text:
165.87(2)(b)2. 2. An encounter that resulted in a custodial arrest.
165.87(2)(b)3. 3. A search during an authorized temporary questioning as provided in s. 968.25.
165.87(2)(b)4. 4. An encounter that included the use of force by a law enforcement officer, unless the only use of force was the use of a firearm to dispatch an injured wild animal.
165.87(2)(c) (c) Retention beyond the period determined under par. (a) or (b) may be directed by a law enforcement officer or law enforcement agency, a board of police and fire commissioners, a prosecutor, a defendant, or a court that determines that the data have evidentiary value in a prosecution. A person making a preservation directive under this paragraph shall submit the directive to the law enforcement agency having custody of the record within 120 days after the date of recording.
165.87(2)(d) (d) Data from a body camera used on a law enforcement officer that are used in a criminal, civil, or administrative proceeding may not be destroyed except upon final disposition, including appeals, a determination from the court or hearing examiner that the data are no longer needed, or an order from the court or hearing examiner.
165.87(2)(e) (e) Notwithstanding pars. (a) to (d), data from a body camera used on a law enforcement officer may not be destroyed during the period specified in s. 19.35 (5).
165.87(3)(a)(a) In this subsection:
165.87(3)(a)1. 1. "Authority" has the meaning given in s. 19.32 (1).
165.87(3)(a)2. 2. "Record subject" means an individual recorded by a body camera used on a law enforcement officer to whom all of the following apply:
165.87(3)(a)2.a. a. The individual is depicted in the recording, or the individual's voice is audible in the recording.
165.87(3)(a)2.b. b. The individual's identity is known to the law enforcement agency.
165.87(3)(a)2.c. c. The individual is not suspected of committing a crime or other violation of law in connection with the law enforcement officer's presence in the location that was recorded.
165.87(3)(a)2.d. d. The individual is not a law enforcement officer who was acting in an official capacity, unless a crime or other violation of law has been committed or is alleged to have been committed against the law enforcement officer while the law enforcement officer was present at the location that was recorded.
165.87(3)(a)3. 3. "Requester" has the meaning given in s. 19.32 (3).
165.87(3)(b) (b) Data from a body camera used on a law enforcement officer are subject to the right of inspection and copying under s. 19.35 (1), except as provided in par. (c).
165.87(3)(c) (c)
165.87(3)(c)1.1. It shall be the public policy of this state to maintain the privacy of a record subject who is a victim of a sensitive or violent crime or who is a minor and that access to data from a body camera used on a law enforcement officer that record such a record subject shall be provided only if the public interest in allowing access is so great as to outweigh that public policy. In that case, the record subject's face and anything else that would allow the record subject to be identified may be redacted using pixelization or another method of redaction. The presumption under this subdivision regarding the privacy of a record subject who is a victim of a sensitive or violent crime does not apply if the record subject, or his or her next of kin if the record subject is deceased, does not object to granting access to the data. The presumption under this subdivision regarding the privacy of a record subject who is a minor does not apply if the parent or legal guardian of the record subject does not object to granting access to the data.
165.87(3)(c)2. 2. It shall be the public policy of this state to maintain the privacy of a record subject who is in a location where the record subject has a reasonable expectation of privacy and that access to data from a body camera used on a law enforcement officer that record a record subject in such a location shall be provided only if the public interest in allowing access is so great as to outweigh that public policy. In that case, the record subject's face and anything else that would allow the record subject to be identified may be redacted using pixelization or another method of redaction. The presumption under this subdivision does not apply if the record subject does not object to granting access to the data.
165.87(3)(c)3. 3. If a requester believes that an authority has improperly made a decision to redact or deny access to data under subd. 1. or 2., the requester may pursue the remedies under s. 19.37 (1).
165.87(3)(d) (d) For purposes of requests under s. 19.35 (1) for access to data from a body camera used by a law enforcement agency, the law enforcement agency is the legal custodian of the record, and if any other authority has custody of any such data, that authority is not the legal custodian of that data. If any other authority receives a request under s. 19.35 (1) for that data, that authority shall deny any portion of the request that relates to that data.
165.87(3)(e) (e) Nothing in this subsection prohibits the release of data from a body camera under s. 175.47 (5) (b).
165.87 History History: 2019 a. 108; 2021 a. 240 s. 30.
165.88 165.88 Grants for school safety.
165.88(1)(1) Definitions. In this section:
165.88(1)(a) (a) "Independent charter school" means a charter school established under s. 118.40 (2r) or (2x).
165.88(1)(b) (b) "Private school" has the meaning given in s. 115.001 (3r).
165.88(1)(c) (c) "School board" has the meaning given in s. 115.001 (7).
165.88(1)(d) (d) "Tribal school" has the meaning given in s. 115.001 (15m).
165.88(2) (2) Grants for school safety.
165.88(2)(a)(a) From the appropriation under s. 20.455 (2) (f), the department of justice shall award grants for expenditures related to improving school safety. The department shall accept applications for a grant under this subsection from school boards, operators of independent charter schools, governing bodies of private schools, and tribal schools.
165.88(2)(b) (b) The department of justice, in consultation with the department of public instruction, shall develop a plan for use in awarding grants under this subsection. The department of justice shall include in the plan a description of what types of expenditures are eligible to be funded by grant proceeds. Eligible expenditures shall include expenditures to comply with the model practices created in s. 165.28 (1); expenditures for training under s. 165.28 (3); expenditures for safety-related upgrades to school buildings, equipment, and facilities; and expenditures necessary to comply with s. 118.07 (4) (cf). Notwithstanding s. 227.10 (1), the plan need not be promulgated as rules under ch. 227.
165.88(3) (3) Application requirements. An application submitted for a grant under sub. (2) shall include all of the following:
165.88(3)(a) (a) A school safety plan.
165.88(3)(b) (b) Blueprints or critical incident mapping data for each school building and facility or, if blueprints or the data were already submitted, a certification that the items submitted are current.
165.88(3)(c) (c) A proposed plan of expenditure of the grant moneys.
165.88(3m) (3m) Grants to schools for critical incident mapping data.
165.88(3m)(a)(a) From the appropriation under s. 20.455 (2) (f), the department of justice shall award grants to school boards and governing bodies of private schools to assist them in complying with the requirement under s. 118.07 (4) (cf) to submit critical incident mapping data to law enforcement agencies and the office of school safety.
165.88(3m)(b) (b) The department shall accept applications for the grants under this subsection from school district administrators, or governing bodies of private schools, that are working jointly with local law enforcement agencies with jurisdiction over the school.
165.88(3m)(c) (c) Grant moneys awarded under this subsection shall be used for site-specific critical incident mapping data to enhance security and increase situational awareness for first responders. Any mapping data created with grant money under this subsection shall be compatible with platforms and applications used by local, state, and federal public safety officials; may not require local, state, or federal public safety officials, school districts, or private schools to purchase additional software; and shall include information that can best assist first responders in an emergency, such as building numbers, floors, suite designations, room numbers, or other available relevant location information.
165.88(3m)(d) (d) The department of justice shall submit an annual report to the cochairpersons of the joint committee on finance providing an account of the grants awarded under this subsection and the expenditures made with the grant moneys.
165.88(4) (4) Report. The department of justice shall submit an annual report to the cochairpersons of the joint committee on finance providing an account of the grants awarded under sub. (2) and the expenditures made with the grant moneys.
165.88 History History: 2017 a. 143; 2021 a. 109; s. 35.17 correction in (3m) (c).
165.89 165.89 Grants to certain counties for law enforcement programs.
165.89(1)(1) From the appropriation under s. 20.455 (2) (kq), the department shall provide grants to counties to fund county law enforcement services. The department may make a grant to a county under this section only if all of the following apply:
165.89(1)(a) (a) The county borders one or more federally recognized Indian reservations.
165.89(1)(b) (b) The county has not established a cooperative county-tribal law enforcement program under s. 165.90 with each federally recognized Indian tribe or band that has a reservation bordering the county.
165.89(1)(c) (c) The county demonstrates a need for the law enforcement services to be funded with the grant.
165.89(1)(d) (d) The county submits an application for a grant and a proposed plan that shows how the county will use the grant moneys to fund law enforcement services.
165.89(2) (2) The department shall review an application and plan submitted under sub. (1) (d) to determine if the application and plan meet the requirements of sub. (1) (a) to (c) and the criteria established under sub. (3). The department may not award an annual grant in excess of $50,000 to any county under this section.
165.89(3) (3) The department shall develop criteria and procedures for use in administering this section. Notwithstanding s. 227.10 (1), the criteria and procedures need not be promulgated as rules under ch. 227.
165.89(4) (4) Notwithstanding subs. (1) and (2) and any criteria and procedures developed under sub. (3), the department shall allocate $300,000 to Forest County each fiscal year from the appropriation account under s. 20.455 (2) (kq) to fund law enforcement services.
165.89 History History: 2005 a. 25 ss. 88b, 2086s; Stats. 2005 s. 165.89.
165.90 165.90 County-tribal law enforcement programs.
165.90(1)(1) Any county that has one or more federally recognized Indian reservations within or partially within its boundaries may enter into an agreement in accordance with s. 59.54 (12) with an Indian tribe located in the county to establish a cooperative county-tribal law enforcement program. To be eligible to receive aid under this section, a county and tribe shall develop and annually submit a joint program plan, by December 1 of the year prior to the year for which funding is sought, to the department of justice for approval. If funding is sought for the 2nd or any subsequent year of the program, the county and tribe shall submit the report required under sub. (4) (b) together with the plan.
165.90(2) (2) The joint program plan shall identify all of the following:
165.90(2)(a) (a) A description of the proposed cooperative county-tribal law enforcement program for which funding is sought, including information on the population and geographic area or areas to be served by the program.
165.90(2)(b) (b) The program's need for funding under this section and the amount of funding requested.
165.90(2)(c) (c) The governmental unit that shall receive and administer aid and the method by which aid shall be disbursed. The joint program plan shall specify that either the tribe or the county shall receive and administer the full amount of the aid or that the tribe and the county each shall receive and administer specified portions of the aid.
165.90(2)(d) (d) The types of law enforcement services to be performed on the reservation and the persons who shall perform those services.
165.90(2)(e) (e) The person who shall exercise daily supervision and control over law enforcement officers participating in the program.
165.90(2)(f) (f) The method by which county and tribal input into program planning and implementation shall be assured.
165.90(2)(g) (g) The program's policies regarding deputization, training and insurance of law enforcement officers.
165.90(2)(h) (h) The record-keeping procedures and types of data to be collected by the program.
165.90(2)(i) (i) Any other information required by the department or deemed relevant by the county and tribe submitting the plan.
165.90(3) (3) Upon request, the department shall provide technical assistance to a county and tribe in formulating a joint program plan.
165.90(3m) (3m) In determining whether to approve a program plan and, if approved, how much aid the program shall receive, the department shall consider the following factors:
165.90(3m)(a) (a) The population of the reservation area to be served by the program.
165.90(3m)(b) (b) The complexity of the law enforcement problems that the program proposes to address.
165.90(3m)(c) (c) The range of services that the program proposes to provide.
165.90(4) (4) If the department approves a plan, the department shall certify the program as eligible to receive aid under s. 20.455 (2) (kt). Prior to January 15 of the year for which funding is sought, the department shall distribute from the appropriations under s. 20.455 (2) (kt) to each eligible program the amount necessary to implement the plan. The department shall distribute the aid to the county, the tribe, or both, as specified in the joint program plan. Distribution of aid is subject to the following limitations:
165.90(4)(a) (a) A program may use funds received under s. 20.455 (2) (kt) only for law enforcement operations.
165.90(4)(b) (b) A program shall, prior to the receipt of funds under s. 20.455 (2) (kt) for the 2nd and any subsequent year, submit a report to the department regarding the performance of law enforcement activities on the reservation in the previous fiscal year.
165.90(5) (5) Annually, on or before January 15, the department shall report on the performance of cooperative county-tribal law enforcement programs receiving aid under this section to each of the following:
165.90(5)(a) (a) The chief clerk of each house of the legislature for distribution to the legislature under s. 13.172 (2).
165.90(5)(b) (b) The governor.
165.90(5)(c) (c) The special committee on state-tribal relations under s. 13.83 (3).
165.90 History History: 1983 a. 523; 1987 a. 326; 1989 a. 31; 1995 a. 201; 1999 a. 9, 60; 2009 a. 74.
165.91 165.91 Grants to tribes for law enforcement programs.
165.91(1)(1) In this section, "tribe" means a federally recognized American Indian tribe or band in this state.
165.91(2)(a)(a) From the appropriation under s. 20.455 (2) (kw), the department shall provide grants to tribes to fund tribal law enforcement operations. To be eligible for a grant under this subsection, a tribe must submit an application for a grant to the department that includes a proposed plan for expenditure of the grant moneys. The department shall review any application and plan submitted to determine whether that application and plan meet the criteria established under par. (b). The department shall review the use of grant money provided under this subsection to ensure that the money is used according to the approved plan.
165.91(2)(b) (b) The department shall develop criteria and procedures for use in administering this subsection. The department may not consider the grant under s. 165.91 (4), 2011 stats., when determining grant awards under this subsection. Notwithstanding s. 227.10 (1), the criteria and procedures need not be promulgated as rules under ch. 227.
165.91 History History: 2005 a. 25 ss. 87t to 87v, 2088m; Stats. 2005 s. 165.91; 2007 a. 20; 2013 a. 20, 173.
165.92 165.92 Tribal law enforcement officers; powers and duties.
165.92(1)(a) (a) "Reservation lands" means all lands within the exterior boundaries of an Indian reservation in this state.
165.92(1)(b) (b) "Tribal law enforcement officer" means a person who is employed by a tribe for the purpose of detecting and preventing crime and enforcing the tribe's laws or ordinances and who is authorized by the tribe to make arrests of Indian persons for violations of the tribe's laws or ordinances.
165.92(1)(c) (c) "Tribe" means a federally recognized Indian tribe or band in this state.
/statutes/statutes/165 true statutes /statutes/statutes/165/88/2 Chs. 164-177, Police Regulations statutes/165.88(2) statutes/165.88(2) section true


text:
GUE/NGL MEPs to join protests against undemocratic G20 summit in Hamburg
On the 7th and 8th of July the leaders of the world's largest economies are gathering in Hamburg, Germany for the annual G20 summit. The priority issues on the agenda are climate change, migration and free trade.
GUE/NGL MEPs are expected to join thousands of others to protest controversial world leaders such as Trump and Erdogan and the policies they represent, which have fuelled conflicts, inequality and environmental degradation around the world.
Speaking in this morning's plenary debate with Commission First Vice-President Frans Timmermans and the Estonian Presidency of the EU, GUE/NGL MEP Fabio De Masi warned the leaders of the G20 against the disastrous path they are taking:
"Tax refugees are the most expensive refugees. Up to 30 trillion dollars are stashed away in tax havens. About eight people, according to Oxfam, own as many assets as half the world's population. That's a sick reality."
"We need public investment in housing, schools and universities. However, the negotiations in the EU on a blacklist of tax havens have led to diplomatic horse trading. We need to levy punitive taxes on financial flows into tax havens – both inside and outside the EU," De Masi urged.
"The wars in the Middle East from Afghanistan to Iraq, Libya or Syria have created chaos, state collapse, terror and flight. It's not just bombs that have decimated Africa but also free trade agreements, such as the agreement the EU is pursuing with Japan, following TTIP and CETA."
"Arms exports, cronyism with the godfathers of terror such as Saudi Arabia and Erdogan – the EU's bouncer – have propped-up the Islamic state. But the G20 is now discussing military interventions against refugees and further lazy deals with Turkey and Egypt," the German MEP continued.
MEP Fabio De Masi, a Hamburg native, criticised the whole premise of a G20 summit, saying that these debates belong to the democratic forums of the UN:
"The G20 summit will meet in Germany's most beautiful city. Nevertheless, many will leave the city when Trump or Erdogan visit us. Hamburg – the gateway to the world – will be like an exclusion zone so that protesters do not trouble the heads of state. We do not like shutdowns in Hamburg – as the world-famous Reeperbahn proves every night."
"Of course, heads of state should talk to each other, particularly in crisis periods. But the G20 is negotiating the fate of the world. These debates therefore belong to the United Nations in New York. Then Mr Trump wouldn't have to be far from his golf course."
"Many people will peacefully take to the streets to protest against these policies. GUE/NGL MEPs will join me and others in Hamburg to call for a just and more equal world," De Masi concluded.

redpajama_set_name: RedPajamaCommonCrawl


You're entitled to receive 100% of the benefits payable under the Post-9/11 GI Bill program for training offered by an institution of higher education. We determined this percentage based on your length of creditable active duty service.
To calculate how much you can be awarded, check out the Post-9/11 GI Bill benefits calculator. For those who want to know more about the eligibility requirements, see the VA's Post-9/11 GI Bill's website at gibill.va.gov.
Finally got a letter from the VA regarding my service connected compensation claim. I've been assigned a 30% rating, which I'm not too happy about. It's like they ignored everything that was happening with my leg, and simply looked up what rating was next to "hip fracture." I'm going to meet with the DAV (Disabled American Veterans) this week and file an appeal.
Just got off the phone with the VA. I called to check the status of my claim, and to see if there was anything they needed from me. It's been 4 months since I started the claim, and I haven't heard from them in quite a while. The man I spoke to told me that my claim had just been transferred to ratings. All the paperwork and evaluations supporting my claim will be looked at, and I will be assigned a rating. He said it could be another 1-2 months, but hopefully won't be too much longer.


text:
Brachys intervallorum es una especie de escarabajo joya del género Brachys, familia Buprestidae. Fue descrita científicamente por Hespenheide en 1990.

Referencias

intervallorum

redpajama_set_name: RedPajamaWikipedia


Ashley is the Principal of Burns & Co and is a Licensed Estate Agent in Victoria, New South Wales and South Australia. Ashley is a Licensed Real Estate Agent, Stock and Station Agent, Auctioneer and Business Agent and has recently completed his accreditation for valuations of Chattels, Plant and Equipment, Antiques and Fine Art and is a Licensed second hand dealer.
Ashley is 51 years of age and has had some 30 years experience within all facets of the Real Estate industry and Clearing Auctions. Originally born and bred in Loxton, South Australia Ashley was educated at Loxton High School before carrying out further studies in Adelaide. His Real Estate career began back in 1986 after joining a major Pastoral House where Real Estate Sales and Chattel Auctions were a specialty.
Ashley and his wife Paula arrived Mildura in May 2001 when they purchased the business known as Stockdale & Leggo. The existing business traded under this franchise name until July 2014 when it was rebranded to Burns & Co. Burns & Co reflects the significant expansion and diversification that has been made since we first began way back in 2001 and is much more representative of our complete operation.
Real Estate is and always will be Ashley's and the Companies main focus and really has been the catalyst for expansion into self storage, removals, chattel and machinery auctions and valuations and the trading store which focuses on antiques, collectables and quality second hand furniture.
Ashley is extremely proud of the companies past and excited by its future and assures all past and present clients that Burns & Co will continue to provide real solutions to our ever expanding client base whilst not losing focus on the importance of excellent customer service, competitive fees and charges and a broad base of services related to the real estate industry.
Ashley acknowledges the huge role all current and past staff have had on shaping the business into what it is today…one of Australia's most diverse real estate agency models and says a big thank you to each and every one of them. Ashley also acknowledges those staff that have provided 10 or more years of continued service including Ian Miers, Adriano Aiello, Pam Carter and Tammy Mclean.
Ashley also extends a huge thank you to all past, present and future clients for their loyalty and continued ongoing support and can assure them of excellent service, value for money and attention to detail as Burns & Co moves forward.
Ashley believes in a hands on approach to the management of the business and is actively involved in the listing and selling of properties on a daily basis whilst paying close attention to the property management side of the business along with the other aspects to the Burns & Co range of services.


Produced by TAD Management. TURN THE PAGE is an incredible recreation of the Live Bob Seger Experience performed by the The Sam Morrison Band. Every effort has been made to make sure that each song is performed exactly as you remember it and that it is delivered with all the passion and excitement you would expect in a Bob Seger show.
With over four decades of hit songs and millions of albums sold worldwide, Bob Seger has truly written the soundtrack for our generation. Quite simply, it's the music of working class America. Songs like "Old Time Rock and Roll" and "Night Moves" remind us of everything good about Rock 'N' Roll and proves that Seger deserves his place in the Rock 'N' Roll Hall of Fame.


Svea joined NRG Research Group in March 2016. Svea's interest in research started while conducting interviews for a clinical onsite research project. She gained firsthand experience in field management and data collection integrity in clinical settings working on a two year study for the Centre for Addictions Research of BC. Svea also has years of experience in retail and not for profit environments, in which she developed her skills in presenting and public speaking.
Svea brings strong communication skills and attention to detail to all of her projects. Her years of interviewing contribute to Svea's ability to offer functional feedback during survey development, and she has quickly demonstrated her value in supporting all aspects of the research process.
Svea holds a Bachelor of Arts degree from the University of Victoria, majoring in psychology with a minor in business. Svea enjoys working with children and volunteers at the YMCA when she isn't trying new restaurants and spending as much time near the ocean as possible.


text:
Le Moog Taurus est un synthétiseur analogique fabriqué par Moog Music, conçu à l'origine pour faire partie de la série de synthétiseurs Constellation. Il a la particularité de se présenter sous la forme d'un pédalier d'orgue et excelle dans la production de sonorités de type basse.

Le premier Taurus a été commercialisé à partir de 1975. Six ans plus tard, en 1981, il a laissé la place à une nouvelle version, le Taurus II. Ce second modèle a été produit jusqu'en 1983 seulement. Au lieu d'un clavier classique, le Moog Taurus dispose d'un pédalier semblable au clavier de pédale d'un orgue à épinette. Cette méthode de contrôle a été choisie car le Taurus est sensé être joué avec le pied. Le Taurus complète en effet un système comprenant deux autres synthétiseurs, un polyphonique et un monophonique, dont les claviers occupent normalement déjà les mains de l'utilisateur. Le Taurus embarque un moteur de synthèse simple, optimisé pour produire des basses et donc évoluer surtout dans le registre grave. Le Taurus II sonne un peu différemment et a une palette sonore plus étendue, son architecture étant pratiquement celle du Moog Rogue. En 2010, Moog sort une nouvelle version du pédalier : le Taurus III. Malgré l'ajout de fonctionnalités modernes, celui reprend les circuits du Taurus original et sonne donc de manière similaire.

Le Taurus est principalement associé au rock progressif et a été utilisé par des groupes comme Genesis, Yes, Rush et Dream Theater, entre autres.

Constellation et Taurus
Le Taurus faisait à l'origine faire partie d'un ensemble de synthétiseurs Moog Music appelé la Constellation. En plus du synthétiseur monophonique Taurus consacré au registre grave, la Constellation devait inclure deux claviers : Apollo (synthétiseur polyphonique) et Lyra (synthétiseur monophonique). Le concept de l'ensemble piloté par un seul musicien est le suivant : pendant que l'Apollo et la Lyra sont joués à deux mains, les notes de basse du Taurus peuvent être jouées avec le pied. La configuration Constellation, encore à l'état de prototype, a été utilisée de manière prédominante sur l'album Brain Salad Surgery du groupe Emerson, Lake & Palmer de 1973. Le groupe a également utilisé la Constellation lors de sa tournée ultérieure, mais sans le pédalier Taurus. Le système de la Constellation n'a cependant jamais été totalement finalisé, le projet étant abandonné avant la commercialisation. Des trois éléments séparés de la Constellation, seul un, le synthétiseur Lyra conçu par Robert Moog, n'a jamais été commercialisé. William Alexander, un ingénieur travaillant pour ELP, décrivait la Lyra comme "un Minimoog sur stéroïdes". Le synthétiseur polyphonique Apollo, conçu par David Luce directeur de l'ingénierie de Moog, a été remodelé et considérablement transformé pour finalement aboutir au Polymoog, qui sera produit de 1975 à 1981. Le pédalier Taurus, également conçu par Luce, a quant à lui été commercialisé tel quel de 1975 à 1981, avant de céder la place à un nouveau modèle. La fabrication du Taurus est robuste, ses commandes de programmation fine du son, qui se manipulent à la main, sont notamment protégées par une fenêtre en plastique amovible afin d'éviter toute modification accidentelle par un mouvement de pied intempestif. Le nombre de paramètres est réduit et concerne la hauteur des oscillateurs, la fréquence du filtre, la résonance et les réglages d'enveloppe (filtre et amplificateur). Des commandent plus grandes permettent également de contrôler le son avec le pied en cours de jeu (volume, fréquence du filtre, sélection de préréglages).

Taurus II
Le Taurus II succède au Taurus et sa période de commercialisation va de 1981 à 1983. Le Taurus II utilise le même module de synthèse que son contemporain à clavier classique, le Moog Rogue. Le Taurus II se présente différemment par rapport au Taurus : l'unité de synthèse est en effet désolidarisée du pédalier et peut être relevée en hauteur sur un mat pour un accès direct à la main pendant que le musicien joue avec les pieds. Le nouveau pédalier ne contient plus le moindre contrôle autre que les pédales le composant mais couvre désormais une octave et demi (18 notes). L'unité de synthèse ne propose quant à elle plus de préréglages mais dispose de molettes de modulation et de pitch bend ainsi que d'une interface CV/Gate. Avec notamment une forme d'onde supplémentaire pour les oscillateurs, un LFO et un générateur de bruit, les possibilités sonores du Taurus II sont plus étendues que celles du Taurus original.

Taurus III
En 2010, Moog sort le Taurus III, nouvelle version du Taurus produit en série limitée de 1 000 unités. Selon le chef créatif de Moog, Cyril Lance, une réédition du Taurus était très demandée depuis le NAMM Show 2006, peu après la mort de Robert Moog. En 2007, Mike Adams, PDG de Moog, déclare qu'à partir de 250 unités pré-commandées, le Taurus pourrait être mis en production. Le projet du Taurus III, dirigé par Lance, démarre la même année lorsque le total de commandes atteint effectivement le chiffre de 250 unités. La production cesse en .

Le Taurus III se place dans la lignée du modèle original et est donc plus proche de celui-ci que du Taurus II : l'unité de synthèse retrouve ainsi sa place dans le boitier du pédalier, qui est de nouveau à 13 notes (une octave), les touches de contrôles au pied, notamment pour la sélection des préréglages, font aussi leur retour ; enfin, deux grosses molettes de modulation sont également présentes. La synthèse voit le retour à une seule forme d'onde disponible pour les deux oscillateurs mais des fonctionnalités modernes sont cependant ajoutées, telles que les prises USB et MIDI, des emplacements mémoire pour sauvegarder les programmes et la sensibilité à la vélocité. Le Taurus III ajoute également un arpégiateur et, comme sur le Taurus II, un LFO.

Mode de synthèse
Le Taurus est un synthétiseur analogique monophonique. Sa voix unique comprend deux oscillateurs, un filtre et un amplificateur. Les oscillateurs du Taurus et du Taurus III disposent d'une seule forme d'onde : une dent de scie déformée. Le Taurus II comprend une forme d'onde supplémentaire (rectangulaire) mais la sélection de l'onde est la même pour les deux oscillateurs. Tous les modèles de Taurus utilisent un filtre passe-bas résonant à quatre pôles (24db / octave) avec suivi de clavier. Les Taurus II et III possèdent un LFO (oscillateur basse fréquence) qui peut moduler la fréquence de l'oscillateur et/ou celle du filtre.

Utilisateurs notables
Le Taurus est bien connu pour son utilisation par des groupes de rock progressif, tels que Pink Floyd, Led Zeppelin, Rush, Yes et Genesis.  D'autres groupes, tels que U2 et The Police, ont également utilisé ce synthétiseur. John Hackett est réputé pour jouer du pédalier avec une main tout en modifiant le registre des octaves du Taurus de l'autre main. Le bassiste de Starcastle, Gary Strater, est reconnu pour avoir utilisé deux Taurus sur scène. Le pianiste et compositeur de musique électronique Nils Frahm l'utilise également.

Selon Moog Music, The Black Keys, Todd Tamanend Clark, Animal Collective, Jean Michel Jarre, Steely Dan, Weezer, Dream Theater, Umphrey's Mcgee ou Dave Matthews Band font partie des artistes ayant acheté le Taurus III.

Notes et références

Synthétiseur Moog


text:
Q: How to run Docker Wordpress through php-fpm on nginx? Hey there I tried different things but they lead me to the nginx startpage, error 403 or error 404. I'm currently running Wordpress without php-fpm but it does not work so good so I want to change it but I only got problems while doing it.
My Wordpress Docker-compose (without db):
  wordpress:
    container_name: wordpress
    links:
      - wordpress-db
    depends_on:
      - wordpress-db
    image: wordpress:php7.4-fpm
    ports:
      - 9000:9000
    restart: always
    volumes:
      - /media/storage/wordpress:/var/www/html
      - .secrets/uploads.ini:/usr/local/etc/php/conf.d/uploads.ini
    networks:
      - wordpress
    environment:
      - TZ=Europe/Berlin
    env_file:
      - .secrets/wordpress.env

My nginx compose file:
services:
  nginx:
    restart: always
    container_name: nginx
    image: cptdaydreamer/nginx:latest
    ports:
      - 80:80
      - 443:443
      - 4443:4443
    volumes:
      - /media/storage/log:/var/log/nginx
      - /etc/ssl:/etc/ssl
    external_links:
      - wordpress
    environment:
      - TZ=Europe/Berlin
    build:
      context: /media/storage/nginx
      dockerfile: Dockerfile
    networks:
      - nextcloudpi
      - wordpress
      - matomo
      - php

And now the important part. My nginx configuration:
http {

  server_names_hash_bucket_size 64;

  access_log off;
  error_log /var/log/nginx/error.log;

  autoindex_localtime on;
  #more_clear_headers Server;

  ssl_certificate           /etc/ssl/tld.pem;
  ssl_certificate_key       /etc/ssl/tld.key;

  gzip            on;
  gzip_min_length 1000;
  gzip_proxied    expired no-cache no-store private auth;
  gzip_types      text/plain text/css text/xml application/javascript application/json application/xml application/rss+xml image/svg+xml;
  gzip_disable    "MSIE [1-6]\.";

  proxy_send_timeout 180s;
  proxy_read_timeout 180s;
  fastcgi_send_timeout 180s;
  fastcgi_read_timeout 180s;

  server {
    listen 80 default_server;
    server_name _;
    server_name_in_redirect off;

    location / {
        return 404;
    }
  }

  server {
    listen 80;
    listen [::]:80;
    server_name tld.de cloud.tld.de www.tld.de stats.tld.de;
    return 301 https://$host$request_uri;
  }

  # WordPress

  server {
    server_name tld.de www.tld.de ts.tld.de;

    #access_log /var/log/nginx/wordpress-access.log;
    error_log /var/log/nginx/wordpress-error.log;

    listen 443 ssl http2;
    listen [::]:443 ssl http2;

    client_max_body_size 500m;
    underscores_in_headers on;

    root /var/www/html;
    index index.php;

    location / {
       try_files $uri $uri/ /index.php$is_args$args;
    }

    location ~ \.php$ {
       try_files $uri =404;
       fastcgi_split_path_info ^(.+\.php)(/.+)$;
       fastcgi_pass wordpress:9000;
       fastcgi_index index.php;
       include fastcgi_params;
       fastcgi_param SCRIPT_FILENAME $document_root$fastcgi_script_name;
       fastcgi_param PATH_INFO $fastcgi_path_info;
    }
  }

Errors I get are for example like this: directory index of /var/www/html is forbidden.
If I delete the $uri/ for example I get error 404. What do I need to do to get my instance running? But I'm right that I can use my existing wordpress instance and only the way to access it changes or not?

A: you are listening on ssl, but you have not provided certificates path?
do you happen to use any external ssl provider like Cloudflare? if yes, than you have to either listen on port 80 ( which is default on Cloudflare) or setup at Cloudflare to get https site, in that case you also need to provide your own certificate path.
Secondly in your location / block, I have this try_files $uri $uri/ /index.php?url=$uri;  , and few other settings
    location / {
      try_files $uri $uri/ /index.php?url=$uri;
    }
    location ~ \.(php)$ {
      fastcgi_pass 127.0.0.1:9000;
      fastcgi_index  index.php;
      fastcgi_param  SCRIPT_FILENAME $document_root$fastcgi_script_name;
      include fastcgi_params;
      fastcgi_read_timeout 3000;
      proxy_connect_timeout 3000s;
      proxy_send_timeout   3000;
      proxy_read_timeout   3000;
    }

fastcgi_pass 127.0.0.1:9000 will be different, in your case it's wordpress:9000

redpajama_set_name: RedPajamaStackExchange


For many South Africans, Durban is a popular place to go on holiday in the summer months – particularly those who live in Johannesburg and crave a break by the coast. The beaches and marinas brim with activity.
But despite the enjoyment that many visitors have, it is also one of the most dangerous cities in South Africa, if not the world. Shootings are not uncommon, including a recent fatal incident where rival operators engaged in a turf war opened fire at a busy taxi rank.
"We did not deliver to the people, we continued to deliver to ourselves," a former aide to an ANC provincial leader who was assassinated in 2011 told Perry on the seafront in Durban. The party had fought for democracy, but was itself essentially undemocratic and once it got into power it simply did not adjust.
In Perry's chapter on South Africa, a picture of ANC members jostling for power emerges. It is a country where politicians would be prepared to gun down their rivals in a bid to gain influence and get their hands on public money.
For some, South African's current president Jacob Zuma is a case in point, with claims he has maintained contact with the same underworld criminals that helped him smuggle weapons into the country in the years running up to apartheid being abolished.
Soon after his appointment as the country's president in 2009 Zuma appointed many of his close allies to high positions in justice, police and state security departments. And he dismantled an elite police unit that had pursued him for corruption.
There has been much industrial strife under Zuma's rule, including a huge wildcat strike at the Marikana mine in 2012, where police fired on which killed 44 strikers and wounded many more. The president was also booed during Nelson Mandela's memorial service in 2013.
Yet despite this and millions of dollars being spent on private homes for Zuma (including adding 79 additional buildings to his sprawling home north of Durban, as part of a $20 million upgrade) and funding the lifestyles of his many wives, he was reappointed for a second term as president in May 2014 with a 64% majority.
"For all its promises that it had learned its lessons while in exile in independent Africa, the ANC in fact repeated all the classic mistakes of such regimes. There was a lot of misgovernance, but perhaps even more than that, there was simply no governance. For years the government was protected by a friendly international environment, by a long commodities boom and by growth which resulted simply from the opening up of the rest of Africa to South African trade and investment. After 20 years of almost complete fecklessness, an extremely serious situation had been reached by 2014".
Johnson believes that the country is heading for another "investment crisis which will in turn end in another regime change, as such crises always have in the past". Whether that happens, we'll just have to wait and see.
Public money has, since Zuma's election, been used to help maintain his lavish lifestyle of fast cars and plush properties. More funds still have gone into companies set-up by family members, specifically so they could benefit from government contracts. Indeed, businesses hoping for this work have found that donating to the Jacob Zuma Foundation or Jacob Zuma Education Trust to be very helpful.
But as Johnson points out in his book, it was Nelson Mandela who ensured Zuma became Thabo Mbeki's deputy and thus later became president, of both the ANC and the country.
Mbeki was not a fan of Zuma and sacked him from both positions in 2005, although he was re-instated to his party role after an outcry from ANC members. Zuma was charged with 700 counts of fraud, money laundering, corruption and racketeering and sent him to prison for 15 years, thanks to the efforts of cronies in Mbeki's government.
Zuma had good lawyers however and was popular with ANC members, so it was Mbeki that was forced from office in 2008.
Durban has attracted a lot of investment since Zuma's election to president, but much money has been wasted. It is a world where the police drugs squad is paid off by drug dealers and the CID is likely to be a client of gangsters.
"While Durban under ANC rule was already a corrupt city, there seems little doubt that Zuma's ascension to power saw a smart step-up, as the city's budget was used to pay off political debts and reward those who had backed him…..," said Johnson.
Beyond its picture-postcard image, Durban – a place where street muggings are apparently common place – is where the battles of modern South Africa are being fought out. The fact that my hotel said it was not safe to cross the city on foot, even in the middle of the day is a telling sign. Not only that, but it is a real modern tragedy.


Lady Gaga is set to launch her oft-rumored Haus Beauty line, with a boutique under construction on the Las Vegas Strip.
It's not a theater makeover, but it's a center for makeovers at a theater.
Lady Gaga is set to launch her oft-rumored Haus Beauty line, with a boutique under construction at Park Theater at Park MGM Grand. The debut of the new line and boutique is expected in late May.
Sources who are familiar with her plans for the line at the theater report it is the space under construction near the left side facing the venue entrance. That space was previously for all Park MGM headliners' merchandise, and the construction panels are promoting Aerosmith's current run at the theater and also upcoming residencies by Bruno Mars, Janet Jackson, Gaga and Cher.
Also, Gaga is expected to return to Park Theater for a run in late-December, including a performance on New Year's Eve, that has yet to be announced. Tickets for her posted dates run through Nov. 3, with a "Jazz + Piano" performance.
Gaga has been hinting at a new cosmetics line for several months. In December, her Ate My Heart company applied for a trademark for the Haus Beauty brand. The trademark covers myriad products, including perfume, foundation, lipstick, highlighter, nail polish and facial cleanser. The name plays off Gaga's longtime team, Haus Gaga, and in 2016 she had the word "Haus" tattooed on her left arm, behind her elbow, in honor of the 10-year partnership.
Wednesday, ardent Gaga followers found that HausLaboratories.com redirects to the under-construction website HausBeauty.com, and the company's new YouTube channel is now featured on Gaga's own official YouTube channel.
Gaga has yet to embark on her own cosmetics company. But industry publications note she is eager to follow a similar brand-expanding effort as Rihanna's successful Fenty Beauty line, while capturing fans entering and exiting her "Enigma" and "Jazz + Piano" productions.
Gaga has previously served as celeb spokeswoman for the M.A.C. Viva Glam campaign in 2009 and 2010, developing her created her very lipstick and lip gloss shades to raise funds for AIDS research. Gaga also launched her signature fragrance, Lady Gaga Fame, with COTY in 2012.
Her residency, a must-see on the Strip, resumes with six dates from May 30-June 4.
On the topic of Park Theater and superstar residencies, Pink is reportedly ready to lock in a series at the venue in 2020. She is headlining Friday night at T-Mobile Arena. Park Theater has proven it can handle Pink's arena-designed production, including Cirque-styled aerial rigging used in Gaga's "Enigma" opening. Pink should be able to spin anew at the big theater. Also, look for a country artist to be in Park Theater's 2020 plans.
The competition for superstar residencies is expected to amp up with the opening of Resorts World Las Vegas in 2020. A 5,000-seat theater is in the preliminary plan for the $4 billion, 3,000-room resort. Any and all superstar headliners, regardless of genre, qualify to perform in that theater.
Well, this was bound to happen: I finally ran into O.J. Simpson in Las Vegas. First time. Apparently the Juice, reportedly a Summerlin resident, doesn't fancy the same live-entertainment haunts that I frequent.
Simpson was hanging out at the bar in the Stadium Club VIP suite at Las Vegas Ballpark for the Las Vegas Aviators season-opener against the Sacramento River Cats. He posed for some pics, sipped from a beverage and seemed comparatively unbothered.
But a female friend, who is often hired as an atmospheric performer, said when Simpson walked in, he looked her up and down and said, "Daaaaaaaaamn." She later said she might enter the witness protection program.
On the topic of theaters, generally, some wild figures are flying around regarding the cost of the Colosseum at Caesars Palace overhaul. I'm reliably informed that cost is about $15 million.
Tying a bow on "Jimmy Kimmel Live's" total audience number from his week at Zappos Theater: Friday's telecast averaged 2.28 million total viewers, higher than the show's average of 2.09 million for this year. For the total week, Kimmel's numbers were 1.94 million, slightly lower than his average for the year.
Members of "Legends in Concert" is starring in a special, ode-to-1974 performance at UNLVino's Grand Tasting event, set for 7 p.m.-10 p.m. at Mirage Events Center. The troupe is crossing party lines from the Tropicana to help the event mark its 45th anniversary.
The performance is tailored for the time period, starring the characters of Steven Tyler, Stevie Wonder, Donna Summer and Aretha Franklin. Tickets are $125 at UNLVino.com; $150 at the door.


Some very cool news if you're a fan of the WPF-based New York Times reader or Seattle P-I reader. We've just released the Reader SDK which you can use to quickly create similar rich applications for your own purposes.
In addition, the MSDN Magazine Reader sample application (featuring full source code) is now available, as is the Architecture Journal Reader.
Head over to WindowsClient.net for information on the Reader SDK and links to the MSDN Reader sample. The MSDN Reader lives under the name "Syndicated Client Experiences Starter Kit" or SCE. Head to the Architecture Journal site for more on that application [download here].
See an article and presto - read away!
The MSDN Reader and Architecture Journal Reader applications are definitely worth a look. If you have your own data/content source that you'd like to make available for display, I encourage you to take a look at the MSDN Reader code and the SCE/Reader SDK as well.


text:
Georgia Bulletin
The Newspaper of the Catholic Archdiocese of Atlanta
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Lorraine V. Murray
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Archbishop Wilton D. Gregory
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The hungry need to be heard
This is a statement by the bishops of Georgia on the Farm Bill being debated in Congress.
Legislators in Washington are negotiating the final text for a five-year Farm Bill, a $500 billion law that sets agricultural policies for the country. At stake in this political wrangling are programs that help the hungry here at home and abroad.
In the United States, the most important Farm Bill program helping hungry people is the Supplemental Nutrition Assistance Program (SNAP), otherwise known as food stamps. SNAP is one of the most effective programs to combat hunger in our nation. It is also one of the best-run programs that targets seniors, children, persons with disabilities, unemployed and underemployed workers.
The Catholic Church runs many food pantries and other programs that help the hungry. However, all the food pantries out there are not going to be able to fill the hole that cuts to SNAP will leave. This is why the Catholic Church has joined many other faith communities in opposing changes to SNAP that would result in cuts that harm the poor and vulnerable.
We also must not forget the hungry around the world. Overseas food aid programs in the Farm Bill are just a tiny fraction of spending, but have a huge impact on the lives of millions of people.
Through development food aid programs, international humanitarian groups like our church's Catholic Relief Services work with farmers with tiny 2-acre plots of land to grow more food, build wells, and organize to negotiate better prices for their crops. This work transforms communities and puts them on the path to self-reliance.
Farm Bill negotiators are considering a Senate proposal that may cut the funding for this kind of overseas work. From our perspective, this is a mistake. It makes much more sense to adopt the House approach that maintains funding for programs that help poor people grow more food today, so they don't need emergency help later.
Negotiators are also considering changes in how overseas programs are run. Right now, a good portion of funding for overseas food aid programs is generated when aid groups take donated U.S. food and sell it abroad. In some ways, you might think of this as an elaborate bake sale. Ultimately, though, it is an inefficient way to raise money and on average loses 25 cents on the dollar. There are, thankfully, Senate proposals being considered that improve stewardship of these programs.
There are too many people these days with a knee-jerk reaction against programs that help the hungry, whether in the U.S. or overseas. We would ask these people to really listen to those in need—to hear the hungry. The hungry are not seeking help because they want to, but because they have to. They are desperately seeking the dignity and honor that comes from providing for themselves and their families, but need a little help to get through these tough times. They are our brothers and sisters and we must answer their call.
Most Reverend Wilton D. Gregory, Archbishop of Atlanta
Most Reverend Gregory J. Hartmayer, OFM Conv., Bishop of Savannah
Despite vaccines, beating COVID-19 tougher than expected
Mourning, prayer and a resolve to rebuild follow devastating tornadoes
Justices seem willing to allow Mississippi's 15-week abortion ban
Pope, arriving in Cyprus, tells Catholics to celebrate, welcome diversity
Tombs of fallen soldiers are cry for peace, pope says on All Souls' feast
Church needs to hear God speaking through those who are hurting, pope says
St. Joseph teaches fatherly love in 'orphaned' world, pope says
Pope at Christmas: 'God comes into the world in littleness'
Second chances: Vatican Christmas stamps feature work of homeless artist
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text:
Ohtaius lunulatus es una especie de coleóptero de la familia Endomychidae.

Distribución geográfica
Habita en Ceylán.

Referencias

Lunulatus


text:
"I've Never Been Treated Like This Before! You're a Vulgarian!" - The Suckling (1990)
Sometimes, it must be said, monsters are just monsters. Thus, it is remarkable and special when filmmakers with vision come along and show us that monsters can be more than just monsters. Francis Teri's The Suckling (1990) is an example of such vision; its monster is a metaphysical force that can shape the world in its image.
Some critics seem to focus on weak generalities rather than hard facts when viewing The Suckling. For example, reviewer Afollabi El-Sheikh Al Noor Mohammed writes, "Absolutely appalling....Don't even bother watching this, totally crap." Similarly, a reviewer with the highly trustworthy name lordzedd-3 writes under the witty heading "Suckling is the right name for it, because it sucks!" that the film's "lie about this being a true story and poor effects make this a poor movie." Reviewer Thanos Milios writes, "Even for a b-movie fan this movie can't be watched i don't know how i managed to watch that crap."
I must contradict Mr. Milios and assert that his movie can be watched. In fact, I will say it must be watched. Please read on...
On a rainy night, a man wearing a doctor's scrubs and mask invades a house and injects a young woman with a drug. He picks her up and carries her to a bizarre hospital, where he operates on her, assisted by a topless nurse holding an axe.
Of course, the bizarre operation is just a dream—and it turns out to be a dream within a dream, as the young woman is lying in a real hospital.
Her sleep is being monitored because of her nightmares. Helpfully, her doctors give the audience a synopsis of her condition: She lived through a massacre at a brothel, and she was the only survivor.
The filmmakers flash back to the girl and her boyfriend walking to the brothel, which like most brothels doubles as an abortion clinic. The two explain their situation to each other. The woman is pregnant and she doesn't want an abortion, but her boyfriend cajoles her, so she tells him to ring the doorbell. "We're here to see Big Mama," says the boyfriend, using the universal code word for abortion clinics everywhere.
They are met by a young, friendly Lionel Richie impersonator, who leads the couple around the back of the decrepit brothel. "We're just here to talk to her," the woman tells Mr. Richie.
Big Mama turns out to be a woman who is a cross between Mimi from The Drew Carey Show and Beetlejuice. The pregnant woman explains she doesn't want an abortion, but she drinks a red liquid that Big Mama offers her and soon she falls unconscious.
The abortion is handled quickly and matter-of-factly in the harsh backlight of a spinning fan.
However, when the rather large fetus is unceremoniously flushed down the toilet, unusual occurrences begin to occur. In a cleverly filmed scene, the director shows the fetus in a Gothic, roomy, blue-lit sewer, and then the camera rises to show that the sewer lies beneath an empty lot next to the brothel—a lot full of toxic waste containers.
At this point, the film, like so many other classics, mixes live action and puppetry, as we watch toxic waste fall on the fetus, which is revealed to be a puppet worked by cables that the filmmakers do not attempt to hide.
Back in the brothel, the young couple witnesses a prostitute shoot a client, but Big Mama covers the murder up quickly and it does not inconvenience anyone.
In short order, sounds begin emanating from the bathroom. "What was that?" asks a prostitute.
"I don't know," says Big Mama's assistant. She adds, perhaps superfluously, "I heard it too."
Predictably, the monster fetus's umbilical cord bursts out of the toilet, wraps around Big Mama's assistant's neck, and smashes her head against the toilet, quickly decapitating her and then pulling her head into the toilet bowl.
The film quickly becomes a siege narrative, as a ragtag group of prostitutes and innocents are trapped in the brothel because they can't get the back door to open, for slightly vague supernatural reasons.
The prostitute who witnessed the monster attack, Candy, says, "That thing is probably what has us trapped in here. It means to kill us all."
They find that the brothel—or at least one window—is covered with a kind of preternaturally strong amniotic sac, tissue which cannot be breached by thrusting a coatrack at it.
"Where'd this thing come from that killed Bertha?" asks Lionel Richie.
"The toilet," replies Candy, "but does that matter now?"
"Maybe," hypothesizes Lionel Richie.
The monster uses its mutated scorpion hand and its prehensile umbilical cord to attack a prostitute in her bed, cleverly combining visuals from films as disparate as Basket Case, Xtro, and Basket Case 2.
Gathering in the living room, the group sends two of the prostitutes to look for tools such as a sledgehammer to break through the amniotic wall, despite the fact that all the tools in the brothel—a hammer and a screwdriver—are already in the living room.
They decide to "chisel" their way through the walls with the hammer and screwdriver, leading to an opportunity for social commentary as the only client in the brothel is assigned to start chiseling. "I'm a businessman, not a laborer," says the client.
Candy observes, "He don't like his new position on the social ladder."
"I've never been treated like this before," says the client. "You're a vulgarian."
The client tries to start chiseling and bangs his thumb.
While the escape attempt is slowing being carried out, the others decide to trap the creature by clogging the pipes. They stuff garbage into the sink, and are rewarded with an umbilical cord snaking out from the pipes under the sink (and some wonderful stop-motion animation when a section of the writhing umbilical cord is cut).
As in many siege movies, the characters are stretched to the breaking point. There is a somewhat awkward fistfight, after which the victor is grabbed through the wall and killed by the monster, which is now larger than a person.
The least likable character, Axel, gets a gun, psychotically murders Candy, and becomes the leader. He theorizes that the monster is in the boiler room because of the pipes and because all animals need to keep warm. A group of the survivors, including Axel, the boyfriend ,and the client, venture into the basement. Eventually, the monster electrifies itself by touching an electrical box, but the effect is only temporary.
For Axel, however, the effect is more permanent, as he charges the monster with a metal pole, misses, and rams the pole into the sparking electrical box while the monster runs away.
Back upstairs, the group breaks a small panel out of the front door, only to found that outside is a black void that becomes a pink mass of netting and cloth. When the businessman climbs outside, he finds that he must push his way through the pink fabric, only to be met by the mutant fetus monster's jaws.
The man's severed hand remains behind, and for some reason it is able to crawl slowly along the floor.
"Oh my God," says a prostitute. "It was like a trap."
In the finale, Big Mama decides to go down to the basement where Axel died. The monster emerges from a washing machine and attacks Big Mama, and then breaks through the floor to menace the original young couple. It kills the man, but instead of killing its mother, the filmmakers have the creature revert to its mutant-fetus state, after which the filmmakers present a delightful and surprising reversal which I will not spoil by describing.
As depicted at the beginning of the film, the woman is the only survivor of the brothel massacre.
The movie flashes to the present, as the woman sits in a strait-jacket in the hospital, surrounded by a myriad of other strait-jacketed patients, all of whom appear, tragically, to be college-aged.
The finale involves two lascivious orderlies who receive a bloody comeuppance, as well as some outdoor gore sequences intercut with the end titles that have nothing to do with the rest of the film.
(It must be added that the end titles appear to be in random order, with the names of crew members interspersed with the names of actors and their characters.)
In discussing The Suckling, we must first focus on the monster itself, which is never actually called a "suckling" in the film, and which probably should not be called a "suckling" under any circumstances. Performed by several people including Michael Gingold, the monster is more than a physical presence in the film. Born of an aborted fetus, toxic waste, and the nurturing environment of a 20-foot-high sewer chamber, the monster appears most frequently as a large, Outer Limits-esque creature with, some might say, unreasonably large teeth. However, it is also able to move through the pipes of the mansion/brothel/abortion clinic any time it wishes. Most metaphysically of all, the monster is able to encase the entire house in a shatterproof amniotic sac as well as a bubble of pink organic netting that cannot be penetrated. What is this monster? Is it the incarnation of the concept of an unwanted abortion? Is it guilt made flesh? The film gives us no answer, which is perhaps the most powerful answer of all.
The Suckling (the film, not the monster, which we shall not address as The Suckling) is highly interested in political discourse. Of course, the issue of abortion is controversial, and the filmmakers appear to want to examine all sides of the issue in a rational way. Should abortion be a choice? Yes, the filmmakers seem to say, as their main character chooses not to have an abortion but receives one anyway. Is abortion immoral? Yes, the filmmakers seem to say, as the result of abortion is a mutant fetus that kills people one by one. Is abortion a charged political issue requiring finesse and nuance? No, the filmmakers seem to say; it is a "hook" on which to base a monster movie.
But abortion is not the only social issue the filmmakers address in The Suckling. Note the subtle class differences on display, particularly the contrast between the brothel client and Mr. Lionel Richie. "I'm a businessman, not a laborer," the client says when he is asked to do work, to which the prostitute Candy replies, "He don't like his new position on the social ladder." The sophisticated client calls the others "vulgarians." As in many films in which the social order breaks down, those in the upper classes begin to assert their privileges, while those in the lower classes tend to think more clearly.
If the film has any imperfections, they stem from the preponderance of comical interchanges near the beginning of the film. Fortunately, the humor dies out as the film enters its siege phase, and by the end there is only shock and horror.
What more could we ask for?
Nothing, I say. Nothing at all.
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"I've Never Been Treated Like This Before! You're ...
"He's Trying to Stubborn His Way Out with His Fist...
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Current Inventory | 1984 911 Carrera Targa, 77k.miles, Factory Spoilers SOLD | AicAuto Sales, Inc.
This first year Carrera was ordered in the classic Guardsman Red with black interior...Built with: Option Group E13 consisting of M-158 Blaupunkt Monterey radio, M=454 Cruise control, M-474 Sport Shocks (Bilstein), and M-533 Alarm system., M-395 16" forged Fuchs alloys, M-473 Spoilers front and rear, M-185 Increased side door strength, M-218 US license brackets F & R, and C0-2 US spec emissions.
Delivered to its first customer at Porsche of Austin TX, It had been diligently serviced at Porsche dealers thru 1991. Service continued at the indie Porsche shop, Porshop in Florida thru 2002. We purchased it, serviced it up again, and since it has been in several of our customers collections over the years...Always officiously serviced and garage kept. Recent transmission/clutch rebuild, tune up with valve adjustment, A/C conversion/recharge to r-134a, Inspection and emissions certification.
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This month we are featuring the Meuller's Butterflyfish (Chelmon muelleri). This beautiful species is less common in the hobby than that of other Chelmon species, such as the Copperband. Check it out!
Wondering how to set up your new calcium reactor? Look no further than this comprehensive article by Jose Dieck. Part 2 addresses all the issues surrounding the actual set up and operation of a calcium reactor, as well as its tweaking for best performance.


text:
Q: Representing map constraints as a ADT Here's a toy problem:
A (roguelike) 2D map consists of square cells which each have a material (rock or air).
Each cell has four boundaries (N, S, E and W). Each boundary is shared by two cells.
A boundary can optionally contain a "wall feature" only if one side is rock and the other air.
(Wall features could be levers, pictures, buttons, etc.)
What Algebraic Data Type design could have a place to store a wall feature only when one side is rock and the other air? i.e. the data structure cannot represent a wall feature on a boundary between two air cells or two rock cells.
One approach I've tried is XORing a chess-board pattern over the cell values, reversing changes and non-changed.
I keep getting myself in knots over the fact there are multiple equivalent routes between cells - SSW is the same as SWS (the 1D version of this question is trivial).
(I recognise that the ADT representation will not be particularly 'queriable'.)

Update with Failed Attempt:
Call the East boundaries E and the South boundaries S.  Let each boundary be either Same or Diff Feature.  The problem with this approach is that it lets inconsistent routes exist, such as:
E<0,0> Same
S<1,0> Same
S<0,0> Same
E<0,1> Diff

Is there a mathematical name for saying that different routes must aggregate to the same total?
You could say that Same was 1 and Diff was -1 and that product along every route between any two cells must be equal (either 1 or -1).

A: I have no idea if this is possible at all with traditional ADTs, but you can do it with GADTs. This has a map infinite in one dimension, and finite in the other:
{-# LANGUAGE GADTs #-}

data Nil
type AirEnd = AirCell Nil
type RockEnd = RockCell Nil

data AirCell next
data RockCell next

data WallFeature = Lever | Picture | Buttons | Etc ()
type Wall = Maybe WallFeature

data RogueStrip contents neighbour where

  AirEnd_ngbAir :: RogueStrip AirEnd AirEnd
  AirEnd_ngbRock :: Wall -> RogueStrip AirEnd RockEnd
  RockEnd_ngbAir :: Wall -> RogueStrip RockEnd AirEnd
  RockEnd_ngbRock :: RogueStrip RockEnd RockEnd

  AirCons_nextAir_ngbAir ::
          RogueStrip          (AirCell next')           neighbourNext
       -> RogueStrip (AirCell (AirCell next')) (AirCell neighbourNext)
  AirCons_nextAir_ngbRock :: Wall ->
          RogueStrip          (AirCell next')            neighbourNext
       -> RogueStrip (AirCell (AirCell next')) (RockCell neighbourNext)
  AirCons_nextRock_ngbAir :: Wall ->
          RogueStrip          (RockCell next')           neighbourNext
       -> RogueStrip (AirCell (RockCell next')) (AirCell neighbourNext)
  AirCons_nextRock_ngbRock :: Wall -> Wall ->
          RogueStrip          (RockCell next')            neighbourNext
       -> RogueStrip (AirCell (RockCell next')) (RockCell neighbourNext)
  RockCons_nextAir_ngbAir :: Wall -> Wall ->
          RogueStrip           (AirCell next')           neighbourNext
       -> RogueStrip (RockCell (AirCell next')) (AirCell neighbourNext)
  RockCons_nextAir_ngbRock :: Wall ->
          RogueStrip           (AirCell next')            neighbourNext
       -> RogueStrip (RockCell (AirCell next')) (RockCell neighbourNext)
  RockCons_nextRock_ngbAir :: Wall ->
          RogueStrip           (RockCell next')           neighbourNext
       -> RogueStrip (RockCell (RockCell next')) (AirCell neighbourNext)
  RockCons_nextRock_ngbRock ::
          RogueStrip           (RockCell next')            neighbourNext
       -> RogueStrip (RockCell (RockCell next')) (RockCell neighbourNext)

data RogueSList topStrip where
  StripCons :: RogueStrip topStrip nextStrip -> RogueSList nextStrip
                                             -> RogueSList topStrip

data RogueMap where
  RogueMap :: RogueSList top -> RogueMap

A: Here's what I'd come up with (if I understand the requirements correctly):
{-# LANGUAGE GADTs, DataKinds, TypeFamilies #-}

module Features where

data CellType = Rock | Air

type family Other (c :: CellType) :: CellType
type instance Other Rock = Air
type instance Other Air = Rock

data Cell (a :: CellType) where
    RockCell :: Cell Rock
    AirCell :: Cell Air

data BoundaryType = Picture | Button

data Boundary (a :: CellType) (b :: CellType) where
    NoBoundary :: Boundary a b
    Boundary :: (b ~ Other a) => BoundaryType -> Boundary a b

data Tile m n e s w where
    Tile :: Cell m ->
            Cell n -> Boundary m n ->
            Cell e -> Boundary m e ->
            Cell s -> Boundary m s ->
            Cell w -> Boundary m w ->
            Tile m n e s w

demo :: Tile Rock Air Air Rock Air
demo = Tile RockCell
            AirCell NoBoundary
            AirCell (Boundary Picture)
            RockCell NoBoundary
            AirCell (Boundary Button)

{- Invalid: -}

demo2 = Tile RockCell
             RockCell (Boundary Picture)
             AirCell (Boundary Button)
             RockCell NoBoundary
             AirCell (Boundary Picture)

{-
 -   Couldn't match type `'Air' with `'Rock'
 -   In the third argument of `Tile', namely `(Boundary Picture)'
 -   In the expression:
 -     Tile
 -       RockCell
 -       RockCell
 -       (Boundary Picture)
 -       AirCell
 -       (Boundary Button)
 -       RockCell
 -       NoBoundary
 -       AirCell
 -       (Boundary Picture)
 -   In an equation for `demo2':
 -       demo2
 -         = Tile
 -             RockCell
 -             RockCell
 -             (Boundary Picture)
 -             AirCell
 -             (Boundary Button)
 -             RockCell
 -             NoBoundary
 -             AirCell
 -             (Boundary Picture)
 -}

I guess some type variables could be removed here and there.
Wrap some things in Maybe for finite maps.

A: My version is similar to what Nicolas did, but I include a reference to the
neighboring cell in Boundary to make a traversable graph. My data types are
{-# LANGUAGE GADTs #-}
{-# LANGUAGE DataKinds #-}
{-# LANGUAGE TypeFamilies #-}

data Material = Rock | Air

data WallFeature = Lever | Picture | Button deriving Show

type family Other (t :: Material) :: Material
type instance Other Air  = Rock
type instance Other Rock = Air

data Tile :: Material -> * where
    RockTile :: Tile Rock
    AirTile  :: Tile Air

data Cell mat where
    Cell
        :: Tile mat
        -> Maybe (Boundary mat n)
        -> Maybe (Boundary mat s)
        -> Maybe (Boundary mat e)
        -> Maybe (Boundary mat w)
        -> Cell mat

data Boundary (src :: Material) (dst :: Material) where
    Same  :: Cell mat -> Boundary mat mat
    Diff  :: WallFeature -> Cell (Other mat) -> Boundary mat (Other mat)

I decided to make the map bounded, so each cell might or might not have neighbors (hence, Maybe types for boundaries). The Boundary data type is
parameterised over the materials of the two adjoining cells and contains a
reference to the destination cell and wall features are structurally restricted to boundaries that join cells of different material.
This is essentially a directed graph so between each adjancent cell A and B there's a boundary of type Boundary matA matB from A to B and a boundary of type Boundary matB matA from B to A. This allows for the adjacency relation to be asymmetric, but in practice, you can decide in your code to make all relations symmetric.
Now this is all fine and dandy on a theoretical level but constructing the actual
Cell graph is quite a pain. So, just for fun, lets make a DSL for defining the
cell relations imperatively and then "tie the knot" to produce the final graph.
Since the cells have different types, you can't simply store them in a temporary list or Data.Map for the knot-tying so I'm going to use the vault package. A Vault is a type-safe, polymorphic container where you can store any type of data and retrieve them in type-safe manner using a Key that is type-encoded. So, for example, if you have a Key String you can retrieve a String out of a Vault and if you have a Key Int you can retrieve an Int value.
So, lets start by defining the operations in the DSL.
data Gen a

new :: Tile a -> Gen (Key (Cell a))

connectSame :: Connection a a -> Key (Cell a) -> Key (Cell a) -> Gen ()

connectDiff
    :: (b ~ Other a, a ~ Other b)
    => Connection a b -> WallFeature
    -> Key (Cell a) -> Key (Cell b) -> Gen ()

startFrom :: Key (Cell a) -> Gen (Cell a)

The Connection type determines the cardinal directions where we are connecting
cells and is defined like this:
type Setter a b = Maybe (Boundary a b) -> Cell a -> Cell a
type Connection b a = (Setter a b, Setter b a)

north :: Setter a b
south :: Setter a b
east  :: Setter a b
west  :: Setter a b

Now we can construct a simple test map using our operations:
testMap :: Gen (Cell Rock)
testMap = do
    nw <- new RockTile
    ne <- new AirTile
    se <- new AirTile
    sw <- new AirTile

    connectDiff (west,east) Lever nw ne
    connectSame (north,south) ne se
    connectSame (east,west) se sw
    connectDiff (south,north) Button sw nw

    startFrom nw

Even though we haven't implemented the functions yet, we can see that this type-checks. Also, if you try to put inconsistent types (like connecting same tile types using a wall-feature) you get a type-error.
The concrete type I'm going to use for Gen is
type Gen = ReaderT Vault (StateT Vault IO)

The base monad is IO because that's required to create new Vault keys (we could also use ST but this is a bit simpler). We use State Vault to store  newly created cells and to add new boundaries to them, using the vault-key to uniquely identify a cell and to refer to it in the DSL operations.
The third monad in the stack is Reader Vault which is used to access the vault in its fully constructed state. I.e. while we are building the vault in State, we can use Reader to "see into the future" where the vault already contains all the cells with their final boundaries. In practice, this is achieved by using mfix to get the "monadic fixed point" (for more details, see e.g. the paper "Value Recursion in Monadic Computations" or the MonadFix wiki page).
So, to run our map constructor, we define
import Control.Monad.State
import Control.Monad.Reader
import Data.Vault.Lazy as V

runGen :: Gen a -> IO a
runGen g = fmap fst $ mfix $ \(~(_, v)) -> runStateT (runReaderT g v) V.empty

Here we run the stateful computation and get out a value of type (a, Vault) i.e. the result from the computation and the vault which contains all our cells. Via mfix we can access the result before we compute it, so we can feed the result vault as a parameter to runReaderT. Hence, inside the monad, we can use get (from MonadState) to access the incomplete vault that is being constructed and ask (from MonadReader) to access the fully completed vault.
Now rest of the implementation is straightforward:
new :: Tile a -> Gen (Key (Cell a))
new t = do
    k <- liftIO $ newKey
    modify $ V.insert k $ Cell t Nothing Nothing Nothing Nothing
    return k

new creates a new vault key and uses it to insert a new cell with no boundaries.
connectSame :: Connection a a -> Key (Cell a) -> Key (Cell a) -> Gen ()
connectSame (s2,s1) ka kb = do
    v <- ask
    let b1 = fmap Same $ V.lookup kb v
        b2 = fmap Same $ V.lookup ka v
    modify $ adjust (s1 b1) ka . adjust (s2 b2) kb

connectSame accesses the "future vault" via ask so we can look up the neighboring cell from there and store it in the boundary.
connectDiff
    :: (b ~ Other a, a ~ Other b)
    => Connection a b -> WallFeature
    -> Key (Cell a) -> Key (Cell b) -> Gen ()
connectDiff (s2, s1) wf ka kb = do
    v <- ask
    let b1 = fmap (Diff wf) $ V.lookup kb v
        b2 = fmap (Diff wf) $ V.lookup ka v
    modify $ adjust (s1 b1) ka . adjust (s2 b2) kb

connectDiff is pretty much the same except that we provide the additional wall-feature. We also need the explicit constraint (b ~ Other a, a ~ Other b) to
construct two symmetric boundaries.
startFrom :: Key (Cell a) -> Gen (Cell a)
startFrom k = fmap (fromJust . V.lookup k) ask

startFrom just retrieves the completed cell with the given key so we can return
it as a result from our generator.
Here's the complete example source with additional Show instances for debugging so you can try this yourself:
{-# LANGUAGE GADTs #-}
{-# LANGUAGE DataKinds #-}
{-# LANGUAGE TypeFamilies #-}

import Control.Monad.State
import Control.Monad.Reader
import Data.Vault.Lazy as V
import Data.Maybe

data Material = Rock | Air

data WallFeature = Lever | Picture | Button deriving Show

type family Other (t :: Material) :: Material
type instance Other Air  = Rock
type instance Other Rock = Air

data Tile :: Material -> * where
    RockTile :: Tile Rock
    AirTile  :: Tile Air

data Cell mat where
    Cell
        :: Tile mat
        -> Maybe (Boundary mat n)
        -> Maybe (Boundary mat s)
        -> Maybe (Boundary mat e)
        -> Maybe (Boundary mat w)
        -> Cell mat

data Boundary (a :: Material) (b :: Material) where
    Same  :: Cell mat -> Boundary mat mat
    Diff  :: WallFeature -> Cell (Other mat) -> Boundary mat (Other mat)

type Gen = ReaderT Vault (StateT Vault IO)

type Setter a b = Maybe (Boundary a b) -> Cell a -> Cell a
type Connection b a = (Setter a b, Setter b a)

-- Boundary setters
north :: Setter a b
north n (Cell t _ s e w) = Cell t n s e w

south :: Setter a b
south s (Cell t n _ e w) = Cell t n s e w

east :: Setter a b
east e (Cell t n s _ w) = Cell t n s e w

west :: Setter a b
west w (Cell t n s e _) = Cell t n s e w

new :: Tile a -> Gen (Key (Cell a))
new t = do
    k <- liftIO $ newKey
    modify $ V.insert k $ Cell t Nothing Nothing Nothing Nothing
    return k

connectSame :: Connection a a -> Key (Cell a) -> Key (Cell a) -> Gen ()
connectSame (s2,s1) ka kb = do
    v <- ask
    let b1 = fmap Same $ V.lookup kb v
        b2 = fmap Same $ V.lookup ka v
    modify $ adjust (s1 b1) ka . adjust (s2 b2) kb

connectDiff
    :: (b ~ Other a, a ~ Other b)
    => Connection a b -> WallFeature
    -> Key (Cell a) -> Key (Cell b) -> Gen ()
connectDiff (s2, s1) wf ka kb = do
    v <- ask
    let b1 = fmap (Diff wf) $ V.lookup kb v
        b2 = fmap (Diff wf) $ V.lookup ka v
    modify $ adjust (s1 b1) ka . adjust (s2 b2) kb

startFrom :: Key (Cell a) -> Gen (Cell a)
startFrom k = fmap (fromJust . V.lookup k) ask

runGen :: Gen a -> IO a
runGen g = fmap fst $ mfix $ \(~(_, v)) -> runStateT (runReaderT g v) V.empty

testMap :: Gen (Cell Rock)
testMap = do
    nw <- new RockTile
    ne <- new AirTile
    se <- new AirTile
    sw <- new AirTile

    connectDiff (west,east) Lever nw ne
    connectSame (north,south) ne se
    connectSame (east,west) se sw
    connectDiff (south,north) Button sw nw

    startFrom nw

main :: IO ()
main = do
    c <- runGen testMap
    print c

-- Show Instances

instance Show (Cell mat) where
    show (Cell t n s e w)
        = unwords ["Cell", show t, show n, show s, show e, show w]

instance Show (Boundary a b) where
    show (Same _) = "<Same>"
    show (Diff wf _) = "<Diff with " ++ show wf ++ ">"

instance Show (Tile mat) where
    show RockTile = "RockTile"
    show AirTile = "AirTile"


text:
Yo Ho Ho and a Bottle of Rum
Rebecca Biden Reviews Treasure Island presented by The Chipstead Players
I had the pleasure of seeing Treasure Island preformed at Courtyard Theatre by the Chipstead Players Youth Theatre. The play was directed by Debra Elson and remarkably, took only ten days to put together.
The beautifully designed set really drew you into performance and helped the play become as realistic as possible. It included a stunning painting of a sunset over the sea, with an open view of a well put together ship placed directly in front. Wooden ribs rose up to form the side of the vessel while swinging rope lappers stretch upwards connecting to the crow' nest. The ship is completed by an impressive steering wheel in the centre.
However, it was the talented group of young actors, age 9-17, who brought the set to life. Telling the adventure of Stevenson's protagonist, Jim Hawkins, who is impressively played by 13 year old Ronan O'Leary and his search for the buried treasure of an evil pirate, Captain Flint. The performance begins with an inspiring creation of a rowdy bar, with a mesmerising cast of drunkards creating a realistic and uplifting atmosphere which draws the audience in from the start. From here on Jim's life is filled with adventure searching for treasure with a crew of pirates led by cunning Long John Silver (played by Samuel Norris) while also being accompanied by an upper class English men, Captain Smollett (Oliver Horle) and Squire Trelawney (Lola Rush-Miller). Later in the play, the shipmates divide and Jim Hawkins is forced through circumstances to become a man and save the day.
Each actor is worth noting and all give impressive strong performances, but standouts include the lead, Ronan O'Leary whose use of body language and expression added greatly to the performance and character development of Jim Hawkins. Samuel Norris gave an exceptional performance as Long John Silver, putting on an impressive pirate accent which never failed the duration. A long with Sam Gower acting as Israel Hands and Charlie McCarthy playing Benn Gun, who from the cheering and laughter from the audience, were warmly received and were obvious favourites throughout the show. The use of movement and mime from the supporting cast throughout the performance created that extra magic which both enthralled and added to the drama and enjoyment, not to mention the entertainment provided by the props department when dismantling a set between scenes.
The design elements of the production were superb. The stage lighting was effective as well as the sound effects, the most impressive being the booming gunshots and sounds of the sea. The costumes and make up were authentic and professional and assisted in enhancing the show. The most memorable being Israel Hands' beard! The set was immensely impressive, including the props which added greatly to the setting, really giving a feel for the specific location and period of the classic.
It captures the adventure and excitement of Treasure Island perfectly and is filled with light-hearted humour which was well received by the audience throughout the performance. Chipstead Players provide affordable theatre and a good family outing with something for everyone to enjoy.
Rebecca Biden.
Aged 16-18? If you are interested in reviewing local theatre, gigs and more then get in touch. Reigateandbansteadwrites@gmail.com
Chipstead PlayersTreasure IslandYouth Theatre
Previous Post It's a Pirate's Life For Me
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Maud Todd says:
Fabulous write up Rebecca. Well done


text:
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Each vege capsule contains:
Fucus vesiculous (Kelp) extract
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The National Iodine Study, conducted in February 2006, has found overall children in mainland Australia are borderline Iodine deficient. A national median UIE level was found to be 104g/L. On a state basis, NSW and Victorian children are mildly Iodine deficient, with median UIE levels of 89g/L and 73.5 g/L, respectively. South Australian children are borderline Iodine deficient, with a median UIE level of 101 g/L. Both Queensland and Western Australia children are Iodine sufficient, with median UIE levels of 136.5 g/L and 142.5 g/L, respectively. It was found about half (46.3%) of all the students tested in mainland Australia had UIE levels in the range of mild (36.7%) to moderate (9.6%) Iodine deficiency. Victoria and New South Wales had the highest percentage of children in the range 20 – 49 g/L (18.8% and 13.6%, respectively).
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Like the lusciously mysterious feeling of sleeping under the stars, Detroit four-piece girl band Slumber Party's second release, Psychedelicate, combines infectious Lou Reed-esque sensibility with a gauzy take on charming girl pop-rock. These 11 songs spin languid fairy tales back-lit by the poetry of dreams, offering lamentations and rapture in equally delicate measures.
Lead singer Aliccia Berg's vocals seem to be filtered through a time machine, recalling an imperceptible and perhaps imagined past of poetic proportions. Here, time is but a confusing reminder of the transitory burdens of life. Often difficult to separate from the music, these wistful lyrics frequently hypnotize with their loveliness, while simultaneously spinning a sweet mystery and sense of existential perplexity over the listener ("Call my skin a thin disguise. I wish you would ease my pain"- "Depression is Best").
However, this hazy sense of idyll coexists with an undeniable feeling of strong determination. Perhaps the album's most tenacious and graceful track, "I'm Not Sad," is a lamentation despite its title, filled with blossoming resolve in the face of heartbreak and recovery, spinning an atmospheric sentiment akin to being the last ones at a dance in a quiet hall, the night wind blowing in, slow-dancing while the band plays for you alone. Although Berg sings that "he's come back to me to stay, and that's why I'm not sad," the tone is slow and sprinkled with grief and subtle self-preservation.
Psychedelicate is girl power seen through a mystical fog. It's luscious, and it's hard to dispel from either your brain or your stereo. Subtlety never sounded so fierce, or so ravishing.


about the warmth they gave the world.
This is gorgeous. Very evocative.
Wow - I am ashamed I did not read this. Congratulations on this well-crafted emotional piece. I have taken the liberty of popping this into my favourites. Thank you.
I got shivers reading the last lines of this. I'm so happy to see this nominated. I felt gentleness in this, warmth, this voice that speaks and guides.... and then that sadness, of not being recognized, not fully used and appreciated. Perhaps, not fully heard in the right way.


I am always happy to meet with parents to discuss questions and concerns. Due to classroom/supervision duties before and after school, though, I can not give you my full attention at drop-off or dismissal times. However, I am usually available to meet before the first bell or after 3:15. Send me an email or call the office to leave me a message, and we can schedule an appointment. Email is the preferred method of communication. Since I am engaged with the children during the school day, if you have a message that must reach your child during the day, please call the office.


To Send() a key combination which will trigger a HotKeySet() event, either use ControlSend() or unregister the HotKeySet() event, otherwise, the Send() event may trigger an infinite loop. ; capture and pass along a keypress how to use shot tracer app 19/07/2014 · To use the script, download and install AutoIt, copy this script into a new file and compile. There are a few controls for this script: Press Esc to exit the script.
14/03/2009 · Darkfall is a recently released MMO game. As in many other MMOs gathering and crafting mostly consists of pressing the same button over and over at the same spot. how to use conair infiniti curling wand What hotkey can I use to mi... Stack Exchange Network Stack Exchange network consists of 174 Q&A communities including Stack Overflow , the largest, most trusted online community for developers to learn, share their knowledge, and build their careers.
We use the HotKeySet AutoIt function here to assign a handler or hook for pressed keys. The InitKeyHooks function does this assignment. We call the _KeyHandler handler each time a user presses any key with ASCII codes from 0 to 255.
If you want to make your script exit when you press a certain key combination then use the HotKeySet() function to make a user function run when the desired key is pressed. This user function should just contain the Exit keyword.
A sentence for the word infinitely. Writers, readers, and readers might especially like this page. The lines of text below use infinitely in a sentence, and provide visitors a sentence for infinitely.


text:
Connect to The Power Source Newsletter
How to Dodge the Labels and Claim our Unlimited Self
By Keri | May 9, 2017 | 0
This article first appeared on elephantjournal.
"Keri, I never know what to expect with you. Some days you're easy-going and chatty, other days you're closed-off and touchy."
If I could travel back to this moment, I would smartly reply, "Well, that's because I am a human being, not a computer program." But, said to me by a partner in the yoga community on an otherwise normal day, it rattled me. I stared, my mouth making tiny movements but no words forming.
How could I explain to her that what I'm reaching for in my life is unapologetic authenticity?
How could I, in a few brief sentences, explain that my soul is calling me to lose the masks, the fake greetings, the frozen smiles, the canned laughter, and be authentically me?
Part of my stunned response was because we both called ourselves yoginis. Wholeness and authenticity were concepts we talked about all the time.
But even if I had tried to explain, of course she wasn't coming from genuine curiosity. She was asking me to make a choice. She was asking for my "final answer." She was asking me to wear a label, so she could either relax around me or put her guard up once and for all.
Her question really was, "Who are you, Keri? A benign garter snake? Or a rattlesnake, ready to strike?"
Clearly, ours was not a partnership meant to last.
But she is not the only one in my life who has attempted to pin me down. Family, friends, acquaintances, strangers, have all tried to "size me up" in a matter of minutes, hours, days, or, in the case of my still-confused husband, 20 years.
"Well, I'm a Gemini," I sometimes explain to him. "That means I have two sides."
"Seems like a lot more sides than two," he'll grumble.
My husband is a Scorpio. If we had read up on the compatibility of Gemini and Scorpio before we got married, we might never have made it to the altar. Most of the advice boils down to "don't even try." It's a good thing we are both so much more than our astrological signs.
In fact, it's a good thing we are both more than our Myers Briggs or StrengthsFinder results. More than our numerology readings or Enneagrams. So much more than the "Game of Thrones" or "Friends" character we got online. We are, after all, human beings, not computer programs.
In our modern, fast-paced society we all try to stick labels on each other and reduce people down to a collection of general characteristics. It's largely to make our own lives easier. To understand the person in front of us (or in the mirror), we take shortcuts and look for clues—titles, bumper stickers, test results, wedding rings, or family photos.
How symbolic is it that when we wear name-tags at events, they "stick" to us. And then, how often do we go about the rest of our day, still wearing this label but completely unaware of it?
In theory, maybe, we want others to show up as their authentic selves. But in practice, we'd rather interact with a facade—a mere mirage of a person—over the whole, complicated, changeable person. We'll take a "Steady Eddie" over a "Moody Molly."
But the true, authentic nature of a human being is slippery and mysterious, like time.
I can still remember as a kid, before digital clocks, the smooth movement of a clock hand hypnotizing me as it traveled around the face. There was a liquidness to time, a slipperiness to it. I couldn't pin it down, but I could feel it. Sometimes, time moved fast. Other times, painfully slow. I was always trying to catch it, or make it catch up to me. We all have experienced this "time travel." There is an aura of infinite possibility that exists around time. We can slice and dice time all we want, but it remains ultimately un-pinnable.
The true, authentic nature of a human being is ungraspable, like a sunset.
Any time I try to capture the exact moment of a day's last ray of sunlight, I stand there saying, "Now…no…now…wait, now for sure," but I'm still not sure. I can't quite grasp it. I don't think we are meant to grasp it.
The true, authentic nature of a human being is multi-skinned, like a snake.
Each skin carries us into a new stage of life offering a deepened maturity, a wizened perspective, an altered viewpoint.
The true, authentic nature of a human being is constantly in flux, like nature herself.
In fact, we are made from the same ingredients as nature—earth, water, fire, air and ether. I've never seen a fire, or the ocean, or even the sand beneath my feet act the same way two days in a row. Why should we be any different?
The true, authentic nature of a human being is multi-dimensional and limitless, like the soul itself.
And as human beings entrusted with our traveling souls, we have every right, in fact we have every obligation, to let the light shine on the multiplicity of our nature. To be messy on Monday and beautiful on Tuesday and f*ck-it-all on Friday. As souls embodied on this earth, we could even say it is our duty and our right never to be limited or defined by the stuff of this earth.
Especially the world's countless, sticky labels.
I choose to remain a puzzle, an enigma, even if it sends people away scratching their heads.
I want to be someone who slips her skin before anyone can stick a label on me, including myself.
I want to be like time, like a sunset, like nature—a mysterious, slippery, spacious, limitless possibility.
In regards to my partner, she never did get an answer as to whether I was a garter snake or a rattlesnake.
The fun part is, neither will I.
Posted in Consciousness, Culture & Spirituality, Self-Care, Wellness & Healing, Soulfulness & Wholeness and tagged astrology, authenticity, labels, soul, soul messages
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text:
Мадраманья — село в Іспанії, у складі автономної спільноти Каталонія, у провінції Жирона. Муніципалітет займає територію 13,7 км2, а населення у 2014 році становило 283 осіб.

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