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Ariz., Georgia, Wis., Penn. … the chickens come home to roost
June 18, 2021 June 18, 2021 Joseph Farah
What do we do when it appears, later than we like, that the 2020 election was thrown after all?
BIG TIME!
The latest story from Just the News is that the Georgia audit documents expose "significant election failures" in the state's largest county.
"Documents that Georgia's largest county submitted to state officials as part of a post-election audit highlight significant irregularities in the Atlanta area during last November's voting, ranging from identical vote tallies repeated multiple times to large batches of absentee ballots that appear to be missing from the official ballot-scanning records," said the story.
This is big. And coupled with Arizona early results of an audit conducted in Maricopa County, Wisconsin, which apparently shows more votes than voters, Pennsylvania's anomalies, Michigan and several other states, it's really looking like Donald Trump won the 2020 election – and probably broke Joe Biden's crooked record.
To put it into perspective, the irregularities in predominantly Democratic Fulton County, Georgia, could impact thousands of ballots in a race that was initially certified by fewer that 12,000 votes.
And the real surprise is that Georgia Secretary of State Brad Raffensperger's own private contractor commissioned the report. He probably lied to "60 Minutes" when he claimed Georgia had conducted its most sacred kind of election.
The memos included the handwritten tally sheets for all absentee ballots counted by the county as well as a private report that chronicled seven days of problems and recorded troubling behavior like the mysterious removal of a suitcase of sensitive election data known as polls pads, used to authenticate voters.
The revelations come as a state judge has taken the extraordinary step of ordering absentee ballots in the county unsealed so that a private audit led by lawyer Bob Cheeley can examine the actual papers and resolve discrepancies. Cheeley told Just the News on Wednesday the evidence he has seen so far points to "election tabulation malpractice."
Private experts and state election officials differ on whether the evidence shows a pattern of potential fraud or simply gross incompetence in the county, but they are mostly united for the first time that the top election supervisors in Fulton County should be removed. Some officials are even discussing a dramatic intervention like putting the county's election system in conservatorship so it can be run by state, not local, officials.
"I have continued to call on the elections director to be removed from his position, and the leadership of Fulton County has continued to fail to act," Raffensperger said. "It is no secret that Fulton has had issues in their elections department for decades, which is why I insisted on a state monitor being present to be eyes and ears on the ground. He did not see any evidence of fraud despite having full access, but he saw continued mismanagement, miscommunication, unpreparedness and sloppiness. Georgia voters deserve better."
That's RAFFENSPERGER – a far cry from what he was telling "60 Minutes."
Here's what the record shows:
More than 100 batches of absentee ballots – each containing approximately 100 or more ballots — were assigned tracking numbers before being sent to one of the five absentee vote-counting machines in Fulton County but are not subsequently recorded in the handwritten logs showing which batches were scanned and counted, raising concerns the ballots may be missing.
More than two dozen batches of absentee ballots were identified as having been double-scanned as actual votes.
Five sequential batches of absentee votes each appeared with the exact same vote count of 392 for Biden, 96 for Donald Trump, and three for the libertarian candidate, which defy all odds.
Many control sheets for absentee ballot batches counted during the state's audit did not check a box indicating the ballot came from a secure container, raising the possibility that ballots were stored insecurely or that multiple batches of ballots were sealed in a single container.
I don't know how it will turn out until we know two things: The full story of how the vote really went and how the election was stolen from Donald Trump, not to mention all the down-ballot confusion and suspicion and who really should be controlling Congress today.
Now you know why there was such a rush to certify the votes in Congress … and then to go after all of the "insurrectionists."
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Cud w Bernie (niem. Das Wunder von Bern) – niemiecki film fabularny z 2003 roku w reżyserii Sönke Wortmanna. Film nawiązuje do meczu finałowego mistrzostw świata 1954, w którym reprezentacja RFN pokonała faworytów – reprezentację Węgier 3:2. Mecz ten potocznie określany jest jako tzw. "cud w Bernie".

Film jest uważany za portret powojennych Niemiec. Cud w Bernie obejrzało w kinach ponad 6 milionów osób, jest zaliczany do najlepiej sprzedających się filmów. Na premierze obecni byli: kanclerz Gerhard Schröder, premier Nadrenii Północnej-Westfalii Peer Steinbrück oraz minister spraw wewnętrznych Otto Schily.

Opis fabuły
Rok 1954. Akcja filmu toczy się w zachodnioniemickim miasteczku w Zagłębiu Ruhry. 11-letni Matthias mieszka wraz z matką, siostrą i bratem i razem z nimi wyczekuje powrotu ojca - jeńca wojennego z Syberii. Matthias to zagorzały fan piłki nożnej. Jego idolem jest, grający w narodowej reprezentacji, Helmut Rahn, któremu chłopak pomaga w noszeniu toreb itp. Matthias traktuje go jak swojego ojca i stara się spędzać z nim jak najwięcej czasu. Nadchodzi czas piłkarskich mistrzostw świata w Szwajcarii. Niedługo przed ich rozpoczęciem wraca ojciec Matthiasa, Richard. Mężczyzna po przeżytym koszmarze nie potrafi się jednak odnaleźć w nowej rzeczywistości. Jedynym ratunkiem dla niego okazuje się syn i jego zamiłowanie - piłka nożna.

Obsada
 Louis Klamroth: Matthias Lubanski
 Peter Lohmeyer: Richard Lubanski
 Johanna Gastdorf: Christa Lubanski
 Mirko Lang: Bruno Lubanski
 Birthe Wolter: Ingrid Lubanski
Reprezentacja Niemiec:
 Jo Stock: Toni Turek
 Christian Broos: Werner Kohlmeyer
 Holger Dexne: Horst Eckel
 Sascha Göpel: Helmut Rahn
 Simon Verhoeven: Ottmar Walter
 Knut Hartwig: Fritz Walter
 Martin Bretschneider: Hans Schäfer
 Andreas Bath: Werner Liebrich
 Sylvester Pezena: Josef Posipal
 Jan Holland: Karl Mai
 Tobias Hartmann: Max Morlock
 Christian Leonard: Karl-Heinz Metzner
 Gotthard Lange: Alfred Pfaff
 Dirk Szczepaniak: Bernhard Klodt
 Matthias Sellmann: Fritz Laband
 Thomas Stodulka: Herbert Erhardt
 Jens Busch: Hans Bauer
 Michael Herkendell: Richard Herrmann
 Alexander von Moers: Ulrich Biesinger
 Thomas Geerlings: Heinz Kubsch
 Markus Mozin: Heinrich Kwiatkowski
 Torsten Rother: Paul Mebus
 Peter Franke: Sepp Herberger (trener)
Inni:
 Katharina Wackernagel: Annette Ackermann
 Lucas Gregorowicz: Paul Ackermann
 Andreas Obering: Herbert Zimmermann

Nagrody
 Międzynarodowy Festiwal Filmowy w Locarno (Nagroda publiczności): 2003
 Goldene Leinwand
 Bavarian Film Award: 2004
 Najlepszy Reżyser: Sönke Wortmann
 Najlepsza Aktorka: Johanna Gastdorf

Linki zewnętrzne

 Cud w Bernie na Imcdb.org

Niemieckie filmy z 2003 roku
Filmy o tematyce piłkarskiej
Niemieckie filmy komediowe
Niemieckie dramaty filmowe
Mistrzostwa Świata w Piłce Nożnej 1954

redpajama_set_name: RedPajamaWikipedia


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"Gets on my nerves" is quite an understatement. Although Ahmad is talking figuratively, of Israeli settlements and Israeli walls and — something you don't usually hear about — Israeli trash dumps throughout the West Bank, scarring the landscape and invading Palestinian space, the reference to what is being dumped in the Palestinian salon applies literally as well as figuratively in the small village of Wadi Fuqin southwest of Bethlehem. A large settlement, Betar Illit, looms over this village and has on two occasions quite literally dumped its sewage down into the fertile valley where the village's life-sustaining agricultural land lies. That's sewage from a settlement of 25,000 poured onto a village of 1,200.
Located exactly on the Green Line marking Israel's pre-1967 border, Wadi Fuqin is a long narrow oasis between high ridge lines, about to be squeezed from both sides by Israeli encroachment. The Green Line is on the western side, atop one ridge. The hillside here is covered by olive groves, but the Israelis will soon start construction of the separation wall here, meaning the destruction of hundreds of olive trees. This is despite the fact that Wadi Fuqin has had good relations with the nearby Isratown throughout the 38 years of the occupation. On the eastern side, the burgeoning Israeli settlement of Betar Illit looks down on the village, pushing in from the other side.
Wadi Fuqin could once claim 12,000 dunams (some of the old-timers say it was 17,000) but lost everything except 3,000 dunams (about 750 acres) to Israel in 1948. Now it has lost another 1,000 dunams to Betar Illit, and it will lose still more land to the wall. We approach from the north, gradually descending the surrounding hills, past Betar Illit, and come to a high point where we can look down to the valley, lying bright green below. The place is like a garden. Stretched out over two miles, the valley is a neat patchwork of small orchards, right now producing pomegranates and figs; vegetable plots of cucumbers, cabbages, herbs, squashes; and well tended olive groves. Brilliant bougainevillea drape the walls around many houses. Fields are fed by five natural springs, dating back to Roman times. Collection pools for irrigation water, constantly replenished from the springs, lie alongside the road throughout the village. Those who have been spreading the myth for decades that only the Israelis have made the desert bloom would be a bit chagrined.
We pick figs and a farmer gives us cucumbers right off the vine as we walk through town. Farther along, school is just letting out, the children dressed neatly in school uniforms even in this tiny place. At one spot, several kids, probably eight or nine years old, are using one of the pools as a swimming hole. Only the boys dive in, but several girls stand around the pool laughing with the boys. They are all delighted to have their pictures taken and show off for our benefit.
The nearly idyllic scene is marred halfway up the hillside toward Betar Illit, where the Israelis have dumped all the construction debris from the settlement. Although it began as a small settlement twenty years ago, Betar Illit has grown rapidly, its population expanding by 50 percent, in the last five years. So much debris has been cleared to make room for the settlement's large apartment blocks that the contours of the ridge line have changed over the years, encroaching dramatically on Wadi Fuqin and its fields. In one long stretch, the Israelis have built a makeshift retaining wall of huge boulders, rather precariously settled at the bottom of the hillside, all on top of Wadi Fuqin's agricultural fields, to hold the dirt, rocks, and other debris from settlement construction.
Much of the spectacular landscape of Palestine is so beautiful it takes your breath away. Wadi Fuqin is one of the breathtaking places in the southern West Bank, where the hills of the central range open up to a rich landscape of vineyards and fruit trees and fields of vegetables in the wide valleys between hillsides. Farther north, the mountains and steep valleys and endless terraced olive groves form a serene landscape, dotted with small villages of white stone houses and tall minarets. In the east, the desert hills unfold in gentle, pastel-colored undulations. Israeli debris is increasingly scarring this landscape everywhere.
Israeli construction on a massive scale is changing the pastoral landscape of Palestine in striking ways, intruding on the Palestinian salon. Large settlements spill down hillsides, looking like crusader castles. (They are not particularly unattractive, if their identical concrete-block style happens to please you — the red-tile roofs give them a Mediterranean flair — but their massiveness and the regimentation of the large apartment blocs very noticeably change the character of the pastoral terrain.) Wide highways, meant to connect the settlements and avoid the need for Israelis to pass through or near Palestinian towns, and accessible only to those with Israeli license plates, make sweeping cuts in the land. Outside Jerusalem, where Israel is planning to link the huge settlement of Maale Adumim to the city, vast expanses of the steep hillsides and wadis that once made this a place of spectacular unspoiled beauty have been cleared of trees and rocks in preparation for building roads and housing — a grim urbanization of a peaceful landscape.
The separation wall is the most oppressive. Over 400 miles long when all its twists and loops are completed, the wall appears seemingly everywhere, on that hillside, around this corner. It is ugly, it is destructive. Where it is a concrete wall, it is dull gray, lacking any design, and lumpish, a bit of urban blight slashing through city neighborhoods. Where it is a fence, its combination of electronically monitored chain link, razor wire, and trenches and patrol roads bulldozed through destroyed agricultural land make it look exactly like the hostile border marker that it is. Hardly the "good fence" that Israel and its American supporters are trying to portray, it is altogether an ugly gash in the landscape, visible at great distances. (Where the wall is on or near the Green Line and Israelis might actually have to see it from their side, it has been hidden more or less completely with neatly landscaped mounds of earth that reach almost to the top.) Although Israel's friends defend the barrier by noting that a major portion is a fence rather than a concrete wall, it is — and is intended to be — totally impenetrable, and one part is no more or less destructive than any other. Although they claim it is temporary and easily removable if only the Palestinians will behave, the wall, whether concrete or fence, has destroyed homes, land, and the very essence of the landscape that cannot ever be restored.
Destruction accompanies all of this building of walls and settlements. In addition to vast landscapes excavated, urbanized, and polluted, there is a helter-skelter of debris. Mounds of construction junk like the one hovering over Wadi Fuqin are everywhere, creating new hillsides in some places, evident in small piles on roadsides elsewhere. In one place near a settlement under construction, you see the remnants of spilled cement and torn cement sacks, obviously with Hebrew lettering. Elsewhere, you come across olive groves and agricultural fields strewn with boulders that local Palestinians say have been excavated from settlement construction sites and simply dumped there throughout the fields. In other places, the roads are littered with rusted cars, many with Hebrew lettering that gives away their origins.
Trash disposal is a major problem throughout the West Bank. In the town of Anata, for instance, which lies almost entirely in a section of the West Bank totally controlled by Israel, just outside Jerusalem, there is little or no trash pick-up for the town's 9,000 residents. Anata bought one garbage truck a few years ago with donations from the EU, but the nearest dump is in another town, through several checkpoints and on the other side of the wall from Anata, so trash and garbage are burned or simply piled up. The large city of Ramallah and its suburb of al-Bireh are facing a near-term crisis. Israelis authorities have informed the two municipalities, which together have a population of approximately 85,000, that the solid waste landfill they have been using for the last several years, which was originally built to serve a population of 100,000, will be closed to the Palestinians at the beginning of 2006, although it will remain open for Israelis from the nearby settlement of Psagot. Israeli authorities closed the landfill to Palestinians for a couple of years at the start of the intifada in 2000, forcing Ramallah and al-Bireh first to reopen an old landfill that had been abandoned because it was overloaded and, when that became so totally overburdened that it posed environmental risks to the municipalities, to halt trash pick-up altogether until the usable landfill was finally reopened. The towns will have no alternative if this landfill is again closed to them.
The injustice is overpowering. There is no acceptable answer to Ahmad's question about why this is happening in the Palestinians' salon.


Iggy Azalea decided to reveal her album's artwork as well as the full tracklist. The New Classic is set to be released on April 21 this year, and even if Iggy had previous released materials, this is actually her first full studio album.
It was supposed to be October but obviously I'm going on tour with Beyoncé and they said I'm not allowed to put an album out while I'm on tour because I'll be trapped in Australia and I won't be able to do any TV appearances and I thought that's fair enough, that's three weeks and then they said 'You can't put an album out around Christmas time, that's a bad time' and I said 'What about January?' 'Well nobody gets back off holidays and then it's the Brit Awards, you can't release an album, it's terrible for marketing', which brings me to February.
Also recently the artist released a new video for one of the the songs from this album, its name is Fancy and it features Charli XCX. You can check it out below.


text:
Q: Need help modifying my python code so that it displays a message when a dice roll is the same as the previous iteration within a for loop? So, in my python class, I am making a program that asks how many dice you want to roll and then rolls a die (via random integer generator) that amount of times; it then adds and prints the total while also giving a message if one roll has the same value as a previous roll. Everything seems to be working; I just can't figure out how I can make the code detect when I've had the same number in a row and how to display a message for that. The prompt for the lab suggests creating a variable that keeps track of the previous roll, but I'm honestly not sure how to do that either. Here is my code so far:
def main():
    num_dice = int(input('How many dice would you like to roll? '))
    while num_dice > 12 or num_dice < 3:
        print('Sorry, the number of dice must be between 3 and 12')
        num_dice = int(input('How many dice would you like to roll? '))
    roll_dice(num_dice)

def roll_dice(num_dice):
    import random
    rolls = 0
    for dice in range(1, num_dice + 1):
        print(f'Dice {dice}: {(rolls2 := random.randint(1, 6))}')
        rolls += rolls2
    print(f'Total: {rolls}')

main()

This is what the output is supposed to look like:
How many dice do you want to roll? 8
Dice 1: 1
Dice 2: 3
Dice 3: 3 -> On a roll!
Dice 4: 3 -> On a roll!
Dice 5: 6
Dice 6: 4
Dice 7: 6
Dice 8: 3
Total: 29

I don't remember going over this in class, and any help would be appreciated!

A: simply save every roll on a list and match latest roll to previous roll using simple logic a[dice]==a[dice-1]:
Code:
def main():
    num_dice = int(input('How many dice would you like to roll? '))
    while num_dice > 12 or num_dice < 3:
        print('Sorry, the number of dice must be between 3 and 12')
        num_dice = int(input('How many dice would you like to roll? '))
    roll_dice(num_dice)

def roll_dice(num_dice):
    import random
    rolls = 0
    a=[0,]
    for dice in range(1, num_dice + 1):
        {rolls2 := random.randint(1, 6)}
        a.append(rolls2)
        if a[dice]==a[dice-1]:
             print(f'Dice {dice}: {rolls2}---> on a roll')
        else:
             print(f'Dice {dice}: {rolls2}')
        rolls += rolls2
    print(f'Total: {rolls}')

main()

Output:
How many dice would you like to roll? 8
Dice 1: 4
Dice 2: 4---> on a roll
Dice 3: 3
Dice 4: 5
Dice 5: 1
Dice 6: 3
Dice 7: 3---> on a roll
Dice 8: 2
Total: 25

WITHOUT USING LIST
def main():
    num_dice = int(input('How many dice would you like to roll? '))
    while num_dice > 12 or num_dice < 3:
        print('Sorry, the number of dice must be between 3 and 12')
        num_dice = int(input('How many dice would you like to roll? '))
    roll_dice(num_dice)

def roll_dice(num_dice):
    import random
    rolls = 0
    rolls1 =0
    for dice in range(1, num_dice + 1):
        {rolls2 := random.randint(1, 6)}
        if rolls1==rolls2:
             print(f'Dice {dice}: {rolls2}---> on a roll')
        else:
             print(f'Dice {dice}: {rolls2}')
        rolls1=rolls2
        rolls += rolls2
    print(f'Total: {rolls}')

main()

Output:
How many dice would you like to roll? 12
Dice 1: 6
Dice 2: 2
Dice 3: 6
Dice 4: 3
Dice 5: 4
Dice 6: 4---> on a roll
Dice 7: 2
Dice 8: 2---> on a roll
Dice 9: 1
Dice 10: 6
Dice 11: 5
Dice 12: 3
Total: 44

A: I tested and seems working, please let me know.
def roll_dice(num_dice):
    import random
    rolls = 0
    value = []
    for dice in range(num_dice):
        rolls2 = random.randint(1, 6)
        value.append(rolls2)
        if rolls2 == value[dice-1] and dice >= 1 :
            print(f'Dice {dice+1}: {rolls2} -> On a roll!')
        else:
            print(f'Dice {dice+1}: {rolls2}')
        rolls += rolls2
    print(f'Total: {rolls}')

The output for 8 dices:
How many dice would you like to roll? 8
Dice 1: 2
Dice 2: 4
Dice 3: 4 -> On a roll!
Dice 4: 4 -> On a roll!
Dice 5: 4 -> On a roll!
Dice 6: 2
Dice 7: 2 -> On a roll!
Dice 8: 2 -> On a roll!
Total: 24

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text:
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Home child homework help Reinforced random walks
Reinforced random walks
Keter Special Containment Procedures: SCP is to be secured at Containment Area in a reinforced 3m x 3m x 3m containment chamber.
Term interpretations for different systems. To introduce reinforcement, we update the conductivity Dij in response to the current after the moving of the particle as 2. These rules define our current-reinforced random walk. At first, the particles spread over the whole network, and then the shortest path is formed and reinforced.
Finally, at equilibrium, the flow converges to the shortest path. In general, simulation of this system on mazes converges to the shortest path. The simulation also responds effectively in a dynamic environment. Electronic supplementary material, movie S1 is an example of the current-reinforced random walk in which the network structure is changed in the same way as the experiment by Reid et al.
Importantly, this mean field updating of conductivity is used in the Physarum solver model, first described by Tero et al. In the Physarum solver, the body of slime mould is assumed to be a network of pipes.
In terms of Physarum biology, the flow rate of protoplasm can be thought of as and the thickness of the pipe as Dij. In such a situation, Ni and Dij are, respectively, fast and slow variables allowing time separation between them.
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Ni can thus be treated as in equilibrium, i. By solving this equation instantaneously every time after Dij is updated, one can obtain the corresponding Ni and in advance get the flow rate.
This is the simulation scheme used by Tero et al. The scheme of Tero et al. This point is important both regard to the biological realism of the model and if the model were to be implemented efficiently on a parallel computer.
Pemantle : Phase Transition in Reinforced Random Walk and RWRE on Trees
Density reinforcement We now contrast the current-reinforced model with models in which reinforcement is based on density. In their model, each ant at node i walks down an edge ij with probability 2. The update rule for Dij is then the same as in equation 2. Under this scheme, the particle flow in both directions between two nodes are taken into account, i.
The mean flow rate between node i and j is given by 2. However, there are two important differences between the ant system and the Physarum solver.
In the sense of electric network, each node now can be considered as a capacitor, and Ci is thus the capacitance. The particles are trapped in their own feedback loop and cannot establish the shortest path between the source and the sink.
In their simulation, they let only one ant at a time go through the maze. This ant does not deposit pheromone until it gets to the sink.
Once it has arrived at the sink, all loops in its path are removed, and pheromone is laid on the paths not involving loops.
The Rip-offs & Making Our Original Game
These loop-erased random walks are ultimately equivalent to the random walks based on current reinforcement. This can be seen by noting that loops are equally likely in either direction and thus cancel out, leading back to reinforcement based on potential differences.
The advantage of our current-reinforced random walk over loop erasion is that it is based entirely on local information. In biological terms, this is equivalent to ants placing themselves at all positions in the foraging arena, but moving only on the path which is the shortest!
We can improve the biological realism by thinking about the decisions by an individual particle or ant about how to move through the network when responding to the local pheromone density.
We first assume that is the probability that an ant on node i will chose to move to node j. As a result, edges linked to nodes with large number of ants can still have flow if the two nodes have different total pheromone density. Larger Ci decreases the potential of the node and the ants will move to a lower potential node and create a flow.
Electronic supplementary material, movie S1 provides an example of the current-reinforced random walk in which the network structure is changed in the same way as the experiment by Reid et al.
When the network is changed, both the ants and the flow focus on the shortest path. Non-symmetric Physarum solver In the earlier-mentioned numerical examples, our current-reinforced random walks converge to the shortest path between a source and a sink. In order to prove the convergence of these mechanisms in a general sense, Johansson and co-workers have proposed a slight modification to the Physarum solver in which conductivity is updated in both directions between two linked nodes [ 2324 ].
In this modification, between node i and j, there are edges in both directions. Because the conductivity will be reinforced on edge ij, but at the same time so the conductivity decreases on edge ji, thus the conductivity will be updated non-symmetrically.At school, Houseago was a recalcitrant student, struggling to read and occupying himself mainly with drawing, daydreaming, drinking, and brawling.
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Sun Fun Stadium Cup, Full Color Digital. VERTEX-REINFORCED RANDOM WALK Robin Pemantle 1 Dept. of Statistics U.C. Berkeley 2 ABSTRACT: This paper considers a class of non-Markovian discrete-time random processes on a nite. Blackwall is a Free Marcher Grey Warden and a companion in Dragon Age: Inquisition as well as a potential romance for female Inquisitors.
Nothing is known of Blackwall prior to his recruitment into the Grey Wardens from the city of Cumberland in Dragon, but he is said to be one of the few. SlutWalk is a transnational movement of protest marches calling for an end to rape culture, including victim blaming and slut shaming of sexual assault victims.
Specifically, participants protest against explaining or excusing rape by referring to any aspect of a woman's appearance. The rallies began on April 3, , in Toronto, Ontario, Canada, after a Toronto Police officer suggested that.
Edit Article How to Quit Smoking Cold Turkey. In this Article: Staying Mentally Tough Leading a Busy and Active Life Reacting Appropriately to a Relapse Community Q&A Quitting smoking cold turkey is a challenge that requires significant commitment and perseverance.
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Hudson learned more economics from his work experience than from his Ph.D. courses. On Wall Street he learned how bank lending inflates land prices and, thereby, interest payments to the financial sector. The more banks lend, the higher real estate prices rise, thus encouraging more bank lending. As mortgage debt service rises, more of household income and more of the rental value of real estate are paid to the financial sector. When the imbalance becomes too large, the bubble bursts. Despite its importance, the analysis of land rent and property valuation was not part of his Ph.D. studies in economics.
The problem for Americans is that both political parties regard the needs of the American people as a liability and as an obstacle to the profits of the military/security complex, Wall Street and the mega-banks, and Washington's world hegemony. The government in Washington represents powerful interest groups, not American citizens. This is why the 21st century consists of an attack on the constitutional protections of citizens so that citizens can be moved out of the way of the needs of the Empire and its beneficiaries.
Hudson learned that monetary theory concerns itself only with wages and consumer prices, not with the inflation of asset prices such as real estate and stocks. He saw that economic theory serves as a cover for the polarization of the world economy between rich and poor. The promises of globalism are a myth. Even left-wing and Marxist economists think of exploitation in terms of wages and are unaware that the main instrument of exploitation is the financial system's extraction of value into interest payments.
Hudson shows that Western economies have been financialized in a predatory way that sacrifices the public interest to the interests of the financial sector. That is why the economy no longer works for ordinary people. Finance is no longer productive. It has become a parasite on the economy. Hudson tells this story in his recent book, Killing the Host (2015).
Dr. Paul Craig Roberts was Assistant Secretary of the Treasury for Economic Policy and associate editor of the Wall Street Journal. He was columnist for Business Week, Scripps Howard News Service, and Creators Syndicate. He has had many university appointments. His internet columns have attracted a worldwide following. Roberts' latest books are The Failure of Laissez Faire Capitalism and Economic Dissolution of the West,How America Was Lost, and The Neoconservative Threat to World Order.


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Dante Fowler Jr. Russell Wilson Lamar Jackson John Johnson Todd Gurley Clay Matthews Sean McVay John D. Johnson Jalen Ramsey Wade Phillips Marcus Peters Chris Carson Aaron Donald Aqib Talib Gerald Everett Sports NFL football Professional football Football Athlete injuries Athlete health Social media Online media Media Sports officiating Sports governance
Seattle Seahawks Los Angeles Rams Baltimore Ravens Miami Dolphins
Clay Matthews is unapologetically focused on LA Rams' surge
By GREG BEACHAM - Dec. 05, 2019 08:42 PM EST
Arizona Cardinals quarterback Kyler Murray (1) is pressured by Los Angeles Rams outside linebacker Clay Matthews during the first half of an NFL football game, Sunday, Dec. 1, 2019, in Glendale, Ariz. (AP Photo/Ross D. Franklin)
THOUSAND OAKS, Calif. (AP) — Nearly two months later, Clay Matthews still isn't sorry for his tweet condemning the performance of the NFL's referees this season.
That's why his $12,500 fine for the tweet wasn't reduced by the league, the Los Angeles Rams linebacker says with a chuckle.
"I was not remorseful enough," the veteran said when asked about his failed appeal of the fine.
Matthews says the NFL got that call right: He isn't remorseful, because he feels he was telling the truth when he wrote: "The storyline for the 2019 season continues to be the refs inability to make the accurate and correct calls week in and week out. Al Riveron (the NFL's senior vice president of officiating) continues to blindly side with his refs and the current status quo. Something must change! Zero accountability."
"I was correct," Matthews said Thursday. "Ultimately, I think most people apologize for feeling remorse when they're in the wrong, and I don't think I was in the wrong. The only thing I was wrong for doing was for going against the rules of the CBA, which is to not talk poorly about officiating."
Matthews has been on the wrong end of plenty of calls during his 11-year pursuit of the NFL's quarterbacks, and he has been outspoken in his criticism of overzealous calls in a league that protects those quarterbacks extensively. His chase continued in Los Angeles this season after a decade in Green Bay, and Matthews is still going strong as he heads into the final quarter of an impressive rebound season with eight sacks in nine games.
His frustration with officials peaked when he sent that tweet from his couch Oct. 14 while he was sidelined with his broken jaw wired shut. He had been accidentally injured by the back heel of Seahawks running back Chris Carson late in the Rams' painful 30-29 loss at Seattle earlier in October.
Matthews won't be worried about his health Sunday night when he leads the Rams' impressive defense against Carson and the Seahawks at the Coliseum. After spending the past two weeks chasing Lamar Jackson and Kyler Murray, Matthews' job gets no easier with the arrival of Russell Wilson.
He has been up to almost every task this season, answering critics who thought his big-play days were over in Green Bay. Although his broken jaw sidelined him for three games in October, Matthews is in the NFL's top 20 in sacks along with teammates Aaron Donald (9 1/2 sacks) and Dante Fowler (7 1/2 sacks).
"He's all we thought he would be, maybe a little better," Rams defensive coordinator Wade Phillips said of Matthews. "He's come in and done a great job for us."
Matthews has returned from injury with two sacks in four games, teaming up with Fowler, Donald and Ogbo Okoronkwo to provide a strong pass rush for a defense that has moved steadily up the league rankings for two months despite a 45-6 drubbing from Jackson and the powerhouse Ravens last month.
Los Angeles' defense made major changes while Matthews' jaw was wired shut, and he has adjusted to it well. Three of the Rams' top players in the secondary two months ago in Seattle were gone by the time his jaw healed, with safety John Johnson going on injured reserve while cornerbacks Marcus Peters and Aqib Talib departed in trades.
The moves also included the arrival of Jalen Ramsey, and the superstar cornerback's looming presence has changed Phillips' schemes to Matthews' pleasure.
"You definitely see a switch as far as playing some more man(-to-man coverage) with everything that Jalen is capable of doing back there," Matthews said. "I think we lead the league, at least as of a couple of (games) ago, with a four-man rush as far as being able to pressure the quarterback. You put man coverage back there and then four guys who can get to the quarterback, ultimately that's a really good combination there. But guys are just playing well, too."
NOTES: A grinning Todd Gurley had Thursday's top one-liner when the running back was asked about coach Sean McVay's declaration Wednesday that "me not being an idiot" was the reason for Gurley's recent increase in touches and productivity: "He said it, I didn't." ... Gurley also confirmed his lack of interest in his own touches: "It doesn't matter. Hit you with the same answer: it's a team sport, man. We've got great running backs." ... TE Gerald Everett missed practice with the knee injury that kept him out last week. McVay isn't sure whether his top pass-catching tight end will be able to play against Seattle.


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Should I Take a Vitamin D Supplement? Here's Why You May Want To Start, Especially Now
By Lizzy Rosenberg
Dec. 24 2020, Published 3:00 p.m. ET
At some point in your life, a worried family member has probably nagged you to "take your vitamins." And although many supplements, such as vitamin C, provide visible immune system boosting benefits, you may be wondering why so many people — particularly working adults in North America — are so heavily advised to take vitamin D supplements.
Keep reading for more on the health benefits of vitamin D, the rumors regarding its abilities to fend off COVID-19, and how you can get your fix — naturally and with sustainable supplements. Between shortened days, blustery winter evenings, and the ongoing pandemic, now may be a better time than ever to start getting your daily dose of vitamin D.
The health benefits associated with vitamin D are truly endless.
Vitamin D positively impacts the body in more ways than one. According to Healthline, it's proven to boost your immune system and help with depression (which are especially vital right now, with the ongoing pandemic). Vitamin D can also fight off certain diseases, such as the flu, MS, and heart disease, promote weight loss, and — because it helps with calcium absorption — it's thought to help promote bone, muscle, and oral health.
Unfortunately, since vitamin D largely comes from notable amounts of exposure to sunshine, many people — especially working adults in the Northern hemisphere — don't receive enough vitamin D from the sun. Those who are vitamin D deficient are often tired, achey, and are more prone to getting sick. Vitamin D deficiencies are also associated with bone and muscle pains, and sometimes even stress fractures.
Does vitamin D help fend off COVID-19?
Some health experts have come to believe that a higher vitamin D intake may help combat COVID-19. According to a press release from the Vitamin D For All Coalition, adults who up their intake to 100 micrograms (mcg) daily, especially those who are overweight or at high risk, are believed to suffer less from complications from the widespread pandemic.
Health officials, such as researchers from the University of Oxford and Princeton University, have written a letter to U.K. prime minister, Boris Johnson, to encourage adults to take vitamin D. However, it's a point of contention, as other officials believe there is no definitive evidence that vitamin D can combat the ongoing coronavirus pandemic, according to Yahoo!. Therefore, it's unlikely this movement will actually make a difference.
Here's how to get your vitamin D fix:
Unfortunately, getting your vitamin D fix naturally from food isn't as easy for vegans as it is for others. According to Medical News Today, oily fish such as cod, herring, and swordfish; egg yolks; and fortified cow's milk and yogurt are all high in vitamin D. Meatless folk can obtain vitamin D from raw maitake and dried shiitake mushrooms, as well as fortified orange juice and fortified non-dairy milk.
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Taking vitamin D has many advantages, especially during the pandemic, in terms of combatting depression and other diseases. Maybe your mom was right — taking that supplement daily may go a long way.
Is the Impossible Burger Healthy? Here's How It Compares to Beef
Natural Cures for Back Pain
Exploring the Many Health Benefits of Ginger


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Thursday, 1 October, 1998
Welcome Address
Andrea Ellmeier / Veronika Ratzenboeck
Österreichische Kulturdokumentation. Internationales Archiv für Kulturanalysen
Cultural Competence. New technologies, culture and employment
Cultural competence is designed to position and discuss the cultural dimension of new technologies, structural changes in cultural fields and employment aspects of cultural work and work in the arts/culture area in a European context.
The aim is to examine the structural framework for art/culture production and distribution in the context of current social transformations, i.e. to question focuses in cultural policy and measures taken at a national level with respect to their relevance to European structures. In general events involving information on and discussion of culture (policy) and the EU sooner or later come down to the extent to which the EU can provide financial resources for culture. This may well be an interesting and instructive question but it does not adequately address structurally important issues such as copyright, taxation or local conditions. With this in mind, "Cultural competence" is a continuation of the discussion process initiated during the British EU presidency with "A working culture: culture, creativity and employment" (London, May 1998). The production and distribution of culture in smaller European countries will be a particular focus.
On the second day of the conference discussion will concentrate on three areas: Content and distribution: the electronic challenge (music, literature) (Working Group 1), Cultures of electronic networks (Working Group 2) and Informal knowledge cultures: repositioning culture in an employment context (Working Group 3).
The important and highly equivocal question of work forms and relations in a cultural and artistic context will be dealt with in Working Group 3. The transformations in (professional) work cultures and consistently high unemployment rate present major challenges to individual governments and, since the Amsterdam Summit in 1997, to Europe as a whole.
The anticipated growth in culture and particular in related industries was noted in a working paper entitled "Culture, cultural economics and employment published in May this year by Directorate General V "Employment, industrial relations and social affairs" in co-operation with Directorate General X, which is responsible for culture and audiovisual media. There are said to be some three million jobs associated with culture (culture-related jobs) in the EU: practically as many as in the food and semi-luxury goods industry. Culture is not mentioned at all, however, in EU strategy papers concerning employment policy - not least because culture, as was emphasized, for example, at the informal meeting of ministers of culture in Linz in September 1998, is supposedly the responsibility of the individual member states. Apart from the general structural changes in the labour market, discussion in this Working Group will also focus on cultural workers/entrepreneurs and on the specific and demanding creativity mix required for jobs in the culture/arts field and the new training requirements that this might involve. The development of the culture sector as a job creator will be examined on the basis of examples taken from Great Britain and Germany. The aim of this Working Group is to continue discussion of culture and employment with particular account of the effects of new technologies.
Working Group 2 Cultures of electronic networks will look at the cultural dimension of new technologies, in particular the so-called "new cultural initiatives" that have arisen in the 1990s within the cultural platforms in electronic networks, and the perception of these initiatives in Europe.
Euroepan best-practice models will be presented and the structural difficulties of a technology policy that ignores the cultural dimension will be discussed. The change in "public space" produced by the digital culture will be examined in Debate 3. A particular focus in this Working Group will be the shortcomings in national and, more especially, European cultural policy concepts with respect to subsidies and awareness of network initiatives and media art as new artistic forms of expression, with a view to integrating them more actively in the European discussion process.
Content and distribution: the electronic challenge is the title of Working Group 1, which will deal with current structural changes in culture production and distribution, as exemplified by music and literature. This issue - of critical interest in both cultural and economic terms - will be examined in four debates, which will look at the following questions: culture production cyberspace, copyright, distribution and locality and employment. Respected representatives of European and national interests will discuss the politically relevant aspects of this highly controversial issue.
On the opening afternoon the themes of the conference will be addressed in a number of distinct ways: the approach to and combination of cultural and general policy issues will be reflected in a presentation of new economies (economy of attention), a historical commentary on work and love, which looks at visible employment policy aspect in the context of privacy and public life, the successive changes in basic democratic rights - an extremely critical subject in our society - of the new possibilities for access provided by information and communications technologies (civil rights and ICT), and the often discussed question of the cultural and social significance of copyright, an issue that legal experts have all too frequently tended to keep to themselves. This wide spread in the plenum presentations gives an idea of the vast range of possibilities for discussion of the conference theme and of the need for stronger general reflection in society on the developments in Europe. It would be useful if all European were to would integrate cultural issues as a matter of course in their work, not least since European economic co-operation not only results in structural changes in the economic sphere but also influences and significantly changes political cultures in the individual countries.
The conference reader provided for you here contains biographies of varying lengths and abstracts written by the presenters themselves. A record of the conference is planned to make the contents of presentations and position papers available to a wider public. The interaction of economic, social and political aspects of cultural policy decisions will at all events be one of the central and most interesting challenges of the next few years.
On behalf of the concept and organization team we wish you an interesting contextual conference.


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UT New Music Fest – Latitude 49, plus tribute to Bernie Sanchez
APRIL 1-3 at 7pm | CENTER FOR PERFORMING ARTS RECITAL HALL
The University of Toledo Department of Music Spring Festival of New Music opens Tuesda y, April 1 with two compositions dedicated to the late Bernie Sanchez and concludes with guest artist Latitude 49.
Guest Artists Latitude 49, to perform Thursday, April 3 at 7 p.m.
In between, is an exciting and varied mix of new music in virtually every genre. A total of three concerts will be presented, one each night at 7 p.m., Tuesday, April 1 through Thursday, April 3 in the UT Center for Performing Arts Recital Hall. All concerts in the festival are free and open to the public.
The UT Spring Festival of New Music is one of the highlights of the cultural year for both the campus and the Toledo music community. For 37 years, guest composers and performers have interacted with students and faculty, resulting in exciting concerts and presentations on campus. The Festival has also sponsored premiere performances of student and area composers.
TUESDAY, April 1 This year, the winner of the student composer contest will be announced at the Faculty and Student Chamber Music Concert, which kicks off the Festival on Tuesday. In addition, two works – "Tribute in Brass" for brass quintet, composed by UT professor Dr. David Jex, and "To the West Wind," composed by Music faculty member Dr. Lee Heritage, will also be premiered at this concert.
Bernie Sanchez (1935-2013), former UT Music Department chair, performer, teacher, conductor, & advocate for music and the arts.
Both compositions honor the memory of UT Professor Emeritus Bernard Sanchez, who passed last October. Professor Sanchez retired after serving for more than 30 years at UT and in our area as a performer, teacher, conductor, department chairman, and advocate for music and the arts.
Heritage said, "While I was composing this quintet, the news came suddenly – and with a great sense of shock and tragedy – that Bernie had died. I was deeply saddened, and gradually realized that the second movement of my woodwind quintet was taking shape as an elegy to our great friend. The movement is set for flute solo, singing an angular, emotional melody, accompanied by somber chords in the rest of the quintet."
"To the West Wind" will be performed by the Toledo Symphony Woodwind Quintet. The instrumentalists are Joel Tse, flute; Michele Tosser-Smith, oboe; Georg Klaas, clarinet; Sandra Clark, horn; and Gareth Thomas, bassoon.
The "Tribute in Brass" quintet will be performed by UT faculty members David Jex, Alan Taplin, Dan Harris, Andrew Rhodes, and features guest trumpeter David Kosmyna, a UT alumnus who is currently Professor of Music at Ohio Northern University.
The Good, The Bad, and The Blues – to perform Tuesday, April 2 at 7 p.m.
WEDNESDAY, April 2 The second concert of the Festival is an eclectic mix of new music in a variety of genres. The Good, The Bad, and The Blues!, a funk, fusion quartet, will perform a set of original songs. They are 4-time Black Swamp Blues Society Challengers, and were among the International Blues Challengers Semi-finalists of 2013 in Memphis.
UT graduate student and teaching assistant Christina Eck, an electronic music composer, singer and songwriter, will be performing her album "Diamond in the Rough," featuring a collection of four original songs. Stephen Mariasy, a UT Film/Video student, will present his new composition "Raindance," all realized by virtual-instrument, computer-based digital sound.
David Mariasy, Senior Lecturer of Music Technology will debut his new composition, "Requiem for Violin and Digital Orchestra." Performing on the work will be violin soloist, Cecilia Johnson, a member of the strings faculty at UT. Video projections will be part of the concert as well, produced by Holly Hey, Associate Professor of Film and Head of Film at UT.
THURSDAY, April 3 Concluding the festival is guest artist Latitude 49. The music of Latitude 49 explores new sounds, engaging diverse audiences, and holding hands with composers of today. Twice featured by the Michigan Muse magazine, the group's University of Michigan roots have grown to include performances on stages across the Midwest and public radio. L49's top priority is to foster future audiences by creating dynamic concert experiences that give a voice to some of today's hottest composers.
Tags: Bernie Sanchez, electronic music, Latitude 49, Music Alumni, Music Faculty, new chamber music, new music, The Good the Bad and The Blues
Posted in Achievements, CoCA, Events, Faculty, In the News, Music, Students, UT College of Communication and the Arts News| Comments Off on UT New Music Fest – Latitude 49, plus tribute to Bernie Sanchez
Screening of Top Student Film, Animation, Video Work – March 15
What do nightmares, rattlesnakes, and the pyscho-sexual have in common? Come find out! These subjects and more will be featured in the annual University of Toledo Aspiring Filmmakers Showcase. Presented by the UT Film & Video Society (a student-run organization) and by the UT Department of Theatre & Film, this year's Showcase will screen on March 15, 2014 in the Center for Performing Arts Center Theatre at 7:30 p.m. (Scroll down to link to films)
An eight-member panel of judges made selections into the Showcase. The panel included Film faculty, outstanding former students of the film program, Dean and Associate Dean of the College of Communication and The Arts, Debra A. Davis and Holly Monsos, and distinguished professionals within the community, Brett Leonard (feature film director and producer) and Dustin Hostetler (graphic artist and illustrator). Leonard will also be in attendance at this week's screening. The majority of submissions were from Film majors, but the competition was open to any student who made work in the Film program's production courses.
Tickets to the Showcase cost $5 for the general public and $3 for students and senior citizens (60+). The Center for Performing Arts is located on UT's Main Campus at Towerview West and West Rocket Drive.
"This year's selections were the most competitive yet in my opinion! I think it shows how our program and our students continue to grow and get even better each year. We use a juried entry process so that our students have 'real world' experience with both acceptance and rejection of their work by audiences outside the classroom. We had some very good work this year that didn't get into the Showcase. A few of my favorite projects didn't get in, and I was one of the judges. It just goes to show how subjective festival entry can be, and that's vital for our students to learn and understand. Although rejection is difficult, it is necessary for success. To be rejected shows that you're trying to get your work shown, and as a creative person, that's really what you have control over; how and how often you try. The rest is up to the audiences that you reach. Ultimately, the more attempts at recognition, the more likely recognition will happen. It's a number's game in my opinion. At the same time, a competitive entry process should be a great eye-opener for the students whose work was accepted; it should awaken them to not taking their work for granted. It's one thing to not know the person you competed against, but when you know your work was selected over your friend's or colleague's work (people and work you really value and respect), that's something much different; it's much more profound and meaningful to have your work recognized."
– Holly Hey, Associate Professor and Head of Film
"The showcase is a great experience for students not only to see each other's work, but to see what other students are creating. Collaboration is the spirit of filmmaking and it is of value to students to realize that often they may be each other's best resources. In addition it is always nice to see your work on the 'big screen.' Nothing compares to having a large audience view and respond to your work. Often in classes your only critique is that of your classmates and your professor, but with the showcase a much larger community can be reached."
– Samantha Muirhead, President of the UT Film Video Society student organization
Aspiring Filmmakers Showcase Works To Be Screened
Melissa Byrd
Instinctual Drives
Fall 2013, Film I
http://www.youtube.com/watch?v=9lbpkvwH54U
Crista Constantine
The Figure And The Mind
Spring 2013, Video I
http://www.youtube.com/watch?v=n2z7xyuNwR8
Anna Coulter
Fall 2013, Optical Printing
http://www.youtube.com/watch?v=YUsU132ZFIg
Tyler Curry
Don't Bite The Hand That Feeds You
Ian Henry
Spring 2013, Film I
http://www.youtube.com/watch?v=I6R3XWdpa0E
Fall 2013, Video I
http://www.youtube.com/watch?v=CAe9cP48Qjo
Andrew Jex
http://www.youtube.com/watch?v=a1BmyI3lQD8
Rocket Marching Band Promo
Fall 2013, Advanced Post Production
Rattler On The Doorstep
Lydia Kane
First Encounter
Spring 2013, Video II
The Spirit Of The Game
Summer 2012 (Abroad), Documentary Production
http://www.youtube.com/watch?v=BsiycoAvtjE
Charles King
http://www.youtube.com/watch?v=yvvMUXv5_OY
Stephen Mariasy
https://www.youtube.com/watch?v=gjWV96D2GeI
I Am Become Cat
https://www.youtube.com/watch?v=aNuKJX4K0PI
Lydia Messer
Soteria
http://www.youtube.com/watch?v=e3VY-uWom_c
Samantha Muirhead
Aspiring Filmmaker's Showcase Lead In
Carolyn Sharkey
http://www.youtube.com/watch?v=1VsBuX2XtRc&feature=youtu.be
Cory Vail
http://www.youtube.com/watch?v=pu2RYn7K3SY
Disconnect The Dots
http://www.youtube.com/watch?v=9ABLIFa8hCw
Heather Wilson
http://www.youtube.com/watch?v=zHYl1YvSMiE
Noah York
Fohat Speaks
Leonard Zaleski
Clearwater COG Video Project
Fall 2013, Internship Credit
Tags: awards in film for students, Brett Leonard, film, film at UT, student film awards, Study Film in Ohio, Theatre Film Students, video, where to study film
Posted in Achievements, CoCA, Events, Students, Theatre and Film, UT College of Communication and the Arts News| Comments Off on Screening of Top Student Film, Animation, Video Work – March 15
BFA alum exhibits work in CVA Clement Gallery
Clifton Harvey, 2006 BFA graduate from the University of Toledo Department of Art
A 2006 BFA graduate from the University of Toledo Department of Art, Clifton Harvey, is exhibiting some of his most creative work in the UT Clement Gallery, located in the UT Center for Visual Arts next to the Toledo Museum of Art. The exhibit, on display now through April 12, is free and open to the public.
A Digital artist and Toledo native, Harvey combines his skewed photographic work with his unique hand-drawn creations. Drawing inspiration from childhood nostalgia and daydreams, his illustrated narratives depict surreal worlds inhabited by broken creatures searching for what the artist describes as their "missing parts." Exploring themes connected to hope, despair, and the search for wholeness, Clifton's work is an allegory for his personal experiences.
"The Last Tenant" by Clifton Harvey
"An unspoken dialogue exists between artwork and viewer. During this exchange, unexpected conclusions are drawn based on our unique experiences. These unpredictable associations may not be consciously made, but rather felt deeply, like a sensation of nostalgia for something never personally experienced. Exploring the precarious notion that a camera's ability to freeze a moment is somehow linked to reality, I digitally combine my photography and illustration to discover my own kind of photographic truth. The ebb and flow of inspiration I experience between these media wouldn't necessarily occur if I worked with each independently."
Harvey is accomplished young artist with several important awards and accolades to his credit. He was selected for the Arts Commission's Artist Designed Bike Racks Project (2013) and the "You Are Here, Toledo" public art project (2012). Harvey has also won first place in the 19th Annual UT Alumni Association Outdoor Juried Art Fair (2011), the People's Choice Award at Artomatic 419! (2011), the Juror's Choice Award at the Sixth Annual Ohio Online Visual Artist Registry Juried Show (2011) and has had his work featured on the Behance Network.
Learn more about Clifton Harvey: http://www.cliftonharveyart.com/bio.html
See his work on Flickr: http://www.flickr.com/photos/67209226@N07/
Tags: Art Alumni
Posted in Alumni, Art News, CoCA, Events, UT College of Communication and the Arts News| Comments Off on BFA alum exhibits work in CVA Clement Gallery
UT Theatre Alum awarded for theatre work
Theatre alumnus PAT MILLER is in the news! In December, he received two awards for his work in the Beck Center for the Arts' MONTY PYTHON'S SPAMALOT.
2013 News-Herald Best Theater Awards
Best Performance by an Actor in a Musical Pat Miller, "Spamalot" – Beck Center for the Arts
2013 BroadwayWorld Cleveland Awards
Best Actor in a Musical – Guest Artist Theatre
Pat Miller – Monty Python's SPAMALOT – Beck Center for the Arts
Pat credits his faculty at UT with his success – to Theatre Lecturer Irene Alby he writes:
"I truly appreciated all of your support and encouragement with the BroadwayWorld Cleveland Awards. It really meant the world. Thank you, thank you, thank you. Some pretty cool things ended up happening: I somehow received a Critic's Choice Award from The News-Herald (a major Northeast Ohio newspaper) and also the BroadwayWorld Cleveland Award. So much of what you, Cornel, and Ed taught me at UT stays with me on stage. Unending thanks!"
Photo: UT Alumnus, Pat Miller in the Beck Center for the Arts production of MONTY PYTHON'S SPAMALOT (Photo: CBS WDOK, Cleveland's New 102)
Tags: Cornel Gabara, Ed Lingan, Irene Alby, Pat Miller, Spamalot, Theatre Film Alumni, UT theatre alumni
Posted in Achievements, Alumni, CoCA, Faculty, In the News, Theatre and Film, UT College of Communication and the Arts News| Comments Off on UT Theatre Alum awarded for theatre work


Engaging patients in the management of their health care can improve the quality of their care and enhance their experience while making more efficient use of care provider resources, especially for chronic diseases. However, health care system complexity and the challenge of consumer health literacy hinder greater engagement. In this paper, we propose a Context-Aware patient Navigation and Engagement (CANE) framework to support informed decision making and more efficient use of health care services. We use the BPMN 2.0 workflow language to formalize the description of navigation processes derived from medical guidelines and develop a healthcare network ontology to assist patient understanding of various clinical activities from multiple perspectives (e.g., resource, logistics, financial, and time). A running example of type 2 diabetes management is used to illustrate our CANE framework. Finally, we describe the system architecture of our prototype.


text:
Q: failed to allocate 158.06M (165740544 bytes) from device: CUDA_ERROR_OUT_OF_MEMORY How should I fix this error?
[jalal@goku bin]$ source activate deep_emotion
(deep_emotion) [jalal@goku bin]$ python
Python 3.5.4 | packaged by conda-forge | (default, Nov  4 2017, 10:11:29)
[GCC 4.8.2 20140120 (Red Hat 4.8.2-15)] on linux
Type "help", "copyright", "credits" or "license" for more information.
>>> import keras
Using Theano backend.
>>> quit()
(deep_emotion) [jalal@goku bin]$ export KERAS_BACKEND=tensorflow
(deep_emotion) [jalal@goku bin]$ python
Python 3.5.4 | packaged by conda-forge | (default, Nov  4 2017, 10:11:29)
[GCC 4.8.2 20140120 (Red Hat 4.8.2-15)] on linux
Type "help", "copyright", "credits" or "license" for more information.
>>> import keras
Using TensorFlow backend.
2017-11-20 17:49:18.666294: W tensorflow/core/platform/cpu_feature_guard.cc:45] The TensorFlow library wasn't compiled to use SSE4.1 instructions, but these are available on your machine and could speed up CPU computations.
2017-11-20 17:49:18.666337: W tensorflow/core/platform/cpu_feature_guard.cc:45] The TensorFlow library wasn't compiled to use SSE4.2 instructions, but these are available on your machine and could speed up CPU computations.
2017-11-20 17:49:18.666347: W tensorflow/core/platform/cpu_feature_guard.cc:45] The TensorFlow library wasn't compiled to use AVX instructions, but these are available on your machine and could speed up CPU computations.
2017-11-20 17:49:18.666354: W tensorflow/core/platform/cpu_feature_guard.cc:45] The TensorFlow library wasn't compiled to use AVX2 instructions, but these are available on your machine and could speed up CPU computations.
2017-11-20 17:49:18.666363: W tensorflow/core/platform/cpu_feature_guard.cc:45] The TensorFlow library wasn't compiled to use FMA instructions, but these are available on your machine and could speed up CPU computations.
2017-11-20 17:49:19.196610: I tensorflow/core/common_runtime/gpu/gpu_device.cc:955] Found device 0 with properties:
name: GeForce GTX 1080 Ti
major: 6 minor: 1 memoryClockRate (GHz) 1.6705
pciBusID 0000:05:00.0
Total memory: 10.91GiB
Free memory: 158.06MiB
2017-11-20 17:49:19.426132: W tensorflow/stream_executor/cuda/cuda_driver.cc:523] A non-primary context 0x42e9db0 exists before initializing the StreamExecutor. We haven't verified StreamExecutor works with that.
2017-11-20 17:49:19.426768: I tensorflow/core/common_runtime/gpu/gpu_device.cc:955] Found device 1 with properties:
name: GeForce GTX 1080 Ti
major: 6 minor: 1 memoryClockRate (GHz) 1.6705
pciBusID 0000:06:00.0
Total memory: 10.91GiB
Free memory: 398.44MiB
2017-11-20 17:49:19.427277: I tensorflow/core/common_runtime/gpu/gpu_device.cc:976] DMA: 0 1
2017-11-20 17:49:19.427309: I tensorflow/core/common_runtime/gpu/gpu_device.cc:986] 0:   Y Y
2017-11-20 17:49:19.427323: I tensorflow/core/common_runtime/gpu/gpu_device.cc:986] 1:   Y Y
2017-11-20 17:49:19.427347: I tensorflow/core/common_runtime/gpu/gpu_device.cc:1045] Creating TensorFlow device (/gpu:0) -> (device: 0, name: GeForce GTX 1080 Ti, pci bus id: 0000:05:00.0)
2017-11-20 17:49:19.427362: I tensorflow/core/common_runtime/gpu/gpu_device.cc:1045] Creating TensorFlow device (/gpu:1) -> (device: 1, name: GeForce GTX 1080 Ti, pci bus id: 0000:06:00.0)
2017-11-20 17:49:19.429776: E tensorflow/stream_executor/cuda/cuda_driver.cc:924] failed to allocate 158.06M (165740544 bytes) from device: CUDA_ERROR_OUT_OF_MEMORY
>>> quit()
(deep_emotion) [jalal@goku bin]$ conda list | grep keras
keras                     2.0.9                    py35_0    conda-forge
(deep_emotion) [jalal@goku bin]$ conda list | grep tensorflow
tensorflow-gpu            1.3.0                         0
tensorflow-gpu-base       1.3.0           py35cuda8.0cudnn6.0_1
tensorflow-tensorboard    0.1.5                    py35_0

Sys info is as follows:
$ uname -a
Linux goku.bu.edu 3.10.0-693.5.2.el7.x86_64 #1 SMP Fri Oct 20 20:32:50 UTC 2017 x86_64 x86_64 x86_64 GNU/Linux

and
(deep_emotion) [jalal@goku bin]$ nvidia-smi
Mon Nov 20 17:51:50 2017
+-----------------------------------------------------------------------------+
| NVIDIA-SMI 384.81                 Driver Version: 384.81                    |
|-------------------------------+----------------------+----------------------+
| GPU  Name        Persistence-M| Bus-Id        Disp.A | Volatile Uncorr. ECC |
| Fan  Temp  Perf  Pwr:Usage/Cap|         Memory-Usage | GPU-Util  Compute M. |
|===============================+======================+======================|
|   0  GeForce GTX 108...  Off  | 00000000:05:00.0  On |                  N/A |
|  0%   25C    P8    19W / 250W |  10862MiB / 11172MiB |      0%      Default |
+-------------------------------+----------------------+----------------------+
|   1  GeForce GTX 108...  Off  | 00000000:06:00.0 Off |                  N/A |
|  0%   36C    P8    19W / 250W |  10622MiB / 11172MiB |      0%      Default |
+-------------------------------+----------------------+----------------------+

+-----------------------------------------------------------------------------+
| Processes:                                                       GPU Memory |
|  GPU       PID   Type   Process name                             Usage      |
|=============================================================================|
|    0      2062      G   /usr/bin/X                                   183MiB |
|    0      2779      G   /usr/bin/gnome-shell                         176MiB |
|    0      3298      C   /cs/software/anaconda3/bin/python          10341MiB |
|    0      4350      G   ...-token=2BC290A510039A38C05EF3ECBAA5E5E5    78MiB |
|    0      5212      G   /usr/lib64/firefox/plugin-container            5MiB |
|    0     32257      G   /proc/self/exe                                64MiB |
|    1      3298      C   /cs/software/anaconda3/bin/python          10611MiB |
+-----------------------------------------------------------------------------+

A: Thanks to Robert Crovella for the suggestions. Restarting the machine solved the problem:
[jalal@goku ~]$ source activate deep_emotion
(deep_emotion) [jalal@goku ~]$ export KERAS_BACKEND=tensorflow
(deep_emotion) [jalal@goku ~]$ python
Python 3.5.4 | packaged by conda-forge | (default, Nov  4 2017, 10:11:29)
[GCC 4.8.2 20140120 (Red Hat 4.8.2-15)] on linux
Type "help", "copyright", "credits" or "license" for more information.
>>> import keras
Using TensorFlow backend.
2017-11-20 18:43:28.424658: W tensorflow/core/platform/cpu_feature_guard.cc:45] The TensorFlow library wasn't compiled to use SSE4.1 instructions, but these are available on your machine and could speed up CPU computations.
2017-11-20 18:43:28.424690: W tensorflow/core/platform/cpu_feature_guard.cc:45] The TensorFlow library wasn't compiled to use SSE4.2 instructions, but these are available on your machine and could speed up CPU computations.
2017-11-20 18:43:28.424727: W tensorflow/core/platform/cpu_feature_guard.cc:45] The TensorFlow library wasn't compiled to use AVX instructions, but these are available on your machine and could speed up CPU computations.
2017-11-20 18:43:28.424734: W tensorflow/core/platform/cpu_feature_guard.cc:45] The TensorFlow library wasn't compiled to use AVX2 instructions, but these are available on your machine and could speed up CPU computations.
2017-11-20 18:43:28.424745: W tensorflow/core/platform/cpu_feature_guard.cc:45] The TensorFlow library wasn't compiled to use FMA instructions, but these are available on your machine and could speed up CPU computations.
2017-11-20 18:43:28.951509: I tensorflow/core/common_runtime/gpu/gpu_device.cc:955] Found device 0 with properties:
name: GeForce GTX 1080 Ti
major: 6 minor: 1 memoryClockRate (GHz) 1.6705
pciBusID 0000:05:00.0
Total memory: 10.91GiB
Free memory: 10.44GiB
2017-11-20 18:43:29.172079: W tensorflow/stream_executor/cuda/cuda_driver.cc:523] A non-primary context 0x31d6630 exists before initializing the StreamExecutor. We haven't verified StreamExecutor works with that.
2017-11-20 18:43:29.172825: I tensorflow/core/common_runtime/gpu/gpu_device.cc:955] Found device 1 with properties:
name: GeForce GTX 1080 Ti
major: 6 minor: 1 memoryClockRate (GHz) 1.6705
pciBusID 0000:06:00.0
Total memory: 10.91GiB
Free memory: 10.75GiB
2017-11-20 18:43:29.173970: I tensorflow/core/common_runtime/gpu/gpu_device.cc:976] DMA: 0 1
2017-11-20 18:43:29.174019: I tensorflow/core/common_runtime/gpu/gpu_device.cc:986] 0:   Y Y
2017-11-20 18:43:29.174034: I tensorflow/core/common_runtime/gpu/gpu_device.cc:986] 1:   Y Y
2017-11-20 18:43:29.174055: I tensorflow/core/common_runtime/gpu/gpu_device.cc:1045] Creating TensorFlow device (/gpu:0) -> (device: 0, name: GeForce GTX 1080 Ti, pci bus id: 0000:05:00.0)
2017-11-20 18:43:29.174070: I tensorflow/core/common_runtime/gpu/gpu_device.cc:1045] Creating TensorFlow device (/gpu:1) -> (device: 1, name: GeForce GTX 1080 Ti, pci bus id: 0000:06:00.0)
>>> import tensorflow
>>>


DJ Josh LeCash on New Reality Show: "I Don't Want It to Be The Hills"
Local DJ Josh LeCash - who mans the turntables at hot spots like Coco De Ville and Rokbar - has set his sights on a new reality show - but don't expect him to take any cues from MTV's famed starlets.
"I don't want it to be like The Hills," LeCash told Niteside. "I do want there to be a sense of characters you're following, but that's as much of The Hills as I want it to get."
He added, "It will be different than watching a reality show like that or the Kardashians -- when they're in front of the camera, they act like they're not -- I feel like it's a little ridiculous and just shows how fake it is. I want to break down that barrier, we'll be talking right to the camera."
Still, LeCash admits crafting his vision, which he conceptualized more than two years ago, has been a process. After his initial brush off from L.A. producers, LeCash filmed his own pilot with fellow 305 spinner Troy Kurtz, and are now working with the same producers for HBO's hot show, Hung.
Although the idea was altered slightly, LeCash says the root is still the same. The plan is to develop it into a travel show with a group of Miami DJs in a new location each episode -- which he hopes will be filmed "more like Joaquin Phoenix's I'm Still Here."
"It's not necessarily a party show, that's not what it's about," he explained. "It's more of a DJ documentary, showing the lifestyle of traveling DJs - but the situations are really entertaining."
LeCash hopes to be shooting by this year's Winter Music Conference. But until then, he's recruiting more cast members - that already include local female DJs like Jessica Who and La Trice - to join the ranks. And although no DJ experience is required to audition, unlike some "reality" shows, LeCash has no plans to cast any high-drama characters.
"I'm not going to add someone crazy, or a bad guy, just so they will add conflict to the show," he said. "I want to add someone we'll be friends with, someone we'd actually hang out with."
For those who think they fit the bill, tweet LeCash, who is holding open casting calls for young females (18-25) on Monday, January 31.


AdventureQuest Worlds reveals the Throne of Darkness, a seven part saga that begins April 14.
Artix's Adam Bohn took on more than expected this weekend when attending his wedding. Oh the live of a game designer.
I found a method that really working!
It worked for me so it should work for anyone!
This hack allows you to upgrade any AQ World account to a membership subscription.
All my friends use it so I recommend it!


text:
Viewpoint: Attack on Montana Consumer Counsel is revenge by utility lobby
Terry Minow
In the early 1970s, frustrated with the corporate boot that dominated and bullied Montanans, the state's people rose up. Led by ordinary citizens like Pastor George Harper of Helena, local historian and mother of six Louise Cross of Glendive, and League of Women Voters leader Dorothy Eck of Bozeman, they crafted what is now recognized as a world-renowned Constitution.
Among many important motivations was their conviction that in order to free Montanans from corporate dominance at the expense of workers, farmers and ordinary citizens, the state's people must have an independent advocate in the regulation of public utilities. They needed a consumer counsel — a well resourced and equipped advocate that was not beholden to the elites and the giant power companies.
The result is Article XIII, Section 2 of the Montana Constitution which states: The legislature shall provide for an office of consumer counsel which shall have the duty of representing consumer interests in hearings before the public service commission or any other successor agency.
The legislature shall provide for the funding of the office of consumer counsel by a special tax on the net income or gross revenues of regulated companies. Since its creation, the Montana Consumer Counsel has been a consistent voice protecting consumers from the abuses of monopoly utilities.
As a result, the office of the Consumer Counsel has made many powerful enemies in the utility industry. Primary among them is NorthWestern Energy.
In recent years, NorthWestern has been aggressively trying to get out from under the financial burden of their remaining coal plants in eastern Montana. Their latest effort is to get the cost of these old, expensive plants rolled into consumers' electric bills.
This would raise our electric rates, while guaranteeing NorthWestern a nice rate of return and allowing stockholders to avoid the costs of retiring the plants and cleaning up the environmental damage they leave behind. The Montana Consumer Counsel has been standing in the way, joining with consumer advocates in testifying against various legislative schemes to force ratepayers to pay for these old, expensive coal plants.
So far, NorthWestern's scheme has failed, in large part because of the Montana Consumer Counsel. Now, the new Republican supermajority is already out of the gate, even before the gavel has convened the 2023 session, with a brazen assault on ordinary Montanans and their pocketbooks.
Senator Steve Fitzpatrick of Great Falls is trying to muzzle the Consumer Counsel through legislative rulemaking. In obvious contradiction to clear Constitutional language, Sen. Fitzpatrick's new rule would require the Consumer Counsel to ask permission of a legislative committee to support or oppose legislation.
There is a lot to be disturbed about in Fitzpatrick's ploy, but perhaps the worst thing is his complete disregard for the Constitution and his effort to portray an independent, unbiased, constitutionally created agency as simply beholden to the whims of a legislative committee.
We hope that a majority of legislators, Republicans and Democrats alike, will not allow this blatant assault on Montana's citizens, their pocketbooks, and our State's Constitution.
Filed Under: elections, energy, Montana Today
Categories: Voices


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text:
Home Artists - L to Z Artists - R Roky Erickson & The Aliens
Roky Erickson & The Aliens
Busted for marijuana possession in his home state of Texas in 1969, Roky Erickson of The 13th Floor Elevators (pictured below right) copped an insanity plea and was sent to Rusk State mental Hospital.
Shock therapy and heavy medication for what was diagnosed as paranoid schizophrenia followed.
Released three and a half years later – a changed man by all accounts – he began a solo career that turned out to be as bizarre as it was – at times – brilliant.
After moving from Austin, Texas to Los Angeles, Erickson soon put a new band together, Bleib Alien. The music was hard-driving and raw, but still melodic – Erickson was a fan of Elvis, Buddy Holly and Little Richard, and it always showed.
Insane lyrics reflected his obsession with sci-fi and horror – imagine a low-budget horror flick version of Blue Öyster Cult; pounding, dramatic songs sent into the ectoplasmic ionosphere by Billy Miller's necromantic autoharp, Duane Aslaken's searing guitar and Erickson's bluesy spirit-howling.
When manager/producer Craig Luckin entered the picture in 1978, work began on Roky Erickson & The Aliens, Erickson's first album for a major label. Stu Cook, late of Creedence Clearwater Revival, was enlisted to produce sessions at a studio in San Anselmo, California, called 'The Church'. 15 songs resulted, ten of which were used.
Luckin also helped solidify the line-up, bringing in bassist Stephen Morgan and drummer John Oxendine.
Getting consistently good performances from Erickson during the recording sessions was a challenge that shaped the way Cook made the album. He eventually decided to keep every single take Erickson did and then piece together the vocals for entire songs from these many takes – literally using a line, a phrase or a single word here and there.
"Two headed dog, two headed dog," goes the thrillingly warped track of the same name, "I've been working in the Kremlin with a two-headed dog."
The rest of the tracks were as cryptically worded, and the titles were real winners also: I Walked With A Zombie, Stand For The Fire Demon, Creature With The Atom Brain, Don't Shake Me Lucifer andI Think Of Demons for example. But the songs gave everyone vivid snapshots of what was going on in Erickson's scrambled brain.
"The music Roky was playing was pretty bizarre at the time," says drummer John Oxendine. "I took on the stage name 'Fuzzy Furioso' because I wasn't sure I wanted to use my real name in connection with it".
By the time the album was released on CBS in early 1980, Erickson was already back in Austin, fronting a new band – The Explosives – while The Aliens stayed in California.
Roky Erickson & The Aliens didn't sell particularly well, and never enjoyed the same acclaim bestowed on The 13th Floor Elevators, and for Erickson, rough years and sporadic releases followed.
Duane Aslaken
Stephen Morgan Burgess
Billy Miller
Electric Autoharp
John 'Fuzzy Furioso' Oxendine
Real Kids, The
Runaways, The
Godspell (1973)
A rock gospel according to Saint Matthew, David Greene's Godspell derived from a successful stage show. Play and screenplay author John Tebelak failed to realise that updating...
Originally formed in 1966 around the Streatham area of South London, Mud came together from two local bands; The Mourners, featuring brothers Les (vocals) and...
Daughter of Detroit's acclaimed Baptist preacher, the Reverend C L Franklin, Aretha Louise Franklin was just into her twenties when she signed to Atlantic in November...
Jerry Samuels to his friends, this recording engineer and occasional songwriter worked a small miracle of bad taste with just a drum and tambourine...
Vince Taylor was born Brian Maurice Holden on 14 July 1939 in Isleworth, Middlesex, England. He was raised in New Jersey (USA) but returned...


California Baby® Natural "Wool" Sea Sponge is by far the most luxurious of natural sponges. It is the most pliable, absorbent, and softest sponge available.
When wet, this sponge becomes fluffy and amazingly soft (can be compared to silk). It's very durable and inhibits the growth of bacteria, unlike washcloths and artificial sponges. California Baby® Natural "Wool" Sea Sponges are sustainably harvested from a renewable source; each sponge may slightly vary in size, shape and color. See our tip below on how to help your California Baby® Natural "Wool" Sea Sponge last and last. Sold exclusively at California Baby®.
Lengthen the life of your sponge by 40%! Simply soak sponge in a mixture of 2 parts baking soda to 1 part water every 2-3 weeks. Let sponge sit for about an hour, then rinse and allow to dry completely.


Commercial real estate firm Mike Falgoust and Associates is partnering with New Orleans-based brokerage and management firm Max J. Derbes Inc to form a new company called Derbes Falgoust Commercial Real Estate.
"This new partnership provides our clients with expanded opportunities and resources across our entire region," manager and partner Scot Guidry says in the company's announcement.
Guidry says the transition and name change will not interrupt day-to-day business operations, and they will still be located on Jefferson Highway in Baton Rouge.


The main article for this category is High Sheriff of Shropshire.
This page uses content from the English language Wikipedia. The original content was at Category:High Sheriffs of Shropshire. The list of authors can be seen in the page history. As with this Familypedia wiki, the content of Wikipedia is available under the Creative Commons License.


Parent Teacher Conferences will be held on Thursday, March 14 and Monday, 18, 2019 from 4:15 p.m. - 7:30 p.m.
You will be able to register online for conference dates and times by using PTC Fast. These conferences will be held in the teacher's classrooms.
There will be no drop in conferences in the gyms this spring. Please contact the school if you have any questions. Thank you.