text:
François-Auguste Biard, pseudonyme de François Thérèse Biard, est un peintre français né le  à Lyon et mort le  à Samois (Seine-et-Marne).

Biographie

Formation
Bien que destiné par ses parents à l'état ecclésiastique, François-Auguste Biard se consacre à la peinture. Il commence à peindre dans une fabrique de papier peint lyonnaise, puis rejoint l'École des beaux-arts de Lyon où il sera formé par Pierre Révoil jusqu'en 1818, puis par Fleury Richard qui lui succède à la tête de l'école. Toutefois, Biard reste un élève relativement autonome qui ne suit la formation que par intervalles plus ou moins réguliers. Il est qualifié d'autodidacte.

Il se met ensuite à voyager et parcourt l'Italie, les îles de la Grèce et le Levant. À son retour, il expose au salon de 1818 son premier tableau de genre, Les Enfants perdus dans la forêt, que la gravure rendit bientôt populaire, puis il entreprend d'autres voyages dans différentes contrées européennes.

Un peintre voyageur
Lors du premier Salon parisien auquel il participe, en 1824, il est accueilli très favorablement par les critiques et plus particulièrement par Auguste Jal, à l'inverse de ses collègues, élèves, eux aussi, de Révoil.

En 1824, l'archevêché commande quatre tableaux aux élèves de Pierre Révoil. Biard fait partie des peintres sollicités. Il peint alors Saint Pothin apportant dans les gaules l'image de la mère de Dieu.
La même année il participe au Salon de Paris. Il participera de manière régulière aux Salons de Paris mais restera fidèle également aux Salons lyonnais. Il sera soutenu par la Monarchie de Juillet, qui acquiert plusieurs de ses tableaux.

À partir de 1827, Biard entame une série de longs voyages. Il commence par faire un tour du bassin méditerranéen. Il fait escale à Malte, à Chypre, en Syrie, puis en Égypte. Il rentre ensuite à Paris.

Léonie
En 1839, il participe à l'expédition scientifique dirigée par Joseph Paul Gaimard, au Spitzberg et en Laponie, avec sa fiancée, l'écrivaine Léonie d'Aunet, qui publia le récit de ce voyage en 1854, sous le titre Voyage d'une femme au Spitzberg. Il tire plusieurs tableaux de ce voyage et peint quatre panneaux à décor nordique pour le Muséum national d'histoire naturelle à Paris.

Il épouse Léonie d'Aunet le , à Paris. Le couple a une fille, Henriette Marie Adélaïde, née le , et un fils, né en 1844, devenu diplomate sous le nom de Georges Biard d'Aunet.

En 1843 Léonie devient la maîtresse de Victor Hugo. Le , elle est surprise avec Hugo en flagrant délit d'adultère dans un hôtel du passage Saint-Roch. Le commissaire laisse partir Hugo lorsque celui-ci invoque son inviolabilité de statut de pair de France, mais Léonie Biard est arrêtée et emmenée à la prison Saint-Lazare. Au bout de deux mois, elle est transférée au couvent des Dames de Saint-Michel.
Elle entre dans la carrière littéraire sous son nom de jeune fille, après sa séparation judiciaire de son mari en 1855.

Voyages aux Amériques
François-Auguste Biard peint parfois des tableaux inspirés de la Bible (Sainte Marie-Madeleine, Salon de 1827), de la littérature (Gulliver dans l'ïle des géants, Salon de 1852) ou de l'histoire (Hudson abandonné par son équipage en 1610, Salon de 1852).

Vers 1858, il séjourne deux ans au Brésil. Il reste environ un an à Rio de Janeiro où il côtoie l'aristocratie brésilienne et travaille à la cour de l'empereur Pedro II, son ami, et il effectue des expéditions dans l'intérieur du pays et ensuite en Amazonie. Plusieurs toiles évoquent ce voyage. Biard est invité en 1859 pour enseigner à l'Académie des beaux-arts de Rio (fondée par la Mission artistique française de 1816), mais il reçoit l'invitation pendant son voyage en Amazonie et donc il la décline.

Avant son retour du Brésil, Biard passe par l'Amérique du Nord. Il en témoigne dans sa toile Comment on voyage en chemin de fer dans l'Amérique du Nord (Salon de 1861). Plusieurs toiles évoquent également l'attention qu'il porte à l'esclavagisme.

Outre plusieurs médailles , il reçoit la croix d'honneur en 1838. Si les tableaux que lui inspirent son voyage au pôle nord sont l'objet de critiques pour la monotonie de la composition et l'exagération des effets, c'est dans le genre familier que Biard acquiert une réputation, notamment par les qualités de mouvement et d'expression de ces œuvres, dont Une famille de mendiants et La Diseuse de bonne aventure au musée des Beaux-Arts de Lyon, Les Comédiens ambulants au château de Fontainebleau, Le Baptême sous les tropiques, Le Bon Gendarme, Les Honneurs partagés, La Sortie d'un but masqué, La Traversée du Havre à Honfleur, Mal de mer sur une corvette anglaise au Dallas Museum of Art, Le Conseil de révision, Un plaidoyer en province, L'Abolition de l'esclavage ().

Le travail de François Biard ne fait pas l'unanimité. Si les critiques parisiens comme Auguste Jal puis Delécluse en font l'apologie et que de nombreux personnages de l'aristocratie comme le duc d'Orléans le soutiennent, à Lyon en revanche l'accueil est beaucoup plus sec et cela s'accentue après 1870. On lui reproche principalement l'humour et les caricatures qu'il glisse dans ses tableaux et qui font leur particularité. Il restera un peintre mal-aimé, jusqu'à être renié par Lyon. Cependant nombre de ses œuvres ont été exposées au musée des Beaux-Arts de Lyon.

Biard publie la relation de son voyage au Brésil, sous le titre Deux années au Brésil, illustré de 180 gravures (1862, gr. in-8°, fig.). Cette relation sera très utilisée par Jules Verne dans la rédaction des descriptions (mœurs indiennes et paysages) de son roman La Jangada. Jules Verne le cite d'ailleurs dans la première partie au chapitre V est écrit . Cette qualification régulière de  vient pourtant en réalité de son illustrateur Édouard Riou qui a repris ses croquis et non des croquis de Biard.

Style
Au , François-Auguste Biard est particulièrement connu pour ses peintures de paysages exotiques. Ses œuvres, qui font preuve d'une très grande minutie et d'un sens du détail, témoignent de sa formation lyonnaise. Il répond en effet à certains codes de l'École des beaux-arts de Lyon tels les paysages très détaillés ou les couleurs denses.

Biard aime glisser dans ses paysages des scènes de vie souvent ironiques ou humoristiques, mais jamais grinçantes, comme dans son tableau Le Mal de mer à bord d'une corvette anglaise (1857). Seuls les paysages extrêmes sont représentés à l'état brut comme les aurores boréales.

Le goût de l'exotisme et du détail sont caractéristiques de l'œuvre de François Biard. Ils témoignent également d'une influence de l'école hollandaise, allemande et surtout anglaise. Le style de William Hogarth ou de David Wilkie et celui de Biard se rejoignent sur certains aspects du romantisme.

François Biard est principalement un grand voyageur qui s'inspire et se forme au cours de ses multiples périples.

La découverte de nouveaux paysages influence énormément la peinture de Biard. Il travaille à l'aide de croquis et n'hésite pas à aller sur le motif. Au retour de son périple en orient il peint des scènes historiques orientales comme Le Prince de Joinville visite dans le Liban, ou Le Village d'Heden qu'il présente en 1846 au Salon de Versailles. .

Il s'appuie également sur des reportages ethnographiques afin d'avoir des représentations très réalistes. Le travail de Biard est un travail documenté et vériste. C'est un peintre d'histoire, qui aime à représenter des relevés et des constats d'ordre ethnographique. Il utilisera toute sa vie ses notes de voyages.

Il aborde également des sujets plus politiques comme la question de l'esclavage. En 1833 il peint La Traite des noirs. Le tableau étonne par l'impartialité avec laquelle il aborde cette question.

Cependant, si Biard est particulièrement connu pour ses peintures de paysages, son œuvre est particulièrement hétéroclite. Il peint aussi bien des scènes religieuses que des scènes historiques, militaires ou quotidiennes. Il est aussi portraitiste à la cour du roi Louis-Philippe. Cette multiplicité déstabilise et divise l'opinion. Il est apprécié par Prosper Mérimée, Alfred de Musset, Théophile Gautier. En revanche Charles Baudelaire a une très mauvaise impression sur lui.

Biard est un peintre autonome dans le monde de l'art mais également très populaire au . Peintre voyageur mais aussi peintre officiel de la cour de Louis-Philippe, il obtient de nombreuses récompenses pour son travail. Il reçoit deux médailles d'argent en 1833.

Œuvres

L'Abolition de l'esclavage dans les colonies françaises en 1848

L'Abolition de l'esclavage dans les colonies françaises en 1848 de François-Auguste Biard est une huile sur toile de  conservée au château de Versailles.

La scène représente l'abolition de l'esclavage dans les colonies françaises. On assiste à la scène de l'émancipation du peuple esclave en 1848 en France. On aperçoit deux esclaves noirs, au centre, qui s'enlacent, représentés avec des chaînes brisés, image de leur liberté juste acquise. Les autres esclaves ne sont toujours pas levés mais sont agenouillés en reconnaissance devant la personne qui a déclaré l'abolition de l'esclavage.

Combat contre des ours blancs

Huile sur toile (), peinte en 1839, et conservée à Tromsø au musée des Beaux-Arts de la Norvège du Nord, Combat contre des ours blancs représente un paysage glacial avec un arrière-plan très clair composé de banquises. Au centre figurent trois voyageurs sur une barque attaqués par des ours polaires.

Récompenses
 Quelques prix à l'École des beaux-arts de Lyon en classe de principes.
 Médaille d'or de deuxième classe au Salon de 1827 pour La Diseuse de bonne aventure.
 Médaille de première classe aux salons de 1836 et 1848.
 Nommé chevalier de la Légion d'honneur avec citation pour son tableau Le Désert est piquant d'effet et d'une grande vérité locale, le .

Expositions

 1833 : Douai, Des sorcières modernes (médaille d'argent), Un curé et sa servante dévalisés dans le défilé de la Sierra Morena, Un concert de fellahs égyptiens aux environs d'Alexandrie.
 1833 : Arras, Des sorcières modernes ( d'argent, section « Genre »), Un curé et sa servante dévalisés dans le défilé de la Sierra Morena, Un concert de fellahs égyptiens aux environs d'Alexandrie.
 1835 : Douai, L'hôpital des folles à Lyon (grande médaille d'argent).
 1835 : Valenciennes, Intérieur de l'hôpital des folles à Lyon (médaille d'argent, section « Grands tableaux de genre »).
 1837 : Douai, Les Suites d'un naufrage.
 1838 : Cambrai, Les sorcières modernes.
 1838 : Arras : La Traite des nègres, Le Divertissement troublé, Bords du Rhin, Distribution de prix dans une école allemande (médaille d'argent , section « Tableaux de genre).
 1838 : Valenciennes, Le Triomphe de l'embonpoint, Scène de douane à la frontière, La Suite d'un naufrage.
 1841 : Boulogne-sur-Mer, Le Baptême sous la ligne, Les Demoiselles à marier.
 2020-2021 : Maison de Victor Hugo, Paris, François Auguste Biard, peintre voyageur [exposition non ouverte au public en raison des confinements]

Collections publiques

Brésil
 Rio de Janeiro, musée national des Beaux-Arts : Portrait de femme, huile sur toile, .

France

 Bayeux, musée d'Art et d'Histoire Baron-Gérard :
 Chasseurs norvégiens au Spitzberg ;
 Kayaks esquimaux, le baiser.
 Compiègne, musée national du palais de Compiègne :
  Le Salon de , directeur général des musées impériaux, intendant des Beaux-Arts de la Maison de l'Empereur, membre de l'Institut, 1855, huile sur toile,  ;
 Une soirée au Louvre chez le comte de Nieuwerkerke en 1855, huile sur toile, .
 Dieppe, château-musée : Vue de l'océan glacial, pêche au morse par des Groënlandais, 1841, huile sur toile, .
 Évreux, musée d'Évreux : Jeune femme turque assise.
 Fontainebleau, château de Fontainebleau : Les Comédiens ambulants, 1833, huile sur toile, .
 La Rochelle, musée du Nouveau Monde : La Fabrication du curare dans la forêt vierge du Brésil, 1862-1865, huile sur toile, .
 Nîmes, musée des Beaux-Arts : Tribu arabe  surprise par le  simoun ou vent du désert, 1833, huile sur toile, .
  Paris, musée du Louvre :
 Magdalena Bay. Vue prise de la presqu'île des Tombeaux, au nord du Spitzberg. Effet d'aurore boréale, 1841, huile sur toile,  ;
 Quatre heures au Salon dans la Grande galerie du Louvre, 1847, huile sur toile,  ;
 Santon prêchant les bédouins, Salon 1833, huile sur toile, .
 Poitiers, musée Sainte-Croix : Sultane dans un intérieur, vers 1835, huile sur toile, .
 Rouen, musée des Beaux-Arts : L'Hôpital des fous, 1833, huile sur toile, .
 Saint-Quentin, musée Antoine-Lécuyer : Comédiens ambulants. Ils se disposent à jouer dans une grange Zaïre et Psyché, Salon de 1833, huile sur toile, .
 Troyes, musée Saint-Loup : Navires explorateurs dans les mers polaires, avant 1882, huile sur toile, .
 Versailles, château de Versailles :
 L'Abolition de l'esclavage dans les colonies françaises en 1848, 1848-1849, huile sur toile ;
 Le duc d'Orléans descend le grand rapide de l'Eijampaïka sur le fleuve Mionio, en Laponie, août 1795, 1840, huile sur toile,  ;
 Le duc d'Orléans reçu dans un campement de Lapons, août 1795, 1840, huile sur toile,  ;
 Bataille navale d'Aboukir. Mort du capitaine du Petit-Thouars. , 1869, huile sur toile,  ;
 Entrevue de Louis-Philippe et de la reine Victoria, à bord du "Victoria and Albert". , 1845, huile sur toile,  ;
 La Reine Victoria visitant l'escadre française en rade de Portsmouth. , 1846, huile sur toile,  ;
 Le Prince de Joinville visite le Saint-Sépulcre à Jérusalem. , 1842, huile sur toile, 184 × 175 cm, musée national des châteaux de Versailles et de Trianon.
 Le Prince de Joinville visite le village maronite d'Heden au Liban. , 1840, huile sur toile,  ;
 Léonie Biard, née Thévenot d'Aunet (1820-1879), huile sur toile,  ;
 Louis-Philippe  au milieu de la Garde nationale. , 1840-1844, huile sur toile,  ;
 Louis-Philippe au Cap Nord. , 1841, huile sur toile,  ;
 Louis-Philippe  au milieu de la Garde nationale. , 1836, huile sur toile, .

Grande-Bretagne
 Kingston-upon-Hull,  : Esclaves sur la côte ouest africaine, 1840.

Norvège
 Tromsø, musée des Beaux-Arts :
 Combat contre des ours blancs, vers 1839, huile sur toile,  ;
 Campement en Laponie, vers 1840, huile sur toile,  ;
 Le Pasteur Læstadius instruisant les Lapons, vers 1840, huile sur toile,  ;
 Le Spitzberg, Magdalena Bay, vers 1839, huile sur toile, .

Œuvres référencées non localisées
 Vente d'esclaves dans les États d'Amérique du Sud.
 La Chasse aux esclaves fugitifs.
 Sainte Marie Madeleine, Salon de 1827.
 Gulliver dans l'ile des géants, Salon de 1852.
 Hudson abandonné par son équipage en 1610, Salon de 1852.
 Exilés alsaciens dans les forêts vierges d'Amérique Salon de 1875.
 Wagon américain.
 Embarcation attaquée par des ours blancs, 1839.
 Préparation du poison de Curaray par les vieilles  femmes dans une tribu de sauvages, Salon de 1861.
 Invasion de moustiques sur l'Amazone, Salon de 1869.
 La Jeunesse de Linné.

Iconographie
Un tableau réalisé par Jean-Baptiste Corot, Portrait de François-Auguste Biard (1830)  est conservé au musée d'Art et d'Histoire de Genève.

Dans Le Charivari du  parut un portrait charge de Biard par Benjamin Roubaud avec la légende suivante :
Si Biard est peint en ours, c'est pour la belle page
Où de ses ours marins il montra l'abordage
Constamment il parcourt les mers et les forêts
Pour chercher les sujets des tableaux qu'il expose
Et sans que sur le sol son pied pose jamais
Devant lui le monde entier pose.

Notes et références

Annexes

Bibliographie
 William Duckett fils, Dictionnaire de la conversation, , Paris, Didot, 1873,
 (en) Ana Lucia Araujo, Brazil Through French Eyes: A Nineteenth-Century Artist in the Tropics. Albuquerque: University of New Mexico Press, 2015
 Ana Lucia Araujo, Romantisme tropical: L'Aventure d'un peintre français au Brésil. Québec, Presses de l'Université Laval, 2008
   Ana Lucia Araujo, « Encontros difíceis: o artista-herói e os índios corrompidos no relato de viagem Deux Années au Brésil (1862). », dans Luso-Brazilian Review 42,  (2005): 15-39
 Ana Lucia Araujo, « Les représentations de l'esclavage dans les gravures des relations Voyage pittoresque et historique au Brésil (1834) de Jean-Baptiste Debret (1768-1848) et Deux Années au Brésil (1862), de François-Auguste Biard (1799-1882) », dans Canadian Journal of Latin American and Caribbean Studies 59, , 2005,
 Karel David, Dictionnaire des Artistes de Langue Française en Amérique du Nord, peintres, sculpteurs, dessinateurs, Éd. Presses de l'Université Laval, Canada, (1992),  novembre 2002
 Christine Peltre, Dictionnaire culturel de l'orientalisme, Éditions Hazan, 2008
 Barbara C. Matilsky, « François-Auguste Biard : artist-naturalist-explorer », dans La Gazette des Beaux-Arts, février 1985
 Claire Constans, Catalogue des peintures de Versailles, , Paris, RMN, 1995.

 Documentation du musée des beaux-arts de Lyon
 Eugène Guérard, François Auguste Biard et la scène de mœurs au
 Jean Vercoutter, L'Image du noir dans l'art occidental, 1976
 Pierre Miquel, Eugène Isabey 1803-1886, La Marine au , Maurs-la-Jolie, Éditions de la Martinelle, 1980
 Collectif, François Auguste Biard, peintre voyageur, catalogue de l'exposition éponyme à la Maison de Victor Hugo en 2020-2021, éditions Paris Musées, 2020.

Liens externes

 « François-Auguste Biard » dans la base Joconde

Peintre français du XIXe siècle
Peintre d'histoire français
Peintre de genre français
Peintre romantique français
Peintre rhônalpin
Voyageur du XIXe siècle
Pseudonyme
Naissance en juin 1799
Naissance à Lyon
Décès en juin 1882
Décès à Samois-sur-Seine
Décès à 82 ans


text:
The Man Who Did Too Much
The eBook is now available! At Amazon, Barnes and Noble, Apple's iBookstore and Smashwords, and Amazon's international bookstores UK, Germany, France, Italy, Spain.
The Man Who Did Too Much, comic mystery suspense.
Logline Version:
In a small Michigan beach town, an eccentric movie buff and a compulsive secret agent join forces to solve a case of kidnapping and murder.
Long Blurb:
George Starling quit his job as a secret agent to take care of a traumatized woman he rescued. He has brought her home to her small Michigan town, where she can't seem to get better, and he can't seem to shake loose of his need to take care of her.
When an old friend asks him to investigate a local lead in an international kidnapping, George reluctantly agrees to interview a witness.
That witness is Karla Marquette, a flaky local movie buff who seems to have little touch with reality. But George knows the instant he meets her that Karla has a genius for happiness. If he can only help Karla clear her friends of suspicion in this kidnapping and murder, perhaps she can help he and his girlfriend find the happiness that eludes them.
But the case is deeper than it seems, and soon George finds himself, and even his girlfriend, entangled in a deceptive plot. Can he shake loose, or will it be up to Karla to rescue them all?
The Man Who Did Too Much is a 95,000 word novel which combines classic mystery elements with comic suspense. Available in ebook format at Amazon and other major ebook retailers. In multiple formats at Smashwords. (Paper edition coming soon!)
Camille LaGuire is a Michigan writer of mystery and adventure stories. She has published fiction in magazines ranging from Cricket Magazine to Handheld Crime, to Marion Zimmer Bradley's Fantasy Magazine. Her work has been reprinted in educational materials and overseas, and her short fiction has reached the finals for the Derringer awards.

redpajama_set_name: RedPajamaCommonCrawl


text:
SONS OF ANARCHY Season Seven Premiere Recap: "Black Widower"
by Allison Keene September 9, 2014
Sons of Anarchy has always made bold choices, but nothing could have been more controversial or far-reaching within the world of SAMCRO than its sixth season finale. It was the culmination of struggles that existed on several different planes on the …
SONS OF ANARCHY Season 7 Premieres September 9; Plus First Look at Marilyn Manson's Character
by Brendan Bettinger July 17, 2014
FX announced today that Sons of Anarchy Season 7 will premiere September 9. The final season will kick off with a special 105-minute episode, followed by the live post-show Anarchy Afterword. Hosted by Chris Franjola, Anarchy Afterword will air twice …
FX's SONS OF ANARCHY Adds Marilyn Manson in Recurring Season 7 Role; AMC Sets Premiere Dates for…
by Dave Trumbore May 29, 2014
Kurt Sutter's Sons of Anarchy has had some interesting guest stars over the years (Joel McHale, Ashley Tisdale, David Hasselhoff, Stephen King), so the latest addition shouldn't be all that surprising. Marilyn Manson has been cast in the upcoming seventh season …
New Trailer for Quentin Dupieux's Wacky In-Development Film WRONG COPS
by Matt Goldberg June 1, 2014
After seeing Rubber and Wrong, I'm not sure if writer-director Quentin Dupieux has any depth to his ridiculously bizarre films, but they're entertaining nonetheless (especially Wrong). His next film, Wrong Cops, looks equally strange, but it has an unconventional filmmaking …
Marilyn Manson and Evan Rachel Wood to Star in SPLATTER SISTERS; David Gordon Green to Produce
by Ramses Flores May 16, 2010
Director David Gordon Green (Pineapple Express) and producer Edward R. Pressman (American Psycho) will be teaming up to produce Adam Bhala Lough's (Bomb the System) retro slasher film, Splatter Sisters, which will star real-life couple Marilyn Manson and Evan Rachel …


text:
Love Minsmere
We asked for your help and an incredible 20,419 of you acted and emailed EDF. Thank you. #LoveMinsmere
Working together to save Minsmere
The Sizewell Estate, on the southern boundary of Minsmere, is where EDF plan to build a new nuclear power station, Sizewell C. This could be catastrophic for wildlife. The building work may increase erosion, upsetting the delicate balance of the reserve. It could affect the water levels in Minsmere's ditches, impacting its rare wetland wildlife, which includes bitterns, otters and ducks. Once the construction is in progress, it may increase levels of noise and light pollution. Rare marsh harriers, breeding ducks and geese and wading birds are very sensitive to this. The effects will be long-term.
We asked for your help – to tell EDF what you think, and to protect this special landscape for the future. An incredible 20,419 of you acted and emailed EDF. Thank you so much for your continued support.
On 15 September we'll be hosting the first-ever Love Minsmere Festival, to celebrate the reserve, its rare wildlife and to send a powerful message to EDF that we all Love Minsmere and want to see it protected from the impacts of Sizewell C. Find out more here.
An application for a Development Consent Order is expected in January 2020. If the application is accepted by the Planning Inspectorate, which normally takes around three months, a six-month examination of the proposals will begin. During this period, interested parties can contribute their views, either in writing or by attending hearings. More details about this can be found here.
We'll continue to update these pages with details of how you can get involved.
Love Minsmere with Chris Packham
Chris Packham tells us to Love Minsmere: why we should save it, and why it's under threat.
A visit to Minsmere is unforgettable. This wild and beautiful landscape buzzes with the sound of insects, and echoes with birdsong. If EDF do not protect the reserve, the wildlife could lose its home.
Campaign Champion
As an RSPB Campaign Champion, we'll help you get your voice heard.
When we contact you about our campaigns, we'll send you all the necessary information, explaining the issues and the key points. We'll give you all the materials you need. We'll also include details of where to send any letters or emails and tips on making them as effective as possible.
Become a Campaign Champion
Tell us why you #LoveMinsmere


Welcome to our Video Tutorials! You may find a tutorial series by identifying the appropriate Video Channel to the right of the page. Otherwise, take advantage of our search feature to make finding your tutorial faster!


Department of Labor, lately, has tightened the ratification of work permit applications. Numerous applications have been returned. Some cases even led to the inspection of the company's employment of foreigners. Such issue troubles the companies extremely. Therefore, Phu Ngoc Viet Translation Company undertakes to settle the work permit applications refused in writing.
– Foreigners have resided in Vietnam for over 3 months and have not applied for a work permit.
– According to the regulations, foreigners working in Vietnam for over 3 months must apply for work permits. In fact, beforing applying for work permits, foreigners usually overstay the 3-month limit to get accustomed to the local ways, make arrangements and adapt to the Vietnamese work environment … Three months normally do not suffice if the company does not make advance arrangements by opening a branch or representative office in Vietnam.
– A sudden incident may obstruct you from exiting Vietnam and prolong your stay in over 3 months without a work permit. It is truly difficult to apply for a work permit in this situation. Though being trivial, such situation becomes the main reason of the written refusal of the work permit.
– Though having no prior work permit, you are required to apply for the Criminal Record by Vietnam Department of Justice.
Conflict: Department of Justice provides the criminal record regardless of the foreigners' possession of a work permit. Foreigners are only required to register with the local police for verification to obtain the criminal record. No administrative fine is required. On the other hand, the Department of Labor requires foreigners residing in over 3 months to attain work permits. Such fact confuses foreigners.
We advise that foreigners in such situation should attain the criminal records from overseas.
– Though you have 5 years of working experience, your work permit is refused in writing. Previously, foreigners' 5-year or longer working experience could substitute the university degrees for relevant jobs. Such regulation is removed. The new regulation puts many foreigners in a dilemma as they fail to attain work permits or get refused in writing for work permits.
There are many more refusal situations that you may not be aware of. Such situations cost your time and money but you do not get your work permits – as the work permits are refused in writing.
Why should you employ the work permit servicec by Phu Ngoc Viet?
– Deep knowledge of work permit regulations.
– High sense of responsibility and professional dedication: When we qualify and accept your case, we will strive to have it done through all difficulties.
We wish for your happiness and success in life!


I make it no secret that I really really really love avocados, and I've even referred to avocados as a "lifestyle". So naturally, when I came across the Vida Aguacate website, I was super excited. So excited that I grabbed my Avocados From Mexico and whipped up this Mexican Cobb Salad. Who doesn't love a good salad? When you visit the Vida Aguacate website, be sure to enter for the chance to win a $125 gift card or a selfie stick! The site also has all sorts of tips and recipes for incorporating even more avocado love into everyday life, which makes it very worth checking out.
I know some of you might be thinking of avocados as seasonal, but did you know that Avocados From Mexico are in season year round? You can find them anytime at your local grocery store in the produce section. They're always fresh, always delicious, and always in season and loaded with really really good-for-you natural fats and other nutritional benefits.
When I purchase avocados, I look for fruit with a very slight give, which means I have a day or two before it's fully ripe and ready to use. If I'm shopping a few days before I plan to use the avocados, I look for hard avocados and leave them at room temperature to ripen. Once ripe, I either use them immediately or store them in the refrigerator for up to a week before using. The Vida Aguacate website has great tips for selecting and storing your avocados, too.
After purchasing my Avocados From Mexico and a few other ingredients, I did a little shopping in my garden for inspiration (and lettuce), and decided to get creative and make a basil jalapeno vinaigrette! The sweet spicy combination will compliment the different flavors in the salad perfectly. Tip: Make the dressing a day in advance so salad prep is easy the day you plan to serve. This Mexican Cobb salad makes a beautiful presentation for guests, as well as a simple weekday dinner or al fresco lunch!
Make your salad dressing by pulsing together the ingredients in a small food processor until smooth. Cover and refrigerate until 10 minutes before you are ready to serve the salad.
Heat 1-2 tbsp oil in a grill pan over medium heat while you mix the chicken spices in a small bowl. Sprinkle liberally over both sides of your chicken.
Cook the chicken 3-4 minutes per side until cooked through. Set aside until cool enough to handle, then chop.
Prepare the salad by chopping the lettuce and placing in a large bowl. Arrange the corn, tomato, queso fresco, cilantro, and chopped chicken in parallel lines over the lettuce.
Cut the Avocados From Mexico and place perpendicular to the other ingredients.
When you are ready to serve the salad, drizzle with the jalapeno basil vinaigrette dressing, toss, and enjoy!


text:
Q: how to access xml file? Actually in my website www.musicking.in when the user selects songs one player window will open and that will access the corresponding selected songs xml playlist and the player will play those songs.
actually its working fine. but sometimes the problem is when so many users are accesiing the player not playing the songs selected, either its playing songs previously he selected or nothing.
please help me.
i stored that xml as a file in my root of website.  is there any other options to access that xml which is generated automatically when user select songs.

A: Bug might come from too much people, accessing simultenously the xml file. Try moving the content of your file into your DB.
DB have stuff that handle multiple access and so on.
Try to explain more precisely how your website works, i'm not sure i got it.

A: {My xml file will be generated from the below code}

createElement("playlist");
$dom->appendChild($root);
$root->setAttribute('version', "1");
$root->setAttribute('xmlns', "http://xspf.org/ns/0/");
$rootnext = $dom->createElement("trackList");
$root->appendChild($rootnext);
foreach ($song as $counter) {
    $tokens = ",";
    $tokenized = strtok($counter, $tokens);
// create child element

$song = $dom->createElement("track");
$rootnext->appendChild($song);
$song1 = $dom->createElement("creator");
$song->appendChild($song1);
$text = $dom->createTextNode("www.musicking.in");
$song1->appendChild($text);
$song1 = $dom->createElement("title");
$song->appendChild($song1);
// create text node
$text = $dom->createTextNode($tokenized);
$song1->appendChild($text);
$tokenized = strtok($tokens);
$song1 = $dom->createElement("location");
$song->appendChild($song1);
$text = $dom->createTextNode($tokenized);
$song1->appendChild($text);

}
// save
$dom->save("$FileName.xml");
?>

redpajama_set_name: RedPajamaStackExchange


Montgomery Global (MGIM) would like to welcome a new member to its team, JD Pinto. JD adds to the diverse and complementary set of global experiences of our team of 10.
JD's prior experiences include time at Bridgewater Associates in Connecticut; as well as other investment firms in New York. JD was also a nationally-ranked swimmer in college; and has even recorded his own solo album and has toured around the States delivering live performances.
JD will be based in MGIM's New York office and will be focusing his efforts on sales and client services related to our Montaka strategy in North America.
It is sad. I am working on it.


text:
def load_current_resource
  @owner = new_resource.owner || node.sensu.admin_user
end

action :create do
  unless Sensu::JSONFile.compare_content(new_resource.path, new_resource.content)
    directory ::File.dirname(new_resource.path) do
      recursive true
      owner @owner
      group new_resource.group
      mode 0750
    end

    f = file new_resource.path do
      owner @owner
      group new_resource.group
      mode new_resource.mode
      content Sensu::JSONFile.dump_json(new_resource.content)
      notifies :create, "ruby_block[sensu_service_trigger]", :delayed
    end

    new_resource.updated_by_last_action(f.updated_by_last_action?)
  end
end

action :delete do
  f = file new_resource.path do
    action :delete
    notifies :create, "ruby_block[sensu_service_trigger]", :delayed
  end

  new_resource.updated_by_last_action(f.updated_by_last_action?)
end

redpajama_set_name: RedPajamaGithub


text:
IRS Scandal: Pro-life Groups Were Targets
ourCOG May 20, 2013 9:09 am #ourCOG
On any enemies list compiled by the Obama administration, no doubt pro-lifers would be near the top. Illinois Review reveals today that pro-life groups were targeted by the IRS: Were pro-life groups also a target of the staunchly pro-abortion Obama Administration?
Chicago's Thomas More Society reported first dealing with IRS concerns from pro-life groups as early as 2009. When the Coalition for Life of Iowa sought tax exemption status in 2009, the IRS sought details about the content of members' prayers at a Planned Parenthood facility. They also demanded that the group refrain both from activities that could be construed as protesting or picketing by police, and to cease activities that could be seen as confrontational or harassing by abortion-seeking clients.
Thomas More Society said the IRS insisted that "every member of the board of directors of the Coalition sign a statement, under penalty of perjury, that they will not picket or protest or organize others to picket or protest outside of Planned Parenthood." Soon after the unprecedented demands were made, the Chicago-based public interest law firm made the legal challenge on behalf of the Cedar Rapids, Iowa-based group. Shortly thereafter, the IRS backed off and the group was granted 501(c)3 status.
"The IRS must operate within the constraints of law, and it cannot condition the grant of tax exempt status on the forfeiture or surrender of First Amendment rights on the part of any non-profit group or individual American citizens," Thomas More Society's attorney Thomas Brejcha commented in a 2009 press release. But again two years later, Thomas More Society issued a letter to the IRS on behalf of a group called Christian Voices for Life. The IRS made repeated requests for information about the viewpoint and content of the group's communications, prayer vigils, and other activities, violating the group's First Amendment rights. Go here to read the rest. Anyone who still believes that the IRS was doing this type of activity without explicit instructions from the Obama administration needs to have a crash course in reality. This scandal looks worse with every passing hour.
groups, irs, prolife, scandal, targets
Top 4 groups of average membership age in churches across the nation
Small Groups for Ladies
Bulgarian Churches in North America: The Unrealized Spiritual Harvest as a Paradigm for Cross-Cultural Ministries among Migrant and Disfranchised Ethnic Groups in America Today
5 unanswered questions about the IRS targeting of conservative groups


Abstract: A linkage analysis for finding inheritance states and haplotype configurations is an essential process for linkage and association mapping. The linkage analysis is routinely based upon observed pedigree information and marker genotypes for individuals in the pedigree. It is not feasible for exact methods to use all such information for a large complex pedigree especially when there are many missing genotypic data. Proposed Markov chain Monte Carlo approaches such as a single-site Gibbs sampler or the meiosis Gibbs sampler are able to handle a complex pedigree with sparse genotypic data; however, they often have reducibility problems, causing biased estimates. We present a combined method, applying the random walk approach to the reducible sites in the meiosis sampler. Therefore, one can efficiently obtain reliable estimates such as identity-by-descent coefficients between individuals based on inheritance states or haplotype configurations, and a wider range of data can be used for mapping of quantitative trait loci within a reasonable time.


Explore the power of link building, SEO, content marketing and social media, tailored to cater to your website's exclusive needs – let the experts handle the technical jargon!
and get to the top of Google, without paying a fortune!
Explore the power of link building, with targeted backlinking and focus on authority sites.
Get your responsive website to the top of Google with organic, mobile-oriented SEO.
No guessing! Improve conversions with effective online marketing customized for your website!
Tap the power of social media, engage your customers, and get seen by potential customers.
Optimize your website, retain your visitors, and interact better with your clients on the website!
Taking website branding to the next level!
Gone are times when SEO was just about ranking. We take you to the top of Google, but yes, we are also focused on branding, conversion rate, and tapping into the mobile market!
Redefining how websites are seen on Google!
SEO, online marketing, PPC, social media and more!
Organize business data and gain meaningful insights!
SEO is not just for desktops, we do it for mobile too!
With years in business, ESEO boasts of a team that understands, evaluates and appreciates changes in the world of digital marketing. We have worked with some of the biggest companies in India and beyond, and we are focused on one major aspect – Branding. From data analysis to SEO and social media promotions, we help your business in retaining and gaining clients. Find more as what ESEO can offer for your company, and we would be happy to discuss your requirements in detail. We are also offering fixed packages for our services, and the first consultation session is always free.
Your affordable go-to partner for online marketing, SEO and website optimization: Explore our incredible mix of services!
Keeping tab on your website performance!
Engaging with your audience, maintaining website presence, and responding to feedback are not a matter of choice anymore. Allow us to explore social media handles for your website, as we redefine the way accounts are managed. Get engaged with your existing customers, tap into the potential segments, and create content that generate value – With our comprehensive social media analysis!
Explore what it takes to work with ESEO!
Let's get talking on what you want from your project, and we will get ideas to the table!
Allow our team to come with a concrete internet marketing plan, inclusive of all elements!
We will only start after your nod, and you will have complete control on how we execute the plan!
We will evaluate the performance of your website and our work – get reports and do away with guessing.
Call us immediately to explore our online marketing and SEO services, customized to perfection!
about our approach and how we take websites to the next level on Google and social media.


text:
II. OVERVIEW
A. HIGHLIGHTS
This section summarizes the report's major findings.
At the end of 2017, the OASDI program was providing benefit payments1 to about 62 million people: 45 million retired workers and dependents of retired workers, 6 million survivors of deceased workers, and 10 million disabled workers and dependents of disabled workers. During the year, an estimated 174 million people had earnings covered by Social Security and paid payroll taxes on those earnings. Total expenditures in 2017 were $952 billion. Total income was $997 billion, which consisted of $911 billion in non-interest income and $85 billion in interest earnings. Asset reserves held in special issue U.S. Treasury securities grew from $2,848 billion at the beginning of the year to $2,892 billion at the end of the year.
Short-Range Results
Under the Trustees' intermediate assumptions, Social Security's total cost is projected to exceed its total income in 2018 for the first time since 1982, and remain higher throughout the projection period. Social Security's cost has exceeded its non-interest income since 2010. For 2018, cost for the program is projected to exceed total income by $2 billion and non-interest income by $85 billion. As a result, asset reserves will decline during 2018. Reserves are also projected to decline throughout the remainder of the short-range period.
To illustrate the actuarial status of the Social Security program as a whole, the operations of the OASI and DI funds are often shown on a combined basis as OASDI. However, by law, the two funds are separate entities and therefore the combined fund operations and reserves are hypothetical.
The reserves of the combined OASI and DI Trust Funds along with projected program income are adequate to cover projected program cost over the next 10 years under the intermediate assumptions. The ratio of reserves to annual cost declines from 288 percent at the beginning of 2018 to 137 percent at the beginning of 2027. By remaining at or above 100 percent, the combined OASI and DI Trust Funds therefore satisfy the short-range test of financial adequacy.2 Considered separately, the OASI Trust Fund also satisfies the test, but the DI Trust Fund does not. For last year's report, the Trustees projected that combined reserves would be 287 percent of annual cost at the beginning of 2018 and 148 percent at the beginning of 2027. The combined reserves are projected to decrease from $2,892 billion at the beginning of 2018 to $2,189 billion at the end of 2027.
Long-Range Results
Under the Trustees' intermediate assumptions, OASDI cost is projected to exceed total income throughout the projection period, and the dollar level of the hypothetical combined trust fund reserves declines until reserves become depleted in 2034.3 Figure II.D2 shows the implications of reserve depletion for the combined OASI and DI Trust Funds. Considered separately, the DI Trust Fund reserves become depleted in 2032 and the OASI Trust Fund reserves become depleted in 2034. In last year's report, the projected reserve depletion years were 2034 for OASDI, 2028 for DI, and 2035 for OASI.
The change in the reserve depletion date for DI is largely due to continuing favorable experience for DI applications and benefit awards. Disability applications have been declining steadily since 2010, and the total number of disabled-worker beneficiaries in current payment status has been falling since 2014. For this report, ultimate disability incidence rate assumptions are unchanged from the last report. However, this year's report has lower incidence rates over the first few years of the projection period, and a gradual rise from recent low levels, reaching the ultimate DI incidence rates by the end of the short-range period. In addition, average benefit levels for disabled-worker beneficiaries were lower than expected in 2017, and are expected to be lower in the future. Disabled-worker average benefit levels were somewhat elevated in 2011 through 2016 due to reduced numbers of hearings decisions (where monthly benefit levels tend to be relatively low), as the number of applicants awaiting a hearing increased. In 2017, hearings decisions increased, thus restoring a more normal, and somewhat lower, average benefit level for disabled workers newly awarded benefits in 2017. See page 38 for more details on these changes in DI projections. These changes, which are partially offset by lower payroll tax revenue in the near term, are primarily responsible for the change in the DI reserve depletion date from early in 2028 in last year's report to late in 2032 in this year's report.
Projected OASDI cost increases more rapidly than projected non-interest income through 2039 primarily because the retirement of the baby-boom generation will increase the number of beneficiaries much faster than the number of covered workers increases, as subsequent lower-birth-rate generations replace the baby-boom generation at working ages. From 2040 to 2052, the cost rate (the ratio of program cost to taxable payroll) generally declines because the aging baby-boom generation is gradually replaced at retirement ages by subsequent lower-birth-rate generations. Thereafter, increases in life expectancy cause OASDI cost to increase generally relative to non-interest income, but more slowly than between 2010 and 2039.
The projected OASDI annual cost rate increases from 13.81 percent of taxable payroll for 2018 to 16.83 percent for 2039 and to 17.68 percent for 2092, a level that is 4.32 percent of taxable payroll more than the projected income rate (the ratio of non-interest income to taxable payroll) for 2092. For last year's report, the Trustees estimated the OASDI cost for 2092 at 17.84 percent, or 4.53 percent of payroll more than the annual income rate for that year. Expressed in relation to the projected gross domestic product (GDP), OASDI cost generally rises from 4.9 percent of GDP for 2018 to about 6.1 percent by 2038, then declines to 5.9 percent by 2052, and then generally increases to 6.1 percent by 2092.
For the 75‑year projection period, the actuarial deficit is 2.84 percent of taxable payroll, increased from 2.83 percent of taxable payroll in last year's report. The closely-related open group unfunded obligation for OASDI over the 75-year period is 2.68 percent of taxable payroll, increased from 2.66 percent of payroll in last year's report. The open group unfunded obligation for OASDI over the 75‑year period is $13.2 trillion in present value and is $0.7 trillion more than the measured level of $12.5 trillion a year ago. If the assumptions, methods, starting values, and the law had all remained unchanged, the actuarial deficit would have increased to 2.88 percent of taxable payroll, and the unfunded obligation would have risen to about 2.72 percent of taxable payroll and $13.1 trillion in present value due to the change in the valuation date. The remaining changes in the actuarial deficit and the unfunded obligation are due to the combined effects of changes in the law, methods, starting values, and assumptions.
To illustrate the magnitude of the 75-year actuarial deficit, consider that for the combined OASI and DI Trust Funds to remain fully solvent throughout the 75-year projection period: (1) revenues would have to increase by an amount equivalent to an immediate and permanent payroll tax rate increase of 2.78 percentage points4 to 15.18 percent, (2) scheduled benefits would have to be reduced by an amount equivalent to an immediate and permanent reduction of about 17 percent applied to all current and future beneficiaries, or about 21 percent if the reductions were applied only to those who become initially eligible for benefits in 2018 or later; or (3) some combination of these approaches would have to be adopted.
If substantial actions are deferred for several years, the changes necessary to maintain Social Security solvency would be concentrated on fewer years and fewer generations. Much larger changes would be necessary if action is deferred until the combined trust fund reserves become depleted in 2034. For example, maintaining 75-year solvency with changes that begin in 2034 would require: (1) an increase in revenues by an amount equivalent to a permanent 3.87 percentage point payroll tax rate increase to 16.27 percent starting in 2034, (2) a reduction in scheduled benefits by an amount equivalent to a permanent 23 percent reduction in all benefits starting in 2034, or (3) some combination of these approaches would have to be adopted.
Under the intermediate assumptions, DI Trust Fund asset reserves are projected to become depleted in 2032, at which time continuing income to the DI Trust Fund would be sufficient to pay 96 percent of DI scheduled benefits. The OASI Trust Fund reserves are projected to become depleted in 2034, at which time OASI income would be sufficient to pay 77 percent of OASI scheduled benefits.
The Trustees also project that annual cost for the OASDI program will exceed total income (including interest) throughout the projection period under the intermediate assumptions. The projected hypothetical combined OASI and DI Trust Fund asset reserves become depleted and unable to pay scheduled benefits in full on a timely basis in 2034. At the time of depletion of these combined reserves, continuing income to the combined trust funds would be sufficient to pay 79 percent of scheduled benefits. Lawmakers have a broad continuum of policy options that would close or reduce Social Security's long-term financing shortfall. Cost estimates for many such policy options are available at www.ssa.gov/OACT/solvency/provisions/.
The Trustees recommend that lawmakers address the projected trust fund shortfalls in a timely way in order to phase in necessary changes gradually and give workers and beneficiaries time to adjust to them. Implementing changes sooner rather than later would allow more generations to share in the needed revenue increases or reductions in scheduled benefits and could preserve more trust fund reserves to help finance future benefits. Social Security will play a critical role in the lives of 63 million beneficiaries and 175 million covered workers and their families during 2018. With informed discussion, creative thinking, and timely legislative action, Social Security can continue to protect future generations.
The definitions of "benefit payments" and other terms appear in the Glossary.
The test of short-range financial adequacy for a trust fund is met if (1) the estimated trust fund ratio is at least 100 percent at the beginning of the period and remains at or above 100 percent throughout the 10-year short-range period or (2) the ratio is initially less than 100 percent, reaches at least 100 percent within 5 years (without reserve depletion at any time during this period) and remains at or above 100 percent throughout the remainder of the 10-year short-range period.
Combined trust fund reserves are clearly hypothetical after one fund becomes depleted, because under current law the funds cannot borrow from each other. For example, if the DI Trust Fund reserves were to become depleted in 2032 as is currently projected, the operations of the OASI and DI Trust Funds, shown in this report on a hypothetical combined basis, would not reflect the aggregated operation of the OASI Trust Fund and the DI Trust Fund because part of the DI benefits could not be paid without a change in the law. Implicitly, the values shown for the hypothetical combined trust funds assume the law will have been changed to permit the transfer of resources between funds as needed.
The necessary tax rate of 2.78 percent differs from the 2.84 percent actuarial deficit for two reasons. First, the necessary tax rate is the rate required to maintain solvency throughout the period that does not result in any trust fund reserve at the end of the period, whereas the actuarial deficit incorporates an ending trust fund reserve equal to 1 year's cost. Second, the necessary tax rate reflects a behavioral response to tax rate changes, whereas the actuarial deficit does not. In particular, the calculation of the necessary tax rate assumes that an increase in payroll taxes results in a small shift of wages and salaries to forms of employee compensation that are not subject to the payroll tax.
SSA Home | Privacy Policy | Website Policies & Other Important Information | Site Map | Actuarial Publications June 5, 2018


text:
Top 100 Album Review: #15 – Are you Experienced, Jimi Hendrix (1967)
August 7, 2018 The Top 100 Reviews Album Reviews Leave a comment
What Can Jimi Not Do?
A debut album that show cases the wide range of Hendrix's talents — guitar riffs, thoughtful lyrics, original compensations.
Rolling Stone's Ranking: #15/100
Another example of me listening to the original album when I knew the greatest hits, "Are You Experienced" is a reminder that there is plenty hidden in the full record.
I had previously listened to Ray Charles' Atlantic R&B Collection and Little Richard's Eponymous album, and I can't help but see the continuation of what was becoming a 20 year project: taking the foundations of music and twisting in ways never done before.
Jimi Hendrix's use of guitar sends you to an incorporeal place, being left in awe of his mastery of the instrument. His interpretation of R&B, gospel, jazz, rock, and soul might be the best attempt yet.
The track listing for this album can be a little funky. Originally it was just 11 songs, but it was released differently in the UK vs. USA with tracks switched out and moved around. Now it has been remastered with additional songs at the end, rounding it out to 17. These additional tracks fit seamlessly into the project, it just makes it hard to discern what actually should be considered his debut album.
[best hidden gem.] May This Be Love
While starting off a little psychedelic, it ends in a minutes long guitar solo with soft drum backing. The style is dreamy, and I wouldn't have pegged it as a Jimi composition if I heard it out of context. As someone who listens to chill/new-age/instrumental background music while writing, the back end of this track fits perfectly into an entire genre of music that came 40 or 50 years after this recording.
[best track.] Wind Cries Mary
His mellow work I think is his best; it instantly sends you to another dimension, hitting the right spots before you return to earth. "The Wind Cries Mary" is in this vein — a pastoral, down to earth song that enriches your soul. Somehow Jimmy turned the electrical guitar, known for his rockin' out, to one of the softest instruments available.
The album isn't short on the rockers either though: Purple Haze, Maniac Depression, Fire, and Third Stone From the Sun all provide plenty of jamming, hippie hits that are edgier and provide a bit more thump.
Jimi wasn't just good a jamming on the guitar, he was also able to write some lyrics that had the hippie symbolism of nature, thoughts and ideas but transcended above the gibberish, word salad seen often from this generation (See: Forever Changes by Love)
"Waterfall, don't ever change your ways.
Fall with me for a million days,
Oh, my waterfall."
"Manic Depression's touching my soul,
I know what I want,
but I just don't know how to go about getting it."
"A broom is drearily sweeping up the broken pieces of yesterdays life
Somewhere a queen is weeping
Somewhere a king has no wife."
Are You Experienced is simply awesome; it's a unique style continuing the transition that started with the forefathers of rock n' roll in the 50s. With Jimi's unworldly guitar skills and poignant lyrics, he is the zenith of the hippie movement, putting all the pieces together.
albumAlbum reviewAre you Experienced?Classic RockGuitarHippieJimi Hendrixlittle richardMay This Be LovePurple HazeRay CharlesRockRock n' rollRolling StoneTop 100Wind Cries Mary
Previous Post: Top 100 Album Review: #50 – Here's Little Richard, Little Richard (1957)
Next Post: Top 100 Movie Review: #94 – GoodFellas (1990)


Preview, buy, and download songs from the album The Swag Song - Single, including" The Swag Song". Buy the album for $0. 99. Songs start at $0. 99. Jus Reign - The Punjabi Christmas Album (Feat.
Babbu& Mickey Singh) mp3 Duration: 03: 19 min | Quality: Good Download Geeta Brothers Duet Group presenting for you. The OFFICIAL Punjabi Christmas Album Hits 2013.
All of your favourite Christmas songs, sung in the most beautif. Jus Reign The Punjabi Christmas Album Feat Babbu And Mickey Singh. Play and download Jus Reign The Punjabi Christmas Album Feat Babbu And Mickey Singh Mp3 punjabi christmas album. full album. full songs. from last year. and new songs from this year. releasing tomorrow. get excited ladies and guys. Listen to Jus Reign | SoundCloud is an audio platform that lets you listen to what you love and share the sounds you create.
4 Tracks. 8829 Followers. Stream. Desi Parents and BIRTHDAYS Various Desi Parents and BIRTHDAYS Free Download. 82 Views(). Q ft Kanye West punjabi version by Jus Reign. Christmas Album:. Mp3 Music Download Jingle Bells - Geeta Brothers (Produced By Dr. Zeus) Mp3, Hero - Jingle Bells Mp3, Hero - Jingle Bells Mp3, # interbells - Inter Christmas Song 2017 🎤 🎅 (English Subtitles) Mp3, 🎅 Jingle Bells | Christmas Carols | Christmas Songs Collection From Dave And Ava 🎅 Mp3, The Little Drummer Boy is a popular Christmas song written by the American classical music.
. available as a limited CD and download* Heavy Blinkers featuring Jenn Grant released an alternative look at the song. by Canadian YouTube personality Jus Reign for his Geeta Brothers Presents - Punjabi Christmas Album.
The Punjabi Christmas Album 3 - Duration: 6: 45. JusReign 378, 590 views. 6: 45. 50+ videos Play all Play now; Mix - The PUNJABI Christmas Album 2 YouTube;. The latest Tweets from Jasmeet Raina (@JusReign). not a politician. Toronto Buy Jus Reign Tickets for all Live Concert in US& Canada. Find Jus Reign Tour Dates 2018, Jus Reign Concerts Schedule, Book Online Jus Reign Events.
Also get Live in Concert Details and Reviews on TicketHungama. com. Play and Listen Jus Reign The Punjabi Christmas Album Feat Babbu And Mickey Singh Mp3 punjabi christmas album. full album. full songs. from last year. and new songs from this year.
releasing tomorrow. get excited ladies and guys. ITS FINALLY OUT. THE PUNJABI CHRISTMAS ALBUM PART 3. The Geeta Brothers take some of your favourite traditional christmas songs and convert them. Free Mp3 Song Lyric Jingle Bell Jus Reign Mp3 Download Vipkhan Mp4 Download, Lyric Song Lyric Jingle Bell Jus Reign Mp3 Download Vipkhan Mp4 Chord Guitar, Free Ringtone Song Lyric Jingle Bell Jus Reign Mp3 Download Vipkhan Mp4 Download, and Get Song Lyric Jingle Bell Jus Reign Mp3 Download Vipkhan Mp4 Hiqh Qualtiy audio from Amazon, Spotify, Deezer, Itunes, Google Play, Youtube.
Jus Reign The Punjabi Christmas Album Feat Babbu And Mickey Singh Play and Listen Jus Reign The Punjabi Christmas Album Feat Babbu And Mickey Singh Mp3 0 plays 3: 18 3. 03 MB Punjabi Jus Reign The Punjabi Christmas Album Feat Babbu And Mickey Singh.
Play and Listen Jus Reign The Punjabi Christmas Album Feat Babbu And Mickey Singh Mp3. 0 plays 3: 18 3. 03 MB Punjabi. Play Download Ringtone. you can download Punjabi Christmas Mp3 Song Mp3 in first result. SUBSCRIBE. TWITTER: FACEBOOK:. https: // COMMENT. Punjabi Christmas Download Free Mp3 Song. Punjabi Christmas Album Hits Medley -JusReign (feat. Mickey Singh, J Statik& Randy J) mp3.
Jus Reign - The Punjabi. Download Video For Rumors Ft Fateh, Jus Reign Song Detail: - rumors The Prophec, rumors the prophec lyrics. The Prophec is a famous Singer and Famous for The Latest Album The Lifestyle by The Prophec. Jus Reign The Punjabi Christmas Album Feat Babbu And Mickey Singh. Play and download Jus Reign The Punjabi Christmas Album Feat Babbu And Mickey Singh Mp3 Play: 0 - Duration: 3: 18 - Size: 3.
03 MB - Filetype: Mp3 - Bitrate: 192 Kbps. Play Download. Bibi Amina Da Aya Sohna Laal New Punjabi Naat By Usman Ubaid Qadri New Album 2015. Music Mickey Singh Lyrics Mickey Singh. Chimney Vich Full HD 1080P Video Song. Chimney Vich Mickey Singh Ft Jus Reign Babbulicious Video Download. Chimney Vich New punjabi Video song by the artist Mickey Singh. Te Christmas din oh ban geya si. Oh mere ki gift box kholdi si Main ohde wrapping paper paadh da si.
Jus Reign& Babbu at Red FM Vancouver with Harjinder Thind. YouTube sensation JusReign and co-comedian Babbu are all set to treat Vancouver with their. YouTube sensation JusReign and co-comedian Babbu are all set to treat Vancouver with their classic Christmas parody album, 'A Very Punjabi Christmas Jus Reign Download Free Mp3 Song. Growing Up with Punjabi School mp3 Quality: Good. Jus Reign - The Punjabi Christmas Album (Feat. Babbu& Mickey Singh) mp3 Play and Listen Jus Reign The Punjabi Christmas Album Feat Babbu And Mickey Singh Mp3 Play and Listen Jus Reign The Punjabi Christmas Album Feat Babbu And Mickey Singh Mp3.


text:
St. Louis Cardinals offseason 2013
What will the St. Louis Cardinals do with Jim Edmonds?
The St. Louis Cardinals could be expanding Jim Edmonds's role with the organization in 2013. What do they plan on doing with him?
By Dan Moore Nov 5, 2012, 8:01am CST
Share All sharing options for: What will the St. Louis Cardinals do with Jim Edmonds?
Shortly after the news that Mark McGwire would be leaving as hitting coach broke, the St. Louis Cardinals fans at Viva El Birdos began speculating about who would replace him. And because they're at VEB (we sponsor his Baseball Reference page, donchaknow), the conversation naturally turned toward Jim Edmonds. The logical replacement has always been John Mabry, and since word of the McGwire exit first came he's only become a more likely candidate. But shortly afterward came this news from local Cryptic Tweeter Joe Strauss:
There have been discussions about Edmonds expanding role with Cards. Could mean more time in camp. Could mean something else.
— Joe Strauss (@JoeStrauss) November 3, 2012
Which is exciting news for anybody who remembers the 2004 NLCS, or just likes baseball players who are particularly fun to watch. Assuming it's "something else," what, exactly, would Jim Edmonds do in the Cardinals' organization?
It's hard to say, if only because he seems like a natural fit as—well, hitting coach. Edmonds was a light-hitting seventh-rounder when he began his professional career, but as he developed, in the minors and majors, he moved to that distinctive, idiosyncratic uppercut swing and developed the plate discipline to walk 998 times in 2011 career games.
It looked odd—the stationary feet, the shrug backward, the long swing—but it was the work of someone who clearly loved hitting, and knew it well enough to remain a potent slugger until his body failed him at 41. His ability to gauge pitchers was always a topic-of-choice among the broadcasters, too; he was always given credit for noticing when pitchers, on the Cardinals or elsewhere, were tipping pitches.
Of course, he was also able to translate average speed into excellent outfield play into his late thirties, when most center fielders have long-since been moved to a corner. So it could just be that he's being brought in to teach Matt Holliday how to handle that play where the shortstop backs onto the outfield grass and he needs to be charging it instead of backing off...
St. Louis Cardinals coaching staff changes as Mike Matheny settles in
Martinez hired away from Cards by Astros
Jim Edmonds tabbed for bigger role—but doing what?
John Mabry a candidate to be Cards hitting coach


text:
Established in 2001 by 18 year-old Anthony Furey, the Paprika Festival has evolved in its vision and scope significantly. The young Mr. Furey approached former Artistic Director of Tarragon Theatre, Urjo Kareda, with the idea of creating a festival that showcased work created entirely by young people. In March 2002, the first Paprika Festival showcased five new plays created by artists 21 and under.
Since its inception, Paprika has introduced exciting new initiatives to respond to the needs of young creators. This included the "Inter/national Project," programmed in 2005 under the guidance of Artistic Producer Natasha Mytnowych; and, the "Oasis Alternative Artists Lab" and the "After-School Artists Lab" in 2006. In 2007, Artistic Producer Tessa King programmed the first "Creators Unit," which was created with the intent to support the development of new film, visual art, and spoken word projects. The Creators Unit continued as part of Paprika's core programming after King's departure in 2008, at which time Julia Lederer stepped into the role of Interim Artistic Producer.
Rob Kempson became the Artistic Producer in 2009. The company continued to change in response to the needs of the youth arts community. In the 2012/2013 season, Kempson, with the facilitation of Rosamund Small, piloted the Advisory Board – now known as the Festival Administrators. This new program provided the opportunity for participants to receive insight and mentorship in the administrative responsibilities of an arts organization. At this point, Paprika became a Company-in-Residence at Theatre Passe Muraille, providing a home-base for the company, its staff, and participants. The 2012/2013 season also saw the introduction of Paprika's first General Manager, Katherine Devlin, noting a priority to stabilize the organization's operations.
During his tenure as Artistic Producer between 2013-2015, Dan Daley launched a community arts initiative, an expansion of the Paprika Productions program, and the presentation of both national and international young artists. In 2015, Artistic Programs Manager Rosamund Small developed and curated Paprika's inaugural Intersection conference – a day of workshops, debates and roundtables on issues and topics relevant to emerging artists.
The 2015/2016 season, led by Artistic Producer Darwin Lyons and General Manager Michelle Yagi, introduced a new partnership with Native Earth Performing Arts, a renewed focus on community arts engagement, and a strategic plan for Paprika's future.
In 2017, General Manager Leslie McCue introduced the first Indigenous Arts Program, intended to provide young and emerging Indigenous artists a platform to develop new work while connecting with the broader Indigenous arts community. In 2018, Leslie McCue and Artistic Producer Ali Joy Richardson engaged in a 7-month long strategic planning process led by Jane Marsland to create a new trajectory for the company's operations and programming focused on decolonizing practices and increasing accessibility.
In 2018, Daniel Carter started his tenure as General Manager and, alongside Ali Joy Richardson, looks forward to finding solutions to improving Paprika's working environment for both its staff and participants.
In our 18 seasons to date we have supported the artistic work of over 1,000 individuals and launched over 100 professional careers.
We have grown from a Festival of five short plays to a Festival with year-round programming featuring a diversity of productions, playwrights-in-residence, a resident company, a creators' unit, a youth advisory board, a cabaret series, ongoing mentorship, monthly training days and a vibrant connection to the professional arts community.
Paprika Festival is a youth-led professional performing arts organization. We run year round professional training and mentorship programs that culminate in a performing arts festival of new work by young artists.
—We generate opportunities for young artists to lead their own creative process with the support of their peers and professional mentors.
—We set the stage for young artists to have their voices heard in a setting that is supportive and also dependent on critical response.
—We ensure that young artists are well equipped to find employment in diverse cultural industries and to become our successors.
We value barrier free access to our programs. Our programs are free-of-charge and are inclusive to peoples of all origin, faith, mobility, economic status, sexual orientation, and any other equity-seeking group. We create a space where all voices are heard and valued equally.
We aim to create a space where a diverse group of young people can work with like-minded peers, take artistic and personal risks, and meet collaborators within a safe and supportive environment. Through our mentorship-based training programs we connect participants to the larger Canadian Theatre ecology.
Artistic Development
We give youth the responsibility of being treated like professionals. Paprika gives their participants the autonomy to create new work that is their own, while giving them the tools, training and mentorship to push their artistic skills as far as they will go. We provide an opportunity for youth to be leaders, and we ensure that young artists are well equipped to find employment in diverse cultural industries and to become our successors.
We pride ourselves on being an entirely youth-run organization, focused on serving emerging artists. We strongly believe that young people are willing and able to take on leadership roles as they continue to learn and grow in their artistic work, in their careers and in their communities.
– To create opportunities for young people to connect with their peers in an authentic way in the creation of the performing arts.
– To create meaningful connections with artistic mentors who are invested in the future generation of young professionals.
– To empower young people with the confidence, artistic freedom and leadership skills necessary to grow and succeed in the arts
– To generate a supportive yet rigorous community that inspires young people to create the highest caliber of artistic work.
– To bring a generation of young leaders into our cultural industry as practitioners, social entrepreneurs and advocates for social change through art.
// MANIFESTO 2019 –
Click HERE to view in a new tab!
© 2019 Paprika Festival. Site by OX.


text:
Q: Uncaught TypeError: Object # has no method 'exec' at file:///android_asset/www/index.html
*

*using PhoenGap 2.2.0

*Executed \bin\create C:\Temp\Test com.test Test

*Had following output

Microsoft (R) Windows Script Host Version 5.8
      Copyright (C) Microsoft Corporation. All rights reserved.

Creating new android project...
Building jar and js files...
Copying template files...
Copying js, jar & config.xml files...
Copying cordova command tools...
Updating AndroidManifest.xml and Main Activity...

*

*Imported Project

*
*

*On eclipse (4.2.0) did

*
*

*File > New > Project > Android > Android Project from Existing Code

*
*

*Selected the folder C:\Temp\Test

*
*

*Checked "Copy project into workspace"

*Making changes

*
*

*Checked res\xml\config.xml and the line <plugin name="Notification" value="org.apache.cordova.Notification"/> is present

*
*

*Checked that index.html has the cordova-2.2.0.js included

*
*

*Case#1 Opened index.html and modified from

<script type="text/javascript">
       app.initialize();
</script>
to
<script type="text/javascript">
function showAlert(msg){
navigator.notification.alert(msg);
}
document.addEventListener("deviceready", showAlert('You are the winner!'), false);
app.initialize();
</script>

I get following error
11-25 10:29:58.399: E/Web Console(14604): Uncaught TypeError: Cannot call method 'alert' of undefined at file:///android_asset/www/index.html:40

*

*
*

*Case#2 Opened index.html and modified from

<script type="text/javascript">
    app.initialize();
</script>
to
<script type="text/javascript">
function successAlert(){}
function errorAlert(){}
function showAlert(msg){
cordova.exec(successAlert, errorAlert, "Notification","alert", [msg]);
}
document.addEventListener("deviceready", showAlert('You are the winner!'), false);
app.initialize();
</script>

I get following error
11-25 10:25:06.575: E/Web Console(14149): Uncaught TypeError: Object #<Object> has no method 'exec' at file:///android_asset/www/index.html:42
}
I'm sure that I missed something...just that I'm not able to conclude what is it. Please help me out.

A: This will call showAlert immediately, instead of delaying to when the event fires:
document.addEventListener("deviceready", showAlert('You are the winner!'), false)

Instead do this
document.addEventListener("deviceready", function() {
    showAlert('You are the winner!')
}, false)


Beer number 2 was from a style that I am always on the lookout for, but isn't brewed by too many brewers: the Wee Heavy Scottish Ale.
REED'S WEE HEAVY is a Scottish Ale/Wee Heavy. It has a caber tossing 9% ABV.


text:
Феликс Виктор Бирх-Ги́ршфельд (; 2 мая 1842, Рендсбург — 19 ноября 1899, Лейпциг) — немецкий патолог, с 1885 года профессор патологической анатомии в Лейпцигском университете и директор Патологического института там же.

Бирх-Гиршфельд обучался в Лейпцигском университете у Карла Вундерлиха и Эрнста Леберехта Вагнера. В 1885 году сменил Юлиуса Фридриха Конгейма на должности заведующего кафедрой патологической анатомии в Лейпцигском университете.

Бирх-Гиршфельд внёс большой вклад в области бактериологии, специализировался на изучении туберкулёза. В качестве представителя Лейпцигского университета в 1891—1900 годах являлся депутатом первой палаты саксонского ландтага.

Бирх-Гиршфельд был членом гамбургской масонской ложи Ferdinand zum Felsen, затем дрезденской ложи Zum goldenen Apfel.

Сын Феликса Виктора Бирх-Гиршфельд Артур — профессор офтальмологии в Кёнигсбергском университете.

После его смерти на должности заведующего кафедрой патологической анатомии в Лейпцигском университете работал Маршан, Феликс.

Труды
 «Lehrbuch der pathol. Anatomie» (5 изд., Лпц., 1896),
 «Die Skrofulöse u. Affektionen der Lymphdrüsen» (в учебнике Цимсена, т. XIII, 1879),
 «Die Krankheiten der Leber und der Milz» (в многотомном издании Карла Гергарда «Handbuch der Kinderkrankheiten», 1880),
 «Grundriss der allgemeinen Pathologie» (Лпц., 1892). Последний труд переведён на русский язык.

Примечания

Литература

Бактериологи Германии
Патологоанатомы Германии
Патологи Германии
Похороненные на Южном кладбище (Лейпциг)
Масоны Германии

redpajama_set_name: RedPajamaWikipedia


text:
Leveraging a tidal change: Woodford Sheppard Architecture
Jun 3 • Architects, Atlantic Canada, Rural • 2772 Views • Comments Off on Leveraging a tidal change: Woodford Sheppard Architecture
By Phil Roberts…
Black Spruce Corporate Campus in Paradise, Newfoundland. View Across Public Quad Towards Amenity Space
As the first new architectural practice to have opened in Newfoundland in ten years, Woodford Sheppard Architecture is benefiting from the Atlantic province's change of fortune. Chris Woodford and Taryn Sheppard opened their St. John's-based studio at a time when Newfoundlanders seem ready to capitalize on that change, in numerous ways.
After suffering for decades with an underperforming economy and a constant exodus, offshore oil reserves have made Newfoundland one of the richest provinces in Canada. With a population that is increasing for the first time in almost 50 years, Newfoundlanders are optimistic about the future. "The 'you can't do that in Newfoundland' way of thinking is evaporating with new entrepreneurs in Newfoundland," says Chris.
In terms of the built environment, this has meant a willingness on the part of municipalities to break traditional moulds and be explorative. "St. John's is the only urban centre and it wants to preserve its heritage," describes Chris. "But the smaller towns in the rest of the province are looking to change their image."
There are not many large scale projects in Newfoundland, so clients turn to smaller practices willing to take on projects of $3 million or less. Most practices in Newfoundland are purchased by mainland firms, something that Chris and Taryn have managed to avoid.
"We couldn't see ourselves working for someone else," says Taryn. "Having the freedom to approach projects the way we want is important to us." Whereas established firms sometimes fail to take advantage of the topography of Newfoundland, Chris and Taryn borrow from the climate of their context.
"We try to make use of the rugged nature of the Newfoundland coastline, our high wind loads, high snow loads, and find an aesthetic in those details," explains Taryn. This is especially true in the rural areas of the province that see an abundance of precipitation.
The East Coast Trail on Newfoundland's Avalon Peninsula, is one such area that could see a luxurious addition. The Avalon Peninsula, the most eastern part of Canada, could become more enjoyable with the inclusion of 'glamping', a concept of off the grid luxury hospitality in wooded areas. The client behind the project wants the hotel room size glamping units placed along the trail as added amenities.
Glamping the Avalon Peninsula
Chris and Taryn see the units as visual markers on the landscape, improving the hiking experience. The units will also provide comfortable protection from the sometimes unmerciful climate and coarse landscape. The rocky coast with the fishing shack is an iconic image in Newfoundland, a historical model from which they borrow to encourage people to hike.
In the St. John's suburb of Paradise, they proposed a corporate live-work campus for an offshore oil company, that would preserve nearby existing wetlands as an amenity for the workers. Paradise is one of the fastest growing communities in the country, but it is developing with little concern to mass transit or wetland conservation.
The corporate campus would seek to be an example for how the natural aspects of Newfoundland can be enjoyed, even in a corporate setting. The idea is to let the natural setting be a respite for the employees, and reduce the feeling of seclusion prevalent in many corporate campuses.
Circulation Plan
View of the Proposed Corporate Campus
View of Conference / Break-Out Spaces and Wetland Conservation Area
View from Brook Showing Pedestrian / Bicycle Paths and Bridges
View from Public Parking Space
View Offce Tower Across Public Quad
View Towards Offce Tower / Public Quad Down Entry Boulevard
In a province that has no school of architecture, practices like Woodford Sheppard Architecture are well positioned to teach the public how the built environment should complement the beauty of their province. "A lot of the questions that have been debated in architecture schools across Canada for decades are only now being debated in Newfoundland," says Chris.
With Newfoundlanders returning to the 'Rock', and the arrival of temporary workers for the offshore oil sector, issues concerning master planning and density are influencing the province's development.
Taryn believes that despite the lack of familiarity in dealing with a building boom, there's still a way to get people to enjoy the architecture of their communities. "We just try to encourage an appreciation for the natural landscape of Newfoundland."
Phil Roberts is the creator of sixty7 Architecture Road.
All images courtesy of Woodford Sheppard Architecture.
Sustainabilityurban spaces
TELUS Garden — Vancouver
Menkès Shooner Dagenais Letourneux Architectes wins the Award of Excellence at the 2016 Durabilys Gala
Atelier VAP's Proposal For Montréal's Place Jacques-Cartier
« Wondrous bewilderment, designed for class Toronto named Intelligent Community of 2014 »


text:
Q: Replace NA using a vector of column names I have a data frame with columns containing NAs which I replace using replace_na. The problem is these column names can change in the future so I would like to put these column names in a vector and then use the vector in the replace_na function. I don't want to change the entire data frame in one go, just specified columns. When I try this as below, the code runs but it doesn't change the data frame. Can anyone suggest any edits to the code?
library(tidyverse)
col1<-c(9,NA,25,26,NA,51)
col2<-c(9,5,25,26,NA,51)
col3<-c(NA,3,25,26,NA,51)
col4<-c(9,1,NA,26,NA,51)

data<-data.frame(col1,col2,col3,col4, stringsAsFactors = FALSE)

columns<-c(col1,col2)

data<-data%>%
  replace_na(list(columns=0))

A: A dplyr option:
columns <- c("col1" ,"col2")

dplyr::mutate(data, across(columns, replace_na, 0))

Returns:
  col1 col2 col3 col4
1    9    9   NA    9
2    0    5    3    1
3   25   25   25   NA
4   26   26   26   26
5    0    0   NA   NA
6   51   51   51   51

A: Another option would be using coalesce inside map_at:

*

*at argument in map_at can be a character vector of column names that you would like to modify

*We then use coalesce function to specify the replacement of NAs

library(dplyr)
library(purrr)

data %>%
  map_at(c("col1","col2"), ~ coalesce(.x, 0)) %>%
  bind_cols()

# A tibble: 6 x 4
   col1  col2  col3  col4
  <dbl> <dbl> <dbl> <dbl>
1     9     9    NA     9
2     0     5     3     1
3    25    25    25    NA
4    26    26    26    26
5     0     0    NA    NA
6    51    51    51    51

A: columns value should be string, you can then use is.na as -
columns<-c("col1","col2")

data[columns][is.na(data[columns])] <- 0
data

#  col1 col2 col3 col4
#1    9    9   NA    9
#2    0    5    3    1
#3   25   25   25   NA
#4   26   26   26   26
#5    0    0   NA   NA
#6   51   51   51   51

Or using tidyverse -
library(dplyr)
library(tidyr)

data <- data %>% mutate(across(all_of(columns), replace_na, 0))


text:
Le mot lunule est employé dans plusieurs domaines avec différentes significations :

 en anatomie, la lunule est la tache claire circulaire située sur la base de chaque ongle de l'être humain ;
 en géométrie, une lunule est une portion de plan délimitée par deux cercles non concentriques de rayons différents, formant un ménisque en forme de croissant de lune, et une lunule sphérique désigne une portion de sphère délimitée par deux demi-grands cercles ;
 en archéologie, une lunule est une parure de cou qui affecte la forme d'un croissant de lune formé par deux cercles non concentriques, fréquente pendant la Protohistoire sur la façade atlantique et dans les Îles britanniques ;
 en zoologie :
 lunule désigne un papillon de nuit ;
 lunule est une surface déprimée sur la valve de chez certains Bivalves ;
 lunule est une perforation dans le squelette d'un oursin plat (Scutelloida).
 dans la religion chrétienne, la lunule ou lunette est la monture circulaire ouvrante, en métal doré ou argenté, sertissant deux disques de verre entre lesquels on place une hostie consacrée, en vue de l'exposition sur un ostensoir (pièce d'orfèvrerie ouvragée composée d'un pied et de l'espace destiné à recevoir la lunule).
 dans le domaine de l'automobile, le nom lunule désigne le tableau de bord de la Citroën CX.
 dans le domaine de l'alpinisme, de l'escalade, ou du canyoning, la lunule est un « trou débouchant » percé dans la roche ou dans la glace, créé de manière naturelle ou artificielle, permettant, en y introduisant une cordelette, de créer un point d'ancrage. Lorsqu'il est fait en glace, il s'appelle aussi abalakov.


text:
Q: Bind content child to form Is there a way to bind a projected template (ContentChild) to the form defined on the child i.e. add formControlName once rendered?
Struggling to know what to search for online as I may be using the wrong search terms.
Non projected example - this works
I have a form array (a particular example) below hooked up to a control value accessor,
The component has form group of type FormGroup<{ formArray: FormArray<{ formControl : FormControl }> }
but on value changes I emit just the array of values i.e. formValue.formArray.map(v => v.formControl)
So formArray and formControl are just holding names internally on the component.
Particular example
<fieldset [formGroup]="formGroup">
    <legend>Paving runs (minimum 1)</legend>

    <ng-container formArrayName="formArray">
        <fieldset *ngFor="let frmGrp of formGroup.controls.formArray.controls; let i = index">
            <legend>Paving run</legend>

            <ng-container [formGroup]="frmGrp">
                <!-- what I want to project in a reusable version-->
                <paving-run-form
                    formControlName="formControl">
                </paving-run-form>
            </ng-container>

            <button (click)="remove(i)">Delete run</button>
        </fieldset>
    </ng-container>

    <button (click)="add()">Add run</button>
</fieldset>

This is fairly standard and works but now I'm trying to create a reuseable component version of this.
So that I can do something like:
<generic-form-array formControlName="paved_runs" [labels]="labels">
    <ng-template editMode>
        <paving-run-form></paving-run-form>
    </ng-template>
</generic-form-array>

where labels is in this case would be
@Input() labels: GenericFormArrayOptions = {
    legendMany: "Paving runs (minimum 1)",
    legendOne: "Paving run",
    deleteOne: "Delete run",
    addOne: "Add run",
}

Projected example - what I've tried
<fieldset [formGroup]="formGroup">
    <legend>{{ labels.legendMany }}</legend>

    <ng-container formArrayName="formArray">
        <fieldset *ngFor="let frmGrp of formGroup.controls.formArray.controls; let i = index">
            <legend>{{ labels.legendOne }}</legend>

                    <ng-container [formGroup]="frmGrp">
                        <!-- project the form to edit one of array elements -->
                        <ng-container
                          [ngTemplateOutlet]="editModeTpl.templateRef">
                        </ng-container>
                    </ng-container>

            <button (click)="remove(i)">{{ labels.deleteOne }}</button>
        </fieldset>
    </ng-container>

    <button (click)="add()">{{ labels.addOne }}</button>
</fieldset>

With the following defined on the class:
@ContentChild(EditModeDirective) editModeTpl!: EditModeDirective

i.e. uses the directive
import { Directive, TemplateRef } from '@angular/core';

@Directive({
    selector: '[editMode]'
})
export class EditModeDirective {
    constructor(public templateRef: TemplateRef<any>) {}
}

In this case the content is projected as expected but <paving-run-form></paving-run-form> isn't bound to the child form. Trying <paving-run-form formControlName="formControl"></paving-run-form> doesn't work because this is expecting formControl on the parent.
Is there some way to render the component and then add it to the child form?

A: Very typical that I solve just after asking the question...
In the reuseable component I need to pass the form group via the context
<ng-container
    [ngTemplateOutlet]="editModeTpl.templateRef"
    [ngTemplateOutletContext]="{formGroup: frmGrp}">
</ng-container>

and when using as a customer I need to do the following:
<generic-form-array formControlName="paved_runs">
    <ng-template editMode let-formGroup="formGroup">
        <paving-run-form [formControl]="formGroup.get('formControl')"></paving-run-form>
    </ng-template>
</generic-form-array>

Thanks to @Eliseo for leaving a helpful comment on a question I can no longer find :)


Which spare parts were needed during which period? What were the requirements for service hours in the individual areas of operation?
HOSCH compiles statistics for each customer and provides this information as a matter of course. This approach has many advantages, e.g. qualified monitoring of your costs and a good basis for convenient planning of the next upcoming maintenance.
You need a service concept explicitly tailored to your plant but do not want to have any deep involvement in spare parts management? No problem. HOSCH will be pleased to explain the system to you.


My research is focussed on lexical semantics in diachronic and multilingual settings. I am currently involved in the STAKI2B2 and SMITH projects on processing clinical language. I previously finished my doctoral thesis on language change in the graduate school "The Romantic Model" and worked in the MANTRA project on biomedical terminologies.
Johannes Hellrich, Sven Buechel & Udo Hahn (2018): JeSemE: A Website for Exploring Diachronic Changes in Word Meaning and Emotion. In: COLING 2018, System Demonstrations. pp. 10-14.
Johannes Hellrich & Udo Hahn (2017): Exploring Diachronic Lexical Semantics with JeSemE. In: ACL 2017, System Demonstrations. pp. 31-36.
Johannes Hellrich & Udo Hahn (2016): Bad Company - Neighborhoods in Neural Embedding Spaces Considered Harmful. In: COLING 2016, Technical Papers. pp. 2785-2796.
Johannes Hellrich, Stefan Schulz, Sven Buechel & Udo Hahn (2015): JUFIT: A Configurable Rule Engine for Filtering and Generating New Multilingual UMLS Terms. In: AMIA Annual Symposium Proceedings 2015, pp. 604-610.