text:
class	Registro
	include DataMapper::Resource
	# set all String properties to have a default length of 255
	DataMapper::Property::String.length(255)

	# set the storage name for the :legacy repository
   storage_names[:default] = "Registro"

   # properties from teacher's ER-diagram
	property :id,				Serial, field: "folio"
	property :nombre,			String
	property :sexo,			String
	property :color,			String
	property :peso,			Float
	property :nacimiento,	Date, field: "fecha_nacimiento"
	property :observaciones, Text
	property :adoptante, 	Integer, field: "id_adoptante"
	# Custom properties
	property :image,	String

	# Associations
	# belongs_to :veterinario, 'Veterinario', child_key: 'id_vetRecibe', field: 'myfield'
	belongs_to :raza, 'Raza', child_key: 'id_raza'
	belongs_to :especie, 'Especie', child_key: 'id_especie'
	belongs_to :status, 'Estatus', child_key: 'id_status'
	belongs_to :veterinario, 'Veterinario', child_key: 'id_veterinario'
	# Since the foreign key pointing to Person isn't named 'person_id',
	# we need to override it by specifying the :child_key option. If the
	# Person model's key would be something different from 'id', we would
	# also need to specify the :parent_key option.
	has n, :tratamientos, 'DetalleTratamiento', child_key: [ :folio ]

	def to_s
		@nombre
	end
	def sexo
		case @sexo
		when "M"
			"Masculino"
		when "F"
			"Femenino"
		end
	end
end

class Tratamiento
	include DataMapper::Resource
	# set all String properties to have a default length of 255
	DataMapper::Property::String.length(255)

	# set the storage name for the :legacy repository
   storage_names[:default] = "Tratamiento"

   property :id,			Serial, field: "id_tratamiento"
   property :nombre,		String, field: "nombreT", required: true

   def to_s
   	@nombre
   end
end

class DetalleTratamiento
	include DataMapper::Resource
	# set all String properties to have a default length of 255
	DataMapper::Property::String.length(255)

	# set the storage name for the :legacy repository
   storage_names[:default] = "DetalleTratamiento"
   property :id,						Serial
   property :fecha_aplicacion,	Date, required: true
   # property :veterinario,			Integer, field: "id_veterinario", required: true

   # belongs_to child_key: FK de esta tabla
   # belongs_to parent_key: PK de la tabla referenciada
   belongs_to :tratamiento, 'Tratamiento', child_key: :id_tratamiento
   belongs_to :registro, 'Registro', child_key: :folio
   belongs_to :veterinario, 'Veterinario', child_key: :id_veterinario
end

class Veterinario
	include DataMapper::Resource
	# set all String properties to have a default length of 255
	DataMapper::Property::String.length(255)

	# set the storage name for the :legacy repository
   storage_names[:default] = "Veterinario"

   property :id,			Serial, field: "id_veterinario"
   property :nombre,		String
   property :apellido,	String

   # Associations
   # has n, :registro, 'Registro'

   def to_s
   	"#{@nombre} #{@apellido}"
   end
end

class Raza
	include DataMapper::Resource
	# set all String properties to have a default length of 255
	DataMapper::Property::String.length(255)

	# set the storage name for the :legacy repository
   storage_names[:default] = "Raza"

   property :id,			Serial, field: "id_raza"
   property :nombre,		String, field: "nombreR"
   property :talla,		String

   def to_s
   	@nombre
   end
end
class Especie
	include DataMapper::Resource
	# set all String properties to have a default length of 255
	DataMapper::Property::String.length(255)

	# set the storage name for the :legacy repository
   storage_names[:default] = "Especie"

   property :id,			Serial, field: "id_especie"
   property :nombre,		String, field: "nombreE"
   property :origen,		String

   def to_s
   	@nombre
   end
end
class Estatus
	include DataMapper::Resource
	# set all String properties to have a default length of 255
	DataMapper::Property::String.length(255)

	# set the storage name for the :legacy repository
   storage_names[:default] = "Estatus"

   property :id,			Serial, field: "id_status"
   property :nombre,		String, field: "nombreS"

   def to_s
   	@nombre
   end
end

redpajama_set_name: RedPajamaGithub


text:
Lists Recaps Reviews Interviews Explainers
Home » Music
Gwen Stefani stuns for Paper Magazine cover, singer opens up about politics & cultural appropriation
Thu May 27, 2021 at 5:48am ET
By Fabio Magnocavallo
Gwen Stefani graces latest Paper Magazine cover. Pic credit: ©ImageCollect.com/Admedia
Gwen Stefani is Paper Magazine's latest cover star and put on an effortlessly stunning display, as always.
The 51-year-old singer, who rose to fame as the frontwoman of No Doubt, had a lot to say and opened up about a variety of topics she rarely speaks on.
Keep reading to find out what Stefani discussed with the publication.
All eyes on Gwen Stefani
Being the glam fashion icon that she is, Stefani wowed on the cover.
The three-time Grammy Award winner crouched in front of a plain red backdrop and gazed directly at the camera lens with a fierce expression.
The Slow Clap singer paired a stripey white-and-red tank top that had "Stefani" written across the front in large black text. She teamed the ensemble with black latex pants and accessorized herself with numerous gold necklaces, bracelets, and hoop earrings.
Stefani applied her trademark red lipstick and rocked pointy acrylic nails. The mom-of-three, who is known for her trademark platinum blond hair, sported a two-tone style that was blond and brown.
The Let Me Reintroduce Myself hitmaker shared the cover to her Instagram page and it didn't go unnoticed by her fans.
A post shared by Gwen Stefani (@gwenstefani)
In the span of 14 hours, her post racked up more than 84,000 likes and over 1,100 comments, proving to be very popular with her 11.4 million followers.
Gwen Stefani on politics
While Stefani isn't one to ever talk about politics, she did imply that she sees herself as a Democrat and believes that's been obvious to the public for a long time.
You Might Also Like: Gwen Stefani called 'ageless' as she celebrates her 52nd birthday
"I think it's pretty obvious who I am. I've been around forever," she told Paper. "I started my band because we were really influenced by ska, which was a movement that happened in the late '70s, and it was really all about people coming together."
"The first song I ever wrote was a song called 'Different People,' which was on the Obama playlist, you know, a song about everyone being different and being the same and loving each other," Stefani continued. "I'm not a political science major. I am not that person. Everyone knows that. So why would I even talk about it?"
Gwen Stefani also had something to say about cultural appropriation
In recent years, Gwen Stefani has been accused of cultural appropriation, specifically for her Love. Angel. Music. Baby. album, which was heavily influenced by Japanese culture. For the era, the songstress was joined by Japanese-American backup dancers, who she named the Harajuku Girls.
According to The Daily Mail, she was criticized by comedian Margaret Cho after being accused of reinforcing negative ethnic stereotypes of Asian women.
"If we didn't buy and sell and trade our cultures in, we wouldn't have so much beauty, you know? We learn from each other, we share from each other, we grow from each other," Stefani stated.
"And all these rules are just dividing us more and more… I think that we grew up in a time where we didn't have so many rules. We didn't have to follow a narrative that was being edited for us through social media, we just had so much more freedom."
You Might Also Like: Gwen Stefani's net worth in 2021: How much the iconic singer is worth and how she became a financial giant
Fabio Magnocavallo
Fabio Magnocavallo is an entertainment journalist from the UK who has...read more
Tags Gwen Stefani, No Doubt
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redpajama_set_name: RedPajamaCommonCrawl


text:
Information & Ethics
Aug. 11
Information & Ethics Committee on Aug. 11th, 2020
Evidence of meeting #12 for Access to Information, Privacy and Ethics in the 43rd Parliament, 1st Session. (The original version is on Parliament's site, as are the minutes.) The winning word was charity.
A video is available from Parliament.
Study to Review the Safeguards in Place to Prevent Conflicts of Interest in Federal Government Expenditure Policies
Rachael Harder
Damien Kurek
Rhéal Fortin
Mark Gerretsen
Michael Barrett
Élisabeth Brière
Pierre Poilievre
Salma Zahid
Jacques Gourde
Charlie Angus
Brenda Shanahan
Marie-Hélène Gaudreau
Bardish Chagger
Ian Shugart Clerk of the Privy Council and Secretary to the Cabinet, Privy Council Office
Gina Wilson Deputy Minister, Diversity and Inclusion and Youth, Department of Canadian Heritage
Benoît Robidoux Associate Deputy Minister, Department of Employment and Social Development
Mary Dawson As an Individual
Clerk of the Privy Council and Secretary to the Cabinet, Privy Council Office
Ian Shugart
No, it's never that.
Pierre Poilievre Conservative Carleton, ON
Well, I am sure that there are occasions of that nature.
There are often places where you would rather not be if you had the complete choice, but—
I can't imagine what you're referring to.
At the same time, we have this story that the Prime Minister pushed back. You didn't mention that in your original testimony. Minister Chagger didn't mention it. No one else who was there mentioned it. I would think, if a Prime Minister, particularly someone who likes to box, were to put up his dukes and push back, you'd remember it. You probably would have gone home at the end of that day feeling like you had a rotten day, that the boss pushed back against you, but you don't remember having been at that meeting.
I did say to the finance committee that Ms. Telford raised those questions, so it's well established that the Prime Minister and his chief of staff raised the issue of due diligence. That's been very clear and consistent.
Right, we just can't get any sense of what due diligence they wanted or received. They knew nothing about the finances, about the board resignations, about the problems that WE.... They couldn't list the other organizations that were consulted, so it doesn't sound like they had any real—
We've provided the information on the other organizations, and I've been clear that the due diligence did not extend to the financial matters of the foundation.
Right, which would have been necessary to know if they could deliver it—
The Chair Conservative Rachael Harder
That's time.
I would conclude, Madam Chair, if I may, by agreeing with Mr. Gerretsen.
Mr. Shugart, you are an exceptional public servant. I think it is terrible the way the Prime Minister has thrown you and the public service under the bus, the way that he has implied that you and your organization are to blame. I want you to know—
Mr. Poilievre, that's time.
—that Her Majesty's official opposition does not believe it for a second.
Mr. Shugart, if I may, the original agreement was that you would be here until 2:00; however, due to technical difficulties at the beginning of this meeting, we got started quite late. Would you agree to be here until 2:30 today?
I'm at the committee's disposal. I'm delighted to be here.
Mr. Shugart, that's an excellent answer. Thank you so much for accommodating us.
I think we did begin a little before the time. I do have other appointments, but I'll be happy to stay.
I will get you out of here no later than 2:30.
Mark Gerretsen Liberal Kingston and the Islands, ON
I have a point of order.
Yes, Mr. Gerretsen.
Thank you, Madam Chair.
Mr. Poilievre made a comment towards the end there, and you—
This doesn't sound like a point of order.
It actually is, because it has to do with the procedural order of the meeting. It's a point of order. He made a comment. In past comments that have been made at the end—this is not debate; it is to the procedure—you have allowed, as chair, the witness to respond, in this case Mr. Shugart. I'm wondering if, procedurally, you will allow Mr. Shugart to respond to Mr. Poilievre's comment.
Thank you, Mr. Gerretsen.
Charlie Angus NDP Timmins—James Bay, ON
Sorry, I have a point of order.
Mr. Angus.


text:
May 25, 2018 · 8:04 am
A Line Made by Walking by Sara Baume
A Line Made by Walking is about the pain of being alive. I quote from the blurb. Frankie's pain comes from not yet knowing how to be alive. She is in her mid-twenties, and struggling with expectations: to have achieved specialist knowledge, a career path, social connections, a partner, and having left a loving family.
Frankie's troubles are (I'm quoting from the blurb again) absorbing, heart-wrenchingly real, painful, raw, compelling, poignant … But she never quite loses the ability to observe and reflect on her own suffering, and eventually to take the line that will help her escape.
Sara Baume's writing achieves its impact through plenty of self-absorption by Frankie but no self-pity; observations that strike hard but provide no winsome lessons from suffering; lots of nature but much of it known through corpses.
A Line Made by Walking
Frankie is 25, has been brought up in Ireland, studied at Art College in Dublin and then worked in an art gallery in the city. One day she decides she can no longer do it and so packs her bags, calls her mother and goes home. Calling her mother is a bit of a theme.
After a couple of weeks with her parents she arranges to live on her own in her grandmother's bungalow, believing that the solitary life will restore her ability to be alive. Writing in the first person, Frankie describes her everyday life, not quite coping, isolated, outside relationships. She meets the neighbour, a lonely old man called Jinks, who tries to help her find the Lord. And her family call in to check on her, and to maintain the bungalow as Frankie neglects it. She walks, drives and cycles in the surrounding countryside, often finding dead wild life, which she photographs for a possible art project: robin, rabbit, bat, rat, mouse, rook, fox, frog, hare, hedgehog and badger. There are photographs in the relevant chapters.
Interspersed with the dead animals are flashbacks to her earlier life, and to her recollections of art works (painting, installations, performance pieces) that relate to or explain her situation.
Works about Lower, Slower Views, I test myself: Richard Long, A Line Made by Walking, 1967. A short, straight track worn by footsteps back and forth through an expanse of grass. Long doesn't like to interfere with the landscapes through which he walks, but sometimes he builds sculptures from materials supplied by chance. Then he leaves them behind to fall apart. He specialises in barely-there art. Pieces which take up as little space in the world as possible. And which do as little damage. (261-2)
This is the pattern for the many paragraphs referring to works of art and they occur throughout. She is especially interested in installations, performance pieces and other creations, such as Cold Dark Matter by Cornelia Parker, which I think of as the exploded shed. She is interested in works that record repetition, physical feats that are interrupted before they finish. Often the concept in the mind of the creator seems more important than the experience of viewing the art work. There is an appendix that references them all.
But take a look again at what Frankie says about Richard Long's A Line Made by Walking. The repetition is there, 'footsteps back and forth'. I rewrite it to make clear Frankie's frame of mind:
Frankie doesn't like to interfere with the landscapes through which she walks, but sometimes she imagines sculptures built from materials supplied by chance. She specialises in being barely-there. She takes take up as little space in the world as possible. And does as little damage …
Her reflections on life, not just her own life, cut very close to the bone. Here's a section that jumped out at me.
The point of being here, alone in the bungalow on turbine hill is to recover. This is what I told my mother before she agreed to let me care take, and the only thing I can do to stop her from worrying is to try and look well when she comes to visit. Because she cannot see inside my head, outside my head I must be nourished and calm and bright. The straightforwardness of this comforts me: body over brain.
With only a poorly stocked village shop, the absence of choice is liberating. I buy whatever they have and challenge myself to cobble it into something. Here on turbine hill, meals are the only thing that structure my days so I force myself to maintain their pattern. Because structure and maintenance and pattern, and broccoli, are what sanity consists of. (32-33)
I find that final sentence comforting. May be all that many of us are doing is achieving a basic level of 'structure and maintenance and pattern, and broccoli' and we can hold on to the idea that these are what sanity consists of.
I was just wishing Sara Baume would get on with it, get Frankie's story to the end – there weren't many pages to go – when, without calling her mother, she did and wooomph, Frankie spread her wings (compare to dead robin), leapt away (cf dead hare) abandons subterfuge (ditto fox, crow etc) … and that's all I'll say.
A Line Made by Walking by Sara Baume, published by Windmill Books (Penguin) in 2017. 307pp. Short-listed for the Goldsmiths Prize in 2017.
Sara Baume's previous novel was Spill Simmer Falter Wither (2015), which won many prizes.
Richard Long: A Line Made By Walking, 1967, Tate Gallery. That image can be accessed here.
Lonesome Reader reviewed A Line Made by Walking on her blog in February last year. She focuses on the place of art in life, and Frankie's belief in the redeeming value of art over institutionalised belief systems. You can read it here.
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Tagged as A Line Made by Walking, dead wild life, Goldsmiths Prize 2017, Ireland, Lonesome Reader, Richard Long, Sara Baume, Tate Gallery, Windmill Books (Penguin)
The Trick to Time by Kit de Waal
Not having read My Name is Leon, I had no idea what to expect from The Trick to Timeby Kit de Waal. I chose it because I had read nothing on the Women's Prize for Fiction 2018 long list and I recognised the author's name. Indeed I have supported her Unbound project for an anthology of working class writers.
We follow the main character Mona in three timeframes. Mona is a child living by the sea on the west coast of Ireland, then a young woman in Birmingham married to the man she loves, pregnant with their first child, and finally nearing her 60thbirthday living alone in a seaside town in the south of England. We learn that her life has been punctured by loss, most poignantly of her child, but also of her husband William, on the night of the Birmingham pub bomb.
The Trick to Time
Given that the reader must follow Mona in three timeframes it is helpful that her father gave her some sound advice about time early on. They are on the beach and he is trying to persuade Mona to spend more time with her mother before she dies.
One day, you will want these hours back, my girl. You will wonder how you lost them and you will want to get them back. There's a trick to time.'
He stands up, brushes the sand from his trousers, and Mona jumps on his back for the ride home. He lollops over the dunes with her hands round his neck and her chest against his ribs.
'What's the trick, Dadda?'
He likes to explain things so Mona expects a good long answer that might delay them getting back home.
'You can make it expand or you can make it contract. Make it shorter or make it longer,' he says. (21)
In this novel the characters relate to time depending on where they are in life. The young woman who helps Mona in her shop has all the time in the world. Mona is approaching 60 and feels that time is no longer on her side so she must change things for the better before drifting further.
Birdie, a cousin of her mother's, was in love with Mona's father, and waited for him until Mona left for Birmingham. Time was cruel to her, taking the love of her life within the year.
Val was a student nurse who attended to Mona when her daughter was still born. It was Val who found the body and brought it to Mona to hold while the hospital was in uproar from the bombing. These hours with her daughter, Beatrice, allows Mona to grieve. Every year she visits Val and her daughter's grave, marking the years since Beatrice was lost.
Time and loss are explored with great poignancy. Mona's love of her husband William hangs over the decades of Mona's life that follow his loss. Love is a great healer, but it is not omnipotent.
The characters are sustained by strong communal bonds throughout. The Irish have their family connections. After the dreadful night of the IRA bomb, Mona is cared for by William's aunts and when she looses William as well she returns to her childhood home to the care of her cousin Bridie.
In Birmingham the Irish community is strongly connected, but this leads to bad feelings after the bomb attack. In her English seaside town Mona is loosely connected to her neighbours and to those whose work supports her doll business. Some connections endure for years, like Birdie's for Mona's father, or the affection between Val and Mona.
To help people with the loss of their child, Mona uses an imaginative technique, getting the parents to articulate the life that might have been, recreating the time that the child would have lived. In the end she receives comfort for her own losses in this way.
It is a moving and engaging novel.
Kit de Waal
Kit de Waal was born in 1960 and brought up in the Irish community of Birmingham, the daughter of an Irish mother and a Caribbean father. Kit de Waal is her pen name. Her previous novel, My Name is Leonwas well received, shortlisted for the Costa First Novel Prize, and the Desmond Elliot Prize and winning the Kerry group Irish novel of the Year Award in 2017.
She has established a creative writing scholarship at Birkbeck, University of London, to support writers from disadvantaged background. Another project is a collection of working class writing with Unbound, which she has edited, is called Common People: an anthology of working class writers. It is due to be published in 2018. I am proud to have supported this initiative.
In April, The Trick to Timewas reviewed on Heavenali's blog.
The Trick to Time was long-listed for the Women's Prize for Fiction 2018.
The Trick to Timeby Kit de Waal, published in 2018 by Viking (an imprint of Penguin Books). 262pp
Tagged as Birmingham, Heavenali's blog, Ireland, Kit de Waal, The Trick to Time, Women's Prize for Fiction, working class writers
Nora Webster by Colm Toibin
I love to read a book that isn't brash and that has something quiet to say. Nora Webster is such a read. The story moves steadily but without dramatic events, at the tempo of ordinary lives. The significant events are the daily interactions with neighbours and family, someone's choice of words, the purchase of a recording, a short drive to the coast. This is the work of a writer who knows and understands the warp and weft of life.
The novel opens when Nora Webster has just been widowed and we follow her life over the next 3 years in Wexford, Ireland in the late 1960s as she moves through her grief.
Nora has four children: two young boys who live with her and two girls who are older and making their lives elsewhere. The death of Nora's husband Maurice means she has to has to help her children with their grief as well as her own. She struggles to find what she wants from her life without her husband, and eventually without her four children as they grow up.
The novel shows us the important of small things as we see Nora almost knocked sideways by grief and the difficulties of raising the boys on her own. We enjoy her steely independence of spirit as well as the consistent if quiet support of her family. Her progress is gradual and there are set-backs. She is unable to prevent damage to her young boys and in some ways contributes to it for she does not invite conversation with those around her about the difficult things in life.
Driven by her circumstances to reconstruct her life she reluctantly embraces a return to work, new friendships, new projects, and repairs her connections with her family. She stands up for her sons in a manner that demonstrates her determination and her ability to take on the educational establishment in 1970s Wexford. By the quiet close of the novel you have come to realise that Nora was diminished in some respects by her marriage. Her spirit along with the passage of time and the needs of her sons has brought her to a new way of being Nora.
In Nora Colm Toibin has succeeded in creating an engaging character. She goes a long way not to offend her community, but increasingly undertakes small acts of resistance. We are introduced to her in this way.
'You must be fed up of them. Will they never stop coming?' Tom O'Connor, her neighbour, stood at his front door and looked at her waiting for a response.
'I know,' she said.
'Just don't answer the door. That's what I'd do.'
Nora closed the garden gate.
'They mean well. People mean well,' she said.
'Night after night,' he said. 'I don't know how you put up with it.'
She wondered if she could go back into the house without having to answer him again. He was using a new tone with her, a tone he would never have tried before. He was speaking as though he had some authority over her.
'People mean well,' she said again, but saying it this time made her feel sad, made her bite her lip to keep the tears back. When she caught Tom O'Connor's eye, she knew that she must have appeared put down, defeated. She went into the house. (1)
From this opening paragraph we already understand a great deal about Nora's character and that something has changed in her life that allows a man to shift his behaviour towards her. It establishes that the novel will deal with the changes she faces and how she navigates them and how she responds to people around her. Acutely conscious of her own discomfort, but also intensely private about her reactions, she is neither put down nor defeated.
In addition we can catch the Irish lilt, the intrusiveness of Tom O'Connor, and Nora's apparent passivity. And the simple sentence 'Nora closed the garden gate' adds a small beat as we contemplate the scene, an everyday exchange between neighbours. The resistance to Tom O'Connor is slight, but such acts grow to include a misguided haircut and taking up singing.
Other things I liked
The quiet style of the writing matches Nora's character. It means that the novel is compelling without it being a page-turner. Here is an example: Nora's reflections on the different pace at which she and her sons are coming to terms with Maurice's death.
She pictured the house, how strangely filled with absence it must be. She was aware now that the changes in their lives had come to seem normal to them. They did not have her sense of watching every scene, every moment for signs of what was missing, or what might have been. The death of their father had entered into a part of them that, as far as she could see, they were not aware of. They could not see how uneasy they were, and maybe no one but she could see it, yet it was something that would not leave them now, she thought, would not leave them for years. (116)
While I wished that Nora would accept the support and help offered, her struggle with grief, with the enforced changes to her life, with making her own way is a very affirming story.
I enjoyed the themes of music in Nora's life and photography in her son's. Both come to these arts knowing little about them and with some perseverance both find their feet and new connections with others through their interest.
The novel has been well received: Nora Webster won the 2015 Hawthornden Prize and was shortlisted for the Costa Novel Award in 2014 and the 2015 Folio Prize.
There was an excellent review by Jennifer Egan in the New York Times in October 2014.
Nora Webster by Colm Toibin (2014), published by Penguin 311pp
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Tagged as 2015 Folio Prize, 2015 Hawthornden Prize, Colm Toibin, Costa Novel Award 2014, Ireland, Nora Webster, Penguin, Wexford


Problems with ARC Map when opening a previously used file.
I have been using ARC Map and I recently encountered a problem that is becoming all the more frequent. When I go to open up a file that I previously saved, whether saved on a jump drive, or on my personal computer, it says that the specified file does not contain a valid ARC Map document. This has caused me to lose two projects that I have been working on. Has anybody else had this problem?
You may want to run the MXD Doctor on your *.mxd's to determine the cause of the error. In your All Programs -> ArcGIS -> Desktop Tools you'll see the application. What is the result?
Strange that you have corrupt map docs on your local PC and on a thumb drive - I've had issues with the latter, but never really any problem with saving to a local disk.
I had a similar problem with one version of ArcGIS with Production mapping installed and another one without, both 10.2.2. I resolved the problem by removing all the objects inside the mxd that were made with tools from the production mapping extension. In my case, I had text in a frame that were "Advanced callout" boxes. After converting these text boxes into a more classical "Line callout" text box, the mxd was opening fine.
Just curious, are you accessing any data over a networked drive when saving the mxd locally? Can you give the full error message?


Publish by in Category decorating ideas at October 29th, 2018. Tagged with hard hat with light built in.
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Unstructured Supplementary Service Data codes, USSD codes, are used to access network services. With the number of services offered, they are hard to remember. To add on, with the everyone owning a SIM card for all the network operators and hoping from promotion to promotion in search for affordable rates, the list grows even longer. Below are links to posts which lists them down.
For Econet Wireless, the largest by subscriber base, visit this page. All the codes are given in the table, including the support numbers. Use them to access your favourite promotions at any time, as the table is updated regularly to reflect the current offerings. So yes, even the daily bundles are shown here.
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These codes are necessary for basic operation of the service, from airtime top-up, balance inquiry and subscription to services. Bookmark this page for a quick reminder when you need to reuse these codes, and free your brains of unnecessary clutter. After all, isn't that the Internet?


text:
Colliers: Business rates crisis won't go away with £1bn high streets fund
Elias Jahshan
"It would be much better to get to the heart of the problem immediately." - Collier's John Webber
// £1 billion Future High Streets Fund is not enough to offset the business rates crisis, says Colliers
// Ratings experts welcome initiative but doubt its impact without proper business rates reform
// PM Boris Johnson recently said £1 billion Future High Streets Fund will expand to 50 more towns
A major property firm has warned that extending the pot of cash available to struggling high streets to more towns won't be enough to offset the business rates crisis.
Earlier this week, Prime Minister Boris Johnson said the government would increase the £675 million Future High Streets Fund to £1 billion, in a bid to use the extra money to reshape or regenerate 50 more towns around the UK.
While rating experts at property agency and consultancy firm Colliers International cautiously welcomed the move, they warned that business rates still needed to be "properly reformed".
Boris Johnson raises high street fund to £1bn
Chancellor gives cold shoulder on business rates reform plea
50+ retailers sign letter urging Chancellor to overhaul business rates
"Colliers believe it won't get to the heart of the problem and in itself is not enough to counter the impact of the 2017 business rates revaluation and introduction of downward phasing," the firm said in a statement.
On Monday, the Ministry for Housing, Communities and Local Government announced an additional £325 million to the Future High Street Fund, taking the overall size of the fund to £1 billion.
Under the new initiative, towns such as Harlow, Barrow, Blackpool, Scarborough and Dudley will join 50 areas already shortlisted to develop plans to reinvent their high streets.
The fund will be allocated to towns to improve transport and access to town centres, convert empty retail units into new homes and workplaces and invest in infrastructure.
"All very good, but it just simply won't go far enough and certainly won't help retailers struggling with their current rate bills," Colliers head of business rates John Webber said.
Webber added that £1 billion between 100 towns is £10 million each town, which each local authority will decide how to spend.
He also highlighted that there is "no coherent strategy" on how it should be spent, how businesses can bid or claim for support, nor any details on using the money to tackle the business rates crisis.
Meanwhile, discussions and then implementation about any town centre redevelopment could take months as retailers continue to pay high rate bills on their properties because of both downwards transition and a too-high multiplier.
"It would be much better to get to the heart of the problem immediately," Webber said.
"And to use the money to remove downwards transition and reduce the multiplier now."
He added: "I hate to say it but without that, retailers in many of these towns will stay under threat, stores will be closed and jobs lost, despite all the fancy and well-meaning government plans."
Future High Streets Fund
high streets fund
Ryman reports loss for first time in 25 years as Theo Paphitis calls for business rate reduction
The number of high street shops rise despite Covid lockdowns last year
Key workers required to take daily tests to detect Covid
Rising demand for retail property gives "renewed optimism" to UK high streets
West End footfall down 27% on pre-pandemic levels
Superdrug announces two-year partnership with British Beauty Council
Graham August 29, 2019 At 7:21 pm
He's right, I have several high streets near me, all have money spent on them to be redeveloped, but all continue the downwad spiral regardless. Good money after bad.
Dale Fletcher September 3, 2019 At 10:33 am
What an absolute joke. Colliers are one of a small group of national scavengers, sorry I mean commercial property agents, with their head in the sand when it comes to rent values. We are among many high street retailers who have seen our rates reduce by a third for a period of two years, but this has not been matched by Colliers in advising their client to reduce our rent!!
In pictures: Nespresso opens experiential store with AR, personalised blends and...


a. A croaking animal, especially a frog.
b. A person who grumbles or habitually predicts evil.
2. Any of various marine and freshwater fishes of the family Sciaenidae that make a croaking sound by vibrating certain muscles attached to the swim bladder.
2. any fish of the family Sciaenidae that produces sounds with its muscular swim bladder.
Noun 1. croaker - the lean flesh of a saltwater fish caught along Atlantic coast of southern U.S.
croaker - the lean flesh of a saltwater fish caught along Atlantic coast of southern U.S.
Tim Lacy told me he got some once from a croaker uptown and fed 'em to his girl in soda water.
Dame Archer brought the cherub down to master, in the house, and his face just began to light up, when the old croaker steps forward, and says he - "Earnshaw, it's a blessing your wife has been spared to leave you this son.
The most inveterate croaker and grumbler in the world--and yet, according to his own account, the only cheerful man in the whole ship's company.
Brother Morris," said he, "you were always a croaker.
Sheepshead and croakers from American coffee, with real cream.
China is a major seafood exporter and the impacted region is known to be rich in fisheries including species like crab, squid, yellow croaker, mackerel, among others.
At this time of year the area is used as wintering ground by common edible species such as hairtail, yellow croaker, chub mackerel and blue crab," Greenpeace said.
Material used: Pine, roundwood, croaker, sawmill waste.
The Juno and Lake Worth piers will both have pompano, whiting and croaker traversing the bars and trough steadily.
The Croaker Classic is a way to give kids and families a chance to come together.
subviridis), herring (Chirocentrus dorab), elongated sole (Solia elongate), black fin sea bream (Acanthopagrus berda), grunts (Pomadasys hasta), croaker (Otolithus ruber), silver sillago (Sillago sihama), sea perch (Lates calcarifer) and jaw fish (Johnius goma).
2016b), but in this one selectivity patterns of the whitemouth croaker (Micropogonias furnieri) were differentiated among specific nets employed.


text:
Shawnee County districts finalize school reopening plans
Linda Ditch
Special to The Capital-Journal
After numerous committee meetings, board of education discussions and communications from parents, staff and the community, the five Shawnee County school districts have settled on plans for starting the 2020-2021 school year.
Their overall frameworks are similar, divided into three components consisting of on-site learning, remote virtual learning and a hybrid of on-site and remote learning. Each district chose one of the three based on what they felt was safest and best for their students and parents.
Most went with a hybrid learning model, which will allow for 50% of the students to be in the classroom for two days each week, either Monday and Tuesday or Thursday and Friday. Learning for the remaining weekdays will be done remotely. Wednesdays are set aside for deep cleaning of the school buildings.
Because of the safety requirements mandated in Gov. Laura Kelly's executive order, as well as guidance from the county health department and Centers for Disease Control and Prevention, the districts noted it would be difficult to have all the students back in the buildings and still maintain the required social distancing.
Plus, transportation limits of one child to a seat on buses, unless they are siblings, also make bringing all the students back at once difficult.
The districts have given parents the choice of enrolling their students in remote learning only.
"We've always sort of wished and talked about local control," said Seaman superintendent Steve Noble. "I've never felt more locally in control of anything in my life."
Here is a breakdown of each district's plans:
Seaman USD 345
Following decisions made at a special board meeting on Monday, July 27, Seaman will start 2020-2021 school year on Aug. 27 in a hybrid learning model.
The hope is to transition to full on-site learning for all students by Oct. 1, depending on the status of COVID-19 cases in the county. Families may also choose remote learning only for their child for each semester with specific hourly breakdowns for students to follow when they are on remote learning days or doing full-time remote learning. Students will have a full day of activity, unlike the virtual learning done at the end of the 2019-2020 school year.
Any changes between full on-site, hybrid and remote-only learning will be determined by guidance from the governor's executive orders, county health officials, the Kansas State Department of Education and the outbreak in the community. Noble will make the determination on any transitions between learning styles.
Silver Lake USD 372
As of July 28, Silver Lake is the only county district planning to bring all students back to school. The start date is set for Aug. 26, though the plan still needs to be approved by the board of education at a special meeting on Aug. 3.
Superintendent Tim Hallacy noted the two-week start delay will allow the district to train staff and acquire the supplies needed to meet COVID-19 safety mandates. Even with full student attendance, the schools will be able to maintain the 4- to 6-feet social distancing recommendations in the classrooms with students and staff wearing masks.
"Size wise, we have some advantages our neighboring districts don't have," Hallacy said. "If we do go to a hybrid situation, it will not be because of logistics but as a safety precaution."
Hallacy also said any students who are on a remote learning plan will do so by connecting virtually to their classroom and will be expected to follow the same schedule as if they were physically in school.
Auburn-Washburn USD 437
On Monday, the Auburn-Washburn school board approved a start date of Aug. 27 in the hybrid model. In an email sent to parents, the district stated the reduction of students attending school each day would allow for greater social distancing to occur between students and staff.
Regarding the new start date, the email stated, "This is ten days later than the original start day of Thursday, August 6. Our teachers and support staff will still report on August 6 as originally planned. This time will be used for professional development focused primarily on (hybrid) and (remote) learning environments as well as implementing mandated safety precautions. In addition to that calendar change, we will also remove the 12 early release days from the calendar and Monday, April 5, will be a school day with students."
Shawnee Heights USD 450
A lengthy board of education meeting on Monday resulted in the decision for the Shawnee Heights district to begin school on Sept. 1 in the hybrid model. The date was chosen to give teachers extra time to prepare and to allow for the possible improvement of COVID-19 infection numbers in the county.
"We're all going to have to be flexible on as we move through this process because it looks different than anything any of us have ever seen or done before," said Shawnee Heights board member Renae Hansen. "I'm just hoping all of us have the patience to work through whatever glitches happen, because it's not going to be perfect. It's going to be the best we can do until we can do better."
Topeka USD 501
Topeka USD 501 was the first district to approve a restart plan. Going with a phased-in approach, school will start on Sept. 9 with remote learning only. Each school has a reopening team that will create the remote learning schedules for their building.
The primary focus will be social-emotional well-being and teaching COVID-19 safety practices, such as handwashing and social distancing requirements. Secondary school counselors will connect with students to review their schedules.
Within five to 10 days, depending on health department guidance, Phase 2 will begin. Students in kindergarten, sixth grade and ninth grade will follow a hybrid rotation schedule where they will spend two days in the classroom and three days learning remotely. Preschool students will attend in person daily in small classes to comply with health guidelines.
Phase 3 will start five to 10 days afterwards, with all students beginning the hybrid rotation schedule. The high schools will coordinate with Washburn Institute of Technology and Topeka Center for Advanced Learning and Careers, so students will follow the guidelines for those programs while attending.
Also, parents have the choice for their child to stay in remote learning full time.
Topeka Catholic schools
Topeka Catholic administrators announced on July 24 their plan for the school year. Hayden's first half days will be Aug. 25 and Aug. 26. Topeka Catholic grade schools will begin with a half day on Aug. 26. All Topeka Catholic schools will have a first full day of school on Aug. 27.
Each school's academic calendar will be adjusted to account for the later start.
As of now, the plan is to start the year with all students on site. However, the schools also have plans for hybrid and remote learning if necessary.
All of the Shawnee County school districts stressed their current plans could change at any time depending on health department mandates and guidance. Parents and students can get up-to-date information on their district's website and through email and U.S. Postal Service mail.
"As difficult as all this is, over the long run I think this will create better teachers, better students and better educational systems for us all," Silver Lake's Hallacy said.


text:
// Working Files List
// Visual Studio extension tool window that shows a selectable list of files
// that are open in the editor
// Copyright © 2016 Anthony Fung

// Licensed under the Apache License, Version 2.0 (the "License");
// you may not use this file except in compliance with the License.
// You may obtain a copy of the License at

//     http://www.apache.org/licenses/LICENSE-2.0

// Unless required by applicable law or agreed to in writing, software
// distributed under the License is distributed on an "AS IS" BASIS,
// WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
// See the License for the specific language governing permissions and
// limitations under the License.

using NUnit.Framework;
using System.ComponentModel;
using System.Windows.Media;
using WorkingFilesList.Core.Model;

namespace WorkingFilesList.Core.Test.Model
{
    [TestFixture]
    public class DocumentMetadataTests
    {
        [Test]
        public void PinOrderIsMinusTwoOnCreation()
        {
            // Arrange, Act

            var metadata = new DocumentMetadata(
                new DocumentMetadataInfo(),
                string.Empty,
                null);

            // Assert

            Assert.That(metadata.PinOrder, Is.EqualTo(-2));
        }

        [TestCase(-2, false)]
        [TestCase(0, true)]
        [TestCase(1, true)]
        [TestCase(5, true)]
        [TestCase(12, true)]
        public void IsPinnedCorrespondsToPinOrder(int pinOrder, bool expectedIsPinned)
        {
            // Arrange

            var metadata = new DocumentMetadata(
                new DocumentMetadataInfo(),
                string.Empty,
                null);

            // Act

            metadata.PinOrder = pinOrder;

            // Assert

            Assert.That(metadata.IsPinned, Is.EqualTo(expectedIsPinned));
        }

        [Test]
        public void SettingDisplayNamePreHighlightToSameValueDoesNotRaisePropertyChanged()
        {
            // Arrange

            const string preHighlight = "PreHighlight";
            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                DisplayNamePreHighlight = preHighlight
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.DisplayNamePreHighlight = preHighlight;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsFalse(propertyChangedRaised);
        }

        [Test]
        public void SettingDisplayNamePreHighlightToDifferentValueRaisesPropertyChanged()
        {
            // Arrange

            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                DisplayNamePreHighlight = "PreHighlight"
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.DisplayNamePreHighlight = "NewPreHighlight";
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsTrue(propertyChangedRaised);
        }

        [Test]
        public void SettingDisplayNameHighlightToSameValueDoesNotRaisePropertyChanged()
        {
            // Arrange

            const string highlight = "Highlight";
            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                DisplayNameHighlight = highlight
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.DisplayNameHighlight = highlight;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsFalse(propertyChangedRaised);
        }

        [Test]
        public void SettingDisplayNameHighlightToDifferentValueRaisesPropertyChanged()
        {
            // Arrange

            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                DisplayNameHighlight = "Highlight"
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.DisplayNameHighlight = "NewHighlight";
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsTrue(propertyChangedRaised);
        }

        [Test]
        public void SettingDisplayNamePostHighlightToSameValueDoesNotRaisePropertyChanged()
        {
            // Arrange

            const string postHighlight = "PostHighlight";
            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                DisplayNamePostHighlight = postHighlight
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.DisplayNamePostHighlight = postHighlight;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsFalse(propertyChangedRaised);
        }

        [Test]
        public void SettingDisplayNamePostHighlightToDifferentValueRaisesPropertyChanged()
        {
            // Arrange

            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                DisplayNamePostHighlight = "PostHighlight"
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.DisplayNamePostHighlight = "NewPostHighlight";
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsTrue(propertyChangedRaised);
        }

        [Test]
        public void SettingIsActiveToSameValueDoesNotRaisePropertyChanged()
        {
            // Arrange

            const bool isActive = true;
            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                IsActive = isActive
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.IsActive = isActive;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsFalse(propertyChangedRaised);
        }

        [Test]
        public void SettingIsActiveToDifferentValueRaisesPropertyChanged()
        {
            // Arrange

            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                IsActive = true
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.IsActive = false;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsTrue(propertyChangedRaised);
        }

        [Test]
        public void SettingUsageOrderToSameValueDoesNotRaisePropertyChanged()
        {
            // Arrange

            const double value = 0.7;
            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                UsageOrder = value
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.UsageOrder = value;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsFalse(propertyChangedRaised);
        }

        [Test]
        public void SettingUsageOrderToDifferentValueRaisesPropertyChanged()
        {
            // Arrange

            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                UsageOrder = 0.3
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.UsageOrder = 0.7;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsTrue(propertyChangedRaised);
        }

        [Test]
        public void ProjectBrushIsTransparentIfNull()
        {
            // Arrange

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                ProjectBrush = null
            };

            // Assert

            Assert.That(metadata.ProjectBrush, Is.EqualTo(Brushes.Transparent));
        }

        [Test]
        public void SettingProjectBrushToSameValueDoesNotRaisePropertyChanged()
        {
            // Arrange

            var projectBrush = Brushes.MidnightBlue;
            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                ProjectBrush = projectBrush
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.ProjectBrush = projectBrush;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsFalse(propertyChangedRaised);
        }

        [Test]
        public void SettingProjectBrushToDifferentValueRaisesPropertyChanged()
        {
            // Arrange

            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                ProjectBrush = Brushes.MidnightBlue
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.ProjectBrush = Brushes.White;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsTrue(propertyChangedRaised);
        }

        [Test]
        public void DisplayNameIsConcatenationOfDisplayNameHighlightProperties()
        {
            // Arrange

            const string preHighlight = "[PreHighlight]";
            const string highlight = "[Highlight]";
            const string postHighlight = "[PostHighlight]";

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                DisplayNamePreHighlight = preHighlight,
                DisplayNameHighlight = highlight,
                DisplayNamePostHighlight = postHighlight
            };

            // Assert

            var expected = $"{preHighlight}{highlight}{postHighlight}";
            Assert.That(metadata.DisplayName, Is.EqualTo(expected));
        }

        [Test]
        public void SettingPinOrderToSameValueDoesNotRaisePropertyChanged()
        {
            // Arrange

            const int pinOrder = 3;
            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                PinOrder = pinOrder
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.PinOrder = pinOrder;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsFalse(propertyChangedRaised);
        }

        [Test]
        public void SettingPinOrderToDifferentValueRaisesPropertyChanged()
        {
            // Arrange

            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                PinOrder = 3
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.PinOrder = 7;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsTrue(propertyChangedRaised);
        }

        [TestCase(0, 2, false)]
        [TestCase(-2, -2, false)]
        [TestCase(2, -2, true)]
        [TestCase(-2, 2, true)]
        public void SettingPinOrderRaisesIsPinnedPropertyChanged(
            int initialPinOrder,
            int newPinOrder,
            bool shouldRaisePropertyChanged)
        {
            // Arrange

            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                PinOrder = initialPinOrder
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                if (e.PropertyName == nameof(DocumentMetadata.IsPinned))
                {
                    propertyChangedRaised = true;
                }
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.PinOrder = newPinOrder;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.That(propertyChangedRaised, Is.EqualTo(shouldRaisePropertyChanged));
        }

        [Test]
        public void SettingReorderingDirectionToSameValueDoesNotRaisePropertyChanged()
        {
            // Arrange

            const Direction reorderingDirection = Direction.Up;
            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                ReorderingDirection = reorderingDirection
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.ReorderingDirection = reorderingDirection;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsFalse(propertyChangedRaised);
        }

        [Test]
        public void SettingReorderingDirectionToDifferentValueRaisesPropertyChanged()
        {
            // Arrange

            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                ReorderingDirection = Direction.None
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.ReorderingDirection = Direction.Up;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsTrue(propertyChangedRaised);
        }

        [Test]
        public void SettingIsReorderingToSameValueDoesNotRaisePropertyChanged()
        {
            // Arrange

            const bool isReordering = true;
            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                IsReordering = isReordering
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.IsReordering = isReordering;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsFalse(propertyChangedRaised);
        }

        [Test]
        public void SettingIsReorderingToDifferentValueRaisesPropertyChanged()
        {
            // Arrange

            var propertyChangedRaised = false;

            var info = new DocumentMetadataInfo();
            var metadata = new DocumentMetadata(info, string.Empty, null)
            {
                IsReordering = false
            };

            var handler = new PropertyChangedEventHandler((s, e) =>
            {
                propertyChangedRaised = true;
            });

            metadata.PropertyChanged += handler;

            // Act

            metadata.IsReordering = true;
            metadata.PropertyChanged -= handler;

            // Assert

            Assert.IsTrue(propertyChangedRaised);
        }
    }
}


Did audiences and critics miss the mark on The Nutcracker?
This film probably gets one of the more accurate credits in the "Suggested by the short story", versus based on, inspired by, etc, of The Nutcracker and the Mouse King. Screenplay and Screen Story credit goes to first timer Ashleigh Powell. She's been working in Hollywood as a production assistant for years and submitting screenplays and scripts since at least 2012, but this is the first one to make it to the screen. I can't really get a feel for her off this script, as it feels like a watered down version of Alice in Wonderland, The Chronicles of Narnia, and a touch of Hugo. We have the story of a girl out of place in her home since the death of her mother, she does have a loving father, brother, and sister which is a breath of fresh air. She is clever and an inventor, showing off her understanding with a Rube Goldberg machine in the opening tracking shot. Of course this puts her even more out of place in classic Victorian London. She inexplicably finds her way into a fantasy world and must save it from dark forces who seek to rule it all. The plot is basic. Discover who you are and you can do anything. Make some friends along the way. Come back to the world at the end with some important life lessons.
If this sounds very much like Alice in Wonderland and it's sequel you are 100% correct. If this looks at all like it and the other films mentioned, you are also 100% correct. I just don't know why though. You have Joe Johnston at the helm who gave us Captain America: The First Avenger and The Rocketeer. He has such a sense for evocation in his films, yet there's none of that here. Maybe the other director Lasse Hallstrom is behind that? Yet he is a multiple award nominee with such films like The Cider House Rules, Chocolat, and What's Eating Gilbert Grape. Either of these two should have been able to evoke emotion in the style of the film. Awe, Wonder should have been easy, not to mention a sense of triumph or joy, or even risk and threat. The movie contains none of that and I am profoundly surprised and disappointed, and have to look to the producers perhaps? Some of the producers here go back to movies such as The Thing (1982 version), or Saving Private Ryan, others are first timers.
I could talk about the acting here, but MacKenzie Foy tries, but doesn't seem to be getting a lot to work with. The script, the direction, even the background production design seems to be fighting her; literally in one scene Helen Mirren is wasted as is Kierra Knightley. Morgan Freeman seems to have just walked on set, got dressed, put on an eye patch and collected his check. Speaking of the production design I think it was left overs from all the other movies I've mentioned combined as nothing is striking or evoking here.
This movie is a hot mess. It has all the elements behind the scenes to make it work, but nothing in it quite does. There's no strong sense of visual style, direction, or music in the movie. I mean music beyond the Nutcracker Suite of course. Something is wrong in the House of Mouse here; as nothing in this movie feels like what anyone in this movie is capable of. The script needed a few rewrites. The editing was…a thing that happened badly. I am not sure what went on in pre-production or post production here, but something did. Something not good.
The Nutcracker is a bloody mess from start to finish and I could tell you a half dozen ways to fix it but no one did. This feels like contractual obligation the movie and it just doesn't care beyond that. There are tonal issues, where the movie screeches to a halt for an actual balet in it, and I wonder who this movie is for? At best I can say it was an obligation and it was for no one in particular.
So would you see it again?
There are beautiful elements to the production design, but thats about it.
Are you being harsher because you saw a better movie first?
I weighed that and unfortunately that isn't the case.
This one just isn't that good.
In 1999 we were introduced to Hogarth Hughes and an Iron Giant. The world, as I remember it fell in love with Brad Birds creation. It absolutely flopped theatrically with a $23 million haul on a $70 million budget. It seemed (again recollection here) to gain life once released for the home market. I may be one of the few who haven't seen it, or heard Vin Diesel in one of his earliest roles, but most of the people I talk to have very fond memories and feelings from the film. 5 years later, 20 million more in budget and the power of the mouse house, Brad Bird showed he had something special when he delivered us The Incredibles. It brought in over $260 million on a $92 million budget and is still considered by many to be a top notch, top ten super hero movie long before the rise of The Marvel Juggernaut we know and fear today. This was still the dark times, the times of Spawn and …Catwoman, and Ang Lee's Hulk. Superheroes, super-villains, flashy costumes, a villain you could understand, and it wasn't dark, broody, or edgy; unlike everything else in the hero market at the time. It gave us hope of a better world for our heroes; and a resounding ending that left audiences clamoring to see more.
Now, Brad Bird wasn't idle during this time. He put out Ratatouille in 2007; which more than a few people love, but that's a 3 year hiatus for an up and coming director in demand. Then 4 years after that, just when people were asking "whatever happened to" we get Mission Impossible – Ghost Protocol; which breathed new life into the franchise and is generally loved. Here we go Brad Bird is back! We hear then he is going to work on Tomorrowland, inspired by the ride at Disney. Awesome right? Sci Fi, future tech, hope for the future?! This is our guy. Remember what he did with Incredibles?!
Then it came. We were left lost, confused, and even worse bored. While my review is overall positive on it, there are pacing issues and looking back I may have been trying to see more good in it than it deserved. Maybe not. Most folks couldn't even manage a "whelmed" and went for under it. It didn't even make back half its budget, which is rough on a Disney feature on a holiday weekend. In the Year of Fan4stic, it is considered (Box Office Mojo 2015 showdown) one of the most disappointing films of 2015. This is also the year of Jupiter Ascending and Terminator Genisys. Yeah like that.
Brad Bird – who hurt you?
You come back and write and direct this film, but it is missing …well everything.
Don't get me wrong, this movie is perfectly adequate. I can tell where the money went for the cast and crew who made it. The movie looks beautiful. The camera work (yes there's camera work in animation folks) is excellent. The actors all do the best they can with what they have.
What happened to you? The movie has no heart, no soul, no message. Before anyone goes off "its just a kids movie" – a majority of them actually do have a message for the kids even if they don't see it. The first Incredibles is about being true to yourself and the importance of family in your life. It's there. This movie doesn't have any of that. There's no growth to the characters, no change, nothing effectively learned.
The choice to pick up the movie where the last one left off was a bold one. It didn't inherently hurt the movie, but it didn't help it either. I feel as if our writer and director, Mr. Bird lost his inspiration somewhere. Lost his hope, because the movie is just pock marked with insecurity and cynicism. The lines of dialogue given just show over and over someone who has lost faith in the system and the world. They aren't looking for the good anymore and just put out something with a fine shine of nostalgia and polished heroisim; it doesn't take someone squinting to see just past the shine and see how dark the writer feels.
The movie commits one of the other gravest sins possible – it's actually kind of boring. It has high moments, but the lull between them just goes too far. Even the action scenes just go…too long.
Matinee at best. XD sound is good and I don't know if they have 3-D showings or D-Box, but both might be an add if you have the excess funds to spare.
Not likely in the theatre, even with a movie pass.
Maybe. Just maybe. Like I said, its cute, it's pretty, it's passable. That might be enough for a purchase. Ask me again in October when it comes out.
It? No. The experience – yes. People lets chat. Pickles while nice at home are not theatre food. You can smell them three full luxury loungers away. I don't know who thought these were a good idea.
We like the luxury loungers right? I know I do. You aren't at home though. Don't put your stank feet on the arm of the chair while you curl up and chat with your boy. Don't be constantly shifting and kicking the chair. You aren't at home. Other people are watching the movie too. Sit like a normal person, curl up if you want, but it's an arm rest, not a foot rest, K? I felt bad for my movie going partner tonight. Not cool.
Continuing to try the new format, which is to say going to get to the point early and go into detail in a bit.
I think I am going to be in the minority again like I was with Avengers: Infinity War, except this time it's reverse. I really found myself enjoying this movie. It felt like the space fantasy I wanted to see with a heist movie thrown in as the plot. I don't think there's any real character growth to be had, but sometimes that isn't the point. It's sometimes worth it to see the character learning the tricks of the trade even if his core nature never really changes or evolves. Seriously, its ok from time to time to use this as a narrative trick and overall they were successful here with Solo.
I know a lot of people were concerned that Alden Ehrenreich would be directed to emulate Harrison Ford and I did not find that to be true. He was directed to be his usual charming self, while playing Han Solo. Some folks may think I am biased because I really liked the kid in Beautiful Creatures, and that may be true, but it doesn't make it less true that I felt I was seeing a young Han Solo. He came across as the hustler always just in over his head but with the skills to get himself out of it, but still always trying to play an angle. Taking the movies as the only source for him, this is part of his essential nature and they delivered on that.
Folks are already praising Donald Glover as Lando Calrissian and the praise is worthy. When you consider there's maybe a total of 30 minutes between two films with the character of Lando they don't have a lot to work with to deliver a younger version of the man you meet on Bespin in Empire Strikes back. Glover, unsurprisingly, delivers enough charm to light the screen for some of the weaker performances in the movie – which thankfully there aren't many. Sadly, Emilia Clarke is one of them. The more I watch of her outside of Game of Thrones the more I find her range limited. This isn't to say she's bad in the film, but against Ehrenreich and Glover she's a shadow. Woody Harrelson continues to enjoy the resurgence of his career since Hunger Games and I don't mind one bit, he fit this world and melded with it like any smuggler I would see from the Star Wars games. Paul Bettany gets to chew some scenery and this is always a pleasing thing, especially when he gets to be intimidating and it works.
From a story telling perspective the movie does run into some pacing issues, but otherwise holds together and plays well with the universe. It helps expand the Meta of the new Disney Canon universe but doesn't tromp all over the things that we consider Legends now. There were a few moments that made me giggle like a little girl when I saw things that were little more than trivia in 1994 when I committed the entire layout of a very special YT-1300 to memory. Yes, that was geek speak.
It is not shot like a Star Wars movie that we're used to and that's actually good. It expands the tricks future directors get to use and helped create some interesting dynamic action scenes that we haven't quite seen before. It's lit well and the effects are very well done. The downside on the technical aspects is you can tell there was another director on this before Ron Howard was brought in to pinch hit and try to knock this one home. There's some pacing issues and some disconnects in the shots. What makes it work so well is that there is a lot of practical work here and lack of hyper saturation. It felt like a lived in world.
Solo is a good movie. I think there are going to be people who don't think it works and don't find it as enjoyable. I don't think it's going to be as divisive as The Last Jedi was, but I think reactions will be split.
Honestly, I don't give a damn. I enjoyed the movie. I had fun. I bounced in my chair (D-Box notwithstanding) and felt excitement watching a movie again.
Yes. The D Box was fun for it, but not necessary. XD is almost a must. 3-D probably not. Big screen though? Absolutely.
Why didn't you use the Science Fiction hashtag you use?
Because Star Wars isn't science fiction. It's a fantasy movie in space. Princesses, Wizards, Rogues, daring chases and wild escapes. That hasn't changed here.
Folks, the movie was a good time. This was Oceans 11, The Italian Job, or Thomas Crowne Affair in space. It gave me what I wanted to see. The cast was charming. The visuals were good. The directors slowed down enough to let moments that needed to go a bit go a bit and kept the action in a way you could understand everything going on.


Nancy Pelosi back in the speaker's chair. You must be kidding! I need your help to stop Pelosi today.
President Obama and his Left-wing allies will stop at nothing to win back the House and put Nancy Pelosi back in the speaker's chair. We cannot let the Democrats do this.
If Democrats take back the House, we will continue to see bigger more intrusive government. We must continue to hold the President and government agencies, like the IRS, accountable for their gross abuse of power. I need your help to stop Pelosi today.
Our June 30th fundraising deadline is critical – every dollar counts, and will help us keep the majority and Pelosi out of the speaker's chair.
With only four days until the end of the fundraising quarter, every dollar counts. We are so committed to stopping Nancy Pelosi that we will match every contribution that we receive before June 30th.
Contribute $100, $50, $25 or what you can to help us keep the majority and Pelosi out of the speaker's chair.
This famous phrase has been yelled to customers at Varsity Restaurants thousands of times since the first Varsity opened 84 years ago. You have probably eaten there at least once, maybe many times, it is an Atlanta landmark. Daily around 15,000 people eat at one of the five Varsity restaurants in and around Atlanta and when there is a Georgia Tech home game, 30,000 usually eat just at the downtown location.
Do you know the history of the Varsity Restaurants, the myths, the facts, and the food?
For the next two years, Gordy, who always liked challenges, saved his money and in 1927, he opened that hot dog stand with his nest egg of $2,000. He knew that cheap food and students go together and Georgia Tech students Swarmed his restaurant, then named The Yellow Jacket Inn. The first day he made $49.50. Soon Gordy outgrew the Hemphill and Luckie Street location and opened a new restaurant at the present location of 61 North Avenue. It was now 1928.
Gordy dreamed of opening hot dog stands at college campuses all over Georgia, but he had a problem with the original name,The Yellow Jacket Inn which was highly associated with Georgia Tech. There was a popular song at the time, The Varsity Drag and he decided that would be a great name for his future chain of restaurants. The Varsity was born.
It is now 1932, the Great Depression, not many businesses were opening or expanding, but the self-made entrepreneur, Gordy, decides to gamble on his dream and open another Varsity, near the campus of the University of Georgia in Athens. Eighty years later it is still thriving. Today there are five locations, downtown Atlanta, Athens, Alpharetta, Gwinnett Town Center, and Dawsonville.
In all of its 84 years, the Varsity restaurants have only been closed one day and it was in June, 1983, the day Frank Gordy was buried. He managed his restaurants for 55 years.
Several of the famous employees of the Varsity are Erby Walker with his signature phrase, "Have your money out and your food in mind And I'll get you to the game on time." Walker worked seven days a week Up to 100 hours a week to support his large family. He retired in 2003, and three weeks later he came back to work. He also worked at the Varsity for 55 years. He started when he was 15 years old. Another employee was Flossie Mae, their most famous curbman who would sing the menu and dance along the line of cars. He worked into his 80's and was equally famous for his headgear that changed almost daily. Nipsey Russell also began as a Varsity curbman where he honed his future comedic skills. He was simply known as curbman #46.
Coca-Cola and the Varsity have had a long history. You can see the Coke headquarters building from the parking lot of the Varsity. There Is a rumor that a pipe underneath the street brings Coca-Cola directly from the Coke headquarters to the Varsity counter. Gordy's grandson, the manager of the downtown restaurant, said that once the Varsity was almost out of Coke and they called the headquarters. Coke employees went to their own cafeteria, got Cokes and brought them to the Varsity. When Coke's number one stockholder, Warren Buffett, visited Atlanta, the first place that Coke executives took him was the Varsity for lunch. The Varsity sells more Coke products than any other place on earth with more than 2,000,000 cups sold annually.
The first Varsity on North Avenue occupied a 70 X 190 foot lot with a white picket fence surrounding their cinder parking lot. Originally it was a drive-in only, but soon business demanded a sit-down restaurant. Today, the building, drive-in and parking lots occupy two acres. When the I-75/85 connector was built, construction took the entire west parking lot. Gordy had a multi-level parking lot built to hold up to 600 cars. The restaurant can seat 800 customers. The downtown Varsity holds the record as the largest drive-in in the world.
Here are some amazing facts about the Varsity: Each day 2 miles of hot dogs are served, just at the downtown location. The hot dogs are especially made just for the Varsity. Every day they cook two tons of onion , 15,000 hamburgers, two and a half tons of potatoes. Delivery trucks deliver 3-6 times a day and that is just for meat and buns, the last fresh buns are delivered at 1 a.m. Around 300 gallons of chili are prepared daily, 50 gallons at a timeAll this food is cooked and served by 200 employees at the downtown's 145 foot counter. It is one of Atlanta's top grossing restaurants with almost ten million in sales annually and that is made with hotdogs, hamburgers, onion rings and french fries costing less than $2 each. The piece-de-resistance at the Varsity is their marriage of peaches or apples and sugar, placed in round pieces of dough and fried to a golden brown. 5,000 of these pies are made daily.
The most popular meal ordered is the #1 which consists of two chili dogs, an order of french fries or onion rings and a regular drink. The Varsity only sells sweet tea. A unique Varsity drink is the FO, frosted orange, a orange-flavored milkshake and tastes similar to a Dreamsicle.
The Varsity Lingo is also famous, the naked dog, a hotdog on a bun, the heavyweight, a hotdog with extra chili, and if you order a hot dog, it will have chili and mustard on the bun, a bag of rags is potato chips and on and on.
According to Frank Gordy's grandson, his grandfather loved technology and bought a television for the restaurant dining room as soon as they were available to the public. Some Atlantians say the first time they ever saw a television was at the Varsity. There are five dining rooms at the Varsity with television sets on different channels. Each election, TV camera crews arrive to interview diners as they watch election coverage. Presidents to local politicians make a path to the Varsity to eat and meet voters.