text:
Q: How to decode HTML entities with v-model binding‽ The underused and fairly unknown interrobang (‽, entity &#8253) needs bringing back into fashion! But Vue won't let me use it with my v-model.
data () {
    return {
        list_name: 'Name&#8253'
   }
}

<input v-model="list_name" type="text">
</input>

It's just outputting the value as a string 'Name&#8253'.  How do we show this amazing symbol‽

A: As stated in the Vue documentation regarding v-model:

By default, v-model on a component uses value as the prop and input as the event.

As you need an specif behavior, you'll need to have methods to decode (when showing) and to encode (when updating) the value, separating the v-model into :value and @input.
So, your next problem will be just how to decode and encode HTML entities with JavaScript. There are some ways already discussed many1 times2 here3. I like the mathiasbynens/he library to do it, so here's a sample code showing it in action along with Vue:

new Vue({
  el: '#app',
  data () {
    return {
      name: 'Name&#8253'
    }
  },
  methods: {
    encode (value) {
      this.name = he.encode(value)
    },

    decode (value) {
      return he.decode(value)
    }
  }
})

  <input :value="decode(name)" @input="encode($event.target.value)" />

{{ name }}

A: I followed  Erick Petrucelli's suggestion and did the following.
VueProjectRoot > npm install he --save

Vue Component  file:
<template>
    <v-textarea v-model.trim="userNote"
                label="My Notes" outlined dense
                append-outer-icon="mdi-content-save"
                @click:append-outer="saveNote"
                rows="2"
    ></v-textarea>
</template>


text:
Home / Unknown Type / Ukraine 1941 |
System: Campaigns of the World War 2
Complexity: low
Scale: Division-brigade
Description: The German attack at the Ukraine on June 1941 was an important part of the operation "Barbarossa". The German forces managed to break the Soviet lines and close a big number of the Russian units in cauldrons, destroying them with ease. Romanian attack at Besarabia made the Soviet situation even more dire. However, Soviets had a lot of armored units and even more tanks than the Germans so some skilled commander could use them to stop the German assault or even perform a successful counterattack. Reinforcements were coming as well. But thanks to their combat experience and superior tactics, Germans won the battle and made their way deeper into the Soviet Union. Game allows players to play the whole Ukrainian campaign of June-August 1941, with German, Soviet, Romanian and Hungarian units. Simple and easy rules makes gameplay quite fast, despite the big number of the units.

redpajama_set_name: RedPajamaCommonCrawl


text:
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How Tariffs Affect Small Businesses
Editorial Note: The content of this article is based on the author's opinions and recommendations alone. It may not have been previewed, commissioned or otherwise endorsed by any of our network partners.
Melissa Wylie
Updated on Monday, November 11, 2019
Tariffs are duties charged on imports, and U.S. buyers pay the costs. Small businesses that bring in imported products can either absorb the expense or pass it along to their customers. When tariffs increase, as they have on certain goods imported from China, as well as the import of steel and aluminum products, countries often retaliate by increasing their own tariffs on American goods arriving on international shores.
Small businesses bear the brunt of tariff hikes and the resulting trade wars. "Small businesses are especially hard-pressed because they don't have the reserves to tap into to wait for more stable circumstances," said Davidson College economics professor Shyam Gouri Suresh.
We'll help you understand how tariffs affect small businesses and what you can do to protect your firm when unexpected costs threaten growth.
In this article, we'll cover:
What is a tariff?
The effects tariffs have on small business
How to prepare your business for economic changes
The bottom line on how tariffs affect small businesses
A tariff is a tax that a country levies on imported goods and services. Tariffs increase the price of imports, potentially making them less competitive or desirable compared to domestic goods and services.
A tariff is typically charged as a percentage of the value of the product that a buyer must pay a foreign exporter. In the U.S., importers must pay tariffs at 328 ports of entry, which the U.S. Customs and Border Protection controls. Companies that pay the tariffs to bring goods into the country likely pass that cost on to customers. The paid tariff goes to the Department of Treasury and makes up a portion of the federal government's revenue.
Tariff increases
A country may introduce a new tariff or increase existing ones in order to restrict trade from particular countries or reduce imports of specific types of products, which is what the U.S. Trade Representative decided to do to combat unfair trade practices with China. The U.S. Chamber of Commerce implemented tariffs of its own on certain imports of aluminum and steel for national security reasons. Trade talks continue between the United States and China as of press time, but at least $300 billion worth of Chinese imports face tariffs, some as high as 25%.
These increased tariffs and resulting trade wars have cost American businesses big and small $38 billion, according to Tariffs Hurt the Heartland, a coalition of businesses and trade groups that oppose the tariffs. Automakers, tech companies and agricultural producers have been especially hard hit, but the National Retail Federation has also compiled profiles of affected small business owners from music teachers to gift shop owners.
"They have to either swallow this increase in price, or they have to pass that price increase on to the end consumer," Gouri Suresh said.
Passing on the costs of tariffs: A closer look
Big businesses are in a better position to absorb higher costs than small businesses. Large companies can operate on smaller margins, while small businesses don't have as much of a cushion and eventually must raise prices.
"As they increase prices, they may start losing their customer base," Gouri Suresh said. "It's a really difficult bind to be in. It favors bigger businesses that have deeper pockets who can ride out this trade war."
Some firms may not be able to pass costs onto customers if they compete with businesses unaffected by high tariffs, said Katheryn Russ, an economics professor at the University of California, Davis. Small businesses likely have to take a blow to their profit margins if competitors don't have to make similar price increases because of tariffs.
"If all businesses are having to raise their prices in a particular product space, then that's different," Russ said. "And this does seem to be a broad-based cost increase for U.S. firms."
U.S. producers facing Chinese tariffs conversely have had to drop prices to remain competitive in China. For instance, soy farmers in the U.S. significantly reduced prices to avoid passing on cost increases to Chinese consumers.
Businesses that stand to benefit from tariffs
Tariffs on foreign goods should benefit domestic producers making similar products, as their products would be less expensive than those taxed at a high rate. Those producers may be able to raise their prices knowing the demand is higher, Gouri Suresh said.
For instance, American steelmakers are reportedly seeing bigger profits from higher demand, increased prices and a boost in production. But the rush to production may backfire as it meets a global economic slowdown.
The U.S. government's actions have been unpredictable, which makes it challenging to plan and prepare for increased tariffs, Gouri Suresh said. Tariffs have historically been implemented slowly, but the recent increases have not reflected the gradual nature of past rate hikes.
"The problem with what's happening with the most recent trade war is the numbers are flying every day," he said.
Tariffs have also affected industries differently, making it difficult to compare the impact across companies, Russ said. "It's hard to offer specific advice. We just don't know right now what's going to happen," she said. "I guess…just be ready for anything."
Despite the unpredictability of the trade war, there are steps you could take to better position your business for economic changes.
Cut back where you can.
To minimize the price increases that you'd have to pass on to customers, consider cutting back your operating costs as much as possible. This could allow you to run the business on a tight budget when needed.
Consider an industry change.
If you can easily alter your business concept, you may find that an adjacent industry is less affected by tariffs than the one in which you currently operate.
"Being nimble is going to be a really big boon for businesses if they can turn on a dime and reconsider what they're buying and what they're selling," Gouri Suresh said.
Apply for a tariff exemption
Several categories of goods are exempt from tariffs, such as items that are necessary for health and safety. Goods are exempt on an industry-wide basis, and large groups of lobbyists and business owners must typically work together to seek exemptions.
Companies affected by recent tariffs may request to be excluded from Section 301 tariffs on Chinese goods and Section 232 steel and aluminum tariffs. Thousands of companies have filed exemption requests with the Office of U.S. Trade Representative, claiming they are unable to find comparable goods outside of China or that it would be extremely costly to do so. Approvals for these requests, so far, have been low.
U.S. tariffs on Chinese goods are hurting some American firms more than the intended target, Gouri Suresh said. The widespread impact on U.S. businesses and consumers may not be sustainable and tariffs could soon decrease. But if not, high prices on imported goods may become the new normal.
"In the long run, either the tariffs end and the trade war ends…or everybody learns to live in this new world," he said.
In the meantime, small businesses will likely continue to feel the effects of tariff increases. It may be best for entrepreneurs to hunker down and operate as efficiently as possible until stable conditions return, Gouri Suresh said.
"When things go bad, they're the ones who are going to suffer first," he said. "But they are also the ones who will benefit the most when things turn for the better."
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Great book for girls! I am so excited for this new series and I love Lena! I think this book is adorable. Perfect for young girls look for something fun and exciting to read, but something that is inspirational. I love that this book has the premise and foundation of God, especially that Lena does in the book. I love how Lena shows perservance throughout struggling when stuff doesn't go her way. God has her back and this book shows His goodness. I think young readers will love this book and adults too. Don't be afraid to grab a copy of this book. I give this book a 5/5 stars. Thank you to Zondervan for providing me a complimentary copy. A favorable review was not required.
I like the cover, its a fun cover!
I'm getting this for my granddaughter! Thank you!


Vicki received her Bachelor's in Child Development and Family Studies and Master's in Reading, both from West Virginia University. Vicki has loved spending time with children for as long as she can remember! Before receiving her masters, she taught in her own preschool classroom for three years.
In addition to her degrees from WVU, she also has a professional teaching certification in birth through Pre-k education, a reading specialist certification in Pre-k through adult and an American Red Cross Adult and Pediatric First Aid/CPR/AED certification. Vicki worked in the hospitality industry with organizations like the Marriott Corporation and the Greater Morgantown WV Convention and Visitors Bureau before starting her time at WVU.
As the Child Development Program Specialist, Vicki's responsibility is to ensure that Mountaineer KidZone provides safe, quality care and developmentally appropriate activities for children ages six weeks through eight years of age. Children visit Mountaineer KidZone to play and learn in a nurturing, educational environment while their parents utilize the Student Rec Center. Vicki is also responsible for carefully selecting the MKZ classroom teachers, who are WVU students from all disciplines and backgrounds.
Vicki loves spending time with her husband, Brian, of over 20 years. They enjoy cooking together and experimenting with new recipes, touring wineries with friends and taking long walks. Their favorite place to vacation together is the beach, where they enjoy strolling along the shore line hunting for treasures in the sand. They also enjoy visiting with their extra special niece and nephew that live in town as often as they can!
She celebrated her last birthday at the Biltmore Estate dancing the night away at The Commodores and Kool and the Gang concert!
She considers cheese to be its own food group – she has never tried one that she didn't like!


text:
Buglovce – słowacka wieś i gmina (obec) w powiecie Lewocza w kraju preszowskim.

Pierwsze wzmianki o wsi pochodzą z 1335 roku.

Centrum wsi leży na wysokości 455 m n.p.m. Gmina zajmuje powierzchnię 3,031 km². W 2011 roku zamieszkiwało ją 269 osób.

Przypisy

Spisz
Miejscowości w powiecie Lewocza

redpajama_set_name: RedPajamaWikipedia


Whereas the preference of most individuals relating to opening a garage door is to simply press a button and have it magically open, that's sometimes not doable due to an influence outage, a battery downside with the garage door opener or the motor burning out. Alexandrin Storage Doorways, 2017-11-04 22:forty four:08. They're obtainable as a prefabricated equipment, or constructed as a customized design to complement the dacor of any constructing. Business warehouse kind installations usually dictate larger security requirements. A sensible choice for this safety type of door is the "roll-up" type that resembles a roll top desk sort of door. This door might be manufactured with a variety of materials that may be as sturdy as the adjoining partitions, making pressured entry by this opening very tough. Other widespread industrial installations embrace mild weight aluminum single or sectional panel doorways. These doorways operate more for closing off an already secured space than for assuring level security.
Journey The Set off - Find the cord (usually purple) with a pink deal with on the tip. Will probably be hanging from the middle of the opener rail close to the door. That is the manual release wire will probably be attached to a small lever which is spring loaded. Pull down on the twine until you're feeling the storage door disengage. The storage door is now could be manual mode. WARNING: To be safe solely use the handbook release when the door is in the closed position. If the door is released when it is within the open position the door will come crashing down.
Lock the discharge lever. On some storage door openers, you should use a plastic cable tie or some skinny wire to tie the level to the carriage meeting it is hooked up to. The lever always has a gap in it (to attach the discharge twine) and a few carriage assemblies have holes you possibly can run the cable tie or wire via. If yours would not, you'll be able to drill a gap. The thought is that you just need to make it just about unimaginable for a flimsy coat hanger to be able to pull the lever down, whereas, at the identical time, permitting you to cut or take away your simple lock from contained in the garage. You do merely do that by utilizing a zip-tie (or two), to lock the disengaging arm on the automated opener. While this will prevent the bypass method employed by thieves, the safety pull handle can nonetheless be yanked arduous to interrupt the zip ties in an emergency.
These storage doorways are fairly convenient particularly on unhealthy weather. You wouldn't need to go back on utilizing a handbook storage door once you have experienced opening your door with only a simple click of a button. Nonetheless, energy outage can depart your automatic storage door nugatory. You don't need to keep out in the chilly because your storage door is just not working. Guarantee your storage door is absolutely closed, then disconnect the garage door opener. An unbalanced door or weak door springs might trigger an open door to fall when the trolley is disengaged. Never use the release deal with to manually pull the door open or closed.
1993 Craftsman garage door opener; my spouse will need to have put one thing up towards the storage door keypad and inadvertently triggered the holiday mode button - now we're locked out. Should you've pulled on the emergency release deal with earlier than and have seen how straightforward it is to do, there isn't any great mystery. However it can be somewhat daunting for first timers. For the residential jackshaft opener - pull the emergency release deal with straight down a second time until you hear a click on. The door will reconnect on the next up or down operation.
He says folks must know the way fast it may well happen to allow them to defend themselves. The garage door lock system he sells allows a house owner to deadbolt their storage by way of distant each time they go away the house. It prices about $250. Ensuring that there are no people or debris close by that could be injured or damaged by a falling storage door, seize the door with each palms and lift. Within the occasion of a resistant door, pull the cord tougher and lock it open. Door too heavy? Do not pressure your self and risk injury. Ask a friend that can assist you.


In planning your next major re-design project, don't forget to consider the look and style of your roof. When you consider that the average roof comprises 40 percent of a home's visible exterior, you want it to look good.
Even the highest quality windows will underperform if they are not installed correctly. An incorrect installation can lead to cracked brickwork, loss of heat, and exposure to the elements and pests. Improperly installed windows can even allow moisture to enter the interior of the home, causing serious damage to both the windows and the structure of your home.
A beautifully landscaped garden is a source of pride to the owners of the house. A professional landscaper helps you design and build your gardens as well as maintain them.
Mark Perry on Chimney Stack Repair or Rebuild?
Copyrights © Lee Jones Building & Roofing Contractors 1976-2014. All rights reserved. | SEO by urlmd.


ChemSpider—a free-access service providing a structure centric community for chemists—continues to expand its list of supported publishers. In July 2008, ChemSpider added Royal Society of Chemistry articles and IUPAC's journal Pure and Applied Chemistry to the sources feeding its literature search. Users can now conduct Chemrefer text-based searches of 12 sources of chemistry literature.
Providing access to millions of chemical structures and integration to a multitude of other online services, ChemSpider is the richest single source of structure-based chemistry information.


Sony has finally confirmed six month old rumors that they are releasing an upgraded version of their popular PlayStation 4 console. Dubbed the PS4 Pro, the more powerful hardware will be out November 10 at the attractive price of $399. While it's good to see Sony taking the proactive step of upgrading their popular PlayStation 4 console and firmly jumping into the world of 4K gaming, based on what's been shown so far, the PS4 Pro is a largely pointless upgrade that Sony will have a hard time convincing consumers to buy. Many were hoping that Sony would introduce some surprising new features beyond 4K and HDR (High Dynamic Range) capabilities, but it appears that the PS4 Pro is little more than a stopgap solution to a problem nobody had. Will the PS4 Pro objectively be the most full-featured console on the market when it's released in November? Undoubtedly. Is it worth a purchase? It sure doesn't seem like it.
Here's why the PS4 Pro is a totally unnecessary upgrade.
Although it certainly makes sense that Sony would want the PS4 to be able to output games in 4K resolution — since that is where the market is headed — the current PS4 model's lack of 4K support doesn't feel like a significant enough reason to launch a whole new product, especially when the PS4 still holds a commanding lead over the Xbox One. Sure, the release of the Xbox One S has helped Microsoft gain some ground on Sony, but isn't that why Sony is coming out with the PS4 Slim? If the Pro wasn't coming out in November and all Sony had was the Slim, it would almost surely be enough to help reinvigorate console sales, especially leading into the holiday season.
Sony should have taken a page out of Microsoft's book and waited to release an upgraded PS4 that actually justifies its existence because now they're taking a risk that consumers will either be turned off by the confusing messaging surrounding the PS4 Pro and opt for the Xbox One S instead, or just ignore the Pro completely and go for the PS4 Slim. There's simply no need for Sony to take a gamble like this when they've had so much success with the PS4 already, but we'll have to wait for the dust to settle on this holiday season to see whether or not they made the right call with introducing the Pro.
One of the main selling points of consoles is that they offer a unified experience; there's no need to worry about whether or not your PS4 will run a PS4 game because each game is specifically designed to run on that system. While the introduction of the PS4 Pro is by no means going to create a situation such as one finds on PC, where games require specific hardware specifications in order to run, it will complicate things in some surprising ways. Unlike consoles of the past, the Pro will detect whatever TV it is connected to and output visuals accordingly, meaning that the type of TV you own is more important than ever when it comes to playing games.
Kotaku's Stephen Totilo does an excellent job of breaking down the nuances of what you can expect based on your TV type, but the long and short of it is that by allowing developers to make games look better graphically when running on the PS4 Pro, players will be hard-pressed to know whether they are seeing better or worse visuals than other Pro owners thanks to the wide variation in TV capabilities. Objectively, offering consumers better visuals is a good thing but it's sure going to cause headaches for consumers and anyone trying to sell 4K TVs when there's such a wide variance in how a game's visuals will output.
Yes, the PS4 is significantly underpowered when you compare it to high end PCs, but when you look at how good games like Uncharted 4 or the upcoming Horizon Zero Dawn look already on the standard PS4, it's hard to feel like the console is in desperate need of an upgrade. One of the big issues that Sony is going to have when trying to sell the PS4 Pro is convincing consumers that they actually need it. That may sound obvious, but just look at how difficult it was for Sony's reps to articulate the Pro's selling points during the PlayStation Meeting.
Setting aside the irony of trying to show off 4K visuals on a livestream when most people who are watching it won't notice the difference anyway, the truth is that no matter how hard Sony tries to tell you that 4K is some kind of next-level technological revolution, it's difficult to get on the same page when 1080p visuals still look pretty good. This isn't the same kind of jump that we saw from standard definition to high definition; yes, 4K is unquestionably superior to regular HD, but it's arguably not enough to buy a whole new console (and TV, since most people still don't own a 4K television) for.
Here's a real head-scratcher. While the PS4 Pro will have full 4K video support through streaming services and apps such as Netflix, Youtube, and Amazon, for some unfathomable reason, Sony is not supporting Ultra HD Blu-ray discs (as confirmed by Engadget). Now, it is true that Blu-ray, even the Ultra HD variety, is becoming an increasingly outdated format as video on demand services have caught up to the capabilities and visual fidelity of the disc-based format (plus, people simply aren't as keen on buying physical media anymore), but to ignore the format completely is a bewildering move that makes the PS4 Pro a less attractive purchase overall. Sony pretty much spearheaded the drive to make Blu-ray the dominant media format back when the PlayStation 3 launched, so not supporting the latest incarnation of that format certainly feels like a questionable move on Sony's part.
While current PS4 owners are not Sony's intended target audience with the PS4 Pro, diehard early adopters generally enjoy having the newest and best version of whatever tech product they like. However, in the PS4 Pro's case, it's hard to see much reason for any current PS4 owner to cough up the cash for an upgrade. Unless you own a 4K TV and are in desperate need of marginal performance enhancements, why would current PS4 owners buy a Pro?
Sony has already said that they will not split the market by releasing exclusive content for the Pro, so anyone who has a PS4 already won't be missing out on anything besides the aforementioned improvements. Hell, you know it's bad when Kinda Funny Games's Greg Miller and Colin Moriarty — two of the most dedicated PlayStation fans you'll ever find — have both explicitly said that they will not upgrade to a Pro when it is released in November. If even die hard PlayStation fans are having difficulty thinking of a reason to get a PS4 Pro, what incentive does any PS4 owner have for making the switch?
As industry veteran Victor Lucas so elegantly put it, "Xbox made a sleek console that looks more like a PlayStation and PlayStation made a big console that looks more like an Xbox." It's hard to argue with that sentiment becuase the truth of the matter is that the PS4 Pro doesn't have the most elegant physical design. It's too bulky and features a strange third ridge in the front that makes it look like a staircase. Sure, aesthetics aren't the most important factor in determining whether a console will be successful or not, but the PS4 Pro certainly goes against Sony's typical strategy of making each new iteration of its hardware "sexier" than the last. The Pro simply doesn't have that "wow" factor in the looks department to make people covet it and it looks especially out of place next to the much sleeker PS4 Slim.
Microsoft must be happy that Sony has revealed their hand so early. The former company announced the Xbox Scorpio at this year's E3 and many were puzzled by the decision, especially since Microsoft seemed to be undercutting the announcement of the Xbox One S, which they showed off at the very same press conference. However, now it seems that Microsoft's decision to wait until next year to launch the Scorpio could end up being a wise move, as it not only gives them time to see how the market reacts to the PS4 Pro, its closest competitor, but also make sure that it is much more feature-rich and powerful than Sony's console. Plus, by the time the Scorpio's expected Holiday 2017 release rolls around, the Xbox One will have been on the market for four years and gamers will likely be more open to the idea of upgrading than they are at present, which will only help Microsoft's case.
Expanding on the previous point, the PS4 Pro doesn't represent a big enough jump in overall performance to truly justify its existence; a shortcoming that Microsoft has already been quick to point out. In an interview with IGN following the PS4 Pro's announcement, Xbox's senior director of product management and planning Albert Panello claimed that the Xbox Scorpio will be more powerful than the PS4 Pro, to the point where it will be "obvious" to consumers.
While it's still way too early to say for sure whether Microsoft's decision to release the Scorpio a full year after the PS4 Pro will ultimately pay off, it sounds like the Scorpio will offer consumers much more tangible benefits than the PS4 Pro, as the only real advantage Sony's console will have when it comes out this December is that it outputs games in 4K and offers marginal graphical improvements at best. Time will tell which company's strategy was ultimately the right one, but as of this moment, Microsoft seems to have the edge.
While it's true that PC gaming will always have an advantage over consoles in terms of raw performance potential, it's also true that most console gamers don't really care about that difference. People choose PS4 or Xbox One because they don't want to be bothered with upgrading PC components every few years and just want an easy-to-use piece of hardware to game on; in other words, terms like "frames per second" or "4K resolution" aren't terribly important to them.
Most gamers who do care about having the best graphical performance are already invested in the PC market, so why would they bother with the PS4 Pro — a console that offers 4K output but still lags behind high-end computers in terms of performance capability. Sure, it's certainly nice to have a PS4 that offers better graphical capabilities, but the only people who really care about having cutting edge graphics and performance are already too invested in the PC market to want anything to do with the PS4 Pro.
The number one issue with the PS4 Pro and why it's an unnecessary product is that it's very unclear who Sony is marketing it to. It's not current PS4 owners, as the Pro's limited number of improvements aren't enough to make the majority of owners splurge for an upgrade, outside of a few PlayStation diehards who simply have to own each new piece of hardware. It's also not "pro" gamers or those who have a keen interest in graphical fidelity, as those players are already doing their gaming on PCs that can eat the PS4 Pro for lunch.
As Forbes's Paul Tassi cheekily points out, the Pro is aimed at someone like him, who owns a 4K TV, has enough disposable income, and simply has to have the latest game console … and even he isn't excited about it! If the purpose of Sony's PlayStation Meeting was to clear up the messaging surrounding the PS4 Pro and offer consumers a compelling reason to drop hundreds of dollars on the console when it launches this November, they arguably failed in that endeavor.


The ConfigureEventBrokerChangesActivity.ps1 script makes use of the host.UI.RawUI.ReadKey function. When running under ISE the function isn't made available and the belowexception is thrown. A troubleshooting article should explain that the script is not intended to run under ISE, and that the line can be removed if required.
This script will add the required Activity Information Configuration to the FIM instance for the Event Broker Changes Activity. Press any key to continue.
Exception calling "ReadKey" with "1" argument(s): "The method or operation is not implemented."
Import complete. Verify that the Event Broker Changes Activity is correctly listed in the Activity Information Configuration. Press any key to finish.


text:
Social Justice & Political Theatre
Latinx Theatre Commons
World Theatre Map
Convenings
Playwright Residency
Getting Out of the Way So That You Can Listen to the Challenge
Nataki Garrett, Bill Rauch
Sympathy for the Incel?
Catherine M. Young
The World Reads Jan Kochanowski from New York, Athens, Warsaw, London, Madrid, Los Angeles
Livestreaming the Urban Bush Women's 2019 Summer Leadership Institute Culminating Performance
Essay by
Jacqueline E.
Race and Representation in American Theatre
Writing Towards the Specific
Spurred by the controversies over the new adaptation of The Jungle Book that opened this summer in Chicago, this series of articles explores who is allowed to tell whose stories onstage. This series is curated by Rebecca Stevens, the Chicago Commons Producer for HowlRound.
Quite simply, and with all the power, complexity, and responsibility that such a decision holds, all playwrights have a right to tell stories, create characters, and write about situations outside of their identities and lived experiences.
William Faulkner, in an interview with Paris Review, "The Art of Fiction No. 12" says this about a writer's tools:
"A writer needs three things, experience, observation, and imagination—any two of which, at times any one of which—can supply the lack of the others. With me, a story usually begins with a single idea or memory or mental picture. The writing of the story is simply a matter of working up to that moment, to explain why it happened or what it caused to follow. A writer is trying to create believable people in credible moving situations in the most moving way he can."
As playwrights, we are image makers. The work we do has significant and lasting impact on perception. This is why social awareness, cultural literacy, and racial consciousness are essential to our work. This is what makes the issue of writing outside of our ethnicity—always and exceedingly—about more than just a desire to share your truth, experience, curiosity, and admiration. Playwrights, all of us, need to understand that owing to limited representations in mass media, the way we write women and people of color impacts how women and people of color are perceived in everyday life.
This is why, in his 1994 essay, "The Ground on Which I Stand," August Wilson called for African Americans to seize the power over our own cultural authority:
"So much of what makes this country rich in art and all manners of spiritual life is the contributions that we as African Americans have made. We cannot allow others to have authority over our cultural and spiritual products. We reject, without reservation, any attempts by anyone to rewrite our history so to deny us the rewards of our spiritual labors, and to become the culture custodians of our art, our literature and our lives."
It is also why these articles and so many more were written:
Asian American theater leaders react to 'Nightingale' controversy
Geisha A-Go-Go: Katy Perry's AMAs Performance Stirs Debate
Guthrie Theater's smug and offensive "Clybourne Park" perpetuates the illusion of a "post-Civil-Rights" society
Ordway Center's Miss Saigon: The show must go on
As an African American woman playwright from a poor, working class, racist, country town in East Texas, I learned early in life that I am part of a community of people whose voices have been silenced, whose image has been exaggerated and misrepresented, and whose legacy has been erased and exploited. White playwrights, male and female, need to understand that they are writing within a legacy of the people responsible for having done those things to people of color. Neither legacy is fair. They come with unshakable, palpable, and visible burdens. It is challenging that despite your best efforts and intentions the work that you create can be judged and attacked not merely on its merit, but for the color of your skin.
For a woman playwright of color, who writes across race, culture, gender, and class, I find the issue of culture appropriation to be a matter of artistic and professional integrity. What I've written has my name on it. My plays offer up for consideration my sense of truth, my spirit of inquiry, my struggle for how to negotiate existence, and my impression of the world. I want my work to be great. Part of making my work great is having a deep, honest and thorough understanding of the limits of my experience, examining the bias upon which my observations are based, and addressing the many ways in which prejudice may influence my imagination.
I write people of color into my plays with depth, passion, wisdom, and flaws, but also with a yearning for love, hope for better days, and despair for all that will never be. I do so because when you see a person of color on the street, I want you to see us for who we are as individuals and not for the impressions left on you by stereotypical representations perpetuated by mass media, the music industry, theater, television, and film. Yes, I have my work cut out for me. I arm myself with knowledge. I do extensive research. Whether I'm writing from within or without of my culture, I investigate the world and everyday lives of the characters. I watch films, television shows, and documentaries. I read books, articles, and plays. I listen to music for hours on end and look at art. I study the geography and landscape. I learn about the politics, social customs, and food ways. I listen to people who know more than me and allow them to inform me. I work to bring together an artistic and production team that is smart, talented, and interested in having difficult, but necessary conversations about race and culture.
The world of theater is a space that holds multiple truths. But at some point, we're going to get an aspect of a character or situation wrong. We must accept this now so that we suffer less for it later. Inevitably, we will err. And when we do, we have to sit humbly and gracefully in our wrongness. We can't get defensive or lash out and scream. We have to let go of our ego, thank the muses, and take the lesson. You see, as playwrights our greatest responsibility is to the script. We are writing in service of the characters, the story and the world of the play. When we are writing beyond ourselves, it is imperative that we remain open and engage in dialogue. We have to do more listening than convincing. We must always write towards the specific.
Malcolm Darrell
COMMENTED:
Thank you Ms. Lawton for this eloquent and passionate expression of your truth. I agree with much of what you're saying and wanted to add this
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Thoughts from the curator
Spurred by the controversies over the adaptation of The Jungle Book that opened in 2014 in Chicago, this series of articles explores who is allowed to tell whose stories onstage.
Interested in following this conversation in real time? Receive email alerting you to new threads and the continuation of current threads.
Thank you Ms. Lawton for this eloquent and passionate expression of your truth. I agree with much of what you're saying and wanted to add this particular fact. Many of us people of color and women alike but mostly people of color have been born into, socialized by and our legacies have been thoroughly influenced by white male dominant culture. So for me, I often feel that people of color write white characters with the authenticity that represents them because, this is the culture you've been raised in, lived every day and thus has had a significant impact on your own ethnic culture.
Conversely, I would anecdotally argue that dominant culture in America doesn't really have to make as much of an effort to understand or empathize with the the complexities, beauties and fullness of non white cultures. And you know I get it, I don't know all the ends and outs of many cultures outside of my own. However, when your culture has the power to effect image consumption and perception, I believe you have to go beyond the obvious stereotypical images from mass media. You have to dig deeper to excavate past the false cultural sediment we've all been fed to discover the treasure that is the beauty found in writing about non-white experiences. When your culture is exponentially more produced in theatre, television and film, yes, you have more work. When your culture has been the standard of beauty and success for centuries by which we all judge ourselves, yes you have more work to do. To whom much is given much is required.
So, for now, I lean toward Mr. Wilson's argument, and believe that people of color specifically, should be the "culture custodians of their art, literature and lives," because we're not quite there as a society. Many strides have been accomplished and barriers broken down but I honestly don't trust my story to dominant culture just yet, HIStory has proven this point all too well.
Winter Miller
Yes yes. Beautifully expressed. A call to be curious, to explore, to be humble and to keep going and to make space for others.
ChasSF
Thank you, Jacqueline, for starting from the idea that we can all write about different races. To argue otherwise is to say that white folks can only write about white folks, which many white folks are all too happy to do.
That said, yes, as a white playwright I have to be willing to do my homework and willing to hear that I made a mistake, or mistakes. I've had to change my plays Rice Kugel (Asian American/white interracial relationships) and My Visit to America (indigenous American/European relationships) because I got big chunks of them wrong the first time. My Visit to America is still under revision, and I'm still not sure I have it right. I expect to have many more changes to work out.
And I go to see plays that are written by playwrights of color, not to appropriate their work or ideas, but to hear other expressions so that I'm not just hearing a white view of such relationships. (Oh, and I happen to like them as theatrical works about as often as I like the work of white playwrights, which is to say usually.)
I still can't honestly say that I do as much homework as it sounds like you do.
Matthew Lopez's The Whipping Man is one of the finest examples I've seen of writing outside of one's own ethnicity or of interracial relationships. This is someone who obviously did his homework.
I don't know where you land on Clybourne Park. My take on it - whether this was the playwright's intent or not - was that we white folks are off in our own world and don't listen. I fear that reality creeping into my writing and can only hope that I really do listen.
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Doomsday Clock #12 review
Posted on December 18, 2019 December 18, 2019 by martingray1
We've waited a long time, but, finally, Doomsday Clock gives DC fans what they've been waiting for.
Yes, the return of the Canterbury Cricket, leading his World of Flashpoint comrades Mrs Hyde and Godiva, and fellow British heroes Knight and Squire, into battle.
There was other stuff too. The also long-awaited confrontation between Superman and Dr Manhattan.
A fateful meeting between Batman and the second Rorschach.
The final fate of Mime and Marionette. The return of the Thunderbolt. Whatever happened to Carver Colman. Oh, and..
… the return of the Justice Society of America and Legion of Super-Heroes.
In the case of the latter, mind, it's as much a debut as a return, this being the latest version of the future's greatest super team rather than a previous iteration.
The issue continues last time's meditation on what Superman means to the newly named 'DC Metaverse' and the answer is… everything.
The parallels between Superman's story and Moses have always been there; I'm less keen on Superman as messiah… still, writer Geoff Johns' codification of Superman's significance to DC Comics into in-universe super-significance will likely never be mentioned again. Likewise, the intriguing predictions about the future of the DC Universe. This story says the 5G business teased endlessly at the Bleeding Cool website isn't coming next year, or the year after, but six years from now… to be honest, the 12th of Never would do nicely. You will notice that reference to Wonder Woman having fought alongside the JSA in the Second World War… that's either the comics lining up with the hit movies, or John Byrne's time travelling Hippolyta back in continuity.
What's more likely to power future stories is another return by characters long gone, an undoing of a particularly cruel piece of meddling by Dr Manhattan.
Speaking of whom, I'm not sure what to make of the ending – he steals the son of Mime and Marionette (apparently OK as they're already pregnant again) to be raised as a new kind of hero for his own world, a hero to bring hope, a cross between Superman and himself… a SuperManhattan. It's meant to be a glorious new beginning, I guess, but strikes me as merely creepy.
Oh, and the Supermen Theory, which claims that Dr Martin Stein was part of a secret government project creating metahumans such as Metamorpho and Firestorm, is still out there, which has me frowning. But is there an implication here that it's a load of pants?
I do hope so.
I enjoyed this series a lot. It's extended the Watchmen story with excellent new characters Mime and Marionette, given us another look at Dr Manhattan, Ozymandius and the Comedian, finally putting a certain toy back in the box so as not to disturb the Alan Moore/Dave Gibbons classic. While I do have the odd quibble with the final issue, I appreciate that changes in the DC hierarchy meant Johns likely couldn't wrap things up as originally planned. Overall it's been an intriguing read with fantastic visuals by illustrator Gary Frank, colourist Brad Anderson and letterer Rob Leigh – the nuanced expressions, expansive and action-packed spreads, sharp colour palette and letters recalling Gibbons' own in Watchmen. Johns' story would never have been as successful without such talented partners.
And best of all, it's explained and resolved the DC Rebirth problem, bringing back some of the most glorious concepts in the company's lore. I'd say Doomsday Clock has been a good time.
Tags: DC Comics, DC Rbeorth, Doomsday Clock, Gary Frank Brad Anderson, Geoff Johns, Rob Leigh, WatchmenCategories: Comic books
18 thoughts on "Doomsday Clock #12 review"
Lord Geek of Nerdishire (@ComicsNerdling) says:
I enjoy many of the storytelling elements in this series, but I hate that so much time was wasted in the attempt to mimic the original Watchmen. We all get it, it's a classic that influenced so many of today's comics writers, but imitation isn't really the sincerest form of flattery. A lot of that space in this series could have been dedicated to filling out the story itself rather than on silly bits of an old Hollywood film.
I also see, so clearly, how this was meant to be the trigger for a new era of DC comics, but with the delays, the sales have drooped and Bendis and Snyder basically had to take up the reintroductions of the Legion and JSA and basically spoiled this ending.
No doubt Snyders current 300 year long event will rewrite most of the multiverse stuff this was supposed to put in place.
I'm not disappointed with the art or the writing, except for the decision to emulate the original, but this is just an example of a good piece of work being ruined by delays.
martingray1 says:
I wonder, if this book had kept to the original schedule, might it have led to Scott Snyder's Dark Metal being contained to the summer event it was original meant as? What a blissful thought.
robstaeger says:
I'll have more to say later, but I wanted to point out John's reinterpretation of Gran Morrison's distilled Superman origin: "Doomed planet. Desperate scientists. Last hope. Kindly couple."
I like John's version better: "The rocket arrives. A child is loved. Superman is made."
That's when I knew this had all been worth it.
Great point, I'd not noticed that.
I'm actually amazed that DC hasn't had Morrison do a trade paperback All Star Originning every last member of the DC Universe.
Steve MacBeezelbub says:
Clark was now Superboy again and Ma and Pa are back! Don't reall give a hoot past that. Well, except that this is the best Johns ending I think I've ever seen. Truthfully with how his Events always seemed to roll into the next it might be the only ending he's done that actually ends. Best of all there is none of the gore his stories normally revel in…
And BTW, for such an unabashed DC history lover, how has Johns never gotten that the DC he loves had no place for arm ripping or shark attacks graphically portrayed? It's a bit of his toolbox I've never gotten. I also never got how he could turn the Legion's future into a dystopia but that's something else…
A great question.
Hey, now he's back, do you think Pa Kent will finally get to enjoy a beer with his son?
Li Hei Bao says:
I guess modern interpretations would make this seem as you've stated, but it does follow along with the classical origin for the archetypical hero since Heracles. A child of extraordinary abilities, raised by surrogate parents who care for him as their own.
What a wonderful point, I'd missed the Classical connectio. Thank you!
I enjoyed this on the whole, though with everything happening with Snyder's "oh my god how much longer is this going on" event I can't help thinking that this story will simply become something that other writers vaguely refer to; it may become part of the metaverse itself, something to be nodded towards but ultimately ignored, much like the original Hypertime.
reference to Wonder Woman having fought alongside the JSA in the Second World War… that's either the comics lining up with the hit movies, or John Byrne's time travelling Hippolyta back in continuity.
I think the whole 5G thing has Wonder Woman appearing in the 30s now, so it's likely that iteration to come that's being referenced.
And did John Byrne have Hippolyta time travel to become Wonder Woman? I'd always thought that was something Morrison did in JLA?
I'm so naffed off with the neverending Justice League story that I've not even read this week's yet… I think it's advertised as the end of the storyline, but it's going straight into a Batman Who Bores vs Luthor 2.DOH mini series. No thank you.
Spoilers… it's not even the end of the story. It looks like there's another issue before we move into the entirely skip-able mini-series that's coming after.
Hippolyta time traveled to become Wonder Woman with the JSA. It was detailed in Wonder Woman #130-133. Hippolyta was also Wonder Woman with the JLA, starting with issue #18.
Thanks, saved me checking the numbers!
I don't understand how this fits with Bendis' Legion exactly. Are they different universes, one where Clark Kent is Superboy as a teen and inspires the legion, and one where his son Jon is Superboy and joins the Legion? If Clark now remembers the Legion why is it the new version that joins him in the battle? Confusing to me at least.
Harry Gaffing says:
I'm guessing that this was supposed to be Johns' Legion from Legion of Three Worlds etc but the Bendis Fourboot got pasted in after they became the current iteration.
I certainly get the confusion; I'm happy to overlook any contradictions because the Rebirth DC Universe seems to have been a slightly shifting beast ever since it debuted a few years ago. I figure it's like that short period post-Crisis on Infinite Earths when continuity was still plastic.
Simon Barnett says:
I just closed my eyes and held that blissful thought Mart…it was lovely thank you!
Merry Christmas and happy new year to you and yours. Thank you for another great year of your thoughts and look forward to more in 2020
You're very welcome, Simon, it's a joy to hear what everyone thinks. All the best to you too!
Published by martingray1
Journalist, comic reviewer, theatre critic, film lover, biscuit fan, cat indulger	View all posts by martingray1
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text:
Q: EOL while scanning string literal in Python menu You won´t be able to run the script, sadly I don´t know why.
It's about EOL but I'm not that much into python so I need your help,
I´ve tried different stuff and didn't work. Also, my friend that actually is into phyton tried and failed.
this is just a menu code for running multiple antiviruses whenever I want to check my computer
import sys, string, os, arcgisscripting
def menu():
    print ("Welcome To S1MPL3 MENU, an simple made antivirus for open Wi-Fi and Computer Repair.\n 1. Easy File Check \n 2.Total Time Security \n 3.Suspicius Ip Check")
    choice = input()

    if choice == "1":
        print("Checking Files ... (The process wont take long !")
        os.chdir 'C:\Users\alexa\Desktop\Core_Files\Projects\S1mpl3 Antivirus\Check\Files\File_Check.vbs\
        menu()

    if choice == "2":
        print("TTS Chosen!")
        os.chdir  'C:\Users\alexa\Desktop\Projects\S1mpl3_Antivirus\Check\\Files\Ip_Check\'
        menu()

    if  choice == "3":
         print("Checking For Suspicius Ip in your Home Wi-Fi")
         os.chdir 'C:\Users\alexa\Desktop\Core_Files\Projects\S1mpl3 Antivirus\Check\Files\Ip_Check\'
         menu()

menu()

The error should be in the S1m of choice 2

Error: Syntax Error  EOL while scanning string literal

A: You are using backslash characters '\' in your paths. While this is OK on the command line, it is (mostly) not correct in source code. The backslash character is used as escape character to change the meaning of the following character. In your case the trailing apostroph is escaped so that the path string is not closed.
You can use a raw string like @RonaldAaronson proposed:
r'C:\Users\alexa\Desktop\Projects\S1mpl3_Antivirus\Check\Files\Ip_Check\'

Or replace all single backslash with double like this:
'C:\\Users\\alexa\\Desktop\\Projects\\S1mpl3_Antivirus\\Check\\Files\\Ip_Check\\'

Many Windows function also work with the unixoid path separator '/', and os.chdir() does so, too:
os.chdir('C:/Users/alexa/Desktop/Projects/S1mpl3_Antivirus/Check/Files/Ip_Check')

The library os has os.sep and os.altsep that are pathname separators. Use these to write better portable code. Please read the documentation. This is always a good idea.
Second observation: You need to call os.chdir() with parentheses.

A: You are missing a single quote at the end of the line:
if choice == "1":
        print("Checking Files ... (The process wont take long !")
        os.chdir 'C:\Users\alexa\Desktop\Core_Files\Projects\S1mpl3 Antivirus\Check\Files\File_Check.vbs\   **<---here**
        menu()

A: I have a similar problem while opening a directory. I used raw string and double backslashes and it works. Example:
os.chdir(r"C:\\Users\\alexa\Desktop\\Core_Files\\Projects\\S1mpl3Antivirus\\Check\\Files\\")

redpajama_set_name: RedPajamaStackExchange


Canada boasts several centers of excellence with a group of internationally renowned investigators that are at the forefront of oncology clinical research. Many of these centers are highly skilled in early phase work and are highly motivated to help fix a system that is in dire need of repair.
Read the transcript below or listen to this 14 min podcast interview with Karen Arts, Director of Business Development at the OICR and chair of the board of directors for the Network of Networks (N2), as she talks about the steps Canadian organizations have taken to foster collaboration among stakeholder groups, while improving infrastructure and processes to enhance Canada's clinical research capability and capacity.
Can you tell us about your role at the Ontario Institute for Cancer Research?
Karen Arts: In order to know what my role is, you need to know what the mission and vision of the OICR is. We are a translational cancer research institute that conducts research in small molecules and biologics, stem cells, imaging, genomics, informatics, pathology and we also do high impact clinical trials.
We are funded through the Ministry of Economic Development and Innovation. My role here, as Director of Business Development within the High Impact Clinical Trials, is to try and facilitate connections between researchers, research centres, pharma companies, and the relevant stakeholders in clinical trials. We try and find ways to collaborate, to help improve the quality and speed with which we conduct clinical trials. And of course, because we're a cancer research institute, it's focused on cancer and on what we call high impact clinical trials, which is trying to link many different aspects of research together. Rather than just testing drug A and indication B, we're looking at combining genetics, biomarkers, imaging, and different analyses into one protocol. My role in that is to help facilitate those connections and provide ideas and suggestions where I can.
What are the biggest challenges for Canadian oncology research centres?
Karen Arts: I would say the biggest challenge for research centres, from a clinical perspective, is resources. There's not enough support from the government, from administration in institutions and from organizations, to really ensure that the right infrastructure and the right number of people and support tools are available to make it work well.
I believe that science and operations go hand in hand. They should be considered equally important, but obviously in a different sphere. But I think right now it doesn't matter how beautiful the science is because if the machine is broken, then you won't be able to complete your study.
I think research centres are facing very complex trials and the complexity of those trials, along with the complexity of the regulations and not having adequate resources to complete them, makes it very difficult for research centres to be sustainable and to be effective in conducting trials.
How are these challenges affecting Ontario and Canada's ability to compete on the global stage?
Karen Arts: I don't think it's unique to Ontario and Canada. I think all western countries are facing stiff competition from other regions, such as Eastern Europe, Asia, and even Africa. And part of that I think is that the cost is significantly different there. Due to the different healthcare systems, patients have limited access to care in some places.
As a result, many companies will go to those countries where they can recruit faster at a lower cost. And I think that affects us in that many trials are disappearing off the Canadian scene. We really need to do a good job in working together to keep research coming to Canada in the areas where we can compete. I think we can do something about speed. I think we can do something about quality. I think by providing projects that are of high quality, that recruit what we say we will and that are completed on time, will enable us to remain competitive.
How is the OICR addressing these challenges?
Karen Arts: The OICR is working with cancer centres in Ontario to try and provide them with support. In our earlier phases, we did that by providing all clinical research centres in Ontario with money to hire additional staff. That's now been refocused on what we call high impact centres, where we try to see where we can have the biggest impact.
In addition to that, we provide opportunities. We built a network. We have a clinical trial registry. We provide support through education, through standard operating procedures, and things like that.
You mentioned network. What exactly is N2?
Karen Arts: N2 is a large, not for profit clinical trial group in Canada that aims to be recognized as Canada's alliance for excellence in clinical research. Our mission is to enable and enhance clinical research capability and capacity in Canada. It is an initiative of what I call a "coalition of the willing," where people can join as an organization to try and come together to achieve the vision and mission. The idea is to standardize and create ways to share tools, resources, best practices, and to find ways to be more efficient in what we're doing.
By reaching out to each other we create a stronger network across clinical trials. We started with eight organizations in 2007 and incorporated as a not for profit. We are now close to close to 60 organizations that each represent large groups. For example, OICR represents 27 cancer centres in Ontario so that 60 can be multiplied by a factor of X, to reach researchers right across Canada. It's a very extensive network, that with very little funding, has reached a very large group of people, to try and group together and move Canada to a higher level of best practices.
Can you tell us more about the clinical trials summit?
Karen Arts: Many of us are concerned about the current state of clinical trials and research in Canada so groups came together, which included the Association of Canadian Academic Hospitals, called ACAHO, Rx&D, the representative body for pharmaceutical companies and CIHR, the Canadian Institutes for Health Research, to try and organize a large meeting of stakeholders to take some of the issues that we identified as a group, and see what kind of solutions we could come up with.
The summit was aiming to be different from a conference in that it wanted to come up with a true deliverable at the end of the meeting, and we did that. The meeting was held in September 2011 and the idea was to come up with an action plan that would allow us to move forward. An action plan was released in early 2012 that included nine recommendations that, if implemented, would help fix some of the problems that we identified.
There were about 150 stakeholders from different organizations that attended the summit, to come up with the suggestions for the action plan. We're now in the third phase, in that there's been a follow-up report to indicate how well we've been able to achieve the outcomes of the action plan. Hopefully in this coming year, there will be some more concrete deliverables around that. It focuses on all kinds of things, like metrics, feasibility, making Canada attractive, standardizing IRB approvals, consent forms, SOPs, education, and training.
Once that action plan is fulfilled, hopefully there will be a new one in place and we can start to look at the next set of issues we can address. The goal is to make Canada attractive and to keep trials here and to ensure that new and innovative treatments are available to Canadians through clinical trials.
How important are initiatives like the reverse feasibility approach, the clinical trials summit and N2 in helping to attract early phase trials to Canada?
Karen Arts: I think these initiatives are very important, particularly if they involve different groups. I believe there's so much duplication and redundancy, that it's really important to try and streamline efforts and find ways to work together. Approaches like the Reverse Feasibility Program will help investigative sites to take inventory of their own capabilities, so that they can market themselves to sponsors, and that will help to place trials in Canada.
The summit had an action group that is developing a large online feasibility database that will be available for a lot of different people. These things will allow us to know what goes on, to work together and to be a little bit more efficient in the way we attract trials.
Why should oncology drug developers care about connecting oncology trials in Canada?
Karen Arts: I think there are a number of reasons. First off, it's important to conduct trials in the countries where you will market them, but in addition to that, it needs to be representative. The populations in which you test, need to be representative of the populations where you will be using the drug. Canada is a great place to do that, because we have a very diverse population.
We have a good number of clinical trial groups, and we conduct quality trials. We are trying to fix the machinery behind it, so I think it's very important that people keep coming back here to help us keep Canada on the map.
When should they be thinking of including Canada in their clinical trial plans?
Karen Arts: They should start thinking about it at the time that they are developing drugs. It's important to pay attention to where you're going to go with clinical trials—not at the time that you're ready to start, but at the time that you are actually still in pre-clinical. That will help you get your filing right, so that when it's time to go to the regulatory bodies to file a clinical trial application, you already have the right information in the file.
Canada is extremely well suited for Phase I trials, but obviously we also have lots of capability for Phase II and III. And many companies are also engaging in Phase IV studies to access Canadian populations. The other thing I should mention for non-Canadians, is that Canada has a universal healthcare system, which means that many of the clinical trial infrastructure costs is partially covered under the access to universal healthcare. While budgets obviously need to cover clinical trial costs, our system allows sponsors to benefit from certain components that they would need to pay for in other countries.
What final advice can you offer small and midsized oncology drug developers about Canada in their clinical trial plan?
Karen Arts: I would say contact us because groups like Scimega, N2 and the OICR can help you find the right people and match you up with investigators and sites that can actually produce the numbers that you're looking for. By collaborating we can all work together to make sure that the trials you are planning will be successful and will help Canada to gain access to new and innovative treatments.


text:
Numbers 27 :: New American Standard Bible (NASB)
A Law of Inheritance
Num 27:1
Num 27:1 - Then the daughters of Zelophehad, the son of Hepher, the son of Gilead, the son of Machir, the son of Manasseh, of the families of Manasseh the son of Joseph, came near; and these are the names of his daughters: Mahlah, Noah and Hoglah and Milcah and Tirzah.
Num 27:2 - They stood before Moses and before Eleazar the priest and before the leaders and all the congregation, at the doorway of the tent of meeting, saying,
Num 27:3 - "Our father died in the wilderness, yet he was not among the company of those who gathered themselves together against the LORD in the company of Korah; but he died in his own sin, and he had no sons.
Num 27:4 - "Why should the name of our father be withdrawn from among his family because he had no son? Give us a possession among our father's brothers."
Num 27:5 - So Moses brought their case before the LORD.
Num 27:6 - Then the LORD spoke to Moses, saying,
Num 27:7 - "The daughters of Zelophehad are right in their statements. You shall surely give them a hereditary possession among their father's brothers, and you shall transfer the inheritance of their father to them.
Num 27:8 - "Further, you shall speak to the sons of Israel, saying, 'If a man dies and has no son, then you shall transfer his inheritance to his daughter.
Num 27:9 - 'If he has no daughter, then you shall give his inheritance to his brothers.
Num 27:10
Num 27:10 - 'If he has no brothers, then you shall give his inheritance to his father's brothers.
Num 27:11 - 'If his father has no brothers, then you shall give his inheritance to his nearest relative in his own family, and he shall possess it; and it shall be a statutory ordinance to the sons of Israel, just as the LORD commanded Moses.'"
Num 27:12 - Then the LORD said to Moses, "Go up to this mountain of Abarim, and see the land which I have given to the sons of Israel.
Num 27:13 - "When you have seen it, you too will be gathered to your people, as Aaron your brother [fn]was;
Num 27:14 - for in the wilderness of Zin, during the strife of the congregation, you rebelled against My [fn]command [fn]to treat Me as holy before their eyes at the water." (These are the waters of Meribah of Kadesh in the wilderness of Zin.)
Joshua to Succeed Moses
Num 27:15 - Then Moses spoke to the LORD, saying,
Num 27:16 - "May the LORD, the God of the spirits of all flesh, appoint a man over the congregation,
Num 27:17 - who will go out [fn]and come in before them, and who will lead them out and [fn]bring them in, so that the congregation of the LORD will not be like sheep which have no shepherd."
Num 27:18 - So the LORD said to Moses, "[fn]Take Joshua the son of Nun, a man in whom is the Spirit, and lay your hand on him;
Num 27:19 - and have him stand before Eleazar the priest and before all the congregation, and commission him in their sight.
Num 27:20 - "You shall put some of your [fn]authority on him, in order that all the congregation of the sons of Israel may obey him.
Num 27:21 - "Moreover, he shall stand before Eleazar the priest, who shall inquire for him by the judgment of the Urim before the LORD. At his [fn]command they shall go out and at his [fn]command they shall come in, both he and the sons of Israel with him, even all the congregation."
Num 27:22 - Moses did just as the LORD commanded him; and he took Joshua and set him before Eleazar the priest and before all the congregation.
Num 27:23 - Then he laid his hands on him and commissioned him, just as the LORD had spoken [fn]through Moses.
NASB Footnotes
Literally: was gathered
Literally: mouth
Literally: for My sanctity
Literally: before them and who will
Literally: who will bring
Literally: Take for yourself
Literally: majesty
Literally: by the hand of
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text:
namespace StockportWebappTests_UI
{
    public class MockConfiguration
    {
        public static FluentMockServer Server;
        public static bool IsRecordMode;

        public MockConfiguration(bool isRecordMode)
        {
            if (Server == null)
            {
                IsRecordMode = isRecordMode;
                Start();
            }
        }

        private static void Start()
        {
            if (IsRecordMode)
            {
                Server = FluentMockServer.Start(new FluentMockServerSettings
                {
                    StartAdminInterface = true,
                    ProxyAndRecordSettings = new ProxyAndRecordSettings
                    {
                        Url = "http://localhost:5001/",
                        SaveMapping = true,
                        BlackListedHeaders = new[] {"X-ClientId", "Request-Id", "Authorization", "Host"},
                    },
                    Port = 8080
                });
            }
            else
            {
                Server = FluentMockServer.Start(new FluentMockServerSettings
                {
                    Urls = new[] { "http://localhost:8080/" }
                });

                var path = AppDomain.CurrentDomain.BaseDirectory;
                path = path.Remove(path.IndexOf("bin", StringComparison.Ordinal));

                Server.ReadStaticMappings(path + "SavedResponses");
                Server.ReadStaticMappings(path + "SavedResponses/Articles");
                Server.ReadStaticMappings(path + "SavedResponses/Atoz");
                Server.ReadStaticMappings(path + "SavedResponses/Events");
                Server.ReadStaticMappings(path + "SavedResponses/Footer");
                Server.ReadStaticMappings(path + "SavedResponses/Groups");
                Server.ReadStaticMappings(path + "SavedResponses/Homepage");
                Server.ReadStaticMappings(path + "SavedResponses/News");
                Server.ReadStaticMappings(path + "SavedResponses/Showcase");
                Server.ReadStaticMappings(path + "SavedResponses/Topics");
                Server.ReadStaticMappings(path + "SavedResponses/ContactUsArea");

            }
        }
    }
}

redpajama_set_name: RedPajamaGithub


Umbreon or Espeon for in game (SM)?
You can make yourself an eeveelutions team! Just replace all but one of your Umbreons and one of your Espeons with other Eeveelutions.
You can easily have more than six pokemons, especially in generation six and seven games, there is no need to limitate to just one of them.
While Umbreon is a better Pokemon competitively (by a narrow margin, but still), ingame teams need a fast and strong attacker to quickly finish battles, a field Espeon excels in, whereas Umbreon is quite lackluster.
Umbreon is more for stall type of defensive playing, which is not suited, or rather, not required for the game.
A good Espeon moveset generally has Psychic, Shadow Ball, Signal Beam and one other filler, the first two being almost mandatory.
My Espeon has Signal Beam, Psychic, Shadow Ball, and Dazzling Gleam.
Ya, I love the new Move Tutors. It fits my "quirk" of having a Pokémon's moveset consist of types that connect through resistance, weakness, or immunity.
So, Espeon's moveset consists of Fairy-, Psychic- Bug-, and Ghost-types .
Will Eevee call an Umbreon or Espeon?
In SoulSilver, how do you get Eevee's happiness raised high enough to evolve into Umbreon or Espeon?
Umbreon or Espeon in white 2?


text:
Body-Switching And Satanic Nerds On Supernatural
Annalee Newitz
Filed to:Supernatural recap
In last night's Supernatural, called "Swap Meat," Sam and Dean arrive in a small Massachusetts town to fight a poltergeist - but wind up tangling with something much more dangerous. An MIT-bound nerd who loves Latin.
Like many of the best Supernatural episodes, this one started goofy, and wound up taking us to a really dark place peopled by unexpected monsters. The brothers are on a relatively cut-and-dried mission to exterminate a poltergeist who is tormenting the daughter of their old babysitter. (She makes an offhand comment about how once she had to babysit them for two weeks while their father was out hunting, just a throwaway line but packed with sadness.)
Quickly, however, their routine mission gets thrown off-course when a 17-year-old Satanist named Gary spots them in the fast food restaurant where he works and decides to swap bodies with Sam. See, Gary is fed up with the way his father is always pushing him to stay on "the plan," which is to do everything humanly possible to get into MIT and become an engineer. Asthmatic, passive, and dorky (though also sort of hot), Gary has turned to an ancient Satanic book for answers. When he and his buddies finally raise a demon, it transmits a psychic fax from Lucifer, which is a "most wanted" poster featuring Dean. So when Gary sees Sam and Dean, he decides to hand them over to the demons - and ask for the "reward" of being made into "a real witch."
Before we delve the funny/tragic elements of the life of a teen geek Satanist, I just want to pause and point out that I love the idea that Lucifer is sending out "most wanted" posters via seance. Basically Gary is possessed briefly, draws a picture of Dean, and transmits the message that this guy is "hell's most wanted." Demonic messaging is better than an email blast!
The meat of the episode focuses on what happens after Gary executes his non-brilliant plan for handing the brothers over to the demons. He'll possess Sam's body, kill Dean, then hand over Sam's much-desired meatsack to the demons. But it turns out that what Gary really wants is to be an independent adult. Or at least, a teenager's idea of an independent adult. There's a winceworthy scene where Gary-inside-Sam checks out his muscles in the mirror. Then he spends the evening drinking, eating burgers, and having sex - all while Dean grows more and more suspicious of this very unSam behavior.
Meanwhile, Sam is stuck in Gary's body (and his unenviable wardrobe) and delivers some amusing bitchslaps to Gary's controlling father while trying to figure out what the hell is going on. As you can see in the clip, this dad smackdown scene is seriously bizarre. I love that we're in the middle of a scary Lucifer-related scenario, but there's still time for Sam to help Gary in his quest to escape his father's smothering expectations.
There's also a tip of the hat to Supernatural's running gag about how Dean secretly wishes Sam were a little more badass. In some ways, Dean has a lot more fun with Gary than he does with Sam - they bond over burgers, booze, babes, and rock in a way that the real Winchester brothers never will.
By the time Gary half-heartedly tries to shoot Dean, our intrepid Winchester has already figured out the body-switch. Gary is regretting what he's done, anyway, especially after all that bonding with Dean and getting laid. Dean and Gary race to the rumpus room where Gary's pals have Sam-inside-Gary tied up, and have raised a demon who is ready to claim the brothers. Luckily, Gary is really good with Latin and knows the spell for exorcism.
The whole episode is about to end on an After School Special note, with the brothers delivering Gary (in his own meatsack, thank you) to his house, giving him a pep talk about sticking up for himself ("in a non-Satanic way") and how they "wish they had his life." But then, Supernatural style, it's all turned on its head. After Gary is out of earshot, Sam mutters to Dean, "Actually his life sucked."
Next week promises to be a major dustup, with Anna the rebel angel traveling back in time to prevent Sam and Dean from being born. Yay for arc episodes!


text:
UNOPS and IOTA collaborate to bring transparency and efficiency to UN work
A Memorandum of Understanding was signed in New York and Berlin.
The two organizations have partnered to explore how IOTA's innovative technology – which provides an open-source distributed ledger for data management – can increase the efficiency of UNOPS operations.
"We share a vision where machines, devices, sensors and people connect and communicate to each other - it's the world of 'Industry 4.0.' Harnessing technology that allows for these processes to work simultaneously, without the need for intermediaries, will help expedite our mission as an organization," said Yoshiyuki Yamamoto, UNOPS Special Advisor on Blockchain Technology.
In welcoming the cooperation, IOTA Co-Founder Dominik Schiener noted: "We are thrilled to begin working together with UNOPS and to tackle current and future challenges together. The IOTA Foundation is fully committed to putting the IOTA Tangle to work on behalf of important humanitarian and development causes."
IOTA's distributed ledger can provide a greater level of efficiency in the management and tracking of UN documents, supply chains and transactional payments in real-time, with access available to both UNOPS and its partners.
IOTA Co-Founder David Sønstebø stated: "Shared global problems require shared global solutions. With our open-source, permission-less innovation approach, IOTA's distributed ledger technology lends itself uniquely to this kind of cooperative problem-solving."
The cooperation between both organizations will further extend to training workshops, thought leadership seminars, and the development of specific proof-of-concepts to bring greater efficiencies to specific areas of UNOPS work.
More information on the IOTA Tangle – the data structure behind this technology – can be found here.
Innovators are already hard at work in the new UNOPS Global Innovation Centre Japan
Supported by the City of Kobe and the Hyogo Prefecture in Japan, UNOPS officially opened its Global Innovation Centre (GIC) in Japan this November.
Latest Global Innovation Challenge launches
Innovators, entrepreneurs, programmers and developers are encouraged to help advance resilient infrastructure with technology in the face of climate change.


text:
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