text:
package tmdb

import (
	"fmt"
)

// Person struct
type Person struct {
	ID              int                    `json:"id"`
	Name            string                 `json:"name"`
	Overview        string                 `json:"overview"`
	Adult           bool                   `json:"adult"`
	Biography       string                 `json:"biography"`
	Birthday        string                 `json:"birthday"`
	Deathday        string                 `json:"deathday"`
	Gender          int                    `json:"gender"`
	ImdbID          string                 `json:"imdb_id"`
	Homepage        string                 `json:"homepage"`
	AlsoKnownAs     []string               `json:"also_known_as"`
	PlaceOfBirth    string                 `json:"place_of_birth"`
	ProfilePath     string                 `json:"profile_path"`
	Changes         *PersonChanges         `json:",omitempty"`
	MovieCredits    *PersonMovieCredits    `json:"movie_credits,omitempty"`
	TvCredits       *PersonTvCredits       `json:"tv_credits,omitempty"`
	CombinedCredits *PersonCombinedCredits `json:"combined_credits,omitempty"`
	ExternalIds     *TvExternalIds         `json:"external_ids,omitempty"`
	Images          *PersonImages          `json:",omitempty"`
	TaggedImages    *PersonTaggedImages    `json:"tagged_images,omitempty"`
	Translations    *PersonTranslations    `json:"translations,omitempty"`
}

// PersonTranslations struct
type PersonTranslations struct {
	ID           int
	Translations []struct {
		Iso639_1    string `json:"iso_639_1"`
		Name        string `json:"name"`
		EnglishName string `json:"english_name"`
		Data        struct {
			Title    string `json:"title,omitempty"`
			Overview string `json:"overview,omitempty"`
			Homepage string `json:"homepage,omitempty"`
		} `json:"data"`
	}
}

// PersonShort struct
type PersonShort struct {
	Adult       bool
	ID          int
	Name        string
	Popularity  float32
	ProfilePath string       `json:"profile_path"`
	KnownFor    []MovieShort `json:"known_for"`
}

// PersonChanges struct
type PersonChanges struct {
	Changes []struct {
		Key   string
		Items []struct {
			ID     string
			Action string
			Time   string
		}
	}
}

// PersonCombinedCredits struct
type PersonCombinedCredits struct {
	ID   int
	Cast []struct {
		Adult         bool
		Character     string
		CreditID      string `json:"credit_id"`
		ID            int
		OriginalTitle string `json:"original_title"`
		PosterPath    string `json:"poster_path"`
		ReleaseDate   string `json:"release_date"`
		Title         string
		MediaType     string `json:"media_type"`
	}
	Crew []struct {
		Adult         bool
		CreditID      string `json:"credit_id"`
		Department    string
		ID            int
		Job           string
		OriginalTitle string `json:"original_title"`
		PosterPath    string `json:"poster_path"`
		ReleaseDate   string `json:"release_date"`
		Title         string
		MediaType     string `json:"media_type"`
	}
}

// PersonImages struct
type PersonImages struct {
	ID       int
	Profiles []struct {
		AspectRatio float32 `json:"aspect_ratio"`
		FilePath    string  `json:"file_path"`
		ID          string  `json:"id"`
		Width       int     `json:"width"`
		Height      int     `json:"height"`
		Iso639_1    string  `json:"iso_639_1"`
		VoteAverage float32 `json:"vote_average"`
		VoteCount   int     `json:"vote_count"`
	}
}

// PersonLatest struct
type PersonLatest struct {
	ID           int
	Name         string
	Adult        bool
	Biography    string
	Birthday     string
	Deathday     string
	Homepage     string
	AlsoKnownAs  []string `json:"also_known_as"`
	PlaceOfBirth string   `json:"place_of_birth"`
	ProfilePath  string   `json:"profile_path"`
}

// PersonMovieCredits struct
type PersonMovieCredits struct {
	ID   int
	Cast []struct {
		Adult         bool
		Character     string
		CreditID      string `json:"credit_id"`
		ID            int
		OriginalTitle string `json:"original_title"`
		PosterPath    string `json:"poster_path"`
		ReleaseDate   string `json:"release_date"`
		Title         string
	}
	Crew []struct {
		Adult         bool
		CreditID      string `json:"credit_id"`
		Department    string
		ID            int
		Job           string
		OriginalTitle string `json:"original_title"`
		PosterPath    string `json:"poster_path"`
		ReleaseDate   string `json:"release_date"`
		Title         string
	}
}

// PersonPopular struct
type PersonPopular struct {
	Page         int
	TotalPages   int `json:"total_pages"`
	TotalResults int `json:"total_results"`
	Results      []PersonShort
}

// PersonTaggedImages struct
type PersonTaggedImages struct {
	ID           int
	Page         int
	TotalPages   int `json:"total_pages"`
	TotalResults int `json:"total_results"`
	Results      []struct {
		AspectRatio float32 `json:"aspect_ratio"`
		FilePath    string  `json:"file_path"`
		ID          string
		Width       int
		Height      int
		Iso639_1    string  `json:"iso_639_1"`
		VoteAverage float32 `json:"vote_average"`
		VoteCount   int     `json:"vote_count"`
		ImageType   string  `json:"image_type"`
		MediaType   string  `json:"media_type"`
		Media       struct {
			Adult         bool
			BackdropPath  string `json:"backdrop_path"`
			ID            int
			OriginalTitle string `json:"original_title"`
			PosterPath    string `json:"poster_path"`
			ReleaseDate   string `json:"release_date"`
			Title         string
			Popularity    float32
		}
	}
}

// PersonTvCredits struct
type PersonTvCredits struct {
	ID   int
	Cast []struct {
		Character    string
		CreditID     string `json:"credit_id"`
		EpisodeCount int    `json:"episode_count"`
		FirstAirDate string `json:"first_air_date"`
		ID           int
		Name         string
		OriginalName string `json:"original_name"`
		PosterPath   string `json:"poster_path"`
	}
	Crew []struct {
		CreditID     string `json:"credit_id"`
		Department   string
		FirstAirDate string `json:"first_air_date"`
		ID           int
		Job          string
		Name         string
		OriginalName string `json:"original_name"`
		PosterPath   string `json:"poster_path"`
	}
}

// GetPersonInfo gets the general person information for a specific id
// https://developers.themoviedb.org/3/people/get-person-details
func (tmdb *TMDb) GetPersonInfo(id int, options map[string]string) (*Person, error) {
	var availableOptions = map[string]struct{}{
		"append_to_response": {}}
	var personInfo Person
	optionsString := getOptionsString(options, availableOptions)
	uri := fmt.Sprintf("%s/person/%v?api_key=%s%s", baseURL, id, tmdb.apiKey, optionsString)
	result, err := getTmdb(uri, &personInfo)
	return result.(*Person), err
}

// GetPersonChanges for a specific person id
// https://developers.themoviedb.org/3/people/get-person-changes
func (tmdb *TMDb) GetPersonChanges(id int, options map[string]string) (*PersonChanges, error) {
	var availableOptions = map[string]struct{}{
		"start_date": {},
		"end_date":   {}}
	var changes PersonChanges
	optionsString := getOptionsString(options, availableOptions)
	uri := fmt.Sprintf("%s/person/%v/changes?api_key=%s%s", baseURL, id, tmdb.apiKey, optionsString)
	result, err := getTmdb(uri, &changes)
	return result.(*PersonChanges), err
}

// GetPersonCombinedCredits gets the combined (movie and TV) credits for a specific person id
// https://developers.themoviedb.org/3/people/get-person-combined-credits
func (tmdb *TMDb) GetPersonCombinedCredits(id int, options map[string]string) (*PersonCombinedCredits, error) {
	var availableOptions = map[string]struct{}{
		"language":           {},
		"append_to_response": {}}
	var credits PersonCombinedCredits
	optionsString := getOptionsString(options, availableOptions)
	uri := fmt.Sprintf("%s/person/%v/combined_credits?api_key=%s%s", baseURL, id, tmdb.apiKey, optionsString)
	result, err := getTmdb(uri, &credits)
	return result.(*PersonCombinedCredits), err
}

// GetPersonExternalIds gets the external ids for a specific person id
// https://developers.themoviedb.org/3/people/get-person-external-ids
func (tmdb *TMDb) GetPersonExternalIds(id int) (*TvExternalIds, error) {
	var ids TvExternalIds
	uri := fmt.Sprintf("%s/person/%v/external_ids?api_key=%s", baseURL, id, tmdb.apiKey)
	result, err := getTmdb(uri, &ids)
	return result.(*TvExternalIds), err
}

// GetPersonImages gets the images for a specific person id
// https://developers.themoviedb.org/3/people/get-person-images
func (tmdb *TMDb) GetPersonImages(id int) (*PersonImages, error) {
	var images PersonImages
	uri := fmt.Sprintf("%s/person/%v/images?api_key=%s", baseURL, id, tmdb.apiKey)
	result, err := getTmdb(uri, &images)
	return result.(*PersonImages), err
}

// GetPersonLatest gets the latest person id
// https://developers.themoviedb.org/3/people/get-latest-person
func (tmdb *TMDb) GetPersonLatest() (*PersonLatest, error) {
	var latest PersonLatest
	uri := fmt.Sprintf("%s/person/latest?api_key=%s", baseURL, tmdb.apiKey)
	result, err := getTmdb(uri, &latest)
	return result.(*PersonLatest), err
}

// GetPersonMovieCredits gets the movie credits for a specific person id
// https://developers.themoviedb.org/3/people/get-person-movie-credits
func (tmdb *TMDb) GetPersonMovieCredits(id int, options map[string]string) (*PersonMovieCredits, error) {
	var availableOptions = map[string]struct{}{
		"language":           {},
		"append_to_response": {}}
	var credits PersonMovieCredits
	optionsString := getOptionsString(options, availableOptions)
	uri := fmt.Sprintf("%s/person/%v/movie_credits?api_key=%s%s", baseURL, id, tmdb.apiKey, optionsString)
	result, err := getTmdb(uri, &credits)
	return result.(*PersonMovieCredits), err
}

// GetPersonPopular gets the list of popular people on The Movie Database
// https://developers.themoviedb.org/3/people/get-popular-people
func (tmdb *TMDb) GetPersonPopular(options map[string]string) (*PersonPopular, error) {
	var availableOptions = map[string]struct{}{
		"page": {}}
	var popular PersonPopular
	optionsString := getOptionsString(options, availableOptions)
	uri := fmt.Sprintf("%s/person/popular?api_key=%s%s", baseURL, tmdb.apiKey, optionsString)
	result, err := getTmdb(uri, &popular)
	return result.(*PersonPopular), err
}

// GetPersonTaggedImages gets the images that have been tagged with a specific person id
// https://developers.themoviedb.org/3/people/get-tagged-images
func (tmdb *TMDb) GetPersonTaggedImages(id int, options map[string]string) (*PersonTaggedImages, error) {
	var availableOptions = map[string]struct{}{
		"language": {},
		"page":     {}}
	var images PersonTaggedImages
	optionsString := getOptionsString(options, availableOptions)
	uri := fmt.Sprintf("%s/person/%v/tagged_images?api_key=%s%s", baseURL, id, tmdb.apiKey, optionsString)
	result, err := getTmdb(uri, &images)
	return result.(*PersonTaggedImages), err
}

// GetPersonTvCredits gets the TV credits for a specific person id
// https://developers.themoviedb.org/3/people/get-person-tv-credits
func (tmdb *TMDb) GetPersonTvCredits(id int, options map[string]string) (*PersonTvCredits, error) {
	var availableOptions = map[string]struct{}{
		"language":           {},
		"append_to_response": {}}
	var credits PersonTvCredits
	optionsString := getOptionsString(options, availableOptions)
	uri := fmt.Sprintf("%s/person/%v/tv_credits?api_key=%s%s", baseURL, id, tmdb.apiKey, optionsString)
	result, err := getTmdb(uri, &credits)
	return result.(*PersonTvCredits), err
}

redpajama_set_name: RedPajamaGithub


text:
Bike rider hit by truck, dies
Updated At: Nov 01, 2022 07:34 AM (IST)
Dera Bassi: A 25-year-old biker was killed after being hit by a truck at Bhankharpur traffic lights on the Chandigarh-Ambala highway. Neeraj, a resident of Guru Nanak Colony, was employed in a private firm in Sector 6, Panchkula. He was returning home around 1.30 am when the mishap occurred. The police have handed over the body to kin after postmortem. TNS
Youth killed in accident
Mohali: A 21-year-old youth was killed and another injured in an accident near Guru Asra Trust in Sector 78 on Monday. The victim has been identified as Mohammad Jai War (21). A case has been registered. TNS
Three boxers in semifinals
Chandigarh: Three local pugilists won their respective quarterfinal bouts in the 5th Junior Girls' National Boxing Championship in Imphal. Nidhi defeated Vaishnavi Sen in the second round after the bout was stopped by the referee. Sanya overpowered Purba Palu by 4-1. Yashvi also recorded a 4-1 win over Punjab's Kashish Sharma. TNS
Pulkit shines with bat
Chandigarh: A fine unbeaten century by Pulkit Rana (110 off 80 balls) helped St Joseph's Cricket Nursery defeat DAV School by 156 runs in the 1st Gursagar Cricket Cup. Batting first, the St Joseph's lads posted 257/3 in 30 overs. Rana's innings was supported by Sahil Kumar (79), Adhiraj Kurl (23) and Gurinder (16). The DAV team posted 101 runs before getting allout in 26.4 overs. Rajya R Vardhan (22) and Ayaan (17) were the main scorers. Baljeet Singh claimed three wickets while Abir Masih took two for the bowling side.
#Ambala #dera bassi #Panchkula

redpajama_set_name: RedPajamaCommonCrawl


text:
The 2016 Ju-Jitsu World Championship were the 14th edition of the Ju-Jitsu World Championships, and were held in Wrocław, Poland from November 25 to November 27, 2016.

Schedule
25.11.2016 – Men's and Women's Fighting System, Men's and Women's Jiu-Jitsu (ne-waza), Women's Duo System – Classic, Mixed Duo System – Show
26.11.2016 – Men's and Women's Fighting System, Men's Duo System – Classic, Women's Duo System – Show
27.11.2016 – Men's Duo System – Show, Mixed Duo System – Classic, Team event

European Ju-Jitsu

Fighting System

Men's events

Women's events

Duo System

Duo Classic events

Duo Show events

Brazilian Jiu-Jitsu

Men's events

Women's events

Team event

Links

References

External links
Official results (PDF)

redpajama_set_name: RedPajamaWikipedia


MANILA - A $100-million facility that will house foreign financial technology companies will open at the Cagayan Economic Zone Authority (CEZA) in 2 years' time, the head of the agency said on Monday.
CEZA administrator and CEO Raul Lambino said they have allocated 8 hectares for the fintech hub and already signed 22 agreements with fintech and blockchain companies from all over the world who are interested in locating in the special economic zone.
Lambino said the CEZA fintech hub will cater to foreign companies who transact with clients outside the Philippines as regulators are still developing guidelines for cryptocurrency transactions in the country.
"We have to wait for the much clearer rules from the BSP (Bangko Sentral ng Pilipinas) and the Securities and Exchange Commission for particular local companies who will be coming in and offering crypto exchange to ordinary Filipinos," Lambino said.
Lambino expects the fintech hub to bring in P2 billion to P3 billion worth of investments. He added that they will be requiring a minimum investment of $1 million each from the fintech companies.
A blockchain university will also be put up in CEZA by a Korean company.


text:
Q: Problems reading from System.in.read() I just learned that when pressing enter in response to a System.in.read(), the following characters are put into the console buffer, \r\n. So when I input the following 1 into the terminal and press enter, the computer reads that statement as 1\r\n. So shouldn't System.out.println("hello") be excuted twice? Because choice will store the value 1. And then, "hello" will be printed. Then, ignore will hold the value \r. Then, the control will be given while(ignore != '\n') loop. Then, ignore will hold the value \n. And then, "hello" will be printed. And now that ignore = \n, the code will break out of the loop?
class HelpClassDemo {
  public static void main(String args[])
    throws java.io.IOException {
    char choice, ignore;

    for(;;) {
      do {
        System.out.println("Help on:");
        System.out.println("  1. if");
        System.out.println("  2. switch");
        System.out.println("  3. for");
        System.out.println("  4. while");
        System.out.println("  5. do-while");
        System.out.println("  6. break");
        System.out.println("  7. continue\n");
        System.out.print("Choose one (q to quit): ");

        choice = (char) System.in.read();

        do {
          ignore = (char) System.in.read();
          System.out.println("hello");
        } while(ignore != '\n');
      } while(choice < '1' | choice > '7' & choice != 'q');

      if(choice == 'q') break;
    }
  }
}

A: I think whether the code will have \r (carriage return), \n (new line) or both \r\n depends upon the platform.
I ran your code on a windows machine and it did print hello twice.
You may want to check the machine you are using and the line separator defined for that environment. Please refer  What are the differences between char literals '\n' and '\r' in Java? for further details.
Help on:
  1. if
  2. switch
  3. for
  4. while
  5. do-while
  6. break
  7. continue

Choose one (q to quit): 1
choice1
hello
hello

redpajama_set_name: RedPajamaStackExchange


Despite the ongoing recession, a new survey found Wisconsin residents haven't felt this good about the direction of the country since 2003.
The St. Norbert College Survey Center Poll sponsored by Wisconsin Public Radio released today shows that 41 percent of respondents believe the country is moving in the right direction. In October, only 8 percent felt that way.
Sixty percent of respondents said they are somewhat or very satisfied with the job President Barack Obama is doing. Presidential approval ratings haven't been that high since right after the Sept. 11 attacks in 2001, when 93 percent said they were satisfied.
The telephone survey of 400 randomly selected people was done April 1-9 and has a five-point margin of error.


text:
Первома́йський () — селище у складі Горноуральського міського округу Свердловської області.

Населення — 862 особи (2010, 892 у 2002).

Національний склад станом на 2002 рік: росіяни — 93 %.

Примітки

Джерела

Посилання
 На Вікімапії

Населені пункти Горноуральського міського округу
Селища Свердловської області


text:
How did Trump come to be? Trump and the media
Anthony Cascardi, dean, Arts & Humanities | August 3, 2016
As many Americans disbelieve how Donald Trump came to be the presidential nominee of the Republican Party, most jaws simply drop. Then there are the familiar explanations, most of which echo Trump/party views: He echoes white/middle class resentment; he presents as "tough" in an era where the US and he world have been besieged by terrorism; and as an outsider he pretends to be able to fix all of politics.
The less frequently noticed factor in accounting for Trump's prominence is the media. He made himself into his own reality TS+V star, and was ingenious enough to find a way to make the media work so well for him — mostly by issuing an ongoing string of outrageous statements statements that were designed to get attention, and did, simply because they were outrageous — that early on he had to seek almost no money to support his candidacy. How did that happen? As businesses, media outlets are like stock brokers: they make money money reporting good news or bad, and typically much more money reporting the very bad than the good. However honorable their managers may be, thesse enterprises make money as long as there is news to report. Donald Trump has figured a way to make a presidential campaign out of a few ingredients, of which an understanding of the news-hunger of the media is one.
But the tide may be turning. As other stories gain traction, Trump's hyperboles seem more routine and less interesting, and certainly more repetitive. The story is shifting from the outrages themselves to one to about how a one- or two-note candidate whose pronouncements produce internal party dissent, lead to defection, or contemplate ways to move him aside in the general election .
It's only been in the last few days that the media attention Trump has garnered is actually turning against him. Things can and no doubt will change. But the media will continue to be a factor, and we should not be quick to forget the ways in which candidates — Trump now foremost among them — have known how to play the media… I was going to write in conclusion "to play the media for all its worth," but wanted rather to say "for less than it's worth." Simply to report is not enough. Rather, the media needs to take greater stock of the implications of what it decides to report, especially in an ear where candidates like Trump and others know perfectly how to bait just the right traps.
« Understanding the allure of Trump
Extending Berkeley's reach »


text:
<?php

namespace Silktide\Syringe\Tests\Container;

class InvalidContainer
{

}


text:
// jTDS JDBC Driver for Microsoft SQL Server and Sybase
// Copyright (C) 2004 The jTDS Project
//
// This library is free software; you can redistribute it and/or
// modify it under the terms of the GNU Lesser General Public
// License as published by the Free Software Foundation; either
// version 2.1 of the License, or (at your option) any later version.
//
// This library is distributed in the hope that it will be useful,
// but WITHOUT ANY WARRANTY; without even the implied warranty of
// MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.  See the GNU
// Lesser General Public License for more details.
//
// You should have received a copy of the GNU Lesser General Public
// License along with this library; if not, write to the Free Software
// Foundation, Inc., 59 Temple Place, Suite 330, Boston, MA  02111-1307  USA
//
package net.sourceforge.jtds.jdbc.cache;

import java.util.Collection;

/**
 * A caching implementation that performs no caching. This cache implementation
 * is generally only useful when the driver is not reusing statement handles
 * as it will save a slight amount of memory and time by not performing any
 * caching logic.
 *
 * @author Brian Heineman
 * @version $Id: NonCachingStatementCache.java,v 1.5 2004/10/26 16:03:10 bheineman Exp $
 */
public class NonCachingStatementCache implements StatementCache {
	/**
	 * Always returns null for the statement handle, as no caching
     * is performed.
	 *
     * @param key the statement key whose associated handle is to be returned
     * @return statement handle
	 */
	public Object get(String key) {
		return null;
	}

	/**
	 * Does nothing.
	 *
     * @param key the statement key to associated with the handle
     * @param handle the statement handle.
     */
	public void put(String key, Object handle) {
	}

	/**
	 * Does nothing.
	 *
     * @param key the statement key whose associated handle is to be removed
     *            from the cache
	 */
	public void remove(String key) {
	}

	/**
	 * Returns the same Collection of statement handles received
     * as parameter, to ensure the Statement releases all the
     * handles it has used.
	 *
     * @param handles the statement handles that are no longer being used
	 * @return the same Collection received as parameter
	 */
	public Collection getObsoleteHandles(Collection handles) {
		return handles;
	}
}


text:
Faculty Profile Bivi Kimura
Bivi Kimura
Bivi Kimura studied in France with such luminaries as Rosella Hightower, Arlette Castanier, Jose Ferran. She's very fortunate to have also studied and worked with Rita Thalia, Philippe Cohen, Ian Nuyts, Victor Rona, Serge Golovin, Alexandre Kalioujny, Claudie Winzer, Monet Robier, Joelle Mazet, Hans Brenaa, Christine Anthony, Piotre Nardelli, David Howard. In her professional career, Bivi danced with 20th Century Ballet, Maurice Bejart / Belgium and Switzerland, Jeunne Ballet de France / Paris and also as an invited guest in Japan and Europe. She was a Finalist at the Prix de Lausanne and received a Silver & Bronze prize at the Tokyo Ballet Competition, Junior Division.
Bivi is a company teacher at Les Ballets Trockadero de Monte Carlo and has been a faculty member and ballet mistress at French Acedemie of Ballet under her long time director François Perron. Her professional teaching career also includes being on faculty at Logrea Dance Academy, Manhattan Youth Ballet, The Academy of Ballet Etudes, NJ Dance Theatre Ensemble, and Grand Ballet de Geneve. In addition, she has taught Peridance, Ballet Arts, Alvin Ailey School, Ballet Hispanico School, the school of Steps, Irina and Maxim Summer Intensives and guest teaching many other school and companies. Bivi earned the "Diplome d'Etat de danse Classique" teacher's diploma in France and she is an ABT Certified Teacher, Primary through Level 7 and Partnering of the ABT® National Training Curriculum. Bivi is also certified with multi awarded MUNZ BARRE® created by a format Etoile dancer Alexandre Munz. She is the very first coach in New York.
Bivi's class is taken from the French schools. Her class approach is pure and precise, with emphasis on correct placement of the body, use of arms and épaulement, instructions on the mechanics necessary for movements, and the importance of utilizing musical phrasing. Bivi uses these basic elements to assist in developing a solid foundation bu build strong ballet technique to flourish artistry and take them to the next level. Her positive and joyful approach will keep dancers inspired and motivated!


text:
Sierra View Junior Academy
Exeter, CA 93221-9648
Associated Student Body
Curriculum – Elementary
Curriculum – High School
Achievement Testing
Registration and Application
Tuition / Fees
School Bus Schedule
Why Sierra View?
Sierra View Junior Academy's greatest legacy is its alumni. The lessons learned and bonds formed while they are students here are the ones they carry with them for a lifetime.
To honor those lessons, generations of alumni show their support and stewardship of their beloved school in many ways: through scholarships, volunteering, and sending their children and their children's children to the same institution that provided them with such a good start.
The Alumni Association of Sierra View Junior Academy is a dedicated group of individuals who serve as the "eyes and ears" of the school. The Alumni Association serves the school by daily praying for the current students and faculty, raising money to support programs for student learning and addressing current issues of alumni, students, parents, faculty and staff.
If you would like to know how you can get involved with the Alumni Association, please contact us at alumni@sierraviewjunioracademy.org, or call (559) 592-3689 and ask to be contacted about volunteering with the Alumni Association.
Know Him ~ Love Him ~ Share Him
Prayer at Sierra View
Painless Fundraising for Our School
Welcome to Our Newest Teacher
Enroll Now for the 2015-2016 School Year!
Sierra View Junior Academy's mission is to provide a Christ-centered education, focused on personal and academic excellence, promoting spiritual maturity in preparation for service and Christ's soon return.
Grounded in the Seventh-day Adventist Christian faith, we are a close knit community enriched by a diverse group of students, teachers, board members and parents working together to nurture student minds and hearts.
Interested in learning more? Use our contact form or call the school office at (559) 592-3689.
© 2014-2019 Sierra View Junior Academy, All Rights Reserved


text:
Edinburgh residents watch 56 days of TV in a year according…
Home News Scottish News Councils spend millions on Christmas lights despite recession
Councils spend millions on Christmas lights despite recession
Amanda MacMillan
CASH-strapped Scottish councils are still spending millions on Christmas lights.
And it has been revealed that the £9 million spent illuminating towns and cities in the past three years could be used to provide 30 snowploughs.
Another £400,000 was spent on trees and decorations for council properties and thousands more on celebrity appearances at town centre switch-on ceremonies.
The figures come as local authorities are struggle to cope with the severe winter weather.
Charlotte Linacre, campaign manager at the TaxPayers' Alliance, blasted the expenditure.
She said: "We all want to enjoy Christmas and put up a few decorations, but taxpayers shouldn't be left with a bill running into millions at the end of it all.
"It's unbelievable that festive spending peaked during the recession and costs must be kept under control from now on.
"With many councils now pleading poverty as they try to cut spending, there's no excuse for going over the top this year.
"Christmas decorations don't have to cost the earth."
Council's Christmas decoration spending hit a high in 2008 when officials spent £3.2 million on lights, trees and other decor.
In the years preceding and following that they spent more than £2.8 million – which is enough to pay the salaries of 130 new teachers or buy 30 snowploughs.
Most council's said their budgets for this winter were similar to last year's.
A spokesman for North Lanarkshire Council, which spent £352,000 on festive lights last year, said: "Unlike most local authorities, who install Christmas lights in one or two locations, North Lanarkshire has seven major towns.
"We also cover some 30 villages throughout the area. The average spend is £9500 per display which we believe is value for money and brings residents and visitors some festive cheer."
A spokesman for the City of Edinburgh Council, which spent £149,000 on lights last year, said: "Christmas is a special time of year and there aren't many cities that can match what Edinburgh has to offer over this period.
"The festive lights and other decorations are an important part of showcasing the fantastic sights and experiences for residents and visitors."
Glasgow City Council spent £207,000 last year on lights. A spokesman said: "The Christmas attractions are a highlight on the Glasgow calendar while the city centre lights are well loved and help to generate business."
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https://www.deadlinenews.co.uk/2010/12/19/councils-spend-millions-on-christmas-lights-despite-recession/


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Runners: Watch This Frightening Video. Then Promise to Behave Better at the Track
An incident in Arizona gives school districts fodder for restricting track access. Can you blame them?
By Erin Strout
Yikes 😬 🎥: @kowalyoann
A post shared by FloTrack (@flotrack) on May 15, 2018 at 5:40pm PDT
Earlier this week I was casually scrolling through Instagram and came across a video on FloTrack that gave me pause. And then it gave me rage, when I discovered it was a clip from a high school track in my hometown of Flagstaff, Arizona.
In the video, it appears a physical education class is in session while two older athletes are conducting a speed workout, paced by somebody on a bike. What could possibly go wrong?
As the fast-moving entourage rounded the curve, the bike crashed directly into a student walking in lane 1—both parties ended up in a heap on the ground while the athletes tripped right over them.
Nobody got hurt this time, but the aftermath was infuriating for multiple reasons. The video offers perfect justification for school districts to deny track access to residents, during the school day or not.
To be fair, the athletes in the video have since apologized. They are French professional runners, visiting Flagstaff for an altitude training camp. They said they weren't aware of the policies for track use in town and that using a bike pacer on tracks is a common European practice. (Bikes are typically not allowed on American tracks.)
My reaction to the video was also personal. Many leaders in our running community have devoted hours upon hours, for nearly a decade, to negotiating with the school district to open the tracks up for residents and visitors. We have five tracks within the city limits, and for many years, not one of them was accessible without making special arrangements. Now, with a key-card system and posted public hours, most of them welcome runners of all abilities.
All I saw in this video was a lot of hard work potentially slipping away, due to irresponsible behavior.
But the ire on the part of many FloTrack viewers was targeted toward the walkers using lane 1. How dare these slower-moving humans occupy such sacred space, reserved for all the fast people!
Related: How to Watch Track & Field
That anger is wholly misplaced. The entirety of the blame for this incident should be placed on the athletes. Here are three reasons why:
School is in session. As community members, we wouldn't walk into a classroom unannounced, sit down at a desk, and just start using the school supplies. We wouldn't waltz into the gymnasium to play some hoops at lunchtime or help ourselves to the pizza in the cafeteria.
And even if a track is open to the public during the school day, students always have the first right to occupy it. If a physical education class or a team practice is going on, it's a visitor's responsibility to communicate with the teacher to make sure it's okay to continue running—and, if it is, it's also the visitor's job to accommodate the other people on the track, not the other way around. Speed and ability level don't entitle anybody to lane 1—and if that fact will ruin your session, then make other plans or find a different location.
Because…manners. Even if you're running on a track outside of school hours, it's still a public facility that we're all sharing. And while it may be annoying that somebody who's slower than you is occupying lane 1, all it takes is a polite request for the right-of-way if you need it. Not everybody's been knocking out quarter-mile repeats each week since age 12, learning proper track etiquette along the way, so screaming "Track!" from behind is only going to result in alarm and panic and probably the kind of crash depicted in the FloTrack post. Maybe just step into lane 2 for a moment, go around the people in your way, and save your world-record-setting 200s for another day?
And rules are rules. School officials can impose whatever policies they want on their grounds. It's up to visitors to understand what they are—claiming ignorance isn't an excuse and, again, not following the rules could result in everybody losing the privilege of track access. A bike whizzing around the track is an obvious and, under the circumstances, dangerous misstep. Guidelines are typically posted near the entrance, but using common sense and showing respect also work just as well.
What we see in the FloTrack video is unacceptable, but the reaction of many of the people who watch it is also perplexing. Nobody is entitled to a school track and, in fact, the kind of attitude that prevails within this faction of the running community ensures that accessing these facilities will only become more difficult for the fast, the slow, and those of us somewhere in between.
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Living in Houston, TX, I have noticed at my school that there are several couples who speak different languages, but their children just speak English fluently . Why does it happen? Is it a good thing to speak two or more languages instead of just one? For bilingual teachers like me, it reminded me not only the importance of modeling in class, but also that we have to live language and not just teach it.


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Dwson honours his Griqua heritage with new EP
Dwson is honouring his Griqua heritage with a deeply affecting new EP released through London-based Aluku Records on May 15th.
Titled Griqua, the recording features two tracks – "Griqua" and "Finsch" – that take listeners on an emotional journey through Dwson's ancestral roots, driven by the Deep House sensibility that has turned the Cape Town based producer into a growing presence on the South African electronic music scene.
His Aluku Records debut sees Dwson reclaim the mixed raced heritage of South Africa's Griqua people. Descendent from the Khoisan, Griquas carry the Coloured identity that is unique to South Africa – and both the EP's tracks capture different aspects of this.
A beguiling blend of Afro/Deep/Progressive House, "Griqua" is a full eight-plus minutes of music that capture both the sorrow of suffering and discrimination, and the upliftment of an identity rooted deeply in South Africa's ancestral soil. "Finsch" is an sophisticated cut that provides a catchy counterpoint to the EP's title track. It pays buoyant homage to the Khoisan people who worked in South Africa's diamond mines including the Finsch diamond mine located west of Kimberley in the Northern Cape province.
Dwson's ability to convey stories and emotions with his music has already seen him earn Spots on Traxsource Top 100 , Deep House Essentials and Top 10 Deep House Charts with his new tracks. The Griqua EP is the most recent release from Dwson and adds to a catalogue that includes the full-length albums, Say Less (November 2019) and Impulsiv (2018) as well as 2016's atmospheric single "Zulu Groove", the brilliantly melodic Luna EP (2017), the critically acclaimed single "Ethyl" (2019) and the Bermuda EP (2019).
The release of 'Ethyl' at Hallo Montag took Dwson on his first international tour, spreading his wings to one of the globe's house music capitals, Berlin. October 2019 saw the video for Dwson featuring Sio's "Nobody Else" named Best Music Video at the 2019 Dance Music Awards South Africa (DMASA), adding to the buzz that continues to build around the artist. It was Dwson's second DMASA – having received Best Underground Record for "Luna" in 2018. Dwson has also played most of South Africa's high-profile live events including successive Cape Town Electronic Music Festivals, Oppikoppi, RedBull Music Academy, ULTRA, Rocking the Daisies, Synergy and Design Indaba. December 2019 saw Dwson and Sio reach new fans when they supported UK artist, Tom Misch during his Cape Town show.
With the release of Griqua, Dwson is cementing his enduring belief in music with an EP that has global reach. "No matter who you are or where you are in the world, music has the power to take you away from whatever might be going on in your life – and allow you to get lost in something that's joyful, emotional and moving. I'm privileged to be able to do this."
Listen to Griqua EP here.


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Politicized speech earns obstinate Edwards D-minus
With equal parts pugnaciousness and disingenuousness, Democrat Gov. John Bel Edwards' highly-politicized 2017 State of the State speech laid out a truly flawed vision for Louisiana going forward.
One could gig Edwards – who appeared to need new contact lenses – for spreading a host of specific misperceptions and mendacious arguments in his address. For example, as if trying to bolster weaker arguments to come, he started by spreading the usual selective information about Medicaid expansion, concentrating on individual stories representing the several dozen of over 400,000 new enrollees who obtained medical treatment through the program, and alleged it would continue to save the state hundreds of millions of dollars annually.
Of course, he ignored inconvenient truths about expansion. He did not mention that roughly half of the new enrollees likely dropped insurance from the private sector, socializing their costs onto taxpayers. Nor that "savings" come as a result of higher taxes on insurance and hospital visits passed down to people, nor that the escalating costs of the program – which may go much higher depending upon Medicaid reform coming out of Washington – that already increase on an annual basis each Louisianan's share of the national debt by $500 (or, perhaps more precisely, for each federal income taxpaying filer in the state $1,200 each year) and will cost state taxpayers by 2020 hundreds of millions of dollars more extra, regardless of the hundreds of millions squeezed from them from those higher taxes that prop up current expansion spending.
Because the program as currently constituted vacuums up nearly 40 percent of all state-generated revenues, this is the real threat to Louisiana's fiscal stability. But in Edwards warped world, he sees that not as a problem, but an opportunity. By driving Medicaid spending ever higher, he hopes to use that as leverage to increase the size of government, thereby displaying the very cynicism at the end of the speech he chastised against in policy-making.
Instead, he sees the problem as government not having enough money to do all that he wants, an expansion of government power which neither matches the agenda of the Republican legislative majorities nor most of what a majority of the state's people want. And he had the arrogance and audacity to insinuate that opposition to his desires was somehow irresponsible because he claimed it did not offer an alternative.
That's a lie. During the special session earlier in the year, Republican House of Representatives leaders presented multiple alternatives to Edwards' full-bore use of the Budget Stabilization Fund to bail the state out of revenue shortfalls caused by suppression of economic activity from the very tax increases Edwards had championed, which he then fought strenuously against. It wasn't that options to cut more from government than he wanted weren't there, it's just that he didn't like these – but that doesn't mean those don't exist.
And if Edwards cares to look around, dozens of bills filed for the regular session that kicked off today contain all sorts of thoughtful reductions in government spending and revenue increases – changing low-yield refundable tax credits to nonrefundable, getting rid of wasteful exceptions such as the Motion Picture Investors Tax credit, junking unproductive statutory dedications and the separate funds attached to these, increasing the responsibility of welfare recipients such as instituting a work/service requirement for able-bodied working-age adults to receive Medicaid that would save money, etc. – sponsored by both past opponents and supporters of his ideas. Nor can we accede to his penchant for creating false spending choice dichotomies that posit only programmatic reductions and eliminations as a consequence of reduced expenditures, ignoring that shaving budgets can force agencies to work smarter and more efficiently without service reductions that matter.
If anything, its Edwards who, on the biggest issue of fiscal reform, acts irresponsibly. Two weeks prior to the session start, he threw into play his corporate gross receipts tax idea to supplement the current corporate income tax (with adjusted rates). A proposal never discussed at all among state policy-makers, his forwarding it showed incredible weakness and laziness: rather than do the hard work of constructing a reform package to a byzantine corporate income tax regime that in the speech he called unworkable – and a blueprint for its reform which, as flawed as it was, he had delivered to him – he now proposes to keep that system intact and simply slap another, even more complex, kind of tax on top of it.
Yet perhaps the most palpable understanding of the address derives from what has become the core conceptualization defining Edwards' governorship – his articulated belief that opposition to him and his agenda stems only from partisanship, or electoral considerations, or political ambition that leads to unserious governing. More succinctly, Edwards' view on things is self-evidently correct; therefore, opposition to him has no legitimacy, explainable by these baser considerations.
This insufferable attitude prevents any realistic appraisal of public policy options available and strays from a fundamental truth: Edwards simply purveys an entirely wrong-headed agenda that in the aggregate is destructive to Louisiana and the life prospects of its citizens, assailing their property and liberty; that the real reason why opponents fight him. Repeatedly when mentioning various issue areas in the speech, by attempting to delegitimize opposition through ascribing obstructionist motives to it, he tries to avoid the very policy debate he said he welcomed during the address that ultimately would prove how out-of-step he is with Louisiana's majority.
Edwards probably realizes the make-or-break nature of this session to his political future: unless he gets fiscal reform and a balanced budget on his terms, he becomes a one-term governor with little historical impact. This explains the combative tone of the speech. But such tone-deafness as he displayed throughout it earns this effort a D-minus, kept from failing only by advocating some helpful items such as in the area of criminal justice.
Bill should add taxis to rideshare state regulation
LA must combat populist impulses on waterworks
State must take taxpayers off hook of dubious deal
The Advocate column, Apr. 9. 2017


This micro collection embodies the spirit of the re:collection and the vision and values of DECE – reclaiming, recycling, reinventing and re-empowering – taking the unseen and transforming it into something practical and beautiful. We see this transformation, reinvention and empowerment echoed in the lives of our team every day.
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Browsing all articles tagged with Frozen Synapse.
2011 was a great year for games, I'm sure you'll all agree. Many of them had outstanding soundtracks to boot, so a few of us here at Press X or Die decided to highlight some of the aural pleasures on which our ears have been gorging. So listen up.
Frozen Synapse is a new indie title from Mode7. You take command of a squad of "vatforms" through "The Shape", an omnipresent internet-like technology. It takes the turn-based strategy genre and injects some fresh vigour into its bones.


Two issues that dogged Council for more than a year were resolved at Monday's Council meeting. One was proposed legislation addressing roadside panhandling. After meeting with police and the administration, Council's Safety Committee recommended filing the new legislation in favor of stronger enforcement of existing laws. The other issue involved construction of a 60-unit apartment building abutting homes on Vane and Sorin Avenues. Council's Planning Committee helped to negotiate an agreement among objecting residents, the developer and the city to swap land and build the apartment building on nearby Brownstone Avenue.
June 11, 2012 from Akron City Council on Vimeo.


The smart way to trade online.
Technology has changed the way the financial markets function and the Internet has made anytime, anyplace trading a reality. Investment solutions providers face greater pressure than ever before to offer Internet-based services to clients. GTP provides FLIP Web – a powerful investment portal built to meet such needs.
FLIP Web lets you offer your clients yet another smart channel to place their trades – an investment portal. It is a browser-based application for optimized trading even in low bandwidth and supports multiple financial assets – equity, derivatives, mutual funds, currency derivatives, etc, from a single user interface. Through it, you can tap the power of the Internet to access a new, contemporary and simple way of trading. It interfaces with the FLIP Order Management System for risk management and order routing through multiple stock exchanges. Linked to a powerful market data distribution infrastructure, it provides real-time stock quotes and charts from various exchanges in a single market watch. With Flip Web all that your clients need to trade is a web browser and an internet connection.
Data streaming over http tunneling which enables to work behind firewalls and proxies.


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India Travel Guide India Trips Of Pine Cones, Snow Sliding And Sweaters In May: Dodital – Darwa Pass – Hanuman Chetti Trek
Of pine cones, snow sliding and sweaters in May: Dodital – Darwa Pass – Hanuman Chetti trek
Tripotohttps://www.tripoto.com/
By Vaishnavi Rathore
Touchdown, Uttarkashi
Waking up to this view at Agora Village
"Miles to go before we sleep"
A reward for an eight hour trek
Last few steps to Darwa Pass
Darwa Pass
Topping the Pass
On the way to Camp Site
There is a guilty pleasure in knowing that there are places to whose names half of the population cannot put a picture to; the Dodital Trek consists of many such places—untrodden paths punctuated with tiny, villages, hints of snow on ridges of the Dhauladhar range and meadows that remind you of a beautiful memory. The trek definitely comes at a price; it is challenging, with two days of intense uphill walking, and two of tough downhill walking. But at the end of it, you will look back at the five days that you have spent and think about all the different type of terrain you walked on and you'll realize this is possibly the best summer trek one could have been on.
May-June are the best months to venture on for this trek. One thing that you must keep in mind is that while summer in the plains means AC, shorts and ice-cream, summer for the Dodital trek means snow, so do pack accordingly.
Reading and learning about the Himalayas is an incomplete process, you need to touch the snow, hail and rain that belongs to it, the flora and fauna that only survives here, and you have to trip and slip and fall to the land that makes these Himalayas. The Dodital-Darwa pass-Hanuman Chetti Trek is a trek that would instill in you this sense of belonging and would enable you to see how different the Garhwal Himalayas are from its other counterparts. You will get to see an array of landscapes in a span of five days and when you return, you'll return with more than sun and snow burn, scratches and scars; you will return with a memory card full of photographs, and a rucksack full of memories.
Commuting from Delhi is easy—you can always rely on the semi-deluxe Air Conditioned buses to Rishikesh under ₹400 Rupees from Kashmere Gate ISBT. It is advisable to leave at night so that you reach Rishikesh between 5 am-6am, leaving the rest of the day to travel beyond. The journey is about 6 hours (unless your bus decides to take a detour into a very narrow lane near Haridwar and has to drive in reverse for about a kilometer, in which case add another two hours). Once you reach Rishikesh, a quick wash-up can be done at the Rishikesh bus station which has surprisingly clean washrooms. From there, a quick ride to the taxi stand will put forth you an array of Sumos, Boleros and Scorpios— your next ride to Uttarkashi which will cost around ₹3000 per taxi and a journey that will take another 4.5-5 hours. There are a lot of dhaabas along the way to catch a good breakfast of aloo parathas. Once at Uttarkashi, you can hire for yourself a guide and porters and the rations you would need during the trek. We hired 6 porters and a guide, costing us ₹625 per porter per day, and ₹1200 per day for the guide. The same market places is punctuated with small hotels, if one feels the need for lunch. From here, you can load your now-heavy-with-rations-rucksacks into another taxi that cost us ₹1000 each and be dropped at Sangam Chetti after a 45 minute bumpy ride, which is the starting point of the trek.
Sangam Chetti
From Sangam Chetti, your next destination would be Agor Village, a 6 km trek that would be completed within three hours. It's a perfect beginning trek, it's like a warm up for the rest of the four days. The trail is laid in front, and you can walk the sometime-uphill-sometime-downhill stretch in comfort, looking around at the Himalayas which you will learn to love in the coming days. The village Agor announces its arrival with an arched gate, barking puppies and singing women. The best bet is to stay at a guesthouse for the night simply because it is available. This way you save time the next morning not having tents to pack and sleeping bags to roll. We had a comfortable night at the Bharat Resort nestled with enormous rose bushes and a garden to share ghost stories over dinner. Renting out 4 rooms for a night cost us ₹1800.
Agora Village
Start the morning early with a good breakfast (available at the guesthouse) for this is going to be a long day. 8 am is a good time to leave. The 16km trek to Dodital is spotted with waterfalls, villages, streams and loads of uphill walking, but you will find that the trek constantly rewards you with Oak, Fir and Rhododendron trees. Carry packed lunch when you leave from Agor, and you can choose your lunch spot from Berwa, Dharkot or Manjhi, spotted villages en-route to Dodital. We chose Manjhi, a village at over 9000 feet which also happened to be a good spot for cricket with the locals or a power nap. Continuing from here, the rest of the trek is a fun, low gradient one. Your tiring and exhausting day would come to a rewarding end at around 4 pm when you reach Dodital and are welcomed by the beautiful lake with its trout inhabitants and the mountains that envelope it. You have a choice to camp or stay at the guesthouse there; we chose to camp and it turned out to be a good decision for the night did not see a lot of dip in temperature. There is a minimal fee that needs to be paid to the authorities there for camping though, but it is definitely worth it. The area also has a small dhaaba where you can expect tea, coffee, eggs and maggie, and an open kitchen (perfect if both your burners decide to stop working.)
Dodital
The next morning should be an early start too, and this will probably be one of the most challenging days of the trek. The trek to Darwa Pass is everything that the word 'trek' would encompass—walking, climbing, the need for a pair of strong lungs and a strong will. This 12 km trek dedicated to only uphill climbing requires you to walk upstream on the dry riverbed which means a lot of climbing over boulders and subsequently walking further uphill on paths that have to be created. By midday, you would be at Darwa Pass. Windy and with patches of snow, the pass will leave you awe-struck. Though it is not advisable to stay at the chilly pass for so long, we decided to have lunch there, bundled with caps, mufflers and gloves at over 14,000 feet (and lived to tell the tale). A perfect lunch spot and a camping ground is around half an hour downhill trekking from the Pass. Having reached your camping spot by afternoon, you have the rest of the day to take in the beauty of the Himalayas, breathe in the view of peaks including Bandarpooch, snow slide and put on more layers. Since it is quite close to the pass, expect a cold, windy night and cover yourself well while you sleep. Amidst the hail, rain and two seconds of snowfall, one can definitely forget it's the month of May.
Darwa Pass - Next Camping Spot
The next day two days are downhill, good news for the lungs, but bad news for the knees, ankles and toes. The trek to the next camping ground is of a distance of about 6-7km which passes through Sanasar Top. You can expect fallen snow in this area—a little uphill walking can be very challenging and you will reach the top falling and slipping in the snow. In some cases while coming downhill, it might be quicker and more convenient (and a thousand times more fun) to snow slide down the mountain slope. Once you have crossed the magnificent mountains, you will start to notice a change in the flora, from no trees to coniferous trees to bushy trees and meadows. It is one of these meadows that will be home for the night, but you reach here only after five to six hours of snow sliding and intense downhill walking. But a warm dinner and a game of antakshari around a bonfire later, all your exhaustion would fade. It would be a cold night too, but not as cold as Darwa Pass. It is still advisable to layer up and stay layered up, and because of the wonderful thing called body warmth, have 8 people in a 4 man tent.
Hanuman Chatti
The next morning give your feet a good massage, because it is another 6 hour trek downhill to Hanuman Chetti. It will take you through dense forests with snake plants and blue pines, uprooted trees that make for bridges, it will make you cross paths with the migrating herders and villages with breath taking beautiful views. Crossing the forest is the tricky part, where you can (and we did) get lost. But once you reach the villages, the stone paths are laid down in front of you right down to Hanuman Chetti. You would reach Hanuman Chetti by evening between 4 to 5 pm, and you must treat yourself to aloo parathas at one of the lodges or dhabas, for having completed the trek. From Hanuman Chetti, taxis and bus services are available to Dehradun from where a connecting bus can be taken to New Delhi, but these start only in the morning. So the best way to end the trek is to let yourself stay in the majestic Himalayas for one more night; Hanuman Chetti has a few lodges that will give you rooms for the night at ₹400 per room for a night. After 4 nights of sleeping on slopes and rocks, you will find the beds too comfortable to wake up early to catch the 6am bus to Dehradun. The journey will take around 6 hours, and the leaves on the trees will get thicker, while the layers of clothes on yourself, thinner. From Dehradun, comfortable air conditioned buses are available at around ₹700 per ticket (or we were just lucky; be mentally prepared to travel in semi deluxe or non- AC too, if you plan to reach Delhi the same day). The journey to Delhi will be completed in a span of 6-8 hours, depending upon the traffic once you enter Delhi.
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TrackMania DS
TrackMania DS Review
Decent arcade-style racer that doesn't quite keep up with its namesake.
By Craig Harris
Updated: 11 May 2012 10:16 pm
Posted: 17 Mar 2009 9:14 pm
You can approach TrackMania DS two ways. As a conversion of the PC franchise it sort of misses a major part of the experience: online support. But as a DS-centric arcade racer it's one of the better titles on the system with a ton of gameplay options and an incredibly beefy track creator. Overall it's a really good effort but it's hard to ignore the online omission, especially since the last two racing games the developer worked on featured the option prominently.
Trackmania DS has been available in European and Australian territories for several months now – after losing its original publisher the game found a home at Atlus who's handling the North American distribution. Nothing's been updated during that time, what's been available overseas since 2008 is what we're getting in the US in 2009.
The game has been developed by Firebrand Games, a team that's worked on two quality DS racers in the past: Race Driver: Create and Race and GRID. Both games weighed more on the "simulation" side of racing (or as close as you're going to get on the DS hardware), but for TrackMania DS the team gets to produce a game that throws reality out the window: the game's all about loops, corkscrews, jumps, and tracks that would send a normal car to its grave right quick if they existed for real. It's also more about time trials than grinding for position. In fact, the other cars in the game are ghosts with no collision, even during multiplayer races.
The team's technical prowess comes into play right away in TrackMania DS: the game's visual engine runs at an incredibly peppy 60 frames per second most of the time, only dropping to 30 during some of the more complex track structures. TrackMania DS also employs an updated version of the team's track creator, this time offering an interface that makes it possible to test tracks on the fly. Players build their circuits in the 3D engine, so it's easy to simply jump in and out of the car to see how well the creation drives without the awkwardness of loadtimes.
The DS game features a multitude of game styles that really add to the variety. You've got normal races that pit players against the clock and their choice of ghost racers in three distinctly different style of vehicles. You've also got a clever "platform" mode where you simply have to survive some absolutely devious track creations without falling off the edge. And there's "Puzzle," a unique idea that challenges players to finish the track using the construction mode. No racing game's complete without multiplayer and TrackMania DS has a full-featured single and multicartridge mode for competitive racing, and you'll be able to trade your track creations with other TrackMania DS owners…but only if they're standing right next to you.
And that's really one of the biggest faults with TrackMania DS: its lack of any online component. The TrackMania series on the PC is known for its internet sharing and competition, and the Nintendo DS features none of it. Considering the developer involved in the DS conversion you'd think this would be a priority: both Race Driver and GRID featured Nintendo Wi-Fi support and the team's third game doesn't even acknowledge the DS system's online capabilities.
But that's not the only issue we have with TrackMania. As fun as the racing is, there are technical flaws that find their way into the racing and hinder the gameplay. For example, if you take a hill too fast, your car will many times slam through the track piece temporarily and either slow down or take an unfortunate bounce that can – and frequently will – affect your times on the track. It's a frustrating element that shouldn't even come into play: sure, we can understand a drop in speed simply going uphill, but we just can't forgive a dramatic drop in speed simply because your car passed through the track surface when you were accelerating to an incline.
Give me the choice between simulation and arcade racing and I'll take arcade nearly a hundred percent of the time. TrackMania as a concept is right up my alley – I love throwing reality out the window in favor of exaggerated driving, and TrackMania DS has all the elements I'm looking for in a videogame racer. And as good and feature filled as this Firebrand-developed, Atlus-published game is, it's not great and, forgetting the technical glitches that bog the quick action, the game removes the online component out of the mix – without online it really isn't true TrackMania. It's a decent first step, though, and perhaps in the second go round the team can fix the collision issues and work in the online component.
Was this article informative?
With TrackMania DS, you drive at mind-blowing speeds on incredible tracks made of jumps, loops, turbo boost pads and many other crazy design elements.
ESRB: Everyone
Nadeo, Firebrand Games
Atlus, Focus Home Interactive
Number Of Players, Vibration, Local - VS # of Players, Multi-cartridge Multiplayer, Single-Cartridge Downloadable Multiplayer, User-Generated Content
Have you played TrackMania DS?
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Situated on a large property in the North Shore suburbs of Chicago, this Shingle Style residence was designed to captivate the unique aesthetic found in the coastal regions of New England. Blue-gray pre-stained cedar shingle siding, slate tile roofing, natural stone base, and white trim comprise the material palette for the exterior of the house.
Round breakfast room with 270 degree views of the back yard.
View of the main hallway that connects every room on the first floor. The hallway is broken up into several nodes with panelized arched openings and a herringbone pattern in the walnut floor. Oversized hanging round glass pendant light fixtures march along and punctuate each node.
Street front facade. A touch of New England charm in the midwest suburbs of Chicago.
Charming living room with dark stained walnut flooring, stained ceiling beams, stone fireplace, hanging round candelabra chandeliers, and custom built-ins.
Charming living room with dark stained walnut flooring, stained ceiling beams, hanging round candelabra chandeliers, and folding leaded glass door passthrough to the kitchen butler's pantry beyond.
Sunroom with views to the back yard. The dark stained walnut floors, ceiling beams, and windows frame the space. The oversized hanging square glass pendant light fixtures bring a sense of warmth in the evenings. Mechanically operated window transoms up high allow fresh air ventilation and avoid disrupting the views below.
Cozy kitchen with fireplace hearth. The warm tones and textures of the brick and distressed timber beamed ceiling brings a sense of coziness to the space while the custom crafted white cabinetry becomes a neutral backdrop.


Welcome to Tanya's Dog Boarding!
Tanya's Dog Boarding offers a luxury accommodation for urban dogs. While their owners are away, there is a great vacation facility for them. Dogs stay with our family in our house as loved family members. We don't use crates or kennels. Our 23 acres estate includes two beautiful lakes and direct access to natural trails and is now carefully arranged for play and training needs. We created an ideal retreat for dogs to provide a healthier environment and treatment that would make them physically and mentally fit, correct behavioral problems and establish a better relationship between dogs and their owners.
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In addition to our basic dog boarding and training services your dog may receive massage, treadmill workout, grooming, such as teeth brushing, coat brushing, ear cleaning, nail clipping and bathing.


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Barbie Ferreira Is Using Her Becca Partnership To Make The Beauty World More Realistic
"I think the future of storytelling that is truly inclusive is the normalization of everything."
by Tanisha Pina
It would be easy to assume, given just how influential HBO's hit series Euphoria was to the beauty world, that its lead actors would be endorsing cosmetics left and right off-screen without giving it much thought. But when Barbie Ferreira was announced as the face of Becca at the start of 2020, she made it clear that the partnership was designed with more intention than most.
While the brand isn't new to successful influencer and celebrity collaborations — it's created collections with everyone from Chrissy Teigen to YouTuber Jaclyn Hill — Becca shared bigger, longer-term plans when announcing Ferreira as its new face, sharing that in addition to starring in campaigns, the actor would be consulting on more mindful casting as well as larger conversations around body positivity, gender, race, and mental health. It's a huge, and rare, opportunity, and surely not one Ferreira is taking lightly.
"I want to be really authentic to me and to where I come from and where I started — doing fashion growing up and bringing a bit of the New York queer scene into the beauty world," she tells NYLON over a Zoom call. "Sometimes [when] that happens, it's fleeting or trendy, but I think for me, the most important part was bringing in people that I really, really admire, and making sure that everything is safe and feels great and feels like there's a lot of love behind it. Just being a bad b*tch, using Becca in a way that's very positive."
Ferreira's latest work with the brand is in support of the Becca Zero No Pigment Collection, a line of two new (literal) no-makeup makeup contenders including the Zero No Pigment Virtual Foundation ($36), a primer-like skincare and makeup hybrid designed to blur and smooth the skin's appearance, and the Zero No Pigment Glass Highlighter ($24), a multi-purpose, clear gloss for the face and lips that'll leave a high shine without the sticky feel. It's a collection Ferreira can get behind wholeheartedly, as she's continuing to explore how she wants to express herself in terms of beauty — instead of what's being put on her as a model or actor on set.
Ahead, NYLON spoke with Ferreira about the new collection, breaking free from the "body positive activist" labels that have been thrust upon her since she was a teenager, and her first impressions of the Euphoria script.
Courtesy of BECCA
What was your relationship with beauty like growing up? Who were the people, or aesthetics, you looked up to?
Growing up, I really was fascinated by people who were probably more on the goth side. So for me, I started wearing makeup, wearing heavy eyeliner and really colorful makeup and just kind of ... eye lining [laughs]. Putting so much eyeliner on that it just starts melting on my face. My beauty idols at the time were kind of like the internet girls of that age, which were like scene queens and people who wore crazy things and really extreme makeup. I always tried to emulate that in my little kid way, which didn't always look great, but it was a great point of reference for what I was doing. I was very much attracted to darker makeup and a lot of colors that were very neon and in your face.
Through all the different transitions you've had in your life, from modeling to acting, how has that changed the relationship with beauty?
I think when I was modeling my relationship with beauty really was at a standstill, because I was working and traveling so much and people were just putting makeup on me every day, so I didn't really wear as much makeup as I used to on my off-days. I think with acting, it's so different, and I really feel more inspired about what I want to look like and who I want to be in this world and how I want to present myself. It's definitely been more of a makeup renaissance for me since I've started acting because I've been exploring it more.
Your partnership with Becca is unique in that more than just being the face for new launches, you're able to consult on casting and conversations about gender, race, mental health, and more. Can you talk a bit about how the experience has been so far, and how you've been able to put some of those things into motion behind the scenes?
When I started working with Becca, I think the most important thing was that I wanted to bring my friends in, people that I've admired from New York, who are in the fashion industry, who are notoriously slept on and haven't had the opportunities to really be in these spaces before. And as a white queer person, I'm like, "What can I do to make sure that everything is even, and I'm doing my best?" If I was going to create a brand, I already had this roster of my friends who I think are just amazing creatives and amazing people and gorgeous and all this stuff. So, that was really important to me when I started working with Becca, and Becca has been amazing; most of these campaigns are [with] people that I've known for years and people that I grew up with essentially.
Becca Zero is quite literally no-makeup makeup — how do you see that fitting into how you approach your own routine?
Well, for me, I never really wear foundation unless I'm at an event or working. So I think this is the perfect product for people who either just want to put something on, like just foundation, or they don't like wearing foundation in general that has pigment and that ends up cracking or settling into your like pores and all that stuff.
I'm not sure if I'm just dry or whatever, but toward the end [of wearing makeup], it just feels like I have something on my face. So, for me it's a perfect product because I can put either nothing on top or put concealer, or I can just continue to do a full makeup look without the foundation. I already did [the latter] before, but without anything on underneath, the makeup would look kind of uneven and the application not smooth. I think it's the perfect product for people who just want to let their skin kind of shine through and not have to put so many layers on top of it. And it really just gives a blurry kind of like filter-y, velvety look.
You shared in a recent interview that after years of being put on as a "body positive activist," you want to move away from that label and are more interested now in putting those practices to work without talking about them all the time. Can you talk a bit about what that looks like for you now?
This is something that I've grappled with from 16. I started working at 16, and I was on the thinner side at the time. And people were already thrusting this body-positivity, diversity-inclusivity conversation on me. To me, I was a slightly above average in the modeling world weight-wise and also just a cis white woman. So for me, I mean, even in the early days, I would kind of try to pivot and kind of be like, well, this is not the end-all of diversity. You can't just put me in a campaign and then think, "Oh, that's it, that's all the work we have to do. We did it. Let's pat ourselves on the back." And that was really something that I struggled with throughout all of my career.
I kind of try to find a way to talk about the issues of fashion when I was a model, as a bigger issue, because it is the idea of this Eurocentric, waifish model that we all assume has to be in every campaign, that's going to sell clothes. I think through the years of me modeling and meeting other people, I just felt really hopeful in a way where I think that there's so many different voices and so many different people out here that deserve everything in the world. So for me, talking about body positivity felt a little bit like it was missing the point of the bigger issue. That's really when I tried to kind of move away from that because I think what we have to start thinking about is what kind of casting reflects people, reflects society, reflects the consumers correctly and really makes people feel good instead of feeling bad enough to buy something. You know what I mean?
Do you feel like that's freed you (and your identity) up to be recognized for other things that you're prioritizing right now?
I got this opportunity to play a really great character, fully fleshed out role in Euphoria and my upcoming movie Unpregnant, which is going to be really exciting. And I kind of just said, "You know what, I just want people to be almost like, ignore my body." You know what I mean? It's like this thing I talk to my friends about where it's like, if you're bigger, it's like you're taking up space, you're more aware of the space you're taking up.
With acting, I just really think that we should ascend beyond body positivity and ascend beyond these kind of tokenizing little niches and just realize that people look like this and people come in all shapes, sizes, shades, sexualities, and genders. The fact that we're just now starting to see an influx of stories being told, I think it's really exciting, but also a bit late. It's like we just have to start normalizing seeing different people on TV, movies, and magazines and in the media in general and step beyond what's so obvious and what's internal and what we as a society want to see.
Euphoria was groundbreaking for a lot of different reasons. How has working on the series changed the way you look at beauty, identity, and confidence in general?
I think Euphoria for me was the most special script I've ever read because so many things that we assume [just happens] has to go into putting people who are slightly different than the average actor. It feels like their whole storyline has to revolve around it. I just remember reading Rue and Jules together and how that was so beautiful, and it wasn't watered down for anybody, and all these different characters that, I mean, I feel like every stereotype that the teen movies and teen shows usually have, was kind of broken. I think that's really what drew me to it.
And especially Kat — I just feel like I've never seen a character like that, where she's expressing her sexuality and being a fat person and it not being the butt of the joke. You know what I mean? There's just something about Euphoria, the way it was written — and shout-out to Sam [Levinson, the show's creator] for this — but it was just so true to the experience while not ignoring the experience. It's informing the episodes and the character arcs, without it being overtly announced or having to be spelled out for people. I think that's where really good TV and vivid storytelling comes from, not making it necessarily the focus of the story, but it's just the way that kids live their life.
I think kids can just relate to that. I'm like an older Gen Z, I'm kind of like the grandfather of Gen Z, and I've seen this kind of festering underneath it; this kind of anger of how we're treated. A lot of things are dumbed down for us, and we're just supposed to accept it as something that is progressive. But I think the future of storytelling that is truly inclusive is the normalization of everything.
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What I Wish I Knew
I'm getting older, and just learning what it takes to be successful. What I wish I knew back then
← New Ages of Success
3 Places to Travel On A Budget This Winter →
Life Would Suck Without You
This book is an account in relation to an acquaintance, adulthood, and the impression that girls simply desire to have pleasure and enjoyment.
The writer Preuss commences her narrative while in her twenties when she was relocated from the East Coast in 1999 Los Angeles. There, she cultivated friendship with two colleagues identified as Panooch and Nikki, at the same time as working as a server waitress in the vicinity of Century City. In a succession of situation comedy tales, she informs about an overly prudent person attempting to instruct her to become disciplined, of them taking the risk to seize benefit from acting talent to rip off in an unusual manner out of a notice issued by law enforcement officials accusing violations of traffic rules, and of getting a clumsy burlesque dance at her own wedding party. She tied the knot with Rich, a TV executive, and they cultivated a close friendship with Chris and Cecilia, a duo she came across by way of a proxy -teaching concert. That group of four people was always together, and on one occasion, Chris even salvaged Preuss from a snake in her living area.
The storyline takes a twist, nonetheless, when Chris is detected with malignancy. As Preuss notes down, "I surely would instead acquaint you with a narrative as regards when we went to Palm Springs and resided in bed the entire time re-inspecting The Notebook five times, subsequent to finding sizzling, erotic, erased scenes on YouTube.
On the contrary, this is bona fide life. Life isn't jam-packed with all humorous and favorable narratives." In the outcome of Chris' identification of malignancy, the storytelling reverberates on the whole. Preuss hits a pleasant stability between over-romanticism and comedy when talking about hospital visits and the meaninglessness of expiring at a young age. Almost immediately, however, the account returns to Sex and the City–like terrain. While in their thirties, Preuss and her buddies carry on to have a party while going on excursions for buying G-string bikinis, going on dates and get drunk and chuckle about men's inadequacies in a silly manner. On the whole, the writer has successfully attempted to write the book in a jovial tone. At times she has also been self-critical, as in her enlightenment for a swift experiment in prohibited stuff: "I judge others for smoking weed, but I don't hesitate in trying my son's prescription pills. I have no defiance other than I'm an ass." That alleged, some segments appear somewhat insubstantial, for instance, her report about observing a chauffeur inadvertently bang a cyclist away from his bike, which doesn't put in something extensive to the book entirety.
An enjoyable recollection and an even-tempered trashy book that could be taken to the beach in paperback format.
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in: Hanna-Barbera shows, The Flintstones, Television series by Warner Bros. Television,
The topic of this page has a wiki of its own: The Flintstones Wiki.
The Flintstones is animated sitcom television series, It is Hanna-Barbera's first primetime network show, and the very first animated sitcom. It ran 166 episodes from 30 September 1960 to 1 April 1966 on ABC, it also ran on syndication after that, It's recent broadcast is now on MeTV with remastered prints of the series.
Produced by Hanna-Barbera Productions (H-B) and distributed Screen Gems (Columbia Pictures' television division), The Flintstones is about a working class Stone Age man's life with his family and his next door neighbor and best friends, The Rubbles. It was considered a parody of The Honeymooners but in a prehistoric setting.
It was the first prime-time animated series geared for adults, but kids watch it also since it's targeted at families. Not only was it the first animated sitcom, it was also the first animated television show to include a laugh track. While the show was originally co-produced and distributed by Screen Gems, Warner Bros. Television Distribution later acquired the rights to The Flintstones after parent Time Warner's purchase of Turner Broadcasting System and its properties, including H-B, it was distributed by Worldvision Enterprises in the 1980s and it was then distributed by Turner Entertainment until TimeWarner owned Turner.
Columbia Pictures Television syndicated repeats of the program until 1981, when The Program Exchange picked up syndication on Columbia's behalf. In the mid-1990s, syndication moved to Turner Program Services, shortly after Turner's acquisition of H-B, and its acquisition of rights to The Flintstones from Columbia.
The popularity of The Flintstones spawned spin-off shows, television specials and movies. A new series, by Family Guy creator Seth McFarlane, was scheduled to debut on Fox in primetime in 2013, but was discarded at the scripting stage. [1]
1 The Flintstones (1960-66)
2 The Pebbles and Bamm-Bamm Show (1971-72)
3 The Flintstone Comedy Hour (1972-73)
4 The Flintstone Comedy Show (1980)
5 Availability
The Flintstones (1960-66)
The Flintstones broadcast on 30 September 1960 at 8:30 p.m. EST on ABC, with its first episode, "The Swimming Pool". The first season ran for 28 episodes. The show did so well that ABC renewed it for five more seasons.
The Pebbles and Bamm-Bamm Show (1971-72)
The Pebbles and Bamm-Bamm Show
"The Pebbles and Bamm-Bamm Show" is a 30-minute Saturday morning animated spin-off of "The Flintstones" which ran for 16 episodes from 11 September 1971 to 2 September 1972 on CBS.
The show followed Pebbles Flintstone and Bamm-Bamm Rubble in their teenage years as girlfriend and boyfriend. The episodes were set mainly in the duo's activities at Bedrock High School with their friends Moonrock, Penny, Wiggy, Cindy (Pebbles' rival) and her boyfriend Fabian, Bad Luck Schleprock and a motorcycle gang called the Bronto Bunch (Bronto, Noodles, Stub and Zonk). Fred, Wilma, Barney and Betty were also featured on the show in supporting roles.
The Flintstone Comedy Hour (1972-73)
The Flintstone Comedy Hour
The program originally aired on CBS as an hourlong show from 9 September 1972 to 1 September 1973 on CBS. The show's first half hour included new segments with Fred and Barney, short gags, a dance-of-the-week and songs performed by the new Pebbles and Bamm-Bamm band called "The Bedrock Rockers", followed by four new episodes and reruns of The Pebbles and Bamm-Bamm Show in the second half hour. The show also featured bad-luck Schleprock, Moonrock, Penny, Wiggy and the Bronto Bunch (Bronto, Noodles, Stub and Zonk) from The Pebbles and Bamm-Bamm Show.
For the 1973-74 season, CBS dropped The Pebbles and Bamm-Bamm Show episodes and repackaged the first half-hour segments of The Flintstone Comedy Hour in reruns under the new title The Flintstone Comedy Show from 8 September 1973 to 26 January 1974; these segments were later featured on the syndicated weekday series Fred Flintstone and Friends in 1977. The program continued to air in rebroadcasts under The Flintstone Comedy Show title on USA Cartoon Express, Cartoon Network and Boomerang.
The Flintstone Comedy Show (1980)
The Flintstone Comedy Show
The Flintstone Comedy Show, not to be confused with the shortened, re-titled 1973 version of CBS' The Flintstone Comedy Hour, was a 90-minute television show from 22 November 1980 to 11 September 1982 on NBC.
It contained six segments:
"The Flintstone Family Adventures" - the traditional antics and adventures of the Flintstones and the Rubbles
"Bedrock Cops" - Fred and Barney as part-time police officers, assisted by the Shmoo as a trainee under the direction of Sgt. Boulder, fight crime in the city of Bedrock, most of the time chasing after Rockjaw, The Frankenstones' pet monster
"Pebbles, Dino and Bamm-Bamm" - Pebbles and Bamm-Bamm with pet dinosaur Dino solve mysteries in Bedrock, sometimes accompanied by pals Penny, Wiggy and Moonrock
"Captain Caveman" - Captain Caveman went under his "secret identity" of Chester the office boy who wore a pair of glasses and a tie, he required a coat rack and an elaborate transformation sequence to become Captain Caveman. Betty and Wilma work for Lou Granite at The Daily Granite.
"Dino and Cavemouse" - Dino pitted against a pesky little cavemouse in chase sequences
"The Frankenstones" - the Flintstones' neighbors, Frank, his wife Hidea, their kooky daughter Atrocia, and their teenage son Freaky, who is friends with teenage Pebbles
Also the series had a series of gags, educational spots, games, how-to-draw and a dance-of-the-week were featured in-between the six segments every week.
In 1982, reruns of the show were repackaged for two seasons under the title The Flintstone Funnies. Later reruns went under the titles of "Flintstone Frolics" and "Back to Bedrock" on the cartoon channels Cartoon Network and Boomerang.
First Season
↑ http://www.deadline.com/2011/05/yabba-dabba-doo-seth-macfarlane-finally-gets-go-ahead-to-reboot-the-flintstones/
Hanna-Barbera shows
Television series by Warner Bros. Television


To send these garden plant stakes as a thoughtful gift, please add your greeting in the box below. We will be happy to include a hand written greeting card.
Save $$$, when buying this a set of 3 painted metal butterfly garden plant sticks. Hand cut from recycled steel drum at our workshop in Haiti. The butterflies are beautifully hand painted and finished with a polyurethane varnish. Great for display in your home, garden or on the patio.
Size of Butterflies 7" x 13". A 30" metal rod is included to display your plant stick.


I am developed a custom adapter module to convert .xls file to xml file and its working fine as shown below.
In your adapter module, when you are processing the first line of the Excel file to get the column header names, you can remove the spaces from the string.
More details in the link below.
I think the conversion to values with decimals is related to the behavior of the Excel API you are using - not sure if you are using JExcel or Apache POI.
Handle this in your custom module with the following Java logic. Note that variables fieldName and fieldValue should be retrieve via the Excel API prior to this logic.
I would suggest you go for Option 1, as it is much simpler to implement and test.


With the eye of an artist and a head for business, I gravitate towards projects that challenge me in multiple ways. I'm happy doing everything from textile design to photography, and game design to graphics.
I am also passionate about mentoring young artists and designers. I am constantly inspired by student work. I often leave campus reinvigorated about my own projects because of the creative energy that exploded in the classroom. My teaching philosophy is simple: learning is at its best when information is shared rather than delivered. When students bring their unique perspective to the table, everyone wins.
Responsible for curriculum development, hiring and managing faculty, developing and maintaining industry relations, making technology recommendations, assisting with marketing, and advising students on all FIDM campuses. Spearheading the launch of the Bachelor in Graphic Design degree that began Summer 2016.
Photographer/ Portrait Studio Manager — Consumer Programs Inc.
Course: Digital Portfolio Building; Students learned to document their work and develop an online portfolio using digital photography and various website building tools.


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Painting, acting, dancing, singing and writing are all part of the Pasadena area's genetic makeup
Posted by Pasadena Weekly Staff | Aug 29, 2019 | 0 |
With concerts, stage productions, live performances, literary happenings, dance performances and new exhibits scheduled at area museums and galleries, what's not to love about the fall arts scene in Pasadena and its neighboring communities?.
Although autumn has become well known for ArtNight, an evening of free visits to the city's top art museums, this year set for Oct. 11, autumn for many actually kicks off Aug. 31 with the Pasadena Daydream Festival in Brookside Park, at the Rose Bowl featuring the Cure, the Pixies, Deftones, Mogwai, Throwing Muses and a host of others.
While places like the Rose Bowl, the Alex Theater, and Lodge Room Highland Park have been the sites of some memorable shows, Music Editor Bliss Bowen finds that other artists this fall are plying their skills at other somewhat offbeat locations, such as All Saints Church, Boston Court, Caltech, and Occidental College's Herrick Chapel.
At The Rose nightclub, one of the region's top live venues, guests will be treated to performances by such greats as Southside Johnny and the Asbury Jukes, Martha Davis & the Motels, jazz-fusion guitarist Al Di Meola, Bone Thugs-N-Harmony, Judy Collins and LA's own Ozomatli on Nov. 17.
In the world of theater, Arts Editor Carl Kozlowski learns there is something for everyone this season on stages located in Pasadena, Glendale and Sierra Madre.
The fun begins at the Pasadena Playhouse with the classic hit musical "Little Shop of Horrors" from Sept 17 through Oct. 20. Boston Court Theatre will present the world premiere of "How the Light Gets In" by E.M. Lewis, beginning Sept. 29, the Sierra Madre Playhouse offers its production of "The Joy Luck Club," and A Noise Within will be staging works by Pulitzer Prize-winning authors August Wilson, with his "Gem of the Ocean," and Sam Shepard and his hit "Buried Child," the story of a man who no one recognizes when he shows up his family's farm with a girlfriend in tow.
The Alex Theatre can always be counted on to bring a wide variety of interesting and entertaining productions to its stage, and this fall is no exception. First, the Musical Theatre Guild is presenting a staged concert version of the classic musical "Barnum" on Sept. 22, then "An Evening with Bob Iger," part of the long-running Live Talks LA series, set for Oct. 1.
From early October to the middle of December the Anteaus Theatre Company, also in Glendale, will be staging "The Abuelas" by Stephanie Alison Walker through Nov. 25, with "Eight Nights" by Jennifer Maisel running from Oct. 31 through Dec. 16.
In the world of books and novels, Vroman's Bookstore and the Pasadena Central Library offer readings and signings by some of the country's top writers.
At Vroman's on Aug. 29, Carla Sameth reads and signs her memoir in essays "One Day on The Goldline," On Sunday, Sept. 1, the bookstore takes over the Theatre at Ace Hotel in downtown LA for "An Afternoon with Louise Penny," the bestselling author of Chief Inspector Armand Gamache novels.
On Tuesday, Sept. 3, Pasadena author Naomi Hirahara appears at Vroman's with her latest novel, "Iced in Paradise: A Leilani Santiago Hawai'i Mystery." And the following night at Vroman's, delight to 10-year-old author Emerson Forester her profound book "People of Pasadena."
Scientist and artificial intelligence expert Gary Marcus, CEO and founder of the machine learning startup Geometric Intelligence, discusses his findings in the new book "Rebooting AI: Building Artificial Intelligence We Can Trust" in an appearance at Vroman's on Sept. 19.
Other top Vroman's events in October and November include former Pasadena Weekly contributor Chip Jacobs with his latest book "Arroyo," New York Times best-selling social critic Meghan Daum will discuss and sign her latest, "The Problem with Everything: My Journey Through the New Culture Wars," and Ann Patchett will bring her latest novel "The Dutch House" to a special Vroman's event at all-purpose All Saints Church in November.
Carla Sameth, who was also a Pasadena Weekly contributor, returns to Vroman's with the essay collection "One Day on the Gold Line" on Sept. 19, and novelist and former PW writer Ann Louise Bannon teaches from "How to Write a Novel" on Oct. 3.
In the world of dance, PW's Jana J. Monji learns about swans of a different gender with the award-winning "Matthew Bourne's Swan Lake" at the Ahmanson Theatre on Dec. 3. The Russian Ballet Theatre's more traditional version of the Tchaikovsky classic is set for Sept. 25 at the Alex Theatre in Glendale.
Cal State LA's Luckman Fine Arts Complex hosts Ballet Hispánico for one night only (Sept. 29), when the company will be showcasing their all-Latina choreographers program, and Pacific Ballet Dance Theatre presents "Pacific Ballet Dance Goes Broadway" on Oct. 13, also at the Alex Theatre.
But the big local dance event of the year is the Saturday after Thanksgiving, when the Social Daunce Irregulars present the costumed Grand Victorian Ball at the Pasadena Masonic Hall.
And lastly, with myriad styles, methods and visions to study and admire, the Pasadena area's many art galleries, and museums — the Norton Simon Museum, Kid Space Children's Museum, Pasadena Museum of History, USC Pacific Asia Museum, Southern California Children's Museum, Pasadena Heritage, The Gamble House, the Huntington Library, Art Collections, and Botanical Gardens, The Bunny Museum, and the South Pasadena Historical Library —offer visitors an opportunity to step into another time and place with the price of admission.
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text:
FROM php:5.5-fpm

MAINTAINER Avtandil Kikabidze <akalongman@gmail.com>

# Install modules
RUN apt-get update && apt-get install -y \
        libfreetype6-dev \
        libjpeg62-turbo-dev \
        libmcrypt-dev \
        libpng12-dev \
        libsqlite3-dev \
        libssl-dev \
        libcurl3-dev \
        libxml2-dev \
        libzzip-dev \
    && docker-php-ext-install iconv json mcrypt mbstring mysql mysqli pdo_mysql pdo_sqlite phar curl ftp hash session simplexml tokenizer xml xmlrpc zip \
    && docker-php-ext-configure gd --with-freetype-dir=/usr/include/ --with-jpeg-dir=/usr/include/ \
    && docker-php-ext-install gd
CMD ["php-fpm"]


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