text:
Local journalists, officials debate how to improve media in Qatar
Doha News Team
Though it is the home of renowned international news network Al Jazeera, Qatar's local media lacks a voice, asserts Shehan Mashood in an article for this month's The Edge magazine. He writes:
"Some media experts inside the country feel that the same same drive and ambition apparent in so many aspects of the country is not matched when it comes to developing the local media."
But how to tackle problems such as self-censorship that are facing newspapers, radio stations and television programs here is up for debate.
Everette Dennis, dean of Northwestern University in Qatar, proposes that Qatar develop a "Media City," to be operated along the same lines as Qatar's Financial Centre, which has its own laws and regulations independent of the country's.
UPDATE: NU-Q has issued a clarification regarding the Media City remarks:
The dean raised the "media city" concept as one of many ideas that Qatar might consider in the development of its media industry, but did not propose or advocate for the notion. He has not taken a position on whether Qatar should or shouldn't create something like a media city.
Khaled El Sayed, editor-in-chief of the Peninsula, said establishing free zones would allow Qatar to skip the vital task of establishing a vibrant media on its own terms. He adds, however:
"As a newspaper, I should know what my boundaries and limits are."
Media law critique
The article also tackles Qatar's new media law, which has yet to be implemented. The draft law, a revision of the 1979 regulations, bans the imprisonment of journalists if they contravene the rules, proposing that they pay fines of up to QR1 million instead.
But vague reporting restrictions have prompted criticism from locally-based journalists as well as groups abroad, including international NGO Human Rights Watch, which called the draft law "a commitment to censorship."
Another potential cause for concern is that the new law is supposed to bring social media under its auspices, and govern online news outlets in Qatar.
Doha News editor and co-founder Shabina Khatri asserted in the article that this would have "a chilling effect on free speech."
"I really don't know what the future holds in terms of online content because it is really hard to regulate. The internet is borderless," she added.
Doha Centre for Media Freedom director Jan Keulen agreed, telling Mashood that technological developments could make the law obsolete.
Credit: Photo by Patrick Gage
Rollout of new Qatari history instruction in schools hits another bump
Stakes high as tennis players gear up for Qatar Total Open, which kicks off today
Qatar condemns Denmark after provocative far-right leader crosses border to burn Quran for second time
Health insurance for Qatar visitors mandatory from February


As a contemporary composer who also sings a lot of Renaissance polyphony I find the intersection between polyphony and the modern composing idiom very fascinating. Composer Gregory W. Brown has created a modern mass, Missa Charles Darwin, in the unaccompanied polyphonic idiom for four voices, which has been recorded by the men of New York Polyphony (the four-man vocal ensemble with a counter-tenor on the top line). But Brown has gone one better and created a modern version of the texts. Here the Latin of the ordinary of the mass has been largely replaced by the words of Charles Darwin. Brown is a composer of acoustic and electro-acoustic music, who studied with amongst others the 2000 Pulitzer Prize winner Lewis Spratlan.
The idea and the initial draft of the libretto came from Craig Phillips, bass in Neew York Polyphony. The mass is laid out with the traditional movements, Kyrie, Gloria, Credo, Sanctus and Agnus Dei with the addition of a couple of extras.
The melodic germ for the mass was grown by Brown from a portion of the genetic sequence of Platyspiza Crassirostris (a bird from the group known as Darwin's Finches). By transcribing the amino acids into notes, he created a melodic idea which forms the basis of the mass. And by combining inversion and retrograde with ideas taken from genetics such as mutation, insertion and deletion, Brown has created a very modern form of Musica Speculativa (see my review of the Passion of Reason - Five centuries of scientific music).
The introit sentence, from Darwin's The Descent of Man is given as a form of plainchant, followed by a Kyrie which is troped with a sentence from Darwin's On the Origin of Species. The Gloria uses a text 'There is grandeur in this view of life' from Chapter 14 of On the Origin of Species. There then follows an Alleluia with a verse using texts from the Introduction to the Descent of Man and one of Darwin's letters.
The Credo is introduced by a Latin phrase from Linnaeus, 'Nature makes no leaps' followed by further texts from On the Origin of Species. The Sanctus uses more from On the Origin of Species 'As buds give rise by growth to fresh buds'. Finally the Agnus Dei uses further text from On the Origin of Species follwoed by an Alleluia and Ite missa est.
Brown's writing combines traditional polyphony with more angular melodic lines, with strong passing dissonances. The texture of the writing is relatively open, and the basic motivic ideas are often quite melodic. The result is very striking, a wonderful confluence of old and new polyphony and moments, like the Alleluia, are highly evocative. The Credo has rather an edgy feel, it is not always comfortable music. Here, the disadvantage of polyphony comes over as not all the words are audible, though the final section, 'With all his noble qualities' has more clarity of texture and word.
The Sanctus is in fact rather austere in feel. And the concluding Agnus Deiuses quite a melodic theme. Throughout there is a slight oddness to the work, the disjoint between text and genre. If I have a complaint it is that I wish that Brown had gone for a fully troped mass, interspersing the Latin texts with new ones, as he does in the Kyrie, rather than replacing the Latin entirely.
But the performance is beautifully realised by New York Polyphony, the four voices are nicely balanced and the more complex harmonies well placed. Also, you don't feel the lack of more voices, they make the piece work well with just a vocal ensemble. This is a fascinating piece, traditional polyphony re-interpreted for modern times. Anyone interested in how a modern composer can respond to the work of Palestrina and Victoria should try this.
There is a sample on SoundCloud.com and also on YouTube. The work is available for download (see the Amazon.com link below), further information from the Navona Records website.


In this article I am going to be looking at the new Lagos Tenancy Law 2011, which is the guideline for all transactions in real estate pertaining to landlord and tenant matters. My pledge to you is to take you on a learning ride and understanding of these laws as much as possible and in the most nonprofessional terms I can muster.
Do not turn away at this point thinking, "what's my business with Lagos laws or even the law generally? Let the lawyers feed on it". You see that's where we sometimes miss it, we ignore these laws and as a result, we flout them repeatedly, are cheated and sometimes punished for not been aware. Whose fault?
Remember ignorance is not an excuse in law. Here's what I will do on Nigeria Real Estate Hub. I bring this law to you first by giving it out as free e-book download. This way you can refer to it as experts and players in the industry comment on it.
Rest assured I would conduct interviews with lawyers, Agents, Landlords, Real Estate practitioners, and one of the most important of the group_ Tenants to gather views, opinions and criticism of the law and its application.
To that effect, I will in this article begin this journey by broadly previewing what the new Lagos Tenancy Law 2011 is all about. The Lagos State Tenancy Law, which was signed into law in August 2011, repeals the Rent Tribunals (Abolition and Transfer of Functions) Law 2007. It is described as "a law to regulate rights and obligations under tenancy agreements and the relationship between the landlord and the tenant including the procedure for the recovery of premises and for other connected purposes in Lagos State".
(1) This Law shall apply to all premises within Lagos State, including business and residential premises unless otherwise specified.
(d) that is made available in the course of providing rehabilitative or therapeutic treatment.
are exempted from the application of this Law, however, the Governor may from time to time by Order published in the State Official Gazette exempt the application of this Law to any other area or premises in the State.
The Lagos Tenancy Law has aroused considerable public interest since its enactment, much of which surrounds the issue of advanced rent, which the law prohibits. Section 4 of the new Law makes it unlawful for a landlord to demand or receive any rent in excess of one year from a sitting yearly tenant, six (6) months from a sitting monthly tenant and one year from a new or a would be tenant. It is also unlawful for new and sitting tenants to offer to pay rents in excess of one year.
The penalty for violating this provision is a fine of One Hundred Thousand Naira or three (3) months imprisonment. How much of this is working in Lagos state today? We will find out.
Renowned legal practitioner Barrister Valentine Buoro is concerned about the practicality of certain aspects of the new laws and expressed it as well as offered a way out of it at a recent seminar geared at educating the public on landlord and tenancy issues held at REALTY POINT LTD Lagos. It was a robust and educative session where varied views on the landlord and tenancy relationship surfaced. I will relay excerpts from this seminar to you in subsequent write up.
Stay connected to Nigeria Real Estate Hub for the very best of real estate experience!


text:
Магнолія болівійська (Magnolia boliviana) — вічнозелене дерево з родини магнолієві, що походить із тропічних лісів передгір'їв східних Анд в Болівії.

Опис
Магнолія болівійська — дерево заввишки до 30 м зі стовбуром до 50–75 см завтовшки. Листки гладкі, яйцеподібно-еліптичні, 12–29 см завдовжки і 7,5–12 см завширшки. Квітки мають 6 оберненояйцеподібних білих пелюсток приблизно. 6 см завдовжки; яйцеподібний плід може сягати 11–14 см завдовжки. Дерево має локальну назву гранаділла .

Поширення
У Болівії в тропічних лісах на висотах від 200 до 500 метрів. Повідомляється, що даний вид росте в Національному парку Ісіборо, Національному парку Арройо-Негро та Національному парку Мадіді.

Збереження
МСОП присвоїв виду статус загроза зникнення . Йому загрожує втрата середовища існування через заготівлю деревини та вирубування лісів під плантації коки.

Примітки

Дерева Болівії
Магнолії
Червоний список МСОП видів під загрозою зникнення (EN)
Магнолієві

redpajama_set_name: RedPajamaWikipedia


text:
Whistleblowers Composed
Ted Hearne's masterpiece The Source captures digital disorder through the sounds of Wikileaks.
By David Hajdu
Ted Hearne. (Nathan Lee Bush)
The 13th and final section of composer Ted Hearne's oratorio The Source, which makes its debut as a recording this month, is titled "I encrypt as much as I can." The phrase comes from the transcript of a chat by Chelsea Manning, the former US Army intelligence analyst (and former male named Bradley Manning) famously convicted and imprisoned for providing a volcanic mountain of classified or sensitive military materials to Wikileaks. Hearne's composition was inspired by Manning and the Wikileaks case, with a libretto constructed by novelist Mark Doten from a variety of texts: chats from Manning and her one-time online confidante Adrian Lamo (who tipped the military off to his ostensible friend's activities), Twitter feeds, TV-news interviews, and language from the actual documents Manning leaked. But Hearne has transformed his source materials into something unrecognizable—and thrillingly so. Encrypting as much as he could, Hearne has created a jumbled, perplexing masterwork of hybridization and disorder.
With The Source, Hearne has achieved full maturity as a composer. Now in his early 30s, Hearne has been a figure of growing prominence in arty music circles since 2007, when his first major large-scale work, the Katrina Ballads, was first produced at the Piccolo Spoleto Festival. Also an oratorio about a real-life event (obviously, the New Orleans hurricane), the Katrina Ballads used nonfiction text sources such as comments by George W. Bush, Dennis Hastert, and Kanye West, adapted for music that combines elements of gospel, rock, chamber music, and nearly everything else that Hearne might have heard in his lifetime. I saw it in a production staged at (Le) Poisson Rouge in New York in 2010, and I found it impressive for its musical variety and invention, but stridently polemical and predictable.
THE NATION IS READER FUNDED. YOUR SUPPORT IS VITAL TO OUR WORK.
The Source is a piece of work on another level. More elusive than allusive, it uses the Wikileaks texts as raw ingredients, then dices and slices and mashes and mixes them, abstracting them with giddy impudence. The Source uses Wikileaks as its source, but is no more about Wikileaks than this sentence is about the Latin alphabet that supplied the letters for the words.
Much of the language in The Source is heavily processed—sung by a group of five human singers (including Hearne), performing with a seven-piece instrumental ensemble, but electronically altered in real time with software like Autotune. Hearne mingles this singing with snippets of samples of recorded vocal music, spoken language, and instrumental riffs from a wildly varied range of sources, from Dinah Washington to Clay Aiken and Big Boi.
The music, much the same, is fragmented and nonlinear. It comes at you in seemingly random spurts of unpredictable lengths and erratic intensity—one pulsing, one lyrical, one richly chromatic, one modal, one airy and spare, one hammering. It doesn't all up in a rational way—or an irrational way. It makes no effort to add up at all.
In the end, the meaning of The Source is clear: It is a refutation of literal meaning, an assault on sense. It evokes our time, the age of atomized digitized information, more potently than any piece of music I've heard, and in its volatile nonsensicality, it brings us the sound of a once-promising composer in the act of becoming a major one.
David Hajduis the music critic of The Nation and a professor at Columbia University.

redpajama_set_name: RedPajamaCommonCrawl


This is a placeholder page for Markeem Dawkins, which means this person is not currently on this site. We do suggest using the tools below to find Markeem Dawkins.
You are visiting the placeholder page for Markeem Dawkins. This page is here because someone used our placeholder utility to look for Markeem Dawkins. We created this page automatically in hopes Markeem Dawkins would find it. If you are not Markeem Dawkins, but are an alumni of Union County High School Lake Butler, FL, register on this site for free now.


text:
Q: Сложить два числа в виде массивов цифр разной длины поэлементно на вход подаются два числа разной длины в виде массива цифр
их длины и адрес длины массива суммы и адрес самого массива суммы
пример число 12345 в виде массива [1 2 3 4 5]
а число 69    в виде массива [6 9]
   на выходе должно быть `1 2 4 1 4`

найти сумму и разность чисел
ниже код для суммы
Индексация только через адреса. Никаких счетчиков типа int i=0; i<summ_len; i++
void sum(int *data1, int len1, int *data2, int len2, int *summ, int *summ_len){

    for (int *p = summ; len2 - (p - summ) > 0; p++) { // ту некорректно! на этой строке мои полномочия всё!

    }
}

redpajama_set_name: RedPajamaStackExchange


If you lurk around our forums, you may have already heard: Band of Bastards is currently in the middle of a substantial overhaul. I thought it was appropriate to make some kind of a statement about what we're doing and why.
We've done this a few times before, though most were before we were ever under as much scrutiny. 'Bastards was (fittingly) the illegitimate child of the Trosfans forums, in their project to produce a new, unofficial, and revised edition of The Riddle of Steel after Driftwood went dark. This burst of creative impulse ultimately gave birth to Blade of the Iron Throne as well, which we still look at as a sibling for that reason. Like most siblings, though, we wound up going very separate directions.
The first iteration of the game was exactly what it set out to be - a TROS update, with all the bells and whistles. We had something like 60 maneuvers, 150+ weapons (most of which had more than one stat-line), and a whole mess of very exacting specifications for everything we touched. After the initial creative rush of cobbling together every optional rule from all of the TROS books and somehow making them more-or-less work together, we realized that this was a beast so ungainly that it would be a nightmare to run, let alone teach a new player.
The next iteration of the game would become what we promoted as Song of Steel. At the time, our focus was still on historical fiction -- a position we leaned into all the harder with Blade selling itself by contrast as a Swords and Sorcery game. It's a funny thing that siblings do. Bernard Cornwell had a prominent place on our bookshelf, along with a great deal of non-fiction that we picked up on swords and swordsmanship (including the book with a very similar title). This is about the time when we started pestering people like Nikolas Lloyd, Roland Warzecha, and Matt Easton for insights, which they all graciously provided.
This was the iteration when we really came into our own. Systems were scrapped, new bits invented, unnecessary bits stripped away. Our ranged combat and skirmish systems date back to this iteration (both of which were Higgin's contributions, amusingly enough. Thank him. He was very insistent on ranged combat being awesome).
Then came Song of Swords. What were the odds of another game being developed by another indie-dev team based on the same original game with a nearly identicalname? We discussed the thing with them - their hands were tied. The name was chosen by their fans. They were polite about the thing and even complimentary. At least one of them had been a fan of our work. It's always nice to be noticed.
Restriction breeds creativity. We were already competing for attention in the same sub-niche of a sub-niche of an already niche hobby, so we were left with the options of either sharing an initialism with who was arguably our closest competitor or redefine ourselves. We chose the latter.
One day, I'll shake Jimmy Rome's hand. Rebranding seemed like a setback at the time, but in the process, we had the license to re-evaluate everything we had chosen to do up to that point. Everything got cleaned up and polished, had the rough edges smoothed out. A lot of the stuff we had been so insistent in trying to replicate in exacting detail simply got dropped or abstracted. 'Bastards began to really hone in on what it wanted to be, which was a game about ambition and conflicts of the moral, physical, and bloody variety. In a strange way, despite being the furthest mechanically from its forebear, it may have been the closest in essence to what TROS wanted to be about.
This latest revision is a continuation of the iterative saga this game has undergone. The purpose of a beta test is to get feedback and have room to make adjustments. Between some of the cracks that have shown themselves at the fringes of our own play, and some of the feedback we've gotten on the forums, we're finding places where things could be better, tighter, or (conversely) need to be loosened up and made less rigid.
Higgins and I have both grown a lot as both players and designers since we started this project back in (dear God, really?) 2011. The last couple years, in particular, have been spent in a kind of ongoing game design boot camp. One of the driving forces in the revision is that certain areas of the game reflect designs that were either inherited from TROS once upon a time, or products of our early attempts to fix the products of those inherited parts. We can do better, and we're going to.
The end goal is to make a game that we will be inspired to play again. In slaughtering some of the sacred cows we've held on to in search of better design, of cleaning the clutter that we've amassed, we hope to create the kind of game that we're going to want to play and run for years to come. I want to be so again impassioned by this project that we have the energy and drive to see it through to the full vision we had for it. We hope that in making ourselves passionate about the thing, in cleaning up and overhauling the design of the thing, we'll make you passionate about it as well.


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text:
UEFA Officially Unveils Football Federations Of The Future Initiative
UEFA's recently launched business development framework will see UEFA and associations from across Europe working closely to exchange best strategies in and outside of the footballing world in order to develop and evolve together.
At the recent annual UEFA GROW Conference in Madrid, national associations from across the continent came together to discuss best practices and success stories they have experienced in their drive to develop the business side of their organisations.
"This conference is very important for our relationships with other national federations and at the same time, with UEFA," said the President of the Royal Spanish Football Federation (RFEF), Luis Rubiales.
"We for example at the Spanish FA, are finishing now, our first strategic plan in our history and this is possible because UEFA is helping us and we have an incredible gratitude to UEFA for this."
Since its inception in 2015, UEFA GROW has been helping national associations across the continent to promote and develop football around Europe by using fact-based research, market intelligence and industry experts to create strategic plans and building capacity for growing the game.
However, UEFA GROW is now looking to move one step further by introducing Football Federations of the Future.
Football Federations of the Future is aimed at giving UEFA, along with these stakeholders, a platform to develop strategies and enhance performance in order to address crucial facets of the game, such as how to increase participation, how to maximise their business potential and how to build strong relationships with the fans.
"The world is changing, and football must adapt to these changes if it is to satisfy the future needs of its many stakeholders," said UEFA president Aleksander Čeferin.
"To achieve this, we must be bold in our thinking. We must possess a clarity of purpose that will enable us to establish a vision that defines and articulates our ambition for the future of football across Europe. In doing so, we will be able to reach even greater heights and further strengthen football's place within European society."
The strategic framework has been developed in collaboration with all 55 UEFA member associations along with input from over 40 industry representatives and a similar number of external consultants from across the business, corporate and sporting worlds.
Football Federations of the Future is the long-term vision for the existing UEFA GROW programme, which was established in 2015 with the aim of systematically and strategically growing European football in partnership with national associations.
UEFA GROW has since been implemented across UEFA's member associations and offers tailor-made strategic services in the areas most relevant for football organisations – from building a better image of football or engaging with the entire football community to increasing revenue opportunities and getting more people, from more parts of society, to play, attend, follow and ultimately fall in love with the game.
"After working with the 55 national associations in UEFA and after consulting with experts from within football and outside football, Football Federations of the Future is a framework which UEFA GROW has developed," said UEFA Executive Committee First vice-president Karl-Erik Nielsen.
"Football Federations of the Future is an excellent tool which asks us to consider how we work, the values we hold, our behaviour, to check with our values and behaviours are aligned in society today and of course with the values that our sport aspires to promote. With a clear vision of a successful future, by establishing an evolving support across 14 pillars, UEFA GROW will continue to serve the national associations with the best internal and external expertise in the industry."
Image: UEFA


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GU17740900 Economy replica CEV 9350 tail light assembly, with black plastic base. Alternate for the chrome version found on many models including US V7 Sport, late Eldorado, 850 T, 850 T3 Police, Convert Police, 850 T4, 850 LeMans 1st series, late V1000 G5, California II, V65C. Uses standard 1156 bulb for brake function, and a 6461 "dome light" bulb for running light function. Supersedes 14740920.
Ducati part numbers 079574153, 079703480, 079874150 fitting 350-500 Twin, 900 Darmah, 900 MHR.
Benelli 750 SEI, 500 Quattro, 350 RS.
GU17740900 Economy replica CEV 9350 tail light assembly, with black plastic base. Alternate for the chrome version found on many models including US V7 Sport, late Eldorado, 850 T, 850 T3 Police, Convert Police, 850 T4, 850 LeMans 1st series, late V1000 G5, California II, V65C. Uses standard 1156 bulb for brake function, and a 6461 "dome light" bulb for running light function. Supersedes 14740920. Also suitable for other Italian motorcycles and scooters of of the 1970s, including Ducati, Benelli, Laverda, Vespa, Aermacchi/Harley, Garelli, Ducati part numbers 079574153, 079703480, 079874150 fitting 350-500 Twin, 900 Darmah, 900 MHR. Benelli 750 SEI, 500 Quattro, 350 RS. Bulbs not included.


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Hans Christian Anderson, the popular children's fairy tale author who lived in the 1800's could easily have been hired as a Donald Trump political operative in the 2016's. His classic story of the "Emperor's New Clothes" is a tale that would play well in the Trump campaign. As the story goes, two weavers are hired to make a very vain Emperor a new suit of clothes. The Emperor always had a coat for every hour of the day. The weavers promise him a top of the line best suit made from a fabric that's invisible to anyone "unfit for his position" or "hopelessly stupid".
We have a Republican candidate about to become the Republican nominee for President of the United States who has thrived on changing his verbal outfits at whim. But he finally agreed that he had to change some of his campaign in an effort to appear more presidential. So he flung out the old and controversial campaign manager Corey Lewandowski, and hired a new more seasoned 'weaver', Paul Manafort. Corey, it seems, was deemed 'unfit for his position'. The man who touted "Let Trump be Trump" was escorted out of his Trump Tower office in true Trump fashion - by security guards - and muzzled by an apparent air tight non-disclosure agreement.
Paul Manafort has been a long time lobbyist and political consultant working with foreign governments, dictators and corporations as he wound his way around the globe of political operatives. Manafort has also advised the presidential campaigns of Republicans Gerald Ford, Ronald Reagan and George H. W. Bush. He's a man who has been quoted as having a "history with strong men". A recent story in Slate says Paul Manafort "has a particular knack for taking autocrats and presenting them as defenders of democracy". Add to that the facts that Manafort's old firm had done work for Trump, and the new campaign chief has an apartment in Trump Tower. Sounds like a match made in Trump heaven.
So are we to expect Trump not to be Trump under Manafort's reign? Donald Trump is who he has been for 70 years. He may overtly show short term signs of changing his approach to the campaign, but over the long term I believe Trump will be Trump. I was a New Yorker in the 70's, '80's and '90's observing this man. He has just gotten bigger, bolder, brasher, and more egocentric over time. The thought that Trump will reverse those characteristics as part of a long term personal and professional over haul is hard to imagine.
If you recall, the Emperor's new suit showed him wearing no clothes at all. It was a tale of grand deception.


text:
ACT Theatre
American Conservatory Theater
Berkeley Repertory Theatre
Book-It Repertory Theatre
Broadway at The Paramount
California Shakespeare Theater
Meany Center for the Performing Arts
Pacific Northwest Ballet
Seattle Children's Theatre
Seattle Men's Chorus & Seattle Women's Chorus
Seattle Rep
Seattle Shakespeare Company
Seattle Theatre Group
Stanford Live
Tacoma Arts Live
Taproot Theatre Company
TheatreWorks
Village Theatre
Five Friday Questions with Bhama Roget
Brett Hamil
ACT TheatreSeattle Shakespeare CompanyGreater Seattle Area
Bhama Roget is a Seattle actor, improviser and comedian. Last year she played Quincy/Bart in ACT's brilliant Mr. Burns: a post-electric play and Dorine in Tartuffe at Seattle Shakes. She starred in the web series Wrecked, for which she won an Indie Series Award for Best Lead Actress in a Comedy. She's currently in production on her own sketch comedy web series, The Bhama Show, inspired by her 2013 solo show Hippiecrit: I Want to Change the World, I Just Don't Feel Like It. Roget joined me for this week's edition of Five Friday Questions.
What's the best performance you've seen lately?
Eddie Redmayne as Stephen Hawking in The Theory of Everything just devastated me. And he had to do most of it with his eyebrows. Amazing. I'm also a little obsessed with Cillian Murphy in Peaky Blinders. It's the penetrating stillness of his face. I could never make my face that still. Not without Botox.
What's the best meal in Seattle?
Crispy garlic chicken and an oolong martini at Buddha Ruksa in West Seattle.
What music gets you pumped up? What do you listen to when you're sad?
My go-to pump ups lie somewhere in between world music and electronica. I love mixed-genre bands like Bomba Estereo, Balkan Beat Box, Calle 13, Mercan Dede. I also really like Metric, Muse, and occasionally will need a Skrillex fix. There are also days where nothing beats just some good old-fashioned Led Zeppelin.
When I'm sad I like to listen to Indian classical music, or Jonsi's Go album. Either of those make the rain okay for me.
What's the most crucial element of any production?
Okay, I just fully entered that question into a search engine. What I came up with is that one of the most crucial elements is Gallium. Apparently they use it to make computer chips and stuff. You probably are referring to a theatrical production. I am going to have to work a little harder. For me, I think I would have to say the story. What story are you trying to tell, why are you telling it, and are you telling it with the most painful honesty you can muster? And also, are the actors hot. And accents. Accents are my favorite.
What's the most useful thing anyone's ever taught you about working in theatre?
When you're not working, make your own work. And never sing Tori Amos at a musical theatre audition. Learned that one reaaaaal early on.
Sundays with the St. Lawrence
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January 22–February 29
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He left that place and came to his hometown, and his disciples followed him. On the sabbath, he began to teach in the synagogue, and many who heard him were astounded. They said, "Where did this man get all this? What is this wisdom that has been given to him? What deeds of power are being done by his hands! Is not this the carpenter, the son of Mary and brother of James and Joses and Judas and Simon, and are not his sisters here with us?" And they took offense at him. Then Jesus said to them, "Prophets are not without honor, except in their hometown, and among their own kin, and in their own house." And he could do no deed of power there, except that he laid his hands on a few sick people and cured them. And he was amazed at their unbelief.
I can empathize. Not everybody welcomes advice or assistance and one only has to look at what happened to Jesus here to understand why. His townspeople came to listen to him, and would undoubtedly have applauded him loudly had he not said anything controversial. But not only did he say things that were very different from what they had believed in all these years, he was backing them up with deeds of great power. So they took offense. Why? Because of a potent mix of arrogance and jealousy.
It's like this. Let us say that I'm running a program and have been doing it for years. It worked very well when I started it, because it was fresh and new and people were greatly impacted with it. However, as the years changed, people changed, the culture changed, the environment changed, but the program didn't adapt. So numbers start to dwindle and I think there is something wrong with people, not with the program.
So what do we do, those of us who face these "new kids on the block"? We welcome them and we welcome the assistance they can provide. After all, our goal is to grow the kingdom of God right? And the more hands on board the lighter the load, right? And what about those of us who find our passage blocked? Let me paraphrase the words of the wise Gamaliel. "If your purpose or activity is of human origin it may fail. If it is from God, nothing will be able to stop you" (cf. Acts 5:33-39).
I hope there is something for everybody in today's reflection. God bless us all.


text:
Q: How to make email form work using PHP Hi guys I am developing a site and am producing an email form using php, I had various issues before such as " failed to connect to mailserver at "local host" port 25. Verify SMTP etc." so as a result a potential solution was to make the site online, therefore I have and the php code is inserted in the live site and the error did disappear however no mail was sent to email address listed. I have been working on this form for about a week now and tried out various different forms which are available on the internet but still no email received. My php code is below:
UPDATED PHP CODE
      <?php

   //Checks for header injection
   function has_header_injection($str){
       return preg_match("/[\r\n]/",$str);
   }

   if(isset($_POST['contact_submit'])){
       $name = trim($_POST['name']);
       $email = trim($_POST['email']);
       $msg = $_POST['message'];

       //check to see if name or email have header injecion

       if(has_header_injection($name) || has_header_injection ($email)){
           die(); //if true kill script
       }

       if(!$name || !$email || !$msg){
           echo '
 All fields are required
  Go Bacck and Try again ';
           exit;
       }

       //add recipient email to variable
       $to = "mahdi.mashrafi@yahoo.com";
       $subject = "$name sent you a message via your contact form";

       $message = "Name: $name\r\n";
       $message .= "Email: $email\r\n";
       $message .= "Message:\r\n$msg";

       $message = wordwrap($message, 72);
        //set mail headers into a variable

        $headers = "MIME-Version: 1.0\r\n";
        $headers .="Content-type: text/plain; charset=iso-8859-1\r\n";
        $headers .= "From: $name <$email> \r\n";
        $headers .= "X-Priority: 1\r\n";
        $headers .= "X-MSMail-Priority:High\r\n\r\n";

     $status = mail ($to, $subject , $message , $headers);
     var_dump($status);

?>

**HTML FORM**

Thanks for contacting

Please allow 24 housr to respond

 « Go to homepage

    <?php } else {?>
    <form method = "post" action = "" id = "contact-form">
    Your name
    <input type = "text" id = "name" name = "name">

    Your email
    <input type = "email" id = "email" name = "email">

    and your message
    <textarea type = "message" id = "message" name = "message"></textarea>

     <input type = "submit" class = "button next" name = "contact_submit" value ="Send Message">
    </form>
    <?php } ?>

Any good tutorials on email form will be great and potential solutions will also be hugely appreciated. I have literally no idea why the mail isnt being sent/recieved.
--------UPDATED THE PHP CODE HAS BEEN UPDATED -------
RESULT
https://gyazo.com/e9abf452e3cf370297cf3a3a2f51d5f6

A: Try to do the following to debug the error message. Change
mail ($to, $subject , $message , $headers);

to
$status = mail ($to, $subject , $message , $headers);
var_dump($status);

if your $status false then it means you have some error sending mail. Let us know how this goes.
Update: https://stackoverflow.com/a/24644450/688924 has very good description of what could possibly go wrong in mail() function. Follow the instructions provided there. Even after following all the instruction you find mail() is not working then I would suggest you to try the alternatives like phpMailer, swiftmailer external libraries.


Outdoor family and in-home lifestyle sessions have all-inclusive pricing so all of the digital images are included plus a custom designed photo book as a keepsake.
I like to include a custom designed photo book with sessions because lifestyle sessions tell a story of where you are in your life at this moment. It gives you something tangible to view that story with family and friends and to cherish for years instead of having a bunch of image files stored on your computer somewhere. This also allows me to incorporate my design skills with photography projects for you.
*$100 non-refundable reservation fee due when booking. This amount is applied to your total for the session. The remaining amount is due on the session date. Prices are subject to change.
For inquiries about photo sessions you don't see listed, please contact me for details and pricing.
Projects start at $50/hour. Please contact me for estimates on specific projects.


Chilltime Radio plays easy listening, mellow, love, happy and middle of the road music to name just a few styles.
A decent blend of happy, sing-a-long tunes and memorable songs to help you enjoy your day (or night). Online 24/7, 365 just for you so sit back, relax and enjoy the smooth ride through musical heaven.
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Common mistakes with term papers are created when the student does not know the subject. Often the student fails to take a thorough search of the literature to gain a better understanding and to have proper sources to support the thesis.
Another common mistake is the bibliography or works cited page is prepared incorrectly. Each source must have the article name, author, publication date, journal, and page numbers.
Often students fail to begin their term papers with an outline and a thesis. These are essentials in the beginning of the creation of a term paper.
Often simple mistakes are the most common mistakes made in writing a term paper. An example of this type of mistake is when the wrong word is used in the paragraph such as it's instead of its or than and then. Simple words mistakes can be irritating to an instructor.
A not-so-common mistake is the proper use of ellipsis periods. Ellipsis should be used to indicate something has been omitted in a quote. Only three should be used. If the quote already has a period, then four periods will actually be used. Never should there be two or five periods.
A common mistake students make in writing term papers is using only the spell check without proofreading the paper. A term paper should be proofread several times before turning it into the instructor.
Another common mistake is not having the paper organized with thesis, main points and evidence. The best way to do this is to create an outline. It should have an introduction that will hook the reader and a conclusion that wraps the term paper up with clarity. A common mistake of students is they fail to give the reader something to take away with them. A nugget of information they will remember long after reading the term paper.
Often students make the common mistake of not knowing how to thoroughly research the topic. The first step in research is to check dictionaries and encyclopedias for the definition and meaning of the topic in precise terms. This should be followed up with references from books, journals and the Internet. A student should read the reviews of the books they plan to list as sources because these often give useful information about the books. Knowing keywords to use with Internet searching is important because a little twist on the terms will often be the keys to finding more information on a topic.
Some common mistakes in term paper writing are using redundancies. For instance, a storm is a terrible storm or a shake is a milkshake. Leave these out along with unnecessary intensifiers such as a very small kitten or a huge large tomato. If the words do not actually add meaning then leave them out.
Another common mistake with term papers is failing to make the thesis of the paper clear. Organizing thoughts by creating an outline is important. Use note cards to write down quotes as well as the sources. It is important for the source to be complete and consistent. However, a term paper should be more than word-for-word sources. The failure to put information from the writer's point of view makes the reading boring.
Another common mistake is students trying to use philosophical styles to empress the instructor. All this really shows is the student has failed to understand the topic as well as obtaining the right sources to explain the thesis.
Another common mistake is failure to wrap the topic up completely. It is important to restate the thesis with a review of the main points. Often a common mistake of term papers is the failure to analyze the topic using quality sources.
The last mistake students often make is the failure to do a thorough job of proofreading the term paper before it is turned into the instructor. Proofreading cannot be emphasized enough. It is a vital part of making a term paper great. Check to make sure the correct grammar and punctuation has been used.


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Contact us today here at Wimbledon Furniture to discuss any of the pieces of antique jewellery we have to offer. Our team of expert antiques enthusiasts will be on hand to answer any queries you may have, and can even offer inspiration and guidance regarding a gift purchase.
Whether you'd like to know about the piece's origins, or how to best look after your purchase of antique jewellery, be sure to get in touch via email or phone and we'll be on hand with all the answers. Check back regularly as our stock is ever-changing and expanding!


Hats is the second studio album by Scottish band The Blue Nile, originally released on 16 October 1989 on Linn Records and A&M Records.
After a prolonged delay in which an entire album's worth of work was scrapped, The Blue Nile released Hats to rave reviews, including a rare five-star rating from Q magazine. It also became the band's most successful album, reaching number 12 on the UK album charts and spawning three singles: "The Downtown Lights", "Headlights on the Parade", and "Saturday Night".
Rickie Lee Jones, a fan of the band, personally selected The Blue Nile as her opening act for her US tour in 1990. She later recorded a duet with them, a cover of their own "Easter Parade" from A Walk Across the Rooftops, which was featured as a B-side to the single "Headlights on the Parade". "The Downtown Lights" was covered by two artists in 1995: by Annie Lennox (with whom The Blue Nile worked on her debut album Diva) on her second solo recording Medusa and by Rod Stewart on his album A Spanner in the Works.
Having finished promotion work for their debut album A Walk Across the Rooftops, the group's record company Linn Records were keen to have a follow-up record, and in early 1985 sent the band to a house in the golfing resort town of Gullane near the Castlesound Studios where the previous album had been produced. However, sessions for the new record hit problems almost immediately. The band did not yet have enough material to make another album, and with the group forced to share a house and having to spend all their time in close proximity with each other, arguments developed among the homesick band members. Exhausted and stressed, their problems were compounded when Virgin Records, to whom Linn had licensed the Blue Nile's records, began legal proceedings against Linn Records, demanding new material. "We were up against the wall," singer Paul Buchanan told Uncut magazine in 2013. "Living away from home, no money, miserable, getting sued. We were absolutely zonked, the record company weren't pleased and everyone around was starting to think, this record is never going to get made. It was exhausting."
After almost three years in the studio which produced virtually nothing, having begun and scrapped several songs, the group was forced to vacate Castlesound to make way for It's Immaterial, another Virgin band, to record their second album Song. Like The Blue Nile, It's Immaterial also ran into difficulties making their record, overrunning their allotted time and eventually spending a year at Castlesound. During this time, The Blue Nile had no option but to return home to Glasgow; back in familiar surroundings and freed from time constraints, Buchanan overcame his writer's block, while Robert Bell and Paul Joseph Moore began putting musical ideas down on a portastudio. As a result, when the band was finally able to return to Castlesound in 1988, the ideas for the album were already in place and according to Buchanan, "we knew exactly what we were doing. We actually recorded the rest of Hats super quick ... Honestly, half of Hats was, like, a week."
"We pretty much put the record [A Walk Across the Rooftops] out, promoted it and then the next thing we knew we were back in the studio. That whole gestation period had gone missing. We didn't really have the songs. We laboured away in the studio trying to generate the material there, which just didn't work. We recorded but we just didn't believe in what we'd recorded ... I think people perceived it as it was all to do with us sort of being in the studio for five years, but of course you couldn't be in the studio for five years, you'd lose your mind. There was a two year period where we would have gone back in but we couldn't get back in! So when we got back we actually finished Hats quickly. The period when we got bumped out the studio we had nothing else to do, so we packed up and went home. Which is what we should have done in the first place, because when we went back home we reverted to our old routines—practise, play and sit about each other's little flats and talk things through. We should have done that to begin with, really."
The album was released in October 1989 simultaneously in both the UK and the US: since The Blue Nile was essentially unknown in the United States in 1989, the cover artwork for the US release of Hats was slightly modified for marketing reasons, with the band's name in larger letters. As a promotional tool, A&M Records—who distributed Hats in North America—took out a full-page advertisement in Billboard magazine offering a free copy of the CD to anyone who called a toll-free number which was provided.
Three singles were released from the album: the first, "The Downtown Lights", was released in September 1989 and peaked at #67 in the UK singles charts, followed by "Headlights on the Parade" in September 1990 which reached #72, and "Saturday Night" in January 1991, which reached #50.
In the United States, Hats peaked at #108 on the Billboard 200. "The Downtown Lights" reached #10 on the Billboard Hot Modern Rock Tracks chart in early 1990, becoming the group's only single chart entry in that country.
In November 2012 Virgin Records released two-CD "Collector's Edition" versions of Hats and its predecessor A Walk Across the Rooftops in the UK and Europe, each containing a remastered version of the original album plus a second CD of bonus tracks. The remastering process was overseen by original engineer Calum Malcolm, along with contributions by Paul Buchanan and Robert Bell, who chose the songs for the bonus CD.
On its initial release in 1989, Hats received highly positive reviews from music critics. Describing the album as "absolutely superb", David Cavanagh of Sounds found that Hats differed significantly from A Walk Across the Rooftops in both its recording technology and aspired moods. Johnny Black of Q noted the more stripped-down nature of the album's songs and praised the band's new direction, stating that "if Hats has a flaw, it's only that it's too perfect, too considered." NME's David Quantick felt that the album demonstrated the band's flair for writing "incredibly simple-sounding, emotional records about the stuff that fascinates them." Simon Reynolds, writing in Melody Maker, stated that "only the laziest ear would confuse this crystalline perfection with the hygiene and polish of plastic pop" and described the album as "big music, that leaves you feeling very small, very still and very close to tears." In a more lukewarm assessment, David Thigpen of Rolling Stone was complimentary of the band's use of instrumentation to convey emotions and Paul Buchanan's more refined sense of melody in the music, but felt that his singing range was limited and the album faltered when it forayed from "its reflective posture into sticky melancholy" on an overall "fine second act".
In a retrospective review of Hats, Jason Ankeny of AllMusic praised the album as "a triumph of personal vision over the cold, remote calculations of technology" and stated that in spite of general lack of live instrumentation, "it is nevertheless an immensely warm and human album." Following the release of the album's 2012 remastered version, D.M. Edwards of PopMatters wrote that Hats sounded "richer, fuller, more layered and produced" than A Walk Across the Rooftops and provided a "pretty unrelenting opportunity to really wallow in gorgeous, sublime, melancholy." Reviewing the remastered versions of both albums in Mojo, James McNair cited them as "superior, elegant examples of masterful craftmanship", noting elements of soul and classical minimalism in the albums' "electro-acoustic mood pieces", and described them as "exquisite music for the small hours in which little is said but much is revealed".
Hats featured strongly on the end of year critics' lists, making number 8 on Melody Maker's albums of the year list, and number 18 on NME's list. "The Downtown Lights" was also placed at number 15 on Melody Maker's singles of the year list.
Q placed it at number 92 in its list of the 100 Greatest British Albums Ever in 2000 and at number 38 in its list of "40 Best Albums of the '80s" in 2006.
All songs written and composed by Paul Buchanan.
Credits are adapted from the liner notes for Hats.
^ a b c Ankeny, Jason. "Hats – The Blue Nile". AllMusic. Retrieved 16 December 2016.
^ a b c d Thomson, Graeme (January 2013). "River of No Return". Uncut. London: 56–60.
^ Murray, Robin (20 November 2012). "Tinseltown In The Rain: The Blue Nile". ClashMusic.com. Retrieved 10 March 2013.
^ a b Edwards, D.M. (1 February 2013). "The Blue Nile: A Walk Across the Rooftops / Hats". PopMatters. Retrieved 10 March 2013.
^ a b "The Blue Nile: Charts and Awards". Allmusic. Retrieved 4 July 2013.
^ Heim, Chris (15 March 1990). "Blue Nile: Hats (A & M)". Chicago Tribune. Retrieved 24 October 2015.
^ a b McNair, James (January 2013). "The Blue Nile: Hats". Mojo. London (230): 104.
^ a b Quantick, David (7 October 1989). "The Blue Nile: Hats". NME. London: 40.
^ Sodomsky, Sam (7 January 2018). "The Blue Nile: Hats". Pitchfork. Retrieved 7 January 2018.
^ a b c Black, Johnny (October 1989). "The Blue Nile: Hats". Q. London (37): 91.
^ a b Thigpen, David (17 May 1990). "The Blue Nile: Hats". Rolling Stone. New York (578). Archived from the original on 2 October 2007. Retrieved 1 October 2015.
^ a b Cavanagh, David (14 October 1989). "The Blue Nile: Hats". Sounds. London: 20.
^ Reynolds, Simon (7 October 1989). "The Blue Nile: Hats". Melody Maker. London: 38.
^ "Albums of the Year". Melody Maker. London, England: IPC Media. 23 December 1989. pp. 60–61.
^ "Albums of the Year". NME. London, England: IPC Media. 23 December 1989. pp. 52–53.
^ "Singles of the Year". Melody Maker. London, England: IPC Media. 23 December 1989. p. 59.
^ Hats (CD liner notes (remastered edition)). The Blue Nile. Virgin Records. 2012. LKHCDR 2.
^ Hats (CD liner notes). The Blue Nile. Linn Records. 1989. LKHCD2.
This page was last edited on 10 December 2018, at 23:10 (UTC).


text:
Studio Monitor Speaker Reviews
Studio Monitor Speaker Advice
Studio Equipment Advice
Studio Equipment Reviews
Studio Monitor Speaker Advice /
Studio Monitor Uses and Whether You Really Need One
Studio monitors are high-quality speakers that are designed to deliver precision. When you're recording sound, a studio monitor is a vital piece of equipment to use in order to ensure that what you are recording sounds the way you think it does.
No matter how expensive your speakers are, low-end and high-end frequencies will be boosted slightly to give the user a more pleasant listening experience. If you're producing music, you need to be able to listen to all of the different musical elements in their purest form to guarantee that the mix is put together correctly.
Let's have a closer look at studio monitor uses, including how and why they differ from speakers, as well as what types you will have to choose from should you end up purchasing one.
Studio Monitor vs. Speaker
A studio monitor is basically a loudspeaker housed within a speaker box or enclosure. It gives a more accurate reproduction of what is being recorded or played as it is designed to produce linear phase and frequency responses.
This type of speaker is also called "uncolored" or "transparent". This reflects the sound it gives, which represents the source audio in its purest form. On the other hand, a speaker is designed to produce a "colored" sound.
What does this mean? This means that the speaker emphasizes certain frequencies. It will often boost both high- and low-end frequencies to give a "smiley-face" frequency curve. This will make the music sound more powerful, which ultimately results in a better listening experience.
Your home entertainment system may also offer you the option to change the bass output yourself. This is a feature you wouldn't see on a studio monitor, or want to see, as it's designed to produce as little alteration as possible.
A studio monitor will be built much more robustly. The housing will be far more sturdy and as nonresonant as possible to avoid "coloring" the output. The speaker cones will also be much more robust than a conventional speaker. This is to withstand pressures from the studio environment such as loud drums and electric guitar solos.
The strong speaker cones will also be better suited to cope with the fact that a producer may be working on bass sounds for straight hours. This means that the equipment needs to be able to withstand long periods of low-frequency sound production.
Studio Monitor Uses
After understanding the main differences between studio monitors and other speakers on the market, it makes sense that studio monitors are generally used in the following settings:
TV studios
Radio studios
Types of Studio Monitors
Active vs. Passive
The majority of studio monitors on the market these days are "active". You can tell just by looking at a monitor whether it's active or passive because an active monitor will have a mains input.
Passive (unpowered) monitors require an external amplifier and crossover, which you should match to your studio monitor's specifications. If you already have your own amplifier in your studio, then buying passive monitors may save you some money.
Active (powered) monitors have their own built-in amplifiers. This means you will have fewer pieces of equipment to find space for and carry around. Plus, there's less work in finding an amp that matches up perfectly to your monitor's specs.
Far-field vs. Near-field
Far-field monitors are best suited for professional recording studios that have special walls designed for acoustics. They are usually larger and have the ability to cope with much louder volumes.
On the other hand, near-field monitors are ideally suited to home studios because they are designed to be placed nearer to you (around one or two meters away) and pointing directly at you. This is so that the sound isn't distorted in any way due to bouncing off the walls, ceiling, and the likes.
You need to make sure that the studio monitors you invest in can handle the frequencies that you are (or will be) working at. For most recording work, a range of around 50Hz to 20kHz is more than adequate.
If your projects are going to be relying heavily on a lot of basses, however, then you may want to look at monitors that start with a lower number than 50Hz. In fact, you may even need to invest in a subwoofer to widen the lower frequency range.
Not only do you need to check the frequency range but you also need to make sure that the monitor can output these frequencies evenly. This is measured by a further number in decibels (dB).
A monitor that reads 50Hz to 20kHz +/- 2dB means that some of the frequencies you are hearing may be up to 2dB louder or softer than what is actually recorded. A rating of up to +/- 3dB would be considered good enough for most applications in a home studio.
Shown in the form of wattage, the higher the power your studio monitors have, the greater the volume they will play at. Plus, more watts will also produce better definition and dynamic range.
Music peaks, such as snare and kick drums, can require up to 10 times the power than your other material. This explains why many speakers suffer from distortion when playing high frequencies such as these.
Do You Need a Studio Monitor?
Whether you're recording or mixing sounds together, it would be extremely wise to invest in a studio monitor to ensure that you get the best results for your production. Studio monitor uses are invaluable when recording any type of audio.
Hearing the sounds that you are producing in its purest form will not only help you to fine-tune your audio track but also make sure that it plays well on any type of speaker in the future. This is one of the many reasons why you need to invest in a studio monitor.
As with most things in life, the more you invest, the better your studio monitor will be. There are, however, a good range of monitors on the market that are very reasonably priced. Thus, if you are investing in a home studio, then you should be able to find adequate monitors starting at just a couple of hundred dollars.
For convenience, check that the studio monitor you are buying is "active" (unless you already have an amplifier you wish to continue using). Also, remember that near-field monitors are better suited to for smaller rooms that lack acoustic wall covering.
Amazon and the Amazon logo are trademarks of Amazon.com, Inc, or its affiliates.
How to Become a DJ for Beginners
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Music Production Equipment: Top 9 Must-Haves for Any Budget
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text:
Pr�vy Counc�l Appeal No 18 of 2006
HMB Holdings Ltd Appellant v Cabinet of Antigua and Barbuda Respondent
FROM THE COURT OF APPEAL OF ANTIGUA AND BARBUDA
JUDGMENT OF THE LORDS OF THE JUDICIAL COMMITTEE OF THE PRIVY COUNCIL
Delivered the 5th June 2007
�40. � The site is valuable, and there is no doubt that a developer who has access to funds can expect to make money from it�.�
�1. The appellant, HMB Holdings Limited ("HMB"), is the owner of property at Half Moon Bay in Ant�gua. This is one of the most beautiful bays in the island. Its white sand, crescent shaped beach has been described as one of the best beaches in the world. The shape of the bay and its secluded environment on the south-eastern corner of the island provide an unusual degree of privacy. For many years there has been a hotel there, known as the Half Moon Bay Hotel. HMB purchased the property in 1971. The quality of the amenities, which were enhanced under its management, made the resort particularly attractive to wealthy visitors from Europe and North America. It was described as a flagship of the Antiguan tourist industry. It made a significant contribution to the local economy.�
�10. Chapter II of the Constitution provides for the protection of fundamental rights and freedoms of the individual. Section 3 guarantees to every person in Antigua and Barbuda, among other rights, protection of his property and from deprivation of property without fair compensation. The protections which then follow include, in section 9, protection from the compulsory taking or acquisition of property except for public use and except in accordance with the provisions of a law applicable to the taking of possession or acquisition and for the payment of fair compensation within a reasonable time� �
Privy Council Judgement


Longlisted for the HWA Goldsboro Debut Crown Award Longlist 2016.
A vividly striking and entirely captivating debut novel set in Calcutta, covering both the Second World War and Indian Independence during the 1940's. Beautiful adventurous Maisy and loyal, knowing ayah Pushpa tell their own tales, which are inextricably linked to each other. Maisy's Mam 'entertains' army officers, yet she has big dreams for her daughter, as Maisy becomes a woman, their world starts to crumble. Louise Brown writes with the lightest of touches, yet is able to convey earthy, vibrant tones with an expressive eloquence. There are occasional moments of heart wrenching savagery, described by a character in such an unaffected, matter of fact way, that the thrust travels all the more intensely. My imagination soaked up this moving tale, the emotion it generated constantly surprising as I found myself transported to an exotically precarious world.
'I'd challenge almost anyone not to be seduced by Louise Brown's spellbinding debut novel, EDEN GARDENS. It's the story of Maisy, who has no chance of growing up a nice British colonial girl. Her mother is a prostitute and alcoholic, and when Maisy is seduced at sixteen by her Indian tutor, her life changes forever, for better and for worse. Set in the closing days of the British Raj period, EDEN GARDENS tells of another side of British India, a world of castes, secrets, politics, ambition, and love of a different kind.
Eden Gardens, Calcutta, the 1940s. In a ramshackle house, streets away from the grand colonial mansions of the British, live Maisy, her Mam and their ayah, Pushpa. Whiskey-fuelled and poverty-stricken, Mam entertains officers in the night - a disgrace to British India. All hopes are on beautiful Maisy to restore their good fortune. But Maisy's more at home in the city's forbidden alleyways, eating bazaar food and speaking Bengali with Pushpa, than dancing in glittering ballrooms with potential husbands. Then one day Maisy's tutor falls ill. His son stands in. Poetic, handsome and ambitious for an independent India, Sunil Banerjee promises Maisy the world. So begins a love affair that will cast her future, for better and for worse. Just as the Second World War strikes and the empire begins to crumble...This is the other side of British India. A dizzying, scandalous, dangerous world, where race, class and gender divide and rule.


text:
Q: Writing C++ unit tests near function/class declarations When it comes to writing unit tests for functions or classes in C++, it seems popular writing them in separate source files from the original declarations and definitions (e.g. math_test.cpp for math.hpp/math.cpp). I wonder if writing them near the declarations might be better for the following reasons:

*

*users can see how to use a function or a class from its unit test

*developers can clearly tell whether a function or a class has a unit test or not

For example, I wonder I can put a unit test to a function declaration in a header file like this:
// plus.hpp
int plus(int a, int b);
UNITTEST{ assert(plus(1, 2) == 3); }

while the source file is as usual:
// plus.cpp
int plus(int a, int b) { return a + b; }

and only when I define a specific macro (e.g. ENABLE_UNITTEST) I expect the UNITTEST code to be evaluated by the compiler and executed by the test runner executable.
My questions are:

*

*Is it a good practice to write unit tests near the declarations like this?

*Is there any existing C++ testing framework that supports writing tests like this? (I think it will cause a redefinition error when plus.hpp is included in multiple source files if the framework is not properly implemented)

*If the answer for 2. is NO, is it possible to implement a testing framework like this?

A:
Is it a good practice to write unit tests near the declarations like this?

No, it is not. It is not uncommon to have more unit test code than the actual code. Mixing up the two makes your system harder to maintain and refactor.
The idea to put unit tests along the main code looks appealing for small code examples like yours. In many instances, however, your unit test code would easily triple of even quadruple your actual code, especially if you aim for high code coverage. The simple size of the added code, along with its in-code documentation, will make it harder for people to change your system.
In addition, some unit tests need to maintain state during the run (setup and teardown functions of common testing framework deal with this). Mixing a placeholder for the state with the payload code would complicate matters even more.

Is there any existing C++ testing framework that supports writing tests like this?

Not that I know of.

If the answer for 2. is NO, is it possible to implement a testing framework like this?

It is certainly possible - for example, you can play all sorts of tricks with preprocessor macros and conditional compilation to extract unit tests from your "payload" code, and compile them separately. I do not think it is desirable, though.

A: I think what it comes down to is that it may seem perfectly reasonable for the example you gave. The projects that I work on however have several test files containing hundreds of lines. People are usually not just testing one single thing either but putting it through a plethora of test conditions.
Your way of doing things would get messy very quickly if your test cases every became longer then a line or two (or had multiple tests). Not to mention trying to find code and general readability would be greatly diminished.

A:
Is there any existing C++ testing framework that supports writing tests like this? (I think it will cause a redefinition error when plus.hpp is included in multiple source files if the framework is not properly implemented)

You can implement such way with many exitsting frameworks (if not all of them), for example google test:
int plus(int a, int b);

#ifdef UNITTEST_ENABLED

TEST(Functions,plus)
{
    EXPECT_EQ( 4, plus( 2, 2 ) );
}
#endif // UNITTEST_ENABLED

you just need to properly configure your build system to compile sources for tests with macro UNITTEST_ENABLED defined
Though I agree with @dasblinkenlight answer and believe this is not a good practice to mix test code with regular sources. For example when you cover your plus() function in your code properly you should check positive with positive, positive with negative, negative with negative, and corner cases (max int + 0) etc. After you do that properly your actual function code will be well hidden inside tests so your source will become unreadable.
Even worse to put unit tests in header. Same reasons as above plus headers should only have declarations, not actual code.


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text:
Q: prove using $\epsilon-\delta$ method that $\lim \limits _{(x,y)\rightarrow (0,0)}\frac{e^y\sin x}{x}=1$ I have $\frac{|e^y\sin x-x|}{|x|}\leq\frac{|e^y-x|}{|x|}\leq\frac{e^y}{\sqrt{x^2}}$
I am unable to proceed and find $\delta$

A: Hint: using
$$ \bigg|\frac{\sin x}{x}\bigg|\le1$$
one has
$$ \bigg|\frac{e^y\sin x}{x}-1\bigg|=\bigg|\frac{(e^y-1)\sin x+\sin x-x}{x}\bigg|\le|e^y-1|+\bigg|\frac{\sin x}{x}-1\bigg|.$$
Then using this for
$$\lim_{x\to0} \frac{\sin x}{x}=1$$
one will get $\delta$ for $\epsilon>0$.


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