On March 29, thousands of Sega fans gathered at Tokyo's Bellesalle Akihabara to kick off a two-day celebration of all things geeky. The mood was light, and expectations were running high. In addition to the usual fanfare, the House that Sonic Built was hosting a pair of special exhibitions across the event.
The first was the Atlus Expo: an exhibit that celebrated the legacy of Atlus' innovative projects, from Shin Megami Tensei, to Persona, to everything else in-between. The second was the Sakura Wars Expo: a two-day celebration of Sega and Red Entertainment's classic steampunk series.
While the Atlus festivities were enticing, the Sakura Wars Expo looked to be most promising for fans who were hungry for news. This year's Sega Fes would mark just under a year since a new Sakura Wars game, code-named Shin Sakura Taisen, was revealed. Since then, though, details on the project were relatively scant. We knew that the project was tentative slated for release this year, and that the project would be more than just a game.
For the rest of the year, though, Sega and Red Entertainment had maintained a pattern of radio silence. Many of the franchise's more fervent fans began eagerly awaiting the Kosuke Fujishima's latest character designs for the project, and wondering just how much of Valkyria Chronicles' DNA would end up in the final battle system.
Regardless, as Sega Fes approached, excitement began to build. Two weeks before the event, the Japanese patent office dropped a bombshell; Sega Games Co., Ltd filed an English-language trademark for "Sakura Wars" with the Japanese patent office. This was a first for the Japanese games giant, who had never actually released the title outside of Asia since its debut in 1996.
That's not to say the franchise hadn't existed in the west. Many anime publishers, including ADV Films, Pioneer, and Funimation, stepped up to release the show's OVA and TV adaptations. Moreover, NIS America published Sakura Wars: So Long, My Love for the PlayStation 2 and Wii in 2010, and Russian publisher Akella shipped the first two games on PC in 2006.
Sega, themselves, though, had never made that effort to release the games westward. To see the publisher register a trademark for "Sakura Wars", not just a new variant on "サクラ大戦", was nothing short of shocking. Among the western fanbase, many began to show signs of something that hadn't been felt in many years: hope. Chatter began to arise, as there was a new, if distant, possibility that this new entry could be released across the globe.
The game was officially afoot. Speculation began to increase, as the event drew closer. On March 26, Sega president Toshihiro Nagoshi teased that details on the new Sakura Project would be revealed over the weekend. Suddenly, all eyes were on Sega Fes, as the day drew ever nearer.
At 9:33PM Eastern (6:33PM Pacific) on March 29, Sega president Haruki Satomi took the stage for the keynote and CEO Meet & Greet event. He talked up the company's mission to deliver unique gaming experiences, and showered praise on the company's legacy. Titles like Space Channel 5 and Shenmue took the focus, and Sega celebrated the legacy of its consoles like the Mega Drive and Saturn. He unveiled new game projects for the Olympics, and removed the veil on the Genesis Mini console.
At 10:04PM, twenty-nine minutes after the conference began, Satomi explained that Sega had "one last announcement." He bubbled over the universally positive reception to the teaser news in 2018. As he stepped off the stage, the room went dark, and a pale moon appeared on the giant projection screen. Ephemeral pink sakura petals began to flutter by the camera, as a haunting melody played. Text began to appear on-screen.
The flower petals swirled up in a brilliant pink storm, giving way to Ginza's Imperial Theater, as a car zoomed by. Mysterious characters appeared amid familiar sights, like rooms within the Imperial Theater, the Shogei-maru aircraft, and the monstrous kouma demons. All the while, the title slowly crawled across the screen in cuts.
At the one-minute mark, the full title popped onto the screen, as the iconic introduction to series theme song Geki! Teikoku Kagekidan played. A new generation of TeiGeki members was finally revealed to the world, as were their all-new Spiracle Armor.
At the same time, though, the teaser contained countless nods for series die-hards, hidden in the background. Sights like Sakura's koubu and Tsubaki's bromide shop helped to inform fans that this was the same world, the same universe they had come to know and love… while Sumire Kanzaki's reveal as General Manager of the Imperial Combat Revue showed that things were indeed changing.
Much like the tone of the trailer, the staff proved to be a mix of old and new. Series co-creators Ohji Hiroi and Kohei Tanaka would return to direct and score the soundtrack. Meanwhile, newcomers Jiro Ishii and Tite Kubo would replace writer Satoru Akahori and character designer Kosuke Fujishima, respectively.
The excitement was immediate and immense among many fans, who were already singing their praises of the new entry (and likely scouring the web for places to import). Little did anyone know, though, that the biggest bombshell still had yet to drop.
It was official. Sakura Wars was coming west for the third time in its history, Sega's iconic series about psychic-powered, demon fighting song girls would find a home worldwide.
Since then, the greater fanbase has found a new energy, a new life, as reality has set in. We've seen fans speculate about every little detail that could be unearthed in the big reveal trailer, as well as an early French-language teaser that had been mistakenly uploaded. Door labels were translated, signs were dug deeply into, and speculation on exactly what stage show would be held this time could be found at every corner of this tiny niche community.
All the while, some translated Sega's tweets on the game; others began unearthing what they could in magazines like Weekly Shonen Jump and Famitsu. Others, still, began to speculate on just what could be read into from the press emails that were sent to various outlets.
Through it all, though, one thing remained constant: hope. For the first time since the Sakura Taisen World Project was announced in 2002, we've begun seeing fans not only eager, but hopeful for the series' future. It's a new beginning for Sakura Wars, which promises to bring great changes for new fans, while retaining everything that made the first games so special to begin with.
While we're still at least nine months away from the game's Japanese release, it's become apparent that Sega and Red Entertainment are ready to bring Sakura Wars to this modern generation, even fourteen years later.
That said, though, it's still so surreal, to say "Sakura Wars is back." To know that, in just a few short months, this Taisho Roman Adventure will begin anew, is just astounding, amazing, even. All I can really say, at this point, is "I look forward to this brilliant steampunk adventure," as the biggest, dumbest smile plays across my face.
The stage is set; now, all that remains is for the TeiGeki to make its grand entrance once more.


text:
Nicholas R. Bellich, Funeral Director & Supervisor | Rose Castagnola, Funeral Director
Nicholas R. Bellich, Funeral Director & Supervisor
Rose Castagnola, Funeral Director
Family-Owned & Operated Since 1954
The next generation of funeral service
201 Marguerite Ave | Wilmerding, PA 15148
Licensed Funeral Directors and Staff
The Bellich Family
Alfieri Funeral Home circa early 1960's after the recent move from State Street.
Former funeral home on State St. before it was moved to its present location on Marguerite Ave.
Mr Alfieri receiving his 50 years of service plaque as a funeral director at the LeMont in Pittsburgh.
Present are his wife, Betty and 4 children.
Around 1935 when, Jim Alfieri was 15 years old, he befriended a teenager his own age, by the name of Tom Scott. Tom's brother, Charles Scott, was the owner of Scott's Funeral Home in Wilmerding, PA. At that time, we didn't have the traditional funeral home that we have today. People were viewed in their homes and the Funeral Director and his staff brought all the necessary equipment to the home of the deceased. My dad worked for the Scott family for 19 years.
After serving in the United States Navy during WWII, my dad attended the Pittsburgh Institute of Mortuary Science. He received his Funeral Directors License in 1951. He opened his Funeral Home in the home of his parents, Pietro and Rosina Alfieri, in 1954.
My dad foresaw that the redevelopment in making plans for the new bridge would be taking the building which housed his Funeral Home and his parents' residence and with the help of his parents, he purchased the First Presbyterian Church of Wilmerding. In 1966, after ten years of refurbishing, the Funeral Home was relocated from State St. to Marguerite Ave. Much of the work in the present Funeral Home was done by my dad himself.
Since her marriage to my dad, my mom has been dedicated to the funeral business and has also worked very hard. I received my Funeral Directors License in 1979. My nephew, Nicholas Bellich received his Funeral Directors License in 2009. The funeral business has been a way of life for the Alfieri family. After 55 years and three generations, Alfieri Funeral Home continues to strive for excellence in serving families of the surrounding communities. - Article by Rose Castagnola
After 10 years of hard work Mr. Alfieri converted a vacant church into his funeral home.
James Alfieri
Betty Alfieri
201 Marguerite Ave
Wilmerding, PA 15148
© 2021 Alfieri Funeral Home Inc.. All Rights Reserved. Funeral Home website by CFS & TA | Terms of Use | Privacy Policy

redpajama_set_name: RedPajamaCommonCrawl


Compilator consists of a number of dedicated employees who are passionate about you, and passionate about your business getting as much as possible from DäckData. Our support will help you with all of your questions about DäckData and its peripheral products. Throughout the year, we receive an average of up to 40 emails and 40 phone calls per day, and we respond within approximately 30 seconds. We handle all Nordic languages, and even offer services such as troubleshooting in DäckData and printers. You can reach us via email, telephone, or through the question section on our website.
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text:
// HTTP/1.1 Grammar as defined by RFC 2616:
//  https://www.ietf.org/rfc/rfc2616.txt
//
#ifndef HITTOP_HTTP_GRAMMAR_H
#define HITTOP_HTTP_GRAMMAR_H

#include <cctype>

#include "hittop/parser/any_char.h"
#include "hittop/parser/at_least.h"
#include "hittop/parser/char_filter.h"
#include "hittop/parser/concat.h"
#include "hittop/parser/either.h"
#include "hittop/parser/forward_ref.h"
#include "hittop/parser/implied_delim.h"
#include "hittop/parser/literal.h"
#include "hittop/parser/opt.h"
#include "hittop/parser/token.h"
#include "hittop/parser/unless.h"
#include "hittop/uri/grammar.h"

namespace hittop {
namespace http {
namespace grammar {

using OCTET = parser::AnyChar;

using DIGIT = parser::CharFilter<&std::isdigit>;

using SP = parser::Literal<' '>;

DEF_PARSE_RULE(CRLF,
               (parser::Concat<parser::Literal<'\r'>, parser::Literal<'\n'>>));

DEF_PARSE_RULE(LWS,
               (parser::Concat<
                   parser::Opt<CRLF>,
                   parser::AtLeast<1, parser::Either<parser::Literal<' '>,
                                                     parser::Literal<'\t'>>>>));

using separators = parser::Either<
    parser::Literal<'('>, parser::Literal<')'>, parser::Literal<'<'>,
    parser::Literal<'>'>, parser::Literal<'@'>, parser::Literal<','>,
    parser::Literal<';'>, parser::Literal<':'>, parser::Literal<'\\'>,
    parser::Literal<'"'>, parser::Literal<'/'>, parser::Literal<'['>,
    parser::Literal<']'>, parser::Literal<'?'>, parser::Literal<'='>,
    parser::Literal<'{'>, parser::Literal<'}'>, parser::Literal<' '>,
    parser::Literal<'\t'>>;

using CTLs = parser::CharFilter<&std::iscntrl>;

using TEXT = parser::Either<LWS, parser::Unless<CTLs, parser::AnyChar>>;

using quoted_pair = parser::Concat<parser::Literal<'\\'>, parser::AnyChar>;

using ctext =
    parser::Unless<parser::Either<parser::Literal<'('>, parser::Literal<')'>>,
                   TEXT>;

struct comment_t;

using comment = parser::ForwardRef<comment_t>;

struct comment_t {
  using type = parser::Concat<
      parser::Literal<'('>,
      parser::Repeat<parser::Either<ctext, quoted_pair, comment>>,
      parser::Literal<')'>>;
};

using qdtext = parser::Unless<parser::Literal<'"'>, parser::AnyChar>;

using quoted_string =
    parser::Concat<parser::Literal<'"'>,
                   parser::Repeat<parser::Either<qdtext, quoted_pair>>,
                   parser::Literal<'"'>>;

using token = parser::AtLeast<
    1, parser::Unless<parser::Either<CTLs, separators>, parser::AnyChar>>;

// Define a helper template for "implied *LWS" (RFC 2616, section 2.2, page 15)
//
template <typename... Parts>
using Glue = parser::ImpliedDelim<parser::Repeat<LWS>, Parts...>;

/* The definition of field-content (RFC/2616, section 4.2, page 32) strikes me
 * as particularly vague:
 *
 *   field-content  = <the OCTETs making up the field-value
 *                    and consisting of either *TEXT or combinations
 *                    of token, separators, and quoted-string>
 *
 * This is my best attempt at a translation to something actually implementable.
 * :-/
 */
using field_content = parser::Either<
    parser::Repeat<TEXT>,
    parser::Repeat<parser::Either<token, separators, quoted_string>>>;

struct field_value_ {
  using type = parser::Repeat<parser::Either<field_content, LWS>>;
};
using field_value = parser::ForwardRef<field_value_>;

struct field_name_ {
  using type = token;
};
using field_name = parser::ForwardRef<field_name_>;

struct message_header_ {
  using type = Glue<field_name, parser::Literal<':'>, parser::Opt<field_value>>;
};
using message_header = parser::ForwardRef<message_header_>;

/*
namespace tokens {

DEFINE_NAMED_TOKEN(Cache_Control, "Cache-Control");
DEFINE_NAMED_TOKEN(Connection, "Connection");
DEFINE_NAMED_TOKEN(Content_Encoding, "Content-Encoding");
DEFINE_NAMED_TOKEN(Content_Language, "Content-Language");
DEFINE_NAMED_TOKEN(Content_Length, "Content-Length");
DEFINE_NAMED_TOKEN(Content_Location, "Content-Location");
DEFINE_NAMED_TOKEN(Content_MD5, "Content-MD5");
DEFINE_NAMED_TOKEN(Content_Range, "Content-Range");
DEFINE_NAMED_TOKEN(Content_Type, "Content-Type");
DEFINE_NAMED_TOKEN(Date, "Date");
DEFINE_NAMED_TOKEN(Pragma, "Pragma");
DEFINE_NAMED_TOKEN(Trailer, "Trailer");
DEFINE_NAMED_TOKEN(Transfer_Encoding, "Transfer-Encoding");
DEFINE_NAMED_TOKEN(Upgrade, "Upgrade");
DEFINE_NAMED_TOKEN(Via, "Via");
DEFINE_NAMED_TOKEN(Warning, "Warning");

} // namespace tokens
*/

using entity_body = parser::Repeat<OCTET>;

/*
using Content_Encoding =
    Glue<tokens::Content_Encoding, parser::Literal<':'>, field_value>;

using Content_Language =
    Glue<tokens::Content_Language, parser::Literal<':'>, field_value>;

using Content_Length = Glue<tokens::Content_Length, parser::Literal<':'>,
                            parser::AtLeast<1, DIGIT>>;
*/

using absoluteURI = uri::grammar::absoluteURI;
using relativeURI = uri::grammar::relativeURI;

/*
using Content_Location = Glue<tokens::Content_Location, parser::Literal<':'>,
                              parser::Either<absoluteURI, relativeURI>>;

using extension_header = message_header;

using entity_header = parser::Either<Allow,            //
                                     Content_Encoding, //
                                     Content_Language, //
                                     Content_Length,   //
                                     Content_Location, //
                                     Content_MD5,      //
                                     Content_Range,    //
                                     Content_Type,     //
                                     Expires,          //
                                     Last_Modified,    //
                                     extension_header>;

using response_header = parser::Either<Accept_Ranges,      //
                                       Age,                //
                                       ETag,               //
                                       Location,           //
                                       Proxy_Authenticate, //
                                       Retry_After,        //
                                       Server,             //
                                       Vary,               //
                                       WWW_Authenticate>;
*/

using Reason_Phrase =
    parser::Repeat<parser::Unless<parser::Either<parser::Literal<'\r'>, //
                                                 parser::Literal<'\n'>>,
                                  TEXT>>;

// HTTP-Version   = "HTTP" "/" 1*DIGIT "." 1*DIGIT
//
DEFINE_NAMED_TOKEN(HTTP_slash, "HTTP/");

struct HTTP_major_version_ {
  using type = parser::AtLeast<1, DIGIT>;
};
using HTTP_major_version = parser::ForwardRef<HTTP_major_version_>;

struct HTTP_minor_version_ {
  using type = parser::AtLeast<1, DIGIT>;
};
using HTTP_minor_version = parser::ForwardRef<HTTP_minor_version_>;

using HTTP_Version = parser::Concat<HTTP_slash, HTTP_major_version,
                                    parser::Literal<'.'>, HTTP_minor_version>;

/*
using extension_code = parser::Exactly<3, DIGIT>;

using Status_Code = parser::Either< //
    // TODO(tonyastolfi) - put in all the actual status-codes here?
    extension_code>;
*/
using Status_Code = parser::Exactly<3, DIGIT>;

using Status_Line =
    parser::Concat<HTTP_Version, SP, Status_Code, SP, Reason_Phrase, CRLF>;

using Response = parser::Concat<
    Status_Line, //
    /*
      parser::Repeat<parser::Concat<parser::Either<general_header,  //
                                                   response_header, //
                                                   entity_header>,
                                    CRLF>>,
    */
    parser::Repeat<parser::Concat<message_header, CRLF>>, //
    CRLF>;

/*
using request_header = parser::Either<Accept,              //
                                      Accept_Charset,      //
                                      Accept_Encoding,     //
                                      Accept_Language,     //
                                      Authorization,       //
                                      Expect,              //
                                      From,                //
                                      Host,                //
                                      If_Match,            //
                                      If_Modified_Since,   //
                                      If_None_Match,       //
                                      If_Range,            //
                                      If_Unmodified_Since, //
                                      Max_Forwards,        //
                                      Proxy_Authorization, //
                                      Range,               //
                                      Referer,             //
                                      TE,                  //
                                      User_Agent>;
*/

struct extension_method_ {
  using type = token;
};
using extension_method = parser::ForwardRef<extension_method_>;

DEFINE_TOKEN(OPTIONS);
DEFINE_TOKEN(GET);
DEFINE_TOKEN(HEAD);
DEFINE_TOKEN(POST);
DEFINE_TOKEN(PUT);
DEFINE_TOKEN(DELETE);
DEFINE_TOKEN(TRACE);
DEFINE_TOKEN(CONNECT);

using HttpMethod = parser::Either<GET,     //
                                  POST,    //
                                  PUT,     //
                                  DELETE,  //
                                  OPTIONS, //
                                  HEAD,    //
                                  TRACE,   //
                                  CONNECT  //
                                  >;

using Method = parser::Either<HttpMethod, extension_method>;

/*
using general_header = parser::Either<Cache_Control,     //
                                      Connection,        //
                                      Date,              //
                                      Pragma,            //
                                      Trailer,           //
                                      Transfer_Encoding, //
                                      Upgrade,           //
                                      Via,               //
                                      Warning>;
*/

using abs_path = uri::grammar::abs_path;
using authority = uri::grammar::authority;

struct Star_ {
  using type = parser::Literal<'*'>;
};
using Star = parser::ForwardRef<Star_>;

using Request_URI = parser::Either<
    parser::Concat<uri::grammar::hier_part,
                   parser::Opt<parser::Concat<parser::Literal<'#'>,
                                              uri::grammar::fragment>>>,
    Star, absoluteURI, abs_path, authority>;

using Request_Line =
    parser::Concat<Method, SP, Request_URI, SP, HTTP_Version, CRLF>;

using Request = parser::Concat<
    Request_Line, //
    /*
      parser::Repeat<parser::Concat<parser::Either<general_header, //
                                                   request_header, //
                                                   entity_header>, //
                                    CRLF>>,                        //
    */
    parser::Repeat<Glue<message_header, CRLF>>, //
    CRLF>;

/*
using FullRequest = parser::Concat<Request, parser::Opt<message_body>>;

using message_body =
    parser::Success; // This part of the grammar isn't context free
*/

using start_line = parser::Either<Request_Line, Status_Line>;

using generic_message =
    parser::Concat<start_line,                                 //
                   parser::Repeat<Glue<message_header, CRLF>>, //
                   CRLF>;

using HTTP_message = parser::Either<Request, Response>;

template <typename Map> void RegisterRuleNames(Map &names) {
  REGISTER_PARSE_RULE(OCTET);
  REGISTER_PARSE_RULE(DIGIT);
  REGISTER_PARSE_RULE(SP);
  REGISTER_PARSE_RULE(CRLF);
  REGISTER_PARSE_RULE(LWS);
  REGISTER_PARSE_RULE(separators);
  REGISTER_PARSE_RULE(CTLs);
  REGISTER_PARSE_RULE(TEXT);
  REGISTER_PARSE_RULE(quoted_pair);
  REGISTER_PARSE_RULE(ctext);
  REGISTER_PARSE_RULE(comment);
  REGISTER_PARSE_RULE(qdtext);
  REGISTER_PARSE_RULE(quoted_string);
  REGISTER_PARSE_RULE(token);
  REGISTER_PARSE_RULE(field_content);
  REGISTER_PARSE_RULE(field_value);
  REGISTER_PARSE_RULE(field_name);
  REGISTER_PARSE_RULE(message_header);
  REGISTER_PARSE_RULE(entity_body);
  REGISTER_PARSE_RULE(absoluteURI);
  REGISTER_PARSE_RULE(relativeURI);
  REGISTER_PARSE_RULE(Reason_Phrase);
  REGISTER_PARSE_RULE(HTTP_slash);
  REGISTER_PARSE_RULE(HTTP_Version);
  REGISTER_PARSE_RULE(Status_Code);
  REGISTER_PARSE_RULE(Status_Line);
  REGISTER_PARSE_RULE(Response);
  REGISTER_PARSE_RULE(extension_method);
  REGISTER_PARSE_RULE(OPTIONS);
  REGISTER_PARSE_RULE(GET);
  REGISTER_PARSE_RULE(HEAD);
  REGISTER_PARSE_RULE(POST);
  REGISTER_PARSE_RULE(PUT);
  REGISTER_PARSE_RULE(DELETE);
  REGISTER_PARSE_RULE(TRACE);
  REGISTER_PARSE_RULE(CONNECT);
  REGISTER_PARSE_RULE(HttpMethod);
  REGISTER_PARSE_RULE(Method);
  REGISTER_PARSE_RULE(abs_path);
  REGISTER_PARSE_RULE(authority);
  REGISTER_PARSE_RULE(Request_URI);
  REGISTER_PARSE_RULE(Request_Line);
  REGISTER_PARSE_RULE(Request);
  REGISTER_PARSE_RULE(start_line);
  REGISTER_PARSE_RULE(generic_message);
  REGISTER_PARSE_RULE(HTTP_message);
}

} // namespace grammar
} // namespace http
} // namespace hittop

#endif // HITTOP_HTTP_GRAMMAR_H

redpajama_set_name: RedPajamaGithub


BEATDOWN GURU :: Top Golem Deck in Clash Royale :: 24-0 w/ Double Witch!
Clash Royale Pro Tips series continues on CWA Mobile Gaming! Today we'll welcome Ah Craaaap back on the channel sharing an INCREDIBLY powerful double Witch Golem beatdown deck. Beyond just the deck, he'll also provide some extremely valuable tips for playing beatdown. Nova AC dominated last season with this deck and has proven it's one of the best options for both ladder and victory challenges going 24-0 with it recently. He'll do his final two matches live here on CWA!! Enjoy!


text:
Q: C#: how to run an app as admin without UAC prompt I know this question was asked before over and over, but I couldn´t find a solution that worked for me.
my application needs to do some modification in the program files folders. It starts as a regular user. I found out that adding the app.manifest helps. So here´s part of my code:
ProcessStartInfo info = new ProcessStartInfo();
info.FileName = "cmd.exe";
info.Arguments = @"/c echo abc > ""%programfiles(x86)%\testfile.txt"""
info.CreateNoWindow = true;
info.UseShellExecute = false;
info.RedirectStandardOutput = true;
info.RedirectStandardError = true;
info.WorkingDirectory = @"C:\Temp";

Process proc = new Process();
proc.StartInfo = info;
proc.Start();
Console.WriteLine(proc.StandardOutput.ReadToEnd());
Console.WriteLine(proc.StandardError.ReadToEnd());
proc.WaitForExit();

In my app.manifest this is what is relevant:
<requestedExecutionLevel level="requireAdministrator" uiAccess="false" />

If the user executing the application is a regular user, a UAC prompt will pop up requesting username and password (because of the manifest). Now, if I start the application with an admin user (using psexec for example)...
psexec.exe -u Username -p Password cmd /c myapp.exe

... I thought it would run like a charm, but instead it pops up a slightly different message asking me to confirm that I want the program to run (without fields for username and password). If I say yes, it runs fine.
What I want is that it runs with admin privileges, without any prompt, and without disabling UAC on registry for example. Is that even possible?

redpajama_set_name: RedPajamaStackExchange


text:
Q: How do I add size class customization programmatically How do I add size class customization pragmatically? I know how to do this in interface builder but would like to do this with my existing programmatic NSLayoutConstraints. Can't seem to find any info about this anywhere, except one or two places that said it could be done, but with no info about how.
Thanks

A: Getting trait collection from view is straightforward:
self.view.traitCollection

and UITraitCollection has horizontalSizeClass and verticalSizeClass properties that you can check and apply constraints as required.
You also want to implement  traitCollectionDidChange: method to get changes caused by rotation

A: Mikomi, I think you want to check out the method UIAppearance.appearance(for:), it's iOS 8 or higher. It seems this is used by Interface Builder in Xcode.


Educational leaders and researchers recognize that mathematics can be an effective tool in enabling substantial advances in many fields of science and technology. However, the role that mathematics can play in shaping and creating socio-political views of societies is not as well understood. Within the mathematics' learning community there is little discussion connecting the unique role that mathematics can play in conceptualizing a democratic society even within the democratic societies where that learning happens. Building capacity for learning in context is a critical piece of any comprehensive program but it is sometimes difficult for leaders to agree on what that context should and does look like. There are multitudes of influences at play when educational systems create and enact curricula but in order to push through the stalemate that can exist with different ideologies, it is essential to understand that mathematics can be a conduit to improvements in political social justice as well as a gateway to developments in science and technology. Mathematics has the potential to be a tool to create, as well as an instrument of influence; the key is for leaders to understand how to do both.


text:
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Watch DEHH
Dead End Podcasts
Dead End Hip Hop
No Politics. No B.S.
The Unknown On Mental Health, Being "Healthy" & Creating A Community In Hip-Hop [Interview]
December 3, 2018 by Michael Stover
Florida hip-hop artist The Unknown has created an album perfect for the brashness of winter. Almost 20% of Americans deal with some type of mental health issue (according to the National Alliance on Mental Illness) and with The Unknown's debut album "Healthy" he talks the dark recesses of his mind and the process of becoming "Healthy". I had the chance to sit down with the Florida standout to really pick his brain and see what the motivation behind this project was. And honestly in one of my favorite interviews of this year, we talk about how the system handles mental health and its consequences, the process of making "Healthy" and much more.
Dead End Hip Hop: For those who don't know, who is The Unknown and how did that name come about?
The Unknown: I'm a 21 year old rapper/producer, originally from Pittsburgh, but I moved to South Florida when I was 13. At first, I went by "anunknownartist", funnily enough just because I couldn't think of an actual name, then I decided to shorten it to "Unknown", but that name got rejected by Tunecore for being too generic, so I slapped a "The" in front of that shit and called it a day. Ended up using Distrokid to distribute the album anyway, but I already changed my name on Twitter and shit, so I guess I'm stuck with it. It kinda makes it sound a little more like a force of nature or something, which I dig.
DEHH: Tell me a bit about your start in hip-hop and how you went from being a fan to deciding to create in the hip-hop space?
The Unknown: I started listening to hip-hop when I was like 11 or 12, didn't really think much of music before that, but then something just clicked. I started listening to Kanye West around that time, and I can still remember almost being brought to tears by "Gone" off Late Registration. Soon after that, Odd Future was starting to pop off and I rode that wave super hard. I torrented FL Studio (I use Logic now) and began writing like super outlandish, vulgar shit just to impress my friends and make them laugh. I've always been a writer, originally wanted to write screenplays, but hip-hop very quickly became the main way I expressed myself. Later getting into artists like El-P, Cage, Eyedea, and Camu Tao, kind of that mixture of more abstract and precise writing had a lot of influence on my style. I didn't really figure out production until a lot more recently, but it was always in the back of my mind, and, evidently, I've always been more attracted to artists who both rapped and produced, so it was something I just kept pushing at as well. It was like the more the music connected with me, the more I wanted to connect with the music.
DEHH: "Healthy" is easily one of the trippiest, darkest releases I've heard this year, but I love it and it works, how did the concept for "Healthy" come about?
The Unknown: I started working on what became "Healthy" in the fall of 2016. It didn't really turn into what it is today until much later. I was dealing with a very serious bout of depression at the time I started it, it was my first year of college, and I'd been dealing with this type of shit for a while, but just like I guess the ability to make my own terrible choices kind of exacerbated the situation and by the spring I had every intention of killing myself, but fortunately I'd made very close friends at school who convinced me to go to counseling and from there, I was sent back home for treatment. It was during that time that the album really started to take shape. I was misdiagnosed with major depression (I have bipolar disorder), and given Prozac which chemically does not work in treating bipolar, so that was a whole fiasco, with going to the hospital because of someone else's mistake and what not. The mistrust for my treatment that led to and the experiences there ended up contributing to the bulk of my writing for the album. And even once I got the right meds, I barely took them and wasn't on them at all when most of the writing and production took place. A lot of what I ended up trying to do was articulate these experiences, this side of the battle with mental health, into music I could've used while dealing with all of this.
DEHH: I think sometimes in hip-hop we have a tendency to pin down one sound and anything that varies outside of it is weird, but on "Healthy" you use all types of sounds and samples to get the point across, can you talk about how you crafted your own sound and how it fits into the puzzle of "Healthy"?
The Unknown: So much of that shit was trial and error honestly, I'm only just now, after the album's done, starting to find a real stride in my work and like know what to do and when. I think the big thing I took away from all those years listening to hip-hop, and all those years of hip-hop to listen to, is just exactly how broad the tools are at a producer's disposal. Sure, there were some things I might've pulled more from other genres, but the bulk of my influences are based in hip-hop. There were five or so albums that played a major role in influencing my sound for "Healthy", Danny Brown's "Atrocity Exhibition", Kanye West's "Yeezus", Earl Sweatshirt's "I Don't Like Shit I Don't Go Outside", Nine Inch Nails' "The Downward Spiral", and El-P's "Fantastic Damage". But working in a genre where you have Death Grips on one end, and Lil Pump on the other gives you a whole lot of options, or at least it should. So my main goal, knowing I had these options, was to use anything I could to fully create the atmosphere I meant for the songs to suggest. The world in Healthy is just as much the one in the lyrics as it is the sonic landscape of it all, and I needed the music to reflect that fear and anger and sadness and, at times, hope, in every way. I'd also like to say that this sound, this aesthetic, isn't really one I'm sticking to for future projects. I don't like artists who make the same shit over and over again, I don't think that does anything to further music, and that really should be the goal when you approach life as an artist.
DEHH: Talk to me about the visuals you used for the album and the inspiration behind them, this isn't your usual rap at the camera and stroke your own ego, there's a lot going on.
The Unknown: That was all the directors of their respective videos. I wanted their interpretations of the music to be what was seen in the visuals, not mine, and I think they did a wonderful job. I talked to them about this question because I figured they'd give a better answer about their work than I could. Kye Saunders, who did Medicine, said "I wanted the pills to be presented in way that seems idyllic and then with time the meds become an all consuming thought which is ironic because that is what they are supposed to prevent. It doesn't solve the feelings of anxiety but it does do something and that something is what I wanted to be left up to interpretation" and Yugi, who did Story, said "I hate the saying that for a movie to be good, you're suppose to be able to follow a plot while the movies on mute. With the Story visuals, I wasn't very interested in trying to connect a story. I just wanted to lay everything out, lay shit on top of each other, have things pull and push out of each other. If you watched it on mute, you'd probably think: "damn, if someone gave these guys money they'd be big."
DEHH: You created your own world in "Healthy" and with it came a number of guest appearance can you talk about the people you worked with on this album?
The Unknown: We all lived in the same apartment during most of the work of the album. One of them, Mr. Shellfish, has been a very dear friend of mine since high school, and the rest we met in college at Florida State. We did our best to create our own little community of artists in the area and work closely with one another on all of our projects. Every single one of them was there for most, if not all, of the steps taken to make the album, and so not only did I trust them completely with each of their respective verses to fit the themes and deliver some great work, I also don't think "Healthy" would be "Healthy" without their input and general presence.
DEHH: Crafting something this heavy and focused is no easy task, what was creating all of this like and what was the most challenging part of making "Healthy".
The Unknown: Honestly, a lot of it was fucking miserable. I was so in my head during much of this, that my whole world was what ended up on that album. I mean, of course, I loved it, but I can say it took a pretty obvious toll on my psyche all the way up until when I sent it in to Distrokid. As for the focused part, I have primarily obsessional-OCD, so being obsessive comes pretty naturally for me. I think really the most challenging part was it getting to a point where I was so in the thick of working on this thing, I kind of began to only think of myself as the issues I talk about on the record. Getting out of that headspace has made my life a lot easier. I also have the obligatory "laptop broke and I lost all the early drafts from the album" story, but honestly, those were all trash, so I'm not even mad about that.
DEHH: When people are done with "Healthy" what do you want them to walk away with?
The Unknown: Well, it's not a hopeful album, maybe at times it is, but overall, the biggest tones are sadness, anger, and then kind of a denial and despondency, so I really would like for people to understand that these feelings on the album are not cool, they are not an aesthetic, if you need help get help. Hopefully those things are articulated on the project. Because the mindset I was in while making it was undeniably a toxic one. If you're dealing with the things I talk about, I'd like it to provide some solace, and if you aren't, then I'd like a "daaaamn" or a "that was…uhh…creative I guess".
DEHH: A new year is right around corner, will we be seeing The Unknown on tour, will we be getting more music?
The Unknown: A tour, unfortunately, is not really in our budget. Hopefully by 2020 we'll be able to have the money saved to do something like that, but for now, we're trying to get shows around Florida. As for music, I was already working on a second album while I was still making "Healthy", something a little different, leaning more toward the fun end of things, really just to even out a set list for live shows, because a straight "Healthy" performance would be kind of a downer. I'm also working on a number of projects as a producer for people in the couple groups I'm in and will probably be doing a good number of features. Hopefully group projects too, but a lot of what we've been doing is finding our individual sounds before fully coming together as a group. All of the artists featured on "Healthy" (Kamoi, Yugi, Mr. Shellfish, and Atlas) and have projects lined up for the coming year. So in an ideal world, you should be hearing a lot from us.
YOU CAN STREAM THE UNKNOWN'S ALBUM "HEALTHY" ON YOUR PLATFORM OF CHOICE: HERE
Category: Features, MusicTag: atlas, kamoi, mr. shellfish, the unknown, yugi


Try and recall the last dream you remember. Perhaps the facts and circumstances are hazy, but how about the color? That is, was the dream in color, or black and white?
If you said color, you are staunchly in the majority. But if you are over 55 years old and grew up watching a monochrome television, there is a good chance that your dreams are also in black and white.
Of course, there are plenty of alternate explanations. For example, it is quite possible (if not likely) that, in our waking state, we simply equate the imagery, plot lines, and required suspension of disbelief derived from dreams with the imagery, plot lines, and required suspension of disbelief derived from television shows. And in turn, perhaps we also equate the colors (or lack thereof) of dreams with television shows, as well.
Bonus fact: Traffic lights are thought of as red, yellow, and green. Many aren't. Red lights are actually a mix of red and orange lights while green lights contain blue lights, too. Why? To allow red/green colorblind drivers the ability to distinguish between the two.
From the Archives: Re-read All About It: Where television gets its news.
Related: Want to determine if someone is colorblind? You can with this test — if you have a few hundred dollars to spend.


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Active Junky is a big proponent of "truth in labeling," so we're troubled to learn that, while food must meet certain requirements to sport a USDA Organic logo, no such certification process exists with non-food items. And there is no uniform definition of what constitutes "organic," leaving confusion — and a lack of clear standards — between food industry organic standards and non-food items. Groups including the Organic Trade Association are pressuring the FTC to set requirements for non-food organic certification, calling for transparency and consistency when labeling anything "organic." Read the whole story here.


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Cardinals Rally In 9th To Beat Cubs 5-4
Filed Under:Anthony Rizzo, Carlos Martinez, Chicago Cubs, Hector Randon, Jason Hammel, Jhonny Peralta, John Baker, Kevin Siegrist, Luis Valbuena, Mark Ellis, Randal Grichuck, Ryan Kalish, St. Louis Cardinals, Trevor Rosenthal, Yadier Molina
Yadier Molina #4 of the St. Louis Cardinals hits a two-RBI single during the ninth inning against the Chicago Cubs on May 4, 2014 at Wrigley Field in Chicago, Illinois. (Photo by David Banks/Getty Images)
CHICAGO (AP) — Although their three-game winning streak was snapped by the St. Louis Cardinals on Sunday night, the Chicago Cubs are starting to see progress.
"We should take some positives away, even though we lost this ball game today," manager Rick Renteria said after the 5-4 loss. "Even in the end, we had the potential tying run on second base."
Yadier Molina drove in two runs with a two-out single in the ninth inning as the Cardinals snapped out of an offensive funk.
"I got a little lucky that they were playing me to pull," Molina said. "It was a good at-bat. I was able to put the ball in play and good things happened."
The defending National League champions had lost four of five to fall a game below .500. The Cardinals scored all their runs with two outs.
Molina, moved into the No. 2 spot to jump start the lineup, was 0 for 4 before coming through in the ninth.
Kevin Siegrist (1-1) got the win in relief, while Trevor Rosenthal picked up his eighth save in as many opportunities despite a scare in the ninth inning.
Hector Randon (0-1) took the loss for the Cubs, who were attempting to win four straight games for the first time since July.
While Cardinals manager Mike Matheny had looked for Molina, one of his hottest hitters, to get the offense going, it was a couple of struggling batters at the bottom of the lineup who got things started early.
With two outs in the second inning and Jhonny Peralta on first base, Randal Grichuk drilled a triple into the right-center field gap for a 1-0 lead. Mark Ellis followed with a double to left-center to make it 2-0.
Both Grichuk (.167) and Ellis (.143) entered hitting well below .200.
St. Louis stretched the lead to 3-0 in the third. After the first two batters were retired, Matt Holiday walked and Matt Adams followed with a double into the gap in left-center to score Holiday.
The Cubs pulled within 3-2 in the fourth with some clutch two-out hitting. With one out, Ryan Kalish singled and John Baker walked. After a groundout moved the runners to second and third, Jason Hammel singled, his first hit of the season, to right to drive in both.
"The hit was nice. I was just trying to get the foot down early," Hammel said. "I was still late, but found a hole. (Cards starter Lance Lynn) provided most of the distance with his velocity."
Hammel went six innings, allowing seven hits and three runs. St. Louis scored two runs in the second after two were out and Hammel issued a walk and then another in the third with the same scenario.
"Just can't do that. Two-out walks after two quick outs," Hammel said. "Put a guy on base and bad things happen. That's what happened tonight."
The Cubs tied the score in the seventh when Luis Valbuena tripled with two outs and scored on a wild pitch by reliever Carlos Martinez on the first pitch to Starlin Castro.
Valbuena doubled in a run with two outs in the ninth to make it 5-4, but Rosenthal got Anthony Rizzo to ground out to end the game.
NOTES: The ESPN broadcast team of Dan Shulman and John Kruk worked from the bleachers. … While making a rehab start Sunday with Double A Springfield, LHP Jaime Garcia (shoulder) was hit by a pitch on the left elbow and left after two innings and 28 pitches. "I think they went in and took precautionary X-rays," Matheny said. "I haven't heard anything back yet." … In the same game, RHP Jason Motte threw a scoreless inning, striking out three, in his first rehab outing. … Rizzo entered with a .429 on-base percentage, which was fifth-best in the National League. … The Cards open a series in Atlanta on Monday, with RHP Shelby Miller (3-2) facing RHP Aaron Harang, while the Cubs host the crosstown White Sox with RHP Jeff Samardzija (0-3) going up against LHP Jose Quintana (1-2).
(© 2014 by STATS LLC and Associated Press. Any commercial use or distribution without the express written consent of STATS LLC and Associated Press is strictly prohibited.)


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date: 17 July 2019

Desnoyer, François
(b Montauban, Sept 30, 1894; d Perpignan, July 21, 1972).
Alberto Cernuschi
https://doi.org/10.1093/gao/9781884446054.article.T022421
French painter, printmaker, stage designer, illustrator and tapestry designer. He was encouraged to study art by Emile-Antoine Bourdelle, to whom he showed his drawings at the age of 16, and was taught by him at the Ecole de Dessin à la Manufacture des Gobelins. From 1912 to 1914 he attended the Ecole des Arts Décoratifs in Montauban, and after serving in the infantry during World War I he moved to Paris, where he showed his work regularly at such exhibitions as the Salon des Indépendants and the Salon d'Automne.
Desnoyer lived and worked among the Cubists, but like the Fauves he favoured bright primary colours, marrying colour and line in landscapes, still-lifes and portraits. His debt to both movements is visible in paintings such as La Foire du Trône (1927; Paris, Pompidou). He also produced an illustrated edition of La Fontaine's Dies Irae (Editions Mortier, 1947) and stage designs for the Opéra Comique in Paris, for example for Henri Barrand's ...


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Peep The Visual: UTK – "NH" (Official Nipsey Hussle Tribute Music Video)
Malcolm Worsham 0
Leimert Park lyricist UTK, mentee of the late legendary Nipsey Hussle, releases a truly heartfelt visual for his latest single titled "NH". The song and video were inspired by the life and legacy of the fallen rapper and community activist.
UTK, being from the same neighborhood as Nipsey, frequently crossed paths with Nip growing up but it wasn't until 2018 when UTK won the Craft Syndicate / Dutch Masters Music competition in Atlanta, Ga. that the two actually got in the studio together.
The contest provided an opportunity for him to work closely with Nipsey and Zaytoven where the song "Hierarchy" was created. For the next few months after, up until the untimely death of Nipsey Hussle, UTK would soak up the "marathon mindset" which would set him in motion to create his most recent project, FGTBD2 (an acronym for Feels Great To Be Dope 2).
The single "NH" is by far one of the most emotional songs on the entire project where he uses his lyrical and storytelling abilities to convey a message of positivity and truth. The songs' stand out hook cries "Pray For My Neighborhood" and was written as a double-entendre highlighting parallels to the life of Neighborhood Nip Hussle and the "hustles" we have to perform just to survive in our neighborhood.
Peep the visual below and stay connected with UTK for upcoming announcements and releases here.
#Leimert Park#NH#Nipsey Hussle#UniverseTheKing#UTK
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The meeting minutes for Power Management Working Group weekly calls can be found below. Actions points and minutes are recorded, saved here and sent to the linaro-dev mailing list.
The calendar below holds a link to all past meetings. Please click on a date in red to see the previous meeting notes or another date to create a new meeting page for the date.


Romania is a country in the Balkans of Eastern Europe. Romania is a land filled with mystery and huge amounts of nature. Before traveling there I asked people about Romania. Half the people did not know anything about it. The other half talked about gypsies, Dracula and that it was dangerous in Romania. Gypsies are very friendly people. Dracula is just a small part in a history rich with vampires. Last but not least Romania is an extremely safe country! I felt safer in Romania than a lot of Western European countries. Safety, vampires, and gypsies are important but Here are some other great reasons why Romania should be on your list of places to go.
Romanian food has taken influence from the Ottoman Empire, the Romans, and other surrounding countries. Thanks to all of these countries Romania has a unique cuisine. Obor market in Bucharest has some of the most delicious fruits and veggies I have ever tasted in my life. One kilo of goat cheese at Obor costs about 6 dollars! Everything at Obor is organic too. Some typical Romanian dishes include; Sarmale which are stuffed cabbage rolls. Mititei, which are grilled meats with Turkish origin. Ciorba which is a delicious sour soup. Last but not least Papanasi which is a pastry filled with soft cheese and covered in sour jam. As you can see the Romanians like sour food! If you want to see more good foods to try in Romania then click here.
Whether it be accommodation, food or travel Romania is extremely cheap. A bus ride from Bucharest to Cluj-Napoca which is almost nine hours cost 10 dollars one way! The trains are also cheap and a great way to see the beautiful Romanian countryside. Hostels can cost anywhere from six to ten dollars a night which is great. When eating out in Romania, I noticed that even when I went to places that looked more expensive the prices were almost exactly the same as other places. Cheap! Romania is also a great place to hitchhike. The locals are friendly and love to help hitchhikers. Try Couch Surfing for a great experience with local families and save a few dollars in the process.
When people think of Romania Dracula, and the eerie Transylvanian mountains usually come to mind. While there is a lot of vampire lore here there are even more mystical things to be seen! Check out Sarmizegetusa Regia which was the ancient Dacian capital. There are not many places in the world like it so make sure to visit. Another wonder is the Romanian Sphinx in the Bucegi Mountains. There is a lot of myth about whether the Sphinx is natural or an ancient base. I had my own supernatural experiences while in Alba Lulia,Romania. A local took me to a place where the body of GIANTS were discovered. Sometimes I saw moving objects at night that suddenly burst into a ball of light then magically disappeared. If traveling by car do not miss Sinca Veche. It is an ancient temple with unexplained origins near Brasov. There is something really mystical about Romania that should not be missed.
Romania has only a handful of highly populated cities. The rest are little villages throughout the enormous countryside. Some areas are completely empty of people. That makes Romania a dream place for nature lovers. The country offers a lot of beautiful nature parks to go exploring. Make sure to go deep into the Carpathians Mountains to visit Piatra Craiului, which is one of the most gorgeous mountains ranges. Ceahlau park is also another one to see which was an important mountain to the ancient Dacians. A lot of Romania is not on the tourist maps so there are many hidden gems to find.
There are some parts of Romania so rural that the villages are completely cut off from society. This keeps their long-rooted traditions intact. Taking the train through the country side can be one of the best ways to discover some villages. Just get off when you see something interesting and enjoy traditional Romania for a few hours. Marginimea Sibiului and Maramures are two must see traditional villages. There are also bustling cities that are beautiful well-kept from the medieval times. Sighisoara is a great example of medieval architecture. It is also the birth place of Dracula. Sibiu is another excellent Transylvanian medieval town to check out. It was even rated the 2007 Capital of Culture.
On the way to Romania I did not know what to expect but I left with some of the best experiences in my life. If you are looking for a cheap new travel destination that is still off the beaten path for tourists than this is a great choice. Beware of the vampires though. They are still roaming free.


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Study at the EU Business School
Photo by EU Business School
Locations: Munich (Germany)
Montreux (Switzerland)
Students: 3,000
Website: euruni.edu
Established in 1973, EU Business School (EU) is an international, professionally accredited, high-ranking business school with campuses in Barcelona, Geneva, Montreux, Munich and online. We offer foundation, bachelor's, master's, MBA, DBA and further education programs which focus on business administration, communication, tourism management, international business, marketing, finance, digital business and entrepreneurship, among others. We provide small, dynamic classes in English. Our experiential and pragmatic approach to business education together with EU's global network prepares students for careers in today's rapidly evolving and globalized business world.
About your studies during the coronavirus pandemic:
We are offering flexible study options including online and on-campus study.
Our on-campus classes will be delivered using the on-campus hybrid learning approach from January 2021 with more time spent on campus, when permitted.
The health and wellbeing of our community is our number one priority. We have a strict protocol and health measures in place on campus to keep our community safe.
EU Business School is open including our admissions department. Contact us with any query you may have.
Bachelors at the EU Business School
Business (Cloud Computing)
Business (HR Management)
Business (Information Systems)
Business (Law)
Business (Management)
Business Management (Business Technology)
Business Management (Enterprise)
Business Management (Finance)
Business Management (Human Resources Management)
Business Management (International Business)
Business Management (Marketing)
Business Management (Supply Chain and Logistics)
Business (Project Management)
Communication and Public Relations
Digital Business, Design and Innovation
Leisure and Tourism Management
Masters at the EU Business School
Blockchain Management
Business Analytics & Data Science
Digital Marketing, Transformation & Design Thinking
Fashion and Luxury Business
Global Banking and Finance
Doctorates at the EU Business School
Learn more about the EU Business School
Find more information on the website of the EU Business School:
Tuition fees at the EU Business School
Students who are citizens of the EU/EEA:
The average tuition fees for students from the EU/EEA are 13,900 CHF per year, ranging from 6,700 CHF to 27,600 CHF.
Students who are citizens from outside the EU/EEA:
The average tuition fees for students from outside the EU/EEA are 13,900 CHF per year, ranging from 6,700 CHF to 27,600 CHF.
Tuition fees may vary for each study programme.


These Highlighter Wall Tiles are designed with help of modern cutting edges tools to ensure their accurate dimension and shape. Offered tiles are finished with utmost care and attention by our skilled craftsmen. They are crafted in an intricate printing pattern that enhances appearance of your place. Due to their accurate dimension and shape, these tiles are easy to fix on wall. Offered tiles are highly acclaimed in market for their eye-catchy design and alluring pattern. Available in a variety of pattern, design and finish, these Highlighter Wall Tiles are designed to meet clients' diverse requirements. They are easy to clean and require less maintenance which makes them high on demand.


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<!-- [[TOC]] -->

## Accessor

 - Internal: `app`
 - External: `window.MagTool`

## Available Properties

#### `$body`

 - Type: Read-only
 - Var: jQuery[body]

#### `$doc`

 - Type: Read-only
 - Var: jQuery[#document]

#### `BASE_URI`

The base uri for the Application's resources.

 - Type: Constant
 - Var: String

#### `VERSION`

The Application version. Latest commit SHA for local, latest release tag for distribution.

 - Type: Constant
 - Var: String

#### `CTA`

Css / jQuery selector for CTA links.

 - Type: Constant
 - Var: String

## Available Methods

#### `bindOriginalKeyEvents()`

Bind the original key Events bound by the magazine.

#### `bindOriginalNavigationEvents()`

Bind the original click Events to navigate bound by the magazine.

#### `define()`

Define a read-only property on the Application.

 - @param  {String}   [name]  The name of the property
 - @param  {mixed}    [value] The value of the property

#### `env()`

Check if the current Environment matches the given Environment.

 - @param  {String}    [env]   The name of the environment
 - @return {Boolean}

#### `getLanguage()`

Get the current language.

 - @return {String}

#### `getModules()`

Get the registered Modules.

 - @return {Object}

#### `getVersion()`

Get the Application's Version.

 - @return {String}

#### `registerBindings()`

Register the Application's Event bindings.

#### `registerKeyBindings()`

Register the Application's Key bindings.

#### `registerModule()`

Register a Module with the Application.

 - @param  {String}   [id]     The ID of the Module
 - @param  {Function} [Module] The Module

#### `registerNavigationBindings()`

Register bindings for when the user tries to navigate away.

#### `unbindOriginalKeyEvents()`

Unbind the original key Events bound by the magazine.

#### `unbindOriginalNavigationEvents()`

Unbind the original click Events to navigate bound by the magazine.


If you are serious about gaming and always want to be a professional one, you can't do it with your regular keyboard and mouse as you usually think you can do. A little investment to buy a good gaming keyboard can change the way you play your games and it will make you a better gamer. In this article, i will be listing 5 best Gaming Keyboards to help you achieve more success in your games. You can ask why should we buy a fancy new gaming keyboard when we already have a keyboard which is not bad at all while playing games? Yes, No problem ! You can! but as i said before it won't make you a professional gamer. In our previous article, We have talked about What makes a Good Gaming Keyboard? . You should read this to know the difference between regular keyboard and a gaming keyboard.
The SteelSeries Apex M800 is on the top on the list of the 5 best Gaming Keyboards. It is world's fastest and most programmable mechanical gaming keyboard. It gives you the quick response and personal control to master your favourite games like CSGO and DOTA 2.
Razer Blackwindow Chroma is the award-winning keyboard for it's mechanical switches. Razer Mechanical Switches specifically designed for gaming, actuate at an optimal distance, and give an amazing speed and responsiveness you never felt before.
The K70 RGB mechanical is not one of just another gaming keyboards. It begins with the performance of the legendary K70, and adds multicolor per-key backlighting for virtually unlimited customization. Every key is backed with a Cherry MX RGB key switch for precise actuation and superior feel. 104 full key rollover and 100% anti-ghosting ensure accurate gameplay. It is one of best Gaming Keyboards in fair price.
If you want a best gaming keyboard but your budget is low, Roccat Ryos MK is perfect for you. The Ryos MK is the most refined mechanical keyboard . Using all of ROCCAT's industry expertise and gaming experience, the Ryos MK boasts a feature set so comprehensive your enemies won't know what hit them, and a design that will make you the envy of all your fellow gamers.
High Powered Hardware – 32-bit ARM Cortex processor + 2 MB of flash memory. Roccat Achievements Display – keep track of your vital statistics.
The QuickFire TK takes the QuickFire Rapid and put it on steroids! Choose between 3 different Cherry MX switches. Each keycap is UV coated to make it durable. NKRO over USB means every single keystroke will be registered. An embedded steel plate give you maximum stability and durability. 7 easy-access multimedia shortcut keys save time. A complete numpad lets you get work done while not gaming. The slim and lightweight size gives you plenty of room for your mouse. This is one of the best gaming keyboards to buy in just $85.


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Social Welfare and Pensions Act 2010
This Bill provides for the full transfer of the employment services and community services programmes of FÁS to the Minister for Employment Affairs and Social Protection and the integration of FÁS staffing etc. into the Department of Employment Affairs and Social Protection. Section 4 provides for the declaration of unemployment by way of electronic communication. The Bill also provides for a new condition for rent supplement payable under the Supplementary Welfare Allowance scheme which will require that from 1 January 2011, before rent supplement can be awarded, the landlord's tax reference number must be supplied to the Health Service Executive (HSE). The Bill also provides for miscellaneous amendments to the Social Welfare Consolidation Act 2005. It also provides for a textual amendment to the Criminal Justice (Theft and Fraud Offences) Act 2001.
Main Provisions
The Bill comprises 3 Parts and 19 sections.
Preliminary and General
Section 1 provides for the short title, construction, collective citation and the commencement of the Bill.
Section 2 provides for the definition of certain terms as they apply in the Bill.
Amendments to Social Welfare Acts
Section 3 clarifies the provisions for the calculation of the duration of payment of Illness Benefit claims.
Section 4 provides for the use of electronic means of making and capturing the declarations of unemployment that are required for the purposes of claiming Jobseeker's Benefit and Jobseeker's Allowance.
Section 5 clarifies the calculation of entitlement to Jobseeker's Allowance where weekly means comprise earnings from insurable employment. In determining a week of unemployment (3 days of unemployment consecutive or not in any 6 consecutive days), the practice is to include a day only once in any computation where that day is part of a week of unemployment in respect of which Jobseeker's Allowance is paid. This section, which amends section 141 of the Social Welfare Consolidation Act 2005, ensures the Act is not ambiguous as regards applying this practice.
Section 6 provides that the lower basic rate of Supplementary Welfare Allowance payable to people under 25 years will not, of itself, lead to any reduction in Rent or Mortgage Interest Supplements payable to people getting other social welfare payments.
Section 7 provides for a new condition for the Rent Supplement payable under the Supplementary Welfare Allowance scheme which requires that from 1 January 2011, before a claim for Rent Supplement can be awarded, the landlord's tax reference number must be supplied to the Health Service Executive (HSE). As certain landlords will not have such a tax reference number, e.g. nonresident landlords, confirmation from the landlord to that effect is required to be supplied in those cases. This section also provides that a landlord will be obliged to provide his or her tax reference number (or confirmation that he or she does not have a tax reference number) in respect of each tenancy for which a Rent Supplement is payable.
Section 8 clarifies the position with regard to the information to be provided by or in respect of a customer registering for a Personal Public Service (PPS) Number. Section 262(3) of the Social Welfare Consolidation Act 2005 currently requires that a photograph and signature be submitted for any customer registering for a PPS Number. However, it is not practical to collect these items in all cases, e.g. where the customer is non-resident, deceased and in probate cases. Section 8 clarifies the position by only requiring that these items be submitted when required. This section also provides that providing additional security information will become a compulsory part of the registration process for the purposes of allocating and issuing PPS Numbers.
Section 9 is a technical amendment to change references in the Social Welfare Consolidation Act 2005 and in other enactments from "public service card" to "public services card" in order to reflect the de facto situation. There is a reference to "public service card" in the Criminal Justice (Theft and Fraud Offences) Act 2001 and this section also provides for a textual amendment to change this reference to "public services card".
Section 9 also makes a number of changes to the current provisions relating to the public services card under section 263 of the Social Welfare Consolidation Act 2005 and the social services payment card under section 264, including clarifying that both the social services card and the public services card can be used for the purposes of paying social welfare benefits.
Section 10 amends the rules relating to the means test for the Carer's Allowance scheme so as to exempt any foreign social security payments, up to the appropriate level of the Irish State Pension Contributory, that are paid to the carer or the spouse of the carer. This section also clarifies that a general income disregard for the purposes of Carer's Allowance under Rule 1(5) for a single carer and Rule 4(2) for a couple will not apply to income from a social security payment, whether an Irish social welfare payment or an EU or foreign social security payment.
Transfer of Staff and Property from An Foras Áiseanna Saothair
Sections 11 to 18 of the Bill provide for the full transfer of the employment services and community services programmes of FÁS to the Minister for Employment Affairs and Social Protection and the integration of FÁS staffing etc. into the Department of Employment Affairs and Social Protection and also provide for a consequential amendment to the Labour Services Act 1987.
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Netflix readies "Recovery Boys." Doc follows four West Virginian men as they attempt to reenter society following years of opioid abuse.
The film, which premiered at the 2018 Hot Docs Festival, provides an intimate look at the lives of four West Virginian men in the heart of America's opioid epidemic as they attempt to reenter society following years of drug abuse.
Following rehab, they experience life's trials and tribulations sober but struggle to find their place and purpose in society.
McMillion Sheldon was nominated for an Academy Award in 2018 in the Documentary Short Subject category for "Heroin(e).
"Recovery Boys" premieres on Netflix on June 29.


Biorefineries are one of the few industries with the potential to attract substantial capital investment and create industry led employment in rural areas, a new study by the Hungarian Academy of Science has demonstrated. The study, entitled 'Sustainable Rural Renaissance: The Case of a Biorefinery', analysed the socio-economic impacts of a fully operating biorefinery - using the example of the Pannonia Ethanol biorefinery at Dunafoldvar in Hungary. The study concluded that ethanol biorefineries can be a key instrument in reviving disadvantaged rural communities across the EU.


Our mission is to provide innovative and responsive patient care using a competent team approach with the most dedicated individuals. Additionally, we strive to serve our patients in a competent, conscientious, and economic fashion. In order to achieve our goals, we stress patient education to facilitate self-care for not only physical needs, but also for emotional needs.
Our office is located south of Fairfield Medical Center (FMC) in the Medical Office Pavilion on North Ewing Street, Lancaster, Ohio. Parking is provided in the Pavilion parking lot located south and east of the entrance.
Select a map service to get directions to Fairfield Internal Medicine.


text:
Q: npm, webpack and node js core modules building I'm trying to rebuild the swagger ui project (https://github.com/swagger-api/swagger-ui), but when I'm in the folder and run the npm run build command, it return me these errors:

ERROR in ./~/coap/index.js Module not found: Error: Cannot resolve
  module 'net' in
  /home/sibo/Scrivania/swagger-ui-master/node_modules/coap  @
  ./~/coap/index.js 13:22-36
ERROR in ./~/coap/lib/server.js Module not found: Error: Cannot
  resolve module 'net' in
  /home/sibo/Scrivania/swagger-ui-master/node_modules/coap/lib  @
  ./~/coap/lib/server.js 13:22-36
ERROR in ./~/coap/lib/agent.js Module not found: Error: Cannot resolve
  module 'dgram' in
  /home/sibo/Scrivania/swagger-ui-master/node_modules/coap/lib  @
  ./~/coap/lib/agent.js 12:22-38
ERROR in ./~/coap/lib/server.js Module not found: Error: Cannot
  resolve module 'dgram' in
  /home/sibo/Scrivania/swagger-ui-master/node_modules/coap/lib  @
  ./~/coap/lib/server.js 11:22-38

Looking over the internet I understand that the problems are the nodejs modules, someone can help me to solve the problem?