text:
/* This is a simple example of using GLSL shaders with SDL */

#include "SDL.h"

#ifdef HAVE_OPENGL

#include "SDL_opengl.h"

static SDL_bool shaders_supported;
static int      current_shader = 0;

enum {
    SHADER_COLOR,
    SHADER_TEXTURE,
    SHADER_TEXCOORDS,
    NUM_SHADERS
};

typedef struct {
    GLhandleARB program;
    GLhandleARB vert_shader;
    GLhandleARB frag_shader;
    const char *vert_source;
    const char *frag_source;
} ShaderData;

static ShaderData shaders[NUM_SHADERS] = {

    /* SHADER_COLOR */
    { 0, 0, 0,
        /* vertex shader */
"varying vec4 v_color;\n"
"\n"
"void main()\n"
"{\n"
"    gl_Position = gl_ModelViewProjectionMatrix * gl_Vertex;\n"
"    v_color = gl_Color;\n"
"}",
        /* fragment shader */
"varying vec4 v_color;\n"
"\n"
"void main()\n"
"{\n"
"    gl_FragColor = v_color;\n"
"}"
    },

    /* SHADER_TEXTURE */
    { 0, 0, 0,
        /* vertex shader */
"varying vec4 v_color;\n"
"varying vec2 v_texCoord;\n"
"\n"
"void main()\n"
"{\n"
"    gl_Position = gl_ModelViewProjectionMatrix * gl_Vertex;\n"
"    v_color = gl_Color;\n"
"    v_texCoord = vec2(gl_MultiTexCoord0);\n"
"}",
        /* fragment shader */
"varying vec4 v_color;\n"
"varying vec2 v_texCoord;\n"
"uniform sampler2D tex0;\n"
"\n"
"void main()\n"
"{\n"
"    gl_FragColor = texture2D(tex0, v_texCoord) * v_color;\n"
"}"
    },

    /* SHADER_TEXCOORDS */
    { 0, 0, 0,
        /* vertex shader */
"varying vec2 v_texCoord;\n"
"\n"
"void main()\n"
"{\n"
"    gl_Position = gl_ModelViewProjectionMatrix * gl_Vertex;\n"
"    v_texCoord = vec2(gl_MultiTexCoord0);\n"
"}",
        /* fragment shader */
"varying vec2 v_texCoord;\n"
"\n"
"void main()\n"
"{\n"
"    vec4 color;\n"
"    vec2 delta;\n"
"    float dist;\n"
"\n"
"    delta = vec2(0.5, 0.5) - v_texCoord;\n"
"    dist = dot(delta, delta);\n"
"\n"
"    color.r = v_texCoord.x;\n"
"    color.g = v_texCoord.x * v_texCoord.y;\n"
"    color.b = v_texCoord.y;\n"
"    color.a = 1.0 - (dist * 4.0);\n"
"    gl_FragColor = color;\n"
"}"
    },
};

static PFNGLATTACHOBJECTARBPROC glAttachObjectARB;
static PFNGLCOMPILESHADERARBPROC glCompileShaderARB;
static PFNGLCREATEPROGRAMOBJECTARBPROC glCreateProgramObjectARB;
static PFNGLCREATESHADEROBJECTARBPROC glCreateShaderObjectARB;
static PFNGLDELETEOBJECTARBPROC glDeleteObjectARB;
static PFNGLGETINFOLOGARBPROC glGetInfoLogARB;
static PFNGLGETOBJECTPARAMETERIVARBPROC glGetObjectParameterivARB;
static PFNGLGETUNIFORMLOCATIONARBPROC glGetUniformLocationARB;
static PFNGLLINKPROGRAMARBPROC glLinkProgramARB;
static PFNGLSHADERSOURCEARBPROC glShaderSourceARB;
static PFNGLUNIFORM1IARBPROC glUniform1iARB;
static PFNGLUSEPROGRAMOBJECTARBPROC glUseProgramObjectARB;

static SDL_bool CompileShader(GLhandleARB shader, const char *source)
{
    GLint status;

    glShaderSourceARB(shader, 1, &source, NULL);
    glCompileShaderARB(shader);
    glGetObjectParameterivARB(shader, GL_OBJECT_COMPILE_STATUS_ARB, &status);
    if (status == 0) {
        GLint length;
        char *info;

        glGetObjectParameterivARB(shader, GL_OBJECT_INFO_LOG_LENGTH_ARB, &length);
        info = SDL_stack_alloc(char, length+1);
        glGetInfoLogARB(shader, length, NULL, info);
        SDL_LogError(SDL_LOG_CATEGORY_APPLICATION, "Failed to compile shader:\n%s\n%s", source, info);
        SDL_stack_free(info);

        return SDL_FALSE;
    } else {
        return SDL_TRUE;
    }
}

static SDL_bool CompileShaderProgram(ShaderData *data)
{
    const int num_tmus_bound = 4;
    int i;
    GLint location;

    glGetError();

    /* Create one program object to rule them all */
    data->program = glCreateProgramObjectARB();

    /* Create the vertex shader */
    data->vert_shader = glCreateShaderObjectARB(GL_VERTEX_SHADER_ARB);
    if (!CompileShader(data->vert_shader, data->vert_source)) {
        return SDL_FALSE;
    }

    /* Create the fragment shader */
    data->frag_shader = glCreateShaderObjectARB(GL_FRAGMENT_SHADER_ARB);
    if (!CompileShader(data->frag_shader, data->frag_source)) {
        return SDL_FALSE;
    }

    /* ... and in the darkness bind them */
    glAttachObjectARB(data->program, data->vert_shader);
    glAttachObjectARB(data->program, data->frag_shader);
    glLinkProgramARB(data->program);

    /* Set up some uniform variables */
    glUseProgramObjectARB(data->program);
    for (i = 0; i < num_tmus_bound; ++i) {
        char tex_name[5];
        SDL_snprintf(tex_name, SDL_arraysize(tex_name), "tex%d", i);
        location = glGetUniformLocationARB(data->program, tex_name);
        if (location >= 0) {
            glUniform1iARB(location, i);
        }
    }
    glUseProgramObjectARB(0);

    return (glGetError() == GL_NO_ERROR) ? SDL_TRUE : SDL_FALSE;
}

static void DestroyShaderProgram(ShaderData *data)
{
    if (shaders_supported) {
        glDeleteObjectARB(data->vert_shader);
        glDeleteObjectARB(data->frag_shader);
        glDeleteObjectARB(data->program);
    }
}

static SDL_bool InitShaders()
{
    int i;

    /* Check for shader support */
    shaders_supported = SDL_FALSE;
    if (SDL_GL_ExtensionSupported("GL_ARB_shader_objects") &&
        SDL_GL_ExtensionSupported("GL_ARB_shading_language_100") &&
        SDL_GL_ExtensionSupported("GL_ARB_vertex_shader") &&
        SDL_GL_ExtensionSupported("GL_ARB_fragment_shader")) {
        glAttachObjectARB = (PFNGLATTACHOBJECTARBPROC) SDL_GL_GetProcAddress("glAttachObjectARB");
        glCompileShaderARB = (PFNGLCOMPILESHADERARBPROC) SDL_GL_GetProcAddress("glCompileShaderARB");
        glCreateProgramObjectARB = (PFNGLCREATEPROGRAMOBJECTARBPROC) SDL_GL_GetProcAddress("glCreateProgramObjectARB");
        glCreateShaderObjectARB = (PFNGLCREATESHADEROBJECTARBPROC) SDL_GL_GetProcAddress("glCreateShaderObjectARB");
        glDeleteObjectARB = (PFNGLDELETEOBJECTARBPROC) SDL_GL_GetProcAddress("glDeleteObjectARB");
        glGetInfoLogARB = (PFNGLGETINFOLOGARBPROC) SDL_GL_GetProcAddress("glGetInfoLogARB");
        glGetObjectParameterivARB = (PFNGLGETOBJECTPARAMETERIVARBPROC) SDL_GL_GetProcAddress("glGetObjectParameterivARB");
        glGetUniformLocationARB = (PFNGLGETUNIFORMLOCATIONARBPROC) SDL_GL_GetProcAddress("glGetUniformLocationARB");
        glLinkProgramARB = (PFNGLLINKPROGRAMARBPROC) SDL_GL_GetProcAddress("glLinkProgramARB");
        glShaderSourceARB = (PFNGLSHADERSOURCEARBPROC) SDL_GL_GetProcAddress("glShaderSourceARB");
        glUniform1iARB = (PFNGLUNIFORM1IARBPROC) SDL_GL_GetProcAddress("glUniform1iARB");
        glUseProgramObjectARB = (PFNGLUSEPROGRAMOBJECTARBPROC) SDL_GL_GetProcAddress("glUseProgramObjectARB");
        if (glAttachObjectARB &&
            glCompileShaderARB &&
            glCreateProgramObjectARB &&
            glCreateShaderObjectARB &&
            glDeleteObjectARB &&
            glGetInfoLogARB &&
            glGetObjectParameterivARB &&
            glGetUniformLocationARB &&
            glLinkProgramARB &&
            glShaderSourceARB &&
            glUniform1iARB &&
            glUseProgramObjectARB) {
            shaders_supported = SDL_TRUE;
        }
    }

    if (!shaders_supported) {
        return SDL_FALSE;
    }

    /* Compile all the shaders */
    for (i = 0; i < NUM_SHADERS; ++i) {
        if (!CompileShaderProgram(&shaders[i])) {
            SDL_LogError(SDL_LOG_CATEGORY_APPLICATION, "Unable to compile shader!\n");
            return SDL_FALSE;
        }
    }

    /* We're done! */
    return SDL_TRUE;
}

static void QuitShaders()
{
    int i;

    for (i = 0; i < NUM_SHADERS; ++i) {
        DestroyShaderProgram(&shaders[i]);
    }
}

/* Quick utility function for texture creation */
static int
power_of_two(int input)
{
    int value = 1;

    while (value < input) {
        value <<= 1;
    }
    return value;
}

GLuint
SDL_GL_LoadTexture(SDL_Surface * surface, GLfloat * texcoord)
{
    GLuint texture;
    int w, h;
    SDL_Surface *image;
    SDL_Rect area;
    SDL_BlendMode saved_mode;

    /* Use the surface width and height expanded to powers of 2 */
    w = power_of_two(surface->w);
    h = power_of_two(surface->h);
    texcoord[0] = 0.0f;         /* Min X */
    texcoord[1] = 0.0f;         /* Min Y */
    texcoord[2] = (GLfloat) surface->w / w;     /* Max X */
    texcoord[3] = (GLfloat) surface->h / h;     /* Max Y */

    image = SDL_CreateRGBSurface(SDL_SWSURFACE, w, h, 32,
#if SDL_BYTEORDER == SDL_LIL_ENDIAN     /* OpenGL RGBA masks */
                                 0x000000FF,
                                 0x0000FF00, 0x00FF0000, 0xFF000000
#else
                                 0xFF000000,
                                 0x00FF0000, 0x0000FF00, 0x000000FF
#endif
        );
    if (image == NULL) {
        return 0;
    }

    /* Save the alpha blending attributes */
    SDL_GetSurfaceBlendMode(surface, &saved_mode);
    SDL_SetSurfaceBlendMode(surface, SDL_BLENDMODE_NONE);

    /* Copy the surface into the GL texture image */
    area.x = 0;
    area.y = 0;
    area.w = surface->w;
    area.h = surface->h;
    SDL_BlitSurface(surface, &area, image, &area);

    /* Restore the alpha blending attributes */
    SDL_SetSurfaceBlendMode(surface, saved_mode);

    /* Create an OpenGL texture for the image */
    glGenTextures(1, &texture);
    glBindTexture(GL_TEXTURE_2D, texture);
    glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_MAG_FILTER, GL_NEAREST);
    glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_MIN_FILTER, GL_NEAREST);
    glTexImage2D(GL_TEXTURE_2D,
                 0,
                 GL_RGBA, w, h, 0, GL_RGBA, GL_UNSIGNED_BYTE, image->pixels);
    SDL_FreeSurface(image);     /* No longer needed */

    return texture;
}

/* A general OpenGL initialization function.    Sets all of the initial parameters. */
void InitGL(int Width, int Height)                    /* We call this right after our OpenGL window is created. */
{
    GLdouble aspect;

    glViewport(0, 0, Width, Height);
    glClearColor(0.0f, 0.0f, 0.0f, 0.0f);        /* This Will Clear The Background Color To Black */
    glClearDepth(1.0);                /* Enables Clearing Of The Depth Buffer */
    glDepthFunc(GL_LESS);                /* The Type Of Depth Test To Do */
    glEnable(GL_DEPTH_TEST);            /* Enables Depth Testing */
    glShadeModel(GL_SMOOTH);            /* Enables Smooth Color Shading */

    glMatrixMode(GL_PROJECTION);
    glLoadIdentity();                /* Reset The Projection Matrix */

    aspect = (GLdouble)Width / Height;
    glOrtho(-3.0, 3.0, -3.0 / aspect, 3.0 / aspect, 0.0, 1.0);

    glMatrixMode(GL_MODELVIEW);
}

/* The main drawing function. */
void DrawGLScene(SDL_Window *window, GLuint texture, GLfloat * texcoord)
{
    /* Texture coordinate lookup, to make it simple */
    enum {
        MINX,
        MINY,
        MAXX,
        MAXY
    };

    glClear(GL_COLOR_BUFFER_BIT | GL_DEPTH_BUFFER_BIT);        /* Clear The Screen And The Depth Buffer */
    glLoadIdentity();                /* Reset The View */

    glTranslatef(-1.5f,0.0f,0.0f);        /* Move Left 1.5 Units */

    /* draw a triangle (in smooth coloring mode) */
    glBegin(GL_POLYGON);                /* start drawing a polygon */
    glColor3f(1.0f,0.0f,0.0f);            /* Set The Color To Red */
    glVertex3f( 0.0f, 1.0f, 0.0f);        /* Top */
    glColor3f(0.0f,1.0f,0.0f);            /* Set The Color To Green */
    glVertex3f( 1.0f,-1.0f, 0.0f);        /* Bottom Right */
    glColor3f(0.0f,0.0f,1.0f);            /* Set The Color To Blue */
    glVertex3f(-1.0f,-1.0f, 0.0f);        /* Bottom Left */
    glEnd();                    /* we're done with the polygon (smooth color interpolation) */

    glTranslatef(3.0f,0.0f,0.0f);         /* Move Right 3 Units */

    /* Enable blending */
    glTexEnvf(GL_TEXTURE_ENV, GL_TEXTURE_ENV_MODE, GL_MODULATE);
    glEnable(GL_BLEND);
    glBlendFunc(GL_SRC_ALPHA, GL_ONE_MINUS_SRC_ALPHA);

    /* draw a textured square (quadrilateral) */
    glEnable(GL_TEXTURE_2D);
    glBindTexture(GL_TEXTURE_2D, texture);
    glColor3f(1.0f,1.0f,1.0f);
    if (shaders_supported) {
        glUseProgramObjectARB(shaders[current_shader].program);
    }

    glBegin(GL_QUADS);                /* start drawing a polygon (4 sided) */
    glTexCoord2f(texcoord[MINX], texcoord[MINY]);
    glVertex3f(-1.0f, 1.0f, 0.0f);        /* Top Left */
    glTexCoord2f(texcoord[MAXX], texcoord[MINY]);
    glVertex3f( 1.0f, 1.0f, 0.0f);        /* Top Right */
    glTexCoord2f(texcoord[MAXX], texcoord[MAXY]);
    glVertex3f( 1.0f,-1.0f, 0.0f);        /* Bottom Right */
    glTexCoord2f(texcoord[MINX], texcoord[MAXY]);
    glVertex3f(-1.0f,-1.0f, 0.0f);        /* Bottom Left */
    glEnd();                    /* done with the polygon */

    if (shaders_supported) {
        glUseProgramObjectARB(0);
    }
    glDisable(GL_TEXTURE_2D);

    /* swap buffers to display, since we're double buffered. */
    SDL_GL_SwapWindow(window);
}

int main(int argc, char **argv)
{
    int done;
    SDL_Window *window;
    SDL_Surface *surface;
    GLuint texture;
    GLfloat texcoords[4];

    /* Enable standard application logging */
    SDL_LogSetPriority(SDL_LOG_CATEGORY_APPLICATION, SDL_LOG_PRIORITY_INFO);

    /* Initialize SDL for video output */
    if ( SDL_Init(SDL_INIT_VIDEO) < 0 ) {
        SDL_LogError(SDL_LOG_CATEGORY_APPLICATION, "Unable to initialize SDL: %s\n", SDL_GetError());
        exit(1);
    }

    /* Create a 640x480 OpenGL screen */
    window = SDL_CreateWindow( "Shader Demo", SDL_WINDOWPOS_CENTERED, SDL_WINDOWPOS_CENTERED, 640, 480, SDL_WINDOW_OPENGL );
    if ( !window ) {
        SDL_LogError(SDL_LOG_CATEGORY_APPLICATION, "Unable to create OpenGL window: %s\n", SDL_GetError());
        SDL_Quit();
        exit(2);
    }

    if ( !SDL_GL_CreateContext(window)) {
        SDL_LogError(SDL_LOG_CATEGORY_APPLICATION, "Unable to create OpenGL context: %s\n", SDL_GetError());
        SDL_Quit();
        exit(2);
    }

    surface = SDL_LoadBMP("icon.bmp");
    if ( ! surface ) {
        SDL_LogError(SDL_LOG_CATEGORY_APPLICATION, "Unable to load icon.bmp: %s\n", SDL_GetError());
        SDL_Quit();
        exit(3);
    }
    texture = SDL_GL_LoadTexture(surface, texcoords);
    SDL_FreeSurface(surface);

    /* Loop, drawing and checking events */
    InitGL(640, 480);
    if (InitShaders()) {
        SDL_Log("Shaders supported, press SPACE to cycle them.\n");
    } else {
        SDL_LogError(SDL_LOG_CATEGORY_APPLICATION, "Shaders not supported!\n");
    }
    done = 0;
    while ( ! done ) {
        DrawGLScene(window, texture, texcoords);

        /* This could go in a separate function */
        { SDL_Event event;
            while ( SDL_PollEvent(&event) ) {
                if ( event.type == SDL_QUIT ) {
                    done = 1;
                }
                if ( event.type == SDL_KEYDOWN ) {
                    if ( event.key.keysym.sym == SDLK_SPACE ) {
                        current_shader = (current_shader + 1) % NUM_SHADERS;
                    }
                    if ( event.key.keysym.sym == SDLK_ESCAPE ) {
                        done = 1;
                    }
                }
            }
        }
    }
    QuitShaders();
    SDL_Quit();
    return 1;
}

#else /* HAVE_OPENGL */

int
main(int argc, char *argv[])
{
    SDL_LogError(SDL_LOG_CATEGORY_APPLICATION, "No OpenGL support on this system\n");
    return 1;
}

#endif /* HAVE_OPENGL */

/* vi: set ts=4 sw=4 expandtab: */


text:
SpeedCouch.com
In Good Hands?
by Sally Baker
It appears that Brian France doesn't know the difference between racing (a sport), and "entertainment". Granted, he's a marketing man, and by his own admission, spends little time in the garage and pits at the tracks. His background tends to show up in catchy, Madison Avenue phrases like "Realignment 2004 and Beyond", ala Buzz Lightyear from Toy Story (entertainment), and "Chase for the Championship". That's his new, Not-A-Playoff scenario that locks all but 10 teams out of the possibility of a finish in the top 10 in points, no matter how well they run in the final 10 races.
Brian France was the force behind the new $2.4 billion television contract that claims to make Nascar races available on network TV. Mostly. Many fans are still frustrated that Fox moves some races to their cable affiliate, FX, and NBC moves some to their cable partner, TNT; channels that are not available to them. The new contract also appears to have given the networks a large voting bloc on where, when, and how fans will view races. (See "Chase for the Championship" above.) That's not necessarily a bad thing. We can now see every race in all three top series televised, qualifying, practice, happy hour, and lots of extra Nascar based programming.
Someone in this mix doesn't seem to think that racing is exciting enough unless they jazz it up with rock music, computer graphics, and lots of entertainment celebrities. The only real problem here is whether the racing, the only reason there is a "show", is going to be lost in the shuffle.
Change is inevitable, but shouldn't come at the cost of good racing. Whatever decisions are made must not be made for "entertainment" value, but better racing. Many fans objections to races being taken away from tracks like Rockingham might not be so strenuous if the new dates were awarded to tracks that provided the same quality of racing, rather than to increase advertising rates, number of seats sold, or expand the demographics. The fact that racing entertains people does not make it "entertainment", per se. Someone needs to remember that it is a sport, and not turn it into a made-for-TV "entertainment". I personally don't believe that any activity where people routinely risk their lives should be sold as entertainment. I find that idea callous and demeaning. Movies and football are entertainment. Racing is…well, racing.
Brian France's father and grandfather, while guiding Nascar to its present popularity, loved racing first. It remains to be seen if he has inherited a love for the sport, or simply a love of the bottom line.
You can send Sally email right here.
Return to the main speedcouch.com page.
Visitors since November 2, 2002

redpajama_set_name: RedPajamaCommonCrawl


text:
Home › News › Two NYPD Cops (One Muslim) Drove Suspected Bomb Away From Times Square
Two NYPD Cops (One Muslim) Drove Suspected Bomb Away From Times Square
By Discover The Truth • July 22, 2016
New York (NY) cops, one of them a Muslim from Afghanistan, drove a possible bomb away from Times Square.
The two police officers drove nearly two blocks away with the bomb on their dash, and sacrifice themselves instead of putting other peoples lives at risk. They found a place where it was uncrowded and were able to put the device on the sidewalk, until the Bomb experts came to defuse it.
"We both said our prayers," said Armani, a Muslim immigrant from Afghanistan. "We thought this was it, we're not going to make it."
New York City Police Commissioner Bill Bratton called the two Police officers "heroes of this department, heroes of this city" in a press conference.
Barton further went on to say, "They put their own lives at risk so that they could save potentially hundreds if not thousands of people in Times Square."
CNN reports:
When the suspicious device landed in his New York police car, Sgt. Hameed Armani thought he was about to die.
The object made a clicking noise. Lights from the device started flashing.
"Boss, this is a bomb," his partner, Officer Peter Cybulski, said from the passenger seat.
The horror couldn't have come at a worse place. The officers' patrol car was parked in Times Square, which was packed with tourists and locals Wednesday night.
Armani, in the driver's seat, said he was prepared to die, but refused to let civilians die, too.
"We both look at each other. I was like, 'We're going to go, but I'm not going to have anybody else go with us,'" the sergeant said.
So, instead of jumping out of the car to save their own lives, the officers drove 1½ blocks away to make sure nothing happened to the crowd of civilians.
Don't forget to follow Discover The Truth on Facebook and Twitter. PLEASE help spread the word by sharing our articles on your favourite social networks.
Tagged as: HAMEED ARMANI, Hero, Islam, Islamophobia, Muslim, New York, NYPD, Terrorism
« VIDEO: The Muslim View Of The Crucifixion – (Part 1)
Prophet Muhammed On The Senseless Killings In Munich »


We can all agree that technology has led to transform many things. Every day, there are new and better ways that we can use to run our business. Today, any business that isn't using the full potential of technology to its advantage then it is losing out on a huge opportunity. A business can now automate and handle certain tasks easily.
Cloud technology is one of the areas that has changed the entire business sector. When you use the cloud technology, you will be able to save and get access to the information that you require remotely. It is common for a business project to be handled by many people at the same time from different locations. This has improved the productivity of the business and has increased the business output.
One of the new and exciting technologies that has been invented is the hosted desktop. If you want to know how this system works, then you must be familiar with the technology. If you have outdated business IT equipment, you understand that it will cost you a fortune a lot of time to upgrade the entire department. You will invest a lot of money and time to get the latest IT department which will affect your business. Smart business ensure that they use the services of hosted desktop to save money.
It is the work of the hosted desktop company to help you migrate your information into a secure online platform. If you need to access this information, all you have to do is log in to your hosted desktop account.
Those who have used this system have preferred it due to the security that it provides. The best engineers will assist you to move this information which means you will not lose any information while doing this. The platforms are built to address security which means your information will not be compromised.
Today, we have many companies that provide these services. Always ensure that the companies that you choose are among the best. By now, there is no way you can recruit a poor company to handle your business information. Choosing a company like Yorkshire Cloud is the best option for you.
Yorkshire Cloud is known for offering the best-hosted desktop services in the industry. It is among the best companies in this market and has been operating for years. Yorkshire Cloud will help you move all your information to a secure online portal. Their pocket friendly costs will help you save a fortune.
When dealing with a business, you understand the importance of the business information. When you are moving your business information, then choose the best company to help you.


I spent 4 nights in Arambol (Harmal) beach, which is the northernmost main beach in Goa, keeping in mind that Goa is about 100km long from north to south, as the crow flies. Plus, if you want to leave by long-distance train or plane, you have to back to/near Margao/Madgaon anyways (originally I wanted to go to northern beaches because I though it would be a little more "on my way" to Mumbai, but no).
Each beach in Goa has its own character; the two I went to were very different, but neither one was picture postcard perfect (supposedly Agonda beach in south Goa comes closest, while still being quiet).
On Monday I moved from Benaulim beach to Arambol beach, one of the northern-most beaches in Goa (which is a comparatively small state for India).
The move required an auto-rickshaw, 2 express buses and a local bus (3 ¼ hours total), plus some time in one of the towns to hit an ATM and top-off my Indian mobile.
Hanging out on the beach with new friends, listening to live music in the evenings, etc. Non-busking western saxophonist on the beach for sunset last night!
Much busier here than in Benaulim, way more stores and restos and Internet cafes along the road leading to the beach (the village of Arambol is inland over 1km).
I've had surprising trouble getting on the Internet here – either the connection is down, or hotmail has been down, or power outages, or simply closed (they open late, close early).
Update a few hours later: I'm trying again, but the power was out, though I did get to use one of the computers on their battery back up, but the Internet is painfully slow so more highlights from recent places will have to wait 2-3 more days until Mumbai.
I decided to stay an extra night here, so my next move will be tomorrow back to Madgaon (Margao) to catch an 11-hour night train to Mumbai, where I will be for 2 days.


text:
O músculo transverso do abdome é um músculo profundo localizado abaixo do reto do abdome e dos oblíquos externos e internos na região do abdome que se assemelha com uma cinta ou corselete, sendo assim, uma cinta fisiológica do corpo. Tendo como origem, a face interna das seis últimas cartilagens costais, aponeurose toraco-lombar e crista  ilíaca, e como inserção a bainha do reto abdominal.
Sua ação muscular acontece em situações como no vômito, defecação, micção, no parto e na expiração. A melhor ativação desse músculo pode acontecer com exercícios de CORE, fazendo com que esse músculo desempenhe um papel fundamental na coluna, estabilizando-a e dando suporte para toda a biomecânica da postura humana, prevenindo a aparição de lesões na coluna como a conhecida hérnia de disco.

Músculos do tronco

redpajama_set_name: RedPajamaWikipedia


Just another drunken, backward baseball-cap wearing twentysomething POS.
You know, the type who everybody defends when they do everything else people at soccer games do up to but not including hurling potentially injurious projectiles at people.
I couldn't agree more on the banning from other sporting events/stadiums. I was actually pondering that idea today if the League had any police if you are banned from one venue if that causes you to be banned from them all.
Hoping that the team doesn't change its bobblehead policy for the Collin game. I believe that after witnessing that debacle and the subsequent consequences that our fanbase can show itself to be responsible enough to get a promo toy and not peg a player. If another incident happens, then cool gifts will sadly be a relic of the past.
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While Youth Assembly 2016 has had to be cancelled due to low numbers, Mennonite Church Saskatchewan is forging ahead with alternate plans with a new lower costs of $400 to host youth for a canoe trip and alternative assembly experience – to which they are still inviting guests from across Canada. Learn more, email the good folks at Mennonite Church Saskatchewan, or call 306-249-4844. Below is a letter of invitation from the #covenantcrew2.
We are excited to invite you to #CovenantCrew 2.0! While it is disappointing that the Youth Assembly had to be cancelled, we still feel passionately that you, the youth of the Church, are really important. We want to welcome you to participate in the life of your Canada-wide church by joining us for a new MC Sask run Youth Assembly, July 6-10th.
We believe that it is super important that you have opportunities to meet new friends from our area churches, experience God, and learn more about what it means to be God's Covenant people. We think the best way to do this is by heading North to Churchill River Canoe Outfitters for an unplugged worship experience. We will head out on to the water, dream about the future of the Church, pray, laugh and soak up the sunshine. Part of being Church is knowing our brothers and sisters in Christ, and this is a great way to do that!
We believe that the church is changing and it is important to celebrate the opportunities we have with change. You are part of a great group of youth that care about what happens in the church and we want to make sure that your voice is heard. By joining the adult activities on Saturday and Sunday, you will get a chance to participate in discussions. By being physically present, we show that we care about the decisions that are made. Gathering with people from different age groups is a good chance to build relationships with the broader Mennonite community so that we won't get stuck in a youth bubble! There is also going to be a time for you to serve others in Saskatoon. Faith requires us to share the love of Christ, so get ready to roll up your sleeves to serve!
God can do great stuff with things our society tells us are insignificant. Think of the mustard seed: tiny at first but grows into a huge tree! God transforms something small and ordinary into something amazing. It is our hope and prayer that you would not feel discouraged by small numbers but instead have faith and hope that God is working in us and through us. We see your potential as the youth of Mennonite Church Canada and are so excited to spend a week of our summer with you!
UPDATE June 6, 2016: With changes to the schedule the cost has been lowered to $400! This price includes all lodging, food and transportation.
See the new itinerary here.
You will need to register again – Sorry! There is online registration available via this new event web site.
Earlybird Deadline Extended to: May 29 - WHAT?! Why Early Bird?
What really is a Covenant?
And what, and who, is the Covenant Crew??
At Assembly 2016 we have a chance to explore these questions, and be part of finding the answers!
Throughout the Bible, and even into the 21st century, God has continually been inviting us to board the ship and be part of the everlasting covenant.
This gift is like no other, and it's something to get excited about! #thecovenantcrew is an invitation to get on board and be part of the journey, and it's also going to be a lot of fun!
Get on board and join us in Saskatoon for Assembly 2016!


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text:
Strong and Free: Three New Albums from Canadian Singer-Songwriters
Singer-Songwriter Jon Brooks (Photo by Kevin Kelly)
It's not easy being a singer-songwriter these days. Especially in Canada, where there are just so many of them. How do you separate yourself from the crowd? Is talent enough to make a difference? Does the label you're on count? If I had the answer to these questions, I'd be a successful singer-songwriter myself, instead of being content with playing my tunes to my wife and sons in the basement, and writing about the rest of the gang.
On Saturday night, I attended one of Michael Wrycraft's tribute shows at Hugh's Room in Toronto. This one celebrated the songs of Tom Waits. It was in fact Wrycraft's seventh Tom Waits tribute! Performers like Scott B & Gord Cumming, Melwood Cutlery, Annabelle Chvostek and Chris Cuddy with Don Rooke took up the challenge of forgoing their own songs for those of Mr. Waits. It is always a surprise to hear the lovely and gentle melodies that exist below the rasp of Waits' own voice, and Saturday night was no exception. Beginning with the amazing powerhouse who is Ariana Gillis covering "Bad As Me" there was no turning back for anyone. The York University orchestral pop ensemble Copycat proved their name by simulating Waitsian vocalizing over some extraordinary instrumentation, and Jon Brooks closed the show by prowling around the stage like a wolf playing his Taylor and howling at the moon. It was a wonderful night.
It also demonstrated how hard it must be to be a singer-songwriter these days. After all, Annabelle Chvostek has just released one of the best albums of the year, and here she was singing Tom Waits songs! I've had Jon Brooks' CD Delicate Cages (Borealis Records) on my desk for a few months wondering what to say about it.
I couldn't initially get a handle on it but after his performance at Hugh's Room, I put Delicate Cages back into the player to listen again. It begins with gently picked guitar which introduces Brooks' husky voice:
I saw the earth open up under a satisfied sky
I saw the homes not flooded shrivel up in fire
I saw them loot all the corpses and rape all the wives
I saw the cops shoot themselves, the law fell on its knees…
Why didn't God help, why didn't He even try?
Because, my dear, because we're free…
These are big issues. Political, theological, it's the stuff that songwriters used to write about. It's the stuff of Woody Guthrie and early Dylan and Brooks isn't afraid to tackle them. He sings about "Fort McMurray" and "Mercy" and a "Cage Fighter" from Sarajevo or a "Son of Hamas". He sings in a raw voice accompanied by minimal guitar, sometimes joined by upright bass from Jon Phillips or a touch of violin (from John Showman), and on one track Lynn Miles sings harmony. It's all Jon Brooks though, singer, and songwriter, with a handle that finally became clear to me on my third listen. He cares about what's going on, he's serious when he states "Until love and compassion enters all levels of politics, the folk singer remains fully employed." There's going to be work for people like Brooks for the foreseeable future!
Barney Bentall performing in Mattawa, Ontario in 2010 (Photo by John Minkowskyj)
Barney Bentall is another Canadian songwriter who hasn't been heard from for 4 years or so. His new CD is called Flesh and Bone (True North Records) and was recorded at The Warehouse Studio in Vancouver, British Columbia. It contains eleven self-written songs played by a tight band consisting of Rob Becker on bass, Geoff Hicks on drums, Rick Hopkins plays keyboards and Eric Reed adds mandolin, banjo and electric guitar. Bentall plays acoustic guitar, harmonica and sings. There are a few guests like Belle Starr's Kendel Carson, whose fiddle adds texture to "St. Valentine's Day" and several other titles, and Adrian Dolan who adds a variety of instruments throughout the CD. Bentall writes his own liner notes which describe the album:
"Hello, I'm sitting in front of an outdoor fire up at the ranch. It's the end of a late August day and she was a beauty. The Milky Way is jumping off the pages of the heavens and our dog Haddie is at my feet. It's one of those times where all seems right with the world. This ranch has been a tempestuous Burton/Tayloresque affair at times and it's fitting to write this note here as a good number of the songs have their roots in this land…"
He goes on to describe the tunes further, but the best way to understand them is to listen to them. He only provides lyrics for the first two tracks, "The Outskirts of Buffalo" and "The Ballad of Johnny Hooke". For the rest, you need to pay attention, and let the words work through to your subconscious the way records did back in the old days before it became standard procedure to provide a lyric sheet. It pays to remember that Bentall named one of his early bands after a Lou Reed album, Legendary Hearts. Not that he sounds like Lou at all – he's much more musical than Reed – but his lyrical concerns are deep, as one might suspect. The sound is folky, not unrelated to the work Jon Brooks does, although Bentall's voice is lighter and more melodious. Barney Bentall fills his sound, putting out a little more flesh on the bone.
Don Bray at the Barrie Folk Festival in 2011
Then there's Barrie's Don Bray. He's an ex-fireman who finds it easier to go into a burning building than stand in front of an audience with his guitar. I am Myself was recorded live off the floor at Canterbury Studio in Toronto, with some additional tracks added at Meek Monk Studio in Orillia. The songs are fairly standard singer-songwriter material, not dissimilar from the songs of any number of troubadours, but set apart by the marvellous dexterity of Bray as a guitarist. The inner sleeve shows a portrait of the five axes Bray uses and they take a beautiful picture. They also sound fine, especially in Bray's hands.
There are plenty of players on board for this album, Adam Campbell (drums), Andrew Collins (mandolin), Ray Dillard (percussion), Pat McPhail (double bass/electric bass), Darin Schott (violin), Alissa Wright (cello & vocals) and Burke Carroll on another bunch of guitars. It's the kind of album that makes a guitar fan drool; there is more than your money's worth of dandy picking. From time to time Bray's voice reminded me of Bert Jansch but, like a Jansch album, it's really the guitar work that matters here. The songs grow on you once you listen to the exquisitely recorded strings. I'm going to have to pay more attention to Don Bray in the future.
It's not easy being a singer-songwriter these days. Not only are there so many of them around Canada (and the rest of the world) there's also the generations of folkies who have gone before. And we compare the new ones to the old ones even if it isn't fair. These three gentlemen take a run at success by hanging their lives, loves, politics and talent out on the line for all to see and hear.
– David Kidney has reviewed for Green Man Review and Sleeping Hedgehog. He published the Rylander Quarterly (a Ry Cooder-based newsletter) for 8 years before turning it into a blog, at http://rylander-rylander.blogspot.com. He works at McMaster University as Director of Learning Space Development and lives in Dundas, Ontario with his wife.
Labels: David Kidney, Music
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text:
Environment blog
China ready to quell disquiet over new environmental policies
Prime minister outlines progressive green policies, but increase in security spending appears to be anticipation of dissent
Jonathan Watts
@jonathanwatts
Mon 7 Mar 2011 09.05 EST First published on Mon 7 Mar 2011 09.05 EST
Chinese prime minister Wen Jiabao. Photograph: Liu Jin/AFP/Getty Images
China has announced plans to tighten environmental controls and ramp up internal security spending. Though no link was made between these two developments, the government may be anticipating one.
At first sight, the issues of environment and security could not be further apart, at least in terms of their very different contributions to China's international image. This was evident this weekend, when the government of prime minister Wen Jiabao drew plaudits from green groups and anger from human rights organisations.
The praise was for the new five-year economic plan, which contains several progressive environmental policies (listed below) aimed at slowing emissions growth, cutting pollution and switching the focus of development from GDP quantity to sustainable quality.
The criticism was for a sharp rise in public security spending, which for the first time overtook the military budget.
Unease about the possible rise of a police state was further heightened by official threats and harassment of foreign journalists attempting to cover "jasmine" protests in Beijing and Shanghai on Sunday.
Apart from police and reporters, almost nobody has turned up at these demonstrations, but the government is clearly uneasy. The immediate cause of concern for China's unelected leaders is the spreading wave of pro-democracy unrest in the Middle East.
Longer term, however, there are deeper causes of tension related to environmental stress, notably the rising prices of food, oil and other commodities.
With its new five-year plan, China is trying to avoid an ecological crash by gradually easing speed and changing direction.
But this could pose a challenge to social stability. If the government is serious about slowing economic growth, trimming emissions, conserving scarce resources and improving air and water quality, there will be a social and political cost to pay. Unemployment is expected to creep up, commodity prices are likely to rise and polluters and power companies will not accept restrictions without a fight.
If China had a democracy, the struggle could be conducted on the hustings and in the press and the courts. Without those means for conflict resolution, the government may well need more police to impose its goals.
Full details are yet to be published of the key environmental goals for the next five years, but in his opening address to the National People's Congress on Saturday, Wen Jiabao sketched out an outline. It included:
• Lowering annual GDP growth to 7 percent. This is likely to be treated as a floor rather than a ceiling, but it is a recognition that the double-digit expansion of the past five years is unsustainable.
• A new carbon intensity goal will try to slow emissions growth relative to GDP by 17 percent, which should be just enough to ensure China meets its Copenhagen commitments, though WWF and Greenpeace called for more ambitious targets.
• The energy intensity target – the level of emissions allowed per unit of GDP – has dropped to 16 percent, which reflects the struggle China had to meet its previous target of about 20 percent, even with rolling blackouts in some areas.
• Renewables should account for 11.4 per cent of the country's energy supply, up from 8.3 percent. Though green sounding, this will mostly be achieved through an expansion of hydropower and nuclear plants.
• Forest cover should increase to 21.7 percent of the nation's landmass, up from 20.4 percent. The key, here, however will be in the quality of the forests. If they are just monocultures, there will be little support for biodiversity.
• Reduce major pollutants by 8 to 10 per cent. Details to be revealed, but there is likely to be an expansion of the pollutant targets to include nitrogen oxide, ammonia and, possibly, PM2.5 small particulate matter. If so, this would be a a progressive step.
• New policy tools to reduce carbon and other pollution, through cap-and-trade systems, taxes and fossil fuel consumption limits. These mechanisms are likely to be launched initially as pilot projects, on a regional or sectoral basis.
For more detailed analysis of the environmental aspect of the five-year plan, see blogs and reports by Barbara Fennimore of the National Resources Defence Council and Wu Changhua of the Climate Group.


The rocket dubbed BFR has not been built so any flight is several years away.
The announcement was made at the company's headquarters in Hawthorne, California.
Maezawa hasn't selected which artists will join him on the four to five-day journey, which will send his craft around the Moon and back to Earth.
Elon Musk looked enthusiastic and excited at the event.
SpaceX announced in February 2017 that two people had signed up for a weeklong trek around the moon, which the company aimed to launch before the end of 2018.
Musk introduced Yusaku Maezawa, founder of the global custom-fit clothing company Zozo and an avid art collector, as the one who is investing in the spaceship project in order to take the trip, possibly in 2023.
An unconventional entrepreneur, Maezawa, the chief executive of Start Today Co. that runs the shopping site, has said "I dislike competing with others". The trip to the moon will be on the SpaceX rocket, called a Big Falcon Rocket (BFR) which might not be ready for at least five years.
The company considered the would-be trip an "important step toward enabling access for everyday people who dream of traveling to space".
It hasn't been revealed how much Maezawa has paid for the trip, although it is clear that the billionaire approached SpaceX with the idea first. Those missions will depend on SpaceX's proven Falcon rockets.
The billionaire has reportedly already placed a large deposit on the flight which is helping SpaceX in the development of the BFR launch platform that will actually take the passengers around the Moon.
Maezawa told the audience he plans to invite painters, musicians, photographers and filmmakers to join him on the trip around the moon - a voyage Musk said will take roughly five days.
The Syrian official news agency said at the time of the attack that it targeted the "Technical Industry Institution" in Latakia. But Putin took a more cautious tone, describing the incident as "a chain of tragic accidental circumstances".
NBC 15 spoke to employees who work at a building next door who said they saw employees running from the neighboring building. More than an hour after the shooting, he and his colleagues were huddled in place in their cafeteria, away from windows.
This is Trubisky's second season as a starter-he took over for Mike Glennon in Week 5 last year-but his first in Nagy's offense. The rushing attack also was shut down by Chicago's refurbished defense, finishing with 74 yards on 22 carries.
An entire family of new Alexa-controlled products is apparently in the wings, including an amplifier , receiver and subwoofer. As an example - earlier this year, it teamed up with the home builder Lennar to add Echo speakers in some new homes.
A two member bench, led by Minallah, suspended the jail sentences while hearing the Sharifs' appeal against their convictions. It ruled that the prisoners' sentences would be suspended and they would be allowed to go free.
US President Donald Trump walks with Polish President Andrzej Duda to the Oval Office of the White House. Poland may need more than the US' go-ahead to have a new American-led military base on its soil.
Nintendo's mini-consoles preloaded with classic games flew off shelves, and fetched a very high resale price on eBay and Amazon . So far, we don't know all the details of the library of 20 games that will come loaded on the device.
As the commentator points out, their 85-year spell as fans puts David Silva's 8-year spell at the club into context. Sane , 22, has not started a game for City this season and has played just 75 minutes in their opening fixtures.
Eden Hazard has not travelled with Chelsea to Greece where they will get their Europa League campaign underway against PAOK . Quizzed on if Hazard agreed with him, Sarri said: "If you have seen Saturday's match, then I think so".
Mourinho said his team's 3-0 humbling by Tottenham Hotspur last month had been a turning point. Marcus Rashford, Romelu Lukaku and Anthony Martial will look to cause the attacking threat.
Best Drama Actress switched from Elisabeth Moss (" The Handmaid's Tale ") to Claire Foy (" The Crown "). Awards shows in general have faced big drops in audience.


Online gambling is increasing at a staggering rate, while the history of the industry is still as new as the Internet itself. It is very popular these days, as there are literally hundreds of casino sites that offer many games and betting limits. Online gambling is an adaptation of the real thing that happens at live casinos, among the many games that are available online you should take time to try out online blackjack, this is a very interesting game and you can enjoy it without even leaving the comfort of your own home. Online gambling is becoming more and more famous nowadays, that Institutional analysis and scrutiny are being performed by exalted personalities to dig out the real reasons of it.
According to a recent Gallup poll, gambling has become more popular among students, whether they play for fun or more seriously through poker games and sports betting. Betting online is a problem, the study says, because it has the potential to be more addictive than casino gambling. Unlike land-based gambling locations, online gambling sites do not offer betting on credit and there are no nearby ATMs from which to draw cash and then immediately bet. Most of these sites focus on card games such as poker and blackjack and on traditional casino games such as roulette and slot machines, but the roots of internet gambling center on sports betting and horse racing. It's a little known fact that Nevada is only one of a handful of states that specifically prohibits both players and Internet operators from engaging in online betting.
Casinos online feature high quality software that brings the excitement of casino gambling to your own home. Casinos ranked by professional gamblers, according to bonus size, payout rate, customer support, etc… Some online casinos also offer "practice areas" where players can learn the games and play for free, but be careful, success in these free areas is sure to lead to an invitation to the real gaming areas where success might not be so easy. The top few poker sites, with little overhead costs and unlimited table capacity, are making spectacular profit that has already outpaced the world's most profitable casinos. The newer belief that 'online casinos are recession proof stems from the theory that in tough times people turn to vices, and with the added expenditures of travel, hotels, food, and entertainment those people would not turn to Vegas type casinos, but instead turn to online forms of gambling.
Online gambling is a risky business, as the player has no real idea of who is running the Web site and how to contact the company should the need arise. It's illegal in some jurisdictions and users should consult legal counsel regarding the legal status of online gambling and gaming in their jurisdiction. It's lots of fun at online casinos, using the Internet to link up with any of thousands of web sites that offer you all forms of gambling online. Online gambling is not only fun but it's a convenient way to do your gambling because you don't have to carry large sums of money to the casino to gamble you can do all your transactions through either credit card or money transfer , players usually make a deposit to the online gambling site and when ever they play they can use that deposit to make wagers or to by tokens and then cash out any payouts the same way. Consider this – online gambling is set to exceed $20 billion in 2010 and is the fastest growing industry on the Internet today. Although online gambling is a very competitive business, when it comes to player abuse the industry feels so strongly that the online casinos help to protect each other. From choice of games and betting options to fun, excitement, and the chance to win money, online gambling has it all.


text:
Check in at Hotel Internment
By Abe Opincar, July 6, 2000
A wicked Hungarian count tries to seduce a pubescent American blonde. A resort manager falls hard for a German baroness. Hitler masterminds the slaughter of millions. There are love ballads and some tap dancing.
When Greenbrier opened in Lewisburg, West Virginia, in mid-June, it received a standing ovation. The 150-person audience shouted "Bravo!" until the cast took the stage for an encore rendition of the musical's first number, "Decorum."
Decorum! Decorum!
We roll that thick carpet out just for 'em. Decorum!
Indignities -- we're trained to just ig -- nore 'em! Decorum!
Decorum is the code that we live by.
No matter what -- decorum -- the rules apply...
The ovation pleased no one more than Greenbrier's author, 57-year-old San Diego playwright Mark Sickman, who'd tried hard, and unsuccessfully, to interest local theaters in his musical.
Sickman, whose ad agency Sickman & Reese has worked for Children's Hospital, the San Diego Sockers, and National University, first got the idea for Greenbrier in 1997 while reading V for Victory, a book describing home-front culture during World War II. On page 239 of V for Victory Sickman read an account of how, between December 1941 and July 1942, more than 1000 Axis diplomatic personnel and their families were interned at Greenbrier, a luxury resort near the Allegheny Mountains.
"The details just leapt out at me. As Americans, the staff must have bristled at the thought of accommodating Axis diplomats. The Greenbrier's manager must have been in conflict with his own employees. The U.S. State Department, which interned the diplomats at the Greenbrier, required that they be given excellent service. It was a way of insuring that our own diplomats, being held in Europe, would be treated well until they could be exchanged for the Axis diplomats. There was a high likelihood that some of these Axis diplomats were spies. If conflict is the essence of drama, this story had great conflict.
"So I sat down and started constructing the book for Greenbrier. After three months I finally had something worth pursuing. I contacted the Greenbrier's staff historian -- the place is so wealthy and has so much history that they actually have a staff historian. I chatted with him. He was very friendly. He sent me some more background material. At that point there didn't seem to be any problem."
If Sickman was quick to apprehend the Greenbrier's dramatic potential, it was because World War II had inspired him before. In the mid-1990s he'd written another musical about home-front America, Kiss Them & Wish Them Good-Bye, which enjoyed a pretty good run at the Coronado Playhouse and, later, at the Hahn (now Horton Grand) Theater.
"My father," explains Sickman, "was too old to serve in the war, but his three brothers did, and he saved all their letters. I read them and got a feel for that back-and-forth during wartime. That's where I got the idea for Kiss Them & Wish Them Good-Bye. Letters are read during that show.
"As an ad man I'd written jingles, dialogue for TV commercials. As a writer, I'd written poetry. Lyrics, the idea of writing musicals, just came naturally to me."
Greenbrier had a more difficult time making its way to the stage than did Kiss Them. Sitting in the roomy Gaslamp loft he shares with his wife Marilyn, a La Jolla real estate agent, Sickman fidgets a little when discussing the time he spent trying to interest local directors in his script.
"I'm not going to name names," he says. "But it's extremely hard, if not impossible, to get a local theater interested in something written by a San Diego writer. They're very risk-averse. They're willing to do controversial plays, of course, but they have to do controversial plays with a track record."
San Diego's stodgy directors weren't the only obstacle Greenbrier had to overcome. First, there was the resort itself. As Sickman's musical took shape, as Steve Prussing, Sickman's collaborator, finished the score, Greenbrier became skittish about having its name used as the title for a World War II musical.
"They were afraid," Sickman says, "Greenbrier might be shown in an unfavorable light."
Sickman received a letter from Pillsbury, Madison, the top-shelf, white-shoe law firm in San Francisco that represents Greenbrier, informing him that the resort would not allow its name to be used in any connection with his musical. Months of phone calls and nice-making ensued. In case things went sour, Sickman rewrote his script, excising the name Greenbrier, and placing the story at an entirely fictitious resort named the Springs.
"Cydney A. Tune. That was her name. The attorney at Pillsbury, Madison. In the end, she was very nice. After eight months of phone calls it stopped being 'Ms. Tune' and 'Mr. Sickman,' and we started calling each other Mark and Cydney. She finally gave us the okay in late February 1999."
Since, as Sickman says, "no San Diego theater would even touch Greenbrier," in August 1999, he spent $5000 of his own money to stage a reading at the Sushi Gallery downtown. Sickman invited almost all of San Diego's theater bigwigs to the reading, but their response was "tepid." One hundred seventy-five of his friends and acquaintances, however, did attend. Tuxedoed and black-gowned actors read Sickman's dialogue and sang his lyrics. The audience's response was "largely positive." Being an ad man, Sickman provided his audience with a questionnaire through which they could express their opinions of his show.
"The suggestions were very helpful. Some of the love relationships needed tightening up. They sorta just came out of nowhere. We also asked people to rate the songs, and as a result we dropped one called 'Simpatico,' which was a cute number between a little Austrian girl and a maid."
More relationship-tightening and song-dropping were to come. Sickman submitted Greenbrier to a play lab conducted by Eckerd College in St. Petersburg, Florida, which accepted the musical and gave it a staged reading and subjected it to student criticism. Next, Sickman submitted Greenbrier to the Simon Studio in New York, an acting school and play workshop, which gave the work yet another staged reading and subjected it to even more criticism.
"It was really a major success at the Simon Studio. The thing really gelled. We really worked at firming up the three main love relationships and, most importantly, we may have made some good connections in New York.
"After the workshop at the Simon Studio, I started sending Greenbrier out to regional theaters. The artistic director at the Greenbrier Valley Theater in Lewisburg, West Virginia, was very interested. Lewisburg is an artist-colony-type town about ten miles from White Sulfur Springs, where the Greenbrier resort is located. Lewisburg had just built the brand-new 150-seat Greenbrier Valley Theater, which was looking to stage something regional. They like things that have a direct appeal to their audience.
"Last February, the theater's artistic director accepted Greenbrier. On May 15, I and Steve Prussing flew out to West Virginia. We had our first rehearsal the night we arrived. We had only three weeks to get everything ready -- rehearse, build sets. The artistic director also had some changes of her own she wanted made. We ended up writing four new songs for the show and further clarified the love relationships.
"Lewisburg ended up liking Greenbrier. We were scheduled for an eight-performance run, and six of those performances sold out, and on the other two nights we got a pretty good crowd."
(Lewisburg's local paper gave the musical an enthusiastic review: "Greenbrier offered its audience a spirited ride the way a catamaran with a colorful sail sweeps over glittering waves toward a blue horizon.")
Having now spent $10,000 of his own money to launch his musical, Sickman hopes to steer Greenbrier toward even bluer horizons. He's submitting it for consideration to other small theaters in West Virginia, Virginia, and Pennsylvania. He also wants to get on what he calls the "New York track."
"Two directors and one producer who saw Greenbrier at the Simon Studio showed considerable interest. This is a viable piece of musical theater.
"The fact is that I'm having better luck in other places and other cities than in San Diego. You've got to go where you think you're going to have success."
More stories by Abe Opincar
New documentary puts a lid on Beethoven — April 17, 2016
The Devil in His Cellar — April 19, 2007
Economical, and No Bad Acting — Feb. 8, 2007
Coy Strummer — Sept. 1, 2005
Peacocks drown out Schubert — June 17, 2004


text:
General TV Discussion
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It is with Deepest Regrets we have to inform you
Thread starter stripe
Sovs Favorite Moderator
Kevin Smith of Ares fame has passed away
Leading New Zealand actor Kevin Smith has died in a Beijing hospital after he was critically injured in a fall.
His agent, Robert Bruce, confirmed that the 38-year-old actor had died.
"I received a call from Kevin's family to say that he passed away in his sleep.
"It's a shock to us all, and a major shock to the family. They're just trying to come to terms with it all."
Mr Bruce could provide no further details.
Auckland-based Smith was injured in the Chinese capital 10 days ago and doctors treating him were concerned that he would not recover from serious injuries.
The accident occurred on February 6, the day after the actor finished work on a joint US-Chinese production, and as he was preparing to return to NZ.
The hunky local star was then to have headed to movie "boot camp" to prepare for what many believed would be his big break, a role in a Hollywood blockbuster starring Bruce Willis.
The doctor treating Smith told the Herald last night that staff from China's top movie production house, Beijing Film Studio, rushed him to the Beijing Union Hospital after the fall. Smith was believed to have been on a life-support machine before his death.
The doctor, who did not wish to be named, said Smith had suffered a severe injury to his skull and had been in a critical condition.
Acting sources have said he was injured when he fell from a great height, possibly six storeys.
Li Hao, a spokeswoman for one of the companies involved in Warriors of Virtue II, said Smith, who had completed his film contract the day before the fall, had made a big impression.
Smith's wife, Suzanne, and his parents, Geoff and Yvonne, are understood to have been with him.
In addition to his wife, Mr Smith leaves his three children, Oscar, 11, Tyrone, 9, and Willard, 3.
Mr Bruce said last night that the actor's family wanted to thank everyone who had sent messages of love and support.
Smith starred in many New Zealand stage, television and feature films and is perhaps best known for his role as Ares in Xena: Warrior Princess.
His ambitions to break into the American movie market were realised when he scored a role in the $US70 million ($166 million) Bruce Willis action film Man of War, due to start filming in Hawaii next month.
He had leaped at the chance to go to China because the role allowed him to learn from the stuntman who worked on Crouching Tiger, Hidden Dragon.
Smith, Auckland-born but Timaru-raised, got into acting when his wife and childhood sweetheart saw a casting call while he was sidelined by concussion during the rugby season.
He was soon a leading man, happy to laugh at his beefcake image.
"A nicer guy you wouldn't find anywhere," said friend and Comedian Mike King.
- STAFF REPORTERS
This is really a shock to me, I was checking the newsgroups when I read it. At first I was thinking it was not him, but then I see an article. This is so sad, my deepest condolences to his family and friends. He definitely will be miss by all his fans. Counting myself.
MythingLink
First Prime of ASciFi
I don't know what to say. It's always a shock to hear this type of news. Watching any episodes of Herc and Xena that he was in are going to be a bit different now.
My thoughts and prayers go to his family.
Nymphet Connoisseur
I posted some comments at http://www.ascifi.com/forums/showthread.php?s=&threadid=10851
Daniels Beloved
i was so sad when i read about the death of kevin smith, i loved him as ares he was a very talented actor, and a joy to watch.
watching any of my hercules/xena tapes will be sad now.
my thoughts and prayers are with his family and friends...peachy
T Y O P I S T
From the New Zealand Herald
Kevin Smith fell from film set tower, agent reveals
By LOUISA CLEAVE
Kevin Smith was climbing a film prop designed like a castle when he fell on to a stone base, causing the head injuries that led to his death.
The actor had been drinking but was not intoxicated, his agent said yesterday.
Robert Bruce gave details of the New Zealand actor's death in China on behalf of Smith's wife, Suzanne, and family.
He said the accident happened on Smith's last day on the set of the movie Warriors of Virtue II, and no one saw it.
Smith had arranged to finish filming early so he could return to New Zealand and spend time with his family before heading to the United States. He was to enter a Navy SEALS "boot camp" to prepare for his next role, acting alongside Bruce Willis in Hawaii.
Mr Bruce said he understood Smith drank a couple of beers, ate dinner and took a walk around the Central China Television film studios while he waited for a ride to his hotel.
The studios are in Shijiazhuang, the capital city of the Hebei Province, 250km southwest of Beijing.
"He went for a wander around the film set and there was this castle-type film set structure which he climbed and fell," Mr Bruce said. "We don't know why but he was found at the base of that with head injuries.
"On film sets there are no bars or anything like that. If you have a couple of beers it's because someone brings in a six-pack at the end of the night."
He did not know how much time elapsed before Smith was discovered, semi-conscious. Mr Bruce said Smith's family had visited the film set where he died and had told him the structure was about three storeys high.
Smith was taken to a local hospital and then transferred to Beijing in the early hours of February 6.
At the Beijing hospital he fell into a coma and did not regain consciousness.
After several days, Smith showed signs of recovery, but his body went into shock, said Mr Bruce who had told Friday night's Holmes television show that the injuries were not life-threatening. He learned early on Saturday that Smith had died.
Mr Bruce said there were no suspicious circumstances and police were not investigating the accident. An autopsy was not carried out.
Asked if climbing a film prop was something Smith would normally do, Mr Bruce said: "This was one which must have taken his fancy as a lookout.
"I guess if you put yourself in the same position, you've finished filming, you're in the studio, some people have gone home, you're waiting for a lift and wandering around. Some of these sets I've been on are absolute works of art.
"So yeah, there'd be a certain amount of interest [in this prop] I'm sure."
Thanks Stripe. I did wonder what he was doing on a set piece if his participation in the film had ended the day before. It makes a lot more sense now and I can see this happening.
BONNIESTACKPOLE
FARSCAPE FANATIC
It's just so horrible. If only his ride had come earlier. And to think that he had actually survived the fall and was semi-concieus. Than he started to recover? That means he must have suffered, and his poor family were left with hope that he would recover, only to lose him. I'm so upset. I really loved watching Kevin on Xena and Hercules. For him to die in such a stupid accident. What a waste of a nice person and talented actor. :crying:
Curupira
Tribal Princess
I feel so horrible for his wife and three little boys!
Deepest hydrothermal vents discovered in Cayman Trough Science & Nature 1 Feb 27, 2013
MGS--deepest story in a video game Game Discussions 14 Jun 23, 2008
Deepest History in a Fantasy series??? Book Discussion 32 Dec 23, 2007
Deepest sound in the universe - so far Science & Nature 7 Sep 13, 2003
S It is with Deepest Regrets we have to inform you Xena: Warrior Princess 15 Feb 16, 2002
Deepest hydrothermal vents discovered in Cayman Trough
Started by allmywires
MGS--deepest story in a video game
Started by Arthur Sting
Deepest History in a Fantasy series???
Started by Switchback
Deepest sound in the universe - so far
Started by Brian G Turner
Started by stripe
Default Red


text:
/**
 * @fileoverview Generating Dart for logic blocks.
 * @author q.neutron@gmail.com (Quynh Neutron)
 */
'use strict';

goog.provide('Blockly.Dart.logic');

goog.require('Blockly.Dart');

Blockly.Dart['controls_if'] = function(block) {
  // If/elseif/else condition.
  var n = 0;
  var code = '', branchCode, conditionCode;
  do {
    conditionCode = Blockly.Dart.valueToCode(block, 'IF' + n,
      Blockly.Dart.ORDER_NONE) || 'false';
    branchCode = Blockly.Dart.statementToCode(block, 'DO' + n);
    code += (n > 0 ? 'else ' : '') +
        'if (' + conditionCode + ') {\n' + branchCode + '}';

    ++n;
  } while (block.getInput('IF' + n));

  if (block.getInput('ELSE')) {
    branchCode = Blockly.Dart.statementToCode(block, 'ELSE');
    code += ' else {\n' + branchCode + '}';
  }
  return code + '\n';
};

Blockly.Dart['controls_ifelse'] = Blockly.Dart['controls_if'];

Blockly.Dart['logic_compare'] = function(block) {
  // Comparison operator.
  var OPERATORS = {
    'EQ': '==',
    'NEQ': '!=',
    'LT': '<',
    'LTE': '<=',
    'GT': '>',
    'GTE': '>='
  };
  var operator = OPERATORS[block.getFieldValue('OP')];
  var order = (operator == '==' || operator == '!=') ?
      Blockly.Dart.ORDER_EQUALITY : Blockly.Dart.ORDER_RELATIONAL;
  var argument0 = Blockly.Dart.valueToCode(block, 'A', order) || '0';
  var argument1 = Blockly.Dart.valueToCode(block, 'B', order) || '0';
  var code = argument0 + ' ' + operator + ' ' + argument1;
  return [code, order];
};

Blockly.Dart['logic_operation'] = function(block) {
  // Operations 'and', 'or'.
  var operator = (block.getFieldValue('OP') == 'AND') ? '&&' : '||';
  var order = (operator == '&&') ? Blockly.Dart.ORDER_LOGICAL_AND :
      Blockly.Dart.ORDER_LOGICAL_OR;
  var argument0 = Blockly.Dart.valueToCode(block, 'A', order);
  var argument1 = Blockly.Dart.valueToCode(block, 'B', order);
  if (!argument0 && !argument1) {
    // If there are no arguments, then the return value is false.
    argument0 = 'false';
    argument1 = 'false';
  } else {
    // Single missing arguments have no effect on the return value.
    var defaultArgument = (operator == '&&') ? 'true' : 'false';
    if (!argument0) {
      argument0 = defaultArgument;
    }
    if (!argument1) {
      argument1 = defaultArgument;
    }
  }
  var code = argument0 + ' ' + operator + ' ' + argument1;
  return [code, order];
};

Blockly.Dart['logic_negate'] = function(block) {
  // Negation.
  var order = Blockly.Dart.ORDER_UNARY_PREFIX;
  var argument0 = Blockly.Dart.valueToCode(block, 'BOOL', order) || 'true';
  var code = '!' + argument0;
  return [code, order];
};

Blockly.Dart['logic_boolean'] = function(block) {
  // Boolean values true and false.
  var code = (block.getFieldValue('BOOL') == 'TRUE') ? 'true' : 'false';
  return [code, Blockly.Dart.ORDER_ATOMIC];
};

Blockly.Dart['logic_null'] = function(block) {
  // Null data type.
  return ['null', Blockly.Dart.ORDER_ATOMIC];
};

Blockly.Dart['logic_ternary'] = function(block) {
  // Ternary operator.
  var value_if = Blockly.Dart.valueToCode(block, 'IF',
      Blockly.Dart.ORDER_CONDITIONAL) || 'false';
  var value_then = Blockly.Dart.valueToCode(block, 'THEN',
      Blockly.Dart.ORDER_CONDITIONAL) || 'null';
  var value_else = Blockly.Dart.valueToCode(block, 'ELSE',
      Blockly.Dart.ORDER_CONDITIONAL) || 'null';
  var code = value_if + ' ? ' + value_then + ' : ' + value_else;
  return [code, Blockly.Dart.ORDER_CONDITIONAL];
};

redpajama_set_name: RedPajamaGithub


Commodities was a dance-music-theater work inspired by the aggressive, breathless world of the Commodities trading pits in Manhattan and the people who thrive in them. Traders formed part of the cast, and I used their complex hand signals—heightened and abstracted—to create the dynamic physical language. Recorded interviews with the traders, sounds of the trading floor and original music formed the score, portions of which were broadcast on NPR's Marketplace. The audience was composed of stunned and delighted Wall Street workers on their lunch hour, one of whom commented, "I had no idea that what we did was so beautiful."
The traders are on the one hand tremendously powerful. But they are also driven by the very system they create, besieged by a constant barrage of orders from investors, phone clerks and runners in an intricate network of relationships that stresses human communication to the breaking point.
In all, there seemed to me something quintessentially American in the swashbuckling, can-do spirit of traders who take big risks, act on instinct, live completely in the moment, and are so hopeful about their "Futures" and "Options." There is an added poignancy to the fact that computers may soon make their workplace a thing of the past. I remain excited about creating a larger theater piece inspired by this material.
NYC commodities traders and members of Sabrina Peck performance Company: Ray Bergen, Tom Brennan, Jennifer Chin, Darcy Cosper, Matt Frederick, Eric Handman, Phippy Kaye, Kate Pagliasotti, Jennifer Tsukayama, Michelle Yard, Camille Costan-Toth, Leah Heron-Matthews and Eugene Irby.
"During his 12 years as a commodity trader, Ray Bergen has been asked to do a lot of things. But Sabrina Peck was the first to ask him to dance. So at 1 p.m. today, he will slip on his sneakers and trading jacket and dance on the plaza of the World Trade Center."
"I told my Dad it's like sports--you're winnin', you're up, you want to put the screws to 'em and put 'em away."
"Its like a poker game. The third guy from the left is a panic trader--he panics--and I want to see if I can panic him."
"The best of them don't have dark times--they just play."


text:
Q: How to see the output after make in win7? I am trying to developing under windows 7. After i install the newest version vim, i found that it won't print the output after make. I make cpp file with :make command. But it just redirect the output to a temp file under AppData. Did meet this condition before? I have tried to set makeprg to other command, but i always redirects the standard output stream.

A: It isn't very clear to me what you mean, but I suppose you are looking for
:copen

(open the quickfix window)
See

*

*:he quickfix

redpajama_set_name: RedPajamaStackExchange


text:
Product Tag - Annette Bening
The Face of Love (2013)
A widow falls for a guy who bears a striking resemblance to her late husband.
And the Oscar Goes To... (2014)
And the Oscar Goes To… (2014)
The story of the gold-plated statuette that became the film industry's most coveted prize, And the Oscar Goes To… traces the history of the Academy itself, which began in 1927 when Louis B. Mayer, then head of MGM, led other prominent members of the industry in forming this professional honorary organization. Two years later the Academy began bestowing awards, which were nicknamed "Oscar" and quickly came to represent the pinnacle of cinematic achievement.
Film Stars Dont Die In Liverpool Blu-Ray 2017 (Original)
Romance sparks between a young actor and a leading lady.
The Search DVD 2016 (Original)
A woman who works for a non-governmental organization (NGO) forms a special relationship with a young boy in war-torn Chechnya.
Life Itself DVD 2014 (Original)
The lives of people from New York to Spain intersect over the course of different generations.
Girl Most Likely DVD 2012 (Original)
A failed New York playwright stages a suicide in an attempt to win back her ex, only to wind up in the custody of her gambling-addict mother.
Bugsy DVD 1991 (Original)
New York gangster Ben 'Bugsy' Siegel takes a brief business trip to Los Angeles. A sharp-dressing womanizer with a foul temper, Siegel doesn't hesitate to kill or maim anyone crossing him. In L.A. the life, the movies, and most of all strong-willed Virginia Hill detain him while his family wait back home. Then a trip to a run-down gambling joint at a spot in the desert known as Las Vegas gives him his big idea.
The American President DVD 1995 (Original)
Widowed U.S. president Andrew Shepherd, one of the world's most powerful men, can have anything he wants — and what he covets most is Sydney Ellen Wade, a Washington lobbyist. But Shepherd's attempts at courting her spark wild rumors and decimate his approval ratings.
Danny Collins DVD 2015 (Original)
An ageing rock star decides to change his life when he discovers a 40-year-old letter written to him by John Lennon.
Ruby Sparks DVD 2012 (Original)
Calvin is a young novelist who achieved phenomenal success early in his career but is now struggling with his writing – as well as his romantic life. Finally, he makes a breakthrough and creates a character named Ruby who inspires him. When Calvin finds Ruby, in the flesh, sitting on his couch about a week later, he is completely flabbergasted that his words have turned into a living, breathing person.
20th Century Women (Original)
In 1979 Santa Barbara, California, Dorothea Fields is a determined single mother in her mid-50s who is raising her adolescent son, Jamie, at a moment brimming with cultural change and rebellion. Dorothea enlists the help of two younger women – Abbie, a free-spirited punk artist living as a boarder in the Fields' home and Julie, a savvy and provocative teenage neighbour – to help with Jamie's upbringing.
The American President (Original)
PKR 150 – PKR 350


text:
Patenting issues
Books by EPO authors
EPO in social media
Subscribe to the EPO newsletter
Japanese-English machine translation for patents goes live
The EPO and the Japan Patent Office (JPO) today announced the launch of the Japanese-English component of the EPO's automatic translation service Patent Translate. This means more than a million Japanese patent documents available via the EPO's global patent database Espacenet can now be instantly translated into English free-of-charge at the click of a mouse. This major step offers access to Japanese patents in the full-text version, while Japanese inventors can read European patents in their own language.
"The launch of the Japanese-English machine translation tool is a major step forward for patent information," said EPO President Benoît Battistelli, at a bilateral meeting of the two offices at the sidelines of the IP5 meeting in Cupertino, California. He continued: "Japanese is one of the leading languages of technology, and a lot of scientific knowledge, or what we call "prior art", resides in Japanese patents and patent documents, which are now freely available in English to engineers, inventors and scientists around the world. This will further strengthen the competitiveness of European businesses, who will now be able to better target their R&D work by searching Japanese patent documents, while further improving the substance of their patent applications. Patent offices, too, will be able to use the service in their daily work, which will positively impact the quality of the patenting process. The European economy as a whole will benefit from high quality patents."
JPO Commissioner, Hiroyuki Fukano said, "In terms of the number of patent applications being filed with the JPO and other offices globally, Japan ranks as one of the leading offices in the world, signifying that Japanese patent documents have a high importance. The European market is one of the most important ones for us. Up to now, the JPO has taken a wide variety of initiatives such as enabling the use of machine translation in order to break through the foreign-language barrier and support users when they file international applications and enter overseas markets. Through this new service, users will be able to refer to European patent documents in Japanese, bringing both benefit and value. With the advances being made in the globalisation of intellectual property, the language barrier has been a challenging and longstanding issue. Going forward, the JPO is determined make a solid contribution to providing significant benefits to users in Europe, Japan, and elsewhere around the world through global cooperation such as mutual collaboration between the EPO and the JPO."
With the addition of Japanese, Patent Translate now enables free on-the-fly-translation of patents from, and into, English for 15 languages including Chinese. Launched in February 2012 and integrated into the Espacenet database, Patent Translate was set up to enable machine translations of patents to be possible in the 28 official languages of the 38 member states of the European Patent Organisation, and also in the most important Asian languages by 2014. The service will then represent the world's most comprehensive multilingual platform for patent information. Espacenet already contains more than 80 million patent documents from around the world.
The addition of Japanese documents is the latest result of the close co-operation between the EPO and Japan, which goes back more than 30 years. In 1983, the EPO and JPO, together with the United States Patent and Trademark Office ─ the three largest offices at the time ─ established the Trilateral Cooperation to look into ways of solving common automation problems. Thirty years on, this cooperation has intensified, and now includes areas such as documentation, data standards and patent information.
Espacenet global patent database


This prestigious bluff home overlooking the sand and surf of Zuma beach is now available for purchase. Pool and spa, patios overlooking the ocean, sport court, Koi pond and huge yard for play, lots of parking make this ideal for entertaining. Just a few of the homes features: -theater, gym, quest quarters, grand master suite!


text:
Хайрилло Лутпиллаевич Гаппоров (род. 9 декабря 1971, Наманганский район, Наманганская область, УзССР, СССР) — узбекский политический деятель, преподаватель и химик. Депутат Законодательной палаты Олий Мажлиса Республики Узбекистан. Член комитета Законодательной палаты Олий Мажлис по вопросам экологии и охраны окружающей среды. Член Экологичкской партии Узбекистана.

Биография
Родился 9 декабря 1971 года в Наманганском районе Наманганской области.

В 1994 году окончил Ташкентский государственный университет, получив высшее образование по сспециальности химик. Кандидат химических наук, доцент. В 1992 году начал работать лаборантом химического факультета Ташкентского государственного университета. С 1994 по 2000 год Хайрилло Лутпиллаевич работал старшим лаборантом, а затем и аспирантом Ташкентского государственного университета. В 2000—2002 год занимался преподавательской деятельностью в экономико-юридическом лицее-интернате. С 2002 по 2015 год Гаппороа Хайрилло работал начальником научного отдела, старшим преподавателем, заведующим магистратурой, доцентом кафедры «Общая химия», позже доцентом, деканом химическо-биологического факультета, дирпектором учебного центра подготовки и переподготовки кадров, проректором по духовно-просветительским вопросам Наманганского государственного университета.

В 2015 году был назначен на должность депутата Законодательной палаты Олий Мажлиса Республики Узбекистан. Члена комитета по вопросам экологии и охраны окружающей среды.

Примечания

Выпускники Национального университета Узбекистана
Депутаты Олий Мажлиса Республики Узбекистан
Члены Экологической партии Узбекистана


All Great Place to Work®- Certified companies have the chance to earn a coveted spot on one of our 20+ Best Workplace Lists, produced annually with Fortune. Once you're Certified, we'll automatically consider you for all upcoming lists in the next 12 months.
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As the start of the school year comes, it is time for children and adolescents to get their annual check-ups. Most families make the trip to their pediatrician prior to school to get sports physicals or various vaccinations that schools require.
The benefits of annual well-child check-ups go beyond meeting school's requirements. The check-up is part of establishing a medical home for the child or adolescent. The medical home is a place where all of a child or adolescent's medical care can be coordinated. The check-up allows pediatricians an opportunity to check in with families at least once a year to keep records updated and monitor any issues that may be of concern or need additional follow-up.
An advantage of setting aside time to have an annual well-child check-up is that it gives parents a chance to bring up concerns that ordinarily would not warrant a visit to the doctor's office. This could include concerns about a child's eating, sleeping, or social difficulties. For example, a child may have started waking up in the middle of the night and complaining about being tired in the morning. While it has not seemed to affect the child's behavior at home during the day, it might be a sign of some underlying issue that needs to be addressed.
Another advantage of meeting with the pediatrician annually is the relationship with the child or adolescent can be maintained. For healthy children, the annual check-up may be the only time they see their pediatrician in a given year. The importance of having a continued relationship with the doctor can mean the difference for an adolescent feeling comfortable enough with his pediatrician to confide about health issues that he may not be able to talk about with his parents.
Prior to meeting with the pediatrician for a well-child check-up, parents should talk with other adults that the child spend significant time around like grandparents or other care providers to see if they have noticed anything that is of concern. Sometimes children will mention problems to other adults or they may be displaying troubling behaviors in one setting but not another.
In addition to having a well-child check-up annually for physical health, there is a growing interest in having children receive a mental health check-up. The incidence of mental health issues in children and adolescents ranges from 13 to 20% in a given year. This means that one out of five children and adolescents are likely to need help for mental health problems and yet many do not.
Typically, parents become aware of a mental health problem with their child or adolescent when the school year is underway. School requires children and adolescents to be in a structured setting where they are required to do tasks that many students prefer to not do. This situation can cause misbehavior in the classroom and result in teachers contacting the parents about the issue.
School is also the time that children and adolescents feel additional stress as there is more pressure to complete assignments and perform at a higher level. Further stress can occur from social relationships ranging from disagreements between friends to bullying. This stress can cause anxiety and depression in children and adolescents.
Many children and adolescents may have shown signs of having mental health difficulties at the end of the past school year. However when the stress and demands of school were lifted during the summer, the difficulties diminished. This does not mean the problem has gone away.
A mental health check-up for children and adolescents can provide a baseline for how they behave when they are in the more relaxed environment of summer. This way if problems do arise, the psychologist can see how the children or adolescents typically behave and whether there is a need for further intervention.
Mental health check-ups are particularly important for children and adolescents who have had mental health difficulties in the past. Even when everything appears to be going smoothly, there could be relapses and it is helpful for those children and adolescents to maintain their relationships with the psychologist.
As the school year is getting ready to start up, it is important for parents to remember to have their children or adolescents get their annual check-up. The check-up should involve the children or adolescent's physical as well as mental health. This type of prevention will make it easier for pediatricians and psychologists to catch a problem early on.


Is it possible to have a different marker style for ranges among (XY-Axis) values ? For example. The marker style is shown in steel blue color here, Can I have markers above 15 and below 13 to show another color ?
Browse other questions tagged c# oxyplot or ask your own question.
Mixed markers on the same Oxyplot line?


text:
Artists turn up volume on gun violence debate
Alison Cuddy
James Prinz Photography, courtesy of the artist, moniquemeloche gallery
Remember to Remember, Cheryl Pope, 2013
Courtesy of the artist, SHANGO: Center for the Study of African American Art, Culture, Inc., EbonNia Gallery
Since 2000, James Pate has been depicting gang members in Ku Klux Klan robes, out of "frustration" with ongoing gun violence.
Your History II, James Pate, 2007 Civil rights activists as passive observers of contemporary gun violence.
Pope's roster of young victims of gun violence in Chicago over a six-month period.
One of the ideas that circulated around the recent Trayvon Martin murder trial is that African-Americans only care when white people kill black people.
Critics have debunked that very notion as both a myth and an oversimplification, one that can obscure the way black communities do rally to respond to neighborhood violence, or how whites do sometimes resort to racist stereotypes in talking about criminality.
Now another reaction to this idea of black-on-black violence can be found at KKK - Kin Killin' Kin, a new exhibition at The DuSable Museum of African American History.
The show is by James Pate, an artist based in Dayton, Ohio. He believes blacks may well respond more vocally when white people kill blacks, a response he attributes to a psychological state that is a "residue" of historical experiences like lynchings: "It's a sensitivity that to me is unreasonable," said Pate. "But I think that's where it comes from, this imbalance in the uproar."
But the more provocative aspect of Pate's work may be the way he himself represents black people.
In large charcoal-on-canvas drawings, full of complex layers and details so exacting they almost appear to be 3-D renderings, Pate depicts gun-toting young black men as members of the Ku Klux Klan. Clad in sports jerseys, chains and white hoods, the boys shoot indiscriminately at one another, while bystanders are caught in the crossfire, including a young child on a swing.
In the wake of Trayvon Martin's killing, to show gang members clad in the robes of white racist vigilantes is a challenge, to say the least. But Pate said he has no choice.
"It is difficult for me to react any other way as an artist," said Pate, who's been making these images since 2000. "It is extreme to me, so I decided to do something as extreme as I can imagine, within what I do as an artist, stylistically."
Pate said his art stems from conversations in the black community, "about how black-on-black violence has replaced the KKK form of terrorism. I decided that to sort of curb my blues, I would illustrate that sentiment and show them going at it and some of the aftermath of these acts."
Pate's images also juxtapose contemporary violence with action from other historical moments. In the foreground of Your History III, two young men drawn in bold relief shoot each other with semi-automatic pistols. On either side of the frame, drawn in fainter tones, there are rows of young men, seated at a restaurant counter, who appear to be witnesses to the shooting.
Pate said his reference to the lunch counter protests of the Civil Rights Movement poses a question: "What in the world happened between that ideal and that mentality, and that sacrifice - and this?"
Pate's images cite other historical figures, from black Union soldiers to Adolf Hitler to Jam Master Jay of Run-DMC. There are even allusions to the crowds who came out to watch lynchings during the height of the Klan's raids, depicted here as passive witnesses to violent acts.
That passivity comes across as a critique of community indifference or action. But Pate said his work also reflects "a frustration that I'm experiencing because I don't know what to do, and all I do know is that in art I can go there and turn my volume up a bit."
Pate said reaction to the work (which was shown previously in Ohio), ranges from recognition to anger, the latter especially from blacks who feel he's airing dirty laundry. In response, Pate said that laundry was hung out long ago.
Carol Adams, who heads the DuSable and brought the show to Chicago, agrees.
"If the show offends a little bit, well, we've been way too polite," Adams said. "It is a madness, and it is time to scream."
Local audiences already seem to be paying attention. At the exhibition's entrance, visitors are invited to write the names of deceased friends and family on small manila tags and attach them to stretches of chain-link fence installed for the show. Even before the show opened, museumgoers started filling out the tags - there are already more than a hundred on display.
'KKK - Kin Killin' Kin,' The DuSable Museum of African American History, through Aug. 3. James Pate will give a gallery talk on Thursday, Aug. 1, from 6:30 - 9 p.m.
Cheryl Pope is another artist turning up the volume around the violence debate in her show Just Yell, which is at the moniquemeloche gallery through Aug. 3.
The show's name references the first cheerleaders, known as "yellers," who in the late 19th century got up in front of crowds and started to call out cheers.
Both the structure of Pope's show (which is a collaboration with students from public schools across the city) and the works she's created (which include a yearbook, a spirit stick, and a large wall-mounted varsity patch) are efforts to invoke the team mentality and powerful spirit of the yellers.
But in place of sports cheers, Pope offers what she calls "testimonials": the words of students, who, in response to prompts from Pope, wrote about their reactions to violence and what that makes them want to "yell."
Those cries take different forms. In Remember to Remember, Pope has arranged rows of small gold plates engraved with the names of young victims of violence. Mixed in among those names are haikus from students past and present, including one Pope said was written by shooting victim Hadiya Pendleton when she was in the third grade. Pope said the poetic phrases (one reads "here i am/you thought i was gone/so i love"), which are engraved on black plates, function like a visual "moment of silence."
"The schools don't always have the time or space or means to create opportunities for grieving or processing these losses," said Pope. "I wanted students to feel empowered by the way they react so we could have those conversations."
But like Pate, Pope's exhibition also contains a provocation: The colors scheme she's used across the objects in her show are those of local gang The Latin Kings: gold, black and white. And she represents gang culture in other ways. In Just Yell '13: A Guidebook for Yellers, pictures of both victims and gunmen are displayed in tidy, yearbook-like rows.
Pope said that in researching The Latin Kings, she found remarkable parallels between their "philosophy" (which is defined by their five-point crown) and the ideals of school or team spirit, things like love or respect or community. In other words, gangs promise "everything young people are asking for."
"I wanted to be mindful and not glorify, but make visible that parallel, or that confused space, which can exist for young people," said Pope. "Where gang affiliation can offer the satisfactions of being on the same team, or sharing a goal, or knowing someone has your back."
Despite their different styles, there are remarkable parallels between Pate and Pope.
Both use inflammatory imagery not just to provoke viewers but to reveal their own emotional connections to the issue of violence (a perspective which partly results from working closely with young people, Pate as an artist-in-residence at public schools, Pope at the James R. Jordan Boys and Girls Club near the United Center).
Both are committed to a continuing exploration of violence: Pate has moved into color images and Pope's next project involves how people grieve for their communities.
But by forcing together supposedly disparate groups - draping gang members in Klan robes or decorating a school spirit stick in gang colors - each artist has created a different space to discuss violence.
Once you sort through that confusion of images, the space can come across as absence -- something painful and awful and empty. But it also contains potential, as a place from which it might be possible to do or say - or even yell - something new.
'Just Yell' is at the moniquemeloche gallery through Aug. 3. On July 27, Pope has invited what she calls "game players" - those actually on the court rather than yelling from the sidelines - to the show, including aldermen, DCASE Commissioner Michelle Boone and Mayor Rahm Emanuel.
Alison Cuddy is WBEZ's Arts and Culture reporter and co-host of Changing Channels, a podcast about the future of television. Follow her on Twitter, Facebook and Instagram
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