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«Reflections on Israel 2016
Torah Commentary- Ki Tissa: "Strong Leaders" and the Golden Calf »
Michael Moore, Bernie Sanders, and the Place of Single-Issue Politics
by: Matt Sienkiewicz on February 24th, 2016 | 1 Comment »
Having already cycled through a wide array of ad hoc political pejoratives – unrealistic, anti-feminist, anti-Obama, socialist (but in the bad way) – the Clinton campaign unveiled a new Sanders burn recently: single-issue candidate. This tag, of course, is no more charitable or honest than the previous ones. Like any serious candidate, Sanders offers an array of policy prescriptions and articulates them with varying levels of specificity.
Filmmaker Michael Moore (left) and presidential candidate Bernie Sanders (right). Source: David Shankbone (Michael Moore) / Nick Solari (Bernie Sanders)
Nonetheless, there's no denying that cutting a montage of Bernie's Wall St. bashing is a lazy editor's dream. In part, this is because income inequality is a problem that both matters deeply and resonates broadly. But this tendency also says something about the nature of progressive politics. One loud, soul-searching complaint is a call to make the world a better place; two such kvetches is the start of a jeremiad.
Sure, an honest progressive sees countless ways in which we might do better. Pointing them all out at once, however, can result in paralysis. Released coincidentally in the of midst Bernie's surge, Michael Moore's new film, Where to Invade Next, puts this effect on full display and, in doing so, underscores the wisdom in Sanders' spotlight approach to political progressivism.
Moore, for most of his career, has made single-issue films. Roger & Me was about how one company devastated one community. Bowling for Columbine took on gun culture. Sicko, healthcare. Capitalism, well, capitalism. These films were deadly serious, politically incisive, and, somehow, also kind of fun. They have much in common with a Sanders rally. Sure, you just spent the last hour plus hearing about how terribly messed up something terribly important is. Just the same, there were a few laughs, the soundtrack was cool, and, after all, it's just one problem and we're smart people. We can do this.
Where to Invade Next offers no such breathing room. Traveling across Europe on a quest to plant our flag on some of the continent's best, most progressive ideas, Moore chronicles a thoroughly depressing list of American shortcomings. Chatting with some rather fit Italians, he details the self-sabotaging nature of our labor policies. In France, he contrasts gourmet school lunches with proverbial American slop. In Finland, he eviscerates our insistence on treating students like statistics. In Germany, he contrasts our refusal to talk honestly about slavery with Deutschland's refusal to let the Shoah become just another half-forgotten reminder that people can be awful. Moving from one valid, insightful gripe to the next, the film gives a sense of how Bernie's progressive realism might feel if left unrestrained.
Moore's critique reaches its apex in Iceland, an epicenter of the European financial crisis. The Icelandic, Moore argues, aren't perfect. They are, however, mostly better than us. They elected a female president in 1980. They put their corporate criminals in prison. They hold corrupt and ineffective politicians accountable. Then, in the film's climatic scene, an Icelandic business leader looks Moore directly in the eye and says what the film has been intimating for the past 90 minutes: she doesn't think very well of Americans because we don't seem to think very well of each other. Our budgets and our laws suggest a nation of solipsists unable to even recognize the existence of our fellow citizens.
In response, Moore is speechless. Viewers, having mentally rewritten a scathing letter to their congresswoman a dozen times already, feel both embarrassment and outrage. They also, however, are likely to feel overwhelmed. Where to Invade Next articulates so many American needs that it's hard to know where to begin.
Moore, I'm certain, knows exactly what he is doing. He wants to let us know just how widespread and knotted up our problems really are. He is unconcerned that the truth might be discouraging. But he is an artist and, crucially, someone who can make another film next year and the year after that. This one may be depressing but the next one can pick us up and point us a little more directly towards the better world we want to build. He can afford to put affect ahead of impact.
Bernie Sanders, however, has no such luxury. This is his one moment and, as fascinating as his aesthetic is, he is a man of action, not contemplation. His plan only succeeds in so far as it leaves voters convinced that things might be bad but, with work, they can quickly get better. And so, while Bernie isn't a single-issue candidate, he is an unusually focused one.
Moore and Sanders represent largely overlapping worldviews and, as such, their differences shed light on the ways in which thoughtful communicators allow their choice of medium to help shape their messages. A good, critical documentary succeeds if it makes you cry. A good, progressive political candidate needs to stop just short of that in order to inspire. Bernie is right to push back against the single-issue label. But he is also right in using income inequality as a prime, addressable stand-in for broader progressive goals and values.
Matt Sienkiewicz is Assistant Professor of Communication and International Studies at Boston College.
Read More: "Reflections on Israel 2016″ by David Gordis
"Mothers, Daughters, and the Democratic Primaries" by Eli Zaretsky
"A Day of (Un)Rest in Hebron" by Ariel Gold and Tali Ruskin
"Powerful Illusions: A Critical Look at the Legacy of Supreme Court Justice Antonin Scalia"
One Response to "Michael Moore, Bernie Sanders, and the Place of Single-Issue Politics"
EKramer says:
Wealth inequality is not really a single issue; if we don't reverse that trend, none of the "incremental changes" — righteous as they may be– proposed by more "realistic" liberals will keep us from plunging into oligarchy and serfdom. Whoever gets the Democratic nomination, we should thank Bernie Sanders for keeping the cancer of wealth inequality in the spotlight. Without them, the other Democratic candidate would not be going there.


text:
package jadx.core.dex.attributes.annotations;

import java.util.*;

import jadx.core.dex.attributes.*;
import jadx.core.utils.*;

public class AnnotationsList implements IAttribute {

	public static final AnnotationsList EMPTY = new AnnotationsList(Collections.<Annotation>emptyList());

	private final Map<String, Annotation> map;

	public AnnotationsList(List<Annotation> anList) {
		map = new HashMap<String, Annotation>(anList.size());
		for (Annotation a : anList) {
			map.put(a.getAnnotationClass(), a);
		}
	}

	public Annotation get(String className) {
		return map.get(className);
	}

	public Collection<Annotation> getAll() {
		return map.values();
	}

	public int size() {
		return map.size();
	}

	public boolean isEmpty() {
		return map.isEmpty();
	}

	@Override
	public AType<AnnotationsList> getType() {
		return AType.ANNOTATION_LIST;
	}

	@Override
	public String toString() {
		return Utils.listToString(map.values());
	}

}

redpajama_set_name: RedPajamaGithub


Benal Beach is a large resort and is a perfect family vacation destination. The resort is built around one of the largest privately owned outdoor swimming pool complexes in the area, with a maze of interconnecting slides which are open in high season. Guests may also take advantage of the indoor swimming pool, whirlpool, fitness center, and sauna in the nearby Royal Oasis Gym, at no extra cost. With the beach and town of Benalmádena-Costa on its doorstep, you'll find everything that Spain's "sunshine coast" can offer.


text:
PIA Advocacy Blog
Your source for government relations and PIA member advocacy
About PIA National
Grassroots Action Alerts
PIA Opposes Proposal to Allow Sale of Health Insurance Across State Lines
On March 12, 2019 By Jon Gentile
PIA National is strongly opposed to an action taken by the administration that seeks to allow the sale of health insurance across state lines.
In October 2017, President Trump issued an executive order (EO #13813), directing federal agencies to consider ways to increase competition and consumer choice in health care. In accordance with this executive order, the U.S. Department of Health and Human Services' Centers for Medicare and Medicaid Services (CMS) issued a 60-day request for information (RFI). The request asks for input on how CMS can utilize the provision of the Affordable Care Act (ACA) that allows for the use of "Health Care Choice Compacts" to sell plans across state lines. To date, no state has entered into a Health Care Choice Compact.
PIA National is a steadfast supporter of continued oversight and regulation of insurance by the states as outlined by the McCarran-Ferguson Act of 1945, and opposes all proposals that would bring about federal insurance regulation, whether in full or in part. Allowing the sale of insurance across state lines will strip the states of their authority over health insurance and undermine the regulatory structure set up by McCarran-Ferguson.
A further concern is that allowing the sale of health insurance across state lines could permit an insurance company to engage in regulatory forum-shopping by allowing it to choose the state it would be regulated by. Effectively, permitting the designation of any one state as de facto regulator for all carriers in all states would impose a one-size-fits-all solution dictated by Washington, D.C.—which, ironically, has been one of the main critiques of the ACA.
State governors, legislators, and regulators know best what will work in their own unique markets. Allowing health insurance to be effectively exempt from state regulation by permitting insurers to pick their own regulator in one state—and by so doing, evade the requirements of all 49 other states—would eviscerate local control. Many health insurance policyholders get their coverage through their employers, and "in-network" providers are often determined by, among other factors, geographic proximity. Proposals like this would preempt state authority and transfer regulatory authority to the federal government.
PIA National agrees that the ACA needs to be reformed and that the goal of increasing competition and consumer choice in health insurance is a worthy one. However, we doubt that allowing insurance sales across state lines would succeed in lowering costs or creating more choice for consumers. The solution for these challenges is not the dismantling of the successful state insurance regulatory system.
PIA National will respond to this call for information within the 60-day window and strenuously opposes attempts to subvert the American system of state insurance regulation.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: LSTM based policy in stable baselines3 model I am trying to make a PPO model using the stable-baselines3 library. I want to use a policy network with an LSTM layer in it. However, I can't find such a possibility on the library's website although it exists on the previous version of stable-baselines here https://stable-baselines.readthedocs.io/en/master/modules/policies.html#stable_baselines.common.policies.MlpLstmPolicy.
Does this possibility exist in stable-baselines3 (not stable-baselines)? if not, is there any other possibility I can do this? Thanx.

A: From the migration doc.
https://stable-baselines3.readthedocs.io/en/master/guide/migration.html

Breaking Changes¶
LSTM policies (MlpLstmPolicy, CnnLstmPolicy) are not supported for
the time being (see PR #53 for a recurrent PPO implementation)

A: Currently this functionality does not exist on stable-baselines3.
However, on their contributions repo (stable-baselines3-contrib) they have an experimental version of PPO with LSTM policy. I have not tried it myself, but according to this pull request it works.
You can find it on the feat/ppo-lstm branch, which may get merged onto master soon.

redpajama_set_name: RedPajamaStackExchange


text:
The Seven Best Things to Do in Miami This Weekend
Here's How You Can Participate in the Super Bowl Halftime Show
Royce Reed on Reunion, Tami vs. Meeka, and Why She Might Leave Basketball Wives
Stacey Russell
Stacey Russell | August 25, 2011 | 10:30am
Ever heard the phrase, "If you want the truth, go to the source?" Well, it's something we try to live by here at Cultist. So as we watched the Basketball Wives reunion Monday night on VH1, many questions came to our mind that host John Salley just couldn't seem to get answered. So what did we do? We called up Royce Reed.
Reality TV reunions are all about bringing castmates back together, clearing things up, and starting some new drama. Basketball Wives was no exception. The reunion picked a new scabs on spats like Jennifer Williams vs. Royce Reed, and Meeka Claxton vs.
everyone. But afterward, we just didn't feel satisfied with the way things were yet. Yet
Miss Reed cleared up all our inquiries and possibly started a few
rumors too.
New Times: Now that season three is over, what are your thoughts on what went down?
Royce Reed: Production and ratings side, they probably think it was great. Viewers probably thought it was awesome and entertaining. For a castmember, I thought certain episodes were OK and some were pretty good. And then there were those times I was absolutely cringing. Like, damn! I am on this show and I can't sit here and say I'm proud of it. With how much Jennifer, Evelyn, and I don't get along, each and every one of us has careers. None of that was shown.
What was the most cringeworthy moment you wish wouldn't have made TV?
The fight between Evelyn Lozada and I, for sure. I didn't go into that situation expecting to have a confrontation with her. By no means did I want to be fighting amongst company -- company being in quotes. I did have to defend myself, but you live and you learn, but it was definitely cringeworthy
Would you say any of your castmates are your friends?
When I am in Miami, I call Suzie up and we go eat. I call Tami a couple times a month. That's pretty much it. I still talk to Ashley (from Basketball Wives LA) all the time.
On the reunion, Suzie Ketchum dropped the ball that season three might be your last. Is this true?
It's true. Let me first say, I know there have been some interviews that have said it wasn't my choice. Shaunie has said "Royce might not be back," but it is my choice. I just think that we are much more than how we are portrayed on the show. I understand people like drama, but it has become people laughing at us then laughing with us. We need to change the show. We are African-American women and it's hard for me to express the disappointment I feel when I see the show. We all have careers; we can be there for each other and get over the drama. It's exhausting.
So we shouldn't expect you on season four?
It depends. Right now, I have signed on for another season. I want to show more of my career side and my family side. If that is what they are willing to show and willing to do, I will come back. But I wont be the on constantly fighting and constantly arguing over petty things. I am done with that. I don't need this show to stay relevant.
Is Suzie as big of a gossip as she seems on TV?
People think I am crazy for saying this, but I don't really have a problem with Suzie. What people don't understand, I take people for who they are. It takes a lot for me to call someone a friend and I have never called her that; you have never heard those words come out of my mouth. That said, I am straight with her, I just know how she is. There is just certain things you just can't tell Suzie.
Do you think if Meeka Claxton will come back for season four?
I don't know if she will be back for season four. I haven't talked to her in a few weeks. We are OK, we aren't friends, but we are respectful to each other. She has apologized and I accepted her apology. I think if she had it all to do over again, knowing what she knows now, I think our relationship would have started differently. I have no hard feelings towards her.
What are your thoughts on the lawsuit Meeka has against Tami Roman?
My thoughts are Tami is my girl. I think when you put yourself in this situation; you are opening yourself up for a lot of different things. I can't say I agree or disagree with it. Because if that's what she felt she needed to do, then that was her way to get out of the show. If the glass had hit me when Evelyn and I were fighting, I might have sued Evelyn. A punch? That's different.
Any news if Tami will be coming back for the next season?
Her ass better be back for season four! When I talked to her, she said she was coming back. If she doesn't, then I probably won't either.
Why do you think Jennifer Williams genuinely dislikes you?
I don't know. She claims it's all steaming from those Tweets, I think it's more than that. I think it all started with Evelyn and the fact she didn't like me. Then when Evelyn calmed down, it was like, "Well, I still don't like her." At this point, I don't have an issue with any of them. If they want to sit down like women and speaking about it, it would be fine. We can agree to disagree and get it moving. Debate was my favorite subject.
Follow Cultist on Facebook and Twitter @CultistMiami.
Eyes on Miami: Dita Von Teese, Nelly, Snoop Dogg, and Others
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The 20-year-old was in scintillating form once again for Leo Cullen's side.
LEINSTER PUT A stylish finishing note on their dominance of the inter-provincial series with a six-try win over a sorry Ulster side in Dublin, as 20-year-old rising star Jordan Larmour once again thrilled from fullback.
Two-try Fergus McFadden was superb for Leinster on the right wing as Leo Cullen's side followed up wins over Munster and Connacht by dismantling the Ulstermen, while left wing Barry Daly also dotted down, but Larmour was the name on everyone's lips as they departed the RDS.
Having torn Munster apart with his try-of-the-season contender on St. Stephen's Day, Larmour scored another two here and there was a notable buzz around the Ballsbridge venue every single time he touched the ball.
Larmour's team-mates fed off his energy, intent and enthusiasm too, and the eastern province could have scored even more than their 38 points against an Ulster side that looked down and out from very early in this game.
After the stirring comeback win over Munster last time out, this was a humiliating crash back down to earth for Les Kiss' men, who barely failed to fire a shot for 80 minutes in a dire performance – Jacob Stockdale's late consolation try one of very few positives.
If Ulster are to turn their season around by advancing out of their Champions Cup pool, they need to find something special very soon.
The only negative for Leinster was a worrying injury to the unlucky Garry Ringrose ahead of the back-to-back European ties against Glasgow and Montpellier, while Tadhg Furlong played on after an apparent arm injury but was then replaced at half-time.
The optimism around Leinster's season will only grow for now, as they drew to within two points of Scarlets at the top of Conference B of the Pro14.
The onslaught began early this evening, even if the wind caught Larmour's opening pass to send it drifting forward with opportunity beckoning for Leinster wide on the left. His next attacking contribution was far more successful.
McFadden broke through the Ulster line off a Ross Byrne screen pass before hitting Larmour. The academy fullback bounced back off his left foot to beat the covering Stockdale impressively and dot down his fifth try of the season, Byrne converting from under the sticks.
Leinster had their second before the quarter mark as Ulster errors invited pressure. Cullen's side missed a chance on the right initially but they spread the ball to the other side of the pitch, where Larmour timed his pass to Daly expertly and the ever-improving UCD wing beat Charles Piutau far too easily with a right-handed fend to cross in the corner.
Byrne's conversion effort was off target and then some sloppy kicking from hand by Leinster allowed Ulster to finally enjoy some possession.
Furlong stayed down with an apparent arm injury for some minutes to cause Joe Schmidt to hold his breath ahead of the Six Nations but the Wexford man was happily back on his feet and rampaging with ball in hand soon after.
Academy back row Josh Murphy was also impressing in the Leinster pack on his second start for the province, splitting one Ulster maul close to the home side's tryline to spark a counter-attack that was only ended by Trimble's high tackle on McFadden after he had left Piutau on his heels.
Ulster should have been on the scoreboard on the half-hour mark but Stockdale dropped his intercept attempt of a telegraphed Byrne pass in the visitor's 22 when he should have gathered to race clear.
There was frustration minutes before half time too, with Sean Reidy's pass towards Stockdale flying into touch when space had opened up on the left in Leinster's 22.
And another error from the out-of-form Piutau, this time a wild loose pass near the halfway line, allowed Ringrose to pop the ball up for Byrne to kick deep behind Ulster, only for superb covering work from Iain Henderson to prove just enough to prevent Larmour from scooping the ball up for his second try.
Larmour thought he had that second score within minutes of the restart, but the TMO review showed that Jamison Gibson-Park had been ahead of Larmour's grubber kick before he gathered and flicked a pass back inside to the fullback to cross the whitewash.
Undeterred, Larmour continued to be the catalyst for Leinster's best attacking play and his chip, chase and collect out of his own half sparked their third try.
Sean Cronin, on for the injured James Tracy in the first half, took a beautiful switch line off Ringrose to continue the progress started by Larmour, before good hands from Byrne and Scott Fardy freed McFadden to sidestep past Stockdale and score.
Byrne converted that try and added the extras to a brilliant breakout Leinster try minutes later. This time it was replacement prop Andrew Porter who initiated it, hammering out of Leinster's 22 as he spectacularly smashed Darren Cave and Stockdale into the turf.
Porter hit the supporting Gibson-Park and the scrum-half drew in Trimble to send McFadden clear from halfway for his second score.
Cullen was able to empty his bench early in the second half – the injury to Ringrose among the few concerns – and sub out-half Johnny Sexton combined with the quick-handling Henshaw to send Larmour over in the left corner for his second try coming towards the closing 10 minutes.
Stockdale crossed for Ulster off an overhead pass from replacement playmaker Johnny McPhillips inside that closing period but it was far too little far too late from Kiss' men.
A last-minute try from Sexton, created by the offloading brilliance of replacements Noel Reid and Max Deegan sealed a comprehensive victory.
LEINSTER: Jordan Larmour; Fergus McFadden, Garry Ringrose (Noel Reid '59), Robbie Henshaw, Barry Daly; Ross Byrne (Johnny Sexton '58), Jamison Gibson-Park (Nick McCarthy '66); Jack McGrath (captain) (Ed Byrne '58), James Tracy (Seán Cronin '27), Tadhg Furlong (Andrew Porter '41); Devin Toner (Mick Kearney '66), Scott Fardy; Josh Murphy, Jordi Murphy, Jack Conan (Max Deegan '61).
ULSTER: Charles Piutau (Tommy Bowe '55); Andrew Trimble, Darren Cave, Stuart McCloskey, Jacob Stockdale; Christian Lealiifano (Johnny McPhillips '72), Johnny Stewart (John Cooney '55); Callum Black (Kyle McCall '61), Rory Best (captain) (Rob Herring '65), Rodney Ah You (Wiehahn Herbst '55 (reversal 74′)); Pete Browne (Alan O'Connor '55), Iain Henderson; Matty Rea, Sean Reidy (Nick Timoney '57) , Jean Deysel.
Email "Larmour-led Leinster finish inter-pro series in style by downing sorry Ulster".
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The popular series ended its eight season run in April 2012.
The cast of 'One Tree Hill' stage a reunion on Saturday night, showing that over three years since the series ended its run they're still the best of friends. The night was documented on the Instagram pages of several of the show's former cast members including Sophia Bush who starred as Brooke Davis on the CW drama.


We have three goals for you during the camp. First, we want you to have fun. Second, we want you to learn good football fundamentals. Third, we want you to learn unselfishness as a member of a team. To achieve these goals, we will focus on learning how to pass, catch, kick, and run with the football.
Also, we will learn the proper techniques of blocking and tackling as well as the basics of good conditioning. We will have competitions during the late morning. Campers will be able to participate in flag football, punt-pass-kick competitions, and other football-related games.
McCallie Football Camp, Sessions 1 & 2 will teach the fundamentals and techniques of the game and emphasize teamwork and sportsmanship. Sessions 1 & 2 are non-padded, lower impact camps. The camp will be directed by Head Football Coach Ralph Potter, assisted by varsity coaches and current players. The camp will emphasize fundamental techniques and skill development drills for every position. Competitions such as 1-on-1, and punt, pass, and kick will also be held. There will be a time each day for scrimmages and touch football games.
In Session 3, the McCallie padded football camp will give young players a chance to prepare for their youth league season or to get a taste of real contact football. Head Coach Ralph Potter and the varsity McCallie staff along with current players will present the proper fundamentals of padded football. Blocking and tackling are the fundamental skills that must be mastered to ensure not only success but safety. Our goal will be to give each young man confidence in himself as he enters the season. In addition to blocking and tackling, other fundamental skills will be taught.
If pads are needed from McCallie, please call the Summer Program Office (493-5886) before camp begins.
A camp T-shirt, early drop-off, an after-camp swim, and secondary insurance coverage are included for both sessions at no extra cost.
Please drop off your camper at the Varsity Football Stadium, home of the McCallie Blue Tornado. The Camp Director, Ralph Potter, Head Football Coach, will be there as early as 8:00 am for early drop off. The actual camp hours will be from 9:00 am until noon, optional swimming from noon to 12:30 pm (lunch is not served).
For Session 1 and 2 you will not need any equipment unless you want to bring your own football cleats. Make sure to wear appropriate clothing–shorts and t-shirt will be fine. Also, you need to bring a towel and a swimsuit every day if you plan to swim.
McCallie Football Camp will be directed by McCallie's head varsity football coach Ralph Potter. Coach Ralph Potter is a 1981 graduate of McCallie. He was an All State quarterback/defensive back and the recipient of the Scrappy Moore Athlete of the Year in 1981. While starting at quarterback for UT-Chattanooga from 1982-84, Potter was named Academic All Conference. He has been a head coach for 18 years, at Baylor (1994-96), McCallie (1997-2006), Brentwood Academy (2007-2011) and McCallie (2012 – present). Coach Potter has compiled a 161-86 overall record. His undefeated 2001 McCallie team won the only state championship in school history, and his 2006, 2007 and 2008 teams were state finalists.


text:
Home White Collar Crime Wisconsin Orfordville
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text:
Oryza eichingeri est une espèce de plantes monocotylédones de la famille des Poaceae, sous-famille des Oryzoideae, originaire d'Afrique et du Sri Lanka.
Ce sont des plantes herbacées vivaces aux rhizomes courts et au tiges (chaumes) dressées, pouvant atteindre 60 à 100 cm de long.

Cette espèce au génome diploïde du type CC a été rattachée au complexe d'espèces Oryza officinalis.

Taxinomie

Synonymes
Selon  :
 Oryza collina (Trimen) S.D.Sharma & Shastry
 Oryza glauca Robyns, nom. nud.
 Oryza latifolia var. collina (Trimen) Hook.f.
 Oryza rhizomatis D.A.Vaughan
 Oryza sativa var. collina Trimen
 Oryza ubanghensis A.Chev.,

Liste des variétés
Selon  (Attention liste brute contenant possiblement des synonymes) :
 variété Oryza eichingeri var. eichingeri
 variété Oryza eichingeri var. longearistata Peter

Notes et références

Liens externes

Oryzoideae
Espèce de Poaceae (nom scientifique)
Adventice
Graminée envahissante

redpajama_set_name: RedPajamaWikipedia


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LAUREN MALLETT
lbm
Lauren Mallett (she/her/hers) is a poet, teacher, birth doula, and fiber artist. She has lived and studied in Guanajuato and Xalapa, Mexico. Lauren taught dual-language immersion fifth grade in Richmond, California. She earned her MFA and was the Assistant Director of Creative Writing at Purdue University. Her poetry appears in Poetry Northwest, The Seventh Wave, Salamander, Passages North, Scud, and other journals. Lauren lives with her partner, Strand Sheldahl-Thomason, on Clatsop land of Oregon's north coast. She serves on the Board of Directors for The Writer's Guild of Astoria and the Oregon Poetry Association. Lauren is the Student Contest Chair of Cascadia, an online anthology and poetry contest for Oregon's young poets. She teaches at Encore Academy for the Performing Arts in Warrenton.
Tyler Chappell
Click below to read a selection of my writing published online.
Fugue: "Pues"
Luna Luna Magazine: "For the Love of 'Umph': A Review of Affect by Charlene Elsby"
The Mantle: "Paisley with Acanthus and Flower Lashings," "Parable with Prana"
Pacifica Literary Review: "Say"
Passages North: "Little Boat Vida Mía"
Poetry Northwest: "Resist"
Salamander: "Everything's Fine & Fucked"
Scud: "Ask Your Father," "Over and Out," "Blood Stays Put"
The Seventh Wave: "The Long Slow Suck, The Murk and Ooze"
Sycamore Review: "A Conversation with Mary Ruefle"
Tupelo Quarterly: "Though That Bush Burned"
These artworks are part of an ongoing series, The Sea Hands Over Its Ropes, made entirely of marine rope and other materials I collect on DeLaura Beach.
"Slashish" and "Aviatrix" were selected for Astoria Visual Arts' juried exhibit Vast Connections: Earth and Art (April 10-May 1, 2021).
"Lisa Marie" and "Big Brave" were selected for Cannon Beach Arts' juried exhibit Beauty Deconstructed (June 2-27, 2021).
mallett [dot] lauren [at] gmail [dot] com
All Content © Lauren Mallett


text:
Q: Why are some constants public and other private in an Android library code
Problem

Why some constants are under the public modifier while some other private? Are those under public can be called from applications that use the library? If so, how to call the constant from an app, is it like this: CertainLibraryClass.ActivityResultCode.CODE_A?

Code

public class CertainLibraryClass {
    public class ActivityResultCode {
    public static final int CODE_A = 0X02;
    public static final int CODE_B = 0X03;
    public static final int CODE_C = 0X04;
    }
    public class VersionCode {
        private static final int VERSION_MAJOR = 1;
        private static final int VERSION_MINOR1 = 0;
        private static final int VERSION_MINOR2 = 2;
    }
// ....
}

A: Why some constants are under the public modifier?
Ans: So that all other classes can access it e.g.RESULT_OK,SUCCESS.
Why some constants are under the private modifier?
Ans:So that only that class can access it
e.g. consider you are calling getId() libarary function from your class
public class CertainLibraryClass {
private static int ID=0;

public static int getId()
{
return ID+1;
}

here you are not accessing ID field directly ,instead you are calling getId() function which ultimately returns the id, it means that ID variable is internally used by CertainLibraryClass class


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Australians are being urged to open their hearts and mouths to National Chocolate Cake Day, which is an American holiday gathering fans around the globe.
This unofficial holiday really takes the cake.
National Chocolate Cake Day is celebrated annually on January 27 and has chocolate fans digging into anything decadent.
Self-confessed chocolate-lover Nicola Crisafulli, 11, said she would be thrilled to see Australia dedicate a day to delicious treats.
"I think chocolate cake here is really popular, so it makes sense to have a holiday," Nicola said.
While the 11-year-old said it was important to eat healthily, she said it was also good to indulge.


text:
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Jovian's founders (L-R): Siddhant Ujjain & Aakash NS
Blume VC, Benhamou Global Ventures and Emergent Ventures launch B2B cross-border accelerator pl...
Speaking about the venture, Aakash NS, CEO, Jovian, said,
"Data science is fundamentally different from software development, as it is much more experimental in nature, and requires you to keep track of many things like datasets, Jupyter notebooks, models, parameters, metrics, etc. apart from the source code. This is currently a very cumbersome process, which hinders productivity and collaboration. We're trying to change that for the better."
Using the platform, teams can also discuss and collaborate on their work, and create pipelines to automate analysis and evaluation of models.
"We've worked as data scientists for a couple of years, and as software engineers for several years before that. That's how we realised there's a huge gap in the quality of tools available to data science teams for managing their work. We started out by trying to solve our own problems, and soon found a lot of interest from the community in tools we were building," added Siddhant Ujjain, CTO, Jovian.
"We have also received interest from data science teams looking to use Jovian for collaboration within their companies, with a willingness to pay for more advanced features. We are currently in the process of on-boarding our first few paying customers," Aakash told YourStory.
Going forward, Jovian aims to become the de-facto tool for the data science community to share and collaborate on data science projects online, similar to what platforms like Github have done for open source software.
"Our aim is to make Jovian really easy to try out and use for first time users, while at the same time we plan to provide all the advanced features large enterprises might require to manage their entire company's data science work," said Aakash.
"While there are many companies that offer cloud-based graphics processing unit (GPU) infrastructure for running machine learning jobs (e.g. AWS Sagemaker, Google Colab, Azure ML Platform, etc.), we do not compete with them, rather integrate with them and complement them by offering an experiment tracking and collaboration layer on top of these offerings," he added.
Globally, Jovian competes with the likes of Comet.ml, Weights & Biases, and NeptuneML, among others.
"What sets Jovian apart is that it's really easy to get started, it works in any language, framework, and cloud-provider, and also has a great support for Jupyter notebooks, a popular IDE (Integrated Development Environment) for data science," Aakash said.
The startup is targeting a global audience of data scientists, machine learning engineers and AI researchers. While this is an emerging market today, it is expected to balloon to millions of users over the next few years, since many startups and large enterprises are increasing their focus on AI, and setting up in-house data science teams.
"Data Science will be at the heart of everything in the future, and we are likely to have more data scientists than software engineers. In light of that, building productivity and collaboration tools for the new world of data science presents a massive opportunity," said Vaibhav Domkundwar of Better Capital.
Mumbai and US-based Arka Venture Labs has also backed startups like Revvsales and Primaseller previously. Both the startups are based out of the US.
Arka primarily invests in B2B startups that have a minimum viable product (MVP) with a strong potential in the US or in Europe. The new accelerator platform-cum-fund was started with a corpus of about $6 million (Rs 40 crore) with all three funds - India's Blume Ventures and US-based two VCs (BGV and Emergent Ventures) anchoring the investment.
[Funding alert] Data science startup TheMathCompany raises Series A round from Arihant Patni
Data Science: the next wave of change for product managers?
Axilor Ventures
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Infosys Founder Narayana Murthy warns entrepreneurs from making these mistakes
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Have a business idea? Kuberan's House can change your life with funding up to Rs 10 crore
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This 15-year-old has built an edtech marketplace for teachers and students to connect, teach, and learn
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A Unique Blend for Tired Feet & Stiff Joints. Feel Refreshed in the morning.
Cocos Nucifera (Virgin) Coconut oil, Essential Oils of Salvia Sclarea (Clary Sage), Lavendula Angustifolia (Lavander), Mentha Piperita (Peppermint), Eugenia Caryophyllus (Clove) Bud, Gaultheria Procumbens (Wintergreen), Zingiber Officinale (Ginger) Root, Eucalyptus Globulus (Eucalyptus) Leaf, Boswellia Carterii (Frankinsence) and Thymus Vulgaris (Thyme) .
Ideally ask a family member to massage with Firm Pressure to the Feet & Joints in Circular Motions until the Oil is well Absorbed. Use regularly every night before going to bed.


text:
Angus Graham to be remembered at Aspen Mountain opening day Thursday
In this photo from 2013 opening day at Aspen Mountain, Angus Graham cooked up a fried egg sandwich while waiting in line at the Silver Queen Gondola.
Aspen Times file photo |
Angus Graham, a beloved artist and ski instructor who made waiting in line on opening day at Aspen Mountain a little more fun, will be remembered Thursday at the gondola while skiers wait for first chair.
Graham, 35, died in a car crash in Oregon in August while he was there to watch the solar eclipse. The Aspen Skiing Co. instructor was known the past few opening days for wearing a costume and cooking on a quick stove while waiting in line. He proudly served his mother's "eggs in a basket" recipe to his fellow skiers.
His sister, Kate, and her husband and daughter are coming in from California and will host a "Live Like Angus" celebration at the Silver Queen Gondola before first chair. It will start at 7 a.m. and skiers are encouraged to wear a costume and share stories.
"There's been such an outpouring of love and support (from Aspen) and we've been hanging onto that," Kate Graham said Wednesday while en route to Aspen. "Hopefully there will be a lot of people out there with their stoves."
Angus Graham, who grew up in Maine, started working as an instructor in December 2008 and became "one of the school's highly regarded trainers and mentors," ski and snowboard school manager Andy Docken said after Graham's death.
Graham was a potter and an artist in residence at the Studio for Arts and Works in Carbondale. He died when his car went off a dirt road near Glendale, Oregon, and rolled down a steep embankment.


Having a race car is one of the most popular dreams of many people in the world. The fast paced, heart pounding, adrenaline action is something that many people crave and enjoy for year even as they get older. Whether your a racing enthusiasts or just like to customize good looking cars the Hyundai Genesis Coupe is a terrific choice.
The Hyundai Genesis Coupe was produced from 2008-2016 in South Korea. The 2016 Hyundai Genesis coupe engine can go from 0 mph to 60 mph in 5.2 seconds and has a tops out at 151 mph. This fancy little car is a two door dream and has been customized all over the world for racing. So how did people amp up these cars and turn them into racing machines?
One of the best things you can do to improve your car for racing is reduce the amount of weight. You can remove rear seats if you never use them to decrease weight and get your car moving faster. Replace the hood and ceiling with lighter models to drop some extra pounds as well. The cheapest way to add lots of power to a hyundai genesis engine is by adding a turbocharger or supercharger. If your car has a naturally aspirated engine and you are looking to get more power out of it, get a turbo installed professionally.
Tires are one of the best ways to improve speed and traction. There are a number of different racing tires available so getting the top of the line will be the best option for you. Try and get the lightest rims you can to reduce weight and keep your car at tops speeds. Better air filters can help increase speed and anywhere you can replace lighter parts is always a good idea. You can go through your entire hyundai genesis engine and replace parts with smaller or lighter options. Installing a short throw shifter can increase speed when shifting creating the desired affect of getting ahead of other races right out of the gate.
These changes to your hyundai genesis engine can make your car much faster and get you tearing up the track with ease. If you want to amp it up even more you can do a full on engine swap but that comes with a much higher price tag. The outside of your car can be just as important as the inside and you can customize everything you like to create the best look. You can get new pedals, interior, exhaust pipes, detailing in your dash and monitors, steering wheels, shift knobs, and so much more. Getting into the racing game is a fun decision that you will enjoy for years to come.


text:
Jacques Gravett, ACE, 13 Questions Why
by Laura Almo • portraits by Wm. Stetz
When Jacques Gravett, ACE, first started working in television, any talk of diversity in Hollywood was a long way off. The industry was comprised of mainly men, most of them white. Gravett says he found his way by working hard, getting to know people in the business and continually honing his craft so that when an opportunity did come, he was ready.
"I was able to climb the ladder by building my own ladder," reflects Gravett, whose credits include episodes of the TV series Carnivale, Battlestar Galactica, The Shield, Sons of Anarchy, Being Mary Jane, Chicago Justice, Shots Fired, 13 Reasons Why and the new series Love Is_. "I built my own path. I got to know people. I took classes and, as people got to know me, they understood that I was serious about the business and that I was good at what I did. There was nobody who said, 'Hey, this is the way to do it; this is where you need to go.'"
Gravett's path to editorial was very much a practical decision. After graduating from San Diego State University with a degree in business administration and an emphasis in management, the LA native moved back home with aspirations of getting back into the film industry. As a child, he had gotten a taste of "the business" working on a few commercials, which was uncommon for an African-American kid back then. Gravett had loved the excitement of being on a studio lot seeing movies and TV shows being made, so as an adult he wanted to start a career in Hollywood.
Naively assuming he would use his newly minted business degree to get into the industry, he finally scored a job as a page at Paramount Studios. Six months later, he got a gig as a PA. "I took that opportunity and made the most of it," recalls Gravett, who, because he hadn't gone to film school, treated his PA position as his own personal film school.
Settling in at Paramount, Gravett worked on the Star Trek franchise, which turned out to be a boon for him as the studio was spinning off multiple related shows and there were many opportunities for a diligent, serious PA. "I decided to get into editing because I thought it was going to be one of the best routes to keep moving up in the industry," he explains. "I was able to spend time with some of the editors on Star Trek: The Next Generation [1987-1994] and Star Trek: Voyager [1995-2001] and got to know a little bit about the cutting room. I also took classes on weekends to learn about editing and read the Avid manual — back when they actually put out books — and practiced a lot."
It was a conversation with Rick Berman, the executive producer of both The Next Generation and Voyager, that opened the door for Gravett and led to him getting a job at Unitel Video in Burbank (now Level 3 Post), where he accrued enough days required for Editors Guild membership. "I was not afraid to take a lateral move that would eventually help me to make a move forward," he reflects. Gravett returned to Paramount and worked on six seasons of Star Trek: Voyager as an assistant editor. His first job as an editor was on HBO's Carnivale. Gravett says he is happy with the broad range of shows he's been able to work on, especially after working in sci-fi for so long.
CineMontage interviewed Gravett in late April in the run up to Season 2 of 13 Reasons Why, which dropped May 18 on Netflix, and the June 19 premiere of Love Is __ on Oprah Winfrey's OWN Network.
CineMontage: You are the supervising editor on Love Is_, the new dramedy series on OWN, about a black power couple in Hollywood. How did you get involved in this series?
Jacques Gravett: I worked with the producer of Love Is_, Mara Brock Akil, on Being Mary Jane [2013-present; about the life of a young black woman, including her work, family and the popular talk show she hosts], so it's familiar territory. In this business, you usually get to work with people for one project or a period of time and then everyone moves on. But there are instances in which you get to work with the same people over and over again — and that's what made this so special. It's great to be around nice people that care about you and allow you to be creative.
I was on 13 Reasons Why when I got the call from Mara that she was going to be directing the pilot and she wanted me to cut it. Mara is very kind and talented and her husband Salim Akil, who has his own show Black Lightning, is the executive producer on it. They're a true Hollywood power couple.
CM: What makes this series so unique?
JG: It's a true story and something that's rarely seen on television; you know, black love, two African-American people deeply in love, telling the tale of their relationship. And the backdrop is Hollywood and the struggles with that. It's a story that's told from their perspective — remembering how they met, how they made it, what worked and what didn't. Of course, there are some surprises along the way.
CM: What does your work as the supervising editor entail?
JG: As the supervising editor, I'm helping to facilitate the cuts. Right now, we're a two-editor team with three assistants. The other editor is a woman by the name of Jessie Marion, and the assistants are Kenneth McClendon, Yoni Rusnak and Armen Gasparian. It's unique in that we're only two editors, so it's a little bit more work for us.
Traditionally, you might put a cut together, send it out, wait for the producer to give you that first round of notes, and then keep whittling away. As the supervising editor, I'm able to step in and, because Mara and I have a shorthand of how she likes to work and what she likes, when she comes into the cutting room, or looks at cuts remotely, it's less for her to have to do.
CM: Among the many shows you've worked on, you are particularly proud of Shots Fired, which was also created by a couple. Tell me about it.
JG: Yes, another Hollywood power couple — Gina Prince-Bythewood and Reggie Rock Bythewood — developed this 10-hour event series. The whole design for Shots Fired was to be like a 10-hour movie. It's similar to what's happening on Netflix and other platforms. They've always thought of it as a 10-hour movie, and that's why each show is an "hour" instead of an "episode."
CM: Shots Fired has been described as "a TV show that aims to reflect the racial tensions and police shooting incidents that have spurred demonstrations and outrage across the country." Talk about its impetus and what the producers were trying to do with this series.
JG: The story was originally conceived in the aftermath of the Trayvon Martin case when George Zimmerman was found not guilty. One of the things the producers were trying to do was get more eyes and ears on the subject of what's going on today with police shootings — and of African-American men in particular.
A lot of people probably thought, "Oh, we don't need to see another one of those shows." But those things need to be talked about, and if putting something like that on TV can get the conversation going, or keep the conversation going, then that's what we need to do. The only way that these kinds of things can be resolved is if we start talking about them.
CM: You edited three of the series' "hours," including Hour 6, "The Fire This Time," which was directed by the late Jonathan Demme and premiered at Sundance in 2017. What was it like working with him?
JG: When I saw in the schedule that I was going to be working with Jonathan Demme, of course I was very excited. It was a single-camera show with lots of handhelds. I guess you could call it more documentary-style filming, and they shot on location in North Carolina. He wasn't able to join me for the editing; after his shoot, he went back to New York. I don't know if it was because of his health at the time that he didn't come in, but we worked together via Skype, and it was great.
One of the compliments I got from him was that he was so impressed and amazed at how quickly I was able to put all this footage [from an intense riot sequence] together in such a way that he could basically just sit back and fine-tune what he actually shot for that incredible sequence.
CM: You're also the lead editor on the second season of the Netflix series 13 Reasons Why…
JG: I was in the lead editor position on 13 Reasons Why, Season 2. I cut episodes 1, 2, 7, 8 and 13, the finale. However, I did not give notes on the episodes I did not cut, like I do now on Love Is_. I worked with some great editors, Philip Harrison and Sue Blainey; also, Leo Trombetta helped me out on the finale. He and I actually had worked together on Carnivale.
CM: The first season of 13 Reasons Why stirred a lot of controversy as it addressed teen suicide, bullying, drunk driving and rape in an explicit way. As a result, Season 2 airs a warning video before the episodes. What were some of the challenges of editing this series?
JG: 13 Reasons Why has a lot going on. Remember high school? There were fun times and bad times. This particular series puts it all out there, and there are some tough things to watch in the second season, for sure. And there were some tough things for me to edit.
CM: Tell me about those things.
JG: Even though Season 2 dropped on May 18, I don't want to give away any spoilers — but this is what I can tell you. I read the script for episode 13 the night it was sent out. There's a scene in which one of the characters is bullied in the bathroom at school. It was hard to read; very, very disturbing.
When the dailies came in for that scene, I watched them, but couldn't cut the scene. I went home. I watched the dailies again the next day, but still didn't cut the scene. I worked on something else. I spoke to the director, Kyle Alvarez, and gave him my thoughts on the scene. He agreed with my approach to cutting it. Then the following day, I started piecing the scene together. I did it over the course of a couple days because it was so heavy to deal with. My editor's cut is pretty much what ended up in the show.
CM: But 13 Reasons Why does seems to be a helpful show…
JG: Going back to what we were talking about on Shots Fired, it's about starting a conversation. It's letting people have a voice to say, "Hey, you know what? I kind of identify with what this character is going through, so maybe there's somebody who I can talk to, that can help me out before I do something stupid." Or, you know, "I saw somebody do something to this person. Let me go talk to someone about it." It's helping a lot of people — and that's what's getting missed in all the hype on the show.
CM: Speaking of helping people, can you talk about your experience with diversity in the workplace and working with diverse crews?
JG: Diversity is important. Without it, you don't get the whole picture. We all have differences. We come from different cultural and socioeconomic backgrounds. You can always tell the people in the business that don't have any diversity in their background because they're the people who are usually the most insecure around people who aren't like them.
When I first started, it was not diverse. In television, where I was working, it was all men and very few African-American editors. In fact, at the time, there were only two African-American editors that I knew of working in television.
In terms of crews, I've always tried to keep it diverse. In the past seven years or so, the crews of which I've been a part have been — well, I won't say "pretty" diverse because I don't have the numbers — but there has been diversity in that there have been female editors, female assistant editors, African-American editors and assistant editors, and an Asian assistant.
CM: You are involved with the Editors Guild's and ACE's Diversity Committees. Can you talk about that?
JG: At the Editors Guild, we had our first meeting of the year of the African-American Steering Committee in February. The Diversity Committee is broken down into subcommittees, including Pan-Asian, African-American, Latin, LGBT, etc. And those subcommittees each do their own programs and fun activities, to which members are invited in order to mingle and talk about various issues. Basically, it's to make people aware of diversity concerns. I'm new to the Guild's committee, so I haven't seen all the ins and outs of it.
As for ACE [American Cinema Editors], as a Diversity Committee member, I've been working with the organization's mentor program for going on the second year. It's all about trying to increase awareness and let people know that when they come up against various obstacles in this business, there are quite a few people who have probably been through a similar situation and know a little something about it, so they can help others through it. We meet at various times and talk about whatever issues are relevant: getting started in the business, working in the business, issues that arise, etc. It's really what the mentees make of it.
CM: Is there any advice you'd like to leave the readers?
JG: This business is tough, and I think it's important to help others whenever you can. Also, be good at your craft. If you're good at your craft, hopefully that'll take care of everything else.
http://cinemontage.org/2018/06/13-questions-why-jacques-gravett-on-editing/


text:
Q: Is the decomposition of finitely dimensional representation of a semisimple Lie algebra into irreducible ones unique? I am reading Humphreys's book GTM9 on Lie algebra representations. The question above seems quite natural but the book doesn't give any clues on this topic, as far as I can see. Let's adopt the settings in the book: algebracally closed field with characteristic 0, finitely dimensional semisimple Lie algebra, and finitely dimensional represetations. Here by unique we mean the decomposition is unique up to order.

A: The meaning of the question is not unique.
Literally understood I'd say that the answer is no, as soon as one irreducible occurs with multiplicity $\ge 2$. For instance, if $V$ is irreducible, then $V\oplus V$ decomposes both as the given sum, and as the sum of $V\times\{0\}$ plus the submodule $\{(tv,v):v\in V\}$ for each given scalar $t$, yielding, up to order as many decompositions as scalars.
When there is no multiplicity $\ge 2$, the decomposition is indeed unique up to order (i.e., the (unordered) set of summands is unique: these are precisely the irreducible subrepresentations).
What is true however is a weaker form of uniqueness occurring in general, namely up to isomorphism. Namely for every finite-dimensional representation $V$ with two irreducible decompositions $V=\bigoplus_{i\in I}V_i=\bigoplus_{j\in J}W_j$, there is a bijection $\sigma:I\to J$ such that $V_i$ and $W_{\sigma(i)}$ are isomorphic representations for each $i$.

A: Yes, it is unique up to order. You can see this by observing that the number of times an irreducible representation $S$ appears as a summand in a representation $V$ is exactly $\operatorname{dim} \operatorname{Hom}_{\mathfrak{g}}(S,V)$ (by Schur lemma). And the latter expression is independent of the choice of decomposition of $V$ into simples.
EDIT: As Jason DeVito suggested in the comments, uniqueness does not mean that you can find unique simple submodules of $V$ that make the decomposition of $V$ into simples. But the simples are unique up to isomorphism, of course. (And in fact unique in the strong sense if and only if all the multiplicities are $1$.)


text:
18 November 2018 - Health & Wellbeing
Supporting men to end family violence
To tackle family violence and domestic abuse, we need to help men change their behaviour, as well as keep women safe, say University of Melbourne experts.
7 September 2018 - Animals, Food & You
Making the link between family violence and animal abuse
The University of Melbourne is co-hosting this year's Domestic Violence and Animal Abuse conference, on the link between pet abuse and family violence.
20 June 2017 - Health & Wellbeing
Safe at home or sitting target?
Family violence is a major cause of homelessness, and University of Melbourne researchers have found those women trying to stay at home face higher safety risks
20 June 2017 - Public Affairs
Can CCTV help prevent family violence?
CCTV has been touted as a way to prevent serious threats of family violence, but University of Melbourne research asks whether it provides a false security?
Children speak out on family violence
University of Melbourne researcher interviews children and young people whose fathers use violence and finds they want to be heard and to make a difference
Podcast17 March 2017 - The Policy Shop
Family violence: Ending the hidden crime
Family violence has many causes, including societal attitudes towards women and many possible solutions, including attitudinal change programs and legal reform.
7 December 2016 - Health & Wellbeing
Emerging voices: Family violence in immigrant and refugee communities
Abusers use cultural and physical isolation to stop immigrant and refugee women seeking help, a study of family violence survivors from 20 countries shows.
27 June 2016 - Under the Microscope
Stepping up to the challenge of domestic violence
Professor Kelsey Hegarty is working closely with health practitioners to recognise domestic violence as a health issue, so they can intervene and help
21 June 2016 - Humanities
Welcome to the club? Women in football
Misogynstic "banter" between two AFL club presidents on the cusp of the start of a Women's League sends a message that football is still a boys club.
27 January 2016 - Under the Microscope
Raising our voice against domestic violence
A global campaign and the power of a survivor's voice pushed domestic violence, once silent and hidden, into the public space surprising even experts.


Structured silhouettes, especially when it comes to shoulders, are a Balmain signature. Crafted in France from washed denim, this fitted mini dress has a front detailed with numerous patch pockets and metallic buttons. Just add a great pair of heels to make it a prime candidate for a night on the town.


text:
KING@RECORDKONG.COM
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Home | MR MAYOR: THE COMPLETE SERIES (Release date: 10/04/2022)
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MR MAYOR: THE COMPLETE SERIES (Release date: 10/04/2022)
MR MAYOR: THE COMPLETE SERIES (Release date: 10/04/2022) Airing for two seasons from 2021-2022, this NBC sitcom from co-creator Tina Fey stars Ted Danson as wealthy, retired ad man Neil Bremer, who attempts to win back his teenage daughter's (Kyla...
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Airing for two seasons from 2021-2022, this NBC sitcom from co-creator Tina Fey stars Ted Danson as wealthy, retired ad man Neil Bremer, who attempts to win back his teenage daughter's (Kyla Kenedy) respect by running for mayor of Los Angeles. When he actually wins, Neil must get down to the business of governing, a task made all the more difficult by a deputy mayor (Holly Hunter) whose gunning for his job. With Vella Lovell, Mike Cabellon, Bobby Moynihan, Yedoye Travis.19 episodes and a Christmas special on 2 discs. 7 hrs. Widescreen (Enhanced); Soundtrack: English Dolby Digital 5.1; Subtitles: English (SDH).
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text:
//C-  -*- C++ -*-
//C- -------------------------------------------------------------------
//C- DjVuLibre-3.5
//C- Copyright (c) 2002  Leon Bottou and Yann Le Cun.
//C- Copyright (c) 2001  AT&T
//C-
//C- This software is subject to, and may be distributed under, the
//C- GNU General Public License, either Version 2 of the license,
//C- or (at your option) any later version. The license should have
//C- accompanied the software or you may obtain a copy of the license
//C- from the Free Software Foundation at http://www.fsf.org .
//C-
//C- This program is distributed in the hope that it will be useful,
//C- but WITHOUT ANY WARRANTY; without even the implied warranty of
//C- MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.  See the
//C- GNU General Public License for more details.
//C-
//C- DjVuLibre-3.5 is derived from the DjVu(r) Reference Library from
//C- Lizardtech Software.  Lizardtech Software has authorized us to
//C- replace the original DjVu(r) Reference Library notice by the following
//C- text (see doc/lizard2002.djvu and doc/lizardtech2007.djvu):
//C-
//C-  ------------------------------------------------------------------
//C- | DjVu (r) Reference Library (v. 3.5)
//C- | Copyright (c) 1999-2001 LizardTech, Inc. All Rights Reserved.
//C- | The DjVu Reference Library is protected by U.S. Pat. No.
//C- | 6,058,214 and patents pending.
//C- |
//C- | This software is subject to, and may be distributed under, the
//C- | GNU General Public License, either Version 2 of the license,
//C- | or (at your option) any later version. The license should have
//C- | accompanied the software or you may obtain a copy of the license
//C- | from the Free Software Foundation at http://www.fsf.org .
//C- |
//C- | The computer code originally released by LizardTech under this
//C- | license and unmodified by other parties is deemed "the LIZARDTECH
//C- | ORIGINAL CODE."  Subject to any third party intellectual property
//C- | claims, LizardTech grants recipient a worldwide, royalty-free,
//C- | non-exclusive license to make, use, sell, or otherwise dispose of
//C- | the LIZARDTECH ORIGINAL CODE or of programs derived from the
//C- | LIZARDTECH ORIGINAL CODE in compliance with the terms of the GNU
//C- | General Public License.   This grant only confers the right to
//C- | infringe patent claims underlying the LIZARDTECH ORIGINAL CODE to
//C- | the extent such infringement is reasonably necessary to enable
//C- | recipient to make, have made, practice, sell, or otherwise dispose
//C- | of the LIZARDTECH ORIGINAL CODE (or portions thereof) and not to
//C- | any greater extent that may be necessary to utilize further
//C- | modifications or combinations.
//C- |
//C- | The LIZARDTECH ORIGINAL CODE is provided "AS IS" WITHOUT WARRANTY
//C- | OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED
//C- | TO ANY WARRANTY OF NON-INFRINGEMENT, OR ANY IMPLIED WARRANTY OF
//C- | MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
//C- +------------------------------------------------------------------

#ifdef HAVE_CONFIG_H
# include "config.h"
#endif
#if NEED_GNUG_PRAGMAS
# pragma implementation
#endif

// -- Implementation of class GRect and GRectMapper
// - Author: Leon Bottou, 05/1997

#include "GRect.h"
#include "GException.h"

#ifdef HAVE_NAMESPACES
namespace DJVU {
# ifdef NOT_DEFINED // Just to fool emacs c++ mode
}
#endif
#endif

// -- Local utilities

static inline int
imin(int x, int y)
{
  if (x < y)
    return x;
  else
    return y;
}

static inline int
imax(int x, int y)
{
  if (x > y)
    return x;
  else
    return y;
}

static inline void
iswap(int &x, int &y)
{
  int tmp = x; x = y; y = tmp;
}

// -- Class GRect

int
operator==(const GRect & r1, const GRect & r2)
{
  bool isempty1 = r1.isempty();
  bool isempty2 = r2.isempty();
  if (isempty1 || isempty2)
    if (isempty1 && isempty2)
      return 1;
  if ( r1.xmin==r2.xmin && r1.xmax==r2.xmax
       && r1.ymin==r2.ymin && r1.ymax==r2.ymax )
    return 1;
  return 0;
}

int
GRect::inflate(int dx, int dy)
{
  xmin -= dx;
  xmax += dx;
  ymin -= dy;
  ymax += dy;
  if (! isempty())
    return 1;
  xmin = ymin = xmax = ymax = 0;
  return 0;
}

int
GRect::translate(int dx, int dy)
{
  xmin += dx;
  xmax += dx;
  ymin += dy;
  ymax += dy;
  if (! isempty())
    return 1;
  xmin = ymin = xmax = ymax = 0;
  return 0;
}

int
GRect::intersect(const GRect &rect1, const GRect &rect2)
{
  xmin = imax(rect1.xmin, rect2.xmin);
  xmax = imin(rect1.xmax, rect2.xmax);
  ymin = imax(rect1.ymin, rect2.ymin);
  ymax = imin(rect1.ymax, rect2.ymax);
  if (! isempty())
    return 1;
  xmin = ymin = xmax = ymax = 0;
  return 0;
}

int
GRect::recthull(const GRect &rect1, const GRect &rect2)
{
  if (rect1.isempty())
    {
      xmin = rect2.xmin;
      xmax = rect2.xmax;
      ymin = rect2.ymin;
      ymax = rect2.ymax;
      return !isempty();
    }
  if (rect2.isempty())
    {
      xmin = rect1.xmin;
      xmax = rect1.xmax;
      ymin = rect1.ymin;
      ymax = rect1.ymax;
      return !isempty();
    }
  xmin = imin(rect1.xmin, rect2.xmin);
  xmax = imax(rect1.xmax, rect2.xmax);
  ymin = imin(rect1.ymin, rect2.ymin);
  ymax = imax(rect1.ymax, rect2.ymax);
  return 1;
}

int
GRect::contains(const GRect & rect) const
{
   GRect tmp_rect;
   tmp_rect.intersect(*this, rect);
   return tmp_rect==rect;
}

void
GRect::scale(float factor)
{
	xmin = (int)(((float)xmin) * factor);
	ymin = (int)(((float)ymin) * factor);
	xmax = (int)(((float)xmax) * factor);
	ymax = (int)(((float)ymax) * factor);
}

void
GRect::scale(float xfactor, float yfactor)
{
	xmin = (int)(((float)xmin) * xfactor);
	ymin = (int)(((float)ymin) * yfactor);
	xmax = (int)(((float)xmax) * xfactor);
	ymax = (int)(((float)ymax) * yfactor);
}
// -- Class GRatio

inline
GRectMapper::GRatio::GRatio()
  : p(0), q(1)
{
}

inline
GRectMapper::GRatio::GRatio(int p, int q)
  : p(p), q(q)
{
  if (q == 0)
    G_THROW( ERR_MSG("GRect.div_zero") );
  if (p == 0)
    q = 1;
  if (q < 0)
    {
      p = -p;
      q = -q;
    }
  int gcd = 1;
  int g1 = p;
  int g2 = q;
  if (g1 > g2)
    {
      gcd = g1;
      g1 = g2;
      g2 = gcd;
    }
  while (g1 > 0)
    {
      gcd = g1;
      g1 = g2 % g1;
      g2 = gcd;
    }
  p /= gcd;
  q /= gcd;
}

#ifdef HAVE_LONG_LONG_INT
#define llint_t long long int
#else
#define llint_t long int
#endif

inline int
operator*(int n, GRectMapper::GRatio r )
{
  /* [LB] -- This computation is carried out with integers and
     rational numbers because it must be exact.  Some lizard changed
     it to double and this is wrong.  I suspect they did so because
     they encountered overflow issues.  Let's use long long ints. */
  llint_t x = (llint_t) n * (llint_t) r.p;
  if (x >= 0)
    return   ((r.q/2 + x) / r.q);
  else
    return - ((r.q/2 - x) / r.q);
}

inline int
operator/(int n, GRectMapper::GRatio r )
{
  /* [LB] -- See comment in operator*() above. */
  llint_t x = (llint_t) n * (llint_t) r.q;
  if (x >= 0)
    return   ((r.p/2 + x) / r.p);
  else
    return - ((r.p/2 - x) / r.p);
}

// -- Class GRectMapper

#define MIRRORX  1
#define MIRRORY  2
#define SWAPXY 4

GRectMapper::GRectMapper()
: rectFrom(0,0,1,1),
  rectTo(0,0,1,1),
  code(0)
{

}

void
GRectMapper::clear()
{
  rectFrom = GRect(0,0,1,1);
  rectTo = GRect(0,0,1,1);
  code = 0;
}

void
GRectMapper::set_input(const GRect &rect)
{
  if (rect.isempty())
    G_THROW( ERR_MSG("GRect.empty_rect1") );
  rectFrom = rect;
  if (code & SWAPXY)
  {
    iswap(rectFrom.xmin, rectFrom.ymin);
    iswap(rectFrom.xmax, rectFrom.ymax);
  }
  rw = rh = GRatio();
}

void
GRectMapper::set_output(const GRect &rect)
{
  if (rect.isempty())
    G_THROW( ERR_MSG("GRect.empty_rect2") );
  rectTo = rect;
  rw = rh = GRatio();
}

void
GRectMapper::rotate(int count)
{
  int oldcode = code;
  switch (count & 0x3)
    {
    case 1:
      code ^= (code & SWAPXY) ? MIRRORY : MIRRORX;
      code ^= SWAPXY;
      break;
    case 2:
      code ^= (MIRRORX|MIRRORY);
      break;
    case 3:
      code ^= (code & SWAPXY) ? MIRRORX : MIRRORY;
      code ^= SWAPXY;
      break;
    }
  if ((oldcode ^ code) & SWAPXY)
    {
      iswap(rectFrom.xmin, rectFrom.ymin);
      iswap(rectFrom.xmax, rectFrom.ymax);
      rw = rh = GRatio();
    }
}

void
GRectMapper::mirrorx()
{
  code ^= MIRRORX;
}

void
GRectMapper::mirrory()
{
  code ^= MIRRORY;
}

void
GRectMapper::precalc()
{
  if (rectTo.isempty() || rectFrom.isempty())
    G_THROW( ERR_MSG("GRect.empty_rect3") );
  rw = GRatio(rectTo.width(), rectFrom.width());
  rh = GRatio(rectTo.height(), rectFrom.height());
}

void
GRectMapper::map(int &x, int &y)
{
  int mx = x;
  int my = y;
  // precalc
  if (! (rw.p && rh.p))
    precalc();
  // swap and mirror
  if (code & SWAPXY)
    iswap(mx,my);
  if (code & MIRRORX)
    mx = rectFrom.xmin + rectFrom.xmax - mx;
  if (code & MIRRORY)
    my = rectFrom.ymin + rectFrom.ymax - my;
  // scale and translate
  x = rectTo.xmin + (mx - rectFrom.xmin) * rw;
  y = rectTo.ymin + (my - rectFrom.ymin) * rh;
}

void
GRectMapper::unmap(int &x, int &y)
{
  // precalc
  if (! (rw.p && rh.p))
    precalc();
  // scale and translate
  int mx = rectFrom.xmin + (x - rectTo.xmin) / rw;
  int my = rectFrom.ymin + (y - rectTo.ymin) / rh;
  //  mirror and swap
  if (code & MIRRORX)
    mx = rectFrom.xmin + rectFrom.xmax - mx;
  if (code & MIRRORY)
    my = rectFrom.ymin + rectFrom.ymax - my;
  if (code & SWAPXY)
    iswap(mx,my);
  x = mx;
  y = my;
}

void
GRectMapper::map(GRect &rect)
{
  map(rect.xmin, rect.ymin);
  map(rect.xmax, rect.ymax);
  if (rect.xmin >= rect.xmax)
    iswap(rect.xmin, rect.xmax);
  if (rect.ymin >= rect.ymax)
    iswap(rect.ymin, rect.ymax);
}

void
GRectMapper::unmap(GRect &rect)
{
  unmap(rect.xmin, rect.ymin);
  unmap(rect.xmax, rect.ymax);
  if (rect.xmin >= rect.xmax)
    iswap(rect.xmin, rect.xmax);
  if (rect.ymin >= rect.ymax)
    iswap(rect.ymin, rect.ymax);
}

GRect
GRectMapper::get_input()
{
    return rectFrom;
}

GRect
GRectMapper::get_output()
{
    return rectTo;
}

#ifdef HAVE_NAMESPACES
}
# ifndef NOT_USING_DJVU_NAMESPACE
using namespace DJVU;
# endif
#endif


text:
package com.planet_ink.coffee_mud.Commands;
import com.planet_ink.coffee_mud.core.interfaces.*;
import com.planet_ink.coffee_mud.core.*;
import com.planet_ink.coffee_mud.core.collections.*;
import com.planet_ink.coffee_mud.Abilities.interfaces.*;
import com.planet_ink.coffee_mud.Areas.interfaces.*;
import com.planet_ink.coffee_mud.Behaviors.interfaces.*;
import com.planet_ink.coffee_mud.CharClasses.interfaces.*;
import com.planet_ink.coffee_mud.Commands.interfaces.*;
import com.planet_ink.coffee_mud.Common.interfaces.*;
import com.planet_ink.coffee_mud.Exits.interfaces.*;
import com.planet_ink.coffee_mud.Items.interfaces.*;
import com.planet_ink.coffee_mud.Libraries.interfaces.*;
import com.planet_ink.coffee_mud.Locales.interfaces.*;
import com.planet_ink.coffee_mud.MOBS.interfaces.*;
import com.planet_ink.coffee_mud.Races.interfaces.*;

import java.util.*;

@SuppressWarnings({"unchecked","rawtypes"})
public class Consider extends StdCommand
{
	public Consider(){}

	private final String[] access=I(new String[]{"CONSIDER","COS","CO"});
	@Override public String[] getAccessWords(){return access;}

	private final static Class[][] internalParameters=new Class[][]{{MOB.class}};

	public int relativeLevelDiff(MOB mob1, MOB mob2)
	{
		if((mob1==null)||(mob2==null))
			return 0;
		final int mob2Armor=CMLib.combat().adjustedArmor(mob2);
		final int mob1Armor=CMLib.combat().adjustedArmor(mob1);
		final double mob1Attack=CMLib.combat().adjustedAttackBonus(mob1,mob2);
		final double mob2Attack=CMLib.combat().adjustedAttackBonus(mob2,mob1);
		final int mob2Dmg=mob2.phyStats().damage();
		final int mob1Dmg=mob1.phyStats().damage();
		final int mob2Hp=mob2.baseState().getHitPoints();
		final int mob1Hp=mob1.baseState().getHitPoints();

		final double mob2HitRound=(((CMath.div(CMLib.dice().normalizeBy5((int)Math.round(50.0*mob2Attack/mob1Armor)),100.0))*CMath.div(mob2Dmg,2.0))+1.0)*CMath.mul(mob2.phyStats().speed(),1.0);
		final double mob1HitRound=(((CMath.div(CMLib.dice().normalizeBy5((int)Math.round(50.0*mob1Attack/mob2Armor)),100.0))*CMath.div(mob1Dmg,2.0))+1.0)*CMath.mul(mob1.phyStats().speed(),1.0);
		final double mob2SurvivalRounds=CMath.div(mob2Hp,mob1HitRound);
		final double mob1SurvivalRounds=CMath.div(mob1Hp,mob2HitRound);

		//int levelDiff=(int)Math.round(CMath.div((mob1SurvivalRounds-mob2SurvivalRounds),1));
		final double levelDiff=(mob1SurvivalRounds-mob2SurvivalRounds)/2;
		final int levelDiffed=(int)Math.round(Math.sqrt(Math.abs(levelDiff)));

		return levelDiffed*(levelDiff<0.0?-1:1);
	}

	public int doConsider(MOB mob, Physical target)
	{
		final Room R=mob.location();
		if(R==null)
			return 0;
		final CMMsg msg=CMClass.getMsg(mob,target,null,CMMsg.MASK_EYES|CMMsg.TYP_OK_VISUAL,null,L("<S-NAME> consider(s) <T-NAMESELF>."),L("<S-NAME> consider(s) <T-NAMESELF>."));
		if(R.okMessage(mob,msg))
			R.send(mob,msg);
		int lvlDiff=0;
		if(target instanceof MOB)
		{
			final MOB targetMOB=(MOB)target;
			final int relDiff=relativeLevelDiff(targetMOB,mob);
			lvlDiff=(target.phyStats().level()-mob.phyStats().level());
			final int realDiff=relDiff;//(relDiff+lvlDiff)/2;

			int theDiff=2;
			if(mob.phyStats().level()>20)
				theDiff=3;
			if(mob.phyStats().level()>40)
				theDiff=4;
			if(mob.phyStats().level()>60)
				theDiff=5;
			if(mob.phyStats().level()>80)
				theDiff=6;

			StringBuilder levelMsg=new StringBuilder("");
			if(lvlDiff==0)
				levelMsg.append(L(targetMOB.charStats().HeShe()+" is your equal"));
			else
			if(lvlDiff<-CMProps.getIntVar(CMProps.Int.EXPRATE))
				levelMsg.append(L(targetMOB.charStats().HeShe()+" is vastly inferior to you"));
			else
			if(lvlDiff>CMProps.getIntVar(CMProps.Int.EXPRATE))
				levelMsg.append(L(targetMOB.charStats().HeShe()+" is far superior to you"));
			else
			if(CMProps.getIntVar(CMProps.Int.EXPRATE)!=0)
			{
				final int relLvlDiff=(lvlDiff<0)?-lvlDiff:lvlDiff;
				final double pct=CMath.div(relLvlDiff,CMProps.getIntVar(CMProps.Int.EXPRATE));
				if((lvlDiff<0)&&(pct<0.5))
					levelMsg.append(L(targetMOB.charStats().HeShe()+" is almost your equal"));
				else
				if((lvlDiff<0)&&(pct<=1.0))
					levelMsg.append(L(targetMOB.charStats().HeShe()+" is somewhat inferior to you"));
				else
				if((lvlDiff<0))
					levelMsg.append(L(targetMOB.charStats().HeShe()+" is inferior to you"));
				else
				if((lvlDiff>0)&&(pct<0.5))
					levelMsg.append(L("You are almost "+targetMOB.charStats().hisher()+" equal"));
				else
				if((lvlDiff>0)&&(pct<0.8))
					levelMsg.append(L(targetMOB.charStats().HeShe()+" is somewhat superior to you"));
				else
					levelMsg.append(L(targetMOB.charStats().HeShe()+" is superior to you"));
			}

			final int levelDiff=Math.abs(realDiff);
			if(levelDiff<theDiff)
			{
				levelMsg.append(L((lvlDiff!=0)?" but ":" and "));
				levelMsg.append(L("the perfect match!"));
			}
			else
			if(realDiff<0)
			{
				levelMsg.append(L((lvlDiff<0)?" and ":" but "));
				if(realDiff>-(2*theDiff))
					levelMsg.append(L(targetMOB.charStats().heshe()+" might actually give you a fight."));
				else
				if(realDiff>-(3*theDiff))
					levelMsg.append(L(targetMOB.charStats().heshe()+" won't put up a big fight."));
				else
				if(realDiff>-(4*theDiff))
					levelMsg.append(L(targetMOB.charStats().heshe()+" is basically a pushover."));
				else
					levelMsg.append(L(targetMOB.charStats().heshe()+" is an easy kill."));
			}
			else
			{
				levelMsg.append(L((lvlDiff>0)?" and ":" but "));
				if(realDiff<(2*theDiff))
					levelMsg.append(L(targetMOB.charStats().heshe()+" looks a little tough."));
				else
				if(realDiff<(3*theDiff))
					levelMsg.append(L(targetMOB.charStats().heshe()+" is a serious threat."));
				else
				if(realDiff<(4*theDiff))
					levelMsg.append(L(targetMOB.charStats().heshe()+" will clean your clock."));
				else
					levelMsg.append(L(targetMOB.charStats().heshe()+" WILL KILL YOU DEAD!"));
			}
			mob.tell(levelMsg.toString());
		}
		final StringBuffer withWhat=new StringBuffer("");
		final Vector mendors=new Vector();
		for(final Enumeration<Ability> a=mob.allAbilities();a.hasMoreElements();)
		{
			final Ability A=a.nextElement();
			if((A instanceof MendingSkill)&&(((MendingSkill)A).supportsMending((target))))
				mendors.add(A);
		}
		for(int m=0;m<mendors.size();m++)
		{
			final Ability A=(Ability)mendors.get(m);
			if(m==0)
				withWhat.append(L("You could probably help @x1 out with your @x2 skill",target.name(mob),A.name()));
			else
			if(m<mendors.size()-1)
				withWhat.append(L(", your @x1 skill",A.name()));
			else
				withWhat.append(L(" or your @x1 skill",A.name()));
		}

		if(withWhat.length()>0)
			mob.tell(withWhat.toString()+".");
		else
		if(!(target instanceof MOB))
			mob.tell(L("You don't have any particular thoughts about that."));
		return lvlDiff;
	}

	@Override
	public boolean execute(MOB mob, Vector commands, int metaFlags)
		throws java.io.IOException
	{
		Physical target=null;
		if(commands.size()<2)
		{
			mob.tell(L("Consider whom or what?"));
			return false;
		}
		commands.remove(0);
		final String targetName=CMParms.combine(commands,0);
		if(ID.equalsIgnoreCase("SELF")||ID.equalsIgnoreCase("ME"))
			target=mob;
		if(target==null)
			target=mob.location().fetchFromMOBRoomFavorsMOBs(mob,null,targetName,Wearable.FILTER_ANY);
		if((target==null)||(!CMLib.flags().canBeSeenBy(target,mob)))
		{
			mob.tell(L("I don't see '@x1' here.",targetName));
			return false;
		}
		doConsider(mob,target);
		return true;
	}

	@Override
	public Object executeInternal(MOB mob, int metaFlags, Object... args) throws java.io.IOException
	{
		if(!super.checkArguments(internalParameters, args))
			return Integer.valueOf(0);
		return Integer.valueOf(doConsider(mob, (MOB)args[0]));
	}

	@Override public double combatActionsCost(final MOB mob, final List<String> cmds){return CMProps.getCommandCombatActionCost(ID());}
	@Override public double actionsCost(final MOB mob, final List<String> cmds){return CMProps.getCommandActionCost(ID());}
	@Override public boolean canBeOrdered(){return true;}

}


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Fem Fest: Freedom Then and Now Celebrates Feminism and the 100th Anniversary of Women's Right to Vote in Nova Scotia
Articles Events
By Dorothy King
Nope. But it's sure been a wild, heroic ride for women's rights so far. That's the takeaway from Kathy France, the artistic director of Caravan Theatre in Wolfville. France has launched Fem Fest: Freedom Then and Now to celebrate the 100th anniversary of women's right to vote in Nova Scotia, and explore just how far feminism has brought us.
The celebration France has conjured up combines an eclectic group of independent female artists. It leapfrogs from the historic battles of Nellie McClung, to the modern-day questions of identity, made most explicit in a piece by spoken-word artist, Al Cusack. Cusack uses the pronoun "themself" and identifies broadly across the male/female spectrum. France is a fan: "They're born in a body that doesn't obviously express itself as one; there's real power and beauty in that, and I think there's a lot we can all learn from that."
And that's the challenge in this production, reimagining and expanding the ideas that have propelled us into the 21st century. "A Chat with Mrs. Chicky" is a famous British short play from the early 1900s about women and class conflict over the vote. It's a comic piece with two female leads, but don't be fooled into thinking 'what's it got to do with me?' Privilege is as prevalent today as it was back then.
Of course, not all women gained voting rights at the same time, and France is quick to point that out. "In 1918 both white and black women gained the right to vote, but both had to be British subjects and hold property in order to exercise their franchise. In reality, black men and women had serious social barriers to exercising that right. Indigenous people did not get the vote until much later." This makes for meaningful discomfort when we place ourselves in the shoes of people who are still targeted by law enforcement or tailed by employees in retail outlets because of their colour or culture.
Liliona Quarmyne is well-placed to know a bit about that. As an African-Canadian dancer, choreographer, and teacher, Quarmyne uses art to explore the social roots and remedies of injustice. Her piece, "Woman Walking," is another one of Fem Fest's intriguing performances. It features Quarmyne dancing to the recorded voices of eight women talking about gender and sex. "I like the challenge of negotiating between what the voices say and how my body reacts," says Quarmyne.
So why should men come to Fem Fest? "This show is not about bashing men," says France. "I'm a feminist. I want to change the power dynamic between the sexes. But calling men out for sexist behaviour doesn't go far enough. We need to examine society's expectations of boys: be a man, be cool, boys rule! I think the pressures are enormous." France says both women and men are going to gain understanding out of the show, and have some fun too.
Fem Fest: Freedom Then and Now runs September 20 and 21 at the Al Whittle Theatre in Wolfville, September 22 at the Bus Stop Theatre in Halifax, and September 23 at The Marigold in Truro. All shows start at 7:30pm, and tickets are $20. For more information, visit caravantheatre.ca
Photo of Thea Burton (standing) and Kathy France (seated) by photographer Grant Lohnes
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'We're seeing real distress': on the road with Citizens Advice as cost of living crisis deepens | Society
By Taurus Rox On Dec 11, 2022
In an empty market opposite the Morrisons superstore in Wednesbury, a small town amid the West Midlands urban sprawl, a tiny mobile outpost of the local Citizens Advice charity is hard at work, offering practical support to a stream of people who pitch up seeking respite from the grim challenges of poverty and the cost of living crisis.
These are the kind of unhappy tales – of debt, unemployment, benefits and housing problems – that often go unheard, or are ignored, until they balloon out of control, by which time it can be too late. But this time there is help at hand.
Citizens Advice is the often-neglected safety net that helps prevent those in crisis from plummeting into the societal abyss. Set up with public funding at the beginning of the second world war, its offices have consistently been the sorting house for all those whose problems outstrip their capability.
Over the past year, its 250 local offices – each an independent charity – have experienced record demand. Typically, it has been for crisis support – often involving a referral to a food bank, help with energy bills, benefits or debt advice, and homelessness. "The situation for people is getting worse daily," says Clare Moriarty, chief executive of Citizens Advice.
The trouble is that the offices are often a long way from where people live, and if they have jobs or dependents or, as is often the case, don't have the money for travel, they can miss out on much-needed advice. The answer is a mobile unit that can drive out to hotspots and open its side and back doors to the passing local community.
On a bitterly cold morning, Florence [not her real name], a woman approaching retirement, is out shopping when she spots the mobile unit, a converted truck with a subdivision for two small offices and a humming generator to heat the interior. Florence is a few weeks short of turning 66, and is still working part-time. She wants to retire but she doesn't know if she can afford to.
One of the two trained advisers, a young man named Dom, runs through all the possible benefits and rebates that she might be able to claim, nearly all of which she hasn't heard of. This is common – to negotiate the complex benefits system requires arcane social policy expertise, a gift for maths, and a lawyer's appreciation of citizens' rights.
Dom gives her an estimate of what she might be entitled to, and then tells her to bring the full details of her income and expenditure to the nearest Citizens Advice office, where the staff will help her put together her claim.
The next client is a woman looking to divorce an abusive husband. They have four children, two under 18, she is on disability benefits, and seems at her wit's end. "I need to get away," she tells the other adviser, Dan. "I can't cope with my health, the kids and him."
She has limited knowledge of her rights or protections or indeed what the whole daunting process of divorce involves legally and financially. But by the time she leaves the cramped unit half an hour later, she is primed and empowered with a basic understanding of the help and support she can receive.
And so they continue, filing in and out, each person with a tale of woe or anxiety, frequently exacerbated by a desperate shortage of money.
"Debt has always been a big problem," says operations manager Jane Piggott Smith, "but it's become far more common recently. We're seeing some very distressed clients coming in. People get all these bills and debts and they bury their heads in the sand, and then they come to us with a plastic bag full of unopened letters and bailiffs' threats of eviction."
Citizen Advice can help them come to resolutions with creditors, sometimes getting the debts written off. January is the main month for debt panic. People try to forget their financial predicament over Christmas, perhaps spending money they can't afford to provide respite for their families. "And then the credit card bills come in," says Piggott Smith.
Citizens Advice is one of the 2022 Guardian and Observer charity appeal's two partner charities. Its share of donations raised by the appeal will support general services and innovative outreach work at its branches in some of the UK's most deprived neighbourhoods.
As the recession bites, inflation continues and the poor get poorer, an increasing number of people will live in a state of crisis. Mostly their struggles will be invisible to onlookers; you'll walk by them in the street or shopping centre and have little or no idea of the mental turmoil in which they pass their days.
But if they are fortunate enough to encounter one of the Citizens Advice outreach units, there's a good chance that their worries can be alleviated, that their unmanageable problems can be managed.
It's not a solution to all the challenges that confront the overlooked and the unlucky, but almost everyone leaving the unit in Wednesbury appears a little less weighed down by life's burdens than when they went in.
Taurus Rox
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Namwali Serpell
Segun Afolabi
F.T.Kola
Masande Ntshanga
Masande Ntshanga (South Africa)
space IN Twenty in 20 (Times Media, South Africa, 2014)
Masande Ntshanga is the winner of the 2013 PEN International New Voices Award. He was born in East London in 1986 and grew up between Mdantsane, Zeleni, Bhisho, King William's Town, Estcourt, Pietermaritzburg and Cape Town. He graduated with a degree in Film and Media and an Honours degree in English Studies from UCT, where he became a creative writing fellow, completing his Masters in Creative Writing under the Mellon Mays Foundation. He received a Fulbright Award and an NRF Freestanding Masters scholarship. His debut novel, The Reactive, was published in 2014 by Penguin Random House.
What it's about: Set in the Eastern Cape Province of South Africa in the early nineties, Space is a window into the friendship of four school boys who discover a mysterious grey man.
Read it for: A thoughtful exploration of adolescence and the politics of education, sexuality, illness and family life.
read space