text:
Q: Increment a Decimal in Map based on sObject Field Is it possible to increment a map decimal value in a loop based on a sObject field?  I have a  map and for each unique SKU, I would like to increment the decimal based on a field called Reporting_Sales__c as I loop through my superSummaries list.
I have tried multiple methods but the map is only retaining the last value.  I am trying to avoid putting the SKUs in a set, as collection sizes get pretty large.
Any help would be greatly appreciated - thank you!

        decimal bsTotalSales = 0;

        // Map of SKUs and their respective total sales
        Map<string,decimal> skuSalesMap = new Map<string,decimal>();

        for(Super_Summary__c ss : superSummaries){
            if(ss.Budget_Summary__c == bs.id){

                bsTotalSales += ss.Reporting_Sales__c;

                skuSalesMap.put(ss.SKU__c,0);
                skuSalesMap.put(ss.SKU__c,skuSalesMap.get(ss.SKU__c) + ss.Reporting_Sales__c);

                system.debug('skuSalesMap Reporting Sales = ' + skuSalesMap.get(ss.SKU__c));
            }
        }

A: This will fix your problem:
       decimal bsTotalSales = 0;

        // Map of SKUs and their respective total sales
        Map<string,decimal> skuSalesMap = new Map<string,decimal>();

        for(Super_Summary__c ss : superSummaries){
            if(ss.Budget_Summary__c == bs.id){

                bsTotalSales += ss.Reporting_Sales__c;

                if (! skuSalesMap.containsKey(ss.SKU__c)) {
                  skuSalesMap.put(ss.SKU__c,0);
                }

                skuSalesMap.put(ss.SKU__c,skuSalesMap.get(ss.SKU__c) + ss.Reporting_Sales__c);

                system.debug('skuSalesMap Reporting Sales = ' + skuSalesMap.get(ss.SKU__c));
            }
        }

You have to make sure you only initialize the counter once. In your previous version of the code, you were doing it every time you went through the loop... obviously, that's only going to leave the last value there.

redpajama_set_name: RedPajamaStackExchange


text:
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<img src="<?php echo Yii::app()->request->baseUrl; ?>/images/NewReportBg.png" alt="" />

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redpajama_set_name: RedPajamaGithub


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HOME / You in Five Acts
You in Five Acts
By Una LaMarche
An Excerpt From
***This excerpt is from an advance uncorrected copy proof***
Copyright © 2016 Una LaMarche
It's always been you—you know that, right? You didn't have to be onstage for me to see you in a spotlight; when you were around, everything else faded to the background, like some cheap cardboard set. Looking back, it doesn't even seem real, what happened with us. I see you in flashes, a fouetté turn that won't end, my eyes focusing for a split second, grounding me in between spins: your smile, your laugh, the way you looked so mad when you got nervous. The curve of your waist in your leotard. Your silhouette on the train that night, looking out the window with the whole city stretched out behind you like some crazy constellation. The weight of you in my arms as we prac- ticed our lift, and how our eyes locked, so full of trust.
I swore I'd never let you down. I didn't know then it was a lie.
Where Talent Meets Opportunity
Spring Semester Calendar:
January 4 First Day of Classes January 8 Senior Showcase Auditions
January 16 Martin Luther King Day (Campus closed) February 20 Presidents' Day (Campus closed)
March 11–12 Admissions Auditions, Class of 2021 April 17–28 Spring Break (Campus closed)
May 1–5 Senior Tech Week (Opera, Theater) May 8–11 Senior Tech Week (Music, Dance)
May 12 Senior Showcase Performances (Opera, Music) May 13 Senior Showcase Performances (Theater, Dance)
May 14 Senior Showcase Gallery Show Opening (Visual Arts) May 15–19 Final Exams
May 22 Senior Awards Luncheon
May 26 Commencement Ceremony
Pas de couru, tombé, manège of piqué pirouettes. I ran the steps in my head, over and over, one after another like sub- way cars hurtling through an endless tunnel. Every move, every turn, every line of each leg, each elbow, each vertebra every second had to be on point. En pointe. I had to be on my toes, literally, and light on feet that felt like bricks by the end of each rehearsal. The puns were endless, but, as we liked to joke back then, the struggle was real.
"She's not even paying attention." Liv flicked the back of my neck through my scarf with a thin, icy finger, and I heard you laugh.
"What?" I snapped back to life, or as close to life as I could get in the unforgiving January chill. My breath danced in front of me in a quick burst of cloudy vapor.
We were huddled at our usual spot at the Revson Fountain even though the marble was so frigid that sitting down meant sacrificing all feeling below the waist. Liv and Ethan always bitched about my love of the fountain because it wasn't the squares, or the steps, or the clock, or any of the other "normal" hangouts. You were the only one who understood why I wanted to go—had to go—where we could pull our sore legs up against our jackets and look out at Avery Fisher Hall, those big cement columns encasing the delicate glass interior like a ribcage, and behind that, deep inside, its beating heart: ballet.
"He's here," Liv sighed, turning my head manually with her hands. "Three days late, but who's counting, right?"
Of course Liv had seen him first. She'd always had a knack for knowing when a fellow Beautiful Person was in her orbit, almost like her brain came equipped with a thermal sensor for figurative hotness.
"Calm down, he's not even that famous!" Ethan scoffed, peering through his glasses across the square. "He was basically only in one movie, six years ago. I don't know why everybody's flipping their collective shit."
Despite its proximity to greatness in the heart of Lincoln Center, the Janus Conservatory had never had a celebrity before. I mean, there were plenty of famous alumni, and even a few teachers who used to be big deals. But all of the students, regardless of talent, were decidedly wannabes. Until Dave Roth. Ethan was upset because Dave's sudden second-semester senior year transfer was all anyone could talk about, which meant that everyone had stopped talking about the original play Ethan was producing for Senior Showcase. It was no secret that he liked to think of himself as the star of the drama majors, even though he'd switched from acting to directing sophomore year.
"Yeah, he's just a normal dude," you said matter-of-factly. You'd been perched next to me on the icy marble, bouncing restlessly on the toes of your well-worn Converse high-tops, but then you leapt down in front of me, holding out a French fry like a long-stemmed rose. "C'mon, you have to eat," you grinned, your eyes twinkling out from your messy mop of dark curls.
"I am eating," I said, inspecting my locker-smushed turkey- and-spinach wrap with trepidation. I wasn't sure I'd be able to get much down with the wave of nausea I'd been riding all day. You, on the other hand, could pound junk 24/7 and still dance circles around everyone else—including me. It was completely infuriating. You shrugged and popped the fry into your mouth. "A 'normal dude' who played Angelina Jolie's son," Liv said. "I mean, didn't he win a Golden Globe?"
Pas de couru, tombé, manège of piqué pirouettes. My Showcase audition—the single performance that would likely determine my entire future—would begin in three hours.
"No!" Ethan practically screamed. "He was nominated for a Golden Globe. Which means nothing, by the way. It's a drunken circus."
"You guys need a hobby," you laughed, crumpling up your greasy paper lunch bag. "And you," you said, putting your hands on my knees, "Need to chill. You got this."
I forced a tight smile. Senior Showcase would be attended by industry VIPs and recruiters from elite companies all over the country. If I didn't do well at the audition, I wouldn't get a featured role. And if I wasn't featured, I would barely be seen, which would mean that I could probably kiss a professional dance career goodbye, effectively rendering the previous ten years of my life a complete waste.
"Shit, remember that hospital monologue?" Liv asked, ignoring you. She reached out and caressed Ethan's face, sending a blush racing up his already winter-pink cheeks. "I'll always . . . be . . . with . . . you," she whispered, her face contorting into a mask of tragedy. Then she burst out laughing.
"You'll always be crazy," Ethan said, but his eyes on her were soft and reverent.
I took a tasteless bite of my wrap and looked across the plaza to where Dave and Ms. Hagen, the drama head, were standing near the entrance to the Metropolitan Opera House. He was cringing against the cold, wearing only a knit skullcap and a pretty flimsy-looking green hoodie. L.A. Boy's going to have to get himself a proper coat, I thought, feeling a little flutter in my chest that, for once, wasn't born of pure dread.
I don't know if it's fair to say I had a crush on Dave Roth; it was more like a curiosity . . . made slightly more interesting by the fact that he looked like some kind of lush-lipped boy bander crossed with a Greek statue. And in a graduating class of 125 that was 70 percent female, any new Y chromosome was bound to make waves. Besides, Janus never took transfer students. It had been founded in the 70s by a crazy-rich art lover named Roberta Zeagler who had, according to the quote carved into a block of marble in the lobby, wanted to "democratize the path to cultural greatness." That meant it was a free ride—tuition, supplies, even pointe shoes, which were $80 a pair and lasted one or two days—and, presumably, that talent was the only factor considered in the application. But each class only had room for twenty-five students per major, and there was a single audition period every spring, no exceptions. No one knew what Dave had done to get special treatment.
"P.S.," Liv said, turning to me like she could read my mind. "I saw his medical records in the nurse's office this morning, and he's six-foot-one, one hundred and sixty pounds, and does not have any STDs." She plucked a baby carrot out of her ever-present Ziploc baggie and snapped it in half with her incisors. I knew Liv well enough to know that A) "saw his medical records" meant "opened the nurse's file cabinet when she left the room"; and B) she was gearing up to play matchmaker again. She did that every so often—made a big show of trying to set me up with someone, and then lording over me how I never followed through. You never liked that; you always told me I should stop letting her act like I was some kind of pet project. What you didn't understand was how far we went back, and how I helped her, too. Liv was just a lot louder about it. But then, she was the actress. Drama came with the territory.
"He seems more like your type," I said, trying to deflect attention.
"He's probably gay," Ethan said, unconvincingly. "Anyway, you basically live in the nurse's office, so that's not exactly Sherlock-level sleuthing." He smiled down at something on his phone. "And for the record, Wikipedia says he's only five-nine." "I have adrenal fatigue, asshole," Liv snapped. (Another Liv translation: her "adrenal fatigue" was what the rest of the world called "a hangover.")
"Can we talk about something else?" you asked. You climbed up onto the bench and leapt into a perfect tour en l'air, landing with a squeak on the soles of your ratty sneakers. I rolled my eyes. I loved cheesy Hollywood dance movies— that was an established fact—but doing ballet jumps in street clothes was a little too Fame-y even for me.
"Attention whore," Liv grinned, tucking her crudités lunch back into her enormous purse.
"Enjoy this, Ortega," Ethan said. "It's your official last day of being the Cute Guy."
"Aw, you think I'm cute, E?" you asked, plopping down next to Ethan and draping an arm across his shoulders.
"No one thinks that," I said with a smirk. That was a bald-faced lie, of course. Everyone loved you, and I wasn't blind. You were the world's biggest flirt and a straight-boy ballet dancer. Back on our very first day at Janus, I remember being instantly drawn to you, but not in the way other girls seemed to be. Standing there in Ballet 1 with the tags on my brand-new leotard still scratching that unreachable spot between my shoulders, I just got this déjà vu feeling of already knowing you. It had felt, somehow, that you had always been there, and I just hadn't noticed until that moment.
"It doesn't matter if you're cute if you're not famous," Liv said, pretending to check her texts while she took a zoomed-in photo of Dave with her phone.
"We're not unfamous, we're pre-famous," Ethan shot back. "Which is better than peaking at age eleven, if you ask me."
"Make sure to lead with that when you meet him." I laughed, trying to ignore my stomach's enthusiastic somersaults.
"I probably should go introduce myself," Ethan said, fondling the script sticking out of his messenger bag. "I could use a big name in my play."
"Oh, so now he's a big name," Liv teased. She wiggled her eyebrows at me. "You know what they say about guys with big names."
Even in the icy air, my cheeks lit up like burning coals. "Please," I groaned. "I have to focus." But I was secretly sort of grateful to her for taking my mind off of my audition.
"Aaaaand, that's my cue," Ethan said irritably, shoving his hands in his pockets as he stalked off toward Dave and Ms. Hagen.
"You guys are worse than us," you laughed, shaking your head.
"Don't be jealous," Liv chided. "You'll still have your dance groupies. But he's new, and hot." She reached over me to ruffle your hair. "It's just like Shakespeare wrote: 'Everyone has their entrance, everyone has their exit.'"
"Speaking of entrances," you said, nodding toward Ethan. We all watched him make contact. It was like some nature documentary, where two species at opposite ends of the food chain face off on the Great Plains. Ethan immediately started gesticulating wildly.
"Ten bucks says he's already name-dropped Arthur Miller," Liv said. She was the only one of us who'd been allowed to read Ethan's top-secret Showcase script, because Ethan had not so secretly written the leading role for her.
"Maybe he's showing off your Godspell photos," you said. Liv and Ethan had first become friends in ninth grade when they had played Jesus and Judas, respectively. In many ways, their relationship still mirrored that doomed Biblical pair.
"Maybe he's inviting him to your party," I said, my heart starting to race at the heady thought of Dave Roth, in a warm room, close enough to touch. Liv's parents had left that morning to visit her aunt in San Juan, so she was throwing what she called a "soirée" for "a select group of dope people." Knowing Liv, though, that could have easily meant the entire senior class.
"God, I hope not." Liv cringed. "I actually want him to come."
"You're not both seriously into this dude already, right?" you asked incredulously, looking back and forth between us. I met your eyes and made a face like, You don't know my life, and you looked legitimately taken aback. "I expected more from you," you sighed. Your lips stretched out over your teeth like a smile but your eyes were flat.
"Excuse me, what kind of patriarchal bullshit is that?" Liv asked, turning on you. "Joy can do whatever, or whomever, she pleases. And you don't get an opinion." We high-fived over your head, and you held up your palms in surrender.
"OK, OK, I'm sorry," you said. "I was just—"
"You can make it up to me," Liv interrupted. "Jasper's not invited, for obvious reasons, so I need your help making sure our good friend Mary Jane makes an appearance." Just before Christmas break, Liv had broken up with her boyfriend of almost two years, who also happened to be Janus's primary pot connection.
You raised your eyebrows. "C'mon, you know I don't smoke. Stop stereotyping my people."
"Excuse me, I'm Puerto Rican," Liv said.
"Puert-Jew-rican," you corrected with a smirk. "Olivia Gerstein."
"Now who's being racist?" Liv snapped. "Plus, I know your cousin Dante deals. Jasper was always pissed about how he was moving in on the uptown schools."
Your smile disappeared. "I don't know anything about that," you said. "That's his business. Not mine."
"Fine, sorry. Forget I asked," Liv sighed. "Just bring a six- pack of something, then."
"What do you want?" you asked, turning to me, the tension of the previous seconds gone as if it had never happened.
I rolled my ankles, drawing circles on the stone with my toes. I'd been dancing all morning in class, and had made a point to stretch the hell out of my feet beforehand. "You're flat in the wrong places," Ms. Adair would often chide, looking me over like she wished she could telepathically force the curve of my hips down into my arches. But I could already feel my muscles tightening and shortening. It was torture to sit still.
"I want to speed up time," I said.
You rolled your eyes. "What do you want to drink tonight? We have to celebrate."
"Don't say that yet," I said, smacking you in the arm. "You'll jinx it."
"Damn, girl!" you cried, rubbing your triceps. "You're a ballerina, not a boxer." You'd known me for four years, but you never seemed to understand: To get where I wanted to be, I had to be both.
"I just don't know how you're not freaking right now." I did know, actually. Being a guy meant you were one of seven dancers competing for the male roles, not one of eighteen competing for the female ones. Boys were always needed in ballet, and boys who could dance like you…? They were golden.
"I guess I just don't think there's anything I can do right now to change what's going to happen," you said with a shrug. Or maybe it was a shiver. It was freezing outside. Your words would come to haunt me later, but all I knew right then was that I was definitely an asshole.
"You could get drunk," Liv suggested.
"Fine," you said, "Aside from getting wasted or breaking a leg or something, there's nothing I can do between now and then to seriously change whatever I'm going to do in that room."
"Are you saying it's fated?" Liv asked, peering over at Ethan and Dave's tête-à-tête. "What the fuck are they still talking about?"
"Nah, I don't buy into fate," you said. "I just mean you can't prepare past a certain point.
"Are you kidding?" I looked at you incredulously. "I feel like I can't prepare enough." Ballet was all about drills and repetition. There was no room for whimsy.
"I just mean . . ." You squinted up into the bright winter sun. "Like, you have to learn the steps and then trust that they'll be there when the time comes."
"I wish I could switch brains with you," I sighed.
"You'd be downgrading." You grinned, showcasing two deep dimples. "But sure."
"Shut up, they're coming back," Liv stage-whispered, immediately pretending to be engrossed in her phone.
"They?" I glanced up to see Ethan practically running toward us, trailed by a reluctant-looking Dave. He looked straight at me and I lost my breath.
"Relax," you laughed. "He's just a pretty white boy. I hear they're very tame."
"Remember," Liv said under her breath, "We have to balance out Ethan's bullshit by being cool."
"Don't act like you don't love him," I said, relishing the opportunity to tease her back for once. Even though it was easy to make Ethan the scapegoat of the group, he was smart and funny and even kind of good-looking when he wasn't frowning like the world was about to end. And as much as Liv gave him shit, I knew she cared what he thought of her. Once, when she was drunk, she'd told me he was the only person she'd ever met who might be an actual genius.
"Whatever," Liv sighed as Ethan and Dave reached the bench.
Up close, Dave was taller than Wikipedia had given him credit for, and hotter than seemed fair to the rest of the gene pool. He gave us a tight smile when Ethan introduced him.
"Dave, this is Liv, Diego, and Joy," Ethan said. "Liv you might recognize from her appearance in Law and Order: SVU as Teen Girl Number Three, and Diego and Joy you probably saw on the landing page of JanusConservatory.com."
It was true, that was the only fame we could claim to date— the year before, a photographer had come to school for a week to "capture life on campus," according to the release form our parents had to sign, and a shot of you, me, and a few other dancers lined up at the barre during group class had made it onto the website. We were in profile, eyes focused, spines straight, left arms extended in tendu. Words floated above our heads: where talent meets opportunity. Based on the graphic design, you were talent, and I was opportunity.
Opportunity. The fact of the Showcase auditions, which I had blissfully forgotten about for approximately two minutes, settled back into its permanent spot at the forefront of my brain, and a fresh wave of nausea washed over me.
"Hey," I said to Dave, when it seemed like my turn. With game like that, it was downright shocking I was still a virgin.
"Dave has graciously agreed to audition for my play," Ethan told us, beaming.
"It didn't really feel like I had a choice," Dave said, shoving his hands in the pockets of his hoodie. His lips turned up in a little half-smile while he read our faces, trying to figure out if it was cool to rib on Ethan within the first ten seconds of meeting us.
"I'll be there, too," Liv said. Her mouth glistened with a fresh coat of gloss I hadn't even seen her apply. "So if you need someone to shield you from the drama-department drama, let me know."
"Thanks," Dave said. "I literally haven't met anyone yet." He looked around the square, shivering. "Is this, like, the lunch hangout?"
"For a select group of masochists," Ethan said through clenched teeth.
"It's only the most beautiful place in Manhattan," you said, nudging my shoulder. I looked up at Dave, trying to think of something witty to say, but his eyes were on Liv.
"I'm having a party tonight," she said, leaning into you casually—a physical checkmate. "You should come."
"Cool," Dave murmured noncommittally.
"OK, well, I for one am freezing my nuts off, so can we please move this lovefest indoors?" Ethan asked.
There were murmurs of agreement, the shuffling of books and bags, the metallic swish of zippers.
"Are you OK?" you asked. I looked up; the others were waiting impatiently.
I shook my head, tucking my knees up under my chin. Getting off the bench suddenly felt huge, like a step I wasn't ready for. I knew you were right—that there was nothing I could do to predict what was about to happen in the audition room. But it didn't make me feel calm; it just made me feel powerless. I wanted to fast-forward, skip ahead to when everything had already been decided. (If I could go back, I would stop time, just so you know. Freeze us forever when we were all together, when nothing had broken. I'd give it all up to go back to that day.) "I need a minute," I said.
"You know you're gonna own that audition," you whispered, crouching down next to me. "You're gonna blow the doors off that room."
"Yeah?" I smiled.
"Yeah. And someday—" you pointed to the banner stretched across the front of Avery Fisher Hall, advertising the New York City Ballet's production of Sleeping Beauty "—that's gonna be us."
"I'm holding you to that," I said.
"Hurry up!" Liv yelled. But I still wasn't ready.
It never got old: the theaters rising up out of the square like mid-century modern monoliths; the twinkling lights, like distant stars; the water that leapt tirelessly behind us even when temperatures dropped below freezing; the tourists crossing back and forth, arguing in foreign tongues, snapping pictures of our city; the dancers we could sometimes spot with their telltale duffle bags and muscular calves, walking quickly with spines so straight they could balance plates on their heads. It felt like the center of the universe, especially with those tiles that radiated out to the edges of the square, drawing paths to the door of each theater, fifty feet and a million dreams away. The future seemed tangible and invisible all at once back then, like a specter, like a promise. Like seeing your breath on a cold day.
There one second, and then—gone.
IndieBound eBook
About You in Five Acts
The latest contemporary novel from Una LaMarche, acclaimed author of Five Summers, Like No Other, and Don't Fail Me Now. In the high-pressure months leading up to the performance that will determine their futures, a group of friends at a performing arts school look back on when an unexpected event upended everything.
"A poignant and timely socially conscious narrative."
It's always been you—you know that, right?
At a prestigious New York City performing arts school, five friends connect over one dream of stardom. But for Joy, Diego, Liv, Ethan and Dave, that dream falters under the pressure of second-semester, Senior year. Ambitions shift and change, new emotions rush to the surface, and a sense of urgency pulses between them: Their time together is running out.
Diego hopes to get out of the friend zone. Liv wants to escape, losing herself in fantasies of the new guy. Ethan conspires to turn his muse into his girlfriend. Dave pines for the drama queen. And if Joy doesn't open her eyes, she could lose the love that's been in front of her all along.
An epic ensemble piece in the vein of Fame and Let's Get Lost, You in Five Acts is a eulogy for a friendship—the heartbreaks, the betrayals, the inside jokes, the remember-whens. And the tragedy that changed everything.
#YouinFiveActs
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Ryan Aeronautical Company var ett amerikanskt företag verksamt inom försvarsindustrin. 1999 köptes företaget av Northrop Grumman.

Produkter

Referenser

Företag bildade 1934
Northrop Grumman

redpajama_set_name: RedPajamaWikipedia


When one of your favorite couples mention they love the movie Grease, and suggest how cool a Grease themed shoot would be - you cannot pass up the opportunity! In addition to these two resembling the characters, they were so easy to work with and up for silly poses and ideas. The weeks leading up to our shoot we scoured the stores for the perfect jacket, leather leggings and off the shoulder top for "Sandy", along with the iconic red heels and some fun sunglasses for an added pop of color. For "Danny" - a black leather jacket, pants and shirt were easy. Classic Converse wrapped up his bad boy look. We had a few scenes from the movie we wanted to capture along with the mix of tough girl/gal facade (which usually ended in complete laughter seeing them try to keep serious faces). About half way into our session, while shooting on the beach we were serenaded at random by a group of young men and they were even willing too do it again so we can get it on video (see video at the end). Nicolle and Cody thank you for being such a fun couple, and any photographers dream to photograph - here are my favorites from the shoot!
... and last but not least the video of our seranade.


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Evaluate Weigh the pros and cons of technologies, products and projects you are considering.
Women in security: Charting an InfoSec career path
Rob Wright
Associate Editorial Director
Women in IT: Maggie Berry, WEConnect International
Influential women in IT: Denise McDonagh, Home Office & G-Cloud Programme
Felicia Day interview: Actress, Twitter celeb on women and technology
Delivering Diversity in Technology: startup panel
+ View All Videos
Information security has long been a male-dominated profession, but the industry may begin to see more women in security in the near future.
"I think the big thing to point out is that only 10% of the people that work in IT security are women [according to a recent (ICS)2, Inc., survey]," said Angela Knox, engineering director at Cloudmark Inc., a San Francisco-based network security vendor. "I personally find the role really exciting and interesting; and I think more young women, as they're going through college, should consider it as a career."
Knox participated in a panel discussion at RSA Conference 2015 about the changing role of women in security. In this interview with SearchSecurity, she discussed how the industry can encourage young women to pursue an InfoSec career.
Specifically, Knox said that having public discussions with women in security -- like the one at the RSA Conference -- can help educate and inform young women about the potential of an InfoSec career.
In addition, Knox said IT security is often viewed as a "dark" career, which couldn't be further from the truth. Changing the public image of the InfoSec profession, she said, could greatly benefit women. "The work I do involves putting together a lot of pieces of puzzles about what malicious actors are doing, and how they're all working together as an economy -- and it's very interesting," she said.
Knox said she didn't set out to become an IT security professional; she became interested in technology by watching TV shows like Star Trek at an early age and later got into software development in college. But while working on software, she discovered she had a strong interest in security issues and began to pursue an InfoSec career.
"I wasn't really going after it as a career, but once I got into it, I realized how interesting it was," she said. "One thing I'd really encourage for women or girls that are in high school is … to also look at math and computer science as possible options for a pro career."
Rob Wright asks:
In your view, is the number of women in security growing?
Rob Wright - 16 Jul 2015 8:00 PM
abuell - 27 Jul 2015 3:09 PM
I have no idea. I know that the security industry is growing, but I still consider it something of a niche. She mentions that she didn't set out to become an IT security professional. She had some exposure at some point, and become interested.
During my education and early career, I personally had no exposure to security. I think that will change as the companies continue to focus on security and the demand for those professionals climbs.
I like learning of the personal experiences and career paths of different women in IT. Each person comes from a different background and brings a unique perspective. It sounds like Ms. Knox has made a very successful career for herself in an area she loves, and I appreciate that she is sharing her story and encouraging other women to consider a career in security.


حلاجی ثانی, محمد فاضل, احمدی, الهام. (1389). مطالعه زیست‌شناسی راب خاکستری (Parmacella ibera) و ارزیابی خسارت آن در باغ‌های مرکبات استان مازندران. گیاه پزشکی, 2(3), 195-185.
محمد فاضل حلاجی ثانی; الهام احمدی. "مطالعه زیست‌شناسی راب خاکستری (Parmacella ibera) و ارزیابی خسارت آن در باغ‌های مرکبات استان مازندران". گیاه پزشکی, 2, 3, 1389, 195-185.
حلاجی ثانی, محمد فاضل, احمدی, الهام. (1389). 'مطالعه زیست‌شناسی راب خاکستری (Parmacella ibera) و ارزیابی خسارت آن در باغ‌های مرکبات استان مازندران', گیاه پزشکی, 2(3), pp. 195-185.
حلاجی ثانی, محمد فاضل, احمدی, الهام. مطالعه زیست‌شناسی راب خاکستری (Parmacella ibera) و ارزیابی خسارت آن در باغ‌های مرکبات استان مازندران. گیاه پزشکی, 1389; 2(3): 195-185.
راب خاکستریParmacella ibera Eichw. یکی از مهم‌ترین آفات باغات و نهالستان‌های مرکبات در استان مازندران به شمار می‌آید. بررسی زیستشناسی آفت طی سال‌های 86-1385 روی نهال‌های پرتقال تامسون ناول در شرایط طبیعی استان مشخص نمود که این گونه دارای یک نسل در سال بوده و زمستان را به هر دو صورت نابالغ و بالغ به سر می‌برد. جفتگیری، اواخر فروردین و تخمریزی، اواسط اردیبهشت می‌باشد. زمان لازم از موقع جفتگیری تا شروع تخمریزی به طور میانگین 22 روز، تعداد تخم‌های گذاشته شده 52 عدد، زمان تفریخ آن‌ها (اواسط خرداد) 28 روز، درصد تخم‌های تفریخ شده 65% و تعداد رابهای تفریخ شده برای هر بالغ حدود 50 عدد می‌باشد. به منظور ارزیابی خسارت این گونه در سال 1386، چهار تراکم به نسبت‌های یک، پنج، ده و پانزده راب به همراه تیمار شاهد، برای هرکدام از تراکم‌ها روی یک شاخه از یک درخت 12 تا 15 ساله پرتقال تامسون ناول و نارنگی انشو با شش تکرار در یک جهت رهاسازی گردید. نتایج نشان داد که میانگین برگ‌ها و میوه‌های خسارت دیده در تیمارهای مختلف در فاکتور رقم و نیز فاکتور انبوهی در سطح احتمال پنج درصد دارای اختلاف معنی دار بود. رابطه بین تراکم آفت با خسارت به محصول به صورت خطی و همبستگی بین تعداد برگ و میوه خسارت دیده و درصد کاهش عملکرد در ارقام پرتقال تامسون ناول و نارنگی انشو با انبوهی جمعیت راب مثبت و در سطح پنج درصد معنی‌دار بود. میانگین درصد خسارت به میوه در تراکم‌های مختلف آفت در ارقام پرتقال تامسون ناول و نارنگی انشو در مقایسه با تیمار شاهد تفاوت معنی‌داری در سطح پنج درصد داشته است. با توجه به نتایج، خسارت راب روی نارنگی انشو بیشتر ارزیابی شد.
The slug Parmacella ibera Eichw is one of the most important pests in citrus orchards and nurseries of Mazandaran province. Investigation on the biology of P. ibera was carried out on Thompson navel nurseries in Ramsar during 2006-2007. This species has one generation in a year and slugs were coupling in late March and oviposit in the middle of April. It took almost 22 days from coupling to oviposition. Average egg cluster was 52. Mean duration of incubation period was 28 days. The hatchability of eggs was 65 percent. A mean number of 50 newly hatched slugs were counted per adult. For damage evaluation of P. ibera, slugs were released in four (1,5,10,15) density on the single branch of a citrus tree of age 12-15 years in six replications (slug infestation) and compared with the control treatment. Citrus leaves damaged by slug before and after slug releasing were counted at seven day intervals. The citrus fruits available were counted and till the end of sampling their weights were compared with control treatment. The results showed that the mean numbers of leaves and fruits at different treatments for variety and population abundance were statistically meaningful (P≤0.05). The relation between density and damage was found linear and correlation between number of damaged leaves and fruits and total percentage of damages in Thompson navel orange and Unshui mandarin with population abundance of slug were found statistically meaningful. The mean of damages in relation to the slug densities (1, 5, 10, 15) were significant (P≤0.05) for Thompson navel orange and Unshui mandarin respectively. The result indicates that Unshui mandarin variety is more damaged by the slug feeding.
Anonymous. 2003-2004. Agricultural statistics of Iran: vol. 1, Agricultural crops and orchards. Ministry of Jihad-e-Agriculture, Programming and economic section (In Persian).
Barker, G.M. 2002. Molluscs As Crop Pests. CABI Publishing, UK.
Bourne, N.B., Jones, G.W. & Bowen, I.D. 1988. Slug feeding behaviour in relation to control with molluscicidal baits. Journal of Molluscan Studies, 54(1):327-328.
DeAngelis, J. 2004. Snails and slugs control. Available from URL: http://www. planetnatural.y/kb /00188/index.html.
Deisler, J. E. & Stange, LA. 1984. The Veronicellid slugs of Florida. Florida Department of Agriculture and Consumer Services, Division of Plant Industry, Entomology Circular, 24(1):1-4.
Fisher, T. & Orth, R.E. 1985. Differential mortality of garden snails to metaldehyde. California Agriculture, 29 (6):7-8.
Godan, D. 1987. Pest Slugs and Snails (Biology & control). Pringer-Verlag Publ. Berlin, Germany.
Likharev, I.M. & Rammel´ Meier, E.S. 1962. Terresterial Mollusks of the Fauna of the U.S.S.R. Israel program for scientific translation, Jerusalem Publ.
Lovejoy, A. 2002. Caffeine shows promise as a slug controller. Available from URL: http://seattlepi.nwsource.com/nwgardens/85427_lovejoy05.shtml.
Malekzadeh, M.R.& Nazari, F. 2002. Study on Mollusc pest fauna in Khuzestan province, south west Iran and their importance. Proceeding of the 15th Iranian Plant Protection Congeres, Razi University of Kermanshah, 7-11 Sept., pp. 170 (Persian) 101 (English).
Mirzaei, A. 1972. Molluscs of Agricultural Importance in Iran. Plant Pests and Diseases Research Institute, Ministry of Agriculture and Natural Resources, Tehran, Iran (In Persian).
Nazari, F. & Ahmadi, E. 1998. Key to the genera and species of the slugs in north of Iran. Proceeding of the 13th Iranian Plant Protection Congress, 22-26 Aug., Karaj junior College of Agriculture, P. 169.
Nazari, F. & Jannat Rostami, M.A., 1987. Investigation of Parmacella ibera Eichw. in north of Iran. Journal of Applied Entomology and Phytopathology. 55(2): 65-74.
Pappas, J.L. & Carman, G.E. 1961. Control of European mollusk in citrus groves in southern California with guthion and methaldehyde sprays. Journal of Economic Entomology, 54: 152-156.
Port, C.M. 1986. The Biology and behaviour of slugs and snails in relation to crop damage and control. Agricultural Zoology Reviews, 1: 253-299.
Sakovich, N.J. & Bailey, B. 1985. Skirt pruning and tree banding as mollusc controls. Citrograph, 70: 18-21.
Schuder, I., Port, G. & Bennison, J. 2003. Barriers repellents and antifeedants for slug and snail control. Crop Protection, 22:1033-1038.
South, A. 1991. Terrestrial Slugs, Biology, Ecology and Control. Chapman & Hall, London, UK.
Speiser, B. & Hochstrasser, M. 1998. Slug damage in relation to watering regime. Agriculture,Ecosystems & Environment, 70(2): 273-275.


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[New publication] Translation and Literature, 27 (3)
December 10, 2018 Publications
Translation and Literature, 27 (3)
Link: https://www.euppublishing.com/toc/tal/27/3
Thomas Twyne's Appropriation of Thomas Phaer's Æneidos: 'Worke unperfyt' Perfected?
Susanna Braund
Abstract: This paper attempts to reconstruct from the limited evidence available the rationale and development of Thomas Twyne's completion (1573–84) of Thomas Phaer's unfinished English translation of the Aeneid (1555–60). In Phaer's hands, it is suggested, 'continuation' and 'completion' gradually turn over time into 'competition', 'absorption', and even 'appropriation'. A key element in this process is Phaer's decision to add to the twelve books of Virgil's epic his translation of Maffeo Vegio's Latin Supplementum (1428): Twyne brings a similar kind of closure to Phaer's project to that involved in Vegio's Aeneid Book 13.
Thinking Other People's Thoughts: Brian Holton's Translations from Classical Chinese into Lowland Scots
Cosima Bruno
Abstract: Brian Holton (b. 1949), the only currently working translator of classical Chinese poetry into Scots, is here approached biographically, through his personal history and his career in translating and publishing. Holton's collection of his own translation materials, including drafts, proofs, scores, translations, notes, lectures, correspondence, and journalistic writings, has been made available to the author. As a voice of history, Holton's life and work constitute a subjective narrative that enters into debate, discussion, and interpretation with larger narratives, spheres of diffusion, and power relations. Hence the discussion touches on such matters as as language policy in education and national literatures, and issues of centre and periphery, foreignization and domestication.
An Unrecorded Critical Response to Pope's Imitations of Horace by William Popple, c. 1755
Stuart Gillespie
Abstract: Bodleian MS Douce 201, one of four dispersed folio volumes which contain professional scribal copies of the later literary works of William Popple (1700–1764) in a form evidently intended for the printer, contains three extensive dialogues 'between a certain … Doctor of D––y and A Critic'. The first and last of these discussions, none of which were printed in Popple's time, or have been printed since, are among the earliest critical works to address Alexander Pope's Imitations of Horace (first published 1733–8). They focus on Pope's versions of Horace's Satires 2.1 and 2.2 respectively, and their primary target is the editorial presentation of these texts by William Warburton in his edition of Pope's Works, 1751. They are closely related to Popple's own complete sequence of Horatian imitations (also largely unprinted) of the 1750s.


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Public Release: 3-Dec-2015
Review of the landscape conservation cooperatives
National Academies of Sciences, Engineering, and Medicine
WASHINGTON - Because fish, wildlife, habitats, and cultural resources extend beyond political boundaries, there is a national need to develop resource management strategies across jurisdictions and sectors, says a new congressionally mandated report from the National Academies of Sciences, Engineering, and Medicine. The Landscape Conservation Cooperatives (LCCs), initiated by the U.S. Department of the Interior in 2009 and coordinated by the department's Fish and Wildlife Service (FWS), were created to address this national need and can point to many early accomplishments. Ultimately, the long-term success of this effort will depend on developing ways to measure and demonstrate benefits to its conservation partners and the nation.
At the request of Congress, FWS asked the Academies to convene a committee to evaluate the LCCs, a network of 22 regional conservation partnerships in the United States, including the Pacific and Caribbean islands, as well as parts of Canada and Mexico. Each LCC is tasked with creating a collaborative framework to develop shared conservation priorities and identify applied research needs across federal agencies, state agencies, tribes, private landholders, and other stakeholders working on conservation efforts within its region.
Individual LCCs have generated some early accomplishments, such as identifying partners, establishing governance structures and steering committees, and developing shared conservation and research priorities for use by all partners, says the report. It is too soon to expect the network as a whole to have made measurable improvements to managing fish, bird, and other wildlife populations and their habitats. In addition, the LCC network needs to improve its evaluation process to better capture the contributions made by all partners toward common objectives and to better measure and demonstrate benefits to its partners.
The report finds that LCCs are unique in that they are designed to address landscape needs at a national level for all natural and cultural resources as well as to bridge conservation research and management. Similar federal programs are more narrowly focused and the LCCs generally seek to coordinate with other programs where their interests overlap. Moving forward, the LCC network needs to strengthen coordination with other programs that have a strong interest in landscape approaches to conservation to avoid duplicative efforts and limit demands on state agency and other partners that participate in multiple programs.
The study was sponsored by the U.S. Fish and Wildlife Service. The National Academies of Sciences, Engineering, and Medicine are private, nonprofit institutions that provide independent, objective analysis and advice to the nation to solve complex problems and inform public policy decisions related to science, technology, and medicine. They operate under an 1863 congressional charter to the National Academy of Sciences, signed by President Lincoln. For more information, visit http://national-academies.org. A committee roster follows.
Jennifer Burris Olson, Media Consultant
Grace Minus, Media Assistant
Office of News and Public Information
202-334-2138; email news@nas.edu http://www.nas.edu/newsroom/index.html
Twitter: @theNASEM
RSS feed: http://www.nationalacademies.org/rss/index.html
Flickr: http://www.flickr.com/photos/nationalacademyofsciences/sets
Pre-publication copies of A Review of the Landscape Conservation Cooperatives are available from the National Academies Press on the Internet at http://www.nap.edu or by calling 202-334-3313 or 1-800-624-6242. Reporters may obtain a copy from the Office of News and Public Information (contacts listed above).
Board on Agriculture and Natural Resources
Board on Atmospheric Sciences and Climate
Ocean Studies Board
Committee on the Evaluation of the Landscape Conservation Cooperatives of the U.S. Fish and Wildlife Service
Dorothy J. Merritts (chair)
Harry W. and Mary B. Huffnagle Professor of Geosciences, and
Chair, Department of Earth and Environment
Lancaster, Pa.
Brenda Barrett
Director of Recreation and Conservation (retired)
Pennsylvania Department of Conservation and Natural Resources
F. Stuart Chapin III*
Holly D. Doremus
James H. House and Hiram H. Hurd Professor of Environmental Regulation,
Associate Dean of Faculty Development and Research, and
Co-Director, Center for Law, Energy, and the Environment
Craig Groves
Science for Nature and People
Bozeman, Mont.
Kenneth D. Haddad
Executive Director (retired)
Jessica Hellmann
Lynn A. Maguire
Nicholas School of the Environment and Earth Sciences
Durham, N.C.
Philip W. Mote
Oregon Climate Change Research Institute and Oregon Climate Services
College of Oceanic and Atmospheric Sciences
John A. O'Leary
Massachusetts Division of Fisheries and Wildlife
Rebecca R. Rubin
Marstel-Day LLC
Fredericksburg, Va.
Dale Strickland
President and Senior Ecologist
Western EcoSystems Technologies Inc.
Cheyenne, Wyo.
Eric Toman
Claudia Mengelt
*Member, National Academy of Sciences
Jennifer Burris Olson
news@nas.edu
@theNASEM
http://www.nas.edu
BUSINESS/ECONOMICS
POLICY/ETHICS
http://www8.nationalacademies.org/onpinews/newsitem.aspx?RecordID=21829
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text:
Sigurd Olson's "Battle for a Wilderness," the tenth chapter in his autobiographical Open Horizons, focuses on conservation. As always in this book, he writes about his experiences not to promote himself, but to encourage others to follow their own version of "the singing wilderness way." Early in the essay, he writes:
I believe one of the basic tenets for anyone really concerned is to have a love for the land, which comes through a long intimacy with natural beauty and living things, an association that breeds genuine affection and has an inherent understanding for its infinite and varied ecology….Only where there is deep emotional feeling is anyone willing to do battle.
This year is the 50th anniversary of Open Horizons, and I will highlight a number of ideas from the book in half a dozen or so posts spread out over the rest of the year. For this first one I select the ending of the essay "Battle for a Wilderness." It shows how timely his writing can be, even half a century later, because the same issues come up over and over again. In this case, it's the threat of copper-nickel sulfide mining, which had reared its head for the second time in a dozen years as Sigurd worked on this book.
The copper-nickel context
Last week I showed the strong language he used in writing about it for national magazines in 1970. But in Open Horizons he took a different approach: quieter, more philosophical, more based in that "deep emotional feeling" of love for a place that is as dear as a close friend.
Interestingly, he was writing this in 1969, as a new copper-nickel controversy was brewing, and yet this anecdote clearly refers to the Kawishiwi River. That is where he had first fought–and stopped–copper nickel mining a dozen years earlier.
The anecdote also refers to the closing of Ely's last mine. That was the Pioneer Mine, which ended production in 1967. Sigurd is not writing about historical fact, but about timeless values. He ends "Battle for a Wilderness" with three questions asked in sadness, and leaves the answer to us. Today, a new generation must respond, not only to the mining issue but to many others as well. So much is at stake, and for those who love the land, the sadness is even more pressing.
"Battle for a Wilderness" excerpt
Not long ago I was snowshoeing a few miles from home on the Kawishiwi River in the area Indians knew as the spirit land of "No place between." The river looked as it did the first time I saw it, the gold, glaciated rocks, the spruce-fringed shores, open rapids steaming in the cold. A moose had walked across before we came, its big tracks going straight over to the other side. Deer had followed the safety of the boulder-strewn shores, and three black ravens soared and circled high overhead, watching the open water and where the ice was thin.
We stayed on the river until dusk, saw the sun go down in a blaze of orange and flame in the narrows, then struck off through the woods, retracing our trail back to the Spruce Road. A truck roared by in a swirl of snow and stopped by a brightly lighted drill a short distance away. A deposit of copper-nickel had been discovered some years before, and now was being prospected by several mining companies.
"Fifteen hundred feet," said one of the men, "another five hundred or a thousand and we'll move up the road."
The motor of the drill was running smoothly, its diamond bit grinding deeper and deeper into the black rock far below.
"We'll have her pretty well mapped by spring," said the driller, "and then we'll see. Several outfits working now twenty-four hours a day."
The little swamp creek from which they got their water had a warming shed built over it for the pump. We stopped a moment to warm ourselves.
"When the mine gets going, it will bring in a lot of people," said one of the crew. "The company will spend millions, lots of work for everybody, a shot in the arm to Ely now that the last iron mine is closed."
The motor coughed, almost stopped, and as the man sprang forward to see what was wrong, it caught again and went on as it had for months. I looked at a piece of broken core. Black and crystalline, it sparkled in the light, a volcanic contact zone between a huge batholith of gabbro and the ancient bed rock. We hiked down the road, and at the turn I looked back toward the rig. Rather pretty, I thought, lit up like a Christmas tree with snow swirling through the spruces around it, the mysterious black figures tending the drill.
I thought of the old wilderness of the Kawishiwi–a new railroad, hundreds of trucks and heavy equipment, a crushing plant, a modern mining development. While government restrictions protect surface values and limit mining development to lands outside the Boundary Waters Canoe Area, only time will determine its impact.
Faintly I heard the sound of the drilling, the smooth purr of the motor. The world needs metals and men need work, but they also must have wilderness and beauty, and in the years to come will need it even more. I thought of the broad, beautiful America we had found and our dream of freedom and opportunity, and wondered.
Could man in his new civilization afford to lose again and again to progress? Did we have the right to deprive future generations of what we have known? What would the future bring?
The drill purred on and on and the lights twinkled brightly against the black of the spruces–the beginning of a new era, a bonanza, perhaps, or a requiem for the Spirit Land of the Chippewa.
BWCAminingOpen HorizonsSigurd Olsonwilderness


Taking a low-dose aspirin daily does not prolong healthy living in older adults, according to findings from the ASPirin in Reducing Events in the Elderly (ASPREE) trial published online Sept. 16 in three papers in the New England Journal of Medicine. The large clinical trial, which began in 2010, aimed to determine the risks and benefits of daily low-dose aspirin in healthy older adults without previous cardiovascular events, dementia or physical disability, and who were free of medical conditions requiring aspirin use. The results showed that aspirin did not extend healthy independent living (life free of dementia or persistent physical disability). Risk of dying from a range of causes, including cancer and heart disease, varied and will require further analysis and additional follow-up of study participants.
"This work is a key milestone in the more than a decade-long engagement in this large-scale clinical trial in the United States and Australia," said Dr. Raj C. Shah, an associate professor of family medicine with the Rush Alzheimer's Disease Center in Chicago.
Shah served as principal investigator of the ASPREE trial at Rush University Medical Center, which was an enrollment site for the study through the patient-oriented research team of the Rush Alzheimer's Disease Center. Shah also served on the governance of the entire study as a member of its International Steering Committee, and as co-U.S. investigator with Dr. Anne Murray at the Berman Center in Minneapolis, Minnesota.
"The results will have a significant impact on guidelines about aspirin use for prevention and in daily clinical conversations between clinicians and their older, healthy patients regarding whether aspirin should or should not be used for achieving disability-free longevity," said Shah.
"Clinical guidelines note the benefits of aspirin for preventing heart attacks and strokes in persons with vascular conditions such as coronary artery disease," said NIA Director Dr. Richard J. Hodes. "The concern has been uncertainty about whether aspirin is beneficial for otherwise healthy older people without those conditions. This study shows why it is so important to conduct this type of research, so that we can gain a fuller picture of aspirin's benefits and risks among healthy older persons."
The researchers also analyzed the ASPREE results to determine whether cardiovascular events took place. They found that the rates for major cardiovascular events - including coronary heart disease, nonfatal heart attacks, and fatal and nonfatal ischemic stroke - were similar in the aspirin and the placebo groups. In the aspirin group, 448 people experienced cardiovascular events, compared with 474 people in the comparably-sized placebo group.
Significant bleeding - a known risk of regular aspirin use - also was measured. The investigators noted that aspirin was associated with a significantly increased risk of bleeding, primarily in the gastrointestinal tract and brain. Clinically significant bleeding - hemorrhagic stroke, bleeding in the brain, gastrointestinal hemorrhages or hemorrhages at other sites that required transfusion or hospitalization - occurred in 361 people (3.8 percent) on aspirin and in 265 (2.7 percent) taking the placebo.
"The increase in cancer deaths in study participants in the aspirin group was surprising, given prior studies suggesting aspirin use improved cancer outcomes," said Dr. Leslie Ford, associate director for clinical research, National Cancer Institute Division of Cancer Prevention. "Analysis of all the cancer-related data from the trial is under way and until we have additional data, these findings should be interpreted with caution."
"Continuing follow-up of the ASPREE participants is crucial, particularly since longer term effects on risks for outcomes such as cancer and dementia may differ from those during the study to date," said Dr. Evan Hadley, director of NIA's Division of Geriatrics and Clinical Gerontology. "These initial findings will help to clarify the role of aspirin in disease prevention for older adults, but much more needs to be learned. The ASPREE team is continuing to analyze the results of this study and has implemented plans for monitoring participants."
N Engl J Med. 2018 Sep 16. doi: 10.1056/NEJMoa1800722.
N Engl J Med. 2018 Sep 16. doi: 10.1056/NEJMoa1803955.
N Engl J Med. 2018 Sep 16. doi: 10.1056/NEJMoa1805819.


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Also known as a greenhouse or orangery, this can serve as an extension of your home. It's suitable for living or dining areas where you can invite family and guests for a get-together. A hardwood conservatory usually takes up to six weeks to complete, but you'll definitely love the feeling of seeing the outdoors from your home.
This allows you to brighten up a dark room, as it receives natural light directly from above. It has three different types: Fixed skylights are permanent, so nobody can open it from the inside or outside. Ventilating skylights are like windows that you can open, so it's possible to remove heat and regulate temperature inside the room. Tubular skylights are ideal for narrow areas, like the hallway and bathroom, as it reflects sunlight using a small dome and travels through a reflective tube.
This allows you to maximise the use of natural light. It works like a skylight, but covers at least 80% of the roof. It's a good choice for living rooms and conservatories because it can occupy the entire ceiling. If installed properly using high quality materials, you don't have to worry about damages during severe weather conditions. This also promotes relaxation, as you can see the clear sky during a sunny day.
Whether you're going for hardwood conservatories, skylights, or roof lanterns, you'll get the benefits of promoting natural light into your home. There's no wrong choice because it all depends on the light that you need.


She would have been 100 today.
She had that Prichard grit right up to the very end, when she said, "You make the decision. I'm tired of making decisions." With the support and counsel of my sister Martha — Joe, trying to get home from Ireland later supported and agreed — i made the decision. Mid-morning, the next day, she was gone. We all knew she was where she wanted to be. With him.
It has been a little over three years. i was going to include a bunch of photos of her from the farm on Hunter's Point Pike to basketball player to war momma (me) to her with her family, that would be us including the two siblings who continue to make me proud, and some of her throughout her life, but quite frankly, it was getting difficult to find the ones i wanted. She would understand that. She had some problems with new technology and photos. Didn't like it. So after a full day, i sat here considering what to do.
After all, it is her 100th birthday.
Earlier, my brother and my niece posted photos of her. Good photos. i really don't need to do that now.
And i won't write a lot about her. i think anyone who has read some of my stuff knows.
i will just go to bed thinking about her and what a wonderful impact she had on so many. And there were two who just always seemed to glow when they were with her.
Happy Birthday, Mother. You remain wonderful.
Oh, you had to pick THAT picture.


Not everyone is born with long and thick lashes, and if you're one of those who isn't you may be wondering how to make eyelashes grow. Eyelashes reveal the natural beauty of your eyes. If you don't have thick and long lashes, you can use mascara and curlers but that is only a temporary solution. There are other more natural and permanent ways to make eyelashes grow.
Some people also use false eyelashes. You can buy them from cosmetic stores or retailers and they come with a glue that you just attach to your eyelids. The costs differ and it can be a practical and easy way to make eyelashes grow. But those take time and if you want to wake up to long and beautiful lashes without having to do anything, it's best to stick to natural remedies.
For temporary use, you can check this top 10 best Lashblast mascaras and top 10 best eyelash curlers that you can use for a night party or everyday use. This is how you should use an eyelash curler.
Before we look at different techniques to make eyelashes grow, it's great to learn how to appreciate why we have lashes in the first place. There are some really simple scientific reasons why.
Researchers have spent lengthy studies to discover the function of eyelashes and why we have them. They performed experiments and measurements to learn more about it.
Researchers discovered that most mammal eyelashes are one-third the length of their eyes which is just the right length to minimize the flow of air over the eyeball. This airflow reduction is important because the less air that moves across the eye helps to keep evaporation and stop irritating dust from the eye surface. Mammals have wet eyes and airflow could be harmful to that.
In other animals, they also help block excessive sunlight. Giraffes and kangaroos, for example, live in bright dusty environments. And they have longer and thicker eyelashes. They have several rows of eyelashes while other mammals do not.
Now that you have more knowledge about your lashes and their function, you would appreciate it more and it would be easier to understand the concept behind how to make eyelashes grow. Here are some natural tips.
One of the best products you can use to make eyelashes grow is some organic castor oil. It can make your eyelashes thicker and stronger so they would grow faster. Apply it with a brush to your lashes to avoid making a mess in your eyes. You can do it before you go to bed and leave it on to moisturize and encourage natural growth. If you want to maximize the use of your castor oil, you can also use it to soften your lips.
Vitamin E is known as a great agent to keep skin soft and smooth but it can also help make eyelashes grow. It's good for treating blemishes and will also make your lashes grow thicker. Break them open and apply it directly on your lashes with a brush to nourish them and help thicken them up.
You can put natural oils to make eyelashes grow longer. It moisturizes your lashes. Some of them are olive oil, coconut oil, avocado oil, sweet almond oil, linen oil, sesame oil, and argan oil. But there are others. You can soak some oil or blend them on a cotton and wipe it over your lashes. Do this before going to bed. You have to remember to wash it off in the morning and the natural oil will nourish and moisturize your lashes while improving its growth and keeping it strong and healthy.
It's not just a delicious drink that can help you lose weight. It's also a great ingredient to make eyelashes grow. You can brew some green tea and let it cool. Then swipe some over your lashes with a cotton wool. The caffeine and flavonoids in the green tea will help maintain the growth of existing lashes and stimulate the growth of new ones.
This is a wonderful home remedy for a lot of purposes. And it's a great way to make eyelashes grow. You can nourish your eyelashes by applying some fresh aloe vera gel straight to your eyelashes before you go to bed. You should use a clean mascara wand to do this the same way you apply mascara. Aloe Vera has vitamins and powerful nutrients that will improve the growth of your lashes and make them stronger.
This step is a must that you should do regularly to make eyelashes grow. Brushing your eyelashes help clean out any dust and dirt particles. It also encourages blood supply to your lashes. Use a little lash comb specifically for eyelashes and brush them daily to help them grow longer and thicker.
Another trick that you should do regularly to make eyelashes grow is to give your eyelids a little massage. It will stimulate the hair follicles of your lashes. You will see a difference in your lashes quickly.
It's not just a healthy and delicious breakfast. Eggs can help make eyelashes grow. It's a high protein food and has biotin and vitamin B that improves the texture of your lashes. Beat one egg and one tablespoon of glycerin until you get a creamy mixture. You should dip a cotton swab into the mixture and apply directly on your lashes. Leave it for 15 minutes and rinse it off with cold water. Do it three times a week.
If you don't want to use the home remedies, you can always purchase the ready made ones that are available. Here are some of them.
You can always combine these tips and products for more effective solutions to make eyelashes grow.


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text:
Q: Unrecognized option: --add-opens=java.desktop/javax.swing=ALL-UNNAMED I want to install software, but I got error
Unrecognized option: --add-opens=java.desktop/javax.swing=ALL-UNNAMED
Error: Could not create the Java Virtual Machine.
Error: A fatal exception has occurred. Program will exit.
although I have installed the required JDK-18
My system variables as follows
my JAVA_HOME is JDK 15.0.1
my JRE_HOME is JDK 14.0.1


With the rapid development in technology and cyber-security, it's a given that cyber-criminals also had to diversify their repertoire. They are called hackers, and they steal information from users like you and me.
After that, they sell it to the highest bidder on the black market. The data breach can be patched up if noticed in time, but the leak has already allowed the hacker to extract valuable personal information.
These cases have been on the rise for some time now, with even popular companies falling prey to cyber-attacks and data theft. Big corporations, pharmaceutical companies, unlucky individuals, everyone can become a target.
This is why I think it's worth it to know where the stolen data eventually ends up. After putting in so much effort to steal it, what do hackers do with it, and how do they sell it?
First things first, the hacker must make an inventory of all the information he's stolen. He'll stack up names, addresses, email addresses, phone numbers, financial information like credit card details. These can be used later on for another breach or sold off for a profit.
Security researchers say that this type of information is sold off in bulks for greater profits. Theoretically, the more recent the records are, the more money they'll fetch on the black market.
Account credentials – this includes usernames and passwords. They can be used for phishing purposes, for illegal insurance claims, spamming or extortion jobs. It all depends on what kind of account it is. Military or government credentials are extremely valuable by themselves.
Healthcare details – hospital admissions, records of known medical issues, insurance information, and general hospital records can give a hacker enough leverage to pull off a fraudulent insurance claim. A lot of people have even received fake hospital bills requiring them to pay for services they hadn't requested.
The US federal government estimates that no less than 10% of the money sent towards the Medicare program is lost to fraud. Security professionals reported this year that one medical record was sold off for $250 on the black market.
Hackers can even establish fake medical practices and come up with false claims and insurances based on the stolen information. After all, how hard can it be to send bills with small amounts to elderly people which they assume they have to pay?
Educational information – school records, enrollment data, and student transcripts can be used for identity fraud. Blackmail and fake loan applications are possible as well.
Financial data – related to banking, insurance activities and billing which can be used for unauthorized payments, money transfers, identity fraud, and loan applications. Moreover, if a hacker manages to get a hold of all the information, they can even withdraw money directly from a victim's bank account.
Payment card information – the owner's name, card number, the expiration date as well as the CVV2 code are enough for a hacker to easily make fraudulent online purchases. When this kind of data is sold off on the black market, the repercussions are exponentially greater than with the theft of financial data.
Credit or debit card information is worth up to $110. McAfee said that a credit card with a CVV2 code on the back is worth between $5 to $8, but if it has the bank's ID number, it can go up to $15. If it has the full information, it can go over $100 as well.
You can even find premium bundles being sold on the black market. These contain a victim's name, address, age, birth date, Social Security number, medical information or financial information, and so on. The package is sold off for a much higher price, depending on how complete the profile is.
However, the good news is that most victims will take notice of their data being stolen and take the necessary steps to render it useless. If the hacker waits for too long, the credentials will become worthless.
Pay close attention to any suspicious emails you receive. Hackers can easily pose as bank representatives and ask for your credentials. As a golden rule, remember that banks will never ask for your PIN code or home-banking information.
In the end, you have to be extremely careful and prepare yourself accordingly before using the internet. There are too many ways a hacker can get your personal information, usernames, and passwords, which he can then use to access your PayPal or banking accounts.
What's more, IT specialists have said that people show the tendency of reusing passwords. Which solves the mystery of a cyber-criminal managing to break your bank account after stealing your Facebook password, for example.
As for the stolen data, the black markets and the underground hubs are the gathering place of all the merry cyber-criminals who want to gain a profit. While some of these places are already kept under strict surveillance, the transactions are becoming harder and harder to control and predict.
As always, in order to avoid such unfortunate incidents, precaution is golden.
Written by Bogdan Patru, cybercrime analyst at VPNTeacher, a website dedicated to keeping you informed on cybersecurity and privacy issues.


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Celebrating Cornish art
Arts writer Mercedes Smith showcases three artists at the very forefront of Cornwall's blossoming art scene.
For those of us in love with the Cornish lifestyle, whether born here, or drawn here from the cities in search of a simpler life, immersion in all things 'Cornwall' is the only way to live. Time is your best spent investment here, finding moments for windswept coastal walks and summer weekends on the sand. But what else should you invest in, for the full cultural experience? Well, once you've committed to the beach view home, the impressive longboard you may never stand up on, and all the digital devices you need to video conference with clients in far flung London, let me suggest you invest in art. Cornwall stands shoulder to shoulder with the finest art centres in Europe, for both quality and credibility. Investment savvy critics and collectors look here for the most promising new artists in the UK, and so should you. For those of you with a passion for this wonderful part of the world, and its unique culture, take note of our top three most collectable artists in Cornwall for 2018.
"Lindsey's take on landscape is the refreshing step forward that collectors have been waiting for."
Alasdair Lindsay
Artist Alasdair Lindsay has taken the genre of landscape painting in a strikingly original direction, with his unique blend of figuration and abstraction, making him one of Cornwall's most distinctive and collectable painters. In an arts scene where landscape carries serious cultural currency, Lindsay has managed to rise well above the pack. Trailing behind him a history of landscape painting in Cornwall that began with Turner, and evolved in the mid-20th century as the muse of British Modernism, Lindsay's take on landscape is the refreshing step forward that collectors have been waiting for. His particular interest in architectural structures along the coast means that his paintings document the beach houses, beach huts and Victorian tidal pools that define our collective, visual experience of Cornwall. Similarly, his ability to paint the purity of Cornwall's famous light, and the dazzling colours that accompany it, make his work synonymous with every idealised notion of this glorious place. As highly contemporary, highly desirable art objects, Lindsay's paintings lend themselves to the sort of minimal space you now find in highly contemporary, highly desirable coastal properties. The square format, strong colour, and cut-glass compositions that are typical of his work, sit perfectly in white walled, glass fronted architectural spaces which are designed to bring the outside in. With an Alasdair Lindsay painting on your wall, the interior view is as equally 'Cornwall' as that sweeping coastal view beyond your window.
Lindsay's experience of raising a young family in west Cornwall, and of regularly swimming, surfing and sailing the Cornish coast, means his work has the weight and authenticity of an artist truly engaged with the landscape around him. These are factors, which – beyond the skill and originality of his work – increase the credibility, and therefore investment potential, of his painting. There is also a good deal of sense in buying Lindsay's work right now, as he celebrates his 20th year in painting with the release of Shorelines, a hardback book of colour plates which illustrates the development of his painting, and profiles the artist's life, career and inspirations.
Shelly Tregoning
The value we continue to place on portraits was reconfirmed last November with the record breaking sale of Leonardo da Vinci's 'Saviour of the World', bought for £342 million, the highest price ever paid for a painting at auction. Interestingly, as a painting of Christ, this work is at best a 'theoretical' portrait, and of course its value lies not in any likeness of person, but in the expressive beauty of the subject's facial expression and hand gestures, which speak of gentleness, hope and redemption. Our ability to interpret the meaning of human gesture, and the artist's ability to capture it on canvas, are ideas explored in the work of Helston based artist Shelly Tregoning. Her paintings are also 'theoretical' portraits; images of the human figure in which physical gesture is everything. Her paintings and monoprints of finely drawn figures capture telling physical moments that are meaningful to all of us. Betrayed in the curve of the body, the tilt of the head, or the flex of the hand are the hopes, desires, disillusionments, fears and insecurities that, according to the artist, "stand for an inherent communality between all human beings".
In an area where landscape and abstraction are the dominant subjects in art, Tregoning is walking a highly original path, meaning that hers is among the most progressive, and most interesting art in Cornwall right now – as evidenced by her recent selection for the UK's most influential art shows and prizes. Having graduated with a BA in Fine Art from University College Falmouth in 2011, and now resident at west Cornwall's CAST studios, she has already been selected for the National Open Art Competition, Discerning Eye Exhibition, RWA exhibitions, and twice for the prestigious Threadneedle Prize Exhibition. Her first solo show, at Edinburgh's Arusha Gallery last November, plugged in to socially relevant conversations regarding digital identity, gender identity and ideas of the 21st century 'self', and as any experienced collector will tell you, artworks that have social relevance, in particular those that make perceptive social comment, are likely to be highly valued in the art market, both now and into the future.
Liz Hough
The coastal town of St Ives is one of the world's most famous and respected centres of fine art, and is celebrated, in particular, for its artistic tradition of abstracting the landscape. St Ives and west Cornwall continue to produce world-class abstract artists, and by investing in them, collectors are tapping into a rich seam of creativity that goes back almost a century. One such artist is Liz Hough, whose mixed media works are a masterclass in figuratively inspired abstraction. Making work in the Modern British tradition – a tradition which originated in St Ives in the mid-20th century – Hough is continuing a bloodline of abstract art that is highly valued by collectors all over the world. Her richly coloured images take inspiration from the landscapes in and around her west Cornwall home, and the rugged, unspoilt countryside of rural Italy, where she teaches and paints annually at the Verrocchio Art Centre. Working with acrylics, oils, collage and painted papers, she takes simple shapes and motifs and arranges them into beautiful, balanced compositions. Addressing and interpreting ideas of 'place' in this way, she captures the real essence of these beautiful, rural landscapes. Her soft palette, eye for harmonious colour combinations, and rhythmic application of pattern, make these works visually and emotionally appealing. Because of that, and because of their link to St Ives and to British Modernism, Hough's works are beginning to attract serious attention, with investment pieces now held in both The Bank of China and TSB Collections.
Respected as one of St Ives' leading abstract artists, Hough studied Fine Art at Manchester Metropolitan University, and went onto complete Post Graduate studies in Painting at The Royal Academy Schools. Her work is exhibited in Cornwall, London, and in Europe, and her achievements include being awarded the Lanseer Scholarship, Leverhulme Trust Scholarship, the Daler Rowney Prize at The Royal Academy Summer Exhibition, and the Creswick Prize for Landscape Painting. She is currently represented by Oliver Contemporary, London, where she exhibits annually.
"Lindsey's take on landscape is the refreshing step forward that collectors have been waiting for."


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Caldonia Inn
942 Henriette DeLille
Video Clips Images Audio Clips
To visit this site, enter Louis Armstrong Park at 801 N Rampart Street, turn right, and proceed to the far side of the lagoon. The building was at the intersection of St. Claude and St. Philip Street, half of which remains just outside the park's perimeter fence.
"Uncle" Lionel Batiste, the drummer, singer, grand marshal, and bon vivant, said he was born on the second floor of this building in 1932 (his obituary said he was born in 1931; one imagines Batiste grinning at the discrepancy). His family worked for the building's owner, Michael Tessitore, who ran a grocery store and saloon downstairs. After stints as the Japanese Tea Room and the Gypsy Tea Room II, it opened as the Caldonia Nite Club in 1947, and was called the Caldonia Inn by the early 50s.
In March 1948 Tessitore hired a piano player named Henry Roeland Byrd (1918 -1980), and gave him the nickname Professor Longhair—the title of "Professor" had been bestowed on New Orleans piano players since the days of Storyville, and "Longhair" referred to Byrd's relaxed coiffure. His backing band, the Three Hair or Four Hair Combo depending on the night, included guitarist Walter "Papoose" Nelson, who went on to play in Fats Domino's band.
Professor Longhair's distinctive style, particularly the Latin-influenced rhythms he played with his left hand, has influenced every New Orleans piano player since. Allen Toussaint called him, memorably, "the Bach of Rock." When Eddie Bo was a kid he stood outside the Caldonia to listen to Byrd on Sunday evenings. In 1949 a record label based in Dallas found Byrd and cut the original version of "Mardi Gras in New Orleans," which included a lyric about seeing the Zulu King on St. Claude and Dumaine, just up the block from the Caldonia. (King Zulu that year was Louis Armstrong, and the Caldonia had been a stop on his parade route.)
Though they are considered classics today, Byrd's records sold modestly, and by the mid-1960s he was sweeping up at the One Stop Record Shop on South Rampart Street, the strip where he'd tap-danced for change as a kid. In 1970, though, some young, white promoters put helped Byrd jumpstart a late-career revival. He became a fixture at the new Jazz & Heritage Festival, and inspired the opening of the Uptown nightclub Tipitina's in 1977. He was a local hero at the time his death in 1980.
While the Caldonia is best remembered for launching Professor Longhair, in its day it was known for drag shows (the club's name evoked Louis Jordan's 1945 jump blues hit "Caldonia," which was reputedly about a drag queen.) The Caldonia was also welcoming to gay patrons—Byrd recalled playing a gay wedding there. As Trumpeter Frank Mitchell told author Jeff Hannusch, "The Caldonia had the best female impersonator show in the city. It was so popular that the white sissies started coming there until the police ran them off. We'd back their show and then play two sets of dance music." (The use of the term "sissy" in this context prefigures the "sissy bounce" label that Big Freedia and other gay and trans artists embraced in the 2000s.)
St. Philip Street was a well-trod second line route, and the Caldonia was a popular parade stop through the 50s and 60s. Standout drummers James Black and John Boudreaux grew up around the corner and across the street from the club, respectively, taking in the rhythms of Yellow Pocahontas Mardi Gras Indians and brass bands playing for social aid and pleasure clubs like the Treme Sports.
The Caldonia met an untimely end in 1971 when the city leveled it and several surrounding blocks to make way for a "cultural center" that never came to be. The irony of bulldozing the Caldonia in the name of culture was not lost on neighborhood residents, who protested with a mock jazz funeral. While the Olympia Brass Band played a dirge, pallbearers threw a coffin containing a dummy into the building before it was demolished. There was also a procession to a new Caldonia club at 1533 St. Philip Street with a velvet-lined casket. Inside it, Uncle Lionel played the corpse.
For more about Louis Armstrong Park, click here.
For more about the Treme neighborhood, click here.
Professor Longhair and Allen Toussaint discuss Longhair's distinctive style; a brief performance clip follows.
Video by stevensonpalfi.
Rare archival interview with Professor Longhair from 1969, the eve of his late-career revival.
Video by Historic Films Stock Footage Archive.
From 1982, Treme residents Iona Rayon and Beatrice Austin recall the symbolic jazz funeral for the Caldonia eleven years earlier.
Video by Alan Lomax Archive.
The barroom at St. Philip and St. Claude in 1942, before it became the Caldonia, was called the Gypsy Tea Room No. 2 (not to be confused with the Gypsy Tea Room nearby on St. Ann Street.)
St. Claude and St. Philip, Hogan Jazz Archive Photography Collection, Hogan Jazz Archive, Tulane University Special Collections, New Orleans, LA. Photo by William Russell.
The corner of St. Claude and Dumaine in 1953.
Courtesy of Ralston Crawford Collection of Jazz Photography, Hogan Jazz Archive, Tulane University Special Collections, New Orleans, LA. Photo by Ralston Crawford.
The composer and music historian William "Bill" Russell, facing camera at left, outside the Caldonia in the mid-1950s.
Courtesy of the William Russell Jazz Collection at The Historic New Orleans Collection, acquisition made possible by the Clarisse Claiborne Grima Fund.
A brass band parading past the Caldonia Inn, sometime between 1952 and 1964. The Caldonia was on a busy second line route in Treme.
Courtesy of the John Bernard Photographic Archive at the Historic New Orleans Collection, acc. no. 1999.41.3.15 Photo by John Bernard.
Professor Longhair (1918-1980) on stage.
© The Historic New Orleans Collection, 2007.0103.4.673. Photo by Michael P. Smith.
From 2012: Jazz funeral procession through Treme for "Uncle" Lionel Batiste (former home of Anthony "Tuba Fats" Lacen at 1201 St. Philip visible at right).
Wikimedia Commons. Photo by Dsb nola.
"Uncle" Lionel Batiste sings, accompanied by Don Vappie on banjo.
Wikimedia Commons. Photo by Infrogmation.
"Tipitina" by Professor Longhair (1953)
https://d2rvw07oc82cxt.cloudfront.net/wp-content/uploads/2016/12/21205103/Tipitina-Sample.mp3
"Food Stamp Blues" by Treme Brass Band, Lionel Batiste vocal (1995)
https://d2rvw07oc82cxt.cloudfront.net/wp-content/uploads/2016/12/20204005/Food-Stamp-Blues-Sample.mp3
Walking 'Round in the Sixth Ward: Treme Tour
Place Congo: Armstrong Park Tour
Music Rising: Henry "Professor Longhair" Roeland Byrd
Further reading from Music Rising at Tulane University
64 Parishes: Professor Longhair
Further reading from the digital encyclopedia of the Louisiana Endowment for the Humanities
"Masters of Louisiana Music: Professor Longhair," by Jeff Hannusch, OffBeat May 1, 2001
Further reading from OffBeat
"Fess Up"
Buy the 2-disc documentary package on Professor Longhair
"In Memory: Uncle Lionel Batiste" by Jerry Brock, The Jazz Archivist vol XXVII, 2014
A deep dive from the newsletter of the William Ransom Hogan Jazz Archive
"Baby Doll Addendum and Mardi Gras '49" by Jerry Brock Jazz Archivist vol XXVIII, 2015