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Art in the Sanctuary
First Free has a long history of providing a stage for creative expression that encourages connection, dialog, and understanding. Our series of visual art exhibitions presents contemporary artwork with in the context of a sanctuary for meditation and worship. Continue to become creators with us.
Larry John Davis: Current Work
Artist Larry Jon Davis is a native of the Mississippi River town of Clinton, Iowa. During his career Davis' works have found their way into a broad array of private, corporate and public collections. Much of this art was influenced by travel in the UK, Continental Europe, Japan and North America. Over the decades his style has evolved from realistic towards a more expressive and abstracted manner. During the last four years he has eagerly pursued new effects through the introduction of cold wax medium into his oil painting technique.
Joan Geary: Reconciled Among the Stars
Joan Geary is a lifelong resident of the Chicago area, growing up on the north side, and currently residing in the southwest suburbs. She first studied art as a teenager at the School of the Art Institute of Chicago. Later, at mid-life, she studied painting and sculpture at the College of Du Page in Glen Ellyn, and also did workshops with several internationally known artists,...
Melynda Van Zee: Freedom from the Core
Melynda Van Zee shares her artwork at exhibitions and art fairs throughout the United States. Her works are in the collections of numerous private and corporate collectors around the country...
Steven Carrelli: Fragile States
Steven Carrelli was born in Canton, Ohio, in 1967. He received a BA in Studio Art from Wheaton College in 1990 and an MFA in Painting from Northwestern University in 1995. As a 1995-96 Fulbright scholar, he studied egg tempera painting in Florence, Italy. Carrelli has returned to Italy on many occasions to teach and to work.
Helen Dannelly: Spring Waters
Known primarily as a sculptor from in the California Bay Area, Helen Dannelly began a new, groundbreaking series of paintings on paper after moving to Chicago in 2015. Expansive, vibrant, and complex, these abstract paintings are created using the unusual and immediate medium of translucent alcohol-based inks on Yupo, a synthetic watercolor paper.
Crystal Neubauer: New Wine
Crystal Neubauer is a Mixed Media Artist drawn to the broken, cast out, and overlooked items of the past. She sees beauty in the mundane, brings new life to forgotten objects, and finds the process of salvaging old materials and creating new art to be therapeutic and healing. As her work evolves, a more complete understanding of her work and why she chooses to use materials that others see as trash comes to light.
Marissa Voytenko: Boats and Bridges
September 2017 – November 2017 Originally from a small agricultural community in Northern California, Marissa has traveled widely and lived for several years in western Ukraine. Always drawing as a […]
Group Exhibition: Advent and Arise!
Winter of 2016 through Spring of 2017 Featured images from the two-part Inaugural Group Exhibition of the First Free Sanctuary Series . Featuring work by Joel Sheesley, Sergio Gomez, Marilynn […]


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Minnesota National Guard Activated to Fight Northern Minnesota Fire
Andy Brownell Published: August 16, 2021
photo courtesy Minnesota National Guard
Rochester, MN (KROC-AM News) - Members of the Minnesota National Guard are being deployed in northern Minnesota to help battle wildfires.
Governor Tim Walz has signed an executive order authorizing a request for support that was submitted by the Minnesota Interagency Fire Center in response to a major forest fire burning in the Superior National Forest. The Greenwood Fire near the town of Isabella and, at last report, had consumed several hundred acres and was growing rapidly due to strong winds and extremely dry conditions.
"The Minnesota National Guard is ready to assist firefighting efforts in conjunction with the Minnesota Department of Natural Resources, the Minnesota Interagency Fire Center, and the State Emergency Operations Center." said Maj. Gen. Shawn Manke, Minnesota National Guard Adjutant General. "We take pride in being able to answer the call to serve our fellow Minnesotans."
The firefighting mission will include two Black Hawk helicopters with water buckets and fuel trucks from a St. Paul-based unit and the 48th Fighter Wing based in Duluth. 16 soldiers and two pilots are being activated for the mission and are expected to arrive in the Warroad area today.
Meanwhile, a specially equipped Black Hawk helicopter from a St. Cloud National Guard unit remains in Washington State to help fight fires. That mission was originally scheduled to last two weeks, but the National Guard says the deployment could be extended depending on whether their help is still needed.
News Update: Mayo Clinic Announces $200-Million Downtown Rochester Project
Source: Minnesota National Guard Activated to Fight Northern Minnesota Fire
Categories: Local News, State News

redpajama_set_name: RedPajamaCommonCrawl


The Foundation for International Education in Neurology Surgery (FIENS) was established in 1969 to remedy the dire shortage of neurosurgeons in the developing world. The organization is mostly composed of American physicians, but two Canadians sit on the board of directors and interested Canadian neurosurgeons are encouraged to get involved.
Belize, Ecuador, Ethiopia, Ghana, Guatemala, Honduras, India, Indonesia, Kenya, North Korea, Nepal, Nigeria, Peru, Philippines, Taiwan, Tanzania, Thailand, Uganda, Vietnam, Zimbabwe.
A typical trip lasts one month.
FIENS covers round-trip travel costs and the host site typically coverages living expenses during the stay there.


You're in good hands going with these tried and trusted Mocu offerings. Pre-made mixes for life on the go and specialty ingredients for when you have more time to craft your favorite recipes. Either way, you'll have the oomph to conquer your daily goals!


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3 Doors Down is an American post-grunge band from Escatawpa, Mississippi, formed in 1997. The band consists of Brad Arnold (vocals), Matt Roberts (guitars), Todd Harrell (bass), Chris Henderson (guitar), and Greg Upchurch (drums/percussion).
The band rose to national fame with their first single, "Kryptonite", which charted in the top three on the Billboard Hot 100 chart. The band then signed onto Universal Records and released their debut album, The Better Life, in 2000. The album was the 11th-best-selling album of the year and was certified 6x platinum in the United States. Their second album, Away from the Sun, (2002) continued the band's success; it debuted at #8 on the Billboard 200 chart and went multiplatinum in the United States like its predecessor. The band followed it up by extensive touring for two years before releasing their third album, Seventeen Days, in 2005. The album debuted at #1 on the Billboard 200 chart and was certified platinum within its first month of release. Their fourth, self-titled album, 3 Doors Down, also debuted at #1 on the Billboard 200 chart.
The band often performs more than 300 concerts a year and has performed with other artists such as Lynyrd Skynyrd, Megadeth, Staind, Nickelback, Alter Bridge, Breaking Benjamin, Seether, Shinedown and Daughtry. Since the start of their career, 3 Doors Down has sold over 16 million albums worldwide.
3 Doors Down's first album, The Better Life was released on February 2 , 2000, and went on to become the 11th best-selling album of that year, selling over 3 million copies. It has since been certified 6x platinum, thanks in large part to the international hit singles, "Kryptonite", "Loser", and "Duck and Run". A fourth single, "Be Like That", also did well and was actually re-recorded for the 2001 film American Pie 2, with alternate lyrics for the first 3 lines. This version is known as "The American Pie 2 Edit".
For recording the album, Brad Arnold recorded both the vocal and drum parts. However, when touring to support The Better Life, the band hired a drummer so that Arnold could perform at the front of the stage.
Session drummer Josh Freese was hired to record drums for Away from the Sun. Also, Rush guitarist Alex Lifeson produced and performed on three tracks for the record, "Dangerous Game", "Dead Love", and "Wasted Me", but only "Dangerous Game" would appear on the finished product. The band hired Canadian Daniel Adair to play drums for the Away From the Sun tour. He would go on to record the drums for the band's next studio release, and was with the band aboard the USS George Washington (CVN-73) to film the music video "When I'm Gone".
In 2003, 3 Doors Down released a live E.P. entitled Another 700 Miles consisting of recordings from a live performance by the band in Chicago, Illinois. Another 700 Miles has since been certified Gold in the United States. Besides featuring some of 3 Doors Down's hit singles from their previous two albums, the E.P. also contains a version of the popular Lynyrd Skynyrd song "That Smell".
In 2003, the band began hosting the annual "3 Doors Down and Friends" benefit concert, through the band's own charity The Better Life Foundation. In 2006, this event was held at the Mobile Convention Center, with proceeds benefiting Hurricane Katrina survivors. As residents of Escawtawpa, the members of the band saw the effects of Katrina's devastation.
The band's third studio album, 2005's Seventeen Days, has since been certified platinum. "Let Me Go" and "Behind Those Eyes" charted with the most success. "Live for Today", "Landing in London" (on which Bob Seger provided back-up vocals and guitar), and "Here by Me" were also released as singles. During the Seventeen Days tour, the band appeared alongside southern rock band Lynyrd Skynyrd, as well as headlined many shows of their own.
Also in 2005, the band released a live DVD entitled Away from the Sun: Live from Houston, Texas. The DVD was produced and directed by Academy Award nominated Alex Gibney and Doug Biro. It features songs from both The Better Life and Away from the Sun, and even some early sketches of "It's Not Me" and "Father's Son", which were both eventually released on Seventeen Days.
Greg Upchurch, formerly of Puddle of Mudd, replaced Daniel Adair in 2005, when Adair left to accept the position as drummer and contributing member of Nickelback.
3 Doors Down released their self-titled fourth album on May 20, 2008. It debuted at #1 on the Billboard 200, selling 154,000 copies in its first week. It is the band's second consecutive #1 album on the chart after Seventeen Days, as well their fourth album to reach the Top Ten. The album contains the hit singles "It's Not My Time", "Train", "Let Me Be Myself" and "Citizen/Soldier", a song written as a tribute to the National Guard. In 2009, 3 Doors Down, along with The Soul Children of Chicago, released the song "In The Presence Of The Lord" on the compilation album Oh Happy Day: An All-Star Music Celebration. The album Oh Happy Day won a 2010 Grammy for Best Traditional Gospel Album.
The band recorded in 2009 a Christmas song called "Where My Christmas Lives", which was the first Christmas song Brad Arnold had ever written. It was digitally released along with 7 acoustic songs on December the 8th. 6 of these acoustic tracks were from the previous self-titled album, and one was an acoustic version of 'Where my Christmas Lives'.
On February 9, 2010, the band released a song called "Shine", through digital media such as iTunes, which was used as a promotion for the 2010 Winter Olympics and is available through digital outlets.
The band just finished recording their new album, Life in Motion, with producer Howard Benson in Los Angeles,CA. A release around February 2011 is possible. The band also said if the album doesnt come at February it will come on late 2011 or early 2012 because they are working on their tour.
Three Doors Down started The Better Life Foundation (TBLF) in 2003, with a goal in mind to give as many children as possible a better life. Since its inception TBLF has supported numerous charities nationwide, as well as providing aid and assistance to the Gulf Coast region of Mississippi during Hurricane Katrina.
When the Mississippi town of Waveland took an especially hard hit from Katrina, the charity was able to purchase three police cars and a fire truck to help with rescue efforts. Also, in connection with Wal-Mart, they were able to supply the town with three semi-trucks full of rescue supplies. There was also extensive support from TBLF in providing funding for rebuilding efforts in the town.
3 Doors Down and The Better Life Foundation host a yearly show in at the Hard Rock Hotel and Casino in Biloxi, MS to raise money for the charity. In addition to a concert from 3 Doors Down and friends, there is also an auction, which includes numerous items from musical friends, sports icons, and other various supporters of the band and the charity. There is an average of sixty items auctioned off yearly, and proceeds are given to TBLF.
This year's show will feature 3 Doors Down, Theory of a Deadman and Saving Abel.
Past performers include, Lynyrd Skynyrd, Shinedown, Alter Bridge, Staind, Hinder, Tracy Lawrence, Sara Evans, and others.
Past auction items include a Paul Stanley guitar played on the KISS Farewell Tour, a total of four Roger Bourget motorcycles, access to the Dale Jr. racing suite, NASCAR artwork by Brad Daley, numerous signed guitars and sports memorabilia, just to name a few.
Current members:
•	Brad Arnold — lead vocals (1996-present)
•	Matt Roberts — lead guitar, backing vocals (1996-present)
•	Chris Henderson — rhythm guitar (1996-present)
•	Todd Harrell — bass guitar (1996-present)
•	Greg Upchurch — drums, percussion (2005–present)
Former members:
•	Daniel Adair — drums, percussion (2002-2005)
•	Richard Liles — drums, percussion (1996-2000)


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Candia School Board Policies
The Candia School Board writes and approves policies and procedures that govern the District. Members of the District community are expected to comply with Board policy. If further clarification of policies and procedures is needed, please contact the office of the Superintendent.
Section A: Foundations & Basic Commitments
Section A contains policies on the District's legal role in providing public education and the basic principles underlying school board governance. These policies provide a setting for all of the school board's other policies and regulations.
Section D contains policies on school finance and the management of funds. Policies on the financing of school construction and renovation are filed in Section F: Facilities Development.
Section E contains policies, regulations, and exhibits on non-instructional services and programs, particularly those on business management such as safety, building and grounds management, office services, transportation, and food services.
Section F: Facilities Planning & Development
Section F contains policies and regulations on facility planning, financing, construction, and renovation.
Section G contains policies on all school employees except for the Superintendent. The category is divided into three main divisions: GB has policies applying to all school employees or to general personnel matters; GC refers to instructional and administrative staff; GD refers to support or classified staff.
Section H contains policies on the process of negotiating with bargaining units recognized by the school board and authorized under state law.
Section I: Instruction
Section I contains policies on the instructional program: basic curricular subjects, special programs, instructional resources, and academic achievement.
Section J contains policies on students in regards to admissions, attendance, rights and responsibilities, conduct, discipline, health and welfare, and school-related activities.
Section K: School/Community-Home Relations
Section K contains policies, regulations, and exhibits on parent and community involvement in schools. Policies concerning statements on public sector relations with the school district are located in this section as well.
Section L contains policies, regulations, and exhibits on the school district's relationship with other educational agencies including other school systems, regional or service districts, private schools, colleges and universities, educational research organizations, and state and national education agencies.


InSOPHE is a professional association made up of a diverse membership of health education professionals and students. InSOPHE promotes healthy behaviors, healthy communities, and healthy environments through its membership and partnerships with other organizations and universities. With its primary focus on public health education, InSOPHE provides leadership through a code of ethics, standard for professional preparation, research, and practice; professional development; and public outreach.
InSOPHE was originally established in 1963 as the Indiana Association of Health Educators (IAHE). After 25 years of being a small local organization the membership and board of directors decided that an affiliation with a national organization would be beneficial to health educators in Indiana. After investigating numerous health education and health promotion organizations, IAHE decided that the Society for Public Health Education (SOPHE) most closely reflected the goals and objectives of the original organization and had many benefits to offer state affiliates. Thus on November 5, 1999, IAHE became an official SOPHE chapter.
The purpose of InSOPHE is to promote, encourage, and contribute to the advancement of the health of all people and to advance the health education/promotion profession through research, service, leadership, education, and distribution of appropriate materials. Find out more about how you can get involved with InSOPHE's leadership.
InSOPHE has crafted a 5-year strategic plan for 2017-2021 that reflects its core goals.


Discussion in 'Forum Suggestions' started by Jean claude Vaaldamme, 27/3/19.
There are tons of useful graphics and info out there which would be useful to new vapers. Our aim should be to present it in such a way that it is accessible to new vapers. I don't know what the ethics are of displaying other peoples (websites) information but there is plenty of "stolen" information which we have already shared on the forum. Diagrams like the ones below are very useful.
Regarding digital copyright law, as per my previous job as an online shop products administrator, if the image doesn't have a watermark on it, there are no legal repercussions on using it.
However those with a watermark, you need to ask for permission and give credit where it's due. That's includes written articles, blogs, videos and other media. You also need to add the links where it directs to the original article written by that author.
Ouch! I have to disagree with you about the "show-off" threads. I was very much a lurker for two odd years before posting much, but every time I was in the forum I would catch up on these threads first. I believe it gave me a lot more information about what was good or not, and what the veteran Vapers were using. And it was a feast for the eyes and a lot less intimidating than going into a vape store and having a quick glance at all the different setups.
I think a lot of us here think of vaping as a hobby now, not just as a means to quit smoking, and as with hobbyists as varied as stamp collecting to antique cars, we like to showcase. Not show off.
@Asterix Some of the mods are definitely a feast for the eyes and belong in a showcase! If they belonged to me I'd be too scared to use them!
@Puff the Magic Dragon Yep, we all have different styles of learning and some people find that visuals are much better than the written word.
Your suggestion is brilliant but at the same time you are depriving the others from that precious piece of info @Hooked. We're all learning from each other's experience even if we stumble on irrelevant advice now and again... I'm obviously not questioning bumblebee's experience but I personally enjoy reading "need some advice" threads and learn a bit from them everyday.
Its interesting you say that @Hooked - and I understand what you mean.
However, on a forum I think its to be expected that people would want to show their mods to others.
@Silver That's true, but perhaps one could separate the HE gear from the "ordinary" gear. It's mostly HE stuff that gets posted and while it's interesting and makes us drool, it doesn't help "ordinary" vapers who want to see what other "ordinary" vapers are using. And let's face it - most vapers are of the "ordinary" kind and if we want to attract vapers-off-the-street then there must be a section which is relevant to them.
If I want to see what kind of car people are driving, within a certain price range, I won't go and look at Ferrari or Rolls Royce - though once I've found the information which I need for practical purposes, then I'll drool over the Ferraris!
I'm with you on posting whatever it is I have cause I love it.
My favorite mod to date is my 3 year old Minikin which is SO scratched and peeled but just wont die and for that I love it. Still use it everyday.
And generally the new hypes don't live up to the hype and people love their older kit, like me with my beaten up Minikin and my couple years old OG goon that outperforms every single new and fancy rda that I've tried over the years.
@Paul33 Start a thread called "The Good Ol' Oldies". I'm sure there are many who still use older kits because of their quality or perhaps just because they're attached to them!
@Jean claude Vaaldamme We need the veteran vapers and their HE mods - but we also need newbies - we need fresh blood!
My apologies for saying "show off" - it was a bit of an "ouch", wasn't it?
Juice recommendations would also be very helpful! For example, recently someone was asking which is a good mango juice.
I don't think it's necessary to have full reviews and it probably wouldn't be feasible, because not many people want to or have the time to do a reviews. As with the mango juice thread, just the brand and juice name could be mentioned.
However, there would be many repeats in the thread of people agreeing that XYZ is good, so perhaps in the Mango thread, for example, there could be a poll with the brand and juice names.
@Admins is it possible to have an "open" poll i.e. where vapers could add a name to the poll if it's not already there? Or would it have to be added by the person who started the thread?
And if that person left the forum one day, would that thread then be lost? That would be awful.
How would one go about setting up something like this? I've actually been toying with this idea for a while now.


A funeral service for Marian Hisaye Aoki, 82-year-old, Los Angeles-born Nisei who passed away on April 2, 2018 in Los Angeles, will be held on Friday, April 20, 2018 at 10:00 a.m. at South Bay Community Church, 2549 W. 190th St., Torrance, CA 90504. Family requests casual attire.
She is survived by her husband, Donald Aoki; son, Daniel (Cynthia) Aoki; grandson, Cameron Aoki; brother, Jon Iwata; also survived by nieces, nephews and many other relatives.


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HomeLifestyleBooksBook review – Pakeezah – An Ode to a Bygone World
Book review – Pakeezah – An Ode to a Bygone World
January 20, 2014 Kiran Arora Books 0
It is always a pleasure to read and know about the classics from the house of Hindi films. Back then in the 50s, 60s and the 70s, the term Bollywood had not yet come which means films coming from Bombay film industry carried a different identity. One such film was Pakeezah and acclaimed personality Meghnad Desai chooses a right subject to get his pen talking.
At the beginning of the book, one does get an impression of a fan boy coming into play. There are pages spent on the greatness and the might of the subject, performances, actors and the film as a whole. So much so that in quick time one starts getting a little detached with what is in the offering. However as one starts turning over the pages and interesting trivia and tid-bits around Pakeezah, Meena Kumari and director Kamal Amrohi start unfolding, there is a renewed interest that starts developing.
The years spent during the making of the film, the technical details that had to be put right to get every frame into a picture perfect space, the casting changes that took place mid-way during the film, the egos that clashed and the manner in which they were addressed, the body doubles that were used to get that perfect shot, the relationships that were put on stake so that the dream of making the film could be fulfilled – a lot unfolds in this 150 odd page book.
What makes the book further interesting is the manner in which Meghnad Desai intersperses several aspects of the life and times of the people involved in the film with the actual making. Even though the film had gone on floors over half a century back and there is practically no one around to talk about what actually transpired, Desai researches to the best level possible and presents details in as chronological fashion as possible. Moreover, wherever and whenever in doubt, he confesses to that while acknowledging that a few incidents are pretty much his own interpretation on how they would have transpired.
Of course one fact that cannot be denied is that the book has a very limited reader base for itself. Though Desai goes all out in terming it as perhaps one of the best all time classics that have come out of the Bombay film industry, the claim appears as a tad exaggerated. Reason being that not many in the current times would be really enthralled to know about what Pakeezah stood for and the hardships that were faced by the makers in putting it together. Unlike a Mughal-E-Azam or a Mother India, the film hasn't quite been certified as a must watch affair in all lists.
Still, if it is your hobby to retain, nurture and flaunt know-how of some of the best films of all times, this book should make for an easy inclusion into your library.
Price: Rs. 250
Rating: ***
Article written by staff at Bollywood Hungama. Read more
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RASTAFARI ARTS AND KULCHA FESTIVAL is a multi-discipline festival showcasing different aspects of the Rastafarian culture. The festival draws from the rich and diverse Rastafarian lifestyle and history. It will take place over a four-day period at York University plus a visit to the Ethiopian Orthodox Church and participation in a Nyah Binghi celebration. The festival is comprised of the following components. They are as follows: Seminar, Market Place, Bob Marley Under 17 Soccer Competition, Cultural Entertainment, theatre production, church service at the Ethiopian Orthodox Church, site visit at Umoja Learning Circle school and participation in a Nyahbinghi celebration.
Celebrate Rastafest a multi-disciplined festival showcasing different aspects of the Rastafari culture. The festival draws from the rich and diverse Rastafarian lifestyle and history.
Reintegrating through the arts is a gender based justice project, aimed at supporting females of Caribbean / African descent who are in conflict with the law. The project objective is to utilize various artistic methods as a vehicle in which participants will be able to: Identity patterns, Address Anger Management, Develop employable skills, Increase communication, Build Team skills, Improve self awareness and express. Strengthen life skills, Build Healthy Relationships, Increase academic success, Learn financial planning and Create individual goals.
Participants will gain hands on experience in THEATRE PRODUCTION: acting, singing, dancing and radio drama. BROADCAST JOURNALISM: internet, radio/television and magazine. VIDEO PRODUCTION: music videos and commercials. STUDIO ENGINEER: production of CD & DVD. WEB PAGE DESIGN: graphic design, interface design, HTML and web hosting. WORKSHOPS: money matters, life skills, anger management and healthy relationships. Through one to one and group sessions participants will receive support in creating individuals goals, while addressing the issues resulting in their conflict with the law.
Stage to Air March Break and Summer camps operates out of UPFRONT STUDIO THEATRE- a brand new audio video recording and production studio. The activities of the studio are as follows: Flex internet radio and telelvision; Flex dance and talent showcase; Stage to Air weekly radio drama show; Youth Talk television program (13-21 years old); All About Kids televisison program (7-12 years old); Baby Talk television program (4-6 years old); Radio and television broadcasting; Acting for television; Voice training for broadcasting, webcasting, Theatre production and Production of commercial and Production of commercial. In designing Stage to Air summer camp much thought is is given to maximizing the multi-media envronment of UPFRONT STUDIO THEATRE in order to enhance and cultivate children who are interested in broadcast journalism. This multi-disciplinary atmosphere is placing great emphasis and focus on rearing young, dynamic, dazzling, and bright personalites. UPFRONT STUDIO THEATRE climate is breaking new grounds in the sense that any child in the community who is interested in exploring and learning different facets of radio and telelvision production, they have this opportunity open to them.


Many consider living in Olivenhain Encinitas because of the family oriented events, plus safe neighborhoods and best of all the great schools. Additionally, living in Olivenhain provides the best education. Olivenhain homes are in the Encinitas Union School district for elementary schools and San Dieguito Union High School Disctrict (SDUHSD). Most children who live in the community attend Diegueno Middle School, Olivenhain Pioneer Elementary (OPE) and La Costa Canyon High (LCC).
Are you considering buying a home in Colony Olivenhain? Most importantly if you are thinking about living in Olivenhain you will want to learn about the Encinitas lifestyle, demographics, or schools! From James Jam's early college years, his natural talent for working with people was evident. His B.A in human resource management developed his unmatched business communication skills. Moreover, obtaining a master's degree in business with a marketing concentration. Additionally this education is crucial to success when buying real estate. Furthermore, James continues to complete courses which allow him to meet the demands of an ever-changing marketplace. Additionally, for over 27 years he has made a sincere commitment to service with excellence and integrity.
James Jam's mobile app gives you instant access to the newest Olivenhain real estate listings. Having sold hundreds of single family homes for sale in Olivenhain, California I can provide the most accurate home values for Olivenhain properties, its neighborhoods and surrounding areas. There are currently 181 homes for sale in Olivenhain, Encinitas San Diego County CA 92024 including condos, bank owned properties, and short sales. In addition to condos in Olivenhain Encinitas, land and luxury listings.
Popular communities within Encinitas, (Olivenhain) 92024 zip code: Brookside, Copper Creek, Copper Crest Estates, Country Rose, Double LL Ranch, Dove Hollow, Knightsbridge, Rancho Encinitas. In addition to Val Sereno, Wildflower Estates, Morning Sun Ranch, Olive Crest, Ranch View Estates, Rosemont, and Windsor Country Estates.
Living in Olivenhain it is likely you will have no homeowner association (HOA) fees. Colony Olivenhain in the city of Encinitas, CA offers countless recreational activities including recreational trails, used by pedestrians and equestrians. The Olivenhain bike trail offers a 37.59 mile trek and has a total ascent of 1,663 feet and a maximum elevation of 824 feet. Other bike trails in the area include Elfin Forest Recreational Preserve, the La Costa Preserve, the Lake Calavera Preserve and the La Costa to Olivenhain "Way Up Trail." Additionally, it is a common sight to see hot air balloons in the late afternoon and dusk.
The colonists living in Olivenhain ran into a problem, the lack of sufficient water. As a result, olive and citrus groves were replaced with livestock farming. Also the gradual decline of farming during the 1950's and the importation of water to Southern California slowly transformed the area into a residential community. In 1887, a copper deposit was discovered and a copper mine was developed by the Encinitas Copper Company, which sporadically produced a low grade of copper ore until 1917. Modern conveniences were slow to arrive in Olivenhain. The first rural mail delivery began in 1910.
Living in Olivenhain will put you near a vast network of horse trails and facilities. A series of horse trails wind throughout Olivenhain, providing horse owners with a quiet and peaceful place to ride. Equestrian facilities and horse arenas attract a large horse population to ride and show their horses. Popular trails include the Olivenhain Trails, San Elijo Lagoon Trails, and the Encinitas Ranch Trails.
The above Real Estate listing regarding Living in Olivenhain Encinitas, CA 92024 Homes & Real Estate For Sale was provided by James Jam. Awarded the #1 Individual Berkshire Hathaway HomeServices Real Estate Agent in San Diego County. Please contact him today via email at james@jamesjam.com or by phone at 858-210-0509.


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Natura's Avon acquisition creates leading global beauty group
by AKANI CHAUKE
JOHANNESBURG – THE completion of Natura & Co's acquisition of Avon Products Inc has created the fourth-largest pure-play beauty company set to be an unparalleled leader in the direct-to-consumer space, bringing products to over 200 million consumers globally.
A new senior leadership team led by Roberto Marques has been appointed to drive the company's next phase of growth.
Natura & Co, which trades on the Brasil Bolsa Balcão S.A (B3) Stock Exchange in Sao Paulo, also expects to begin trading through American depositary receipts (ADRs) on the New York Stock Exchange (NYSE) under NTCO on January 6.
Natura & Co will hold leading positions in relationship selling, on and offline, through both Avon and Natura, with over 6,3 million consultants and representatives.
The group will also have a strong position in retail with more than 3 000 stores and an expanded digital presence across all the companies.
Natura & Co will have combined annual gross revenues of over US$10 billion, more than 40,000 associates, a broad and complementary product portfolio across key categories and a global footprint in over 100 countries.
Luiz Seabra, co-founder of Natura, stated the company had recently finished celebrating its 50th anniversary.
"There could be no better way to open this next chapter in our history than to welcome Avon into our family," Seabra said.
"We are united by a shared vision and a passion for beauty and relationships, and together, we will be an even stronger force for good, striving to build a fairer and more beautiful world."
Marques, who became Executive Chairman of the Board of Directors of Natura & Co in 2017, will also serve as Group Chief Executive Officer.
"Alongside the experienced, diverse and international senior management team we are announcing today, I am proud and privileged to lead Natura & Co's next steps in its journey," Marques stated.
Marques said their aspiration was "to build not just the best beauty company in the world, but the best beauty company for the world."
"With the addition of Avon, we have created a family of companies with unrivalled direct-to-consumer reach and a formidable platform for growth. I am looking forward to working together to drive further our triple bottom line approach and write the next chapter in our journey."
Joao Paulo Ferreirra is assuming the role of CEO Latin America of Natura & Co.
Angela Cretu has been appointed CEO of Avon, responsible for the business outside of Latin America and for the oversight of the Avon brand globally.
David Boynto will remain CEO of The Body Shop and Michael O'Keeffe remains CEO of Aesop.
– CAJ News
Boko Haram in reported takeover of Nigerian town
Fatal Tripoli war forces schools, hospitals closure
Phone : +27-11 039 2191
Email : pressoffice@africanpress.co.za
Address : Johannesburg, South Africa
APA is a Pan African leading source of intelligence information for business, press office, public relations (PR), advertising, innovative technology and experts in related industries.
© 2015 Copyright - African Press Association (APA) - Linking Africa, Exposing Opportunities


text:
Daily Archives: January 4th, 2011
Afromodernisms
Posted in Academic Stuff, Call for Papers, Conferences, Postmodernism, Sociology
Tagged Afromodernisms, Atlantic Modernism, Black Feminism, Black Modernism, Call for Paers, Conferences, Critical Race Theory, Diaspora, Ezra Pound, Fionnghuala Sweeney, gender, James Joyce, Kate Marsh, Mike Cole, Modernism, Negritude, Perry Anderson, Politics, Postmodernism, Primitivism, Race, Revolution, Sociology, Sociology of Race, Tyler Stovall, William Faulkner
Afromodernisms 2
What's really new? Blackness and Atlantic Modernism, 1907–61
Symposium: University of Liverpool, UK
Confirmed Keynote: Professor Tyler Stovall, University of California, Berkeley
30 June–2 July 2011
Afromodernisms 2 focuses on the relationship between the Afro-Atlantic and the modernist canon. Specifically, the symposium seeks to address the ways in which current configurations of modernism—the art and literature of the new—may be inflected, expanded, or even called into question by either localized or transnational Africanist interventions into the politics and culture of the first half of the twentieth century.
* What constitutes a 'modernist' response to the experience of the modern? What categories underpin the aesthetic category 'modernism'?
* How might emphasis on black diapora subject positions, representations, and artistic and political interventions, inflect current canonical configurations of modernism?
* To what extent might black feminist positions revise or even reject the totalizing tendencies of the male voice in canonical works of black modernism, for example, Négritude?
The aims of the conference are the following:
* To debate the tenets of modernism (its newness, breaks with tradition, interest in the exotic and the primitive, its sense of fragmentation and displacement, and the way it conceives of the individual subject) in two contexts: first in terms of the work produced by African diaspora artists and writers; second, in relation to the symbolic presence of representations of blackness in the work of Anglo-American, Caribbean and European modernists.
* To consider the degree to which a variety of actors operating from what might be termed 'alternative' or 'displaced' metropoles interacted to produce, in Jameson's terms, an 'active sense' of the history of modernity, one in which a black presence was of key aesthetic, political and cultural importance.
* To expand Perry Anderson's claim, directed primarily at European modernist movements, that one of the indispensible co-ordinates for locating modernism is its 'proximity to social revolution,' to include a range of Afro-Atlantic revolutionary positions. We therefore welcome papers that consider the range of anti-colonial and/or feminist responses to the experience of modernity operating across the Atlantic in the inter- and post-war years.
*To reconsider the emergence of literary and artistic avant-gardes in the context of black anti-colonial, feminist, and (pan)nationalist movements, the two world wars, and, in the interwar period, against the backdrop of fascism and communism.
Individual papers and proposals for panels, in English, are invited, addressing, but not limited to the following circumatlantic themes:
* Black performance/performance of blackness
* blackness and/in visual art
* modernism and primitivism
* modernist landscapes and/or the city
* science, technology and the machine
* narrative, subjectivity, psychoanalysis
* the politics of history
* blackness and genre
* island modernisms (e.g. Antillean, Irish, Cape Verdian)
* tradition and experimentation
* modernism, politics and the metropole (Paris, London, Mexico, Dublin, Marseille, Berlin, Hamburg, Moscow, DC, New York)
* modernist soundscapes
* black writers/artists in/and Europe
* modernism and ideology
* modernism and the canon, including the Harlem Renaissance, Négritude, and Paris Noir
* formal innovation/ the language of modernism
* informal networks
* the work of 'high' and not-so-high modernists, for example, Eliot, Faulkner, McKay, Beckett, Pound, Stevens, Williams, Hughes, Joyce, Hurston
* responses to revolution: Easter 1916, November 1918, Spain 1936
For individual papers, please send a working title, abstract of 250–350 words, and a biographical note to: Fionnghuala Sweeney: fsweeney@liv.ac.uk or Kate Marsh: clmarsh@liv.ac.uk
Proposal for panels should contain a panel title, working titles for individual papers, with individual abstracts of 250 words each, and brief biographical notes on the chair and/or speakers to: Fionnghuala Sweeney: fsweeney@liv.ac.uk or Kate Marsh: clmarsh@liv.ac.uk.
Proposals on teaching and curating are also welcomed, as are offers to act as chair or respondent.
Closing date for call: 11 April, 2011.
Fionnghuala Sweeney
Afromodernisms2: http://www.liv.ac.uk/soclas/conferences/Afromodernism
Dr Kate Marsh
Senior Lecturer in French
School of Cultures, Languages and Area Studies
L69 7ZR
Art: What's the Use?
Posted in Academic Stuff, Art, Cultural studies, Meetings
Tagged Activism and Art, Art, Art and Commodification, Art and Politics, Art as Commodity, Artur Zmijewski, Contemporary art, Cultural studies, Culture, Dean Kenning, Dmitry Vilensky, Gail Day, Gavin Grindon, Humanities, John Roberts, Peter Osborne, Symbolic Economy, Usefulness of Art, Value of Art
Friday 14 January, 2011. 11am-6pm
Zilkha Auditorium, Whitechapel Gallery (£15/£10 conc.)
How subversive really is the social uselessness of art? Could art play a more directly functional role in culture? Dean Kenning and Gavin Grindon challenge the idea that art should be allowed to take critical positions safe from any real intervention. Participants include Artur Zmijewski, Dmitry Vilensky (Chto Delat), James Marriott &Jane Trowell (PLATFORM), John Roberts, Stephen Wright, Marina Vishmidt, Peter Osborne and Gail Day.
In association with Stanley Picker Gallery Public Lectures on Art & The Visual and Material Culture and Contemporary Art Research Centres at Kingston University of London.
The increasing visibility of contemporary art, together with the shift in art discourse towards the social dimension, not to mention the sheer number of people now practicing as artists, all make the use value of art a vital issue. At a local and national level contemporary art has clearly taken on a role as instigator of local regeneration/gentrification and city branding. Such projects usually involve star artists, while activist, community and socially engaged practices often take place off the art world radar, or else adopt conventional art spaces as leverage for their work. How do organisations and institutions with their resources and networks influence this equation of art and use? In light of the radical changes to higher education which are currently being pushed through alongside simultaneous cuts in the arts budget, can we develop a language beyond the business-model discourse of 'creative industries' in which to defend and promote the value of art to a wide public?
This symposium aims to ask: What is the use-value of art today, how is it useful, and for whom? What are the particular imaginative and cognitive skills, competences and approaches that could take effect as part of the general symbolic economy beyond the artworld? What are the lessons and influences of movements which sought an unambiguously social and political function for their experiments? And finally, what are the conditions that enable artists not simply to reflect upon the world, but to act within and change it?
Tickets are available here: http://www.whitechapelgallery.org/shop/product/product_id/800


text:
filed: August 20, 2014 • Scotland
Governments 'turning cartwheels' to suit windfarm firms, claim opponents
Credit: By Claire Warrender | The Courier | 20 August 2014 | www.thecourier.co.uk ~~
The UK and Scottish Governments have been accused of "turning cartwheels to inflict monstrosities" on the people of Fife.
The comments by Graham Lang, chairman of anti-wind turbine group Scotland Against Spin, follow an announcement that a Dutch firm wants to build two demonstration turbines off the coast of Buckhaven.
2-B Energy intends to apply for permission for the 606ft structures approximately a mile into the Firth of Forth.
If granted, the two or three-bladed turbines could be there for 20 years while the company tests and demonstrates the new technology to the UK market.
They would be near the 646ft Samsung turbine, which has barely turned since it was put up at Fife Energy Park last year.
Because the turbines would be offshore, the application will go to the Scottish Government rather than Fife Council.
Mr Lang said: "While the Samsung turbine, Scotland's biggest, most costly green elephant stands idle, looming over the good folk of Methil, another scheme for two turbines in the Firth starts its process through Marine Scotland planning to be decided in due course by Scottish ministers."
He added: "They are not very sure what they are applying for. It might have two blades but it could have three.
"It might be on a lattice tower like a giant transmission tower but could be a normal tubular tower.
"And if they don't erect a demonstration turbine to experiment on they will just put one up the same size from an established manufacturer.
"What is certain is that it is for a period of 20 years, which is way beyond the normal lifespan of a demonstration turbine, so the development is really for an offshore windfarm under the guise of an experimental turbine to reduce turbine costs going forward.
"The UK and Scottish Governments are providing £5.5 million of funding and will turn cartwheels to inflict these further monstrosities on the residents of Methil, Buckhaven and Leven."
Councillor Tom Adams, chairman of Levenmouth Area Committee, said it was important local concerns were taken into consideration. Locals will be able to discuss the plans at public meetings organised by 2-B Energy later this year.
Source: By Claire Warrender | The Courier | 20 August 2014 | www.thecourier.co.uk


text:
import ctypes
import sys

from ctypes import c_uint, c_int, pointer, POINTER, c_size_t, c_void_p, c_uint32, c_ubyte, c_char_p, byref
class BrotliEncoderWorkPool(ctypes.Structure):
    pass
BrotliEncoderWorkPool= ctypes.POINTER(BrotliEncoderWorkPool)
try:
    brotli_library=ctypes.CDLL("../target/release/libbrotli_ffi.dylib")
except OSError:
    try:
        brotli_library=ctypes.CDLL("../target/release/libbrotli_ffi.so")
    except:
        try:
            brotli_library=ctypes.CDLL("target/release/libbrotli_ffi.dylib")
        except OSError:
            brotli_library=ctypes.CDLL("target/release/libbrotli_ffi.so")

_BrotliEncoderCreateWorkPool = brotli_library.BrotliEncoderCreateWorkPool
_BrotliEncoderCreateWorkPool.restype = POINTER(BrotliEncoderWorkPool)
_BrotliEncoderCompressWorkPool = brotli_library.BrotliEncoderCompressWorkPool
_BrotliEncoderCompressWorkPool.restype = c_uint32
class BrotliDecoderState(ctypes.Structure):
    pass
class BrotliDecompressorException(Exception):
    pass
class BrotliDecoderReturnInfo(ctypes.Structure):
    _fields_ = [('decoded_size', c_size_t),
                ('error_string', c_ubyte * 256),
                ('result', c_int),
                ('error_code', c_int),
    ]
BrotliDecoderDecompressWithReturnInfo = brotli_library.BrotliDecoderDecompressWithReturnInfo
BrotliDecoderDecompressWithReturnInfo.restype = BrotliDecoderReturnInfo
_BrotliDecoderCreateInstance = brotli_library.BrotliDecoderCreateInstance
_BrotliDecoderCreateInstance.restype = POINTER(BrotliDecoderState)
_BrotliDecoderDestroyInstance = brotli_library.BrotliDecoderDestroyInstance
_BrotliDecoderDestroyInstance.restype = None
BrotliEncoderMaxCompressedSizeMulti = brotli_library.BrotliEncoderMaxCompressedSizeMulti
BrotliEncoderMaxCompressedSizeMulti.restype = c_size_t
_BrotliDecoderDecompressStream = brotli_library.BrotliDecoderDecompressStream
_BrotliDecoderDecompressStream.restype = int

_BrotliDecoderGetErrorString = brotli_library.BrotliDecoderGetErrorString
_BrotliDecoderGetErrorString.restype = c_char_p

_BrotliEncoderVersion = brotli_library.BrotliEncoderVersion
_BrotliEncoderVersion.restype = c_uint32

_BrotliDecoderVersion = brotli_library.BrotliDecoderVersion
_BrotliDecoderVersion.restype = c_uint32

def BrotliEncoderVersion():
    # type: () -> int
    return _BrotliEncoderVersion()

def BrotliDecoderVersion():
    # type: () -> int
    return _BrotliDecoderVersion()

BROTLI_DECODER_RESULT_ERROR = 0
BROTLI_DECODER_RESULT_SUCCESS = 1
BROTLI_DECODER_RESULT_NEEDS_MORE_INPUT = 2
BROTLI_DECODER_RESULT_NEEDS_MORE_OUTPUT = 3

def BrotliEncoderCreateWorkPool(num_workers):
    return _BrotliEncoderCreateWorkPool(c_size_t(num_workers),
                                        c_void_p(),
                                        c_void_p(),
                                        c_void_p())

BrotliEncoderDestroyWorkPool = brotli_library.BrotliEncoderDestroyWorkPool
BrotliEncoderDestroyWorkPool.restype = None
class BrotliCompressorException(Exception):
    pass

def BrotliEncoderCompressWorkPool(
        work_pool,
        any_input,
        compression_options_map={},
        num_threads=4,
        ):
    input = _fix_ctype_input_arrays(any_input)
    OptionsKeysArrayDecl = c_uint * len(compression_options_map)
    OptionsValuesArrayDecl = c_uint32 * len(compression_options_map)
    index = 0
    options_keys = OptionsKeysArrayDecl()
    options_values = OptionsValuesArrayDecl()
    for k, v in compression_options_map.iteritems():
        options_keys[index] = c_uint(k)
        options_values[index] = c_uint32(v)
        index += 1
    max_size = BrotliEncoderMaxCompressedSizeMulti(c_size_t(len(input)),
                                                   c_size_t(num_threads))
    EncodedArrayDecl = c_ubyte
    encoded = (c_ubyte  * max_size)()
    encoded_size = c_size_t(max_size)
    ret_code = brotli_library.BrotliEncoderCompressWorkPool(
        work_pool,
        c_size_t(len(compression_options_map)),
        options_keys,
        options_values,
        c_size_t(len(input)),
        input,
        byref(encoded_size),
        byref(encoded),
        c_size_t(num_threads),
        c_void_p(),
        c_void_p(),
        c_void_p(),
        )
    if ret_code == 0:
        raise BrotliCompressorException("Insufficient space "
                                        + str(max_size)
                                        + " to compress "
                                        + str(len(input))
                                        + " bytes with "
                                        + str(num_threads)
                                        + " threads")
    return bytearray(encoded[:encoded_size.value])

def _fix_ctype_input_arrays(any_input):
    if type(any_input) == memoryview:
        return any_input.tobytes()
    if type(any_input) != str and type(any_input) != bytes:
        try:
            return (c_ubyte * len(any_input)).from_buffer(any_input)
        except Exception:
            pass
    return any_input

def BrotliDecode(any_input, expected_size=4096 * 1024, max_expected_size = 256 * 1024 * 1024):
    input = _fix_ctype_input_arrays(any_input)
    while True:
        decoded_size = c_size_t(expected_size)
        decoded = (c_ubyte * decoded_size.value)()

        res = BrotliDecoderDecompressWithReturnInfo(len(input),
                                                    input,
                                                    decoded_size,
                                                    byref(decoded))
        if res.result == BROTLI_DECODER_RESULT_NEEDS_MORE_INPUT:
            raise BrotliDecompressorException("EarlyEOF")
        elif res.result == BROTLI_DECODER_RESULT_NEEDS_MORE_OUTPUT:
            expected_size *= 2
            if expected_size > max_expected_size:
                raise BrotliDecompressorException("Brotli file > " + str(max_expected_size) + " or corrupt brotli file")
        elif res.result == BROTLI_DECODER_RESULT_SUCCESS:
            return bytearray(decoded[:res.decoded_size])
        else:
            raise BrotliDecompressorException(''.join(chr(x) for x in res.error_string))

def BrotliCompress(
        any_input,
        compression_options_map={},
        num_threads=4,
        ):
    input = _fix_ctype_input_arrays(any_input)
    OptionsKeysArrayDecl = c_uint * len(compression_options_map)
    OptionsValuesArrayDecl = c_uint32 * len(compression_options_map)
    index = 0
    options_keys = OptionsKeysArrayDecl()
    options_values = OptionsValuesArrayDecl()
    for k, v in compression_options_map.iteritems():
        options_keys[index] = c_uint(k)
        options_values[index] = c_uint32(v)
        index += 1
    max_size = BrotliEncoderMaxCompressedSizeMulti(c_size_t(len(input)),
                                                   c_size_t(num_threads))
    EncodedArrayDecl = c_ubyte
    encoded = (c_ubyte  * max_size)()
    encoded_size = c_size_t(max_size)
    ret_code = brotli_library.BrotliEncoderCompressMulti(
        c_size_t(len(compression_options_map)),
        options_keys,
        options_values,
        c_size_t(len(input)),
        input,
        pointer(encoded_size),
        pointer(encoded),
        c_size_t(num_threads),
        c_void_p(),
        c_void_p(),
        c_void_p())
    if ret_code == 0:
        raise BrotliCompressorException("Insufficient space "
                                        + str(max_size)
                                        + " to compress "
                                        + str(len(input))
                                        + " bytes with "
                                        + str(num_threads)
                                        + " threads")
    return bytearray(encoded[:encoded_size.value])

def BrotliParseHeader(raw_data):
    """ returns None or the version and size of the file """
    data = [ord(x) for x in raw_data[:min(len(raw_data), 16)]]
    if len(data) < 4:
	return None
    hdr = data[0] + data[1] * 256 + data[2] * 65536 + data[3] * 65536 * 256
    if hdr&1 == 0:
        bits = 1
    elif (hdr&15) != 1:
        bits = 4
    elif (hdr & 127) != 0x11:
        bits = 7
    else:
        bits = 14
    hdr >>= bits
    if (hdr & 1) != 0:
        return None # not last
    hdr >>= 1
    bits += 1
    if (hdr & 3) != 3:
        return None # MNIBBLES = 0
    hdr >>= 2
    bits += 2
    if (hdr & 1) != 0:
        return None # reserved: 0
    hdr >>= 1
    bits += 1
    if (hdr & 3) != 1:
        return None # header should only have 1 byte of size data
    hdr >>= 2
    bits += 2
    num_raw_header_bytes = 1 + (hdr & 0xff)
    bits += 8
    byte_offset = ((bits + 7) // 8)
    if len(data) < byte_offset + num_raw_header_bytes:
        return None
    if data[byte_offset] != 0xe1 or data[byte_offset+1] != 0x97 or data[byte_offset+2] != 0x81:
        return None
    version = data[byte_offset + 3]
    size_le = data[byte_offset + 4:byte_offset + num_raw_header_bytes]
    total_size = 0
    for	index in range(len(size_le)):
	total_size += (size_le[index] & 0x7f) << (7 * index)
        if not (size_le[index] & 0x80):
            break
    return (version, total_size)

######################### CONSTANTS ###############################

BROTLI_PARAM_MODE = 0
# The main compression speed-density lever.
#
# The higher the quality, the slower the compression. Range is
# from ::BROTLI_MIN_QUALITY to ::BROTLI_MAX_QUALITY.
BROTLI_PARAM_QUALITY = 1
# Recommended sliding LZ77 window size.
#
# Encoder may reduce this value, e.g. if input is much smaller than
# window size.
#
# Window size is `(1 << value - 16`.
#
# Range is from ::BROTLI_MIN_WINDOW_BITS to ::BROTLI_MAX_WINDOW_BITS.
BROTLI_PARAM_LGWIN = 2
# Recommended input block size.
#
# Encoder may reduce this value, e.g. if input is much smaller than input
# block size.
#
# Range is from ::BROTLI_MIN_INPUT_BLOCK_BITS to
# ::BROTLI_MAX_INPUT_BLOCK_BITS.
#
# @note Bigger input block size allows better compression, but consumes more
#       memory. \n The rough formula of memory used for temporary input
#       storage is `3 << lgBlock`.
BROTLI_PARAM_LGBLOCK = 3
# Flag that affects usage of "literal context modeling" format feature.
#
# This flag is a "decoding-speed vs compression ratio" trade-off.
BROTLI_PARAM_DISABLE_LITERAL_CONTEXT_MODELING = 4
# Estimated total input size for all ::BrotliEncoderCompressStream calls.
#
# The default value is 0, which means that the total input size is unknown.
BROTLI_PARAM_SIZE_HINT = 5
# Flag that determines if "Large Window Brotli" is used.
BROTLI_PARAM_LARGE_WINDOW = 6
# Recommended number of postfix bits (NPOSTFIX).
#
# Encoder may change this value.
#
# Range is from 0 to ::BROTLI_MAX_NPOSTFIX.
BROTLI_PARAM_NPOSTFIX = 7
# Recommended number of direct distance codes (NDIRECT).
#
# Encoder may change this value.
#
# Range is from 0 to (15 << NPOSTFIX) in steps of (1 << NPOSTFIX).
BROTLI_PARAM_NDIRECT = 8
BROTLI_PARAM_Q9_5 = 150
BROTLI_METABLOCK_CALLBACK = 151
BROTLI_PARAM_STRIDE_DETECTION_QUALITY = 152
BROTLI_PARAM_HIGH_ENTROPY_DETECTION_QUALITY = 153
BROTLI_PARAM_LITERAL_BYTE_SCORE = 154
BROTLI_PARAM_CDF_ADAPTATION_DETECTION = 155
BROTLI_PARAM_PRIOR_BITMASK_DETECTION = 156
BROTLI_PARAM_SPEED = 157
BROTLI_PARAM_SPEED_MAX = 158
BROTLI_PARAM_CM_SPEED = 159
BROTLI_PARAM_CM_SPEED_MAX = 160
BROTLI_PARAM_SPEED_LOW = 161
BROTLI_PARAM_SPEED_LOW_MAX = 162
BROTLI_PARAM_CM_SPEED_LOW = 164
BROTLI_PARAM_CM_SPEED_LOW_MAX = 165
BROTLI_PARAM_AVOID_DISTANCE_PREFIX_SEARCH = 166
BROTLI_PARAM_CATABLE = 167
BROTLI_PARAM_APPENDABLE = 168
BROTLI_PARAM_MAGIC_NUMBER = 169

#simple test binary
def main(args):
    work_pool = False
    decompress = False
    raw = False
    for (index, arg) in enumerate(args):
        if arg == '-workpool':
            work_pool = True
            args = args[:index] + args[index + 1:]
    for (index, arg) in enumerate(args):
        if arg == '-d':
            decompress = True
            args = args[:index] + args[index + 1:]
    for (index, arg) in enumerate(args):
        if arg == '-raw':
            raw = True
            args = args[:index] + args[index + 1:]
    if len(args) > 0:
        if raw:
            data = args[0]
        else:
            with open(args[0]) as f:
                data = f.read()
    else:
        data = sys.stdin.read()
    if decompress and work_pool:
        processed = BrotliDecode(data,2)
    elif decompress:
        processed = BrotliDecode(data)
    elif work_pool:
        work_pool = BrotliEncoderCreateWorkPool(4)
        processed = BrotliEncoderCompressWorkPool(work_pool, data, {
            BROTLI_PARAM_QUALITY:11,
            BROTLI_PARAM_Q9_5:0,
            BROTLI_PARAM_LGWIN: 16,
            BROTLI_PARAM_MAGIC_NUMBER: 0,
            BROTLI_PARAM_CATABLE: 0,
            BROTLI_PARAM_SIZE_HINT: len(data),
        },4 )
        BrotliEncoderDestroyWorkPool(work_pool)
    else:
        processed = BrotliCompress(data, {
            BROTLI_PARAM_QUALITY:11,
            BROTLI_PARAM_Q9_5:0,
            BROTLI_PARAM_LGWIN: 16,
            BROTLI_PARAM_MAGIC_NUMBER: 0,
            BROTLI_PARAM_CATABLE: 0,
            BROTLI_PARAM_SIZE_HINT: len(data),
        },4 )
    sys.stdout.write(processed)

if __name__ == "__main__":
    main(sys.argv[1:])

redpajama_set_name: RedPajamaGithub


The following corporate exclusively event results highlight our comprehensive service offerings creating bespoke solutions for event and communication needs.
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Because you will always be that sweet angel of mine.


We've been posting the coolest cars for sale anywhere in the world since long before the launch of BaT Auctions in July of 2014. With 11+ years of vehicles in the BaT Archives there are thousands of these features to revisit, and this one goes well with our recent Peking-to-Paris history feature found here.
This 1968 AMC AMX has been built into a monstrous looking and thoroughly prepped sounding rally car that's said to be ready for competition as-is. The ad notes excellent rigidity thanks to a full cage and strengthened shell, nearly 50/50 weight distribution with most mass concentrated low and center, and what sounds to be a 390 de-tuned to run on "any fuel available." The level of detail and build quality on display are highly impressive, and this is easily one of the most creative builds featured on BaT this year. Find it here at Rally Preparation Services in Witney, Oxfordshire, England for 150k GBP (~$193k USD today). Special thanks to BaT reader Kyle K. for this submission.
Says the seller: "This car is the result of three years of research and development. There is hardly an inch of the shell that hasn't been worked over or strengthened. A full roll cage protects the crew and offers amazing rigidity. The car comes with nearly everything required for an event. Overall competition kerb weight is approximately 1,750kg plus the weight of the crew. Weight balance, with full 200 litre fuel tanks and the crew on board, is almost 50/50 with nearly all the weight held low and between the axles." Note the trunk lid mounted shovel, underneath which hides a jack, collapsible jackstands and an impact driver. This sort of attention to detail is noted in several areas, the ad also detailing a "complete camping setup" of mats, tents, and -4 F rated sleeping bags.
Inside the cabin, a hard-wired intercom system facilitates driver and co-driver communication, and is even equipped with an aux-in function for pumping music directly into its two headsets. Twin displays read GPS info (extra antenna in mobile spares kit), and the navigator's screen has additional functionality for a backup sensor. We dig that stock door panels have been retained beyond the full cage, and that the customized, part OEM dash uses matching wood panels to mount many of its new switches and instruments–a very detailed touch that speaks to the apparent quality of this build, not to mention a good sense of humor on its builder's part. Be sure to check out a detailed, day-by-day diary of the car and crew's experience in this years' Peking to Paris rally.
Underhood, what we're guessing is an AMC 390 is installed in a beautifully prepared engine bay with neat little reservoirs, tidy plumbing, tightly packaged wiring and gleaming paint–it'd almost be a shame to dirty it up on the first gravel stage. Again, the seller: "The engine although modest in power (peak 272 HP) provides great gobs of torque from the bottom of the rev range (peak 475 NM). The engine was deliberately de-tuned to run on any fuel available." By the way, that's 350 lb. ft.
A remarkable build in many ways, the car is shot-through with originality and quality in equal measure, and though we won't comment on the price tag, suffice it to say that there probably isn't anything else like this out there at any cost.


text:
<?php

namespace Pw\Core\Models;

use Illuminate\Database\Eloquent\Model;
use Illuminate\Support\Facades\Schema;
use Illuminate\Database\Schema\Blueprint;
use Illuminate\Database\Eloquent\SoftDeletes;
use Pw\Core\Helpers\CoreHelper;
use Pw\Core\Translatable;

class Menu extends Model
{

	use SoftDeletes;
	use Translatable;

    protected $table = 'core_menus';

    protected $guarded = [

    ];

    protected $dates = ['deleted_at'];

    public $translatedAttributes = ['name', 'url'];

    public function trans()
    {
        return $this->hasMany('Pw\Core\Models\MenuTranslation');
    }

    public function buildMenu($type, $menu, $parentid = 0)
    {
        $result = null;
        foreach ($menu as $item) {
            if ($item->parent == $parentid) {
            	$delete = '';
            	if ($item->is_backend == 1) {
            		$delete = 'style="display: none;"';
            	}
                $result .= '
id.'">

                                    Drag

                                    '.$item->name.'

                                        <form novalidate="novalidate" method="POST" action="'.route('developer.menus.destroy', $item->id).'">
                                            <input type="hidden" value="DELETE" name="_method">
                                            '.csrf_field().'
                                            <button '.$delete.' type="submit" data-original-title="Hapus" data-placement="left" title="" rel="tooltip" class="btn btn-xs btn-danger">

                                            </button>
                                            type."&id=".$item->id).'" data-original-title="Edit" data-placement="left" title="" rel="tooltip" class="btn btn-xs btn-warning">

                                        </form>

                                '.$this->buildMenu($type, $menu, $item->id).'

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            }
        }
        return $result ? "\n
\n$result
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    }

    public function getHTML($type, $items)
    {
        return $this->buildMenu($type, $items);
    }
}


text:
'Good Enough Won't Do' for this Family-Run Manufacturer
Danuser Machine CompanyBy Nate Hendley
Danuser Machine Company, Inc. has thrived for over a century as a family-owned manufacturing firm. Based in Fulton, Missouri, the company specializes in making original equipment manufacturer (OEM) parts, agricultural and industrial equipment attachments, and recoil reduction devices for rifles and shotguns.
"Our company motto is the reason why we're still around today. That motto is, 'Good enough won't do. It must be right.' The one thing that Danuser has never compromised on in our 109-year history is quality. My personal belief is that other companies lose focus on how they got there and what's expected of them. They end up being run by investment groups or accountants. Our philosophy is: 'Keep the quality. It's what built this company,'" states Co-Owner and Vice President Glenn Danuser.
Clearly, this commitment to quality and core values has paid off. Danuser Machine Company experienced explosive growth last year and has been rapidly adding new staff and facilities.
Glenn – great-grandson of company founder – offers a breakdown of the company's main segments. "What makes Danuser's income is the attachment division, number one. Then the OEM division, number two. The recoil division is just kind of a hobby."
A leading product in the attachment division is an innovative item called the Intimidator tree and post puller. The Intimidator is a patented attachment fitted on tractors or skid steers that removes land obstacles like trees, stumps, boulders, or shrubs. The Intimidator has synchronized jaws and can pull, dig, or carry.
"What we tell people is that the Intimidator can remove any tree with any size machine. The reason is, if you can't pull it out, you can dig it out or push it over," Glenn explains. A lock-tab mechanism "makes both jaws very rigid. Then you can excavate and go under a larger tree that you can't pull or a stump or a rock. You can snap the roots around the tree, eventually topple it over," he continues.
Other popular attachments for tractors and skid-steers include auger systems, post drivers for installing posts in the ground, and material handling buckets.
"The two main focus points in the OEM segment are ball joints and what we call Klik Pins," says Glenn. Ball joints are the answer where a flexible connection is required, similar in function to a human hip joint, while Klik Pins are the company's version of linchpins.
Its recoil products include the Counter Coil "a hydraulic recoil reducer that is good for your big bore rifles and shotguns," he says and the Comp Coil which has a compression spring and is designed for semi-automatic shotguns.
Most of the products that the company makes are proprietary. "A lot of the products that we've been developing are patent-protected. They're innovative. That is a focal point that Danuser thinks is going to carry us for the next 109 years. If you make the same thing that everybody else makes, you really bring nothing of value to the market. My philosophy is: if we have a tool, it needs to do more than one thing. The Intimidator is great for pulling posts. Then we incorporated [the ability to] dig out stumps and/or move rocks. That makes it almost a three-in-one product, like the Swiss Army knife of machines. That's what we're focused on moving forward: innovative, patent-protected machines or tools that can do more than one thing," he explains.
While the Midwest represents the strongest sales area for the company, the firm has a wide reach and sells across the U.S. and in Canada, South America, Israel, Dubai, Australia, and New Zealand. Attachment products are generally sold by wholesale distributors while Danuser sells its OEM products directly to manufacturers. Recoil reduction products are sold through a variety of channels.
The firm has a very long history, going all the way back to Kasper Berry Danuser, a blacksmith who founded the firm in 1910. The initial focus was on wagon repairs and the like. It was Kasper's son Henry who really put the company on the map.
Under Henry's guidance, the Danuser Machine Company became the first firm to mass produce a post hole digger in the United States. Henry did not invent the product but "worked with the gentleman who had the patent on the post hole digger," Glenn notes.
While working with the post hole digger in the 1940s, Henry "realized he needed something that would allow a little bit of movement but be rigid and solid like a weldment piece. That's how the ball joint was designed," Glenn says. "We have a unique manufacturing process for ball joints that's proprietary. There are a lot of copycats, but ours still has a good demand from people like John Deere, ACCO and Case. Most of the major tractor companies are buying something."
Klik Pins also came out of the development of the post hole digger. After getting the post hole digger into production, Henry began approaching some of the biggest names in industrial and agricultural equipment. He met with auto magnate Henry Ford and explained how the digger could be fitted to the back of some of the Ford Motor Company's tractors. A deal was made, and between 1947 and 1957, Danuser manufactured diggers for Ford.
Henry also approached the J.I. Case Company to demonstrate a three-point rear tractor blade. A business relationship was struck, and from 1956 to 1969, the company built blades for the J.I. Case Company. It also forged other partnerships and made products for the likes of International Harvester.
By the mid-1950s, "Things are starting to channel through the Case network for blades and the Ford network for post hole diggers. People were looking at them. That's kind of how Henry Danuser got Danuser out in front of the public. Then more and more attachments were introduced [by the company]. Henry Danuser was ahead of his time is what I always say," Glenn says.
In the 1990s, Glenn and his sister Janea came on board. Their father Jerry was still president, but his children decided to establish a new management team to propel the company forward. The team currently has five people and meets once a month to discuss various issues. Having this management structure helped modernize the firm, says Glenn.
Like Glenn, Janea is also a co-owner and vice president, though she focuses more on payroll, insurance, human resources, and administration. Glenn focuses on the sales and marketing side of the firm.
The plan is to keep Danuser Machine Company within the family for years to come. With this in mind, it is not too surprising that the firm boasts a family-focused corporate culture.
"We have brothers and fathers that work here. It's a family company with a family environment. I ask people to treat it like it was their name above the door, not mine," states Glenn. "If you have a question, it's always best to stop and ask. Whether you're welding, forming [or doing something else], take pride in what you're producing. Customers expect the world out of this company and its products, and we have to give them that world."
The firm has also been increasing personnel and expanding. At present, Danuser has roughly 125 employees, up from about eighty just a few years ago. "We built a new building five years ago. We opened up our welding, shipping and receiving, laser cutting, plasma cutting, robotic welders, and brake press area. About a year ago, we moved into our new 12,000-square-foot office complex," he says. "Now we're talking about our phase-three expansion, about building another facility to do more manufacturing, to get ready for the next one hundred years."
All of the company's facilities are in Fulton, where it currently runs three shifts and anticipates strong growth this year. Glenn says the company wants people "who are willing to learn. You do not have to be proficient in the field. We can train them the way we like to do things. But you have to come to work with a good attitude." He says that finding a "qualified workforce is the biggest challenge we're up against."
Other challenges include international trade, specifically, the tariff battle between the United States and China. The company is keeping a close eye on these economic developments.
Nonetheless, by maintaining its commitment to quality and remaining an expansion-minded, family firm, Glenn offers a positive forecast for the future. "Over the next few years, I see continued growth and continued expansion. We want to maintain the focus of quality and innovation and never get complacent," he states.


text:
Nearly 50K expected to attend Jehovah's Witnesses convention
Lifestyle // Religion & Spirituality
Lindsay Peyton July 11, 2019 Updated: July 11, 2019 6:12 p.m.
Nearly 50K expected to attend Jehovah's Witnesses...
1of10Maria Luisa Castro, right, takes photos of the main stage setup at the International Jehovah's Witnesses Convention at NRG Stadium in Houston, Thursday, July 11, 2019. Nearly 50,000 people are expected to attend the three-day convention from July 12-14.Photo: Juan Figueroa, Houston Chronicle / Staff photographer
2of10Volunteers walk in front of the International Jehovah's Witnesses Convention signage at NRG Stadium in Houston, Thursday, July 11, 2019. Nearly 50,000 people are expected to attend the three-day convention from July 12-14.Photo: Juan Figueroa, Houston Chronicle / Staff photographer
3of10Volunteers are shown how to conduct baptisms before the Saturday baptisms at the International Jehovah's Witnesses Convention at NRG Stadium in Houston, Thursday, July 11, 2019. Nearly 50,000 people are expected to attend the three-day convention from July 12-14.Photo: Juan Figueroa, Houston Chronicle / Staff photographer
4of10Jesse Flores, 8, from San Antonio looks around the International Jehovah's Witnesses Convention at NRG Stadium in Houston, Thursday, July 11, 2019. Nearly 50,000 people are expected to attend the three-day convention from July 12-14.Photo: Juan Figueroa, Houston Chronicle / Staff photographer
5of10Jacob Garcia from Pinehurst volunteers at the International Jehovah's Witnesses Convention by setting up the baptismal pools at NRG Stadium in Houston, Thursday, July 11, 2019. Nearly 50,000 people are expected to attend the three-day convention from July 12-14.Photo: Juan Figueroa, Houston Chronicle / Staff photographer
6of10David Renteria from San Antonio holds his 7-year-old son Jeoh in front of the main stage of the International Jehovah's Witnesses Convention at NRG Stadium in Houston, Thursday, July 11, 2019. Renteria traveled to Houston to help set up for the three-day convention.Photo: Juan Figueroa, Houston Chronicle / Staff photographer
9of10Pflugerville residents Clarence Dennie, left, and Clifford Neal head to their parking shift during the International Jehovah's Witnesses Convention at NRG Stadium in Houston, Thursday, July 11, 2019. Nearly 50,000 people are expected to attend the three-day convention from July 12-14.Photo: Juan Figueroa, Houston Chronicle / Staff photographer
10of10Robert Hendriks, U.S. spokesman for Jehovah's Witnesses, speaks at the media preview before the start of the International Jehovah's Witnesses Convention at NRG Stadium in Houston, Thursday, July 11, 2019. Nearly 50,000 people are expected to attend the three-day convention from July 12-14.Photo: Juan Figueroa, Houston Chronicle / Staff photographer
The scene should be striking. Pools will be placed on the field at NRG Stadium in Houston where people will get baptized.
That's just one of many images of faith that will emerge as the stadium is transformed into a house of worship for about 49,000 devotees attending the Jehovah's Witnesses international convention "Love Never Fails."
From Friday to Sunday, stages at NRG will host speakers from the faith, along with symposiums and a public Bible discourse entitled "True Love in a Hate-Filled World — Where?" Some 5,000 delegates from 28 countries will also attend.
U.S. spokesman for Jehovah's Witnesses Robert Hendriks explained that conventions are central to the worshippers' practice.
"The conventions allow us to see that our congregations are part of a worldwide brotherhood," he said. "We realize that we're not alone."
MORE ON HOUSTONCHRONICLE.COM: A mezuzah is more than a way to mark the front door of a Jewish household.
Smaller statewide conventions for Jehovah's Witnesses are planned annually, but larger gatherings with the international community take place every five years.
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In 2019, the international conventions will occur from South Africa and Europe to South America and Asia.
The first international convention was held in May in Atlanta, and the final for this year is scheduled for December in Brazil.
"This event lifts our faith," Hendriks said. "In a world that's so incredibly divided, you can go to a strange place, where you've never been before, and be welcomed by a stranger. After your first embrace, you become lifelong friends."
Thousands of volunteers are needed to make the weekend possible. They start at the airport and transport delegates around the city.
The Gaeta family from South Houston — Richard, Korina and their 16-year-old daughter Kozette — are among the 20,000 who signed up to help. They plan to do the same in August when the convention returns to Houston for its Spanish version.
Kozette has already been to the airport with her parents to welcome international delegates. "We have to take care of them and make sure they have the best experience here possible," she said. "They can go home and say they were in Houston and had the best time."
Opening their arms to newcomers is one way to show love and honor the event's theme, Korina added. "Even when we don't know the language, we can smile and hug," she said. "This is your home. Mi casa es su casa."
MORE ON HOUSTONCHRONICLE.COM: United Methodist Church's Conroe center ready for disaster relief as hurricane season gets underway
The Gaetas attended the international convention for Jehovah's Witnesses in Houston a few years ago and were eager to return. "We didn't want to miss this opportunity," Richard said. "It's electrifying, the atmosphere. We see the city light up."
The roots of Jehovah's Witnesses date to the 1870s. At the time, Charles Taze Russell was studying the Bible, in search of Christian truths without any influences from pagan ideologies. He became the founder of the journal, "The Watchtower," which is still in print. His goal was not to start a new religion but rather to promote teachings of Jesus and early practices of Christian congregations.
In this practice, God is called Jehovah, and witnesses spread his message and adhere to the New and Old Testament of the Bible. Followers worship in Kingdom Halls.
While visiting Houston, Jehovah's Witnesses from other countries will join their local counterparts in ministry.
"They'll invite others to the convention," Hendriks said. "We invite everyone from the neighborhood."
The event is free of charge and open to the public. "We want folks to come," Hendriks said. "Even if they never become Jehovah's Witnesses, we want them to understand that we are their neighbors."
The international convention is an ideal way to learn more about the religion, he added.
"There are still a lot of people who do not know who Jehovah's Witnesses are," Hendriks said. "We really want people to understand."
One misconception, he explained, is that the faith worships in isolation, when in reality all sermons are open to guests.
"Many people think we are not Christians," Hendriks said. "We actually practice Christianity every day. Jesus is our lord and savior. We follow everything he said and follow in his footsteps."
Included in the list of global visitors are missionaries returning to their city of origin.
Robert and Bonita Chapman, for example, have been working on the island Grenada for the past 27 years.
They were looking forward to coming back to Houston to attend the event — and have already connected with Jehovah's Witnesses from Korea, Sweden, France, the Philippines and the Middle East. Bonita said they share stories about their lives around the world.
Hendriks said the conventions have a monumental effect on attendees. "For most people, it's the most faith strengthening experience in their lives," he said. "It's awesome, beyond what you can envision."
NEWS WHEN YOU NEED IT: Text CHRON to 77453 to receive breaking news alerts by text message | Sign up for breaking news alerts delivered to your email here.
Lindsay Peyton
Lindsay Peyton is ReNew Houston's Transformation columnist.
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Bright Hub Education
Homeschooling Advice
Teaching a Second Language
Teaching ESL Learners
Baseball: Sign Language in Sports and How It Developed
Miscellaneous Languages / By Rebecca Scudder / Homework Help & Study Guides
Baseball Sign Language
It's estimated that during a nine inning game about 1000 signals pass between catcher and pitcher, coach and batter, fielder and fielder and anywhere in between. A few are obvious, but many are clandestine touches, twists and even mimicry which an outsider has difficulties even noticing, let alone understanding.
Although it appears that there are several signs which are common to all games, the idiosyncrasy of baseball sign language is that it's highly flexible. The majority of signs are devised and agreed upon for each individual game in advance. They are different from coach to coach and may even be changed during the match. The catcher, who directs the defense from his position behind home plate, is a crucial figure in sign language communication. Signs direct the game and play a major role in winning or losing the match.
Here are a few basic signs and signals from catcher to pitcher:
1 finger up for fastball
2 fingers up for a curve
3 fingers up for a change up
Fist slammed on palm for a squeeze bunt
The catcher will also -through subtle hand and body movements -indicate the pitch location, for example high and outside and signal his set up.
These examples are just scratching the surface. There is an interesting video to watch. Manager Bill Masse of New Hampshire Fisher Cats explains some signs. Look at it at: www.youtube.com/watch?v=bLBT7H2P8vE. The video lasts only 1 min 47 sec and shows a few signals, but it makes clear how fast these signs are passed and gives a good first impression.
Another source of information on the subject is the book "The Hidden Language of Baseball" by Paul Dickson, published at Walker Books.
Sign Stealing
Considering how important signs are to the outcome of a baseball game, it doesn't come as a surprise that the 'sport' of stealing signs is as old as the invention of the signals. Generally speaking, stealing is unethical, but many enthusiasts take the view that it's just a way of 'baseball life'. As long as the stealing is done by keen observation it's probably acceptable, but as soon as real espionage and electronic gadgets are employed, the line is crossed. A code of ethics takes care of these violations, which have caused spectacular scandals in the history of baseball.
A particularly objectionable method of stealing is called 'peeking'. It involves the hitter glancing back while at the plate and trying to figure out the signs from the catcher with a view of passing them on to his team mates. The catcher, trying to conceal his movements and prevent stealing, often often signals shielding his hand between the knee and the mitt.
For more in depth reading on the subject go to the long article by Larry Stone at: www.findarticles.com/p/articles/mi_m0FCI/is_8_62.
Baseball and the Deaf
Baseball has a history of deaf players. It's the enormously successful William Ellsworth Hoy, a player of the late 1800, who is often credited with the invention of baseball sign language. Luther Taylor, who was also deaf, helped the Giants win in 1904 and 1905 and Edward Dundon became the first professional deaf umpire. All of them had influence over the development of baseball sign language.
ASL has a section dedicated to sports, among them baseball. Watch an educative video on www.expertville.com/video/110788_sign-language on how sports such as baseball, basketball, soccer and boxing are conveyed to the deaf.
Copyright © 2020 Bright Hub Education. All Rights Reserved.
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© 2020 brighthubeducation.com. All rights reserved.


text:
Aquos Phone EX SH-04E – docomo – Japan
Technology: S-CG Silicon
Photo: 1.2 MP
Latest: —
CPU: Qualcomm Snapdragon 600 (APQ8064)
Cores: 4 x 1.5 GHz
ROM: 16 GB
The Aquos Phone EX SH-04E is Sharp's latest addition to the DoCoMo the Spring 2013 collection. Whilst the hardware is quite the cutting edge thing, it won't fail to grab attention design-wise either.
"Sophisticated design and luxurious comfort": sleek curves decorated with an illuminated crystal at the bottom, glass and rim seamlessly joined to create a comfortable feeling that will not tire the hand. Available in white, pink and black.
The SH-04E is equipped with a quad-core Snapdragon S4 Pro (APQ8064) clocked at 1.5 GHz, 2 GB of operating memory and 16 GB built-in memory, expandable up to 64 GB using SDXC microSD cards.
The display is 4.5 inches with an HD resolution of 1280 x 720 px, sadly not using Sharp's latest IGZO tech but the "standard" Super CG-Silicon LCD panels. However, improvements seem to be continuously made in these displays as well, specifically by further developing the "memory" function of the display which helps save energy and improve performance.
The device comes with a 13.1 megapixel back-illuminated CMOS sensor camera equipped with a triple anti-shake system thanks to the optical image stabilisation mechanism Sharp introduced in December 2011 with the SH-01D. The front-facing camera is 1.2 megapixel.
The SH-04E supports LTE (2100, 1500, 800 MHz), HSPA 2100, 850 MHz) and GSM (1900, 1800, 900, 850 MHz) frequencies, Wi-Fi b/g/n, Wi-Fi tethering, and DLNA equipped, has Bluetooth 4.0, InfraRed, One Seg, Felica and NFC.
Naturally, the Aquos Phone EX SH-04E is water- and dustproof (IPX5/7 and IP5X).
It also supports wireless charging.
There is a 2000 mAh battery, and the phone weighs about 145 grams, with dimensions of 128 mm × 64 mm × 10.9 mm.
It runs Android 4.1 and comes with Feel UX.
Date added/updated: 11 February 2018 – 19:38


The Kentucky Derby may be called "The Most Exciting Two Minutes In Sports", but everyone knows it's two days of morning to night merriment. Enjoy your weekend with 12 oz. of a refreshing drink in your hand. This Official Kentucky Derby 145 Mint Julep glass will make it easy to enjoy your favorite racing beverage.


Cartagena Saturday Tips, Photo Secrets?
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text:
Home Community Theater 'A Christmas Carol' at The Little Theatre of Alexandria by Julia L....
'A Christmas Carol' at The Little Theatre of Alexandria by Julia L. Exline
Julia L. Exline
The Little Theatre of Alexandria presents A Christmas Carol, the beloved holiday classic by Charles Dickens about a miserly old man who is visited by three cautionary spirits on Christmas Eve. Rachel Hubbard does a fine job directing a large cast, and together they successfully bring the spirit of the Christmas to the stage this holiday season!
Robert Heinly (Marley) and Elliott Bales (Scrooge). Photo by Doug Olmsted.
Set Designer and Constructor Chris Feldmann use a large room for several different settings, differentiated through the use of props that are wheeled on and offstage. Writing tables with feather quills perched atop them sit on either side of a small coal furnace for Scrooge's office, and are then switched out for a bed and velvet drapery to create his bedroom. Set Painting by Deidre Nicholson-Lamb depicts the city of London in the background. A large, glowy clock dotted with roman numerals hangs in a high corner, and a polished writing desk stands off to the side, where Charles Dickens himself can be seen writing as the action unfolds onstage.
Lighting Designer Nancy Owens uses different tones to shift between Dickens and the other actors, showing a separation of time and space, while piano music and chimes for the spirit are performed live by the Musical Director Linda Wells. My favorite element of this production has to be the remarkable costumes, designed by Jean Schlichting and Kit Sibley. They re-create the Victorian era through flowy gowns, cloaks, shawls and bonnets, using precise detail and vibrant colors. Hairstyles are also exact, from the tight curls framing the women's faces to the muttonchops lining the men's chins (hair design by Tiffancy Pache). The visiting ghosts are the icing on the cake, including a man draped in chains and gauze, a woman in a beautiful white gown that lit-up from the inside, and a man in a heavy velvet robe lined with fur and sprigs of holly.
The play begins with Charles Dickens (Mark Lee Adams) struggling to write the first line of his book before finally settling on the famous "Marley was dead, to begin with." He continues to narrate throughout the show, even interrupting the plot at times to make tweaks and changes. It is a clever way to develop the story, and Adams does a fine job doing so. Ebenezer Scrooge (brilliantly performed by Elliot Bales) laments on his hatred of the Christmas holiday, and rebuffs his friendly nephew, Fred (a charming Erik Harrison at my performance) who is intent on building a relationship with his loathsome uncle. He continues on to shoot down two gentlemen who are collecting money for the needy, and shouts at his put-upon assistant, the ever-suffering Bob Cratchit (a likable Cal Whitehurst). Later that night, Scrooge is bombarded by the ghost of his ex-business partner Jacob Marley (a convincing Robert Heinly), brandishing heavy chains that he earned during his disreputable life. He warns Scrooge that he is heading towards the same disastrous fate, and that three spirits will visit him in the hopes of inspiring him to change its course.
Mark Lee Adams (Charles Dickens), Cillian Farrell (Tiny Tim), and Elliott Bales (Scrooge). Photos by Doug Olmsted.
The first spirit to visit is the Ghost of Christmas Past, played by a breathy Heather Norcross. Dressed in folds of snowy cloth, lights twinkle from beneath her grown and through her woven hair, giving her an angelic effect that you cannot pull your eyes from. She takes Scrooge through his past Christmases, including an entertaining scene of an office party (Lawrence O. Grey Jr. wins over the audience as a playful Mr. Fezziwig) and the heartbreaking rejection of his young love, Belle (Brittany Morgan).
Next comes the Ghost of Christmas Present, also played by Lawrence O. Grey Jr. Scrooge looks in on Bob Cratchit's meager family dinner, and is touched by the selfless nature of Tiny Tim (an adorable Cillian Farrell). As Scrooge's cold heart finally begins to warm, he is scared out of his wits by the Ghost of Christmas Future, played perfectly by Alexander Collins. A creepy, silent hooded figure, this spirit shows Scrooge the fate that awaits him if his life is not altered. Is there hope for Scrooge yet? Or will he be doomed to a miserable fate?Even though the plot and ending of this story is widely known and, in my case, there were no surprises, I thoroughly enjoyed the heartwarming and emotional performances from the large cast. Fog effects are used in this production, and are proved to be a bit much, as during my production, they heavily obscured the actors long after their effects were welcome, and engulfed the audience in a hazy fog as well.
LTA's A Christmas Carol is a great night of entertainment, filled with fine performances and the comforts and joys of the holiday season!
Nikki Amico (Martha Cratchit), Brian Downie (Henry Cratchit), Cal Whitehurst (Bob Cratchit), Ashley Amidon (Mrs. Cratchit), Lindsey Gattuso (Molly Cratchit), Clare Baker (Belinda Cratchit), John Ray (Peter Cratchit), and Elliott Bales (Scrooge). Photo by Doug Olmsted.
Running Time: 75 minutes, without an intermission.
A Christmas Carol plays through December 16, 2012 at The Little Theatre of Alexandria – 600 Wolfe Street, in Alexandria, VA. For tickets, call (703) 683-0496, or order them online.
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Julia Exline graduated from Longwood University in 2009 with a B.A. in English and a concentration in Creative Writing. She works full-time as a licensed and certified Private Caregiver. Julia enjoys browsing used bookstores and collecting rare, out-of-print children's books. You'll see her covering many children's theatre productions for DCMetroTheaterArts.com.
2019 CAPITAL FRINGE FESTIVAL
2019 Capital Fringe Review: 'Home, Sweet, _____'


It's a challenge isn't it? We all know that pregnant women are beautiful but if a photograph isn't right, we can end up looking rather less flattering than we'd like to be. So, how do you go about prepping yourself for a maternity photo that unleashes your inner glow as opposed to your inner whale? Well, Parmita is on hand to walk you through the process and make sure that your memories of this special time look as good as they feel!
Did you do anything special for your maternity photographs? Is so, share your tips below!


text:
Sammy Cahn (n. 18 iunie 1913, Lower East Side, New York; d. 15 ianuarie 1993, Los Angeles, California) a fost un muzician și compozitor american. A fost căsătorit cu Gloria Nelson (1945-1964) și cu Virginia Vasile(1970-1993). A colaborat cu Dean Martin, Doris Day, Frank Sinatra. Compozitie:All The Way,Be My Love,Let It Snow. Este  compozitorul coloanei sonore din serialul de comedie Familia Bundy,alaturi de Jimmy Van Heusen (Love And Marriage-Frank Sinatra).

Note

Nașteri pe 18 iunie
Nașteri în 1913
Decese pe 15 ianuarie
Decese în 1993
Muzicieni americani din secolul al XX-lea
Compozitori americani

redpajama_set_name: RedPajamaWikipedia