text:
package bzip2

import (
	"io"

	"github.com/dsnet/compress/internal"
	"github.com/dsnet/compress/internal/errors"
	"github.com/dsnet/compress/internal/prefix"
)

type Reader struct {
	InputOffset  int64 // Total number of bytes read from underlying io.Reader
	OutputOffset int64 // Total number of bytes emitted from Read

	rd       prefixReader
	err      error
	level    int    // The current compression level
	rdHdrFtr int    // Number of times we read the stream header and footer
	blkCRC   uint32 // CRC-32 IEEE of each block (as stored)
	endCRC   uint32 // Checksum of all blocks using bzip2's custom method

	crc crc
	mtf moveToFront
	bwt burrowsWheelerTransform
	rle runLengthEncoding

	// These fields are allocated with Reader and re-used later.
	treeSels []uint8
	codes2D  [maxNumTrees][maxNumSyms]prefix.PrefixCode
	codes1D  [maxNumTrees]prefix.PrefixCodes
	trees1D  [maxNumTrees]prefix.Decoder
	syms     []uint16

	fuzzReader // Exported functionality when fuzz testing
}

type ReaderConfig struct {
	_ struct{} // Blank field to prevent unkeyed struct literals
}

func NewReader(r io.Reader, conf *ReaderConfig) (*Reader, error) {
	zr := new(Reader)
	zr.Reset(r)
	return zr, nil
}

func (zr *Reader) Reset(r io.Reader) error {
	*zr = Reader{
		rd: zr.rd,

		mtf: zr.mtf,
		bwt: zr.bwt,
		rle: zr.rle,

		treeSels: zr.treeSels,
		trees1D:  zr.trees1D,
		syms:     zr.syms,
	}
	zr.rd.Init(r)
	return nil
}

func (zr *Reader) Read(buf []byte) (int, error) {
	for {
		cnt, err := zr.rle.Read(buf)
		if err != rleDone && zr.err == nil {
			zr.err = err
		}
		if cnt > 0 {
			zr.crc.update(buf[:cnt])
			zr.OutputOffset += int64(cnt)
			return cnt, nil
		}
		if zr.err != nil || len(buf) == 0 {
			return 0, zr.err
		}

		// Read the next chunk.
		zr.rd.Offset = zr.InputOffset
		func() {
			defer errors.Recover(&zr.err)
			if zr.rdHdrFtr%2 == 0 {
				// Check if we are already at EOF.
				if err := zr.rd.PullBits(1); err != nil {
					if err == io.ErrUnexpectedEOF && zr.rdHdrFtr > 0 {
						err = io.EOF // EOF is okay if we read at least one stream
					}
					errors.Panic(err)
				}

				// Read stream header.
				if zr.rd.ReadBitsBE64(16) != hdrMagic {
					panicf(errors.Corrupted, "invalid stream magic")
				}
				if ver := zr.rd.ReadBitsBE64(8); ver != 'h' {
					if ver == '0' {
						panicf(errors.Deprecated, "bzip1 format is not supported")
					}
					panicf(errors.Corrupted, "invalid version: %q", ver)
				}
				lvl := int(zr.rd.ReadBitsBE64(8)) - '0'
				if lvl < BestSpeed || lvl > BestCompression {
					panicf(errors.Corrupted, "invalid block size: %d", lvl*blockSize)
				}
				zr.level = lvl
				zr.rdHdrFtr++
			} else {
				// Check and update the CRC.
				if internal.GoFuzz {
					zr.updateChecksum(-1, zr.crc.val) // Update with value
					zr.blkCRC = zr.crc.val            // Suppress CRC failures
				}
				if zr.blkCRC != zr.crc.val {
					panicf(errors.Corrupted, "mismatching block checksum")
				}
				zr.endCRC = (zr.endCRC<<1 | zr.endCRC>>31) ^ zr.blkCRC
			}
			buf := zr.decodeBlock()
			zr.rle.Init(buf)
		}()
		if zr.InputOffset, err = zr.rd.Flush(); zr.err == nil {
			zr.err = err
		}
		if zr.err != nil {
			zr.err = errWrap(zr.err, errors.Corrupted)
			return 0, zr.err
		}
	}
}

func (zr *Reader) Close() error {
	if zr.err == io.EOF || zr.err == errClosed {
		zr.rle.Init(nil) // Make sure future reads fail
		zr.err = errClosed
		return nil
	}
	return zr.err // Return the persistent error
}

func (zr *Reader) decodeBlock() []byte {
	if magic := zr.rd.ReadBitsBE64(48); magic != blkMagic {
		if magic == endMagic {
			endCRC := uint32(zr.rd.ReadBitsBE64(32))
			if internal.GoFuzz {
				zr.updateChecksum(zr.rd.BitsRead()-32, zr.endCRC)
				endCRC = zr.endCRC // Suppress CRC failures
			}
			if zr.endCRC != endCRC {
				panicf(errors.Corrupted, "mismatching stream checksum")
			}
			zr.endCRC = 0
			zr.rd.ReadPads()
			zr.rdHdrFtr++
			return nil
		}
		panicf(errors.Corrupted, "invalid block or footer magic")
	}

	zr.crc.val = 0
	zr.blkCRC = uint32(zr.rd.ReadBitsBE64(32))
	if internal.GoFuzz {
		zr.updateChecksum(zr.rd.BitsRead()-32, 0) // Record offset only
	}
	if zr.rd.ReadBitsBE64(1) != 0 {
		panicf(errors.Deprecated, "block randomization is not supported")
	}

	// Read BWT related fields.
	ptr := int(zr.rd.ReadBitsBE64(24)) // BWT origin pointer

	// Read MTF related fields.
	var dictArr [256]uint8
	dict := dictArr[:0]
	bmapHi := uint16(zr.rd.ReadBits(16))
	for i := 0; i < 256; i, bmapHi = i+16, bmapHi>>1 {
		if bmapHi&1 > 0 {
			bmapLo := uint16(zr.rd.ReadBits(16))
			for j := 0; j < 16; j, bmapLo = j+1, bmapLo>>1 {
				if bmapLo&1 > 0 {
					dict = append(dict, uint8(i+j))
				}
			}
		}
	}

	// Step 1: Prefix encoding.
	syms := zr.decodePrefix(len(dict))

	// Step 2: Move-to-front transform and run-length encoding.
	zr.mtf.Init(dict, zr.level*blockSize)
	buf := zr.mtf.Decode(syms)

	// Step 3: Burrows-Wheeler transformation.
	if ptr >= len(buf) {
		panicf(errors.Corrupted, "origin pointer (0x%06x) exceeds block size: %d", ptr, len(buf))
	}
	zr.bwt.Decode(buf, ptr)

	return buf
}

func (zr *Reader) decodePrefix(numSyms int) (syms []uint16) {
	numSyms += 2 // Remove 0 symbol, add RUNA, RUNB, and EOF symbols
	if numSyms < 3 {
		panicf(errors.Corrupted, "not enough prefix symbols: %d", numSyms)
	}

	// Read information about the trees and tree selectors.
	var mtf internal.MoveToFront
	numTrees := int(zr.rd.ReadBitsBE64(3))
	if numTrees < minNumTrees || numTrees > maxNumTrees {
		panicf(errors.Corrupted, "invalid number of prefix trees: %d", numTrees)
	}
	numSels := int(zr.rd.ReadBitsBE64(15))
	if cap(zr.treeSels) < numSels {
		zr.treeSels = make([]uint8, numSels)
	}
	treeSels := zr.treeSels[:numSels]
	for i := range treeSels {
		sym, ok := zr.rd.TryReadSymbol(&decSel)
		if !ok {
			sym = zr.rd.ReadSymbol(&decSel)
		}
		if int(sym) >= numTrees {
			panicf(errors.Corrupted, "invalid prefix tree selector: %d", sym)
		}
		treeSels[i] = uint8(sym)
	}
	mtf.Decode(treeSels)
	zr.treeSels = treeSels

	// Initialize prefix codes.
	for i := range zr.codes2D[:numTrees] {
		zr.codes1D[i] = zr.codes2D[i][:numSyms]
	}
	zr.rd.ReadPrefixCodes(zr.codes1D[:numTrees], zr.trees1D[:numTrees])

	// Read prefix encoded symbols of compressed data.
	var tree *prefix.Decoder
	var blkLen, selIdx int
	syms = zr.syms[:0]
	for {
		if blkLen == 0 {
			blkLen = numBlockSyms
			if selIdx >= len(treeSels) {
				panicf(errors.Corrupted, "not enough prefix tree selectors")
			}
			tree = &zr.trees1D[treeSels[selIdx]]
			selIdx++
		}
		blkLen--
		sym, ok := zr.rd.TryReadSymbol(tree)
		if !ok {
			sym = zr.rd.ReadSymbol(tree)
		}

		if int(sym) == numSyms-1 {
			break // EOF marker
		}
		if int(sym) >= numSyms {
			panicf(errors.Corrupted, "invalid prefix symbol: %d", sym)
		}
		if len(syms) >= zr.level*blockSize {
			panicf(errors.Corrupted, "number of prefix symbols exceeds block size")
		}
		syms = append(syms, uint16(sym))
	}
	zr.syms = syms
	return syms
}


"Botanists afloat". It was taken on Lake Kariba, near the UR/UZ field research station at Sinamwenda in June 1972 during a 3rd year Botany field trip. On the boat, from L to R are: Tom Muller, Brian Walker, Hiram Wild and David Mitchell. At that time Tom was a 3rd Year student and the others were all on the staff of UR in the Botany Dept.
Hiram Wild was born on the 15th of March 1917, in Sheffield. After his graduation in 1945 (Ph. D in botany), he emigrated to Southern Rhodesia. As Systematic Botanist in the Dept. of Agriculture, he soon became in charge of the Southern Rhodesia Government Herbarium (SRGH).
In 1960 he founded Kirkia, the botanical journal of the National Herberium, and became its first editor. Together with A.W. Exell of the British Museum, he laid the foundation of the international Flora Zambesiaca project and co-edited several of the earlier volumes.
Prof Wild published a large number of botanical papers on almost every aspect of Zimbabwean botany, plant ecology, phytogeography and taxonomy. Many of these papers have been published in Kirkia, particularly the taxonomic revisions on genera in Asteraceae. (A comprehensive list of his publications can be found in Kirkia Volume 13 Part 1, page 7-10, 1988).
Hiram Wild was not only a productive botanical author and taxonomist, he also was an avid collector. Well over 8000 specimens were collected by him, mainly in Zimbabwe but also in Botswana, Caprivi, Mozambique, Malawi and Zambia. Many of these specimens represented new species to science and the a few have been named in his honour (list below).
At the end of 1980, as his health began to fail, he left Zimbabwe and returned to England. He died in 1982 At the time of his death, he had just completed the descriptive portion of a revision of the genus Helichrysum. The keys were never finished and the unpublished manuscript appeared to have been forgotten until we accidentally came across it on the shelves of the National Herbarium library. Most of the Helichrysum descriptions in this system have been distilled from his work.
Hyde, M.A., Wursten, B.T., Ballings, P. & Coates Palgrave, M. (2019). Flora of Zimbabwe: Person details: Wild, H.


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text:
Jodie Foster's estranged dad sentenced in scam
A judge has sentenced Jodie Foster's estranged father to five years in a Los Angeles jail for bilking more than $100,000 from poor and elderly people in a home-building scheme.
LOS ANGELES – A judge has sentenced Jodie Foster's estranged father to five years in a Los Angeles jail for bilking more than $100,000 from poor and elderly people in a home-building scheme.
City attorney spokesman Frank Mateljan (mah-TEHL'-jin) says Lucius Foster was sentenced Friday, two days after he was convicted of 21 misdemeanor counts of grand theft. The 89-year-old has been jailed since Wednesday.
He was convicted of taking $5,000 each from people for whom he promised to build affordable homes made from cargo containers. The units were never built, and prosecutors said he blatantly lied to clients.
Lucious Foster told City News Service that he remains estranged from his daughter, a two-time Oscar winner. He is due back in court Feb. 23 for a restitution hearing.
Sisters charged with health fraud caught overseas
Would-be grad students face longer, revised GRE
Charlotte robbery suspect drops T-shirt at scene
AP IMPACT: Long blackouts pose risk to US reactors
At Least Two Hurt When Plane Lands Napa Highway
Anti-tax diehard looms large in spending showdown

redpajama_set_name: RedPajamaCommonCrawl


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text:
Q: Does anything supercede PEP 8? Trying to go from a script kiddie to a semi-respectable software engineer and need to learn how to write clean, digestible code. The book I'm reading pointed me towards PEP 8 - I know this is the foundational styling guide for Python.
What I can't seem to figure out is if all the guidelines are still valid today in 2022 and nothing has changed since its last update in 2013 OR if there are supplemental PEPs I should be reading.
Visited https://peps.python.org/pep-0000/ and started browsing through the different releases but got confused and unsure which PEPs besides 8 have to do with style guidelines.
I found this previous question from 9 years ago and wanted to see if any of the answers have changed.

A: At the top, below the authors, you can see it says

Status: Active

As the tooltip explains, that means PEP 8 is

Currently valid informational guidance, or an in-use process

If the PEP is ever replaced it will say "Status: Superseded".
At the bottom of the page it says:

Last modified: 2022-05-11 17:45:05 GMT

You can check the link to see what changes have been made to PEP 8 when.

A: Quoting from the official Python documentation which was last updated on Jan 13, 2023 (as of writing, and is kept pretty well up-to-date):

Are there coding standards or a style guide for Python programs?
Yes. The coding style required for standard library modules is documented as PEP 8.

No mention of anything that would take priority over PEP 8. There are other style guidelines written by third parties, but PEP 8 is still the official style guide.

A: PEP 8 is still the latest and great official recommendation, as indicated by the PEP not having any notice that it's been deprecated or superseded.
There are some alternatives that are stricter than PEP 8, including Black and YAPF

redpajama_set_name: RedPajamaStackExchange


text:
Q: Jquery Toggle Help - Default Hidden I'm using this to toggle the UL after the heading with the class "toggle."
jQuery(document).ready(function(){
    $('.toggle').click(function() {
        $(this).next().toggle('slow');
        return false;
    })
});

With html like this:

Header

I added the display:none to have it be hidden by default until the header is clicked, but I can't seem to get it to open anymore.
Edit: Also, the reason I'm using $(this).next() is because I have multiple headers I want to apply this to on the same page.

A: If you are running jQuery in no conflict mode you need to declare your $ var in your ready function.
jQuery(document).ready(function($){
    $('.toggle').click(function() {
        $(this).next().toggle('slow');
        return false;
    })
});


The Toghotthele Board of Directors would like to thank Victor W. Lord for his many years of service on the Toghotthele Board. His historical knowledge and calming presence will be missed. We would also like to congratulate Terry Sunnyboy Sr. on his recent election and welcome him back to the Board after a short hiatus.
$400 Third Prize - Lester Erhart Sr.
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Monthly safety inspections done by 3rd party inspectors to insure OSHA compliance and a safe working environment for our employees.
© 2016 Toghotthele Corporation. All rights reserved.


text:
What Leaders Can Learn from Pfizer's CEO and the COVID-19 Vaccine
By Matias Obludzyner | Jan 10, 2021
The development of the COVID-19 vaccine is an example — probably an extreme one — of the importance of leadership and team commitment to achieving breakthrough results.
Typically, it takes about ten years for a vaccine to get to market. But Pfizer's COVID-19 vaccine took less than a tenth of that time. And, the vaccines developed by Moderna and AstraZeneca have been on a similar schedule. In the face of the global pandemic, all three have been developed in far less time than anyone thought possible.
There are two critical lessons for leaders here, with implications beyond COVID-19. The first is that leaders have an essential role in redefining what is possible and encouraging people to pursue solutions beyond old, familiar ways of working, which are often not adequate to solve unprecedented problems. The second is that it's fundamental to establish a shared sense of commitment and direction for a group of people to become a dedicated team that works together creatively and efficiently.
No doubt, Albert Bourla, the CEO of Pfizer (pictured above), has helped redefine what is possible. Reportedly, Mr. Bourla was not satisfied when told that the vaccine for COVID-19 would be ready only by mid-2021. He told his senior management that people tend to underestimate what they can achieve and that his team was capable of much more. And as we can all see now, Mr. Bourla was right.
Simultaneously, the pandemic provided a catalyst that gave a common purpose to Pfizer's team as they worked to develop and produce the vaccine.
But what happens in a different context, when a collective crisis is not so obvious? Can leaders still shape a common purpose? In those situations, what we might call genuine leaders are especially important. These are leaders who follow their convictions and passions and establish relationships with their teams openly and authentically. These leaders know how to create a shared purpose and the conditions that empower each of their team members to give their best.
This kind of leadership is not about having "charisma" or "executive presence." Nor is there a universal formula to follow. It's something that takes work and dedication but can be developed with practice and intention. Each person can develop their genuine, unique style of leading.
But beyond the specific character of each leader, we find some common traits. Recently, in preparation for my book The Expanding Circle, I interviewed more than three dozen "genuine" leaders and found some common threads:
Lead with your story. Genuine leaders tend to have a good understanding of themselves, their values, passions, and motivations. Leading from their passion gives them internal harmony, strength, and resilience. At the same time, their teams perceive them as genuine, which helps foster trust.
Many of these leaders are also good at articulating who they are and what they care about in a personal story. That articulation allows team members to make sense of who their leader is, and it helps them relate to her as a person — beyond her formal authority.
Mr. Bourla's story was well-known to Pfizer's employees long before the pandemic. Originally from Greece, he never imagined that he would end up running a pharmaceutical giant. In fact, his original training was as a veterinarian. But once he arrived at Pfizer, his self-knowledge told him that this was the place for him. And according to many people in his team, Mr. Bourla is friendly with colleagues at all levels and always ready to engage in open conversations.
Articulate a common purpose. Genuine leaders spend much of their time listening. Not listening passively, but actively spending time with staff, asking questions, seeking to understand their motivations and stories.
Based on this understanding of others and a clear idea of the objective to be achieved, these leaders create and share a narrative that gives meaning to the joint work, a common direction that facilitates collaboration.
In a way, COVID-19 made it easy for Mr. Bourla and his leadership team to articulate a story that facilitates a common goal and fosters commitment. The importance of the vaccine endeavor was evident for everyone. But at every opportunity, both in person and in writing, Mr. Bourla reminded his team what was at stake, why they needed to do more, and that is was needed faster.
Empower others. Genuine leaders create the conditions for others to take the initiative, be creative, and contribute their best. They do not micromanage but rather work to guide and empower others.
During the development of the vaccine, Pfizer's team met biweekly. There were no set agendas. The goal was to allow open participation and encourage everyone to share their views. This helped underscore the shared commitment to their goal, and it demonstrated that everyone's engagement was critical to collective success.
COVID-19 is still with us, and we continue to learn how to deal with it every day. Indeed, it will leave scars, but it will also drive some positive lessons. Among them, we can explore new horizons and redefine what is feasible when we face unique and even unprecedented challenges.
We can be sure that COVID-19 will not be the last crisis that demands new ways of thinking and working. And genuine leaders, such as Mr. Bourla, will be especially well-positioned to motivate their teams to challenge themselves and achieve breakthrough results.
Previous5 Ways to Lead with Love in 2021
Next"I Wish the CEO Would Try and Open This F@#!* Package"
Matias Obludzyner
Author of "The Expanding Circle", Matias Obludzyner is an English-Spanish bilingual leadership & communications professional with 20 years of experience in the United States and Latin America. He works in the investment and finance industry, supporting senior leaders in their external positioning, staff engagement, and change management initiatives. He also coaches high-potential professionals and emerging leaders. For more than 10 years, he worked with senior leaders at the International Finance Corporation of the World Bank Group. Previously, he worked for Ogilvy Public Relations and the Inter-American Development Bank.
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text:
Susu Pampanin, Percussion
Blog - Baolek Eh
Bands, Clubs and Venues
Giza Club
Caravan Band
The 4 T's
Karnak Marvels
The Pasha Band
The Zeffa Band
Carnival of Stars Night Club
Resources, Articles, Info and Songs
Shaabi Music History
Shaabi Songs
Ghawazee History
From the Sala to the Stage to the Silver Screen
Badia Masabni
Badia Masabni 2
Mohamed Ali Street
Moulid Moods and Moves
Dal'a
Abdel Wahab
Tarabiya
Bagdad Nights
The Giza Club
Established in 1990, The Giza Club is a cultural organization that meets regularly in an irregular way. We came about because we felt that in order to understand our dance and music, we needed to understand the culture. Our mission is to promote and inform people to know more of the cultural background behind the music and dance.
We have hosted and organized events for almost 30 years.
Guest Speakers - anthropologists, dancers, musicians, wacky women travelers...
Fllm Festivals - from documentaries and social narratives to black & white classics and silly Egyptian comedies...
The Giza Academy Awards and Hall of Fame - honoring fellow artists.
Field Trips - educational, social or music/dance events.
Popcorn days - watching good and bad belly dance film clips.
Discussions - socially relevant issues about our dance and music.
The Giza Club meets almost monthly. Check events page or bottom of this page periodically for dates. Please rsvp to attend.
The History of The Giza Club
By Linda Grondahl
When I think of Amina, I usually associate her with her dance group, the Aswan Dancers. Amina was my second belly dance teacher and shortly after I started studying with her in 1979, I joined the Aswan Dancers. Dancing in her group, we performed all over the place in venues from small house parties to large 1000 person juried and civic events. We were locally based in San Francisco, but we also traveled throughout the West as far south as Los Angeles and as far north as Seattle, Washington. We were also invited to perform for the prestigious Cairo Women's Club in Cairo, Egypt where Amina delivered a lecture on the differences between American and Egyptian style dance. Hearing that some of us were going to perform in Cairo,Amina's friends Morocco and Carla Lopez arranged a pre-Cairo workshop and show at Fazil's in NYC since the plane to Cairo left from New York. Those were pretty exciting times and we felt like we were going to conquer the world. But in reality, we were San Francisco based, had full-time jobs and we were just on vacation.
I enjoyed being an Aswan Dancer because we were different from most Middle Eastern dance groups in San Francisco. Because Amina worked at the Bagdad, she met and became friends with many people from the Middle East. Most knew that she wanted to present shows with a traditional and authentic touch and they helped us by giving us Egyptian language lessons, song translations, singing lessons, drum lessons and dance lessons. They also just hung out with us, dancing, singing and playing music at the Bagdad and at get-togethers and parties in Amina's studio. Many of these lessons were free because they were spontaneous and every once in a while. But we wanted more; so we'd arrange for and pay for on-going classes. We realized that because of our travels and because of our association with our Middle Eastern friends, many of whom were Egyptian,our dance group really was different from most of the other dance groups that mostly did belly dance choreographies to recorded music. Because Amina had her fill of uninformed audience comments watching her in two piece belly dance outfits at the Bagdad, she wanted to inform the uninformed about the rest of the Middle Eastern culture that she and we were learning from our friends.
We were especially Egyptian culturally specific because of Fatima Akef's influence on Amina. Fatima* was one of the dancers who Amina used to work with at the Bagdad. She used to work in a circus in Egypt and when Amina convinced her to teach in her studio, Fatima formed a dance company. It was called the Egyptian American Dance Company and Amina and Fatima were the only members. Later when they found other dancers, in their first show Fatima had Amina dressed as a man, wearing a mustache and a pillow for a stomach. She had Amina speaking in Arabic, singing in Arabic and dancing with a stick trying to pick up the pretty dancing girls…specifically Fatima. This is what formed Amina's sense of Egyptian dance and is what opened her eyes to Egyptian sensibilities and humor.
We craved and loved learning about the Middle East and wanted to share our knowledge. Some of us had even traveled to Egypt to learn more and to shop for musical instruments and costume supplies. In the early 1980's we presented a show that included our now mixed gender group. After all, how could we have a true culturally correct dance show without both guys and girls. Well, guy dancers were hard to find unless they were belly dancers but Amina wanted guys who were interested in learning guy dances also.
She started talent scouting by asking us if we had any male friends, relatives or otherwise who would be interested in learning to dance for free. She herself asked one of the regular customers at the Bagdad, Bobby. Bobby, our first male dancer, was an attorney who later was responsible for making us a non-profit dance company. Then, on a bus, Amina saw a guy who looked familiar. She thought she had seen him at a belly dance party at drummer Mary Ellen Donald's house. She approached him with a: "You don't know me, but I'm Susu's mother and wondered if you would like to dance in my dance group?" He was thrilled that he would get to meet Susu, the drummer and agreed to try it out. He introduced Amina to his friends on the bus as "This is Susu's mother." Our other guys were Michael and Tim donated by Aswan dancer, Eleanor.They were her roommate's friends. Then we got Gregangelo who was the son of Aswan Dancer Eileen/Saleema's doctor's receptionist. Then she found Esther who had auditioned at the Bagdad as a male belly dancer. Esther who was tall, with long hair and a full beard finally agreed to learn to dance like a guy for our shows. So we had a group of guys who agreed to dance with the (formerly all-girl) Aswan Dancers.
It was pretty exciting and often almost scandalous as we would many times have to share dressing rooms and even hotel rooms when traveling. It totally changed the dynamics of the group and also changed the style of dances. We no longer had to have the girls wear mustaches dressed as guys (ala Fatima) and we could really work on doing folkloric routines with girls as girls because now we had guys as guys. But Amina still kept the Egyptian humor in our pieces, such as the dance where we reversed roles and the guys dressed as girls and the girls were the guys.
Her Egyptian friend Samir who called the Bagdad bar his office became our first language teacher. Samir who also taught Egyptian at the Monterey Army Language School would come to practice and helped coach us on making mannerisms authentically Egyptian. Teaching Egyptian culture along with the language was part of his curriculum for the soldiers, so why not us dancers who also wanted and needed to be culturally specific? But at least we didn't have to be spies or whatever it was those soldiers did. Amina also watched lots of Arabic movies and videos and choreographed the dances from her visions based on what she saw on VHS, what she saw in her head and what she saw and learned from all the Arabs she worked with. So in the early 1980's we debuted the guys and were an instant success and were complimented by our Middle Eastern and non Middle Eastern audience for bringing the traditions of the Middle East and specifically, Egypt, to the stage.
We noticed that we really were different from other groups because Amina insisted that we dance covered most of the time and that our dances were folkloric in origin rather than being predominantly Oriental pieces. She always wanted a theme that subliminally brought about the point that our dances were cultural and based on the music and lyrics. The dancing was just a given.
We danced at a juried event a couple of times. It was called The Ethnic Dance Festival. It was fun to do, but took too much of our time based on the outcome. Although it was a San Francisco "sort of" sponsored event (paid for mostly by the hotel tax funds), it really was a "sort of" prestigious event that was more about presenting slick ethnic shows that brought big revenues but wasn't that much about the ethnic communities they represented. Through Meroe, another Aswan Dancer, we got a grant from the city to host our own event that we called Culture Caravan. Culture Caravan followed the year after our Aswan Dancers Summer Studio Series where we presented folkdances of Egypt and the Middle East and included talks on the costuming and culture of the dance.Meroe wanted to expand on this and so went after a grant to include folkloric dances from throughout the world. It was kind of like our grass-roots response to the slick Ethnic Dance Festival. We invited different ethnic dance communities to participate and perform but they also had to talk about the culture and participate in very informal panel discussions. It was a very low budget dance festival that also stressed the culture. It was very informative but not that successful because we found that most audience members just wanted to be entertained without the bother of learning about the culture in a classroom situation. Our CultureCaravan was low tech in a conference room in an office building in downtown San Francisco. We invited different ethnic dance communities to participate and perform but they also had to talk about the culture and participate in very informal panel discussions. It was a very low budget dance festival that also stressed the culture. It was very informative but not that successful because we found that most audience members just wanted to be entertained without the bother of learning about the culture in a classroom situation. Our CultureCaravan was low tech in a conference room in an office building in downtown San Francisco. We invited different ethnic dance communities to participate and perform but they also had to talk about the culture and participate in very informal panel discussions. It was a very low budget dance festival that also stressed the culture.It was very informative but not that successful because we found that most audience members just wanted to be entertained without the bother of learning about the culture in a classroom situation. Our CultureCaravan was low tech in a conference room in an office building in downtown San Francisco. It was very informative but not that successful because we found that most audience members just wanted to be entertained without the bother of learning about the culture in a classroom situation. Our CultureCaravan was low tech in a conference room in an office building in downtown San Francisco. It was very informative but not that successful because we found that most audience members just wanted to be entertained without the bother of learning about the culture in a classroom situation.Our CultureCaravan was low tech in a conference room in an office building in downtown San Francisco.
Since Amina's focus was more about Egypt and the Middle East, she soon forgot about doing another Culture Caravan, but that indirectly fostered another idea. It was to become the Giza Club.
In Amina's other life, she was heavily involved in the Mexican art community and even got us a number of gigs dancing at civic events sponsored by San Francisco's Mexican/Chicano art world. One day she was invited to an art salon hosted by her artist friend Yolanda Lopez. Amina was fascinated by artists, musicians and dancers and wanted to always surround herself with creative people. To her, it was the only thing that mattered in life. Of course her family mattered too, but being around intellectual and artistic stimulation made life worth living. She wanted more than the Aswan Dancers performing in shows. She wanted more than just dancing at the Bagdad. True it was greater fun than anything and it was inspiring to dance and create night after night to live music. But she wanted more.She wanted to share her love of the culture of the dance and music of the Middle East. So, inspired by Yolanda's round table of Chicana artists socializing and discussing issues, in 1990 Amina decided to formalize the idea of a cultural club. She called a few of us together to discuss the idea. She presented her idea of what would then become the Giza Club. Those of us at the meeting all became charter members. The Giza Club after 25 years is still dedicated to its original mission which is to promote and inform people to know more of the cultural background behind the music and dance. She presented her idea of what would then become the Giza Club. Those of us at the meeting all became charter members.The Giza Club after 25 years is still dedicated to its original mission which is to promote and inform people to know more of the cultural background behind the music and dance. She presented her idea of what would then become the Giza Club. Those of us at the meeting all became charter members. The Giza Club after 25 years is still dedicated to its original mission which is to promote and inform people to know more of the cultural background behind the music and dance.
We still meet regularly to discuss issues about our dance, to explore the cultures that surround it. We also have social events and many other interesting activities. To be continued...
* Exotica (1957) and Primitiva (1958) were two LP albums by Martin Denny who produced music of a musical genre of thepost-war 1950's that included a combination of the South Pacific and the Orient that really was pure fantasy.
** Later Amina learned that Fatima was the sister and child dancing partner of Naima Akef, legendary Egyptian dance and film star of Egypt's Golden era. Naima was the youngest member of dancers that we all lovingly called "the big three." They were Taheyya (Carioca), Samia (Gamal) and Naima (Akef). Naima and Fatima were members of a true show biz family - their grandmother owned the famous Akef Family Circus and their uncle, Ibrahim Akef was choreographer to the Egyptian dance stars. When Naima moved off to film stardom, Fatima, accompanied by her drummer husband, toured the world and eventually called the Bagdad and San Francisco their home.
Read more About the Giza Club
Make a Giza Club!
by Amina Goodyear
I had been reading about the bohemian culture and about someone who had a round table salon every week at her house. People would just drop by and eat and drink and exchange ideas. They would inspire each other to create. It was a salon of artists and free thinkers. What an interesting concept of regularly gathering together to mingle with artists, writers, musicians, dancers and other interesting bohemian free-thinking characters. Yes, why not be part of an "art" salon, but where could we find one? (Especially an art salon with people interested in the Middle East in the middle of San Francisco.)
My friend at work, was a Universal Life Church minister. Sometimes she married people who wanted unusual weddings. She was a playwright and would create memorable staged events for her wedding parties. On the weekends she had an art church. We would meet on Sunday mornings at her house for brunch and would bring our arts and crafts projects and ideas, ready to create or recreate for ourselves, each other, or even for her weddings. continue reading article here:
http://www.gildedserpent.com/articles11/makeagiza.htm
Past events: Badia Masabni, Dance Pioneers of West Coast, Dance Pioneers of East Coast, History of Belly Dance in America, the Hasaballah Bands of Cairo, Dancing Fashion Show and The Cairo Cats in action (performed 1991), The Zar in film - documentaries, live footage, zar performances in dance - choreographies and drum solos. Also discussed - zar ornamentation and why the zar crossed over into performance.
GIZA CLUB meets SaturdayMay 4, 2019 at 2:45. Topic: Ramadan - rsvp please
The Archives link in the menu takes you to my old website that in 2015 froze and stopped letting me fix or update. There was too much information to transfer, so after transferring a few relevant pages I decided to just leave the rest there for you to explore like an archaeological dig.
Amina Goodyear, 829 Elizabeth Street, San Francisco, CA, 94114, United Statesaminajune@aol.com


This entry was posted on Monday, April 15th, 2019 at 21:41	and is filed under Censored, HONB. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


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Hernâni António Cidade ComSE • GOSE • GCSE (Redondo, Redondo,  — Évora, ) foi um professor, ensaísta, historiador e crítico literário português.

Biografia
Filho de António Bernardino Cidade, carpinteiro de carros, e de sua mulher Genoveva da Purificação Madeira, parente distante de São João de Deus.

Estudou no Seminário de Évora, onde concluiu o curso de Teologia, no termo da qual declinou o convite para prosseguir os seus estudos na Universidade Gregoriana e abraçar a carreira eclesiástica. Inscreveu-se, em Lisboa, no Curso Superior de Letras, custeando os seus estudos como prefeito no Colégio Calipolense e explicador particular. Terminado o curso, foi professor extranumerário no Liceu Passos Manuel e, a partir de 1914, professor efectivo do Liceu de Leiria, ensinando as disciplinas de Língua e Literatura Portuguesa.

Em 1916, com a entrada de Portugal na Grande Guerra, foi mobilizado para o Corpo Expedicionário Português e enviado como comandante de pelotão para a frente da batalha, na Flandres. Ali revelou, em várias ocasiões, a sua bravura no resgate de soldados de ambas as forças em combate. Na Batalha de La Lys, a 9 de Abril de 1918, foi feito prisioneiro pelas forças alemãs, tendo permanecido em cativeiro cerca de nove meses. No campo dos oficiais prisioneiros, prosseguiu o estudo da língua alemã e organizou conferências literárias aos domingos, a primeira das quais foi "Camões, poeta europeu". Viria a ser-lhe atribuída a Cruz de Guerra..

Regressado a Portugal, em 1919 foi convidado para lecionar na recém-criada Faculdade de Letras do Porto como professor contratado do 2.º Grupo (Filologia Românica). Ascenderia, mais tarde, a professor ordinário e, por fim, a professor catedrático, regendo as cadeiras de Língua e Literatura Francesa, Língua e Literatura Portuguesa, Gramática Comparada das Línguas Românicas, História da Literatura Italiana, Filologia Românica, Filologia Portuguesa e História da Literatura Portuguesa. A 19 de Abril de 1926, foi-lhe outorgado pelo Conselho Escolar da mesma faculdade o grau de Doutor em Letras – Filologia Românica. Após a extinção da Faculdade de Letras do Porto, decretada pela Ditadura Militar em 1928, lecionou no Liceu Rodrigues de Freitas no Porto, tendo em 1931 transitado para a Faculdade de Letras de Lisboa, após aprovação em concurso público com a dissertação "A obra poética do Dr. José Anastácio da Cunha".

Em Lisboa, participou em alguns movimentos de oposição ao Estado Novo até meados da década de 1930, mas viu-se obrigado a abandonar a actividade política sob pena de expulsão da Universidade de Lisboa. Chegou a estar incluído na lista dos professores universitários demitidos em 1935, mas a intercessão do ex-ministro da Instrução Gustavo Cordeiro Ramos junto do ditador Salazar evitou a sua expulsão.

Além da sua actividade docente regular, dedicou-se a uma extensa produção cultural e científica nos domínios da Literatura e da Cultura Portuguesa, publicando vasta obra e ministrando cursos e participando em conferências em diversas universidades brasileiras, espanholas, francesas e inglesas. Foi colaborador da História de Portugal dirigida por Damião Peres, da Grande Enciclopédia Portuguesa e Brasileira e do Dicionário das Literaturas Portuguesa, Galega e Brasileira, das revistas A Águia, Seara Nova, O Instituto, Biblos, Ocidente, Revista dos Centenários, Litoral, da  revista luso-brasileira Atlântico, bem como das revistas das faculdades de Letras de Lisboa e do Porto. Colaborou nos jornais O Primeiro de Janeiro, O Comércio do Porto, Diário de Notícias e pertenceu ao conselho diretivo do Diário Liberal (1932-1934). Foi cofundador da revista Colóquio - Revista de Artes e Letras (1959-1970), de que foi diretor da secção literária, e da revista Colóquio/Letras, de que foi diretor de 1971 até à sua morte em 1975, ambas editadas pela Fundação Calouste Gulbenkian.

Foi jubilado como professor catedrático da Faculdade de Letras de Lisboa, em 1957.

Foi casado com Aida Tâmega e pai, nomeadamente, de Helena Cidade Moura.

Distinções
Em 1956, foi agraciado pela República Francesa com a Legião de Honra.

A 16 de Julho de 1958 foi feito Comendador da Antiga, Nobilíssima e Esclarecida Ordem Militar de Sant'Iago da Espada, do Mérito Científico, Literário e Artístico, tendo sido elevado a Grande-Oficial da mesma Ordem a 2 de Julho de 1969 e a Grã-Cruz da mesma Ordem a 4 de Julho de 1973.

Tem uma biblioteca e uma escola básica e secundária com o seu nome no Redondo.

Obras
 Ensaio sobre a Crise Mental do Século XVIII (1929)
 A Obra Poética do Dr. José Anastácio da Cunha (1930)
 A Marquesa de Alorna. Sua Vida e Obras. Reprodução de Algumas Cartas Inéditas (1930)
 Fernão Lopes é ou não o autor da "Crónica do Condestabre" (1931)
 Lições de Cultura e Literatura Portuguesas, 2 vols. (1933 e 1940)
 Luís de Camões. I - O Lírico (1936)
 Bocage (1936)
 Tendências do Lirismo Contemporâneo (1938)
 Poesia Medieval: Cantigas de Amigo (prefácio, ordenação e notas, 1939)
 Padre António Vieira, Estudo Biográfico e Crítico (1940)
 Marquesa de Alorna: Inéditos: Cartas e Outros Escritos (seleção, prefácio e notas, 1941)
 Marquesa de Alorna - Poesias (seleção, prefácio e notas, 1941)
 Antero de Quental - Poeta (1942)
 A Literatura Portuguesa e a Expansão Ultramarina (1943)
 O Conceito de Poesia como Expressão da Cultura (1945)
 João de Barros, Ásia: dos Feitos Que os Portugueses Fizeram no Descobrimento e Conquista dos Mares e Terras do Oriente, 4 vols. (actualização ortográfica e notas, 1945-1946)
 Luís de Camões - Obras Completas, 5 vols. (prefácio e notas, 1946)
 Literatura Autonomista sobre os Filipes (1948)
 Luís de Camões. II - O Épico (1950)
 P.e António Vieira, Obras Escolhidas, 12 vols. (prefácios e notas de António Sérgio e Hernâni Cidade, 1951-1954)
 Luís de Camões. III - Os Autos e o Teatro do seu Tempo. As Cartas e o seu Conteúdo Biográfico (1956)
 Luís de Camões. A Obra e o Homem (1957)
 P.e António Vieira - Defesa perante o Tribunal do Santo Oficio, 2 vols. (introdução e notas, 1957)
 Portugal Histórico-Cultural através de Alguns dos Seus Maiores Escritores: Fernão Lopes, Camões e Mendes Pinto, P.e António Vieira, Antero de Quental, Teixeira de Pascoais e Fernando Pessoa (1957)
 Lições de Cultura Luso-Brasileira. Épocas e Estilos, na Literatura e nas Artes Plásticas (1960)
 Século XIX: a Revolução Cultural em Portugal e Alguns dos Seus Mestres (1961)
 Antero de Quental. A Obra e o Homem (1963)
 Padre António Vieira. A Obra e o Homem (1964)
 Bocage. A Obra e o Homem (1965)
 Bocage - Opera Omnia, 2 vols. (dir., 1969)
 Camões em Lisboa e Lisboa nos Lusíadas (1972)

Ligações externas
Instituto Camões - Hernâni Cidade
Hernâni António Cidade, Docente da Primeira Faculdade de Letras da Universidade do Porto
Colóquio -- Revista de Artes e Letras (1959-1970)
Colóquio/Letras (1971-)

Naturais de Redondo
Académicos de Portugal
Acadêmicos do Brasil
Correspondentes da Academia Brasileira de Letras
Professores da Faculdade de Letras da Universidade de Lisboa
Comendadores da Ordem Militar de Sant'Iago da Espada
Grandes-Oficiais da Ordem Militar de Sant'Iago da Espada
Grã-Cruzes da Ordem Militar de Sant'Iago da Espada

redpajama_set_name: RedPajamaWikipedia


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Adobe Captivate Prime: Adobe's Best LMS Effort to Date
by Sean Mullen
This will be the first in a series of newsletter articles which cover the Learning Management System (LMS) offering from Adobe Systems--Adobe Captivate Prime. In the title I mentioned "best LMS effort to date" because it's good to know where Adobe has been on the topic of LMSs. Some of you may be familiar with the menu option to publish directly from Adobe Presenter and Adobe Captivate to Adobe Connect. What most people don't know is Adobe Connect has an easy to use, but feature-light, content management system to deliver courses and curriculums to learners. This workflow has been around for over 10 years from Adobe (well, technically Presedia, then Macromedia, and then Adobe Systems). If you're not familiar with this solution, that's fine, we've now got Adobe Captivate Prime.
In the image below you can see the Publish options in Adobe Captivate 9. Notice that Publish to Adobe Captivate Prime is one of the menu items.
I started testing Adobe Captivate Prime during its beta in the fall of 2014; and from the start, I knew Adobe was onto something special. The product was officially released on August 19, 2015, after two years of building from the ground-up, which makes Adobe Captivate Prime the first new product from Adobe Systems in over a decade.
If this is your first time reading about Adobe Captivate Prime, no problem! If you've seen a little of Adobe Captivate Prime, perhaps you've attended a webinar, even better! The goal for this article series is to provide an unvarnished "deeper-dive" on no less than 10 key features of Adobe Captivate Prime. These features will include:
Fluidic Player
Note-taking & Bookmarking
Video Delivery Performance
Mobile Learning & Offline
Gamification, Leaderboard, and Badges
The Four Distinct Roles
Easy Administration Tools
Skilled-based Learning
Learner Dashboards
Powerful Reporting
Plus, I will cover some of the exciting new features to be released soon, so stay tuned!
March 14, 2016 in Adobe Captivate Prime | Permalink | Comments (0)


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class AddDepthAndMetadataToTavernaPlayerRunPorts < ActiveRecord::Migration
  def change
    add_column :taverna_player_run_ports, :depth, :integer, :default => 0
    add_column :taverna_player_run_ports, :metadata, :text
  end
end

redpajama_set_name: RedPajamaGithub


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Sinnai (en sard Sìnnia) és un municipi italià, situat a la regió de Sardenya i a la Ciutat metropolitana de Càller. L'any 2008 tenia 16.498 habitants. Es troba a la regió de Campidano di Cagliari. Limita amb els municipis de Burcei, Castiadas, Dolianova, Maracalagonis, Quartucciu, San Vito, Settimo San Pietro, Soleminis, Villasalto i Villasimius.

Evolució demogràfica

Administració

Municipis de Càller


Here is our bank information to enable you to pay for your orders directly in to our bank account.
Please be sure to include your order number as the reference on the transfer when making payment. This will allow us to match your payment with your order more easily.


text:
Instagram, Telegram
Telegram marketing and its relation to business promotion is challenging for almost all businesses. In contrast to the common belief that social networks such as Telegram are mainly where youngsters…
Micheal, 2 weeks ago 7 min read
The users of each Instagram page are the most important factor in the progress of that page! In fact, any post on your Instagram page is intended to increase…
Olivia Woolf, 5 months ago 11 min read
. Each user, on Instagram, likes one or more specific topics more than others. They may have followed several pages related to those topics! This has made Instagram add a…
Instagram, Product Update
The Instagram live feature is a live video broadcast in the Instagram app and is accessible through the Instagram Stories section. Using the Live story feature, you can make more…
Micheal, 7 months ago 9 min read
How to Delete and Deactivate an Instagram Account
People normally tend to get rid of their Instagram accounts due to some various reasons which may vary from person to person, some of the reasons are as the followings:…
All You Should Know about Instagram story
Instagram stories are among the fascinating features added to Instagram which has gained popularity very quickly among Instagram users. But what is the reason for their popularity? The answer is…
A Complete Guide to Using an Instagram Business Profile
Instagram introduced its new Business Profile (i.e. Instagram business profile) in 2016. This feature was intended for businesses and would enable them to use it for commercial purposes on Instagram….
Three Instagram Marketing Mistakes that Threaten Your Business
With over 1 billion users worldwide, Instagram is an incredible platform for marketing and business strategies. At the same time, it's easy to fail large businesses due to minor mistakes….
The ultimate guide to report Instagram accounts and contents
It has also come to you that someone irritates you on Instagram. A person who places your personal photo on his page, create a fake account for you or send…
Instagram, Marketing
Learn the ways to earn money from Instagram and increase your revenue
Instagram is one of the largest social networks in the world that so many users working on it. Due to a large number of active users, Instagram is one of…
Influencer marketing and its importance in online businesses
Introduction Social media form a very important part of media and their users can talk about different subjects. Social media effect people and their decisions and you can also see…
Micheal, 9 months ago 11 min read


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<lively-import src="../_navigation.html"></lively-import>

* [pancake.io](https://pancake.io/) can host static home pages through dropbox

## Augmented Editor

* Barista
* https://github.com/harc/moonchild

  "Ext JS helps you build data-intensive, cross-platform web apps for desktops, tablets, and smartphones. Take advantage of powerful features in Ext JS Premium including Pivot Grid, D3 Adapter, Calendar, and Exporter." [Sencha Ext JS](https://www.sencha.com/products/extjs/)

## Web-based Development Environments

- [Meemoo](https://app.meemoo.org/#gist/4029543)
- [WebAssembly Studio](https://webassembly.studio)
- [fizzygum](http://fizzygum.org): "Fizzygum is a new web framework, an entire platform really, designed from the ground up to do complex things easily. Things like: live documents, complex apps, complex sets of apps, or even entire custom environments. Get the power of an entire Operating System at your fingertips: …make dashboards and visualise data (plots, maps, …)" (from intro)

## Active Essays

### observable

- "Discover insights faster and communicate more effectively with interactive notebooks for data analysis, visualization, and exploration." [observable](https://beta.observablehq.com/)
- https://beta.observablehq.com/@mbostock/five-minute-introduction
- "An Observable notebook is a sequence of cells."
- cells are javascript code and evaluate to a value
- they have names and can reference each other
- this depencies are automatically reevaluated when the references cells changes
- code and text is unified, since text fields are just code fields that return HTML or markdown code / objects #Contribution

### Rich Markdown

- https://npm.taobao.org/package/markdown-it-vue

## Other Fields

###  Wood / Metal Workshop

- [How to make these Alternative Dovetail Joints](https://www.youtube.com/watch?v=cQyOa6RSIWM)
  - tool materials: metal, wood
  - target material: wood
  - tools get build/evolved in a self-supporting manner #S3
  - ![source:https://www.youtube.com/watch?v=cQyOa6RSIWM](media/Paskmakes_2019_HowToMakeTheseAlternativeDovetailJoints.png){height=200}


text:
BlackmansStreet.Today
No man should be hungry for an image of himself
Black Workers
Deadly police shootings
British Vogue editor racially profiled; He shows security guard the door
Excavation has begun on a possible mass graves of Blacks murdered in the Tulsa Massacre
Hamilton wins Styria Grand Prix
Japanese celebrate Black Lives Matter
John Wayne's boots are walking
Black jobless rate was 15.4 percent in June
by BlackmansStreet.Today on July 7, 2020
BlackmansStreet.Today Author
More in Business:
The United Nations says pandemic can wipe out 195 million full-time jobs worldwide April 7, 2020
It's a supreme loss for Byron Allen's company March 24, 2020
Coronavirus will take a bite out of Apple's quarterly revenues February 18, 2020
But more economic distress is on the horizon with an increased spread of Covid-19
The Black unemployment rate in June was 15.4 percent, down from 16.8 percent in May, the U.S. Bureau of Labor Statistics reported last week.
The jobless rate for Black men, 20 and older, however, rose to 16.3 percent in June compared with 15.5 percent in May, BLS reported. However, the unemployment rate for Black women improved to 14.0 percent compared with to 16.5 percent in May.
Overall, the U.S. nonfarm payroll employment rose by 4.8 million in June, an increase from 2.7 million in May.
But, because so many jobs were lost in March and April, we are still 14.7 million jobs below where we were in
Elise Gould, senior economist at the Economic Policy Institute
February, before the pandemic spread, writes Elise Gould, senior economist at the Economic Policy Institute, and Heidi Shierholz, senior economist and director of policy at the Economic Policy Institute, a Washington-based think
Heidi Shierholz, senior economist and director of policy at the Economic Policy Institute
tank.
In June, jobs were added due to many states continuing to lift their stay at home requirements.
Job gains occurred primarily in leisure and hospitality, an increase of 2.1 million, a significant share of the overall rise of 4.8 million. The unemployment rate fell as well, from 13.3% in May to 11.1% in June. At 11.1%, the unemployment rate remains higher than in the worst month of the Great Recession, when it hit 10.0% in 2009.
Hires are up because states relaxed their stay-at-home orders concerning pandemic. But more economic pain is on the horizon because the latest coronavirus data shows that the relaxed restrictions on social distancing also had the effect of increased cases leading to some states pausing re-openings. In Florida and Texas, Covid-19 cases are spreading. Texas surpassed 200,000 Covid-19 cases over the July 4 holiday.
Losses in public-sector employment will affect Black workers more, particularly Black women, Gould and Shierholz wrote. That's because Black women have the highest share of jobs in the public sector.
Black women employed in the public jobs sector
The Black unemployment rate is much higher compared with other racial and ethnic groups.
BLS reported that the jobless rate for Hispanics was 14.5 percent and jobless rate for Asians was 13.8 percent. For Whites, the jobless rate was 10.1 percent. For white men, the unemployment rate was 9.0 percent.
NorthStar News Today, an online newspaper reporting on issues affecting men in the black community, draws inspiration from "The North Star", a black-owned anti-slavery newspaper founded by Frederick Douglass in 1847. NorthStar News Today continues to honor Douglass and his courage.
BlackmansStreet.Today is an online newspaper that writes and reports on issues that affect black men. The publication is inspired by The North Star, a black-owned anti-slavery newspaper founded by Frederick Douglass in 1847.
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of fashion. Brazilian idealism and Rio de Janeiro are the starting point for Cruise 2017.
urban futurism and romanticism — all the dynamic feeling the city inspires.
trunk that brings a musical nod to the Maison's know-how.
fabric transformed into capes and dresses, become a place where the body can move freely.
while taffeta cape-dresses seem to be anticipating the wind to rise.
Pelé in one of his most famous paintings, "A Fera" (1969).
recasting it on the Maison's classics.
Pedrosa and Isabel Teixeira, as well as the Burle Marx Landscape Design Studio.


text:
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd">

<title>StackXMLInteger</title>
<meta name="date" content="2017-03-06">
<link rel="stylesheet" type="text/css" href="../../../../../../stylesheet.css" title="Style">

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com.github.jessemull.microflex.integerflex.io

Class StackXMLInteger

java.lang.Object

com.github.jessemull.microflex.integerflex.io.StackXMLInteger

public class StackXMLInteger
extends java.lang.Object

This is a wrapper class used to marshal/unmarshal an XML encoded stack object.

Author:

Jesse L. Mull

Constructor Summary

Constructors

Constructor and Description

StackXMLInteger()

StackXMLInteger(StackInteger stack)

Creates an XML stack from a stack object.

Method Summary

All Methods Instance Methods Concrete Methods

Modifier and Type
Method and Description

int
getColumns()

Returns the column number.

java.lang.String
getLabel()

Returns the stack label.

java.util.List<PlateXMLInteger>
getPlates()

Returns the list of plates in the stack.

int
getRows()

Returns the row number.

int
getSize()

Returns the size.

java.lang.String
getType()

Returns the data type.

void
setColumns(int columns)

Sets the column number.

void
setLabel(java.lang.String label)

Sets the stack label.

void
setPlates(java.util.List<PlateXMLInteger> plates)

Sets the list of plates in the stack.

void
setRows(int rows)

Sets the row number.

void
setSize(int size)

Sets the size.

void
setType(java.lang.String type)

Sets the data type.

StackInteger
toStackObject()

Returns a StackInteger object.

Methods inherited from class java.lang.Object

equals, getClass, hashCode, notify, notifyAll, toString, wait, wait, wait

Constructor Detail

StackXMLInteger

public StackXMLInteger()

StackXMLInteger

public StackXMLInteger(StackInteger stack)

Creates an XML stack from a stack object.

Parameters:

StackInteger - the stack object

Method Detail

setType

public void setType(java.lang.String type)

Sets the data type.

Parameters:

String - the data set numerical type

setLabel

public void setLabel(java.lang.String label)

Sets the stack label.

Parameters:

String - the stack label

setRows

public void setRows(int rows)

Sets the row number.

Parameters:

int - number of rows

setColumns

public void setColumns(int columns)

Sets the column number.

Parameters:

int - number of columns

setSize

public void setSize(int size)

Sets the size.

Parameters:

int - number of plates in the stack

setPlates

public void setPlates(java.util.List<PlateXMLInteger> plates)

Sets the list of plates in the stack.

Parameters:

List<PlateXMLInteger> - the plates

getType

public java.lang.String getType()

Returns the data type.

Returns:

the data set numerical type

getLabel

public java.lang.String getLabel()

Returns the stack label.

Returns:

the stack label

getRows

public int getRows()

Returns the row number.

Returns:

number of rows

getColumns

public int getColumns()

Returns the column number.

Returns:

number of columns

getSize

public int getSize()

Returns the size.

Returns:

number of plates in the stack

getPlates

public java.util.List<PlateXMLInteger> getPlates()

Returns the list of plates in the stack.

Returns:

the list of plates

toStackObject

public StackInteger toStackObject()

Returns a StackInteger object.

Returns:

the stack

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Please be in the lookout for Beau.
Last seen in his yard , in SW Miami, a several months ago.
Beau is about 8 years old and very gentle. Looks just like Lassie.
Please contact us if you find a collie or know the whereabouts of Beau.
SEND ME NEWS, EVENTS, FUNNIES, UPDATES, COOL ARTICLES!


No matter what your question or comment is I'm very happy to read and respond to it.
Quitting smoking is one of the best things that you will ever do, and you're in the right place to do it.
Do you want the easiest way to stop with no withdrawal symptoms?
Do you want to improve your health, your bank balance, your family life, even your prospects of promotion?
Remember, if you smoke 20 cigarettes a day and you don't stop smoking you will continue to waste over £3,500 a year.
Smoking is a habit. One that gets stronger and stronger each time you try but fail to quit.
My client Glen tells us what happened to him.
"During the Hypnotherapy I felt safe and in control.
I couldn't figure out for the first few days why I didn't want to smoke. Then I gave up thinking about it.
Sometimes you have to realise that you can't do everything with willpower alone and you need help. Then it's just a matter of taking that help."
Smoking is not a real friend to you. It's like having an abusive relationship. It tells you that you can't do without him then he just stabs you in the back.
Remember. You are not the problem. Smoking is.
It's time to detach yourself.
Not sure? Tried to give up before?
It's worth watching this video now.
or email me at becky.wells@beckywells.com with your phone number.
The good news is that smoking is just a learnt habit and behaviour. You weren't born a smoker. Peer pressure, stress or some other lifestyle factors started that habit.
The bad news. You can't blame nicotine for the ongoing relationship you have with tobacco. Nicotine apparently only stays in your body for up to 96 hours after your last cigarette.
I also suspect most of you don't realise that for a third of your life, whilst you sleep, you don't even think about smoking. On a plane, most people report not even thinking about a cigarette until that last bit as the runway appears on the horizon.
Although the brain misses the hit from the tobacco, many other activities can give you the same hit without the deadly side effects.
Listen to your favourite music, get active. Cycling, running, swimming, boxing, even dancing. So, keep your body moving. It may be as simple as taking your dog for a walk if you have one.
Take time for yourself: pilates, yoga, mindfulness. Reducing your stress levels calms the mind and reduces the brain's need for that artificial feel-good hit.
You weren't born a smoker, don't die one.
"During the Hypnotherapy, I felt safe and in control. I couldn't figure out for the first few days why I didn't want to smoke. Then I gave up thinking about it. Sometimes you have to realise that you can't do everything with willpower alone and you need help. Then it's just a matter of taking that help."


text:
Q: The space of all $A_n$ such that $\lambda_i(A_n)=\lambda_i(A_{n-1})$ has co-dimension 2 for Hermitian matrices or 1 for symmetric matrix (Cauchy Interlacing Theorem) For any $n \times n$ Hermitian matrix $A_{n}$ with top left $n-1 \times n-1$ minor $A_{n-1}$ ($A_{n-1}$ is simply removing the last row and last columns from $A_n$), then
$$
\lambda_{i+1}\left(A_{n}\right) \leq \lambda_{i}\left(A_{n-1}\right) \leq \lambda_{i}\left(A_{n}\right)
$$
for all $1 \leq i \leq n .$ Show furthermore that the space of $A_{n}$ for which equality holds in one of the inequalities above has codimension 2 (for Hermitian matrices) or 1 (for real symmetric matrices).
I can show the main part of Cauchy interlacing theorem but I fail to see how the claim at the end that counts codimensions when equality holds is true. In fact, I don't think I fully understand what I'm supposed to prove in precise terms. This is an exercise from Terry Tao's "Topics in random matrices". Is it related to $\lambda_i(A)$ is differentiable? Any help is appreciated


text:
Social support for older men
Last Updated at July 20th 2021
CONSUMER STORY - Whether it's enjoying a coffee while reading the newspaper, participating in projects to raise money and help the local community, or to simply have a yarn with your mates, men's sheds across the nation are making a big difference in the lives of older men.
John Lush from the Eastern Region Men's Shed program, based in Adelaide. [Source: Supplied]
Men just like 82-year-old George Dellar, who attends the Eastern Region Men's Shed program in Adelaide, South Australia.
George stumbled on the men's shed after attending a council expo in his local area, where the Eastern Region program had a stall, and has been going every Friday for the last five to six years.
"You can do just about anything. We do a lot of carpentry...fixing and making things. One guy is currently making a square table with holes that will fit a wine glass which folds up. The shed keeps you off the streets and keeps you busy," he says.
"That's what it's all about….talking and interaction. And you don't have to do anything. Some people just come to have a chat, have a coffee with your mates. Some people do the quiz in The Australian."
Community Engagement Manager at Australian Men's Shed Association, Gary Green, says if you can think of it, it's probably happening somewhere in a men's shed in Australia.
"They usually start off with woodworking… sometimes they branch off into metalwork. Over time, anything can happen. I know men's sheds that have art groups and camera clubs. One men's shed in Melbourne hold their meetings at a basketball court where they build and fly model aircrafts and gliders."
There are around 1,000 men's sheds across the nation, Government and non-Government funded, with around 250,000 men who are members. The Federal Government doesn't directly provide funding to sheds, instead helping with initiatives such as health events, while State Governments can provide grants to actually build a shed in a particular area.
Non-Government funded sheds get their funding by applying through small grants, such as the Shed Development Grants Program through the Australian Men's Shed Association, or by raising money through selling things they make in the shed. Some sheds may charge a small fee each week to cover the cost of food and coffee.
Many sheds are jumping on board a number of men's health initiatives, including check up programs using local health services and information sessions, on topics such as heart disease, diabetes and prostate, opening up the conversation on issues rarely discussed by men.
But, as Gary points out, the root of many men's shed organisations is in giving back to their community.
While each shed is different, some are doing a number of incredible things in their local community, from repairing kids toys for the local kids' library, building outdoor settings for the local pony club, building kitchen sinks and repainting chairs for the local kindergarten, to making library shelving for the local Catholic school.
"Us blokes feel like we're needed by society, we love to give and we love to help. Men will help everyone else before they help themselves (to their detriment!)," Gary says.
"Men's sheds have given an opportunity to see that older men may not be young, fit or mentally agile, but they're not fools. They can still do things and contribute, and do amazing things! There is a bit more respect for older men in the community now."
Both George and Gary would agree that the majority of men that go to men's sheds are retired or semi-retired men.
"It wasn't deliberately started that way," says Gary.
"However, they're the ones who have the time, they're the ones who feel the need."
"I started a survey when I started up a men's shed in Orbost, Victoria. One of the questions was 'why do you come to the shed?' There was no mention of themselves, with most of them saying they come to help the other blokes or other people. Over the years that changed," he adds.
Now, they'll tell you it's not only about giving back to the community but the friendships, the support and a sense of purpose.
"I'm of the belief that you don't choose the shed, it chooses you," says 58-year-old John Quinn.
"It's good for your mental health, a place you can feel safe, a place of worth and a place to help strengthen those who have become widowed or recently retired."
Like George, John attended a council expo where the Playford Men's Shed had a display.
"I pondered [going to a men's shed] for a couple of months and was sort of pushed out the door to go and do something in a similar environment to what I was used to at work. I found the first time I attended that I felt comfortable in the environment, and the people were easy to get along with."
With men from all walks of life, another huge benefit for these men is the sense of companionship and wellbeing that men's sheds offer - something rarely seen in other social groups.
"I have quite a number of friends that I can rely on when needed, just as they can rely on me," says John.
"We definitely speak often at times about feelings and emotions that, not that long ago, was not heard of."
The opportunity of social interaction, a sense of community and purpose, and a nice cup of coffee and a biscuit, are all contributing factors to a greater sense of emotional and mental wellbeing for these men - an important trait as we live out our later years.
And, as George adds, "you just gotta go no matter what. It's your life...the shed. It just means the world. It means everything."
Are you looking at joining a men's shed? What is encouraging you to join? Tell us in the comments below.
Social support in your community
What is the Community Visitors Scheme?
Finding purpose in your retirement
People who can help
Transport around your community and home
Getting to medical or personal appointments, the shops or...
What a financial advisor can do for you
Dealing with complex financial issues at a time when your main...
Getting support and help through Carer Gateway
Being a carer, whether part time or full time, can be a big...
Experts that can help find the home care services you need
Once you have been assessed and approved for aged care...
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text:
« Joel Radio #214: You Can't Choose Your Fans
Joel Radio #216: The Smelt Are Running »
Joel Radio #215: We Can Only Imagine
It's a grab bag of topics from various Monkees line-ups to comedy shows gone wrong on this week's Joel Radio. Corey Hall and Joel review Richard Pryor's son Mason's attempt at comedy on TV and why it went wrong. Was it the material, the legacy, or just a bad impression of his dad that sunk him? Another comic who had trouble this week was Hannibal Buress, who was kicked off-stage at a Catholic university. The guys discuss their experiences with censorship in comedy, why colleges aren't a great place for comedians, and who is really at fault in this situation. Also, Christian movies are all the rage in Hollywood, and since they hadn't heard of their latest hit, Joel and Corey listen to the song that inspired it and wonder why anyone of any faith could have such bad taste in music. Plus, Beyonce and Jay-Z charge $2000 for tickets, Joel gets a Pro Wrestling Crate, another look at Black Panther, Coco and why Pixar is overrated, the making of the Last Jedi shows it going horribly wrong, and Annihilation is smart, good sci-fi that needs an audience.
Mason Pryor. He looks like his Dad, anyway.
Hannibal Buress, Last Jedi, Mason Pryor, Pro Wrestling Crate
Print article This entry was posted by joel on March 21, 2018 at 3:03 pm, and is filed under Shows. Follow any responses to this post through RSS 2.0. You can leave a response or trackback from your own site.
Joel Radio #222: The Green Room Story
about 2 years ago - No comments
This podcast is known for going off on tangents and taking forever to get to the point, but when comedian Tom McCarthy sat in with Joel and Corey for this week's show, he had no idea what he was in for. Tom has been a staple of the Detroit comedy scene for fifteen years or…
Joel Radio #219: This One Was Tough
It's so sad to say goodbye to friend and comedian Mike Lundy, a frequent guest on this podcast, who passed away recently. Joel and Corey share their memories of Mike, play some clips of Mike from the show and remember the great talent he was. Joel tried to assemble the best of his previous appearances…


PJD association is glad to introduce you two projects about which it cares very much.
The first one is HipHop4Hope. The project means to rescue the kids and the teenagers from the most degraded areas in Manila (Philippines) by teaching them the Hip-Hop culture and dance to which these young people could dedicate they time instead of acting violence, taking drugs, to prostitute themselves or acting other crimes for which they often pay with their life.
As the second project PJD supports a kennel that rescues hundreds of abandoned dogs or dogs mistreated by their "owners" in Catania and surroundings.
The aim of PJD founders is to awake the community to respect all forms of life. The words followed by the coherence of own actions is the winning way to start to change something in this world.
PJD in its little has already started to act. It would be wonderful to have you by our side.


The Central Connecticut men's track and field team was honored by the U.S. Track & Field and Cross Country Coaches Association (USTFCCCA) for their academic performance during the 2014-15 season.
The Blue Devils were one of 123 men's teams to earn the distinction as a result of earning a cumulative team GPA of 3.00 or higher. It was also the fifth consecutive year that CCSU has earned the honor.
Central Connecticut's season was just as successful on the track after capturing the program's second straight Northeast Conference championship during the outdoor season and placing second during the indoor season.


text:
Jackson's legs, Ravens defense roll past Seahawks 30-16
SEATTLE (AP) — Lamar Jackson was mad. He was mad about settling for field goals three times in the first half. Mad about a delay-of-game penalty and a 13-yard run on third down when he needed 15 yards. Mad to see Justin Tucker trotting on the field again for a field goal.
Baltimore Ravens quarterback Lamar Jackson (8) spikes the ball after a touchdown during the second half of an NFL football game against the Seattle Seahawks, Sunday, Oct. 20, 2019, in Seattle.
Baltimore Ravens quarterback Lamar Jackson (8) is hit by Seattle Seahawks cornerback Tre Flowers while scoring a touchdown on a fourth-down keeper play during the second half of an NFL football game, Sunday, Oct. 20, 2019, in Seattle.
Baltimore Ravens players take part in a group photo touchdown celebration after cornerback Marlon Humphrey recovered a fumble and ran for a touchdown during the second half of an NFL football game against the Seattle Seahawks, Sunday, Oct. 20, 2019, in Seattle.
Seattle Seahawks wide receiver D.K. Metcalf (14) fumbles as he is hit by Baltimore Ravens cornerback Brandon Carr (39) during the second half of an NFL football game, Sunday, Oct. 20, 2019, in Seattle. Ravens' Marlon Humphrey recovered the fumble and ran for a touchdown.
Baltimore Ravens cornerback Marlon Humphrey (44) celebrates with cornerback Marcus Peters (24) after recovering a Seattle Seahawks fumble and running for a touchdown during the second half of an NFL football game, Sunday, Oct. 20, 2019, in Seattle.
Baltimore Ravens cornerback Marcus Peters (24) runs for a touchdown after he intercepted a pass intended for Seattle Seahawks wide receiver Jaron Brown (18) during the first half of an NFL football game, Sunday, Oct. 20, 2019, in Seattle.
Seattle Seahawks quarterback Russell Wilson (3) passes under pressure from Baltimore Ravens linebacker L.J. Fort, left, during the first half of an NFL football game, Sunday, Oct. 20, 2019, in Seattle.
Seattle Seahawks quarterback Russell Wilson (3) is hit after he passed under pressure from Baltimore Ravens linebacker L.J. Fort, left, during the first half of an NFL football game, Sunday, Oct. 20, 2019, in Seattle.
John Harbaugh saw the anger, so he called timeout and gave Jackson a chance. A critical fourth down would be in the hands of Baltimore's young QB, not on the foot of its kicker. "I was tired of not scoring," Jackson said.
Running an old-school power play, Jackson rolled in an on 8-yard TD on that fourth-down call. It gave the Ravens the lead for good on their way to a 30-16 win over the Seattle Seahawks on Sunday. Whether it was scrambling away from trouble or designed runs to use his speed, there was no stopping Jackson. He was the best player on the field, outshining Seattle QB Russell Wilson on a day the Seahawks star finally made his first critical mistake of the season.
Jackson was especially good in the second half, when he led Baltimore on a pair of crucial scoring drives. He finished with 116 yards rushing and his TD run, 143 yards passing and one of the more impressive victories in his young career.
"I always wanted to play against Michael Vick. I guess I'm getting the new era with Lamar Jackson right there," Seattle defensive end Jadeveon Clowney said. Earl Thomas made his return to Seattle after nine seasons of playing for the Seahawks, but aside from some occasional barking at the sideline of his former team and running off the field twirling Wilson's jersey over his head after the victory, the former All-Pro safety ceded the spotlight to Jackson.
The second-year QB gave the Ravens (5-2) a 20-13 lead on his TD run. On their next possession and backed up deep in their own end, Jackson made a series of highlight plays to drive Baltimore into scoring position for Tucker's fourth field goal and a 10-point lead with 3:47 left.
Jackson had a 30-yard run on third-and-8 from the Ravens 12. He scrambled 13 yards for another first down and hit tight end Nick Boyle for a 20-yard completion to get the Ravens inside the Seattle 10. Baltimore went 86 yards in 13 plays and ate 9 minutes off the clock.
Jackson completed just 9 of 20 passes on a cold, wet day in the Pacific Northwest. He was hampered by several drops and could have had an even more dynamic performance running if not for footing problems on the wet turf. Jackson changed his shoes twice, eventually going back to his original pair.
"The other ones I put in, the screw-ins, I was running slow ... getting caught by the linebackers," Jackson said. "I'm like, 'I got to go back to the original ones because there's no way I can't get caught by no linebackers.' I got mad."
While Jackson was great, he was helped by a defense that held Seattle to three points in the second half and capitalized on two turnovers. Wilson was nearly flawless for the first six games but struggled to find open receivers against Baltimore's physical secondary. Seattle (5-2) was leading 10-6 and driving when Wilson made the mistake of double-clutching and trying to throw late into the flat. Marcus Peters, traded to Baltimore less than a week ago, made a quick break on the throw, stepped in front of Jaron Brown and outraced Wilson 67 yards for his fifth career interception return touchdown, the most of any player since Peters entered the league in 2015.
"That's why we got him. Make plays like that," Baltimore running back Mark Ingram said. "He has a knack for getting the ball, a knack for getting in the end zone. Shout out to our GM for getting him because that paid dividends today in getting this victory."
Wilson was 20 of 41 passing for 241 yards and an 8-yard TD in the first quarter to Tyler Lockett. Seattle's last hope of a comeback ended when DK Metcalf fumbled and Marlon Humphrey returned it 18 yards for a touchdown with 3:37 remaining.
"Somewhere you have to make a mistake," Seattle coach Pete Carroll said. "How many games are you going to go without making an error like that?" RETURN OF EARL Thomas had a mostly uneventful return and finished with five tackles. He caught up with a handful of his former teammates before the game and signed a few of his Seahawks jerseys still floating around. He exchanged jerseys with Wilson after the game.
Thomas was given the game ball after the victory. "My teammates had been telling me all week they had my back and it felt good for those guys to show up the way they did today," Thomas said. "It felt so good to get that win, to come here against an MVP-type quarterback and for the defense to play the way they did today, we are on the right track."
INJURIES Baltimore defensive end Pernell McPhee suffered an arm injury in the first half and did not return. MISSING Several key starters were missing for both teams. Seattle was without starting safety Bradley McDougald (back), defensive end Ziggy Ansah (ankle) and left tackle Duane Brown (biceps). McDougald's absence meant rookie Marquise Blair made his first start and had six tackles.
The Ravens were without starting wide receiver Marquise Brown and linebacker Patrick Onwuasor, and top cornerback Jimmy Smith. Brown and Onwuasor both have ankle injuries, while Smith has a knee injury.
UP NEXT Ravens: After a bye next week, Baltimore will host New England on Nov. 3. Seahawks: Seattle will travel to Atlanta next Sunday.
Earl Thomas,
Jimmy Smith,
Tyler Lockett,
Pernell McPhee
Baltimore Ravens,
AFC North,
American Football Conference,
Cardinals roll past playoff-bound Seahawks in 27-13 victory
Jackson runs, passes Ravens past winless Bengals 23-17
No Brees, no problem: Bridgewater, Saints top Seahawks 33-27
Ravens prepare for playoffs and potential exit by Roman
Lamar Jackson throws 5 TD passes, Ravens rout Rams 45-6
China Trade Deal Signed