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Eric McCandless/Freeform
Alex Drake Is A.D. On 'Pretty Little Liars' & Spencer's Twin Is So Dangerous
By Sam Rullo
Sure, Pretty Little Liars left fans with an endless list of questions heading into the series finale, but there was one that stood out miles ahead of the rest. Who is A.D. on Pretty Little Liars? Well, the finale did not disappoint, as we finally know the answer. Spoilers for the PLL finale ahead. Spencer's twin, Alex Drake, is A.D. on Pretty Little Liars.
Yes, you read that correctly. All this time, Spencer had a twin, and she was the one tormenting the Liars as A.D.
Sure, Spencer having a twin was a top theory (along with now proven innocent A.D. suspects Melissa, Ezra, Lucas, Caleb, and Jenna), but that didn't make the reveal any less shocking — or painful for Spencer. She was utterly devastated to learn this, of course, especially since it happened while she was being trapped in yet another bunker so that Alex could take over her life.
While the real Spencer was chained to a bed, Alex explained that she met Wren while bartending in England, and he told her everything about Spencer and the Hastings. The two fell into a twisted kind of love, Wren introduced her to Charlotte, and watched as Alex tormented the Liars as A.D.
She told Wren that it was all to avenge Charlotte, her murdered sister. She came to Rosewood to find out what happened to Charlotte and get revenge, but then became obsessed with Spencer's life (including Toby). In Alex's mind, Spencer got a perfect life while Alex got nothing, and it was all "luck of the draw."
Clearly, Alex has some issues, and Mary Drake confirmed as much when she told Spencer that Alex's adoptive parents dropped her off at an orphanage when those issues surfaced. What kind of issues? Well, Alex became so committed to being Spencer that she made Wren shoot her in the chest so they'd both have scars, and, because she couldn't bear to break up with Wren, killed him. Oh, and turned his ashes into an "eternity stone" that she wears as a necklace.
Needless to say, PLL fans are shook.
So basically, A.D. was right in front of us this whole time. There were multiple scenes this season that we thought were Spencer, but were actually Alex, like when she ran into Ezra in the airport, or pretty much every time she hooked up with Toby.
You might've seen this twin twist coming, but somehow, that doesn't make the confirmation any less shocking.


There are many ways to support The New Jewish Home and help provide the best possible care for older adults who turn to us.
If you'd prefer to mail your donation to Jewish Home, please use this form, or call (212) 870-4651 to make your gift over the phone.
You can support Jewish Home by making a gift of stocks or other kinds of securities. In doing so, you receive a two-fold benefit: a charitable tax deduction for the full fair market value of the stocks or securities at the time of the gift, and you avoid paying capital gains taxes.The most efficient way to make a gift of stock is to have your broker electronically transfer shares to Jewish Home.
For specific instructions or more information about donating stock to Jewish Home, please contact Jewish Home's Development Department at (212) 870-4651.
Increase your contribution to Jewish Home by asking your employer if they have a matching gift program - workplace giving campaigns are sponsored by many companies to encourage charitable donations.


ThinkTV has announced that it has commissioned a landmark, world-first study to prove the value and return on investment of television for advertisers in Australia.
ThinkTV has partnered with Ebiquity UK, a leading, independent marketing analytics specialist, to conduct econometric research that will measure the sales impact and return on investment of five media channels including television, radio, press, online and outdoor.
Twenty of Australia's top advertisers will contribute actual sales and campaign data for the last three years to the $1 million research project.
The "Payback Australia" study will reveal the return on investment of each media channel, the effect each medium has on other media in the mix and the sales effect of each channel.
The Australian study, the first ever of its kind, was inspired by several studies conducted by Ebiquity in the UK for TV marketing body Thinkbox on the effectiveness of advertising and the return on investment of different media.
"This research is the first study of its kind ever undertaken. Unlike other studies that analyse already modelled data, this research is using actual data from advertisers to provide a clear and consistent view of the return on investment of different media. The research will, for the first time, provide the market with robust industry benchmarks for a variety of categories and gives advertisers the tools to optimise their media investments effectively and efficiently to drive bottom line success in their businesses," said ThinkTV CEO Kim Portrate (pictured).


text:
Q: Replacing the previous text in the console I have a program that performs its actions through classes, writes at the start of execution...Let me show you
public static void Start()
{
Console.WriteLine("Clean");
...
Console.WriteLine("Clean: Done");
}

Yes, but this is in multithreading somewhere 7 classes, and it is difficult to see line by line what was done
I want to make it so that the text is displayed, and after the end of the class in the console, "Done!" for example, I found how to do it through Replace, but in txt files, find text and replace, but I did not find it in the console.Help!

A: You can use the Console.SetCursorPosition method.
Check the documentation and the code examples:
https://learn.microsoft.com/en-us/dotnet/api/system.console.setcursorposition?view=net-5.0

redpajama_set_name: RedPajamaStackExchange


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Q: How does mobile Safari decide to sleep tabs? I have been working on a web application that relies on page auto-refresh. It works as I expected in desktop Safari, which is refreshing in the background even if it is not the primary tab. So long as Safari is open, that is.
On iOS, however, I've seen inconsistent behavior. It doesn't refresh if Safari is not open, but does still refresh if the tab is in the background. Again, this is what I expected.
However, it seems like Safari occasionally sleeps the tab, then reloads it when it's visited again. I'm not that surprised to see it, but I can't figure out the logic. There doesn't appear to be a timeout time that is consistent, so I'm assuming there is some other component at play. But I have no idea what it is.
Anyone know know this work? I had assumed it was documented somewhere, but I've not been able to find it.
Thanks!


Therapeutic & Physical Development - North West Disability Services Inc.
Healthy Life Club is a great opportunity for people to come together to express shared experiences on life and build on current knowledge to further enhance their skills to promote a healthy and happy life.
In this activity participants will learn about different ways to get fit and healthy, build core strength, and body toning through Zumba dance moves and aerobics. African Drumming will give participants the opportunity to learn the skills of drumming, rhythm and hand -eye coordination. Read More..


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Congressman: Trump administration cause of pain, suffering at border
A Democratic representative, Dwight Evans of Pennsylvania, said in a tweet posted by his staff that Trump was "reaching new lows with these ridiculous tweets. His administration is the cause of pain and suffering that is taking place at the border. Nothing that he says will alter this truth."
Others called the Trump tweets "disturbing" and pointed out that US immigration policies have been in place for years without children dying in government custody.
US President Donald Trump on Saturday blamed opposition Democrats for the death of two immigrant children in US custody, comments set to heighten tensions as the second week of a government shutdown began over his demands for a wall on the US-Mexico border.
"Any deaths of children or others at the Border are strictly the fault of the Democrats and their pathetic immigration policies that allow people to make the long trek thinking they can enter our country illegally. They can't. If we had a wall, they wouldn't even try!" Trump said on Twitter, AFP reported.
He also said that both children "were very sick before they were given over to Border Patrol," AP reported.
The two tweets were Trump's first comments on the separate deaths of two Guatemalan children, aged seven and eight, who crossed the border illegally with relatives who were taken into custody by US Border Patrol.
In Guatemala, the mother of 8-year-old Felipe Gomez Alonzo, who died Christmas Eve, told The Associated Press that her son was healthy when he left with his father on their journey hoping to migrate to the US.
The first tweet hardened Trump's tone after an earlier message on Twitter that said the next move in the eight-day budget standoff over border wall funding belonged to the Democrats.
"I am in the White House waiting for the Democrats to come on over and make a deal on Border Security," Trump tweeted.
But members of Congress, most of them home for the holidays, kept low profiles, and there were no evident signs of any imminent breakthrough.
Eight-year-old Felipe Gomez, who collapsed after running a fever, died in US custody after traveling with his father Agustin Gomez from an indigenous community in Guatemala.
He died on the same day that Jakelin Caal, a Guatemalan girl who died in US custody under similar circumstances earlier this month, was buried back in her home village.
In the last two months, US Border Patrol agents have apprehended 139,817 people on the southwest border, compared with 74,946 during the same period a year earlier, Nielsen said.
More than 68,500 were "family units" while almost 14,000 others were unaccompanied children, she said, and the system has been pushed to the "breaking point."
When the shutdown began on December 22, affecting a quarter of the federal government, Trump canceled his plans to spend the year-end holidays in Florida and vowed to remain at the White House.
But as he tries to build pressure on Democrats to help fund the border wall he sees as an urgent priority – threatening even to close the border if no deal is reached – Democrats appear adamant in their refusal to pay for a project they view as a waste of money.
Some conservative Republicans, meanwhile, appear equally determined to press for the wall.
Trump has demanded $5 billion for wall construction – though the White House reportedly has shown flexibility on that number – while Democrats have offered to spend no more than $1.3 billion for security measures not including a wall.
Nancy Pelosi, who is expected to be House speaker in the new Congress, has vowed to "swiftly" reopen the government once her Democrats take control of that chamber from the Republicans on Thursday.
She said Democrats "will govern responsibly in stark contrast to this chaotic White House."
The effects of the shutdown have been slow to appear – many of the 800,000 government employees sent home or working without pay would have been off for the holidays anyway – but once the New Year arrives, pressure will grow.
This is the third government shutdown of the year, following shorter closures in January and February.

redpajama_set_name: RedPajamaCommonCrawl


LAS VEGAS-The Federal Aviation Administration (FAA) will hold three public workshops on April 9, 10 and 11 in and around Las Vegas about proposed airspace improvements over the metropolitan area.
WASHINGTON The Federal Aviation Administration (FAA) today posted a proposed rule that would streamline federal commercial space transportation requirements for future launch, reentry, and launch-site providers, and maintain safety during launches and reentries. The proposed rule follows the National Space Councils 2018 Space Policy Directive 2, which called on the Secretary of Transportation to review and revise the Departments commercial space launch and re-entry licensing regulations. It will expand national and international access to the economic, scientific, and educational benefits of traveling to space.
These rules will maintain safety, simplify the licensing process, enable innovation, and reduce costs to help our country remain a leader in commercial space launches, said U.S. Secretary of Transportation Elaine L. Chao.
Ingenuity and innovation have always fueled our nations success in space travel, said FAA Acting Administrator Daniel K. Elwell. This proposed rule ensures that a commercial space rocket is not tethered to a launch pad with unnecessary red tape.


BL and I were at a wine event in Napa a few months ago and had a black bean soup that was awesome! It took me a bit to figure out what was in it that was so different- chipotle peppers. Smoky, spicy, chipotle peppers pair perfectly with black beans. This looks like a large ingredient list but very simple and easy to throw together.
Heat olive oil in a soup pot over medium heat. Add the onions, cumin, chili powder, cayenne pepper and cook until onion is soft. Add the chopped pepper, jalapeño (if using), and keep cooking for another 5 minutes until pepper is soft. Stir garlic in.
In a blender, puree 1 cup vegetable broth, 1 cup black beans, and chipotle peppers. Add this to the soup pot along with the rest of the black beans and the chopped tomato. Bring to a boil and reduce heat to low. Cook 10-15 minutes. Stir in cilantro just before serving.


The University's 139th annual commencement exercises will take place May 7-9, 16, and June 7. All ceremonies are held in the Joseph J. Gentile Center on the University's Lake Shore Campus, unless otherwise noted in parenthesis.
May 7, 2009, at 4 p.m.
May 8, 2009, at 10 a.m.
May 8, 2009, at 3 p.m.
May 8, 2009, at 7 p.m.
May 9, 2009, at 10 a.m.
May 9, 2009, at 3 p.m.
May 9, 2009, at 7 p.m.
May 16, 2009, at 12:30 p.m.


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Forbes, John
Catholic Church (White Fathers)
Bishop John Forbes of the White Fathers Mission was a Canadian who was recruited as a result of an appeal made by the White Fathers in 1884. He was a theological student at the time and he joined the White Fathers in 1886, and was ordained priest in 1888. In 1894 he accompanied Bishop Livinhac to England as an interpreter. As a result of the political strife engendered in Buganda between the followers of the French Roman Catholics and the followers of the English Protestants, it was decided to consult with Cardinal Vaughan and the Duke of Norfolk about the possibility of sending English-speaking Catholics to Uganda. As a result of these negotiations, the Vicariate of the Upper Nile was formed out of the Vicariate of Uganda and was entrusted to St. Joseph's Foreign Missionary Society (the Mill Hill Mission) which had been founded by Cardinal Vaughan. In 1917 he was consecrated Titular Bishop of Vaga, and was appointed Bishop Coadjutor of Uganda, to assist Bishop Streicher.
Louise Pirouet
This article, used by permission, was written by Louise Pirouet, as part of A Dictionary of Christianity in Uganda (Department of Religious Studies, Makerere University College, 1969), p. 17. Copies available at Africana Section, Makerere University Library (AF Q 276.761 MAK and AR/MAK/99/1); Bishop Tucker Library, Uganda Christian University and in UK at the University of Birmingham; Crowther Centre Library, CMS Oxford and Louise Pirouet Papers, Cambridge Centre of African Studies.


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Home » UK » UK Visa Fee – Going to the Country May Soon Cost You More
UK Visa Fee – Going to the Country May Soon Cost You More
October 16, 2018 by Filter Coffee
The proposal made to double the Immigration Health Surcharge payable by non-EU visa applicants.
Surcharge payable by all applicants including those with private health insurance.
The move will help fund the National Health services in the UK
You need to pay more UK visa fee if you are planning to visit the UK. Anyone applying for a UK visa must pay an application fee. This is used to cover the administration costs of handling visa applications. In addition to this, anyone applying for a visa to stay in the UK for more than 6 months at a stretch must also pay an Immigration Health Surcharge.
This allows them to access the National Health services while they are in the UK. If the parliament approves, this fee may be increased from December 2018.
UK Visa Statistics 2017
In 2017, 2.7 million visas were granted by the UK. Of these, over 2 million visas were granted to visitors while the remaining were granted to people wanting to stay in the UK as students, workers or to reunite with their families. Indian and Chinese nationals accounted for around 46% of the visitor visas granted.
Number of Visas Granted
Work visas 165,131
Student visas 223,536
Family related visas 134,857
UK Visa Fee – What is the Immigration Health Surcharge (IHS)?
The IHS was introduced in 2015. This is payable by all non-EU immigrants in the UK who apply for a student, work or family related visa to stay in the UK for more than 6 months. Even if the applicant has private medical insurance, this fee must still be paid. People applying for visitor visas and a visa for less than 6 months are exempted from this surcharge.
Paying this surcharge allows immigrants to use the National Health Services available in the UK in the same way as regular citizens of the UK. There are a number of free health services available under this program. However, some services like prescriptions, eye tests, dental treatment etc., may still need to be paid for.
UK Visa Fee – Proposal for Increased Surcharge
A proposal has been made to double the HIS payable from December 2018 onwards. This will lead to an increase in the overall visa fee payable by students, professionals and all non-EU nationals seeking a visa for more than 6 months.
Surcharge Currently Payable
Proposed Increase
Student Visa £150 £300
Non-student Visa £200 £400
This move will help the NHS raise about £220 million in funds. A lack of funding is one of the biggest issues facing the NHS today.
How to apply for UK Student Visa
Everything You Ever Wanted To Know About Schengen Visa
UK Immigration Post Brexit – Increase in Number of Indians and Chines Getting Visas
Filed Under: UK Tagged With: UK Student Visa, UK Visa


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4 Ways To Stay Calm When Life Bumps You Again & Again - Motivate Amaze Be GREAT: The Motivation and Inspiration for Self-Improvement you need!
Stress is part of our day-to-day life. Even if sometimes we don't acknowledge them, stressful situations pop-up during our daily grinds.
The most important thing is to be able to cope with these stressful situations.
You can't predict and manage the external factors causing these hard times, but you can learn how to manage the internal factors.
You can change the way you react, because that's what you can control.
By staying calm during stressful times you can manage to think about your problems and eventually come up with a great solutions for them.
From time to time, we all overreact. We tend to turn a small problem into an impossible one. This way, we make it harder to be solved.
Keep in mind, 5% what life throws at you, 95% is how you react to it.
The best way to stop overreacting is to detach yourself from the stressful situation and calm down.
To control your stress level you really need to disconnect from it.
You are in the office and you bump into a disastrous situation, how do you deal with it? Well, the first thing you need to do is to stop everything you are doing and try to lower the stress level.
Secondly, the best way to detach yourself is to think about something else.
Get up, go outside, and take a walk, think about something else. While doing this, plan your future holiday, think about pleasant memories you have. Five to ten minutes will be enough, you will be calm and ready to get back up again.
This is a must for stressful situations! You need to see the glass half full. We are the sum of every experience we are going through. The more variated your experiences, the more adaptable you become, thus the easier it will be for you to cope with everything life throws at you.
Whenever you get into a stressful situation, once you detach yourself from it and you reach a certain level of peacefulness, you turn all the bad energy into positive attitude and actions.
Plan your way out, Sherlock!
It's vital that you plan your way out. If you don't do that, you are like a ship, without rudder, during a storm, you are adrift. Come up with some easy steps to get back up again.
For example: You got into a stressful situation because you didn't achieve the monthly sales target. Your boss called you up and during the meeting, he scolded you because of that. The meeting finished, you took a stroll for a few minutes, you energized yourself.
Measurable- This means you shouldn't have abstract goals, such as "I want to increase the number of cold calls." Be more specific, 30 is a precise goal.
Achievable- Make sure that your goals are achievable in the determined time period.
Relevant- It's useless starting email marketing campaigns if the only way to reach your customers is by phone, right?
Timed- This should be done by the end of the month-30 days.
Evaluated- At the end of each week, you should have a log of your daily activity. How many calls you had in the past week?
Reviewed- If you achieved your goal, how did you manage to do that? If not, what stopped you from reaching your goals. Find the reasons behind your success or failure and use them to learn.
Each and every one of us gets through stressful situations and hard times. They come and go, but is really important the way you handle them. You need to control yourself, not overreact to them, and detach yourself.
A really important part of this process is to plan your way out of these stressful situations. You can use S.M.A.R.T.E.R. goals for your plan, you can use different ways of outlining your plan. It's vital having a plan if not, you are adrift.
Share this article with your friends and family, help them stay calm and focused on the solutions whenever life bumps them.
Amelia is HR expert and blogger at nsw writers.
Her passion is to show that it isn't something impossible in the world of business and marketing.


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Classical music: The Madison Symphony Orchestra concerts this weekend feature three local debuts — by a woman conductor, a Grammy-winning cellist and an immigrant composer
IF YOU LIKE A CERTAIN BLOG POST, PLEASE FORWARD A LINK TO IT OR SHARE IT (not just "Like" it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.
Three local debuts will take place this weekend in the three "Epic Romance" concerts by the Madison Symphony Orchestra (below).
Renowned Canadian guest conductor Tania Miller will lead the MSO while music director John DeMain makes his debut at the Liceu Theater in Barcelona, conducting the opera Candide in celebration of the 100th anniversary of Leonard Bernstein's birth.
Grammy Award-winning American cellist Zuill Bailey will make his Madison Symphony Orchestra (MSO) solo debut in Edward Elgar's Cello Concerto.
And Canadian composer Michael Oesterle will be performed for the first time in Madison when his work "Home" opens each concert.
The second half of the program is Peter Ilyich Tchaikovsky's Symphony No. 5.
Performances will be held in Overture Hall of the Overture Center, 2912 State Street, on Friday, Oct. 19, at 7:30 p.m.; on Saturday, Oct. 20 at 8 p.m.; and on Sunday, Oct. 21, at 2:30 p.m.
Here are more details:
Canadian Conductor Tania Miller has distinguished herself as a dynamic interpreter, musician and innovator, on the podium and off. She has been praised for "energy, grace, precision and restraint." She has appeared as a guest conductor in Canada, the United States and Europe with such orchestras as the Bern Symphony Orchestra, Seattle Symphony, Oregon Symphony and the Vancouver Symphony, among others.
Over a 14-year tenure as the Music Director of the Victoria Symphony in Canada, Miller (below) gained national acclaim for her passion and commitment to the orchestra and community. Recipient of the 2017 Friends of Canadian Music award from the Canadian League of Composers for her acclaimed commitment to contemporary music in Canada, Miller has been an example of the impact of commitment and dedication to an orchestra and to the future of orchestral music through creative innovation and vision.
You can hear Tania Miller discuss women conductors in the informative YouTube video at the bottom.(But please be forewarned: YouTube was having major technical issues and glitches last night that affected all their videos on this blog, not just this one. If it doesn't load when you try, wait and then try again.)
Zuill Bailey (below), described by Classical Net as "easily one of the finest cellists today," has been featured with symphony orchestras worldwide, including Los Angeles, Chicago, San Francisco, Toronto, Israel, Cape Town, and the Bruckner Orchestra in Linz, Austria. Bailey has also appeared at Disney Hall, the Kennedy Center, the United Nations, Lincoln Center and Carnegie Hall.
In 2017, Bailey won a best solo performance Grammy Award for his live recording of "Tales of Hemingway," by composer Michael Daugherty. His celebrated "Bach Cello Suites" and recently released Britten Cello Symphony and Sonata CD with pianist Natasha Paremski immediately rose to the No. 1 spot on the Billboard magazine Classical Chart.
His Cello Concerto was the last notable work by Sir Edward Elgar (below), composed in 1919 in the aftermath of World Ear I. Upon regaining consciousness following a 1918 tonsillectomy, Elgar immediately asked for pencil and paper and wrote down the melody that would become the first theme in this concerto.
Despite today's renown as a crowd favorite, the piece did not achieve wide popularity until the 1960s, when a recording by Jacqueline du Pré caught the public's attention, and it became a classical favorite.
Michael Oesterle's "Home" had its world premiere in November 2017 with the Royal Conservatory Orchestra and conductor Tania Miller.
The piece is an homage to the great geographical ebb and flow of humanity, also known as the immigrant experience. Oesterle (below) notes, "I wrote it through the filter of my personal impressions as an immigrant, and with the realization that this subject is humbling in its breadth."
Composed between May and August 1888, Tchaikovsky's Symphony No. 5 was first performed in St. Petersburg at the Mariinsky Theatre with Tchaikovsky below) conducting.
Unlike its two predecessors, there is no known program for the Fifth Symphony, save for a recurring main theme heard throughout all four movements. Over the years this theme has become known as the "fate" motive; its original ominous character undergoes various metamorphoses, emerging triumphant in the score's concluding pages.
The lobby opens 90 minutes prior to each concert. One hour before each performance, Madison Symphony Chorus Director and UW-Madison director of choral activities Beverly Taylor (below) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers' understanding and listening experience. It is free to ticket holders.
The MSO recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center's security stations, and so they can experience the Prelude Discussion.
Program notes for the concerts are available online: http://bitly.com/oct2018programnotes
Tickets can be purchased in the following ways:
Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/ax through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141. Fees apply to online/phone sales.
Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, https://www.madisonsymphony.org/groups.
Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $15 or $20 tickets. More information is at: https://www.madisonsymphony.org/studentrush
Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
Subscribers to 5 or more symphony subscription concerts can save up to 50% off single ticket prices. More information is available about the season at: https://madisonsymphony.org/18-19
Flex-ticket booklets of 10 vouchers for 18-19 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex
Discounted seats are subject to availability, and discounts may not be combined.
Find more information, go to madisonsymphony.org
Major funding for the October concert is provided by: Mirror 34 Productions and National Guardian Life Insurance Company. Additional funding is provided by John A. Johnson Foundation, a component fund of the Madison Community Foundation, Barbara J. Merz, Selma Van Eyck, and the Wisconsin Arts Board, with funds from the State of Wisconsin and the National Endowment for the Arts.
Tags: #AmericanImmigration, #AntonBruckner, #AsianImmigration, #BarcelonaSpain, #BenjaminBritten, #BillboardMagazine, #BlogPost, #BlogPosting, #BoxOffice, #CanadianComposer, #CanadianConductor, #CanadianLeagueofComposers, #CanadianMusic, #CandideOpera, #CapeTown, #CarnegieHall, #CelloConcerto, #ChoralMusic, #ClassicalChart, #ClassicalNet, #CompactDisc, #ContemporaryComposers, #ContemporaryMusic, #DisneyHall, #EbbandFlow, #EdwardElgar, #ErnestHemingway, #EuropeanImmigration, #FacebookPost, #FemaleConductor, #GrammyAward, #GuestConductor, #HomeWebsite, #InsuranceCompany, #JacquelineduPré, #JohannSebastianBach, #JohnDeMain, #KennedyCenter, #LeonardBernstein, #LincolnCenter, #LinzAustria, #LiveRecording, #MadisonCommunityFoundation, #MadisonSymphonyChorus, #MadisonSymphonyOrchestra, #MariinskyTheatre, #MeadWitterSchoolofMusic, #MichaelOesterle, #MusicalInterpretation, #MusicDirector, #NatashaParemski, #NationalEndowmentfortheArts, #NationalGuardianLife, #NewMusic, #OperaMusic, #OrchestralMusic, #OregonSymphony, #OvertureCenter, #OvertureHall, #PeterIlyichTchaikovsky, #PublicAttention, #RoyalConservatory, #RussianComposer, #SeattleSymphony, #SeattleWashington, #SoloCelloSuites, #SoloDebut, #SouthAfrica, #StateOfWisconsin, #TalesofHemingway, #TaniaMiller, #TechnicalGlitch, #TechnicalIssue, #The1960s, #The60s, #TorontoCanada, #UnitedNations, #UnitedStates, #UniversityofWisconsin-Madison, #VancouverCanada, #VancouverSymphony, #VictoriaSymphony, #WisconsinArtsBoard, #WomanConductor, #WorldPremiere, #WorldWarI, #YouTubevideo, #ZuillBailey, 1960s, acclaim, anniversary, Anton Bruckner, Arts, Austria, award, Bach, Barcelona, Benjamin Britten, Bern, BernSwitzerland, Billboard magazine, birth, Canadian, Candide, Cape Town, Carnegie Hall, cellist, Cello, centennial, character, Chicago, choral music, Classical chart, Classical music, Classical Net, commitment, community, Compact Disc, composer, concerto, conductor, debut, dedication, discount, discussion, Disney Hall, Edward Elgar, epic, Ernest Hemingway, Europe, example, Facebook, favorite, female, funding, geographical, geography, glitch, Grammy, Grammy Award, group, homage, Home, immigrant, immigration, impact, impression, innovation, innovator, insurance, interpretation, interpreter, Israel, issue, Jacob Stockinger, Jacqueline du Pré, Johann Sebastian Bach, John DeMain, Kennedy Center, Leonard Bernstein, Lincoln, LIncoln Center, Linz, Live Recording, Los Angeles, Madison, Madison Community Foundation, Madison Symphony Chorus, Madison Symphony Orchestra, Mariinsky Theatre, Mead Witter School of Music, melody, metamorphoses, Michael Oesterle, Music, Natasha Paremski, National Endowment for the Arts, NEA, New York City, ominous, online, opera, Oregon, Passion, personal, Peter Ilyich Tchaikovsky, Pianist, Piano, podium, popular, popularity, Prelude, public attention, Romance, Royal Conservatory, Russia, San Francisco, Seattle, security, senior, solo, Sonata, South Africa, Spain, St. Petersburg, State of Wisconsin, Student, subscriber, Switzerland, symphony, Tales of Hemingway, Tania Miller, technical, theme, ticket, Toronto, United Nations, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Victoria, Viola, Violin, vision, web site, Website, Wisconsin, Wisconsin Arts Board, women, YouTube, Zuill Bailey


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Lockheed C-69 "Constellation" (Heller)
Gallery 11. April 2018 Gunther Arnold
TYPE: Personnel and cargo transport
ACCOMMODATION: Crew of four plus troops or freight
POWER PLANT: Four Wright R-3350-35 "Duplex-Cyclone" radial engines, rated at 2,200 hp each
PERFORMANCE: 330 mph at 10,000 ft
COMMENT: Following the Attack on Pearl Harbor and the United States entering WWII, the assembly lines at the Lockheed Aircraft Corporation were taken over by the American government for the war effort. Along with the assembly lines, the Lockheed L-049 "Constellation" airliner was also requisitioned and designated C-69 and was to be used as a cargo and personnel transport by the United States Army Air Forces (USAAF).
Due to the direction the war was heading during summer 1942, the need for a large troop transport capable of crossing the Atlantic Ocean o Pacific Ocean (by flying from island to island) became more important. This would help avoid the risks the convoys in the Atlantic were facing due to U-Boat attacks.
The Douglas C-54 "Skymaster" planned for these roles was not completely capable. So on September 1942, the American War Department signed contract with Lockheed for nine L-049 aircraft under construction for TWA. Soon after 150 more C-69A and C-69B aircraft were ordered along with C-69C and C-69D VIP transport versions. In reality, only one C-69C was produced out of all these planned variants.
Around the same time the prototype XC-69 was completed and rolled out in December 1942. The aircraft was painted in olive green and grey camouflage colors and the civilian registration. However, problems developed with the aircraft's powerplant, the Wright R-3350 "Duples Cyclone". A consideration to replace the R-3350 engines with Pratt & Whitney R-2800 had been taken up.
On July 1943, the XC-69 was symbolically handed over to the USAAF and later that same day, the XC-69 returned to Lockheed for further testing. It is worth mentioning that the C-69 was able to attain a higher maximum speed than the Mitsubishi A6M "Zero" fighter.
Major problems, however, surfaced with the Wright R-3350 powerplant that powered the C-69 and finally the USAAF ceased production of the R-3350 until the troubles that plagued the engines were solved. This caused the development of the C-69 to slow down and furthermore, the C-69 was not declared a priority. Lockheed continued to focus on building combat aircraft while the Douglas C-54 "Skymaster", the C-69's competitor was already flying and officially ordered.
Unfortunately for Lockheed, the C-69 became less important to the war effort as time progressed, especially since the tide of the war had turned in favor of the Allies. Only a small number of C-69 aircraft would see service in the last year of the war. Even so, Lockheed was able to conduct tests at the expense of the government to solve problems with the aircraft's design. Although the problems with the R-3350 were being solved, the B-29 had priority for the engines over the C-69. Even with all the effort put forth by Lockheed, the USAAF favored the C-54 "Skymaster" over the C-69. At the end of the war, only 22 Lockheed C-69s "Constellations" were produced, seven of which were never delivered (Ref.: 24).
Lockheed C-69 "Constellation"
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Our team of clinicians come from a variety of backgrounds and disciplines including academia, military service, substance abuse treatment and child welfare organizations. These backgrounds allow us to serve patients facing a wide range of concerns. You can explore our specialties here as well as view each clinician's specialties on their profiles.


text:
Q: ERROR: The environment update cannot be complete at this time. Try again later. - AWS Elastic Beanstalk I am deploying a flask app using the AWS elastic beanstalk. On editing and saving using the following command
eb config

this is what I get-->
ERROR: The environment update cannot be complete at this time. Try again later.

Can someone help me identify the possible causes for this error? Let me know if you need additional details.Thanks in advance!

A: Make sure you are using the right access keys for your account in eb cli.
The keys defined in '~/.aws/config' file should be the same as in the AWS console under IAM > Users > yourUser > Security credentials.


text:
Well Into the Third Act: The Way Forward on Public Access to EU Documents
28 August 2017/ By Maarten Hillebrandt	/ 2
By Maarten Hillebrandt
Public Access to Documents in the EU, by Leonor Rossi and Patricia Vinagre e Silva, (Oxford/Portland, Hart Publishing, 2017, ISBN 9781509905331); xxxviii + 340pp.; £49.00 hb.
Access to EU Documents: A Policy in Three Acts
On 7 February, the EU celebrated a remarkable anniversary. Exactly twenty-five years ago on that day, the Heads of State and Government (HSG) of the European Community's then twelve Member States took the bold leap forward by signing the Maastricht Treaty. Another leap forward lay tucked away in one of the Treaty's accompanying texts, even when the Member States' representatives did not realise it at the time of signing. Declaration 17, attached to the Maastricht Treaty, recognised the positive relation between transparency and democracy, and professed an intention to take steps to advance such transparency. Thus began the First Act of a transformative development called Access to Documents.
In the years that followed, much ground was covered. Under the pressure of public opinion, the declaration turned out to have more bite than the HSG had envisaged. In an attempt to defuse the crisis that emerged after the Danish rejection and French near-rejection of the Maastricht Treaty, Declaration 17 went from a European Council statement to a Commission report, and from a Commission report into a code of conduct, which eventually led to internal decisions on access to documents adopted successively by the Council (1993), the Commission (1993) and the European Parliament (1997). Less than two years after a hortatory political declaration in a footnote of a treaty, EU access to documents thus entered into its Second Act.
During the Second Act, it became possible for access to documents applicants to litigate, hence opening the door to a body of case law that began to accumulate at the rate of a few judgments per year. By the time the Intergovernmental Conference (IGC) began to negotiate treaty revision, a number of the court's doctrinal developments had settled. As a consequence, the Member States were now ready to acknowledge openness as a legal principle in the Amsterdam Treaty, and to give access to documents a separate treaty base that paved the way for the replacement of the institutions' three internal decisions by a legislative act, Regulation 1049, which was adopted on 30 May 2001.
Thus began the long Third Act which lasts until today. It also marked a decisive normalisation of access to documents, both in a legal sense and in a social and institutional sense. In a legal sense, many issues of the public's right of access, including those concerning documents submitted by Member States, or the extent of administrative burden that was to be expected from the European institutions, were largely settled in the now rapidly proliferating case law. Meanwhile, the access right's constitutional overtones were suggested by three developments: the incorporation of a right of access in the Charter of Fundamental Rights of the European Union (article 42) in 2000, the EU's accession to the Aarhus Treaty and subsequent adoption of the Aarhus Regulation on Access to Information (Regulation 1367/06) in 2006, and increasingly explicit references to transparency's auxiliary role in facilitating the democratic life of the Union, most notably in the Access Info Europe and In 't Veld v Council case law. In a social and institutional sense, the notion of transparency became increasingly publicised, leading to growing application and access rates over time. This was not in the last place due to the institutions' improving administrative capacity and familiarity with the subject of transparency. In spite of various actors' –not in the last place, the Member States'– multiple misgivings with the way that Regulation 1049/2001 has played out in jurisprudence and in institutional practice, the legislation thus proved to be a remarkable resilient lock-in compromise. This is demonstrated by a long-drawn revision process that will soon enter its tenth year with no outcome in sight.[1]
Relevant and well-timed
The dual anniversaries of EU access to documents (twenty-five years since Declaration 17 and ten years of legislative deadlock of Regulation 1049/2001) provide a timely occasion for a new book on its legal intricacies. In Public Access to Documents in the EU, Leonor Rossi and Patricia Vinagre e Silva, respectively professor of EU law at Lisbon's Nova School of Business and Economics, and lawyer in the field of EU administrative law, set out to analyse, systematise and contextualise the more than 200 judicial disputes emerging out of requests for access to documents of the EU institutions. This is, as the authors directly concede, a 'Herculean task' for any mere mortal (p. 2), and consequently an endeavour that a priori commands commensurate respect. Nevertheless, they succeed in covering all of the most important doctrinal developments in only 270 pages and 8 chapters, adding many interesting legal points for thought and consideration along the way.
Public Access to Documents in the EU is not the first overview of EU transparency law. Monographs by Curtin (2009) and Driessen (2009, revised version 2012), and dissertations by Buijze (2013) and Hillebrandt (2017) have considered EU transparency respectively from the perspective of executive power, institutional law, legal principles, and policy making.[2] Yet the book fills a clear gap by making the access case law the explicit focus of its analysis, and proceeding with an approach that is generally well-structured and thematically rich. As such, it provides a tremendous contribution that covers an impressive amount of ground.
The authors make great work of dissection the ambiguities in successive legal texts governing the right of access. In a systematic manner, the chapters address the main points in law related to the rights-bearer and duty-bearer, the nature of and exceptions to the duty, and legal remedies. Beyond this logically prudent structure, two 'wildcard' thematic chapters are devoted to the issue of administrative silence and a political science-like excursus into the behaviour and motives of the access policy's actors: Member States, institutions, and third parties.
Meticulous to a fault – but to what effect?
In an introductory chapter, the book's central argument is set out, which is that the right of access has grown remarkably in scope (which the authors describe as 'width'), yet to limited results in terms of enforcement ('depth'). This point is convincing, given the fact that, as the authors point out, the jurisprudence lacks finality in a very real sense: in access to documents cases, EU courts cannot serve the institutions injunctions to disclose documents that are subject of the judicial dispute (pp. 7-8). Instead, the courts can only review the merits of institutions' concrete legal interpretations of the access rules in the implementation practice, sometimes upholding it, sometimes striking it down. In spite of access' accompanying 'width', the right of access to documents is introduced as an unknown legal object, a rare beast to both the institutions and the public. As the authors argue, "…what exists in the EU is a certain form of access. That is very different from saying that in the EU access exists, and that it has been normatively laid down under a certain form" (p. 41). The authors do and don't have a point here. Clearly, the EU transparency framework has developed in an idiosyncratic and institutionally embedded manner. But does that not apply to all freedom of information acts? Surely, the 2,342 applicants who in 2016 requested access to 10,232 documents in the Council alone were more concerned with the content rather than the form of their access rights. Yet the book's focus on litigation means it is somewhat out of touch with broader EU transparency trends, for example overlooking developments in proactive disclosure on online registers. Indeed, differently than the authors suggest about access to documents (p. 2), here access has become increasingly easy, generous, and widely used.[3]
The next chapters (2-5) do a very thorough job at addressing various points of law. Chapter 3 example points out that while a trend is noted towards an ever-wider inclusion of EU bodies, culminating in its extended application to "all bodies, offices, and agencies" of the EU –a move which the authors curiously describe as "paternalism" (p. 78)– it remains up to the applicant to find out how and to what extent these bodies' documents are legally included under the general right (p. 71). Additionally, it would have been interesting here to read the authors' view on the unaddressed question whether the scope broadened by article 15(3) TFEU produces direct effects, or is conditional to a legislative act. In other places, the reconstruction becomes exhaustive to the point of excess, such as when it is held that at first instance, the EU institution of which documents are requested is always defending parties. Occasionally, observations also seem relatively trivial, such as that the 'no-reasons rule' (which the authors believe makes the scope of beneficiaries "implausibly generous" and places a "prodigious burden" on the institutions) prevents the institutions from enforcing the legal limits to the beneficiaries (pp. 51-3). Access, after all, is erga omnes anyway, meaning that any individual across the whole world enjoys access to disclosed documents even when the scope of beneficiaries is technically limited to EU citizens and residents.
Of the thematic chapters, the one on administrative silence (6) is rather successful, adding a fresh perspective on a subject that frequently comes up but seldom receives a detailed discussion. Moreover, as the authors amply demonstrate, the question of institutional non-response lends itself par excellence as a relevant aspect of the access rules that can be fruitfully grounded in the case law. For example, deep analysis of the jurisprudence leads them to the original insight that it is legally speaking always to the institutions' advantage not to respond to requests for access within the deadline, as it buys them time or gets them an easy win at marginal cost (pp. 200-5). By contrast, the chapter on "the eccentric actors of the access policy" (7) suffers from a clear point of inquiry, making it somewhat drifting and tedious to read. Trivial observations (e.g., long lists of Member States that have at any one time been involved in access to documents litigation without any convincing conclusion following from such an enumeration) are succeeded by confused conceptualisations (e.g., the EU institutions are introduced twice as a distinct category of actor), or even outright overdramatization, such as when the authors argue that "[a]t one stroke, any authority of the Member States […] over the release of documents transmitted to the EU was set aside [by Regulation 1049/01]" (p. 216), but neglect to mention that the Member States as legislators in the Council agreed to this revision themselves, or that the Council engaged in successive internal negotiations to settle the question of what was to be considered a 'Member State document'. Moreover, the authors' answer to the question what is eccentric about these actors, which seems to be that they are interested parties without necessarily being involved in litigation (p. 233), sounds itself rather eccentric to all but the most doctrinal lawyers, and certainly to scholars in the social sciences.
All in all, the authors present an insightful overview of the central mechanisms of the access regime that is exhaustively researched and –an important point– sensitive to historical development. On the other hand, the authors' thoroughness leads them to devote relatively much space to minor issues that may interest a small expert audience of legal scholars, but which goes at the expense of other conclusions interesting for a broader audience. Limited attention is for example dedicated to the institutions' implementation of the rules in practice, or to informal strategies that they have developed to deal with the more onerous obligations that the access rules impose on them. Important contributions to the literature by constitutional lawyers such as Harlow, Tomkins, or Alemanno, or political scientists such as Naurin or Cross are omitted. Meanwhile, interesting chunks of legal knowledge that would be useful for political scientists to consider, such as the fact that member states' interventions in pending cases (a treaty prerogative) gains them access to all the submitted pleadings and other proceedings (p. 212), disappear to the background. It is exactly such observations, along with the book's impressive analytical prowess, that would make it a useful source for scholars beyond doctrinal legal scholarship.
These limitations can be traced back to the authors' choice to deliver a jurisprudence-informed doctrinal analysis of the legal texts, which is a momentous task in itself and which to some extent justifies their decision to prioritise the legal scholar over the social scientist and the theoretical over the practitioner-oriented. Less understandable however is the absence of a concluding chapter binding the various themes together in a coherent argument. What is the result of an ever-wider yet surprisingly shallow right of access to documents in the long run? Twenty-five years after the idea of access to documents was first coined in the EU, and well into its third act, what future do the authors foresee for access to documents? The answer to these questions remains unclear after putting the book down. These factors are all –regrettably– likely to conspire against a readership beyond the interested EU legal scholar.
An abridged version of this book review will be published in the Journal of Common Market Studies.
[1] See M. Hillebrandt, D. Curtin, and A. Meijer (2014), "Transparency in the EU Council of Ministers: An Institutional Analysis", European Law Journal 20(1), 1-20
[2] D. Curtin (2009), Executive power of the European Union: Law, Practices, and the Living Constitution (Oxford: OUP); B. Driessen, (2009), Transparency in EU Institutional Law: A Practitioner's Handbook (London: Cameron May); A. Buijze (2013), The Principle of Transparency in EU Law, doctoral dissertation, Utrecht University; M. Hillebrandt (2017), Living Transparency: The Development of Access to Documents in the Council of the EU and Its Democratic Implications, doctoral dissertation, University of Amsterdam.
[3] E.g., according to the 2016 annual access to documents report of the European Parliament (pp. 5-6), in 2016 the European Parliament's online register contained 4,175,092 documents, of which 118,980 were directly consulted.
Administrative Law / POMFR / Transparency and access to documents
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About Maarten Hillebrandt
Dr. Maarten Hillebrandt studied sociology andhistory at the University of Warwick and public administration at Utrecht University. He obtained his Ph.D. from the Amsterdam Centre for European Law and Governance, University of Amsterdam, where he wrote a dissertation about the transparency policy of the Council of the EU. Maarten currently works as a postdoctoral researcher at Bielefeld University on a project about quantification in the public sector, and is a member of the Meijers Committee, an expert body on EU migration, asylum, criminal, and institutional law.


moreystudio has no other items for sale.
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Soft doesn't even begin to describe this ultra lightweigh, comfy faux shearling 1" tag collar. Meant for just holding your pet's ID while lounging in the house with no bulky buckle. These gently slip on over the head and adjust for a perfect fit. They are NOT for walking. Please use a safe limited slip collar for walking your hound.
PLEASE SPECIFY COLOR when you order and I also need a neck measurement to further customize your collar.
Great for whippets, greyhounds, Italian greyhounds, Chinese cresteds, Xolos and other dogs with delicate necks. Will NOT break coat or rub...guaranteed.
From a recent customer: "What a WONDERFUL tag collar this is. You should sell it more widely on different sites. It's fantastic. I'm thrilled with the comfort of it. I'm sure he's happy having something so soft. The nylon one I had for him was so hard on his skin and fur. This is great. I may just get one for when this one wears out! Thank you so so much for making it!"


text:
require File.join(File.dirname(__FILE__), "test_helper")

class VeneerTestCase < Test::Unit::TestCase
  context "Venner" do
    setup do
      clear_constants! :Foo, :Bar
      Veneer::Base::ClassWrapper.subclasses.clear
    end

    should "keep track of all class wrappers" do
      assert_equal 0, Veneer::Base::ClassWrapper.subclasses.size
      class ::Foo < Veneer::Base::ClassWrapper; end
      assert_equal 1, Veneer::Base::ClassWrapper.subclasses.size
      assert_equal Veneer::Base::ClassWrapper.subclasses.first, ::Foo
    end

    should "defer to the adapters class_models to gather all class models" do
      class ::Foo < Veneer::Base::ClassWrapper
        def self.model_classes
          [:foo_models]
        end
      end

      class ::Bar < Veneer::Base::ClassWrapper
        def self.model_classes
          [:bar_models]
        end
      end

      result = Veneer.model_classes
      assert_equal result, [:foo_models, :bar_models]
    end
  end
end

redpajama_set_name: RedPajamaGithub


text:
<?xml version="1.0" encoding="utf-8"?>
<layer-list xmlns:android="http://schemas.android.com/apk/res/android" >
    <item android:drawable="@drawable/smiley_background"></item>
	<item android:right="-16dp"
	    android:bottom="-8dp">
	    <bitmap android:src="@drawable/logo_corner"
	        android:gravity="right|bottom"
	        android:tileMode="disabled"/>
	</item>
</layer-list>


I was unable to attend this month's sketch outing because of a sudden change in another event I had scheduled. The event took place on 10th Avenue right beneath Volunteer Park. I took the chance to walk the beautiful park in the sunshine and sketch the Seattle Asian Art Museum (SAAM).
The SAAM is a particularly enjoyable drawing experience because of the building's geometric Art Deco facade. Its tight corners, easy proportions and smooth curves make it an excellent drawing exercise. The building's position in the landscape of Volunteer Park also creates a wonderful composition and a chance to study the juxtaposition of geometric and organic forms.
In addition, the building's flat facade removes the need to worry about perspective and emphasizes the scale of people and objects. Most of the depth comes from the people surrounding the building and the size of objects in the scene such as cars. This is an excellent example of the way human scale can define a building.
The SAAM building was constructed in 1933 to house the Seattle Art Museum (SAM). SAM moved to its current location in 1991. The building was refurbished and opened as the Seattle Asian Art Museum in 1994 and continues to hold the majority of SAM's extensive collection of Asian arts.
At the time of this drawing, SAAM was hosting an exhibit of Japanese Pop Culture work produced by the artist Mr. Mr.'s art is produced in a pop culture style similar to Andy Warhol's work, using anime and Japanese pop culture. The exhibit focused on the impact of the Japanese tsunami and nuclear meltdown in 2011 and the many ways that Japanese culture has dealt with the catastrophe.
If you are looking for a good beginning urban sketching exercise, the Seattle Asian Art Museum is a good project. Its flat facade allows for a detailed study of proportions while minimizing the distraction of perspective. In addition, the museum and park offer many other drawing opportunities and cultural events.


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Give them access to only a small area at first until you are confident that your puppy or dog knows the house rules. These include toilet training.
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Purchase appropriate toys and supplies, including walking equipment such as head collars or front-attached harnesses.
Have realistic expectations of your new dog or puppy – they won't know the rules immediately and will need your patience, love and guidance.


text:
Chapter 1 indians the settlements of america Essay
1. Jamestown was the first colony that gets found. It was there where the first permanent settlement occurs. Jamestown was a poor location for colonization. The men dug wells to obtain water, but the water they found could not drink because it was contaminated. In addition, the ground was wet and had too many mosquitos. The mosquitoes were carriers of diseases and made the settlers sick. After a year, about half of the settlers had died of disease and starvation. The Native American Indians kept the English alive providing them with food.
The English were so busy trying to discover gold that they didn't bother trying to grow food. That was when Captain John Smith became leader of the Jamestown colony. He saved the colony by creating a rule, which maintained that anyone who did not work would have no right to eat. This made the colonist planted food, and they were forced to build shelters and fences to protect against any attack. These American Indians or "Amerinds", showed them great diversity of character and attainments due to the differences in climate, soil, food, building material, and the activities necessary to preserve life.
They taught the settlers how to plant and grow corn, beans, squash, etc. and also helped them to establish good relations with neighboring Indian tribes. On the other hand what the English settlers offered to Native Americans Indians was different. In exchange for food, they offered them weapons, horses, cattle, sheep, vegetables and fruits, hatchets, swords, metal pots, skillets and knives, which would give them the technological advantage over their enemies. They brought not only tools for the conquest of the wilderness, but also the forms of government, the religion, the books, and the languages of the Old World.
But besides the different technologies and different lifestyles that they offered to them, the English brought with them different types of diseases, such as smallpox, which was lethal to Amerinds, this produced a lethal epidemic that affected a large portion of the tribe. American Indians had a very different culture from the English people. Despite some successful interaction, questions of ownership and control of land and trust between peoples, caused conflicts arise. Virginia suffers very frequent periods of drought and by that time the colonists did not understand that the natives were ill prepared to feed them during the hard times.
In the years after 1612, settlers cleared the land to prepare it for export farms dedicated tobacco, its crucial crop for economic purposes. When the tobacco exhausted farmland, the settlers continuously had to clear more areas to replace them. This small wooded land was that the Indians could use to hunt and supplement their food crops. The more settlers arrived, the more demanding land. The spread of tobacco cultivation altered life for everyone, because its cultivation required abundant land. The tribes tried to fight the invasion of the settlers.
The main conflicts occurred with the indigenous slaughter of 1622 and another in 1644, both under the command of the younger brother of the late Chief Powhatan, Chief Opechancanough. Recognizing the danger, the war leader launched coordinated attacks along the James River on March 22, 1622. By the end of the day 347 colonist lay dead, and only a timely warning from two Christian converts saved Jamestown itself from destruction. Europeans had a very mixed picture of the native Indians. On one hand, they believed that the Indians could be soft and generous and also attentive and willing to trade.
At first it was a very positive image and the settlers had hoped that they would be welcomed with open arms and friendly hands. They wanted to believe their way to the Garden of Eden. 2. After reading the three sources that tell the story of the Indians and the Settlement of America, I found it more accurate the description number 3 "A people and a Nation" (2008) that gives us Mary Beth Norton, because I think is a very complete description about the events that occurred with the New World. She begins by describing how other civilizations of America were.
She mentions how that residents, of what is now central Mexico began to cultivate food crops, especially corn, squash, beans, avocados, and peppers; while in the Andes Mountains of South America, people began to cultivate potatoes, and it was thanks to the improvement of these techniques of agriculture that could be spread this knowledge through America with the exception of those areas with harsher climates.
Thanks to agriculture most of the Americans began to adopt a more sedentary life, without the need to spend so much time hunting and gathering. I believe that it is very appropriate that she mentions these details, since it is important to us as readers have an idea of how other civilizations in the Americas were, in this manner we can understand a little more about the civilization of the Native Americans Indians, because in some way they were very similar to each other.
In the same way, in this source the author also makes mention of another significant civilization of America, the Aztecs; they were one of the most important and recognized civilizations of the American continent, they had a style a little different from other civilizations, they tended to be a little more wild, they use to forced their neighbors to pay tribute in textiles, gold, foodstuffs and even in human beings, who were sacrificed to the war god Huitzilopochtli.
After the author made mention of these events, she continues her story mentioning the arrival of the English for the first time in 1607 to a region near to Chesapeake Bay called Tsenacomoco. It was a group of 104 men and boys, who established the palisaded settlement called Jamestown. This source tells us the beginning of a radical change to this Nation; the author mentions the number of people, the name of the region in which they arrived, and the date on which this happened; it seems to me that these data are necessary to know for any American person, I think it is important for all of us who live in this continent know this historical fact, and more specifically know what happened in this country.
I am convinced that this source is more accurate, because it shows us these and more details, and is more precise describing how was the relationship between the colonists and the Native American Indians. It shows us what was the difference between these two different civilizations, and at the same time expresses us which were their similarities.
Both groups held deep religious beliefs, subsisted primarily through agriculture, accepted social and political hierarchy, and observed well-defined gender roles. Despite the coexistence that came to have each other, both groups continued to have their own beliefs and thoughts, which for me in somehow led them to start a war, because the settlers wanted to impose their will on the Indians, and at the same time the Indians wanted to not let this happen, and also they were tired of being their food source and carriers of diseases that the settlers brought.


Glenn Gould had recorded two Goldbergs prior to this release: from 1955 and a live Salzburg performance in 1959. Both are stunning, bursting with wit and vivacity - but there is something about his testamentary final version (finished just before his premature death, aged 50) that defeats not only his own efforts but those of every other pianist too. Gould himself was an odd fish, to say the least - he never slept (the Goldbergs were written by Bach for the insomniac Goldberg), ate little and was a chronic hypochondriac. Admirable was his love for animals - he had many dogs throughout his life - and his love of solitude (he conducted almost every relationship through the telephone). Such qualities are very important when considering the unmeasurable profundity of this recording - the love of innocence, the aversion to brutality, the childike playfulness are coloured by a deathly weariness and stoicism (hence the beautiful final aria, transcendentally slow, or the tired stubborness of number 1). This is one of those recordings that demands endless relistening - one discovers new things every time amidst the mass of detail and complexity (the diversity of articulation in number 25, the so-called 'black pearl' variation is a good example). His tone is otherwordly, sometimes akin to the sound of a xylophone, sometimes an organ - the glittering textures of Variation 6 or 13 are wondrous. Bach purists will perhaps hate this LP, but wrongly - it is a marvellous realisation of the score combined with a highly original personal vision. Brendel chides Gould for his Bach playing, on the grounds that he fails to bring out the composer's intentions. Well, listen to Brendel's feeble recording of the first two books of Liszt Annees de Pelerinage - as far from the pyrotechnics and thunderous sonorities of the score as one could possibly imagine. Take no notice of these critics - this is surely one of the finest recordings in the entire catalogue, a true marvel of human achievment. It is complex, beautiful and relentlessly profound.
This man is the epitome of genius. His touch, tone color, dynamics, lyricism, are all unmatched when he plays Bach. This piece is so humbling every time I hear it. As Bach said, glory to God.
A beginner could learn it in a year, but Gould's playing of it is "perfect." There's a huge debate over whether the little details matter. The fact is, you can hear his phrase grow and fall and you can hear each voice individually. the kind of coordination that requires of both sides of the brain in order to operate each hand is incredible. Gould rules. His Bach is incredible. And what's so wrong about dedicating your life to something if it means enough to you?
glenn gould : "The purpose of art is not the release of a momentary ejection of adrenaline but rather the gradual, lifelong construction of state of wonder and serenity."


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text:
Wichita Transit Seeks More Public Feedback on Proposed Route and Fare Changes
Contact: Steve Spade, Wichita Transit Director |
Wichita Transit plans to gather more public feedback on proposed route and fare changes before making a final recommendation to the Wichita City Council. The recommendation, originally scheduled to be presented to the City Council in late October, has been postponed to late November or early December. The delay will offer Wichita Transit staff more time to further evaluate questions and concerns that arose during the month-long public engagement process which started in September.
"We would like to continue the discussion with the community," Wichita Transit director Steve Spade said. "During the public engagement process we learned some neighborhood groups had questions regarding the elimination of service in areas of low ridership. We have been working to find solutions but a few issues still remain that need more input from those groups."
The additional feedback will be collected from neighborhood groups. It will be used to make improvements to the final route and fare proposal.
The first series of public engagement efforts resulted in more than 500 comments. The process included a variety of efforts including online surveys, social media engagement, displays at the Transit Center, presentations to District Advisory Boards, two public open houses and a public hearing.
Implementation of service changes could be delayed until late spring 2016.


text:
Biografia
I genitori erano proprietari del ristorante La Poularde a Nizza.

Durante la sua carriera, Pellegrin ha girato oltre 120 film, soprattutto in Francia, ma anche negli Stati Uniti e in Italia, dov'è apparso in diverse pellicole di genere poliziottesco, fra cui Italia a mano armata (1976), uno dei film della trilogia del commissario Betti, interpretato da Maurizio Merli. Ha avuto come maestri Marcel Pagnol e Sacha Guitry e ha anche girato molti film noir, tra cui Tutte le ore feriscono... l'ultima uccide (1966), diretto da Jean-Pierre Melville.

La sua voce,  è stata utilizzata (sia pure non accreditata nei titoli) per il doppiaggio di Jean Marais nel personaggio di Fantômas in tre film diretti da André Hunebelle.

Vita privata
È stato sposato due volte, entrambe con attrici: dalla prima moglie Dora Doll, sposata nel 1949, ebbe una figlia, Danielle. Dopo il divorzio nel 1955 dalla Doll, nel 1962 si risposò con Gisèle Pascal, da cui ebbe un'altra figlia, Pascale, anch'essa attrice.

Filmografia

Cinema

 Six petites filles en blanc, regia di Yvan Noé (1943)
 Marie la Misère, regia di Jacques de Baroncelli (1945)
 Naïs, regia di Raymond Leboursier (1945)
 Jericho, regia di Henri Calef (1946)
 La Femme en rouge, regia di Louis Cuny (1947)
 Duello senza fine (Un flic), regia di Maurice de Canonge (1947)
 Le Diamant de cent sous, regia di Jacques-Daniel Norman (1948)
 Le Clochard milliardaire, regia di Léopold Gomez (1951)
 Coupable?, regia di Yvan Noé (1951)
 Le Banquet des fraudeurs, regia di Henri Storck (1952)
 Siamo tutti assassini (Nous sommes tous des assassins), regia di André Cayatte (1952)
 Il frutto proibito (Le fruit défendu), regia di Henri Verneuil (1952)
 Manon delle sorgenti (Manon des sources), regia di Marcel Pagnol (1952)
 Trois femmes, regia di André Michel (1952)
 Testimone i mezzanotte (Le Témoin de minuit), regia di Dimitri Kirsanoff (1953)
 Le compagne della notte (Les compagnes de la nuit), regia di Ralph Habib (1953)
 Rabbia in corpo (La rage au corps), regia di Ralph Habib (1954)
 Les Intrigantes, regia di Henri Decoin (1954)
 Il grande giuoco (Le Grand Jeu), regia di Robert Siodmak (1954)
 Marchandes d'illusions, regia di Raoul André (1954)
 Il fuoco sotto la pelle (Le feu dans la peau), regia di Marcel Blistène (1954)
 La romana, regia di Luigi Zampa (1954)
 Les impures, regia di Pierre Chevalier (1954)
 Napoleone Bonaparte (Napoléon), regia di Sacha Guitry (1955)
 La giungla del peccato (Le crâneur), regia di Dimitri Kirsanoff (1955)
 Uomini in bianco (Les Hommes en blanc), regia di Ralph Habib (1955)
 0/1327 dipartimento criminale (Chantage), regia di Guy Lefranc (1955)
 I tuoi occhi bruciano (La lumière d'en face), regia di Georges Lacombe (1955)
 La legge della strada (La loi des rues), regia di Ralph Habib (1956)
 X 3 operazione dinamite (Le Feu aux poudres), regia di Henri Decoin (1957)
 Fino all'ultimo (Jusqu'au dernier), regia di Pierre Billon (1957)
 Vacances explosives!, regia di Christian Stengel (1957) - non accreditato
 Vittoria amara (Bitter Victory), regia di Nicholas Ray (1957)
 La bestia muore due volte (La bonne tisane), regia di Hervé Bromberger (1958)
 Mimi Pinson, regia di Robert Darène (1958)
 El casco blanco, regia di Pedro Balaña (1959)
 Rapina all'alba (Ça n'arrive qu'aux vivants), regia di Tony Saytor (1959)
 Secret professionnel, regia di Raoul André (1959)
 L'invincibile della prateria (Chien de pique), regia di Yves Allégret (1960)
 L'imprevisto, regia di Alberto Lattuada (1961)
 La caméra explore le temps (1961, televisione, episodio Le drame de Sainte-Hélène)
 Uno sguardo dal ponte (Vu du pont), regia di Sidney Lumet (1962)
 La terribile notte (Horace 62), regia di André Versini (1962)
 Vento caldo di battaglia (Carillons sans joie), regia di Charles Brabant (1962)
 I misteri di Parigi (Les mystères de Paris), regia di André Hunebelle (1962)
 Venere imperiale, regia di Jean Delannoy (1963)
 La pappa reale (La bonne soupe), regia di Robert Thomas (1964)
 ...e venne il giorno della vendetta (Behold a Pale Horse), regia di Fred Zinnemann (1964)
 OSS 117 furia a Bahia (Furia à Bahia pour OSS 117), regia di André Hunebelle (1965)
 Le train bleu s'arrête 13 fois (1965, episodio Dijon: Premier courrier)
 Pitzutz B'Hatzot, regia di Hervé Bromberger (1966)
 Pattuglia anti gang (Brigade antigangs), regia di Bernard Borderie (1966)
 L'écharpe, regia di Abder Isker (1966)
 Tutte le ore feriscono... l'ultima uccide (Le deuxième souffle), regia di Jean-Pierre Melville (1966)
 Maigret a Pigalle, regia di Mario Landi (1966)
 L'uomo che valeva miliardi (L'homme qui valait des milliards), regia di Michel Boisrond (1967)
 Quanto costa morire, regia di Sergio Merolle (1968)
 Monte-Cristo 70 (Sous le signe de Monte-Cristo), regia di André Hunebelle (1968)
 Beatrice Cenci, regia di Lucio Fulci (1969)
 Un caso di coscienza, regia di Giovanni Grimaldi (1970)
 La mort des capucines, regia di Agnès Delarive (1971)
 Da parte degli amici: firmato mafia! (Le saut de l'ange), regia di Yves Boisset (1971)
 L'ultima rapina a Parigi (La part des lions), regia di Jean Larriaga (1971)
 L'odore delle belve (L'odeur des fauves), regia di Richard Balducci (1972)
 Abuso di potere, regia di Camillo Bazzoni (1972)
 Camorra, regia di Pasquale Squitieri (1972)
 L'onorata famiglia - Uccidere è cosa nostra, regia di Tonino Ricci (1973)
 Crescete e moltiplicatevi, regia di Giulio Petroni (1973)
 Requiem per un commissario di polizia (Un officier de police sans importance), regia di Jean Larriaga (1973)
 Il complotto (Le complot), regia di René Gainville (1973)
 Il marsigliese - Storia del re dello scasso (Le solitaire), regia di Alain Brunet (1973)
 Piedone lo sbirro, regia di Steno (1973)
 Viaggia, ragazza, viaggia, hai la musica nelle vene, regia di Pasquale Squitieri (1973)
 Il poliziotto è marcio, regia di Fernando Di Leo (1974)
 I guappi, regia di Pasquale Squitieri (1974)
 Uccidete l'agente Lucas (Die Antwort kennt nur der Wind), regia di Alfred Vohrer (1974)
 L'ambizioso, regia di Pasquale Squitieri (1975)
 L'uomo della strada fa giustizia, regia di Umberto Lenzi (1975)
 Change, regia di Bernd Fischerauer (1975)
 Paura in città, regia di Giuseppe Rosati (1976)
 Italia a mano armata, regia di Marino Girolami (1976)
 Puttana galera!, regia di Gianfranco Piccioli (1976)
 Spara ragazzo spara (Zerschossene Träume), regia di Peter Patzak (1976)
 Scandalo, regia di Salvatore Samperi (1976)
 Il colpo grosso del marsigliese (Quand la ville s'éveille), regia di Pierre Grasset (1977)
 Antonio Gramsci - I giorni del carcere, regia di Lino Del Fra (1977)
 Porci con la P.38, regia di Gianfranco Pagani (1978)
 Il bar del telefono (Le bar du téléphone), regia di Claude Barrois (1980)
 Bolero, regia di Claude Lelouch (1981)
 Plus beau que moi, tu meurs, regia di Philippe Clair (1982)
 Porca vacca, regia di Pasquale Festa Campanile (1982)
 Le Rose et le Blanc, regia di Robert Pansard-Besson (1982)
 Ronde de nuit, regia di Jean-Claude Missiaen (1984)
 Viva la vita (Viva la vie!), regia di Claude Lelouch (1984)
 Jubiabá, regia di Nelson Pereira dos Santos (1987)
 Don Bosco, regia di Leandro Castellani (1988)

Televisione
 Madame Sans Gêne (1963)
 Mais n'te promène donc pas toute nue, regia di Jeannette Hubert (1978)
 Messieurs les ronds de cuir, regia di Daniel Ceccaldi (1978)
 On purge bébé (1979)
 Histoires de voyous: L'élégant (1979)
 La promessa, regia di Alberto Negrin – film TV (1979)
 Docteur Teyran (1980)
 Commissaire Moulin, episodio La bavure (1981)
 L'Homme de Hambourg (1981)
 Madame Sans-Gêne (1981)
 Le grand échiquier, episodio Tino Rossi: un demi-siècle de chanson (1981)
 Conrad Killian, le fou du désert, serie televisiva (1982)
 Le truqueur (1982)
 Plus beau que moi, tu meurs (1982)
 Les uns et les autres, miniserie televisiva (1983)
 Venise attendra (1983)
 I racconti del maresciallo, episodio Il barboncino bianco (1984)
 La bavure, miniserie televisiva (1984)
 Western di cose nostre (1984)
 Louisiana – miniserie TV (1984)
 Châteauvallon (1985)
 Naso di cane – film TV (1986)
 Nel gorgo del peccato – miniserie TV (1987)
 L'ombra nera del Vesuvio – miniserie TV (1987)
 Big Man (1988)
 Adorable Julia (1988)
 La Garçonne (1988)
 Der Leibwächter (1989)
 Jeanne d'Arc, le pouvoir de l'innocence (1989)
 Les enquêtes du commissaire Maigret (1990, episodio Maigret à New-York)
 Le triplé gagnant (1989-1992, otto episodi serie sul Commissaire Rocca)
 Rocca (1993-1995, quattro episodi serie sul Commissaire Rocca)
 Notes sur le rire (2002)
 Pagnol et compagnie (2005)
 On n'a pas tout dit (2007)

Teatro
 1955: Judas di Marcel Pagnol, regia dell'autore, Théâtre de Paris
 1960: Le Zéro et l'infini di Sidney Kingsley, regia di André Villiers, Théâtre Antoine
 1963: Les Petits Renards di Lillian Hellman, regia di Pierre Mondy, Théâtre Sarah Bernardt
 1966: Hier à Andersonville di Alexandre Rivemale, regia di Raymond Rouleau, Théâtre de Paris
 1969: L'Engrenage di Jean-Paul Sartre, regia di Jean Mercure, Théâtre de la Ville
 1978: Boulevard Feydeau, dai lavori di Georges Feydeau: Feu la mère de madame, On purge bébé, regia di Raymond Gérome, Théâtre des Variétés
 1987: Adorable Julia di Marc-Gilbert Sauvajon da Somerset Maugham, regia di Jean-Paul Cisife, Théâtre Hébertot

Doppiatori italiani
 Pino Locchi in Vittoria amara, Uno sguardo dal ponte, Maigret a Pigalle, Abuso di potere, Il poliziotto è marcio, I guappi, L'uomo della strada fa giustizia, Don Bosco, Crescete e moltiplicatevi
 Giuseppe Rinaldi in Camorra, Piedone lo sbirro, Paura in città, Italia a mano armata
 Nando Gazzolo in ...e venne il giorno della vendetta
 Giorgio Piazza in Un caso di coscienza
 Ferruccio Amendola in Scandalo
 Renzo Palmer in Da parte degli amici: firmato mafia!
 Gigi Reder in Big Man
 Arnoldo Foà in Il grande giuoco

Note

Altri progetti

Collegamenti esterni

Attori teatrali francesi
Attori televisivi francesi
Italo-francesi

redpajama_set_name: RedPajamaWikipedia