text:
Best Guitarist
Jon Epworth
Jon Epworth admits he's a dink onstage. When drumming and singing for The Dean Malenkos, he performs in an eensy-weensy pair of yellow shorts topped with a biker jacket—beer gut hanging low, white skin catching the light at disarming angles. Egged on by Malenkos bandmates Shane Kerr and Craig Hamlin, he habitually heckles the audience from behind his drum stool perch, calling out jeers in affected voices and enacting impromptu skits that usually result in him losing his clothes until, eventually, the entire show dissolves into a three-ring circus.
While this antagonistic approach works in Halifax bars filled with close friends, Epworth may want to rethink the live show for his concurrent solo project, a decidedly more sombre affair than the frenetically melodic and technically astute punk rock offered up by the Malenkos. Plus, the solo project requires him to take leave of his drum set for a guitar and microphone at centre stage, making him more physically susceptible to peeved-off audience members. (He's still not fully clothed—the little shorts stay intact but get covered with a silk smoking jacket a la Jack Nicholson in The Witches of Eastwick.)
During a recent Ontario tour in promotion of his newest solo CD, mm/dd/yy, his attitude nearly cost him a fat lip. "I'm coming to the realization that I just like being a dickhead onstage," says Epworth, who earned his stage confidence through years of performing with the New Brunswick theatre group, Live Bait. "And I guess I was doing that in Ottawa and someone wanted to beat me up. Half the crowd got up and left. This girl came up to me afterwards and said, 'I think you guys are really good and you're good musicians and you're a good singer. But your personality is really bad and you're never going to go anywhere because of it.'" "And I said, 'Well, I'm on tour and you're not, so whatever.'"
It could be argued that 27-year-old Epworth is a touch hotheaded. He's cocky and confident too. But the case could also be made that without his highly energetic personality, including his shameless self-promotion—he gives demos to almost everyone he meets—he'd probably be just another dude slugging out creaky demos on his computer and twiddling his thumbs, instead of a staple of the local music scene and a respected musician and recording engineer releasing CDs on labels in California and Toronto.
Since moving to Halifax from Sackville, NB, four years ago, Epworth's been working his arse off—particularly on his album covers, which often feature his posterior up close and personal. The cover of the Dean Malenkos' 2002 release, Arse Capades, features Epworth wearing only a maple-leaf embossed g-string and a blue construction hat. Released by San Francisco record label Aggravated Music after Epworth sent them a copy of the band's previous EP, Seven Minute Abs, the label was enticed by that album's cover alone—a shirtless and sweaty Epworth crunching sit-ups while smoking a cigarette.
"The boys have decided that it's their mission to put me on the cover with less and less clothing for each Malenkos album," says Epworth about Kerr and Hamlin, making one fearful about the artwork on the band's next CD, in preparatory stages now. "It wasn't my idea. Originally they wanted to have a picture of me jumping over a hill in a meadow with no clothes on but just a sprig of a leaf, a maple leaf, covering up my genitalia. But at least I got to wear some underwear and a hat. And I just happened to have a mullet at the time." But it's Epworth's musical prowess and unflinching work ethic that have also helped him earn a name for himself within North American punk and hard rock circles, though that name changes according to the project. He uses his birth name when working solo but is more commonly known as Jonny Horseface, or just plain old Horseface. "It's because of my teeth," he explains, blaming an old bandmate, Chris McFadden, for the christening. "They are big and awful, kind of like Johnny Rotten's except with balls."
After a quick listen to mm/dd/yy, which Epworth describes as "almost adult contemporary," one can't help but wonder if his teeth are to blame for invoking the spirit of another toothy rocker—Freddie Mercury. Epworth has a knack for creating layers of complicated vocal harmonies, stacked atop each other in a curious pyramid of sound. Like the bridge in "Bohemian Rhapsody." "Oh cool. You're the first person to say that. I'm a big harmony freak," says Epworth, who played almost every instrument on the CD, which he recorded at TKO's skate park and in Kerr's bedroom over several months. Born into a musical family, he remembers listening to his mother and her sister singing together when he was a kid. "I always had harmonies thrown in my face all the time. It wasn't long before I became really addicted to that."
Whether folks know him as Epworth the Punk Rock Drummer with the Great Voice or Epworth the Constant Ham or Epworth the Meticulous Sound Engineer who would Love Nothing More than to Follow in the Footsteps of Daniel Lanois, he's definitely creating a reputation as one of Halifax's most innovative talents. And it's bubbling beyond the scene he's such a part of—one he calls the Halifax Rock Contingent, made up of bands like The Heelwalkers, Blackout '77, Dead Red, The McFaddens, The Dirtboys and Contrived. In fact, people have been quick to use the g-word. Joel Plaskett's a fan and decidedly outside of the hard rock scene. Upon hearing the album, Plaskett says he was "blown away by the ambitiousness of the arrangements and the calibre of musicianship. He's a great singer and really cool songwriter. Like Stevie Wonder meets Slint meets Queen." Plaskett was hanging out at Charles Austin and Kevin Lewis's recording studio, Ultramagnetic, when he first heard the album and says, "At one point, I think the word 'genius' was tossed around."
Though his voice and harmonic arrangements will immediately entice, other aspects of Epworth's punk-free effort are not so easily digestible. As a disciple in the school of XTC and King Crimson, he leans towards obtuse prog-rock key changes and sometimes sounds like a singer who just discovered the endless fun that can be had with a reverb dial. And his subject matter is overly earnest—even though he claims he wrote most of the lyrics "on the can at work." In "A Smiling Outstretched Hand" and "Irrefutable Workforce," he tackles yuppie lifestyle and the grind of working nine-to-five. In "Lord Please Help," he sings about boys taking guns to school and little girls losing their virginity. Though not immediately catchy, the CD gets better with time.
Ryan Mills runs Antiantenna Records and decided to release mm/dd/yy after hearing one of Epworth's early solo efforts, The Effing Scoundrel. Like Scoundrel, he initially didn't like it. "I remember the first song was fantastic. It hit me right away as being something that I could understand," writes Mills from his Toronto office. "But, every song after that was just weird. I didn't get it. I was pretty disappointed to be honest—I'm not sure if I ever told Jon this...It just took a few listens to really understand where Jon was going with some of the songs. He's a genius songwriter, but not nearly obvious enough to write true pop songs most of the time. He hides his genius behind really odd ideas. Like an Easter egg hunt in an old folks home."
So was mm/dd/yy—which features stellar photo and design work by local art student Paul Hammond of Epworth (at last) fully clothed in a suit and tie—an attempt to circumvent his image as a fun-loving buffoon? Not according to Epworth. "I still act like a total goof onstage. The songs lose a little bit of their serious edge and gain something funnier in the translation." Take his recent show in Woodstock, ON, where he was backed by drummer Loel Campbell (Contrived, Wintersleep) and Kerr on bass.
"It was for no money and we opened up for the karaoke man in this little Irish pub. It was all mullets and missing teeth and sweatsuits and chains. We were setting up our instruments in a little corner of the bar and we hear 'Get off the stage. Let the karaoke guy go on.' I played one song and people were kind of like 'Yeah, whatever.' And I don't know what I was thinking but—and this is another example of me starting to realize that I just want to be a dink onstage—I said, 'I heard there was a lot of good-looking women in Woodstock but I guess I was wrong.' And then from that point on, they loved me. They cheered me on and loved all the songs. It turned into one of those special shows." —Carla Gillis
2002 Best Guitarist
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News Displaying items by tag: Fuping Cement
Displaying items by tag: Fuping Cement
Chu Yufeng appointed as chief financial officer of West China Cement
China: West China Cement has appointed Chu Yufeng as its chief financial officer (CFO). He suceeds Chan King Sau, who has been appointed as a financial controller of the company and will continue to be the company secretary.
Chu Yufeng, aged 41 years, joined Yaobai Special Cement Group (Shaanxi Yaobai), a subsidiary of the West China Cement, as deputy chief financial officer in 2012. He was the deputy administration, finance and control director of Fuping Cement, another subsidiary of West China Cement, from 2010 to 2012. In 2014, Chu was appointed as the chief financial officer of Shannxi Yaobai and he has been responsible for financial management and audit matters of Shaanxi Yaobai and its subsidiaries for over five years. Prior to joining the group, Chu was a finance manager in a software company and an electric equipment manufacturer, both in China.
Chu holds a master's degree in business administration from an international business program jointly organised by Maastricht School of Management (MSM) of Netherlands and Independent University of Bangladesh in 2005. He also graduated with a bachelor's degree in commerce in international accounting from Xi'an JiaoTong University in 1999. He is a member of the Association of Chartered Certified Accountants.
Published in People

redpajama_set_name: RedPajamaCommonCrawl


A Northern Inuit dog howling along with a bugle playing the Last Post.
I don't know what to make of my previous entry. My "sensible" side says it almost reeks of mania. I'm not sure what else to say except it hasn't really added to or taken from anything I didn't already know so it's difficult to assess.
As far as I'm concerned, there are still only two lives I'm at all sure about (the two most recent human lives I recall) and even those I'm not terribly sure about.
It started with a memory of being crucified.
Before I go any further let me reassure you that this life was not in Judea; it was in what is now Germany from what I gather.
It seems Narthos (or Nerthus) is the name of a Germanic goddess mentioned in part of Tacitus' account of the Roman campaigns against the Germans. It may have been a goddess I worshipped or the name of a woman I knew.
I don't know if I knew this from my readings in Tacitus or not. I don't recall the particular passage I see it cited in. I'll have to see if it was part of what I read since I only read what I was assigned to (Tacitus can be a bit of a bore at times) and I can definitely say if it's in a part of the book I've read or not once I go over the text.
Also, I need to check the book- both the parts I've read and the parts I haven't- for references to crucifixions being carried out during those campaigns.
Anyhow, I'm not in the mood to dive neck-deep in Tacitus right now. I'm still feeling kind of weird from that memory.
It isn't weird in a bad way though. The distinct impression I got was that I had died without fear, in quiet resignation and perhaps even a bit elated to die for my tribe. It seems I had worked myself into something of a trance, and I was able to block my body awareness to the point where I wasn't suffering any more. It almost left me feeling uplifted because I was entirely at peace with what was happening at that moment, with the sun setting, but when I remind myself of what this is I feel uneasy with calling it an "uplifting" memory.
It really got me thinking about how many others must have found a moment in the slow process of crucifixion to set their mind to accept death and shrug off the pain as an act of will, or how many others in that era had believed in a god or in the good of their tribe so much that they would do the same. The Romans executed perhaps thousands of people in all parts of the Empire by crucifixion, after all, and they can't have all gone to their deaths kicking and screaming. I know, this is getting uncomfortably close to blasphemy for some, but if reincarnation is fact then it is nothing special to die with your affairs in order on the cross, or to return from it.
And really, I always found that aspect of Christianity puzzling. Why worship the moment of his sacrifice when a better religion could be built around his life and ideas? Why ornament your body with the instrument of Jesus' torture when you could ornament your mind with the attainment of Gnosis? What Jesus showed, ultimately, was one of many ways to attainment and the story of the crucifixion is only punctuation.
Maybe I'm wrong about my memories of being a Germanic tribesman fighting the armies of mighty Rome and being crucified for it. This is very likely a product of cryptomnesia unless it's in a part of the book I haven't read yet. But I think it was worth reflecting on how common this sort of thing was back then and how reincarnation might change that story drastically if we could all remember the day we were crucified. No wonder the Council of Nicea nixed it; it might give us unwashed masses hope that we might all find attainment. What a dangerous idea!
EDIT: The work by Tacitus that mentions Narthos was not his document of the Roman campaigns against the Germanic tribes which I have read in part, but his ethnographic Germania which I have never read. That's one part of the memory already plausible.
The language has been downgraded to say Russian forces are "moving inside" Ukraine, but the initial headline said "Russian Forces Have Invaded" in no uncertain terms. I think they are deliberately trying to avoid a declaration of war by retracting the word "invasion" but it's unnerving how much of a crisis this is turning into.
Damn it all… I don't want to see another one, even if I do remain a civilian this time.
I recently did a little research on the concept of the Vision of Sorrow, an attribute of the Sephirot Binah in Kabbalah.
Admittedly, it isn't something I've studied much, but it came up in a conversation with a friend who is big on Kabbalah, and the description is pretty much like what I went through when I remembered John's life and understood just how bad things could get and began to feel entirely apart from the presence of any sort of divinity. The source I used was Colin Low's Introduction to the Kabbalah.
Lastly, it is worth asking "what is God?". What does the Kabbalistic trinity of Kether, Chokmah and Binah represent in reality? I have deliberately avoided mentioning an enormous amount of Kabbalistic material on these three sephiroth because it is not clear whether it contributes to a genuine understanding. How useful, for example, is it to know that the name Binah (BINH) contains not only IH (Yod, He), the letters representing Chokmah and Binah, but also BN, Ben, the son? There is a level of understanding Kabbalah which is intellectual, and capable of almost inifinite elaboration, but it leads nowhere. What experience or perception does the word "God" denote? If there is nothing which is not God, why are so many people searching for God? Why do so many people feel apart from God? I quoted D.H. Lawrence's poem "Only Man" because of his deeply intuitive view of the Fall from God and the abyss of separation.
I was browsing in my local occult bookshop recently, a shop which contains a catholic selection of books covering Eastern religions, astrology, Tarot, shamanism, crystals, theosophy, magick, Celtic and Grail traditions, mythology, Kabbalah, witchcraft, and so on. I am not sure what I was looking for, but despite a couple of hours of browsing I certainly did not find it. What did strike me was the extent to which so many of these books were written to make human beings feel good about themselves. There is a smug view permeating so much occult literature that "spiritual" human beings are a little bit more "advanced" or "developed" than the pack, that they are "moving along the Path" towards some kind of "enlightenment", "cosmic consciousness", "union with God", "divine love", or one of many more fantastic and utterly sublime goals. It is all so empowering and affirming and cosy. Even in the less starry-eyed and gushy works the view is predominantly, almost exclusively human-centred, and I found it difficult to avoid the impression that the universe was designed as a foam-padded playground for human souls to romp around in. There is more than a little truth in Marx's statement that religion is the opium of the people, and a cynic could justify a claim that occultism and esoteric religion are little more than a security blanket for unfortunate people who cannot look reality in the face. Where are the books which say "you are an insignificant speck of flyshit in a universe so vast you cannot even begin to comprehend its scale; your occult pretensions amount to nothing and are carefully designed to protect you from any experience of reality; all human experience and knowledge is parochial, insignificant and largely irrelevant on a universal scale, and your personal contribution even more so; there are no Masters or Powers, no Secret Chiefs, no Inner Plane Adepti, no Messiahs, and God does not love you; the only thing you possess is your life, and the joy and mystery of living in a universe filled to the brim with life, where little is known and much remains to be discovered; when you die, you are dead." I do not concur with this position in its entirity, but it is a valid position to adopt, and one which is not strongly represented in esoteric and occult literature. Why not? Perhaps people do not want to buy books which say this. I will venture an opinion which reflects my own experience; as such it has no general validity, but it is worth recording nevertheless.
It is difficult to justify this statement without resorting to an onion-skin model of the psyche; underneath the surface, unsuspected and virtually inaccessible, is a layer which does its best to protect us from the existential terror of confronting things as they really are. As a child I was terrified of the dark; the dark itself was not malign, but I was deeply afraid, and in this case it was fear which determined my relationship with the dark, not any quality of the dark itself. So it is with God – it is our deeply buried and unrecognised fear which determines our relationship with God. We read books, go to the cinema and theatre, argue, invent, throw parties, play games, search for God, live and love together, and bury ourselves in all the distractions of human society in a frenetic and unceasing effort to avoid the layers of fear – fear of solitude, fear of rejection, fear of disease and decay and disintregration, fear of madness, fear of meaninglessness, arbitrariness and futility, fear of death and personal annihilation. Like an audience in a cinema, we can live in a fantasy for a time and forget that it is dark, cold and raining outside, but sooner or later we have to leave our seats. And underneath all the fears is the fear of opening the door which conceals the awful truth: that we have wilfully, and with great energy and persistence, chosen not to know.
I came to a point where I had knowledge of things I had no desire to know about come rushing in, and saw an endless string of life after life with no obvious or apparent stamp of the divine on the process of death and rebirth. After that, dancing naked around trees in the woods and invoking gods I'd never once felt the presence of never felt the same again. But thinking back, it wasn't anything but my own expectations of achieving a union with the divine and total fulfillment from an easy and pleasurable path that set me up for that disappointment.
That's the abyss: finding out just how little grip you actually have on everything when the vastness of time and space yawns before you. It nearly destroyed me and now I see clearly how little I was prepared for the place I found myself in my life, but now I feel like I've made peace with it and begun to see the beauty of ultimate reality, or what little I concede to know of it.
I think this happened some time in the early 18th century, probably in England but it could have been anywhere in Europe as far as I can tell. I was among young boys but I don't know if I was a boy myself. I think I might have been, by the way they interacted with me. I don't know my station in life, whether I was middle class or a beggar's child, but the streets looked a bit mean, muddy, and dilapidated, like the slums of London in that era, though strangely few people on them apart from us.
One of the boys came running down the street, shouting something. We saw a regally-fitted retinue of white horses, coachmen, footmen, riders in powdered wigs (one of them was clearly aristocratic by the blue velvet coat accented with intricate brocade he wore). The carriage itself had a Gothic look, very upright and boxy and made of turned black dowels with panels of muted color and golden accents.
We got out of the way and stood along the side streets. One of the boys pushed me forward and I nearly stumbled into the carriage as it passed. I turned and pushed him back. Strangely, he didn't get up and hit me like I would expect him to; he laid there in the muck looking defeated and hurt that I'd shoved him harder than he'd shoved me. The other boys laughed.
I also remember something about an old gate made of rickety wood that we would simply jump over rather than bothering to open and close, and an area where there was slightly more space between the houses and pigs, chickens, and dogs roamed the streets (or maybe that's East Coker much later).
The carriage is an interesting detail. I only know a brief gloss of the history in England during this time period so I can only hazard a guess that it was a bishop faithful to the "High Church" tradition in that carriage. I'm going to have to poke around and see if I find any matches though that doesn't really prove anything since I might have seen such an artifact if a carriage like that still exists.
Yeah… unless it's based on K.W. Jeter's sequel, don't bother. At least Kevin understood the work conceptually; I'd hate to think what a script written completely by Hollywood screen writers would be like.
Actually, I'd expect it to be about like "Total Recall" but less unintentionally funny and even less relation to the original story than this.
Also, as much as I like Harrison Ford as Deckard, bringing him back would bring back deja vu of "Indiana Jones and the Kingdom of the Crystal Skull." If you give him a bad script, you're going to have a bad movie.
I really hope they use Kevin's story if they insist on making a sequel.


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Q: iPadOS: Creating files on SMB share A new issue has cropped up for me—possibly since iPadOS 14 was released (last week as of this writing), but I'm not sure it hasn't been around longer since it's been some weeks since I last tried doing this and it worked. The issue is specifically with creating files on an SMB share.
My iPad's Files sidebar has an SMB share (boringly called Shared and located on the Linux machine at ~/Shared) exported by Samba from an Ubuntu Linux workstation on my home network, the same network my iPad's on.
It works for fine for editing files—meaning, if I open a file from an app supporting Files selection, or use the Files app itself to invoke an app using a long-press on a file in Shared, I can modify it, and those changes propagate to my Linux machine's storage with no problem.
It also works for deleting files using the Files app, by long-holding on the file in Shared and selecting Delete Now.
The problem arises only when I try to create a new file. If I copy a file into it by what I think of as the "classic Windows method"—finding its original location, long-pressing to Copy, navigating to Shared and doing Paste, I get:

which is an error panel reading,
The operation couldn't be completed. Operation canceled
Operation canceled
OK
The same happens if I try to move a file there by dragging it in.
If I try to save a file into Shared directly from an app's export sheet, I get the same:

I have tried restarting the Linux machine and ejecting and remounting the SMB share on the iPad.
One additional possible clue: I thought perhaps doing touch ~/Shared/two-boxes.svg on Linux prior to attempting the creation might work, since editing existing files works. I did this and then tried to paste the two-boxes.svg file, and got the box warning me of overwriting the empty file:

which reads,
Replace Existing Items
The file "two-boxes" already exists in this location. Do you want to replace it with the one you're copying?
Replace
Keep Both
Stop
Interestingly, if I select Replace, I get the same "Operation canceled" error, but then no two-boxes.svg file at all is left behind. On the other hand, if I select Keep Both, I get no error, but also nothing happens—the old file remains and no new file is created.
One final possible clue: if I go into Shared in the Files app and try to create a new directory, the Files app itself crashes immediately (I'm sent to the home screen and when I restart Files, it reinitializes its state). But oddly, even though it crashes, it worked: the directory is created and visible on Linux!

A: In reply to a comment from Marian Rainer-Harbach, I wanted to suggest an answer that I'm not 100% firm about, but does reflect my greater familiarity with iPadOS gained over the last eight months. I believe the answer to my question is a firm "no": iOS and iPadOS apps (including the Files app) cannot create files on an external share except in very circumscribed cases.¹
The issue here is with app sandboxing:
Generally, apps are restricted to accessing files inside their own sandbox, meaning the files and directories they were installed with. Aside from temporary cache files, this is the only way apps can address files simply by name.
This is something I've learned from using apps like the Blink ssh/mosh shell, Pythonista, iVim, Termius, and other apps that can provide Unix shell-like access or other ways of specifying files by pathname. I've supplemented this learning-by-experience a bit with some research in the Apple Developer docs, but I don't claim expertise here as an app developer.²
So: iPadOS apps can access files contained in their sandbox directory, like /private/var/mobile/Containers/Data/Application/$appID, or its subdirectories, by name (in read-write mode if they so choose), but outside that directory (in superfolders or siblings), they only have by-name access to securely-shared componentized resources (nearly always only in read-only mode), and they generally have no visibility at all into other apps' sandboxes.
Yet iPadOS apps can, obviously, access files elsewhere in at least two circumstances:

*

*An iCloud Documents directory created for the app; and

*Files shared with the app via a Share sheet.

The iCloud directory is created by the app developer's using CloudKit, and has a specific naming convention: in the Blink shell, for instance, the files I can find in the Files app under iCloud Drive → Blink are available in the Blink shell under the symbolic link ~/iCloud.
If I read that symlink, I can find:
blink> ls -l iCloud
lrwxr-xr-x  1 mobile  mobile  91 Mar 17 14:53 iCloud -> \
/private/var/mobile/Library/Mobile Documents\
/iCloud~com~carloscabanero~blinkshell/Documents

Thus, apps using CloudKit can "break out of their sandbox", but only to the extent of reaching what amounts to a second iCloud sandbox, limited to only their own iCloud Documents data.
This is why, since the introduction of iPadOS (iOS > v13) and the Files app, some iPad apps sport a file-opening screen that looks very like the Files app; via the UIDocumentBrowserViewController interface, they give the user the ability to use a Finder-like interface for managing an app's files.
However, as similar as they look (so similar, in, fact, that you could be forgiven for thinking it was simply Files being used as a helper app), there's a key difference between this UIDocumentBrowserViewController interface and the Files app: when you tap iCloud Drive in the Files app, you find a directory listing all the various CloudKit-compatible apps you have installed, each as subdirectories you can navigate to. But when you tap iCloud Drive in an app using the UIDocumentBrowserViewController interface, you're immediately taken to the iCloud Documents subdirectory for that app; you can't "escape" and look at other apps' iCloud documents.
Share sheets are the other way apps can potentially get access to files outside their sandbox. However, this is user-initiated (via a Share operation), and the file-like object the app receives is not accessible simply by pathname. You won't find an app that includes a "Recents" list with files shared via Share sheet, because once an app has lost reference to a file object given it by handoff from the Share sheet, it no longer has a way to access it again (unlike files in its own sandbox, which it can access at any time by name).
Usually, that means the app being Shared to has no ability to create a file—that would be mucking with another app's sandbox by name and isn't allowed.
(There's an exception for "bundles"—objects in macOS/iOS/iPadOS like apps that appear to be files, but are actually directories—on macOS you can right-click on an app in the Finder and choose to "Open bundle" to see this. When bundles are shared with appropriate permissions, the shared-to app may be able to create files inside the bundle.)³
While not fully answering all my questions, I think this background at least explains the issue: except for Shared bundles, apps simply can't create files anywhere except inside their own sandbox. While the Files app—as a system utility—has greater access than other iPadOS/iOS apps to browse the file tree (including mounts of network drives), it still doesn't have the right to create files outside its own sandbox by name, which is what would be required to allow the functionality I was asking about.
While app sandboxing exists in macOS—for all apps installed from the Store, and many other apps too, as Apple has pushed developers to implement app sandboxing in their macOS apps—it's an ever-present security measure in iOS and iPadOS that, unlike on macOS, can't be ignored by ordinary developers, not even with the coöperation of users (assuming they haven't jailbroken their devices).
The Finder is a macOS app that isn't subject to sandboxing rules. iPadOS's Files app looks like Finder, so at its first introduction it was perhaps reasonable for users to expect it to work like Finder, too. But as an iOS/iPadOS app, even though it does have special access, Files still has to play by (most of) the rules—meaning no file creation in random places in the filesystem hierarchy.

¹  This discussion doesn't really pertain to Secure Enclave storage, which has its own, entirely separate, set of requirements. But it should probably be obvious that the concepts of "Secure Enclave storage" and "network storage" can't overlap!
²  This is why I am posting this answer to my own question, but I'm not accepting it unless and until it gets a number of upvotes to suggest it is, in fact, the right answer—perhaps commenters will have corrections or suggestions.
³  There's also an exception when an app shares a subdirectory of its own with another app; in the Blink shell, for instance, you can use the command open to give, say, an editor access to text files inside a Blink documents subdirectory. But even in this case, this just allows the other app to open and export to files in the foreign directory; it doesn't get full read-write access.

A: Having suffered the same problem since ios/ipados 14.5, I switched to using the secure shellfish app which doesn't appear affected by these particular problems.  I wonder if the author of that app, Anders, who is also the author of Working Copy might have any insight.
I feel a workaround like this is better than fighting sandboxes.

A: I started to experience this issue also (to an SMB share on my Ubuntu 20 media server), most frustrating indeed and I went through all routes mentioned here for re creating the smb share, checking server permissions etc.
Creating new files/folders or editing existing  (files/folders) directly on the share is absolutely fine, but copying/moving files/folders from iPad local storage or iCloud wouldn't go at all.
After some time working with various apps and methods I discovered that if I opted to 'Share' the file from within https://skyjos.com/fileexplorer/ and choose the required server share location from within the option window then it copied over.
Not sure how/if 'Sharing' (as opposed to copy/move) might use a different set of properties but whatever is going on behind the scenes it worked for me.
I do have the full version of File Explorer so aren't sure if the Share method also works on the free version.

redpajama_set_name: RedPajamaStackExchange


But lets say that we wanted the intermediate colors to be automatically calculated – creating a smooth transition between each color.
This is covered in detail in the Color ramp library. Here's the code for creating the diagram above, using the libraries in the cDataSet.xlsm workbook.


text:
County Limerick school scores a humanitarian award from Goal
Donal O'Regan
Three cheers for Caherelly National School: Pupils who took part in a GOAL Jersey Day to raise money for the charity
BOYS and girls in a County Limerick school donned their jerseys to hit a fundraising target for GOAL.
The aid agency honoured Caherelly National School, one of a number of select schools from around the country to be presented with the 2017 GOAL Humanitarian School Award.
The primary and post-primary schools received the award from GOAL as a result of their participation in development education and fundraising activities organised by GOAL last year.
"GOAL established the GOAL Humanitarian School Award in 2016 to inspire humanitarianism in primary and secondary schools across the country," explained GOAL's development education co-ordinator, Louise Merrigan.
"We did so with the objective of recognising the efforts of students and teachers to learn more about the realities of some of the world's poorest and most vulnerable people, and to take action for a better world," she added. All schools received a special certificate and its name added to GOAL's Humanitarian schools roll of honour on its website.
Principal of Caherelly National School, Fionnuala Allen, said the school was delighted to receive the award.
"Our students really benefited from an educational visit from GOAL and were inspired to further investigate global citizenship and children's human rights as a result," said Ms Allen.
"They thoroughly enjoyed raising money for those less fortunate by taking part in GOAL Jersey Day, knowing the difference that the money would make after our educational visit from GOAL brought the topic to life. This award recognises the important work we do in the school to promote global citizenship." Primary and secondary schools interested in a development education visit from GOAL should contact schools@goal.ie


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text:
Syriza: Merrymaking while in Opposition Follymaking while in Government
The following was written at the beginning of July, 2015. It is republished on this blog for the purpose of showing the inimitable economic and socio-political damage that a leftist cabal of arrivistes had done to the country.
America celebrates The Fourth of July as the day of independence of a great nation; Greece remembers The Fifth of July as the day of ignominy and gross stupidity of an abject nation, fallen from its former illustrious and glorious history, that voted "No" in the referendum and thus opened the door to the exit of Greece from the European Union and its entrance to the drachma.
By Con George-Kotzabasis—July 07, 2015
On last Sunday's Referendum on The Fifth of July, sixty-one percent of politically and economically illiterate, not to say ignorant, Greeks, voted a "proud" and "dignified" "No" to the EuroGroup's proposals, thus putting a noose around the neck of the nation, and celebrated this victory by dancing frenetically and entranced in Syntagma Square Zorba dances as if by putting a noose around someone's neck was a festive occasion. And they did this in the background of closed banks, pensioners mass queuing to get a small part of their pensions, depositors unable to get a preferential amount of cash from their accounts, businesses unable to make transit payments on the exchange of goods and services, tourism, the major export of Greece, decimated by tourist cancellations. All this therefore leading to a free fall of the economy with the prospect of leading the latter to a catastrophic end with innumerable business enterprises closing, the present level of unemployment rising from 1.5 million to three-to-four million, engendering shortages of food and medicines, and with the ghost of the returning drachma–and thus absolute poverty of the country–looming over the head of Greece. Not since the launching of the Sicilian Expedition in 415 B.C. by the fatal decision of the Athenian General Assembly, that according to the great historian Thucydides was the stupidest decision ever taken and which was the cause of the ignominious and irretrievably annihilating defeat of Athens in the Peloponnesian War, has a democracy, as has been shown in last Sunday's referendum, taken such a ludicrously irrational and fatuous decision on such a crucial question as whether the country should stay within the European Union or not.
Syriza while in Opposition in a crescendo of populism, 'caressing' promises, and purported macho stand against the Troika whose Memorandum of austerity, which according to the emotional fulminations of Syriza was humiliating and offending the pride and dignity of Greeks and leading to no end to the economic crisis, promised to the Greek people that by negotiating implacably and strongly with its European partners it would extract an economically better and dignified deal from the latter that would lead the country out of the crisis.
Of course all this merrymaking of Syriza was vacuous and wishful thinking, topped by a mountain of shameful lies, and never had a chance of being realized; it was never grounded on pragmatism and was bound to crash, like a house of cards, at the first touch with reality. The Greek people, however, irate and disgusted with the austerity measures of the Samaras government, but oblivious of the fact that these necessary measures were pulling the country out of the crisis, as stated by serious economic analysts world-wide, ratings institutions such as Standard & Poor's, and Moody's, as well as top-of-the-branch European politicians, were enraptured with the demagogy of Alexis Tsipras and became prone and willing to take a ride on the carousel of merrymaking provided by Syriza, that made by a magic wand hard things easy. Hence, on the 25th of January they elected the hardline left of Syriza in government.
Once in power Syriza revealed the inner lineaments of its nature and politics. It was a mixture of political immaturity, administrative incompetence, and hardline leftist ideology. A dangerous cocktail for anyone to hold in one's hand at any time, especially when one steers among rocks the ship of state. This was illustrated by its two major players, Alexis Tsipras, and Yanis Varoufakis, respectively as prime and finance minister, who both of them, unlike God Who dares not to play dice, to paraphrase Einstein, gambled the fortune of the country in one throw of the dice and lost, as events showed down the track. But the hoodwinked politically innocent people along with the nipple-fed intellectuals aka "useful idiots," to quote Lenin, still continued to throng as guests the merry party of Syriza in government and still believed the fairy tales of these two political spivs, Tsipras and Varoufakis, that by the strong stand of the Greek negotiators they would force their European counterparts to give in and provide Greece the tailor made program that was sewed up by these two spivs. The Europeans, of course, in their professionalism, would never accept the economically irrational and hare-brained demands of the Greek finance minister Varoufakis. Instead, they compelled the government, on the 20th of February, to sign and pledge itself to the implementation of the second Memorandum extant but which the government shilly shallied and refused to implement thus losing all trust and credibility in the eyes of the Europeans.
This is why the result of the Referendum has no impact in the thinking of the leaders of the European Union as they have lost all trust and have no confidence in the Tsipras government. On the contrary, as already seems likely, they will impose the most severe measures in the third coming Memorandum as an ironclad condition of Greece remaining in the Eurozone. Thus the trumpeted argument of the Tsipras government and its ministers that a "No" vote in the referendum would be a strong negotiating weapon, proved to be a paper sword in the hands of Tsipras, as is currently shown in his negotiations with his counterparts in the European Union.
The comedy of the rise of Syriza by the Aristophanean basket into the clouds of an ideal government is rapidly turning into an Aeschylean tragedy. The same audience that will joyfully be clapping the Aristophanean comedy will sorrowfully wailing and crying when it will be staged as an Aeschylean tragedy. Pride riding high always precedes the inevitable falling.
I rest on my oars: your turn now
~ by kotzabasis on April 19, 2017.
Posted in europe, government, greece, politics, Uncategorized
Tags: closed banks, eurogpoup, exchange, nation, pride, referendum, syriza, tragedy, zorba dances


Cheryl Levitt is a family physician and a professor in the Department of Family Medicine at McMaster University. She was born in South Africa, trained at the University of the Witwatersrand in Johannesburg and interned at Baragwanath Hospital, Soweto. Cheryl practiced rurally in British Columbia for 7 years and has been an academic family physician at McGill and McMaster Universities since 1984. She was chair of the Department of Family Medicine at McMaster University from 1996-2006, president of the Ontario College of Family Medicine from 2005-2006 and is presently the Provincial Primary Care Clinical Lead for Cancer Care Ontario. She led the Quality in Family Practice project from 2000-2009. She conceived of and developed the Maternity Centre of Hamilton in 2001. Cheryl has published widely on primary care issues, medical migration of foreign doctors, gender equity and maternal and child health. She has received a number of awards including the Individual National Breastfeeding Seminar Award of Excellence in 1999, the South African Women for Women HEALTH Award in 2004, the Enid Johnson Award from the Federation of Medical Women of Canada in 2008, the Wonca (World Organization of Family Doctors) Fellowship Award in 2010 and the Jean Pierre Depins Award of the College of Family Physicians of Canada in 2010.
Linda Hilts started her nursing career as an operating room nurse in cardiovascular surgery at Hamilton General Hospital. She worked part-time in rehabilitation medicine with stroke and spinal cord patients at Holbrook, Chedoke Hospital, before joining VON and later CCAC. After completing a BScN from McMaster and then a MEd from Brock University, Linda worked at the Hamilton Civic Hospitals in a newly created position of patient education coordinator. She started working for Stonechurch Family Health Centre in 1998 as a family practice nurse and became involved in resident education, becoming the education coordinator for Stonechurch and then FHT coordinator. Linda has been the nursing consultant for the Quality in Family Practice program since 2002. Linda has won a number of awards for her work in primary care, including the Sibley Award for part-time faculty at McMaster University and the Ted Evans Scholarship Award for exemplary practice in the four principles of family medicine. Since retiring from full-time work in 2009, she has continued to work as a primary care consultant with a focus on OSCAR clinical training and improving quality in primary care settings through the Quality in Family Practice program.


Ok i have windows XP and the editor dosent work and i cant download the patch and link moves really fast! how do i slow him down and use the editor.
yeah, i think it's a compatability problem with nt5 based operating systems. windows 2000 (what i use) doesn't have the compatability options that xp has, though. you may be able to fix this by editing your dink smallwood shortcut to run with something like windows 98 compatability.
in windows 2000 i just set my video card up for the maximum 'quality' settings (fsaa all the way up, etc.), which worked.


Red Light Green Light: A New Game for Healthcare | Guardian Angels of Home Health, Inc.
With advances in medical technology, there is an increasing number of new ways to treat diseases. One such way that has been gaining traction in recent years is phototherapy. Using light as a healing catalyst is not new. For example, in the 20th century doctors would use sunlight to treat rickets. In this case, we are talking about using specific colors of light for different disorders, such as red and green. Below is some of the research about using those colors of light.
A recent study from Harvard Medical School found some interesting results from their experiments with green light therapy. They found that bands of green light cause headache sufferers the least amount of pain and that low intensities of green light can lessen pain. There was also a clinical trial conducted at the University of Arizona recently that produced positive results for green light therapy for migraine sufferers.
Red light therapy is another major area of study. A recent study in Neuropsychiatric Disease and Treatment showed very promising potential for red light therapy treatments for traumatic brain injuries. They found that certain frequencies of near infrared light can reenergize damaged brain cells. In the trial, the participants saw significant improvement in their symptoms such as depression and anxiety. Research is still ongoing to see if the effects are long lasting.
Phototherapy is a growing field that is gaining more attention. There will be more advances and breakthroughs in the coming years. In time, it's possible phototherapy will become a much bigger part of the healthcare industry.
Larry D Morries, Paolo Cassano, Theodore A Henderson. "Treatments for Traumatic Brain Injury with Emphasis on Transcranial Near-Infrared Laser Phototherapy". Neuropsychiatric Disease and Treatment. Vol. 11. pp. 2159—2175.
Rodrigo Noseda, Carolyn A. Bernstein, Rony-Reuven Nir, et. al. "Migraine Photophobia Originating In Cone-Driven Retinal Pathways", Brain, Vol 139, Issue 7, Pages 1971–1986.


text:
Real Vision Academy – Real Investing Course Download
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text:
Suffer Time is a studio album by American country music artist Dottie West. It was released in July 1966 on RCA Victor Records and was produced by Chet Atkins. It was West's third studio album as a music artist and was her first concept album in her career. The record's concept focused on themes related to heartbreak and lost love. It included new compositions and cover versions of other recordings. These recordings included four singles, including the top ten hit "Would You Hold It Against Me". Suffer Time would become one of West's most successful and highest-selling albums in her career.

Background and content
Suffer Time was West's first concept album. The album's title reflected its particular themes. According to the liner notes, Suffer Time focused on themes related to "the troubled heart". It also aimed to have listeners "taste the unhappiness of the eternal loser." The album was mostly produced by Chet Atkins, however, three arrangements were done by Ray Stevens. Stevens arranged "Before the Ring on Your Finger Turns Green", "Wear Away" and "Would You Hold It Against Me". Atkins produced the remaining nine tracks. Atkins initially signed West to a recording contract with RCA Victor in 1963 and had produced her previous two studio releases for the label. He combined West's unique vocal delivery with softer musical arrangements. Ultimately, this created the sound that dominated her RCA albums, notably Suffer Time.

Suffer Time was recorded in several sessions held between September 1965 and February 1966. The first sessions included the recording of several tracks, notably the single "Before the Ring on Your Finger Turns Green". The final session on February 10 was held only for the recording of "Mommy, Can I Still Call Him Daddy". On the track, West's four year-old son Dale is featured singing on the record. Altogether, the album consisted of 12 tracks. Seven of these songs were composed by West or in conjunction with her husband, Bill West. Of these tracks was a cover of their composition "Is This Me". The song was first recorded and made a hit by Jim Reeves in 1963. Also included is a cover of Wilma Burgess's hit "Baby". Nashville songwriters Felice and Boudleaux Bryant also contributed one track to the album.

Style
Suffer Time was recorded in the Nashville Sound style, a sub-genre of country music. In this musical style, country artists' music was softened to a lighter, softer version that incorporated pop arrangements. Among the Nashville Sound archetypes was Chet Atkins, who worked the sound into West's early albums. Atkins incorporated her songwriting and singing style into a Nashville Sound arrangement. "She sang with a teardrop in her voice, pure heartbreak-induced melancholy," wrote writer Kevin John Coyne.

Release and chart performance
Suffer Time was first released in July 1966 on RCA Victor Records. It was West's third studio album as a recording artist. It was originally released as a vinyl LP, with six songs featured on "side one" and "side two" of the record. In the 2010s, the project was released to digital retailers via Sony Music Entertainment. Upon its initial release, an August 1966 Billboard magazine publication highlighted it on their list of "New Action LP's". According to the magazine, "these new albums, not yet on Billboard'''s Top LP's chart, have been reported getting strong sales action by dealers in major markets." It was not long after the magazine's publication that Suffer Time debuted on the Billboard Top Country Albums chart. It spent several weeks on the survey before reaching a peak position of number three in September 1966. It became West's most successful album effort to date on the Billboard charts. The record would also become her most-successful solo release in her career. Only West's 1981 studio album (Wild West) would reach a position close to that of Suffer Time.Suffer Time included four singles that were released between 1965 and 1966. The first issued was "Before the Ring on Your Finger Turns Green" in November 1965. Spending a total of 14 weeks on the Billboard Hot Country Singles chart, it only reached number 22 in early 1966. In February 1966, "Would You Hold It Against Me" was released as the record's second single. It would become West's most successful hit up to that point. Spending 21 weeks charting, "Would You Hold It Against Me" became a major hit after it reached number five on the Billboard country singles chart. In July 1966, "Mommy, Can I Still Call Him Daddy" was issued as the third single, reaching number 24 on the country songs chart by October. The fourth and final single released was "What's Come Over My Baby" in October 1966. The song was Suffer Times second major hit, reaching number 17 on the Billboard country singles survey.

Reception

Music critics and publications gave Suffer Time mostly a positive response following its release. In July 1966, Billboard gave the record a positive response, highlighting the song quality and several tracks. "A beautiful collection of sad, wistful songs of love on the outs, including her current hit – 'Before the Ring on Your Finger Turns Green'," staff writers commented.

In later years, the album was given a rating of 3.5 out of 5 stars from Allmusic. Reviewer, Greg Adams noted the album's theme of despair by commenting on the record's album cover. "Dottie West is visibly suffering on the cover of her 1966 album Suffer Time. Not only is she wearing a pained expression -- she appears to be on the verge of jumping off a bridge," he wrote. Adams disliked only one "Mommy, Can I Still Call Him Daddy", but explained how further songs aided in its appeal. "The album quickly improves, however, and wrings the tears out of a platter's worth of weepers about dead and dying love," Adams commented.

Track listing
Original vinyl version

Digital version

Personnel
All credits are adapted from the liner notes of Suffer Time.Musical personnel Harold Bradley – guitar
 Jerry Carrigan – drums
 Floyd Cramer – piano
 Ray Edenton – guitar
 Buddy Harman – drums
 The Jordanaires – background vocals
 Grady Martin – guitar
 Charlie McCoy – vibes
 Velma Smith – guitar
 Henry Strzelecki – bass
 Bill West – steel guitar
 Dottie West – lead vocalsTechnical personnel'''
 Chet Atkins – producer
 Jim Malloy – engineering
 Ray Stevens – arrangement
 Bill Vandevort – engineering

Chart performance

Release history

References

1966 albums
Albums produced by Chet Atkins
Dottie West albums
RCA Records albums

redpajama_set_name: RedPajamaWikipedia


text:
Afcon qualifying: Lesser lights take centre stage on final wee
116dEd Dove
Afcon qualifying: Lesser lights take centre stage on final weekend
Burundi, featuring Stoke City striker Saido Berahino, wrote the biggest success story during the final round of Africa Cup of Nations qualifying matches. Tim Goode/PA Images via Getty Images
Ed DoveSpecial to ESPN
Ed Dove is a writer and scout who has a deep and enduring passion for African sport, politics and literature. Instagram: @EddyDove22, Facebook: @EddyDoveAfrica
When the Confederation of African Football ratified an expansion to the Africa Cup of Nations in July 2017, introducing eight more teams to the biennial competition, the dynamic of the qualifying program was always going to change.
As had been the case ahead of the European Championship in 2016, for which UEFA had instigated an increase from 16 to 24 teams, many of the continent's heavyweights cruised to the tournament with games to spare.
However, an overall decrease in drama among the bigger nations -- 14 Afcon participants had already been confirmed ahead of this final weekend of qualifiers-- was accompanied by a swell of possibility and opportunity among the continent's lesser lights.
First-time qualifiers Mauritania and Madagascar had secured their passage to the tournament earlier in the campaign, and a further four sides that had never before featured on the continent's grandest stage were still 'alive' in qualification heading into the final matchday.
Ultimately, only Burundi, with child refugee Saido Berahino in the side, were able to get the result they required, as they became the success story of the weekend by holding firm to deny Gabon at home in Bujumbura.
They secured the 1-1 draw they required with a rugged display in which they largely neutralised a timid Gabon side and withstood a late barrage.
Cedric Amissi, who had opened Burundi's campaign with a goal in the 3-0 victory over South Sudan in June 2017, broke the deadlock with 14 minutes to play, but Omar Ngando put past his own goalkeeper six minutes later to set up an edgy finale.
Ultimately, in a test that will serve them well for the challenges to come in Egypt, Burundi held their nerve to oust Gabon, for whom Pierre-Emerick Aubameyang was impotent after reneging on indirect threats to announce his international retirement.
The Swallows' qualification is all the more impressive considering the backdrop of domestic instability since President Nkurunziza's inauguration for a controversial third term four years ago.
Their success was one of many for the Council for East and Central Africa Football Associations (CECAFA) during the qualifying campaign, with East Africa as a bloc taking full advantage of the tournament expansion.
In recent editions, the region has been rarely represented; Uganda were the only qualifiers in 2017, as were Ethiopia in 2013 and Kenya in 2004, with none at all in 2006, 2008, 2010, 2012, or 2015.
This time around, however, the region will have four participants.
Tanzania joined Uganda, Kenya and Burundi in the hat when they ended their 39-year wait for qualification by thumping the Cranes 3-0 in Dar es Salaam on Sunday.
Simon Msuva opened the scoring in the 21st minute -- the first goal Uganda had conceded during a previously impeccable campaign -- before two goals in six second-half minutes killed the contest.
Incidentally, the defeated Ugandans ended their own 39-year wait to take their place among the continent's elite when they qualified for the 2017 tournament, and their capitulation on Sunday was an unexpected setback for a side that is well-drilled under Sebastien Desabre.
Qualification is only Tanzania's second since their first attempt in 1968, with their sole previous appearance coming in 1980.
The Taifa Stars, represnting Africa's sixth most populous country, owe their change in fortune to the expanded format and to the impetus provided by a new coach, Nigeria great Emmanuel Amuneke, who's successfully implementing his attractive - and ambitious - style.
Their victory, however, ended Lesotho's dreams of a maiden Afcon appearance, with Uganda's loss rendering moot the southern Africans' failure to beat Cape Verde away.
Top 30 players under 21 in men's soccer
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In Group K, Zambia's had capitulation opened the door for more unfamiliar faces to secure tickets to Egypt, with two out of Guinea-Bissau, first-time qualifiers in 2017, Namibia and Mozambique set to progress.
Ultimately, Guinea-Bissau got the draw they needed at home against Mozambique, with Nelson Divrassone's utter delight at putting the visitors 2-1 up in the 89th minute contrasting sharply with their heartbreak of Frederic Mendy's 90th-minute equaliser for the hosts.
Guinea-Bissau were joined by Namibia, who qualified for their third Afcon -- somewhat perversely -- with a -2 goal difference after a final day 4-1 hammering by Zambia.
While heavyweights such as Nigeria, Tunisia, Ivory Coast, Algeria and Senegal had already wrapped up qualification in 2018, both Cameroon and South Africa entered the final weekend with their Afcon prospects on the line.
The former had originally qualified automatically as hosts, but CAF stripped the nation of hosting rights -- amid concerns about domestic security and Cameroon's capacity to host the expanded tournament -- so they had to qualify through their Group B finish.
Various slip-ups during the early days of coach Clarence Seedorf's tenure meant they had to avoid defeat against the Comoros Island -- one of the four sides hoping for a maiden Afcon appearance heading into matchday six -- in Yaounde.
The Indomitable Lions, the reigning champions, had been held 1-1 by the same opponents in September, but their quality told, with Eric-Maxim Choupo-Moting, Christian Bassogog and Clinton N'Jie netting as they eased their way to Egypt.
Things weren't quite so straightforward for South Africa, who travelled to Tunisia knowing they needed to avoid defeat against a gritty Libya side.
Percy Tau, right, celebrates after scoring a goal for South Africa against Libya. Getty Images
Bafana Bafana's failings in front of goal had led to dropped points against the Mediterranean Knights and the Seychelles earlier in the campaign, but there was no such profligacy on Sunday, when a double from Percy Tau -- coming either side of Ahmad Benali's penalty for Libya -- ensured they advanced.
It's been an unconvincing qualifying campaign for Stuart Baxter's side, and they had stand-in goalkeeper Darren Keet to thank for keeping the Libyans at bay.
However, the character shown in Sfax, Tunisia, allied with defensive organisation and Kamohelo Mokotjo's composed work in midfield, could set Bafana up for a successful tournament in three months' time.
Elsewhere, Benin qualified for the first time since 2010 after defeating Togo 2-1 in Group D, with Gambia's hopes having ended on Friday despite nabbing an admirable late draw against Algeria in Blida.
Angola's away victory in Botswana was enough to take them through in Group I, while simultaneously denying Burkina Faso -- third-placed finishers in 2017 -- despite their 1-0 home win over already-qualified Mauritania in Ouagadougou.
Finally, another stadium tragedy overshadowed Zimbabwe's second qualification since 2006, as one supporter was reportedly killed in a stampede as fans sought to enter the National Sports Stadium ahead of their 2-0 victory over Congo-Brazzaville in Harare.
Democratic Republic of Congo, who finished third in 2015, will join them after Cedric Bakambu's effort was enough to down Liberia in Kinshasa.
Africa Cup of Nations finalists: Egypt (hosts), Algeria, Angola, Benin, Burundi, Cameroon, DR Congo, Ghana, Guinea, Guinea-Bissau, Ivory Coast, Kenya, Madagascar, Mali, Mauritania, Morocco, Namibia, Nigeria, Senegal, South Africa, Tanzania, Tunisia, Uganda, Zimbabwe.
The draw for the finals will take place at Sphinx and the Pyramids, near Cairo, on April 12.


Lacy: You don't happen to have one of your dictionaries with you?
Lacy: I guess there's only one thing to do... BLOW UP THE WALL! In a natural, organic fashion, of course.
Head witch: Or you can just come in, you know. I forgot to lock it.
Lanschi: Yep, yep, another race won, thanks to Lanschi and his companions.
Parsley: I think it's more precise to say that Lacy won this race.
Lacy: But not without you, Parsley! It was the two of us together that won.
Lanschi: Yeah! Hey, wait, that's not right!
Head witch: ...we already have our winner.


tres siglos obstructed most recall.
blindfolded aunts. Uncles squinted: shut their eyes.
my favorite word my great etcetera Death.
how to lead an attack.
Too soon they're red with skulls of carabaos.
You want to know, companions of my youth.
He is no bandit but a people's warrior.
An emerging major figure in Manila's literary world, Emmanuel Lacaba joined the underground Maoist New People's Army in 1974. His life as a guerrilla in the southern Philippines gave his lyrical sensibility a startling clarity and edge. Assassinated by the military in 1976, Lacaba has had two books posthumously published, Salvaged Poems and Salvaged Prose.
It wasn't as if he made it a habit / looking over other manly shoulders.
lives the city's unborn portion.


Local Economic Development refers to an approach that begins at the roots of the community. Development that grows from the inside out will be more closely aligned with the values, and aspirations of the people who reside in the community and therefore more sustainable. This process recognizes that community development and economic development are closely intertwined. The overarching goal is to draw upon the skills and talents of the local residents and to use those strengths as the foundation for future development. This concept is sometimes called Community and Economic Development (CED) or the strength-based approach to community development.


text:
Q: Hacer una condición para que las fechas no pasen de un año como haría una condición en c# para que al momento de ingresar las fechas en el datepicker este me retorne un mensaje diciendo que las fechas deben ser igual o menor a un año independientemente de las fechas que le ponga, las fechas en si solo deben ser maximo de un año, como por ejemplo si pongo "desde" 1 de enero 2020 maximo debe ser "hasta" al 1 de enero del 2021 o "desde" 23 de enero 2020 "hasta" al 23 de enero del 2021, si la fecha de "hasta" es mayor que me retorne el mensaje diciendo que el rango de fechas solo puede ser igual o menor a un año.
int Year = 365;
if((!string.IsNullOrEmpty(txtFechaIni.SelectedDate.ToString()) && !string.IsNullOrEmpty(txtFechaFin.SelectedDate.ToString())) <= Year)
  {
    NotifiMensaje.Text = "El rango de fechas debe ser igual o menor a un año.";
    NotifiMensaje.Show();
    return;
  }

psd: trabajo con c# net framework las vistas lo hago con las etiquetas de telerik osea el datepicker es un raddatepicker y bd sql server

  <telerik:RadDatePicker ID="txtFechaIni" ClientIDMode="Static"
  DateInput-Label="Desde:" runat="server" Enabled="true"
  ShowPopupOnFocus="true" Width="180px" style="display:none;">
  </telerik:RadDatePicker>

  <telerik:RadDatePicker ID="txtFechaFin" ClientIDMode="Static"
  DateInput-Label="Hasta:" runat="server" Enabled="true"
  ShowPopupOnFocus="true" Width="180px" style="display:none;">
  </telerik:RadDatePicker>

A: Suponiendo que txtFechaIni.SelectedDate es del tipo Datetime
Puedes agregar un año así:
Datetime masunyear = txtFechaIni.SelectedDate.AddYears(1)

Entonces tu if sería
if((!string.IsNullOrEmpty(txtFechaIni.SelectedDate.ToString()) && txtFechaFin.SelectedDate > txtFechaFin.SelectedDate.AddYears(1) )
  {
    NotifiMensaje.Text = "El rango de fechas debe ser igual o menor a un año.";
    NotifiMensaje.Show();
    return;
  }

A: No entiendo bien como estas convirtiendo los datos de DateTime a string, pero una opción es crear otra variable con la fecha inicial + 1 año (ó solo usar la misma fecha inicial + 1 año) y en la condición del if comparas si la fecha final es mayor a la fecha final + 1, entonces enviarías la alerta de error. Ejemplo:
DateTime fechaInicial = Convert.ToDateTime("05/01/2022");
DateTime fechaFinal = Convert.ToDateTime("05/02/2023");

var fechaInicialMasUnAño = fechaInicial.AddYears(1);

if( fechaFinal > fechaInicialMasUnAño){
    Console.Write("El rango de fechas no puede ser mayor a un año");
}else{
    Console.Write("Fecha aceptada");
}


text:
Lawrence Block manuscripts
University of Oregon Libraries, Special Collections and University Archives
The manuscripts are of adventure novels written under Block's name: After the First Death, Deadly Honeymoon, Letts Fall in Love (Tanners Twelve Swingers), Operation Bankroll (The Specialist), The Scoreless Thai (Two for Tanner), Sex and the Stewardess, The Swinging Society, Tanner and the Virgin (Here Comes a Hero), Tanner's Tiger, The Cancelled Czech, and The Girl with the Long Green Heart. Also included is Passport to Peril, written under the pseudonym Anne Campbell Clark, and two clinical sex books, written under the name John Warren Wells: The New Sexual Underground and Women and Boys.
There is also a folder of short stories, articles and outlines.
Block, Lawrence (Person)
Collection is open to the public. Collection must be used in Special Collections and University Archives Reading Room. Collection or parts of collection may be stored offsite. Please contact Special Collections and University Archives in advance of your visit to allow for transportation time.
Property rights reside with Special Collections and University Archives, University of Oregon Libraries. Copyright resides with the creators of the documents or their heirs. All requests for permission to publish collection materials must be submitted to Special Collections and University Archives. The reader must also obtain permission of the copyright holder.
Lawrence Block (1938- ) is an acclaimed contemporary American crime writer best known for his books about recovering alcoholic P.I. Matthew Scudder and burglar Bernie Rhodenbarr, respectively. Block was named a Grand Master by the Mystery Writers of America in 1993.
2 linear feet (2 containers) : 1 record storage box and 1 manuscript box
Lawrence Block (1938- ) is an acclaimed contemporary American crime writer. The collection consists of 17 of Block's manuscripts, as well as short stories, articles and outlines.
Paper finding aid with additional information is available in Special Collections & University Archives.
Collection processed by staff.
This finding aid may be updated periodically to account for new acquisitions to the collection and/or revisions in arrangement and description.
Adventure stories Subject Source: Library of Congress Subject Headings
Authors, American -- 20th century -- Manuscripts Subject Source: Library of Congress Subject Headings
Literature Subject Source: Archiveswest
Manuscripts for publication Subject Source: Art & Architecture Thesaurus
Mystery fiction Subject Source: Local sources
LOC/P. Language and Literature
LOC/P/P1. Authors
Guide to the Lawrence Block Manuscripts
Complete Description
Finding aid prepared by University of Oregon Libraries, Archivists' Toolkit Project Team and Austin Munsell
Finding aid written in English.
Funding for production of this finding aid was provided through a grant awarded by the National Historical Publications and Records Commission (NHPRC).
Part of the University of Oregon Libraries, Special Collections and University Archives Repository
http://libweb.uoregon.edu/speccoll
1299 University of Oregon
Eugene OR 97403-1299 USA
[Identification of item], Lawrence Block manuscripts, Ax 518, Special Collections & University Archives, University of Oregon Libraries, Eugene, Oregon.
[Identification of item], Lawrence Block manuscripts, Ax 518, Special Collections & University Archives, University of Oregon Libraries, Eugene, Oregon. https://scua.uoregon.edu/repositories/2/resources/791 Accessed January 31, 2023.
Resources previously consulted
Current year in 4 digits required
I am a spambot:
yes no unknown


At Housetohome we all have very different tastes (which makes for lively inter-office debate) but every so often a product, style, or film comes along that we all instantly agree on. Step forward The Great Gatsby.
but when we saw these pre-release film stills we just had to share.
The glitz! The glamour! Leonardo DiCaprio dressed head to toe in dapper 1920's-style attire! There are so many things to fall in love with. We've had a little glimpse of the fabulously OTT film sets and have decided to dedicate this week's hot shopping to Art Deco style.
1 The delicate detailing on this china put us in mind of the fabulous jewels that Carey Mulligan spends most of the film draped in. If we cant have the pearls and tiaras we'll take the sugar bowl. Mikasa precious gem sugar bowl, £30, Milly's Store.
2 Cocktails. Possibly the most important accessory of the roaring twenties. We salute the era that knew how to party with this chic monochrome martini glass. Metallic fade cocktail glass, £10, John Lewis.
3 Where to rest the afore-mentioned cocktail glass? We suggest an Art Deco-style mirrored side table such as this chic little number. 'Clara' Art Deco side table, £335, Out There Interiors.
4 How would Daisy Buchanan dress her sofa? We're guessing she'd plump for a generous scattering of cushions, like this one inspired by the geometric shapes of The Great Gatsby era. Caraway square scatter cushion, £20, Made.com.
View The Great Gatsby film trailer here.


We're looking to publish more about security issues related to journalism + code, both on a rolling basis and for an upcoming Security Week coming to Source in June. Please send in your pitches for and questions about security-related pieces to source@opennews.org. Guidelines + pay rates.
The next Source community call will be June 1 at 9am PT/12pm ET and will be awesome. Learn more about our regular calls and subscribe to the calendar so you never miss one again.
Fifty years of racial inequality in Chicago, encapsulated.
A visualization powered by the Wayback Machine.
The wrenching story of one Arizona woman, who would otherwise be a data point in the housing crisis.
A special series that imagines: what if Ohio were split into two?
Common threads between the economic fates of San Francisco, New York, and Detroit.
A deep, data-rich investigation into the nation's largest foster care system.
U.S. presidential election results by precinct, by Ryne Rhola. An online Python course for journalists, on analyzing money in politics, with Ben Welsh. Look at all these smiling faces. Secrets and legends of the weighted pivot scatter plot. The Trump Documents: fake news that's supposed to be fake. A decade of OSM, then and now.
Ms. Management: Whose Stories Do We Consider?


text:
Bunky's Books
Browse Our Full Collection
Bottlecap Press
Jesse Eisenberg, It's Not Your Fault, by Kathleen Kathleen
Dostoyevsky Wannabe
Poetry, paperback, 66 pages, from Dostoyevsky Wannabe.
It isn't Jesse Eisenberg's fault. So whose fault is it?
Rabbit costumes and pleated skirts and reading electronic versions of Kim Gordon's biography but with the big font, not the small font and then re-reading it again with the small, these are the central concerns of our age and also the central concerns of Kathleen Kathleen.
Kathleen Kathleen was born in Connecticut but lives in London where she works in a bar that sells hamburgers. She doesn't want you to know who she is. She doesn't Tweet. She doesn't Tumble. She doesn't Facebook. She doesn't Instagram. She just sells hamburgers and beer and writes books like this one.
More from Kathleen Kathleen
Home / Jesse Eisenberg, It's Not Your Fault, by Kathleen Kathleen
© 2019, Bunky's Books Powered by Shopify


text:
KARMAmotion
Our Talks
28 Days on the Moon
BROADCAST ON HABITAT TV 2021
Cappadocia, a UNESCO World Heritage Site since 1985 is a popularly visited touristic site by millions of visitors each year, for its' surreal looking moonlike landscape and undeniably rich Christian Heritage.Located in the heartland of Anatolia in Turkey, this place still remains to be inhabited by its own secluded, hospitable yet conservative Muslim people, whom having been experiencing radical changes due to the international development of tourism.
The social transformation that is being experienced since the last thirty years of the introduction of tourism in the area, has leaded to the displacement of the self-sustaining local community from the center of the heritage attraction and fastened the destruction of the locally known "fairy chimneys", volcanic rock cones where people, their animals and pigeons used to dwell in.
The documentary tells the story of three different villages; 9 individuals. All interlinked yet unattached from the common realities of each others' lives, they comment on the daily issues and highlight the important themes that may be of interest not only for the curious anthropologists or protective conservationists, but for everyone who travels or traveled at some point, from home to someone else's home...
The documentary represents the 28 days in Cappadocia, a visually anthropological documentation of a fulfilling fieldwork period of a graduate native anthropology student, in search of her heritage, in hope of its maintenance and protection.
FESTIVALS & SCREENINGS
ASTRA Film Festival, Romania 15-21 October 2012
Intimate Lens Visual Ethnography Film Festival on 8'th of December 2011, Caserta Italy.
MASSEY University ,Palmerston North/New Zealand 27 March 2012
ZUMEFF: ZAYEF Middle East Student Film Festival in Abu Dhabi ,23rd of April 2012
Babayan Culture House ,İbrahimpaşa village Cappadocia- 15th of Aptil 2012
Sofia Middle East & North Africa Film Festival 16-31 January 2013 /BULGARIA
ETHNO FEST: Athens Ethnographic Film Festival 30 Nov- 1'st of December in Athens, Greece
ASPEKTY: Festival of Visual Anthropology ,Poland 22-25 November 2012


The foyer of Passo Tonale's Grand Hotel Paradiso, where we stayed for a week over Christmas, gleamed with understated opulence. A few seasonal touches dotted around the reception gave a festive feel. The ski resort is set in the Italian Alps, on the Lombardy/Trentino border, and sixty cm of snow had fallen just before we arrived. After unloading our cases from the coach, we stamped the snow off our boots inside the vestibule, before walking through swooshing automatic doors into the airy but toasty-warm interior.
Our hosts, Crystal Ski, offer packages in several of Passo Tonale's hotels. Paradiso is the only one where Crystal's Whizz Kids childcare is available. (You can read more about Whizz Kids here). As a family hotel, we found it comfortable and well-positioned. You could ski in and (practically) out of the hotel, which made the morning journey onto the pistes remarkably pain-free. The hotel's heated locker room was a busy thoroughfare first thing, with everyone kitting themselves out in boots and skis. The rest of the time, the hotel felt spacious, calm and quiet.
The reception area was spacious and quiet.
The Grand Hotel Paradiso offers a range of accommodation, from basic single or twin rooms, up to Princess suites for four. These are set over two floors, with two separate bedrooms, a lounge, two bathrooms and a hot tub. All rooms have their own toilets, and separate bath or shower facilities.
We stayed in a deluxe twin room with a balcony, which had phenomenal views across the valley and onto the Adamello mountain range.
In the room was an easy-to-use, very secure looking safe. The mini fridge was just big enough to store a few snacks and drinks from the local convenience store (including light, frothy Prosecco, which we picked up for the bargain price of €4).
It was a real treat to pop back to the room at different times during the day, and watch the light playing across the mountains. The large balcony window framed the scene like a painting.
We arrived to a breathtaking sunset.
Crystal's ski packages at Paradiso are half board, with breakfast and dinner both served in the hotel restaurant. For each meal, a wide-ranging buffet gave plenty of choice. In the morning we tended to fuel up for the day with warm chocolate croissants, a medley of fruit, and scrambled eggs on toasted local bread. The restaurant was set up on the first floor. Panoramic windows ran along the entire length of the room, so everyone could look out onto the mountains they'd soon be skiing down.
Some of the morning buffet. Cake for breakfast!
The evening buffet was full of regional specialities, like beef cheek in red wine with polenta, deer stew or truffle soufflé. Paradiso provided a separate vegan menu, which you had to ask for. Vegetarians could choose from at least one hot option, and a wide range of salads, including mixed beans, grilled aubergines, quinoa, salad leaves and tomatoes. The cheese board was local fare at its finest. It was heaped with mountain cheese, as well as a colossal gorgonzola, which grew smaller and smaller as the week wore on.
The restaurant served meals at set times, but it ran flexible hours on the first and last day of our stay. On the morning we left, when we had to drag ourselves onto coaches at 6am for the airport transfer, breakfast ran from 4am. And on the first day, dinner was served at 6pm rather than the regular 7pm, so the children could eat and get into bed early after the long journey.
Although I personally thought the food was delicious, a few of the other guests had a bit of a grumble. I guess beef cheek and some of the other very traditional food might not have been to everyone's taste. In the second half of the week, more standard fare appeared on the menu – like macaroni cheese, pizza, and spaghetti in tomato sauce. Whether this was in response to guest feedback, or something that was planned from the start, I don't know. But it seemed to make people a little happier.
Paradiso's Christmas meal was a merry feast, with a stomach-groaning range of decadent desserts.
For an extra €50 per room per week, or €15 per person per day, guests could access Paradiso's spa. This included a wellness centre with a hot tub, a Finnish sauna, aromatherapy suites, a fitness centre and a grotto-style pool.
Like most ski resort spas, the facilities were busy on the 'snow days', when heavy snowfall made skiing tricky. From 5-8pm, under-12s weren't allowed in. If you went towards the end of the day, you could end up almost having the place to yourself.
Three different bars provided a bit of aprés ski entertainment. Ombrella, at the foot of the slopes next to Paradiso, served the scrummiest thick hot chocolate and warm, spiced wine. It stayed open until late afternoon. Inside the hotel, the movie-themed, quiet Lounge Bar usually had a handful of customers at lunchtime eating paninis fresh from the counter. And the lively Vinae Franciacorta bar was set out in the style of a cosy wine cellar, with delicious local tipples on offer.
The Grand Hotel Paradiso was a comfortable place for a family ski trip. Its wood and stone decor was fresh and polished rather than cosy and intimate, but the staff more than made up the warmth quotient. They went out of their way to be helpful and charming, even down to noticing our daughter's cough one morning, and offering to make her a special honey drink. With the exceptional Whizz Kids club on the ground floor, it was a place we'd definitely return to as a family.
Ski packages to Passo Tonale and the Grand Hotel Paradiso are available from Crystal Ski. We travelled as guests of Crystal Ski. All views are my own.
That looks amazing! I grew up skiing in Montana and would love to take my kids. Looks like it's well worth the extra bit for the spa access as well!
Yes, the spa was very nice.
I loved hearing about your trip, Nell. The hotel looks fab – great to have one close to the slopes – and those views are amazing! Boo to the guests who didn't fancy traditional fare: that's what makes a holiday for me, trying regional specialities! Good to hear how attentive the staff were, noticing your daughter's cough – that's very impressive.
Yes, the woman who offered us help was lovely.


text:
Egypt: Couple throw ISIS-themed wedding, dance in cage
by Anadolu Agency
CAIRO Mar 04, 2015 - 12:00 am GMT+3
by Anadolu Agency Mar 04, 2015 12:00 am
An Egyptian groom surprised his bride and wedding guests with a dance routine parodying the gruesome hostage-execution videos released recently by the self-proclaimed Islamic State of Iraq and al-Sham (ISIS) militants, sparking controversy after a video of the incident went viral on social media this week.
With balaclavas covering their faces and mock swords in their hands, friends of groom Ahmed Shehata led him and his bride, Shaimaa, into a cage reminiscent of the one that appeared in a recent video purportedly showing ISIS militants burning a captured Jordanian army pilot alive.
In the video, Shehata and his bride can be seen walking towards the cage while the DJ plays an anthem often heard in ISIS's hostage-execution videos.
The bride and groom then enter the cage, the door of which is adorned with a "Congratulations" sign, before the DJ pauses briefly before shifting to a pop song, to which the couple and their friends then begin to dance.
After the video went viral online, the incident-which bears a February 27 date-drew mixed reactions on Egyptian social media.
Some hailed Egyptian humor as a means of resisting ISIS's ostensible aim of spreading fear in the region, while others saw the dance as offensive to the sensibilities of the families and friends of the group's victims, including 21 Egyptians whose recent execution in Libya was filmed and released online by the group.
"I am actually happy with this ISIS-style wedding video," Twitter user @MonyAU07 said. "It has a powerful message to the pigs who call themselves ISIS."
And Wafaa Sibae said on Facebook: "Dancing in a cage like the one used to burn [a hostage] to death reflects the disgusting state of indifference and insensitivity our society has reached towards inhumane and immoral acts."
The wedding video, shot in the Nile Delta's Menoufiya province, was the latest example of a social media trend in Egypt mocking ISIS.
In some videos being shared on social-media networks, the anthem featured in ISIS's videos has been reedited to accompany scenes from popular Egyptian comedy films and songs.
Other material includes videos made by social media users themselves. In one such video, a young man masks his face with a balaclava while his friend kneels next to him and confesses to a serious PlayStation addiction-a crime for which he prepares to be beheaded.
In another video, two girls dress up as ISIS militants and hold a knife to a friend's throat while the latter makes a "confession" before the trio begins dancing to the ISIS anthem.
"To Egyptians, sarcasm is a coping mechanism against despair and depression," Mohamed Fahmi, a psychology expert at Egypt's Health Ministry, told The Anadolu Agency.
"To laugh in the face of what would normally bring depression and despair isn't a sign of defeat, but of an unbeatable spirit," he said.
A look at Srebrenica genocide after 26 years


Looking to buy a vacation or second home in Florida, California, or Colorado? You're not alone if you have the financial resources.
The sunshine state of Florida has over 800 miles of beach and has proven to be ideal for snowbirds from Tampa- Clearwater, Sarasota to Naples on the gulf coast. On the Atlantic side, Palm Beach, Fort Lauderdale, and Miami are well-known spots to escape the cold in the Northeast. Whethere you want buy a vacation condo or luxury home, we have programs for your needs.
California's desirable second home and vacation spots include Palm Springs, San Diego, while Colorado offers world-class ski resorts in Vail, Steamboat Springs, and Aspen. In addition, there's appealing and peaceful areas in the Mountain towns.
Second home financing for homes outside of conforming limits may require just 10% down subject to your credit report, liquid assets, and income documentation. With so many vacation home mortgage choices available, the qualifying conditions vary.