;

    public MyCell() {
        cc = new CellComponent();
    }

    @Override
    protected void updateItem(CellData item, boolean empty) {
        super.updateItem(item, empty);

        if (empty || item == null) {
            setText(null);
            setGraphic(null);
        } else {
            cc.getTimer().textProperty().unbind();
            cc.getTimer().textProperty().bind(
                item.secondsRemainingProperty().asString("%.0f"));

            cc.getRect().widthProperty().unbind();
            cc.getRect().widthProperty().bind(
                item.secondsRemainingProperty().multiply(10));

            setText(null);
            setGraphic(cc.getCellPane());
        }
    }
}

Putting it all together looks like this.  (For simplicity and reproducibility, I have replaced the FXML with inline code.)
import java.util.function.Consumer;

import javafx.application.Application;
import javafx.application.Platform;

import javafx.animation.Timeline;
import javafx.animation.KeyFrame;
import javafx.animation.KeyValue;

import javafx.beans.property.StringProperty;
import javafx.beans.property.SimpleStringProperty;
import javafx.beans.property.ReadOnlyDoubleProperty;
import javafx.beans.property.ReadOnlyDoubleWrapper;

import javafx.geometry.Insets;
import javafx.geometry.Pos;

import javafx.stage.Stage;
import javafx.scene.Scene;

import javafx.scene.control.ListCell;
import javafx.scene.control.ListView;
import javafx.scene.control.TextField;
import javafx.scene.control.Button;
import javafx.scene.control.Label;

import javafx.scene.layout.BorderPane;
import javafx.scene.layout.HBox;
import javafx.scene.layout.Pane;

import javafx.scene.shape.Rectangle;

import javafx.util.Duration;
import javafx.util.converter.DoubleStringConverter;

public class AnimatedCells
extends Application {
    @Override
    public void start(Stage stage) {
        ListView<CellData> list = new ListView<>();
        list.setCellFactory(l -> new MyCell());

        TextField secondsField = new TextField();

        Button newTimerButton = new Button("Create");
        newTimerButton.setOnAction(e -> {
            list.getItems().add(
                new CellData(secondsField.getText(),
                    c -> list.getItems().remove(c)));
        });
        secondsField.setOnAction(e -> {
            list.getItems().add(
                new CellData(secondsField.getText(),
                    c -> list.getItems().remove(c)));
        });

        HBox newButtonPane = new HBox(6, secondsField, newTimerButton);
        newButtonPane.setPadding(new Insets(12));

        stage.setScene(new Scene(
            new BorderPane(list, null, null, newButtonPane, null)));
        stage.setTitle("Animated Cells");
        stage.show();
    }

    public static class MyCell extends ListCell<CellData> {
        private CellComponent cc;

        public MyCell() {
            cc = new CellComponent();
        }

        @Override
        protected void updateItem(CellData item, boolean empty) {
            super.updateItem(item, empty);

            if (empty || item == null) {
                setText(null);
                setGraphic(null);
            } else {
                cc.getTimer().textProperty().unbind();
                cc.getTimer().textProperty().bind(
                    item.secondsRemainingProperty().asString("%.0f"));

                cc.getRect().widthProperty().unbind();
                cc.getRect().widthProperty().bind(
                    item.secondsRemainingProperty().multiply(10));

                setText(null);
                setGraphic(cc.getCellPane());
            }
        }
    }

    public static class CellData {
        private final StringProperty data;

        private final ReadOnlyDoubleWrapper secondsRemaining;

        private final Timeline timeline = new Timeline();

        public CellData(Consumer<? super CellData> finished) {
            data = new SimpleStringProperty(this, "data");
            secondsRemaining =
                new ReadOnlyDoubleWrapper(this, "secondsRemaining");

            data.addListener((o, oldData, newData) -> {
                try {
                    double startTime = Double.parseDouble(newData);

                    timeline.stop();

                    timeline.getKeyFrames().setAll(
                        new KeyFrame(Duration.ZERO,
                            new KeyValue(secondsRemaining, startTime)),
                        new KeyFrame(Duration.seconds(startTime),
                            new KeyValue(secondsRemaining, 0.0))
                    );
                    timeline.setOnFinished(e -> finished.accept(this));

                    timeline.play();
                } catch (NumberFormatException e) {
                    System.err.println(
                        "Cannot start timer for invalid seconds value: " + e);
                    Platform.runLater(() -> finished.accept(this));
                }
            });
        }

        public CellData(String data,
                        Consumer<? super CellData> finished) {
            this(finished);
            this.setData(data);
        }

        public StringProperty dataProperty() {
            return data;
        }

        public String getData() {
            return data.get();
        }

        public void setData(String data) {
            this.data.set(data);
        }

        public ReadOnlyDoubleProperty secondsRemainingProperty() {
            return secondsRemaining.getReadOnlyProperty();
        }

        public double getSecondsRemaining() {
            return secondsRemaining.get();
        }
    }

    public static class CellComponent {
        private final Pane cellPane;

        private final Label timer;

        private final Rectangle rect;

        public CellComponent() {
            // For the sake of example, I'm building this in code rather than
            // with FXML.

            //FXMLLoader fxmlLoader = new FXMLLoader(getClass().getResource("/fxml/listcell.fxml"));
            //fxmlLoader.setController(this);
            //try
            //{
            //    fxmlLoader.load();
            //}
            //catch (IOException e)
            //{
            //    throw new RuntimeException(e);
            //}

            rect = new Rectangle(1, 40);
            rect.setArcWidth(20);
            rect.setArcHeight(20);
            rect.setStyle(
                "-fx-fill: red; -fx-stroke: black; -fx-stroke-width: 2;");
            timer = new Label(" ");
            timer.setStyle("-fx-font-size: 18pt; -fx-alignment: center;");
            cellPane = new HBox(24, timer, rect);
            cellPane.setStyle("-fx-alignment: center-left;");
        }

        public Pane getCellPane() {
            return cellPane;
        }

        public Label getTimer() {
            return timer;
        }

        public Rectangle getRect() {
            return rect;
        }
    }

    public static class Main {
        public static void main(String[] args) {
            Application.launch(AnimatedCells.class, args);
        }
    }
}

A: In case anyone is interested, I ended up using a single column, multi-row GridPane.  There is no updateItem method to contend with so I have much finer control over everything.  The result is, each row in the grid acts independently, which is what I want.  I can have multiple countdown timers and progress bars in the same row.  More importantly, I can add or delete a row without resetting all of the running Timelines.  The GridPane API is a lot easier to work with too.


text:
CREATE TABLE [dbo].[RequestLogs]
(
    [ID] INT NOT NULL Identity,
    [Time] DateTime NOT null,
    [Method] VarChar(50) not null,
    [Path] VarChar(1024) not null,
    [QueryString] VarChar(1024) null,
    [Headers] VarChar(Max) null,
    [Body] VarChar(Max) null,
    [IPAddress] VarChar(45) null,
    [Description] VarChar(8000) null,
    --[BytesSent] BigInt not null,
    --[UserId] UNIQUEIDENTIFIER null,
    [RowVersion] RowVersion not null,
    CONSTRAINT [PK_RequestLogs] PRIMARY KEY CLUSTERED ([ID])
)
GO
CREATE INDEX [IX_RequestLogs_Time] ON [dbo].RequestLogs ([Time])
GO
CREATE INDEX [IX_RequestLogs_Method] ON [dbo].RequestLogs ([Method])
GO
CREATE INDEX [IX_RequestLogs_Path] ON [dbo].RequestLogs ([Path])
GO
--CREATE INDEX [IX_RequestLogs_UserId] ON [dbo].RequestLogs ([UserId])
--GO

redpajama_set_name: RedPajamaGithub


finHealth was recently featured by Silicon Review as one of 30 fastest growing private companies to watch!
finHealth is a rapidly emerging player in the healthcare tech industry, but this was not Jim's first foray into an "auditing" business.
← Healthcare Cost Governance: What Are The 5 Emerging Best Practices Being Adopted By Walmart, GE, Verizon, Boeing, Target and Walt Disney?


text:
Touri: UMass should follow blueprint to winning set by Atlantic 10's best
UMass finished first in three-point percentage in A-10
(Katherine Mayo/Daily Collegian)
By Amin Touri, Assistant Sports Editor
Filed under Basketball, Men's Basketball, Sports
If you look at the three Atlantic 10 teams that managed bids into this year's NCAA tournament, you'll find a major theme: guards, wings and perimeter shooting.
The Massachusetts men's basketball team wrapped its first season under coach Matt McCall last week, and there's plenty of reason for optimism despite the second round exit. This is still a young team with promise moving forward, and the blueprint for building a successful program sits in front of them.
The A-10 was a three-bid league this season, and tournament champions Davidson, regular season winners Rhode Island and at-large bidders St. Bonaventure were by far the most successful teams in the conference. None of the three made a major run through the tournament, but UMass can still look to each for guidance.
Take URI, the best team in the conference for a majority of the winter. It's a team built around perimeter play, around guards Jared Terrell and Jeff Dowtin, along with wings E.C. Matthews and Stanford Robinson. Terrell was First Team All-Conference this season, Matthews was third team—and had a case for second—while Dowtin will be a force in the conference next season, with fellow guard and Twitter darling Fatts Russell right beside him. The Rams were built around guards and wings, not bigs.
The Bonnies were largely carried by two First Team All-Conference guards in Jaylen Adams and Matt Mobley, a pair of deadly outside shooters that set the conference on fire down the stretch of the season. Adams was the conference's Co-Player of the Year, while Mobley set an A-10 Tournament record for threes in a single game, draining nine triples as Bonaventure topped Richmond in the quarterfinals. Even when Mobley and Adams were cold, it was wing Courtney Stockard who picked up the slack, posting his best performances of the year in late February and into March.
Davidson was more of the same, as the A-10 tourney champs launched three after three en route to an automatic bid into the Big Dance. Co-Player of the Year Peyton Aldridge could qualify as a "big," a monster on the low block that could score with either hand, but even he had stellar range, one of the league's better 3-point shooters with an outside game to match his inside exploits. With Aldridge cold, the Wildcats still managed to give Kentucky hell in the tournament, as sophomore guard Jon Axel Gudmundsson was on fire from deep to keep Davidson alive. With Aldridge graduating, freshman guard Kellen Grady looks like one of the A-10's next big star, an electric scorer inside and out.
Oh, and Davidson, Bonaventure and URI were second, third and fourth in the conference in 3-point percentage this season.
Here's what I'm getting at: watching those three teams in a position that the Minutemen hope to find themselves in for years to come is proof that the path to success for UMass is on the perimeter, not down low. If the Minutemen hope to be perennial contenders for an NCAA bid, they need to build around their guards, around strong 3-point shooters.
Don't get me wrong, it's not that there's no place for big men in today's game. But that role is severely diminished, and that's where basketball is going. As much a force as I think Rashaan Holloway can be on his night, he's not the guy McCall needs to build around; Luwane Pipkins is, and Carl Pierre can be.
The Minutemen are already on their way, with perhaps the best young backcourt in the A-10. Adams and Mobley will graduate from Bonaventure this spring, and that sort of dominant backcourt is a lofty goal. Pipkins has already proven that he is one of the conference's premier scorers, having averaged 21.2 points a game this season and leading the league in scoring in A-10 play. Pierre, meanwhile, was the A-10's best 3-point shooter and has shown flashes of ability to score off the bounce and going to the basket, not just as a catch-and-shoot sniper.
I'm not saying guys like Holloway, Malik Hines and Chris Baldwin have no role to play at all; they surely do. McCall can't run with five guards all season, but for the Minutemen to really be successful, they have to be the secondary option. With Pierre and Pipkins returning, and transfers Curtis Cobb and Keon Clergeot entering the lineup next year, McCall has a plethora of guard and wing weapons to lay a real foundation moving forward.
If UMass can invest in guys like that, and follow the example that the A-10's three best teams set this season, the Minutemen could become a team full of athletic scorers with range, stretching teams out and making them pay from outside.
This season was a start; Pipkins became a superstar in the A-10, Pierre impressed from outside and the team was always dangerous from deep. After all, those three teams were second, third and fourth in 3-point percentage—UMass finished first.
The future of basketball is moving further and further away from the basket. That future could be a bright one for UMass.
Amin Touri can be reached at [email protected] and followed on Twitter @Amin_Touri.
Tags: "umass athletics", A-10, Atlantic 10, Basketball, Matt McCall, Sports, UMass, umass amherst, University of Massachusetts
Feature Photo
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Award-winning Broadway musical 'Dear Evan Hansen' comes to Boston
Bergeron, Cormier among new hires for UMass basketball
Zac Jones, Marc Del Gaizo, Filip Lindberg selected in 2019 NHL Draft
11 Minutemen attending NHL development camps
Tweets by MDCollegian
The Massachusetts Daily Collegian
What is your favorite season at UMass?
Fall (52%, 37 Votes)
Spring (20%, 14 Votes)
Summer (18%, 13 Votes)
Winter (10%, 7 Votes)
Tre Mitchell, TJ Weeks commit to UMass
Touri: UMass had its chances, but handed itself an A-10 Tournament exit
UMass basketball blown out by Rhode Island in regular season finale
Gallery: Rashaan Holloway's UMass Basketball career in photos
GALLERY: Men's basketball loses to Dayton Flyers
UMass men's basketball falls to George Washington in D.C.
UMass women's basketball with a chance to move over .500 with win over Duquesne
UMass and Duquesne take opposite approaches on the offensive end
GALLERY: Men's basketball falls to Fordham


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text:
Results Are In - Returning to Play Youth Consultation
Discover the findings of our Youth Leadership Team's Returning to Play consultation.
In partnership with our Youth Leadership Team, Oxfordshire FA are excited to reveal the findings of our 'Returning to Play' Consultation that sought the views of Children and Young People aged 6-21 across the county
Returning to Play is the first part of our youth consultation initiative, where we will be regularly seeking the views of our young players, coaches, officials and supporters to help make continuous positive improvements for young people's involvement in the game.
It is extremely important that we get the views of young people and that these are at the heart of future decisions made to further improve the game in Oxfordshire.
The aim of this first consultation was to understand what young people in Oxfordshire currently enjoy about the game and how we can help make their football experience better for their return to play following lockdown and for the future.
In total, 241 young people representing 45 clubs across the county participated in the study which was a great base to start with and something we hope to build on for future consultations.
With respondents spilt into three age categories the consultation looked at six areas; enjoyment and reasons why, potential changes they would like to see, barriers to participation, the future, volunteering and safeguarding.
There were a range of key themes that emerged from the research. The main theme was the importance young people placed on setting the right environment and having positive behaviour when thinking about their want to return and continue playing. This was consistent throughout the age groups.
Another common theme, particularly in the Mini Soccer (U7-U11) and Youth (U12-U16) age groups, was the want to play more football with a focus on fun, social and engaging training sessions. The older age groups also expressed the importance of fun and team spirit was something they missed and would keep them playing.
The findings also showed that only 37% of respondents aged 12-21 knew who their Club Welfare Officer was and that only 5.39% across all age groups would report concerns to them.
We would like to give a huge thank you to everyone who took part and we hope you continue to do so in the future.
After each consultation, we commit to implementing the findings through a series of 'you said, we will' objectives. We will regularly update you with progress across these areas via our website and social media.
Following our #1 Returning to Play consultation, we WILL:
1. Present the findings to our youth leagues and Oxfordshire FA Board
2. Utilise findings to help shape our new 2021-24 Strategy and 2021-22 Operational Plan
3. Work closely with clubs, leagues & grassroots coaches to improve the environment on match days by improving and promoting positive behaviour via a new county-wide Respect initiative.
4. Deliver pre-season training to grassroots coaches that will support them to create a positive environment and deliver fun, engaging and age appropriate training sessions that will keep players enjoying their football
5. Help keep young people safe by working collaboratively with clubs and leagues to raise the profile of 'Club Welfare Officers' and the process of reporting safeguarding concerns
The full report can be downloaded here
Early in the new season, we will be launching Youth Consultation #2 that will focus on 16-24-year olds. The aim of this will be to find out how we can support this age group to stay in the game and transition into participating in adult football.
If you have any questions regarding the report or our work with young people in general, please get in touch with Michael Thurlow, Football Development Manager via development@oxfordshirefa.com


text:
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This year, the YDC offers better tools and resources to make it easier for educators to build creative and engaging learning experiences that strengthen critical thinking skills for their students. We're providing a clear framework that meets science standards and enables students to solve real-world and local sustainability problems.
Registration for the 2019-2020 Biomimicry Youth Design Challenge is now open. Sign up now to gain exclusive access to the new YDC materials and give the next generation a unique opportunity to be inspired.
Register Now for the ChallengeComplete your Coach Profile
The Biomimicry Institute's Youth Design Challenge (YDC) is a project-based learning experience that asks middle and high school students to design bio-inspired ideas that can provide solutions to the climate crisis. It provides a framework for formal and informal educators to introduce biomimicry as an engineering design strategy, to integrate relevant purposeful STEM experiences, and to provide engaging instruction aligned to the Next Generation Science Standards (NGSS).
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text:
Ian Birnie talks with Prisoner of the Mountains director Sergei Bodrov
Sergei Bodrov, director of the acclaimed Prisoner of the Mountains - winner of both the FIPRESCI and Audience Awards at the '96 Cannes Film Festival - was born near the Russian-Chinese border in 1948. Beginning his career as a screenwriter, he turned to directing in 1984 and has subsequently completed nine features. Since 1993 he has divided his time between Russia and the United States.
Prisoner begins with the ambush of a small troop of Russian soldiers policing the Caucasus by Muslim rebels from a nearby mountain village. Two Russian soldiers, a cynical veteran and a young recruit, are taken prisoner and are held for ransom - to be exchanged for the son of the village patriarch, who is being held in a Russian jail.
The spectacular mountain village in which the Russians are held captive is backdrop to an intimate story in which reality overtakes rhetoric and the soldiers become reluctant comrades; the recruit even befriends the young Muslim girl who feeds them each day. But the anguish of the patriarch over his son's imprisonment, and the rift between the village elders over the fate of the soldiers, are portrayed with equal sensitivity. What emerges is a complex endgame in which both sides are implicated. Yet the disparity in resources - What threat could these mountain villagers possibly pose to Russian tanks? - is all too evident.
Filmmaker: Prisoner of the Mountains is based on Leo Tolstoy's short story, "Prisoner of the Caucasus," written 150 years ago. How did you finally come to put this story on the screen?
Bodrov: It's a famous story in Russia, a classic. Every kid has to read it. In fact, it was written for kids and I knew the story when I was eight years old. In this story, the Chechens captured two Russian officers because they wanted to sell them for money. Ransom. Great story. But Tolstoy was a Russian officer, so he was pro-Russian. The Chechens were cruel "smelly Tartar people." And the Russians were right, and the Chechens were wrong. Tolstoy was a genius, so he could afford to make mistakes. I don't know who is right and who is wrong. I'm not a judge. I just feel sorry about people.
So we decided to make a story about exchange. Two Russian soldiers are taken prisoner by a Chechen man who hopes to trade them to the Russian army for the release of his son. It's more human. More universal. And for me personally it works much better. Normally in war you have one rule: You have to kill your enemy. Unfortunately it's easier to kill a man than to like him. But somebody has to change this rule. So, I wanted to make this strong and simple message.
Filmmaker: That's interesting because the simplicity is in the story but the complexity is in the emotion and the relationships, particularly between the two soldiers. Was that relationship in the book? Also, the young soldier's played by your son, so that has another kind of resonance.
Bodrov: In Tolstoy's story there were two characters - a weak man from a rich family and a strong man from a poor family. And of course the stronger man wants to escape because he knows nobody will pay for him - I use this in the film. For the movie we decided to create other characters - one who is a professional soldier, who is used to killing people, and the other, a young draftee who is captured in his first fight. He doesn't know the rules of the war.
For the first part I cast a great Russian actor, Oleg Menshikov (Burnt by the Sun), and for the young soldier I couldn't find a professional actor and, at the last moment, I decided to screen-test my son. He was fresh, natural, and it worked. Of course, the movie became more personal for me because it was my son. He could easily have been in that war.
Filmmaker: One of the most striking things about the film - even though you have this life-and-death situation of prisoners, hostages, war - is its humor.
Bodrov: Yes. It's a perfect mix for me, tragedy and comedy. It works much better because people laugh and after five minutes, they [the characters who made the audience laugh] are dead. I have a friend, an old, wonderful Russian writer who spent almost 15 years in the camps. He was arrested in the '40s because the KGB decided, completely out of the blue, that these young people wanted to kill Stalin. He and his friends spent almost 20 years [imprisoned]. And he has a wonderful sense of humor. He spoke to me of another friend. He said, "He is a really strange person. He spent 20 years in the prison and he still can't tell any jokes!" You can find humor in any situation. Audiences appreciate this.
Filmmaker: Humor is also an international language, a subverbal language. I always think that for an independent filmmaker, if you have little money to make a film, make a comedy. People will forgive production values.
Bodrov: Yeah. Did you know I used to be a screenwriter, and my first movies as a writer were comedies. They were silly comedies. My intention was to write more sophisticated comedies, with irony. Unfortunately, my feelings were plugged and, in the end, they used only my plots. I would write silly comedies and more sophisticated ones and the producers preferred the simple ones. They were, however, a few of the most popular comedies of those years. When I decided to direct movies, I met with the audience a lot. For example, I would screen Freedom Is Paradise [Bodrov's feature about a young boy's repeated attempts to escape from reform school] and then in the Q&A, people would say, "It's a really good movie, we like it, but please, make another comedy. We remember your wonderful comedies when you were a writer." And especially in Russia, people would say "You know, it's a hard life. We want to laugh."
Filmmaker: You've been living in L.A. for three years now, and have been involved with a few American productions, including Alexandre Rockwell's Somebody to Love [which Bodrov co-wrote and co-produced]. When you went back to Russia to make Prisoner, was there any way in which your relationship with American movies or living in the West changed your approach to making movies?
Bodrov: It was a very useful experience to make this movie with Alex. I think it was a really fine script. But when people ask me what's the difference between making independent movies in Russia and in America, I would say there's no difference, only lunch is much better here. That's my joke. When I started to make my movies it was interesting that Russian critics were saying that I was making "American" movies and one British critic wrote that one of my films was obviously influenced by Monte Hellman's Two Lane Blacktop, which I never saw, but I must rent on video sometime. Many of my movies are road movies, which is a popular American genre, but I think it was primarily something unconscious.
Since moving to the States, I have seen all the American movies that I couldn't see in Russia. I love to watch movies; sometimes I watch five to seven movies a week. And I'm a member of this wonderful video store, Videots, in Santa Monica - it's the best in L.A. I also think more about the audience now. In Russia you didn't have to make a film for the audience but it was very difficult for a lot of people there to become filmmakers. If you could deal with state censorship, however, you could make your movie with state support. One hundred percent state support. For instance, Tarkovsky - I worked with him for two years as a gaffer - made Stalker from beginning to end, and he didn't like it. So he shot it again from beginning to end with a new cinematographer.
Filmmaker: What American or independent films have you seen recently that particularly impressed you?
Bodrov: This year I missed a lot of movies because I was doing my own movie. I love Fargo. And Leaving Las Vegas was another movie that impressed me. It was very strong. I didn't see the sequel to The Crow, but I really loved the first. I was impressed visually. It was a wonderful story.
Filmmaker: What's in the future for you?
Bodrov: Future projects? I am getting offers now, and some of them are really interesting. And I have a couple of my own projects. I have a wonderful story about circus life. It's magical. I finished a script I wrote with my friend Dwayne Jonson-Cochran. It's a road movie, Bonnie & Clyde-ish, modern day. I love to work with other people. I think now I would also like to do an English-language movie. But I consider myself a Russian director and I will make another movie in Russia. I also want to do a movie in China someday. It all comes down to the story. If it happens in India, why not?
Ian Birnie is the director of the film department of the Los Angeles County Museum of Art. The Museum will present a retrospective of films by Sergei Bodrov, January 1 - February 4, 1997.


text:
Earl Lawrence Wilson
Born: 10 / 2 / 1934 at Ponchatoula, LA (USA)
Died: 4 / 23 / 2005 at Southfield, MI (USA)
This article was written by Don Hyslop
Ponchatoula, Louisiana, in the 1930s was a small town that had suffered a number of lumber mills closing in the previous decade. By the 1930s, it was known primarily as a strawberry farming region. It was into this area that on October 2, 1934, Earl Lawrence Wilson was born. He later changed his name to Robert Earl Wilson. The family's roots were in this area as both, his father, Earl, and mother, Amanda, were from the region. Amanda's father, in fact, ran a nearby strawberry farm. Earl had been preceded by a sister and eventually would become the middle child upon the birth of another sister. Both his parents were known as hard workers with his father employed as a school custodian and his mother, besides looking after her own household, was employed as a housekeeper.
Wilson grew up loving sports. He went to Hammond Colored High School, where he played varsity basketball. His passion, however, was baseball and he played whenever and wherever he could get the chance. He played at Athletic Park in Ponchatoula for as many community teams as he could. As he grew, his parents, according to son Greg, instilled in him a strong work ethic and desire to always strive to be successful. These characteristics would be very important in Earl's life as it unfolded.
Wilson began playing as an outfielder but soon switched to catching. He was always a strong hitter. In 1953, in what the Baseball Library web site describes as his first real season as a professional, he, because of his strong arm, was changed into a pitcher. He went he went 4–5 with a 3.81 ERA—and more walks (61) than strikeouts (56) for the Bisbee-Douglas Copper Kings of the Arizona-Texas League.
It was during this season that the Boston Red Sox began to notice the young ballplayer. The scouting report sent to the team's head office is indicative of the racial bias that Wilson had to overcome in his early years as a professional ballplayer. It stated, "He is a well mannered colored boy, not too black, pleasant to talk to, well educated, has a very good appearance and conducts himself as a gentleman." That year the Red Sox signed Earl; the first African American to play a game for the Bosox, Elijah "Pumpsie" Green, wasn't signed until 1956. Still, these were the first two African Americans ever signed by Boston. Earl was drafted into the Marines in 1957. Although he continued to play military ball his opportunity to become the first black player to crack the Red Sox lineup was delivered a setback. It looked like Pumpsie Green would get there first
In 1959, Green had hit .400 during spring training with the parent Sox and was named "Camp Rookie of The Year" by the press. Even with those accomplishments, Green had not secured anything. When writers asked owner Tom Yawkey if Green would make the team, he replied, "The Sox will bring up a Negro if he meets our standards." By the time camp had broken, General Manager Bucky Harris seemed to indicate that Green had made the team—but this was not the case. Reports were that manager Pinky Higgins had gone to Yawkey and had Harris overruled. Boston sportswriter Al Hirshberg later claimed that Higgins had made the following statement, "There will be no niggers on this team as long as I have anything to do with it."
The demotion of Green caused a furor among civil rights groups. The NAACP called for an investigation into the affair. The Massachusetts Commission Against Discrimination held hearings into the matter. Neither Yawkey nor Harris attended. They put the team's defense into the hands of a young team lawyer by the name of Dick O'Connell. He argued the Red Sox were employing eight black personnel at the time, one at Fenway Park and eight in the minor leagues. The outcome of the hearing resulted in the Red Sox being absolved of any charges of discrimination for the promise of making every effort to end the apparent segregation that existed on the team.
By that July, Green was hitting .325 at Minneapolis and had just been named an American Association All-Star for the second straight year. On July 21, 1959, Green made his debut for Boston to become the first African American to play for the Red Sox. One week later, Robert Earl Wilson, who had a record of 10–2 at the time, made his first appearance.
During the remainder of that season, Wilson appeared in nine games and compiled a modest 1–1 record with a 6.08 ERA. He recorded his first victory in the majors August 20 in an 11–10 win over the Kansas City A's. Besides picking up his first big-league win, he also showed his bat was a serious weapon as he picked up three RBI in the game.
In the 1960 season, Wilson appeared in 13 games and had a 3–2 record. He lowered his ERA to 4.71 and lowered his walk to strikeout ratio as well. His control at this early stage of his career was always a concern. In spite of what appeared like good progress Wilson would not make a major league start in 1961.
The following season, 1962, saw Wilson come back to stay. It did not take long for him to distinguish himself. On June 26 of that year, he took the mound against the Los Angeles Angels and Bo Belinsky in front of 14,002 fans in Fenway Park. That night he became the first African American to hurl a no-hitter in the American League, pitching the Sox to a 2–0 win. He helped his own cause by hitting a home run, which proved to be the game-winning run. During the contest, Wilson faced 31 Angels hitters. He gave up four base on balls, struck out five, had eight ground-ball outs and 14 fly-ball outs. The Red Sox made several key defensive plays behind Wilson, as happens in most no-hitters. These included a fine catch at the wall by Carl Yastrzemski, a grab of a line drive by shortstop Eddie Bressoud, and a catch of a 400-foot fly ball to center field by Gary Geiger. Following the game, Wilson commented, "Honestly, I didn't think I had as good as stuff as I had in other games I've had this year. I never had any idea anything like this would ever happen to me. The good man was with me tonight." Owner Yawkey gave Wilson a $1,000 bonus for his achievement, declaring, "I am more excited now than I was during Mel Parnell's no-hitter as Wilson is just arriving at what could be a brilliant career."
The victory was Wilson's sixth of the season. He went on to finish the year with a 12–8 won-lost record with a 3.90 ERA. He pitched 191.1 innings. For the first time his strikeouts outnumbered his walks (137–111). It was also in 1962 that Wilson became one of the first professional athletes to have an agent represent him in contract negotiations. It occurred as a result of a minor accident in which Earl was involved. He was referred to a young lawyer by the name of Bob Woolf. The association of Woolf with Wilson marked the start of Woolf's career as a sports agent. It worked out well for both parties as besides being involved in contract discussions for Earl, Woolf also achieved several endorsement deals for the player.
Wilson's next few seasons saw his won-lost record reflect the overall ineptitude of the Red Sox. In 1963, he earned 11 victories and 16 defeats. Still, he lowered his ERA to 3.76. He also threw more than 200 innings for the first time in his career.
The 1964 season saw Wilson compile an 11–12 record with a 4.49 ERA. He once again had more than 200 innings of work. In the 1965 season Earl had 13 wins to lead the Red Sox. He had 14 losses with an ERA of 3.98 and threw 230.2 innings. He gave up 77 walks but struck out 164 opposing hitters. Two of the highlights of that season for Earl occurred in August. On August 16 he hit two home runs but ended up losing the game 5–4 to the Chicago White Sox. On August 25, he struck out 13 Washington Senators in an 8–3 victory.
Early 1966 saw an event occur that had a monumental effect on the rest of Wilson's life. During spring training, while in Lakeland, Florida—the spring home of Wilson's next team, the Detroit Tigers—Wilson and a couple of his teammates, Dennis Bennett and Dave Morehead, decided to go to a local bar named the Cloud 9 for a drink after a day at the park. In Bennett's words he describes what happened that night: "The bartender asked Dave and I what we wanted. He then turned to Earl and said, `We don't serve niggers in here.' So we all got up and left the place. Earl was upset at first as he had never been refused service before."
Author Peter Golenbock, in his book Red Sox Nation, wrote that incidents such as this tended to bring negative publicity to the team rather than to the racist attitudes in the South. Wilson understood this was the case and although he revealed the incident to Boston writer Larry Claflin, he asked that the writer keep it to himself and not write about it. Claflin agreed but another writer found out about it and instead of exposing the racism of the incident focused his story on the Red Sox players going out drinking.
Most observers—including Wilson, according to his son—felt this incident was the reason the Red Sox decided to deal him. To Earl the writing was on the wall when on June 13, the Red Sox acquired two black players, John Wyatt and Jose Tartabull. That night, Earl told his roommate Lenny Green, who was also an African American, "There are too many black players on the team, someone will have to go!" The next morning manager Billy Herman informed Wilson that that he and a black outfielder, Joe Christopher, had been traded to Detroit for veteran outfielder Don Demeter and a player to be named later (a week afterward, Detroit shipped reliever Julio Navarro to the Bosox). Earl at the time had appeared in 15 games with the Sox that season and had a 5–5 record. His ERA was 3.84. Although upset at first, Earl quickly rebounded and went on to post a 13–6 record for the Tigers to finish the year with 18 wins overall and a sparkling Tigers ERA of 2.59. As it turned out, the trade was one-sided in the Tigers' favor with Demeter retiring at the end of the 1967 season.
For Wilson, though, 1967 was without doubt his finest season. He appeared in 39 games and led the Tigers with 22 wins against just 11 defeats. He also racked up 184 strikeouts. Detroit finished the season just one game behind the "Impossible Dream" Red Sox.
The 1968 season saw the Tigers capture the American League pennant, dominating their opponents. They finished 12 games ahead of their nearest rival, the Baltimore Orioles. Besides Wilson, who finished with a 13–12 record and a 2.85 ERA, Detroit also had Denny McLain win 31 games and Mickey Lolich win 17. Wilson tied his career high with seven home runs during the season. In the World Series, the Tigers came from behind to take the fall classic over St. Louis in seven games. Earl pitched the third game of the Series, going 4.1 innings. He gave up three runs, all earned, on four hits and six walks. He had three strikeouts. The Tigers went on to lose the game 7–3. It was Earl's only appearance in the Series.
In 1969, Wilson had his last winning season as a pitcher. He finished with a 12–10 record and a 3.31 ERA. He also pitched more than 200 innings for the last time. The Tigers finished the year in second place, 19 games behind the pennant-winning Orioles.
During his final season in Detroit, Earl was involved in one of the most unusual plays ever to occur in baseball. On April 25, 1970, in a game against the Twins, Wilson swung and missed on a pitch for what appeared to be the third out. The umpire believed the catcher had trapped the ball and did not call Wilson out. Not realizing this, the catcher rolled the ball toward the mound and the Twins began to leave the field. Earl started running around the bases and before the Twins recovered he had rounded third. He tried to get back to third but ended up getting tagged out by the left fielder. It probably was the only strikeout ever to be recorded in the scorebook as 7–6–7. The 1970 season was his final one in the majors. When he was sold to the San Diego Padres July 15, his record was 4–6 with an ERA of 4.41. The Padres were a terrible club that season and finished the year with 99 losses. Earl's record with the Padres was 1–6 with an ERA of 4.85. He was subsequently released by the Padres on January 13, 1971, at which time he promptly retired from baseball.
In 11 seasons in the big leagues, Wilson had a 121–109 (.526) record. His lifetime ERA was 3.69 and he had 1,452 strikeouts, a rate of better than six for every nine innings pitched. He was a dangerous hitter as well. He had 35 home runs in 740 at bats—a ratio of one homer for every 21 at-bat. (a ratio many regulars would covet). Two of his home runs occurred in the role of a pinch-hitter. He was such a good hitter that Tigers broadcaster Ernie Harwell commented in Wilson's obituary that appeared in the San Diego Union-Tribune that he recalled Wilson pinch-hitting on numerous occasions. Former Tigers catcher Bill Freehan commented in the same story that Earl was a better hitter than some in the regular Tiger lineup.
Upon his retirement, Wilson decided to move back to Detroit for several reasons. Detroit was one of the few areas that he had been where blacks actually owned businesses rather than being employees. He also remembered the summers he had spent picking strawberries on his grandfather's farm as a reason he did not return to his Louisiana birthplace. In fact, Earl was just more comfortable in Detroit than anywhere else. His greatest success as a major leaguer happened there and the area had a large number of successful middle-class blacks, many of whom were also entrepreneurs. In a book published by the Detroit Free Press titled The Corner: A Century of Memories at Michigan and Trumbull, Wilson made the following comment: "Back home in Louisiana, I had never seen black people who owned businesses. When I came to Detroit, I saw this. They had big homes. Just a lot of things I wasn't accustomed to. I just fell in love with the Tigers and knew this was the place I wanted to be."
Moving back to Michigan, Wilson established the Earl Wilson Company, which repaired forklift trucks for the Big Three automakers. He later started Auto Tech Fillings, a company that manufactured a substance that stopped echoes from occurring inside automobiles.
By 1989, Wilson had decided that he once again wanted to be involved in baseball but not in the usual way. He joined the Baseball Assistance Team (BAT) because he had a strong desire to help former major league baseball players and their families who were not as fortunate as he was. After three years in the organization, Earl was elected its vice president, and in 2000 he was elected president, holding the position until 2004. The organization was formed to provide assistance, especially to those who played before salaries or pensions were as generous as they are now. The assistance BAT offers takes many forms including health care, financial grants to those in need, rehabilitative counseling, or whatever is required to attain comfort and dignity for former ballplayers and their families.
According to BAT officials at Major League Baseball headquarters, Wilson was a very active member of the group. Besides holding executive positions, he helped raise financial contributions in a variety of ways, including the Earl Wilson Celebrity Golf Tournament, which ran for five years. Ted Sizemore, the current BAT president in 2007, said, "Earl was one of a kind. As a former ballplayer, he knew how important it was to help one of our own and that's why he became involved with BAT and excelled in his duties as president and CEO."
In 2002, as BAT president, Earl returned to Boston to attend the memorial service for Ted Williams. According to Earl's son Greg, Wilson thought a lot of Teddy Ballgame. One of the few pieces of baseball memorabilia Wilson kept was a Ted Williams autographed baseball.
The world lost Robert Earl Wilson April 23, 2005, to a heart attack at his home in Southfield, Michigan, at age 70. In the words of ESPN announcer and Hall of Famer Joe Morgan, "I appreciated how he cared about former baseball players who were facing tough times. His death was not a loss for just his family but also for all of baseball."
Golenbock, Peter. Red Sox Nation. Chicago: Triumph Books. 2004.
Nowlin, Bill. Mr. Red Sox: The Johnny Pesky Story. Cambridge, Mass.: Rounder Books. 2004.
Stout, Glen and Richard Johnson. Red Sox Century. Boston: Houghton Mifflin. 2004.
Boston Globe, April 26, 2005.
San Diego Union-Tribune, April 25, 2005.
www.baseballlibrary.com/baseballlibrary/ballplayers/W/Wils
www.baseballreference.com
www.boston.com/sports/baseball/redsox/articles/2005/04/26
www.fergiejenkinsfoundation.org/13
www.insider.espn.go.com/columns
www.1967alpennant.com/1967-tiger-retrospective-earl-wilson/
www.ponchatoula.com
www.wikipedia.org/wiki/Earl_Wilson
www.retrosheet.org
www.signonsandiego.com/uniontrib/20050426/news
Interviews with Greg Lawrence, son of Earl Wilson.
Interviews with the Office of the Baseball Assistance Team, New York.
This article originally appeared in the book Sock It To 'Em Tigers--The Incredible Story of the 1968 Detroit Tigers, published by Maple Street Press in 2008.


text:
Лім Джон Сім:

 Лім Джон Сім (кор. 림정심, 5 лютого 1993) — північнокорейська важкоатлетка, дворазова олімпійська чемпіонка, медалістка чемпіонату світу.
 Лім Джон Сім (кор. 림종심, 25 квітня 1994) — північнокорейська борчиня вільного стилю, срібна призерка чемпіонату Азії, бронзова призерка Азійських ігор.

redpajama_set_name: RedPajamaWikipedia


text:
owgramcom July 12, 2022
At six weeks pregnant, many expectant parents will head to the doctor for a check-up and might be able to hear their child's heartbeat on an early scan if they're lucky.
Lex Ginger, from the US, did just this at the six-week mark of her pregnancy, where doctors confirmed she was having just one baby when they carried out an ultrasound.
But a week later, the mum-to-be started experiencing terrible morning sickness, so went back to see her doctor make sure all was ok.
And to her absolute astonishment, Lex was told that she expecting twins – and not just any kind of twins, incredibly rare Monoamniotic twins or mono mono twins as they are more commonly known.
According to the NHS, these are twins that come from the same egg, which splits into two babies as the cells divide. This means that they share the same placenta (afterbirth) and that they are identical.
Lex revealed all in a viral TikTok video on her account @lex.ginger where she explained her disbelief at this news – and the clip has been viewed over 21 million times.
She said: "Put a finger down if you were six weeks pregnant and went to the OBGYN and saw that it was one baby because there's one egg and one yolk sac and then at seven weeks you get really terrible morning sickness and then you go in for a checkup. Your husband says he wants to come with you but you tell him not to as it's just a nausea checkup.
"But there the doctor is like might as well do a scan because you're here and then they do the scan and they keep looking and they keep looking and they keep looking and then they look at you and they say 'you're having twins' but they don't say it in a very happy way.
"And you tell them you aren't having twins because last week you weren't and this week you can't because they don't multiply like that. And she says 'okay, well you see here? They did'. And you say 'Well, no' and she says 'yes'."
The mum then shares how she took a closer look at the screen and noticed the two babies were very close together, so she then asked if the twins were going to be conjoined.
"She says they could be and I cry, then I try to call my husband but I didn't have my phone and then a nurse hugged me while I was crying because it's a lot to take in when you think you're just having a baby and then they multiply and then they might be conjoined," Lex continues.
"Then I got told they might not be conjoined, they could be something called mono mono twins."
The mum admits she perked up at this as she thought it was better than having conjoined twins, but then her doctor explained that they wouldn't know for sure for three months – and if it were mono mono twins, it would be a very dangerous pregnancy.
The doctor explained: "If they're mono mono twins they have a 50 per cent chance of death and it's a really terrible pregnancy. At 24 weeks you're going to be hospitalised for two months and there's a chance they could die at any point in the hospitalisation, but most likely you're not even going to make it to 24 weeks."
The expert went on to say that she'd never seen this before in her entire career and that it was only a one in 10,000 to one in 50,000 chance of it happening.
It's fair to say Lex was very freaked out after her appointment but thankfully all worked out for the mum and her babies in the end.
Patrick, her husband, never missed an appointment again after that and her identical twin boys, Max and Miles, made it to their planned C-section date of 32 weeks.
Doctors told the parents that any longer and the little ones might not have made it as their umbilical cords were "highly tangled" in the sac.
The boys are now three years old and the mum, who has over 496,000 followers on TikTok, shares regular updates and posts about their life and parenting.
'My kids led me to deserts, mountains, canyons and beaches on an epic US adventure'
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text:
Q: How do people perform mental arithmetic for complicated expressions?
This is the famous picture "Mental Arithmetic. In the Public School of S. Rachinsky." by the Russian artist Nikolay Bogdanov-Belsky.
The problem on the blackboard is:
$$
\dfrac{10^{2} + 11^{2} + 12^{2} + 13^{2} + 14^{2}}{365}
$$
The answer is easy using paper and pencil: $2$.
However, as the name of the picture implies, the expression ought be simplified only mentally.
My questions:

*

*Are there general mental calculation techniques useful for performing basic arithmetic and exponents?

*Or is there some trick which works in this case?

*If so, what is the class of problems this trick can be applied to?

A: I did it completely mentally (nothing written down for the intermediate steps), but it did take me about 3 minutes plus a lot of serious concentration.
I recognised the sum of consecutive squares and used the relevant Faulhaber formula (note: I am referring to just the specific formula for the sum of consecutive squares, not the generalised formula, which would be hard to memorise):
$$\begin{align}\\&\frac{10^2+11^2+12^2+13^2+14^2}{365}\\&=\frac{\frac{1}{6}\cdot(14)(15)(29) - \frac{1}{6}\cdot (9)(10)(19)}{365}\\&= \frac{(7)(5)(29) - (3)(5)(19)}{365}\\&=\frac{5\cdot (7\cdot 29 - 3 \cdot 19)}{5\cdot 73}\\&=\frac{7\cdot 29 - 3 \cdot 19}{73}\\&= \frac{7\cdot(19 + 10) - 3\cdot 19}{73}\\&= \frac{(4)\cdot 19 + 70}{73}\\&= \frac{146}{73}\\&= 2\end{align}$$
Note that I am writing it out exactly as I thought about it, so some steps are listed in seemingly unnecessary detail. I also wanted to keep the numbers in the numerator smaller, so I did the division by $6 (=2\cdot 3)$ immediately for each term in the difference.

A: You can do this without any amazing mental skills but more a sort of "developed algebraic sense".  I only had to know $12^2 = 144$ but after years of doing mathematics the rest of the thought process went automatically like this (minus the explanations):

*

*We know (by some explicit or intuitive convexity principle) that the numerator will be slightly larger than $5 \times 12^2 = 5 \times 144 = 720$.

*The correction terms to this are made by addition of ($2 \times (1^2 + 2^2))$.  The idea is to recognize that estimating $(X+a)^2 + (X-a)^2$ by $2X^2$ involves a loss of  $2a^2$ independent of the particular $X$.  Here $X=12$ and $a$ is $1$ and $2$ for the two pairs of terms.   To correct the initial estimate we must therefore add $2 \times (1 + 4)$ which is not a hard mental computation: $10$.

*thus the numerator will be $730$ and if you made it this far without arithmetic errors that should be recognizable as twice the denominator.
The beautiful painting is famous in Russia but not as known elsewhere.  I remember it from a math book but never saw it in any Western book on art.

A: A not too hard way of doing it is to add the numbers (which are not too hard squares to calculate or know by heart) in the numerator and keep track of every time you get past 365, mentally incrementing the result
You get
10^2 = 100
Add 11^2 (121), you're at 221
Add 12^2 (144), you're at 365 (increment result by 1)
13^2 = 169
Add 14^2 (which is 13^2 + 13 + 14 = 196), you're at 365 again, increment result by 1 again
So the result is 2
I don't know if that makes sense but that's how I would do it

A: I think you can see clearly here that if you let $12$ be equal to $x$, the expression would just then be
$$\frac{(x-2)^2+(x-1)^2+x^2+(x+1)^2+(x+2)^2}{365}$$
Do remember that if you square a binomial $(a+b)$ you would get $a^2+2ab+b^2$; thus if you replace $a$ by $x$ and $b$ by either $\pm 1$ or $\pm 2$ the middle terms would just cancel out mainly $2ab$. So you would be left with
$$\frac{(x^2+4)+(x^2+1)+x^2+(x^2+1)+(x^2+4)}{365}$$
Which then further simplifies into
$$\frac{5x^2+10}{365}$$
$$\frac{720+10}{365}$$
$$=2$$

A: $$\color{Green}{n^2=1+3+5+\cdots+(2n-1)}$$
Therefore
$$\begin{align}
10^2+11^2+12^2+13^2+14^2
&=(1\cdot+19)+(1\cdot+21)+(1\cdot+23)+(1\cdot+25)+(1\cdot+27)\\
&=5\times(1\cdot+19)+(4\times21)+(3\times23)+(2\times25)+27
\end{align}$$
Also,  $1+3+\cdot+19=10^2=100.$
Hence
$$10^2+11^2+12^2+13^2+14^2=500+84+69+50+27=730$$
$$\color{Green}{10^2+11^2+12^2+13^2+14^2=2\times365.}$$

A: There may be an easier way:
In general $(10+a)^2=100+20a+a^2$ so the numerator becomes
$500+20(0+1+2+3+4)+1+4+9+16$
$=500+20(10)+1+4+9+16$
$=700+1+4+9+16$
$=730$
Then of course $730/365=2$.
Not sure if you could quite do that in your head. It would definitely take a minute or two.

A: I did a variation of what others have done.
First noting that $(n+a)^2+(n-a)^2=2n^2+2a^2$ I did $5\times 12^2+2\times (1^2+2^2)$
It seems obvious to exploit the symmetry. If there were $25$ squares, for example, I'd be using the formula for the sum of the first $12$ squares.
This would be harder with an even number of squares (you can use half integers with care).

A: You can also do the computation Mod 12 and Mod 11. You then find with little effort that the results are 2. This means that it is also 2 Mod 12*11. The  rational reconstruction theorem then implies that the fraction is equal to 2.

A: I did it like this
$$
\begin{aligned}
10^2 + 14^2 &= 2\cdot 12^2 + 2 \cdot\!12 \cdot \left(2-2\right)+ 2 \cdot 2^2
\\
11^2 + 13^2 &= 2\cdot 12^2 + 2 \cdot\!12 \cdot \left(1-1\right)+ 2 \cdot 1^2
\\
12^2  &= 12^2
\end{aligned}
$$
Sum $\,= 5\cdot 12^2 + 2 5  = 720 + 10 = 730 = 2 \cdot 365$.
So the answer is $\,2$.

A: I ball-parked the answer as 2 almost immediately as follows:
$$\frac{10^2+11^2+12^2+13^2+14^2}{365}\approx\frac{5\cdot12^2}{365}=\frac{720}{365}\approx 2$$
144×5 is "144/2 add a 0" (i.e. 144×5=144×10/2), so the whole operation takes less than two seconds.
Note that this method is exact for a linear (arithmetic) sequence; it's also important for our accuracy that the terms are increasing by 1 and the denominator is roughly the same order of magnitude as the numerator.
I couldn't have told you that quickly that the answer is exactly 2, but who needs precision anyway? Worked out pretty well in this case.

A: Many different ways to solve the problem have already been listed here.
However, I want to bring to your attention a whole class of numbers which satisfy one property of the original equation
$$
10^{2} + 11^{2} + 12^{2} + 13^{2} + 14^{2}  = 2\cdot 365
$$
The property I would like to point out is
$$(x-2)^2 + (x-1)^2 + x^2 = (x+1)^2 + (x+2)^2$$
According to this post on mathoverflow.net such numbers are called Rachinsky quintets:

Define Rachinsky quintets as a set of five positive integers $ \lbrace a,b,c,d,e\rbrace $ such that $$a^2+b^2+c^2=d^2+e^2$$

For more information about Rachinsky quintets refer
to this answer.

A: Similar to Mark Bennet's solution:
 10^2 = (12-2)^2 = 144 - 48  +  4
 11^2 = (12-1)^2 = 144 - 24  +  1
 12^2 = (12-0)^2 = 144
 13^2 = (12+1)^2 = 144 + 24  +  1
 14^2 = (12+2)^2 = 144 + 48  +  4
 --------------------------------
             sum = 720 +  0  + 10
                 = 730

730 / 365 = 2

A: One method of solving it can be like this, We know $\,10^2=100,\,$ and then $\,11^2 = 100 + (10\cdot 2 + 1),\,$ $\,12^2 = 100 + (21) + (22 + 1)\,$ and similarly for other terms.
Thus we can just take $\,100 \times 5\,$ common and for rest terms we add like this $\,(20+1) + (21+22+1) + (44+24+1) + (69+26+1)\,$ i.e if there are two consecutive terms a and b then $\,b^2= a^2 + 2a + 1\,$, so finally result be like $\,\dfrac{500+21+44+69+96}{365},\,$  i.e $\,\dfrac{500+90+140}{365} $ .

A: I am surprised that nobody mentioned mnemonic techniques for doing calculations in your head. Instead of trying to explain basic techniques myself I am linking this video where famous mathemagician Arthur Benjamin explaining techniques he uses for multiplying huge numbers in his head.
For those who prefer to read rather than watch and listen I also link one of the articles where A.Benjamin covers basics of mnemonic techniques, for squaring large numbers, memorizing digits of $\pi$, and more.
Several relevant textbooks are also referenced below.

*

*Ringel', D.E., Mnemonic numbers and mnemonic vectors, Vestn. Beloruss. Gos. Univ., Ser. 1, Fiz. Mat. Inform. 2003, No. 1, 71--76 (2003). ZBL1272.46035.

*Benjamin, Arthur. T., The Secrets of Mental Math (2008), (Amazon link).

*Toma, Marina, Mathematics and mental calculus, J. Sci. Arts 10, No. 1, 39-42 (2010). ZBL1220.00025.

A: For me, I started thinking of the lines of @mathlove's solution for a few seconds.
It looks obvious when written out, but when working purely mentally I did not spot the pairing of the terms.
So, as per Sean and John's comment, just doing the direct method is actually quite easy.
A practiced mental arithmetician already knows the squares.
We have:
$100 + 121 + 144 +169 + 196$
$= 500 + 21 + 44 + 69 + 96$
Note that the double digit terms pair nicely:
$= 500 + (21+69) + (96 + 44)$
$= 500 + 90 + 100 + 40$
$= 730$
So, what is in common in the this and the other (mathematically superior) answers?

Look for patterns which allow one to simplify computational steps, and
  in particular to minimise the amount of data you need to maintain in
  your head.

A: $$\begin{align}\\&\frac{10^2+11^2+12^2+13^2+14^2}{365}\\&=\frac{(12-2)^2+(12-1)^2+12^2+(12+1)^2+(12+2)^2}{365}\\&=\frac{5\times 12^2+10}{365}\\&=\frac{5(144+2)}{5\times 73}\\&=2\end{align}$$

A: I think outlined approaches, while fine with pen and paper, are somewhat complicated for mental calculations. Here is how I figured this out in my head. The idea is that all intermediate calculations should be easy to perform and remember.

*

*First compute all the squares: 100, 121, 144, 169, 196.

*It is immediately obvious that 121 and 169 add to a nice and easy to remember number. Compute and memorize 121 + 169 = 290.

*Recognize that the same could be done for 144 and 196, answer is 340. Memorize it.

*At this point we are left with 100, 290, and 340. Add 100 to 290 to get 390.

*Add 390 and 340 together to get 730.

*Now we can look at the denominator and figure out how to simplify it.

A: If you know your squares out to $14$ (which students used to memorize) and do some simple three-digit arithmetic in your head, you can see that
$$100+121+144=365$$
and
$$169+196=365$$

A: I wasn't smart enough to group them the way Barry Cipra did, so I just did the arithmetic: $169 + 121 = 290$; adding $144$ makes $434$; adding $196=200-4$ makes $630$, adding $100$ makes $730$; wow, that's twice $365$, so the answer is $2$.

A: Here is how it was done in my head:
$10^2 = 100$. Okay. $11^2 = 121$. Okay, thats $221$. $12^2 =144$. Aha, thats $365$ total. So far we have a total of $365/365 =1$. Now, $13^2 =169$ and $14^2 =196$, which sum to $365$. So the answer is $2$.


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Press-ganged into servitude by a ruthless band of marauders who survived the devastating Storm, Nash has grown tired of his career– the young, undefeated champion of the Stray Dog fighting pits. All he longs for is a place to live where his family is not his enemy.
When his captain gives him an assignment to embed him deeper into the crew, Nash attempts to refuse, until the life of his friend is threatened. Determined to save her, Nash embarks on the mission to subjugate and control a supplier. But the supplier has other clients, one of which could be the son of the most feared pirate captain in all of Westraven.


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Q: Respect Validation - Returning a single error I'm using Respect Validation. Is it possible to return a single error instead of a bag of errors?
Current I can get the first error using the following:
public function checkUsername(Request $request, Response $response, $args = [])
{
    $body = $request->getParsedBody();
    $usernameValidator = v::key('username', v::alnum()->length(3, 10));

    /*
     * Validate the username
     */
    try
    {
        $usernameValidator->assert($_POST);
    }
    catch(NestedValidationException $e)
    {
        $errors = $e->findMessages([
            'alnum' => 'username must contain only letters and digits',
            'length' => 'username must be between 3 and 10 characters',
            'required' => 'A valid username is required'
        ]);

        $errors = array_values(array_filter($errors, function($error) {
            return !empty($error);
        }));

        throw new AppException($errors[0]);
    }

    /*
     * Find user by username. If $user is empty no user exists
     */
    $user = $this->userRepo->findByUsername($body['username']);

    return $response->withJson([
        'success' => true,
        'data' => [
            'username' => $body['username'],
            'available' => empty($user)
        ],
        'message' => null
    ]);
}

To do this every time I need to validate is going to get frustrating.
What I'm hoping is that the validation library has a method for returning a single error. If not I'll probably have to look into extending the class to create a method to do the same thing.
Any ideas?

A: http://respect.github.io/Validation/docs/index.html#validation-methods

We've seen validate() that returns true or false and assert() that throws a complete validation report. There is also a check() method that returns an Exception only with the first error found:

use Respect\Validation\Exceptions\ValidationException;

try {
    $usernameValidator->check('really messed up screen#name');
} catch(ValidationException $exception) {
    echo $exception->getMainMessage();
}


There is plenty of movie merchandise still landing on shelves at retail, and today we can add the Mission Vision Bumblebee and Shatter figures which we first revealed last month to that list thanks to the Bloomington, MN Target recon of TFW2005 member T-Hybrid.
Remember to bring your sightings news to the 2005 boards!
I misread the signs – obviously – I thought those long structures were the side of the car and you can see what looks like wheels and there isn't much jet kibble visible in the 1st post.
Well I guess the Shatter serves as a companion piece for the Titan Changer type one with the jet mode – as this one is a similarly simple toy only with a car mode.