Audi 100 Series Car Battery Terminal Ends Replacement at your home or office.
Audi 100 Series Car Battery Terminal Ends Replacement costs $89 on average.
What is the Battery Terminal Ends all about?
Your car's battery plays a significant role during cranking and there must be a way to get electricity from the battery to the starter and spark plugs. This is done with battery cables; there are two that connect to the battery -- one to the positive terminal and one to the negative terminal. Battery terminal ends are nothing more than clamps. They connect the cables to the terminals and hold them there securely.
Over time, battery terminal ends will corrode, particularly if you don't have regular maintenance performed on the battery. Both the terminals and ends should be cleaned regularly to remove corrosion and build up.
If a terminal end fails, the cable will come loose from the battery. This will result in no electricity during starting. If the car isn't already running, it will not crank. If the terminal end fails while driving, the car will continue to operate, but it will not crank again after being turned off.
Battery terminal ends should be inspected during all regular maintenance services.
Battery terminal ends should be properly maintained to prolong their life and avoid issues with corrosion.
The battery is located. The battery terminal ends are verified that they need to be replaced. The battery terminals are disconnected.
The defective battery terminal ends are removed by cutting the cables or unbolting the connections.
The battery terminals are cleaned. The new battery terminal ends are installed onto the cables and reconnected to the battery.
The battery terminal ends are tightened to the battery and coated with a battery protection spray.
The vehicle is tested for proper operation of the battery terminal ends by starting engine.
Battery terminal ends are critical components of your vehicle's charging system. They ensure that the battery stays connected to the system, providing electricity for cranking and allowing the battery to recharge while the alternator is running. Over time, corrosion can eat into the metal, eventually compromising your battery terminal ends. Have your terminal ends professionally inspected and maintained at all regular service intervals.
What common symptoms indicate you may need to replace the Battery Terminal Ends?
Without a constant connection to the battery, your car will not crank. It won't stop the engine from running, but it will prevent it from cranking after being turned off. Have your battery and battery cables maintained at all times, and the terminal ends replaced if damage is noticed.


An atheist group is putting up signs that say God is "a myth" — and they're making sure that Jews and Muslims will see them.
American Atheists says on their website that the signs aren't intended to offend, but are meant as outreach to atheists in those communities who may "feel particularly alone." They're also supposed to get the word out about the "Reason Rally" the group is holding on Mar. 24 in Washington, D.C.
It's a good thing, too. Atheism would probably be a lot more popular if atheists had the Mormons' PR firm. Where do I get tickets for that Reason Rally, by the way? Sounds like a hoot.
Why do other atheists care about the supposedly Darwinian-controlled chemically-induced emotional states of other atheists? They are what they are, and to 'care' about them would be to just subjectively decide that they are important enough to attempt to intervene in the process of natural selection in order to prevent any potential suicide attempts brought about by feeling isolated…but then again, since atheists are more highly evolved, perhaps this is 'natural selection' at its best, atheist nurturing their own in order to advance our society beyond the primitive constraints of Christian belief. A total lack of consistency in their own beliefs is the hallmark of dogmatic atheists.


Mass shootings keep happening. Mental illness is the easy answer but not the cause. Almost monthly we read about horrific shootings in Las Vegas, Orlando, or small towns in Texas and California. The subsequent finger pointing continues as to why these shocking killings keep occurring. Whether you are for additional gun control laws or against, we clearly need to have a reasoned discussion about the root causes of these shootings. These discussions need to be predicated on one fact: we must not equate these shootings with mental illness. It is too facile to claim as did the President that "mental health is your problem here," or that "Guns don't kill people—the mentally ill do," as did Ann Coulter. These statements are inaccurate and fail to recognize how complicated and nuanced the intersection between gun violence and mental illness is, because data show that the nexus is actually quite small.
Although the image of a lone psychopathic mass shooter is an easy narrative to adapt to understand gun violence, the reality is that persons with mental illness are far more likely to be the victims of violence than the perpetrators. According to the Department of Health and Human Services, persons with severe mental illness are 10 times more likely to be the victims of violent crime than the general population. For instance, people with schizophrenia are 14 times more likely to be victims of violent crime than they are to be the perpetrator. Convenient as it is blame the violence on mental illness, doing so risks further stigmatization of mental illness and subsequent failure for persons who need mental health care to seek treatment.
Giving Meaning to the the term "Meaningful Progress"
Special education advocates were excited with last March's Supreme Court ruling on Endrew F. v. Douglas County School District and its determination that students must make "appropriately ambitious" progress in their special education programs under the Individuals with Disabilities Education Act (IDEA). Cases are now coming up that will hopefully begin to flesh out the pararmeters of Endrew F and give more defintion to the term "meaningful progress". The Rowley case, which was decided in 1982, provided some guidance on what constitutes progress, but Endrew further refines it and raises the standards of special education for students. This past October, referencing the Endrew case, the Supreme Court remanded a special education case (E.F. v. Newport Mesa Unified School District) back to the lower court not because of the arguments in the case put forth by the parents, but because the Supreme Court wanted the district court to reconsider the case using the new Endrew standard.
Milestones; what are they? We hear about them from the moment our children are diagnosed, for some, born. For most of us, they're not even mile"stones"; they're pebbles, fragments, grains of sand, achievements so small, so tiny, so minuscule that only we notice them. And we keep them to ourselves, afraid some "professional" "paraprofessional," "pseudoprofessional," or interfering busybody might discount them into oblivion.
I myself, have given credence to too many naysayers, too often, for too much. I've wallowed in the aftermath of the dream-stealers, driven to sitting in the corner with a can of Reddi Whip, jar of fudge, half-gallon of low-fat ice cream, a serving spoon, and no bowl, recalling the compilation of shortfalls, failures, and stagnations, silently crumbling. I have been robbed of the "bragging rights" so richly enjoyed by parents of the Gymboree, beauty pageant, geniuses, only to be replaced by a pity party award, from a contest I refuse to enter.
Raising a child with a disability can be fraught with seemingly endless periods of hopelessness. You bargain away abilities, offering them up to the Universe, in exchange for some other certainty, only to realize there is no certainty in disability -- except for one: individuals with disabilities don't fit the mold. And because they don't, school staff, career counselors and even parents, oftentimes give up all hope of pointing them toward a happy, successful and fulfilling life. More importantly however, it is because individuals with disabilities are individuals, they should be seen, treated, and encouraged as such. Paths should fit the individual, and measures of success should be uniquely calibrated.
This weekend, I hit a milestone of my own; I experienced what it was like to be proud of my son. Pure pride! Not the kind of pride mixed with an apology, nor the kind of pride you need to over-explain, or over-justify, for an outsider to even try to pretend to validate, but the kind of pride with which I'd never expected my family and I would be blessed. It is because of this experience, and in hopes of inspiring other parents, especially those at the beginning of their journey, or wallowing at the local Dairy Queen, that I wanted to share my steadfast belief that we need to pound their outdated mainstream, traditional, milestones into rubble, and create non-conventional pillars of achievement of our own.
My son, now 25 years old, along with other highly-talented, edge-pushing, opinion-changing artists with disabilities, received recognition for his art in an exhibit at the Ukrainian Institute of Modern Art. The exhibit, entitled A is for Artist, is not a "cotton balls and glue" "good job, Buddy," kind of art show. It is a legitimate display of artistic talent that validates just one of the alternate paths to success that individuals with disabilities are not often told they can take.
Twenty-five years ago, I would never have envisioned that my son would one day have a career, as an artist or otherwise. I feared there was no valued place in society to which he could aspire. And certainly, no persons other than those in his immediate family who would celebrate his contribution to any community. Yet, to my glorious delight, a young woman at the exhibit opening, said the most beautiful, eye-opening, reality-changing words I'd ever heard: "I'm a fan of your son's work." If that's not a reason to change anyone's belief-system toward people with disabilities, I don't know what is.
I have to thank The Arts of Life, a studio for artists with disabilities, for breaking all the rules; for seeing artists as artists, and measuring success as success. And especially for demonstrating that all people are different, but the right to hopes and dreams is universal.
I admit, I am not always a cup half-full kind of person; nor a half-empty either. In all honesty, most of the time, my cup's bone-dry. However, today my hope runneth over. So I wish the best for you and your family. And wherever you are on your journey, please lick your wounds and your spoon, and when you're ready, put one foot, or crutch, or wheel, in front of the other, trusting there will be a fork in the road that takes your child on his or her path -- and hopefully that path will be handicap accessible.
A is for Artist will be open at the Ukrainian Institute of Modern Art in Chicago through November 26. It is an inspiring, uplifting, validating experience, one which you will never forget.
My son Cole and me with one of his three paintings in the foreground.
Another of Cole's paintings above our the heads of our proud family.
The Trump Administration's February 2017 reversal of an earlier Obama decision ensuring that transgender students under Title IX should be allowed to use the school restrooms of the gender to which they identify has thrown school policies with regards to gender identify into flux. The February 22, 2017 "Dear Colleague Letter" stated that the earlier Obama position had wrested the primary responsibility of devising education policy from the states and local school districts. Despite its unhappy conclusion, the letter reiterated the need for protecting transgendered students from both bullying and harassment. It is highly questionable, however, if those words have any actionable meaning.
On Monday, the U.S. Senate will begin debate its bill, the Better Care Reconciliation Act, to replace the Affordable Care Act. The bill is being touted as better than the House bill but in terms of how it fundamentally alters Medicaid it is much worse. The Senate bill makes historic changes in how states are reimbursed for Medicaid and would place a per capita cap on the federal match. The shift to a per capita cap creates incentives for both federal and state governments to alter definitions and eligibility criteria for Medicaid including how they would define persons qualifying with a disability. This will place millions of children and people with disabilities at risk of not qualifying for any coverage. The change will force states to balance their budgets with much less federal Medicaid funding over time forcing cuts to Medicaid across the board.
This bill threatens access and support to services for tens of millions of families including those who rely on Medicaid services for their children at school. Also, districts use Medicaid to pay for school nurses, counselors, psychologists and other trained professionals that help all children. These positions and the services they provide will be in jeopardy if this bill passes, as states struggle to make up the loss of funds.
Visit your Senators home office this weekend, make a call, send an email or use social media to say NO to the Senate health care bill.
To learn more about COPAA's opposition to fundamental changes to Medicaid because of the impact on children with disabilities, visit our Medicaid in Schools http://www.copaa.org/page/Medicaidinschools page.
Please reach out to your Senators before next Tuesday, June 27th!
The following is a reproduced statement as to the critical need to save Medicaid from Trumpcare.
The American Health Care Act (AHCA) jeopardizes healthcare for the nation's most vulnerable children: students with disabilities and students in poverty. Specifically, the AHCA reneges on Medicaid's 50+ year commitment to provide America's children with access to vital healthcare services that ensure they have adequate educational opportunities and can contribute to society by imposing a per-capita cap and shifting current and future costs to taxpayers in every state and Congressional district. While children currently comprise almost half of all Medicaid beneficiaries, less than one in five dollars is spent by Medicaid on children. Accordingly, a per-capita cap, even one that is based on different groups of beneficiaries, will disproportionally harm children's access to care, including services received at school.
The U.S. Supreme Court just issued a huge victory for parents in resetting the Rowley standard for the first time in more than 30 years. See decision--http://www.scotusblog.com/case-files/cases/endrew-f-v-douglas-county-school-district/.
The Court ruled that schools to "meet its substantive obligation under the Individuals with Disabilities Education Act, a school must offer an "individualized education program" reasonably calculated to enable a child to make progress appropriate in light of the child's circumstances." While full parameters of this ruling will be played out over years, this decision soundly rejects the minimal standard that the school district argued and raises the standard for an education for students with special needs. Stay tuned as there is certainly more analysis that will be forthcoming.
The U.S. Department of Education in January 2017, just released a very comprehensive guide to transition services. Download Postsecondary-transition-guide-2017-3. Transition planning is one of the most vital functions of having an IEP for all students. An IEP is not an ends in itself, it is a means to an ends--called adult life. Too often schools take a very narrow and parochial view of their responsibilities to transitioning students. Trips to the grocery store several times a week and preparing meals the remainder of the week are too often the beginning and end of transition programming. I firmly believe that students need to master functional schools, but it cannot be one size fits most, and there has to be more content if a student is going to make a meaningful transition to adult life. Parents need to read this guide prior to their next transition meeting and bring it to the meeting to move the discussion towards outcomes and programs that the school will never offer, without significant advocacy from a parent, advocate or attorney. This guide will provide both the legal and conceptual framework needed to solidly ground those arguments. Good luck and keep advocating.
The U.S. Supreme Court just issued a victorious ruling for parents in Fry v. Napoleon Download Fry decision that will open up avenues of judicial enforcement of rights without the need for taking cases through due process first, and then seeking redress in court, provided that the issues presented are not redressable under IDEA. The Court specifically held:"[e]xhaustion of the IDEA's administrative procedures is unnecessary where the gravamen of the plaintiff's suit is something other than the denial of the IDEA's core guarantee of a FAPE." Frequently parents in my office are seeking to bring a separate action in court for denial of 504 rights to access or discrimination under ADA, but are deterred given the need to first have an expensive adjudication in an IDEA due process proceeding. This decision gives the parents another significant litigation avenue to either pursue a hearing or possible settlement. The full scope and ramifications of this decisions will be unfolded as lower courts flesh out this decision but it is a happy day for parents; and goodness knows we could use some good news.


According to a new consumer report from Mortgage Professionals Canada, the soaring cost of rent is making it more cost effective to own a home, now and in the future.
The report, Owning versus Renting a Home in Canada, compares the expected costs of housing for Canadians that rent versus those that own a home. In the 266 scenarios discussed in the report, which were taken from a broad cross-section of regions throughout the country, the current monthly cost of home ownership is actually lower than the cost of renting equivalent housing in the majority of cases, and becomes even more cost-effective over time.
Although more Canadians are becoming used to the idea that they may never be able to own a home and become lifelong renters, the report suggests that those who do have the opportunity to invest in home ownership will be significantly better off long-term. The study compares the costs of renting five and 10 years in the future.
For example, the report finds that if mortgage rates remain at 3.25 per cent, in 10 years the cost of ownership (on the net basis that takes out principal repayment) will be lower than the cost of renting in almost 98 per cent of cases. On average, the net cost of owning will be $1,295 less than the monthly cost of renting an equivalent residence. If the interest rate increases to 4.25 per cent after 10 years, the cost of ownership is less than the cost of renting in 92 per cent of case studies, with an average saving of $1,014 per month. Even with interest rates rising to 5.25 per cent in 10 years, home ownership will be less expensive than renting in 82 per cent of cases, saving home owners about $726 per month compared to renters.
The report notes that in all 266 scenarios, once a mortgage has been fully repaid, the cost of owning a home will be significantly lower than the cost of renting. In 25 years, on average, the cost of owning is projected at $1,549 per month, compared to $4,655 for renting an equivalent residence.
In addition, after reviewing data from Statistics Canada on wealth in the country, the report finds that homeowners are in better shape financially compared to tenants who are similar in age and level of income.


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Luton Junior School is a Primary School located at the heart of Chatham, Kent. Pupils join Year 3 at the age of seven, and stay at school for four years, leaving at the end of Year 6, when most pupils are aged 11.
Our relationship with the school began at the beginning of 2016, with a few pieces of print and creative design work. As our working relationship continued to grow, so we won some larger contracts with the school, including a redesign of their website, which they felt was not a true reflection of the ethos and vision the school wanted to portray. The brief was to build a friendly, child-centric website that was clear and easy to navigate, but which met all requirement for a school website as set out by the governing body, Ofsted.
It also needed to be content manageable so that teaching staff could post regular image galleries of the children's learning, messages and latest news articles for parents, as well as homework projects, bi-monthly newsletters, and information about school trips, clubs and extra-curricular activities. The later was neatly contained within a comprehensive event calendar, which gives detailed information about the trips, as well as syncing with parents own personal calendars.


The Bachelor of Arts in Teaching English as a Second Language provides students with a broad understanding of both theory and practice in language studies, pedagogy and culture.
Students gain mastery in implementing their skills in varied second-language teaching contexts; in addition, they can observe and participate with international learners in a state-of-the-art technology classroom. Students completing their practicum work in Dresden, Germany, receive a Certificate in Teaching English as a Foreign Language. Students can additionally work toward state teacher licensure by completing the Education minor.
The Department of English also offers a Certificate in Teaching English as a Foreign Language.
Students interested in teacher licensure must contact the TESL coordinator within the Department of English for advising to complete the education minor.
To make an advising appointment with a faculty advisor, please call 330-672-1707.


An extra long show for your listening pleasure! We spotlight Charles Band's Evil Bong, Review William Castle's Homicidal, discuss the meaning of "Great" horror films, and give you the important news and upcoming DVD releases. Plus, we review two short films by Scott Goldberg.


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Fee Waiver Information
WHO QUALIFIES FOR APPLICATION FEE WAIVER?
Students who wish to apply to the University of Utah but for whom the application fee is a financial burden may request an application fee waiver. You may qualify for a fee waiver based on, but not limited to, any of the following circumstances:
You have submitted a Free Application for Federal Student Aid (FAFSA) and are eligible to receive a Federal Pell Grant.
You have received or are eligible to receive an ACT or SAT testing fee waiver.
You are eligible to participate in the Federal Free or Reduced Price Lunch program (FRPL).
Your family's annual income falls within the Income Eligibility Guidelines set by the USDA Food and Nutrition Service.
You are enrolled in a federal, state, or local program that aids students from low-income families (e.g. TRIO programs such as Upward Bound).
Your family receives public assistance.
You live in federally subsidized public housing, a foster home, or are homeless.
You are a ward of the state or an orphan.
Vocational Rehabilitation or Veteran's Administration is paying part or all of your educational expenses.
Your familial circumstances make the application fee an excessive burden.
How to Apply for an Application Fee Waiver
You may submit documents in person at our office, by fax, mail, or email attachment via UMail account.
Once this documentation has been received and reviewed, an application fee waiver may be granted. Use our application tracker to track the status of your application fee.
Freshman Applicants:
Complete the top portion of the NACAC Freshman Fee Waiver Form and have an authorized school official such as a counselor or principal fill out the bottom portion.
You may also submit one of the following instead of the NACAC form:
Proof of government assistance such as food stamps, enrollment in a low-income assistance program like TRIO or Upward Bound, or eligibility for reduced-price school lunches.
A copy of your ACT or SAT testing fee waiver.
An official letter printed on letterhead from a school counselor, employer, or ecclesiastical leader attesting to your financial situation.
Non-Freshman Applicants:
If you are Pell Grant eligible:
Complete the first page of the NACAC Transfer Fee Waiver Form and have an authorized official such as a college counselor or financial aid representative complete the second page. Alternatively, you may submit a PDF copy of your Student Aid Report (SAR). You can retrieve the PDF by logging into your FAFSA account.
If you are not Pell Grant eligible:
Complete the first page of the NACAC Transfer Fee Waiver Form. You must also submit supporting documentation, including but not limited to:
Proof of government assistance such as food stamps or enrollment in a low-income assistance program like TRIO or Upward Bound.
Fee Waiver Processing
admissions_feewaiver@utah.edu

redpajama_set_name: RedPajamaCommonCrawl


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Home Biology News
Scientists Assumptions Were Wrong About Cell Mitochondria – They Work More Like Tesla Battery Packs
TOPICS:Cell BiologyMitochondriaUCLA
By Sarah C.P. Williams, UCLA October 15, 2019
Mitochondria (red) are organelles found in most cells. They generate a cell's chemical energy. Credit: NICHD/U. Manor
For years, scientists assumed that mitochondria — the energy-generating centers of living cells — worked much like household batteries, generating energy from a chemical reaction inside a single chamber or cell. Now, UCLA researchers have shown that mitochondria are instead made up of many individual bioelectric units that generate energy in an array, similar to a Tesla electric car battery that packs thousands of battery cells to manage energy safely and provide fast access to very high current.
"Nobody had looked at this before because we were so locked into this way of thinking; the assumption was that one mitochondrion meant one battery," said Dr. Orian Shirihai, a professor of medicine in endocrinology and pharmacology at the David Geffen School of Medicine at UCLA and senior author of the study published on October 14, 2019, in EMBO Journal. It is also not a coincidence that this has taken place in California, where an electric vehicle revolution has made its impact everywhere on the University of California, Los Angeles campus.
Mitochondria are one type of organelle — tiny structures that perform specific functions within a cell. All cells in the human body, except for red blood cells, contain one or more — sometimes several thousand — mitochondria. These organelles have a smooth outer membrane and a wrinkled inner membrane that has folds, called cristae, extending toward the mitochondrion's center. Until now, researchers thought that the purpose of the inner membrane's wrinkly texture was simply to increase the surface area for energy production.
"Electric vehicle engineers told me about advantages of having many small battery cells instead of one large one; if something happens to one cell, the system can keep working, and multiple small batteries can provide a very high current when you need it," Shirihai said.
Tesla vehicles, for instance, are powered by 5,000 to 7,000 small battery cells, depending on the car model. The small batteries, arranged in a large grid, let the vehicles rapidly charge, efficiently cool and quickly use a large amount of power to accelerate.
Shirihai, using conventional microscopy, had been seeing that cells function well with a small number of very long mitochondria, which did not match the idea of many small batteries. He started to wonder whether each mitochondria really was a single large battery.
Shirihai and colleagues faced a difficult challenge to develop an approach to map the voltage on the membrane of mitochondria in living cells at a resolution never seen before. Two students, Dane Wolf and Mayuko Segawa, optimized a form of high-resolution microscopy to visualize the interior of mitochondria and watch energy production and voltage distribution inside the organelle.
"What the images told us was that each of these cristae is electrically independent, functioning as an autonomous battery," Shirihai said. "One cristae can get damaged and stop functioning while the others maintain their membrane potential."
Between each cristae, where the inner membrane of the mitochondria loops back outward, clusters of proteins form the boundaries of each cristae. Researchers knew that without these proteins, mitochondria were more sensitive to damage. Now, Shirihai has explained why: The proteins normally divide each cristae from their neighbors, acting as electrical insulators. In cells lacking those proteins, Shirihai found that each mitochondria became one giant battery.
"The battery experts I had originally talked to were very excited to hear that they were right," Shirihai said. "It turns out that mitochondria and Teslas, with their many small batteries, are a case of convergent evolution."
The discovery may help lead to a new understanding of mitochondria's roles in aging, disease and medical complications, the researchers said. The authors note that many medical conditions are associated with severe disturbances in cristae structure.
Dr. Shirihai is a co-corresponding author of the paper, along with Marc Liesa, assistant professor of medicine at UCLA. Wolf and Segawa are first authors.
Funding for the study was provided by the National Institutes of Health, National Cancer Institute, National Institute of Diabetes and Digestive and Kidney Diseases, Deutsche Forschungsgemeinschaft and Heinrich Heine University Düsseldorf.
Reference: "Individual cristae within the same mitochondrion display different membrane potentials and are functionally independent" by Dane M Wolf
Mayuko Segawa, Arun Kumar Kondadi, Ruchika Anand, Sean T Bailey, Andreas S Reichert, Alexander M van der Bliek, David B Shackelford, Marc Liesa and Orian S Shirihai, 14 October 2019, EMBO Journal.
DOI: 10.15252/embj.2018101056
New Battery Design Extends the Life of Low-Cost, Lightweight Batteries
Biologists Discover Pathway That Protects Mitochondria
New Battery Could Overcome Key Drawbacks of Lithium-Air Batteries
Viruses Attack Mitochondria to Travel and Spread Within the Nervous System
Using X-Ray Imaging to Help Improve Lithium-Sulfur Battery Technology
New Battery Design Cuts Lithium-Ion Battery Cost in Half
Scientists Discover a High-Performance, Low-Cost Sodium-Ion Battery
Using RNA Import to Repair Mutations in Human Mitochondria
1 Comment on "Scientists Assumptions Were Wrong About Cell Mitochondria – They Work More Like Tesla Battery Packs"
TY | October 16, 2019 at 10:16 am | Reply
mitochondrion; (pl. mitochondria)


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Home / Posts tagged "dead"
Rapper PnB Rock fatally shot during robbery in Los Angeles popular restaurant.
PnB Rock has died at the age of 30 after being shot in Los Angeles today.
Source: XXLMag
On Monday (Sept. 12, 2022), the Philadelphia rap-crooner, born Rakim Hasheem Allen, passed away after succumbing to gunshot wounds he suffered during a reported attempted robbery at Roscoe's House of Chicken 'N Waffles, according to the Los Angeles Times this afternoon.
Los Angeles Police Department Capt. Kelly Muniz did not initially identify PnB Rock as the victim. Based on the Times' report, the shooting transpired at 1 p.m. at Roscoe's House of Chicken 'N Waffles located on Main Street and Manchester Avenue in Inglewood. The victim, now identified as PnB Rock by police sources per the Times, was transported to a hospital and was pronounced dead at 1:59 p.m.
Muniz stated that the suspect, who doesn't appear to be in custody as yet, brandished a weapon inside the restaurant and demanded items from the rapper. TMZ reported that PnB was targeted for his jewelry and that the robber removed the jewelry from the rapper before fleeing the scene.
"He shot the victim and ran out the side door to a getaway car and then fled the parking lot," Muniz said.
News first broke regarding PnB Rock being shot this afternoon, after a grisly video surfaced on social media that was purported to be from the scene of the crime. The rapper appeared lying in a puddle of blood. The incident reportedly occurred at a Roscoe's House of Chicken 'N Waffles location in Inglewood, Calif. while PnB and his girlfriend were there enjoying a meal. In the harrowing clip, witnesses try to assist the rapper by putting towels on his wounds. According to reports, shortly afterward, he was transported to a local hospital. He did not survive.
PnB Rock officially jumped into the rap game with his debut mixtape Real N*gga Bangaz in 2014, and stood out due his brand of trap R&B. A year later, he secured a deal with Atlantic Records following his breakout moment with the 2015 track "Fleek." His 2016 song, "Selfish," peaked at No. 51 on the Billboard Hot 100 chart. In 2017, he was part of that year's XXL Freshman Class and put out the mixtape GTTM: Goin Thru the Motions and debut album, Catch These Vibes, which was followed by the 2019 LP, Trapstar Turnt Popstar.
Recently, he'd been bouncing back after going through some serious legal issues in 2019. Last December, he released the EP 2 Get You Thru the Rain. He put out his most recent single "Luv Me Again" earlier this month as an independent artist no longer signed to Atlantic.
Read More: PnB Rock Dead at 30 After Being Shot in Los Angeles – Report – XXL | https://www.xxlmag.com/pnb-rock-dead/?utm_source=tsmclip&utm_medium=referral
Categories: Announcements, News, What's New
Tags: crooner, dead, hip hop, music, news, pnb rock, rakim allen, rap, rapper, remix, remixes, rest in peace, rip, roscoe's, shot


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UNC community reacts to suspension of Alert Carolina cluster notifications
Photo by Parker Brown | The Daily Tar Heel
DTH Photo Illustration. A student looks at the latest Alert Carolina notification about a cluster at Cobb Resident Hall. The university will no longer send Alert Carolina notifications about clusters on campus, UNC announced on Friday, Aug. 28, 2020.
By Rachel Crumpler
August 31, 2020 | 9:09pm EDT
The University announced Friday that it will no longer use Alert Carolina messages to inform the campus community about new COVID-19 clusters. Instead, information about clusters will be provided on the Carolina Together website and University social media.
Students and faculty say they are confused by this decision and view the communication change as a step backwards for transparency, which they said had already been lacking throughout the reopening process.
"Why are you giving me that added task of going to a website and hitting refresh?" Deb Aikat, a journalism and media professor and member of the Faculty Executive Committee, said. "This doesn't make sense and I sincerely feel this is against the culture of transparency that we aspire."
Skyler Singleton, a senior majoring in political science and history, said she is concerned this new method of communicating clusters will be less equitable and timely.
While the University will still be sharing the information, she said it will be in a less visible way that adds responsibility onto students, faculty and staff to seek out the information themselves by regularly checking the Carolina Together website and University social media — something that is not already part of her daily routine.
"This change in our communications in no way diminishes the University's sense of urgency in ensuring that this information is shared in a timely, transparent and accessible fashion," Vice Chancellor for Institutional Integrity and Risk Management George Battle said in an email Friday.
Since Aug. 14, the University has sent nine Alert Carolina messages notifying the campus community of 12 COVID-19 clusters at on-campus and off-campus housing affiliated with the University.
The most recent cluster was identified at Cobb Residence Hall on Aug. 27 and announced via Alert Carolina. Yet the following day, the University announced Alert Carolina would no longer be used for the purpose of communicating clusters.
The Friday email said the Alert Carolina Emergency Notification system is meant to communicate the most critical and urgent information for the safety of the campus and that the University is following best practices in its use.
Singleton said she found the Alert Carolina messages helpful as it made her aware of clusters in real time.
UNC Media Relations said in an email statement that the University believes now is an appropriate time to move away from using the Alert Carolina emergency notification system due to the de-densification of campus, the downward trend in the positivity rate and widespread awareness among the campus community about the presence of COVID-19.
"It is equally important to avoid the campus becoming desensitized to the alerts," UNC Media Relations said.
Approximately 1,000 students remain in campus residence halls and "the positivity rate for COVID-19 cases has decreased to 10% during the past three days," according to the Friday email.
The positivity rate for the week of Aug. 24 through Aug. 30 was 29.2 percent, a decrease of three percentage points from the previous week, according to UNC's COVID-19 dashboard.
UNC Media Relations also said the decision was made in consultation with Margolis Healy — a consulting firm for Clery Act compliance matters — the Department of Education, University leadership and campus security officials.
Joseph Richards, a graduate teaching fellow in the Department of Communication, said they do not understand the change since the pandemic and threat of clusters is still ongoing.
Richards said they believe Alert Carolina messages about clusters remain necessary for the health and safety of students, faculty and staff in the middle of a pandemic.
"I feel like by putting the information where you essentially have to go digging for it yourself, it feels completely like a public relations move," Richards said.
Aikat agreed that the decision to stop Alert Carolina messages about clusters does not make sense. He pointed out that in January a notification was sent to inform the campus community when one student got the mumps — but will no longer be sending messages about infections impacting more people.
Singleton said it seems that the University has devalued the significance of new clusters.
"I really think that getting rid of the Alert Carolina updates is going to make it so people feel like COVID doesn't exist here, and that COVID isn't an issue at Chapel Hill, when it still will be," Singleton said.
UNC Media Relations said the University will remain in compliance with the Clery Act as it shifts its cluster communication methods. If the current situation evolves to be a serious and significant threat to the health and safety of those who remain on campus, the University will return to using Alert Carolina to announce new clusters, Media Relations said.
university@dailytarheel.com
Next up in Campus
Family Health Options Kenya representatives talk effects of Global Gag Rule
Three student body candidates debate for the last time
Carolina for the Kids dances its way to fundraising record
Next up in 2020 Coronavirus Outbreak
North Carolina reports first case of coronavirus in Wake County
Editorial: A test of pandemic control
Students returning from coronavirus-afflicted nations may be asked to self-quarantine


So far John Dooley has created 10 blog entries.
Due to the conditions of the Newcastle Academy site and it's surrounding area, we have made the decision to close for today. The health and safety of our students and staff has to be our top priority. Thank you for you cooperation.


text:
Arts Talk Magazine, 21 July 2018
Yannik Eisenaecher
Wagner: Parsifal, Bayerische Staatsoper, ab 28. Juni 2018
PARSIFAL at Munich StaatsOper
Wagner as you have never heard him before.
This new Parsifal production in Munich was one of the most anticipated opera premieres of the year: Kirill Petrenko, the future chief conductor of the Berliner Philharmoniker assembled a star-studded cast to attack Wagner's great final work, including Nina Stemme as Kundry, Rene Pape as Gurnemanz and Jonas Kaufmann in the title role. The world-famous artist Georg Baselitz designed the decor.
Baselitz famously said that he wanted to "turn the piece onto its head" in his new Parsifal production in Munich. With the help of the formidable genius of Kirill Petrenko, he has indeed managed to realise a new, revolutionary Wagner. An opera production is defined by the conceptual forethought that it is built around, and when an ensemble of the quality of the one in Munich puts all of their artistic energy into realising that concept, we are nearly guaranteed a special night with the new Parsifal of the Bavarian State Opera.
This Parsifal demands substantial effort and time to understand it, I needed the entire first act to realise it's scope. For most of the first act, I did not understand Petrenko's conducting, was surprised by modern tempi paired with a lush, old-fashioned orchestra using their whole bow for every note. With unusual accentuations, the whole thing appeared to me as a long, dull quest for the most intricate details of the score, which almost always goes wrong with Parsifal, a piece that demands one singular vision in its interpretation. I was missing the emotional basis that is found everywhere in Wagner's music. When even the transfiguration music was done by Petrenko in the same manner- uncomfortable, unusual accents, reposeful dynamics, never emotional- I realised, that there must be some method to this madness. Petrenko must be aiming for more than to conduct a good Parsifal.
I had never heard Petrenko before, and as a frequent guest of the Berliner Philharmoniker, I was excited as to what their next chief conductor would make out of Wagner's final piece, which I had just heard with the Philharmoniker a few months prior. Throughout the evening, Petrenko completely reversed my opinion, leaving me impressed and breathless: He tries to change how we hear Wagner. We know Wagner's music featuring an emotional force unlike any other from recordings and impressions over decades. Musical motifs work as conduits for journeys into an emotional, sensuous world. The best examples for this approach are the first act of Walküre and the second act of Tristan, both of which get you to the edge of your seat through sheer emotional force. Petrenko tries something wildly different, which I would never have expected a Wagner-conductor to try: He strips Parsifal of all emotion and sensuality. He breaks with the highest law of the piece, he permits no sanctification or consecration in the music at all. Whether in the Good Friday Music, the final chorus or the transfiguration passages. The Flower Maiden's music is the only time where Petrenko ever allows some sweetness, some colour, and only because he has to. Here, the music is simply composed in too sweet and luscious a manner, with obvious, impassible zesty textures. When I realised what Petrenko was doing, I was rooted to my seat: He is walking along a completely new musical path for Wagner. He rips the carefully quilted, well-known and protected emotional Wagner- carpet out from under the listener's feet. And is met by tons of bravi.
Pretty much any artist who has tried to take Wagner into a new direction in the past encountered the stiffest headwind, simply ask Wieland Wagner, Patrice Chereau or Hans Neuenfels. But the public loves Petrenko, because he overwhelms by not overwhelming. This is essential to understand, if you want to get Petrenko's Wagner. Now, of course, if this is your first Parsifal, you might find the piece bland, unordered or colourless. And that makes an interesting statement for when Petrenko conducts Tristan for the first time. But ravish orchestral colours is also not Petrenko's principal goal here. He wants to show us a new way of perceiving Wagner's music, as an expression of our society today: No longer permitting the good old emotional comfort that we are used to, but instead finding new, current perspectives on the work of a great master.
So how does he do it? First of all, this Parsifal is rather quiet, even in the final chorus and Klingsor's fight with Parsifal, the dynamics are remarkably subdued. Instead, Petrenko dives into the score, separating individual woodwind voices from one another, shifting the dynamics in a specific way to make that one exquisite line in the bases audible. What looks like a detail-driven score-excursion is actually painstaking dynamic shifting and balancing within the orchestra. Petrenko really is a dynamic architect, teaching his orchestra to vary in the pianissimi, rather than in louder dynamics and taking back the choirs as well. Combine all of that with faster tempi that remind of Rattle and Boulez, and Petrenko sucks all the emotion out of the piece. He introduces a completely new conceptual thinking of the piece, which he executes so daringly and perfectly, that you really have no other choice but to shout "bravo" at the end.
To execute such a daring project, Petrenko needs an exquisite ensemble. While not all singers catch on as well, three of them do stand out as musicians who have inhaled Petrenko's concept.
In his role-debut as Amfortas, Christian Gerhaher fits most cleanly into Petrenko's vision: His singing is of an astounding clarity, the emotions come out of the simple notes, rather than might in the voice, vibrato or interpretation. I am reminded of the great Günther Wand's advice on Bruckner; He famously said to the Berlin Philharmonic in a rehearsal: "Please do not interpret the music!" When it comes to emotional acting, Gerhaher is remarkably subdued. His Amfortas is transparent, appears calm and resigned and never suffers in the conventional way. Never is there even a trace of baritonal glaze or guttural vibrato. This makes Gerhaher's portrayal distinctly honest and special: While he is not a pure-blooded opera performer and his voice is much softer than that of other bases that have interpreted the role over the years, he takes all of the surplus emotion out of his singing, as Petrenko takes it out of the orchestra.
Wolfgang Koch takes on the role of the demonic villain, Klingsor. Similar to Gerhaher, his voice is clear, transparent and flexible. This Klingsor takes his villainous energy from a grounded, distinctly musical attitude. While still the clear antagonist, he is an honest antagonist who requires no mask to appear scary or menacing. It becomes clear that Petrenko wants the singers to abandon all operatic behaviour, all the usual tricks of emotional grandeur. Instead of grand vocal features, he demands honesty and dynamic repose. Koch executes Petrenko's concept brilliantly and makes the most of his comparatively short time on stage in act two.
And then we have the messiah of the tenor-world, the global star of classical music, Jonas Kaufmann in the title role. It is my first time hearing him tonight. Just like Koch and Gerhaher, he has taken his tenor back a notch, in a role that does not require much Heldentenor-ish staying power in the first place. This makes for even more brilliant music moments: As with all truly great singers, Kaufmann's pianissimi are not of this world, the quiet endings of his passages are the high points of the evening when it comes to singing. He has that irresistible timbre somewhere between Tenor and Baritone, which still allows for incredible dynamic outbursts in "Amfortas, die Wunde!". His Parsifal is truly pure, innocent and withdrawn. He fits into Petrenko's concept wonderfully, but his voice always puts him at center stage, whenever he sings. He is the brilliant tenor of his generation, superior to all others that I have heard in this role (Ventris, Skelton, Schager). His diction is clear as crystal water, the Bavarian "r" clearly discernible here and there. This role fits Kaufmann perfectly and I am astounded after hearing him for the first time.
I have heard Nina Stemme several times, and for some reason she always seems subdued to me in scenic performances as Kundry. Her vocal contribution to the night is, of course, flawless, indeed extraordinary. She also fits wonderfully into Petrenko's concept, her highest notes are clearly audible over of the orchestra like we can expect from the leading dramatic soprano of our time. Many well-deserved bravi for her at the end. But still, her acting seems slightly subdued to me. Maybe that is because I recently rewatched the eternal Waltraud Meier sing the role in the Kufper staging, which was simply spellbinding, or because of Stemme's Nordic coolness. Whichever one it is, I may be missing some charisma in Stemme's acting, but her singing is likely unbeatable.
And then there is René Pape as Gurnemanz. I heard him in the role with Barenboim conducting in April. Together with Barenboim's old-fashioned, slow conducting it became one of the truly great scenic opera performances that I have ever witnessed. But now, Pape had to sing a completely different Gurnemanz: Instead of the slow, authoritarian and majestic grail knight he sung for Barenboim, Petrenko askes him to sing more lyrical, focused on phrasing and feature (same as the other singers) reposed dynamics. Pape indeed tries his best to make the long Gurnemanz monologues as sophisticated and differentiated as possible, but that cannot tarnish the fact that he wields an inherently strong, sometimes elephantine bass voice. Pape's Gurnemanz in Munich is, of course, foot-perfect when it comes to matters of sound and text, he simply does not stand out as much from the rest of the ensemble as others, because it is apparent that a different type of Gurnemanz fits better to his vocal features. His natural Gurnemanz (as I heard it in Berlin in April) reminds more those of vintage greats like Josef Greindl, while the staging and Petrenko's concept could have done well with a bass who has the lyrical approach of someone like Franz-Josef Selig. Pape's Gurnemanz is absolutely appropriate for the festival setting, just not ideal.
To come to the staging: We definitely see traces of Petrenko's radical concept on stage. But there are some traditional features as well. The first act, for a change, is actually set in a forest and Jonas Kaufmann shoots down an actual swan. There is no pantomime or other acting during the prelude and, in the finale, an actual dove (painted by Baselitz) graces the stage. Director Pierre Audi had to convince Baselitz not to make everything dark and boring, but he did take up the suggestion to keep the stage dark and quiet and not to interfere with Petrenko's vision of the piece, but to support it. The movement on stage is creative, moderate, but fitting; only in the third act do Parsifal, Gurnemanz and Kundry stand slightly far apart from one another.
The costumes, by designer Florence von Gerkan, are a real looker in this production. Von Gerkan shows the society of the grail in all its helplessness. Clothes are hanging from the singer's bodies, rather like dead body parts instead of clothes. And then, everyone gets fat and pseudo-naked, which looks questionable, but also serves the overall concept: If you want to turn Parsifal onto its head, what do you do? Well, you transform the Flower Maidens from their usual appearance as images of sex and lust into a naked, fat (possibly raped?) heap of sorrowful bodies. Perhaps exactly because of their radical power, these costumes caused such a scandal.
In act two Klingsor's castle is a painting by Baselitz, which collapses in on itself rather noisily at the end. And in the third act Baselitz and Audi make good on their promise to turn the piece onto its head, as they hang the stage decorations from act one literally from the ceiling in reverse. Interpret that, as you will. For me, the scenery overall contributes to a Parsifal production that challenges our habits in understanding and hearing Wagner, that takes a step towards a new Wagner that few productions have risked before.
So we are left with a highly philosophical Parsifal that features a brilliant conductor and challenges the Wagner lovers of this world: What do they think of their beloved master? Is all of this emotional music really still current? Or do we need something new, a Wagner of the 21stcentury? An interpretation that does not necessarily satisfy old expectations, but exists in its own right? Petrenko manages just that, creating a new Wagner in the master's most sacred piece. With an ensemble of singers unlike any other and the great Jonas Kaufmann at the helm, this is a Parsifal no one is likely to forget.
Now it will be even more exciting to see what will happen, when Petrenko takes over one of the most sound-intensive and emotional orchestras of the world. We are in for exciting times in Berlin.
www.jkaufmann.info


A great story, if total hokum. Yep, it never happened, but you kind of wish it did, and man, the legend sure sells bottles. Most importantly, a bit of license doesn't mean champagne caves aren't magical places. In white-noise silence meters below the region's great houses, racks of the stuff sit in the near-dark and sleeps itself into being. Whispers get channeled crystal-clear through the tunnels. There's a feeling of method and mysticism at work–and that the strange and wonderful are possible down there.
That was my first inspiration for "Stars." Last year I was touring the tunnels below Reims and figured, hey, if other folks can uncork that hype into a good story, so could I. But as champagne needs a second fermentation, so did my idea. Good moments and magically creepy places alone do not stories make. Eventually I had it: if champagne was stars, and if stars can be born, then stars can die. What would be left in the aftermath? Ash, darkness, cold. And memories, for those still condemned to live on anyway. Somebody not quite coming to grips that the party was over.
Enter our POV Carl Haplinger.
Poor Carl thinks he's cursed. Before our tale begins he has made his wine-writing bones accidentally, as a freelancer who offhandedly suggested champagne's mystique is just that—mystique. Hype. Hokum. Not for the savvy buyer. The French are not amused. Enterprising Carl stokes the controversy and his bankroll by going full-on acerbic, with a turn-of-phrase that makes him a must-read columnist. In time he's got the French up in arms and the ghosts of Pérignon and his Benedictines out for revenge from beyond the grave. You and I are likely to call hokum on that last part too, but as the story opens, there's no telling Carl otherwise. He's out of non-dead monk explanations why he's lost his sense of taste.
Burned-out taste buds. For Carl, that's a bland existence and doom for his wine reviews and monthly column. A fine dual prison sentence to inflict upon a semi-disingenuous wine writer. So off I went to explore Carl stuck in the early stages of post-fame.
And it stank. Sure, all early drafts do, but rewriting it simply put air freshener over the stink. It took putting it aside for months to sort through the reasons—I'd written Carl's premise (wine writer has lost taste) and not his story. His descent into tragic hero. I'd run afoul of another dead icon likely not above cursing the foolhardy—Ernest Hemingway, who said that a writer can leave out known story elements…but only if they're known. Good advice, clean and true and well-lit. My not knowing Carl well enough doomed him worse than any pissed-off Benedictine.
An easy fix! all I had to do was chronicle Carl's life-and-times, completely rewrite the first 80%, spend lunches inventing his ascerbic writing style and highlights, change the POV from third to first-person, add the whole Volpeque angle, and switch the setting from Epernay to Reims. Yeah, easy.
For all that, "Stars" got a lot right from its first draft, stink notwithstanding. I worried throughout the story risked highfalutinism and general hoity-toityness. Like a wine snob, a story focused on tasting adjectives and this or that aspect of terroir could fairly be criticized as arch. Fortunately, I have ignorance on my side. Most of what I know about sparkling wine can be summarized like so: it tastes wonderful going down and leaves a distinctive behind-the-brow headache in the morning. Carl's voice and his making light of the very situation helped puncture the snootiness balloon and steer him (I hope) where a story belongs: the human angle of a guy's life turned inside-out. We've all lost things hardwon; we've all had chapters of our lives close behind us for keeps. Carl taps into that universal, even if hundred-buck a bottle wine doesn't.
I'm proud of "Stars" and for how Carl's journey took hold and ended itself in a most unexpected way. Seriously, I jolted in my chair when the story told me its truth. Finding that kind of magic down in the tunnels is what kept me working at "Stars" until it was blended and aged and ready to serve.


text:
Airtel 4G LTE Network In Nigeria, Latest Rollout Update
Airtel's altitude towards 4G LTE services in Nigeria is a real description of the popular saying "the first shall be the last. This is because, Airtel was the first network provider in Nigeria to test-run 4G network in the country way back in 2012 but so far, they have been sleeping and allowed their rivals MTN, Etisalat and even Glo to launch 4G.
Airtel 4G
Well, latest information have it that Airtel 4G LTE Network is now been rolled out in Nigeria and this will be in partnership with ZTE, a Chinese multinational telecommunications equipment/systems company. In other words, ZTE will build their 4G LTE network in Nigeria. But no date for official launch has been fixed as at the time of this publication.
CHECKOUT: List of Phones That Supports 4G LTE in Nigeria
The Managing Director, Airtel Nigeria, Mr Segun Ogunsanya, said on Saturday that the telecommunications company has rolled out Fourth Generation (4G) wireless mobile telecommunications technology in Nigeria.
Ogunsanya said in a statement in Lagos that the roll out of the technology was in partnership with ZTE, a Chinese multinational telecommunications equipment/systems company.
He said that in December, 2012, Airtel was the first telecommunications operator in the country to complete a successful 4G trial in Lagos.
According to him, this is in line with the company's commitment to pioneer innovation and lead a mobile internet revolution in Nigeria.
"This is a new dawn for mobile internet in Nigeria.
"Airtel and ZTE's collaboration to roll out 4G service plan in Nigeria will dramatically improve mobile internet experience for telecommunications consumers across the country.
"Indeed, Airtel is committed to strengthening its position as a true pioneer of innovation in the Nigerian telecommunications domain.
"This is in line with our overall corporate vision of becoming the mobile Internet service provider of first choice for every Nigerian," he said.
MUST READ... How To Know If Your Phone Supports 4G LTE
Regional Vice President of ZTE Corporation, Mr Zhang Ruigang, said that ZTE would cooperate with Airtel Nigeria to build the first-class 4G LTE network and provide the best long term service to Airtel Nigeria.
"4G LTE is a truly global mobile phone standard for advanced mobile broadband.
"Airtel's 4G LTE aims to offer users faster, more reliable mobile broadband internet for devices like smart phones, tablets and laptops," Ruigang said. via
Monday, April 24, 2017WizyTechs4G LTE, Airtel10 comments
Sagacity April 23, 2017 at 1:23 PM
Abdullahi Assalafy April 23, 2017 at 1:56 PM
Good to hear
This particular update has really made my day. I have been waiting for them to officially kick off their 4G LTE in Nigeria
Jagaban April 23, 2017 at 6:35 PM
Good news ,I truly believed that Airtel can do it again if we look at the year 2012 we did it
Sir Mike April 23, 2017 at 9:57 PM
Ok,this great
this is awesome
Thank for the update #wizy
SIR PAUL July 13, 2017 at 8:28 PM
I can't wait for Airtel to launch their 4G network
Rumors making rounds has it that their unlimited data will soon be released and maybe they will also launch their 4G


Texas law recognizes that as lives and circumstances change, court orders may need to be modified. If you or your ex-spouse experiences a substantial change in circumstances, such as the loss of a job or a substantial increase in income, you may need to consider seeking a modification of court orders regarding child support. I am Fort Worth attorney Daniel R. Bacalis, P.C., and I can help you take these changes into consideration.
If your child support or spousal support or maintenance plan is not working, it may be time for the modification of court orders. As a Board Certified family law attorney, I help clients throughout North Texas come up with support plans that work. As the financial situation of you or your former spouse changes, your support payments should change with it.
To modify divorce documents or modification of child support orders, it needs to benefit your children. I will help you understand what is going on in your situation, so you can make the right decision. Sometimes people think they owe for one thing, when they actually owe for something else. These mistakes are much more common when people try to represent themselves. By contacting an experienced family lawyer, you can make sure you get the appropriate modification of court orders.
It may be easier to make an informal agreement, but unless you make appropriate modifications with the court, you will continue to owe support. If you are in jail or out of state, it is important to make the right modifications so you do not owe back due child support payments.
Changes in economic circumstances, like salary, are not the only changes that will affect the lives of your children. You may also seek a modification in your child custody plan. The court generally allows children to decide where they want to live once they reach the age of 12. Your family is not bound by the court's original decision. As circumstances change, the modification of court orders allows for change to occur.
You want what is best for your family. You want what is best for your children. The modification of court orders can protect your rights and provide for your family. Contact me at my Galveston or Hurst, Texas, law office today for a free initial consultation. Please call 817-576-1023.


text:
Q: Inheritance vs mixins in dynamic languages? When should you prefer inheritance patterns over mixins in dynamic languages?
By mixins, I mean actual proper mixing in, as in inserting functions and data members into an object in runtime.
When would you use, for example, prototypal inheritance instead of mixins? To illustrate more clearly what I mean by mixin, some pseudocode:
asCircle(obj) {
  obj.radius = 0
  obj.area = function() {
    return this.radius * this.radius * 3.14
  }

myObject = {}
asCircle(myObject)
myObject.area() // -> 0

A: Use the "Is-a" test.
Inheritance is limited to the case when you can say "Subclass IS A Superclass".  They are the same kind of thing.  "Cheese is a Dairy Product".
Mixins are for everything else.  "Cheese can be used in a sandwich".  Cheese isn't a sandwich, but it participates in sandwiching.
PS.  This has nothing to do with dynamic languages.  Any multiple inheritance language with static compilation (i.e., C++) has the same decision point.

A: Prototypical inheritance is simple. It has a single advantage over mixins.
That is that it's a live link. if you change the prototype everything that inherits it is changed.
Example using pd
var Circle = {
  constructor: function _constructor() {
    this.radius = 0;
    return this;
  },
  area: function _area() {
    return this.radius * this.radius * Circle.PI
  },
  PI: 3.14
};

var mixedIn = pd.extend({}, Circle).constructor();
var inherited = pd.make(Circle, {}).constructor();

Circle.perimeter = perimeter;

inherited.perimeter(); // wins
mixedIn.perimeter(); // fails

function perimeter() {
  return 2 * this.radius;
}

So basically, if you want changes to the "interface" Circle to reflect at run-time to all objects that "use" it's functionality, then inherit from it.
If you do not want changes to reflect then mix it in.
Note that mixins have more purpose than that as well. Mixins are your mechanism for multiple "inheritance".
If you want an object to implement multiple "interfaces" then you will have to mix some in. The one you use for prototypical inheritance is the one you want changes to reflect for at run-time, the others will be mixed in.

A: My horse sense tells me this:

*

*If something is useful across multiple objects or class hierarchies -- make it a mixin

*If something is only useful along a single hierarchy -- use inheritance

Related Notes:

*

*The word "useful" should be taken metaphorically

*For those languages that don't have multiple inheritance, mixins are a good alternative

*PHP 5.4 introduces traits that have goodness from both mixins and multiple inheritance worlds

A: Well, the best example I can give it to you is an Actor for a game which has inheritance for some base stuff but uses mixins/plugins for shared functionality. The shared functionality could be (directly from the source code!):
var plugins = {
    SingleVisualEntity : SingleVisualEntity,
    JumpBehaviour      : JumpBehaviour,
    WeaponBehaviour    : WeaponBehaviour,
    RadarBehaviour     : RadarBehaviour,
    EnergyGatherer     : EnergyGatherer,
    LifeBarPlugin      : LifeBarPlugin,
    SelectionPlugin    : SelectionPlugin,
    UpgradePlugin      : UpgradePlugin,
    BrainPlugin        : BrainPlugin,
    PlanetObjectPlugin : PlanetObjectPlugin,
}

redpajama_set_name: RedPajamaStackExchange


MILWAUKEE -- Valentine's Day is just a few days away! From classic sweets to treats with a twist, C. Adam's Bakery has you covered this holiday -- one of its busiest of the year. Kasey spent the morning at the Milwaukee Public Market with gift ideas for the sweet one in your life.


text:
A celebration of the life and work of Will Vinton
Posted on November 18, 2018 by Lucy Lee
Born: November 17, 1947 in McMinnville, Oregon, USA
Died: October 4, 2018 (age 70) in Portland, Oregon, USA
Will Vinton brought clay animation to the world by revitalizing and revolutionizing it. He was the father of what he called 'Claymation' (which he trademarked in 1978), winning an Oscar and 2 Emmy's and building his Vinton Studios into a $28-million-a-year enterprise, before seeming to lose it all to business tycoons who had nothing to do with film or animation. How did this happen, and what is Will Vinton's legacy to the world?
The story of Will Vinton, is one that echoes the story of animation over the last 50 years. From independent short films exploring new techniques and new ground in the 70's, through to breaking new ground in animated commercials in the 80's then TV series in the 90's, and finally that success attracting the echelons of big business, with their habits of relentless acquisition of smaller enterprises, in order to deliver some quite spectacular feature films. Animation has grown from a small number of experimenting creatives to big business. But what about the characters who started it all, the people who prepared the ground and built an industry? How will we remember them?
<<Find the Will Vinton collectable DVD and comic here>>
Two friends exploring the potential of clay
It started in 1973 when Will and his friend, Bob Gardiner, got together to start looking at the potential of clay for animation in the basement of Will's house, Oregon. They had actually made a film with clay already, a few years before, while Will was at The University of California at Berkeley, and Bob was one of his housemates. This was Culture Shock, which won them an award at Berkeley Film Festival. Although Will was studying architecture, he was encouraged by his father, an amateur filmmaker himself, to go into film making. After graduating he spent a few years working on short films and documentaries, before starting this new project with Bob, one that would change their lives forever.
This new experiment became the short film Closed Mondays, took them a year and a half to make, and eventually won them an Oscar in 1975. In this film we can already see great character and story with a nice twist at the end. Interestingly the first time they tried to show the film, at a local festival in Portland, it was rejected. Not willing to give up he showed it to a friend, who owned a theatre, who as a favour screened it before the feature. The audience loved it, so they started sending it to festivals. From there it won awards throughout the festival world, including Cannes, before its nomination for the Academy Award for Best Animated Short.
A career is launched
At the age of 26, Will Vinton now had the credibility to land himself some commercials and more short films. He and Bob went their separate ways after the next short film Mountain Music in 1976, and he found a new collaborator, Joan Gratz. She worked with him on some of the best films from the studio. His short films show a taste for experimentation and unrestrained fantasy, and at the start he made mostly short films.
These films won many awards, and the commercials too made it possible to start employing staff, the studio was taking shape as a large craftsman's shop. He liked the freedom of being an independent filmmaker and saw the studio as an extended family. By the end of the 1980's the firm had won three Emmy's, had been nominated for four Academy Awards, and he had produced his first feature film The Adventures of Mark Twain (1985). Praised as 'immensely imaginative' by variety, with refined movement and self-assured performance, Bendazzi suggests its probably his finest work (especially The Diary of Adam and Eve)
The studio had worked with some big names, such as Disney (their first outsourced job), Michael Jackson and Bruce Willis. But perhaps the most famous commercial was the California Raisins singing Marvin Gaye's "I Heard It Through the Grapevine" in 1986.
This led to another expansion in the company, bringing Will more and more into a business role. He was the companies creative lead, president and chairman, working in multiple markets; commercial, television, feature, shorts, music video, interactive, merchandising and licencing. His prime-time comedy shows for CBS Network receiving prime-time Emmy's and nominations.
A time to innovate
Even from the start the studio made its own clay product to animate with, to get the colour and ductility needed. Joan Gratz was mixing clay with oil paint and animating it on a glass plane. He wanted to push the medium of clay and its possibilities.
In the 1990's the studio built a CGI division and began combining clay animation with this new technology. This led to the very successful run of M&M's commercials.
But this wasn't the only innovation they were working on. TV series for Eddie Murphy called the PJ's and soon after Gary and Mike, for UPN, were also in development and required another approach to clay animation, this time something he called 'Foamation'. This was ball and socket joint armatures covered with foam latex. This created the sturdier characters needed for the longer production lengths.
A new era begins, and ends
These two series also required the company to grow again, now to 400 employees. But even with a turn-over of $28 million a year, outside investment was needed, and Nike co-founder Phil Knight ended up investing $5 million for a 15% share, and an internship for his son Travis Knight. Travis had had an unsuccessful career as a rapper and was looking for something to be successful at, and in just a few years become one of the best animators in the business.
However things were about to take a turn for the worst. The PJ's show was discontinued, Gary and Mike was cancelled, the advertising industry took a blow, and the company made some bad investments. The company had to dramatically reduce in size, but it had become mismanaged and needed yet more investment. Phil Knight put in more money, but this time for full ownership of the company, and a position on the board for his son Travis.
Just six months later Will Vinton resigned, devastated, with only a $125,000 severance package when just two years earlier his shares were worth $2 million. But what's more, Will's life-long body of work and the trademarks stayed with the company, now belonging to Phil Knight.
For the failing company this was a much needed rescue, as Phil invested a further $180 million into the company, turning it around. Vinton sought damages and sued for his name, and the company was rebranded as – Laika. Soon it released Coraline (2009), then Paranorman (2012), Boxtrolls, and Kubo and The Two Strings.
Vinton starts again
Will Vinton, never one to be beaten, started a new company, 'Freewill Entertainment' a boutique animation and licensing studio. Free from the pressures of big business, he started developing some new films, a comic (Jack Hightower), teaching, and trying a Kickstarter campaign, which unfortunately didn't come to fruition.
Not long after he started a 12 year battle with Multiple Myeloma, and still working on creative projects.
The Will Vinton Legacy
Will Vinton brought clay animation back to life and made stop motion clay and puppet animation a viable contender to drawn animation, which was at the time the main form of animation especially in the commercial sector.
He helped to build a big bucks industry, animation was no longer just an interesting art form, it was everywhere, in advertising, music video, TV… evolving in innovative ways.
Portland is now on the animation map as one of the key places for stop motion animation.
The animation studio mix of short films and commercials is a favourite of many companies as a way of creating opportunities for creative development and innovation, encouraging the feel of a creative hub, rather than a factory.
You can buy a DVD of his feature film The Adventures of Mark Twain, and his comic Jack Hightower.
His children's statement after his passing is an insight into his character:
"Will was the strongest man we have ever known, both in his work ethic and his mental resolve. He always said, "Do good work and everything else will follow," and he never gave up on the things that were important to him. He saw the world as an imaginative playground full of fantasy, joy, and character. He instilled in us the greatest values of creativity, strength, and pride in ones own work. He created stories and characters filled with laughter, music, and powerful lessons that are globally beloved. He brightened any room with his signature mustache, and he continued to make jokes and laugh until the very end. His work will live on in animation history and will continue to inspire creative thinkers and makers." (excerpt)
Documentaries on Will Vinton
Vinton is the subject of the 2019 documentary "Welcome to My Daydream." Trailer:
The 1978 documentary on the early days of Will Vinton Productions can be seen here:
Contributors to this post:
Giannalberto Bendazzi (2016) "Animation: A World History, Volume 2", CRC Press
How the Father of Claymation Lost His Company – Zachary Crockett
Will Vinton, obituary by Erin Nyren
IMDB entry
Animation News Roundup – September'18
The Secrets of British Animation – BBC Four's new documentary
I am so glad you shared all this wonderful information on Will Vinton. This was a wonderful man and all the things he did to make my childhood a wonderful experience I am glad you did this for everyone. This Pioneer of clay animation should have been giving recognition a long time ago with all the years of service he's done. And to overcome near losing his business to become really and very successful.
Thank you but he's very wonderful article.
Thanks Quinn. You are right we need to celebrate the pioneers of animation. Animators rarely get recognition. Although in animation circles there are awards for life time achievement and such, but these are not awards that the general public get to hear about.
Sadly he did lose his studio. But he did continue to work, and start to rebuild his career, but unfortunately for most of that time he was battling with cancer. You can still buy his comic that he made at the time.
Thank you for taking the time to leave this comment Quinn, and I'm glad that you liked his films!
I must say that you did a great job writing this article as I think that Will deserved that. Honestly, I did not know much about him but I heard great stories about this guy. I am glad that I read this article intended to Will Vinton. I will surely bookmark this site and come back for more.
Thanks Daniel. There is a lot more to say about him and his studio. I hope to inspire more people to write what they know about him, because I never got to meet him. His work was incredibly influential, and its important not to loose this part of our animation heritage. It's a shame that there can not be a DVD or channel dedicated to his work, because the copyrights are owned by people who don't care to do anything to give the public access to this important heritage. Luckily some people have uploaded some of these films to YouTube.
Thank you for your comment Daniel.
I heard that Will Vinton was the first Oregonian to win an Oscar, and that his company served as a laboratory and creativity magnet for a generation of portland artists.
I never had a chance to meet Vinton more than in passing, but if the testimonials and condolences that have emerged over the last few months are anything to go by, his was a genuinely generous soul. Thank you for this amazing article.
Thank you Solomon. Yes you are right his studio did draw in some of the best artists, and he was able to give them commercial work, which is absolutely necessary to support creative people! Two notables are Joan Gratz with her painterly work and David Daniels with his 'stratocut' work.
His studio is also instrumental in bringing 3 dimensional animation to the US audience. Europe always had the puppet culture that quickly let to the popularity of puppet animation. But the US did not really see any of this, and the Vinton Studios built and created this audience. We should appreciate Will Vinton when we rave about modern stop motion movies and the films of Laika Studios, because without Will none of it would have been possible, on many levels!
Thank you for taking the time to comment.


text:
Q: What size UIToolbarbutton's icon should be? I'm trying to create a tool bar like below image. Surely I have different buttons and also different icons. But the question is that what size should be the icons that I will use for this buttons?

A: Apple has extensive and very specific guidelines for icons and images in it's iOS Human Interface Guidelines.


NQ Minerals Plc ("NQ Minerals" or "the Company") (NEX: NQMI) (OTCQB: NQMLF) has entered into an agreement to acquire all of the issued and outstanding shares of Keen Pacific Limited ("Keen"), along with its wholly-owned subsidiaries Ivy Resources Pty Ltd and Hellyer Gold Mines Pty Ltd (the "Contract"). The acquisition would see NQ Minerals wholly own the prospective Hellyer Gold Mine in Tasmania, Australia and is in line with the Company's strategy of becoming a near-term revenue generating gold and base metal production company.
The purchase price for Keen under the Contract is AU$20 million in cash plus such number of ordinary shares in NQ Minerals as will give the vendors of Keen 29.9% of the share capital of NQ Minerals as enlarged by (i) the shares issued to the vendors of Keen, (ii) existing warrants and other subscription rights, and (iii) shares (on a fully diluted basis, if in the form of warrants or other subscription rights) issued to providers of finance to fund the cash consideration. The consideration shares are intended to be issued over time, as increases in NQ Minerals' share capital allow without triggering a mandatory offer obligation on the part of the vendors of Keen under the UK City Code on Takeovers and Mergers. The vendors will, at Completion, enter into an orderly market arrangement in respect of their consideration shares for a period of twelve months following Completion, subject to certain customary exceptions.
AU$6,000,000 6% fixed rate loan note issued by NQ Minerals PLC repayable two months after Completion.
NQ Minerals has agreed to grant security to the vendors including over a portion of the issued shares in Keen and its wholly-owned subsidiaries at Completion to secure its obligations under such loan notes.
Completion is conditional on the passing of certain resolutions by NQ Minerals' shareholders. The Contract contains warranties and indemnities in a customary form for a transaction of this nature as well as rights to terminate the agreement in certain circumstances prior to Completion, including for a breach of material obligations which is not remedied within seven days of demand.
NQ Minerals has entered into an AU$8,500,000 loan facility ("Facility") from a New Zealand family office to finance Completion. The Facility attracts an annual interest rate of 12% and is repayable within three years. The Facility is secured on the assets of the Company and its subsidiaries (including Keen and its subsidiaries once acquired), but allows the Company to grant security to other financing parties to raise a further AU$27,500,000. The Facility is conditional, inter alia on the approval of NQ Minerals shareholders and the satisfaction of other customary conditions precedent. The Facility also carries options over 64,300,000 shares in the Company at an exercise price of 8p per share, exercisable for five years. In addition, the lender has the right to appoint a director to the board of the Company and its subsidiaries.
The Company intends to conclude the financing to redeem the AU$13,000,000 fixed rate vendor loan notes, as described above, prior to the shareholder meeting and the circular to shareholders will contain further details.
Roger Jackson, a director of NQ Minerals, is also a shareholder of Keen. As a result, the proposed acquisition is a related party transaction under the NEX Exchange Growth Market – Rules for Issuers and is conditional on shareholder approval under Section 190 of the Companies Act 2006. Mr Jackson has entered into a commission arrangement with the vendors of Keen in relation to the financing of the Hellyer project.
The Directors consider, having consulted with Daniel Stewart, the Company's corporate adviser, that the terms of the related party transaction are fair and reasonable insofar as shareholders are concerned.


Thanks for posting. I watched about an hour live but my connection is poor for live streaming, this is playing well so I will watch it in sections. I said last year, for me, Putin is one of the few true statesmen/women in the world today.
This yearly Q & A is something I wish other leaders or even governments should emulate especially in our so called democracies.
The US empire of ignorance, avarice and belligerence needs to be Put-in its place.
China and Russia are chomping at the bit.
3+ hours, no notes, no teleprompter, talking totally contemporaneously, showing he has much more than a grasp on all subjects… What a memory, what an intelligence. I think the man is a genius.
Vladimir Putin can talk on any topic for nearly four hours straight. Treason May blustered in front of a sycophantic invited audience during the election, dodged the Leaders debate, and skulked into the Grenfell memorial today via the backdoor. Need I elaborate?
The only other modern leader who had the intellect and guile to achieve such an open forum was Hugo Chavez. Both He and Putin leave little room for doubt as to the clarity of their vision as leaders.
By comparison, and due to her status as senior White House correspondent, Helen Thomas was allowed to pose the first question at Barak Obama's initial press conference. Ms Thomas quite simply asked him if there were any countries in the Middle East which possessed nuclear weapons. Of course Obama prevaricated, on a simple yes / no question, so we knew from that point that it was business as usual, and the lies began on the first official statement out of his mouth.
Whatever the shortcomings of the Russian political system may be, we have to remind ourselves that their head of state is prepared to spend several hours answering unscripted questions from potentially hostile journalists. None of our western leaders is prepared to undertake anything even approaching that amount of personal and political risk.
Surely people must realize by now that most of the western "leaders" are just meat puppets. They are mere figureheads, and they just do what they are told to do. This is why it's such a crisis that Trump was elected in the United States, he hasn't been groomed for 40 years to become an compliant, docile, meat puppet.


Ever have trouble connecting to the Net?
Weeks go by and my Internet connection works like a dream. Then one day – like this morning – it takes ages to obtain a connection. And I never know why.
Spare a thought then for the tens of million in the Middle East and Asia who are having trouble now connecting to the Net because of a faulty undersea cable somewhere on the bottom of the Mediterranean. More information here.
This entry was posted on Thursday, January 31st, 2008 at 12:05 pm and is filed under Internet. You can follow any responses to this entry through the RSS 2.0 feed. Responses are currently closed, but you can trackback from your own site.
I'm suspicious of service providers who are not open about the problems they face. Frequently they're unavoidable, or not their fault (BT runs the network infrastructure), so they should shouldn't be hiding information that might be useful.
With ADSL one of the things to remember is that sometimes your ADSL router can have it's connection dropped, so switching it off for a few seconds then back on again can often fix the problem (A bit like a Windows PC! 😉 as it'll reconnect.
So I'd suggest, if you find this sort of problem happens and you never know why, you should give serious thought to changing your ISP. Maybe they'll eventually take the hint!


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Netpress
Home Economic Mandatory masks on Wizz Air flights
Mandatory masks on Wizz Air flights
serjoza.n
Wizz Air low cost airline has announced that as of 1 May it will introduce additional hygiene measures to ensure the health and well-being of its customers and crew.
"In order to make sure that the health and well-being of passengers and crew remain intact, Wizz Air is implementing new protocols – in line with government regulations – to support physical distancing during boarding and enhanced cleanliness on board. As part of the measures to protect the health of the airline's customers and crew, customers should check-in and make any purchases online, such as paying for additional bags, to reduce non-essential interaction at the airport. The use of the self-bag drop kiosks – where available – and fast track security screening at airports, are highly recommended by the airline to further enhance physical distancing during the pre-boarding phase. In an attempt to contain the spread of possible infection, passengers are kindly asked to adhere to the new physical distancing rules both during boarding and disembarkation," Wizz Air says in a statement.
While the HEPA filters of all Wizz Air aircraft filter out 99.7% of viruses and bacteria from the air within the cabin, the crew as well as passengers will be required to wear masks throughout the flight, it adds.
"Cabin crew will distribute sanitizing wipes to each passenger, while the removal of onboard magazines and the encouragement of contactless payment during onboard purchases are measures introduced to minimize physical contact. On flights where load factor allows, the crew will observe seat distancing for passengers," says Wizz Air.
Доколку преземете содржина од оваа страница, во целост сте се согласиле со нејзините Услови за користење.
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Net Press (Macedonian: Нет Прес) is an independent internet news agency in the Republic of North Macedonia. Net Press's primary task is providing news, information and analyses only in Macedonian language. Net Press was founded in January 2007 and is based in Skopje.


text:
Big Deal: Bob Fosse and Dance in the American Musical
Kevin Winkler (Author)
FORMAT
Hardcover$29.95(English)

Paperback$29.94(English)

Bob Fosse (1927-1987) is recognized as one of the most significant figures in post-World War II American musical theater. With his first Broadway musical, The Pajama Game in 1954, the "Fosse style" was already fully developed, with its trademark hunched shoulders, turned-in stance, and stuttering, staccato jazz movements. Fosse moved decisively into the role of director with Redhead in 1959 and was a key figure in the rise of the director-choreographer in the Broadway musical. He also became the only star director of musicals of his era--a group that included Jerome Robbins, Gower Champion, Michael Kidd, and Harold Prince--to equal his Broadway success in films.
Following his unprecedented triple crown of show business awards in 1973 (an Oscar for Cabaret, Emmy for Liza with a Z, and Tony for Pippin), Fosse assumed complete control of virtually every element of his projects. But when at last he had achieved complete autonomy, his final efforts, the film Star 80 and the musical Big Deal, written and directed by Fosse, were rejected by audiences and critics.
A fascinating look at the evolution of Fosse as choreographer and director, Big Deal: Bob Fosse and Dance in the American Musical considers Fosse's career in the context of changes in the Broadway musical theater over four decades. It traces his early dance years and the importance of mentors George Abbott and Jerome Robbins on his work. It examines how each of the important women in his adult life--all dancers--impacted his career and influenced his dance aesthetic. Finally, the book investigates how his evolution as both artist and individual mirrored the social and political climate of his era and allowed him to comfortably ride a wave of cultural changes.
6.2 X 1.2 X 9.3 inches | 1.45 pounds
Genres & Styles - Dance
Theater - History & Criticism
Dance - Modern
Kevin Winkler enjoyed a career of more than twenty years as a curator, archivist, and library administrator at the New York Public Library, prior to which he was a professional dancer. He has published articles and contributed to books on performing arts libraries and archives, LGBTQ performance, films, and dance. He blogs for the Huffington Post and is a MacDowell Colony fellow.
"A fascinating and well-researched book...Essential." -- CHOICE
"This book will be helpful to students, researchers, and educators seeking to trace the historical chronology of choreographers into director-choreographers." -- Phoebe Rumsey, The Journal of American Drama and Theatre
"This is the real deal. An impeccably researched, thoroughly entertaining examination of Fosse's life, legacy, and all that jazz." --James F. Wilson, City University of New York
"Having worked with and been fortunate to be trained by some truly great choreographers/directors-Jerome Robbins, Michael Kidd, Peter Gennaro, Gower Champion-I could not have been luckier to learn yet another great style, Bob Fosse's. A style never explored before: sex appeal, innocence and humor in minimal movements. He himself was a great dancer, one who could dance all styles. In Sweet Charity his choreography ranged from explosive to controlled, precise, focused, tiny movements. People have a tendency to speak of the 'Fosse Style' as only small movements, but he had a wide range that fit his directorial talents. It has been rewarding to learn from Bobby through the years. He is one of a kind, and this book says it all." --Chita Rivera
"A model for how to approach a biography-history of a dancemaker. Patiently, without edge or vulgarity or hype of any sort, the book focuses on Fosse's career-technical details, influences, process, and ideals intact-and it relates Fosse's life honestly yet with full relevance to the work. Furthermore, the larger context of the subtitle is honored as well, in full. It reads as if written with the collaboration of everyone in Fosse's world, including his critics, historians, and audiences. Kevin Winkler's achievement is a Big Deal, indeed." --Mindy Aloff, author of Dance Anecdotes: Stories from the Worlds of Ballet, Broadway, the Ballroom, and Modern Dance
"There are many backstage tidbits sprinkled throughout the entire book, but Winkler is at his best when exploring Fosse's choreographic process through descriptions of the body in motion." -- The Journal of American Drama and Theatre
Books by Lambda Fellows VIEW LIST (171 BOOKS)
VIEW ALL 171 BOOKS


I took this shot on a night when I invited all my Sydney contacts to celebrate 10 years (?) of Overheard Productions. I got one RSVP to say they couldn't come.
UPDATE: REPORTS OF OVERHEARD PRODUCTIONS'S DEMISE HAVE BEEN GROSSLY EXAGGERATED. BY THE OWNER-OPERATOR. AGAIN.
This is a common occurrence, that thing what just happened here about half an hour ago.
After a fairly rugged day, I was choosing to turn off the brain – the analytical, always-thinking, always-connecting, always spotting opportunities or potential brain.
With a remote control device, nay, two remote control devices in hand/s: terrestrial AND satellite television, and the owner had gone to bed with her laptop and dog, so the televisual airwaves and receiving flat-screen monitoring thing were mine, all mine.
And then I happened to look at social media and there it was: a friend was sharing some banal meme about cats or food or hovercraft or I honestly cannot remember what it was. And he was starting into a long line of banter on the same topic.
There's nothing wrong with that. I do it meself. At some great length.


Purpose: Education, Information and Service to the computer community of Sun City Center. Beginners to experts enjoy the programs, classes, and Special Interest Group (SIG) meetings of the Computer Club.
Membership: Participation in the club is open to all residents of Sun City Center and Kings Point. Annual dues include a subscription to the monthly newsletter. Annual dues $25 per family. Sign up in Computer Lab in the Atrium Building.
Meetings: First Wednesday of every month (October through May) at 7:00 PM in the Florida Room. These meetings feature industry speakers covering the latest hardware and software development. Monthly SIG meetings cover topics of interest. Classrooms and a laboratory in the Atrium building east wing are open from 12:30 to 5 PM except Sunday. The facility offers 12 state-of-the-art computers, high-speed Wi-Fi and qualified assistance. Classes range from Introduction to Computers to advanced, application-oriented sessions. A software library and the "help line" provide assistance to members.
Contact: For information on dues, classes and other details, visit the Computer Club Web Site.


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