text:
Q: Makefile If-Then Else and Loops Can someone explain how to use if-then statements and for loops in Makefiles? I can't seem to find any good documentation with examples.

A: Have you tried the GNU make documentation? It has a whole section about conditionals with examples.

A: Conditional Forms
Simple
conditional-directive
text-if-true
endif

Moderately Complex
conditional-directive
text-if-true
else
text-if-false
endif

More Complex
conditional-directive
text-if-one-is-true
else
conditional-directive
text-if-true
else
text-if-false
endif
endif

Conditional Directives
If Equal Syntax
ifeq (arg1, arg2)
ifeq 'arg1' 'arg2'
ifeq "arg1" "arg2"
ifeq "arg1" 'arg2'
ifeq 'arg1' "arg2"

If Not Equal Syntax
ifneq (arg1, arg2)
ifneq 'arg1' 'arg2'
ifneq "arg1" "arg2"
ifneq "arg1" 'arg2'
ifneq 'arg1' "arg2"

If Defined Syntax
ifdef variable-name

If Not Defined Syntax
ifndef variable-name

foreach Function
foreach Function Syntax
$(foreach var, list, text)

foreach Semantics
For each whitespace separated word in "list", the variable named by "var" is set to that word and text is executed.

A: You do see for loops alot of the time, but they are usually not needed. Here is an example of how one might perform a for loop without resorting to the shell
LIST_OF_THINGS_TO_DO = do_this do_that
$(LIST_OF_THINGS_TO_DO):
       run $@ > $@.out

SUBDIRS = snafu fubar
$(SUBDIRS):
     cd $@ && $(MAKE)

A: Here's an example if:
ifeq ($(strip $(OS)),Linux)
        PYTHON = /usr/bin/python
        FIND = /usr/bin/find
endif

Note that this comes with a word of warning that different versions of Make have slightly different syntax, none of which seems to be documented very well.


text:
package proxy

import (
	"testing"

	"github.com/stretchr/testify/require"
)

func TestCodec_ReadYourWrites(t *testing.T) {
	framePtr := &frame{}
	data := []byte{0xDE, 0xAD, 0xBE, 0xEF}
	codec := rawCodec{}
	require.NoError(t, codec.Unmarshal(data, framePtr), "unmarshalling must go ok")
	out, err := codec.Marshal(framePtr)
	require.NoError(t, err, "no marshal error")
	require.Equal(t, data, out, "output and data must be the same")

	// reuse
	require.NoError(t, codec.Unmarshal([]byte{0x55}, framePtr), "unmarshalling must go ok")
	out, err = codec.Marshal(framePtr)
	require.NoError(t, err, "no marshal error")
	require.Equal(t, []byte{0x55}, out, "output and data must be the same")

}

redpajama_set_name: RedPajamaGithub


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hello,ciao…this all white outfit is very charming on You! it make shinning Your stunning Beauty…cheers!
Ciao! thank You for the reply,cannot wait to see and enjoy a new great outfit of Yours!


Our company has been crafting office accessories, desk sets and gifts for more than 25 years. Previously, we were using only leather and wood , however in contemporary models veneers and artificial leather materials are also in use.
In our workshops, first the projects of our models are developed, then the production is proceeded. The customer satisfaction being of primary importance, we are constantly upgrading our models. Also in our research and development workshop, not only the projects for new models but also the research about the stability and the use of our products are carried out. Each piece of our handmade products are meticulously revised over and over, and the end user receives the product in its utmost perfectness.
The leather and veneer materials we use are of Italian origin. Though we favor the use of our local materials, in order to catch a certain level of quality and aesthetics, we feel compelled to use some imported raw materials.
In each step of our production, we specially prefer using natural and recyclable materials. Now we serve offer thirty colors of leather, eight types of veneer and thirty-five different colors of artificial leather. Also in the case of different color requests, we are more than willing to provide different options.
As a consequence of our strong desire to leave a remarkable mark both in foreign and local markets, we are always urged to aim for better. For that reason, our main target is to use the best of raw materials and consequently bring out the best of our products.


Texas and Oklahama State are battling it out in court with $600,000 at stake. This is just another absurd display of college football's glaring contradictions.
Last month at the Payne County, Oklahoma courthouse, attorneys for Oklahoma State University pressed University of Texas head football coach Charlie Strong and his offensive assistants Shawn Watson and Joe Wickline on a simple question: Who calls the plays for the Longhorns offense?
Seems like an easy enough question, right? Not so fast. "I'm a decision-maker. I make calls. I call plays," Wickline said. But all three coaches testified play calling was shared between Watson and Wickline; that Watson called pass plays and Wickline called run plays. Watson said, "When I walk in the room, I get it started." Watson acknowledged it was his voice that sent the plays over the headset. "It can only come out of one mouth," he said. And when asked who called the most plays in Texas's blowout bowl loss to the University of Arkansas this past December, Strong said simply, "I don't know."
The question of who calls plays for the Longhorns, who went 6-7 and ranked 109th out of 128 Football Bowl Subdivison teams in scoring at 21.4 points per game in 2014, doesn't seem like it's worth the time and effort of public employees and state-compensated attorneys. But it has been since the lawsuit was filed back in October, thanks to a clause in Wickline's contract that could force him to forfeit $600,000 for making a "lateral move" to Texas rather than accepting a promotion with play-calling duties as called for in his contract with Oklahoma State.
This, right here, is the magic of amateur sports. In a world where men like Clemson University head coach Dabo Swinney can say "As far as paying players, professionalizing college athletics, that's where you lose me," his fellow coaches are arguing in an out-of-state courtroom over contract law and hundreds of thousands of dollars. In that same world, Texas Athletic Director Steve Patterson can make this argument: "The university is largely creating the value," he told Texas Monthly last year. "No corporations are going to be lining up to pay them money out of high school. They also get a huge benefit on the college stage by having such assets as strength coaches, nutritionists, psychological support, tutors, mentors, media training. All of that costs money. It is too easy for those in the sports press to say, 'You are manipulating and using these kids. You are giving them nothing.' We are not giving them nothing."
At its core, Patterson's argument is no different from Donald Sterling's infamous, "Who makes the game? Do I make the game, or do they make the game?" rhetoric. It's no different than Darren Rovell's claim that we watch college basketball not for the athletes but for the laundry, a claim economist Andy Schwarz dismantled in this space last month.
Wickline's case makes the contradictions of the claim crystal clear. He is under contract to make $575,000 per season with the Longhorns. At least one of his fellow assistants has clauses in his contract worth as much as $185,000 for incentives like winning the Big XII championship or the national championship. If the university truly created the value, as Patterson claims, where are these salaries and bonuses coming from? If Texas fans are paying to watch laundry, what is Joe Wickline doing to make him worth $575,000 per year to Texas, and worth restrictive contract clauses and a lawsuit to Oklahoma State? If Texas fans are paying to watch laundry, why are incentives for championships necessary? What makes Wickline worth more than the thousands who would gladly don a burnt orange polo and a headset and stroll the Texas Memorial Stadium sidelines for free?
The answer is obvious: Despite Texas's horrible offensive display last season, they still won more games with Wickline than they would have with your dad calling plays and coaching offensive linemen. Texas and Oklahoma State are in the market for wins, and that's why they pay their coaches and "compensate" their athletes. Value doesn't exist without high profile victories and conference and national championships. There's a reason the University of Alabama's Nick Saban makes $7,160,187 and South Alabama's Joey Jones makes $435,000, and it's not because of the logos on the front of their high-performance polos. If the University of Texas creates the value of its football team, why was it willing to pay Saban $100 million to come coach, as Paul Finebaum reported in his latest book?
No matter what the Steve Pattersons of the world say, people simply won't pay as much to watch a losing college football team. It doesn't matter how much history is in the program or how recognizable its team colors are, people will stop showing up when the wins stop piling up. If the University of Texas really created all of the value of its football team, their coaches wouldn't have spent last Wednesday in an Oklahoma court quibbling over a $600,000 contract clause and what the definition of a play-caller is. Texas and Oklahoma State are fighting over Joe Wickline because he wins football games.
Wickline and the rest of his coaching brethren provide value, and so do the players he instructs, the players who executed his and Watson's plays every Saturday last fall. One side makes six figures yearly; the other is compensated in the equivalent of educational gift certificates. That these coaches are engaged in six-figure court battles over who calls plays on the sidelines while players have maximum restrictions on food allowances only magnifies this contradiction. And as long as men like Wickline are earning half a million dollars and fighting over half a million more while players get nothing—or at least nothing they can freely spend—there's no reason to take anything an enterprising administrator like Steve Patterson says seriously.


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Q: Why is the graphics so poor?
A: We consider gameplay to be a much higher priority than graphics. Unlike the trend with modern games where 95 % of the game budget goes to the designers, we place 95 % into the gameplay. Everybody can't afford to purchase the newest hardware twice a year just to play games. By removing the eye candy we let people with older hardware enjoy the game.
Q: You just said that people with older hardware can enjoy the game but on my computer the gameplay isn't smooth, why?
A: Wheels On Fire uses advanced physics simulation which make heavy use of the CPU. Older CPU's can't handle the amount of calculations required. That is something we can't do anything about, and we don't plan to either. We said that the graphics was poor not that Wheels On Fire could be enjoyed on a slow CPU.
Q: I have a firewall and I need to open ports for Wheels On Fire to work. What ports does Wheels On Fire use?
A: Open port 26666 and port 1900 for TCP and you should be fine.
Q: When I click on Direct Host in full screen mode, the game ceases to respond. What's happening? Also pressing ALT+TAB or any other key combination that switches back to windows causes the game to exit. Why?
A: The reason why Wheels On Fire stops responding when Direct Hosting in full screen can be because your firewall is asking you if you should allow Wheels On Fire to access the internet. Running the game in windowed mode first to enable Wheels On Fire to access the internet or manually configure your firewall to allow Wheels On Fire will fix the problem. Switching back to Windows in full screen is not supported.
Q: When will new patches, cars, course and weapons be released?
A: We are working as much as we can to be able to release new features. It is hard to tell how frequent the updates will be. But we will release them as soon as they are completed and tested.
Q: I lost my key, can it be emailed to me?
A: No, we don't supply the keys so we can't send them to you. Make sure you keep the key in other places than on your computer. We will never ask for your key. Don't give out your key to anybody!
Q: Why is this game so cheap?
A: We only provide the software with limited support. That is why we can keep the costs down.
Q: Why is this game so expensive?
A: We don't consider it to be expensive. Developing games isn't free.
Q: I have a really nice feature I would like to add. How can I contact you?
A: You can't at the moment. We don't have the time or the money to read mails. But keep the idea and perhaps in the future we have the time to answer mails. You can however e-mail support@wheelsonfire.com to report a bug or to contact technical support.


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Here is the synopsis. Humanity is more than ever threatened by its own actions; we hear a lot about the need to minimize footprints and to reduce our impact. But what if our footprints were beneficial? What if we could meet human needs while increasing the health and well-being of our planet? This is the premise behind permaculture: a design process based on the replication of patterns found in nature. INHABIT explores the many environmental issues facing us today and examines solutions that are being applied using the ecological design lens of permaculture. Focused mostly on the Northeastern and Midwestern regions of the United States, Inhabit provides an intimate look at permaculture peoples and practices ranging from rural, suburban, and urban landscapes.


text:
SAUSD School Board candidate McLoughlin ditches his colleagues Rodriguez and Alvarez
Posted on October 14, 2016 by Editor Posted in 2016 Elections, Alfonso Alvarez, Education, Mark McLoughlin, Politics, Rigo Rodriguez, Santa Ana, SAUSD	6 Comments
It looks like SAUSD School Board candidate Mark McLoughlin has ditched the other two candidates who were also endorsed by the Santa Ana Educators' Association – Dr. Rigoberto Rodriguez and Dr. Alfonso Alvarez. McLouthlin's campaign just dropped a mailer that omits any mention of Rodriguez and Alvarez and encourages voters to only vote for McLoughlin.
On one page of the mailer McLoughlin goes as far as to show the voters that they should only vote for him!
McLoughlin surrounds himself with Latino children in the mailer but this is the same man who worked to recall a previous SAUSD Trustee, Nativo Lopez because Lopez wanted to build a neighborhood school in McLoughlin's area. And McLoughlin has steadfastly opposed the completion of the Santiago Creek Bike Trail – reportedly because he doesn't want the city's youth to bother him and his neighbors by riding their bikes on the trail.
McLoughlin also got caught this year trying to use the ballot designation of teacher, until another School Board candidate, Planning Commissioner Bruce Bauer, called him on it and a judge forced McLoughlin to change his bogus campaign designation to "Education Advisor." He sits on the board of Neighborhood, Inc. and McLoughlin has no formal training in the field of education. He is a businessman.
We can see why the teachers' union endorsed Rodriguez and Alvarez as they are both accomplished teachers and counselors. Why in the world did the teachers back McLoughlin – and will the teachers regret backing him now that he has ditched his fellow candidates?
Check out Santa Ana High School grad Becky Pedroza's custom stickers on Etsy!
2016 Elections Alfonso Alvarez mark mcloughlin Rigoberto Rodriguez santa ana educator's association SAUSD sausd school board
« Mailer slams Council Members Reyna and Sarmiento for wasting taxpayer money
Man gets life in prison after shooting and killing a man near the O.C. School of the Arts »
6 thoughts on "SAUSD School Board candidate McLoughlin ditches his colleagues Rodriguez and Alvarez"
Seamus MacDuff says:
On June 25, 2009, Lopez was charged by the Los Angeles District Attorney's office with four felonies: fraudulent voter registration, fraudulent document filing, perjury and fraudulent voting. Lopez allegedly leased office space in Boyle Heights and registered to vote using that address although he lived with his family in Orange County. It was further alleged that Lopez, former president of the Mexican American Political Assn., cast an illegal ballot in L.A. in the 2008 presidential primary based on the business domicile he used, but interpreted as disallowed by the L.A. County District Attorney's office. In a plea deal, Lopez pleaded guilty to one felony count of voter registration fraud related to the voter fraud charges.
From Wiki –
Lopez was recalled in 2003. Before all that stuff you referenced happened.
I am aware of that – this is additional information to confirm that Nativo "Larry" Lopez is a no-goodnik. He was recalled because he is a criminal creep and an advocate of pay to play – just like the Clintons.
I don't know that much changed after the recall. The district has passed two bad bond measures and they used bond money to build a new HQ and to build a warehouse. The board has completely failed with their Superintendent hires, repeatedly. The last guy used the SAUSD to pump up his pension then arranged for a free trip to China on the way out.
tina andres says:
C'mon, Art. Each candidate has their own campaign materials and I think you know that. Ultimately, I am sure you understand that a candidate still has to do everything in their power to get themselves elected using the campaign funds donated to their own campaign. SAEA and CSEA created materials for our endorsed team and it was never an understanding that each individual candidate would use their own campaign funds to campaign for the other two candidates on the team. Alfonso Alvarez hits the streets nearly everyday with his own individual campaign materials. You just have decided to pick on one candidate on our team because you don't like him.
I don't think that Rigo or Alfonso would have sent out a mailer like this. It is one thing to have a walk piece touting your campaign it is quite another to tell the voters to ONLY vote for you when you are part of a slate. It is pretty lame.

redpajama_set_name: RedPajamaCommonCrawl


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text:
Theodore scores in OT, Golden Knights beats Canadiens
Jefferson, Hornets snap 16-game losing streak against Heat
Al Jefferson scored a season-high 28 points and added 10 rebounds, and the Charlotte Hornets beat Miami 96-89 Wednesday night to snap a 16-game, regular-season losing streak against the Heat.
Al Jefferson
CHARLOTTE, N.C. - The Charlotte Hornets finally figured out a way to beat the Miami Heat: Play them without LeBron James.
Charlotte was 0-for-LeBron against the Heat in the James era, losing 16 straight regular-season games before getting swept in the first round of the Eastern Conference playoffs by Miami last season.
But with James in Cleveland, Al Jefferson scored a season-high 28 points and added 10 rebounds as Charlotte defeated Miami 96-89 on Wednesday night.
Nobody in the Charlotte locker room had ever beaten the Heat as a member of the then-Bobcats.
"It's good to get the monkey off our back," said fourth-year point guard Kemba Walker, who was 0 for 16 against James including the post-season.
With Chris Andersen still out with a rib injury, the Heat had no answer for Jefferson in the low post.
They tried Shawne Williams and Justin Hamilton on the 6-foot-9, 289-pound centre, but the Hornets continuously pounded the ball into the paint and Jefferson scored with relative ease, finishing 13 of 25 from the field.
"I feel like Birdman is a guy who does give me a challenge because he's a little taller, but all of the guys out there today I felt like I had an advantage," Jefferson said.
Jefferson has now scored in double digits in 30 straight regular-season games dating to last season. He has scored at least 20 points in 23 of those games.
The third-team All-NBA selection had everything working in his bag of tricks.
Jefferson was fouled on the wrist on the way up by Williams in the third quarter and threw up a prayer hoping the ball would go in. It hit the top of the backboard and lazily fell down on the rim, bounced a few times and went in for a three-point play.
Walker had 16 points and seven assists, and Cody Zeller turned in another solid game off the bench with 13 points and eight rebounds for the Hornets (2-3), who snapped a three-game losing streak.
Chris Bosh had 23 points and 13 rebounds for Miami (3-2). It was Bosh's fifth straight 20-point game to open the season. Dwyane Wade added 23 points for Miami, which has lost back-to-back games after starting the season 3-0.
Heat coach Erik Spoelstra said he likes the way Wade is rounding into shape.
"I've been very encouraged by his commitment," Spoelstra said.
The Hornets trailed 57-56 late in the third quarter before Walker put them ahead for good with a pair of free throws and rookie P.J. Hairston knocked down a 3-pointer from the left wing, helping ignite a 21-7 run.
Spoelstra went with rookie point guard Shabazz Napier down the stretch instead of Norris Cole, who struggled from the field and scored just two points on 1-of-6 shooting. Napier's driving layup with 2:07 left in the game cut Charlotte's lead to 88-85 with 2:07 left.
But Walker buried a 3-pointer over Napier, his former Connecticut teammate, from the right wing to give the Hornets some breathing room.
Heat: Josh McRoberts was a key player in Charlotte's starting rotation, but he's seen limited playing time with the Heat this season while working his way back from a toe injury. He played less than eight minutes.
Hornets: The Hornets drafted centre Bismack Biyombo with the seventh pick in the 2011 NBA draft, but he's fallen out of the team's rotation and hasn't played in five games this season. ... Lance Stephenson was charged with a flagrant-1 foul for a screen he set on Mario Chalmers in the fourth quarter.
STRUGGLING STEPHENSON
Stephenson, Charlotte's big free agent acquisition, continued to struggle from the field. He was 3 of 12 and is shooting just 27 per cent through five games.
WHO IS AWAY?
The Hornets wore their "away" purple jerseys, giving their fans a look at all three of their primary jerseys. The team wore their teal and white jerseys in their previous two home games.
Heat: Host Minnesota on Saturday night.
Hornets: Host Atlanta on Friday night.


text:
iPhone SE vs iPhone 6: How To Choose Between The Two
By Derick B
Apple took a sidestep when they released the iPhone SE, since they packaged the newer processor and cameras of the iPhone 6s into the body of the smaller 4-inch iPhone 5s. At a time when the 4.7-inch display of the iPhone 6 has become the standard, the iPhone SE presented a compact choice that packs more power. Fast forward a few years later and they're now both great options if you're looking for a budget iPhone — here's a comparison that should help you choose the better one for you.
iPhone SE vs iPhone 6 Comparison Chart
Battery and Other Features
Model iPhone SE 64GB (GSM Unlocked) iPhone 6 64GB (GSM Unlocked)
Price Check Price Check Price
Display 4″ Retina 4.7″ Retina HD
Resolution 640 x 1136 pixels 750 x 1334 pixels
Screen-to-Body Ratio 60.66% 66.14%
Height 4.87 inches 5.44 inches
Width 2.31 inches 2.64 inches
Thickness 0.30 inches 0.27 inches
Weight 3.99 oz 4.55 oz
System Chip Apple A9 Apple A8
Processor Dual-core 1.84 GHz Dual-core 1.4 GHz
Internal Storage 16GB, 32GB, 64GB, 128GB 16GB, 32GB, 64GB, 128GB
Front Camera 1.2MP 1.2MP
Rear Camera 12MP 8MP
Video 4K at 30 fps, 1080p at 30/60/120 fps, 720p at 240 fps 1080p at 30/60 fps
Colors Space Gray, Gold, Rose Gold, Silver Space Gray, Gold, Silver
Battery Life Up to 14 hours Up to 14 hours
Released March 2016 September 2014
The iPhone 6 is larger and slimmer.
Notice the flat edges of the iPhone SE (left) vs the rounded curves of the iPhone 6 (right).
You'll immediately notice how different the designs on these iPhones are. Aside from the smaller length, the iPhone SE has flat edges with a matte finish that give it a more metallic look even though both are cased in aluminum and glass. It's essentially a refresh of the popular design of the iPhone 5 and 5s — same body, new hardware. In comparison, the iPhone 6 has rounded curves all throughout, so it feels much slimmer despite being bigger.
The bezels on the iPhone 6 are also noticeably thinner than on the iPhone SE. It has a bit better screen-to-body ratio of 66.14% against the 60.66% of the SE. Lastly, you can get either in Gold, Space Gray, or Silver, but the iPhone SE has an additional Rose Gold option.
The iPhone 6 has a bigger display.
Apple once called the iPhone 6 "bigger than bigger."
In addition to their builds being completely different, the iPhone SE has a 4-inch screen while it's 4.7″ on the iPhone 6. On paper, the iPhone 6's screen looks better, but it's not easy to notice the difference given they still have the same 326 pixel density. Details will appear just as sharp and bright on the smaller SE. With its bigger size you get a higher resolution of 750 x 1334 pixels on the iPhone 6, the same one that the next two generations will keep, so you can see a little bit more on the nice Retina HD display. One feature it does have that the SE doesn't is dual-domain pixels, which let you view the display from wider angles.
Depending on your preferences, you should already have an idea of which iPhone appeals more to you. If you like a compact phone that feels solid in your hand, the iPhone SE will feel comfortable to use. However, if you just really want a bigger screen, the iPhone 6 will deliver.
The iPhone SE is a lot faster than the iPhone 6.
Benchmark tests show that the iPhone SE can be twice as fast as the iPhone 6.
Apple wanted to offer the power of its then-most advanced chip into a smaller frame that some undoubtedly prefer. What this means is the iPhone SE is more powerful in every way than the iPhone 6. It uses the dual-core A9 clocked at 1.84 GHz with an M9 coprocessor, the same that can be found on the iPhone 6s, in addition to 2GB of RAM. Meanwhile, the iPhone 6 still has the older A8 chip clocked at 1.4 GHz with M8 coprocessor, and just 1GB of RAM.
Benchmark tests illustrate the difference in performance. AnTuTu shows that the iPhone 6 scored 73618 while the iPhone SE got 121726. On Geekbench 4, the iPhone 6 received 1388 and the SE got 2409 on the single-core test, while they scored 2363 and 4169, respectively, on the multi-core test.
That's how big of a difference double the RAM, as well as a newer Apple chip, makes. Moreover, though both of them have dual-core processors, the one on the SE is clocked a little higher. The more recent M9 motion coprocessor also enables Siri to respond to voice prompts faster, and it enhances the SE's fitness tracking capabilities as it's connected to the accelerometer, gyroscope, and compass.
The iPhone SE has a better rear camera.
The iPhone SE has more advanced cameras than the iPhone 6.
Camera-wise, the main one on the iPhone 6 isn't bad but it's not amazing either. The rear camera on the SE is simply better, not just because it has a bigger megapixel count than the iPhone 6, at 12 vs 8 MP, but also because it can shoot 4K videos. If you like recording videos, the iPhone SE is the clear choice as it also shoots in 240 fps super slow-motion. Furthermore, with a beefier processor, you'll be able to edit those videos faster on the SE as well.
They do have the same front camera megapixel count at 1.2 MP, although the iPhone SE has a new Live Photos feature which lets you view the moments before and after a still photo, essentially turning it into a mini-video. Finally, its Retina display can act as a flash for the Facetime HD camera in low light conditions.
The iPhone SE lasts slightly longer.
The iPhone SE's smaller screen requires less power.
Normally, you'd assume that the bigger phone will have a longer runtime due to its bigger battery, but that's not the case here. The smaller screen and more advanced processor of the iPhone SE consumes less power, so you can use it longer on average. Internal storage options are the same at 16GB, 32GB, 64GB, 128GB tiers. Both also have all the connectivity features you'd expect in modern smartphones.
Get the iPhone 6 if you want a bigger screen; get the iPhone SE if you want a faster phone.
Apple iPhone SE, GSM Unlocked, 64GB - Space Gray...
Apple iPhone 6, GSM Unlocked, 64GB - (Renewed)
Overall, the only real decision you have to make here is determining whether size or performance is more important to you. If you can get over the smaller size of the iPhone SE, you'll be happy with how much faster it is than the iPhone 6. But if you want a bigger screen with wider viewing angles, the iPhone 6 will serve you well. Perhaps a third consideration should be placed on the cameras, as the iPhone SE has the more advanced pair. This simply places the iPhone SE the better smartphone in our eyes, though as we mentioned, your preferences are what matter.
Alternatively, if you want to have the best of both worlds, consider the iPhone 6s, as it combines the big display of the iPhone 6 with the hardware capabilities of the iPhone SE.
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Audio2Phones118Tablets36Vacuums17Wearables13


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What's so extreme about using the word "tragic" to describe abortion?
Hillary Clinton did it in 2005. As she prepared a run for president, Clinton, then a senator from New York, said opposing sides in the abortion debate should find "common ground" to prevent unwanted pregnancies and reduce abortions — which she called "a sad, even tragic choice to many, many women."
This week, the Massachusetts Republican state committee adopted a platform that keys at least partly into a similar sentiment: "We affirm the inherent dignity and sanctity of human life," the Republican platform reads. "We believe that every instance of abortion is tragic. We advocate policies that will assist a woman during a crisis pregnancy." The GOP platform also states support for "traditional marriage."
NARAL Pro-Choice Massachusetts, an abortion rights advocacy group, immediately denounced the Republican state committee for supporting "a fringe and extreme social agenda"; the description "tragic" was cited as evidence. And Attorney General Martha Coakley, one of five Democrats running for governor, swiftly sent out an e-mail seeking contributions in the fight she expects to wage against Republican Charlie Baker because he "endorsed a platform that would be a major step backward for women's rights and equality."
Back in 2005, liberal Democrats knew exactly what Clinton was doing when she praised the influence of "religious and moral values" on delaying teenage girls from becoming sexually active, and declared that reducing abortions was a worthy goal. As she laid the groundwork for her presidential campaign, Clinton, a prochoice, feminist icon, was reaching out from the left to more conservative and religious voters in the middle.
Her core supporters may have found it calculating, but they didn't consider it "a major step backward for women's rights and equality." After John Kerry's 2004 loss to George W. Bush, Democrats pragmatically concluded some language-softening would help on the abortion rights front. But over the last decade, the dynamic shifted.
The abortion rate in the United States dropped to its lowest point since the Supreme Court legalized it in 1973, according to a recent study by the Guttmacher Institute, a proabortion-rights think tank. Is that a victory for the persuasiveness of the antiabortion movement? Or is it because — as abortion rights advocates believe — states are making it harder for women who want abortions to get them? Last year, 22 states adopted 70 different restrictions, including late-abortion bans, doctor and clinic regulations, and bans on insurance coverage, The New York Times reported.
Baker is a moderate Republican who supports abortion rights and gay marriage. The language in the GOP platform reflects the view of more conservative activists who make up the elected state committee. Hanging a conservative social agenda around Baker's neck helps Massachusetts Democrats, and reflects the national Democratic strategy to set up a Republican "war on women."
Massachusetts is a battleground because of McCullen v. Coakley, the case now before the Supreme Court which address the 35-foot buffer zone around abortion clinics. The plaintiff, Eleanor McCullen, contends the buffer zone violates her First Amendment rights by restricting her ability to counsel women seeking abortions. As attorney general, Coakley argues that the buffer zone is necessary to protect women from harassment and violence.
Coakley's credentials as an avid defender of abortion rights are an important part of her gubernatorial campaign — just as they were for her unsuccessful bid for US Senate in 2010. In that primary, in which she was the only female candidate, Coakley said would rather vote no on the national health care bill now known as Obamacare than accept any new restrictions on abortion. In the general election, she questioned the abortion rights commitment of her Republican opponent, Scott Brown, who supported Roe v. Wade but opposed federal funding for abortion. She ultimately lost the race to Brown by a 5-point margin.
In the post-mortems that followed, Brown's victory was largely attributed to personality. However, his personality was not enough to beat Democrat Elizabeth Warren, who deftly used women's issues, including abortion rights, against Brown.
In the 2014 governor's race, Coakley shows signs of taking up the same rallying cry. "Tragic choice" no longer represents a quest for common ground. They are fighting words — to extremists on both sides of the abortion battle.
Joan Vennochi can be reached at vennochi@globe.com. Follow her on Twitter @Joan_Vennochi.


As a Grammy award-winning musician, author and ethnomusicologist, Mickey Hart is coming up on half a century "at the edge" of music, art, science and culture. It's a journey that has taken the globally revered drummer/percussionist from the band room at Lawrence High School in the late 50s and very early 60s, to the deepest psychedelic grooves of the Grateful Dead for 30 years, to every corner of the world in the quest for global rhythm, to the sonic origins of the cosmos and now back to his home and recording studio in Sonoma County, California.
But for this long, strange trip to get started at all, Mickey Hart first had to be saved.
From the very beginnings of high school on Long Island, Hart was drawn to the call of the drum. So much so that everything else fell by the wayside—almost to the point of truancy. But Jones was there to catch him when he fell. It was Jones' belief in Hart that allowed Hart to believe in himself, and to believe that his spirit and his instincts could take him wherever he wanted to go in music and beyond.
From this distilled point Hart eloquently draws the super helix from sound to cyber-syntax, effortlessly articulating the role that technology will play in our future, musical and otherwise.
With his heart, mind and musical sense firmly rooted in the present, Hart is reaching as far back into the past as one can conceivably go (13.7 billion years to be nearly exact). In that very same spark of inspiration and exploration of antiquity, Hart is also catching a very clear glimpse of the global future beyond the rhythm and the "vibrating membranes" of the universe. And while he believes in music's intrinsic healing power, he is also acutely aware that any power in the wrong hands can lead to our collective undoing.
So with the inter-galactic power of the drum running throughout and around him, protecting him at all times, what is Mickey Hart afraid of?
"It's the code wars," warns Hart. "The new battlefield is code. He who has the code is the most helpful or the most dangerous. And he who uses the code for good or evil will be the person who will determine the fate of the planet.
The Mickey Hart Band will perform at the Brooklyn Bowl on August 18 and a special show at the Blue Point Brewery in Patchogue on August 20. For all things Mickey Hart, including his "Universe of Sound" foray, his discography, bibliography, new project and tour dates, visit MickeyHart.net.


text:
Q: OpenGL: Light source that follows the camera? Guys, how can this be. But in my previous projects, it wasn't. And I don't know how I attempt this effect. Tell me the truth, please.

A: Section 18.050, How can I make my light move or not move and control the light position?:

First, you must understand how the
  light position is transformed by
  OpenGL.
The light position is transformed by
  the contents of the current top of the
  ModelView matrix stack when you
  specify the light position with a call
  to glLightfv( GL_LIGHTn, GL_POSITION, ... ).
  If you later change the ModelView
  matrix, such as when the view changes
  for the next frame, the light position
  isn't automatically retransformed by
  the new contents of the ModelView
  matrix. If you want to update the
  light's position, you must again
  specify the light position with a call
  to glLightfv( GL_LIGHTn, GL_POSITION, ... ).
...

*

*How can I make my light position stay fixed relative to my eye
  position? How do I make a headlight?

  You need to specify your light in eye
  coordinate space. To do so, set the
  ModelView matrix to the identity, then
  specify your light position. To make a
  headlight (a light that appears to be
  positioned at or near the eye and
  shining along the line of sight), set
  the ModelView to the identity, set the
  light position at (or near) the
  origin, and set the direction to the
  negative Z axis.
When a light's position is fixed
  relative to the eye, you don't need to
  respecify the light position for every
  frame. Typically, you specify it once
  when your program initializes.

redpajama_set_name: RedPajamaStackExchange


text:
Носок — деревня в Малмыжском районе Кировской области. Входит в состав Преображенского сельского поселения.

География
Расстояние до районного центра — 24 км. Высота над уровнем моря — 70 м. Деревня расположена на реке Шабанка.

Население

Примечания

Населённые пункты Малмыжского района

redpajama_set_name: RedPajamaWikipedia


text:
Q: Transpose matrix-style table to 3 columns in Excel I have a matrix-style table in excel where B1:Z1 are column headings and A2:A99 are row headings. I would like to convert this table to a 3 column table (column heading, row heading, cell value). It does not matter in what order the new table is.
    A   B   C   D            A   B   C            A   B   C
 1      H1  H2  H3        1  H1  R1  V1        1  H1  R1  V1
 2   R1 V1  V2  V3   =>   2  H1  R2  V4   or   2  H2  R1  V2
 3   R2 V4  V5  V6        3  H1  R3  V7        3  H3  R1  V3
 4   R3 V7  V8  V9        4  H2  R1  V2        4  H1  R2  V4
                          5  H2  R2  V5        5  H2  R2  V5
                          6  H2  R3  V8        6  H3  R2  V6
                          7  H3  R1  V3        7  H1  R3  V7
                          8  H3  R2  V6        8  H2  R3  V8
                          9  H3  R3  V9        9  H3  R3  V8

I've been playing around with the OFFSET function to create the whole table but I feel like a combination of TRANSPOSE and V/HLOOKUP is required.
Thanks
EDIT
I have managed to come up with the correct formulas. If the data is in Sheet1 like in my example above, the formulas go in Sheet2:
[A1] =IF(ROW() <= COUNTA(Sheet1!$B$1:$Z$1)*COUNTA(Sheet1!$A$2:$A$99), OFFSET(Sheet1!$A$1,0,IF(MOD(ROW(),COUNTA(Sheet1!$B$1:$Z$1))=0,COUNTA(Sheet1!$B$1:$Z$1),MOD(ROW(),COUNTA(Sheet1!$B$1:$Z$1)))),"")

[B1] =IF(ROW() <= COUNTA(Sheet1!$B$1:$Z$1)*COUNTA(Sheet1!$A$2:$A$99),OFFSET(Sheet1!$A$1,IF(MOD(ROW(),COUNTA(Sheet1!$A$2:$A$99))=0,COUNTA(Sheet1!$A$2:$A$99),MOD(ROW(),COUNTA(Sheet1!$A$2:$A$99))),0),"")

[C1] =IF(ROW() <= COUNTA(Sheet1!$B$1:$Z$1)*COUNTA(Sheet1!$A$2:$A$99),OFFSET(Sheet1!$A$1,IF(MOD(ROW(),COUNTA(Sheet1!$A$2:$A$99))=0,COUNTA(Sheet1!$A$2:$A$99),MOD(ROW(),COUNTA(Sheet1!$A$2:$A$99))),IF(MOD(ROW(),COUNTA(Sheet1!$B$1:$Z$1))=0,COUNTA(Sheet1!$B$1:$Z$1),MOD(ROW(),COUNTA(Sheet1!$B$1:$Z$1)))),"")

The formulas are limited to B1:Z1 for the headings and A2:A99 for the rows (these can be increased to their maximums if required). The COUNTA() formula returns the number of cells that actually have values, which limits the number of rows returned to headings*rows. Otherwise the formulas would could go on for infinity because of the MOD function.

A: I like this question :)
try those functions. insert them in h0, r0, v0 and drag them down
   h   r   v
0 (a) (b) (c)
1 | | | | | |
2 \ / \ / \ /
3  v   v   v

where:
h = header label
r = row label
v = value label

(a) =OFFSET($A$1,INT(H2/99)+1,MOD(H2,99)+1,1,1)
  (b) =OFFSET($A$1,INT(H2/99)+1,0,1,1)
  (c) =OFFSET($A$1,0,MOD(H2,99)+1,1,)

where H2 is a column with values: 0,1,2,3...

A: I saw a slightly more generalized version of the solution provided by @Dick Kusleika at StackOverflow a few weeks back: Convert row with columns of data into column with multiple rows in Excel 2007. It seems to not have references to individual rows (using ROW() instead) but still requires that the number of columns be hard-coded.


text:
BCA Community Fund Projects
2021 FUNDED PROJECTS
Bhutanese Nepali Cultural Heritage Dance Group of Vermont $3,000
To support the Bhutanese Nepali Cultural Heritage Dance Group of VT teach folk & modern Nepali dance to 15-20 youth from the Burlington area's Bhutanese Nepali refugee community and to provide a safe, welcoming (now virtual) space for youth to gather, speak/learn Nepali, and explore/share their cultural heritage with a diverse audience.
Brian Perkins $2,400
To support the creation of a booklet of photographic portraits and musical notations based on children's interviews with elders in the Burlington Bhutanese/Nepali community, and the Old North End Neighborhood Band will perform the music at public events in Burlington.
Lydia Kern $3,000
To support an outdoor art show and celebration of work created by adults with disabilities in the Burlington area, through a partnership with Homebase Inc., Howard Community Services, and Northwest Counseling and Support Services. The grant will also support one adult with disabilities in learning how to plan and facilitate her own craft-making workshop, and co-facilitating two outdoor workshops for 13 peers.
Carolyn Sandoval $3,000
To support Burlington's Foul Contending Rebels Theater Cooperative's (FCR) production of William Shakespeare's Hamlet in August of 2021, which aims to explore questions of grief and recovery which have been raised by the COVID-19 pandemic.
Alissa Faber $2,700
To support students at the alternative high school program, Ontop, start a screen printing business, learn the process of silk screen printing and graphic design art and create a sustainable business plan to make and market their print ideas to the Burlington community.
Greater Burlington Children's Chorus $3,000
To support Project Serenade, an initiative of the Youth Opera Workshop, developed in response to the COVID pandemic, offering outdoor performances by teen opera singers to isolated residents at senior living centers.
Corinne Yonce $3,000
To support Voices of Home, specifically to support outdoor art and story display that will build community amongst the residents of Juniper House and Laurentide Apartments, two new affordable developments in Burlington's Cambrian Rise, and the production of a 7-10-minute video that will highlight voices from both communities.
Big Heavy World -Commemorative Interactive VT Music Mural $3,000
To gather the recorded voices of dozens of Vermont musicians and their portrait and live photographs to create a 40'-long cloth mural & soundtrack commemorating Vermont's music community during the time of COVID-19.
Burlington Writers Workshop - Promoting Excellence and Publication Goals for VT Writers $1,500
To support The Burlington Writers Workshop's efforts to expand their mission to offer educational opportunities that foster emerging writers of all backgrounds and abilities, and offer a series of Master Classes focused on writing excellence and the efforts needed to get work published.
Matt Hagen $3,000
To produce "Vinyl Vermont" an album of Vermont musicians with a focus on BIPOC and female artists that showcases the talented diversity and culture found in the Vermont music community.
VT Stage Picnic Plays $3,000
To support Vermont Stage's reopening with two outdoor theater productions, Popcorn Falls by James Hindman and Maytag Virgin by Audrey Cefaly.
Michael Rakoto Razafy $2,200
To support Michael Rakoto Razafy sharing his music and culture from the magical island of Madagascar with school children at several Burlington School District elementary school classrooms.
Shawn Dumont - Shelter Cultivation Project $2,200
To support the Shelter Cultivation Project, a gallery exhibition and pop up shop featuring contemporary artwork and unique hand crafted product from emerging and established artists from Vermont and around the globe.
INDIVIDUAL ARTIST PROJECTS
Alissa Faber $3000
To support Peer Public Art, which will bring Burlington and Winooski middle school students together explore the ideas of belonging, culture, public space use and community that results in creating public art.
Michael Kellogg $1500
To support a storytelling project engaging participants at the Champlain Senior Center that results in recordings and a public presentation at Main Street Landing.
Jen Berger $3000
To support Who are the People in Our Neighborhood? a People's History project, documenting the known and unknown long-term residents of the community of the Old North End, using stencil, vinyl, and paint murals.
Mindy Wong $2400
To support the Writing on the Rooftop series at Karma Birdhouse and provide writing workshops for high school students.
Gahlord Dewald $1300
To support AM Frequency, A concert series of experimental, contemporary classical, and improvised music in an ADA accessible and an alcohol-free environment.
Bhutanese Nepali Cultural Heritage Dance Group of Vermont $3000
To support the work of the Bhutanese Nepali Cultural Heritage Dance Group of VT which teaches folk & modern Nepali dance to 30+ youth from the Burlington area's Bhutanese Nepali refugee community and shares their cultural heritage with a diverse audience through performances at public schools, arts centers, and multicultural events.
Sloan Collins $2900
To support the presentation of a series of interactive art walls featured at popular local art events in Burlington.
Lydia Kern & Corrine Yonce $3000
To support Voices of Cambrian Rise, in partnership with the Vermont Affordable Housing Coalition and Champlain Housing Trust, resulting in a series of visual art tiles guided by the audio stories of incoming low-income residents.
Omega Jade Williams $800
To support local hip hop and comedic artists through the Rhyme And Unreason Show performed monthly at the Swan Dojo.
Matthew Kelly $3000
To support a documentary tracing the history of the Pierre Hardy mural, 'Everyone Loves A Parade,' from its inception to the recent acts of vandalism.
Girls Rock Vermont $3000
To support development and outreach for Burlington-based summer camps and programs.
Vermont Performing Arts League $3000
To support Global Burlington International Event Series to bring people together to appreciate other cultures, gain knowledge of ethnic groups sharing our neighborhoods, and take part in the preserving and sharing of traditions
The Ramble $3000
To support "The Ramble", an annual, all-day arts festival celebrating the creative culture of The Old North End on the last Saturday in July.
Illuminated Maker Space $2100
To support a collaborative artwork developed through mentorship in new technologies in Burlington's South vides support for an "interoperable" live music community calendar platform.
Will Gebhard • $1,400
Installation at the Corner of North Union & North Street
This project will engage the neighborhood in a public art project prior to and during The Ramble that will result in an installation of colorful, hand-cut pieces of painted plywood on the corner of North Union and North streets.
Bonnie Hooper • $800
Art and the Garden
This project will benefit the Family Room and the community gardeners of the Winooski Valley Park District (WVPD) in Burlington, VT. Through a series of outdoor art projects and activities, participants will develop a greater sense of place and connections with each other.
Sarah Bartlett • $3,000
This project will create a lit-mag-type print publication of writings from Vermont's incarcerated women, telling their first-person accounts of addiction and mental illness within the prison setting. A Burlington book launch will provide community exposure to and understanding of these issues through interactive presentation, allowing each woman's voice to be heard respectfully without judgment and inviting audience participation in both written and verbal exchange.
Mary Lacy • $2800
Burlington City & Lake Semester
This project will support artist Mary Lacy to work with Burlington High School's semester program, a program for students to learn outside the classroom setting for one semester of their high school career. As an artist-in-residence, Lacy will teach students about socially engaged art. Students will create their own public art as a class. The content of the art project will be student driven.
Wingspan Studio, Maggie Standley • $1,500
Spread Your Wings!
This project will support scholarships for youth to attend Spread Your Wings!, a youth empowerment program that provides access to interdisciplinary arts-based vacation learning camps to children facing obstacles. The goal is to narrow the "opportunity gap" that grows during out-of-school times for children facing any number of challenges.
Julia Vallera • $2,000
BTV Data Privacy Project
BTV Data Privacy Project is a public art intervention that explores how data is collected and used to impact our daily lives and the communities we belong to. This project will result in an interactive installation and culminating event that challenges our understanding of data-based systems through reflective art, performance and engaging technology.
Ashley Roark • $3,000
The Things We Keep With Us
This project seeks to engage community members by creating a collage using materials saved throughout their lives while also audio documenting the memories that these pieces spark. The goal is to engage 25 community members to create an original piece of artwork and collect their stories.
Migmar Tsering • $2,500
Rolyang Lobling
Rolyang Lobling is a school of performing Arts. This project will teach kids how to sing Tibetan songs and dance, create a website, and design a logo for Rolyang Lobling to help create awareness of the school on the website, and on pens, songbooks and T-shirts. Performances will occur during events such as Tibetan New Year (Losar), the birthday celebration of H. H. The 14th Dalai Lama and the Annual Tibet Festival.
Bishnu Khadka • $3,000
Bhutanese Nepali Cultural Heritage Dance Group of VT
The Bhutanese Nepali Cultural Heritage Dance Group of VT (est. June 2016) teaches folk and modern Nepali dance to 30+ youth from the Burlington area's Bhutanese Nepali refugee community (2,000+ people); it provides a safe, welcoming space for youth to gather, speak and learn Nepali, and explore and share their cultural heritage with a diverse audience. They rehearse twice a week for two hours and perform between 15-20 times per year at public schools, arts centers, and multicultural events.
Brian Perkins • $3,000
Old North End Neighborhood Band
The teen musicians of the ONE Neighborhood Band play music of the Old North End's immigrant past and present while learning from the teachers of Burlington's diverse community. The ONE Neighborhood Band will present a series of nine free and public teaching workshops, two concerts and a soirée. The project will also publish in print and electronically the ONE Neighborhood Band repertoire book Music of the Old North End, containing transcriptions and cultural context for important music of the historical and contemporary immigrant communities of Burlington.
Vermont International Film Festival • $2,000
VTIFF features over 70 films, visiting filmmakers, Vermont Filmmakers' Showcase, talks, and community discussions over 10 days. The festival focuses on bringing independent film artists' work from a wide range of countries and introducing audiences directly to filmmakers through Q&A sessions.
New City Galerie Residency Program • $1,500
New City Galerie's six-month residency program gives qualifying artists an opportunity to further develop their work in one of three beautiful, sun-filled studios overlooking historic Church Street and the surrounding cityscape. This work-share residency is intended for emerging artists who have demonstrated excellence in their work and are seeking to enrich (and be enriched by) the arts community in Burlington.
The Ramble • $2,500
Now in its 15th year, "The Ramble" is an annual, all-day arts festival celebrating the creative culture of The Old North End, transforming it into a "pop-up" confluence of activities on the last Saturday in July. In anticipation, streets are closed, stages built, installations placed, instruments tuned, art is hung, and culinary Ramble specials are prepped for a full day of live music, hands-on art and exhibitions, craft sales, theater, talent shows, dance classes, and a host of other creative endeavors.
Complications Company, in partnership with Saints and Poets • $1,500
International Women's Voices Day: Vermont Edition
In celebration of the second anniversary of the Women's March, Complications Company will produce the second Vermont Playwrights Edition of the International Women's Voices Day in January of 2019 at Off Center for the Dramatic Arts in Burlington. This free community event showcases unproduced plays by Vermont women playwrights and features a potluck feast.
Off Center for the Dramatic Arts • $2,000
Playmakers is designed to offer Vermont playwrights a venue to share and shape their work while also providing theater artists of all stripes the opportunity to congregate and practice their craft, strengthening and expanding the connections and skills of the creative community in the process.
Big Heavy World • $2,000
All-Ages Music Community Resources + Community Music Calendar
This project will provide programming and resources to local teens that inspire civic participation, community building, empowerment and skills-building related to music: Teen Musician After School Drop-In; All-Ages Concert Series; Inclusive Radio Leadership Program; and Music Office Volunteering. The project also provides support for an "interoperable" live music community calendar platform.
Kylie Dally $3000
To support an arts -based project at Wharf Lane that will bring art and color to the common spaces and hallways of Wharf Lane, connect residents with the natural environment around Wharf Lane through art, connect residents with the South End Arts community, and strengthen relationships between residents in crisis and community resource partners.
Becca McHale $3000
To support a monthly creative workshop for teens in the Old North End where teens can develop art skills, that reflects the diversity of the neighborhood, and that acts as a safe space where teens of all backgrounds can grow together.
Clark Derbes $3000
To support a mural project on the wall of the "bikram" yoga studio on Pine Street, in collaboration with a dozen youth and their mentors from the King Street Center and several volunteers from the community.
Corrinne Yonce $3000
To support Voices of Home, which combines the audio narratives and painted portraitures of affordable housing residents in a work that demonstrates the importance of safe, healthy, affordable homes and adding resident voices of Decker Towers to the project.
Vermont International Film Foundation $3000
To support the Vermont International Film Festival, a 10-day film festival showing independent films of relevance from around the world and engaging the audience in conversations about the films with visiting filmmakers and other speakers
Jacob Ari Mushlin $3000
To support the creation and use of instruments made from salvaged materials through subsidized workshops, exhibition and performances that bring professional musicians and community participants together.
Suzanne Schmidt $3000
To support the production of two live multimedia performances that bring together the performers from Say It Forward Productions and members of local non-profit organizations to raise awareness, financial support, and deeper connections through the use of first-person storytelling as the artistic medium for social change.
Public Works Press $3000
To support a steamroller printmaking workshop in the Burlington community, with the goal of exposing a wider audience to printmaking and to give more experienced printmakers a chance to work on a larger scale.
Big Heavy World $3000
To support live weekly radio, video and studio audience broadcasts and publication of local musical artist interviews and performance; local programming and promotion of free and public international Make Music Day musical performances; and a musician summit event.
Wingspan Studio $3000
To support scholarships for 10 kids to attend Spread Your Wings, a youth empowerment program that provides access to interdisciplinary arts-based vacation learning camps to children facing obstacles. The goal is to narrow the "opportunity gap" that grows during out of school times for kids from families facing any number of challenges.
Burlington Writers Workshop $3000
To support the Burlington Writers Workshop (BWW) efforts to promote a dynamic, supportive literary community by offering classes and events to the public free of charge, and to foster emerging writers of all backgrounds and abilities through expert-led sessions and open mic events.
Iskra Print Collective $2000
To support the design, development and screen printing of an artist series/print club zine released on a quarterly basis (editions of 150) made by studio volunteers and community artists.
Alison Cannon $3000
To support the "imagining home" project, which includes interviewing people in the Burlington community who are currently homeless or who have been homeless for an extended period of time within the last three years. The interviews will center on their vision of the ideal home. Local architects will then produce renderings of the homes using the information gathered from the interviews. The resulting sketches will mounted, framed, and exhibited in the community.
Burlington Chamber Orchestra $1000
To support the Burlington Chamber Orchestra's 2016-2017 season, including four classical music concerts featuring Dr. Michael Hopkins and Soovin Kim as conductors, a collaboration between the BCO and the University of Vermont Jazz Department with Trumpeter and UVM Professor Ray Vega, and the annual Celebration of Youth Concert showcasing the winner of the BCO's Young Artist Competition.
Intersections $3000
To support Intersections, an original theater piece based on a variety of perspectives: letters from inmates housed in Vermont correctional facilities and out of state private prisons, first-person accounts by incarcerated women brave enough to share their stories, stories from victims' and inmates' family members, and our personal intersections with "corrections" and "justice.
Corrine Yonce $3000
To support Voices of Home, a multi-media project that combines the audio narratives and painted portraits of affordable housing residents in work that will demonstrate the importance of safe, healthy, affordable homes.
Joy Elan Cohen $3000
To support the writing of a play about Burlington's Lost Shul Mural and accompanying engagement activities, including a series of staged readings and/or related displays of performing and/or visual arts; facilitation of a public forum for community members to share their own stories and discuss the role of the arts in culture, of identity, of survival; and creation of lesson plans that address these social justice issues to be used in formal and informal educational settings.
Maggie Standley $3000
To support 10 scholarships that provide access to vacation learning programming to disadvantaged youth at both Wingspan Studio in Burlington's South End and at The Myrtle Street Community Avant Garden in The Old North End.
Megan J. Humphrey, Sweet Basil Design $3000
To support "Birds, Bees, and Butterflies," an artist led project at the Integrated Arts Academy that supports literacy, science, and math curriculum and helps students learn about the natural world, the importance of recycling, and develops a public recycled art project that will reside outside the school.
Meghan O'Rourke $2000
To support time lapse videos of key public areas in Burlington, including North Avenue, Church Street and a public park, that visualize the 'emotional temperature' of a place using wide format photography, stop motion animation, interviews with street users and the collection of ambient sound.
Meredith LeCompte $2700
To support an artist-focused design and build project of little library kiosks for six different gardens in the north section of Burlington. The libraries will shelter donated books to trade and share with a focus on gardening, nutrition and cooking. The goal is to provide creative and an accessible location for the people in the community to gain free access to books with garden building skills and resources as well as cook books and nutritional guides.
New City Galerie $3000
To support New City Galerie and its on-site residency studios offered free of charge to local emerging artists.
To support Public Works Press, a network of contemporary artists of varied disciplines to participate in a steamroller printmaking event in Burlington's South End, aimed at exposing a wider audience to printmaking and giving more experienced printmakers a chance to work on a larger scale. See this article in Seven Days reporting on the event.
Sloan Collins and Mary Lacy $1000
To support The ONE Mural Project, which will engage local children in a positive creative learning experience and bring a new look to their neighborhood through the creation of four murals along North Street.
To support the 2016 Vermont International Film Festival, now in its 31st year, the only event celebrating the art of film in our community.
Vermont Performing Arts League/North End Studios $1500
To support a talent show to take place in February 2017 for performers of all ages who live or work in and around the Old North End at North End Studios, including providing free rehearsal time and coaching from experienced artists for four performers/groups, and participation by other arts projects in the Old North End through associated exhibits.
Vermont Stage $1000
To support the production of BLACKBERRY WINTER, a poignant and honest depiction of the journey one goes on when a parent is diagnosed with Alzheimer's.
WBTV-LP, VCAM $1000
To support WBTV-LP a low-power community radio station being built this summer in the south end of Burlington, a partnership between RETN, CH17/Town Meeting, and VCAM with a mission to connect Burlington with community radio that is created locally, dedicated to the exchange of ideas and culture, and reflective of the diversity of our city.


text:
Bertolt Brechts Dramenfragment Der Brotladen gehört zu den Vorarbeiten zu Brechts Drama Die heilige Johanna der Schlachthöfe und befasst sich wesentlich mit der Heilsarmee. Das Stück enthält bereits wesentliche Motive der Johanna. So heißt es im "Brotladen" zur Heilsarmee:

"Das Unnütze der Religion zeigen. Nicht Angriff auf Heilsarmee! Heilsarmee hat nur Interesse an sich selber, daß sie bessert, es ist ihr nicht um Leute zu tun. Will Geldgeber, reiche Gewinner, nicht Arbeitslose. Mädchen fliegt raus, weil es sich zu sehr um Leute kümmert. (...) Die Macht der Religion."

"Heilsarmee: ihre Funktion: sie bringt alle in den Sumpf. Mit ihrem Idealismus."

Brecht und Elisabeth Hauptmann interessierten sich seit 1926 für die Praktiken der Heilsarmee und besuchten, vor allem im Winter 1929/30, deren Nachtasyle und Küchen. Sie untersuchten Finanzpraktiken, Sektencharakter und innere Organisation. Ein inhaltliches Motiv des Stückes ist ein Programm der Heilsarmee zur Holzverteilung. Durch Holzhacken sollten sich Arbeitslose Brennholz verdienen.

Brechts Kritik an der Heilsarmee und ihren Konzepten zielt auch auf die Politik der SPD in der Weimarer Republik. Partei wie Wohlfahrtsorganisation täten alles, um den Kapitalismus zu verteidigen und verhinderten so wirksame Hilfe für die Arbeitslosen. Im Entwurf stellt Brecht die KPD der Heilsarmee als Gegenkonzept gegenüber:

Die Heilsarmee zeigt nach Brechts Entwurf "vielleicht am krassesten das Schicksal aller 'idealistischen', religiösen Korporationen und Aktionen im Hochkapitalismus". Aus einer altruistischen werde eine "profitmachende", aus einer "armen" eine "reiche", aus einer "antikapitalistischen eine kapitalistische" Organisation. Das "Bild des Urchristentums im Hochkapitalismus" hält Brecht für eine "groteske Abnormität".

Szenen

Viele der Fragmente sind unvollständig, enthalten Bemerkungen zum Konzept oder Textvarianten. Einige der vollständigeren Fragmente zeigen das Gerüst des Dramas. In den ersten Entwürfen sollte das Werk wie Elisabeth Hauptmanns Stück "Happy End" um 1923 in Chicago spielen. In der zweiten Bearbeitung verlegte Brecht die Handlung nach Berlin in die Zeit der Weltwirtschaftskrise und knüpfte an den realen Fall der Niobe Queck an, die nach Verlust ihrer Wohnung auf der Treppe "wohnte". Hauptfigur des Stückes ist Frau Queck, eine Witwe, deren Wunsch, ihren Mann "immer und Ewig in jedem Punkte auf der Stelle restlos und vollständig zu befriedigen" ihr sieben Kinder eingebracht hat und der durch Mietschulden der Verlust der Wohnung droht. Eine weitere wichtige Figur ist der Rebell Washington Meyer, dessen unvorbereitete Revolte aber scheitert.

Die Arbeitslosen, die "Als", treten als gespaltene Gruppe auf, geteilt in Opfer mit und ohne staatliche Unterstützung. Sie sind jederzeit bereit, untereinander um die kleinste Chance zu konkurrieren, wobei ihnen jedes Mittel Recht ist.

Jan Knopf hat auf die Anklänge an die griechischen Sagen im Stück hingewiesen, durch die das "turbulente Geschehen unter lauter 'kleinen' Leuten ..., sich verbal in den Dimensionen der großen Tragödie" abspiele. Witwe Niobe Queck erinnere dabei an die mythologische Niobe, der als Strafe der gekränkten Titanin Leto ihre 7 Töchter und 7 Söhne erschossen wurden. Der schicksalsgläubige Zeitungshändler Ulysses Schmitt trägt den Namen des antiken Sagenhelden Odysseus und der Schläger Ajax Januschek den Namen eines weiteren griechischen Helden. Aus dem Schicksalhaften der Antike sei nun das Fatum der Wirtschaft geworden, dem alle hilflos ausgeliefert seien.

"Die Auslöschung der Individualität, ihre Überlebtheit vollzieht sich formal im Rahmen der antiken Tragödie, die, weil sie überlebt ist, in die Komödie umschlägt (...) das Gewebe von Illusionen und Idealismus fällt in der Schlacht der Semmeln und Bienenstiche in sich zusammen."

B 9

Die Szenenentwürfe zeigen Arbeitslose im Kampf um die wenigen Jobs, ihre rücksichtslose Konkurrenz untereinander. Als Zeitungsjunge lernt Washington Meyer die sozialen Unterschiede zu erkennen, um potentielle Kunden erfolgreich anzusprechen, und sich gegen Diebe listig zur Wehr zu setzen.

B10

Die Witwe Judith Queck lebt mit ihren 7 Kindern beim Bäckermeister Meininger von kleinen Botengängen. Sie bestellt im Auftrag des Bäckers Holz beim Holzhändler Reuter. Der Bäckermeister gerät aufgrund der Wirtschaftskrise unter Druck, seine Hypotheken zu bezahlen, die der Immobilienagent Flamm von ihm einzutreiben versucht. Deshalb leugnet er, dass er das Holz bestellt hat und wirft die Witwe Queck und ihre Kinder aus der Wohnung. Die Möbel versucht der Holzhändler als Bezahlung für das Holz zu pfänden. Jeden, der helfen will, warnt der Chor der Arbeitslosen vor den Gefahren des Mitleids.

"Tut Wachs in eure Ohren
Sonst seid auch ihr verloren!
Fragt nicht! Des Unglücklichen Antwort
Verstrickt euch in Unglück nur
Ihr, die ihr zu schwach zum Helfen seid"

Auf Anregung der Armenpflegerin Fräulein Hippler versucht nun Witwe Queck, auf eigene Rechnung das Holz von den Arbeitslosen hacken zu lassen und zu verkaufen.

B16

Das Fragment B16 zeigt Versuche der Heilsarmee und anderer einzugreifen. Die Heilsarmee versucht zu vermitteln ("mit dem Herrn Meininger kann man ganz gut ein christliches Wort reden"), der wirft aber die Möbel, als sie ins Haus zurückgetragen werden, aus dem Fenster. Am Ende der Szene schlägt der herbeigelaufene Heinrich Januschek Meininger nieder.

B17, B18 und B19

Zwei Arbeitslose holen die Polizei, Heilsarmistin Heep/Hiep appelliert an Meiningers Gewissen, stößt aber auf taube Ohren (B18). In der nächsten Szene (B 19) formuliert Heep ihre Hoffnung auf das Gewissen der reichen Leute.

B22 und B24

Für einen Brotlaib gibt sich Frau Queck in der Backstube Emil Januschek hin. Die Bezahlung erhält sie nur, wenn sie beim Sex nichts empfindet. Im nächsten Fragment (B24) holt ein Kommando der Heilsarmee den Holzstapel ab. Die Arbeitslosen versuchen nun, ihrer Hoffnung auf Arbeit beraubt, den Brotladen zu stürmen. Es kommt zu einem absurden Kampf zwischen Meininger und seinen Mietern auf der einen und den Arbeitslosen auf der anderen Seite. Schließlich erscheint ein Polizist, der sofort die Partei Meiningers ergreift und daraufhin von dem Zeitungsjungen Albert Meyer, einem der Angreifer, mehrfach mit einer Latte auf den Kopf geschlagen wird. Der Polizist erschlägt darauf Meyer mit einer Semmel.

B27 bis B33

Frau Queck flüchtet sich mit Januschek zur Heilsarmee. Als sie dort sitzen, bringen die Heilsarmisten das Holz, das sie ihr gestohlen haben. Wegen ihrer Kritik am wohlhabenden Meininger wird Fräulein Hippler aus der Heilsarmee entlassen (B31).

B47 "Der Leutnant des lieben Gottes"

Das Fragment enthält einen Schlachtgesang der Heilsarmee, der leicht verändert als Gesang der Schwarzen Strohhüte in Die heilige Johanna der Schlachthöfe übernommen wird:

"Obacht, gib Obacht!
 Wir sehen dich, Mann, der versinkt
Wir hören Dein Geschrei um Hilfe
Wir sehen Dich, Frau, die winkt
(...)
Wir werden auffahren Tanks und Kanonen
Und Flugzeuge müssen her
Und Kriegsschiffe müssen über das Meer
Um dir, Bruder, einen Teller Suppe zu erobern
Denn ihr armen Leute
Ihr seid eine große Armee (...)"

B48 bis B54, B56

Die Fragmente B 48 bis B54 enthalten Entwürfe für Songs/Reime der Heilsarmee und der Arbeitslosen. B56 entwirft mit dem "Song Hosianna Rockefeller" ein religiöses Loblied auf die Reichen und Mächtigen, auf "Glaube und Profit".

Aufführungen

 Berliner Ensemble, 1967, Regie: Manfred Karge und Matthias Langhoff
 Theater Zentrifuge im Künstlerhaus Bethanien Berlin, 1976, Regie: Christian Bertram
 Berliner Ensemble, 1993, Regie: Thomas Heise
 Ausstellung "Bertolt Brecht, der Brotladen und Wohnungslose" vom 21. Februar bis zum 7. März 2008 mit Texten von Bertolt Brecht und Fotos von Jutta Hilscher, Martin Hofmann, Jürgen Malyssek und Klaus Störch, Hattersheim
 Thalia Theater Halle/S. 2002, Regie: Sascha Bunge
 Kinder- und Jugendtheater Murkelbühne, 2009 unter dem Titel: DER BROTLADEN : eine Revue / ein Requiem / ein Lehrstück von Bertolt Brecht mit 72 Pausen
 Stary Teatr, PIEKARNIA / DER BROTLADEN, polnische Uraufführung, 2009, Regie: Wojtek Klemm

Textausgaben

 Bertolt Brecht: Der Brotladen, in: Große kommentierte Berliner und Frankfurter Ausgabe, Band 10.1, Stücke 10, S. 565 - S. 659
 Bertolt Brecht: Der Brotladen, Sprechtheater mit Musik, Komponist: Hans-Dieter Hosalla, Urauffuehrung Berliner Ensemble 13. April 1967, Spielfassung und Regie: Manfred Karge und Matthias Langhoff, Buchausgabe 	edition suhrkamp 339, 1969, Suhrkamp Theater & Medien
 Bertolt Brecht: Der Brotladen : ein Stückfragment ; Bühnenfassung und Texte aus dem Fragment, Frankfurt am Main (Suhrkamp) 1983, 4. Auflage, ISBN 3-518-10339-3

Literatur

 Jan Knopf: Brecht-Handbuch, Theater, Stuttgart (Metzler) 1986, ungekürzte Sonderausgabe, ISBN 3-476-00587-9, Der Brotladen, S. 355ff.
 Christian Bertram: Der Brotladen. In: Material Brecht - Kontradiktionen 1968-1976, Broschüre aus Anlass des 4. Kongresses der Internationalen Brecht-Gesellschaft, Austin, Texas 1976, Hrsg. Wolfgang Storch.

Weblinks

 Podcast zur Aktualität des Stücks von podcast.de

Einzelnachweise

Literarisches Werk
Literatur (20. Jahrhundert)
Literatur (Deutsch)
Drama
Werk von Bertolt Brecht


If I try to do the same using the MMC with the exact same user, I can add the user without any issues.
The account has delegated rights to add/remove group members.
Is there a differnce on how ARS shell handles delegation?
Quick observation, why the 2 different variables for the Active Roles service ($TargetARS and $AdminARS)? Is there a need to connect to 2 different Active Roles services or are these being set to the same server?
I take it that when this is tested as the delegated user in the MMC, you are setting the temporal add and remove times as the object is being added to the group?
Have you tried testing the code by setting your $cred variable to a user that is an Active Roles Admin, to help try and narrow down that this issue is possibly related to delegation?
I am for the most part using the code you provided and I'm not having issues with it in my lab. I am setting $cred set to a user that has been delegated only add/remove group member rights (I essentially copied the provided "Groups - Add/Remove Members" Access Template).
How are you setting the start date/time and end date/time variables? I'm setting these variables in my lab using this format: $StartDateTime = (Get-Date).AddHours(1).ToUniversalTime().
There is security requirement to use different ARS.
The code works with the credentials of an Active Roles Admin but that is not our goal. If I run the exact same code with the same (limited) credentials on the $adminARS directly, it also works.
B) Run script on $adminARS: No issues.
Both are run with the same credentials.


Social media in the workplace has completely changed working lives. Facebook claims to have about 1.44 billion users and every day, over 500 million tweets are sent. Linkedin has revolutionised the recruitment process and completely changed the face of business networking.
Some social media applications such as Facebook were designed for fun, social interactions, others like LinkedIn are designed for business. What links these applications is the ability for users to post comments, pictures and video in a forum which is largely public and largely unregulated. Comments are instantaneous and are broadcast worldwide.
A vibrant presence on social media is important to organisations but it also presents new risks. Users of social media in the workplace have been described as "HR accidents waiting to happen" and there has been a string of cases which involve employee's use of social media in the workplace.
Our social media in the workplace training course helps HR professionals manage the people aspects, balancing the needs of the business against the potential HR risks. The use of social media in the workplace has blurred the boundaries between personal and professional lives. The risks include; defamation, distraction and discrimination, not to mention the problems associated with the ownership of social media account and lists of contacts. Organisations need to consider more than just social media policies and procedures; they need to ensure that managers have the skills they need to manage social media in the workplace.
How to try and prevent social media "HR accidents".


If you have a first aid situation you may not need a big appointment - a 15 minute chat may be all you need. These sessions have been designed with affordability in mind. This is available to clients who are already registered with Dawn only.


text:
package io.leao.codecolors.core.editor;

import android.animation.Animator;
import android.animation.AnimatorListenerAdapter;
import android.animation.ValueAnimator;

import java.util.Set;

import io.leao.codecolors.core.CcCore;
import io.leao.codecolors.core.color.CcColorStateList;
import io.leao.codecolors.core.util.CcTempUtils;

public class CcMultiEditorAnimate extends CcMultiEditor<CcMultiEditorAnimate>
        implements ValueAnimator.AnimatorUpdateListener {
    protected Set<CcColorStateList> mChangedColors;

    protected ValueAnimator mAnimation;
    protected float mLastInvalidateFraction;

    public CcMultiEditorAnimate() {
        mAnimation = CcColorStateList.createDefaultAnimation();
        // Listener to invalidate color.
        mAnimation.addUpdateListener(this);
        mAnimation.addListener(new AnimatorListenerAdapter() {
            @Override
            public void onAnimationEnd(Animator animation) {
                CcTempUtils.recycleColorSet(mChangedColors);
                mChangedColors = null;
            }
        });
    }

    public void start() {
        Set<CcColorStateList> changedColors = CcTempUtils.getColorSet();

        for (int colorResId : mEditors.keySet()) {
            CcColorStateList color = CcCore.getColorManager().getColor(colorResId);
            if (color != null) {
                CcEditor editor = mEditors.get(colorResId);
                boolean changed = color.animate(editor, mAnimation);
                if (changed) {
                    changedColors.add(color);
                }
            }
        }

        if (changedColors.size() > 0) {
            mChangedColors = changedColors;
            mLastInvalidateFraction = 0;
            mAnimation.start();
        }
    }

    @Override
    public void onAnimationUpdate(ValueAnimator animation) {
        float invalidateFraction = ((int) (animation.getAnimatedFraction() * 100) / 100f);

        if (invalidateFraction != mLastInvalidateFraction) {
            mLastInvalidateFraction = invalidateFraction;

            invalidate(mChangedColors);
        }
    }
}


text:
Csehország
Raná, település a Chrudimi járásban
Raná, település a Lounyi járásban


The team has to recreate a design comprising equilateral triangles (created by the designer) by asking as few questions as possible.
You will be working in a team of four or five. You will need two sets of 12 triangles three each of four colours. The image above uses 8 triangles of 3 different colours. You might wish to start with just two colours and fewer triangles until you have some experience of the task.
Give one set of triangles to the designer and the other identical set to the rest of the team.
Without the rest of the group seeing, the designer creates a design of touching triangles using some or all of the triangles available. Triangles must have one side horizontal and touch at least one other triangle along at least one side, with no overlap.
Using the rules for asking questions, and checking that they all agree first, the team takes turns to ask the designer questions that will help them recreate the triangle design.
When the team thinks they have the correct design they can check with the designer and the task ends.
At the end, the observer gives feedback about the way the team worked together, highlighting strengths and ways that they could improve next time. The team discuss the feedback and how they think they worked.
The team must take turns in asking questions.
The designer can only answer "Yes", "No" or give a number or a colour.
You do not have to use all the triangles.
Triangles must have a horizontal side.
All triangles must touch at least one other triangle.
The sides of adjacent triangles must touch along the whole of their length.
You can only answer "Yes", "No", with a colour or a number.
the number of triangles in each "row'"
any "holes" in the design.
Note: you cannot ask the designer to describe the position of a particular triangle.
Real world. Working systematically. Cubes & cuboids. Mathematical reasoning & proof. Games. Team-building. Regular polygons and circles. Visualising. Interactivities. PrimaryGames-Strategy.


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You will absolutely enjoy having the spacious floor split-floor plan with 2 bedrooms and 2 baths, large covered patio on Northside and another covered area on the Southside with lots of privacy including BBQ area. Perfect for a seasonal retreat or, like a lot of owners that love the sun, a full-time excursion.


Learn about the mission, people and technology of COTA.
Our mission is to help humanity better understand it's past, preserve it's ancient heritage, and unlock new knowledge that can improve it's future.
We seek to do this by developing technology to help automatically decode and translate ancient writings found in hieroglyphics and manuscripts into a format that is easily accessible and understandable to everyone.
You can follow updates on our progress by reading our project updates.
The process of decoding and translating hieroglyphics is a monumental task that's only achievable using the best technology that's available today.
Learn more about the technology COTA is utilizing.
Meet the core group of people working on the COTA team.
Details about the history of the COTA project and how it came to be can be found in our blog post "History Of The COTA Project".
Interested in getting involved in the COTA project? Learn how you can contribute.