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20Nov/110
The Lawless Frontier (1934)
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Most Western films, those aimed and made at a base level, are intensely boring. I mean no offense by this, but when there's a genre that's popular solely for its tropes, it becomes saturated with a number of like minded film to the point of tedium. Go to your local videostore and count the number of hitmen/strippers with a heart of gold fighting the mob movies you can count. My guess is that you'll give up before the movies do.
But, Westerns. White hats, black hats, and maybe some Indians for good measure. While the Western genre says a lot about the American consciousness, most Western movies don't mean much outside of some gun play unless the attached director is named Ford, Mann, Leone, or Eastwood.
When a genre is sufficiently insular, its tropes go past cliched to become dependable. The hero of The Lawless Frontier is a good man seeking revenge on the man who killed his father. The squadron of bandidos who did it are bad. He defeats them, gets the girl, saves the day. Huzzah.
"I am the villain! Let me twirl my mustache again for good measure!"
Only five years before Stagecoach transformed John Wayne into "John Wayne, American Institution(C)", our future American icon was still living film to film. This picture was released by Lone Star, one of those small studios that has a camera, a guy to write a script, and the ability to make just enough money to put out another film next week. If Wayne weren't in these pictures, I doubt they'd be remembered for much else besides their cheapness.
The best example I've got for this is from the opening scenes of the film, which contains a fair amount of stock footage and intercuts between daytime and nighttime. Though I know of several great films that start with confusion in order to prevent the audience from becoming grounded in the narrative, a story this bland deserves nothing this frustratingly chaotic.
Other noticeable signs of 'time is money':
Stock footage.
Shots repeated.
The musical score doesn't match the film's tempo, and sounds like it's from one guy on a piano.
Instead of filming a sign a character is reading, we are instead treated to a picture of it.
In one scene, you get to watch an unconscious guy help pull himself onto a horse.
"Boots! My only weakness!"
Most of the film's plot relies on the villain being both completely random and a complete idiot, always a good character to create when writing. Luckily, everyone but Wayne in the film also strives towards these traits, including the town's sheriff who decides to take the lead bandit and handcuff him to his bed via his boot.
He'll never escape that! As long as he doesn't take off his boot....
The bandido is trying to rape the daughter of a local prospector, and the father and daughter discover using a secret passage to eavesdrop on their plans. The use of this passage brings to mind a lot of the Old Dark House movies, where these dwellings were filled with mysterious rooms and hidden corridors. This one isn't nearly as exciting as in any of those, but the corridor is the most interesting thing in the movie. We never see the inside of it! It's a mystery!
The woman in this movie is an interesting deconstruction as to how female protagonists are portrayed in Westerns then as compared to the 40's and the 50's. Here, she's clearly rustic, and owns no petticoats or other fancy clothing. She's down to earth, and can run from the bandits with the best of them.
She's like Meryl Streep in denim.
Wayne himself is fine in his role, although replace him with a cardboard cutout of himself and you'd barely notice. Weirdly, I don't think I've ever seen him so young, and as such he kept bringing to mind a young Montgomery Clift. But take that whatever way you want.
God, look, I know this review is rough. This movie is rough. It's no budget, the minimum amount of talking, some good horse stunts, but absolutely nothing remarkable or memorable. I always feel awful for lambasting a movie with no budget for being bad, but even for that, we're talking Ed Wood levels of clarity here. I didn't care.
Note: This was originally written as an entry in my Pre-Code Follies series, but, as an attentive reader generously pointed out, this was actually released in November 1934, putting it well past the cutoff of the Pre-Code era. This review has been modified to reflect that. Thank you.
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Noir-vember Day 27: In a Lonely Place (1950)
The Millionairess (1960)
Wilder: Mauvise Graine (aka Bad Seed) (1934)
Danny's Picks: Best Movies I Saw in '10
TSPDT 1-18: L'Atalante (1934)
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text:
Nicer syntax for iterating over std::Handle<std::vector<...
Currently, to iterate over an art::Handle<std::vector<DataProduct>> you have to do something like:
for(unsigned int i = 0; i < prods->size(); ++i){
art::Ptr<DataProduct> prod(prods, i);
It would be nice to be able to do:
for(art::Ptr<DataProduct> prod: prods){
Currently you can do:
for(const DataProduct& prod: *prods){
but in some cases it's necessary to have the product as an art::Ptr inside the loop.
Description updated (diff)
Category set to Navigation
Assignee set to Christopher Backhouse
Unfortunately, given the relationship between a collection and a Ptr into that collection, something like this is always going to be required, with its concomitant work. There is an alternative way which avoids having to create Ptr individually, but it's still a formalism:
art::View<X> v;
e.getView(tag, v);
art::PtrVector pv;
v.fill(pv);
for (auto const & p : pv) {
It's conceivable that we could update the interface so that this works:
for (auto const & p : e.getView<X>(tag).asPtrs()) {
We could also conceivably hide this work by providing a converting constructor for PtrVector<X>(HANDLE<SEQ<X>>), although it would involve some work to do this generally such that it works for all applicable cases.
My feeling however is that this would be likely to (further) confuse the Event interface and hide the fact that this is only an efficient thing to do if you intend to refer to every object in the View as a Ptr. It is in all cases less efficient than the method you are using already due to the creation of the View and PtrVector intermediate containers.
I believe the best solution is actually the one you already have since you can avoid manufacturing Ptrs that you don't need based on (e.g.) the actual object. Still, if you think this is a useful feature to have we can ask the stakeholders if this is a reasonable addition and where it would fit in their priority list.
Do you really need the intermediate container?
Can't Handle get begin() and end() methods that return an iterator that consists of the index and a reference to the Handle, and when dereferenced constructs the Ptr? That gives exactly the same actions as my first snippet, but with the syntax of the second.
I'll admit my template wizardry isn't entirely up to scratch, but that's what I was imagining.
Obviously this isn't a top priority, but I do think it would be a nice reduction in the verbosity of our code (this loop, written in my first form, is extremely common).
Assignee deleted (Christopher Backhouse)
The Handle::begin() and end() functions would make sense only for containers. It would mean specializing the class template for particular, "blessed" container types -- fiddly to get right, tricky to extend and possibly confusing to users.
"Fake" iterators that do work as they are de-referenced are also fiddly to get right and generally lead to more problems than they solve.
Unfortunately, what you're suggesting here is at least a couple days of work to save one line in each place the construct is used. We can certainly leave the issue in the queue if you wish, but I don't expect the work to be scheduled for quite some time.
A similar usability enhancement is being developed within LArSoft. Once that feature has stabilized, we plan for it to migrate to art, for the benefit of all art users.

redpajama_set_name: RedPajamaCommonCrawl


"I love you." He drew her in to kiss her.
"Don't." She turned her head, turning the move into a hug.
"Don't what?" He spoke into her hair.
"Don't say that. Not now." She rested her head on his shoulder.
He pressed his lips together. "I know. But, I'll be fine. You'll see. Come here." He drew her back into his embrace. He held her tight. "Years of research has gone into this, honey. The ship is built for this kind of thing. They've learned from past mistakes. I'll be fine." He believed it. He had to. He was far more worried about going loopy floating in space, alone, for several years than he was about burning up in the atmosphere. But, he had his exercise regime. He had his games. They could beam him some reading material. And he had his work. He would be fine.
"But, you're giving me up." She pouted. She knew she was being a baby. But, how could he love the thought of being out there, alone, for so very, very long, when he could stay right here; with her?
"I'll return to you. Victorious." His teeth gleamed and he drew her to him again. His hands cupped her jaw and he kissed her; a slow, roaming kiss that let him taste each corner of her mouth, her top lip, the tip of her tongue. "I'll miss you." He wrapped her in his arms and breathed her in, then kissed her neck, then the dip above her clavicle.
She could feel her whole body humming in reply to his stroke. His arm round her waist pulled her into him, tight. She took a deep breath. She could smell him. His beautiful musk that had first set her … heart a flutter. She smiled. Even now she tried to convince herself it had been love at first sight. But, no. It had been lust. Dirty, insistent lust. If she allowed herself to relax now, he would guide her to the floor, pull off her fitting top. He loved her skin. He always commented how soft it was; how lovely she smelled.
He was kissing the crest of her breast now, heading for her cleavage. She shuddered at his breath tickling her skin.
"No. Stop." She pushed him back. Yuck. She could feel the dampness in her knickers.
And how would it be if she let him continue? Him hurriedly redressing and taking off to make his final preparations. A flushed wave goodbye? She would dress, and feel him dripping from her for the rest of the afternoon.
He pulled her in again and kissed her under her chin, on her chin, and bit her lower lip. His breathing was rapid. Shallow.
"I said stop." She pushed harder this time.
He readjusted his trousers, all the frustration evident in his expression.
"I said I can't, Jason. I won't." She stepped back. "I'm- I'm sorry. " She turned and opened the door.
"You have my number. If you make it back, look me up. But, I can't promise I'll wait. You might not even be you by then. I'm sorry, Jason." She let the door swing shut. The hurt was clear as the diamond on her finger through that little portal window. She waved, then turned her back on him for the last time.
She turned her car stereo to music and turned it up loud and she drove, her teeth clenched together to keep her eyes clear.


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The Chiefs saw out a good game with a 39-27 win over the Waratahs in Super Rugby 2018. The game as closer than that though with the Chiefs scoring a try after the final hooter. Have a listen as Ashwin and I give you our post match reaction to Chiefs v Waratahs.


Razor just off a 6-lap synthetic coticule barber hone refresh x 25 pasted linen x 50 horsehide. Shaving smooth as glass.
Love it. I am a straight razor guy myself. Just startedas fall, so I bought one with replaceable razors. Want to make sure I liked it be for Going pro and getting a permanent blade that needs maintained. Cost spent on shaving is now a few pennies a mounth.
Make a good pair of strops from a seatbelt.
Barbers hone on ebay probably under $25 or abrasive strop treatment crayon $4.00..
One of my best shaving razors came from a flea market for $7.00*.
These's probaby even a qualified guy or two here who would help a BOTL out by honing a razor gratis.
*OK - so it was nasty, dirty, rusty, needed some sanding, polishing and a new edge but that was + nothing.
Alright, so I blame you for pushing me down another slope! I did some ebay watching and ended up with 2 vintage straight razors. From what I have read they where made between 1920 to 1940.
Picked them up for $10.50 each.
I don't have the nerve nor precision to attempt a straight razor shave. Nuts!!


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The great 20th century composers revolutionized music, only to be rewarded with obscurity. Can the New Yorker's Alex Ross revive them in a world of Britney Spears?
Alex Ross is my favorite rock critic. He writes about music in vivid language humming with intelligence. He tells great stories about musicians' lives and illuminates their work with the light of his own experiences. His critical insights flow out of a deep respect for artists, and his judgments depend on the emotional and intellectual success of their designs. Ross reminds me of the early days of Rolling Stone and Creem, when journalists stretched themselves and their vocabularies to express the music from the inside. Before the centrifugal force of the mass media flung music into a thousand silos and opinions, good rock writers managed to unite artist and reader in the heart of a shared culture. Everybody felt they were singing the same exciting song.
All right, so much for the clever opening. Ross, as you may or may not know, is the classical music critic of the New Yorker. But in the past decade, employing the spry rhythms of pop journalism, and displaying an unabashed affinity for Pavement and Radiohead, Ross has managed to spring classical music from its encrusted shell and make it feel contemporary. That's a mighty admirable feat and now it reaches something close to magnificence in his first book, "The Rest Is Noise."
As you've no doubt heard, classical music is supposed to be dead. It's buried somewhere beneath an avalanche of pop CDs, TVs, Broadway ticket stubs, computers and Danielle Steel paperbacks. For good measure, that ash heap of history also contains the syllabuses from old music education classes and foreclosure notices for symphony halls that are now 24-Hour Fitness gyms. Supposedly the populace is too dumb to appreciate Beethoven's monumental Ninth Symphony and too drugged by Celine Dion singing some song from "Titanic" to care.
If Beethoven and Mozart are supposed to be barely noticeable in the sports arena of pop culture, 20th century composers from Alban Berg to John Adams have been assigned seats so far up in the nosebleed section that they are mere specks in the crowd. From 1900 to 2000, Ross writes, classical music "experienced what can only be described as a fall from a great height. At the beginning of the century, composers were cynosures on the world stage, their premieres mobbed by curiosity seekers." When Mahler walked the streets of Vienna in the 1900s, passersby would stop and whisper to themselves, "Der Mahler!" "A hundred years on," Ross writes, "no one whispers, 'Der Adams!,' as the composer of El Nino walks the streets of Berkeley."
Actually, that's not true. I've walked the streets of Berkeley with Adams and people did recognize and greet him by name. Of course, I'm not about to say that 20th century classical is alive and well based on my experience as a journalist, interviewing Adams one day. But I am about to say that 20th century classical music is definitely not dead and is more relevant to us today than our teeming culture has dared acknowledge in a long time. All we've needed is a brilliant reminder. And that's exactly what Ross delivers. His book peels away the old critical myths and theories shrouding 20th century music and swings open the door to understanding its manifold pleasures.
"The Rest Is Noise" is a long and thrilling ride on the social and intellectual currents that shaped the century's vanguard composers, from Stravinsky to Steve Reich. As Ross writes: "Composers weren't simply engaging in artificial games; they were asking mighty questions about what art meant and how it related to society." In that way, "The Rest Is Noise" is reminiscent of Roger Shattuck's "The Banquet Years," the literary critic's anatomy of the avant-garde in Paris at the end of the century. For all I know, Shattuck's book still inspires college bohemians to wear black and mimic psychotic playwright Alfred Jarry, as it no doubt did the members of the sensational postpunk band Pere Ubu, who stole the name of Jarry's hilariously obscene, mass-murdering antihero for their own.
With his own bohemian verve, Ross re-creates the cultural scandals that greeted the century's tradition-busting works, from Strauss' salacious opera "Salome" to John Cage's "4'33," in which pianist David Tudor sat on a stage in Woodstock, N.Y., opened the piano lid and played nothing. For all artistic purposes, the century dawned with the 1913 debut at the Theatre des Champs-Elysees of "The Rite of Spring," a new work by a young Stravinsky for the Ballet Russes. Pounding rhythms and dissonant harmonies filled the hall as choreographer Nijinsky's dancers shivered and stomped. "Howls of discontent went up from the boxes, where the wealthiest onlookers sat," Ross writes. "Immediately, the aesthetes in the balconies and the standing room howled back."
Unlike most retellings of the legendary performance, attended by Paris luminaries Jean Cocteau and Gertrude Stein, Ross' doesn't stop at the ruckus. He adds a welcome coda. "In a matter of days, confusion turned into pleasure, boos into bravos. Even at the first performance, Stravinsky, Nijinsky, and the dancers had to bow four or five times for the benefit of the applauding faction."
Ross doesn't offer the anecdote solely for amusement but to introduce a key theme that will shape composers over the course of the century and his book. "The Rite of Spring" prophesied "a new type of popular art," he writes. "For much of the 19th century, music had been a theater of the mind; now composers would create a music of the body. Melodies would follow the patterns of speech; rhythms match the energy of dance; musical forms would be more concise and clear; sonorities would have the hardness of life as it is really lived." Music emerged from the palaces and into the streets. As Hungarian composer Béla Bartók, who wove gypsy dance tunes into his riveting string quartets, said, "We must drink our fill not from your silver goblets but from cool mountain springs."
The masterly Bartók's remark cuts to the paradoxical heart of 20th century music. As composers like he and Stravinsky drafted the people's music into their own, the further out of favor their music seemed to fall. Concert halls in the first half of the century were doing a fine business with the lords and ladies, even the artists and bartenders, by presenting a sweet diet of Brahms symphonies and Puccini operas. But as the music incorporated foreign sounds and abandoned lush melodies and harmonies, concertgoers began to rebel. They felt composers had turned their backs on them. And for the most part they were right. But as Ross shows, history was the real culprit. And Arnold Schoenberg.
In the first part of the century, Schoenberg, a headstrong Austrian, was not a big fan of aristocrats prancing off to concerts by Haydn and Beethoven, humming melodies along the way. "If it is art, it is not for all," he wrote, "and if it is for all, it is not art." His anti-bourgeois fever infused his early symphonic works like "Verklarte Nacht," and later his development of 12-tone technique in pieces like "Variations for Orchestra," so named because compositions must honor every note of a chromatic scale and not devolve into such antiquated things as triads and alternating keys and all those methods favored by the powder-wigged Mozart and Brahms.
"Schoenberg applied the concept of degeneration to music," Ross writes. "He introduced a theme that would reappear often as the century went on -- the idea that some musical languages were healthy while others were degenerate, that a true composer required a pure place in a polluted world, that only by assuming a militant asceticism could they withstand the almost sexual allure of dubious chords."
Militant asceticism during and after World War II deepened into artistic violence. During their reigns of terror, Stalin and Hitler exhibited "a corrosive love of music," especially for the grand Wagner. As living composers' history was being consumed by evil, their only moral choice was to create a new musical language. The relics of Romantic convention had to be obliterated.
"I believe that music should be collective hysteria and spells, violently of the present time," wrote French composer and conductor Pierre Boulez not long after the war. With works like "Polyphonie X," he certainly walked the talk, influencing a host of avant-gardists on both sides of the Atlantic, notably Cage, who said: "I am going toward violence rather than tenderness, hell rather than heaven, ugly rather than beautiful, impure rather than pure -- because by doing these things they become transformed, and we become transformed."
Yet during the war, Ross shows, in one dismaying incident after another, that Richard Strauss, Schoenberg and Anton Webern were swept up in Hitler's rage and made vile public avowals of anti-Semitism themselves. Ross also ventures across the continent and recounts the tortured dance that Shostakovich had with Stalin, one minute finding his music in the graces of the Soviet dictator, the next finding it condemned and censored. He takes us inside the raging conflicts and fleeting triumphs in Shostakovich's works and concludes with a compassionate portrait of the august Russian composer's unknowable heart.
Ranging across the battlefield of the times, Ross retains a humane bead on the World War II composers. "Black-and-white categories make no sense in the shadowland of dictatorship," he writes. "These composers were neither saints nor devils; they were flawed actors on a tilted stage." More ideological critics or historians may be tempted to leave Schoenberg and the World War II composers in a room of their most reactionary and dissonant sounds. But Ross pauses to see the other side.
"Schoenberg's early atonal music is not all sound and fury," he offers. "Periodically it discloses worlds that open up like hidden valleys between mountains; a hush descends, the sun glimmers in fog, shapes hover."
In one of my favorite anecdotes in the book, Ross relates a story from Schoenberg's son, Ronald, about the end of the composer's life. In the 1940s, the Schoenbergs lived in upscale Brentwood, Calif., near Shirley Temple. Ronald admits his father, the scourge of the bourgeois, the enfant terrible of the 20th century, felt discouraged that Hollywood tourist buses never pointed out his house. "But another time," Ronald says, "we stopped at a juice bar out on Highway 1, and the radio was playing 'Verklarte Nacht,' and I never saw him so happy."
As Ross' narrative wends its way from 1950 to 2000, limning the brash and uncompromising, experimental and grimly absurd sounds of Karlheinz Stockhausen and Milton Babbitt, we see the music retreating further from a mass audience. At the same time, Ross, betraying his own tastes in 20th century music, stops to consider British composer Benjamin Britten, whose music enchanted a wide audience. Referring to Britten's opera "Peter Grimes," Ross writes, "The music is poised perfectly between the familiar and the strange, the pictorial and the psychological." Ross also touches down on the weird and magisterial French composer Olivier Messiaen, and writes nimbly about what he calls the composer's greatest achievement, "From the Canyons to the Stars," a series of haunting pieces based on the composer's 1972 trip to Bryce Canyon and Zion Park: "The majesty of the Utah canyons reawakened in the composer a songfulness that had long been missing from his music."
As an aside, I should say that although the chapter on Britten, and a similarly long one on Sibelius, are compelling in themselves, they underscore one flaw in "The Rest Is Noise," which is that Ross periodically interrupts his narrative with, well, New Yorker articles. In the case of Britten, you are forced to ask, hey, what happened to our discussion of Elliot Carter and his break from Aaron Copland's populism?
In that discussion, the avant-garde musicians in the '60s looked up from their treated pianos and saw pop culture marching toward them like a giant infantry line. They felt besieged. Roger Sessions declared that American composers like him had to "abandon resolutely chimerical hopes of success in a world dominated overwhelmingly by 'stars,' by mechanized popular music, and by the box-office standard, and set themselves to discovering what they truly have to say, and to saying it in the manner of the adult artist delivering his message to those who have ears to hear it. All else is childlessness and futility."
The unvarnished elitism of Sessions' statement, and the intensely dissonant music it generated, pretty much constitutes the benighted image that continues to hang over modern classical music, especially in populist America. "The Rest Is Noise" is not going to change that, but it does usher modern classical music into a heartening light. Looking ahead, Ross makes a stand for the music's persistence in today's shopping mall of cultural niche markets. Referencing Adams and polyglot Argentine composer Osvaldo Golijov, he points to how classical music has fused with global sounds, pop music, theater and film -- artistic forms that rule the pop marketplace. He mentions Hungarian composer György Ligeti, who wrote piercing and haunting concertos before he died in 2006, and will always be remembered for his atmospheric pieces that Stanley Kubrick wove into "2001: A Space Odyssey," notably at the movie's end when Keir Dullea floats off into a cosmic light show. Ross turns the table and shows how rock continues to shape its identity with classical music. He notes the orchestral arrangements that underpin tunes by Sufjan Stevens and the Stockhausen and Messiaen sounds that color Björk's songs.
These are modest claims and Ross realizes classical music will never regain the popularity it had in 1900s Europe or even 1950s America, when Leonard Bernstein regaled a radio audience every week with the splendors of Mahler or Copland. But I am glad to be more than modest and say "The Rest Is Noise" is the biggest cultural boost classical music could hope to receive. With perpetual grace and excitement, Ross reanimates music buried in history and super-obscure record stores, and allows us to feel just how contemporary it can be. Let your heart curdle with thoughts of the unrelenting nightmare in Iraq, and the men responsible for it. Then play the splintering choral work "Le Soleil des eaux," by Boulez, based on poems by René Char -- "River with an indestructible heart in this mad prison-world, keep us violent" -- and you may never again say you don't understand atonal music.
"For now, the art is like the 'sunken cathedral' that Debussy depicts in his Preludes for Piano -- a city that chants beneath the waves," Ross concludes. After reading "The Rest Is Noise," and having literally listened my way through it, I can feel that city chanting now. Stravinsky's beats are pounding in my head; Ligeti's spare piano lines are sailing through my heart. On my iPod the other day, I was listening to Bartók's String Quartet No. 2 on a crowded streetcar. As the violins rushed off in every direction, and the cello drove them madly on, I suddenly had the most profoundly clear and terrifying vision that nothing in the world made sense. Experiencing sheer chaos in the burning tunnel of Bartók's music, I felt utterly alive.


text:
All Ophthalmology
Imaging/Diagnostics
Ophthalmic Business
Pediatrics/Strabismus
Regulatory/Legislative
Ophthalmology Topics
In the JournalsPerspective
Survival advantage suggested in responders to immunotherapy for uveal melanoma
Rossi E, et al. Cancer Immunol Immunother. 2019;doi:10.1007/s00262-019-02352-6.
A possible survival advantage in patients with metastatic uveal melanoma who respond to treatment with pembrolizumab is suggested in a study of the anti-PD-1 monoclonal antibody as immunotherapy for advanced disease.
Researchers enrolled 17 patients with metastatic uveal melanoma in a prospective observational cohort single-arm study to investigate efficacy and safety of pembrolizumab as a first line-therapy. Endpoints were progression-free survival, complete or partial response or disease stabilization, clinical benefit, overall survival and tolerability.
A median of eight cycles of intravenous 2 mg/kg pembrolizumab every 3 weeks was administered. Range of administration cycles was two to 28, until disease progression, toxicity or withdrawal of consent. Toxicity was reported to be mild.
Two patients achieved a partial response and were without progression after 19.4 and 28.9 months (response rate, 11.7%). Both patients were still on treatment at the time of data analysis. Disease stabilized in six patients and progressed in nine. Eight of the 17 patients (47%) were deemed to have achieved clinical benefit.
Progression-free survival was 3.8 months for all patients, 9.7 months for patients whose interval between diagnosis of primary tumor to metastatic disease was longer than 5 years, and 2.6 months for patients whose same interval was less than 5 years.
"Based on our data, relapse after 5 years from the diagnosis of primary tumor could be considered a parameter to select patients who may benefit more from immunotherapy," the authors said. "[T]he identification of predictive factors for response is crucial." – by Robert Linnehan
Disclosures: The authors report no relevant financial disclosures.
Carol L. Shields
The management of metastatic uveal melanoma is challenging, and results following chemotherapy trials have been discouraging. There is interest in immunotherapy, and particularly systemic checkpoint inhibitors, for better control of this potentially fatal disease. Checkpoint inhibitors work at the level of the T cell, blocking built-in controls and unleashing T cells to activity. Pembrolizumab is one of several checkpoint inhibitors and specifically functions as an anti-PD-1 monoclonal antibody.
Previous studies on checkpoint inhibitors for metastatic uveal melanoma have been unimpressive. Algazi and colleagues reported results from a nine-center collaboration of 56 patients who received PD-1 or PD-L1 antibodies, 48 (86%) of which had prior therapy and only 3.6% demonstrated tumor response. These authors speculated that the low response of uveal melanoma was that it was inherently less antigenic for attraction of T cells due to its low somatic mutational burden.
In this analysis, pembrolizumab was used to treat metastatic uveal melanoma as first-line therapy in 17 patients. The authors found a response rate of 11.7%, which is lower than that of cutaneous melanoma (30% to 40%), but slightly higher than previous study on uveal melanoma (3.7%). Of the two responders, both survived with tumor control for at least 19 months. The authors studied potential factors that could identify responders from nonresponders and specifically noted no predictive factor, including expression of PD-L1 or genetic results (chromosomes three and eight).
These findings are important and a bit promising. Understanding uveal melanoma and its immune biology needs further study to better target this tumor with immunotherapy. Perhaps "inflaming" the tumor with various immunotherapeutic, chemotherapeutic or radiotherapeutic methods could promote a more robust immune response.
Algazi AP, et al. Cancer. 2016;doi:10.1002/cncr.30258.
Dalvin LA, et al. Retina. 2018;doi:10.1097/IAE.0000000000002181.
Carol L. Shields, MD
Wills Eye Hospital, Philadelphia
Disclosures: Shields reports she serves on the scientific advisory board for Aura Biosciences and Immunocore.


Heading south of the river? Fancy a slice of artisanal Italian cookery in a pretty little floral pizzeria? Head to Pi Pizza restaurant in Battersea and you are sure to not be disappointed. The owner spent time perfecting pizza making in Florence before opening this spot. We popped in over the bank holiday to check it out. We were greeted by a ceiling of floral decor on entering the bar area – very pretty. Our table was in the conservatory area bathed in natural light, bright colours and a beautifully lit real tree. We had a view of the (enormous!) wood fired oven, perfect for pizza watching!
We tried the As Good as it Gets and Cocoflake Martini. The former was tall and refreshing, a great summer drink. The martini was a bright pink little number, with coconut and rose syrups mixed in. If sweet and sugary is how you like them, I would recommend this one. Both beautifully presented, it's a thumbs up for Pi's cocktails.
We opted for the burrata (£7) to start, served with caramelised black fig this dish was creamy and decadent. We also tried the cauliflower and old Winchester arancini (£5.50).Crisp on the outside and pure melt in the mouth deliciousness inside, these were also a real hit.
All desserts are made in house and there is a wide range of fruity gelato and sorbets (suitable for vegans) sourced from Hampshire. We tried the lemon meringue which was lovely and tangy but the base felt a little stodgy . The gelato however was fresh and fruity and totally fitting dessert for a warm night – refreshing with bags of fruity flavour.
Pi Pizza restaurant in Battersea is a gem of a place that clearly takes pride in the food they serve. The sourcing of the ingredients and quality of them was evident from our first bite. If you want fantastic quality pizza and atmosphere that transports you away then pop in, I am already planning my next visit. If you are partial to a bottomless option, there is now a bottomless lunch available on Saturdays too.


This compact bathroom basin has a classic design with smooth, rounded edges. Made of high-quality sanitary ceramic with durable finish that stays sparkling white for years.
This compact bathroom basin has a classic design with smooth, rounded edges. Made of high-quality sanitary ceramic with durable finish that stays sparkling white for years. An excellent choice for smaller bathrooms or minimalist bathroom designs. Compact, yet with full-fledge functionality.


Running has many health benefits, but injuries associated with running can result in considerable health and economic burdens. This is particularly important given the reported injury incidence of between 18.2 to 92.4% Previous injury is the primary risk factor related to running injuries. As injured athletes often display deficits in neuromuscular strength, and these weaknesses may be evident at the time of return to sport it is thought that persistent residual weakness following injury may predispose an athlete to subsequent injury. To date, studies have mainly compared the neuromuscular strength of currently injured and uninjured runners. More information is needed to explore potential differences in strength among healthy runners with a history of injury, which may allow clinicians to address weaknesses and ultimately better direct treatment.


text:
FruitDisease - Pests and Diseases (Blackcurrant gall mite)
Soft fruit pests and diseases
Soft fruit virus database
Entomology research
Root rot research
Soft fruit pathogen testing
Soft fruit publications 1952 - date
Links to staff web pages
Location and address
FruitGateway sites
Gall mite (Cecidophyopsis ribis)
This species is probably the major pest of blackcurrant worldwide, although it has not been reported from North America or Tasmania. Besides causing swelling of the buds (known as 'big bud'), it is also the vector of Blackcurrant reversion virus. The mites emerge from the buds in springtime, to be dispersed as the buds open. Mites may move short distances along the infested plant to new buds, or may be carried on the bodies of insects or birds, but the vast majority is spread passively by wind or rainsplash. A single galled bud can contain up to 35 000 infective mites, and an infested bush can contain over 100 galls, so the build-up of inoculum within an affected plantation can be dramatic. There are few chemical sprays still permitted for C. ribis, and sulphur sprays are preferred within Europe. Removal of affected bushes, and ultimately infested plantations, is a vital means of reducing spread to new plantations, especially since bushes infected with blackcurrant reversion disease are more susceptible to mite colonisation and reproduction.
The SCRI variety Ben Hope is partially resistant to gall mite, with reduced susceptibility estimated at around 40 times less than that of other varieties.
Resistance to gall mite has been a breeding objective in most blackcurrant programmes for many years (Brennan, 1996). The most effective source of resistance used so far in western Europe is the Ce gene from gooseberry, and the introgression of this gene into R. nigrum is described by Knight et al. (1974). A long-term backcrossing programme to restore acceptable fruiting characters was undertaken, latterly at the Scottish Crop Research Institute, and potential new cultivars with resistance to C. ribis are now approaching commercialization.
Click on image to see enlarged version
Gall mite infestation of buds
Picture of a gall mite infested blackcurrant
bud taken in a scanning electron microscope
Brennan RM (1996) Currants and gooseberries. In: Janick J & Moore JN (Eds.) Fruit Breeding, Vol. II: Vine and Small Fruits Crops. John Wiley and Sons, Inc. New York, pp. 191-295.
Knight RL, Keep E, Briggs JB & Parker JH (1974) Transference of resistance to blackcurrant gall mite, Cecidophyopsis ribis, from gooseberry to blackcurrant. Annals of Applied Biology 76, 123-130.
Return to list of pests and diseases
FruitGateway Site | The James Hutton Institute website | James Hutton Limited website
The James Hutton Institute
Craigiebuckler, Aberdeen, AB15 8QH, Scotland | Invergowrie, Dundee, DD2 5DA, Scotland
Telephone +44(0)844 928 5428, Fax +44(0)844 928 5429


text:
Q: In HTTP response for a chunked data how to set Content-Length We have written a service which sends some encoded data as chunked to a proxy service which need Content-Length header to be set so that it can send proper response to end point. Even if I set the Content-Length header still it get stripped as part of the response to the client.
Below is the code which set the header
func HTTPSuccessResponse(rw http.ResponseWriter, bufferLen int, media []byte) {
        rw.WriteHeader(http.StatusOK)

        rw.Header().Set("Content-Type", "opus/ogg; audio/ogg; codec=opus")
        length := strconv.Itoa(len(media));
        rw.Header().Set("Content-Length", length)
        rw.Write(media)
}

Below is the response I get when I try to the request using curl
bash-4.2# curl -v -X GET -k -H  -i 'http://127.0.0.1:8090/preview'
* About to connect() to 127.0.0.1 port 8090 (#0)
*   Trying 127.0.0.1...
* Connected to 127.0.0.1 (127.0.0.1) port 8090 (#0)
> GET /preview HTTP/1.1
> User-Agent: curl/7.29.0
> Host: 127.0.0.1:8090
> Accept: */*
>
< HTTP/1.1 200 OK
< Date: Tue, 14 May 2019 13:08:20 GMT
< Content-Type: text/plain; charset=utf-8
< Transfer-Encoding: chunked
<

I am using Gorrila Mux library for setting up HTTP server. Any thoughts how to make the header as part of the response.

A: Remove the WriteHeader call at the top. You can only write headers to a response once. After you call WriteHeader you can't set any more headers.
Per the ResponseWriter documentation:
    // Changing the header map after a call to WriteHeader (or
    // Write) has no effect unless the modified headers are
    // trailers.

So you can't call it first; but you also don't need to call it at all - from the same docs:
    // If WriteHeader is not called explicitly, the first call to Write
    // will trigger an implicit WriteHeader(http.StatusOK).
    // Thus explicit calls to WriteHeader are mainly used to
    // send error codes.

redpajama_set_name: RedPajamaStackExchange


Surgicraft has a considerable track record of developing innovative, cutting edge products for a number of diverse healthcare sectors and is currently finalising a private equity fundraising project to support the launch of its latest innovative shoulder product across Europe and other key export markets.
We have also made considerable re-investment into our product development programme and expanded our product development team 10 fold in three years.
We have built strong relationships with some of the UK's leading universities who have a strong bio-engineering background and focus.
The aim of these relationships is to build collaborative links and sponsorship programmes with PhD bio-engineers to work on the commercial projects with the view to them becoming part of the full time development team.
Want to learn more about cosmetic treatments?
The multidiscipline team consists of mechanical, material and bio-engineers as well as research and intellectual property / patent specialists.


Could this be the best thing that has happened to cooking since the invention of fire?
Keep Reading To Learn How you can have fun cooking, while Reducing Poverty and helping Save the environment.
Re: How getting SolFood: Food for the soul, cooked with the Sun will HELP SAVE LIVES, REDUCE POVERTY AND IMPROVE THE ENVIRONMENT, while you enjoy the stories and great recipes in our Action Cookbook.
Thanks for stopping by. Would you agree that all too often in today's world, speed is considered an end in itself? We have fast food, instant coffee, and frozen food aisles stretching around the world. By cutting down preparation time, we reason, we free up time for other demands in life. Yet this apparent bargain carries a high cost in the long term. We find ourselves living with high blood pressure and high stress, consuming food without taking the time to enjoy it.
It's time to remind ourselves that our consumption is bound by the limits of the Earth—and how better to do so than solar cooking? I bet you may not have even heard of solar cooking yet but bear with us because this is not JUST about solar cooking and it WILL give you great recipes you can use in any conventional cooking method too!
My wife Ruth and I are very excited about sharing with you our solar cooking adventures and recipes caringly gleaned by our team from over 15 years of evangelizing clean, sustainable, environmental and user friendly technologies in Bolivia, but first let me ask . . . .
You could help prevent some of the 2 million deaths each year (of mostly women and children) attributed to what the World Health Organization calls the silent killer in the kitchen?
Did you know that the white or dark "smoke" which can be seen is really tiny particles of unburned material that when breathed in become impregnated in ones lungs effectively reducing the transfer of oxygen and toxic matter to and from the blood, resulting in death, lack of mental and physical development in babies, and more? . . .
Your child having to pull up shrubs or gather sticks on their way to and from school every day just so that they can have something to eat there or when they or their mom or dad come home from work.
Solar cooking is one of the cleanest, safest, most economical cooking methods we have . . . but sadly too few are aware of it's existence, much less it's many benefits!
For me, it took years of living in a developing country before I learned to appreciate how this healthy, economical cooking method could revolutionize one of the most essential activities we all must experience on a daily basis . . . food preparation.
What if... Solar Energy really worked?
What if... you could actually harness the FREE power of the sun to cook a majority of your meals?
What if... you could use your solar cooker as a "crockPot" style thermal cooker when there was not sun to provide Free solar energy?
What if... solar cooking could provide more nutrients than your traditional way of cooking PLUS give you back 15 to 20 hours a week that used to be used to control the cooking process?
What if... it was so easy that even a child could do it without burning themselves?
Solar cooking requires a different mindset. It demands some planning and patience, but you will find that these values yield much more satisfying results and lasting life changes than its faster and more wasteful alternatives.
You don´t have to stir or worry about your food burning in a solar cooker, so you have more time to sit back and relax while the sun does all the work. But, as much as I am pro solar cooking, we built our recipes in such a way that they can be used in any cooking method. I still personally encourage you to slow cook though, as that does help retain the nutrients and vitamins much as happens when you slow cook in a solar cooker.
I have been solar cooking since 1997 and if you could see my waistline you would know I enjoy eating about as much as I like to cook.
But more than a solar cook, I have dedicated years to finding and implementing solutions. It was in 2003, after having lived in Bolivia for over 15 years that, I was impacted with the urgent need of expanding alternative cooking technology to counteract serious health, environmental and economic issues born primarily by women and children that I cofounded the Center for Development with Solar Energy and currently am Executive Director.
Prior to forming CEDESOL, I led solar cooking uptake through the small social enterprise, Sobre la Roca: Energías Alternativas, where I and my wife Ruth (herself a Bolivian) developed a successful social methodology used even today by many local and international organizations. Long ago I learned the importance of team work and I attribute our success to our talented and dedicated team of mostly women working with women.
In several progressive consulting and program development contracts with the German Technical Cooperation Agency and other organizations in Bolivia, we helped implement the use of thousands of ecological cookers. We demonstrated that local conditions are what dictate solar cooker style; matching technology with culture and participant preference has been one of our keys to successful uptake.
We are currently moving forward a Voluntary Emissions Reduction project listed in the Gold Standard involving 54,000 families and reducing 500,000 tonnes of carbon during 10 years. I was nominated for the Global Leadership award in Kampala Uganda in 2009 at the Partnership for Clean Indoor Air Forum and have participated as a speaker or trainer at conferences/workshops in Africa, Spain, El Salvador, Guatemala, Nicaragua, USA, Paraguay, Peru and Bolivia.
Since 2004 I have worked with some fantastic and incredibly talented volunteers. During our travels on the long back roads into the remote rural areas we work in, stories about our many adventures and some crazy things that have happened to us over the years often just kinda spilt out. It was during some of those times that the idea and synergies for SolFood came about.... adventure stories are always good for the soul.
is the answer you've been searching for.
SolFood is a cookbook, but it isn't just a cookbook.
In its pages you'll find all the information and advice you need to start solar cooking in your own backyard, plus over 54 solar cooking recipes to put on your table. We're also sharing many of the CEDESOL team's adventures, gleaned from over a decade of not-for-profit work in Bolivia and around the world.
Solar ovens, using a free and renewable resource, allow for cooking that does not demand constant attention or fuel replenishment. They help to empower women and children, who would otherwise be confined by the need to gather biomass fuel and tend to their cooking.
We hope the stories will stimulate you to take adventures—not only in cooking, but in every part of life. Feel inspired to encourage others to join you for dinners or try solar cooking in their own homes.
A percent of profits from your purchase will contribute directly to our efforts: promoting and distributing ecological cooking systems in order to combat poverty and pollution in disadvantaged Bolivian communities.
But we wont just take your money, we believe in AYNI the Quechuan term for the practice of reciprocity. And we commit to giving you back more value than we receive.
Just look over our contents page and see all the great things waiting for you inside SolFood!
Check out the chapters in the recipe section!
See What These Experts Have To Say About SolFood: Food for the Soul, Cooked with the Sun!
"This is the most beautiful I've seen of many solar cookbooks around the world."
This is the most beautiful I've seen of many solar cookbooks around the world. Congrats on this great addition to the world of solar cooking..Hearty best wishes for successful marketing.
"You have done a splendid job of telling your story, explaining ecological cooking and providing your readers with a lot of awesome recipes"
I just finished reading your cookbook and my mouth is watering. You have done a splendid job of telling your story, explaining ecological cooking and providing your readers with a lot of awesome recipes (I'm trying to cut down on meat, so I really loved all your vegetarian recipes). Congratulations on a really great publication. I'm going to use some of these recipes in my field demo.
Drop by drop it becomes a river.
"The recipes are very easy to follow and there are several I can't wait to try. This is a beautiful cookbook that is a must-have for everyone."
I love that the history of CEDESOL has been included to bring solar cooking into the 21st century. The recipes are very easy to follow and there are several I can't wait to try. This is a beautiful cookbook that is a must-have for everyone.
"I love your cookbook and enjoyed it so much.. It may be the best one out there..."
I love your cookbook and enjoyed it so much.. It may be the best one out there...on the market for the world to read. I presume you have a Spanish version too, which will be so useful and inspiring in countries with that language and decent sunshine.
The quotes from all the famous people really caught my attention, but they also set a valuable tone to the book. some of them are very inspirational. and many of the recipes sound mouth watering! I looked up the mainstreamsolarcooking site and was impressed by that too. I hadn't heard of it before. I am sure there is a lot more I will glean from the book in the future and will make sure it gets top billing on the Kyoto Twist website..
These are the best haybasket instructions I've seen. I'll quote from them, too."
Touching ending! You have told your story clearly and affectingly. It describes the enormous investment which must be made to transfer our technologies successfully. I will urge all to read it who express interest in doing the job properly. Thank you.
Chris Pell. I'm glad you mentioned Chris as well as the difficulty of arranging credible evaluations. In my opinion, the work Chris did in Bolivia is the best we have ever been able to acquire. I cite it frequently.
These are the best haybasket instructions I've seen. I'll quote from them, too.
Thank you for the compliment of sharing this inspiring story with me. I look forward to the finished product.
The adventures of a man and his wife in bringing some sunshine into the suffering lives of the most needy people in Bolivia whose only abundant resource is fresh air and sunlight.
Amidst the challenge of providing sufficient daily survival household energy while not causing further devastating deforestation, David looked up and precisely, the solution is from above: the Sun, and the rest, is history as recorded in this book.
In Bolivia we practice a type of "Over-delivery"
We have actually spent a great deal of time, energy and resources to find or develop Bonuses and Products that complement "SolFood" - our Adventure Solar e-CookBook. These products will help you develop the tools you need to make better decisions about your life while you enjoy helping us reduce poverty and improve the environment.
So we acquired resell rights to many cookbooks just so that we could provide you MUCH more than you might have expected. With this offer we will give you 7 cookbooks to accompany your new adventure solar cookbook. The aggregate value of these 7 BONUS cook books is $100.00!
This is unheard of¡¡¡¡. A $100 bonus for a $19.97 product!
And this SUPER YAPA bonus just may be the last recipe books you will ever need..
My personal favorite are the CrockPot recipes but all of them are special.
In our amazing, entertaining e-cookbook you get over 54 easy to follow step by step solar cooking recipes and while you are enjoying the slow cooking, we also provided fun stories, giving insight into working here in Bolivia in 135 pages delivered via .pdf for immediate access.
But wait, it doesn't matter if you don't have a solar cooker. The recipes are great even when cooked in traditional ways and you still get the entertaining stories, the 7 additional traditional cook books and we are throwing in FREE updates to our book for the next year. Plus. and this is important to both of us, your purchase helps us to be able to keep delivering healthy clean cooking, clean air, and clean environment to many beneficiaries in Bolivia.
We know that by kindling a right relationship with you both of us benefit and the truth is, that can be priceless.
So, take a moment to add up JUST the price value of what we are delivering and you will see that, if they were sold separately they would cost you a real world value of $161.97!
SolFood: Food for the soul cooked in the Sun - 134 pages of insights, entertainment and healthy eating $37 value!
Bonus # 1: 7 highly popular and valuable Cook Books. $ 105.00 value!
Bonus # 2: Complete updates to the adventure Cookbook, SolFood: Food for the soul cooked in the Sun for 1 year.
That's right... We are completely confident that you will be satisfied with "SolFood: Food for the Soul Cooked with the Sun" but because I want to make this a "no brainer" for you, I will provide you with the most generous offer of a 30 day, 100% money back satisfaction guarantee.
Here is how it works: Order today and you will gain instant access to the membership site where you can download your Adventure cook book "SolFood" immediately, as well as all the bonuses. If within 30 days you are NOT completely happy with our cookbook, simply send me an e-mail for a full, complete refund… no questions asked!
Are you concerned for the environment?
Do you want to do something to reduce your environmental impact?
Does it bother you that just everyday living contributes to global warming?
Do you not solar cook?
Do you want your children to inherit a better planet?
Do you have friends that might say yes to any of the above?
So how did you do? Did you say yes to 3 or more questions? Well then this book is for you!!!
Ok, it's time to take that next step in your quest for a better life. This ebook is so entertaining and the recipes clearly show how to prepare them in traditional methods with or without a solar cooker. You do NOT need to be a solar cook or have a solar cooker to enjoy this book!!!
Plus, we are giving you a NO RISK, no questions asked guarantee, so that you can join with us and help create hope and a better life for the many thousands who are truly needing one.
Hit BUY NOW before we come to our senses and revert the price back to $47.
I know that I will get INSTANT ACCESS to the entire package via the versatile PDF format, which can be viewed on any device (PC, Mac, Tablet or Smartphone) as soon as I click the orange ADD to CART button below.
immediate access in the membership site to the Adventure Cook Book SolFood: Food for the Soul cooked with the Sun.
instant access in the fixed membership site to all Bonuses which I can download at anytime 24 hours a day from anywhere in the world.
all updates to SolFood for the next year.
P.S. You are just a click away from experiencing the joy of Solar Cooking, adventure stories, and improving the environment while helping your fellow "man".
P.P.S. After signing up, your account will be instantly activated and you will have access all the Bonuses, in the membership site as well as the Adventure Solar CookBook in the next few minutes.
P.P.P.S. The cookbook and bonuses are downloadable eBooks. No physical products will be shipped. You will get INSTANT ACCESS to the entire package via the versatile PDF format, which can be viewed on any device (PC, Mac, Tablet or Smartphone). Absolutely everything you'll need to start following the most interesting diet we know of can be downloaded in minutes! Claim your copy of the SolFood Cookbook today by clicking on the secure orange "Add To Cart" Button Below .


Deuce Gorgon and Lagoona Blue at Ebay – No Nap Time!
You can find more photos of lovely Lagoona here and pick her up at Ebay here.
More photos of Deuce can be found here and you can grab him over here.
Three new girls available at Etsy!
previous post: WIP: Practice, practice!


Home - Ford-Diamond Electric Supply Corp.
We have one of the largest lighting showrooms on Cape Cod.
As a family owned business for over 40 years, we know all too well how important first impressions are. With a helpful and friendly staff, we strive to bring you professional service and quality products. Our hope is that your shopping experience at Ford Diamond is a pleasant one, and you leave feeling like family too.
We have the second largest selection of lampshades in New England.


text:
package bento.lang;

import bento.runtime.Context;

import java.util.List;

/**
 * A ConstructionGenerator is an object which generates a list of constructions
 * for a given context.  It is used in dynamic arrays; if an element of such an
 * array is a ConstructionGenerator, the elements retrieved from the array are
 * the generated constructions.
 *
 * @author Michael St. Hippolyte
 * @version $Revision: 1.6 $
 */

public interface ConstructionGenerator {

    /** Generates a list of constructions for a context. */
    public List<Construction> generateConstructions(Context context) throws Redirection;
}

redpajama_set_name: RedPajamaGithub


A Texas father is fighting in court for the right to see his son after being charged with child abuse by his ex-wife "for not affirming James as transgender."
The father has also obtained eyewitness accounts from family friends and a religious leader, all of whom testified that they've never seen the young boy attempt to identify as a girl.
Family friend Sarah Scott, whose sons regularly play with James and his fraternal twin brother and who reportedly wants to be sensitive to James' wishes when it comes to gender, also offered her perspective.
"His mother came to pick up the boys to take them to [his brother's] soccer game," remembered Scott. "[He] hugged his dad and said, 'Love you.' He refused to go to the soccer game as a girl with mom and stayed with dad. That evening they came to our house."
Walt Heyer, who authored the report at The Federalist, is himself a man who formerly identified as a transgender woman. Heyer writes and speaks regularly about his own experiences, and about the dangers of promoting transgender ideology to children.
"Get it wrong," Heyer continued, and the boy's "life is irrevocably harmed."
"Remove the 'rainbow' from [the] diagnosis, and it crumbles under the weight of the criteria for the diagnosis of gender dysphoria," argued Heyer.
The author added a stern warning that "If we do not save [the boy] from a misdiagnosis, his next step is chemical castration at age eight, only two years away."
A website called Save James has been set up for anyone interested in knowing more about James and his alleged misdiagnosis.


text:
Q: I am trying to include firebase into my react.js project. in order to create a login ApI .Below is my code import { initializeApp } from "firebase/app";
import { getStorage } from "firebase/storage";
import { getAuth, GoogleAuthProvider } from "firebase/auth";
import { getFirestore } from "firebase/firestore/lite "

const firebaseConfig = {
    apiKey: "AIzaSyATcQBcBVJAYZbn9EfKNq6DjXtFdx25tss",
    authDomain: "grey-hackbu.firebaseapp.com",
    projectId: "grey-hackbu",
    storageBucket: "grey-hackbu.appspot.com",
    messagingSenderId: "748662363480",
    appId: "1:748662363480:web:4faf4f4fcd12e0f20d012d",
    measurementId: "G-7GDWG2D6FF",
};

const app = initializeApp(firebaseConfig);
const db = getFirestore(app);
const auth = getAuth();

const storage = getStorage(app);
const provider = new GoogleAuthProvider();

export { db, auth, storage, provider };

But I keep having this issue "  ERROR in ./src/firebase.js 6:0-56
Module not found: Error: Package path ./firestore/lite  is not exported from package C:\Users\USA\disney-clone-plus\disney-clone\disney-clone-plus\node_modules\firebase (see exports field in C:\Users\USA\disney-clone-plus\disney-clone\disney-clone-plus\node_modules\firebase\package.json)
ERROR in ./src/firebase.js 16:12-25
export 'initializeApp' (imported as 'initializeApp') was not found in 'firebase/app' (module has no exports)
ERROR in ./src/firebase.js 18:13-20
export 'getAuth' (imported as 'getAuth') was not found in 'firebase/auth' (module has no exports)
ERROR in ./src/firebase.js 19:16-26
export 'getStorage' (imported as 'getStorage') was not found in 'firebase/storage' (module has no exports)
ERROR in ./src/firebase.js 20:21-39
export 'GoogleAuthProvider' (imported as 'GoogleAuthProvider') was not found in 'firebase/auth' (module has no exports)" . I would really appreciate if anybody can help


text:
Jeremy Deller 'Joy In People'
Touring exhibition: Touring to Hayward Gallery, London (2012); Wiels Centre for Contemporary Art, Brussels (2012); Institute of Contemporary Art, Philadelphia (2012); and Contemporary Art Museum, St. Louis (2013)
A hugely influential artist for much of the past two decades, Turner Prize winner Jeremy Deller has helped to rewrite the rules of contemporary art – his work explores compelling social and cultural territories while alternately taking on the roles of artistic producer, publisher, filmmaker, collaborator, curator, parade organiser, and cultural archivist. This mid-career survey – the first in the artist's career – provides a fresh overview of his multi-faceted work. The exhibition will incorporate almost all of his major works to date, including installations, photographs, videos, posters, banners, performance works, and sound pieces, shown together with new work. Joy in People is curated by Ralph Rugoff, Director, Hayward Gallery.
The earliest of the show's major installations will be a larger than life size reconstruction of Deller's Open Bedroom (1993), the artist's first exhibition which was held in his parent's house when they were away on holiday. Among other major works, the show will feature a two-part installation and a presentation of archival material, based around Deller's epic project An Injury to One is an Injury to All (2001) exploring a violent 1984 confrontation between striking miners and police – an event he re-staged with historical re-enactment societies and former miners. The exhibition will also include It Is What It Is (2009) showing the remains of a car destroyed at Al-Mutanabbi book market in Baghdad, presented within an area in which participants with firsthand knowledge of conflict zones in the Middle East, particularly Iraq, discuss their experiences with the public; Valerie's Snack Bar (2009), a functioning replica of a Manchester café along with large-scale parade banners (such as a pro-smoking banner designed by David Hockney); and new film So Many Ways to Hurt You (2012) about the miner turned glam wrestler, Adrian Street.
Much of Deller's work over the years has explored and elaborated on the social meanings of popular music. Jeremy Deller: Joy in People will include a number of his pioneering collaborative works with fans and amateur cultural practitioners, such as The Uses of Literacy (1997), an exhibition created by fans of The Manic Street Preachers, which brings together paintings, collages, drawings, books, poetry and ephemera inspired by the band's lyrics. The exhibition will also feature several music-related videos, such as Acid Brass (1997), for which he commissioned a traditional brass band to play contemporary acid house music.
In addition, the exhibition will feature a section entitled 'My Failures,' devoted to the artist's myriad unrealised projects, and will include a new narrative slide show in which the artist discusses his many non-gallery projects and interventions. It will also include interactive elements featuring the gallery attendants.
Ralph Rugoff, Director, Hayward Gallery said:
"I am delighted that the Hayward Gallery is presenting Jeremy Deller's first survey exhibition. His work explores links between seemingly far-flung cultural phenomena and he unexpectedly and imaginatively charts their connections to our larger social relationships. In the process, he has helped to expand our idea of art – of the roles it can play and the shapes it may take – as much as any artist of his generation."


Lost? Fear no more. Take a peek at your horoscope courtesy of Madam Sarah.
SAGITTARIUS (NOV. 22-DEC. 21): Don't stress that you haven't heard from that guy you went out with three weeks ago: Neither has his parole officer.
CAPRICORN (DEC. 22-JAN. 19): Capricorn's new owner has decided that, because of low ratings, you'll be replaced by John Stamos this fall.
AQUARIUS (JAN. 20-FEB. 18): No one can communicate effectively without the right tools, so make sure you have a CB radio and flare gun before you leave for vacation this weekend.
PISCES (FEB. 19-MARCH 20): Trouble looms for you next week when your office romance story turns into an office sexual harassment story.
ARIES (MARCH 21-APRIL 19): Aries is on strike until you start showing it some damn gratitude.
TAURUS (APRIL 20-MAY 20): The people who brought you "The Santa Clause 2" and "The Santa Clause 3" have had time to reflect and are willing to take them back.
GEMINI (MAY 21-JUNE 21): This week will bring you serious depression, but you should be used to it by now, right?
CANCER (JUNE 22-JULY 22): You tend to freak out about the smallest things, but this week will feature nothing but serious disasters.
LEO (JULY 23-AUG. 22): Be on guard this Monday: It will feel suspiciously like a Friday.
VIRGO (AUG. 23-SEPT. 22): Though it seems to make sense, there's just something you don't trust about this "eat right and exercise" idea.
LIBRA (SEPT. 23-OCT. 23): You will finally one-up your mother when you go 10 weeks without saying anything positive.
SCORPIO (OCT. 24-NOV. 21): Avoid making any major business decisions this week because you'll spend most of it out of your mind on martinis.


text:
Manchester City beat Chelsea to close gap at top
Defending champions Manchester City beat injury-hit Chelsea 1-0 on Thursday to close the gap on Premier League leaders Arsenal to just five points. Pep Guardiola's men were well below par in the first half but were transformed after the break, with substitutes Jack Grealish and Riyad Mahrez combining for the only goal, scored by the Algerian in the 63rd minute.
Graham Potter's Chelsea came into the game at Stamford Bridge languishing in 10th place in the table but they had the better of the opening 45 minutes. However, it was a different story in the second half as the visitors found their attacking rhythm, with Guardiola admitting they were "miles better in every department" after the break. "We struggled a lot in the first half — it was sloppy and slow and without rhythm," the City boss told Sky Sports. "In the second half it was much, much better from minute one."
Also Read: EPL: Man City beats Chelsea 1-0, trims gap to Arsenal to 5 points
Pulisic suffers injury
Christian Pulisic joined Chelsea's long injury list after hurting his right knee while attempting a shot on goal in the 1-0 loss to Manchester City.
This story has been sourced from a third party syndicated feed, agencies. Mid-day accepts no responsibility or liability for its dependability, trustworthiness, reliability and data of the text. Mid-day management/mid-day.com reserves the sole right to alter, delete or remove (without notice) the content in its absolute discretion for any reason whatsoever
CES 2023 Day 2 recap: Sony, Google and a Ram 1500 concept
DEAL OF THE DAY: easyJet launches huge sale with £16 flights and £300 off holidays | Travel News | Travel


text:
package fr.m1info.rv2j.forms;

public class FormValidationException extends Exception {

	private static final long serialVersionUID = 1L;

	public FormValidationException(String message) {
		super(message);
	}
}


it's the same model as A&E's old "Great Books" but with higher production values and some real talent. Yes, the themes should be pretty familiar to Shakespeare students, but it is still fun to hear those more knowledgeable than us (or than me anyway) discuss them: is Antonio gay? is Shylock sympathetic or a caricature? why is this called a comedy?
Helen Hunt hosts Much Ado, Brian Cox does Julius Caesar, etc.
It's on the PBS label, so I assume Series 1 and 2 have been broadcast, but I don't remember seeing them. I enjoy when PBS does educational--there is enough there to keep the academics engaged while really laying out the plays for the beginners.
Volume 3 has been or is now being broadcast on WUNC--PBS for North Carolina. I made a point of recording the Much Ado episode, as it is one of my favorite plays, and enjoyed it very much. The Campbell Library has vols.1-2 on DVD, and I own vol. 2 (Hamlet/Richard II/Macbeth/Twelfth Night & As You Like It/The Tempest/Henry IV & Henry V) if you want to borrow it. The weak point of vol. 2, unfortunately, is Derek Jacobi on Richard II, as he spends too much time on largely discredited "Shakespeare was really someone else" hypotheses.
I thought they did a particularly good job with their montage of all the productions of Much Ado (both cinematic and stage). It made me want to see all of them! The episode mostly interviews actors who have undertaken roles in the play, which is totally okay. Still, I would have liked to have seen more discussion with Shakespeare critics/literary theory on Shakespeare.
Overall, an educational, enjoyable time spent on the series!
Campbell U library has at least 2 versions on DVD: The Kenneth Branagh Much Ado (Branagh & Emma Thompson), and the 2012 Joss Whedon directed production (Amy Acker & Alexis Denisof as Beatrice and Benedick).
Digital Theatre Plus--2011 London stage production with David Tennant and Catherine Tate, and the 1974 NY Shakespeare Festival production.


Jan 25 WARNING! You're 99.99% Wrong About What You Think You Know About Marketing Funnels and It's Costing You, Big Time!
Have you ever wondered how some businesses have such a lucrative group of followers and seem to draw their audience in magnetically? Today, I share a quick but powerful 7-minute video on exactly how you can achieve "magnetic messaging" within your own business and the impact that can bring to your bottom line.


ALSO: 6th Annual LunaFest at Riverview Theater; VocalEssence performs Bob Dylan in "The Times They Are A-Changin' "; and more.
ALSO: "From Behind the Sun" at Minneapolis Community and Technical College; "For the Love of Will" at the O'Shaughnessy; and more.
The Pulitzer Prize-winning composer, University of Minnesota professor emeritus and longtime Minneapolis resident died Wednesday at 91.
ALSO: The SPCO's Tapestry19: Reflections on Home; "VocalEssence Witness: Yet They Persist" concert; singer Joyce DiDonato at the Ordway; and more.
ALSO: No Coast Craft-O-Rama at Midtown Global Market; Lisa Gutkin: The Music and Musicians of "Indecent" at the Cedar; and more.
ALSO: Vänskä Conducts Mahler's Seventh at Orchestra Hall; The Bakken Trio at MacPhail; and more.
ALSO: VocalEssence 50th Anniversary Concert at the Ordway; "Bach and the Forbidden City" at Hamline; and more.
ALSO: Books & Bars: Frank Herbert's "Dune" at the Amsterdam; "The Wizard of Oz Movie Sing-Along" at Lake Harriet Bandshell; and more.
ALSO: Nautilus Music-Theater: Rough Cuts at the U of M's Ferguson Hall; BodyCartography Project at the Weisman; and more.
ALSO: "Mixtape Side B" at the Cowles; Meet the Designers: Julie Snow and Tadd Kreun at the Walker; and more.


The hash join is an example of a join algorithm and is used in the implementation of a relational database management system. Hash joins are typically more efficient for larger result sets than nested loops, and can only be used for equi joins.
A LEFT JOIN is absolutely not faster than an INNER JOIN. In fact, it's slower; by definition, an outer join (LEFT JOIN or RIGHT JOIN) has to do all the work of an INNER JOIN plus the extra work of null-extending the results.
An SQL join clause - corresponding to a join operation in relational algebra - combines columns from one or more tables in a relational database. It creates a set that can be saved as a table or used as it is.
Loop Join. The loop join is more CPU intensive than a merge join. This join typically occurs when one worktable is quite a bit smaller than the other.
I would re-order the joins based on the ability to reduce the number of records returned by each join. Whichever join can reduce the number or records returned will increase efficiency.
join — оператор языка sql, который является реализацией операции соединения реляционной алгебры.
Introduction. The Hash Match operator implements several different logical operations that all use an in-memory hash table for finding matching data.
규칙 left outer join 시 on 절에서는 우측(널값으로 채워지는 쪽)의 추가 제약조건을 넣고 좌측의 추가 제약조건은 where절에 넣어야 한다.
Recent Examples on the Web. With all 11 offensive players jammed between the left hash mark and left sideline, Sweet, the center, positioned himself over the hash and performed a one-handed snap, diagonally, toward quarterback Gardner Minshew.
Comments on Schema and Nonschema Objects . You can use the COMMENT command to associate a comment with a schema object (table, view, materialized view, operator, indextype, mining model) or a nonschema object (edition) using the COMMENT command.
Important. Because the SQL Server query optimizer typically selects the best execution plan for a query, we recommend that hints, including <join_hint>, be used only as a last resort by experienced developers and database administrators.
VIRIDIS IN AGRIS ID AGUNT TALPAE..... NOTICE BOARD The Friends of the Mole Hash House Harriers - fotmh3 or FoTMHHH - running club welcomes all runners of all abilities to join us at any of our cross county Family Fun Runs.
World's simplest line break and newline remover. Just paste your text in the form below, press Join Lines button, and you get merged lines. Press button, get joined text.
Welcome to the Scarborough Hash House Harriers website. The Scarborough Hash House Harriers meet every Monday at 7pm from a different venue, usually a pub, and occasional Sunday's from the Alma Inn (hash HQ) at 11.00am.
USE_CUBE Sytntax: USE_CUBE ( [ queryblock ] tablespec [ tablespec ]... ) Description:When the right-hand side of the join is a cube, the USE_CUBE hint instructs the optimizer to join each specified table with another row source using a cube join.
SQL Sentry's Aaron Bertrand ( AaronBertrand) digs into the left anti semi join, comparing NOT IN, NOT EXISTS, OUTER APPLY, EXCEPT, and OUTER JOIN methods.
A hash function takes a group of characters (called a key) and maps it to a value of a certain length (called a hash value or hash). The hash value is representative of the original string of characters, but is normally smaller than the original.
Ein SQL-Join verknüpft eine oder mehrere Spalten verschiedener Tabellen einer relationalen Datenbank, um das Ergebnis in Tabellenform auszugeben oder weiterzuverarbeiten.
Usually, when asked about what's the main difference between nested loop joins and hash joins, the answer will be that hash join uses a hash-table based lookup mechanism while nested loop doesn't or that the hash join can use cursor work-area memory (allocated in UGA) for buffering rows, while nested loops join can not, etc.
Directions. In a large ovenproof skillet, cook hash browns and onion in oil until potatoes are browned and onion is tender. Remove from the heat; stir in corned beef and salt.
If you made my recipe for corned beef and cabbage for St. Patrick's Day, then you will love the recipe that I am sharing today. With my leftover corned beef I always make Homemade Corned Beef Hash for breakfast the next day.
Hash distributing rows is a wonderful trick that I often apply. It forms one of the foundations for most scale-out architectures. It is therefore natural to ask which hash functions are most efficient, so we may chose intelligently between them.
The number of left-deep trees is calculated as n! or n factorial, where n is the number of tables in the relation. The factorial is the product of all the positive integers less than or equal to n.
23/05/2015 · Users make hash oil by running butane or another solvent through a tube filled with dried marijuana clippings, left over after the flowers have been cut off for smoking.
For Southwest Potato Bake, use southern-style hash brown potatoes and shredded Colby-Monterey Jack cheese instead of the regular hash browns and Cheddar cheese.
04/12/2018 · Describes trace flag 4199 that is added to control multiple query optimizer changes previously made under multiple trace flags.
More often, where large hash joins beat a nested-loops plan, the query commonly either reads far more rows than are truly useful in a business context, or the nested-loops plan being compared is the wrong nested-loops plan, likely with the wrong join order, or missing necessary join-key indexes, or with join-key indexes disabled by a type conversion or some other function on the join key.