text:
'use strict';

/**
 * This file/module contains helpful frontend config.
 */

module.exports = {

  /**
   * Clean out the build dirs
   */
  clean: {
    build: [
      '<%= buildDir %>',
      '<%= compileDir %>'
    ]
  },

  /**
   * Basic bower task that uses
   * Bower's API's directly.
   */
  bower : {
    install: {
      options: {
        directory: 'src/lib/vendor'
      },
    },
    ci: {
      options: {
        directory: 'src/lib/vendor',
        interactive: false
      }
    }
  },

  /**
   * The `copy` task just copies files from A to B. We use it here to copy
   * our project assets (images, fonts, etc.) and javascripts into
   * `build_dir`, and then to copy the assets to `compile_dir`.
   */
  copy: {
    buildAppAssets: {
      files: [
        {
          src: ['**'],
          dest: '<%= buildDir %>/images/',
          cwd: 'src/images',
          expand: true
        },
        {src: ['package.json'], dest: '<%= buildDir %>/package.json'}
    ]
    },
    buildVendorAssets: {
      files: [
        {
          src: ['**'],
          dest: '<%= buildDir %>/fonts/',
          cwd: 'src/lib/vendor/font-awesome/fonts',
          expand: true
        }
    ]
    },
    buildAppJs: {
      files: [
        {
          src: ['<%= appFiles.js %>'],
          dest: '<%= buildDir %>/',
          cwd: '.',
          expand: true
        }
     ]
    },
    buildVendorJs: {
      files: [
        {
          src: ['<%= vendorFiles.js %>'],
          dest: '<%= buildDir %>/',
          cwd: '.',
          expand: true
        }
     ]
    },
    buildVendorCss: {
      files: [
        {
          src: ['<%= vendorFiles.css %>'],
          dest: '<%= buildDir %>/',
          cwd: '.',
          expand: true
        }
     ]
    },
    compileAssets: {
      files: [
        {
          src: ['**'],
          dest: '<%= compileDir %>',
          cwd: '<%= buildDir %>/assets',
          expand: true
        },
        {
          src: ['<%= vendorFiles.css %>'],
          dest: '<%= compileDir %>/',
          cwd: '.',
          expand: true
        }
     ]
    }
  },

  /**
   * `grunt concat` concatenates multiple source files into a single file.
   */
  concat: {
    /**
     * The `build_css` target concatenates compiled CSS and vendor CSS
     * together.
     */
    buildCss: {
      src: [
        '<%= vendorFiles.css %>',
        '<%= buildDir %>/assets/<%= pkg.name %>-<%= pkg.version %>.css'
     ],
      dest: '<%= buildDir %>/assets/<%= pkg.name %>-<%= pkg.version %>.css'
    },
    /**
     * The `compile_js` target is the concatenation of our application source
     * code and all specified vendor source code into a single file.
     */
    compileJs: {
      options: {
        banner: '<%= meta.banner %>'
      },
      src: [
        '<%= vendorFiles.js %>',
        //'module.prefix',
        '<%= buildDir %>/src/modules/**/*.js',
        '<%= html2js.app.dest %>',
        'module.suffix'
     ],
      dest: '<%= compileDir %>/<%= pkg.name %>-<%= pkg.version %>.js'
    }
  },

  /**
   * `ngAnnotate` annotates the sources before minifying. That is, it allows us
   * to code without the array syntax.
   */
  ngAnnotate: {
    compile: {
      files: [
        {
          src: ['<%= appFiles.js %>'],
          cwd: '<%= buildDir %>',
          dest: '<%= buildDir %>',
          expand: true
        }
     ]
    }
  },

  /**
   * `grunt-contrib-sass` handles our LESS compilation and uglification automatically.
   * Only our `main.scss` file is included in compilation; all other files
   * must be imported from this file.
   */
  sass: {
    build: {
      files: {
        '<%= buildDir %>/assets/<%= pkg.name %>-<%= pkg.version %>.css':
          '<%= appFiles.sass %>'
      }
    },
    compile: {
      files: {
        '<%= buildDir %>/assets/<%= pkg.name %>-<%= pkg.version %>.css':
          '<%= appFiles.sass %>'
      },
      options: {
        cleancss: true,
        compress: true
      }
    }
  },

  /**
   * HTML2JS is a Grunt plugin that takes all of your template files and
   * places them into JavaScript files as strings that are added to
   * AngularJS's template cache. This means that the templates too become
   * part of the initial payload as one JavaScript file. Neat!
   */
  html2js: {
    /**
     * These are the templates from `src/modules`.
     */
    app: {
      options: {
        base: 'src'
      },
      src: ['<%= appFiles.atpl %>'],
      dest: '<%= buildDir %>/templates-app.js'
    },

    /**
     * These are the templates from `src/common`.
     * @todo: do we need this? Doesn't seem so, disabled in compile.
     */
    common: {
      options: {
        base: 'src/common'
      },
      src: ['<%= appFiles.ctpl %>'],
      dest: '<%= buildDir %>/templates-common.js'
    }
  },

  /**
   * The `index` task compiles the `index.html` file as a Grunt template. CSS
   * and JS files co-exist here but they get split apart later.
   */
  index: {

    /**
     * During development, we don't want to have wait for compilation,
     * concatenation, minification, etc. So to avoid these steps, we simply
     * add all script files directly to the `<head>` of `index.html`. The
     * `src` property contains the list of included files.
     */
    build: {
      dir: '<%= buildDir %>',
      src: [
        '<%= vendorFiles.js %>',
        '<%= buildDir %>/src/modules/**/*.js',
        '<%= html2js.app.dest %>',
        '<%= vendorFiles.css %>',
        '<%= buildDir %>/assets/<%= pkg.name %>-<%= pkg.version %>.css'
     ]
    },

    /**
     * When it is time to have a completely compiled application, we can
     * alter the above to include only a single JavaScript and a single CSS
     * file. Now we're back!
     */
    compile: {
      dir: '<%= compileDir %>',
      src: [
        '<%= concat.compileJs.dest %>',
        '<%= vendorFiles.css %>',
        '<%= buildDir %>/assets/<%= pkg.name %>-<%= pkg.version %>.css'
     ]
    }
  },
  delta: {
    /**
     * By default, we want the Live Reload to work for all tasks; this is
     * overridden in some tasks (like this file) where browser resources are
     * unaffected. It runs by default on port 35729, which your browser
     * plugin should auto-detect.
     */
    options: {
      livereload: true
    },

    /**
     * When the Gruntfile changes, we just want to lint it. In fact, when
     * your Gruntfile changes, it will automatically be reloaded!
     */
    gruntfile: {
      files: 'Gruntfile.js',
      tasks: ['jshint:gruntfile'],
      options: {
        livereload: false
      }
    },

    /**
     * When our JavaScript source files change, we want to run lint them and
     * run our unit tests.
     */
    jssrc: {
      files: [
        '<%= appFiles.js %>'
     ],
      tasks: ['jshint:src', 'copy:buildAppJs']
    },

    /**
     * When app js files are changed, copy them. Note that this will
     * *not* copy new files.
     */
    appJS: {
      files: [
        'src/modules/**/*'
     ],
      tasks: ['copy:buildAppJs']
    },

    /**
     * When assets are changed, copy them. Note that this will *not* copy new
     * files, so this is probably not very useful.
     */
    assets: {
      files: [
        'src/assets/**/*'
     ],
      tasks: ['copy:buildAppAssets', 'copy:buildVendorAssets']
    },

    /**
     * When index.html changes, we need to compile it.
     */
    html: {
      files: ['<%= appFiles.html %>'],
      tasks: ['index:build']
    },

    /**
     * When our templates change, we only rewrite the template cache.
     */
    tpls: {
      files: [
        '<%= appFiles.atpl %>'
     ],
      tasks: ['html2js:app']
    },

    /**
     * When the CSS files change, we need to compile and minify them.
     */
    sass: {
      files: ['src/**/*.scss'],
      tasks: ['sass:build']
    },

    /**
     * When a JavaScript unit test file changes, we only want to lint it and
     * run the unit tests. We don't want to do any live reloading.
     */
    jsunit: {
      files: [
        '<%= appFiles.jsunit %>'
     ],
      tasks: ['jshint:test'],
      options: {
        livereload: false
      }
    },
  }
};

redpajama_set_name: RedPajamaGithub


text:
The Modernist Designer: COCO CHANEL
FASHION THAT EPITOMIZES THE NEW INDEPENDENT WOMAN
My dear Coco: The last time I visited your Maison de Haute Couture at 31, rue Cambon in Paris, I was a neophyte reporter from the trade journal, the fashion bible, Women's Wear Daily. There I was sitting on the grand staircase viewing the latest fashion collection wildly taking notes and sketches. That did not last long before one of the Directrices of the house promptly asked me to identify myself and promptly scolded, "No sketching of Madame's collection." Alas I was allowed to remain, though my pad and pen had been taken away. Your creations were destined for that "new breed" of amazing Art Deco divas, those self-confidant women who demonstrated their new role in society driving through the era blazing new trails of independence.
COCO CHANEL...Haute Couture Designer Extraordinaire (1883-1971)
Cloaked in mystery and romance Gabrielle Bonheur "Coco" Chanel is one of the most fascinating women in history. Her extraordinary influence on the way women dressed in the l920's and l930's evokes an image of elegant simplicity and a modernist approach to easy-to-wear fashions that were at that time innovative and provocative. Yes, she is best known for the iconic Chanel jacket, which has had many different revivals, but the authentic classic style was a work of art, the perfection of a genius Haute Couture dressmaker.
THE CLASSIC CHANEL JACKET
I have seen the original Chanel jacket on many occasions when as professor in the Merchandising and Management department at The Fashion Institute of Technology I took my students to visit the archives of the costume collection so that they could see first hand this treasure from the Haute Couture. Attention to detail made the classic Chanel jacket quite a different breed of garment from the traditional tailored jacket. For one thing, it was hand-made and the printed or plain colored lining matched the collar and cuffs and coordinating blouse. The delicate gilt chains sewn to the hem of jacket added a degree of weight so the the jacket stayed in place, did not ride up. The sleeves were another innovation. They were sewn in three pieces to provide a comfortable arm movement. Note the photo above of Coco Chanel wearing the iconic Chanel suit. The way she gestures (circa 1951) to photographer, Alexander Liberman with her right arm illustrates one of her fixations, a comfortable arm movement. It is said that she would rip off the sleeve of her suit time and again to get a perfect fit. Chanel an entrepreneur of amazing energy and determination promoted herself as the role model for other independent women to follow.
A STYLE PERFECTIONIST
Yes, my dears, she was a perfectionist and the end result of her labors and that of her couture house seamstresses was a highly comfortable garment, a suit if you will, that would last for years of wear.
Her choice of wool and tweed fabrics for the Chanel suit was often attributed to the fact that her romance with a certain royal who had connections to the wool mills in Scotland. There was a men's wear influence on her fashions. The basic idea came from the concept of military uniforms. Take for example, the development of casual wear. As the mistress of the Duke of Westminster, she had taken many trips on his yacht. The idle hours did not stop Chanel's imagination. Noting the crew's uniforms she developed sporty jersey yachting fashions and sportswear, which she introduced in her boutique in Deauville, the famous tony resort in the South of France.
Chanel was known to reinvent her heritage and several versions of her early years have emerged and debated. However, if truth be told, she came from rather humble circumstances and when her mother died and her father left the family because he need to raise money to raise his children, Chanel was was sent to the Roman Catholic monastery of Aubazine where she spent seven years under the tutelage of the nuns learning a trade, that of a seamstress. Though the nun's technique was rudimentary Coco's ability was sharpened when she visited female relatives in Paris who improved upon her ability to sew with flair. The time to escape the confines of the orphanage came when Coco turned eighteen. She left the orphanage and took up work with a local tailor.
DISCOVERED BY A RICH PLAYBOY
At that time the serendipitous hand of fate played a dramatic role in changing Coco's lifestyle. While working at the tailor shop she met Etienne Balsan, French playboy and millionaire who took her under his wing and introduced her with the world of the rich and spoiled aristocracy and their playmates. Picture this: While women of the era, circa 1900s were dressed with flamboyant hats and yards of furbelow's and exaggerated fashions Coco , on the other hand, borrowed Etienne's sport jackets and caps and looked like a 'garcon,' a young stable boy. This penchant for the menswear may well have influenced her designs in years to come. However, at this time, she became the darling of the demi monde of the era who were guests at Etienne estate. She began making hats for these women and one might say that her designing career took off when her hats were also worn by celebrated French actresses. With sharpened wits she soon wised up to Etienne escapades and took off for Paris herself, where she opened her first boutique. Although it failed, Chanel was not discouraged and fortuitously Arthur "Boy" Capel came into her life and they fell in love. Falling in love was a regular occurrence for Coco and each time it plummeted her forward to higher levels of business and social success. For one thing, Capel provided the financial backing to open her second millinery boutique in Brittany. Chanel introduced women's sportswear, an off shot of men's casual wear in easy-to-wear fabrics like the humble jersey knits. Her intention was to provide women with simple, comfort dressing in the modern age that had been ushered in with the Jazz Era.
THE LOVE'S OF HER LIFE
A series of rich and powerful lovers paved the way to fame and fortune. The Duke of Westminster, the richest man in England, counted among her many alliances, rates highest on the list of lovers. Chanel was hardly ever without a lover and was oft to say, "What is a woman without love." In 1939, fearing the wrath of her countrymen Coco closed her Maison de Couture and ensconced herself in the Hotel Ritz. During World War II, she scandalized Parisians by consorting with the enemy and having an affair with Hans Gunther von Dincklage, a German intelligence officer and Nazi spy, who it appears made it possible for her to remain at the Ritz. In 1945 she fled to Switzerland to escape the wrath of the citizens of France who were appalled at her relationship with a Nazi spy. Remember, many a French woman, who had consorted with the enemy and who was not so well connected or revered, suffered a less than pleasant fate. Their heads were shaved and they were driven out of Paris or their villages to fend on their own, particularly if they were carrying a child fathered by a German. Not so for Coco Chanel, she had connections. The British Royal Family's intervention prevented her from being brought to trial and it seems the French population seemingly forgave her.
RETURNING TO PARIS
Eventually the hysteria subsided and in 1954 Chanel returned to Paris and the fashion world reopening her Maison de Couture at 31, rue Cambon. For obvious reasons, her first collection wasn't a huge success with the Parisians but she found new, more affable clients in the Americans and her reputation continued to soar well into the 70s. The iconic Chanel suit had staying power, but Karl Lagerfeld who since l983 has been the designer for the house of Chanel, has forged ahead with new concepts in both the Haute Couture and pret-a-porter collections. To see Chanel's apartment in Paris go to http://www.NPR.org and click on rue Cambon.
Dear Coco: You've led a remarkable life. You've been portrayed in the musical "Coco" as well as in the movie "Coco, and you've been featured in literary depictions of your many splendid affairs evoluting as one of the most influential people of the 20Th Century (Time Magazine). You have been and continue to be an inspiration to aspiring designers and to women you have given them license to enjoy the "joie de vivre" of living to its fullest advantage and to keep love close to their heart. Your admirer Polly Guerin
Posted by Polly Guerin at 7:16 AM 4 comments:
Labels: Chanel perfume, Haute Designer, Iconic CC initials
TAMARA DE LEMPICKA, Painter Extraordinaire
Dear Tamara: Art Deco painter extraordinaire, Russian Revolution refugee, bohemian, socialite, classic beauty, but I remember you best on the cover of the German fashion magazine, Die Dame, Auto-Portrait, Tamara in your Green Bugatti, chicly helmeted, your glove hand at the steering wheel driving forward as a free, independent woman paving the route for women of the century to follow in your footsteps. What an amazing life your carved out for yourself and despite being born into a wealthy and prominent Polish family, your steely personality was your strongest quality that fostered courage and determination to succeed in a life, which through twists and turns could have easily made you a movie star. You possessed a persona and beauty that rivaled Hollywood stars but your reputation as a famous Art Deco painter is legendary. It comes full circle today as your iconic paintings are rediscovered and sort after by new admirers.
A childhood of neglect did not curtail Tamara's amazing independent spirit. The core of her heritage is that of a privileged individual. Born on May 16, 1898, she was named Maria and later in life adapted the name Tamara. Her mother, the former Malvina Decler was a Polish socialite and her father Boris-Gurwik-Gorski was a Polish lawyer. As was the case in the privileged aristocracy her wealthy and prominent Polish family shunted her off to boarding school in Switzerland. However, her first exposure to the Great Masters of Italian painting came when she fortuitously spent the winter of 1911 with her grandmother in Italy. Another plum in Tamara's development was when her parents divorced in 1912 and she went to live with her wealthy Aunt Stefa in St. Petersburg, Russia.
Tamara must have been quite a beauty even then because at the age of fifteen she set her sights on marrying the man of her dreams and with her campaign to win him over, albeit abetted by her well-connected uncle, she married Tadeusz Lempicki in St. Petersburg. Rumor had it, however, that this bon vivant man, ladies man and lawyer by title only, probably was more seduced by Tamara's significant dowry.
Their privileged lifestyle came to a startling end during the Russian Revolution in 1917 when Tadeusz was arrested by the Bolsheviks. Escaping to Paris, as so many other aristocratic refugees did, the Lempickas lived for a while from the sale of her family jewels. Tadeusz, who was so used to his privileged ways, was of no help and he was either unable, but most like unwilling to find work. The burden was placed on Maria to become the breadwinner. The Lempickas' dire circumstances may have been the very catalyst that pushed Tamara into painting. Paris, the city of light and haven for artistic venues was the ideal place for Tamara's artistic development. It was also at this time that Tamara gave birth of her only child, a daughter named Kizette, who like own neglected childhood, Tamara rarely saw her daughter and sent her off to boarding school.
De Lempicka developed a technique that truly exemplified the Art Deco era. he lines had an architectural quality, sleek, clean and elegant, yet a certain curvelinear softness which was described as "soft cubism." Through her aristocratic connections she produced numerous portraits and the Lempickas' lifestyle significantly improved. During the Roaring 20's Tamara was a recognized celebrity. She knew the best of the Bohemians from Pablo Picasso to Jean Cocteau and her bisexual appetite was legendary and became the source of the gossip mongers. Tadeusz got fed up with it all and they were divorced in 1928. Perfectly timing because a long time patron, Baron Raoul Kuffner, commissioned her to paint his mistress but true to her winsome ways Tamara replaced the mistress when the portrait was finished.
Through Kuffner, who she married in 1933 (his wife had died), Tamara was re-established on the highly socially connected cognoscenti. The depression didn't seem to curtail her output and her painting continued its popular course of commissions. The Kuffner's eventually settled in Beverly Hills, California and began to socialize with the Hollywood stars of the day. She became known as 'the baroness with the brush' and cultivated a Garboesque persona, which wasn't too difficult to do, because Tamara was still a blonde haired beauty and was often compared to the legendary star.
However, her trademark style of angularity in figures of celebs and aristocrats, carved like sculpture in streamlined poses, were beginning to lose popularity. Tamara tried palette painting but this technique never took off. She retired as a professional artist in 1962 and after Baron Kuffner's death, the same year, Tamara traveled extensively, then lived with her daughter Kizette for a while in Houston, Texas and finally moved to Cuernavaca, Mexico in 1978 where she died in her sleep on March 19, 1980.
Dear Tamara, though your iconic style of painting lost favor in the 1970s, you are not forgotten, but rather adored again. Your fan's have rediscovered your oeuvre and in plays and music have paid homage to your amazing independent spirit, an Art Deco painter extraordinaire, who I will always remember racing into the future in her Green Bugatti.
Your admirer, Polly Guerin
Posted by Polly Guerin at 5:46 AM No comments:
Labels: Art Deco Painter, Independent, Polish Beauty
CELEBRATING DOROTHY PARKER
Dorothy Parker: An Extraordinary Wit!!!
Dear Ms. Parker: We miss your witty repartee, the famous Algonquin Round Table compatriots Woollcott, Benchley, Kaufman and other notables. Yours was a decidedly magical circle of like minded authors, poets, theater critics and motion picture writers---all characters in their own right who live on in the collective memory of those who aspire to be writers. Your admirer, Polly Guerin
DOROTHY PARKER: What can we say about Dottie that you don't already know? Although her accomplishments spanned many venues she was most famous as a sharp tongued wit. Upon finding herself pregnant by a lover she merely remarked, "Serves me Right for keeping all my eggs in one bastard," or "Brevity is the soul of lingerie," and my favorite,"The two most beautiful words in the English language are 'cheque enclosed,'"One of the most successful things she did was to fall in with the likes of Robert Benchly and Alexander Woollcott. These three were the original founders of the Algonquin Round Table and other notable characters of the day joined in. As the cognoscenti listened and the newspapers quoted their every remark of witticism the fame of the round table participants escalated into heroic proportions.Dorothy Parker's celebrity was a self-made phenomenon, though her last name was Rothschild, there was no connection to the banking royals. She had a modest background residing in the summer in Long Branch, New Jersey and also on the Upper West Side in New York City. Life dealt some sad blows at an early age. Parker was orphaned at five years old when her mother, Annie (nee Marston) of Scottish descent died. She never liked her stepmother, Eleanor, and insisted on referring to her as "the housekeeper," and I wonder if she ever said that to Eleanor's face. Her father, Jacob Henry Rothschild of German-Jewish descent, did not fare any better as she quite frankly detested him as well. That did not last long because her stepmother died when Parker was nine and her father died when she was thirteen. One wonders how she managed, but legend has it that she played piano at a dancing school to earn her keep whilst she was continually working on her poetry. Poetry opened the door to other opportunities. She sold her first poem to Vanity Fair magazine in 1914 which caused the attention of Conde Nast magazine, Vogue, where she worked as an editorial assistant. As would have it in a fledgling but talented career Parker moved on to Vanity Fair and later to Vogue, where she no doubt wrote that editorial caption, "Brevity is the soul of lingerie." Parker's caustic wit caught on with national acclaim as did he feature articles, short stories and most notable among her vast output is "Enough Rope," and "Big Blonde." A stint in Hollywood as a screen writer with her then husband, Alan Campbell collaborated on the script for the 1937 film, A Star is Born, for which they were nominated for an Academy Award for Best Writing-Screenplay. Parker is noted for her celebrated love affairs, but notable are her three marriages, the first in 1917 to Wall Street stock broker,Edwin Pond Parker II was short lived, and although she divorced Campbell she did remarry him, making three marriages in a busy career. In Parker's later years she became politically active and when called before the House Un-American Activities Committee, she remarked to a startled audience, "Listen, I can't even get my dog to say down. Do I look like someone who could overthrow the government." Parker lived a long a productive life, accompanied in the end by her dog and her alcoholic dementia. After her death on a sunny day in 1967 at the age of 73 her will revealed that she had bequeathed her estate to D. Martin Luther King, Jr. foundation, and after King's death, her estate was passed on to the NAACP. Sadly, Parker's ashes due to some unexplainable flaw remained in her attorney's filing cabinet for l7 years. For a celebrated American writer and amazing wit this was an incredible ending. Righting this wrong the NAACP claimed Parker's remains and created a memorial garden outside their Baltimore headquarters. The Plaque reads:"Here lie the ashes of Dorothy Parker (1893-1967) humorist, writer, critic. Defender of human and civil rights. For her epitaph she suggested, 'Excuse my dust'. This memorial garden is dedicate to her noble spirit which celebrated the oneness of humankind and to the bonds of everlasting friendship between black and Jewish people. October 28, 1988."So adieu Dottie, dear Dorothy Parker, remarkable and original wit, poet, author, screenwriter and wordsmith par excellance. We sure do miss you.
Labels: Algonquin Round Table Wit, Poet, Author
Labels: Literary Genius, Poet, Round Table Wit, Writer

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Does Azure have a "Service Discovery" service like AWS There are two methods used for service discovery.

*

*Client side

*Server Side

AWS provides server side service discovery solution. Does azure also offer similar solution? How can we achieve that in azure? By using API management?

A: High-level applications running on Azure Sphere can perform service discovery by using DNS service discovery (DNS-SD). Applications can use service discovery to find network services and perform host name resolution so they can interact with the service through the Azure Sphere firewall. Multicast DNS (mDNS) can also be used to perform peer-to-peer discovery on a local network, which is especially useful when the IP addresses and host names of the destination endpoint aren't known at design time.
You may find more information here https://learn.microsoft.com/en-us/azure-sphere/app-development/service-discovery#:~:text=Perform%20service%20discovery%201%20Include%20header%20files%202,connections%20for%20hosts%20with%20multiple%20IP%20addresses.%20

redpajama_set_name: RedPajamaStackExchange


Hop on the bike and discover this interesting city. Learn all about its rich history and explore all the historical and cultural monuments. Ride through the city and see beautiful places like Sphinx, Muraj, Square of 5 wells and much more. Don't miss this great opportunity.
Because of its size and position, the easiest way to get to know Zadar is by joining our Bike Tour, so do not hesitate to let yourself in the hands of our guide and get started.
This tour is good for those whose intention is to stay longer in Zadar because you will get to learn where to go and what to do during your stay in Zadar, but also good for those who do not intend to stay long and they want to see as much as possible.
On this tour you will have the opportunity to visit the most beautiful city beaches and most interesting parts of the city.
We will introduce you to the tumultuous history of the city, which is over 3000 years old and take to the buildings that bear witness to this. We will visit a lookout with a view of the entire Zadar and the islands that surround it.


text:
Have you heard? That investing in New Zealand is the word?
Meet Peter Andreas Thiel, billionaire venture capitalist and founder of companies such as PayPal, CIA backed Palantir Technologies, MORE and so forth. Thiel was also an early investor in Facebook.
In 2011, Thiel obtained New Zealand citizenship having invested NZ$4 million in New Zealand accounting firm Xero, and a further NZ$4 million in fibre optic cable company Pacific Fibre. Such high profile citizenship grant via investment no doubt grabbed the attention of many people.
New Zealand as an investment immigration destination?
What does Thiel know about New Zealand that many people don't? We can share that in Thiel's application for New Zealand citizenship in 2011, he stated that New Zealand "is the future" and describing the country as an "utopia".
Check out New Zealand's business environment
New Zealand as an attractive immigration destination via investment is not limited to being just a billionaire's utopia. Many entrepreneurs and investors look to New Zealand due to its ideal business environment as according to the World Bank, rating it number one for "ease of doing business".
According to Transparency International, New Zealand also consistently ranked as the highest amongst the world as the least corrupt country. Forbes magazine also ranks New Zealand at second place in their list of best countries for business.
New Zealand Investor Visas: General Criteria
There are two (2) residence-by-investment streams available for investors: –
Investor Visa (Investor 2 Category); and
Investor Plus Visa (Investor 1 Category)
Source: newzealand.com
Generic Criteria of Investor Category
The basic criteria for residence under the Inverstor Category are:
making an acceptable investment with a commercial return;
be invested in lawful enterprises or managed funds;
having potential to contribute to New Zealand's economy; and
not for personal use.
Choice of investment Options
A wide variety of investments are permitted, which includes (inter alia):
bonds;
residential property development;
commercial property;
shares in New Zealand firms and banks;
philanthropic investments;
angel funds investments
Residential property developments can be accepted as investments meeting immigration guidelines, only if it is a new development with the appropriate approvals (not renovations or extending existing residential properties)
Commerical Properties
Investments in commercial properties must be for business purposes and not be used for land banking. However, investors may invest in empty land provided that plans for development are submitted for approval and work has commenced.
Approvals for Overseas Investments
Certain transactions will require express approval of New Zealand's Overseas Investment Office (OIO) where "overseas investment in sensitive land." are identified.
The definition of sensitive land is complex with the legislation defining sensitive land as several different types of land, each with an area threshold.
2nd Category for Investors
Investors applying under the second category must:
be under 65 years old;
required to invest NZ$3 million in New Zealand for a total of four (4) years;
a minimum of three (3) years worth of business experience;
demonstrate English language ability (IELTS band score 3 for dependant of the investor), or pre-purchasing ESOL tuitions
Source: Newzealand.com;
Two Stage Process
An Expression of Interest (EOI) serves as the first step necessary to apply. Immigration New Zealand (INZ) will select EOIs from the pool based on points allocated on a fortnightly basis.
An invitation to apply (ITA) will be sent to those selected and an application must be made within four (4) months. Transfer of investment funds as nominated in the EOI must also be made within twelve (12) months. T
All investors must demonstrate that the funds or assets are derived from a "clean" source. Then, at the end of the four (4) years' investment period, a grant of a permanent resident visa will be recommended.
1st Category for Investors
Investor Plus Visa enjoys a higher processing priority, as the additional requirements found under the Investor 2 category do not apply. However, the Investor 1 category will require the investor to invest NZ$10 million or more into New Zealand over a three (3) year period.
Health and character requirements also apply and investors are required to remain in New Zealand for a minimum of 44 days every year, within a period of two (2) years and three (3) of the invested period.
Partner and dependent children aged 24 and under may be included with the investor. The dependants are required to travel to New Zealand within twelve (12) months of the first visa grant date.
There is no better time for eligible investors to heed the New Zealand Government's initiatives in welcoming you. Whether you are exploring possible investment opportunities or looking to settle, New Zealand will always stand out as the ideal and outstanding option for all investors.
Assisting with the Entire Process
We serve as your one stop shop for all your immigration via investment needs to New Zealand, from representation on your behalf, to facilitating your funds transfer to the New Zealand banking system.
For more information on the specifics of investment immigration to New Zealand, please contact our dedicated team at info@tjassocs.com.
W: www.tjassocs.com
E: info@tjassocs.com
THOMAS. JEFFERSON ASSOCIATES LIMITED
Suite 2302, 23/F New World Tower 1
18 Queen's Road Central


Positive results for CTI BioPharma Corp's myelofibrosis drug sent shares higher.
What's happening: Shares in CTI BioPharma Corp (NASDAQ:CTIC) jumped by 10% earlier today following the release of phase 3 trial data for its bone marrow cancer drug pacritinib.
Why it's happening: CTI BioPharma has reported that pacritinib, a JAK2 inhibitor which is being co-developed with Baxter International (NYSE:BAX), met its primary endpoint in phase 3 trials as a therapy for myelofibrosis.
In the 327 patient trial, pacritinib patients saw a reduction in spleen volume that was greater than the reduction reported in patients in the control group who were being treated with physician-specified best available therapy, excluding other JAK2 inhibitors. Importantly, pacritinib appears to have been successful in treating people with very low platelet counts -- a patient population that has traditionally been difficult to treat.
The primary endpoint of the trial was a 35% or greater reduction in spleen volume from baseline to week 24. After week 24, patients in the control group could switch to the pacritinib arm. Overall, 79% of the control group ended up crossing over to pacritinib treatment.
The phase 3 results came from one of the two trials evaluating pacritinib. If results from the second trial, which will go head to head with best available therapy that may include Incyte Corp.'s JAK2 drug Jakafi, confirm this first trial, then CTI and Baxter could file the drug with the FDA for approval. The second phase 3 trial has an estimated primary completion date for final data collection of April 2015.
Now what: Last August, the FDA granted pacritinib fast-track designation, which could eventually mean a speedier evaluation. However, the company will need to deliver positive results from its second phase 3 trial and file for approval first, so we're still a ways away from commercialization.
If pacritinib does make its way to market, there's no guarantee that it will be a commercial success. Pacritinib could be a better alternative to Jakafi in low platelet patients, but that's not necessarily a large patient population. Investors should also recognize that Jakafi, which won FDA approval in 2011, posted sales of $358 million in 2014, so pacritinib may not prove to be a blockbuster. Even if its sales do outperform Jakafi's, CTI will split profit in the U.S. with Baxter and will receive a single digit royalty on ex-U.S. sales from Baxter.
Regardless, since CTI is still able to receive $302 million in potential milestones, this could be an intriguing stock, especially given that its market cap is just a bit north of $403 million.


text:
arrow right pointer right pointer down search close short single technique video full length video
The Techniques of Renaissance Venetian-Style Glassworking
Table of Contentsand Search
enter search text
Nine Venetian-Style Glassworking Centers
Glassworking Centers Overview
Serpent chalice
Video of Serpent Chalice
The video shows the parts of this object being made and placed temporarily in a hot oven. After attaching the base to a pontil, the parts are, one at a time, joined using small amounts of molten glass ('glue bits').
This exceedingly complicated goblet begins with a tiny gather of glass. The gather is marvered, and a small bubble blown into the mass. A constriction is made near the blowpipe, and another, further from the end of the blowpipe. Excess glass is broken off. Another small bit of glass is added, and this will become a merese. The glass is flattened, made slightly conical, a shallow groove is made, and a blade placed on either side of the gather. This results in the rather sharp edge and the end is left slightly conical. Another bubble is brought over from above, lowered carefully onto the conical face of the merese, and it's cut free of its gathering blowpipe.
Decorative constrictions are made. Another constriction is made in the narrowest part of the stem. Excess glass broken free and another merese is made. The glass is flattened, pushed up the side of the stem somewhat, pulled outward, and this creates a very strong attachment to the stem. The foot consists of a bubble of glass lowered into a dip mold, inflated, and added to the face of the merese. A constriction is made. This will allow a hole to be created in the end of the bubble. After reheating, the hole is opened slightly and a tiny gather of glass added to the edge. This will minimize the tendency of the edge of the foot to become fluted during the opening process.
The lowermost part of the stem has to be cooled. During the reheats, it unavoidably softens. The soffietta is used to inflate the glass. The jacks are used to dilate the hole. The punty site is cooled, the punty is added, and this lowermost part of the stem broken free of the blowpipe.
Next, decorative wings are added. A small amount of glass is flattened, touched to the upper shoulder of the stem, cut free of its gathering iron, and with very small pincers, manipulated. Another small mass of glass is added, cast free of its gathering iron, and pincered. This construction is placed in an annealing oven, broken free of its punty. The annealing oven is held at a temperature of about 950 degrees Fahrenheit.
The cup begins with a substantial gather of glass. It's marvered, and the blowpipe is held upward slightly as air is blown into the pipe. This results in a bubble that is slightly thin at its tip. The soft glass is held downward to elongate it and it's given a slight taper. After a substantial reheat, it's lowered into the optic (or dip mold) and blown hard. The cup is blown, the end is pushed inward. This results in a not spherical shape, but rather the shape of an oblate spheroid. A constriction is made near the blowpipe. Excess glass knocked free, and a merese is formed. A plain bubble of glass is added from above, cut free of its blowpipe. Decorative constrictions are made, and the outermost constriction will allow the breaking free of the excess glass. A tiny amount of glass is added and then flattened. This is not necessarily to be called a merese; it's simply a cap which closes the end of the knop. A punty is added, the neck broken, and after reheating, the cup is given its final shape. The jacks are used to dilate the hole and the soffietta is used to reshape the bubble. The wood jacks are used at the end of the process and this naturally creates a curving wall shape. The wood is soaked in water and tends not to leave tool marks on the glass. This too is placed on hold in the annealing oven.
The flowers begin with a tiny amount of glass gathered on the end of a metal rod. A small amount of glass is added to the end and the waffle pincers are used to create a pattern in the glass. Tiny bits are added to the perimeter. The leaf is elongated, bent, shaped. And the finished flowers are placed in the annealing oven.
The upper portion of the stem has an optic molded pattern, but here it's twisted. Air is blown into the blowpipe so that the bubble goes to the tip of the gather. It's given a slight taper, and after a reheat, lowered into the optic mold. The end is held, it's pulled outward as the pipe is twisted, and this creates the twisted pattern. A metal jig is used to create the pattern of the uppermost part of the stem. The shape is refined and the stem is straightened. A tiny amount of glass is added to the tip and flattened. A punty is added. And after a reheat, the two parts are given their shape. They're trimmed to the proper length. And the business of adding bits and pincering and shaping begins.
All of the bits are added, and then not cut free of the gathering iron with shears, but rather cast off. Throughout the process, the stem is constantly reheated to make sure that all parts are well over 1,000 degrees Fahrenheit. The final decorative elements are added. A tiny bit of glass is added to the tip of the stem, a flower picked up and stuck on. The second flower is added.
The assembly begins with a hot punty attached to the bottom of the foot. It's straightened. A tiny bit of glass is added to the top of the stem, and the uppermost portion of the stem connected. A final adjustment is made for straightness, alignment, and, after a flash in the furnace, the last glue bit added. And this will be used to pick up the cup. At this point, the greatest technical challenge is keeping the foot hot as the last glue bit hardens. The vessel is lowered into the annealer, the punty tapped lightly, and the vessel broken free.
See all: Browse by Map
Place Made:
Tuscany(?), Italy
H. 24.3 cm, Diam. 9 cm
Museo Galileo, Florence (341/33). Photo: Museo Galileo, Florence
Standard zoom view
use control buttons to zoom, drag to move
Cite as (MLA): Gudenrath, William. The Techniques of Renaissance Venetian-Style Glassworking, Corning Museum of Glass, Feb. 2019, renvenetianstyle.cmog.org.
For technical issues, send email to web@cmog.org. For information on glassmaking at CMoG, see The Studio.
The Techniques of Renaissance Venetian Glassworking (2016)
rv1-thumb.jpg


1. Always calm children down or choose a quiet place before you start this activity. Let them focus on the story and have their full attention so they can concentrate on every words they read.
2. Make reading a fun activity then children are going to look forward to it.
3. Give them plenty of time to practice. Never rush. Don't let other students interrupt or correct slow readers.
4. Don't compare them with each other.
5. Give them full attention and make them feel you are interested.
6. Get different ways of reading. Choral, pair, group, individual.
7. When you choose pair reading make sure the stronger readers guide and help the other one. They enjoy the activity together and perhaps talk about the part of the story they have read about. Sometimes it is easier for them to read with peers and it has benefits for both of the children.
8. Talk about the pictures in the book. It helps with better understanding.
9. Talk about what is expected next to happen in the story.
10. Don't let them struggle with difficult words. Help them out if necessary.
11. Be positive. Give them nice compliments. Praise their improvements. Encourage them as much as possible.
13. Find some enjoyable follow up activities to get them interested in more reading. It could be a wordsearch with sight words, an easy art activity like drawing the characters or the setting then they could write key sentences under. Sequence the happenings. Making masks of the characters and play the story would be a good idea, too.


With the global economic outlook clouded by the Eurozone debt crisis, the end of QE2 in the US and mounting concern about whether China can control its inflation Business RT spoke with Yaroslav Lissovolik, Chief Economist at Deutsche Bank.
RT: How likely is it that a major sovereign default will occur in the Eurozone, Russia's largest trade partner?Greece, Portugal, Ireland and now Italy?What would be the impact on the impact on the European banking system? The European Economy? What are the implications for Russia?
RT: What are the implications of the end of QE2 in the United States for Russia?Will it lead to a reduction in inflationary pressure?What will be the impact on commodity and energy prices?
RT: China has been making serious efforts to bring its inflationary problems under control with rate increases and reserve requirements since 2010 but 2Q GDP and inflation numbers were stronger than expected.Is this likely to see a soft landing for the Chinese economy?What are the implications for Russia of a hard landing?
RT: In terms of its fiscal reserves and budgetary position, how well prepared is Russia for further instability – Reserves are back near where they were in mid 2008, the budget is nearly balanced with oil at about $100/bbl – does Russia have a safety net?


This contest is open to individuals aged 18 years and above.
Each entry must be submitted with a valid contact details, specially e-mail address, phone number & country. These will be used to notify you, if you win.
The winner(s) will be picked through a random computer draw and announced on UAE Exchange Facebook page on 05th October, 2012.


text:
S Corporations Vs. LLCs
The pros and cons of each business form
April 23, 2001 3 min read
Q: What are the advantages and disadvantages of incorporating vs. forming a limited liability company (LLC)?
A: S corporations and LLCs possess similarities: They offer their owners limited liability protection and are both pass-through tax entities. Pass-through taxation allows the income or loss generated by the business to be reflected on the personal income tax return of the owners. This special tax status eliminates any possibility of double taxation for S corporations and LLCs.
That's where the similarities end. The ownership of an S corporation is restricted to no more than 75 shareholders, whereas an LLC can have an unlimited number of members (owners). And while an S corporation can't have non-U.S. citizens as shareholders, an LLC can.
In addition, S corporations cannot be owned by C corporations, other S corporations, many trusts, LLCs or partnerships. LLCs are not subject to these restrictions.
LLCs are also more flexible in distributing profits than S corporations, wherein the corporation can only have one class of stock and your percentage of ownership determines the percentage of pass-through income. On the other hand, an LLC can have many different classes of interest, and the percentage of pass-through income is not tied to ownership percentage. The pass-through percentage can be set by agreement of the members in the LLC's operating agreement.
S corporations aren't without their advantages, however. One person can form an S corporation, while in a few states at least two people are required to form an LLC. Existence is perpetual for S corporations. Conversely, LLCs typically have limited life spans. A few states require LLCs to list dissolution dates in their articles of organization, and certain events such as the withdrawal or death of a member can cause LLCs to automatically dissolve.
The stock of S corporations is freely transferable, while the interest (ownership) of LLCs is not. This free transferability of interest means the shareholders of S corporations are able to sell their interest without obtaining the approval of the other shareholders. In contrast, member of LLCs would need the approval of the other members in order to sell their interest. Lastly, S corporations may be advantageous in terms of self-employment taxes in comparison to LLCs.
For advice specific to your situation, contact an attorney.
Rick Oster is co-founder and vice president of Business Filings Inc., an online incorporation service provider that helps small-business owners and entrepreneurs form corporations, LLCs and nonprofits in any state.
The opinions expressed in this column are those of the author, not of Entrepreneur.com. All answers are intended to be general in nature, without regard to specific geographical areas or circumstances, and should only be relied upon after consulting an appropriate expert, such as an attorney or accountant.
The Power of Passive Income
Success is Easy
Start Your Own Photography Business
Start Your Own Freelance Writing Business
Start Your Own Etsy Business
Here's How I Started the Business That Appeared on 'Entrepreneur Elevator Pitch'
8 Mistakes to Avoid When Naming Your Business
How This Entrepreneur Scaled His Business With Purpose
7 Realistic Ways to Make Money Online
3 Lessons Twitch Founder Justin Kan Is Using to Disrupt the Legal Industry


text:
BachelorMusic
Degree awarded
Bachelor of Arts HES-SO en Musique (Music)
Haute Ecole de Musique de Genève HEM - Neuchâtel HEMU - Haute Ecole de Musique Lausanne - Fribourg Haute école de musique de Genève - Geneva HEM HEMU - Haute Ecole de Musique de Lausanne - Sion HEMU - Haute Ecole de Musique de Lausanne
The HES programme in music requires a high level of commitment from students. Its full value is only reached for people pursuing their education to the Master's level.
The first three years, culminating in the Bachelor's degree, constitute a common, general programme that is nonetheless oriented to a disciplinary focus:
An instrument or voice (available at all sites)
Composition (HEM-Genève)
Music at school (HEMU, HEM-Genève)
Music and musicology (HEM-Genève, in collaboration with the University of Geneva)
The study of the main discipline is complemented by practical training (ensemble, improvisation, corporeal training) and study of music culture in general.
In the 3rd year, three pre-specialisations for the Master's programme are possible: pedagogy (music teaching, music at school), interpretation (instrument, singing, direction) or complosition/theory.
Being exposed to the audience , practice and contact with the artistic community are an integral part of music education.
Complementary to the classical profile, available at all sites, two specific profiles are available:
Jazz and contemporary music, within the department of that name at the University of Music Lausanne.
Ancient music, within the department of that name at Geneva University of Music
Course organisation and fees
ECTS Credits
CHF 500 per semester (tuition fees)
A contribution to course fees may be charged. This varies depending on the school. Please enquire with the relevant admissions department.
The Bachelor programme starts in week 38
Haute école de musique de Genève - Geneva HEM - Full-time HEMU - Haute Ecole de Musique de Lausanne - Full-time HEMU - Haute Ecole de Musique de Lausanne - Part-time
Règlement d'admission
Professional prospects
The Bachelor in Music programme is not designed to lead directly into professional practice but rather to open access to the Master's programme, which puts the focus towards professional integration.
This Bachelor also enables access to other education where music practice does not play a principle role but rather constitutes a basic skill (for example, a Master's in Cultural Management).
Finally, it also enables access to professions where music does not play a prinicple role (radio professional, musical journalism, etc.)
Master of Arts in composition and music theory
Master of Arts in musical interpretation
Master of Arts in specialised music interpretation
Master of Arts in music education
HEMU
HEM-Genève
Pour tous renseignements complémentaires sur les conditions d'admission et les inscriptions, merci de vous adresser à la haute école où vous souhaitez étudier.
Règlement de filière


text:
The Confident Career | Nexxt
Tag: E.C. Power
June 2, 2020 Julie Shenkman
Why A Tailored Resume is Crucial to The Job Search Process
You have painstakingly crafted your resume to show all of your wonderful and marketable qualities in the most comprehensive way possible. You've checked for errors and completeness. You're done! Right? Unfortunately, no. If you want to really help yourself stand
April 28, 2020 Julie Shenkman
How to Face Your Fears When the Unknown Is Laid Out in Front of You
Fear is normal. The motivation for fear is a biological response to danger that exists in all animals. But sometimes, and for humans especially, the natural fight-or-flight impulse shifts into an overwhelming sense of dread from which one feels unable
The Confident Career is a blog from Nexxt, an employment solution, powering more than 50 niche career sites to make finding the perfect job easier, to celebrate and inspire confidence throughout the job search process and the journey of building a career. We feature advice, musings, and articles all centered on helping job seekers and professionals move forward with confidence.
Search the Latest Jobs on Nexxt
Negotiate Successfully by Assuming the Other Party Will Say Yes
Rebrand Your Professional Introduction
Things To Observe During the Job Interview
How to Answer the Job Interview Question, "Why Do You Want to Work Here?"
How to Find a Job Before the End of The Year
Archives Select Month January 2023 December 2022 November 2022 October 2022 September 2022 August 2022 July 2022 June 2022 May 2022 April 2022 March 2022 February 2022 January 2022 December 2021 November 2021 October 2021 September 2021 August 2021 July 2021 June 2021 May 2021 April 2021 March 2021 February 2021 January 2021 December 2020 November 2020 October 2020 September 2020 August 2020 July 2020 June 2020 May 2020 April 2020 March 2020 February 2020 January 2020 December 2019 November 2019 October 2019 September 2019 August 2019 July 2019 June 2019 May 2019 March 2019 January 2019 December 2018 November 2018 October 2018 September 2018 August 2018 July 2018 June 2018 May 2018 April 2018 March 2018 February 2018 January 2018 November 2017 March 2017 January 2017 November 2016 October 2016 September 2016 August 2016 July 2016 June 2016 May 2016 April 2016 March 2016 February 2016 January 2016 December 2015 November 2015 October 2015 August 2015 June 2015 May 2015 April 2015 March 2015 December 2014 November 2014 October 2014 September 2014 August 2014 July 2014 June 2014 May 2014 April 2014 March 2014 February 2014 January 2014 December 2013 November 2013 October 2013
What's Trending on Nexxt…
Nexxt @nexxtjobs ·
#JobSearch Tip: Your personal #brand is what sets you apart from other job seekers and will help you stand out amongst other candidates. Make sure your resume, any web presence like social media profiles match your personal brand.
More tips: http://ow.ly/IWAB50Ms1h8
#nexxttips
#JobNegotiation Tip: If you don't negotiate your salary, you're leaving money on the table. According to a study by the Journal of Organizational Behavior, those who ask for an increase boost starting salaries by $5,000, on avg.
More tips: http://ow.ly/cGJX50Ms0ys
How a quick tweak on your resume and social media profiles can open the door for more opportunities. https://theconfidentcareer.com/2022/07/use-consistent-keywords-to-strengthen-your-brand-in-your-resume-and-social-profiles.html
#jobsearch


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;
using System.Threading.Tasks;

namespace AcademyTasks
{
    public class Program
    {
        static int[] numbers;
        static int stopIndex;
        static int variety;

        public static void Main()
        {
            numbers = Console.ReadLine()
                .Split(new string[] { ", " }, StringSplitOptions.RemoveEmptyEntries)
                .Select(int.Parse)
                .ToArray();
            variety = int.Parse(Console.ReadLine());

            stopIndex = -1;
            int min = int.MaxValue;
            int max = int.MinValue;

            for (int i = 0; i < numbers.Length; i++)
            {
                min = Math.Min(min, numbers[i]);
                max = Math.Max(max, numbers[i]);

                if (max - min >= variety)
                {
                    stopIndex = i;
                    break;
                }
            }

            if (stopIndex == -1)
            {
                Console.WriteLine(numbers.Length);
                return;
            }

            Solve(1, numbers[0], numbers[0], 0);
            Console.WriteLine(bestSolution);
        }

        static int bestSolution = int.MaxValue;

        static bool isTaskSolved = false;

        public static void Solve(int tasksSolved, int min, int max, int index)
        {
            if (index > stopIndex || isTaskSolved)
            {
                return;
            }

            var currentMax = Math.Max(max, numbers[index]);
            var currentMin = Math.Min(min, numbers[index]);

            if (currentMax - currentMin >= variety)
            {
                isTaskSolved = true;
                bestSolution = tasksSolved;
                return;
            }

            Solve(tasksSolved + 1, currentMin, currentMax, index + 2);

            if (isTaskSolved)
            {
                return;
            }

            Solve(tasksSolved + 1, currentMin, currentMax, index + 1);
        }
    }
}


As Amy Candido shopped for a dress for her wedding last June, her friends urged her to lose weight to ensure it would fit on the big day, to look her slimmest best as she walked down the aisle.
"That dress is for me, no matter how I am," she thought.
That's a long way from 10 years ago, when Candido had to get her prom dress taken in a few times as she continued to lose weight.
Candido had an eating disorder.


text:
DI Roundtable: State of Comp Eliminator
Kelly Wade
Luke Nieuwhof photo
The unique Competition Eliminator category offers all-out racing featuring an expansive array of race cars and engine combinations, and although some (or many) observers may find the structure of the class a bit complicated, few could deny that it's just downright fun to watch these faithful racers "run whatchu brung."
[Editor's Note: This story originally appeared in DI #177, the Sportsman Issue, in July/August of 2022.]
A handful of years ago, NHRA made enticing changes to the category that housed nearly 100 different class combinations, and since that time, participation has slowly begun to build. Over the past couple of seasons, Comp has continued to grow.
To find out what keeps these drivers so invested, we sat down with Frank Aragona Jr. and Bruno Massel – both three-time world champions in the category – as well as longtime Competition Eliminator devotees Jim Greenheck, Royce Freeman Jr., and Rodger Brogdon, a Texas businessman who launched an incredible campaign to enrich the class at the division level.
What is it about Comp Eliminator that is so appealing to you?
Aragona: We like being able to make the car go as fast as it can possibly go. And then there's a whole chess game that goes into Comp; you have to preserve your index, save it each round, and not hit your index permanently and save it for the next race. It's just the whole challenge of it that's always drawn me to it.
Bruno Massel (Auto Imagery photo)
Massel: This category is challenging on so many different levels, and that's what makes it appealing. From the performance standpoint, you want to have a fast car. From the driving standpoint, you need to be good on the tree and drive the finish line – and then it's a chess game to preserve the index. There are just so many things that go into it that the average person doesn't understand. You're always toying with the car, trying to find something better. It's not necessarily the "poor man's Pro Stock," but there's part of that to it.
Greenheck: When I grew up, it was Modified Production. That went away, so that left us with Comp. I like the innovation. It all started when I was 16, when I went down the dragstrip for the first time. I fell in love.
Freeman: Comp has always been appealing, especially when you deal the way we do in a performance-based engine building program. Comp is built for the guys that maybe think outside the box a little bit and build everything one-off for that specific class. In Comp, you don't have to worry about going too fast or having to slow down. It's a performance-based class, and I think that's what the draw is. You get to make your stuff as fast as you can make it.
Brogdon: For me, it's just the creativity. Just about anything you can dream up, you can find a class to run it in with Competition Eliminator. And it fits a lot of different budgets. You can come to the class with $300-400,000, but you can be competitive with $70-80,000. It just depends which class you want to run.
What do you find most challenging about the category?
Aragona: Most of the challenges are in getting your combination to work. Once you have the combination that works, then you have other challenges. In Competition Eliminator, there have been constant rule changes to keep participation up in the class. Some of them I haven't agreed with, but I've been doing this close to 30 years – we've raced in every rule package there is and won in all of them. You just adapt and learn.
Massel: It's really about preserving the index. In Norwalk, I had to shut off and give up a round I could have won because it was a match that would have caused me to destroy the index. The challenge is knowing when to shut off and live to fight another day.
Jim Greenheck (Alex Owens photo)
Greenheck: Everything. You have to have everything right in order to do this right. People say it's like running Pro Stock, just with a smaller motor. It's very intricate, very finesse-y. It's almost too finesse-y, but that's the fun of it.
Freeman: The big challenges are, as in any class, weather, racetrack, and getting your equipment right to go as fast as you can go. As you get into rounds of eliminations, you have to be careful and not take too much CIC [Competition Index Control] for the next round. It's not only a performance-based class, but it takes some discipline behind the steering wheel – especially at the other end.
Brogdon: Just trying to stay competitive. Anyone can do all the research and find an easier class than others, but it's still hard to stay competitive. If you want to win some rounds, or you want to win a race, you're going to have to get indexed. The way the new program is right now, you can index yourself right out of being able to compete. Trying to find a way to win without getting your index adjusted is the challenge.
There seems to be increased interest in the category lately; to what do you attribute this rise in competition?
Frank Aragona (David Beitler photo)
Aragona: Before this current rule package, if someone else hit your index, everybody got hit. Now there's a window where they can hit the index and not affect the other guy in the same class, and that's helped increase participation a lot and bring the faster guys closer to the slower guys. In 2016, they also gave everybody a tenth of index, and that evened it out as well. I think that brought some more guys out to race because now they're more competitive.
Massel: I think it's a deal where everything is cyclical. People go away and then come back, and maybe this is the part of the cycle where they're starting to come back. Rodger Brogdon throwing a financial windfall into Division 4 [by starting the Comp Bonus Fund] hasn't hurt. I personally think it's a combination of the two.
Greenheck: They're offering more money in Division 4, and people are gravitating toward that, but I don't do this to get rich; I did this to get poor. I do this for the competition, and I think that's what draws people to it. It's so difficult that when you do succeed, it's quite gratifying. After you race for a while and get the performance down, then it's a mental game. That can wear you out, but it's also enjoyable.
Freeman: Here lately it seems like there's been some extra money thrown around at the division races, and for a lot of these guys, including myself and all of us, it's nice to have that bigger purse up there. I know Division 4 put up a lot of money, and they had a bigger car count this year. It's been good for them. Everybody thinks it's more expensive to run Comp than doing the Top Sportsman and Top Dragster deal, but if you walk through the pits, those guys have some really, really nice stuff. They're not sparing any expense over there. I think people are beginning to understand that it doesn't cost an arm and a leg to run Comp like it used to. You can go out there and be competitive [on a budget], and you can take the car to the finish line without fear of going too fast.
Brogdon: I just think it's just a natural progression for a lot of racers, especially Stock and Super Stock, to move up to Comp. That's what it was for me, all the way back to when I ran ET classes. I watched the Nickens boys and thought, "Oh boy, someday I wonder if I'll be able to do that." A lot of people are making the move now, and it's such a great class. It's full of creativity. Not a real breakout class, but it does have its challenges, and I think that's just it – people want to make the move up to it. There are a lot of classes in Comp you can run. It's still expensive, but on a really good Stock or Super Stock budget, you can get over there and be really competitive.
What will it take to preserve Comp Eliminator for future generations?
Aragona: I think the thing missing that could help Competition Eliminator be around forever is somehow getting money put into the class. Years ago, you could win a national event and, if you bought all the right products and supported all the companies that supported the contingency program, you could get like $15,000-$16,000 between the purse and contingencies. Now, you're lucky if you get $9,000 and the cost has probably tripled what it used to be to run the class.
I've been after everybody about this for a long time; you need to bring money into this class. Other people have done the private programs, and you could see the difference in participation. They had full fields at a few events, and a lot more participation than they ever had in that division. Nobody is out here to do this for a living, but if you have a chance to offset some of the costs and get a little bit of what you spent, then that's a big factor.
Massel: I know it won't happen any time soon, but it's been proven that if there's money there, people will come out. Right now, it's tough to justify running Comp, even just going down the road. Payouts have gone down, but the costs have gone up astronomically. If there is more money thrown at it, and you can financially justify it to your wife, kids, and your own sanity, that would definitely help.
Greenheck: The organization is not focused on racing; they want to be in the entertainment business. That's their gig, but for the racers, it's about racing. This is very, very expensive. It's a hobby gone awry. The focus has been on the Pros, and that has allowed the Sportsman racers to get out of control in a lot of different classes. You have Top Sportsman running quicker than Pro Stock; Top Dragster running as fast as alcohol. These are people that shouldn't be going that fast, and some of them are in over their heads.
Royce Freeman
Freeman: The main thing will be, naturally, to keep the cost as minimal as you can. There are a lot of things that are out of our control, as far as parts, supplies, the cost of fuel, and things like that. But I think that the more young people you get involved in Comp, the more you let them understand what it's really about, I think that will keep Comp alive. I think you'll see that Comp is growing, getting better, and it's stronger. In Norwalk, we had 22 Comp cars versus 16 Top Sportsman cars, and that's unheard of. I think it's on an uptick, and if people give it a try, I think they'll really enjoy it.
Brogdon: You have to get paid for participating. If you win a national meet right now in Comp, you might get half as much as what you got in 1987 or 1988, but the cost has tripled. It just comes down to money. I'd like to see that change because this is a great class. You'd be surprised how many people just love it and want to be part of it if the opportunity is there
Photographs by David Beitler, Alex Owens, Auto Imagery, and Luke Nieuwhof


text:
Q: Communication between EKS Cluster Nodes and another EC2 instance running under LoadBalancer I have an EKS cluster running with 4 nodes. Application on these node calls service running on another EC2 instance via Route 53 -> LoadBalancer.
What should be idea way to configure security group in order have traffic flow EKS-Nodes -> Route 53 -> LoadBalancer -> EC2?

A: You should modify your Load Balancer's security group (in case it's ALB or Classic LB) to allow port 443 from EKS node's security group.
If you're using NLB you should instead modify your application EC2 instances security group.


text:
Jefferson Park, Portage Park & Norwood Park
Activists, Aldermen Pack O'Hare For 'Emergency Protest' Of Travel Ban
Alex Nitkin
January 28, 2017 4:16pm | Updated January 28, 2017 10:49pm
Protesters pack O'Hare Terminal 5 to demand the release of green card holders who had been detained because of President Donald Trump's executive order restricting travel.
Photo courtesy of Jade Krueger
CHICAGO — Activist groups and elected officials drew hundreds of demonstrators to an "emergency protest" at O'Hare Airport's international terminal Saturday in response to President Donald Trump's executive action restricting travel from seven majority-Muslim countries.
Trump's order, signed on Friday, suspends all U.S. refugee resettlement for 120 days, bars Syrian refugees indefinitely, and blocks travel into the U.S. for 90 days for citizens of Iran, Iraq, Libya, Somalia, Sudan, Syria and Yemen. It will also stop green card holders from those seven countries from entering the U.S. again if they travel abroad.
Get our daily Jefferson Park, Portage Park & Norwood Park news and alerts!
Please enter a valid email address. Please enter a valid email address. Please enter a valid 5-digit zip code. Please enter a valid 5-digit zip code.
Subscription failed
By clicking subscribe, I agree to be bound by the Terms of Use and Privacy Policy.
Around 8:15 p.m., a federal judge in Brooklyn temporarily halted the deportation of visa-holders arriving at airports around the country.
A Facebook event that organized the protest saw more than a thousand RSVPs within hours of being posted by the Arab American Action Network Saturday afternoon.
Elected leaders at the local, county and state level reported joining in the demonstration. Aldermen Ameya Pawar (47th), Deb Mell (33rd), Carlos Ramirez-Rosa (35th), Harry Osterman (48th) and John Arena (45th) all attended, according to organizers.
Cook County Board Commissioner Bridget Gainer, who represents a large slice of the city's North Side, said multiple travelers were detained at the airport Saturday.
Hundreds of demonstrators amassed at the airport, both inside and outside the arrivals terminal.
Since a swell of protesters gathered at John F. Kennedy Airport late Saturday morning, similar demonstrations have cropped up at international airport terminals around the country, including Dallas, San Francisco and Washington, D.C.
At 9:40 p.m. Saturday, Mayor Rahm Emanuel released a statement saying Trump's executive order had "tarnished America's standing as a beacon of hope for the free world," and calling for the release of green card holders who were detained.
Protesters at O'Hare cheered as travelers were released from custody one by one, until around 10 p.m., when volunteer lawyers reported that all the travelers had been freed.
For more neighborhood news, listen to DNAinfo Radio here.
Subscribe|Terms of Use|Privacy Policy


Request a LIVE, real time demo of Procurelinx with one of our experts! The first and only web-enabled CPSR Internal Contracting tool.
Developed By experts in CPSR compliance in coordination with software developers with extensive experience integrating IT solutions in Government environments.
Launched in 2013 at NCMA world Congress.
Review Results generated by one division can be firewalled from view by other divisions with tranparency at the upper management level.


text:
The superiority of religious d...
The superiority of religious duties to worldly considerations A sermon preached in the Unitarian Chapel, in Essex-Street, London; Sunday, April XX, MDCCC. By John Disney, D. D. F. S. A
Disney, John
London printed for S. Johnson, St. Paul's Church-Yard, by C. Clarke, Northumberland Court, Strand 1800, 1800
Unitarian Churches / Sermons
http://find.galegroup.com/ecco/infomark.do?content...
Eighteenth Century Collections Online / ECCO - Collection details see MPG.ReNa
English Short Title Catalog, T2429. - Reproduction of original from British Library. - With a final advertisement leaf
Online-Ressource (18,[2]p) 8°
A caution to young persons against infidelity A sermon, preached in the Unitarian Chapel, in Essex-Street, London; Sunday, April III, MDCCXCVI. By John Disney
by: Disney, John
A caution to young persons against infidelity A sermon, preached in the Unitarian Chapel, in Essex-Street, London; Sunday, April III, MDCCXCVI. By John Disney, D.D. F.S.A
The reciprocal duty of a Christian minister and a Christian congregation A sermon, preached in the Unitarian Chapel, in Essex-Street, London; Sunday, July XXI. MDCCXCIII. On undertaking the pastoral office in that place. By John Disney, D.D. F.S.A
The progressive improvement of civil liberty. A sermon preached in the Unitarian chapel, in Essex-Street, London; on Sunday, November IV. MDCCXCII. Being the Anniversary of the revolution of 1688. By John Disney, D.D. F.S.A
Letters to the Rev. Vicesimus Knox, D.D occasioned by his reflections on unitarian Christians in his "Advertisement," prefixeed [sic] to a volume of his sermons, lately published. By John Disney