This is why there should be an intelligence quiz given to those who want to run for office, or at the least, an urine test.
How the hell the admiral kept a straight face, I'll never know, he has better control than I do, I would of wet me self laughing.
Later he said he was joking, or talking metaphorically, and he meant tipping point ecologically, but if you look at the video, he tips over the island with his hands.


text:
Continued increase in bankruptcies in the retail trade - Wednesday 01st February 2023 03:20 AM
Noctua launches pet protection for claw-fingered computer builders - Wednesday 01st February 2023 03:04 AM
Therefore, Finland is the black sheep of Nordic handball - Wednesday 01st February 2023 02:56 AM
Time to nominate for Norrbotten's equality award 2023 - Wednesday 01st February 2023 02:54 AM
Iranian actor in exile held a demonstration at the Gothenburg Film Festival - Wednesday 01st February 2023 02:22 AM
Two years since the military coup in Myanmar – now Sweden's aid is decreasing – Arbetet - Wednesday 01st February 2023 02:05 AM
Stockholm's largest new residential area is emerging - Wednesday 01st February 2023 01:52 AM
Sweden Posts English
Chance to see the "green comet" tonight
Saturday 21st January 2023 10:53 AM
The Turkish hacker group's new threat: Then we release sensitive data about Swedes
Tuesday 31st January 2023 10:14 PM
The fashion giant's conclusion: Every sixth person worked for free
Wednesday 01st February 2023 12:03 AM

redpajama_set_name: RedPajamaCommonCrawl


text:
La finale del campionato europeo di calcio 1996 si tenne il  allo Stadio di Wembley a Londra, Regno Unito, tra le nazionali di  e .
Fu la prima volta che una finale ripropose gli stessi protagonisti già incontratisi per il titolo in una precedente edizione, benché con veste nuova: vent'anni prima la , di cui la Repubblica Ceca è la legittima erede sportiva dal 1993, incontrò la , che dopo l'unificazione tedesca mantenne il palmarès con il nome di Germania.
A differenza della finale del 1976, ad aggiudicarsi il titolo furono i tedeschi con un golden goal di Oliver Bierhoff.

Le squadre

Cammino verso la finale
Le due nazionali vengono inserite nello stesso girone che comprende anche l' e la . Nello scontro diretto, avvenuto alla prima giornata, ad avere la meglio è la Germania per 2-0.

Le Germania staccherà il pass per i quarti di finale battendo nella seconda giornata la Russia mentre all'ultima giornata ottiene un pareggio a reti inviolate contro l'Italia, la quale sbagliò un rigore con Zola. Ai quarti di finale i tedeschi superano 2-1 la  e in semifinale ai rigori i padroni di casa dell'.

La Repubblica Ceca si rifà dopo la sconfitta contro la Germania battendo l'Italia per 2-1 nella gara successiva. All'ultima giornata pareggia 3-3 contro la Russia passando al posto dell'Italia grazie alla vittoria nello scontro diretto. Ai quarti di finale basterà la vittoria di misura contro il  per approdare in semifinale, dove i cechi hanno la meglio sulla  ai rigori accedendo alla finale del torneo continentale per la prima volta nella storia.

Tabella riassuntiva del percorso
Note: In ogni risultato sottostante, il punteggio della finalista è menzionato per primo.

Tabellino

Note

Voci correlate
 Campionato europeo di calcio 1996
 Nazionale di calcio della Repubblica Ceca
 Nazionale di calcio della Germania

Campionato europeo di calcio 1996
Competizioni calcistiche a Londra

Finale 1996
Finale 1996

redpajama_set_name: RedPajamaWikipedia


text:
FROM google/golang
MAINTAINER jong "gongshengzhi@gmail.com"

# Build app
WORKDIR /gopath/app
ENV GOPATH /gopath/app
ADD . /gopath/app/

RUN go get github.com/shengzhi/gowechat
RUN go install github.com/shengzhi/gowechat

EXPOSE 80
CMD ["/gopath/app/bin/gowechat"]

redpajama_set_name: RedPajamaGithub


It's official: Santa Claus lives on Long Island.
And he didn't move there from the North Pole to shave a few hours off his commute. He's lived there for 54 years.
The former Frank Pascuzzi, a Long Island father of four, is Santa Claus. He legally changed his name in March so his moniker could match his life's mantra.
It wasn't much of a leap; he bears a striking resemblance to the jolly old elf. He has long white hair, a beard, a big belly, a loud laugh and likes to dress in red and white with sleigh bells draped around his neck.
But before Pascuzzi could legitimately call himself Santa Claus, a state Supreme Court justice in Suffolk County had to make sure he was a jolly old soul — and not just some drifter running from the law.
He passed his background check, and since then, it's been all elves and reindeer for Claus.
He may be the most popular Santa on FB, but he's not the only one in the US.
A records search revealed there are at least 15 individuals named Santa Claus in America. There are three each in Washington and Texas, but only one in New York.
There are also nine Kris Kringles in the 50 states.
Being St. Nick has its perks.
In October, while driving his pickup on the LIE, Santa Claus accidentally rear-ended another driver. The two pulled over to exchange insurance information, and a cop showed up.
The cop issued no tickets — just asked for a couple of posed photos of Santa and a reindeer. Santa keeps those handy in his truck for just such an occasion.
The pictures, the IDs, the credit cards — none of it stops the naysayers from trying to trip him up. Nonbelievers want to know why — if in fact he's Santa — he drives a pickup.
"I tell them the big sleigh is up in the North Pole getting loaded. And I'm not using the small sleigh because the Air Force will stop me because they get reports about UFOs," he explained.
Being Santa is, of course, a full-time job, but it picks up this time of year. Claus works up to five parties a day during Christmas time. In the milder months, he hangs up his fuzzy red hat to manage his budding catering business — Santa's BBQ — and work a construction job.
And while the world has accepted him as Santa, his wife, Betty Pascuzzi, still refers to him by his old name.


Marquee hire in Heanor and the Derbyshire area. Compare a wide range of marquee rental options for your next event. Whether you require an indoor or outdoor marquee in Heanor, we can help you find a few suitable options.
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VANCOUVER - Rumana Monzur can picture a towering mountain or the blue sky on a sunny day. She remembers what the ocean looks like and can still conjure an image of water stretching out to the horizon.
But she hasn't seen her daughter in more than two years — when, during a trip home to visit her family in Bangladesh, she was the victim of a vicious domestic assault that left her blind and her husband charged with attempted murder.
"Each moment, I miss seeing her (my daughter) — and not only her, I miss seeing people," Monzur, 35, said in an interview Wednesday.
"With nature, I have seen mountains, I have seen skies, so those things I can still visualize if anyone describes them to me. But for people, I really miss seeing my daughter and my parents, how they smile. That is really hard for me to accept. It still doesn't make any sense to me."
Monzur has spent the past two years on a remarkable recovery that saw her finish a master's degree at the University of British Columbia, where she now lives with her six-year-old daughter and her parents. She is now preparing to attend law school.
Monzur was attacked in June 2011 during a trip home to Dhaka, Bangladesh. A year earlier, she left her daughter, her husband and her parents behind in Dhaka to study political science in Vancouver.
The attack was widely reported in local media in Bangladesh, and the details of what happened, including photos of her badly injured face taken in her hospital room, quickly filtered back to her friends and colleagues in Canada.
Students and faculty at the university raised nearly $100,000 to cover Monzur's medical and living costs once she returned to B.C., and the case fuelled a debate about violence against women in her native Bangladesh.
The fundraising efforts were already well under way when Monzur returned to Canada a month after the attack. She was met by reporters and television cameras as she was wheeled through Vancouver's airport with dark glasses over her eyes and the cuts on her face still visible.
Doctors in Vancouver were hopeful they might be able to save her vision, but within days, it was clear she would never see again.
Two years later, Monzur has learned to read braille and uses adaptive technology to read and write. She uses a cane to navigate when she walks, and she no longer covers her eyes with shaded glasses. The scars on her face have faded.
She successfully presented her master's thesis, which examined the impact of climate change and rising ocean levels in Bangladesh, this past spring, and she was recently accepted to a number of law schools. She decided to stay at the University of British Columbia and will enter the school's law program this fall.
Monzur said she tries not to think about the attack that robbed her of her vision, which she refers to only as "the incident."
Dwelling on what happened only leads to questions without any answers.
"If I think about it, it just leads me nowhere," she said.
"I can't think positively, and I just end up asking, 'Why did it happen? Why did it happen to me?'"
Monzur's case prompted rallies and petitions both in Canada and in her home country of Bangladesh, where a high proportion of women face violence. A study released by the United Nations Population Fund in 2000 indicated half of women in Bangladesh experience domestic violence at least once in their lives.
Monzur has accepted her role in that conversation, and she hopes other women and girls — including her own daughter — can learn from the horrors she experienced at the hands of her spouse.
"First of all, I don't want people to see me as a victim — I want people to see me as a survivor," said Monzur, who added that violence against women must be brought out into the open.
"I wasn't sharing my problems, my marriage issues or issues of domestic violence when I was experiencing it. I felt it was a shame for me, but I didn't realize at that time that it is not a shame for me, it is a shame for the people who are doing it. That is the most important message I want to tell women who are experiencing it and keeping silent."
Monzur's former husband, Hasan Sayeed Sumon, was arrested and charged with attempted murder soon after the attack, but he died under mysterious circumstances in December 2011.
Monzur is not yet sure what she will do after she finishes law school, which she plans to pay for with a combination of scholarships and student loans.
She said she decided to change disciplines, rather than continuing onto a PhD in political science, in part because of her experience with domestic violence and the Bangladesh justice system.
"After this happened, I went through the legal systems in Bangladesh. The challenges I was facing and especially the social challenges, I was thinking that I felt the need to have a legal background, which will be helpful for me to lead a meaningful life," she said.
"I want to learn first and then decide where I want to go."


An impressive Brazil continued their preparations for the World Cup with a 1-0 victory over Croatia on Sunday, while strikes from two Bundesliga wingers helped Ukraine pick up a convincing 4-1 win over Albania.
In the early hours of Sunday morning, El Salvador earned a 1-0 victory against Honduras, with Denis Pineda's first-half strike being the only difference between the two teams.
Meanwhile, a sweet side-footed finish - off the inside of the post - from Giovani dos Santos condemned Alex McLeish's Scotland to a 1-0 defeat at the hands of Mexico, ensuring that the Scotsmen return home from their mini tour of the Americas without a win.
Borussia Dortmund winger Andriy Yarmolenko scored twice as Ukraine cantered to an impressive 3-1 victory against Albania, his two goals building on Schalke winger Yevhen Konoplyanka's 31st minute strike.
The Ukrainians scored three of their goals before half time, to wrap the game up early. Emanuele Ndoj scored a late consolation for the Albanians, only for Konoplyanka to add his second of the game in stoppage time.
Brazil earned a 2-0 win against Croatia thanks to a strike from second half substitute Neymar - who replaced Barcelona teammate Coutinho - and a late strike from Roberto Firmino. Despite boasting the likes of Andrej Kramarić, Ivan Perišić and Luka Modrić in their attacking quartet, Croatia could not find a reply against their resilient hosts.
Later in the day, England's upcoming opponents Costa Rica face Northern Ireland, while Saudia Arabia play Peru and Spain are set for an exciting game against Switzerland.


What's better than cake? A cake filled with candy of course.
Just like a Mexican piñata, smash cakes are made to be destroyed and reveal a core of delicious candy once you've given them a good bashing.
Needless to say, the candy cakes are a match made in heaven for every kid's birthday party, but when it comes to breaking things, even adults tend to get very excited.
Smashing a cake with a rolling pin and seeing tons of candy spill out is quite the experience, and oddly satisfying, which is one of the reasons why smash cakes have become so popular lately.
Founder of Sydney Smash Cakes, Claudia Abrahams loves making custom smash cakes and seeing her customers' excited reactions when destroying her creations.
"The fact that it's interactive makes it unique to your standard cakes, and everybody loves a surprise," she explains.
While her smash cakes look really impressive and almost too pretty to break (I said *almost*), they are actually fairly easy to recreate at home, requiring nothing more than a whole lot of chocolate, candy, and some patience and decorating skills.
Here, Abraham shares one of her fave smash cake recipes with us; this is how you make the Pretty In Pink, a dream in pastel shades sure to be the highlight at any party.
Place approx. 350g of chocolate in a microwave safe bowl and slowly microwave the chocolate until runny for approximately two minutes stirring after every 30 seconds. Add pink food dye.
Pour the chocolate into the bowl, allowing enough to coat entirely. Then gently swirl the chocolate around the bowl to cover it entirely, ensuring it goes right to the edge of the bowl.
Place the bowl in the fridge until the chocolate has set (approximately 20 minutes). The chocolate needs to be hard before removing it from the fridge.
Once set, turn the bowl upside down and very gently slide the chocolate shell out the bowl.
Once the chocolate dome is out the bowl, fill with candy of your choice.
Place a board on top and gently flip it over, so the board forms the base of the cake. Then you can start to decorate, which is the fun part!
Place the marshmallows around the base of the dome and stick them down with melted chocolate. Using more melted chocolate, stick four meringues and four marshmallows on the tip of the dome.
To make the pink chocolate sail, melt white chocolate with a drop of pink food dye. Scrunch up a small square of baking paper and spread the chocolate over the baking paper. Place this in the fridge to set.
Once this is set, remove the chocolate sail from the baking paper and stick the sail on the top of the meringues and marshmallows using chocolate.
Using your gold leaf flakes, gently transfer the gold leaf around your finished creation using a small art brush.
If you wanna be extra fancy, sprinkle some edible flowers on and around the cake to finish.
Images via Sydney Smash Cakes.


Visit me in Eulo Qld.
New Needlebook for those who love to sew.
I highly recommend taking a class at the next Koala conventions, there are heaps to choose from. I really enjoyed the two classes I took with Susan Porter and learned some new embroidery skills. I'm still working on the two projects, but will post a show and tell when I do.
Have you done all your Christmas Gift Shopping?
Do You need some Christmas Gift ideas?
Perhaps you have a family member or friend who loves to bake or create delicious meals.
A cute hand felted butterfly oven mitt would make a lovely gift.
Or if that special person has large hands how about this double oven mitt which has been created extra wide and extra long to fit big hands around big oven dishes.
As with all the Gift items on Chrys Art Glass these can be ordered gift wrapped with a personalized gift card.
I can even post it straight to your loved one so you'll have no extra postage costs.
This colourful Cushion has just been added to my Etsy Store.
It was created using the wet felting technique and is made of various contrasting colours of Australian Merino wool.
Would this brighten up your living space?
I love the 3 I have in similar colours and visitors always admire them.
New camera card so new posts.
I received an exciting parcel in the post and look what it contained.
I'm looking forward to creating with these lovely colours and the wool is always top quality.
It's quite fine, pulls apart really easily, and is super soft.
I need to make more oven mitts to restock my Etsy Store and I'd really like to make myself some cushion covers.
Process of making a Nuno Felted Vest.
This is the first time I've tried to make a felted garment other than slippers or boots.


All of the unique work, written text and photos and images on this web site, www.ostuni-italy.co.uk, are covered by the Copyright laws and under absolutely no circumstances can they be copied or reproduced in part or fully.
Any infringement of our Copyright will be taken very seriously and court action will be taken without notice.
© Ostuni-Italy.Co.UK - All text, photos and images on this site are copyright of Ostuni-Italy.co.uk.


Wing Commander and creator Chris Roberts has successfully turned many gaming journalists, including this one, into mere repeaters of public relations information, thanks to the announcement that he intends to make an announcement about a new game, on October 10.
What's the announcement going to consist of? Who knows? All we have is just a silly countdown clock on his official site. Obviously, this is news of earth-shattering importance, otherwise, he'd just announce it when it's time to announce it, rather than creating buzz in the most hackneyed way possible. Right?
Anyway, in summary: the news is that in about a month, some news will be announced that will make news. So, non news now for non non news later. And no one's time is wasted!


"But, Saxy, how is this even slightly related to gaming?" You might ask. Well, it's actually one of the biggest parts of gaming.
Anyone who played the older consoles or games knows this feeling well. You might not have known the term when you were first playing Super Mario 64 or Ocarina of Time, but you sure as hell know it now. The idea first started to sprout in gaming when arcade games were ported over to things like the Atari, SNES, Sega Genesis, and N64, and so on. People cherished their memories of these great arcade games they played when they were kids, but couldn't afford to go to arcades, or didn't have any near them as they grew up. So, the gaming industry figured they could play the "nostalgia card", as I like to call it, and get money off of people's fond memories.
The idea didn't stop there. As consoles evolved, nostalgia became more and more prevalent in gamers as they grew up. Eventually, there started to be an ever growing amount of nostalgia games and ports that made more and more money for the game developers and studios. It made a lot of gamers happy, and brought in lots of money.
Now, every console has a massive amount of nostalgia games ported and re-released on a regular basis. Sometimes they're just games that are a few years old and get a reboot with better graphics or fixing some of the problems in the original game. Regardless of what the developers fix about the game, people still love seeing games they remember come back.
Probably one of the best examples of this was "Duke Nukem Forever." That games took over a decade to be released, going through developers, engine changes, and just breakdowns in the project. Then, the game is released and everyone that played the original Duke Nukems back in the 90's and 2000's freaked out and bought it. Then, people found out the game wasn't what they wanted at all, in fact, it was so inferior to what they had expected, the reviews for it were terrible and harsh. Regardless of what one thought about the game, people still loved the idea they had of that game in their minds, and that's why they bought it, not because it was good or bad.
There are countless more examples of the gaming industry using the nostalgia card, from sequels, prequels, reboots, ports, and revisits to games, but it all leads back to the same root: people loved games back in their younger years, and thus want to relive those memories of these games by playing them again. This love of the past has existed for as long as civilization has existed, and in fact, exists in almost every language, both past and present, since writing began. You can go to Egypt and find hieroglyphs talking about homesickness and longing for past happiness, and it's in almost every language we've deciphered afterwards.
In closing, nostalgia is a major part of both the human psyche and games themselves. We play old games because we remember the good times we had while playing them. As long as we enjoy past memories, nostalgia will continue to exist. We will continue to play out this romantic idea of past events and games played when we were young, no matter whether anything was actually good about that game in the first place. However, regardless of the game reviews, psychologists, or meditation one may go through during their lives, nostalgia will still be a fantastic and wondrous aspect of our lives, and we'll always have those fond memories of games for as long as we continue to feel nostalgia. This is Saxy, and let's keep on gaming.


Being united for eternity. This can be done only in the temple. (1) Spouses are sealed to each other by being married in the temple for time and eternity. (2) Children are sealed to their parents in another temple ceremony. Both of these ceremonies can also be performed vicariously for the dead.


text:
Home Locations New York City Theater The Women of 'Broadway Bounty Hunter' Dropkick the Patriarchy!
The Women of 'Broadway Bounty Hunter' Dropkick the Patriarchy!
Now in rehearsals and about to begin previews at Off-Broadway's Greenwich House Theater on July 9, the highly anticipated Broadway Bounty Hunter – by Be More Chill sensations Joe Iconis, Jason SweetTooth Williams, and their longtime collaborator Lance Rubin – is ready to #DropkickThePatriarchy with a team of formidable women in the lead and behind the scenes. The action-adventure musical comedy, newly revised after its acclaimed sold-out regional run at Barrington Stage Company, weaves the story of a 60-something down-on-her-luck out-of-work widowed actress turned Kung-Fu-fighting bounty hunter, who discovers her true strength and identity in her empowering journey from bad auditions in NYC to catching the bad guys in the jungles of South America.
I spoke to director/choreographer Jennifer Werner and lead producers Jennifer Ashley Tepper and Allison Bressi about the significance of the work, the team, and taking on the status quo.
Jennifer Ashley Tepper. Photo by Stephanie Wessels.
How did you become involved in the show and in what capacity?
JAT: I have been collaborating with Joe Iconis & Family for over a decade now. My first internship, while I was a student at NYU, was at the Off-Broadway York Theatre. While there, I discovered a dusty demo in a box in an office that included some songs by a new musical theater writer named Joe Iconis. I immediately thought they were the greatest, and after attending a couple Joe Iconis & Family concerts, I was positive this group was creating the most exciting musical theater of our day. I worked on the musical [title of show] shortly after and one of our co-producers was also producing a five-performance run of Joe's theatrical song cycle Things To Ruin. I told her I would do anything to assist her on it, and that's how I came to collaborate with Joe Iconis & Family for the first time in 2009. Ever since I have worked on every project of Joe's in some capacity, from starting out as producing assistant to now lead producing Broadway Bounty Hunter – and have done everything in between! When Broadway Bounty Hunter first began life as an idea the writers had around 2011, I was around. I was part of it unofficially – just a member of our creative and collaborative Family, giving input and helping as needed, as the show was developed in readings. And then I was there throughout the entire Barrington Stage run in 2016. I did not have an official job title on the show at that point. When the opportunity arose to produce Broadway Bounty Hunter with Allison Bressi Off-Broadway at the Greenwich House Theater during the summer of 2019, it felt like the right timing and the right circumstances to continue with the musical and to grab the reigns of the ship in an official capacity as producer.
AB: Joe Iconis's agent contacted me, saying that Joe and his writing partners Jason SweetTooth Williams and Lance Rubin were looking for a producer to work with them on a production of their musical Broadway Bounty Hunter in New York City. I read the book and listened to the demos. I never read or heard anything like it and knew I never would again, so I decided I had to work on this show. I met with the writers to discuss and to see if it was a good fit, and I fell as in love with them as I did with the project. They have amazing ideas and are so passionate about their work; they take such good care of it, yet they are also so open to collaboration and new ideas. I love that their work is made by a community of artists, and I love that the idea of producing this truly original musical for, and alongside, this incredible artistic community was, and still is, so exciting to me.
JW: I became involved over a year and a half ago when the writers emailed me asking if I would be interested in coming on board to direct and to choreograph the Off-Broadway production. I have enjoyed a really great creative working relationship with Joe, Jason, and Lance on many shows over the last decade. We all have a shorthand and similar sensibility about theater, comedy, and life in general. They knew I loved this piece; the story, the characters, and the '70s funky R&B vibe were all very much up my alley.
What's the most exciting thing about working with a large team of women on this project?
JAT: I have never worked on any project with such a diverse group of collaborators, on stage and off, in EVERY department, in terms of gender, race, age, and more. There are so many different perspectives in the room and that's led to conversations about all elements of Broadway Bounty Hunter (and beyond!) that I don't think we'd be having otherwise. I do feel like the incredible number of women on our team has impacted what people are seeing on stage in a powerful way. We are presenting a musical about a woman of a certain age who doesn't have to play a kooky mom or sidekick neighbor, but is playing an action-adventure hero who is the center of her own story; Annie Golden is such a kick-ass female role model, someone who refused ever to fit into a box, and she is constantly lifting up women around her and encouraging them. And there are so many more women killing it on our team, from our female director/choreographer and designers, to our all-female stage management team and press team, to our majority female co-producing team, the female members of our band, and all of the amazing women on stage and beyond. It has been so inspiring to have women working in all of these capacities on Broadway Bounty Hunter.
JW: The large ratio of women designers and producers on this show is not something I've ever experienced before either, and I love it. There's also such diversity among the entire team, which is really exciting. We all have different life experiences and points of view to draw upon as artists, but at the same time we are all very much on the same page about how we are going to tell this story. Everyone is also exceptionally talented at what they do, so the collaborative energy and tone elevate every aspect of our show.
AB: For me, the most exciting thing is being in a room that is led with empathy, a strong sense of the importance of all individuals, and relationships coming together to make this musical. I know I can ask a question or send an email and it will be answered in a timely, respectful, and collaborative way by our leadership. I've worked in many rooms, in many processes, with many wonderful people, but this room feels so different; I think a big part of that is because it's led by strong women and by men who celebrate the thoughts and ideas that strong women bring. From on stage to backstage to our creative team, we have some Broadway and Off-Broadway greats, but there is no ego, no "I'm above this" – everyone is sharing a really small space and giving all of their love, time, and resources to make this beautiful monster of a musical happen. This is in part because we are working with true professionals, but I think it's also because, as a team, we try very hard to understand how each person wants to work, anticipate challenges, and manage everyone who touches this production in a way that is personal and specific to how each individual likes to be treated. Those may seem like small things, but the right words can sometimes be the difference between a show that happens and a show that doesn't. We are not successful every time, but this is the way I've always tried to lead, and to be surrounded by women who also work in this way is such a relief and makes me think there is so much hope for the future leadership of our industry.
Jennifer Werner. Photo by Monroe George.
What separates the three male co-writers Joe Iconis, Jason SweetTooth Williams, and Lance Rubin from the mainstream patriarchy that you'd like to dropkick?
JW: Well, for starters, they have been writing and telling stories about the underdog and marginalized people their whole careers, this is not a new thing they just discovered in 2019. They have always had compassion, empathy, and curiosity for telling peoples' stories who don't look like them, and the richness and complexity of their characters speak volumes. I think for women and people of color to find more inclusion in this business there needs to be a multi-pronged approach; more opportunity just to get your foot in the door and to work for sure, but also there also needs to be more people like them who actually care about and are interested in advancing other people's stories.
JAT: These white male writers took the platform and privilege that they have and used it to give opportunities to people who don't have that platform or privilege. They were inspired to create this show for Annie Golden because they collaborated with her on The Black Suits and thought, Why isn't anyone giving this phenomenal woman of a certain age a star vehicle? They hired Jennifer Werner as director/choreographer because they'd seen her do amazing work for years but never get the platform she deserved to do a show at this level in New York. They hugely wanted to prioritize hiring actors of color and the show was built around that. Nehemiah Luckett, our artistic consultant, has been part of the Broadway Bounty Hunter process to facilitate open conversations about all of its elements. After he led a roundtable discussion about some of the racial aspects of the show, he commented to me about how unique he felt it was in terms of the specific way that our writers were collaborating with our actors. Because of the foundation of the artistic Family that's been built and is at the root of this show, it feels like everyone in the room has an equal voice – and, in this case, that has created an environment with a lot of contributions coming from all kinds of people. I also think that right on the heels of Be More Chill, Joe Iconis could've chosen to use his newfound position in the industry to get a different kind of job or work with a different set of people . . . but elevating and celebrating everything that's the opposite of the mainstream patriarchy is what he chose to do instead.
AB: I honestly have trouble articulating my answer to this question because those men are so far away from the patriarchy that it's hard for me to imagine what separates them from it. I would say one thing is that they are so open and secure with themselves that they are not threatened by other ideas, thoughts, or criticisms. Joe, Jason, or Lance never make anything about them, everything is always about the community. They just want to make their show the best it can be with the very best people, while taking great care of those people. They wrote this show about women, a diverse cast of characters, and community before these ideals were ever talked about in our industry. They wanted to lift up the marginalized and under-estimated and to work with those same folks in creating it. They take notes and feedback from those who are not like them and they celebrate, acknowledge, and appreciate the work we all do. Much of the leading with empathy during our process is due to the women on our team, but I would say the rest of it is due to a standard these writers set for the rooms they work in. They've created a beautiful community to make this show, and I'm so grateful to be a part of it.
Allison Bressi. Photo by Eric Emch.
Have you seen any significant changes in the system over the course of your career? What issues still need to be addressed?
JAT: I think nearly the entire industry is now prioritizing hiring and promoting women, which is incredible. I do think we need to address this idea that women should MAINLY be prioritized as collaborators when the story being told centers around women. I would like for all productions to prioritize parity, diversity, and inclusivity no matter what their topic is. There is no reason a woman won't bring just as much to the table for a show centered on a man, or on space aliens, as they will for a show specifically about women. And every show on every topic is going to be more powerful and more like the world when there are women AND men AND non-binary individuals talking, when there are perspectives that are LGBTQAI+ AND not, when there are people of all races given a seat, and so on. Right now we're having good conversations in the industry as a whole about making sure that people of certain backgrounds have a seat at the table to tell their own stories, but in the end they should have a seat at the table to tell ALL stories. And artists who have been marginalized should be collaborating WITH the people who have not been, instead of making their own work in a bubble. That's how we move forward to make better things together.
AB: Yes, I think the biggest change I've seen over my ten years of working in theater in New York City is that we talk things out more now. There's more space to acknowledge moments that are uncomfortable, more room for people to speak up, and more attention to WHO is doing the speaking up. There are so many more women (both white and of color) in leadership roles, as well as more diversity in general. We still have a ways to go in this area, especially in specific positions, but as I sit in the most diverse room I've ever sat in, in terms of gender, race, age, and background, I have a lot of hope for the future and I also hope that I can be a part of addressing it in the projects I choose, the artists I work with, the people I hire, the way I lead, and the way I follow – which sometimes is just as important.
JW: For a long time I have usually been one of the only women in the room. I am seeing more awareness that opportunities for women and persons of color need to be created, which is fantastic. For the people who hire and make those decisions it's just a matter of working a little harder to find people who aren't the "easy reach" – meeting with them, checking out their work and portfolios, and taking a chance on someone new. Even with the changes in the industry over the past few years, it's still very difficult to make a career as a woman because the entrenched culture is so male dominated. I actually find my hardest challenges stem from my being a working mother. The freelance lifestyle and travel demands are particularly challenging to parenthood.
What's the main message you want to send with this new female-centric work and what do you hope audiences enjoy most about it?
AB: I think my biggest hope is that eventually female-centric work doesn't have to send a message, it just IS. I hope there comes a time when a female-centric story and/or team is not a big deal, that it's just something we've come to know as normal – whatever that means! Until then, I hope audiences will feel all of the love, sensitivity, collaboration, specificity, hope, humor, and heart that went into the producing, writing, directing, designing, managing, running, and performing of this piece. I've come to learn that any show that goes up in New York City is nothing short of a miracle, it doesn't matter how big or small it is. That being said, the work our artists and personnel have been able to do, and WANTED to do, with limited resources, is unlike anything I've ever seen. I hope audiences will fall in love with them and embrace them in the same way I do, because they are all truly something!
JAT: As we've already discussed, something I have always loved about the musicals and the work that Joe Iconis & Family creates is that it takes people who don't usually have a voice and allows them to have one. Every show is about the kinds of characters that don't usually have musicals written about them. Whether that's a remarkably un-special teenager who ingests a super computer [as in Be More Chill] or a 60-something woman dealing with an ageist, sexist society, who reclaims her own power by becoming a bounty hunter, I love the idea that people who feel pushed to the side, who feel other, can see themselves in this work. Broadway Bounty Hunter is also my favorite thing – a completely original musical. And like so many of my other favorite original musicals, it is incredibly fun and hilarious and filled with unbelievable songs – and then it uses that humor as a way in to deliver a powerful message about how we overcome society's ideas of who we are supposed to be. I hope audiences walk away feeling that.
JW: I find this show so joyous, hilarious, heartfelt, and the music is unbelievably good. The lead character is a woman of a certain age who finds her inner bad-ass – and part of being a bad-ass is just being comfortable with who you are, and not letting yourself be circumscribed by what others think. I love that ultimately the message is about continuing to find joy and meaning in life, no matter who or where you are in that journey.
Many thanks to all of you for giving us a behind-the-scenes peek at the show and at a trailblazing time in the theater, when women assume their rightful place among the power players!
Broadway Bounty Hunter plays Tuesday, July 9-Sunday, September 15, 2019, at the Greenwich House Theater – 27 Barrow Street, NYC. For tickets, go online.
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Deb has written reviews, interviews, and feature articles for Stage Magazine, theartblog, and Inferno, and is a lead writer for Phindie.com and the Philadelphia Arts and Culture Correspondent for Central Voice. She is a judge for Theatre Philadelphia's Barrymore Awards for Excellence in Theatre, and previously was a Voter for the awards under the former Theatre Alliance of Greater Philadelphia. Deb holds a PhD in Art History from the University of Delaware, has served as a Commonwealth Speaker for the Pennsylvania Humanities Council, and has taught at the U of D, Bryn Mawr, Rutgers-Camden, Hussian School of Art, and Rowan University.
Review: 'The Presented' at 59E59
Review: 'LadyShip' in the New York Musical Festival
15 Questions in 15 Minutes with Rob McClure from 'Beetlejuice'


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How I stay healthy
Homage to my roots
Your Body is your Temple
Long time no see, over here! Sorry about that. At the moment, Book 2 in the series, demands a lot of my time/energy/attention/etc. I'm sure you get that. That being said, last night I went to the cinema and watched "Arrival" which in an "unexpected" way, relates to things I've been experiencing myself for quite some time now, which I shared a bit, in previous videos. More in the future. Anyhow... Great Film. It was so rewarding to finally (again) see something out there that shares quite a few relevant ideas (bites of truths). Go watch it NOW!!! ;)
There's so many things happening in the background. I would love to talk about all of them, but in order for them to work, I have to prioritize. Which brings me back to why I wanted to write you in the first place. (Actually, I've been meaning to do a video about is as well. Maybe I will.) As you can read in the title: Your Body is Your Temple. What do I mean with that?
In regards to Ascension/Breatharianism/Spirituality...and all that jazz, I see (still) that the most overlooked, abused, lacking true consideration/appreciation is...the body. Though it's not for me to judge (just pure observation), most people (whether they self proclaim as "spiritual" or not...it makes no difference) do not take care of the most IMPORTANT, most OBVIOUS/EVIDENT piece of the puzzle, on their way to greater awareness and freedom.
As I was saying in my video (Cultivating virtues and traits) it's not enough to understand things intellectually. Knowledge is power. Indeed it is. However, the true power lies in the EMBODIMENT of those concepts/ideas. Working with your body and mind (as in your consciousness/higher-awareness) is the key to GREAT THINGS and...unimaginable FREEDOM.
What you put in your body (unless you have reached the level of total control) will affect you. Your physical form is a geometrical (holographic) expression of other layers of geometrical structures (from other planes), that are interconnected, and through which SOURCE chooses to express itself. The knowledge of such structures is still scarce and mostly distorted/limited (ex: most people think this (the body) construct has only 7 chakras (energy centers)...when in fact there are 15, plus those of the tree of life, plus many others that are part of other layers of this architecture we call "human." And that's just one tiny example...))
Among the things that people are careless with in regards to their body is: SEXUALITY.
What do I mean by that?
For a very long, long time, this time/space continuum, has been fed the predatorial mindset. In absolutely every aspect of life. Due to lack (not enough) of energy/light which has translated in all sorts of social/personal/intimate perversions/distortions/imbalances.
The sexual energy (the life force in its most raw/basic expression), has been harnessed by various fallen beings/races/etc. because of its tremendous creative power. The ways in which this has been possible is this: advanced technology and rituals (black magic)-which is another form of technology.
Now that the planet, we too, are benefiting from the massive new energy transmissions that act like an antivirus program (find threat, apprehend it, repair, restore) it's easier to spot the imbalances/distortions. Though obviously not for everyone, as we all are at various stages of healing (though some will choose devolution because they have messed up their architecture so bad that is beyond repair -even so, nothing is ever lost).
In regards to sexuality, the healing translates into an awareness of how you should use that energy. Transmutation through creative acts, expanding your consciousness/your true power. And so far the vast majority of the people have been at the mercy of various tools/mind control/certain programming. which has translated into oversexualized marionettes, and all that come with that type of mindset (drama, trauma, abuse, stigma, plus adding to the mix one of the most destructive tools: the pornography and what types of ramifications/implications that has, etc.).
Yeah... So a lot of soul mutilation has been going on for so, so long.
You are not here to hunt, or to be hunted (sexually or otherwise). You are not a predator
You are eternal awareness. You are Source embodied.
Some of us, have come here, already coded differently (myself included) and have noticed these imbalances occurring in the world and around them. True intimacy doesn't always (if ever) mean what we've been taught.
Now it's time for true healing. Even if you are in a relationship/married. Give yourself/yourselves the time/space to do that and step into an awareness that will teach you again innocence. True intimacy is innocence. It's deep connection. It's elevated friendship. It's many other layers that most people (couples) don't even imagine/consider. Explore that.
That doesn't exclude passion (in a romantic way) if you want to experience that. Which in its purest form is expressed as a dance of two flames. But do it because it means something. Do that because is magical. Because you want to express something worthy of a true creator.
The time for doing things gratuitously/unconsciously, is coming to an end.
In a healed reality, these types of behaviors/thought forms simply don't exist.
Now more than ever, due to so many desperate attacks (in other planes), it's time to be mindful of your body. Your relationship with your body. What you open yourself for. What things (entities, energetic parasites) can attach to you through such intimate/vulnerable contact. Not to mention, the many body/soul snatchings/possessions.
To put this in other words, it's like two systems exchange data (information) and if one or the other system (or both) have weaknesses, the probability of a threat to do a lot of damage is really high.
There so much more I could say about the matter...
Anyhow, let's end this on a positive note. With a snapshot from "Jupiter Ascending." This is the scene where she learns certain truths from one of the members of the most powerful intergalactic aristocratic family. Ironic or not, this has to do with what I've been explaining in this post.
Sadly, most people will see in films like these, only entertainment. It never is.
Funny, how Source is guiding me to share that, without even having intended that. ;)
until next time, be kind with yourself and others,
text/photo © 2016 Ana-Maria Theis
tagPlaceholderTags: body, ethereal, respect, self-care, spiritual-architecture
Raluca Joy (Saturday, 26 November 2016 04:48)
Beautiful post / photos...like always ;). Thank you for all these great reminders . Much love/light/ divine inspiration to you in writing the second book and not only . Big hugs and kisses :*!
anamariatheis (Saturday, 26 November 2016 08:26)
@ Raluca Joy, Thank you always for your love and support! ;) I love to share whenever there is magic and beauty and light... You know what I mean. ;) lots of hugs & kisses back!
Daniel de Iguazu (Monday, 28 November 2016 20:55)
Ana Maria, thank you for the great post. I think that the body is really very very important. Now I eat 99% raw and in the last three days I am fasting. One question: Do you do something with the chakras?
I did some meditation with the 7 or 9 (known) chakras and worked with some other energy centers like the tongue without not so much success. Sometimes I had the impression that I lose more energy then I get. I also never know what is better: Working with the light beam going through the chakras or the energy circulation (up the spine to the top of the head and going down the front) performed by the Taoists.
Thanks again for the great work. Greetings from Colombia
anamariatheis (Tuesday, 29 November 2016 21:28)
@ Daniel de Iguazu,
Thank you Daniel for reading it! ;) I do a lot of "things" of which I am only hinting at. Reasons for doing that, is this: most people are at different levels of understanding, and wasting my time debating certain things/truths/knowledge...it's not something that I want to do, or even have time to do. Second: as I was saying in the book, as well in my videos, there is a lot of "spiritual techings"-though they are popular among the more awake/aware community-that carry a lot of distorsion in them. Some because of lack of energy in this system (for so long...) some portraying the reverse (non eternal things/systems mechanics), some with obvious design to divert from getting to truth/freedom. And most people like their "dogmas", so saying entirely different it's hard to accept for some. So the way to get something across is by delivering in an new/neutral way. Maybe I will share more in the future, if I fell comfortable and ready to do that. But if you are curious and want to go down the rabbit whole. I can give you the following clues:"Voyagers"(2 books by Ashayan Deane). Then here you can see an interview with her on Project Camelot from 2010: part 1 https://www.youtube.com/watch?v=AQ-ZaU6FHNw&t=10s
part2:https://www.youtube.com/watch?v=7-h_Qk4Z1SQ&t=6s
part3:https://www.youtube.com/watch?v=dK2vWZE8noU&t=1s
and then there are her workshops/dvd/etc. which I have followed and worked with. Had my own experiences. Even before that. But doing the whole "sliders" material, clearing/reparing my own architecture. And after a while, I could confirm/infirm/see for certain things for what they are. Like her tree of life is closer to the one that I saw 2 years ago. But other than that, what she has to share is solid/great. Though each and everyone of us, once we heal enough, we start to have access to that and many other type of info.
Daniel de Iguazu (Wednesday, 30 November 2016 02:07)
Thank you very much for the clues. I will check them out. I agree whith your words and have the impression that some techniques are corrupted. Just the impression because my consciousness is not always high enough to figure it out directly. I abandon what not serves me.
anamariatheis (Wednesday, 30 November 2016 04:44)
Intend to always connect/find the truth in things. That will always help you. ;)
you too have a great time exploring,
Irina (Sunday, 19 February 2017 18:57)
Hello Ana-Maria,
just revisited and re-read this post...Every time I drop by and watch one of the videos/read one of the posts, I am noticing how I feel a little more uplifted/cheerful/energized/forward-pointing/inspired...I guess by holding ourselves high in energy, we do hold the power to lift others up as well.
Still in awe and gratitude for the synchronicity that has made us connect.
Sending Love from the vicinity of Nose Hill park in Calgary!
anamariatheis (Tuesday, 21 February 2017 03:00)
@ Irina,
Hello Irina! thank you for stopping by here, as well. ;-) I am glad to hear that this helps you keep pushing forward on your own journey. Happy to hear you are doing well. Really. Things are busy, where I am, so that's why I've been late in answering the more private message. ;-)
Keep up expanding the light and joy in everything you do!!!
much love back,
Holding the GRID
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Forgiveness. Seems like such an easy thing to do… Only, it's not. Especially, when one experiences THINGS/EVENTS far, far, far beyond his/her level of mental/emotional tolerance and is being pushed not just over the proverbial edge, but sent into zones where you feel like your soul is breaking, like your entire being is being shattered into millions of tiny bits. (Talking from experience here.) What to do then? What do you do, when you don't think it's possible to forgive others (or/and yourself), because that space doesn't exist inside you? What then? How do you put yourself back together and create that space of forgiveness? How do you forgive when you don't want to, anymore?
TRUE Intimacy
A common misconception, when it comes to romantic love, is that somehow the sexual union represents TRUE/ultimate Intimacy. Actually, "down here," and in most cases, things could not be further from the true. Abuse, sexual misery, domestic violence (mostly towards women)—still very common around the world—and empty sexual encounters, is more like the actual reality.
Trusting
We live through TRULY EXTRAORDINARY TIMES. And good and bad, are both included in the mix. What is taking place at this very moment, is an important DEMARCATION Point. Certain uncomfortable TRUTHS can't be denied anymore. They just showed up as if unannounced, yet, they were foretold, only to be ignored continuously by most until now.


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Sean Brawley is A/Professor of History at the University of New South Wales, Australia. Recent publications include Fighting Words: Competing Voices of the Pacific War (Greenwood, 2008); The Bondi Lifesaver: A History of an Australian Icon (ABC Books. 2007); and Conflict in the Pacific, 1937-1951 (Cambridge University Press, 2005). His recent work in Terrorism Studies has centered on the intersection between terrorism and sport.
DOOMED TO REPEAT? Terrorism and the Lessons of History
Sean Brawley
New Academia Publishing, 2009
This volume marks an effort by a group of scholars and practitioners to provide a justification for the better understanding of Terrorism's past and the importance of this past for today and tomorrow. The collection is divided into four sections. Section One places Terrorism Studies and the study of history in context and considers the connections between these fields of study. Section Two is written by non-historians and practitioners who have seen the importance of historical context and perspective in the understanding of current events. Section Three provides case studies that explore the history of terrorism and politically motivated violence. Section Four places concerns about terrorism in regional and foreign policy context.
"This collection helps us advance our understanding of terrorism beyond simplistic and dichotomist assertions about "them" and "us."
–Chris Dixon, Professor, School of History, Philosophy, Religion, and Classics, The University of Queensland, Australia.
"This collection could not come at a more opportune time given the current preoccupation in government with Terrorism… It will set a benchmark by which future researchers will have to measure themselves."
–Philip Dwyer, Director, Social and Cultural Conflict Research Group, University of Newcastle, Australia.
"By paying attention to national, regional and international phenomena, this collection will provide access to a breadth of historical perspectives and approaches that is uncommon in this field of studies."
–Mark Finnane, Professor, ARC Centre of Excellence in Policing and Security, Griffith University, Australia.


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Q: Meromorphic, analytic, holomorphic and all that I must have slept through something in my complex variables course, because all my life I have used the terms holomorphic, meromorphic, and analytic somewhat interchangeably.  These are all also related to regular functions.
I have also thought of  "entire" and "everywhere analytic" as interchangeable terminology.
What are the distinctions between these terms?  And what is the correct terminology for a function which may have poles but not essential singularities.
(For example, $$e^{-\frac{1}{z^2}}$$ is in some sense nastier at $z=0$ than $z^{-4}$)?

A: Let $\Omega \subset \mathbb{C}$ be open set.
A function $f : \Omega \to \mathbb{C}$ is called holomorphic if it is complex differentiable in any $z \in \Omega$. A holomorphic function $f : \mathbb{C} \to \mathbb{C}$ is called entire.
A function $f : \Omega \to \mathbb{C}$ is called analytic if it can be represented as a convergent power series in a neighborhood of each point $z \in \Omega$.
A function $f : \Omega \to \mathbb{C}$ is called meromorphic if it is holomorphic on $\Omega$ except for a set of poles, i.e., $f : \Omega \setminus P \to \mathbb{C}$ is holomorphic, where $P$ denotes the set of poles of $f$.

A: Holomorphic means complex differentiable on some open set. Analytic means has a power series expansion on some open set. A remarkable result of complex analysis is that these are equivalent.
Meromorphic means holomorphic except at isolated points which are specifically poles. Thus $z^{-4}$ is meromorphic while $e^{-1/z^2}$ is not.

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In the aseptic processing of medicinal products, the product quality usually cannot be ensured by means of lab controls of the final product. Process validation by means of media fills is the only way to furnish proof of product safety, which is why it justly is the focus of regulatory requirements and official inspections.
A number of revised and harmonised international regulations, especially the FDA Guidance for Industry "Sterile Drug Products Produced by Aseptic Processing", the EU GMP Guide Annex 1, ISO 13408 and the PIC/S Guide "Recommendation on the Validation of Aseptic Processes", define highly detailed requirements, the implementation of which is critically examined within the framework of official inspections.
In general, the required media fills should be able to simulate both routine operation and worst-case conditions.
In practice, the question of practicability often arises. How should the requirements be interpreted and how can they be implemented even for special production processes or dosage forms?
This Education course is directed at staff from Production, Quality Assurance, Microbiological Quality Control who are responsible for the planning and evaluation of Process Simulation (Media fill) programmes.
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Discussion in 'General Gaming Discussion' started by Deviousness, May 2, 2013.
Well... we all new it was going to happen, it was just a matter of time till COD released a new game!! so this thread is about your thought on the game, or franchise as a whole... I don't care .
I think the current engine has been milked to death, if Ghosts does in fact have the new engine, it's going to sell like crazy.
well, the funny thing I have realized about COD gamers... they are extremely scared of change!!! im serious, I had a buddy that freaked out when BO2 looked a tiny bit different then bo1... so, they CANT change it. if, the online aspect functions a tiny bit different then what all the other games are like, or if the map loads 3 seconds slower then every other game, people are going to be PISSED!
is anyone talking about a new engine?!?!? im just wondering if there is any official/unofficial news in regards to a new engine.
Well, let's be fair here - It's going to sell like hotcakes regardless of what's under the hood.
Still, I certainly wouldn't mind a change up. And hey, even if this title isn't so good, I'm sure Treyarch will do something interesting with it.
The leak from Tesco mentioned something about an 'all new engine', plus the fact that the game is going to be shown on the new xbox suggests that they have made some kind of aesthetic change.
I think people are getting a bit bored of this formula now, the 'next gen' engine might give COD the fresh new take that it needs.
You know what CoD could do that will completely change the series? Focus on the single player or add co-op to it. Black Ops and Black Ops 2 had great stories. Honestly, the multiplayer is going to be played the most, but it's not like that's hard for them to do. Focus on the single player, the multiplayer comes naturally for these games. As much as Activision wants it, it's never going to be a serious gaming product that goes to events like fighting games do with EVO.
I don't know about you, but I consider the mission side of CoD as single player/co-op. If Modern Warfare is anything to go by, Activision does have a working franchise. If co-op campaign is a way to go by, there are many games doing it better (Borderlands for one).
Speculations on upcoming Themed Switch bundles?


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Mobility Carbon Engine
E-commerce Carbon Engine
Digital MRVs
Voluntary carbon credits, also known as voluntary emission reductions (VERs), are carbon credits that are generated from emission reduction projects that are not required by law or regulation. These projects are typically implemented by organizations or individuals who want to reduce their carbon footprint and make a voluntary contribution to addressing climate change. Voluntary carbon credits can be traded on voluntary carbon markets and are typically used by companies or individuals to offset their emissions in a voluntary manner, rather than to meet regulatory requirements.
What are voluntary carbon markets?
Voluntary carbon markets are market-based mechanisms that allow individuals and organizations to voluntarily offset their carbon emissions by purchasing carbon credits from projects that reduce greenhouse gas emissions. These projects can include renewable energy installations, forest conservation efforts, and energy efficiency improvements.
By purchasing carbon credits, individuals and organizations can offset their carbon emissions and contribute to the fight against climate change. The revenue generated from the sale of carbon credits can also provide funding for these emissions reduction projects, allowing them to expand and have a greater impact.
In addition, voluntary carbon markets can help to drive innovation and investment in low-carbon technologies and practices, as companies and individuals seek out ways to reduce their carbon footprint and become more sustainable.
Overall, voluntary carbon markets provide a way for individuals and organizations to take action on climate change and support emissions reduction efforts, while also providing a financial incentive for the development of clean energy solutions.
Article 6 of the Paris Agreement is a framework for international cooperation on climate action. It includes provisions for countries to engage in market-based mechanisms, such as voluntary carbon markets, to achieve their emissions reduction targets.
The Paris Agreement allows for the creation of International Cooperative Environmental Agreements (CEAs), which are voluntary agreements between countries to cooperate on climate action. These CEAs can include the use of carbon markets as a means for achieving emissions reductions.
By providing a framework for international cooperation on climate action, the Paris Agreement can help to increase the participation of countries in voluntary carbon markets, leading to a greater demand for carbon credits and more funding for emissions reduction projects.
In addition, the Paris Agreement sets a global goal of limiting global warming to well below 2 degrees Celsius, which will require significant reductions in greenhouse gas emissions. This goal can provide a driving force for the expansion of voluntary carbon markets, as companies and individuals seek out ways to offset their emissions and contribute to the fight against climate change.
Overall, the Paris Agreement can influence voluntary carbon markets by promoting international cooperation and driving the demand for carbon credits, leading to greater investment in emissions reduction efforts and the development of low-carbon technologies.
How will countries utilize carbon credits under the Paris Agreement?
While many countries have committed to using carbon credits to help meet their emissions reduction targets under the Paris Agreement, it is difficult to determine exactly what percentage of these targets will be met through the use of carbon credits. This is because the use of carbon credits is voluntary, and the specific details of how they will be used to achieve emissions reductions are often left up to individual countries to determine.
However, some countries have provided more specific information about their plans to use carbon credits to achieve their emissions reduction targets. For example:
United States: In its NDC submitted under the Paris Agreement, the United States stated its intention to use market-based mechanisms, including carbon credits, to help achieve its emissions reduction targets.
Canada: In its NDC, Canada stated that it plans to use carbon pricing and market mechanisms, including carbon credits, to help achieve at least 30% of its emissions reduction target by 2030.
Brazil: Brazil's NDC includes a commitment to use market-based mechanisms, including carbon credits, to help achieve at least 36.1% of its emissions reduction target by 2030.
China: In its NDC, China committed to using carbon pricing and market mechanisms, including carbon credits, to help achieve at least 60-65% of its emissions reduction target by 2030.
India: India's NDC includes a commitment to use market-based mechanisms, including carbon credits, to help achieve at least 33-35% of its emissions reduction target by 2030.
United Kingdom: The UK's NDC includes a commitment to use carbon pricing and market mechanisms, including carbon credits, to help achieve its emissions reduction targets.
Germany: Germany's NDC includes a commitment to use market-based mechanisms, including carbon credits, to help achieve its emissions reduction targets.
Australia: Australia's NDC includes a commitment to use market-based mechanisms, including carbon credits, to help achieve its emissions reduction targets.
Overall, the use of carbon credits to achieve emissions reduction targets under the Paris Agreement will vary from country to country, depending on their specific goals and plans for using these mechanisms.
How Digital MRVs support the Paris Agreement
The use of digital MRVs can help countries more effectively implement their NDCs under Article 6.2, by providing a reliable and transparent system for tracking and accounting for emissions reductions and removals.
First, digital MRVs can help countries more accurately and transparently track and report on their emissions reductions and removals, as required under Article 6.2. This can include tracking emissions reductions from domestic activities, as well as emissions reductions achieved through international cooperation, such as through offset projects.
Second, digital MRVs can help facilitate the transparent and accurate accounting of emissions reductions and removals achieved through international cooperation, such as through the use of credits generated under Article 6.2. This can include tracking the generation, transfer, and retirement of credits, as well as the underlying emissions reductions and removals that they represent.
A timeline of carbon markets
The United Nations Framework Convention on Climate Change (UNFCCC) publishes guidance on the use of carbon markets to help achieve emissions reduction targets.
The European Union launches its flagship carbon market, the European Union Emissions Trading System (EU ETS), with the goal of reducing greenhouse gas emissions in the European Union.
The Paris Agreement is adopted, providing a framework for international cooperation on climate action, including the use of carbon markets to achieve emissions reduction targets.
The European Commission proposes to reform the EU ETS, including the introduction of a carbon price floor and the expansion of the market to include sectors such as buildings and transport.
COP26 in Glasgow recognizes the use of carbon markets as a key mechanism to achieve the goals of the Paris Agreement, paving the way for countries to generate and trade carbon credits.
COP27 in Egypt, despite lacking a clear outcome, clarifies the use of carbon credits (ITMOS) under Article 6.2. Countries start taking positions to leverage credits to meet their NDCs.
The Paris Agreement goal of limiting global warming to well below 2 degrees Celsius is expected to drive increased demand for carbon credits and the expansion of carbon markets worldwide.
The implementation of carbon pricing and market mechanisms, including carbon credits, is expected to become more widespread as countries work towards achieving their emissions reduction targets under the Paris Agreement.
Overall, the next decade is expected to see continued growth and development of carbon markets, as countries and companies seek out ways to offset their emissions and contribute to the fight against climate change.
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The application process can be daunting. Here are practical tips for the search process and preparing your materials.
Make sure you play around with different search terms (i.e., developmental psychology, human development, adolescent development, child development, child psychology, and terms that might be more specific to your specialty). Also, a little tip from my co-blogger Sarah: higheredjobs.com, The Chronicle, and APA will let you sign up for daily or weekly e-mails of job postings that meet your search criteria. What a great time-saver!
Good organization is key for making the job search process as painless as possible (not that it could ever be totally painless – prepare for rejection!) When I was first on the job market two years ago looking for tenure-track faculty positions, most applications were due in October and November with the earliest due date being Sept. 15 and the latest being Jan. 30. Be aware that post-docs and instructor positions are much more likely to be advertised in the spring and summer so if a tenure-track faculty job was your first choice but it isn't working out, don't panic yet, you'll still have time to apply for other types of positions.
I would highly recommend prepping now – NOT the week before the first due date. I found it helpful to set aside 1-2 days a week to peruse the websites with job listings. Constantly checking the websites for new job postings can be very addicting! It is also important to keep track of the jobs you decide to apply for. An excel spreadsheet was passed along to me and it was incredibly useful for keeping track of all the jobs (I applied to about 30 – I've heard of people applying to over 60). My excel sheet has the following categories: the actual hyperlink to the job ad (so you can easily find it again to reference), the institution, specialization sought/department, whether it was an online application, contact person with address, and deadline for submission. You may want to add categories with any other helpful or pertinent info that will help you when writing cover letters. This kept me organized and was helpful for tailoring the first sentence of the cover letters. I also included columns for each of the following possibilities: whether an acknowledgment letter was received, any additional materials requested, when additional materials were sent, date of telephone interview, when the thank you letter was sent, on-campus interview, travel arrangements confirmed, thank you letter sent, offer or rejection received, deadline for decision, date hard copy of acceptance/denial letter received. Here's to hoping a few more of these columns will get entries this time around!
So, assuming you're convinced to start preparing early, where do you start? First, identify and ask people to write your letters of recommendation. Make sure the people you indentify are willing to write you a good recommendation and then ask what they need from you to make their job easier. For instance, do they want to do most of them all at once or a few at a time? How much info do they want about each application – the full job posting or a summary? Would they like to see your teaching and research statements (hopefully yes)? You will have to let them know whether the letters are to be submitted online, sent separately (you should provide envelopes and stamps), or put in a sealed envelope and sent with your application materials. An excel sheet with all this info is a great way to organize it for your letter writers.
You should also prepare your CV, teaching statement, and research statement. You should end up having a few different versions of each of these. Depending on the job, you may want to go into further details on your teaching experiences. Or you may want to highlight certain aspects of your research. For instance, my area of interest is adolescent decision making and risk behavior. I applied for jobs advertising for someone who studies judgment and decision making, social development, cognitive development, and adolescent or child development more broadly. I brought certain aspects of my research to the forefront accordingly. Have anyone and everyone who is willing to read and give feedback on ALL your materials do so. Typos or grammatical mistakes will look bad to the search committee. I kept finding lots of little things in my CV like using periods at the end of some statements and not others. Ask to see the application materials of individuals who have recently gotten a job at your current institution or former grad students who went on to academic jobs (i.e., people who were successful in their job search and application process).
The following is a summary of the tips I received for writing the teaching and research statements. Most graduate schools should have some good resources on these types of materials. Eventually all the tips and suggestions will start to be repetitive, but I would recommend seeking out as many resources as possible. There is always likely to be a different or new idea that is useful to you and your specific situation.
1. Keep it short and snappy – 1-2 pages.
2. Think of a course you enjoy teaching the most, a course you've taught recently, or a course you'd like to teach if you haven't taught one before. Concentrate on that specific course.
3. What are your goals for the course? Try to limit yourself to 3.
4. What instructional methods, materials, and techniques to you use to support your teaching goals? Why do you choose the teaching strategies and materials you use?
5. What does learning look like when it happens? How do you assess impact? What evidence of effective teaching do you have?
6. What do you do to improve your teaching or develop as a teacher?
As part of your overall academic portfolio, you'll probably want to include a summary of teaching evaluations and select student statements (the positive ones only, of course). Turning all of this into a brief and clear summary of everything you've done in graduate school is very time consuming – plan accordingly!
1. What is your general research area? What major problem(s) do you wish to explore? Is it a basic science question, a particular application? Are you developing new methodologies? Why should we care about your research?
2. What is the focus of your most recent research? How does this research relate to where you've been and where you're going?
3. What unique accomplishments make you ideally suited to do this research? The research should arise naturally from your prior accomplishments.
4. What is novel and exciting about your past/current/future research?
5. What is the problem's relevance to your field? What is its importance to scientists outside your field?
6. In what directions do you hope to take this research? What are your specific research goals in the next 3-5 years? Explain how your future work facilitates long-term research directions. Providing evidence of a program of research is essential.
7. Are there particular funding agencies that might be interested in your research? And what are your specific plans for obtaining funding? (This last point will be important for many types of jobs).
Don't forget to mention specific projects, grants, and publications you've had a part in.
I would be remiss not to acknowledge Dr. Kellas and Dr. Bellows who directed the Preparing Future Faculty (PFF) course at the University of Nebraska-Lincoln for supplying me with this information. By the way, if you have an opportunity to be involved in a PFF course, definitely look into it. I found it very beneficial in my preparation for the job market.
Finally, let's talk about cover letters. It will be rather difficult to prepare cover letters ahead of time and these will take the majority of your time while you are in the midst of sending applications. These should be tailored to each job ad. There will be many good candidates for each job and essentially it comes down to fit. So the purpose of the cover letter is to convince the search committee that you will be a good fit for the job, the department, and the institution. Academic cover letters are not like "real world" cover letters. So following examples of cover letters from catch-all job sites like monster.com or careerbuilder.com is probably not going to be very useful. Cover letters for academic jobs are much more involved and specific – and longer. Definitely ask if you can see some examples from newly hired faculty members. For me, every letter started out with a paragraph with basic introductory information including who I am, my degree and where I got it, which position I'm applying for, and all the materials that were included. (This is where that excel sheet helps out a ton). The next paragraph usually detailed my research program and my specific research experiences including any relevant publications. In this paragraph I really tried to point out where my research interests matched up with the job ad. If the job you're applying for is more focused on teaching, then the second paragraph is probably where you want to go into detail about your teaching experiences. If you're applying for a clinical position, you will want to describe relevant clinical experience. In other words, the sequence of your paragraphs will vary depending on the job. Many institutions, even those that are teaching-focused, will be interested in how you involve undergraduates in research, so be sure to include that information. My third paragraph was usually about my quantitative training and search committees are likely to be interested in whether you know some sophisticated statistical techniques (e.g. SEM, multilevel modeling, etc.). Then my final paragraph would be on my teaching experience and include the courses I would be interested in developing within that department. The content of each paragraph will probably be similar, but you should be very specific about how your unique experiences and interests fit with the job. In general, try to mention as many of the required and desired qualifications from the job ad as possible and how you meet those qualifications.


Therapy Hair Studio > Blog > Therapy Hair Studio > Friday Night Fixups are back!
Friday Night Fixups are back!
Do you have a special occasion coming up? Not to worry. Therapy Hair Studio has brought back "Friday Night Fix-ups" starring hairstylists Casey Holleway doing hair and Houston makeup artist Jahan Telfah, doing makeup. You'll start with a relaxing shampoo using the best in hair care products of course; then, hairstylist Casey will work her magic to give you an amazing blow out style for the night. Next and final stop is makeup where Jahan will make sure the most important features get all the attention with a touch up to your cheeks, eyes and lips to bring out your beauty and give you a show stopping look. So come in before your weekend starts, enjoy a glass of wine and the ultimate Fix-up every Friday from 3:00 – 7:00 pm. Friday Night Fix-up Package: $50.
Call us at 713-355-HAIR to schedule your Fix-up for you and your friends.


As your Nissan dealership, we encourage safe driving for Calgary, AB customers. Take our advice here at Sunridge Nissan and drive safely!
Read more "Sunridge Nissan Safe Driving Tips"
Use your Nissan Rogue to visit the best restaurants in Calgary, AB. Here at Sunridge Nissan, we'd like nothing better!
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When it comes to new cars in Calgary, AB, few offer the great tech that we do here at Sunridge Nissan.
Read more "Top Five Nissan Technology Features"
It's easy to complain about the cold this time of year, but Sunridge Nissan customers have plenty to keep them busy through the winter months here in Calgary, AB.
Read more "The Hottest Winter Activities Near Calgary"


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Cryptolechia micracma is een vlinder uit de familie van de sikkelmotten (Oecophoridae). De wetenschappelijke naam van de soort is voor het eerst geldig gepubliceerd in 1910 door Meyrick.

micracma


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Q: JupyterLab : cannot save notebook. "File > save notebook" greyed out. Auto save and Cmd + S also doesn't work JupyterLab is in a gcp Deep learning vm.
Since few hours ago I can't save any changes in JupyterLab.
There are unsaved changes.

save notebook greyed out.

Also, if I try to delete a file from the left pane, it gives a 500 error.

The only change I recall making prior to this breaking is this. I had this error when I tried to do git operations in the command line.
Another git process seems to be running in this repository, e.g.
an editor opened by 'git commit'. Please make sure all processes
are terminated then try again. If it still fails, a git process
may have crashed in this repository earlier:

Therefore I did this
rm -f ./.git/index.lock

And the git command worked correctly. This the only thing I recall doing prior to this error.
Afterwards, I deleted the repository and recloned it.
And since I had to type sudo everytime I had the user claim the jupyter directory. But this error was there before I made this change.
udo chown your_username directory

A: Somehow group permissions for jupyter directory has changed to read and execute only. Simply adding write permissions solved this.
drwxr-xr-x 13 praveen jupyter                4096 Feb  9 11:46 jupyter

Command
chmod 771 /home/jupyter/

A: this has been useful to me :
chmod -R 777 /folder_name. The -R (or --recursive) options make it recursive.
Or if you want to make all the files in the current directory have all permissions type:
chmod -R 777 ./
Reference


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Q: How WordPress is able to change locale without using setlocale In my plugin I print out the current locales via
    $originalLocales = explode(";", setlocale(LC_ALL, 0));

    var_export($originalLocales);die;

Obviously the result is same as the WPLANGdefined.
However, I've grep all the wordpress ' code, I cannot find a single call via setlocale, so how WordPress is able to change locale without using setlocale?

A: I would question "obviously" here. I get rather cryptic string C as result on my Windows machine.
Since WP isn't actually using native PHP functionality for any localization and handles it via core code, my best guess would be that is coming from server configuration in your case.


The gate linked the town with the outside world. It was largely rebuilt in the mid-19th century to a design by Luigi Antonio Baruffaldi. Above the gate rises the belfry of the nearby parish church (Santa Maria).
If you are traveling with kids it may be difficult to do but if you get out early with your significant other you can go here and enjoy an early breakfast and espresso while walking along the beautiful castle walls. Really lovely.
You will automatically pass through this if walking around Riva town.Indeed it will probably end up being one of your landmarks.
There is a local market outside the gates during the morning. Here you can get fresh berries and fruits or eggs and veggies straight from the farmers.
Gorgeous gate that takes you right into the centre of Riva, which is pedestrianised but cyclist are allowed in. Just one of the many beautiful sights around Riva del Garda.
Another nice, medieval gate that you will stumble across when wandering around Riva del Garda, surrounded with lovely streets.
This is one of the many gates in the town as it was once a walled city . Each gate is different in that they have different features , such as sculpting's and murals .
Get quick answers from San Michele City Gate staff and past visitors.


Gracie Jiu Jitsu is a martial art that enables practitioners to use their LEVERAGE to apply techniques, manoeuvres and counters on an opponent, in order to gain a physical advantage. Its origins stem from the Japanese Kodokan Judo which was introduced to the Gracie family in Brazil by Master Mitsuyo Maeda in the early 1900's. Maeda was fundamental to the development of Brazilian Jiu Jitsu, specifically his teaching of Carlos Gracie. Carlos Gracie, after learning the martial art opened the Academia Gracie and started to teach the art. Carlos' younger brother Helio later took up the art, and shortly thereafter, took over the running of the academy.
Helio Gracie realised that even though he knew the techniques theoretically, the moves were much harder to execute. Many of the judo moves required brute strength which did not suit his small stature. Consequently, he began adapting judo for his particular physical attributes (he never weighed more than 63kg) and through trial and error learned to maximize leverage, thus minimizing the force exerted to execute a technique. From these experiments, Gracie Jiu-Jitsu (later known as Brazilian Jiu-Jitsu) was created. Using these new techniques, smaller and weaker practitioners gained the capability to defend themselves and defeat much larger opponents.
BJJ promotes the concept that a smaller, weaker person can successfully defend against a bigger, stronger assailant by using leverage and proper technique and taking the fight to the ground – most notably by applying joint-locks and chokeholds to defeat the other person. Since its inception in 1914, its parent art of Judo was separated from older systems of Japanese ju-jitsu by an important difference that was passed on to Brazilian Jiu Jitsu: it is not solely a martial art: it is also a sport; a method for promoting physical fitness and building character in young people; and, ultimately, a way of life.
Higher Jiu Jitsu is here for the everyday people of Sydney.
We come together as curious friends wanting to learn more.
We practice self defence and we study technique to make it better.
Like scientists, we test ideas, and experiment with leverage.
We get stronger, and healthier. And the whole time we're having fun.
We don't fight. We play.
We don't win or lose. We learn.
We play the long game. And in doing so, we allow the lessons of jiu jitsu to seep into everyday life. The result of this is the ability to flourish, on and off the mats.
"Jiu Jitsu for Everyday People"
✔ For the men who endeavor to get better.
✔ For the women who want to feel empowered to do as they choose.
✔ For the kids who just want to have fun.
To everyone who loves to learn, and wants to do better... Higher Jiu Jitsu is for you.
Here are a few of our best posts on the Higher Health Blog.
Be A Good Uke. Here's How.
Self Defence: Preparation or Paranoia?