text:
define(
//begin v1.x content
{
	"KES_symbol": "Ksh",
	"USD_displayName": "Dola eel Marekani",
	"TZS_displayName": "Njilingi eel Tanzania",
	"ZMW_displayName": "Njilingi eel Zambia",
	"MAD_displayName": "Njilingi eel Moroko",
	"NGN_displayName": "Njilingi eel Nijeria",
	"ZWD_displayName": "Dola eel Zimbabwe",
	"SDG_displayName": "Paunt eel Sudani",
	"MWK_displayName": "Njilingi eel Malawi",
	"KMF_displayName": "Njilingi eel Komoro",
	"SCR_displayName": "Njilingi eel Shelisheli",
	"EGP_displayName": "Njilingi eel Misri",
	"CVE_displayName": "Njilingi eel Kepuvede",
	"LYD_displayName": "Njilingi eel Libya",
	"CAD_displayName": "Njilingi eel Kanada",
	"INR_displayName": "Njilingi eel India",
	"JPY_displayName": "Njilingi eel Kijapani",
	"LRD_displayName": "Dola eel Liberia",
	"ZAR_displayName": "Njilingi eel Afrika Kusini",
	"AOA_displayName": "Njilingi eel Angola",
	"TND_displayName": "Njilingi eel Tunisia",
	"GHC_displayName": "Njilingi eel Ghana",
	"BWP_displayName": "Njilingi eel Botswana",
	"DZD_displayName": "Njilingi eel Aljeria",
	"ZMK_displayName": "Njilingi eel Zambia (1968-2012)",
	"NAD_displayName": "Njilingi eel Namibia",
	"AED_displayName": "Njilingi eel Falme za Kiarabu",
	"ETB_displayName": "Njilingi eel Uhabeshi",
	"MZM_displayName": "Njilingi eel Msumbiji",
	"BIF_displayName": "Njilingi eel Burundi",
	"RWF_displayName": "Njilingi eel Rwanda",
	"STD_displayName": "Njilingi eel Sao Tome na Principe",
	"SZL_displayName": "Lilangeni",
	"EUR_displayName": "Yuro",
	"ERN_displayName": "Njilingi eel Eritrea",
	"SAR_displayName": "Njilingi eel Saudia",
	"DJF_displayName": "Njilingi eel Jibuti",
	"CDF_displayName": "Njilingi eel Kongo",
	"GBP_displayName": "Njilingi eel Uingereza",
	"CHF_displayName": "Njilingi eel Uswisi",
	"MUR_displayName": "Njilingi eel Morisi",
	"SOS_displayName": "Njilingi eel Somalia",
	"BHD_displayName": "Njilingi eel Bahareni",
	"XOF_displayName": "Njilingi eel CFA BCEAO",
	"GNS_displayName": "Njilingi eel Gine",
	"SLL_displayName": "Leoni",
	"UGX_displayName": "Njilingi eel Uganda",
	"MGA_displayName": "Njilingi eel Bukini",
	"AUD_displayName": "Njilingi eel Australia",
	"KES_displayName": "Njilingi eel Kenya",
	"SHP_displayName": "Paunt eel Santahelena",
	"XAF_displayName": "Njilingi eel CFA BEAC",
	"LSL_displayName": "Njilingi eel Lesoto",
	"MRO_displayName": "Njilingi eel Moritania",
	"CNY_displayName": "Njilingi eel China",
	"GMD_displayName": "Njilingi eel Gambia"
}
//end v1.x content
);

redpajama_set_name: RedPajamaGithub


Home / Uncategorized / How Are You Going To Celebrate Halloween?
How Are You Going To Celebrate Halloween?
Are you ready for Halloween? With just a little over a week before the holiday arrives, it is the best time to look for fun, family-friendly ways to celebrate the holiday. Check out these best trick or treating locations throughout the local area that people of all ages will enjoy together!
Trick or Treat at The Landing in Renton is the perfect place to get an early start to your Halloween celebration. On October 26th from 2 p.m. until 4 p.m., everyone is invited to wear their favorite costume and fill up your treat bag from participating merchants. Kids can take their picture wit Sponge Bob Square Pants for just $2 to help support the Friends of Renton Schools Foundation.
The Halloween Family Fun Fest is taking place at The Bellevue Collection on October 31st from 5 p.m. until 7 p.m. Select merchants will be handing out tasty treats to children, and there will be many other activities to enjoy, including a photo booth, mad science booth, balloon tying clowns, and a live Halloween performance with Brian Vogan and his Good Buddies.
Trick or Treat at Redmond Town Center is the perfect place to celebrate the holiday from 4 p.m. until 7 p.m. on the 31st. Everyone is invited to dress up in their favorite costume and collect treats from participating merchants in the area.
While enjoying all the local Halloween celebrations, make sure to stay safe. Never allow small children to go trick or treating alone, and choose costumes that are made of flame retardant materials. Before you let your children eat any candy that they collected, check each piece. If you find any pieces that are already opened or look like they have been tampered with, throw the pieces away.
All of us at Humble & Davenport Insurance in Renton, Washington would like to wish you and your family a safe and happy Halloween!


Welcome to Fiat Retailers UK, the convenient resource which enables you to find your nearest Fiat Dealers in the United Kingdom. To help make your Fiat dealers search quick and easy, you can search in three different ways, by Dealer Name, Postcode, or County.
Fiat is an Italian car manufacturer based in Turin, Northern Italy. Founded in 1899 by a group of investors including Giovanni Agnelli, the company name FIAT is an acronym for Fabbrica Italiana Automobili Torino which means Italian Car Factory of Turin.


Bassetlaw as a district is currently undergoing a major, and incredibly exciting, regeneration initiative. Work is already underway, but over the next few years there will be massive investment in our commercial areas and we already attract big name businesses with nationwide distribution needs due to our location.
North Nottinghamshire is also a major tourist region with many attractions bringing in thousands of visitors each year, and so bringing yet more trade to the area. All of which means we need the right people in place to ensure we can handle current business, resident and visitor needs whilst looking ahead to the future and achieving the ambitious plans we have in the short, medium and long term.
If your role with us requires you to travel further afield for meetings or fact-finding missions, our transport networks couldn't be better - we are well served by road, rail and air. Doncaster, Nottingham, Sheffield and Birmingham are easily within driving distance; by rail you could be in Edinburgh, Newcastle, York and anywhere in between with ease. And London is just 90 minutes away by train.


Long-time TSC customer and former radio broadcaster, Lisa Griffin transitioned flawlessly from radio to TV into her role as host on TSC in 2001. With a voice that soothes and a personality that warms anyone she meets, Lisa is a self-proclaimed foodie who spends most of her spare time at home in the kitchen cooking or baking up a mouth-watering new recipe.
With fashions, home décor and the latest kitchen accessory always on her shopping list, Lisa is a cashmere sweater connoisseur with a collection worth coveting. A firm believer in having a soundtrack for your life, Lisa is constantly surround by music everywhere she goes and especially loves house, modern jazz and anything that's currently playing on the radio.
Addicted to her Body Vibe machine, Lisa is working to build up her strength and is determined to hit the pavement again and indulge in her love of running. Diagnosed with Multiple Sclerosis (MS) over 12 years ago, Lisa is a passionate advocate for the MS Society of Canada and lives every day to the fullest with the help, love and support of her close-knit family — who are also her biggest fans.
Lisa was born in the U.K., and moved to the small town of Chesley, Ont. (population 2,500) at the age of 12, where she spent most of her life. She remains best friends with the same girl from her early tweens but still considers herself a British/Canadian hybrid — or a bi-continental girl as she calls it. Every chance she gets she returns to Europe to visit family and friends in the U.K. and Italy.


text:
<?php

namespace {{App\}}Http\Controllers\Auth;

use {{App\}}Http\Controllers\Controller;
use Illuminate\Foundation\Auth\AuthenticatesUsers;

class LoginController extends Controller
{
    /*
    |--------------------------------------------------------------------------
    | Login Controller
    |--------------------------------------------------------------------------
    |
    | This controller handles authenticating users for the application and
    | redirecting them to your home screen. The controller uses a trait
    | to conveniently provide this functionality to your appliations.
    |
    */

    use AuthenticatesUsers;

    /**
     * Where to redirect users after login / registration.
     *
     * @var string
     */
    protected $redirectTo = 'dashboard';

    /**
     * Create a new controller instance.
     *
     * @return void
     */
    public function __construct()
    {
        $this->middleware('guest', ['except' => 'logout']);
    }

    /**
     * Check user's role and redirect user based on their role
     * @return
     */
    public function authenticated()
    {
        if (auth()->user()->hasRole('admin')) {
            return redirect('/admin/dashboard');
        }

        return redirect('dashboard');
    }
}


text:
Q: configure nodejs cronjob and cluster My cluster and cron are working but problem is that cron is being called multiple times because of cluster, how to i call it only once?
Here is my cluster file:
let cluster = require('cluster')

if(cluster.isMaster){
    let cpu = require('os').cpus().length
    for(let i = 0; i < cpu; i++){
        cluster.fork()
    }

    console.log('Cluster server started, Thread: '+cpu)

    cluster.on('exit', function(){
        console.log('CPU die start again.')
        cluster.fork()
    });
} else {
    require ('./router.js')
}

this is my cron file:
const CronJob = require('cron').CronJob;
const tweetsControl = require('../modules/tweetsControl')

var job = new CronJob('*/10 * * * * *', async () => {
  console.log('Cron enabled')
  console.log('Running tweetsControl.fetchTweets')
  await tweetsControl.fetchTweets().then((res) => {
    console.log(`End tweetsControl.fetchTweets (${res})`)
  })
}, null, true)
job.start()

and cron is included in my router.js
const cron = require('./node-cron/cron')

redpajama_set_name: RedPajamaStackExchange


text:
John Oliver Mocks Zuckerberg's Vow To 'Get Facebook Back To What It Was Built For'
Richard Enos
Facebook is trying to convince us that it has learned from its mistakes and wants to 'return' to being simply an application that serves to unite 'friends'.
Does John Oliver's mockery of this Facebook initiative exemplify the growing discernment of an awakening collective?
If you have been in and around conscious media, even for just a short time, what I am about to say should not come as a surprise to you: the 'revolution' has begun. I put the term in quotations, because it is actually more of an evolution that is happening, though not one where we are waiting passively until nature randomly adds components to our brain so that we can gain higher awareness. We are now reaching for that higher awareness by our own volition, and we are consciously driving this Collective Evolution forward.
In growing numbers, we are rejecting what we once accepted, sounding alarm bells on that which we used to quietly condone, and shedding light on those things we previously left in the dark. This is an evolution culminating in the mass awakening going on right now, where a discernment between what is true and what is false that has slowly been honed and sharpened over time will be thrust into the fray at this very moment in history.
We Are The Sleeping Giant Awakening
This is an awakening that one could say in some form has been in the works for years, decades, centuries, and indeed, for all of human history. For we are in the process of making the grand shift from 'being told what to do' to realizing that we have the power and capacity to decide for ourselves.
For the ruling elite, this is an obvious sign of trouble. Credit Zbigniew Brzezinski, former U.S. National Security Advisor and co-founder of the Trilateral Commission, for recognizing almost a decade ago the widespread awakening that was going on:
"For the first time in human history almost all of humanity is politically activated, politically conscious and politically interactive… The resulting global political activism is generating a surge in the quest for personal dignity, cultural respect and economic opportunity in a world painfully scarred by memories of centuries-long alien colonial or imperial domination… [The] major world powers, new and old, also face a novel reality: while the lethality of their military might be greater than ever, their capacity to impose control over the politically awakened masses of the world is at a historic low. To put it bluntly: in earlier times, it was easier to control one million people than to physically kill one million people; today, it is infinitely easier to kill one million people than to control one million people."
Now, what has this got to do with a popular comedy show host tearing a strip off of Facebook? When I saw the video clip below from John Oliver's 'Last Week Tonight,' it felt like a signpost on our long journey that needed to be highlighted. Perhaps it was Oliver's curt initial two-word rebuke of a sugary-sweet Facebook commercial, which pretends that Mark Z. and company have seen the error of their ways and will return Facebook to the fantasy company we used to imagine it to be (but never was); it struck me as the bold, jubilant mockery of the awakening collective.
We can see so clearly now the ways and means by which we have been duped for so long. The skill and craftiness, the time and effort that has gone on to deceive us and continue to funnel us down a path of immoral self-indulgence, distraction, and enslavement. Brzezinski is probably right — it's gotten easier to kill us than to fool us.
Maintaining Vigilance
But let us keep our enthusiasm in check for now. There's still a lot of work to do. The first thing to note is that John Oliver, as provocative a voice as he may be, is still a part of the omni-tentacled mainstream media agglomeration. His ability to voice his commentary rests on the agenda of higher-ups and ultimately the ruling elite, and his anchor seat at 'Last Week Tonight' will be pulled out from him in a heartbeat if he ever dares to try to provide information deemed 'taboo' by those in power.
That is why independent conscious media, whose fundamental objective is to uncover and reveal the truth in its purest forms possible, is so critical at this time. The success of this evolution will be founded on our willingness to look inside of ourselves and continue to refine our understanding of what is true and what is false, what is light and what is darkness, what serves and what does not serve the collective. And if we are up for that challenge, we will yet one day rejoice together in cries of victory.

redpajama_set_name: RedPajamaCommonCrawl


Welcome to the new series "From Diabetes to Healthy and Thriving Entrepreneur." Follow host, JV Crum III, on his journey from being diagnosed with Diabetes on December 28, 2016 to becoming a Healthy and Thriving Entrepreneur. If you are an entrepreneur in a health crisis or you want to combine being healthy and owning a business, join JV each week as he pulls back the curtain and shares his challenges, decisions, and results he is getting on his journey. JV is also the host of the Conscious Millionaire Show. He's an author, thought leader, coach, speaker, and columnist for the Huffington Post. BOOK J V ON YOUR SHOW: jvcrum3@consciousmillionaire.com.
Get YOUR Free Entrepreneur Resources!
Health Disclaimer Notice: You are advised to always consult your health care professional, physician or licensed health adviser with all matters related to your health, and particularly related to all matters that require diagnosis or medical attention. prior to making any changes in your diet or exercise program. By listening to this podcast, radio, or tv show, you acknowledge that no health advice is provided and that the health reality show featuring JV Crum III and his journey with his personal goal of reversing his Diabetes, is an open journal of his specific decisions and results that he obtains for himself and is not intended to be health or medical advice of any kind. Further, Conscious Millionaire Institute, LLC, J V Crum III, or their agents, employees, guests, or health experts, are providing their opinions that are not intended as advice for you to follow. Always consult your health care professional, physician or licensed health advisor before making any changes in your health care, diet or exercise. You hereby release and agree to hold harmless same from any legal responsibility for your health or any results from choosing to utilize this information, or any information found on the various Conscious Millionaire Institute LLC websites, podcasts, radio shows, tv show/videos, blogs, or in their trainings.


Nothing says summer like a trip to the Maine coast, so the three Historic Inns of Rockland have packaged all the very best ways to savor Maine in the summer months. They have created a series of "savor" package to help guests relish the flavors, adventure and arts and culture of Midcoast Maine. Each "savor" package starts with a three night stay at your choice of Granite Inn, Berry Manor Inn or LimeRock Inn, offering plenty of time to explore and savor your vacation on Maine's coast. Your day will begin with a hearty and delicious breakfast to fuel you for a day of exploring. A highlight of each of the "savor" packages is the collection of coupons and offers exclusively for Historic Inns of Rockland guests valued at more than $300. To top it off, each "savor" package also includes a special gift just for our guests and in keeping with the theme of the package.
While the "Savor the Adventure" and "Savor the Arts" packages started being offered in June, the "Savor the Flavor Culinary Package" will launch right after July 4th weekend. Let's take a look at these unique packages. Be sure to click through on the links for complete details of each package.
The highlight of this package is two tickets to the brand new Rockland Foodie Walking Tour, including tastings and tours of Rockland's specialty food purveyors and a fascinating insight into Rockland's foodie history (lunch included). You'll also be treated to an exclusive cheese-making tour too. Tastings are paired with a Historic Inns of Rockland apron and cookbook in your room upon arrival, plus maps for self-guided lighthouses and Maine winery tours. The package is topped off with $50 in Midcoast money for a night on the town at participating restaurants. The package starts at $630* per couple. (See link for complete details including cancellation policies).
As with all good things, these packages come with their share of fine print. All prices are quoted with starting prices and do not include Maine Lodging tax. The package price will vary by inn, date and room choice. These packages are not available during holidays and event periods and are offered on a space-available basis. Individual inn cancellation policies apply to packages, and when tickets are purchased in advance, then cancelled, the guest is responsible for the cost of the tickets. Package prices may not be combined with other promotional offers, discounts or gift cards. Phew! That's a lot of caveats. But trust us, you'll enjoy your "Savor Series" package packed with exclusive extras for Historic Inns of Rockland guests!


There Is No God But Allah, Muhammad Is His Messenger.
Saudi Arabia is located in the Middle East. It is bordered by Bahrain, Jordan, Kuwait, Oman, Qatar, United Arab Emirates and Yemen. Saudi Arabia is one of the largest exporters of oil in the world. Oil exports accounts for 90% of exports and 75% of government revenues. The government is making efforts in order to create new industries and create more diversity.


In my rush back from Madrid and the quick transition back to a hectic schedule in New York, it seems I made a terrible oversight. Jaime Alekos and Falansh are two amazing photographers that helped document the MASAT project as well as participate by giving text. Their photos are the only installation photos we have and their imagery is undoubtedly a huge part of the project. While I credited their work in my posts to this blog, I forgot to credit their work on the MaSAT website. These images were then picked up by other sites and distributed without credit. I sincerely apologize to both of them and ask that anyone using imagery off the MaSAT site give credit when the photos are attributed.


If You're like me you feel both exhilarated and Overwhelmed by the booming cannabis market. The reality is, there are a lot of chances but it's extremely important to have an education and career plan before embarking on your trip into the cannabis space.
If you are in a country at which cannabis has not been legalized Yet, it may look like the door of opportunity has been closed on you, but as people in"legal" states will tell you, there is an ocean of opportunities for those who have the ideal instruction and mindset.
Get ready to see cannabis business owners roll their eyes if you said that you were"self-taught" about cannabis. The reason being is that cannabis-related information was in the shadows for so long that most or even most sources of data and its sources were not subjected to the light of day for fear of being caught. A lot of ideas and theories around cannabis, even many popular ideas, practices and theories are just erroneous.
How does your education translate into a great paying job? That is an important matter you should be asking yourself. THC University provides a high-quality job board, exit interview, as well as a qualified resume consultant that will assist you get where you need to go.
2) Ask the resume consultant what individuals, before you did, To get the sort of job you desire.
3) Speak with companies even if their job may not be a game For what you are looking for, because potential employers know about additional openings and could have the ability to introduce to your future employer.
This famous quote from Jim Rohn always calls to us. If we actually want to do something, to spend in ourselves then take the tiny daily quantity of discipline until we accomplish our objectives.


text:
Featured	Strategy & Views
Seven Golden Rules of Podcasting
by Jamie Wood January 7, 2022 8 min read
Podcasting: Lessons Learned
This is the third piece in our special series on podcasting, which shares insights into the dynamics of this booming audio phenomenon. What are the differences between linear/FM stations and podcasters? What are the similarities?
Published over six bi-monthly print issues, we hear of the journeys of podcasters in places like Kenya, South Africa, Canada, the United States, the United Kingdom, Australia and from parts of Europe. They shed light on what brought them to this medium, the mistakes they've made and lessons learned, how they sustain themselves and the tips they have for new, budding podcasters, whether they're individual content creators or station-backed productions. The series also looks at what it takes to get started, the investment required, how to scale the podcasts and monetize them effectively, and more.
#RadioWeek 2022
Some of the radio and audio industry's biggest decision-makers are lining up
http://www.connectonair.com
This month, Jamie Wood of Brisbane, Australia explains how he got started and the preparation that goes into creating a quality podcast.
If you have any suggestions or questions regarding this series or others, please send us an email at team@redtech.pro, and we'll publish your input along with a relevant response.
There are seemingly endless blogs, trade publications, articles, white papers, events and tertiary courses for people working in the advertising and marketing industry. Yet, there is almost nothing for the thousands of people working in the media sales profession.
The Media Sales Mastery podcast was my answer to a very real problem in the industry in which I'd spent over a decade. The idea was to provide information, content, interviews and advice to young media sales professionals looking to navigate a highly competitive and notoriously high-turnover profession.
My journey began by chance when a friend who owned a recording studio offered me some free recording time in exchange for playing bass on an album (I'd spent my early 20s playing music semi-professionally).
What I quickly learned was that turning the mics on and trying to "wing it" was not a workable approach. I needed to spend time on the front end trying to understand the audience I was serving and then create a strategy around how to best create and deliver the content they thirsted for.
I first sought to gain feedback from both media sales leaders and the target audience to understand the pitfalls, challenges and "off the record" questions they wanted to cover. I then set about designing a consistent format and conventions for the podcast to ensure a consistent and quality listening experience that could organically grow over time.
Recording: Zoom R8 portable multi-track digital recorder (or an iPad and Voice Memo for remote recording)
Editing: Audacity
Mic: Shure Motiv MV5 digital condenser mic
Distribution: Whooshkaa hosts the podcast, which is syndicated anywhere you get your podcasts, including Apple, Spotify and iHeartRadio
My golden rules are as follows:
Naming conventions drive listenership: Don't get too clever — make the name of the podcast and each episode instantly descriptive. The podcast should do what it says on the box.
Keep the format consistent: A duration of 25–35 minutes, the first five to cover the guest's background, a Q&A style body of the episode and a listener submitted question forms the basis of every episode; and I don't deviate from that.
Don't upload your podcast until you have a bank: An alarming number of podcasts have fewer than five episodes. If you want the listener to make a long-term investment in your podcast, then upload five to seven episodes when you launch.
Get to the point: Too many podcasts I hear spend the first 15–20 minutes with incessant small talk and chatter. Respect the listener's time and dive into the content they want to hear straight away.
Maintain a regular upload schedule: I found that the first and third Sunday of every month was manageable and allowed me to build a consistent habit. I commit to that schedule and don't deviate from it.
Production value matters: I was fortunate to get a friend to do some voiceovers, imaging and music to give the podcast a higher production value. These things make a major difference in not only the listener experience, but the presentation and professionalism of your podcast and its brand.
Sacrifice: I've had many high-profile people ask to come and talk on the podcast, people I'd love to speak with on topics I'd love to learn more about. But the podcast is not about them or me, it's about the audience I'm serving. Good content strategy is having the confidence to say no to things that don't serve the audience.
I've had the luxury of a professional studio and radio studios in the past to record, but during the COVID pandemic for remote recordings, a Shure digital microphone into an iPad in a soundproof room has sufficed. The postproduction and editing process can really lift production value. The podcast is hosted by Whooshkaa and syndicated anywhere you get your podcasts.
The author presents the Media Sales Mastery podcast from Brisbane, Australia.
Tags: Australia Jamie Wood media Podcasting sales Tips
Acast Launches "First Words" Podcasting Campaign
by Daryl Ilbury January 19, 2022 3 min read
The campaign hopes to inspire podcast creators to start shows of their own
Triton Digital Releases Australia's December Podcast Ranker
by RedTech Staff January 16, 2022 2 min read
The December 2021 rankings see some slight shifts compared to the previous month
SwissRadioDay Organizers Announce Date
by Daryl Ilbury January 6, 2022 3 min read
It is the only event devoted to radio that's open to representatives of all of Switzerland's linguistic regions.


New York City Sanitation Workers have always supported their brothers and sisters who have to work under difficult and often dangerous conditions picking up their municipalities' trash. At the very least, a fair and reasonable wage with safe working conditions is the absolute minimum to which sanitation workers are entitled. Dr. Martin Luther King, Jr.'s efforts in that endeavor are still and will always be appreciated throughout the United States. Fifty years after his death, organized labor is still fighting for the working man and woman.
NYPD Officer Found Guilty by Jury in Trial for Killing Akai Gurely; Convicted of Manslaughter and Police Misconduct.
NYPD Officer Charged With "Failure to Supervise" for Police Brutality At The Arrest Scene In Connection With Eric Garner's Excessive Force Choke Hold Death.
© 2019 by Apicella & Schlesinger. All rights reserved.
Located in Washington Heights, the New York City law firm of Apicella & Schlesinger represents clients throughout Manhattan, the Bronx, Brooklyn, Staten Island, Queens, Nassau and Suffolk County.


Root causes of environmental degradation in Kenya; paper published in the Baobab.
L MRNDOGONIKINYANJUI. "Root causes of environmental degradation in Kenya; paper published in the Baobab.". In: A journal of the Arid lands information network, April 1993. EAMJ; 1993.
Preparation (with others) of an Urban Development Plan for Ruiru Town.
Group interpersonal psychotherapy for rural Uganda: six months follow-up (co-author).
Group Interpersonal psychotherapy for depression in Rural Uganda. A Randomized controlled trial (co-author).
Transformed relationships with ourselves: In changing lives.


text:
Q: Why lineEdit is showing like this? I want to edit lineEdit from an .ui file which is imported. I would not like to convert .ui to .py code because .ui will be changed frequently and converting to .py and import from the .py seems a longer proccess for me.
When run the code, It seems that instead of one,  two seperate lineEdit is generated in mainwindow.  Probably parent-subclass relationships due to formclass ui but I could not understand why?
from PyQt5 import QtCore, QtGui, QtWidgets, uic
import sys,re
import pandas as pd
from glob import glob
import os

ui,base=uic.loadUiType("test.ui")
class MainWindow(ui,base):
    def __init__(self, parent=None):
        base.__init__(self,parent)
        # initializes the user interface

        self.setupUi(self)
        self.lineEdit=lineEdit(self.lineEdit)

class lineEdit(QtWidgets.QLineEdit):
     def __init__(self, parent):
        super().__init__(parent)

        self.parent=parent
        self.setAcceptDrops(True)
        self.setDragEnabled(True)

     def dragEnterEvent(self, event):

        if event.mimeData().hasUrls:

            event.acceptProposedAction()
        else:
            event.ignore()
     def dragMoveEvent(self, event):
         if event.mimeData().hasUrls:
            event.setDropAction(QtCore.Qt.CopyAction)
            event.acceptProposedAction()
         else:
            event.ignore()
     def dropEvent(self, event):

         mymodel=QtGui.QStandardItemModel()

         if event.mimeData().hasUrls:
            event.setDropAction(QtCore.Qt.CopyAction)

            for url in event.mimeData().urls():
                links=url.toLocalFile()
            self.setText(links)
            return links

if __name__ == "__main__":

    if not QtWidgets.QApplication.instance():
        app = QtWidgets.QApplication(sys.argv)
    else:
        app = QtWidgets.QApplication.instance()

    MainWindow=MainWindow()
    MainWindow.show()
    app.exec_()

Changed self.lineEdit=lineEdit(self) resulted two seperate lineEdit while self.lineEdit=lineEdit(self.lineEdit) cause two coincident lineEdit widget at the same coordinates of mainwindow.
Any help would be nice...
Edit:test.ui is here https://drive.google.com/open?id=1oe6z2BaiLYm0mo-nadmDvzsoLHXnwkfm

A: Explanation:
You are assuming that with line self.lineEdit=lineEdit(self.lineEdit) it replaces QLineEdit, nope. To replace a variable with another variable does not imply the elimination of the previous variable since the ownership of the previous QLineEdit has it Qt, in your case you are indicating that you are creating another QLineEdit that will be child of the first since you pass the parent as the first parameter so it will be located regarding the position of the QLineEdit.
Solution:
If you want to use a custom widget in the .ui then you must promote the widget, for this you can follow the following posts:

*

*Using Custom Widgets with Qt Designer

*How to insert video in ui file which made at qt designer?

*Clear QLineEdit on click event

*pyqtgraph.opengl VS OpenGL.GL - how to display axis at PyQt5 OpenGL embedded widget
Considering the above, the solution is:
├── lineedit.py
├── main.py
└── test.ui

main.py
import os
import sys

from PyQt5 import QtCore, QtGui, QtWidgets, uic

current_dir = os.path.dirname(os.path.realpath(__file__))

Ui, Base = uic.loadUiType(os.path.join(current_dir, "test.ui"))

class MainWindow(Base, Ui):
    def __init__(self, parent=None):
        super().__init__(parent)
        self.setupUi(self)

if __name__ == "__main__":

    app = QtWidgets.QApplication.instance()
    if app is None:
        app = QtWidgets.QApplication(sys.argv)

    w = MainWindow()
    w.show()
    sys.exit(app.exec_())

lineedit.py
from PyQt5 import QtCore, QtWidgets

class LineEdit(QtWidgets.QLineEdit):
    def __init__(self, parent=None):
        super().__init__(parent)
        self.setAcceptDrops(True)
        self.setDragEnabled(True)

    def dragEnterEvent(self, event):
        if event.mimeData().hasUrls():
            event.acceptProposedAction()
        else:
            event.ignore()

    def dragMoveEvent(self, event):
        if event.mimeData().hasUrls():
            event.acceptProposedAction()
        else:
            event.ignore()

    def dropEvent(self, event):
        if event.mimeData().hasUrls():
            for url in event.mimeData().urls():
                links = url.toLocalFile()
                self.setText(links)

test.ui
<?xml version="1.0" encoding="UTF-8"?>
<ui version="4.0">
 <class>MainWindow</class>
 <widget class="QMainWindow" name="MainWindow">
  <property name="geometry">
   <rect>
    <x>0</x>
    <y>0</y>
    <width>800</width>
    <height>646</height>
   </rect>
  </property>
  <property name="windowTitle">
   <string>A.G_bulucu</string>
  </property>
  <widget class="QWidget" name="centralwidget">
   <widget class="LineEdit" name="lineEdit">
    <property name="geometry">
     <rect>
      <x>80</x>
      <y>30</y>
      <width>311</width>
      <height>20</height>
     </rect>
    </property>
    <property name="sizePolicy">
     <sizepolicy hsizetype="Maximum" vsizetype="Fixed">
      <horstretch>0</horstretch>
      <verstretch>0</verstretch>
     </sizepolicy>
    </property>
    <property name="maximumSize">
     <size>
      <width>400</width>
      <height>16777215</height>
     </size>
    </property>
    <property name="inputMethodHints">
     <set>Qt::ImhNone</set>
    </property>
    <property name="text">
     <string/>
    </property>
    <property name="frame">
     <bool>true</bool>
    </property>
    <property name="echoMode">
     <enum>QLineEdit::Normal</enum>
    </property>
    <property name="alignment">
     <set>Qt::AlignJustify|Qt::AlignVCenter</set>
    </property>
    <property name="dragEnabled">
     <bool>false</bool>
    </property>
    <property name="clearButtonEnabled">
     <bool>true</bool>
    </property>
   </widget>
   <widget class="QLabel" name="label">
    <property name="geometry">
     <rect>
      <x>10</x>
      <y>30</y>
      <width>61</width>
      <height>16</height>
     </rect>
    </property>
    <property name="text">
     <string>File</string>
    </property>
   </widget>
   <widget class="QPushButton" name="pushButton">
    <property name="geometry">
     <rect>
      <x>400</x>
      <y>30</y>
      <width>75</width>
      <height>23</height>
     </rect>
    </property>
    <property name="text">
     <string>open</string>
    </property>
   </widget>
  </widget>
  <widget class="QMenuBar" name="menubar">
   <property name="geometry">
    <rect>
     <x>0</x>
     <y>0</y>
     <width>800</width>
     <height>30</height>
    </rect>
   </property>
  </widget>
  <widget class="QStatusBar" name="statusbar"/>
 </widget>
 <customwidgets>
  <customwidget>
   <class>LineEdit</class>
   <extends>QLineEdit</extends>
   <header>lineedit</header>
  </customwidget>
 </customwidgets>
 <resources/>
 <connections/>
</ui>

A: You generate next QLineEdit in
self.lineEdit=lineEdit(self.lineEdit)

You can manipulate with ui from code (like put placeholder QWidget in place of LineEdit and in constructor put custom line edit in this widget or you may register custom widget in QtDesigner. Read more here: https://doc.qt.io/qt-5/designer-creating-custom-widgets.html


text:
'Life-changing' development to save charity would double size of Alfold
Between £15m-£20m is needed for Care Ashore to survive, and there are plans to build up to 400 homes, a primary school, a shop, parkland and a cafe
Georgina Townshend
A public meeting was held to discuss the Care Ashore planning application
Emotions ran high as dozens of residents debated a 'life-changing' development that would double the size of Alfold but save a charity that has been in the village for more than 50 years.
Care Ashore was established in the 1940s to help seafarers in need and houses around 50 people.
At the meeting last Monday (August 10), Robert Boughton, managing director of developer Thakeham Ltd, said the charity needed £15m-£20m for 'much needed' repairs, and to survive.
It has put forward plans, with Thakeham, to build up to 400 homes, a primary school, a shop, parkland and a cafe.
The meeting was called by villagers to discuss the application.
Chairman Mary Brown said the application would more than double the size of Alfold, and it was, in her opinion, 'undoubtedly the most important planning application submitted in Alfold, which would have a dramatic impact, if approved'.
Concerns were raised about infrastructure, including sewage and increased traffic, with other fears including light pollution, lack of employment and flooding.
Toby, from Loxwood Road, said: "You [Care Ashore] say you have more than 269 acres, and this application is only 69. You have to build the housing to raise as much money as possible. What next? You have another 200 acres, what happens next time you run out of money?
"What plans do you have to become self sufficient? In 40 years' time, what's to stop you selling more land?"
Mr Boughton said if this planning application did not go through, the likelihood is Care Ashore would have to move to a smaller, more manageable site, meaning it would have to sell the land.
In response, a resident shouted 'that constitutes a threat', to loud applause.
'Giving us the life we love'
However, Gavin, who lives at Care Ashore's Springbok estate, urged people to take into account the residents' connection with the village.
"I want you to understand how much we love where we live. There is a great environment. It is a really good charity and it is giving us the life we love. I am a face of the charity, and there are others here who love Springbok and the village. We want to stay."
The chairman said the planning application and the future of Springbok residents should be separate issues.
Philip Hanley said: "Discussing charity is emotive. There are thousands of charities failing. It's not our village's responsibility to carry a particular charity. I donate to charities I want to. That is a choice. This is something forced on the village."
However trustee Kent Temperton said the charity wants to invest in the village. He said: "If we had a choice, we would not be selling land. The trust has been looking into options for three to four years.
"We spoke to developers who just had profit in mind. Thakeham was interested in giving something back."
The application could see millions spent on new sewage pipes, road upgrades, high-speed internet, schools, and other improvements.
Some 52 people have written to support the application, with only 24 objecting.
The deadline for comments is on August 26 and the planning reference number is WA/2015/1381.
The likely date for the council's planning committee to discuss the application is November 4.
Alfold
Gatwick and Heathrow: France entry and testing requirements, passenger locator form and return to UK
Heathrow AirportTravellers must make sure that they meet all of the Covid requirements prior to travel


A mix of styles, fabrics and antithetical atmospheres to create alchemical experiments: finalist at the LVMH 2016 award, the designer Hiromichi Ochiai managed to create his own dimension, as in an ecosystem.
Founded in 2007, its Japanese brand Facetasm supports the extremes without paying attention to any and superfluous harmonies, through a connection of what dogmatically should be divided.
Facetasm of the rest is a term coined by the designer, and that comes from the English word facet: facet.
Already etymologically, therefore, Ochiai announces its aesthetic intent to combine multiple meanings and all the respective opposites.
And from the very beginning, moreover, he fought to become a bearer of Japanese fashion, which often lives relegated to the Far East.


text:
What Makes A Classic?
This post has been in my mind a long time, even before we started talking about it in comments to our early October post, "Not a Contradiction," or heard of the Amazing Grace Solution. I've been thinking of the place that classics have in a library collection, of what that term means, and of how and when it gets used. I think it is true that a good library collection has books from across many decades, and these will, by necessity, reflect changing attitudes and values. That's part of the reason for having them in the collection. But how do we choose which books stay on the shelf for all that time? Whose attitudes, whose values, determine a set of "classics"?
When I think of what makes any single classic last on the shelf, there could be several reasons. Some have been enshrined in popular media, whether people actually expect the literary tome they encounter with, say Pinnochio or Gulliver's Travels. There are some titles I suspect hang on simply because teachers keep on using them, such as Amazing Grace. Then there are award winners, and some books that simply seem to have perennial child appeal, like Harriet the Spy. Finally some seem simply to "exist" as classics: Treasure Island, The Wind in the Willows, The Adventures of Tom Sawyer, Alice in Wonderland, The Jungle Book... who canonized these, and with what in mind?
"What Makes a Classic?"...or, "Who"? In almost each of these cases above, the status granted a book comes from an establishment (educational, library, or wider literary critical circles) that is overwhelming White. While I think we hope our classics represent our literary "heritage" in some way, I question the self-fulfilling loop of a limited perspective.
This is, of course, what we are talking about in general when we ask where is the diversity in children's literature, and our awards. But I'm also thinking specifically about branch public libraries, in which an adult comes asking for some classic children's books, or requesting a specific one, and the indignation that can come along when we don't have something ready for them to match their expectation. (Perhaps this goes for bookstores, too.)
Where does this question come from, and what is it in the classic in someone's mind that makes it a classic? I can accept, as a generalism, that all classics have excellence and appeal in their aesthetic and technical delivery... something in the writing that made them connect with an audience in a strong, broad, and lasting way. My question is, when an adult is looking for a classic to share with new audience, what IS it that they want to share? Is it the actual message in that book? Is it the experience the adult had reading it, that they would like to replicate? Does the adult hope to recapture that experience for themself, by sharing it?
It probably is all three, and more, but I don't think we often ask ourselves these questions. I think that if adults can recognize, and place to the side--for later, for themselves--the nostalgia of their own experience, and rather focus on what it is they hope for the child they are sharing the book with... some classics might not seem so classic. And perhaps that classic is still exactly right, but I don't think we can know unless we re-examine them. Being asked to question your own cherished memories of a book is not a pleasant experience, similar to Megan's experience On Letting Go.
The 25th Anniversary edition of Amazing Grace has been reprinted in the US without the image of Grace posing, stereotypically, as Hiawatha. The UK 25th edition retains this picture. In an interview in the Guardian, the reporter leads off with: "Mary Hoffman's groundbreaking Amazing Grace gave us one of the first black heroines in a picture book." Now, I can't speak to the British picture book scene in 1991 when Amazing Grace was first published, but here I recall some remarkable picture books like Mirandy and Brother Wind or Flossie and the Fox that had been acclaimed here just years earlier, and these are simply the ones that spring to my mind.
In the interview, British author Mary Hoffman says (I am cutting and pasting, I recommend reading the whole interview):
When I was young, it was quite common to be told there were things you couldn't do because you were a girl ... So I decided right from the beginning that Grace would be a black girl, just to add to the challenges she might face.... I based Grace on me.....
Picture books still have a long way to go in showing the diversity of our culture and the variety within families. Things are better than they were 25 years ago but they won't really become fully inclusive until more books are written and illustrated by members of the BAME [i.e. "POC"] community themselves.
I got a little flak for writing about a black child when I was myself white but I didn't mind. What was important was that someone should write that book and no-one else was doing it. It was also ironic since one of the points of the book is that all stories are for all people.
Twenty-five years later, I still believe that.
This speaks both to what made Amazing Grace such a meaningful book for so many, and to why it remains problematic. What makes Amazing Grace more well-known than, say Mirandy and Brother Wind? Money. More people have purchased the former, and requested it in libraries, meaning libraries will keep it on and replace it, more, and from what I can tell the reason people keep requesting it is simply because they hear of it from a person or place they trust. I cannot see what can possibly be behind the motivation to reprint Amazing Grace except for money, especially as the Hiawatha picture has only been removed in one country. This points to it being a market-driven decision, rather than an authorial or editorial one. While I'm certainly glad that American audiences won't have to see the Hiawatha picture (well, depending on whether their libraries replace all their copies...hear that ka-ching?), I also wish some of the market attention that Amazing Grace gets could get spent on more and various books.
If you haven't read Amazing Grace in a while, I encourage you to revisit it, and think about Mary Hoffman's statement in the interview that one of the points of the book is that "all stories are for all people." Look at the stories that Grace enacts through the book: Joan of Arc, Anansi the Spider, the Iliad, [Treasure Island or some other pirate story], Hiawatha, The Jungle Book, Aladdin, and ultimately of course: Peter Pan. All Stories? Really? Whose stories are these exactly? Whose tokens? Whose classics?
With the 25th Anniversary Edition of Amazing Grace as just one example of a classic made classic within many of our own lifetimes, I wonder:
Who is using this new edition, and why?
What other books might serve the same purpose?
What is it that makes this a classic? Who made it so, and why?
Posted by Nina Lindsay at 5:00 AM 7 comments:
Reviewing While White: Home
by Sam Bloom
Home (published by Candlewick Press) is Carson Ellis's first book as both author and illustrator, and it is generating a fair amount of Caldecott buzz, as evidenced by its standing on the Goodreads Mock Caldecott list (12th out of 69 books as of November 17). And understandably so: it's an auspiciously beautiful debut. You can tell just by touching this book: Ellis and her editors at Candlewick Press obviously took great care in its design. The paper is a lovely cream, nice and thick, pleasing to the touch. The bibliographic information tells us that Ellis hand-lettered the entire book, which is pretty impressive to me (my handwriting is abysmal). Turning to the first spread, we see two horses racing away from a small country home with a dove flying away from the house (a dove that the observant reader will find in nearly every illustration). This lovely scene is more than a little reminiscent of the work of Alice and Martin Provensen. (According to Erin and Phillip Stead's excellent Number 5 Bus series, where Ellis spoke at length with Mac Barnett, the Provensen-esque art seems to have been a conscious choice.)
A bit later in the book, a full page spread shows a large boat headed for shore; judging from the wash hanging on a line, the lookout gazing through an eyeglass, etc., it appears that the boat is looking to land and perhaps set up roots. But there's someone already on the land: three people (clearly meant to be from First/Native Nations) wait at the head of the long, earthy slope, looking toward the approaching boat. The text reads, "Some homes are boats. / Some homes are wigwams." A flock of birds ascends overhead, including the ubiquitous dove. Now, if I'm not very much mistaken, the dove is usually a symbol of peace. So what is going on here? Is Ellis making a political statement? If so, what is it? Is she trying to show peace between the (mostly) White members of the boat's crew and the people of Native/First Nations on the land? But that would be revisionist history to the extreme! And about that crew: would there really be people of color out on deck, dressed in clothes just like the White sailors'? Or would they be in chains down belowdecks? I'm puzzled… and I'm an adult who studies children's books as a part of my vocation. What of the child who sees this? What will they surmise from this baffling illustration? And what if the reader is a child of Native/First Nations, or a descendent of the Diaspora--how will these images register?
Turn the page and you'll see another full page spread, this one apparently meant to take place in the Middle East. A shirtless man (with brown skin) stands holding a scimitar, guarding something, perhaps the ladder down to the "underground lair" featured at the bottom of the illustration. There is even a lamp (ala Aladdin and Robin Williams) on a table, where some nefarious-looking (also brown-skinned, natch) men are counting coins. Again: what is going on here? Does Ellis realize the misconceptions that she is reinforcing with this spread? In a country where Arabs receive death threats after pretty much any terrorist attack, how is this a good idea?
The homes themselves are pretty amazing. For instance, the "Japanese businessman" stands in front of a radical, stone-looking, geometrically fascinating piece of work. And… oh, wait. The "Japanese businessman's" eyes are closed… it almost looks as if he is squinting. Yeah, that's a pretty offensive stereotype too. Oy. And then there's the white-toothed, smiling, poor-but-happy Kenyan blacksmith. Oy vey.
I'm embarrassed to admit I glossed right over all of this on my first read. I am a White man with all of the privileges that come with the position, so to speak, and I often miss things that I really should see in books. I'm getting better, but I'm still numb to so many problematic things.
I have to do better. We all have to do better.
In all the recent discussion on A Fine Dessert, this was a popular excuse for the book's defenders: "I didn't notice this, the kids I was reading to didn't notice this [bonus points if said kids were not White!!!], so it can't really be that harmful, right?!" Wrong. It still hurts, folks.
In January, Julie Danielson interviewed Ellis for Kirkus. Ellis mentions a few people in the interview: her editor at Candlewick, Liz Bicknell; and Mac Barnett and Jon Klassen, who provided "mountains of feedback and support" during the making of Home. I'm familiar with these three folks, especially Barnett and Klassen, who consistently produce top-quality, wisely created books. And I believe that Ellis is ultimately the responsible party here, but I wonder if Bicknell, Barnett or Klassen ever questioned Ellis on some of the problematic parts of the book. I wonder if anyone else along the way saw anything wrong here.
Debbie Reese reviewed this back in the Spring. That review was an eye-opener for me. I'm grateful for Debbie's persistence in pointing out the problematic content in children's books despite comments like this. (On a related note, don't use this book to teach your kid/your class point-of-view. Just don't, okay? I'm sure we can brainstorm a ton of infinitely less problematic titles that could do just as well in that regard.)
As beautiful as this book is, as talented as Carson Ellis undoubtedly is, there is more than enough troubling content in Home to cancel out the aesthetically pleasing bits.
Reviewing While White: Up and Down with "Over the Hills and Far Away"
by Megan Schliesman
I was excited when I first picked up Over the Hills and Far Away: A Treasury of Nursery Rhymes from Around the World, a collection compiled by Elizabeth Hammill and illustrated by more than 70 artists. Excited because it's a hefty, substantial and visually arresting offering that was making an intentional effort at multiculturalism, and in doing so would hopefully offer something fresh in poetry collections for young children.
In her introduction, Hammill states she sought to create a "genuine intercultural experience" and the opening piece is a strong start of moving beyond the norm: a poem from the Tohono O'odham. But right away I had a question that I could not answer on my own: Who are the Tohono O'odham? I'm sorry I didn't know the answer myself, but I'm also sorry the book made no effort to enlighten me beyond the visual cue in the illustration: indigenous individuals in a desert landscape. I used Google to find out more about the Tohono O'odham, a Native nation in Mexico and the American southwest, and I was happy to discover from the brief bio in the back for the artist, Michael Chiago, that he is Tohono O'odham. I know Native voices have often been misrepresented in anthologies so the fact that Chiago gave permission to use his painting was reassuring to me, especially as the verse was not specifically sourced in the end matter.
The second verse is labeled "African Lullaby (Akan)" in the table of contents. I looked online to discover that the Akan people are from the Guinea coast of the African continent. The illustrator for the Akan verse, Meshack Asare, is a noted children's book creator from Ghana, where the Akan are an ethnic group.
I appreciated the thoughtful verse/illustration pairings like those above or that of the Tsimshian "laughing song." The poem is illustrated by a Tsimshian First Nations artist, Bill Helin and came from his own family.
But there were also things about the volume that left me disappointed, uncomfortable, and a couple of times dismayed.
Early on there is a page spread featuring the juxtaposition of an "English" lullabye with which most of us are familiar: "Hush-a-bye, baby, / On the tree top" and a "Chippewa" lullabye. Again, there was no specific source cited in the end matter for the "Chippewa" verse. But the truly jarring and upsetting element was the illustration spanning the spread and the two poems. Northumbrian artist Olivia Lomenech Gill depicted a tree in the center of the spread branching out to each of the poems. There is a Native mother with her child on a cradleboard below the "Chippewa" verse on the right. On the left? The Mayflower ship, with "Mayflower 1620-1621" written in script above the "Hush-a-bye" lullabye.
Let's just think about that a moment. The event that symbolically represents the arrival of Europeans on this continent, which in turn led to the devastation and decimation of Native populations through brutal events that continue to resonate and dramatically impact the lives of contemporary Native people today, is paired with the historical image of a Native woman and her child in peaceful repose. I'm sure it was innocent, and even well-meaning, this British artist joining the two things. The baby hanging from a cradle in the treetop intentionally echoes the depiction of the baby in the cradleboard. But the end result is far from innocent; it's a painful pairing of images.
Near the volume's end, I came to a page spread with three poems related to ghosts and skeletons. Two were labeled "African American," and the first one went like this:
W'en de big owl whoops,
An de' screech owl screeks,
An' de win' makes a howlin' sound;
You liddle woolly heads
Had better kiver up
Caze de "hants" is comin' round.
I was so appalled that I searched for source information. While this poem is not specifically sourced (only a relatively small number of the poems are; general sources are listed from which, presumably, the others came), I found online that it is from a 1922 book called Negro Folk Rhymes, collected by Thomas Talley (one of the general sources cited--why the poem wasn't specifically attributed to this collection I don't know). I did additional research and learned Talley was an African American chemistry professor at Fisk University and also a collector of African American folklore. I am not a scholar, and cannot speak to the issue of authenticity, or to the politics of publishing and race at that time. What I do know is this: that language and that imagery ("liddle woolly heads"?) reinforces hurtful, damaging stereotypes that have been used to demean and dehumanize African Americans for generations. Was that the intent here? Of course not. Does that render it harmless? Hardly. The choice to include it in a collection for children makes me angry and boggles my mind.
I also had to wonder about the overall lack of balance regarding cultural diversity in the collection, and had questions about the cultural labels. Over half of the 148 entries are listed as "English," perhaps not surprising in an anthology grounded in nursery rhymes but also curious in a volume with "A Treasury...from Around the World" in the subtitle. Other poems labels include (but aren't limited to) Scottish, Welsh, South African, Australian, Maori, Yiddish, and Trinidadian. Poems from North America include labels such as American,Chinese American, African American, Anglo American, and the names of various First/Native nations. And there are several labeled simply "Latino."
The deeper I read, the more the labeling made me uncomfortable. American versus Anglo American versus African American? Ok.... From this do I presume all the poems labeled English are Anglo in origin? (They looked to be.) Where are poems reflecting the multiethnicity of British identity? What about those labeled simply American--how do we interpret that label culturally? There is mixed messaging here. Additionally, was there no way to trace the handful of "Latino" poems to specific countries or regions? If there wasn't I wanted to know why.
I ended up wishing that rather than the labels, which I'm guessing were based on what was revealed in the sources consulted but collectively left me twitchy with discomfort, each poem had included a brief note on the page, which was done with the Tsimshian "Laughing Song," that told what was, or wasn't, known about its cultural origins. Not what the compiler knew but what could have been discovered with additional research (such as the fact that "Ojibwe" is generally the preferred term today for "Chippewa," or that in the source for one particular poem , the marvelous Pío Peep: Traditional Spanish Nursery Rhymes, compiled by Alma Flor Ada and F. Isabel Campoy, it's noted that the verses are widely known across Latin America.)
Conceptually, there are good intentions behind the creation of Over the Hills and Far Away, and there are marvelous moments within it. But I began to realize that this "around the world," "intercultural" book--as is so often the case--presents diversity as something that is is an add-on to Whiteness and western culture, which dominate the selections. I couldn't help but contrast this volume with the 1992 book This Same Sky: A Collection of Poems from Around the World, edited by Naomi Shihab Nye, which privileges non-U.S., and often non-western voices, and another poetry anthology out this year, Please Excuse This Poem: 100 Poets for the Next Generation, compiled by Brett Fletcher Lauer and Lynn Melnick. Please Excuse This Poem, an anthology for teens, is also clearly intentionally multicultural yet never states this as its intent. The end result feels effortless and genuine, rich and authentic: a true reflection of who we are.
It's true Over the Hills and Far Away is a very different book for a very different audience, comprised largely of poems I'm guessing are in the public domain. But Hammill was clearly open to broadly interpreting the definition of "nursery rhyme," which is wonderful. Was it truly impossible to find more culturally diverse and authentic offerings that more widely span the globe?
For me, Over the Hills and Far Away sometimes shines but overall falls short of, and in some ways seriously undermines, its best intentions.
What Does Thanksgiving Make You Think Of?
No one, not one single person or family or toddler, is going to storm the doors of your library — be it public or school — and demand that you do a special Thanksgiving storytime. Literally no one. And yet. And yet you, as a librarian, might feel compelled to offer a program along these lines. Maybe because you've always done it. Maybe because it's easy and quick to pull together. Maybe because all the teachers in your school are doing units on it and you want to support them. Maybe because you think your patrons, the majority of your patrons that is, don't really think about it as a "holiday" but as a more secular tradition. But I want to urge you to stop and consider why you're doing these programs and the messages they send to all your patrons, especially your Native/First Nations patrons.
Chances are pretty good that, unless you are reading this from a reservation, you are reading this from occupied and stolen land. In many cases, even if you are reading it from a reservation you are not on the true ancestral homes of the people who reside there but on government-created settlements. You are on land that people were killed for. Can you sit with that for a few seconds? Can you really?
This is something I am acutely aware of in New Mexico, where we have 22 recognized tribes. I grew up playing with Native kids, I work with Native people, I serve Native children. Maybe, in other places, it's a lesson you don't have to think about as much. But it's still true.
Many years ago, I decided my library would stop putting up grinning turkeys and making displays with puns about FEASTS and GOBBLE. We don't have pilgrim coloring pages, we don't make stacks of books that look like turkeys. Let me assure you we still have piles of Thanksgiving books — picture books and non-fiction too.
But November is also Native American Heritage Month. So at my library, instead of another story about sharing maize, we make a conscious effort to spotlight and celebrate books by Native American authors. You can too — and you can even tie it in with that "classic" Thanksgiving you might be reluctant to let go of.
What do you think of when you think of Thanksgiving?
I am sure many will have the same answers about family, community, and tradition. If those are the things that are truly important to you about Thanksgiving, why not share messages about that through the works of Native authors? This is a way you can help your patrons understand that Native Americans are still with us today — not just forgotten noble savages of the long-gone past bringing white people corn.
If Thanksgiving makes you think about tradition and community, why not share Jingle Dancer by Cynthia Leitich Smith? This picture book is about a young Muscogee Creek girl who is trying to find enough tin jingles to make her jingle dress special at a powwow. Readers get to meet the people in Jenna's life and community and learn about the specialness of the Ojibway tradition of jingle dancing.
If Thanksgiving makes you think about family and tradition, why not share Kunu's Basket by Lee DeCora Francis? In this picture book, Kunu becomes frustrated when he finds making a pack basket isn't as easy as he imagined. All the men on Indian Island do it, why can't Kunu? His grandfather helps him learn patience and practice in this story about Penobscot Indian Nation in Maine.
If Thanksgiving makes you think about happiness and family togetherness, why not share Sweetest Kulu by Celina Kalluk? Throat singer Kalluk shares an Inuit welcome for a baby in this tender, wondrous picture book full of arctic animals and Inuit traditions.
If Thanksgiving makes you think about cooperation and people coming together in peace and forgiveness, why not share with a class Hiawatha and the Peacemaker by Robbie Robertson? This longer picture book tells the story of how Hiawatha and the Peacemaker brought peace and united the Six Nations Iroquois Confederacy in a model that would inspire the formation of the early American government.
If Thanksgiving makes you think about thankfulness and gratitude, why not share Thanks to the Animals by Allen Sockabasin? Little Zoo Sap has fallen off the sled in the cold winter forest, but the animals all keep him warm. When his father Joo Tum finds him, he thanks the animals for saving Zoo Sap in this story from Passamaquoddy storyteller Sockabasin.
I've read Thanks to the Animals to kids several times during the Thanksgiving season and taken it to school visits when teachers requested a "Thanksgiving storytime" as outreach. Not once ever has a kid or teacher said, "But this isn't Thanksgiving! I demand more pilgrims!" Instead, they love hearing about Zoo Sap and all the animals. Children understand the message of thanksgiving in the book and, like Joo Tum, they enjoy thanking the animals. I also get a chance to discuss the Passamaquoddy tribe with the kids, which can be a great way to encourage adults to remember that Thanksgiving isn't just about the same old story.
We, as librarians and educators, can be leaders in changing and expanding that story. We shouldn't only celebrate and promote these works for one month. We should make them fundamental texts we are excited to share with patrons all the time. The works of Native authors and illustrators are worth our spotlight every month but, particularly in November, we can use this month, this holiday we "celebrate" without a second thought, to really help our patrons go beyond the same old story, the same old displays, the same old lies.
American Indian Perspectives on Thanksgiving from the National Museum of the American Indian
Harvest Ceremony: Beyond the Thanksgiving Myth from the National Museum of the American Indian
Classroom Lessons from the National Museum of the American Indian
Curriculum Guide for Jingle Dancer from Cynthia Leitich Smith
Teaching Guide for Kunu's Basket
More info on Celina Kalluk, including a video of her throat singing
Excerpt from the song and book Hiawatha and the Peacemaker
Allen Sockabasin reading Thanks to the Animals in Passamaquoddy
Posted by Angie Manfredi at 5:00 AM 6 comments:
Thinking About Thanksgiving
What does this cover say, in a Thanksgiving display?
In many libraries, because of space, the "holiday" books are stored in the back and brought out for each holiday, put on display in a place people can easily find them. Whether intentionally or not, the way we display these supports the marketing of holidays, and October through December becomes an almost relentless push of Halloween, Day of the Dead, Thanksgiving, and Hannukah-Kwanzaa-Christmas displays in many libraries. With the exception of Christmas, for which I think there are officially enough books published to saturate the demand, these displays in many libraries are fully depleted for each holiday, and when the books are returned are likely stored again, without weeding. So, when was the last time you really looked at your Thanksgiving books?
The story of Thanksgiving that is commonly mythologized on school stages, with "Pilgrims" and "Indians" having a friendly potluck, is just that: mythology. Oyate shares its resource "Deconstructing the Myths of the First Thanksgiving" on its website. They credit the research done by Margaret M. Bruchac in collaboration with the Wampanoag Indian Program at the Plymouth Plantation, which also underpins her book co-authored with Catherine O'Neill Grace, 1621: A New Look at Thanksgiving. Please take a moment to read through one of these resources, now, if you haven't before, as me summarizing the myths for you here would miss the point. The upshot is that Thanksgiving is not a happy time for everyone, it didn't happen the way it does in the school play, and it is a time of mourning for many First Nations/Native people.
Many Thanksgiving books on the market now attempt to be factually correct, yet still walk a strange line...following the traditional "First Thanksgiving" narrative thread from the White colonists' perspective, and just shifting the language so as not to be caught in an all-out lie. Robert Merrill Bartlett's The Story of Thanksgiving was revised in 2001, the same year 1621: A New Look at Thanksgiving came out, yet still traces and holds up the myth of the first Thanksgiving: "..two men name Squanto and Samoset appeared and made friends..." "the Pilgrims wanted to celebrate their harvest...they held their first thanksgiving. They invited the Wampanoags to join them" ... "Today Thanksgiving is a happy time." (This book appears to be now, thankfully, out of print.)
Other books don't even try, and people still ask for books like Arthur's Thanksgiving, where kids dress up as Pilgrims and Indians and put on a play...because that's what some of us remember doing at Thanksgiving and Thanksgiving is about "tradition." I'm doubtful though, that children appreciate being sold a lie. As 5th grader Taylor M. wrote to Debbie Reese, after reading the Suppressed speech of Wamsutta (Frank B.) James:
I thought about all the way back to Kindergarten, right before Thanksgiving break we would always get these coloring worksheets of the happy little Pilgrims and Indians giving each other things. Up until now, I didn't really realize that that's not how it happened. Showing the happy little cartoon Indian was a lie. I think Kindergarteners and young children should know what actually happened, not with gruesome details, but they should know more of the truth.
How much truth does your Thanksgiving collection tell? When is the last time you evaluated each book for accuracy? Sadly, I have found I can't reliably trust professional reviews to evaluate Thanksgiving books, or most children's books with First Nations/Native content; I depend on the resources from Oyate and Debbie Reese's blog to help me parse the presentation, and ask questions when I can't tell for sure myself. I wish more reviewers would do this, and I challenge you to try it, this month. I can pretty much promise you librarians there is something in your Thanksgiving collection that is worth weeding, so this is good and easy practice.
It is possible to have broader collections that allow for the many ways in which people approach this holiday, and tomorrow you will hear from Angie about how to develop your Thanksgiving display after your weeding. To get you started:
You can buy Oyate's full resource "Thanksgiving: A Native Perspective" as a stand alone, or within their book "A Broken Flute," which includes many helpful articles and reviews of books you probably have in your library, but may never have really looked at through a First Nations/Native perspective. If this is the first time you are checking out Oyate, make sure to explore everything in their "Resources" section.
At American Indians in Children's Literature, Debbie Reese gathers links to her "Posts About Thanksgiving" on the left sidebar, just scroll down.
And while we're on the topic of marketing holidays, check out Aya De Leon's blog post "Queridos Gringos" and take a look at your Day of the Dead materials before they go back into storage.
Posted by Nina Lindsay at 5:00 AM 17 comments:
Reviewing While White: Up and Down with "Over the ...
Still Listening, Still Learning
Guest Blogger: Tanuja Desai Hidier
On "Be Kind", and Other Bull****


text:
As 'Won't Back Down' Enters Theaters, UFT Announces Ad Buy
Although the initial box office numbers for Won't Back Down weren't promising, that doesn't mean that the film itself is unimportant — if only in presenting an alternative view of education from that promoted by members and supporters of the teachers unions around the country. Although opposition to teachers unions can hardly be thought of as invisible, with many politicians even from the Democratic Party openly voicing their dissatisfaction with the labor groups, the faces of Rahm Emanuel and Arne Duncan are less likely to evoke sympathy in the same way as those of Maggie Gyllenhaal and Viola Davis, the stars of the film.
The movie's path from production to the big screens of the theaters around the country has been fraught with criticism. Teachers unions have called into question everything from the story to the agenda of the groups providing funding. At the same time, anti-union voices have been almost unanimous in their support, and the film received an overwhelmingly enthusiastic reception when it was screened during the Republican National Convention in Tampa, Florida.
The New York Times is reporting that on this weekend, when the movie was scheduled to go into wide release, the United Federation of Teachers, the group that represents the majority of New York City's public school teachers, announced a massive ad buy on all the major NYC television networks. Was this just a coincidence, NYT asks?
It was, according to the statement made by Michael Mulgrew, UFT president. It seems like the ad buy was in the works for months. To prove his point, Mulgrew pointed out that there was no similar advertising campaign planned for the release of pro-school-choice documentary Waiting for Superman, released in 2010, and it would hardly be worth while to spend all this money to counteract the message sent out by what is, after all, "a work of fiction."
But Mr. Mulgrew took a dig at the new film, saying no nonfictional attempt by parents to take over a school had worked. Of two efforts to use the California "parent trigger" law,which allows parents to take over collapsing schools, one failed and another, in Adelanto, near San Bernardino, was recently approved by a state court but blocked by the local school board.
The UFT is following the lead of its parent organization, the American Federation of Teachers, which has also made recent investments in a campaign to improve its public image. AFT's efforts don't include nationwide media advertising; instead, they're looking to make a more personal connection with communities around the country. The organization also took notice of the movie, with the AFT's president Randi Weingarten issuing a stinging rebuke upon its release.
Randi Weingarten issued a 2,025-word statement attacking the new movie as "a false and misleading depiction of teachers and unions." She also appeared Friday morning on CNN to criticize parent trigger laws, which are on the books in seven states, and she noted on Twitter that many reviewers had panned the film.
10 2, 2012 Julia Lawrence
Filed Under American Federation of Teachers (AFT) Teachers Unions United Federation of Teachers (UFT) Won't Back Down
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Judge Orders Restroom Access for Ohio Transgender Student
Holcomb Proposes to Build on Pence's Ed Reforms in Indiana
Texas Board of Ed Continues Battle on Evolution in Biology


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Go Back To Where You Came From series 3 will premiere on SBS July 2015.
The much awarded series has been filmed and is currently in post production to air on the same network (SBS Australia) which aired the very successful and controversial first 2 series.
GO BACK has been optioned in ten territories around the world to date; Germany, Denmark, USA, France, Canada, Netherlands, Sweden, Norway, South Africa, NZ.
Germany and Denmark are the first to have produced local versions with Belgium most recently commissioning their own version. The Australian series has been sold into NZ, Canada and HK.


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Sleeve vs Bypass: Effect on Liver Fat
Following closely on a landmark study of bariatric surgery and liver fat, today we have a new RCT comparing the effects of gastric sleeve and gastric bypass. In short, these two procedures work equally well. After one year, patients with both procedures had about a 20 percent reduction in liver fat. The other endpoint was liver fibrosis. On this measure, most patients in both groups were stable. Again, there were no big differences between the two groups.
If you think a 20 percent reduction in liver fat doesn't sound impressive, think again. This reduction meant that after a year, all of the bypass patients had either no steatosis or only a low degree of it. For 94 percent of the sleeve patients, this was also true.
Together with the landmark study by Ali Aminian et al, this research tells us that either a gastric bypass or sleeve can be a potent tool for controlling NAFLD, which is common in persons with obesity and type 2 diabetes. Controlling NAFLD is important because it can lead to progressive scarring (fibrosis) of the liver, cancer, liver failure, and death. Serious stuff.
A Careful RCT
To compare the effects of these two surgical procedures, Kathrine Aglen Seeberg and colleagues randomly assigned patients to receive either a gastric sleeve or a bypass. These were patients with type 2 diabetes and an average BMI of 42. Mean age was 47.5 years and 65 percent of the patients were female. A total of 100 patients completed this trial.
It's worth noting that, for most of the outcomes, the numbers for gastric bypass were slightly, but not significantly better. Because the study had only 100 subjects, the power to detect small differences was not great. But investigators will be following this cohort for five more years.
Some data suggest that bypass may be more effective in people with type 2 diabetes. But other analyses find minimal or no differences. So it will be valuable to see what the longer-term outcomes are in this cohort.
A Potent Tool
Without a doubt, bariatric surgery is a potent tool for persons with obesity and complications such as diabetes or liver disease. For diabetes, it offers the best chance of long term remissions from the disease. For liver disease – NASH – it cuts the risk of progressive harm by 88 percent.
We get it. Bariatric surgery is daunting. But if you or a person you care for has either NASH or type 2 diabetes, along with obesity, surgery might be their best chance for better health.
Click here for the new study by Seeburg et al, here, here, and here for further perspective.
Photomicrographs of Liver Structure and Steatosis, figure from a paper by by Paola Raquel B. de Oliveira et al, licensed under CC BY 4.0.


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Germany: Parabel completes 1 MW PV system
Parabel AG has completed and connected a one megawatt (MW) rooftop photovoltaics system to the grid in Saxony-Anhalt, Germany.
April 21, 2011 Becky Beetz
The system is located atop a building complex belonging to an unnamed trade and logistics company in Hohenwulsch.
Last year, the Berlin-based company developed and installed more than 10 MW of rooftop spaces roof surfaces in both in Brandenburg and Saxony-Anhalt. It is now looking to sell 4.92 MW from its portfolio within the next two months.
"We're receiving increasingly more enquiries from both institutional investors and municipal utilities that would like to diversify their electricity provision with renewable energies," explains CEO Jürgen Will. "That's why we've put together an attractive package for prospective customers and will conclude the sales within the next eight weeks."


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We do not cater for parties and you must be over 25 years of age to rent Villa Sofia.
When you book Villa Sofia, we will provide you with a comprehensive information pack that gives you directions to the villa, keys and what you can expect from your stay. We also provide you with european adapters, hair dryer in both bathrooms, toilet paper, washing up liquid, salt, pepper and liquid hand soap. Dishwasher tablets and washing powder is available for your use. A complimentary welcome gift is available when you arrive. This consist of our olive oil, a bottle of red and bottle of white wine and some local biscuits to enjoy. We are available if you have any questions on what to do and where to go.
Thank you for your kind comments. We are so glad you enjoyed staying at Casa Sofia. We look forward to welcoming you again in the next couple of weeks.
We agree. The winter months at Casa Sofia are lovely, warm and very romantic. The wood burner feeds all the radiators in the villa so it is very warm in the house. We are glad you enjoyed your stay.
We recommend car hire as this is the best way to enjoy the area. Trains are available from Telese and go direct to Naples and Rome. Buses are available from the main road, they go to Telese, Piedmonte. From Telese you can get buses to Naples and Rome.


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Q: Custom cell's UIView frame not updating in cellForRowAtIndexPath I have a custom cell with a UIView that I am trying to update the frame on in cellForRowAtIndexPath. The frames are all updated successfully for the rows that load in the first pass of rows. However, the rows that need to be scrolled to be seen do not have their view frame updated until scrolling them into view, scrolling them out of view, and then scrolling them back into view.
- (UITableViewCell *)tableView:(UITableView *)tableView cellForRowAtIndexPath:(NSIndexPath *)indexPath {

    RoundCell *cell = (RoundCell *)[tableView dequeueReusableCellWithIdentifier:@"RoundCell"];

    CGRect frame = CGRectMake(160, 10, 50, 22);
    cell.rightConfidenceBar.frame = frame;
}

For the rows that are not initially loaded, why do I need to scroll them into view, out of view, then back into view before their UIView frame is updated?

A: After doing some more digging and finding these questions:
question 1, question 2, question 3
I realized this was an issue with autolayout. The two solutions to this problem are to:
1.Turn off auto-layout by unchecking that box mentioned in one of those answers (not recommended)
2.Do what question 1 says and instead of updating the frame of the view, update the width constraint constant like so
for (NSLayoutConstraint *constraint in cell.rightConfidenceBar.constraints)
    {
        if (constraint.firstAttribute == NSLayoutAttributeWidth)
            constraint.constant = 50;
    }

BE WARNED: if you uncheck autolayout you may lose ALL your constraints you have made throughout your entire project.

A: After
RoundCell *cell = (RoundCell *)[tableView dequeueReusableCellWithIdentifier:@"RoundCell"];

try adding
if (cell == nil)
    cell = [[RoundCell alloc] initWithStyle:UITableViewCellStyleDefault reuseIdentifier:@"RoundCell"];


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