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Features, Music, Women's History Month March 18, 2021 April 7, 2021
Atwood Magazine Celebrates Women's History Month 2021, Pt. IV
Atwood Magazine Celebrates Women's History Month
Just as the pandemic began in 2020, a wave of protest and calls for equity were the anthems of the year, leading to important conversations surrounding inclusivity and equitable treatment for LGBTQ+ communities, BIPOC communities, and women. Intersectionality must be front and center in these conversations, and those conversations must continue into 2021. Today, and throughout the month of March, Atwood Magazine will be continuing those conversations in celebration of Women's History Month — including artists and publicists alike discussing the state of the music industry and its role in gender equity.
In Part IV of our series, Atwood spoke with and highlighted 12 women in the industry, asking them to reflect on the ways misogyny can be combatted, how they perceive their place in the industry, and how we can choose to challenge the music industry for better representation.
– Adrian Vargas, Managing Editor
– Mariel Fechik, Junior Editor
Emilia Tarrant, Olivia Lunny, Lu Wright, Amy Douglas White (Douglas), Karate, Guns & Tanning, Kyra Wu (Tell All Your Friends), Mother Nature, Martha Diaz (Hip Hop Education Center & Hip Hop CommUniversity) Dasha, Mary Akpa, DJ Rae, Gladys Pizarro (Launch Entertainment).
•• ••
:: Atwood Magazine Celebrates Women ::
follow our Women's History Month playlist on Spotify
:: Emilia Tarrant ::
Emilia Tarrant © Indy Brewer
What kind of space do you want to carve out for yourself as a woman in this industry?
As a woman in the music industry, I want to develop my career and artistry without being defined or shaped by others, and for my creative output to be a true reflection of who I am, regardless of gender.
Misogyny can be so insidious in the music world. What are some ways you've been able to combat it and what kind of advice would you offer to women who are just coming into the industry?
I walked headfirst into an industry that I know can be extremely tough for female artists. Not only are there so many women that can sing beautifully, but it's no secret that some are made to look and create music a certain way for the brand appeal, and some just feel that they need to do the same to attract an audience. I sometimes feel this pressure, especially with social media at the heart of modern-day society; not only do I need to create good music, but I have to have a strong social media profile, and that's something I have definitely struggled keeping up with. With time though, I have learnt to work hard, stay true to and always defend myself, know my opinion is valid (an opinion is an opinion, no matter who you are) and keep my voice heard.
How would you challenge the music industry in order to increase meaningful representation and provide better support for women?
As a young female artist, I have not come face to face with many direct challenges yet, however, I know I will in the future. I feel that by speaking my mind, always working my hardest, defending my opinions and sharing my own experiences, I am always trying to subtly increase awareness and change the way women are perceived and treated in the industry. And if I none of that works? I can always write a song about it!
Lastly, what are you working on currently? Anything coming down the pipeline you're excited to share with fans?
I recently returned to the studio to explore my pop-ballad sound further with producer Luke Potashnick (Gabrielle Aplin), and from this, my new single "Honeymoon Phase" was very recently released. The single and its accompanying video has gained amazing support from many blogs, Apple Music, and Vevo since, and I'm excited to say I will have an EP of the same name coming out later this year. In the meantime, I will be recording and releasing further singles as well as playing live shows as soon as possible.
:: Olivia Lunny ::
Olivia Lunny © Lane Dorsey
I want to create a collaborative and inclusive space for myself and peers in this ever-changing industry. I want to work towards including women in as many ways as I can in my own career (from a female DP behind the camera to any of the technical roles that support my music etc).
Realizing your worth, and standing by your ideas is so important in this industry even if it means being louder and bolder at times. My advice for those entering this world would be to build a community that values, respects, and cherishes your artistry. I'm blessed to have such an amazing team of people who continue to support me on this journey.
I can count on one hand how many female producers I've ever worked with. I would be inspired to see and collaborate with more. We need to emphasize up-and-coming female producers and hold spaces for them to be further recognized. With having more females in this industry, we also need to diversify and include women and people of all identities.
I'm VERY excited to be releasing music in these coming months! First off some singles followed by my Debut Album! Stay tuned!
:: Lu Wright ::
Lu Wright © 2021
I want to create a positive, uplifting space. I write a lot with mental health in mind as it is a part of my life that really influences me every day. If my music helps one person either momentarily feel happy or know they are not alone in their everyday battles – then I think I've done a good job.
An ideal world in the music industry or in general is being an equal. I call myself a feminist as I want to be treated as an equal and to empower women to do the same. Nina Simone was such an inspiration to me as one of the most predominant activists of all time. She shone a light on music to make it one of the most powerful tools for change. I haven't been affected personally by misogyny in the music industry, but I know that the music industry has been dominated by men and that women have been subjected to great prejudice. I'm aware of too many cases of misogyny, for example, #freeKesha. Kesha was being silenced in fear of her abuser, Dr. Luke. This was very much in the limelight with support from Lady Gaga, Kelly Clarkson, and many other female artists. Hayley Williams has spoken numerous times of the harassment she gets from the men in bands and in the industry, the list goes on.. judgment and scrutiny are blatant.
Sexual harassment is still a very serious problem in the music industry and unfortunately hasn't improved as much as we all would like. The only really vital advice I can give is to be confident to have ambition and be authoritative. A great contemporary example of this is Bjork, she experimented with every genre and always works with her creative instinct. People that you trust and that will treat you as an equal is super special, which only goes to show, how important saying what you want and being confident in your music is. Billie Eilish is another great example of this, she subsequently went on to perform on stage to one of the biggest crowds in festival history, at Reading 2019. We need to encourage more people like Emily Eavis, boss of Glastonbury, who thrives in having more female-line ups. We also need to keep pushing to have more gender-balanced line-ups at Festivals across the globe.
I hope in the future to make a massive difference and be a positive influence on many young girls. The pressure of a particular body image needs to change, I'm sure this would be an enormous help to female mental health. We can also never forget the suffragette women who made a huge difference to the lives of all British women, it is inconceivable to me that women were unable to vote in this country due to their gender. I'm so grateful for their tireless work to create a more equal society. Movements such as the more recent #metoo have also given women a fundamental platform to be heard, supported, and understood. If you are a female instrumentalist, I'd say don't be afraid at all. I think women can support women in such a powerful way. We need to encourage women to keep being outspoken. A couple of modern examples of being musically outspoken is Dua Lipa with her song "boys will be boys" on her latest 'Nostalgia' album and Jasmine Sullivan's new album 'Heaux Tales' which explores feminism, sexism, and body-shaming. Dua and Jazmine are examples of the many women that have been affected by misogyny in the industry and use their music to open up these important conversations.
The last few months have been a really exciting time for me. I have released two singles, "British Daisy" which dropped in January, and this month I released "What I like." Both singles feature on my upcoming 5 track EP Notes To Self (out late May) and each song is exactly that. Noting pivotal moments of self-reflection, growth, and worth. Every song carries forward a subtle message of positivity. I can't wait for the full EP to be out and to keep thriving on being outspoken, authoritative, and hopefully helping to create a positive space for future female artists!
:: Kyra Wu, Publicist, Tell All Your Friends ::
Kyra Wu © Erica Snyder
I think in this industry, it's already hard enough to exist as a woman sometimes. Specifically, for myself, I aim to make more space as a queer, Asian woman, while also carving out more room for any other queer POC in this white, straight, male-dominated industry. We gotta lift each other up!
I feel like the misogyny is so rampant and can be more subvert than overt sometimes — as in getting talked over, not being listened to, having your ideas questioned or ignored. In this industry, you just have to remember to stand by yourself, speak up, and don't let people take advantage of you and your talents. Know that you're worthy and deserve a seat at the table!
I think that's just it — we need to continue to challenge the music industry to listen and value women. The problem isn't that we don't have women in music, it's that we don't truly value women in music. We don't provide them enough space, enough opportunities in comparison to their male peers. The only way to truly accomplish this is to afford more space for women in all aspects — from artists themselves to producers to music business workers. Men need to step aside and do more than just espouse how they're allies — they need to actually do the work and let women, especially POC, take charge.
:: Amy Douglas White (Douglas) ::
Douglas © Jac Cron
I would love to continue my journey as an artist, producer, collaborator, and composer while being of service along the way.
I've spent many years behind the scenes both on the label side and artist/performer side. Other than the obvious issues of unequal pay, I know many women who have experienced some sort of sexual harassment in the industry. The sad part is that to this day, some women will defend those instances or continue to normalize them. The music industry is so complex in this way, but I think that the #MeToo movement has shed some light on these issues, and things that happened 20 years ago wouldn't go unnoticed today.
15 years ago, it was pretty common to hear label executives openly sexualize female artists (or colleagues), creating a misogynistic culture in the workplace that was for the most part accepted. It was (and still is) clearly a boys club, and one either participated in it, ignored it, or fought against it (to little success). In addition to sexual harassment, I've witnessed several instances of emotional abuse towards women, particularly young women in entry-level jobs. It was pretty dehumanizing behavior (with lasting emotional effects for the individual), and yet, there was no accountability for it. To me, that is absolutely unacceptable, and organizations must be held accountable for allowing these behaviors from men in power to go on unchecked.
As a performer, I've often battled my worth, always having to prove that I had more to offer than my appearance. I remember having to put on a hard shell of professionalism when showing up to sound checks. There used to be this assumption that women were not as technologically savvy or as talented as their male counterparts. I felt that I was always overcompensating – trying to never make a mistake – in order to earn equal respect and fight off the misconceptions of female performers. In addition, you sometimes would get the looks, the side comments, or harassment that can make that whole experience less than ideal. There is also the issue of male "fans" in a position of power who want to help your music career. It's hard to navigate those moments when you're just starting out. Nowadays I put up with a lot less and demand accountability and respect from all of the people I work with.
I think the corporate culture has to change significantly from within the big companies. Men in power have to be held accountable for their words and actions, and there has to be a healthy and proactive human resources infrastructure to help guide, educate and lead that change. I also think it's important to give women more opportunities to succeed in various positions of power. Female leaders have the chance to change the tone and encourage and guide younger generations of women.
I'm so excited to release my debut album, "Ashes," on April 2nd, 2021! Leading up to that I have my third single, "Seventeen," coming out on March 9th, and "Come with Me" on March 30th. I also have a short form music video called "Alter Ego" coming out on album release day!
:: Paige Shedletsky, Valerie Green (Karate, Guns & Tanning) ::
Karate, Guns & Tanning © Annette Williams Photography
Shedletsky: I have the unique experience of not only being a musician in various bands over the years, but I have worked in the music industry as well. I am currently the Director of Marketing for the midwest talent-buying and promotion company Production Simple. Being a gay woman in this industry both as a musician and a music industry professional gives me the ability to lift other creators and to collaborate. I just want to share my art, while also helping create a safe and welcoming music industry landscape that's easier for others to share their art in as well.
Green: Be confident and develop your skills outside of just writing and performing so you can be as self-sufficient as possible. Work with those you trust, and seek out advice from other musicians you respect. We stay aware of those who make promises that seem advantageous to themselves. It's possible to do things your own way. Your instincts can go a long way in this business!
Shedletsky: Hire more women in prominent music industry roles! Gender inequity is big in the music industry. We need more representation in the roles that can make changes to diversify this industry. I love seeing all of these Woman and Non-Binary run labels coming up. We need more of that! Also, negotiate equal pay as a musician!
Green: We have KGT's first full-length album, Concrete Beach, dropping on March 26th. We've partnered with animation artist, Andrew Knives to release a full visual album for Concrete Beach. We will also release a limited edition vinyl, we have an EP coming this summer, and we're working on our live show for when tours resume!
:: Mother Nature ::
Mother Nature © Nicci Briann
We want to carve out a space of equity and inclusion. Too often we find women as the backbone of many of the great accomplishments happening within the music industry, but rarely are those names spoken or put into the spotlight. We want to put an end to disproportionate inclusion and create safe spaces for women to thrive and pursue their talents.
Have a plan, create a strong self-identity, develop a spiritual connection and build a strong team around you. Going into anything blindly could lead to more complications than necessary. Arm yourself with the tools that allow you to be self-sufficient, able to decipher through the distractions, and deliver the results you see for yourself.
We challenge the industry by speaking up for ourselves and other women around us, we share resources and fellowship with our tribe. Our team is a multi-cultural women-led group that allows us to see from multiple viewpoints and broaden our approach to the industry. Working together with other women is our main tactic to increasing meaningful representation and providing better support for women within the music industry.
We have a massive year planned! As emcee-educators, we balance pursuing our careers in music with educating the youth through hip-hop. We are currently in the midst of the rollout for our project SZNZ, coming out in the spring. This project is so important to us and to HipHop culture. SZNZ will be the catalyst to bring LIFE, LIGHT, and KNOWLEDGE back to the culture and to mainstream music. Simultaneously, we are expanding our nonprofit which is home to The Miseducation of HipHop, a music-based youth development program focused on self-acceptance, healing traumas, and dream building. Through our music and our education work, we seek to awaken our communities and heal our collective consciousness. Stay connected with the music on IG @MotherNatureBARZ, tap into our classroom @MisedofHipHop, and dive into our story at MotherNatureBARZ.com.
:: Gladys Pizarro, Founder, Launch Entertainment ::
Gladys Pizarro © Sam Morales
First of All, I already carved out a space in the music industry – as I participated at the beginning of the house music era in many areas such as developing notable DJs, Producers, and vocalists that are still relevant today. The funny thing is I'm still developing new and upcoming talent today.
Misogyny is a strong word, But we do live in a world where there is dominance, where there is a superiority complex whether it's black or white, woman and men – any opposites, In my days I worked TWICE as HARD and was way ahead of the game. I also had a love for HOUSE music like no other. I actually Lived and breathe it daily 365 days a year – I also knew I had to be best as long as I didn't step on anyone's toes to move ahead – I did it with Integrity.
Start organizing music groups via social media and tell women to start getting active on all musical platforms – Film, Club, Grammys, Fashion, etc – You get the picture right?
:: Dasha ::
Dasha © Tanner Deutsch
I want to create a space, rather an avenue for myself and other upcoming women in the industry to be unapologetic. I've found that my initial response is to say that I'm sorry before I express my opinion, like I'm some type of burden. I think this has a lot to do with how many generations of women were raised to fit in with social expectations, cause no trouble, and be agreeable. It's about damn time we take the power back. I've been working so hard to break this habit because it only strips my potential away, which I deserve to hold, especially when it comes to my artistry. My goal is to keep carving out a space in which women and myself feel empowered to take control- where we want to be in charge of their own careers and feel confident doing so.
As a woman, you have to work your advantages, and not shy away from them. Use the skills that men don't have to even out the playing field. For example, ladies, confidence is sexy any way you spin it. The best thing you can bring into any room, meeting, or aspect of your life is confidence. If there's something you want, don't be afraid to go after what you want, and when you do, go get it with confidence. Even if you don't genuinely feel it, fake it till you make it. Act the part and dress the part even if you don't have the part, yet. You'll notice right away that the ratio of men to women in the industry is almost embarrassing. In LA specifically, it's rare to have another female in a session. I guess the best advice I can give is to keep expanding your social and creative circle. There's never a time you shouldn't be excited about meeting someone new. I got lucky being a total extrovert- networking, going to events, etc. is genuinely exciting to me. Upon expanding your circle, you'll find who's truly in your corner, and more importantly who really isn't.
As far as the underlying misogyny that socially exists in the industry, build your creative circle and team with people who value you for what you bring to the table and could care less about your gender. Teams only work when there is genuine, mutual respect. Personally one of the hardest things is distancing myself from friends who I've realized aren't actually on my team for a multitude of reasons. Once you empty your bench, the universe will fill it with people who are genuinely there for you. Trust the process. Build your team from the ground up, and take your homies who supported you when you had nothing to your name when things start working out. That's how I've been approaching the insidiousness of misogyny in the music world. As a woman, you have to be your own number one cheerleader.
I would challenge the music industry to invest in educating women to do the jobs that men are currently dominating. For example, only 5% of the producers in the industry are women, versus 95% of producers who are men. The default stereotypically is to hire a man to do a job that a woman is just as qualified or even more qualified for. Why? That's honestly such a loaded question that we all already know thousands of answers for. I would also challenge men, who find themselves in positions of power in which they could hire a woman, or make even the smallest difference towards equality of the genders to do so. Go out of your way to research eligible women for work, sessions, and jobs that you were about to habitually hire a man for. It's going to take everyone working towards the same goal of equality for everyone in the music industry for us to see results. One day we'll see a 360 where there are more women of power in the industry than there are men. To reiterate, this isn't about tearing down or disrespecting men. This is about giving the women the default advantages for once that men have always had in this country. This is about equality and balancing the power, not tearing men down so women can climb.
There is so much music in the pipeline. If Dasha one year ago today heard the music I was writing and releasing I would pass out with excitement. Honestly, I still feel like passing out. First up, is my debut EP called $hiny Things dropped March 19th. It's six songs, featuring my four singles latest singles "21st Birthday," "Better Than She Did," "None Of My Business," and of course "$hiny Things." The last two songs on the EP are called "More Than This" and "Make It Work With You." Both of those songs made a pretty decent spark on Tik Tok which fills me with so much confidence about this EP. I wrote all of these songs about very personal, relatable experiences in the past year. We've got a few music videos dropping with the project as well! After the EP, the first single off my possible and first album will be dropping late April called "Love Me Till August." I've never believed in a song as much as I do in that one. Writing it was effortless yet so personal and real. That was my first song to blow up on Tik Tok and I cannot wait to put it out into the world. I finally feel like I'm creating the music I've always wanted to create. I can't wait for the world to hear what's next. Stay in touch on Instagram @dashamusic!
:: DJ Rae ::
DJ Rae © 2021
A versatile and dynamic one.
I have combatted with my talent, skill, passion, and perseverance. My advice would be if you come into music for the right reasons let your belief in yourself drive you, and overcome every challenge and override every hurdle you come across!
More women in the industry will naturally lead to better support, so that's what we need, more talent coming through, more awareness to give talented women of all backgrounds hope, and a more balanced approach to opportunities within the industry.
I'm working on my release schedule for the year which is shaping up nicely, some of my best work to come, along with my debut artist album which I'm really excited to share!
:: Mary Akpa ::
Mary Akpa © Nikki Rich
I'm carving out a space where I can fully embody all aspects of my creativity without the constructs of society; with open arms for others to feel the freedom to do the same.
This is such a great question. I've shifted my focus away from feeling the pressure of combatting misogyny, to living fully as the woman I am, out loud. I'm fortunate to have brothers and male-identifying friends who are open to conversation. And I choose to work with musicians who are at least aware, and open because I'm known to speak up. Women often feel like we should stomach things so as not to appear difficult. But as a Black woman, I'm already perceived as difficult, so I might as well speak my truth. You can't unhear what you hear. To women just coming into the industry, I would ask you to consider: how important is your voice to you? Knowing the value of your own particular voice, for yourself, will help guide you on when and how to use it.
Think outside of the box! There's more to a woman's artistry than numbers and appearance. The industry has reserved a very small space for women defined by age, body type, cool factor, proximity to whiteness, etc. Of course, there are some exceptions, but they're rare. I want more space for voices that represent more of the world – not wrapped in a perfect bow.
Yes, I recently released a song called "A Hurum Gi N'anya (I do)." It's the lead single from my upcoming album, and you can check that out where ever you stream. So yeah! I'm thrilled to be sharing new music this year. And I hope you'll listen!
:: Martha Diaz, Founding Director, Hip Hop Education Center – Universal Hip Hop Museum and Founder, Hip Hop CommUniversity ::
Martha Diaz © 2021
I would like a safe space where women are respected and valued for their talent, mind, and heart. Where we can freely write, produce, archive, curate, teach, learn, and reimagine Hip Hop culture without being harassed or undermined.
I've never tried to fit in or go along with the crowd. I've created my own lane and am very selective on who I work with. Because of my values, I don't tolerate flirting, or waste my time with small talk, and I'm quick to cut people off for disrespecting me and others.
For there to be meaningful representation there needs to be systemic change and a culture shift. A group of us have been discussing ways to hold companies accountable by creating a rating system like a B Corp model or a Hip Hop green book that would identify which companies are the safest, most inclusive, and best supportive of women. The best companies would have mentors in place, strict ground rules to avoid any type of harassment, and they would have equal pay for women. I think this would be a good start.
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require('cadence/loops')

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var oidI = function (s) {
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SNMP.prototype.ping = function () {
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SNMP.prototype.finalize = cadence(function (async) {/* jshint unused: false */
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SNMP.prototype.dispatch = {}

SNMP.prototype.dispatch[sysObjectIDs.serverscheck] = cadence(function (async, rinfo, bindings) {
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        varbinds.forEach(function (varbind) {
            var leaf    = varbind.oid[varbind.oid.length - 2]
              , subtree = varbind.oid[varbind.oid.length - 3]

            if (leaf === 1) names[subtree] = varbind.value
            else if ((leaf === 2) && (!!names[subtree])) {
                underscore.extend(properties, this.normalize(names[subtree], varbind.value))
            }
        }.bind(this))

// TODO: use MAC address + rinfo.port
        uuid = rinfo.address + ':' + rinfo.port
        sensor = this.sensors[uuid] || {}

        sensor.name = bindings[2].value

        sensor.lastReading = {}
        capabilities = { fields : [] }
        underscore.keys(properties).forEach(function (key) {
            capabilities.fields.push(this.sensorType(key))
            sensor.lastReading[key] = properties[key]
        }.bind(this))

        async(function () {
            if (!!this.sensors[uuid]) return

            this.register(this, sensor.name, uuid, capabilities, async())
        }, function (sensorID) {
            if (sensorID === false) return
            if (!!sensorID) {
                this.sensors[uuid] = underscore.extend(sensor, { sensorID : sensorID })
            }

            this.upsync(this, sensor.sensorID, sensor.lastReading, async())
        })
    })
})

/*
  name:       Int. Temp/Ext. Temp | Airflow | Sound Meter | Humidity      | Water Detect    | Dust Sensor
              temperature         | airflow | noise       | humidity      | liquid_detected | particles.2_5
  units:      'C'                 | m/s     | dB          | RH-%  * 100   | boolean         | mg/m3
  datapoints: '26.51'             | '0.01'  | '48.93'     | '36.82' / 100 | 'DRY'           | '0.01'

*/
SNMP.prototype.normalize = function (name, value) {
    var f, key

    key = { Airflow        : 'airflow'
          , 'Dust Sensor'  : 'particles.2_5'
          , 'Ext. Temp'    : 'temperature'
          , Humidity       : 'humidity'
          , 'Int. Temp'    : 'temperature'
          , 'Sound Meter'  : 'noise'
          , 'Water Detect' : 'liquid_detect'
          }[name]
    if (!key) return

    f = { airflow         : function () { return parseFloat(value)         }
        , humidity        : function () { return (parseFloat(value) / 100) }
        , liquid_detect   : function () { return (value !== 'DRY')         }
        , noise           : function () { return parseFloat(value)         }
        , 'particles.2_5' : function () { return parseFloat(value)         }
        , temperature     : function () { return parseFloat(value)         }
        }[key]
    if (!f) return

    return underscore.object([ key ], [ f() ])
}

module.exports = SNMP

redpajama_set_name: RedPajamaGithub


text:
En mathématiques, le p-Laplacien, ou l'opérateur de p-Laplace, est un opérateur différentiel partiel elliptique quasi-linéaire du second ordre. C'est une généralisation non linéaire de l'opérateur laplacien, où , usuellement fixé à 2, est autorisé à s'étendre sur . Il s'écrit comme

où le  est défini par :

Dans le cas particulier où , cet opérateur se réduit au laplacien classique. En général, les solutions d'équations impliquant le p-Laplacien n'ont pas de dérivées du second ordre au sens classique, donc les solutions à ces équations doivent être comprises comme des solutions faibles. Par exemple, on dit qu'une fonction u appartenant à l'espace de Sobolev  est une solution faible de

si pour chaque fonction test  on a

où  désigne le produit scalaire standard.

Opérateur
L'opérateur p-laplacien pour une fonction  définie sur un espace de dimension  s'écrit :

Les solutions sont appelées fonctions p-harmoniques.

Cas particuliers
p = 1
L'opérateur 1-laplacien est l'opposé de l'opérateur de courbure moyenne :

p = 2
L'opérateur 2-laplacien est le laplacien classique :

p = n
L'opérateur n-laplacien est un cas particulier, car il est invariant par toute transformation de Möbius. En effet, la norme  est invariant par toute transformation conforme.

Ce cas est important dans l'étude des transformations quasi conformes.

p infini
L'équation de ∞-Laplace se réduit à:

ou  désigne la matrice hessienne de .
Cette équation a des applications en traitement d'images.

Formulation variationnelle
La solution faible de l'équation de p-Laplace avec une condition aux limites de Dirichlet

dans un domaine  est celle qui minimise la fonctionnelle énergie

parmi toutes les fonctions de l'espace de Sobolev  satisfaisant les conditions aux limites au sens de la trace. Dans le cas particulier  et  est une boule de rayon 1, la solution faible du problème ci-dessus peut être explicitement calculée et est donnée par

où  est une constante appropriée dépendant uniquement de la dimension  et de . On remarque que pour  la solution n'est pas deux fois dérivable au sens classique.

Notes

Sources

Références

 .

    Juan Manfredi, Strong comparison Principle for p-harmonic functions

Équation différentielle

redpajama_set_name: RedPajamaWikipedia


What makes the Choco Chickoo Smoothie really different is the use of delicious chocolate ice-cream instead of vanilla ice-cream.The chocolate flavour combines beautifully with the chickoos.
Combine the chocolate ice-cream, chickoos, sugar and ice-cubes and blend in a juicer till the mixture is smooth and frothy.
Serve immediately garnished with a chickoo wedge and mint sprig on the rim of each glass.


The eight largest city and the fourth-largest metropolitan area in the nation, Dallas is centrally located from most North American destinations. Visitors can ride of the fastest-growing light rail systems in the nation and trolley services to the downtown districts. Dallas also boasts a lively downtown scene that will keep you wanting more!
Click to view a map and get driving directions to and from Dallas/Fort Worth International Airport.


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Came up with a new list that's got some nice flow. now the list currently is just for testing a gimmick but the core function itself should be usable in other lists and maintain some competitiveness.
the core mechanic is a tervigon in a drop pod with roughly 40 pts in reinforcements. (roughly 406 pts total).
again this list is just for testing how may tervigon/reinforcment pts to be reliable.
Playing the list> deployment is the biovore's and neurothrope far back as you can and still benefit from their 48". depending first or 2nd turn purpose is to do light damage and hopefully bait some enemies into a meat grinder. the tervigons (in their respective pods) deploying into the back lines if able but as close possible. the first arrival i would expect 1 maybe 2 to die early but you should be able to do some damage between smites and stinger salvo. following they should be capable of charging into infantry units to tie up for the following turn. you end, then opponents turn , back to your 2nd turn you can move and then spawn 10 termagants, per tervigon still alive, up to 1" from enemy. This may be depend on your opponent and your map but overall it generates a large area of coverage and some fodder units to do some damage. this may be better for maelstrom missions/ non kill point games. also you can utilize the stratgems <single minded annihilation>,<Implant attack> and <scorch bugs> to maximize your damage for the termagants. few in number but able to reroll 1s in shooting and wounds may compensate for it and if you can focus fire form multiple small broods and smites it should supply some decent impact.
still waiting to test it out and i am hopeful their is some rulings i over looked about spawning otherwise your limited to just 10 man broods. even so, as long as 1 remains alive you can rebuild the brood back to 10 for free. I'm thinking 2 tervigon in pods would be sufficient ( 812pts) to compliment another list, but it awaits testing. I chose leviathan for the 6+ giving the gants a touch more survival. the relic and warlord traits i didnt find anything of real benefit so i just tossed in generics in case neurothrope could move enough to smite and still stay alive.
Four T8, 14 wound, 3+ save tank-equivalents just showing up right outside or behind your opponent. Then you give a 6+FNP. They will soak a lot of dakka.
Tervigons are surprisingly fast. 8" move! They are faster than termagants (before wound degrading).
The massive Scytals are basically close range Lascannons that let you reroll 1s.
The pods can do a decent job of tying up vehicles or heavy weapon teams in melee to keep them off the Tervigons (provided they can reach them).
Good spread of Shadow in the Warp and Deny the Witch.
Spawn termagants happens at the beginning of the movement phase, like any transport. That can limit your ability to place, especially if your opponent is smart enough to surround your Tervi.
Tervigons hit on 4+ before wound degrading. They can't wreck what they don't hit, and with only three attacks, you aren't likely to solo any hard targets in one round of CC. Their melee ability is supportive in nature, not a lynchpin you can depend on.
Tervigon shooting is likewise supportive. Four shots hitting on 4s.
You are correct in that there are only unit of 10 gants allowed if you spawn fresh. 40 termagants sounds like a lot of shooting, but with a 12" range, they won't be able to focus the same targets easily if at all.
Depending on how you have the gants spread, your opponent can take all or most of them out by killing one Tervigon.
Severe lack of ObSec. A 10 strong unit of gants isn't stopping anyone from claiming a point by themselves, and if you concentrate them on something to counter that vulnerability, you simultaneously give up board control elsewhere and leave yourself open to the detraction listed above.
If your enemy wipes all 10 gants, you have to pay another 30pts to bring them back. With the long games that this type of attrition army is suited to, you will run out of reinforcement points.
Snot pods have a lot of shots, but not what I would call a reliable source of firepower. They are also meant to be supportive in nature.
If you babysit the biovores in the backline with the Neurothrope Synapse, you lose a valuable source of psychic power. If you don't babysit, they will not get the mortal wounds where you need them reliably.
Even if you do babysit, any dedicated melee unit that can Deepstrike will wipe them out without much trouble.
That's about it. Overall, the list is interesting, but the main drawback I see is that this list is all Anvil and no Hammer. You will have the endurance and the interference that you can expect out of Anvil units, but outside of some good smite rolls and/or biovore shots, there isn't anything really punishing to cripple the enemy force quickly. You will be left with what amounts to a battle tank demolition derby; a slow attrition grind. Definitely better suited to maelstrom.
If I get the chance I will run it and see what happens. Might be a bit, though. New baby and all.
Competitively, you wouldn't be able to execute as you desire on account half your units have to be fielded at the start of the game. You have eight units in reserve and only four deploying. At minimum you'll need to convert a Tervigon and Tyrannocyte into two other non-reserve units to balance it out.
Sorry for the delay in response. Work's been hell.
Not much debate on this from what I've experienced, both in pick-up games and tournaments. Deployment and unit count are different. The requirement is no more than half your unit count can be in reserve. While you can combine units in transports for one deployment drop, that doesn't change the fact that the single deployment drop (into reserves or onto the table) still takes up more than one unit towards unit count.


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text:
Q: UINavigationItems Stretching in iOS11 I'm updating an app to ensure that it works as expected in iOS11.  The only issue I've run into is that the navigation bar looks quite different in iOS11. The position of the elements and size is not the same between versions. I've looked at my code and i'm explicitly setting frame sizes and edge insets, why are these values are not respected in iOS11?
//-- Create Right Navigation Item Buttons

// create kabob btn
UIButton *kabobBtn =  [UIButton buttonWithType:UIButtonTypeCustom];
[kabobBtn addTarget:self action:@selector(viewUsersClicked:)forControlEvents:UIControlEventTouchUpInside];
kabobBtn.clipsToBounds = YES;
[kabobBtn setImage:[UIImage imageNamed:@"KabobMenu2_0071bc_Right.png"]
               forState:UIControlStateNormal];
[kabobBtn.imageView setContentMode:UIViewContentModeScaleAspectFit];
[kabobBtn setFrame:CGRectMake(0, 0, 32, 32)];

// create user profile button
UIButton *userBtn =  [UIButton buttonWithType:UIButtonTypeCustom];
[userBtn setImage:[UIImage imageNamed:@"people.png"]
        forState:UIControlStateNormal];
[userBtn addTarget:self action:@selector(viewUserProfileClicked:)forControlEvents:UIControlEventTouchUpInside];
[userBtn setFrame:CGRectMake(0, 0, 38, 38)];
userBtn.clipsToBounds = YES;

[userBtn.layer setCornerRadius:(38/2)];
[userBtn.layer setMasksToBounds:YES];
[userBtn.layer setBorderColor:[[UIColor blackColor]CGColor]];
[userBtn.layer setBorderWidth:1];

self.userPictureURL = [defaults objectForKey:@"userPicture"];

[userBtn setImage:[UIImage imageNamed:@"defaultUserImage.png"] forState:UIControlStateNormal];
[userBtn setContentMode:UIViewContentModeScaleAspectFill];
[userBtn setBackgroundColor:[UIColor clearColor]];

// add buttons to bar button items
UIBarButtonItem *barButton = [[UIBarButtonItem alloc] initWithCustomView:kabobBtn];
UIBarButtonItem *barButton2 = [[UIBarButtonItem alloc] initWithCustomView:userBtn];

// add bar button items to right bar button item array
self.navigationItem.rightBarButtonItems = @[barButton,barButton2];

//-- Create Left Hamburger Button
UIButton *customOpen = [UIButton buttonWithType:UIButtonTypeCustom];
[customOpen setFrame:CGRectMake(0, 0, 30, 44)];
[customOpen setImage:[UIImage imageNamed:@"hamburger.png"] forState:UIControlStateNormal];
[customOpen setImageEdgeInsets:UIEdgeInsetsMake(10, -5, 16, 10)];
UIBarButtonItem *openItem = [[UIBarButtonItem alloc] initWithCustomView:customOpen];

if(self.showHamburger){
    self.navigationItem.leftBarButtonItem = openItem;

}else{
    self.navigationItem.leftBarButtonItem = nil;

}

A: Apparently iOS 11 uses autolayout for nav bar buttons. Use auto layout constraints to set button width and height.
[userBtn.widthAnchor constraintEqualToConstant:38.f].active = YES;
[userBtn.heightAnchor constraintEqualToConstant:38.f].active = YES;

This should fix the stretching issue.
Thanks to this answer

redpajama_set_name: RedPajamaStackExchange


text:
Website Redesign for Melissa Machat
Our website design company is excited to showcase this creative design we just launched for entrepreneur Melissa Machat.
Melissa had worked with MBM Agency previously but came back in 2022 when she had rebranded her look. She had sent us a mood board and photos from a recent photo shoot in the canyon (which matched her new brand perfectly).
Melissa told MBM that we were able to get as creative as we wanted with this website. She wanted a website that would stand out from the crowd and leave a lasting impression on visitors.
The mood board gave us a moody vibe, so we wanted to stick with that. After looking through the photos, we were able to find a stock image of a canyon that mimicked the exact color of a dress Melissa was wearing in one of her photos. That sparked an idea...and it just grew from there.
Look through the photos below to see the new homepage, about page, and resource page. We also included a before and after of her old website design.
Take a look at the live website here: https://www.melissamachat.com/
How to Transfer a WIX Website to Another Account [For Web Clients]
How to Transfer a Premium Wix Website to Another Account [For Website Designers]
New Website Designed for Upcoming Author- Mary Beth Moore

redpajama_set_name: RedPajamaCommonCrawl


This Guidance helps Agencies to achieve appropriate / efficient levels of competition in public construction procurement.
Agencies should select suppliers using processes that achieve an appropriate level of competition and contestability.
Select the most appropriate tender method to balance competition with efficiency and reducing the burden on tender participants, and the need to use scalable procurement methods that are appropriate for the complexity and value of the project and market capability.
Three types of tender process that may be used for Public Construction Procurement are open tender, Selective Tender and Limited Tender.
The circumstances when Limited Tenders, where competition is restricted or absent, maybe used are set out in Competition and contestability (Instruction 3.2).
This Guidance sets out what to consider when choosing the best way to engage the market, in tender staging and when thinking about the size of the tender field to achieve an appropriate level of competition.
This Guidance should be read in conjunction with Promoting efficiency in the tender process (Guidance 3.3) which focuses on considerations for conducting processes efficiently and reducing the burden of tendering.
Competition and contestability are key principles in Public Construction Procurement and provide the best way of achieving value for money.
the dynamics of the supply market and interest among potential tender participants.
respond to the capability of the market to provide the Works or Construction Services.
For Agencies that need to comply with International Agreements, structuring a tender process needs to ensure compliance (see Complying with International Agreements (Instruction 2.1).
Open tender processes involve an open invitation to all potential participants to submit a proposal via a public notice or advertisement.
Any tender participant that considers they meet the evaluation criteria may submit a response and participate in the tender. Open tenders are an effective way to reach the broadest possible group of qualified tender participants.
An open tender may not achieve the best outcome when there are many potential tender participants. A high number of potential competitors can dissuade potential tender participants, because the odds of being successful may be too low.
Consider the most appropriate way to structure an open tender, in particular whether a single or multi-stage process is appropriate.
In Construction Procurement, a Selective Tender means a competitive tender open only to suppliers on a prequalification Register.
to selected tender participants, (where at least three tender participants in the relevant category on a Register are invited).
ways to reduce unnecessary transaction costs to all participants.
reducing transaction costs by providing a process where responses to common evaluation criteria are assessed in advance of an actual procurement, avoiding repetition.
Ensure that the selection of tender participants from a Register and the number of tender participants selected is defensible. Document the reasons for any selection.
Any selection process needs to be based on fairness. For example, the selection may be determined on merit based on past performance, or on providing equitable opportunity by inviting all tender participants in the relevant category on a Register to express interest in a procurement.
Limited Tenders are most appropriate where competition is restricted or absent. The circumstances under which Limited Tenders could be used are set out in Competition and contestability (Instruction 3.2). Further discussion is provided in Limited Tenders (Guidance 3.2.2).
Staging a tender and determining an appropriate field size for a procurement are ways to improve the efficiency of a procurement while maintaining competition.
Tender staging involves undertaking the procurement over a number of stages, with the number of potential participants reducing as the stages progress. The first stage usually involves either open competition or open expressions of interest from a relevant category in a Register.
Agencies may use multi-stage procurement processes when conducting open or Selective Tenders. When conducting a multi-stage procurement process for a Selective Tender, the initial invitation stage may be either open or selective. For clarity, the requirement to use a Forward Notice set out in Forward notices (Instruction 5.1) applies to multi-stage tender processes. The Forward notice must be used in advance of the first notice that starts the multi-stage tender process.
Single stage procurement is often used for Limited Tenders or Selective Tenders, because the number of participants invited to submit a response is small.
An Agency decides to call an open tender for a Works project. As it expects considerable interest in the tender, it decides to use a multi stage process to filter the number of participants - the first stage being an expression of interest and the second stage being invitations to submit responses.
In the Tender Documentation at the expression of interest stage the Agency advises that it intends to use a shortlisting process, inviting four suppliers to submit offers to undertake the Works. Evaluation criteria used at this first stage include capability to complete the Works, capacity to meet the project timelines and proof that a participant holds registration as a Registered Builder in Victoria.
In response to the first stage expression of interest the Agency receives 12 responses.
The Agency evaluates the expressions of interest and determines which four participants will be invited to submit responses.
Field size is the number of participants competing in a procurement, or a stage of a procurement.
a Limited Tender, where the value of the Construction Services is expected to be more than $50,000 (inclusive of GST) but less than $200,000 (inclusive of GST).
the maximum size for a short list in a multi-stage procurement.
In major projects with complex and expensive tender requirements (such as public private partnerships or alliancing projects), a field size of two maybe sufficient. Agencies may consider partially compensating tender participants for their bid costs.
For smaller construct-only projects, the field size should be limited to a maximum of six - for example where the Tender Documentation includes a Bill of Quantities (a measured list of the materials needed for the Works).
interest among potential tender participants.
The planning process should enable Agencies to build a productive relationship with suppliers in the relevant market.
A program of works could justify establishing a Supplier Panel following a competitive tender process to provide a ready source of suitable participants to support multiple related procurements.
The breakdown of the procurement into packages provides the opportunity to have more participants engaged to provide Works or Construction Services. For example, few major contractors operate in regional areas, so dividing a large project into several smaller projects may give local participants a greater opportunity to compete for a project.
Lack of interest in an expression of interest or market testing exercise can be an indicator that the procurement strategy needs to be revisited. Any change should be undertaken carefully. For example, breaking the project into smaller work tasks may increase the number of potential participants, but may also add to integration risks between the smaller projects and increase the contract management task.
Insert new paragraph clarifying use of multi-stage procurement processes when conducting open or Selective Tenders.


text:
Founding Dean of College of Nursing and Health Sciences to Retire
| Published: May 13, 2016
CORPUS CHRISTI, Texas — Dr. Mary Jane Hamilton, Founding Dean of the College of Nursing and Health Sciences (CONHS) at Texas A&M University-Corpus Christi, has announced her retirement.
"The opportunities that I have experienced working for Texas A&M University-Corpus Christi have been many and I have thoroughly enjoyed working with the administration, faculty and staff," Hamilton said.
Hamilton will continue to serve in her capacity as dean while the University conducts a national search to fill this position.
"I am grateful for Dr. Hamilton's service and her guidance of the college over the last 14 years," said Dr. Flavius Killebrew, President and CEO of A&M-Corpus Christi. "Her work to bridge military service and civilian nursing with an A&M-Corpus Christi education provided today's students the flexibility they need."
Hamilton came to A&M-Corpus Christi in 1993 as a professor of nursing. She was the Director of the School of Nursing and Health Sciences as it transitioned into the College of Nursing and Health Sciences in 2004.
"The graduates from this program are a testament to her leadership and commitment to student success," said Dr. Kelly Quintanilla, Provost and Vice President of Academic Affairs.
During her tenure as dean, the College received recognition for from the White House and the Department of Defense for the eLine Military Program that gives college credit to members of the military and veterans for their medical experience while in the Service. She was also instrumental in establishing the doctorate of nursing practice program that begins in the fall.
"Our students continue to amaze me with their creativity, critical thinking and achievements," Hamilton said. "It has been my honor to work with the students, faculty and staff of the CONHS. Advancements in the medical field are constant and I'm confident the College will continue to prepare and educate students to meet the needs for a knowledgeable and compassionate workforce."
In 2015, Hamilton received a resolution from the Texas House of Representatives for achievements in the nursing profession. She was also honored that same year as the Georgia Regents University Distinguished Alumna.


text:
AELIANUS TACTICUS PDF
Aelianus Tacticus was a Greek military writer whose famous treatise, Taktikē theōria ("Tactical theory"), is a detailed handbook for organising. Aelianus Tacticus: a phalanx of problems – CHRISTOPHER MATTHEW (revised, translated and edited by), THE TACTICS OF AELIAN, OR ON. 2nd cent. AD; Greek military writer. Works. The Taktiká, preserved under the name of Aelianus, are a textbook addressed to the Emperor Trajan. Manuscripts.
Author: Mamuro Mukinos
Genre: Automotive
Published (Last): 9 May 2009
Uploader: Kazrazahn
Phalangites were drilled to perform short forced marches if required" Wikipedia article on Macedonian phalanx, accessed Aelian, resident in Rome at the time of writing, also provides a brief account of the constitution of the Roman army and claims to have consulted all the best authoritiesincluding a lost treatise by the Greek historian, Polybius. Pearl Harbor attack, December 7,surprise aerial attack on the U. Macedoniandrill and tactics as practiced by the Hellenistic successors of Alexander the Great.
Moreover, his works, with those of Xenophon, Polybius, Onasander, Aeneas Tacticus and Arrian, were minutely studied by every soldier of the 16th and 17th centuries who wished to be master of his profession. We welcome suggested improvements to any of our articles.
The letter is influential in supporting the thesis of the early-modern Military Revolution.
Aelianus Tacticus
The author claims to have consulted all the best authorities, the chief of which was a lost treatise on the subject by Polybius. American Civil War, four-year war —65 between the United States and 11 Southern states that seceded….
By using this site, you agree to the Terms of Use and Privacy Policy. These diagrams were characterized by Sydney Anglo, The Martial Arts of Renaissance Europe 61 as "the earliest examples of diagrams representing human activity. Forster, Studien zu den griechischen Taktikern Hermes, xii. Ed Donald A Yerxa. It has been suggested that Aelian was the real author of most of Arrian's Tactica, and that the Taktike Theoria is a later revision of this original, but the theory is not generally accepted.
TOP 10 Related DEATHTRAP IRA LEVIN PDF
Our editors will review what you've submitted, tafticus if it meets our criteria, we'll tactichs it to the article.
Aelianus | Greek military writer |
For the Roman writer, see Claudius Aelianus. Before a battle the sarissa were carried in two pieces and then slid together when they were being used. By continuing to use this website, you agree to their use. You are commenting using your Twitter account. Muller, in PaulyWissowa, Realencycloptidie Stuttgart, Perhaps the chief value of Aelian's work lies in his critical account of preceding works on the art of warand in the fullness of his technical details in matters of drill.
This tenth century Byzantine manuscript is a collection of classical Greek, Hellenistic and Byzantine military treatises. Recent Themes in Military History [] Enter your email address to subscribe to this qelianus and receive notifications of new posts by email.
According to him, Euclid…. You are commenting using your Facebook account. This finely printed and illustrated atcticus may have been the first to use small woodcut figures of the various types of soldiers and cavalry in the diagrams of the formations. The text in W. Post was not sent – check your email addresses! The work arose, he says, from a conversation he had with the emperor Nerva at Frontinus's house at Formiae.
Macedonian, drill and tactics as practised by the Hellenistic successors of Alexander the Great. The first edition has an elegant engraved title page and beautiful engraved versions of the formations on 50 inserted folding plates. Rensselaer was one of the first colleges in the United States specifically dedicated to the study of science and civil engineering.
Recent aelinus Guest post: The emperor Leo VI.
From Macedonians to Musketeers: Aelianus Tacticus and the art of war
Any text you add should be original, not copied from other sources. Rance, "Maurice's Strategicon and the Ancients: The Arabic version of Aelian was made about The Macedonian phalanx of Aelian had many points of resemblance to the solid masses of pikemen and the "squadrons" of cavalry of the Spanish and Dutch systems, and the translations made in the 16th century formed the groundwork of numerous books on drill and tactics.
TOP 10 Related THE SLEEPWALKER CHERUB PDF
This edition also used letters to represent the infantry formations. It is concerned with the approach to combat; the disposition of troops and other personalities; the use made of various arms, ships, or aircraft; and the execution of movements for attack or defense.
After that, the third and following ranks will do the same. Leave a Reply Cancel reply Enter your comment here Critics of the 18th century — Guichard Folard and the Aeliajus de Ligne — were unanimous in thinking Aelian greatly inferior to Arrianbut Aelian exercised a great influence both on his immediate successors, the Byzantinesand later on the Arabswho translated the text for their own use.
Your contribution may be further edited by our staff, and its publication is subject to our final approval.
World War II, conflict that involved virtually every part of the world during the years — The Arabic tactixus of Aelian was made about From Macedonians to Musketeers: You may find it helpful to search within the site to see how similar or related subjects are covered.
Learn More in these related Britannica articles: In that edition Aelianus's diagrams were also represented by letters of type.
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UNTERNEHMEN DEUTSCH AUFBAUKURS LEHRBUCH PDF
203K SPECIFICATION OF REPAIRS PDF
FRANCOIS CHAMOUX CIVILIZATIA GREACA PDF
FORTESCUE CEREMONIES OF THE ROMAN RITE DESCRIBED PDF


Over the last weekend, with a mixture of sadness, joy, and in some cases relief, we have seen the end of many domestic football seasons. On Sunday we witnessed the final round of the English Primier League. We finally found out who would reap the rewards for a winning campaign and who would face the consequences of relegation. On the final day there were 10 matches to be decided, all matches to be played simultaneously. After the end of 90 minutes these were the winners and losers.
All of these teams, because of their top 4 finish, will be progressing to the UEFA Champions League for the upcoming season. It is believed that each of these teams recieve $100+ million for the accomplishment. Next we see the teams who didn't quite make it to the Champions League and must settle for the UEFA Europa League.
And now for the unfortunate teams that will suffer the consequences of finishing in the bottom 3.
Each of the teams listed will be RELEGATED into the 2nd tier of English Football, The Championship. As a concelation for these teams going down they are believed to get a one time "Parachute" payment of about $70 million to cushion these teams from the financial loss of relegation.
The next 4 teams will enter the playoffs.
At the conclusion of the playoffs 1 team will joining Wolves & Cardiff in the Premier League. The Playoff final will be played at Wembley Stadium on Saturday 26th May. This final is regaded as the most lucrative match in English football as the winner will recieve $100+ million in TV rights alone.
The competiton in the Premiership, in my opinion, is the best that can be found in the world. Most of the other major leagues have a similar structure. In my opinion the promotion and relegation format provides greater competion and as a result the quality of football improves.
So now comes the barren months of football….. or maybe not! Beyond supporting our own Louisville City FC in the USL, there are MLS matches and US Open Cup matches played throughout the warmer months and in to fall. And if you lean towards international leagues, there are a number of cup finals still to be played including the UEFA Champions League final. And that is all before we mention that this year we presents another edition of "The FIFA World Cup", the best known competition in all of soccer and perhaps the most prestigious.
Lets look at some of the Cup Matches that are still to be played.
Champions League Cup Final. Liverpool v. Real Madrid. Live from Kiev. 26th May kick off 02.45pm.
The FIFA World Cup begins, all of the matches will be shown live, starting 14th June.
The MLS and USL seasons have only just begun, go to the MLS and USL websites for match dates and times.
You will encounter, at all of these locations, many knowledgeable people who are passionate about the game of football/soccer. The owners/managers of these establishments are all football supporters and actively encourage and promote the beautiful game in the Louisville area. Not only will you find many lovely people and make friendships with many people from all walks of life, you can enjoy your favorite adult beverages and lots of great food at all of the above locations.
It's an amazing time to be a football fan in Louisville. Just because the biggest international leagues have seen their seasons conclude does not mean there isn't plenty to enjoy. And first and foremost, let's keep on supporting our Boys in Purple as LCFC looks to defend their USL Cup Championship and make a run in the US Open Cup. Goto Louivillecityfc.com for schedule and ticket information regarding Louisville City FC. While every seat is a good one when you are at a live football match, don't forget to ask for Scouse's House where our international flavor will be on full display throughout the season!
UP NEXT….. The FIFA World Cup explained. The preliminary rounds, the group stages and the last 16, "The elimination rounds".


text:
Q: How to launch an animation defined in a Style from a Control implementing it? I created a state in a Style named "Error" with an attached animation in a storyboard.
I would like to be able to launch that animation from a Control that uses that Style, whenever a certain condition is met.
For example, when a property in my View's DataContext is set to a certain value.
How exactly can I launch the storyboard defined in the control's Style ?

A: In the code behind of the control just do
Storyboard myStoryboard = this.FindResource("NameOfMyStoryBoard") as Storyboard;

if(myStoryboard != null)
{
    myStoryboard.Begin();
}

If your Storyboard is not set as a resource but is embedded in your style, declare it as a resource and reference it in your style.
MSDN documentation: Storyboard

A: Here it is how you do it from XAML using Triggers:
<Style TargetType="Button" x:Key="MyStyle">
            <Style.Resources>
                <Storyboard x:Key="MyGetFocusAnimation">
                    <DoubleAnimation Storyboard.TargetProperty="Height"
                                     To="50"
                                     Duration="0:0:.3" />
                </Storyboard>
                <Storyboard x:Key="MyLoseFocusAnimation">
                    <DoubleAnimation Storyboard.TargetProperty="Height"
                                     To="30"
                                     Duration="0:0:.3" />
                </Storyboard>
            </Style.Resources>
            <Style.Triggers>
                <Trigger Property="IsMouseOver"
                         Value="True">
                    <Trigger.EnterActions>
                        <BeginStoryboard Storyboard="{StaticResource MyGetFocusAnimation}" />
                    </Trigger.EnterActions>
                    <Trigger.ExitActions>
                        <BeginStoryboard Storyboard="{StaticResource MyLoseFocusAnimation}" />
                    </Trigger.ExitActions>
                </Trigger>
                <Trigger Property="IsKeyboardFocusWithin"
                         Value="True">
                    <Trigger.EnterActions>
                        <BeginStoryboard Storyboard="{StaticResource MyGetFocusAnimation}" />
                    </Trigger.EnterActions>
                    <Trigger.ExitActions>
                        <BeginStoryboard Storyboard="{StaticResource MyLoseFocusAnimation}" />
                    </Trigger.ExitActions>
                </Trigger>
            </Style.Triggers>
        </Style>

After you have defined the style like above you simply need to tell the button what style to use:
<Button Content="Content" Height="20" Width="100" Style="{StaticResource MyStyle}"/>

A: I ended up creating a class that will hold all of my controls' validation dependency properties:
public class ValidationProperties
{
     #region IsValid Dependency Property

    /// <summary>
    /// An attached dependency property which provides an
    /// </summary>
    public static readonly DependencyProperty IsValidProperty;

    /// <summary>
    /// Gets the <see cref="IsValidProperty"/> for a given
    /// <see cref="DependencyObject"/>, which provides an
    /// </summary>
    public static bool GetIsValid(DependencyObject obj)
    {
        return (bool)obj.GetValue(IsValidProperty);
    }

    /// <summary>
    /// Sets the attached <see cref="IsValidProperty"/> for a given
    /// <see cref="DependencyObject"/>, which provides an
    /// </summary>
    public static void SetIsValid(DependencyObject obj, bool value)
    {
        obj.SetValue(IsValidProperty, value);
    }

     #endregion IsValid Dependency Property

    static ValidationProperties()
    {
        // Register attached dependency property
        IsValidProperty = DependencyProperty.RegisterAttached("IsValid",
                                                            typeof(bool),
                                                            typeof(ValidationProperties),
                                                            new FrameworkPropertyMetadata(true));
    }
}

Following this, I modified the style to launch the animation depending on the value of that property for the control that uses the style:
(...)

<Trigger Property="AttachedProperties:ValidationProperties.IsValid" Value="false">
    <Trigger.EnterActions>
        <BeginStoryboard Storyboard="{StaticResource ControlIsInvalid}"/>
    </Trigger.EnterActions>
</Trigger>

(...)

I finally bound the Dependency Property on the Control that uses the Style to the value in the Model (via the View-Model):
<TextBox x:Name="UsernameTextbox"
       (...)
       AttachedProperties:ValidationProperties.IsValid="{Binding SessionHandler.SessionUser.UsernameIsValid}"/>


text:
You are here > Modern Marriage Ceremony Script
Modern Marriage Ceremony Script
Please see the script below, with the legal words that must be said in bold, and the optional words spoken by the couple in italics:
'Good morning/afternoon everybody, and on behalf of (Partner 1's name) and (Partner 2's name) I would like to extend a warm welcome to (name of the venue).
My name is (Registrar's name); I will conduct the ceremony, and (Registrar's name) will complete the schedule, which is the legal record of the marriage.
You are here today as guests to witness the joining in matrimony of (Partner 1's name) and (Partner 2's name), who would like to thank you all for coming to celebrate the beginning of their new life together as husband/wife and husband/wife.
It means a great deal to them that you can be here, to share in their happiness, and witness their marriage vows.
(Partner 1's name) and (Partner 2's name) the purpose of marriage is that you may always love, care for, and support each other, through the joys and sorrows of life.
Marriage means making a commitment to developing and maintaining co-operation, friendship and mutual respect.
It calls for trust, understanding and encouragement. But more than this, marriage is also intended to provide the love and friendship, help and comfort, which each ought to have for the other.
However, if there is any person here present who knows of any lawful impediment to this marriage, then they should declare it now.
[1ST READING (OPTIONAL)]
I am now going to ask each of you in turn to declare that you know of no legal reason you may not be married to each other. Please repeat after me:
I declare that I know of no legal reason why I (Partner 1's name), may not be joined in marriage to (Partner 2's name).
[2ND READING (OPTIONAL)]
Now that you have both declared that you are free to marry, we have come to the part of the ceremony where you are about to make your marriage contract with each other. Please repeat after me:
I, (Partner 1's name), take you (Partner 2's name), to be my wedded wife/husband. I promise to be loving, faithful and loyal to you for the rest of our lives together.
I, (Partner 2's name) take you (Partner 1's name), to be my wedded wife/husband. I promise to be loving, faithful and loyal to you for the rest of our lives together.
[PERSONAL VOWS (OPTIONAL)]
[RINGS (OPTIONAL)]
The wedding ring is an unbroken circle, it has no beginning and no end. It symbolises un-ending and everlasting love and is an outward sign of the lifelong promise you have made to each other.
Please repeat after me:
(Partner 2's name), I offer you this ring as a symbol of my love and devotion. May it remind you always of my vows to you today.
[3RD READING (OPTIONAL)]
(Partner 1's name) and (Partner 2's name), you have now both made the declarations required by law and have made a solemn and binding contract with each other in the presence of your witnesses, guests and the registrar of marriages.
It therefore gives me great pleasure, to pronounce you are now husband/wife and wife/husband.
Congratulations! You may now kiss each other!'
[SIGNING OF THE SCHEDULE]
[COUPLE DECLARED AS THEY HAVE ASKED TO BE DECLARED ON THE PRE-CEREMONY ORGANISER]


Docker Swarm serves as one of the crucial components of the Docker ecosystem and offers a native solution for you to orchestrate containers. It's turning out to be one of the preferred choices for Docker clustering thanks to its recent improvements.
This book covers Swarm, Swarm Mode, and SwarmKit. It gives you a guided tour on how Swarm works and how to work with Swarm. It describes how to set up local test installations and then moves to huge distributed infrastructures. You will be shown how Swarm works internally, what's new in Swarmkit, how to automate big Swarm deployments, and how to configure and operate a Swarm cluster on the public and private cloud.
This book will teach you how to meet the challenge of deploying massive production-ready applications and a huge number of containers on Swarm. You'll also cover advanced topics that include volumes, scheduling, a Libnetwork deep dive, security, and platform scalability.
Chapter 11: What is next?
Fabrizio Soppelsa works as an Escalations Engineer for Mirantis Inc., the OpenStack company. Docker activist and advocate since Docker 0.3 and author of several articles on the Docker tools in three languages, he is also a concrete contributor to the projects, especially Machine. He currently lives in Moscow, Russia, where he is the Docker Meetup organizer with his spider Mosha.
Chanwit Kaewkasi is an assistant professor at the School of Computer Engineering, Suranaree University of Technology, Thailand. He started contributing code to the Docker Swarm project in its early day around 0.1. Later in 2016, he led the Swarm2K project together with contributors around the world to form the largest Docker Swarm cluster. Beside teaching and doing research in the field of software engineering, he provides consulting to several companies to help them adopt Docker, microservices, and FaaS technologies.
He currently serves the Docker community as a Docker Captain.


text:
È celebre per le sue collaborazioni con band come Savatage e Trans-Siberian Orchestra.

Biografia
Da sempre residente in St. Petersburg (Florida), Johnny esordì suonando la tromba per l'orchestra scolastica. Affascinato dalla musica country e in seguito da artisti come Kiss, Lynyrd Skynyrd e Black Sabbath, si avvicinò sempre più a tale genere musicale e in breve tempo iniziò a prendere lezioni di basso.

Fondata con gli amici una band glam rock, dal nome Mariah, Johnny divenne poi componente dei Lefty prima di attirare l'attenzione degli emergenti Savatage, che lo ingaggiarono 1985. Con questa band pubblicò un totale di 12 dischi, rimanendo in formazione fino allo scioglimento del 2001. Middleton divenne anche dal 1995 componente della Trans-Siberian Orchestra.

Discografia

Savatage

1986 - Fight for the Rock
1987 - Hall of the Mountain King
1989 - Gutter Ballet
1991 - Streets: A Rock Opera
1993 - Edge of Thorns
1994 - Handful of Rain
1995 - Dead Winter Dead
1997 - The Wake of Magellan
2001 - Poets and Madmen

Raccolte
1996 - From the Gutter to the Stage
1997 - The Best and the Rest
1998 - Believe

Live
1995 - Japan Live '94
1995 - Final Bell/Ghost in the Ruins

Trans-Siberian Orchestra
1996 - Christmas Eve and Other Stories
1998 - The Christmas Attic
2000 - Beethoven's Last Night
2002 - The Lost Christmas Eve

Voci correlate
Savatage
Trans-Siberian Orchestra

Collegamenti esterni

Savatage
Bassisti heavy metal
Bassisti progressive metal


text:
Q: Efficiently finding NSManagedObject (Polygon) that a given point is within I'm trying to find if a given point (CLLocationCoordinate2D) is within a Polygon NSManagedObject.
My Polygon object is defined as:
public class Polygon: NSManagedObject {
    @NSManaged var points: NSOrderedSet?
    @NSManaged var centroid: Point?
    @NSManaged var computed : NSNumber!
}

And the Point object:
public class Point: NSManagedObject {
    @NSManaged var longitude: NSNumber!
    @NSManaged var latitude: NSNumber!
}

My current method uses this for creating the predicate for Polygon objects:
public static func nearbyPredicate(offset offset: Double, nearLocation location: CLLocationCoordinate2D) -> NSPredicate {
    let maxLat = location.latitude + offset
    let minLat = location.latitude - offset
    let maxLong = location.longitude - offset
    let minLong = location.longitude + offset
    return NSPredicate(format: "(centroid.latitude <= %@) && (centroid.latitude >= %@) && (centroid.longitude >= %@) && (centroid.longitude <= %@) && (computed == false)", argumentArray: [maxLat, minLat, maxLong, minLong])

}

Where offset is an arbitrary search 'radius'. The computed property is a boolean that I set to true once I have tried to detect if the Polygon contains the given point so that subsequent fetch calls exclude the object (as seen in the predicate). For detection, I first fetch Polygons with that predicate above, then use this:
let location : CLLocationCoordinate2D // ... point to test
for poly in polysFetched {
    poly.computed = NSNumber(bool: true)

    let path = UIBezierPath()
    path.moveToPoint(CGPoint(x: (poly.points!.array as! [Point]).first!.longitude.doubleValue, y: (poly.points!.array as! [Point]).first!.latitude.doubleValue)) //set initial point

    for pt in poly.points!.array as! [Point] {
        path.addLineToPoint(CGPoint(x: pt.longitude.doubleValue, y: pt.latitude.doubleValue))
    }

    if (CGPathContainsPoint(path.CGPath, nil, CGPoint(x: location.longitude, y: location.latitude), false)) {
        print("Poly \(poly) matches location \(location)")
        return
     }
}

This can be computationally heavy. The polygons I'm testing against can be quite large and oddly shaped.
Is there anyway to make this process more efficient using Core Data? Is there a way to offset the computation of calculating the containment of a point in an NSFetchRequest or in other ways?

A: I ended up resolving this in a few ways and sped up the process significantly. Since the Point NSManagedObject only existed for the purpose of fetching them via the Polygon relationships and computing the path (UIBezierPath) for the Polygon, I just computed the path during the creation of the Polygon object and stored it as a property. I also changed the Centriod relationship into the two properties c_lat, c_long and removed the Point class altogether! Indexing the c_lat and c_long properties sped up fetch requests too.
The new Polygon class is:
public class Polygon: NSManagedObject {
    @NSManaged internal var pathData : NSData!
    @NSManaged internal var c_lat : NSNumber!
    @NSManaged internal var c_long : NSNumber!
    @NSManaged var computed : NSNumber!

    var path : UIBezierPath {
        get {
            return NSKeyedUnarchiver.unarchiveObjectWithData(pathData) as! UIBezierPath
        }
        set {
            pathData = NSKeyedArchiver.archivedDataWithRootObject(newValue)
        }
    }

    var centroid : CLLocationCoordinate2D {
        get {
            return CLLocationCoordinate2D(latitude: c_lat.doubleValue, longitude: c_long.doubleValue)
        }
        set {
            c_lat = newValue.latitude
            c_long = newValue.longitude
        }
   }

    func containsLocation(location : CLLocationCoordinate2D) -> Bool {
        return self.path.containsPoint(CGPoint(x: location.latitude, y: location.longitude))
    }

}

Code Different's comment on my original post suggested the Wikipedia page for detecting points in polygons, but conveniently that is abstracted away from me with UIBezierPath and there exists a function CGPathContainsPoint that takes a boolean as its last argument to choose between the two algorithms for detecting points in polygons mentioned in the Wikipedia article.
For those encountering the same or similar issues that I did, I recommend inlining relationships and using computed properties to access non-primitive types of data you'd like to store in Core Data.


Iconic international brand Kangol initially launched in the South African women's market, with cosmetics. Over the past few years, Kangol SA has further expanded into women's underwear, swimwear, sleepwear and outerwear – a development that Modern Museum has proudly helped facilitate. Work for this exciting, fresh brand has included concept, photography, art direction and design of seasonal national brand campaigns, as well as retail interiors, signage and supporting branding. Further projects include website design, monthly social media management, packaging and in-store POS, for the likes of Truworths and Edgars.


For a 3 star stay in Jerusalem, look no further than Montefiore Hotel, a enviable property near Ma`alot Dafna in Israel. Guest reviews score the property 7.6 out of 10 or 'Good'. Huno.com guests rank the property in 32nd position out of a total of 111 hotels in the area.
Book online and compare discount rates from as low as ILS122 to ILS555. There are 48 mid range but very nice rooms to choose from which can be booked online.
When in Jerusalem, pay a visit to local areas such as Ma`alot Dafna and Al Musrarah, both of which are not far from the hotel. West Jerusalem, Mamilla and Ge'ullim are also within easy distance from the center of Jerusalem.
The property is available on 7 partner websites including Easytobook, Booking.com, Agoda, Hotels.com, Otels.com, Getaroom and Laterooms. Search Montefiore Hotel rates from these websites online by entering your search in form above or compare all accommodation in Jerusalem to the left.
The notable Bezalel Suites and the Lev Yerushalayim Hotel are within the local area. Other options including the Hillel 11 and City Center Jerusalem are great alternatives near Montefiore Hotel.
Free Independent Guide to the Lowest Rates at Montefiore Hotel Jerusalem.


text:
Николаус Фугер фон Оберндорф (; * 24 февруари 1596; † 12 май 1676) от фамилията Фугер от линията "Лилията" (фон дер Лилие) от Аугсбург е господар на Оберндорф в Швабия, Бавария, и Нордендорф до Аугсбург.

Той е син (от 17 деца) на Георг фон Кирхберг-Вайсенхорн (1560 – 1634), господар на Нордендорф и Вьорт, и съпругата му баронеса Хелена ди Мадруцо (* ок. 1562), дъщеря на маркиз, 5. барон Фортунато ди Мадруцо (1534 – 1606) и Маргарета фон Хоенемс († 1587/1593), дъщеря на граф Волф Дитрих фон Хоенемс/Алтемпс († 1538) и Чиара де Медичи († 1559). Внук е на фрайхер Маркус Фугер (1529 – 1597), банкер, търговец и хуманист, и графиня Сибила фон Еберщайн (1531 – 1589).

Баща му Георг фон Кирхберг-Вайсенхорн е господар на Нордендорф и Вьорт, имперски съветник, президент на тайния съвет и имперски представител в Република Сан Марко, и брат на фрайхер Антон Фугер фон Кирхберг (* 1 април 1563; † 24 юли 1616).

През 1533 г. Раймунд Фугер фон дер Лилие купува двореца и чифлика Оберндорф и околните села. Неговият брат Антон Фугер фон дер Лилие построява между 1535 и 1546 г. голям воден дворец. През 1580 г. един клон на фамилията Фугер купува Нордендорф и живее там до 1878 г.

Николаус Фугер фон Оберндорф умира на 80 години на 12 май 1676 г.

Фамилия
Николаус Фугер фон Оберндорф/Нордендорф се жени на 20 април 1625 г. за братовчедката си Елизабета Фугер (* 24 април 1584; † 24 юли 1636), вдовица на чичо му граф Антон Фугер фон Кирхберг, господар на Оберндорф, Нидералфинген, Дутенщайн и Вайсенхорн (1563 – 1616), дъщеря на фрайхер Октавиан Секундус Фугер (1549 – 1600) и Мария Якобея Фугер фон Кирхберг-Вайсенхорн (1562 – 1588), дъщеря на фрайхер Ханс Фугер фон Кирхберг-Вайсенхорн († 1598) и Елизабет Нотхафт († 1582). Бракът е бездетен.

Николаус Фугер фон Оберндорф се жени втори път на 4 ноември 1636 г. за принцеса Юлиана фон и цу Лихтенщайн (* 29 април 1605; † 16 април 1658), дъщеря на княз Гундакар фон Лихтенщайн (1580 – 1658) и първата му съпруга графиня Агнес от Източна Фризия и Ритберг (1584 – 1616). Те имат седем деца:
 Йохан Франц (* 11 юни 1637)
 Йохан Карл (*/† 1638)
 Максимилиана Констанца (* 17 юли 1639; † 17 ноември 1693), омъжена 1657 г. за граф Рудолф Хайнрих фон Шауенбург († 11 януари 1687)
 Юлиана (* 10 септември 1640; † октомври 1677, Тауфкирхен), омъжена 1671 г. за Йохан Адам фон Пуех, господар на Тауфкирхен († 1722)
 Георг Хартман (*/† 1642)
 Анна Елизабет (* 27 септември 1644)
 Франц Казимир (*/† 1647)

Литература
 Mark Häberlein: Die Fugger. Geschichte einer Augsburger Familie (1367 – 1650). Kohlhammer, Stuttgart 2006, ISBN 978-3-17-018472-5
 Franz Herre: Die Fugger in ihrer Zeit, Wißner Verlag, Augsburg, 12. Auflage, 2005 ISBN 3-89639-490-8
 Martin Kluger: Die Fugger. Die deutschen Medici in und um Augsburg, Context Verlag, Augsburg 2009 ISBN 978-3-939645-13-9
 Heimatverein Oberndorf-Eggelstetten-Flein e. V., 900 Jahre Oberndorf Eggelstetten Flein 1093 – 1993 | Bilder aus unserer Heimat mit 300 Jahren Häuserchronik, 1992
 Europäische Stammtafeln, J.A. Stargardt Verlag, Marburg, Schwennicke, Detlev (Ed.). 9:42

Източници

Фугери
Германска аристокрация
Родени през 1596 година
Починали през 1676 година


text:
The criminalisation of search and rescue activities in the Mediterranean Sea
Arguably, it is the 2002 Facilitation Directive that allows Member States to criminalise humanitarian NGOs rescuing migrants at sea because it does not make a clear distinction between human smuggling and humanitarian assistance. The 2002 Facilitators Package consists of the Council Directive (2002/90) defining the facilitation of unauthorised entry, transit and residence and the Framework Decision (2002/946) on the strengthening of the penal framework to prevent the facilitation of unauthorised entry, transit and residence. It is the basis of European policies tackling migrant smuggling and the criminalisation of the facilitation of unauthorised entry, transit and residence.
The Facilitators´ Package should therefore be revised to protect humanitarian actors. Several international and regional organisations such as the United Nations Human Rights Committee, UNODC and the Venice Commission, as well as EU institutions and agencies have suggested the insertion of a stipulation under EU law that explicitly excludes humanitarian assistance by civil society organisations or individuals from the definition of human smuggling.
Considering the growing criminalisation of humanitarian actors, the European Parliament approved a resolution on 5 July 2018 seeking to stop the criminalisation and sentencing of groups and people who support migrants in need. The European Parliament voiced "concern at the unintended consequences of the Facilitators Package on citizens providing humanitarian assistance to migrants and on the social cohesion of the receiving society as a whole". The resolution aims at decriminalising acts of humanitarian assistance. It specifically underlines that NGOs and individuals who support migrants perform a key role in backing national authorities and guaranteeing that humanitarian assistance is delivered to migrants in need.
Since the "migrants' crisis", NGOs and individuals have increasingly been investigated and prosecuted for helping migrants and their work has been made increasingly difficult. Italy and Malta have taken a firm position against humanitarian vessels rescuing migrants at sea. For example, Italy´s Interior Minister Matteo Salvini mentioned several times that Italian ports were close to humanitarian boats. Recently, the captain of a search-and-rescue ship faced up to 20 years in prison for aiding "illegal" immigration and collaborating with people smugglers. In April, a vessel previously used to save migrants´ at sea was declared unfit for rescue operations at sea by the Italian coastguards, obliging it to stop its activities. The Sea-Watch 3, a German rescue ship, was sized and docked by Italian authorities for several weeks before being released on June 1st.
The lack of safe, legal and orderly options often puts migrant smugglers as the sole means of fleeing wars, applying for asylum, reaching family members or escaping poverty. According to a UNHCR representative, the Mediterranean would be a "sea of blood" without rescue boats. The need for rescue boats is real and the work of crews operating them need to have the legal certainty that their actions cannot be criminalized.n 24 out of 28 Member States the facilitation of entry is a criminal offense, even without the objective of making a revenue out of it.
Author: Dr. Fanny Tittle-Mosser


Want help from a designer like AndrePowell?
I am a mechanical engineer with a passion for completing projects. I currently maintain and develop software used to configure and quote centrifugal pumps. This requires setting priorities, calculating ROI, project management, scoping projects, and leading direct reports as well as vendors. Throughout my career I have done whatever it takes to complete a project. Whether acting as the technical lead, entering data, researching manufacturing processes, deciphering ISO standard, or learning FORTRAN, I have never let a project fail because we could not find a resource. My career has pivoted from manufacturing to product development then to engineering analysis and finally to software developer. I am always looking forward to the next challenge.


text:
Плоске могу бити:

 Плоске (Ревуца), насељено мјесто у округу Ревуца, Банскобистрички крај, Словачка Република
 Плоске (Кошице-околина), насељено мјесто у округу Кошице-околина, Кошички крај, Словачка Република


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Muslim Women Floral Abaya Long Maxi Dress Kaftan Dubai Cocktail Robe Jilbab Gown
Vintage Abaya Women Muslim Long Maxi Cocktail Party Dress Dubai Jilbab Robe Gown
Dubai Women Abaya Muslim Jilbab Long Maxi Cocktail Party Dress Robe Gown Kaftan
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Women Slim Bodycon Long Dress Muslim Maxi Cocktail Party Jilbab Abaya Robes Gown
EXTRA 5% OFF See all eligible items
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Details about Women Slim Bodycon Long Dress Muslim Maxi Cocktail Party Jilbab Abaya Robes Gown
color ( 颜色 ):
-Select- Black Brown White Khaki Beige Gray Green Pink
Size (Women's):
-Select- US=XS/S US=M/L US=XL/2XL
FREE Standard Shipping from China/Hong Kong/Taiwan to worldwide | See details
Australia, Americas, Europe, Asia, New Zealand | See exclusions
Estimated between Mon. 5 Aug. and Wed. 28 Aug.
Last updated on 31 May, 2019 12:36:34 AEST View all revisions
Neckline: Round Neck Size Type: Regular
Country/Region of Manufacture: China MPN: Does not apply
UPC: Does not apply Colour: as photo show
EAN: Does not apply Style: Abaya
Size: XS/S/M/L/XL/2XL Material: Polyster
Color: Black/Brown/White/Khaki/Gray/Army Green/Pink Occasion: Casual/Party/Cocktail
Gender: Women Dress Length: Long
Season: Summer/Spring/Autumn Sleeve Length: Long Sleeve
Item location: Henan, China
Posting to: Australia, Americas, Europe, Asia, New Zealand
Excludes: Africa, Bermuda, Greenland, Saint Pierre and Miquelon, Bahrain, Iraq, Jordan, Kuwait, Lebanon, Oman, Qatar, Yemen, Afghanistan, Armenia, Bhutan, China, Georgia, Kyrgyzstan, Mongolia, Nepal, Pakistan, Tajikistan, American Samoa, Cook Islands, Fiji, French Polynesia, Guam, Kiribati, Marshall Islands, Micronesia, Nauru, New Caledonia, Niue, Palau, Papua New Guinea, Solomon Islands, Tonga, Tuvalu, Vanuatu, Wallis and Futuna, Western Samoa, Andorra, Bosnia and Herzegovina, Gibraltar, Guernsey, Iceland, Jersey, Liechtenstein, Macedonia, Moldova, Monaco, Montenegro, San Marino, Serbia, Svalbard and Jan Mayen, Vatican City State, Anguilla, Antigua and Barbuda, Aruba, Bahamas, Barbados, Belize, British Virgin Islands, Cayman Islands, Costa Rica, Dominica, Dominican Republic, El Salvador, Grenada, Guadeloupe, Guatemala, Haiti, Honduras, Jamaica, Martinique, Montserrat, Netherlands Antilles, Nicaragua, Panama, Saint Kitts-Nevis, Saint Lucia, Saint Vincent and the Grenadines, Trinidad and Tobago, Turks and Caicos Islands, Virgin Islands (U.S.), Brunei Darussalam, Cambodia, Laos, Argentina, Bolivia, Chile, Colombia, Ecuador, Falkland Islands (Islas Malvinas), French Guiana, Guyana, Paraguay, Peru, Suriname, Uruguay, Venezuela
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