SINGAPORE - The way riots are handled in Singapore has evolved from a force-first approach using tear gas and baton charges decades ago to one that is more calibrated.
Still, "there is no textbook solution", according to former police commissioner Khoo Boon Hui, who submitted a six-page report to the Committee of Inquiry (COI) looking into the Little India riot.
The 59-year-old Senior Deputy Secretary of the Home Affairs Ministry said last Friday: "You have to use your head, use your judgment. Doctrines and manuals cannot be exhaustive and should not preclude the innovative use of strategies and tactics."
Tracing the evolution of riot doctrine, he explained how riot squads - the predecessor of the Special Operations Command (SOC) - were first formed in 1952, after the Maria Hertogh riots.
In the early years, aggressive tactics were needed because of extreme violence seen in incidents like the 1960s communal riots.
But strong-arm tactics such as the use of tear gas and baton charges would no longer be deemed acceptable today, said Mr Khoo, who was police chief from 1997 to 2010.
Passive resistance tactics have been adopted by the SOC, following studies of measures taken up overseas, said Mr Khoo, who also served as Interpol president from 2008 to 2012.
Today, police commanders approach public order incidents with three objectives in mind.
First, riots should be quelled "with minimum casualties, especially to innocent bystanders, responders and, of course, the rioters themselves". While minimising any spillover or escalation of the riot, the police must be seen to take "resolute but appropriate" action. Lastly, the police have to instil public confidence by decisively resolving the incident.
"At the end of the day, you can't just stand by and then in the end let the rioters escape. You have to bring people to justice," said Mr Khoo.
He prefaced his testimony last Friday by saying he would not judge police actions taken on Dec 8 because he was then in Qatar on official duties, and had not been involved in the active management of the incident since.
During the inquiry, committee members have questioned how the police responded at the scene.
They pointed out that the decision to hold the ground instead of facing rioters head on could have emboldened troublemakers, who ended up damaging 23 emergency vehicles. The incident also left 49 Home team officers injured.


text:
/**
 * jni entry cc implement
 * @author John Kenrinus Lee
 * @version 2017-08-18
 */
#include "base/base.h"
#include "ImgProcAndroidCameraJni.hpp"
#include "CCGLRenderCameraBox.hpp"
#include <android/native_window_jni.h>

struct JNIGLRenderCameraBox {
    JNIGLRenderCameraBox(JavaVM *jvm):vm(jvm), method(nullptr), buffer(nullptr),
                                      jVertexShaderSource(nullptr), jFragmentShaderSource(nullptr),
                                      vertexShaderSource(nullptr), fragmentShaderSource(nullptr) { }

    ~JNIGLRenderCameraBox() {
        if (vm) {
            JNIEnv *env;
            vm->AttachCurrentThread(&env, nullptr);
            if (buffer) {
                env->DeleteGlobalRef(buffer);
            }
            if (jVertexShaderSource && vertexShaderSource) {
                env->ReleaseStringUTFChars(jVertexShaderSource, vertexShaderSource);
                env->DeleteGlobalRef(jVertexShaderSource);
            }
            if (jFragmentShaderSource && fragmentShaderSource) {
                env->ReleaseStringUTFChars(jFragmentShaderSource, fragmentShaderSource);
                env->DeleteGlobalRef(jFragmentShaderSource);
            }
        }
    }

    void SetCallbackParameters(JNIEnv *env, jmethodID method, jobject buffer) {
        this->method = method;
        this->buffer = env->NewGlobalRef(buffer);
    }

    void SetVertexShaderSource(jstring jVertexShaderSource, const char *vertexShaderSource) {
        this->jVertexShaderSource = jVertexShaderSource;
        this->vertexShaderSource = vertexShaderSource;
    }

    void SetFragmentShaderSource(jstring jFragmentShaderSource, const char *fragmentShaderSource) {
        this->jFragmentShaderSource = jFragmentShaderSource;
        this->fragmentShaderSource = fragmentShaderSource;
    }

    JavaVM *vm;
    jmethodID method;
    jobject buffer;
    jstring jVertexShaderSource;
    jstring jFragmentShaderSource;
    const char *vertexShaderSource;
    const char *fragmentShaderSource;
};

class MyCallback: public camerabox::CCFrameDataCallback {
public:
    MyCallback(JavaVM *jvm):vm(jvm) { }

    virtual ~MyCallback() {
        if (callback && vm) {
            JNIEnv *env;
            vm->AttachCurrentThread(&env, nullptr);
            env->DeleteGlobalRef(callback);
        }
    }

    void SetCallbackParameters(JNIEnv *env, jobject callback) {
        this->callback = env->NewGlobalRef(callback);
    }

    virtual void OnDataCallback(camerabox::CCGLRenderCameraBox *glrcbox) {
        JNIGLRenderCameraBox *jnibox = __static_cast(JNIGLRenderCameraBox *, glrcbox->GetUserTag());
        if (callback && vm && jnibox->method && jnibox->buffer) {
            JNIEnv *env;
            jnibox->vm->AttachCurrentThread(&env, nullptr);
            env->CallVoidMethod(callback, jnibox->method, jnibox->buffer);
        }
    }
private:
    JavaVM *vm;
    jobject callback;
};

/* =================== CameraManager.GLClientRenderNativeThread =================== */

JNI_METHOD(jboolean, CameraManager_00024GLClientRenderNativeThread, swapBuffers)(JNI_INSTANCE_PARAM) {
    jlong ptr = jnicchelper_call_native_ctx_ptr(env, thiz);
    camerabox::CCGLRenderCameraBox *glrcbox = __reinterpret_cast(camerabox::CCGLRenderCameraBox *, ptr);

    if (glrcbox->SwapBuffers() < 0) {
        LOGW("call SwapBuffers() failed\n");
        return JNI_FALSE;
    }
    return JNI_TRUE;
}

JNI_METHOD(jboolean, CameraManager_00024GLClientRenderNativeThread, createEGL)(JNI_INSTANCE_PARAM,
                                                                               jobject surface) {
    jlong ptr = jnicchelper_call_native_ctx_ptr(env, thiz);
    camerabox::CCGLRenderCameraBox *glrcbox = __reinterpret_cast(camerabox::CCGLRenderCameraBox *, ptr);

    if (glrcbox->SetWindow(ANativeWindow_fromSurface(env, surface)) < 0) {
        LOGW("call SetWindow() failed\n");
        return JNI_FALSE;
    }
    if (glrcbox->CreateEGL() < 0) {
        LOGW("call CreateEGL() failed\n");
        return JNI_FALSE;
    }
    return JNI_TRUE;
}

JNI_METHOD(void, CameraManager_00024GLClientRenderNativeThread, destroyEGL)(JNI_INSTANCE_PARAM,
                                                                            jobject surface) {
    jlong ptr = jnicchelper_call_native_ctx_ptr(env, thiz);
    camerabox::CCGLRenderCameraBox *glrcbox = __reinterpret_cast(camerabox::CCGLRenderCameraBox *, ptr);

    if (glrcbox->DestroyEGL() < 0) {
        LOGW("call DestroyEGL() failed\n");
    }
    EGLNativeWindowType window = glrcbox->GetWindow();
    if (window) {
        ANativeWindow_release(window);
    }
    delete glrcbox;
}

/* ============================ CameraNativeView ============================ */

JNI_METHOD(void, CameraNativeView, nativeInitialized)(JNI_INSTANCE_PARAM) {
    camerabox::CCGLRenderCameraBox *glrcbox = camerabox::CCGLRenderCameraBox::create();
    if (!glrcbox->IsInitSuccess()) {
        jnicchelper_throw_exception(env, CAMERA_MANAGE_EXCEPTION,
                                    "nativeInitialized native method execute error");
        return;
    } else {
        jnicchelper_set_native_ctx_ptr(env, thiz, __reinterpret_cast(jlong, glrcbox));
        JavaVM *vm;
        if (env->GetJavaVM(&vm)) {
            jnicchelper_throw_exception(env, CAMERA_MANAGE_EXCEPTION, "can't get Java VM");
            return;
        }
        MyCallback *normalCallback = new MyCallback(vm);
        MyCallback *filteredCallback = new MyCallback(vm);
        glrcbox->SetFrameDataCallback(normalCallback, filteredCallback);
        JNIGLRenderCameraBox *jnibox = new JNIGLRenderCameraBox(vm);
        glrcbox->SetUserTag(jnibox);
    }
}

JNI_METHOD(void, CameraNativeView, createShaderAndBuffer)(JNI_INSTANCE_PARAM) {
    jlong ptr = jnicchelper_get_native_ctx_ptr(env, thiz);
    camerabox::CCGLRenderCameraBox *glrcbox = __reinterpret_cast(camerabox::CCGLRenderCameraBox *, ptr);

    JNIGLRenderCameraBox *jnibox = __static_cast(JNIGLRenderCameraBox *, glrcbox->GetUserTag());
    if (!jnibox) {
        jnicchelper_throw_exception(env, CAMERA_MANAGE_EXCEPTION,
                                    "jnibox is NULL which getting from GetUserTag");
        return;
    }

    jint fragment_shader_type = jnicchelper_call_method("getFragmentShaderType", "()I", Int);
    switch(fragment_shader_type) {
        case -1:
            glrcbox->SetFragmentShaderType(REVERSE_X);
            break;
        case 1:
            glrcbox->SetFragmentShaderType(REVERSE_Y);
            break;
        default:
            glrcbox->SetFragmentShaderType(NORMAL);
            break;
    }

    jint frame_width = jnicchelper_call_method("getFrameWidth", "()I", Int);
    jint frame_height = jnicchelper_call_method("getFrameHeight", "()I", Int);
    glrcbox->SetFrameSize(__static_cast(GLuint, frame_width), __static_cast(GLuint, frame_height));

    GLubyte *pixels;
    size_t pixels_size;
    glrcbox->GetPixels(&pixels, &pixels_size);

    jobject vertexSource = jnicchelper_call_method("getVertexShaderSourceCode",
                                                   "()Ljava/lang/String;", Object);
    jobject fragmentSource = jnicchelper_call_method("getFragmentShaderSourceCode",
                                                     "()Ljava/lang/String;", Object);
    const char *vertexShaderSource = nullptr;
    const char *fragmentShaderSource = nullptr;
    if (vertexSource) {
        jstring jVertexShaderSource = __static_cast(jstring, env->NewGlobalRef(vertexSource));
        vertexShaderSource = jnicchelper_from_utf_string(env, jVertexShaderSource);
        jnibox->SetVertexShaderSource(jVertexShaderSource, vertexShaderSource);
    }
    if (fragmentSource) {
        jstring jFragmentShaderSource = __static_cast(jstring, env->NewGlobalRef(fragmentSource));
        fragmentShaderSource = jnicchelper_from_utf_string(env, jFragmentShaderSource);
        jnibox->SetFragmentShaderSource(jFragmentShaderSource, fragmentShaderSource);
    }
    if (glrcbox->SetShaderSource(vertexShaderSource, fragmentShaderSource) == -1) {
        jnicchelper_throw_exception(env, CAMERA_MANAGE_EXCEPTION,
                                    "setShaderSourceCode native method execute error");
        return;
    }

    jobject normalCallback = jnicchelper_call_method("getNormalFrameRgbaDataCallback",
                                                     "()Lcom/johnsoft/imgproc/camera/CameraView"
                                                             "$OnFrameRgbaDataCallback;", Object);
    jobject filteredCallback = jnicchelper_call_method("getFilteredFrameRgbaDataCallback",
                                                       "()Lcom/johnsoft/imgproc/camera/CameraView"
                                                               "$OnFrameRgbaDataCallback;", Object);
    if (normalCallback) {
        jobject byte_buffer = env->NewDirectByteBuffer(pixels, __static_cast(jlong, pixels_size));
        jmethodID mid = jnicchelper_obj_method_id(normalCallback, "onFrameRgbaData", "(Ljava/nio/ByteBuffer;)V");
        jnibox->SetCallbackParameters(env, mid, byte_buffer);
    } else if (filteredCallback) {
        jobject byte_buffer = env->NewDirectByteBuffer(pixels, __static_cast(jlong, pixels_size));
        jmethodID mid = jnicchelper_obj_method_id(filteredCallback, "onFrameRgbaData", "(Ljava/nio/ByteBuffer;)V");
        jnibox->SetCallbackParameters(env, mid, byte_buffer);
    }
    if (normalCallback) {
        MyCallback *myCallback = __static_cast(MyCallback *, glrcbox->GetNormalFrameDataCallback());
        if (!myCallback) {
            jnicchelper_throw_exception(env, CAMERA_MANAGE_EXCEPTION,
                                        "myCallback is NULL which getting from GetNormalFrameDataCallback");
            return;
        }
        myCallback->SetCallbackParameters(env, normalCallback);
    }
    if (filteredCallback) {
        MyCallback *myCallback = __static_cast(MyCallback *, glrcbox->GetFilteredFrameDataCallback());
        if (!myCallback) {
            jnicchelper_throw_exception(env, CAMERA_MANAGE_EXCEPTION,
                                        "myCallback is NULL which getting from GetFilteredFrameDataCallback");
            return;
        }
        myCallback->SetCallbackParameters(env, filteredCallback);
    }

    if (glrcbox->CreateShader() < 0) {
        jnicchelper_throw_exception(env, CAMERA_MANAGE_EXCEPTION,
                                    "createShaderAndBuffer native method execute error");
        return;
    }
}

JNI_METHOD(void, CameraNativeView, destroyShaderAndBuffer)(JNI_INSTANCE_PARAM) {
    jlong ptr = jnicchelper_get_native_ctx_ptr(env, thiz);
    camerabox::CCGLRenderCameraBox *glrcbox = __reinterpret_cast(camerabox::CCGLRenderCameraBox *, ptr);

    MyCallback *myCallback;
    myCallback = __static_cast(MyCallback *, glrcbox->GetNormalFrameDataCallback());
    if (myCallback) {
        delete myCallback;
    }
    glrcbox->SetFrameDataCallback(nullptr, nullptr);
    myCallback = __static_cast(MyCallback *, glrcbox->GetFilteredFrameDataCallback());
    if (myCallback) {
        delete myCallback;
    }
    JNIGLRenderCameraBox *jnibox = __static_cast(JNIGLRenderCameraBox *, glrcbox->GetUserTag());
    if (jnibox) {
        delete jnibox;
    }
    glrcbox->SetUserTag(nullptr);

    if (glrcbox->DestroyShader() < 0) {
        LOGW("call DestroyShader() failed\n");
    }
}

JNI_METHOD(void, CameraNativeView, drawFrame)(JNI_INSTANCE_PARAM, jint textureId) {
    jlong ptr = jnicchelper_get_native_ctx_ptr(env, thiz);
    camerabox::CCGLRenderCameraBox *glrcbox = __reinterpret_cast(camerabox::CCGLRenderCameraBox *, ptr);

    if (glrcbox->DrawFrame(__static_cast(GLuint, textureId)) < 0) {
        jnicchelper_throw_exception(env, CAMERA_MANAGE_EXCEPTION,
                                    "drawFrame native method execute error");
        return;
    }
}

/* ====================== DirectByteBuffers.NativeDirectMemory ====================== */

JNI_METHOD(jobject/* ByteBuffer */, DirectByteBuffers_00024NativeDirectMemory, mallocDirect)(JNI_INSTANCE_PARAM,
                                                                                jint capacity) {
    void *buffer = malloc(__static_cast(size_t, capacity));
    if (!buffer) {
        jnicchelper_throw_exception(env, CAMERA_MANAGE_EXCEPTION,
                                  "mallocDirect native method execute error");
        return nullptr;
    }
    memset(buffer, 0, __static_cast(size_t, capacity));
    return env->NewDirectByteBuffer(buffer, capacity);
}

JNI_METHOD(void, DirectByteBuffers_00024NativeDirectMemory, freeDirect)(JNI_INSTANCE_PARAM,
                                                                        jobject byteBuffer) {
    void *buffer = env->GetDirectBufferAddress(byteBuffer);
    if (buffer) {
        free(buffer);
    }
}

redpajama_set_name: RedPajamaGithub


Where do I find my Venuemob enquiries and booking requests?
Enquiries are the first point of contact from customers interested in booking your venue for an event.
Every time a customer sends an enquiry to your venue, you'll receive an email notification. You'll also see it appear in your activity feed, and in the Enquiries section of Venuemob Manager.
Enquiries are sorted by date by default. From this overview, you can see the name of the customer, the event type, date, capacity, budget, the staff member the enquiry is assigned to, the status of the enquiry and tasks required.
The status of the enquiry and the assigned staff member can be changed from this view.
Please note: it's important you change the status of an enquiry to booked or not booked before the event date passes.
Click on the enquiry to see any messages sent by the customer, and to respond.
NOTE: If you manage multiple venues under the one account – enquiries are sorted by venue.
When you're looking at Venuemob Manager for Venue A, you'll only be able to see Venue A's enquiries in the Enquiry view. To see Venue B's enquiries, head to the drop down menu in the top toolbar and select Venue B from the dropdown.


text:
Home > Blog > Wild Bee Declines and Neonics Case Closed – What next?
Wild Bee Declines and Neonics Case Closed – What next?
A new scientific paper produced by scientists at CEH (UK Government research institute/consultancy) has analysed English bee distribution data from BWARS and pesticide data gathered by Fera. The results are shocking, the impacts of neonicotinoid seed treatments on oilseed rape on wild bees were worse than we suspected. Now that the debate is over we must address the casues of this environmental calamity and make sure that it can never happen again.
The CEH paper looks at changes to agriculture and changes to the distribution of 62 solitary and bumble bee species, it is a very elegant analysis, here are some headlines:
1) These results are really shocking, 40% of bee species have distribution declines greater than 10% as a result of neonics, this is worst case scenario stuff.
2) Bees feeding on Oilseed rape (OSR) declined more due to neonics, but bees not feeding on OSR (or at least not feeding as much) also tended to decline due to neonics, perhaps due to polluted soils and wild flowers.
3) The data analysis is well done and the results make alternative explanations for the declines difficult to sustain.
4) Because neonic application changed over time and at different rates in different regions they were able to separate out the effects of OSR on bees from the effects of OSR with neonics on bees. OSR had a very noticeable positive impact on bees (due to nectar and pollen resources), but the negative impact from neonic treated OSR was substantially bigger – so claims that neonic treated OSR was on balance beneficial to pollinators, have now been disproven.
5) The data also show a small effect on bees from sprayed insecticides, but it is tiny compared to the effect of neonics, making it very hard to maintain the 'the alternatives are just as bad' argument.
It is important to note that this analysis is based on distribution data, not abundance data, populations can decline massively before they disappear, so declines in distribution are almost certainly lower than actual declines in terms of abundance. The results suggest that the actual decline in terms of the numbers of bees lost from the countryside due to neonics is much higher than feared. In terms of the health of the countryside 'abundance' is the key issue.
This is why it is essential that Defra establishes a quantitative national monitoring programme, this was supposed to happen in 2016 according to the National Pollinator Strategy, but its implementation is not on track.
Buglife has always been tolerant of alternative explanations of results proposed or promoted by those with vested interests. Although the big studies have always shown an impact of neonicotinoids on wild bees, there have been some studies have failed to find the effects, often these studies have had very low sample sizes and little or no replication. While Buglife has always considered that the balance of evidence has favoured neonics being substantially harmful to wildlife, there has until now been genuine scope for debate about the scale of the effects on populations of wild animals.
With this paper the case is closed, neonics have hammered wild bee populations, if anything its been worse that we feared.
Claims by Bayer and NFU in response to this paper that bee declines are due to 'intensive agriculture' rather than neonicotinoids are incompatible with the scientific results of the CEH paper. As the paper states "plant species richness on arable and horticulture land increased by 30% between 2000 and 2007, partly due to an increase in sown wildflower field margins which are used by wild bees. Arable land therefore improved rather than declined in its quality for many wild bees over the period we study."
Now that there is no reasonable space left for debating if neonics are harming bees, attention must now turn the following priorities:
1) Addressing the severe harm that continued neonic use is causing to freshwater ecosystems, not yet been addressed at an EU or UK level.
2) Ensuring that this never happens again – adopting EFSAs bee testing protocols for pesticide regulation, introducing a formal research register for pesticide company trials and research (as already established for pharmaceutical industry) and considering extending patent periods for pesticides to encourage the development of long term, niche market products, as opposed to the current short patent period that encourages the development of edgy, broad spectrum agrotoxins.
3) Defra must establish a quantitative, professionally coordinated, abundance based monitoring scheme for pollinator populations so that we do not find out about the harm caused to the environment and agriculture a decade after it happened.
4) Ensuring that up to and beyond Brexit our agri-environment schemes generate a much increased area of restored and recreated of fields of wild flowers in the countryside.
As yet there is no clarity about how UK will regulate pesticides after leaving the EU, but the UK Government's resistance to accepting the evidence that neonics are harming the environment does not inspire any confidence that Westminster is capable of protecting us and our environment from harmful pesticides. Establishing the competence and capacity to regulate the active ingredients of pesticides will take time and be very costly, would it make more sense to share scientific skills with other EU nations in regulating pesticides?
Summary of Other Neonic News
France has put the current ban into national legislation, effectively making it permanent there.
Germany has gone further and legislated to ban all neonic seed treatments – including cereals as well as flowering plants.
This year Defra refused applications for a derogation on the neonic ban – at least in part because the derogation in the previous year did not appear to improve OSR yields (treated and untreated sides of split fields had same cover at 3-4 leaf stage).
Following the recent UK study that linked butterfly declines and neonics a similar study in California shows that poisoning of butterflies by neonicotinoids also explains the declines in their butterflies

redpajama_set_name: RedPajamaCommonCrawl


text:
Abingdon Library
MON 9 a.m. - 8 p.m.
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SUN 1 p.m. - 5 p.m.
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* Closed daily 1-1:30 p.m.
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Locations & Hours Locations & Hours My Account Search
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Home / Services / Outreach
Some of our neighbors may have difficulty getting to the library, so we go to them. WCPL Outreach takes the library on the road.
Outreach Services for Adults
Our outreach program serves nursing homes, rest homes, senior centers and assisted living facilities in Washington County.
Instead of each person "checking out" items from the library, Pattie, our Outreach Coordinator, delivers new boxes to each facility every month for the residents to share. The boxes are hand-picked based on what the residents like best.
Outreach Services for Children
Our outreach program serves licensed daycare, preschool, and child care providers throughout Washington County.
We also provide materials that promote literacy for facilities that offer after-school programs.
Pattie picks out and delivers special materials to help children of all ages.
Homebound Books By Mail
Homebound Books by Mail provides books and other materials to people in Washington County who cannot visit one of our libraries due to a temporary or long-term medical or physical disability.
Contact our Outreach Coordinator, Pattie Morrell-Lamie, at 276-676-6236 for more information.
205 Oak Hill Street
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The first episode of the reality-show "Last Survivor" was broadcasted in 2001. And only now, five years after the last season ended we can unveil all secrets of this show.
Participants, presenters and creators of this project will tell us about what was left backstage: Vladimir Menshov, Dmitry Pevtsov, Alexander Domogarov, Vladimir Presnyakov, Julia Kovalchuk, Vladimir Presnyakov, Maxim Pokrovskiy, Larisa Verbitskaya, Victor Gusev, Sergey Kushnerev, Marina Alexandrova, Maria Butirskaya, Mikhail Grushevskiy, Alexander Pashutin and many others.
You will learn about price of victories, tricks, wiles, extreme situations and numerous intrigues. How the participants survived, made friends, fell in love, who got in their way and who helped. How their lives changed after the project had ended. All of it you can watch in the documentary "Truth about "Last Survivor".


text:
Duo discoveries: a ROCOInsider Q&A with clarinetists Nathan Williams and Maiko Sasaki
Blog, October 17, 2019
To kick off this season's ROCO Unchambered series, Flair will feature an instrument familiar to many – the clarinet – but have you ever heard what it can really do? We turned Saturday's opener over to ROCO musicians and friends Nathan Williams and Maiko Sasaki to curate – which led them on an expedition of discovering new works and revisiting old pieces they learned as young clarinetists, to narrate their stories of coming-of-age through music.
Learn how the program was created, why Nathan and Maiko love performing together, plus a few fun facts about the clarinet – in this ROCOInsider!
This program has so much variety, of time periods, of composers – how did it come together?
Nathan: We first started thinking about it way back, in February! Each of us came up with a list of duos we were interested in, finding we had a lot of shared ideas, but each bringing new things to the table too, learning about other pieces that we weren't aware of before. We spent time together playing through works around our ROCO rehearsals for In Concert in February and May, and after that had formed a shortlist.
With the next season's theme being "Coming of Age," we wanted this idea to be the focus, to tell our individual and collective stories, taking the listener along with us on the journey from our childhood relationships with the clarinet and music, up to our present-day. It ended up being not only our own personal journeys being told, but also a musical journey we go on around the world and through time, as the program took shape.
Maiko: When we got together, Nathan told a story that as a young clarinetist he would record himself playing one part of a duo, so he could play it back to perform the other part – as he had no one else to play duos with. And I laughed because I did the exact same thing too, in about 7th grade! (In fact, I even still do this – it's much easier with technology now, and I'll make MIDI recordings of each part to play with.) In Japan, my school prepared you more for being a soloist, so I didn't have much experience playing duets or with groups, until I came to the States to study at Rice University – there everyone was playing duets and chamber music together, and it was so much fun.
In this program of duos, there is one piece by Stravinsky which is not typically a duo, it's a solo clarinet work – but it features two different voices in the music, so we'll call it an "imaginary" duet! This is a piece both Nathan and I studied as young musicians, and both of our teachers told us to think about it this way while we were learning it. I think this will be really interesting for the audience, and for younger musicians who may be studying his Three Pieces, to hear these two voices highlighted that Stravinsky writes.
Were there other specific older works you wanted to include, that you studied as young clarinetists? And what do you love about the contemporary selections on the program?
Nathan: The Stravinsky work and the Mendelssohn Concert Piece No. 1 are both studied by students and professionals, big pieces that you get to know early on if you're seriously studying the clarinet. The Concert Piece is fascinating because we just did it with ROCO last spring, but with clarinet and bassoon – and it can be done with two clarinets and piano (and often is) instead of with orchestra, so we thought that would be really fun to hear how lovely it sounds with the different instruments as well.
And then I think you just can't do a concert for two clarinets without doing Ponchielli's Il Convegno – it's just the absolute quintessential piece for two clarinets and piano (or orchestra, or band). It's a real technical showcase but also features such lyrically beautiful, operatic lines.
For the contemporary works, Bela Kovacs' Greetings from the Balkan is just great rambunctious fun, perfect to welcome everyone and kick off the program.
Marcus Maroney's Four Preludes is an older piece of his, from 1999. The writing is brilliant, just so fantastic – he's actually written several pieces for two clarinets, but we really fell in love with this one, and we're so excited he'll be there as well, to discuss his work. With this duo, it sounds like way more than two clarinets! I just love his music, his Concerto for Chamber Orchestra on our album Visions Take Flight, is one of my favorite pieces we've ever commissioned.
Canadian composer Michael Tenzer's Three Island Duets was written in 1992 – we'll play one movement here, but all the movements are wonderful. Definitely check it out. The movement Biakwords is written in the style of Balinese kotekan gamelan playing – intricate, rhythmically complex, interlocking stuff – and if you didn't know any better, you might think Maiko and I were just improvising, doing our own thing, then suddenly we end up in unison!
Then finally, Theresa Martin's Solar Flair – a bit of a namesake for our program. Theresa is a clarinetist, composer, and teacher who has written a ton of excellent clarinet music, influenced by her studies with clarinetist Robert Spring, who's always pushing boundaries of contemporary techniques. Musically translating what solar flares might sound like, the energy and colors in this work make it really fun to play.
Are there any favorite pieces you wish you could have added to the program, but just didn't have room for?
Nathan: There are so many great pieces! First comes to mind Libby Larsen's Yellow Jersey – inspired by the Tour de France, it's bicycle racing – for clarinets.
Maiko: Yes – also there's a work we wished we could do by Gary Schocker, a composer and flutist from New York – his beautiful Sonata for Two Clarinets and Piano. And definitely, also the music of clarinetist and composer Eric Mandat – he has some really, really cool inventive stuff, that I just wish we had the time to include.
Briefly take us through your own coming-of-age stories as musicians – why clarinet, and when did you know you wanted to pursue a musical career?
Maiko: I do love the clarinet, but to me, it's that music is music – the clarinet is just one way of expressing the music inside me. As a child, I signed up for band, and my teacher actually wanted me to play bassoon! At 7 years old, I couldn't reach all the keys, so he said okay, let's put you on the clarinet, and it was just a great fit.
I always knew I wanted to be a musician since I was very little. But my parents were not rich, they said no way, we can't afford it – unless I was able to get into national school, which my sister had, and I was also able to. I went on to attend Tokyo University of the Arts, where I got my bachelor's and master's degrees. I made my way finally to Texas after visiting to play with one of my pianist friends in her recital at Rice University, where I met and performed for professor Michael Webster, who invited me to study in their doctoral program.
Nathan Williams, as a young clarinetist!
Nathan: When I was really little, my older brother was a musician who had made the All-County Band, and our family attended the concert, where I remember thinking there were so many clarinets, and a lot of clarinet solos – I was just captivated by the sound. It was so vocal, so expressive and warm, but it could sparkle, and I thought – wow, that's my voice. I remember that moment so vividly. Then I started playing the piano before I started the clarinet later in band, and was in love with that for a while, thinking I might focus on piano instead.
Then the summer after 8th grade, I went to Cannon Music Camp – where you could go for a whole month for a wind or string instrument, but only two weeks for piano – so I chose to go for clarinet. It really changed my life. At my school in Weaverville, North Carolina, only a few students were as into music as I was, but at camp, everyone was. I got to do so much there – playing in band, orchestra, chamber music, and even a solo recital – it was a wonderland of possibility, and that summer I truly fell in love with the clarinet. There was no turning back. Later I went on to study at Vienna's University of Music and Performing Arts for undergrad, then on to Eastman School of Music for my master's and The Juilliard School for my doctorate.
Once you each made your way to Texas, how did you become involved with ROCO?
Nathan: It was a job that brought me here originally, to teach clarinet in Austin at the University of Texas. At the time ROCO was looking for another clarinetist, and that's when I first met Maiko, and we instantly clicked. Even at the first rehearsal, it couldn't have been more natural playing together, and with ROCO – that feeling of, where have you been all my life! I feel very lucky, and I absolutely love playing with Maiko in every way.
Maiko: And I feel the same! I have been with ROCO from the very beginning. I was a student at Rice at the time Alecia Lawyer was forming ROCO, when she got in touch and told me about her new ensemble, and invited me to play. I really loved it, and have been here ever since!
The clarinet is familiar to many – but what's a fun or crazy fact about the instrument we may not know? And also, why does a clarinet have so many extra keys?
Nathan: During the evolution of the clarinet, there was amusingly a time in the 1800s when it was played with the reed on top! So the mouthpiece would be upside-down from how it is played now. It sounded very different – really edgy and brassy.
Also, the clarinet is technically the most imperfectly built woodwind instrument, it has a lot of inherent problems – but when you try to fix those, the instrument starts to lose its unique, beautiful properties and sound.
Even though you might hear a clarinetist squeak at times – there is really, no such thing as a squeak! These are real overblown harmonics (or partials), and you have to learn to control them.
And for all the keys, they really allow you to have and control that incredible range, and to properly use the full length of the clarinet.
Maiko: I have played a historic clarinet, made during Mozart's time – and it only had 5 keys! It used to be a much simpler instrument but couldn't do nearly as much musically. So the clarinet itself has really come of age too.
What advice would you have for young clarinetists who would like to explore new repertoire, but don't know where to start?
Nathan: Try everything! Believe in yourself, ask everyone you know for recommendations, and don't dismiss a piece before you've actually spent some time with it, and learned and played it.
One of my teachers said – it doesn't matter if you like a piece or not, because there will be times when you have to perform pieces you don't like. An important part of your job as a performer is to play it like you love it more than anything and make the audience love it too, rather than imposing your opinion. Often you can end up loving the piece yourself – or not – but the important thing is that you represent the composer's wishes, and make it about that, rather than about yourself. Really perform it – and give it a chance.
Maiko: I believe that as a performer, it is our job to make the music come to life off the page. There are stories of pieces which had disastrous premieres, but then another musician picks it up – and it becomes a beloved piece through their interpretation. As a musician, we have the power to kill the music or make it come alive. Always look for the music inside whatever piece you're playing, find that – and let the audience hear it.
Hear clarinetists Nathan Williams and Maiko Sasaki, in ROCO Unchambered: Flair, Saturday, October 19, 2019, 5:00 pm, at MATCH. Tickets available online, or at the door.
Libbie Mack says
Great read…
ROCO Houston says
Thanks for reading Libbie!
Sign up to receive ROCO news and updates
Thursday, Feb 4 2021, 7:00pm
ROCO Connections: Celebration of Margaret Bonds
ROCO Unchambered: Kaleidoscope
ROCO In Concert: Shadows
Saturday, Mar 6 2021, 5:00pm
ROCO Unchambered: Blackbird
Thursday, Mar 11 2021, 7:00pm
ROCO Connections: Journey to America
Buffalo Bayou's new soundtrack is heard in landscape thanks to ROCO | Houston Chronicle Preview
Houston's ROCO teaches children how to listen to classical music | Houston Chronicle Preview
Music in the Air — This ROCO Gala Breaks New Ground in Virtual Fun | PaperCity Magazine
Houston's ROCO: definitely not your parents' chamber orchestra | Houston Chronicle Preview


Anyone who wants to tell a lie and get away with it needs to make sure that they have really thought about that lie before they start to tell it. You can get the lie told in a way that no one would question, but you better be sure that you have told the lie in a way that is basic. To learn more go to fakedoctorsnotetips.com.


text:
Q: When I take html from a website using urllib2, the inner html is empty. Anyone know why? I am working on a project and one of the steps includes getting a random word which I will use later. When I try to grab the random word, it gives me '' but as you can see, there is no word inside.
Code:
import urllib2
from bs4 import BeautifulSoup

quote_page = 'http://watchout4snakes.com/wo4snakes/Random/RandomWord'

page = urllib2.urlopen(quote_page)

soup = BeautifulSoup(page, 'html.parser')

name_box = soup.find("span", {"id": "result"})

print name_box

name = name_box.text.strip()

print name

I am thinking that maybe it might need to wait for a word to appear, but I'm not sure how to do that.

A: So the way that the site works is that it sends you the site with no word in the span box, and edits it in later through JavaScript; that's why you get a span box with nothing inside.
However, since you're trying to get the word I'd definitely suggest you use a different method to getting the word, rather than scraping the word off the page, you can simply send a POST request to http://watchout4snakes.com/wo4snakes/Random/RandomWord with no body and receive the word in response.
You're using Python 2 but in Python 3 (for example, so I can show this works) you can do:
>>> import requests
>>> r = requests.post('http://watchout4snakes.com/wo4snakes/Random/RandomWord')
>>> print(r.text)
doom

You can do something similar using urllib in Python 2 as well.

A: This word is added to the page using JavaScript. We can verify this by looking at the actual HTML that is returned in the request and comparing it with what we see in the web browser DOM inspector. There are two options:

*

*Use a library capable of executing JavaScript and giving you the resulting HTML

*Try a different approach that doesn't require JavaScript support

For 1, we can use something like requests_html. This would look like:
from requests_html import HTMLSession

url = 'http://watchout4snakes.com/wo4snakes/Random/RandomWord'

session = HTMLSession()
r = session.get(url)

# Some sleep required since the default of 0.2 isn't long enough.
r.html.render(sleep=0.5)
print(r.html.find('#result', first=True).text)

For 2, if we look at the network requests that the page is making, then we can see that it retrieves random words by making a POST request to http://watchout4snakes.com/wo4snakes/Random/RandomWord. Making a direct request with a library like requests (recommended in the standard library documentation here) looks like:
import requests

url = 'http://watchout4snakes.com/wo4snakes/Random/RandomWord'

print(requests.post(url).text)

redpajama_set_name: RedPajamaStackExchange


We know you have some burning questions for us, so we'll beat ya to the punch!
Why should I hire Stanton Street?
Cause we're cool and we know what we're doing! In all seriousness though, we value our clients and take pride in our work. We're confident that you will be happy with your site and the services that we provide.
We can provide practically everything you need for your online marketing efforts.
All of our websites are priced based on your business objectives. If you have a particular budget in mind, we can provide you with the best solutions within your parameters. We can also work with you to develop your site in phases. Call now for an estimate (915) 351-8440 or fill out our online form.
How long will a website take?
It depends on what kind of site you want. Obviously the more detailed and more functionality, the longer it will take. Unlike other developers who use templates, our code is customized to your website. Since we code from scratch, basic sites typically take 3-4 months, larger more complex ones take around 6 months.
What is a domain name and why do I need one?
A domain name is used to identify a webpage. Each domain name is unique and has to be registered through a registrar, which is something we do on a regular basis. A domain name should be memorable and related to your business. If planned properly, your domain name also helps with search results.
When we host your site that means your site and all the associated files (like pictures, text and other files) are stored on our server. You need a place to host your site otherwise users will not see your site at all.
On most occasions, your team will consist of an account manager, project manager, designer and developer. Each person plays an important part in making sure your site is done correctly, on-time and on-budget.
What role does each person play in building my site?
Account Managers are the day-to-day contacts for clients and potential clients. For clients, they are the go-to person for anything pertaining to a site before or after development. For potential clients, they pull together estimates for desired projects and seek new business opportunities.
Project Managers oversee the scheduling and resources once a project has been approved for coding.
Designers control the overall look and feel of your site and provide sketches, color variations, font selections and other important details that add professionalism and usability to your site.
Developers write the code that makes your site come to life. They combine all of the functionality and final design into the online representation of your organization.
Can you explain the website development process?
We'll meet with you to identify your specific goals and needs. When applicable, we'll also map out the flow of your site. This helps us to create a document that captures the content, features and functions you desire. Once the scope of work and sitemap are approved, we move on to creative development.
Once we've gathered all of your input, our designer will work up a few sketches. These sketches will be used as the foundation for your site.
When the sketch is signed off on, our designer prepares all of the graphics for the developers. Then our programmers take over and bring the site to life.
The site is handed over to you for inspection and minor adjustments. Once it's approved, we launch it.
We automatically send out press releases to area media and trade publications special to your business. This way everyone knows you have a sparkly new site.
How many changes can I request to the design sketch?
Your scope of work document should cover how many rounds of revisions were budgeted for your site. If it doesn't, feel free to ask for more.
Can I make changes after I approve the design sketch or live site?
You can make changes to the design sketch or live site within reason. Changes such as updating a text or an image are considered minor. Redesigning the homepage or adding a complex functionality will require us to revisit the scope of work and start the process all over again.
The best way to explain is to think of a website as a house: Blueprints are created, a foundation is laid and the structure is built. If we need to redo the foundation, we'll have to break apart the structure to get there then build it back up again. The same theory applies for websites.
What is a secure site and how does it work?
If information such as addresses and credit card numbers are to be transmitted through your site, you will need to secure it so hackers don't have access to it. A website can be protected using a Secure Sockets Layer (SSL). An SSL protocol protects the transmission of sensitive information by creating an encrypted channel for it to pass through.
The only way everyone will see an identical website is if every user had the exact same computer, browser and download speed. Since everyone accesses the Internet differently, we build and test our sites on several browsers. We also test them on PCs, Macs and smartphones (if we're building a mobile site). Read more about browsers and how we make sure your site is beautiful for every user.
How do I generate traffic?
Your account manager will discuss the importance of keywords in content and how this affects your search rankings. If you'd like to actively pursue traffic, we'll arrange for you to meet with our Internet Marketing Specialist. She'll guide you through the fantastic world of Pay-Per Click (PPC) and AdWord campaigns.
Once the site is complete, can I make changes and updates to it myself?
If your website was built with a Content Management System (CMS), you can definitely manage the content on your own. We'll provide you with the proper training on how to navigate your CMS.
What is your payment policy and what type of payments do you accept?
Typically we request 50% down, 25% upon approval of the design, 25% at project delivery then a final payment at the end of your project. We accept credit cards and checks.
Do you have other questions not covered here? Feel free to give us a call at (915) 351-8440 or fill out our contact form!
Naomi Dhillon is an Account Executive at Stanton Street, an El Paso, Texas area website development company.
Contact Naomi Dhillon at (915) 351-8440.


Peter Santry is the Owner and President of the The Alternative Board (TAB) business located in Fairfield County, CT. He began his 35 year career helping businesses as a lender and capital raiser for private and middle market companies in the tri-state area. Later he transitioned into the Leveraged Loan and High Yield Bond Capital Markets businesses, structuring and pricing corporate debt to be sold to investors. Peter eventually ran a global distressed debt business where he traded and invested in distressed and defaulted corporate and municipal debt. Mr. Santry devoted the bulk of his career to money center banks, with long stints at Bankers Trust and Bank of America, and at investment banks, Jefferies and Lazard Capital Markets.
In starting The Alternative Board (TAB) of Fairfield County, Peter is bringing his substantial experience in corporate capital raising, restructuring, and passion for business to his TAB Members. Helping business owners define their vision of success and then assisting them in realizing it is what drives Peter today. Mr. Santry received his Bachelor of Arts in Political Science from Williams College in 1981 and is happily married with five children.


The services that we aim to provide for all clubs at Seoul Foreign School is divided into four categories which includes web development, branding, advertising (posters and print design), and video productions. However we will begin firstly by rolling out the first of our 4 core services—web development. But if you are eagerly interested in contacting us for work in the other areas of services that we aim to offer in the future but you can not wait, please feel free to contact us personally.
We believe that all great clubs at Seoul Foreign School deserves a website of their own and a face in the international community. The best way to spread the name of your club and express your powerful missions is through the web. Having a website will allow clubs at Seoul Foreign School to communicate their values and intentions to university admission offices, other international schools and the wider general public. It is about getting your voice heard.
As the Tech Crewsader we would like to provide exactly everything you need to get a website up and running with our self-maintained hosting services and the beautiful collection of website formats that we have collected within our team for the past few years. In a matter of days of collaboration we aim to get you and your club with an up and running,beautifully designed website that you and your team will be able to further edit and manage yourselves as well. At the same time, we will will also continue to maintain the website for you on the back end ensuring stability and functionality. We want to be able to take the hassle of web design, and systems management out and leaving you space and freedom of mind to do what you want to get your voices heard in the international community.
If you are very technical you can even edit every single thing that makes your website run from the html to ever CSS elements. You are free to do whatever you want with your website.
However if you would like your own custom top level domain such as yourclub'sname.com. The fee is $15 a year.
Fill out the sign-up form (below) first so that we know that you are interested. You can either do this yourself or have a Tech Crewsader do it for you!
Determining the scale of the website and how it will be used by the team.
In the meantime before the next meeting, the Tech Crewsaders responsible for your club's website will begin laying out the foundations of the website for you online. this includes setting up the servers, content management systems, and the website in general.
Then we would take them, and continue to build your website for you and fully complete them with your content.
When the website is completed we will contact you immediately (roughly 1-2 weeks) for the last meeting where we will go over basic editing techniques and teaching you how to maintain your website going forward.
By signing on to our services you are also receiving a selection of more than 20 premium and curated themes from us.
Each Tech Crewsader's made website will be editable via any mobile devices, making updating your website fast and simple to do.
With each website there is no limit to how much content you can upload to your website. Feel free to do what ever you wish!
Each website will be fully managed on the back end by Tech Crewsaders to ensure "always-on" functionality and speed optimizations.
Instead of remembering passwords sign-in with your Google Apps account.
If you messed something up, do not worry we will routinely back-up your website for you!
Again we would like to emphasize that this is completely free for the SFS Community.
If you are a student and you are interested in getting your own website, fill out the form anyways and we'll get back to you!
As of February 14 we have been informed by Mr. Baker that all clubs at Seoul Foreign High School will need some sort of online identity where students can go and find general information about each clubs. ie.
Join the club services program with the Tech Crewsaders and allow us to build the foundations of a beautiful and professional website. Which clubs will be able to take and call their own.
Or are you a faculty member?
Answer this if you are representing a club.
If you have any special requests or pre-conditions please write them here for us so we can prepare the foundations before meeting you.
[OPTIONAL] Then would you like to book an appointment with a Tech Crewsader?


text:
Biografia
Figlio di Gustavo Salvini, attore di teatro e di cinema, e nipote degli attori Clementina Cazzola e Tommaso Salvini, iniziò a recitare in teatro nella Compagnia dei genitori, per poi entrare nelle compagnie di Alfredo De Santis e Ugo Piperno. Successivamente recitò con Lyda Borelli. Debuttò al cinema nel 1917; dopo diverse pellicole si trasferì a Hollywood, per poi ritornare in Italia. Nel biennio 1930-31 lavorò a Joinville in Francia per alcune versioni in lingua italiana.

A partire dai primi anni trenta si occupò anche di doppiaggio, sia come attore che come direttore; sarà uno dei fondatori nel 1945, della Cooperativa CDC di Roma, insieme a Giulio Panicali, Franco Schirato, Carlo Romano, Lauro Gazzolo, Augusto Marcacci, Amilcare Pettinelli ed altri.

Filmografia
Histore des Treizes, regia di Carmine Gallone (1917)
Tragedia senza lacrime, regia di Mario Caserini (1919)
Il colchico e la rosa, regia di Herbert Brenon (1921)
L'incognita, regia di Gennaro Righelli (1922)
Nero, regia di J. Gordon Edwards (1922)
Sant'Ilario, regia di Henry Kolker (1923)
La straniera, regia di Amleto Palermi, Gaston Ravel (1929)
Il richiamo del cuore, regia di Jack Salvatori (1930)
La donna bianca, regia di Jack Salvatori (1930)
La riva dei bruti, regia di Mario Camerini (1930)
La vacanza del diavolo, regia di Jack Salvatori (1931)
Terra madre, regia di Alessandro Blasetti (1931)
La mia vita sei tu, regia di Pietro Francisci (1935)
Lorenzino de' Medici, regia di Guido Brignone (1935)
Regina della Scala, regia di Guido Salvini, Camillo Mastrocinque (1936)
Kean, regia di Guido Brignone (1940)
Sancta Maria, regia di Edgar Neville, Pier Luigi Faraldo (1940)
Redenzione, regia di Marcello Albani (1942)
Non c'è amore più grande, regia di Giorgio Bianchi (1955)

Bibliografia
Cataloghi Bolaffi del cinema italiano 1945/1955

Altri progetti

Collegamenti esterni

Direttori del doppiaggio italiani

redpajama_set_name: RedPajamaWikipedia


text:
Lars Christopher Gillberg, född 19 april 1950 i Göteborg, är professor i barn- och ungdomspsykiatri och leder sedan 2010 Gillbergscentrum vid Institutionen för Neurovetenskap och Fysiologi, Sahlgrenska Akademin, Göteborgs universitet. Han är också överläkare vid Sahlgrenska universitetssjukhuset med omfattande klinisk verksamhet i vård av patienter och familjer med komplex psykiatrisk/utvecklingsneurologisk problematik.

Karriär
Under 1993 var Gillberg Fulbright-professor vid New York University. Sedan 2010 är han också professor vid Universitetet i Glasgow. Han är vidare gäst- eller hedersprofessor i barn- och ungdomspsykiatri vid Institute of Child Health vid University College i London, vid Universitetet i Edinburgh, vid  i Japan (där han är involverad i projektet "Japan Environment Children Study"/JECS) samt vid Pasteurinstitutet i Paris. Han har tidigare varit gästprofessor i San Francisco, Odense och i Bergen, där han startade och ledde projektet "Barn i Bergen".

Hans forskning omfattar en rad tillstånd definierade i DSM-5 hos barn och ungdomar. Gillberg är dock mest känd för sin forskning om autism, kring tidigare okända genetiska avvikelser vid detta tillstånd.

Gillberg är författare till cirka 700 artiklar som (i juni 2020) finns tillgängliga på NIH PubMed.

DAMP
Gillberg och medarbetare lanserade på 1980-talet begreppet DAMP vilket fick genomslag i Sverige och övriga Norden. DAMP-begreppet, som introducerades i Carina Gillbergs doktorsavhandling 1987, ersatte den tidigare benämningen MBD, Minimal Brain Dysfunction. Gillbergs studier blev dock föremål för omfattande kritik. DAMP avsåg att bättre beskriva barn med bland annat bristande uppmärksamhet och rörelsekontroll ("Deficits in Attention, Motor control and Perception"). Termen DAMP är idag även den obsolet och nu används ADHD istället.

Priser och utmärkelser
Gillberg har tilldelats Fernströmpriset för unga forskare (1991), Ingvar Award (1995), Ronald McDonald Award (1998), Ågrenskas Stora pris (2001), Philips Nordic Prize (där i prismotiveringen särskilt omnämndes hans värnande om patienters integritet och rätt till sekretess) (2004), Dalbergmedaljen för genetisk forskning (2010), H.M. Konungens medalj i 8:e storleken i serafimerordens band (2011), Söderbergska priset i medicin (2012), INSAR Lifetime Achievement Award (2016) och Uppdrag Hälsas PSYNK-pris (2016). Han utsågs 2019 till Årets medicinsvensk av magasinet Fokus och är hedersledamot i Autism- och Aspergerförbundet och i Riksförbundet Attention vilka är intresseorganisationer för personer med neuropsykiatrisk funktionsnedsättning. Han återfinns på Thomsons Reuters lista över världens mest inflytelserika forskare (2014).

Tjänstefel och kontrovers

I juni 2005 dömdes Gillberg för tjänstefel av Göteborgs tingsrätt till dagsböter för att inte ha lämnat ut källmaterial till Eva Kärfve och Leif Elinder, vilka hade krävt att få göra en vetenskaplig granskning av hans forskning.  Gillberg vägrade att lämna ut dessa dokument, trots domslut om att så skulle ske, med motiveringen att de innehöll känsliga uppgifter om namngivna patienter som hade utlovats sekretess. Gillbergs fru och Gillbergs medarbetare Rasmussen körde därefter 22 hyllmeter forskningsmaterial genom en dokumentförstörare. Gillberg anmälde sedan svenska staten till Europadomstolen för att ha tvingat honom att både lova sekretess och att lämna ut sitt källmaterial. Domstolen fann dock att svenska staten inte hade kränkt de mänskliga rättigheterna i detta fall.

Med en debattartikel i Svenska Dagbladet i mars 2019 drog Gillberg och hans kolleger igång en omfattande svensk mediedebatt om könsbekräftande behandling av unga.

Bibliografi (urval)
 Neuropsychiatric aspects of perceptual, motor and attentional deficits in seven-year-old Swedish children, 1981 (doktorsavhandling Uppsala universitet)
 Man kallar det MBD: om barn med koncentrationssvårigheter, motoriska problem och perceptuella störningar, 1983 (tills. med Peder Rasmussen)
 Barndomspsykoser - en kort översikt, Psykisk hälsa, 0033-3212; 1984:2
 The biology of the autistic syndromes, 1985 (tills. med Mary Coleman)
 Ångest hos barn / redigerad av Christopher Gillberg och Kjell Modigh, Nordisk psykiatrisk tidskrift. Supplement, 0346-8852; 13, 1986
 Autism och andra barndomspsykoser, 1988
 Medicinering vid autism och andra barndomspsykoser, Rebecka-rapport, 99-0623116-5; 13, 1989
 Dyslexi - vad är det? 1994 (tills. med Maj Ödman)
 Autism och autismliknande tillstånd: en översikt, 1994 (tills. med Viviann Nordin)
 Aspergers syndrom: en översikt, 1994 (tills. med Stephan Ehlers)
 Anorexia nervosa: bakgrundsfaktorer, utredning och behandling, 1995 (tills. med Maria Råstam Bergström och Carina Gillberg)
 Clinical child neuropsychiatry, Cambridge University Press, 1995
 Barn som inte är som andra, 1995 (tills. med I. Carina Gillberg)
 Autism : medical and educational aspects, 1995 (tills. med Theo Peters)
 Ett barn i varje klass: om DAMP/MBD och ADHD, 1996
 Fragil-X syndromet FRAXA, 1996
 Barn, ungdomar och vuxna med Aspergersyndrom: normala, geniala, nördar? 1997
 Barn med vissa neurologiska och neuropsykiatriska funktionsstörningar blir onödigt handikappade i den svenska skolan, 1997
 Det hoppar och rycker i kroppen och själen: om Tourettesyndromet och andra tillstånd med tics hos barn, ungdomar och vuxna, 1999
 Sexuella övergrepp mot barn: expertrapport. Neuropsykiatriska aspekter, 2000
 A guide to Asperger syndrome, Cambridge University Press, 2002
 The Autisms, Coleman M, Gillberg C, Oxford University Press, 2012
 ADHD and its many associated problems, Gillberg C, Oxford University Press, 2014
 Barn- och ungdomspsykiatri, Gillberg C, Råstam M, Fernell E (red.), Natur & Kultur, 2015
 ESSENCE Om ADHD, autism och andra utvecklingsavvikelser, Gillberg C, Natur & Kultur, 2018

Referenser

Svenska professorer i barn- och ungdomspsykiatri
Personer verksamma vid Göteborgs universitet
Födda 1950
Män
Levande personer
Läkare från Göteborg


text:
ALMA takes close look at drama of starbirth
This unprecedented image of Herbig-Haro object HH 46/47 combines radio observations acquired with the Atacama Large Millimeter/submillimeter Array (ALMA) with much shorter wavelength visible light observations from ESO's New Technology Telescope. The ALMA observations (orange and green, lower right) of the newborn star reveal a large energetic jet moving away from us, which in the visible is hidden by dust and gas. To the left (in pink and purple) the visible part of the jet is seen, streaming partly towards us. Credit: ALMA (ESO/NAOJ/NRAO)/ESO/H. Arce. Acknowledgements: Bo Reipurth
Astronomers using the Atacama Large Millimeter/submillimeter Array (ALMA) have obtained a vivid close-up view of material streaming away from a newborn star. By looking at the glow coming from carbon monoxide molecules in an object called Herbig-Haro 46/47 they have discovered that its jets are even more energetic than previously thought. The very detailed new images have also revealed a previously unknown jet pointing in a totally different direction.
Young stars are violent objects that eject material at speeds as high as one million kilometres per hour. When this material crashes into the surrounding gas it glows, creating a Herbig-Haro object [1]. A spectacular example is named Herbig-Haro 46/47 and is situated about 1400 light-years from Earth in the southern constellation of Vela (The Sails). This object was the target of a study using ALMA during the Early Science phase, whilst the telescope was still under construction and well before the array was completed.
The new images reveal fine detail in two jets, one coming towards Earth and one moving away. The receding jet was almost invisible in earlier pictures made in visible light, due to obscuration by the dust clouds surrounding the new-born star. ALMA has not only provided much sharper images than earlier facilities but also allowed astronomers to measure how fast the glowing material is moving through space.
These new observations of Herbig-Haro 46/47 revealed that some of the ejected material had velocities much higher than had been measured before. This means the outflowing gas carries much more energy and momentum than previously thought.
The team leader and first author of the new study, Héctor Arce (Yale University, USA) explains that "ALMA's exquisite sensitivity allows the detection of previously unseen features in this source, like this very fast outflow. It also seems to be a textbook example of a simple model where the molecular outflow is generated by a wide-angle wind from the young star."
The observations were obtained in just five hours of ALMA observation time – even though ALMA was still under construction at the time – similar quality observations with other telescopes would have taken ten times longer.
"The detail in the Herbig-Haro 46/47 images is stunning. Perhaps more stunning is the fact that, for these types of observations, we really are still in the early days. In the future ALMA will provide even better images than this in a fraction of the time," adds Stuartt Corder (Joint ALMA Observatory, Chile), a co-author on the new paper.
Diego Mardones (Universidad de Chile), another co-author, emphasises that "this system is similar to most isolated low mass stars during their formation and birth. But it is also unusual because the outflow impacts the cloud directly on one side of the young star and escapes out of the cloud on the other. This makes it an excellent system for studying the impact of the stellar winds on the parent cloud from which the young star is formed."
The sharpness and sensitivity achieved by these ALMA observations also allowed the team to discover an unsuspected outflow component that seems to be coming from a lower mass companion to the young star. This secondary outflow is seen almost at right angles to the principal object and is apparently carving its own hole out of the surrounding cloud.
Arce concludes that "ALMA has made it possible to detect features in the observed outflow much more clearly than previous studies. This shows that there will certainly be many surprises and fascinating discoveries to be made with the full array. ALMA will certainly revolutionise the field of star formation!"
Source: ESO.org
NASA Determines Australian Meteor Crater is the Oldest Known Today
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dust (41)


The National Merit Scholarship Corp. announced names of local students who are in the running for its prestigious annual scholarship awards.
Out of 16,000 semifinalists, 120 students from Newport Beach, Newport Coast, Fountain Valley, Laguna Beach, Huntington Beach and Irvine high schools made the list, which was released Wednesday, according to a news release.
National Merit Scholarship is a not-for-profit organization established in 1955 to conduct the annual National Merit Scholarship Program. The organization funds the scholarships with help from about 440 businesses and higher education institutions.
About 1.5 million juniors in the nation entered the program this year by taking the 2012 PSAT/National Merit Scholarship Qualifying Test. The number of semifinalists in a state is proportional to its percentage of the national total of graduating seniors.
About 90% of all semifinalists are expected to attain finalist standing, and more than half of the finalists will win a National Merit Scholarship, earning the Merit Scholar title, the release said.
Finalists will compete for three types of college scholarships in spring 2014. Awards include a $2,500 National Merit scholarship, a corporate-sponsored scholarship and a college-sponsored scholarship.
Finalists and winners are chosen based on their scores on the PSAT and SAT exams, academic records, leadership abilities, an essay and a recommendation from a school official.
Scholarship recipients will be announced starting in April and ending in July 2014.


Glasgow Caledonian University (GCU) is located in Glasgow, Scotland, United Kingdom. The university was established in 1875. It is accredited by Department for Business, Innovation and Skills, United Kingdom, and affiliated to Association of Commonwealth Universities (ACU); European University Association (EUA); Million+; Universities UK. There are 15,000-19,999 students studying in various courses offered by Glasgow Caledonian University.
Click on the above image to visit the website of Glasgow Caledonian University.
No record of photos published by Glasgow Caledonian University on Flickr or other places found.
Refer to the following links to get information on admission to Glasgow Caledonian University.
Currently we do not have any information on scholarships or financial aids offered by Glasgow Caledonian University. However, You may visit the university website to see if they offer any scholarship, grant or financial aid.
Currently we do not have a list of programs and courses offered by Glasgow Caledonian University. You may refer to the university website to get the current list of all courses Glasgow Caledonian University offers.


The protagonist is the most important character of your story. In order to have readers rave about your protagonist—and your story—you have to craft an active one. That's why you'll find 4 fundamental steps to craft an active protagonist in this post.
In a previous post I wrote about the Seven Point Story Structure and in this post I will show you this structure in a case study of Harry Potter and the Deathly Hallows, written by J. K. Rowling.
In a previous post I wrote about the Seven Point Story Structure and in this post I will show you this structure in a case study of Harry Potter and the Half-Blood Prince, written by J. K. Rowling.
In a previous post I wrote about the Seven Point Story Structure and in this post I will show you this structure in a case study of Harry Potter and the Order of the Phoenix, written by J. K. Rowling.


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Q: Which virtual terminal is a given X process running on? When X starts, it searches for the lowest unused VT, and attaches to it. My problem is that when there are several running X processes, I need to be able to identify which one is the currently active one.
This is a *BSD question, because on linux it's easy: X sets its controlling terminal to be ttyN, or, on very old distributions, it's specified on the commandline as vtN. So, I'm running a service and I see that the currently active VT is tty7, and there are two X servers running, it's easy to tell which one corresponds to the current terminal. (This is a reasonable case: perhaps the user used GNOME/KDE's 'switch user' functionality or ran two servers using startx.) An example application that might want to follow the active X server is x11vnc (which is forked from the software I'm developing).
On FreeBSD though, the controlling terminal does not tell you anything. When X is started from ttyv1, that remains the controlling terminal.
Update
I've done due diligence and read the X code. After some hunting around, it's now clearer to me what's going on.
In lnx_init.c, the X server does setsid to make a fresh session for itself, then opens an fd to ttyN straight after to do a VT_ACTIVATE ioctl on it. Pretty standard; opening the fd to a terminal with no controlling process from a process with no controlling terminal associates the two, and the server keeps the fd open, so it's guaranteed that the terminal will remaining the controlling terminal for the X server.
Now, in bsd_init.c, opening the fd to the tty to be used as the framebuffer doesn't make it a controlling terminal (and in fact, with no setsid, BSD Xserver started from xinit on ttyv2 will keep ttyv2 as its ctty!).
Question further updated and cleaned up on 2012-04-09.

A: There is a more general way. On all platforms with virtual terminals, including linux and BSD, Xserver retains an open fd to the terminal it's running on. On linux, it remains a good solution to check for the controlling terminal of the X process to distinguish between multiple X processes (use the seventh field of /proc/<..>/stat). More generally though, look through the list of open fds of the X process, and it only needs some simple filtering to get out the terminal the Xserver is running on. (Unfortunately, getting the list of open fds is again platform-dependant...) For sysctl platforms like BSD, the code will look similar to this, plus some error handling:
int ttyByOpenFds(int curPid) {
    int ctl[4] = { CTL_KERN, KERN_PROC, KERN_PROC_FILEDESC, curPid };
    size_t sizeGuess = 50*sizeof(kinfo_file);
    char* buf = malloc(sizeGuess);
    int rv = sysctl(ctl, 4, buf, &sizeGuess, 0, 0);
    if (rv < 0 && errno == ESRCH) return 0;
    else if (rv < 0 && errno == ENOMEM) { /* try again */ }
    else if (rv < 0) throw SystemException("unexpected error getting args", errno);

    char* position = buf;
    while (position < buf + sizeGuess) {
      kinfo_file* kfp = reinterpret_cast<kinfo_file*>(position);
      position += kfp->kf_structsize;
      if (kfp->kf_type != KF_TYPE_VNODE) continue;
      if (kfp->kf_vnode_type != KF_VTYPE_VCHR) continue;
      if (kfp->kf_fd < 0) continue;
      char* name = devname(kfp->kf_un.kf_file.kf_file_rdev, S_IFCHR);
      if (!name) continue;
      unsigned int ttynum = 0;
      if (sscanf(name, "ttyv%u", &ttynum) != 1) continue;
      if (ttynum < 8 && kfp->kf_fd <= 2) continue; // stderr going to a console
      return ttynum;
    }
    return 0;
}


TAKING place on the 24th and 25th October 2018, the second Energy Now Expo Ireland is returning to Kilkenny following the huge success of the inaugural event last year.
Set to be the foremost renewable energy event for farmers and landowners, the two-day event will be based at The Hub, Cillin Hill, Kilkenny. It will feature expert speakers and exhibitors, who will be delivering the latest developments in renewable technology and showcasing innovative new products.
For 2018, the event has evolved and this year, Energy Now Expo Ireland will be home to a two-day conference, that's free to attend for delegates. For the first time, Energy Now Expo Ireland will be held in association with the Irish Farmers' Association - Ireland's largest farming representative organization with over 70,000 members, and Teagasc – the Agriculture and Food Development Authority.
Other industry partners include ICSA (Irish Cattle & Sheep Farmers' Association), ITGA (Irish Timber Growers' Association), RGFI (Renewable Gas Forum of Ireland) and 3CEA – the independent energy agency working primarily in Carlow, Kilkenny and Wexford.
Organised by Renewable Energy Events Ltd, David Jacobmeyer, Event Director of Energy Now Expo Ireland adds: "Our first event last year confirmed Irish farmers and landowners' quest for knowing more about the latest developments within the Irish renewable energy sector.
"This year, we've worked hard to secure cross-industry support, and by working with these organisations in the run up to the event, we will be ensuring that Energy Now Expo Ireland is carefully tailored to offer solutions and ideas to visitors that are relevant and aligned to current Government policy.
Last year's event was attended by over one thousand visitors, and this year, organisers are hoping to surpass the 2017 numbers by establishing the event as a 'must attend' show for renewable energy within the agricultural and rural communities of Ireland.
"Ireland has committed to producing at least 16% of our energy from renewable sources by 2020, and as our members are collectively the country's largest landowner, we have a significant role to play.
Some of the topics that will be covered during the two-day conference include Government subsidies, diversification of income streams, micro energy production and bioenergy crops. Speakers include Tom Short, Renewables Chairman, IFA; Paddy Phelan from the 3 Counties Energy Agency; Thomas Hubert, Irish Farmers Journal, Dirk Hendricks, Senior Policy Advisor with European Renewable Energies Federation and Barry Caslin, Energy & Rural Development Specialist with Teagasc amongst others.
Exhibitors - including 2G Station Ireland, Woodco Renewable Energy, Landia, Dulas, Vogelsang and Petro Canada Europe Lubricants Ltd. - will showcase a wide spectrum of technologies including Biomass, Heat Pumps, Solar, AD & Biogas and Hydropower. Also present will be IFAC Accountants and Financial Advisors, the Irish Farmers' Association, and Teagasc.


Welcome to 2513 S. 19th St.,a meticulously maintained 3 Bedroom, 2.5 Home with a ton of original features. Located on a beautiful tree-lined block! Once owned by the Termini Family! Upon first glance, you'll notice a nice front porch that is a perfect sitting outdoor area for your morning coffee. There is side alley with access to yard. Upon entering, you will find a beautiful foyer entry with original features and a beautiful original wood door with original hardware. After, you will enter the living room with beautiful hardwood floors and crown molding and a huge front window that brings in plenty of natural light. Continuing on you will enter the dining room with closet and enclosed hutch area. The eat-in kitchen is a great size and a perfect place for entertaining! There is a great amount of wood cabinets and countertop space with appliances including a gas range, refrigerator, dishwasher, garbage disposal and microwave. The kitchen also features gorgeous tile floors and half tile wall with track lighting on both sides. You will also notice that throughout the house the radiators have been built into the walls. Off the kitchen is an enclosed porch area with a half wall and exposed back wall. The yard is a nice size with garden and rear side alley with access to 19th St. The basement is full and finished with carpeting, cedar closet, bar, washer and dryer area and all sound systems. The basement also boasts a full bath. There is a small area in the front and back that is unfinished but great for storage. The second floor features 3 nice-sized bedrooms with great closet space and hardwood floors and carpeting. There is a large hall/linen closet. The bathroom is enlarged and is a 4-piece ceramic tile bathroom. There is a walk-in shower and separate bathing tub with dual sinks. There is an attic as well. Central air only on the second floor. The first floor has a window unit. Gas radiator hot water heating. This home has it all! Tons of original and beautiful features throughout. Nicely painted walls! Meticulously maintained by the owners! Come see this!


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Boxing vs MMA: How are they Different?
As Mixed Martial Arts (MMA) grows in popularity, I'm frequently asked if Boxing or MMA is more helpful in training, self-defense, and health. I believe that both are equally effective. However, everything depends on the context.
I mean that both MMA and boxing may be useful depending on what you really want to achieve. Although there are advantages and disadvantages to training in both styles, MMA will often result in a more well-rounded fighting abilities due to the combination of stand-up and ground training.
Whenever it comes to competitive sports, there will always be a dispute about which martial art is superior to the other. I'm not going to attempt to persuade you that MMA is superior to boxing or vice versa. In this article, I'll simply evaluate both and provide my honest view on the subject topic.
Also Read: Upcoming Boxing Fights of 2022 You Shouldn't Miss
The most significant difference between these two sports is the scope of what is permitted and what is not. In boxing, you can only use punches, and you can only hit above the belt when you are punching someone.
On the other hand, almost anything is perfectly acceptable in Mixed Martial Arts where abilities like wrestling and jiu-jitsu may also overwhelm a boxer, apart from kicks and punches.
What is Mixed Martial Arts (MMA)?
What are the Significant Differences Between Boxing And MMA?
Does an MMA fighter know how to box?
The Similarities between MMA and Boxing
Can an MMA Fighter and Boxer Fight?
Boxing vs MMA: Which is Better?
Boxing is a combat sport in which two athletes fight with their fists while wearing padded gloves in a square ring that has been roped off for safety reasons. In this game, the only goal is to knock one another out or dominate by accumulating points by strategic punch strikes over an allotted amount of time (usually 30 minutes).
Full-contact MMA combat is a cage fighting sport that includes striking, grappling, and ground wrestling. It is a fusion of numerous combat sports and martial arts with origins in various parts of the world, including the United States. The combatants' goal is to dominate their opponent via the use of multiple tactics like hitting, finishing grips, and control.
When we think of Boxing vs MMA, it is essential to begin with the differences between the two sports.
Both sports differ when it comes to the number of rounds in a match. Traditionally, boxing battles may go up to 12 rounds of three minutes each, with a 60-second break between each round. If a bout goes on for too long, we may be treated to up to 36 minutes of high-octane excitement.
In MMA, battles are generally fought over three or five rounds. However, it depends on the type of match. Generally, each round lasts 5 minutes, with a 60-second pause.
MMA entails more than just throwing punches with a fist. This style of combat incorporates and integrates a variety of fighting tactics ranging from fist blows to kicks, as well as kneel tackles.
In MMA, a wide range of fighting techniques is permitted. It is significantly different from its competitor sport, boxing, which only enables the use of arms and hands to knock out opponents or gain points.
As previously stated, MMA is a fusion of many combat systems. Armed and unarmed blows, boxing an opponent, or kickboxing; muay thai abilities; takedowns; ground combat; and submission are all permitted in MMA.
Also Read: 10 Boxing Tips and Tricks for Beginners
In contrast to Boxing, which only allows for certain types of punches, including jabs and uppercuts, Mixed Martial Arts allows for a wide variety of blows. Elbows, knees, kicks, and spinning backfists, are among the permitted attacks in mixed martial arts.
MMA athletes may win by incorporating several combat methods, such as Tae Kwon Do, Muay Thai, and Karate, into their fighting style.
Takedowns and submissions are also effective strategies for MMA fighters. Single-leg takedowns from wrestling and hip throw from judo are examples of takedowns permitted in MMA competitions. Fighters may also avoid takedowns in MMA by sprawling and employing other methods.
Moreover, in MMA battles, submissions including armbars, heel hooks, chokes, and kneebars are permitted. Fighters can win a contest through submission if they can force their opponent to tap out or if a referee calls a halt to the fight because one of the fighters is unconscious or gravely injured.
Ring-type
Another Boxing vs MMA distinction is the geographical location. Boxing matches occur in a ring, but UFC fights happen in a cage. The cage is required for grappling as well as wrestling because it has the potential to aid or damage competitors in certain circumstances.
The boxing ring, in contrast, is mainly used to keep the action contained within a specific region. The classic square ring is used, with the dimensions often ranging between 16 and 20 feet in length.
Also Read: Top Lesser Known Boxing Techniques You Must Learn
Every MMA match takes place in an octagon; however, there may be minor variations depending on the company. The conventional octagon has a diameter of 30 feet, with a fence that is 6 feet high. It is also available in several sizes.
Another notable distinction between the two sports is the combat gloves that are used. Gloves used in MMA are significantly lighter than gloves used in boxing.
Pic Courtesy: Fightnomads
MMA combat gloves are lighter and more flexible than traditional fighting gloves, weighing only 0.1kg. It allows for the exposure of fingers, enabling fighters to perform specialized attacks, chokes, takedowns, and submissions with more ease.
Boxing gloves weigh approximately between 0.3 to 0.5kg, making them much heavier. It does not allow for the exposure of fingers; instead, it serves to shield them. Its design provides protection for the hands during punching.
Obviously, since they are two different sports, their rules are bound to be different to some extent. Boxing matches follow the three-knockdown rule, which is applied at all levels of the sport. This means that if a boxer is knocked down thrice during a bout, the fight will be called off.
Aside from that, when a combatant is knocked down, the 10-count rule comes into effect. They must get back up on their feet unassisted within 10 seconds of being down.
Under MMA, the outcome of a fight is entirely dependent on the referee's judgment. Even though an individual fighter may be knocked down numerous times throughout a fight, the battle will continue as long as the person is still moving.
In the event of multiple knockdowns, certain officials may decide to call a halt to the bout to safeguard a combatant from further injury.
MMA Rules
Fighters are authorized to use legal blows, throwing tactics, and grappling methods to beat their opponents during fights under certain conditions.
The rules prohibit the deliberate rejection of an opponent from the cage.
It is not permissible to strike the groin or back of the head, gouge one's eyes, bite, grip one's throat, head butts, or yank one's hair.
Boxing Regulations
A clenched fist punch is the only kind of assault that is authorized.
Strikes below the belt, to the kidneys, or to the back of an opponent's head are not permitted and will result in a penalty.
Once an opponent has been knocked out, any further attacks and strikes are halted immediately.
When a boxer receives a low blow, he or she is given up to five minutes to recuperate.
An inadvertent foul that results in an early fourth-round stoppage of a fight will be deemed a "no contest," starting with the fifth round. The outcome of the battle is determined by the cards of the judges.
In addition to wrestling and kicking, MMA athletes learn how to perfect the art of boxing. They will study the fundamentals of martial art while going through the procedure. On the other hand, many boxers are unfamiliar with the terminology used in mixed martial arts.
As an illustration, consider the rear-neck choke, which is the most prevalent form of finish technique and includes one fighter locking both of his arms in an L shape to strangle his opponent and compel him to submit.
This is definitely not seen in boxing since the sport's rules do not allow for this type of maneuver.
Also Read: The 11 Greatest Boxers of All Time
Philly Shell is another boxing technique that MMA athletes are unfamiliar with. It requires employing boxing gloves that are substantially larger in size than MMA gloves to protect a fighter's face in combat.
Ultimately, one can see that there really are significant distinctions between these two sports, but this does not imply that you must choose one over the other as a preference.
Let us now look at the similarities between Boxing and MMA to learns more about Boxing vs MMA.
Though boxing is an element of mixed martial arts, MMA is not a component of boxing. Although Mixed Martial Arts is a new but more comprehensive art form, it owes boxing a portion of its success.
Both are incredibly different yet intertwined – one thing they both have in common is that if they were to face each other through their respective sports, the 'puncher's chance' would be on their side.
Fighters preparing to fight in boxing and MMA follow similar training regimes. For instance, both boxers and mixed martial artists will go through the following preparations before a competition:
Shadowboxing
Drilling techniques
Using heavy bags and hitting pads
Jumping rope
Such a preparation assists fighters in preparing both physically and emotionally for their time in the ring or the cage. Participants have the opportunity to strengthen their bodies and refine their abilities before facing off against another skilled fighter.
For this answer, I will give you an example of the most popular and experienced fight in the history of these sports. Do you remember when Floyd Mayweather and the notorious MMA fighter Connor McGregor stepped in the ring together?
As the boxing bout between the two progressed, it became clear that McGregor was in for a long night. His body ached to fight as he did in the UFC; however, all he was capable of doing was punching.
As a consequence, Mayweather defeated him by a wide margin. McGregor's abilities did not transition well to boxing because the sport is fundamentally different from Mixed Martial Arts.
Both MMA and Boxing share many characteristics, but they are fundamentally distinct combat sports in many respects. When it comes to choosing which martial art to train in, the answer isn't always about whether the fighting style is superior in terms of effectiveness.
If you're debating which martial art to pursue, I feel it's critical to consider whichever martial art is more interesting to you personally before making your final decision.
Do you want to concentrate just on striking, or do you want to include kicks, knees, elbows, takedowns, and submissions in your toolbox? As a beginner, I recommend learning as many martial arts as possible to become a well-rounded fighter.
I feel that both MMA and Boxing are excellent choices; nevertheless, every individual is different. I recommend that you follow your passion and try your hand at martial arts.
Remember that it's never too late to begin training in martial arts, even if you think your age is an impediment in getting started. Whether or not you follow my recommendations, I wish you the best of luck on your martial arts adventure.
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Horns of Shame
Herman, sporting the Horns of Shame. I'm tempted to
hang some little dingle berries or ornaments from the ends.
Penny, showcasing the newest in Horns of Shame fashion.
When researching the horned vs. hornless aspect of goat ownership, I had originally decided on a hornless goat herd. Our first two goats, Nettie and Chop Suey, were disbudded when we got them. All subsequent kids born on this farm were disbudded by Paul and I. After eating a few of the male offspring, I decided that I really, really liked the taste of goat meat so I figured that our next step would be to add some Boers to the mix. But I've never seen a hornless Boer, so really the only way to get a hornless Boer goat was to buy a very young bottle baby and disbud it. Enter Pickles.
She was a two day old Boer doeling who was pulled from her mother because she suddenly became ill and wasn't producing milk. We brought Pickles home and disbudded her and she became the start of our meat goat herd. But in order for us to get any meat (other than butchering Pickles herself, which I honestly now contemplate at least on a weekly basis) we had to have her bred to another Boer.
Thus I acquired an additional two Boer goats, Herman and Lily. Who both have horns. Which I said I would never do, but I just could not find anyone with Boer kids young enough to disbud. My plan was to have both Pickles and Lily bred to Herman, keep the offspring (and disbud them) and then sell Lily and Herman. But Lily's doeling is really turning out to be a little chunky-monkey and I think it may be worth it to keep Lily around, even with the horn issue. Which isn't actually that bad with her as the way her horns are growing down and back, there's less likely of a chance for a horn accident like there was with Penny and Nettie.
Penny was acquired in hopes of doing the same thing; keep her just until she kidded, disbud the kid(s) and then sell her. But before that happened, we had the "horn incident". It totally ruined Nettie's udder and almost cost her her life. Penny has pointy horns and ones that kind'a curve up at the end instead of downwards like Lily's. Thus she's been fitted with the horns of shame - something I should have done when we first got her. The hose doesn't stay on all of the time so I'm finding it in the goat yard and having to put it back on, but at least it's some sort of protection.
Herman's horns, on the other hand, are not posing a real threat to anyone except himself as he's penned up separate from the rest of the herd. Why are his horns a threat to him? Well, because I want to bash his stupid noggin in because I have to go out and get his head unstuck from the fence about fifteen hundred times a day. Like, really Herman? You haven't figured this out yet? I'll push his head out and five minutes later he's hollering again because he's stuck. Often I just leave him there for a while if he's not in a compromising position. Maybe because I'm secretly hoping that a coyote will come chew his head off and then we can eat the bastard. And it's not like there's anything on the other side of the fence. He doesn't even get it stuck through the fence with the does, it's the other sides. Where there is not a single stinking blade of grass or green thing to eat. I swear to gawd he does it just to piss me off.
So finally yesterday I talked Paul into going into his pen and helping me duct tape a length of PVC pipe to his horns in order to prevent him from sticking his fat noggin through it. Which he ended up doing somehow anyways as he was bawling about an hour and a half later. Which made it even MORE difficult to release him. But after getting my fingers smashed between horn & fence and lots and lots of swearing, I got his head out. It's now been a full 24 hours since I've had to extricate him. But now there's the constant click-clack-click-clack-click-clack of the PVC pipe hitting the fence as he runs the perimeter.
Which still beats having to go out there to free him a dozen times a day.
And is still infinitely less annoying than Pickles screaming.
The Homestead Lady May 5, 2014 at 10:05 PM
This is exactlu what we do with our horned goats...it works wonders to keep their heads out of the fence and hurting each other...no need to ever disbud another little kid!! Glad to see others doing this as well...we have been doing this for the 14 years we have raised goats, never had an issue with horns in fences or goats hurting one another...
Kelly May 5, 2014 at 10:44 PM
My girl is probably worse than Pickles now :/ She is usually really quite but now that she's in milk she doesn't shut up! It's driving me nuts!!!! It's really bad in the mornings and from about 3pm-7pm. Nothing worse than a hollering goat. I think it's in her genes because baby girl likes to cry out now for no reason what so ever. I may have two annoyingly loud goats on my hands :/
You could use some of that duct tape on Pickles. In the maw area. That is a clever use of PVC - he looks like Princess Leia undone...heehee.
Scott or Pam May 6, 2014 at 4:27 PM
LOL! You do know what "dingle berries" are, right?
I currently only have one doe with horns and she is my BEST milker so she stays. Luckily for her (or rather ME) she quit sticking her head through the fence when she was about two.
ROFl, too funny!
M.E. Masterson May 6, 2014 at 9:39 PM
Lol! You are a great writer!
Sandy Livesay May 6, 2014 at 10:53 PM
Silly goats!!!! I have lights to go on the PVC Pipe.
small farm girl May 7, 2014 at 1:05 PM
I've had the horn of shame on many of my goats. One of the reasons I sold them..... lol
Carolyn May 13, 2014 at 4:19 PM
The Homestead Lady: The buck goat's horns we did is about to fall off already. How did you do yours?
Kelly, Gawd help you if you have a screaming-mimi like Pickles...times TWO nonetheless.
Susan, now why didn't I think of duct tape? May as well just call the ASPCA on me now because that's too good of an idea to pass up.
Scott/Pam: I knew someone would catch that. I know what dingleberries are, but I couldn't think of the name of those little fuzzy balls that the Mexican kids would hang in their cars.
Candy, my goats are just too dumb. I mean, wouldn't you figure it out eventually???
Nancy, oh, if only I laughed as much as I swore.
ME Masterson, hard not to write about stuff like this. I have almost unlimited fodder for blog posts just 100' away from my front door.
Sandy, maybe some of those hillbilly lights that people put on their campers shaped like chili peppers or fish???
SFG, did they STAY on the goats? That seems to be the problem I'm having now.
Difficult Decision
Whittling down the goat herd
Moving on up (and out)
Planting for Others
Homemade Stretchy Cheese
Dry Alfresco Dining
Rock'n Herb Garden
Fire in the Pear Trees
Born a Yankee
Teachable Moments (whether you know it or not)
Operation Rent-A-Chicken


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India extends Chinese seamless pipe anti-dumping duty
The Indian government has extended for five years the definitive anti-dumping duty on seamless tubes and pipes originating or exported from China, effective 28 October. This follows the recommendations of the Directorate General of Trade Remedies (DGTR) in its final findings on the sunset review investigations initiated in February.
DGTR recommended continued imposition of the anti-dumping duty for five years in July, Kallanish notes. Existing anti-dumping duties, initially lobbied for by ISMT Limited and Jindal SAW, were due to expire in October.
The products fall under HS code headings 73041910, 73041990, 73042990, 73043119, 73043129, 73043139 and 73043919. Also included are 73043931, 73043939, 73044900, 73045110, 73045910, 73045930, 73041920, 73043111, 73043131, 73043929, 73045920 and 7304900.
The latest anti-dumping duty will vary depending on the landed value. It has been pegged as the difference between landed value and the amount notified by the Revenue Department – ranging from $961.33 to $1,610.67/tonne. The department ordered the duties will have to be paid in rupees equivalent to USD, during the time of imports.
Source : Kallanish
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