A lawsuit filed by investors against one of the world's largest real estate investment trust companies and several former executives will go forward, a federal court in Arizona ruled. The company and the executives are accused of artificially inflating the value of the company's stock and using company assets to pay for improper fees and services to other companies closely associated with the executives (Vanguard Specialized Funds v. VEREIT Inc., October 3, 2016, Silver, R.).
AFFO. American Realty Capital Properties (ARCP), a large real estate investment trust (REIT), used a metric called "adjusted funds from operations" or "AFFO" which was based on its high level of merger and acquisition activity and was regularly cited by the company and its representatives as a reason to invest in the company. ARCP touted its acquisitions in real estate, including its merger with Arizona-based rival Cole Real Estate Investments, which ARCP declared in its SEC filings would result in AFFO growth. Cole investors voted in favor of the merger and exchanged their Cole shares for ARCP shares.
Disclosures in October 2014 and March 2015 revealed that audits and investigations cast doubt on the reliability of ARCP's financial statements, specifically citing AFFO measurements. A series of executive resignations followed the initial revelation, and in December 2014, the company's former chief accounting officer filed a defamation complaint against the CEO and the president, alleging that she repeatedly informed them that AFFO had no justification or basis. ARCP investors, some of whom acquired their shares in the Cole merger, sued the executives, the company, and several associated entities on various state and federal grounds, including securities fraud.
State and venue claims. The court declined the defendants' motion to transfer venue. Although most other litigation relating to ARCP has been filed in the Southern District of New York, the Arizona district court found that SLUSA would likely prohibit the investors form pursuing Arizona state law claims in that that court because it could not have been brought there. The court also proclaimed that at this stage in the litigation, it did not have enough facts to determine whether or not plaintiffs could pursue state law securities claims. It did, however, dismiss all aiding and abetting claims based on Arizona state law.
Loss causation. The defendants urged the court to dismiss federal securities fraud claims on loss causation grounds with regard to alleged misstatements not disclosed in the October 2014 press release announcing that the company's financial statements should not be relied upon. While the price of ARCP stock fell from $12.38 to $10.00 a share following the initial October 2014 disclosure, the defendants pointed out that following the company's disclosure in March 2015 that it had overstated AFFO in other quarters, the price actually increased. The court pointed out that the defendants' argument ignores the company's own suggestion not to rely on the earlier financial reports, and held that the plaintiffs had adequately pleaded loss causation.
Scienter. The court also concluded that scienter had been adequately pleaded as to most of the defendants. It dismissed the claims against the company's chief operating officer, however. The COO had resigned less than two months after the initial disclosures, but the court noted that the plaintiffs had not pleaded adequate facts to refute the "natural inference" that she left for performance and not for nefarious reasons. The plaintiffs' arguments regarding scienter as to the other defendants hold merit, according to the court.
Statutory seller liability. The court rejected, however, the plaintiffs' allegations regarding the defendants' statutory seller liability as "solicitors" motivated by financial interests. While the court acknowledged the CEO's promoting of the Cole merger to investors, including describing it as "an epic transaction," the court found that the allegations against him did not amount to "direct and active participation in the solicitation of an immediate sale." Statutory seller liability allegations against other executives were even more tenuous, and must be dismissed, the court held.
Controlling person liability. The plaintiffs also sued on controlling person grounds three similarly-named entities, which were associated with ARCP or its CEO in some manner, as well as the "operating partner" in which ARCP owned nearly all equity interests. The controlling person claims against the operating partnership entity were dismissed because the securities laws confer liability on whoever controls a person liable under the securities laws, and not the entity through which the person conducts business. However, at this stage in the litigation, the court found that due to the "intensely factual nature of the inquiry," the plaintiffs' allegations regarding control person liability on the ARCP associated-entities were sufficient to permit discovery.
Other litigation. ARCP, the former CEO, and other executives are also facing both civil and criminal charges.
The case is No. 15-cv-2157.
Attorneys: Beko O. Reblitz-Richardson (Boies, Schiller & Flexner LLP) and Keith Beauchamp (Coppersmith Brockelman PLC) for Vanguard Specialized Funds, Vanguard Index Funds and Vanguard Institutional Index Funds. Antonia M. Apps (Milbank, Tweed, Hadley & McCloy LLP) and David B. Rosenbaum (Osborn Maledon, P.A.) for Vereit Inc. and Vereit Operating Partnership LP.


text:
Q: String with brackets to Array PHP/JS i have a Form in html with names like
"deliveryAddress[0][name]"
"deliveryAddress[0][firstName]"
"deliveryAddress[0][street]"

Now i have a JS function that makes a Json of this form:
var queryString = jq('#idOrderForm');
var returnArray = {};
for ( var i = 0; i < queryString[0].elements.length; i++ ) {
    var e = queryString[0].elements[i];
    returnArray[e.name] = e.value;
}
var json = JSON.stringify(returnArray);

The Result of this function is the following json:
"{"deliveryAddress[0][salutation]":"2","deliveryAddress[0][title]":"-1","deliveryAddress[0] [lastName]":"lastName","deliveryAddress[0][firstName]":"firstName","addrInput":"-1","deliveryAddress[0][country]":"D","deliveryAddress[0][zipCode]":"12345","deliveryAddress[0][city]":"City","deliveryAddress[0][street]":"Street","deliveryAddress[0][houseNo]":"1""save":"true"}"

I send this Json to a PHP Script that receive it and use json_decode. the result is the following:
json_decode($aParams['dataArray'], true, 512, JSON_THROW_ON_ERROR)

result = {array} [11]
deliveryAddress[0][salutation] = "2"
deliveryAddress[0][title] = "-1"
deliveryAddress[0][lastName] = "lastName"
deliveryAddress[0][firstName] = "firstName"
addrInput = "-1"
deliveryAddress[0][country] = "D"
deliveryAddress[0][zipCode] = "12345"
deliveryAddress[0][city] = "City"
deliveryAddress[0][street] = "Street"
deliveryAddress[0][houseNo] = "1"
save = "true"

What i need is a correct multidimensional array like:
result =  {array} [2]
 addrInput = "-1"
 deliveryAddress = {array} [1]
  0 = {array} [9]
   salutation = "2"
   title = "-1"
   lastName = "lastName"
   firstName = "firstName"
   country = "D"
   zipCode = "12345"
   city = "City"
   street = "Street"
   houseNo = "1"

I hope you understand my requirement and can help me :)

redpajama_set_name: RedPajamaStackExchange


Why do we need to consider pedagogic frailty?
After talking with various colleagues across the disciplines, the idea of frailty appears to resonate. As I am not using the term to refer to an individual's characteristics, but with reference to the quality of connections across the wider 'teaching system', it has not been perceived by them to be a threatening term.
The clinical analogy from which I have drawn heavily provides a starting point that colleagues can relate to. Everyone has either been ill, or knows someone who has, and recognises that the clinical professions are dedicated to promoting health rather than illness. Nonetheless, medicine knows more about disease than it does about health. This is the focus of medical studies. In order to promote health, you need to understand the indicators of illness and the consequences of inappropriate treatment.
Categories: Quality, Standards, Performance, Evaluation, Teaching Learning & Assessment | Tags: pedagogic frailty, teaching system, University Teaching | Permalink.


Officially licensed and designed to look like the original game cartridge, ADVENTURE: The Atari 2600 Game Journal features endpapers with color screenshots of gameplay (including an Easter egg planted by the designer) as well as an insert with instructions from the original game manual. With black-edged pages and sticker artwork showcasing the iconic orange dragon, ADVENTURE: The Atari 2600 Game Journal is a pixilated trip down memory lane.
Officially licensed and designed to look like the original game cartridge, ASTEROIDS: The Atari 2600 Game Journal features endpapers with color screenshots of gameplay as well as an insert with instructions from the original game manual. With black-edged pages and sticker artwork showcasing the iconic rock-blasting spaceship, ASTEROIDS: The Atari 2600 Game Journal is a pixilated trip down memory lane.
Officially licensed and designed to look like the original game cartridge, MISSILE COMMAND: The Atari 2600 Game Journal features endpapers with color screenshots of gameplay (including an Easter egg planted by the designer) as well as an insert with instructions from the original game manual. With black-edged pages and sticker artwork showcasing the Cold War-inspired nuclear control room, MISSILE COMMAND: The Atari 2600 Game Journal is a pixilated trip down memory lane.
Example of a blank journal page.
AtGames Announces 2018 Line-up of Atari-branded Consoles and Handheld Products!


text:
Михаи́л Васи́льевич Чугу́нин (1917—1989) — советский офицер, танкист, участник Великой Отечественной войны, Герой Советского Союза (1944).

Биография

Ранние годы
Родился 9 (22) мая 1917 года в деревне Сластники ныне Краснобаковского района Нижегородской области в семье крестьянина. Русский. С малых лет помогал отцу — пас лошадей, обрабатывал под посев землю, вывозил на поля удобрение. В 1929 году окончил 4 класса школы ФЗУ (ныне Желтовская начальная школа), затем поступил в Краснобаковское профтехучилище. Получив специальность слесаря, два года (с 1932 по 1934 год) работал слесарем в артели «Металлист», затем до 1938 года — механиком Краснобаковской инкубаторной станции.

Призван в РККА в 1938 году.

В годы Великой Отечественной войны
На фронтах Великой Отечественной войны с июня 1941 года. В составе стрелкового полка принимал участие в битве под Москвой, был ранен. После излечения в госпитале, направлен в Саратовское танковое училище, которое окончил в ноябре 1942 года в звании младшего лейтенанта. Член ВКП(б)/КПСС с 1943 года.

Командир танка 1-го танкового батальона 45-й гвардейской танковой бригады 11-го гвардейского танкового корпуса 1-й гвардейской танковой армии 1-го Украинского фронта гвардии младший лейтенант М. В. Чугунин отличился в наступательных боях с 22 по 30 марта 1944 года.

23 марта 1944 года со своим экипажем в числе первых ворвался на железнодорожную станцию Гусятин (Тернопольская область Украины), перерезал шоссейную дорогу и уничтожил один танк, 20 автомашин и свыше сотни солдат и офицеров противника. Кроме также, ему удалось захватить 5 автомашин и один паровоз с эшелоном (53 вагона).

27 марта 1944 года в составе группы из трёх танков (командиры — гвардии младший лейтенант Ф. П. Кривенко и) переправился через Днестр у села Устечко (Залещицкий район Тернопольской области), совершил 70-километровый марш в район села Глиницы (Черновицкая область). Захватив переправу через реку Прут, группа разделилась и 28 марта атаковала противника с трёх направлений. Обойдя Глиницы справа, танк гвардии младшего лейтенанта Чугунина вышел на огневые позиции батареи противника. Раздавив орудия, Чугунин прорвался с тыла к танкам противника. Своими действиями группа отрезала путь отступления вермахту из Черновцов и удержала позиции до подхода главных сил. В результате боя город и станция Черновицы были к исходу дня полностью очищены от противника.

В этом бою экипаж танка гвардии младшего лейтенанта Чугунина уничтожил 2 танка (одна «Пантера» и один PzKpfw III), 3 орудия, 30 автомашин с пехотой и грузами, а также захвачено 17 автомашин и взято в плен 5 солдат и офицеров.

Указом Президиума Верховного Совета СССР от 26 апреля 1944 года «за мужество, отвагу и героизм, проявленные в борьбе с немецко-фашистскими захватчиками» гвардии младшему лейтенанту Чугунину Михаилу Васильевичу присвоено звание Героя Советского Союза с вручением ордена Ленина и медали «Золотая Звезда» (№ 2399). Также звания Героя Советского Союза были удостоены командир танковой роты гвардии старший лейтенант Г. П. Корюкин и командир танка гвардии младший лейтенант Ф. П. Кривенко.

В 1944 году с июня по декабрь Чугунин — слушатель Ленинградской высшей офицерской школы бронетанковых и механизированных войск. Затем вновь направлен на фронт.

Адъютант 3-го танкового батальона 65-й танковой бригады 11-го гвардейского танкового корпуса гвардии лейтенант М. В. Чугунин за ответственную работу в штабе бригады был награждён орденом Отечественной войны I степени (8 марта 1945) и орденом Отечественной войны II степени (29 июня 1945).

Войну закончил в Берлине.

Послевоенные годы
С 1947 года старший лейтенант Чугунин в запасе. Работал заместителем председателя Краснобаковского райисполкома. После окончания Горьковской высшей партийной школы стал директором отделения «Заготлён». Затем работал директором хлебокомбинатов в Красных Баках и на Бору.

Последние годы жил в Нижнем Новгороде. Умер 5 сентября 1989 года. Похоронен в Нижнем Новгороде на Ново-Сормовском кладбище.

Награды и звания
 Герой Советского Союза (26 апреля 1944);
 орден Ленина (26 апреля 1944);
 орден Отечественной войны I степени (8 марта 1945);
 орден Отечественной войны II степени (29 июня 1945);
 медали;
 почётный гражданин города Сторожинец (Черновицкая область Украины).

Память
В посёлке Ветлужский на доме, в котором жил М. В. Чугунин (улица Ленина, дом 18), установлена мемориальная доска.

Примечания

Литература

 Гетман А. Л. Танки идут на Берлин. 2-е изд., испр. и доп. , 1982.
 Тюльников Л. К., Басович Я. И. Герои Советского Союза — горьковчане. Горький, 1981.
 Минин Ф. П. Наши земляки. Красные Баки, 2001.
 В. Желтов. Михаил Васильевич Чугунин / Боевой путь Первой гвардейской танковой армии и её герои. Том 4. Днестровско-Прикарпатская операция. Под общей редакцией Н. К. Попель, М. А. Шалин, А. Г. Журавлёв, П. Л. Павловцев. 1945. Рукописное описание боевого пути 1-й гвардейской танковой армии. Хранятся в музее 1-й гвардейской танковой армии в Смоленске.
 Чугунин М. В. Добьём врага // Социалистическая стройка. — 1944. — 28 сент. — С. 2.

Ссылки

Танкисты Великой Отечественной войны
Члены КПСС
Почётные граждане Сторожинца
Похороненные на Новосормовском кладбище

redpajama_set_name: RedPajamaWikipedia


Platform 21 are based in an old cathedral in Amsterdam, which they call their public design lab. They organise lectures, exhibitions and events to engage industry experts and the public to contribute through real time or digital environments.
Their venture and platform allows people to collaborate to explore bold concepts, thinking and practice. One of their latest projects entitled "Repair Manifesto" encourages people to share creative concepts and methods to repair existing clothing/ products. This collaborative approach to upcycling encourages people to share ways to re-invent or re-use existing objects.


text:
THE MUTATIONS OF LYCOPERSICUM.
The number of specific mutations which were observed in Œnothera by Professor de Vries was greater than the number that has yet been observed in Lycopersicum; but the scope of mutative action in Œnothera embraced only a very small percentage of the abundant progeny of the mother plants; while in the two cases of mutation in Lycopersicum which I observed, that action embraced all the progeny of a small crop of mother plants. The mutative period in Œnothera occurred as a correlative of the extreme activity of natural reproductiveness and geographical distribution, but that period occurred in Lycopersicum as a correlative intensive cultivation. The unusual conditions, although so different in each case, apparently made the mutative opportunity available for the respective species. Other conditions will doubtless be found to give other species that opportunity, with diverse results. When other plants shall have been discovered in their mutative period the scope and diversity of mutative action will probably be found to differ in each case. If so, no one case can be made the absolute standard for such action.
The observations of Professor de Vries, as well as my own, show conclusively, not only that species may originate by sudden mutation, but that one and the same species may thus originate independently at different times and places and from different plants of a mother species. This fact is not without obvious significance in connection with geographical distribution of living species and the origination and distribution of organic forms during geological time.

redpajama_set_name: RedPajamaCommonCrawl


text:
Compare & Buy New Style Boutique 2 CD Keys
CD KEYS > Games > New Style Boutique 2
Nintendo Presents: New Style Boutique 2 - Fashion Forward, known in Japan as Girls Mode 3: Kirakira ☆ Code, is a fashion video game developed by syn Sophia and published by Nintendo and the third instalment in the fashion simulation series after the Nintendo DS game Style Savvy (Nintendo presents: Style Boutique in the PAL region) and the Nintendo 3DS game Style Savvy: Trendsetters (Nintendo presents: New Style Boutique in the PAL region).
It was released for the Nintendo 3DS in Japan on April 16, 2015, in Europe on November 20, 2015[1] and in Australia on November 21, 2015


A 30 Rock reboot? Tina Fey addressed those recent rumors Thursday on The Tonight Show Starring Jimmy Fallon.
She acknowledged that the rumors began with her and a comment she made on the red carpet for her new Mean Girls musical.
"Here's what I'll say. So we were on the red carpet for the Broadway opening and someone was like, 'Would you ever do a "30 Rock" reboot?' And I was like 'Maybe …,'" Fey told Fallon.


text:
Joaquin Miller letters : Oakland, Calif., 1871-1912.
BANC MSS 2010/55
Joaquin Miller letters: Oakland, Calif., 1871-1912
Miller, Joaquin, 1837-1913, creator, correspondent.
Seven handwritten letters and notes (9 p.), two on letterhead stationery of Miller, concerning a variety of topics. One letterhead, titled "Joaquin Miller Lecture Season, 1900-1901", has a lithograph reproduction of Miller's home and the caption "The Hights in Oakland, Cal." with a line for the date, and a similar reproduction on the verso titled "Joaquin Miller At Different Ages" consisting of five numbered sitting portrait photographs of Miller surrounding a larger sixth one in the center of the page of him on horseback with a large mountain in the background. Also includes typescript transcript of one of the letters (Oct. 2, 1871), signed "Paul" and written on fictitious letterhead stationery of Adolph Hitler in Buenos Aires (Argentina).
Miller, Joaquin -- 1837-1913 -- Correspondence
Miller, Joaquin -- 1837-1913 -- Pictorial works
Poets, American
Authors, American
Oakland (Calif.)
Joaquin Miller letters : Oakland, Calif., 1871-1912, BANC MSS 2010/55, The Bancroft Library, University of California, Berkeley.
Purchase; from Early American History Auctions ; 20071114.
Born Cincinnatus Heine (or Hiner) Miller on September 8, 1837, near Liberty, Indiana. In 1852, his family moved to the Oregon Territory and two years later at the age of 17 he went to the California gold fields. At the urging of Ina D. Coolbrith, he changed his name to Joaquin Miller sometime around 1870.
Pictorial lettersheets.
Letterheads.
Lithographs.
1 folder.


text:
Home / Entertainment / Rihanna Announces Third Diamond Ball in New York
Rihanna Announces Third Diamond Ball in New York
in Entertainment 22.03.2017
The pop star's Clara Lionel Foundation supports underprivileged communities in health, education & art.
After a hugely successful 2015 Diamond Ball, which raised over $3 million in donations for the Clara Lionel Foundation in Los Angeles, founder Rihanna has just announced the third gala, Joinfo.com reports with reference to Billboard.
Rihanna founded the Clara Lionel Foundation — named after her grandparents Clara and Lionel Braithwaite — in 2012 with the goal to to support underprivileged communities in health, education and art. The foundation has since teamed up with fashion house Dior and was even recognized when Rihanna received Harvard University's Humanitarian Award.
The third annual Diamond Ball is set to go down Sept. 14 at New York City's Cipriani Wall Street.
"New York always offers the perfect backdrop for an amazing event, which is why I am thrilled to have Diamond Ball there," Rihanna said in a release. "It's a great way to celebrate the Clara Lionel Foundation's accomplishments as well as bring awareness to our mission globally. I know it'll be a night to remember!"
If it's anything like her previous benefits, the singer's third Diamond Ball is a guaranteed good time. Special hosts and speakers have included Brad Pitt and Kevin Hart and live performances from Lionel Richie and RiRi herself have made for memorable fundraising.
2017 Diamond Ball Diamond Ball Rihanna 2017-03-22
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Comment with Disqus


text:
Q: App Engine: Launching a script upon update/run I'm working with App Engine and I'm thinking about using the LESS CSS extension in my next project. There's no good LESS CSS library written in Python so  I went on with the original Ruby one which works great and out of the box. I'd like App Engine to execute lessc ./templates/css/style.less before running the development server and before uploading the files to the cloud. What is the best way to automate this? I'm thinking:
#run.sh:
lessc ./templates/css/style.less
.gae/dev_appserver.py --use_sqlite .

And
#deploy.sh
lessc ./templates/css/style.less
.gae/appcfg.py update .

Am I on the correct path or is there a more elegant way of doing things, perhaps at the appcfg.py level?
Thanks.

A: One option is to use the javascript version of Less and hence do the less-to-css conversion in the browser.. simply upload your less formatted file (see http://lesscss.org/ for details).
Alternately, I do the conversion (first with less, now I use sass) in a deploy script which does a number of things

*

*checks that my source code control has no outstanding files checked out (uncommited changes)

*joins and minifies my .js code (and runs jslint over it) into a single file

*generates other content (including stamping the source code control version as a version number into certain key files and as a parameter on some files to avoid caching issues) so my main page pulls in scripts with URLs such as "allmysource.js?v=585".. the file might be static but the added params force cache invalidation

*calls appcfg to perform the upload and checks the return code

*makes some calls to the real site with wget to check the previously generated files are actually returned, by checking they're stamped with the expected version

*applies another source code control tag to say that the intended version was successfully deployed

My script also accepts a "-preview" flag in which case it doesn't actually do the upload, but reports the version control comments for what's changed since the previous deployment.
me@here $ ./deploy -preview
Deployment preview...
Would deploy v596 to the production site (currently v593, previously v587)
  594       Fix blah blah blah for X Y Z
  595       New feature nah nah nah
  596       Update help pages

This is pretty handy as a reminder of what I need to put in things like a changelog
I plan to also expand it so that I can, as part of my source code control, add any code that needs running once only when deployed (eg database schema changes) and know that it'll be automatically run when I next deploy a new version.
Essence of the script below as people asked... it doesn't show my "check code, generate, join, and minify" as that's another script... I realise that the original question was asking about that step of course :) but you can see where you'd add the call to generate CSS etc
#!/bin/sh

function abort () {
    echo
    echo "ERROR: $1"
    echo "$2"
    exit 99
}

function warn () {
    echo
    echo "WARNING: $1"
    echo "$2"
}

# Overrides the Gentoo eselect mechanism to force the python version the GAE scripts expect
export EPYTHON=python2.5

# names of tags used to label bzr versions
CURR_DTAG=deployed
PREV_DTAG=prevDeployed

# command line options
PREVIEW=0
IGNORE_BZR=0

# These next few vars are set to values to identify my site, insert your own values here...
APPID=your_gae_appid_here
ADMIN_EMAIL=your_admin_email_address_here
SRCDIR=directory_to_deploy
CHECK_URL=url_of_page_to_retrive_that_does_upload_initialisation

for ARG; do
    if [[ "$ARG" == "-preview" ]]; then
        echo "Deployment preview..."
        PREVIEW=1
    fi
    if [[ "$ARG" == "-force" ]]; then
        echo "Ignoring the fact some files may not be committed to bzr..."
        IGNORE_BZR=1
    fi
done
echo

# check bzr for uncommited changed
BSTATUS=`bzr status`
if [[ "$BSTATUS" != "" ]]; then
    if [[ "$IGNORE_BZR" == "0" ]]; then
        abort "There are uncommited changes - commit/revert/ignore all files before deploying" "$BSTATUS"
    else
        warn  "There are uncommited changes" "$BSTATUS"
    fi
fi

# get version of numbers of last deployed etc
currver=`bzr log -l1 --line                | sed -e 's/: .*//'`
lastver=`bzr log -rtag:${CURR_DTAG} --line | sed -e 's/: .*//'`
prevver=`bzr log -rtag:${PREV_DTAG} --line | sed -e 's/: .*//'`
lastlog=`bzr log -l 1 --line gae/changelog | sed -e 's/: .*//'`

RELEASE_NOTES=`bzr log --short --forward -r $lastver..$currver \
    | perl -ne '$ver = $1 if /^ {0,4}(\d+) /; print "  $ver $_" if ($ver and /^ {5,}\w/)' \
    | grep -v "^ *$lastver "`

LOG_NOTES=`bzr log --short --forward -r $lastlog..$currver \
    | perl -ne '$ver = $1 if /^ {0,4}(\d+) /; print "  $ver $_" if ($ver and /^ {5,}\w/)' \
    | grep -v "^ *$lastlog "`

# Crude but old habit - BUGBUGBUG is a marker in the code for things to be fixed before deployment
echo "Checking code for outstanding issues before deployment"
BUGSTATUS=`grep BUGBUGBUG js/*js`
if [[ "$BUGSTATUS" != "" ]]; then
    if [[ "$IGNORE_BZR" == "0" ]]; then
        abort "There are outstanding BUGBUGBUGs - fix them before deploying" "$BUGSTATUS"
    else
        warn  "There are outstanding BUGBUGBUGs" "$BUGSTATUS"
    fi
fi

echo
echo "Deploy v$currver to the production site (currently v$lastver, previously v$prevver)"
echo "$RELEASE_NOTES"
echo

if [[ "$currver" -gt "$lastlog" && "$lastver" -ne "$lastlog" ]]; then
    echo "Changes since the changelog was last updated"
    echo "$LOG_NOTES"
    echo
fi

if [[ "$IGNORE_BZR" == "0" && $lastver -ge $currver ]]; then
    abort "There don't appear to be any changes to deploy..."
fi

if [[ "$PREVIEW" == "1" ]]; then
    exit 0
fi

$EPYTHON -c "import ssl" \
    || abort "$EPYTHON can't find ssl module for $EPYTHON - download it from pypi and install with the inbuilt setup.py"

# REMOVED - call to my script that calls jslint, generates files and compresses JS etc
#   || abort "Generation of code failed"

/opt/google_appengine/appcfg.py --email=$ADMIN_EMAIL -v -A $APPID update $SRCDIR \
    || abort "Appcfg failed - upload presumably incomplete"

# move the tags to show we deployed properly
bzr tag -r $lastver --force ${PREV_DTAG}
bzr tag -r $currver --force ${CURR_DTAG}

echo
echo "Production site updated from v$lastver to v$currver (in turn from v$prevver)"
echo
echo "Now visiting $CHECK_URL to upload the source to the database"

# new version doesn't seem to always be there (may be caching by the webserver etc) to be uploaded into the database.. try again just in case
for cb in $RANDOM $RANDOM $RANDOM $RANDOM ; do
    prodver=`wget $CHECK_URL?_cb=$cb -q -O - | perl -ne 'print $1 if /^\s*Rev #(\d+)\s*$/'`
    if [[ "$currver" == "$prodver" ]]; then
        echo "OK: New version $prodver successfully deployed"
        exit 0
    fi
    echo "Retrying the upload of source to the database"
    sleep 5
done
abort "The new source doesn't seem to be loading into the database" "Try 'wget $CHECK_URL?_cb=$RANDOM -q -O -'"

It's not particularly big or clever, but it automates the upload job


INTERESTED IN FLORIDA CONSTRUCTION CONTRACTING LICENSING???
Interested in learning about Florida construction contracting licensing? Contrary to perhaps popular belief, Florida's construction contracting licensing law is confusing…even for practitioners. Below is a portion of a presentation on the requirements for construction contracting licensure and the penalties for unlicensed contracting.
This entry was posted in Licensing and tagged construction licensing, contractor licensing, Florida contractor licensing, unlicensed contracting by David Adelstein. Bookmark the permalink.


text:
Home Taxes in Boca Raton No Park Tax Hike
No Park Tax Hike
Melissa Dawson
Responding to requests from the community, the Greater Boca Raton Beach and Park District (the District) voted on Tuesday to keep the current tax rate in place for the upcoming fiscal year.
District commissioners unanimously approved a fiscal year 2019-20 budget expected to remain less than $40 million, projected to come from a millage rate of 0.9147 – the same millage rate as last year.
"Over the past couple weeks members of our community voiced their desire to keep the tax rate stable – at least for one more year," Commission Chair Susan Vogelgesang said. "We encourage that kind of involvement from the community and try whenever possible to be responsive to community desires."
The District had been considering raising the millage rate to help pay for upcoming projects at the Gumbo Limbo Nature Center, Patch Reef Park and Sugar Sand Park. The District is also working with the City of Boca Raton to fund the to-be-developed Boca National Golf Course at the site formerly known as Boca Teeca and Ocean Breeze.
More than 150 members of the community attended Tuesday's resumption of the District's budget approval meeting.
Last week, when residents raised concerns about proposed funding for the Boca National project, commissioners recessed the meeting, instructing employees of the District to contact City officials to determine whether a last-minute compromise could be reached.
While such a consensus couldn't be reached in the short time available, District commissioners on Tuesday made a good faith decision to hold the millage rate flat allowing additional time to solidify an agreement with City officials.
"I am more than willing to work with the city – our city, the community – to work together to come to a common understanding," District Commissioner Craig Ehrnst said. "If we can't, then we'll come back next year and reconsider our options."
In the coming years, the District intends to fund critical upgrades to the pumps and pipes at the City-owned Gumbo Limbo Nature Center aquariums, renovations of the community center at Patch Reef Park, and the construction of a second field house at Sugar Sand Park.
"It has been the history of the District to listen to the users of parks and facilities and provide them with the fields and recreational facilities that they will use for generations to come," District Executive Director Briann Harms said. "Our Board is committed to building parks and recreational amenities that will serve the residents of today and tomorrow."
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https://mybocaparks.org
Facilities Manager Greater Boca Raton Beach & Park District ABOUT THE GREATER BOCA RATON BEACH AND PARK DISTRICT: The District is committed to the acquisition and development of parks and recreation facilities. It seeks to provide entertaining and engaging leisure, educational, athletic and cultural activities to all of its residents and guests. The District owns multiple recreational facilities and/or parks in the Boca Raton area, including Sugar Sand Park, Patch Reef Park, the Swim and Racquet Center and Ocean Strand. In addition, through interlocal agreements with the City of Boca Raton, it funds the operating expenses of the Gumbo Limbo Nature Center, Red Reef Park, Spanish River Athletic Facilities and Mizner Bark Dog Park.
Tax Increase Robocall…Misleading the Public
District Votes to Pursue Third-Party Funding for Boca National Golf Course Project
Ocean Strand Poll: Save Boca's Green Space?
John October 3, 2019 At 6:08 am
It's always about power and ego.
Back in the late 80's the Palm Beach County Expressway Authority was formed to look at a future E/W expressway in PBC. The only problem with this was that the PBCEA was formed by the legislature and not by the PBC commissioners. The PBCEA did it's job and came up with alternatives for an E/W expressway.
PBC then went out and hired experts to show the road wasn't ever going to be needed (LOL imagine that they actually said a 4L Okeechobee and 2L Southern Blvd would be fine). After that, the Commissioners got the legislature to disband the PBCEA. It was never about the road, it was always about keeping power. Anyone remember the the Solid Wast Authority was actually an independent agency and look what happened.
In the end, the larger governing body NEVER wants "little brother" to get too big or throw shade. It's just human nature
Manuel Ferrera October 4, 2019 At 9:56 pm
great article! you bring the news to boca
Robert Dukate October 16, 2019 At 1:50 pm
Agree, this action by the District is the best fiscally responsible action. Residents were promised no tax hike required for the new golf course and the City's generous offer will allow the District to keep that promise.
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Sue Hall's vibrant Abstract artworks are imaginative and captivating. Richly coloured, full of detail and depth, when viewed on her website www.suehallart.co.uk, you can see the variety and uniqueness of Sue's work, the imaginary patterns, the beautiful shapes and the colour explosions are all dazzling and punchy. I find artworks such as Breakthrough 10 & Breakthrough 11 to be multi-layered, having a unique deepness. City Lights 23 & City Lights 26 are painted in sumptuous detail, and are for me highly evocative of the hustle and bustle of cities, such as London & New York.
Please talk a bit about where you grew up and where you live now….
I grew up in Bedfordshire and, apart from a year in Norfolk, have lived there all my life. I've never felt the need to relocate and have never had to do so for work purposes. The town has changed and grown a lot, particularly over the last thirty years or so, but it's still my home for now. I'd like to move somewhere a little more rural eventually so that I could have space for a larger studio.
How did you discover your passion to create art?
I can't remember ever 'discovering' my passion for creating art, it's just always been a part of me. My Father was a sculptor and my Mother painted so creating, making art, was a normal part of family life. Throughout my childhood and teens, I used wax crayons, felt-tipped pens and eventually poster paints to make shapes on paper, sometimes sticking several small pieces together to give me a larger surface to work on. I even painted a couple of Abstract murals on my bedroom wall - my parents were very tolerant!
I didn't have the opportunity to study art so am completely self-taught. The creative side of me was largely forgotten and took a back seat once I started work and had a family, although I returned to it every now and then. Intermittently, I've worked my way through fabric and silk-painting, cake decorating, writing and such like. The realisation that painting is an inherent part of who I am, only happened relatively recently when I was commissioned out of the blue to paint something following a conversation. I now can't believe I managed to get through over thirty years without painting! It explains why I've had a feeling of unrest for much of my adult life.
What is it that draws you to Abstract painting?
It wasn't a conscious decision to paint in the Abstract style. To be honest, I've never considered painting any other way. I'm drawn to colour, form, and expression so Abstract art is the perfect vehicle or style for allowing me to experiment with process and application in order to develop my practice. This has resulted in me producing several very different series; who knows what will occur next? I rarely have a fixed idea about the finished painting when I start a new piece though, obviously, if I'm working on a new painting for an on-going series, I have a destination of some sort in mind. I let my intuition guide me and have learned it's not to be argued with! Mostly I let the colours make the decisions and the shapes that appear also have a say in things. It actually takes a lot of concentration and effort to paint an Abstract piece as there's nothing to look at and check that it's 'right'. It still has to have a balance or, maybe, a deliberate imbalance. The trick is knowing when that point has been reached and it's what I love about Abstract art. I've been told that my work is 'Abstract with purpose' in that much of it has roots in reality which I then interpret. I often find that one painting inspires another and I tend to work on one series at a time until either I feel as though I've exhausted it or another idea is calling and has to be attended to.
What are your strategies for marketing yourself?
This is the really tricky part of being an artist. It's a very tough business for most of us and marketing, reaching the right audience, turning 'likes' into purchases is easier said than done, in my experience. Promotion has to be worked on constantly and consistently; a strong online presence is vital. Never shy away from opening conversations about art when the circumstances allow and always be professional, reliable and approachable. There's no instant, magic formula; marketing is difficult and time-consuming and there's no guarantee that sales will follow. I wish I had a fool-proof answer to this one!
I love art that makes my heart skip a beat, that intrigues me and stops me in my tracks, that is bursting with life, energy, and colour. The works of the following artists do just that: Kandinsky, Pollock, O'Keeffe, Rothko, Lichtenstein, Picasso, de Lempicka and Richter in no particular order and to name but a few. Their paintings were (or are) innovative, pushed boundaries, and were (or are) masters of form, colour and expression and inform a lot of today's artists.
What much-needed advice would you give to somebody who wants to start a career as an Artist?
I would pass on some advice that was given to me several years ago: paint only for yourself. To add to this, I would say that the only way to find "yourself" is to practice and paint every moment that you can. You have to immerse yourself in it to the point of obsession. And try to be original. I believe art should come from the heart - that's something that can't be taught, but will happen if you allow it. Don't worry about what other artists are doing; we all move along at different rates and have ups and downs. It's part of the process. Part of me thinks that it's not so much that we 'choose' a career in Art, more that, it chooses us. It's a very difficult business to be in and in which to make your mark - no pun intended! Be prepared or setbacks but keep going, practice, practice, practice. No one has to see your art if you're not happy with a particular piece. Move on and start again. Finally, always be professional and reliable - it's a business, after all.
Which of your artworks are your favourites and why?
I tend to have a 'soft spot' for those paintings that have inspired a series to develop. City Lights was my first series, as it turned out, and as the sixth one was a Saatchi Showdown competition semi-finalist (and is now in a gallery in Chicago), it has to be a favourite. Breakthrough 1, so named because I felt I'd had a personal breakthrough in my approach to painting, is another favourite as is Hope Restored which I painted after working through a rare creative block. It's difficult to give a definitive answer to this question because as my practice develops new favourites keep popping up.
As an artist, what would you say is your greatest success?
My instant response to this is that I'm still painting! However, I guess the Saatchi Showdown thing is notable as there were more than 3,000 paintings in that particular competition and I'd been painting seriously for only about 12 months when I entered it. I'm pretty sure that that led to the many invitations I continue to receive to exhibit all over the world. More recently, selling my work both internationally and closer to home gives me quite a buzz.


Michelly, of the Morning Post, was boasting to Westmacott of his intimate connexion with the aristocracy. "The area-stocracy, more likely," replied the ex-editor of the Argus.
How often are we—George Stephens-like—to be called upon to expend our invaluable breath in performing Eolian operations upon our own cornopean! Here have we, at an enormous expense and paralysing peril, been obliged to dispatch our most trusty and well-beloved reporter, to the fens in Lincolnshire, stuffed with brandy, swathed in flannel, and crammed with jokes; from whence he, at the cost of infinite pounds, unnumbered rheumatisms, and a couple of agues, caught, to speak vulgarly, "in a brace of shakes," has forwarded us the following authentic account of the august proceedings which took place in that county on the anniversary of the great St. Michaelmas.
Tuesday night.—Depths of the fens—just arrived—only time to state all muck—live eels and festivity—Sibthorp in extra force—betting 6 to 4 "he cooks everybody's goose"—no takers—D'Israeli says it's a gross want of sympathy—full account to-morrow—expect rare doings—must conclude—whrr-rh-h—tertian coming on—promises great shakes.
Wednesday morning.—The day dawned like a second deluge, and the various volunteer dramatis personae seemed like the spectres of the defunct water-dogs of Sadler's Wells. An eminent tallow-chandler from the east end of Whitechapel contracted for the dripping, and report says he found it a very swimming speculation. Life-preservers, waterproof and washable hats, were on the ground, which, together with Macintoshes and corks, formed a pleasing and varied group. The grand stand was graced by several eminent and capacious geese; nor was the infantine simplicity of numerous promising young goslings wanting to complete the delightful ensemble.
The business of the day commenced with a grand commemorative procession of homage to the prize goose, the representative of whom, we are proud to say, fell by election to the envied lot of the gallant, jocose, and Joe Millertary Colonel Sibthorp.


text:
Caroline Strömberg
Flowering plants, new teeth and no dinosaurs: New study sheds light on the rise of mammals
A new study published April 30 in the Proceedings of the National Academy of Sciences identified three factors critical in the rise of mammal communities since they first emerged during the Age of Dinosaurs: the rise of flowering plants; the evolution of tribosphenic molars in mammals; and the extinction of non-avian dinosaurs, which reduced competition between mammals and other vertebrates in terrestrial ecosystems.
Tiny plant fossils a window into Earth's landscape millions of years ago
An international team led by the University of Washington has discovered a way to determine the tree cover and density of trees, shrubs and bushes in locations over time based on clues in the cells of plant fossils preserved in rocks and soil.
'True grit' erodes assumptions about evolution
New work in Argentina where scientists had previously thought Earth's first grasslands emerged 38 million years ago, shows the area at the time covered with tropical forests rich with palms, bamboos and gingers. Grit and volcanic ash in those forests could have caused the evolution of teeth in horse-like animals that scientists mistakenly thought were adaptations in response to emerging grasslands.
A&S Perspectives
UW Press
More publications Evans School Foster School of Business Health Sciences Newsbeat Information School IT Connect News Jackson School Law School News President's blog School of Dentistry School of Nursing School of Pharmacy School of Public Health School of Social Work The Trend in Engineering UW Libraries: News & Events UWTV Washington Engineer


Click the image to see all our blessed bracelet inventory!
We spent the entire day today just getting one new page ready for the new version of Thaiamuletsales.com which will probably be coming in about a month, maybe six weeks. There is so much to do!
Those are some of the bracelet photos we took today and were putting on a new page that isn't quite ready for prime-time viewing and shopping. As you can see, we really took our time and focused on taking perfect images that really show the products. This takes so much time, but we really want the site to impress you with this iteration.
One of the problems we've had over the last six, almost seven years, was that the content on the site wasn't updated quickly or correctly. Now with our new site we'll be able to do it ourselves and really keep control on what is shown, the price adjustments, bonuses, coupons, and more.
Stick with us in 2015! After seven years of sharing amulets from Theravada Buddhist temples across Thailand, we're ready to step-it-up a notch and really see how nice a shopping experience we can make for you!


Under new government plans, public sector workers who speak English as a second language will be required to develop a higher standard of English before they can be employed in the sector. It will mean that migrant workers will have to take harder English tests to ensure their language level is proficient.
These manifesto pledges, deemed controversial by some and 'hypocritical' by others seem to have stoked up outrage on both sides.
Whilst a logical move in some ways (communication skills are essential in almost any job, after all) it falls short of actual success due to the lack of funding available for English language courses. Without the implementation of such services, enforcing the 'proficient standard of English' rule would leave many migrants worse off, without the means of finding work.
Clearly, it does not make economic sense to employ a non-English-speaking candidate in a public-facing role. But equally, it does not make sense to enforce a rule without providing the means to meet the new criteria. Learning a new language is no easy feat: if there is no relevant support available, how will any newly-arrived worker find work in the sector?
Yet many people are of the opinion that this measure is 'too little too late' and view it as further evidence that the Government are being 'soft on the immigration'.
Whatever your view and background, one thing is certain: good communication goes hand in hand with excellent service delivery. At a time when critique of public sector delivery has never been out of the news for more than a few hours, it is essential that frontline public sector employees are able to communicate fluently with the general public. It should be about how they achieve this level of fluency, not if they should.
As this is such an important issue affecting huge numbers of people, we'd like to open this out to our diverse candidate base. What are your thoughts on this?


The Motorola Cliq 2 with MOTOBLUR is all about playing hard and working hard. The Cliq 2 helps you to manage your social life and career so you are always making the most of each day. Plus, it is powered by an ultra-fast 1GHz processor and an innovative slide-out QWERTY keyboard. This makes it easier to check your corporate email, book meetings, update your Facebook page, and tweet via Twitter on-the-go. The 3.7" high-resolution touchscreen is perfect for browsing the web, managing multimedia, and viewing documents. And last but not least, use your Cliq 2 as a mobile hotpsot which can connect up to 5 Wifi-enabled devices to the internet.
Dimensions-2.3" x 4.2" x 0.5"


HUGE plumes of black smoke have smothered the Manchester city centre skyline after 'plastic pallets' caught fire.
Firefighters were called to tackle the blaze at wasteland off Livesey Street, near Collyhurst, just after 1pm, quickly bringing it under control.
A spokesman for the Greater Manchester Fire and Rescue Service (GMFRS) said it involved a large quantity of plastic pallets and other rubbish.
Thick black smoke was sent billowing into the sky and over the city centre, with people in the city for Easter events including the Manchester Duck Race at Spinningfields witnessing the plume.
Fire engines based at Manchester Central, Philips Park and Salford stations attended the scene off Rochdale Road after a number of 999 calls from the public.
The fire has been extinguished and all emergency services have left the scene.
GMFRS were on site for around one hour and 45 minutes, with Greater Manchester Police reopening Peary Street.
Manchester Central Community Fire Station Watch Manager Neil Aylett said: "Alongside colleagues from Salford and Philips Park we worked quickly to extinguish the flames and reduce the smoke, which was thick and black and, had it spread, could have drifted over roads in the neighbourhood.
"Plastics burn very hot, as intense as a car fire in this instance, so despite the fact that this fire was soon under control we had to remain on the scene for some time to make sure the site was safe and the scene damped down.
It is the second major fire in Manchester after a large blaze broke out at a primary school in the town of Leigh.
Firefighters were called to the scene just before 11am on Sunday as huge flames were seen across the city.
GMFRS said the fire was in the main building at Westleigh Methodist Primary School and was soon contained.
There was significant damage to the roof and people, while people were told to avoid the area and keep their windows and doors shut.


The Romans learned of silk in the second century before the Common Era. Silk was a beautiful fabric that was soft and seemed to glow. Clothing made of silk was a source of pride and a sign of great wealth. Even the smallest pieces of silk would be proudly displayed by wealthy Romans.
The silk that Romans proudly showed off came from China, and the Chinese were careful to keep the secret of how they made the beautiful fiber. We know today that silk is made from a sticky substance produced by silkworms.
Silkworms are not actually worms, but the tiny caterpillars of silk moths. When silkworms hatch, they are fed mulberry leaves until they are big enough to spin cocoons. The cocoons are boiled and the shimmering fibers are then extracted and woven into silk.
Silk traveled west to Rome and other parts of Europe on what historians would later call the Silk Road. The Silk Road was not an actual road, but a 4,000-mile long network of trade routes that connected China to Europe, the Middle east and North Africa. Very few people traveled the entire length of the Silk Road. Trade resembled a chain, with each trader and segment of the trade route representing a link in the chain.
In addition to silk, Chinese merchants sold tea, spices and jade. Jade is a hard, shiny stone used to create beautiful carvings. In exchange, the Chinese received gold, silver, precious stones, glass, ivory, horses, elephants and wool.
Many Europeans first became aware of China when the armies of Alexander the Great expanded his empire along the Silk Road into Central Asia. In 329 BCE, Alexander founded the city of Alexandria Eschate ("Alexandria the Furthest") about 400 miles west of the Chinese frontier. In the centuries that followed, trade grew between the Roman Empire in the west and the equally extraordinary Han Dynasty in China.
Travel was very dangerous along the Silk Road. Merchants who traveled the routes were often robbed and killed. In the thirteenth century, Mongol Armies used the Silk Road to expand their empire. The first Mongols on the Silk Road were nomadic warriors who attacked and looted the markets along the trade routes. In time, the Mongols developed their own efficient trade along the Silk Road.
Along with goods, ideas also traveled the Silk Road. Buddhism was introduced to China during the Han Dynasty by merchants from India. Over time, Buddhism lost much of its influence in India, but became very popular in China.
Devastating illness also traveled this trade route. The Black Death took the lives of nearly half of the people of Europe between 1348 and 1350. Scientists believe the plague began as a bacterial disease in Central Asian rats. People on land were usually safe because the rats did not like the smell of their horses, but at the western edge of the Silk Road, goods were loaded into ships on the Black Sea. The ships transported goods to cities throughout Europe. In addition to sailors, the ships were home to rats and fleas. Fleas living on the blood of the rats bit the sailors on board. When the sailors returned to their homes in Europe, they carried the deadly, contagious disease.
The Silk Road lost its importance when the Mongol Empire disintegrated because Mongols no longer policed the trade routes. The Silk Road became even more dangerous when bandits learned to make Chinese gunpowder. The end of the Silk Road came by the fifteenth century, as Portuguese sailors learned to circumnavigate Africa. The new sea routes created by the Portuguese were faster and safer than the Silk Road.


Ros Schwartz has been a literary translator for 36 years and has been an active participant in the evolution of the profession. She has translated over 70 books from French to English by writers as diverse as Moroccan author Tahar Ben Jelloun and French crime writer Dominique Manotti, as well as Antoine de Saint-Exupéry's The Little Prince. She has presided as vice-chair of the Translators Association, as chair of the European Council of Literary Translators Association and as chair of English PEN's Writers in Translation program. Most recently Schwartz translated Translation as Transhumance, which was reviewed by Cleaver.
In this interview, Ros Schwartz discusses the process of translating a book about translation, including her work with Gansel, her theory of translation, and translation as activism.
Rachel R. Taube: In another interview, you said Translation as Transhumance is a unique project for you because you championed the book and found a publisher for it. What about the original made you decide that you needed to translate this book?
Ros Schwartz: My response to reading the French original was visceral, like falling in love. I was awed, first of all by Gansel's exquisite style, which combines simplicity, lyricism and elegance, and then by the integrity and coherence in the way she has lived her life, making her translation work the concrete expression of her profound humanity. She has devoted herself to translating the voices of the persecuted, the poets who have been silenced, even to the extent of learning Vietnamese during the Vietnam War so as to translate the work of the poets. She gives herself body and soul, literally, to all that she does, and my admiration for her is boundless.
I also experienced a sense of recognition: my background has some similarities with hers. I too am Jewish—second generation born in Britain—and my grandparents spoke only Yiddish, so although different from Gansel's experience, I share that multilingual background common to families descended from exiles. Gansel interweaves her memoir with reflections on the art of translation, constantly interrogating and refining her practice. Her ethos chimes with mine and her approach to translation helped me better articulate my own. Translation is the deepest form of reading. By translating the book and being inhabited by it for many months, I was able to engage with Gansel's ideas in a way that you just don't as a casual reader.
RRT: Mireille Gansel, as much as possible, attempts to immerse herself in the world of the poet she is translating. I was especially struck by the image of her visiting Reiner Kunze in East Germany to listen to him read his work aloud in his "tiny blue kitchen." How do you prepare yourself to translate a new author? If the author you're translating is living, do you interact with them? To what extent did you get to know Gansel and her life?
RS: I work in the same way as Gansel when translating a living author. Capturing the author's voice is the key that is the essence of translation. It's not about translating individual words, or phrases or even paragraphs, but conveying the voice beneath them, the spirit of the work. At an early stage of the translation, I invited Gansel to join me at a translation workshop in Cambridge where we worked on an excerpt from the book. There, I heard her read, and spent time getting to know her a little. Six months later, I then visited her home, in Lyon, where we discussed some of the thornier passages and I gained a sense of her world. I also met her friend, Jean-Claude Duclos, director of the Musée Dauphinois, alongside whom she campaigns to protect the culture of the Camargue shepherds, which is fundamental to her book and to her concept of translation as transhumance. All this helped me grasp her voice, her spirit.
I was very nervous about translating Gansel and had planned to send her my translation and spend a couple of weeks going over it with her, to ensure she was happy with it. But after attending my workshop and seeing my approach, she generously told me that she trusted me absolutely and that the book was now 'mine' so to speak. She relinquished all control, which is the hardest thing for an author to do and the greatest gift for a translator. Of course, I was able to ask her for clarification and discuss any issues that arose, but she was adamant that she did not need to go over the translation with a fine-tooth comb. When my translation was published, she said: 'I can feel that you've translated this with your Jewish soul.' Which is a wonderful way of describing empathy. And empathy is the pre-condition for any translation. There needs to be a particular chemistry for a translation to gel and capture the author's voice.
RRT: I'm curious about the particular challenges of translating a book about translation. This book is full of poems that Gansel translated from German or Vietnamese into French, which now appear in English. She spends pages describing the process of translating a single word. How did you translate these poems and the conversation around them?
RS: For the poems that exist in an English translation, I cited these (with appropriate credits). This was the case for most of the Nelly Sachs poems. For the Vietnamese and other poems that don't exist in English, I translated from Gansel's French and worked with her to ensure that my translations accurately reflected the originals. It is made clear in the notes which poems are my translations from Gansel's French, and which are existing translations.
RRT: Gansel's focus, in her translation work, is on the meaning or effect of the language, rather than its literal fidelity. She says she risks "going beyond the literal meanings of the words, in order to access their deeper meanings," and refers to an interior or soul language, which she hears in "the silences between the lines." How closely does this idea align with your own theory of translation, and how did you apply that theory to translating this book in particular? Did you ever find yourself swayed by Gansel's theory as you worked with her words?
RS: Gansel eloquently articulates everything that I believe, which is one of the reasons the book resonated so powerfully for me. Translation is a holistic process, it's not about the words on the page. It's a complex balance between meaning and music. There are translations that are accurate yet clunky. That happens when a translator focuses solely on meaning but forgets that language is also music and rhythm. So sometimes you need to move away from the literal meaning to privilege music. With every translation, I weigh up where that balance lies. Gansel's French is exquisite, precise, elegant and poetic. After drafting the translation with the focus on sense, I then reworked it many times concentrating on style and musicality. If I had to sum up the aim of a translation, it is to create the same response in the reader of the translation as that elicited by the source text in its readers. But to do that, you need to work within your own language and draw fully on the rich range of linguistic resources it offers, and those will be different from those of the original language. You may need to play with punctuation, or on the opposition between Latinate and Anglo-Saxon root words, the use (or not) of contractions. All these elements contribute to the texture of the writing. In a way, translation's like ventriloquism: you try to find the voice you feel the writer would have had if they'd written in English. But that doesn't mean making them sound English – you need to preserve their individuality and otherness. An almost impossible paradox.
RRT: One theme of this book is the colonization of language, and in particular the way in which German is colonized. Are there ways in which French is a colonized language? English?
RS: I would turn that question around and say rather that French and English are the colonizers. Gansel writes about how the German language was tainted by Nazism, and how writers have had to salvage it. Whereas English and French are dominant languages. The challenge for translators is to not allow our translations to be colonized by copy editors. For example, I translate a lot of Francophone North African writers who often keep Arabic words in the French. Because of France's colonial history, the French reader will be more familiar with these terms than the English reader. I always fight to keep those words and cultural references in my translation and provide a glossary at the back of the book, since footnotes are not used in fiction. Salman Rushdie put it succinctly when he wrote: "To unlock a culture you need to understand its untranslatable words." He keeps many Urdu words in his writing, at the same time making them perfectly understandable to the English-speaking reader within the context. That has been my guiding principle in my approach to translation.
Many African authors write in French or English rather than in any of the African languages because it's the only way they can get published. The Kenyan author Ngugi wa Thiongo, having previously written in English, chose to write Matigari ma Njiruungi in his native Gikuyu (1986) as well as his later Mũrogi wa Kagogo (2004) precisely to emphasize this point. The same is true of Indian authors. Little work is translated from the many languages of the subcontinent.
RT: You've described Gansel's work as "translation as activism." Gansel translated East German writers during the Cold War, and during the Vietnam War, she worked on a book of poetry to protest threats of American intervention. What is the role of the translator as activist? Do you see yourself as an activist, or particular projects you've done as activism?
The very first book I translated, I Didn't Say Goodbye by Claudine Vegh, was an activist project for me. Comprising interviews with Holocaust survivors whose parents managed to save their children but not themselves, I knew the minute I read it that I had to translate it and see it published in English. Translation as Transhumance too is an activist mission for me. I took on this book as a personal passion project and actively worked to place it with a publisher in the UK and the USA, and have been tirelessly promoting it since.
More generally, I've been involved in English PEN's Writers in Translation program (of which I am currently co-chair) since its beginnings. This programme is designed to support outstanding works in translation and help them reach readers and build new audiences. It is vital for translators to actively seek out works in the languages they translate from and champion them. It is also important for translators to work with organizations supporting exiled writers, take part in book festivals and public events and be part of the conversation.
It was translators who instigated the Women in Translation month, which a number of us from around the world took part in, to draw attention to the disproportionately few works by women writers that are translated. Similarly, it was translators who were the movers and shakers behind the first Warwick Prize for Women in Translation, launched earlier this year.
I also consider myself an activist in translator training (I co-founded a literary translation summer school in London and give regular workshops), and in campaigning for improved working conditions and rates for translators. These things are all interconnected: better training means better quality translations, and better translations means that more publishers will be prepared to take on international titles. Good conditions for translators foster better quality translations because translators are then able to devote the necessary time to each project.
Rachel R. Taube is pursuing her MFA in Fiction at UNC Wilmington. She has been an Electric Literature-Catapult Scholarship recipient and a Tent Creative Writing Fellow, and she holds a masters in Creative Writing and Gender Studies from the University of Pennsylvania. You can find her fiction in Storychord and Apiary Magazine. Follow her on Twitter at @racheltaube.


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NewsLocal NewsCleveland Metro
Parents of 22-month-old who died in foster care demanding answers about her death
CLEVELAND — The parents of a 22-month-girl, who died while in foster care, gathered with their attorney Stanley Jackson, of the Cochran Firm, in front of the Cuyahoga County Division of Children and Family Services to demand answers and announce an investigation will be conducted into her death.
According to the law firm, on May 15, Mandisa Sizemore was placed in temporary custody of a foster mother and was under the care of Cuyahoga County Division of Children and Family Services when she was allegedly left unattended and choked to death on playing cards on June 16, 2020.
Photo courtesy of Sizemore family.
Mandisa Sizemore pictured above died while in foster care.
"We want Mandisa and have their family to find out exactly what happened. We don't believe this is an isolated incident. This family has reported prior incidents and were totally ignored," said Jackson, who said his firm plans to do a thorough investigation into her death.
Her parents, Dayou Bruce and William Sizemore Jr. were allegedly not notified of their daughter's death by either the foster mother or the case worker. Their attorney said it was only when the couple went to DCFS in person on June 17 to inquire about their child's well-being that they were told about Mandisa's death.
The medical examiner ruled her death accidental.


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Serious Men
Published 30 November, 2009
Tom Bonnick
In a lot of ways, the experience of meeting Joel and Ethan Coen is much like watching one of their films. This hadn't occurred to me until I saw their latest work, A Serious Man — largely because I also hadn't met the Coen brothers until then either — which is being widely described as autobiographical in nature. On the surface, this assessment seems entirely appropriate: the film takes place against a backdrop of Jewish suburban life in the American Midwest in the 1970s, wholly mirroring the basic elements of the Coens' childhood upbringing. What I couldn't understand after seeing the picture for the first time, though, was how anyone could capture the era of their teenage years quite so dispassionately.
A Serious Man is excellent — of that there is no doubt — and perhaps even brilliant, but it is also cold and unyielding; a film to be admired, rather than loved, and underneath a surface of sentimental nostalgia and Jefferson Airplane records are deep reserves of misanthropy.
Speaking to them a few hours afterwards delivered me of much of my confusion. Joel and Ethan keep journalists at arms length even more firmly than their film does with its audience. Even the most innocuous questions are met with a frown and the pained silence of men who are not accustomed to having to explain themselves.
It's practically laughable to think that anyone could argue that this film is not a more thoughtful or personal one than Burn After Reading, their last work, but neither Coen seems willing to concede even this much. To begin with, Joel — who is married to Frances McDormand, a frequent star of the brothers' films — does most of the grimacing, while Ethan, the younger sibling by three years, watches impassively. Do they consider this a particularly personal or autobiographical film?
"Well… it's a little bit of both. It's not really autobiographical, because the story is made up. But it certainly is a movie that takes place in a community that consciously recreates the one we grew up in. There are a lot of similarities to our own background — we went to Hebrew school, we were Bar Mitzvah-ed, our father was an academic — he was a professor at a university… we grew up in a house like that, in a neighbourhood like that. All those things I guess you could say were autobiographical." That certainly sounds pretty autobiographical to me, but Joel's last sentence comes out rather reluctantly; like he has given away a bit too much and wants to backtrack.
The academic in question is portrayed superlatively by Michael Stuhlbarg, an almost unknown actor whose background lies mostly in theatre. His character, Larry Gopnik, is in the midst of a deep, almost existential crisis brought, on by the world at large seemingly conspiring against him: his wife announces that she wishes to leave him for an insufferable, dulcet-toned fool who, to add insult to injury, is constantly described as being a serious man himself; his brother — a slightly deranged, unemployed layabout — won't get off his couch; his chance at tenure is being threatened by a blackmailing student; and the rabbi to whom he is constantly being referred won't answer Michael's calls.
Writing in The New Yorker, David Denby — in one of the rare negative reviews — described the prevailing atmosphere of A Serious Man as "distant, dry and shriveling … so drably unappealing that you begin to wonder what kind of disgust the brothers are working off". Certainly, the filmmakers seem to delight in the torment being inflicted upon Larry, a sort of modern-day Job being tested not just by God, but by everyone and everything around him. It's hard to completely dismiss the charges of nihilism being leveled, although both Joel and Ethan are emphatic that this misses the point:
"I don't know why you'd call it misanthropic. It's about a character looking for some kind of meaning, and getting repeatedly stymied in that quest, but, y'know… that's the story — the character doesn't achieve any clarity or get a grasp on any kind of meaning that's satisfying for him, but that's just the story we were telling rather than any kind of larger expression."
At other times, though, they can be masters of the non-answer. It's easy to get the feeling that neither Coen likes being tied down to any observation about their working process, and the number of times Ethan manages to contradict himself without pausing for breath is truly impressive. Do they see an arc forming out of their genre-spanning career; a maturation of sorts?
"We don't really compare movies one to the other or think about it much. And maturing? God, who knows? They're all equally juvenile to me. I don't know, maybe not. Some of them are more genre-pieces than others, but this isn't the only one that doesn't necessarily sit in a genre. For us, that's a pretty unexamined question — we don't actually think about where we're going, or relate the movies to each other or see how they're progressing. Or regressing."
It's hard to believe such self-effacing modesty given their many accolades, but the causal dismissal of any kind of forethought is delivered with a straight face. Maybe the Coens really do give such little consideration to what motivates them in their choices. By the end of our time together, I've decided that both brothers simply have a pathological aversion to giving straightforward answers. The next morning, I hear them speaking to Evan Davis on Radio 4's Today programme. Unsurprisingly, they're asked a lot of the same questions. What is interesting, though, is that although they respond differently — monosyllables evidently get boring — they still don't give any real answers.
When I asked whether either believes there to have been a pinnacle to their working relationship over the twenty years they have made films together — any one project they are particularly proud of — Ethan is quick to shrug off the notion:
"In our working relationship? We hit the pinnacle a long time ago! No, honestly it doesn't feel like it's changed at all."
Davis asks a similar question, albeit less apologetically phrased — "I've got to ask this: which is your favourite Coen brothers movie?" — and even though this time they dance around the subject a little ("It brings to mind that famous quote of Marlon Brando's…"), quite possibly at the insistence of a PR minder who has told them they have to be nice to the radio man, they are resistant; masters of evasion.
In many ways, it is refreshing to meet people who still have such faith in film as a medium — who believe that a story can and should speak for itself; that those who work behind and in front of the cameras have no obligation to provide any insights beyond those which they commit to film — and one gets the sense that Joel and Ethan genuinely believe this in earnest, as opposed to, say, deciding to be contrarians for sport.
Still, it feels like that, for as long as they remain quite so averse to the thought of being under any form of scrutiny, their films seem likely to remain — no matter how technically proficient — little more than objects to appreciate from afar.
Russian Cinema: From Eisenstein to Sokurov
Mateusz Zatonski takes us through the history of Russian Cinema, from Eisentein's hugely influential Battleship Potemkin, through Tarkovsky, up to Bekmambetov, Sokurov and the Russian New…
I Love You Phillip Morris (Dir: Glenn Ficarra & John Requa)
The Roots of Evil
Leon Weber At this year's Cannes film festival, the controversy surrounding Lars von Trier's Antichrist came at the expense of Austrian director Michael Haneke, who won the Palme d'Or over von Trier for his latest film, The White Ribbon.…
Sorority Row (Dir: Stewart Hendler)
Do not adjust your sets
Ian Robertson and Leon Weber report on the past, present and future of 3D technology in cinema…
Black and white vision
Claire Strickett So you're off to the cinema to see a film. Why? I don't ask why you are going to the cinema as such (Boredom? Procrastination? A new love interest?) but rather, why are you going to see…
Burn After Reading (Dir: Ethan & Joel Coen)
Lewis Porteous It seems as though, following the twin misfires of Intolerable Cruelty and The Ladykillers, fresh offerings from the Coen brothers will always be treated with a degree of suspicion. Indeed, some quarters, convinced of the duo's decline,…
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Pink Moon (1972) is Nick Drake's most acclaimed album and the title track is the most recognizable. The brilliant placement of this song in a Volkswagen commercial in 1999 gave Drake instant fame and massive record sales 25 years after his death.
With the exception of the soft piano line in the bridge of this eponymous track, the entire album features just Nick Drake's solemn vocals and his skillful handling of acoustic guitar.
While Nick Drake's growing depression and mental illness may have had an influence on his lyrics, his method of singing them semi-coherently is one of this album's most endearing qualities.


I think I'm going to have to retire Deep-Fry Fridays. Not because these zucchini sticks were horrible – they were quite good – but because I'm so over deep-frying, especially in the summer.
Zucchini sticks happen to be a great vegetable to deep-fry. They always remind me of an old co-worker who used to be simultaneously obsessed with them and with being healthy. To satisfy his craving, he'd call in an order a take-out order for zoosticks, rush over to pick them up and insist that I eat half of them all on our short 30 minute lunch break.
He didn't have to insist much, I love crispy batter and soft melty zucchini insides. With this home version, beer added to the batter makes for an extra light-cripsy-crunchy coating. When dipped into a sriracha lime mayonnaise, these sticks make for some good snacking!
Heat up your oil in a deep-sided pot over medium-high heat until it reaches 375˚F. Gently toss your zucchini sticks in the 1 tablespoon of flour (this helps the batter stick). Make the batter by mixing the dry ingredients then add the beer. Mix gently. You don't need to get all the lumps out. Dip your zucchini stick in the batter, deep-fry until golden brown and drain on paper towels. Enjoy hot with the sriracha-lime mayonnaise.
Mix all the ingredients up and enjoy!
Yeah, with hot weather fried food seems a bit heavy. The sriracha sauce is a nice touch though.
Her batter is more like Tempura which is nice and light.. so its not going to be heavy like most fried food… they would go great with a fish taco or something like that I think.
The deep fry zucchini looks really good. and do love the sriracha sauce. But I try to refrain from deep frying anytime of the year!
would it not be more sensible to post comments AFTER you have tried the recipe????
It was very good. I tried them.. and even the day after putting them in the oven was great and crispy.
I am sure glad I found this recipe . We will definitely use this again. The batter is light and fried up (we used olive oil) real crisp.
Wuldn't it be good of you to quit judging people?
Just found this recipe and made the first batch, great! After dipping them in the batter I dipped them in garlic breadcrumbs and it tastes so good.


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Nick Cave & The Bad Seeds playing Lollapalooza? or Pitchfork?
By BrooklynVegan Staff November 18, 2013
Nick Cave & the Bad Seeds just announced a big summer tour that suspiciously doesn't include a Chicago date, but does end in Toronto on 7/31, which makes Lollapalooza (8/1-8/3) seem really likely...
Category: Music Tags: Lollapalooza, Nick Cave, Nick Cave and the Bad Seeds, Pitchfork Festival
Nick Cave and Sharon Van Etten came to Chicago Theatre (pics, setlist)
By BrooklynVegan Staff April 3, 2013
Nick Cave & the Bad Seeds brought their new album and their Coachella-bound tour that previously visited SXSW and NYC for three nights, to Chicago Theatre on April Fools Day...
Category: Music, pictures Tags: Chicago Theatre, galleries, Nick Cave, Sharon Van Etten
Nick Cave & the Bad Seeds tickets are going on sale
By BrooklynVegan Staff December 4, 2012
As discussed, Nick Cave & the Bad Seeds are set to welcome their new album, Push the Sky Away, on February 19 via Bad Seed Ltd. They'll be supporting the LP with a spring North American tour featuring opener Sharon Van Etten...
Category: Music, tour dates Tags: Nick Cave, Nick Cave and the Bad Seeds, Sharon Van Etten, The Chicago Theatre
Nick Cave & the Bad Seeds are prepping a new LP, playing The Chicago Theatre in April
Nick Cave and the Bad Seeds have been dormant since Grinderman began work on their excellent 2010 LP Grinderman 2, but now that they're done (for now...
Category: Music, tour dates Tags: Chicago Theatre, Nick Cave, The Bad Seeds
George Clinton, Nick Cave (not that one) performing @ MCA fundraising event
By BrooklynVegan Staff January 31, 2012
George Clinton @ Beekman Beer Garden in July (NYC) (more by Chris La Putt)The Museum of Contemporary Art will get a little funky on February 4th with a performance by the legendary George Clinton and Parliament Funkadelic...
Category: Music, tour dates Tags: artedge, George Clinton, Museum of Contemporary Art Chicago, Nick Cave, Parliament-Funkadelic
Neko Case & Nick Cave covered The Zombies for HBO's True Blood
In a rather odd turn of events; Neko Case, and Nick Cave have teamed up to cover The Zombies track, "She's Not There" for HBO's True Blood...
Category: Music, streams, tour dates, TV Tags: Gary Calamar, HBO, KCRW, Neko Case, Nick Cave


How much a pregnancy tests costs depends on what type of pregnancy test and where you get it done. The most common type of pregnancy test is a home pregnancy test. This one uses your urine to test for the pregnancy hormone human chorionic gonadotropin (hCG).
You can usually use this type of pregnancy test from a few days before your period is due and you can use it as far into pregnancy as you would need to use it. The body continues to produce hCG the entire pregnancy. This is why it can be done even later in pregnancy with good results.
How Much Will a Home Pregnancy Test Cost?
These tests are all basically the same. Though the prices will vary in range from a dollar to close to twenty dollars for a single test. You can also buy multiple packs of tests for a few dollars to close to thirty dollars.
The more expensive tests don't necessarily buy you any more accuracy. Though they may have various features that you like. Examples of things you might find here would be digital pregnancy tests that read "Pregnant" or "Not Pregnant" as opposed to a typical two line or plus mark for a positive pregnancy test. Some women really like this feature, while others would prefer to see if the line is faint.
These tests are often the same tests that are used in many physicians' and midwives' offices when you have a pregnancy test done there. Many practitioners do not even repeat a pregnancy test if you come into the office with a home pregnancy test that has been positive. Exceptions might be made if you had a test result that was different than what you expected or if you require a blood test. A urine test cost at your practitioner's office will vary in cost. You should ask before it is done, even if you have insurance. So the cost may be as little as your co-pay or as much as one hundred dollars or more to include the visit.
How Much Will a Blood Pregnancy Test Cost?
A blood test will cost more. This test also measures hCG, but in your blood. Your practitioner may order this to confirm a pregnancy or to look at a specific number of hCG found. By repeating this test and watching the hCG numbers, she can tell you something about the health of your pregnancy. In a normal pregnancy, the hCG doubles about every 48 hours. The cost of a blood test may also be covered by insurance, but if you are paying out of pocket, you will need to talk to the lab who does the test about their cost. (For reference, Any Lab Test Now charges $49 for a beta hCG (quantitative).) You will pay them separately from your practitioner. This makes this a more expensive test for most people, which is why it is generally reserved for complicated pregnancies.
There are also places to get free pregnancy tests or low-cost pregnancy tests. These tests are usually the urine pregnancy test. They may be given by medical personnel or people who are volunteers with no medical knowledge. You can usually also find sliding scale pregnancy tests through your local health department.
Truthfully, the best bet for most women is going to be the dollar store tests. These are inexpensive enough that you can buy a couple to keep on hand. (They also sell ovulation prediction kits.) This can be easily done in the privacy of your own home without a lot of added expense. If you get a positive pregnancy test, be sure to call your doctor or midwife right away to schedule prenatal care.
Another way to save money on a pregnancy test is to ensure that you are choosing the right time to take a pregnancy test. This not only ensures that you have an accurate test but that you do not have to spend money to repeat the pregnancy test because you tested too early and got an inaccurate result or a negative test because it was too early.
If you choose to purchase pregnancy tests in bulk either at discount stores or online, one thing you will want to keep in mind will be expiration dates. If you have a large number of tests, you will want to ensure that you are checking the expiration of the entire batch or each box. You should do this, ideally, when you're making your purchase when possible.
Nerenz RD, Butch AW, Woldemariam GA, Yarbrough ML, Grenache DG, Gronowski AM. Clin Biochem. 2015 Nov 2. pii: S0009-9120(15)00507-X. doi: 10.1016/j.clinbiochem.2015.10.020. [Epub ahead of print] Estimating the hCGβcf in urine during pregnancy.
Pregnancy Tests. Any Lab Test Now.


A respected Pittsburgh guitarist and bandleader makes a rare Beaver County appearance this month.
Bill Toms and his band, Hard Rain, will perform Jan. 18 as part of the "Blues in the Box" concert series at the Lincoln Park Performing Arts Center in Midland.
Toms said the 7 p.m. show will lean heavily on his band's last couple of rhythm-and-blues, horn-infused records, which were produced by critically acclaimed Alabama singer-songwriter Will Kimbrough.
"Maybe we'll dig into some old stuff as well, but probably stick with more bluesy material," Toms said.
A lead guitarist for Joe Grushecky's Houserockers in the late-1980s through the '90s, Toms said Lincoln Park faculty member and two-time Grammy Award winner Eric DeFade had invited him to play in the center's BlackBox Theater. Toms also had heard good things about Lincoln Park from his trumpet player, George Arner, who has kids who go there.
"I was very exited to do this. We don't get to Beaver County often," Toms said.
Toms will release a live album March 29 recorded at Club Cafe on Pittsburgh's South Side. Last November, he and his wife, Joyce, hosted their 13th annual Thanksgiving weekend benefit show featuring an all-star local cast at the Hard Rock Pittsburgh raising money for Band Together Pittsburgh, which strives to inspire and enrich the lives of youth on the autism spectrum.
With his band, and formerly with Grushecky's, Toms believes he's played every conceivable type of venue, even opening shows for musical greats like Levon Helm and Buddy Guy.
"Big, small and everything in between. I love to perform, period," Toms said.
But a show in an intimate, cabaret-style setting like Lincoln Park's BlackBox Theater offers something special.
"It is nice to have the audience up close and familiar," Toms said. "Gives me the opportunity to connect, and the audience that window to participate."
Anything else he'd like Midland concertgoers to know ahead of time?
"I would like them to know we are coming with heart and soul. And tail feathers flying."
Tickets cost $25 for adults; $15 for those 18 and younger. I'm giving you advance notice, because these shows often sell out.
Ellwood City rocker Jay Wiley will help aspiring concert photographers get on-the-job training Thursday.
Wiley, lead singer for the Hawkeyes, will perform at Club Cafe in Pittsburgh as part of a meet-up hosted by Captured::Pittsburgh, a nonprofit that educates and promotes local photographers, videographers and graphic designers.
Tickets are available at eventbrite.com for $35, which includes food. Kynzie Webb, a 20-year-old singer-guitarist, will open the show at 7 p.m.
For Wiley, it's the kickoff of a mini solo tour that finds him hitting up usual Hawkeyes spots like Appleton, Wis., and South Bend, Ind., plus new places like Purdue University.
As Wiley does his earnest singing and strumming Thursday, photographers can experiment and hone their skills without having to worry about rowdy fans or pesky groupies getting in the way.
"We will be starting and ending the evening with open discussions about capturing the better picture and concert photography etiquette," Captured:: Pittsburgh's invitation said.
"We will also cover shooting in low light, tips and tricks to capture the moment, and special considerations for venue composition and venue lighting along with so much more," the invitation tells its more serious-minded concert photography aspirants.
Wiley agreed to take part because he believes in what Captured:: Pittsburgh does.
"Photography is still a vital part of the arts and our society as a whole," Wiley said. "Plus Adam Watt of Captured is a good friend of mine, and I love supporting his work anytime I can. A good number of Hawkeyes photos you've seen over the years have been taken by him."
Being a frontman who's seen his share of concert rowds, Wiley was asked if there are any photography wrongs he hopes get righted by this training session.
"Well, I have to admit I don't always see the folks with the cameras all the time when I'm singing and jumping around on stage," Wiley said. "But I would say for an event like this, learn how to network and sell yourself, but also keep in mind those things are two-way streets — when you're networking and selling, you've got to leave that person across from you with a genuine, not fabricated, impression that will leave them thinking, 'I dig that guy or gal, and I definitely want to pick up the phone when he or she calls.' This skill set, I think, is so essential these days, especially in a field like photography, where you're most likely starting out as lone-wolf entrepreneur. I always tell colleagues — and I would bestow this mantra on any aspiring entrepreneur — take pride in what you do, be empathetic, be open and be relentless."
That's a philosophy that's worked for the Hawkeyes, who have played many of Pittsburgh's top festivals and stages and appeared on Pittsburgh Pirates Friday-night telecasts, as well as touring throughout the Midwest and being booked alongside major hard-rock acts at the Rocklahoma festival in Oklahoma.
"We're recording, making what we hope is a masterpiece, or at least a great damn rock 'n' roll record that makes a nice impact on the national stage," Wiley said. "We've got a nice tour for about the entire month of March about to be announced at the end of this month, and we plan on being on the road a lot throughout 2019."
The Hawkeyes aim for a spring album release.
"We will definitely have a another single out in late February or early March. People have been really digging our new single, "Stone's Throw Away," a little edgier than what we've put out before, and that looks to be the direction of this new project."
• The Beaver Bobcat Players will hold auditions for their 2019 season between 9 a.m. and 4 p.m. Jan. 12, and 7 and 10 p.m. Jan. 17. The theater group's upcoming plays will include "Enchanted April," "One Man, Two Guvnors," "A Streetcar Named Desire" and "Red Herring." To schedule an appointment, visit bobcatplayers.com, email bobcatplayers@gmail.com or phone 412-953-0237.
• I'd like to give a shout-out to the fine folks at Kelly's Riverside Saloon in Bridgewater, who held a lighted beaver drop on New Year's Eve to welcome 2019. I've been preaching for years about Beaver County needing one. I think we can make the next one even bigger and better.
Scott Tady is entertainment editor at The Times and easy to reach at stady@timesonline.com.


Chaos is a relaxing way of life.
I am a full time parent, knitter, crocheter, reader, singer, baker, and procrastinator. I work part time at a children's arts centre. I have 5 children, all of whom have been home educated but most of whom have left the nest! Only one lives at home and is now officially home educated, the oldest 2 being university graduates out in the real world, while the 3rd is a self employed musician who prefers his world to the real one. :-) Another is currently doing an apprenticeship which she sorted out herself when the college let her down. The youngest is an energetic kid reminding me daily that I am too old and fat for this. :-) I try to live my life thoughtfully and with integrity, and sometimes, I even manage it.


This Governor has been the best in our lifetimes, taking on Ohio's entrenched special interests repeatedly for the betterment of this State and our children.
Today's Dispatch has it here: The Governor is proposing a host of reforms in state and local government and a 5% personal income tax cut.
There is no doubt that these reforms suit COAST's style just fine, but moreso, without significant reforms in state and local government, Ohio will be left in the competitive dust.
More will be coming on this in the COAST newsletter and blog entries, but COAST wants to lead the cheer for another round of reforms from this breakthrough Governor!


text:
import _ from 'lodash';
import jenkinsRemoteApi from './webtask';
import defaultConfig from '../config/default.config.json';

const data = { data: _.assign({}, defaultConfig.secret, defaultConfig.param) };

jenkinsRemoteApi(data, (err, message) => {
  if (err) throw err;

  // eslint-disable-next-line no-console
  console.log(message);
});

redpajama_set_name: RedPajamaGithub


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HumansAreFree
The World Health Organization has changed the definition of "herd immunity," eliminating the pre-COVID consensus that it could be achieved by allowing a virus to spread through a population, and insisting that herd immunity comes solely from vaccines: https://humansarefree.com/2020/12/who-changes-definition-of-herd-immunity-to-push-vaccines.html
WHO Changes Definition of 'Herd Immunity', Literally Re-writing Hundreds of Years of Scientific Understanding, Just to Push Vaccines
humansarefree.com
More from HumansAreFree
Big Pharma is Suing Whistleblower Who Exposed COVID-19 Vaccine Side Effects
Big Pharma is hitting back against a whistleblower who has valiantly come forward to detail the horrific side effects that he experienced from COVID-19 vaccines. The Serum Institute of India (SII) is suing a 40-year-old Indian businessman who had participated in a clinical trial for a COVID-19 vaccine. He went public with his account of suffering a "neurological and psychological" breakdown after being stuck with the dangerous shots. "He spent 15 days in hospital, including 8 days in intensive care, suffering from acute neuro-encephalopathy (an altered mental state) that left him "totally disoriented," so much so that he could no longer recognize close relatives," his wife said to reporters, per Science Magazine: https://humansarefree.com/2020/12/big-pharma-suing-whistleblower-covid-19-vaccine-side-effects.html
Hospital Workers Turn Down COVID Vaccine: 'There's Too Much Mistrust'
Less than a week after we reported on widespread resistance among healthcare workers in one Chicago hospital, Ayla Ellison of Becker's Hospital Review reports that the virus of vaccine mistrust is spreading. Many employees at Howard University Hospital in Washington, D.C., have reservations about taking the COVID-19 vaccine. As of Dec. 18, only about 600 of the hospital's 1,900 employees had signed up for the shots, according to Kaiser Health News: https://humansarefree.com/2020/12/hospital-workers-turn-down-covid-vaccine-theres-too-much-mistrust.html
Scientist Has to Hide Identity to Appear on Air and Tell the Truth About COVID-19
A clear sign that our society is becoming a communist nightmare is when scientists have to hide their identity in order to come on air and tell the truth. You know that the government is lying and attempting a coverup when tens of thousands of doctors and scientists from all over the world are censored and deplatformed by social media, banned from appearing on TV, ignored by mainstream "journalism", and fired from their workplace for telling the truth. The most recent example is of a scientist who has been doing his own offline testing, and discovered that COVID strains appear quite similar to those of the common flu. So, is it the flu or COVID-19? In order to ask this simple, but extremely important question, he had to hide his identity in order to protect his job and stay safe from the backlash: https://humansarefree.com/2020/12/scientist-tells-the-truth-about-covid-19.html


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