We have recently added a new member to the BEAT family as you know so I thought why not grant you some facts of what little P.I.G. is into so that you can and the little guy can get on that friendship level.
Make sure you keep up on the fun of this little guy on Instagram @notoriousp.i.g.radio and see what BEAT adventure that he goes on next!


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Essex Sensory Community Partners
The Essex Sensory Community (ESC) is an informal partnership of organisations delivering services on behalf of Essex County Council.
The purpose of the group is to ensure the fulfilment, delivery and implementation of the Vision for Sensory Services, which outlines:
Essex is a sensory friendly county where people with sensory impairments have their needs identified early and lead their lives with the same opportunities and aspirations as other citizens, can fully access and participate in their local communities, have the same access and information as other citizens to all public services, including; health, housing, employment, education, leisure and transport.
ESC members are:
Deafblind UK
ECL Sensory Service
Essex Blind Charity
Hearing Help Essex
Support 4 Sight
The ESC reports to a Strategic Partnership Group made up of stakeholders including; Customers (also known as 'service users'), Councilors, Operational and Commercial Colleagues, Essex County Council (ECC) Commissioners and CCG's along with other representatives from health and the voluntary sector.
The Essex Sensory Community has a co-produced Terms of Reference and operates in line with agreed values and principles. The aims of the group are to raise awareness about sensory impairments, coproduce local services and solutions and to ensure referral pathways between organisations are streamlined and effective.
BASIS supports adults with sight loss in South Essex, helping to reduce isolation, increase confidence and promote independent living. The areas of South Essex we cover are: Basildon, Billericay, Wickford, Thurrock, Benfleet and Canvey Island. Blind and Sight Impaired Society (BASIS) was formerly known as PAVIS Foundation for Visually Impaired People and was set up in 1998. We offer a range of services including a home visiting scheme, resource centre and social and activity based groups.
Deafblind UK is a national charity offering specialist services and human support to deafblind people and those who have progressive sight and hearing loss acquired throughout their lives. Our aim is to enable people living with this unique disability to maintain their independence, quality of life and to reduce the isolation that Deafblindness creates.
Essex Sight
Essex Sight offers support, advice and guidance for people living with sight loss throughout the North and Mid-Essex areas. Our Sight Centre in Colchester town centre is open daily from 10 am to 2 pm, and we have drop in centres in many other localities throughout Essex, open at various times throughout the month. We can demonstrate a variety of aids available to help with daily living and our staff have a wealth of experience in offering support to people with sight loss. Our Sight Loss Advisors based in Essex County, Clacton and Broomfield Hospitals are able to offer support to people newly diagnosed with sight loss.
Our other services include home visiting, telephone assistance, counselling support groups, a bi-monthly newsletter and residential care (permanent and short stay) at our Care Home in Frinton on Sea.
Help Support & Guidance for those suffering with hearing loss. A quarter of a million people in Essex have some degree of hearing loss, nationally that amounts to one in seven of the population.
Hearing Help Essex exists to alleviate the isolation and loneliness that hearing loss can bring.
Royal Association for Deaf People (RAD)
Founded in 1841, The Royal Association for Deaf people provides services to Deaf people in their first language usually British Sign Language and supports mainstream providers to be more accessible to Deaf people.
Support 4 Sight is a sight loss organisation providing assistance to blind and partially sighted people, and their carers, in Essex.
We are a registered charity which was founded in 1994 and we are very proud of our services to the local community.
Support 4 Sight Essex assists people in maintaining their independence and quality of life. Our aim is to support local people throughout Mid and West Essex to cope positively with their sight loss. Our team also works to prevent avoidable sight loss and to raise awareness of the reality of living with sight difficulties.
We have a fully-equipped resource centre providing demonstrations, support and advice. We also provide home visits, support at local eye clinics, coffee mornings and support groups, and social trips.

redpajama_set_name: RedPajamaCommonCrawl


Hey there, Los Angeles! The next LOCAL Pop-Up Shop is coming to town on Saturday June 4th at west elm LA! Mark your calendars and swing on by to shop handcrafted goods from a mix of local artists and makers, curated by Paper & Type's Victoria Vu!
Please join us on Saturday, June 4 from 1pm – 6pm, when each of the featured local sellers will set-up shop with their paper goods, home products and more!
Victoria Vu is a Los Angeles-based graphic designer. While working in architecture, she started creating invitations on the side and founded Paper & Type in 2008. Victoria's work embodies simple and structural design combined with a delicate touch. Her current projects include stationery, packaging, and logos. Follow her on Instagram, Pinterest, and Facebook.


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Browley Guy Jr. (* um 1920; † unbekannt) war ein US-amerikanischer Rhythm-&-Blues-Musiker (Gesang) und Songwriter.

Leben und Wirken
Guy besuchte die Wendell Phillips High School in Chicago (Abschluss 1936). Er nahm 1947 für das Label Miracle Records auf; außerdem arbeitete er in den 1940er-Jahren u. a. als Vokalist mit Sonny Thompson and his Sharps and Flats, bei Eddie Chamblee und 1947–1949 bei Leon Abbey ("Out of Nowhere"). Unter eigenem Namen spielte er 1952 zunächst mit dem Guy Brothers Orchestra (tatsächlich die Band von Red Saunders) bzw. mit einer Studioband um Paul Bascomb Titel wie "Blues Train" und "You Ain't Gonna Worry Me", in den folgenden Jahren mit seiner Band Browley Guy & The Skyscrapers u. a. die Songs "You Look Good to Me", "Watermelon Man" (Checker, 1953) und "Do Somethin' Baby" (Vee Jay Records) ein. Er schrieb u. a. die Songs "Dad Gum Your Hide Boy", "I'll Follow You", "I'm Crossing Over" und "Just Another Reason".

Weblinks
 Porträtseite

Einzelnachweise

R&B-Sänger
Songwriter
US-Amerikaner
Geboren im 20. Jahrhundert

Mann

redpajama_set_name: RedPajamaWikipedia


text:
Q: Richfaces : How to not sort an Index Column (rowKeyVar) in rich:datatable when another is sorted With Richfaces 4.3, when you sort a datatable by a column is there a way to display an index that won't be sorted by the column sort method call.
I was using rowKeyVar="rowkey" to display the index...
<rich:column>
       <f:facet name="header">
       <h:outputText value="IndexColumn" />
       </f:facet>
       <h:outputText value="rowkey" />
 </rich:column>

But when you sort by another column , indexColumn is sorted too...
Thanks

redpajama_set_name: RedPajamaStackExchange


text:
Published on VOX, CEPR Policy Portal (https://voxeu.org)
Home > India's growth in the 2000s: Four facts
India's growth in the 2000s: Four facts
Arvind Subramanian 05 December 2011
The Indian growth miracle, including the experience of the 2000s, continues to confound. This column examines the numbers across states and establishes four facts: growth was faster in the 2000s than the 1990s in most states, divergence in the growth performance across states continues, faster growing and more globalised states took a bigger hit during the crisis, and the demographic dividend seems to be disappearing.
Posting a growth of income per capita of 6.1% per annum during the first decade of this millennium (2001–09, the 'oughties'), India now has three decades of respectable growth performance behind it, a point that is often obscured by the near-universal tendency to equate India's growth turnaround with the policy turnaround that occurred in 1991.
India's growth performance, especially across the states within the country, since the takeoff in the late 1970s/early 1980s has been the subject of considerable research interest (for example Ahluwahlia 2000), and controversy about when growth turned around and why (Economist 2005). But all the previous research covers the period until 2000. In a new paper (Kumar and Subramanian 2011), we compare growth performance across states during the 2000s and establish four key stylised facts about interstate growth performance.
Growth increased in most states
Figure 1 plots the income per capita growth rate for the 21 largest states for two time periods – between 1993 and 2001 (the 'nineties') and between 2001 and 2009. The figure shows that all states, with the exception of three, lie above the 45 degree line, ie, their growth in the 2000s was substantially greater than in the 1990s. Indeed, average growth across the 21 states doubled from 2.8% in the 1990s to 5.8% in the 2000s. The largest improvements were posted by Uttarakhand (7.0 percentage points), Maharashtra (5.8 percentage points), and Chhattisgarh (5 percentage points) with Gujarat, Orissa, and Bihar not far behind.
Figure 1. Average growth of net state domestic product per capita
Sources: Central Statistics Office and authors' calculations.
Divergence in the growth performance across states continues
The strong performance of the hitherto laggards – Bihar, Orissa, and Chhattisgarh – has been one of the remarkable stories of the oughties. So did the "gale winds of divergence" noted by Rodrik and Subramanian (2005) and Kochhar et al (2006) change direction and become forces for convergence during the 2000s?
Figure 2 plots the growth rate of the states for the period of 2001–09 against the income per capita in 2001. It shows that richer states on average grew faster so that the inequality across states is actually increasing. We find that far from changing directions the forces of divergence continue. We show this more formally by estimating a standard growth regression. In this framework, average annual growth rate of income per capita over the period of 2001–09 is regressed on the logarithm of initial income per capita in 2001. We find that the coefficient on the log of initial income per capita is positive and statistically significant, indicating divergence across states over the period of 2001–09. We repeat the exercise for different time periods and for different sample sizes (main states and all states) and, broadly, find that the result on divergence continues to hold.
Thus, the strong growth performance of the laggard states should not obscure the more general pattern that across the Indian states, namely, that we still do not see the phenomenon of convergence, whereby the poorer states, by virtue of growing faster than the richer states, start catching up with the latter's level of income.
Figure 2. Growth during 2001–09 and income in 2001
Faster growing and more globalised states took a bigger hit during the crisis
The crisis of 2008–10 highlighted the vulnerability that is the flip side of the dynamism that globalisation has engendered. Growth declined in India, and capital fled, as in most other countries, albeit to a lesser extent. But the question remains if there was any differential in the growth performance across states during the crisis years and which states took a bigger hit. We find that the states with the highest growth during the pre-crisis years were the ones which registered greater decline in growth during the crisis years.
Could it be the case that states that were the most open or globalised before the crisis were affected the most during the crisis? We cannot easily measure the degree to which each state trades internationally but we can estimate crudely how tradable is the economic profile of each state. Since manufacturing and business services tend to be highly tradable, we use these – specifically, the share of manufacturing and business services in total state output – as proxies for the openness of each state. We find a negative correlation between this share and change in growth during the crisis (Figure 3). Karnataka, Maharashtra, Tamil Nadu, and Gujarat are among the most open states and they also experienced the greatest growth declines. In contrast, Bihar, Jammu and Kashmir, and Assam, which produce relatively few tradable goods, were the most resilient during the crisis. Of course, there are likely to be a multiplicity of factors at work which precludes drawing any clear causal conclusions, but the simple correlations seem to be consistent with globalisation conferring dynamism and stoking growth but at the same time inducing vulnerability.
Figure 3. Change in growth during crisis years and openness
Demographic dividend seems to be disappearing
Hope in India's future growth is founded on the demographic dividend. Demographics affect growth because different age groups exhibit different economic behaviour. A higher share of the working-age population has a positive effect on growth through various channels – a higher labour supply, higher savings as working-age groups tend to save more than the young and the old, and greater investment in education and health as the number of children being raised declines and the lifetime over which the investment can be recouped becomes longer. Thus, a favourable change in the age structure ie, an increase in the share of the working-age population, as captured by the growth in the share of the working-age population, has the potential to positively influence growth.
The demographic dividend is routinely touted by analysts and forecasters as one basis for optimism for India's economic future. And corroborative evidence was provided in two recent papers by Kumar (2010) and Aiyar and Mody (2011). But the pattern of growth in the 2000s appears to muddy the waters. A simple scatter plot of the growth of income per capita for 2001-09 and change in the share of the working-age population in total population (working-age ratio) between 2001-09 (based on Census 2001 projections) shows that the two are negatively correlated (Figure 4), a fact that we confirm econometrically.
Figure 4. Growth in the share of the working-age population and growth of income per capita
Sources: Central Statistics Office, Census of India, and authors' calculations
This could be due to the fact that there are significant differences before and after 2001 in the states which see a favourable demographic structure. Post-2001, based on the population projections from the 2001 census, Kumar (2010) shows that 49% of the growth in the working-age population is likely to have been concentrated in four states, the BIMARU states (Bihar – undivided, Madhya Pradesh – undivided, Rajasthan, and Uttar Pradesh – undivided)..While the BIMARU states, especially Bihar, did perform better in the 2000s than in the 1990s, they still lagged behind the other states. That might explain why we find here that the growth in the share of the working-age population is not positively correlated with economic growth in the 2000s. At least so far, these states have not been able to fully utilise the young population to their advantage. But this might change in the future.
India's growth has been distinctive in many ways. It has relied on services rather than manufacturing as an engine of growth; growth has been skill-intensive rather than intensive in the use of India's abundant factor, labour; India, despite being poor, is exporting skills and technology in the form of FDI to countries much richer than itself.
The analysis of growth in the 2000s throws up one more quirk, relating to Kerala. The conventional wisdom is that this state is Scandinavian in its social achievements but sclerotic in its growth performance because of investment-chilling labour laws and strong trade unions. However, the data suggest that the conventional wisdom and the caricature are dead wrong. Kerala posted among the highest rates of growth in the 1990s (4% per capita), continued its stellar performance in the go-go 2000s (7.5%), and exhibited great resilience during the crisis, experiencing virtually no decline in growth.
The Indian growth miracle, including the experience of the 2000s, continues to confound.
Ahluwalia, M (2000), "Economic performance of states in the post reforms period". Economic and Political Weekly May 6: 1637–48.
Aiyar, S and A Mody (2011), "The Demographic Dividend: Evidence from the Indian States". IMF Working Paper 11/38..
Economist (2004), "Who put the shine into India? Was it Sonia Gandhi's economic lieutenant, her husband, or her mother-in-law?" 27 May.
Kochhar, K, U Kumar, R Rajan, A Subramanian, and I Tokatlidis (2006), "India's Pattern of Development: What Happened, What Follows?" Journal of Monetary Economics 53: 981–1019.
Kumar, U (2010), "India's Demographic Transition: Boon or Bane? A State-Level Perspective". Economics Program Working Paper #EPWP 10–03. New York: The Conference Board.
Kumar, U and A Subramanian (2011), "India's Growth in the 2000s: Four Facts". Working Paper Series WP 11-17 [1]. Peterson Institute for International Economics.
Rodrik, D, and A Subramanian (2005), "From 'Hindu growth' to productivity surge: the mystery of the Indian growth transition". IMF Staff Papers52 no. 2: 193–228.
Topics: Development [2]
Tags: growth [3], India [4]
Source URL: https://voxeu.org/article/india-s-growth-2000s-four-facts
[1] http://www.piie.com/publications/wp/wp11-17.pdf
[2] https://voxeu.org/content/topics/development
[3] https://voxeu.org/taxonomy/term/94
[4] https://voxeu.org/taxonomy/term/267


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Proposed tariffs on Mexican imports would hurt recreational boating industry
Last week, President Trump announced a plan to impose a 5 percent tariff on all goods from Mexico as a way to push the country's leaders to curb illegal immigration into the United States. The tariffs would begin June 10 and increase by 5 percent at the start of every month through October 1, unless the Mexican government provides "satisfactory assistance" in the administration's efforts to slow illegal immigration.
The proposed tariffs would be problematic for marine manufacturers, many of whom rely on a North American supply chain to remain competitive. The administration's actions could jeopardize the United States-Mexico-Canada-Agreement — which the National Marine Manufacturer's Association has worked to ratify — potentially creating confusion for the recreational boating industry.
"While we share the administration's frustration with our broken immigration system, applying tariffs to solve the issue is counterproductive and will have damaging consequences to our industry," NMMA president Thom Dammrich said in an email to Trade Only Today. "Not only will this action increase the price of the $450 million in boats and engines that marine manufacturers import from Mexico each year — not to mention countless components, materials, and parts — it jeopardizes ratification of the United States-Mexico-Canada-Agreement (USMCA), which our industry has relentlessly advocated for."
He continued, "The recreational boating industry relies on fair and free trade in North America to remain domestically and globally competitive. Using tariffs in an attempt to solve an unrelated issue will come at a great cost to our industry and the 35,000 businesses and 650,000 American jobs we support."
NMMA says it is still analyzing the potential fallout of the tariffs, saying that virtually all the industry's $450 million in annual imports of boats and engines from Mexico, plus all the parts and accessories, will be affected.
Retired CG Officer Joins Commonwealth PR
Chad Saylor, who served as a public affairs officer, is an account executive with the Virginia-based public relations and marketing firm.


Major appearance changes are planned at The Gallery shopping center on Haywood Road. A New York company, DNA Property Management, plans to develop a courtyard and renovate a side building to accommodate outdoor recreation retailers. Records show Doolittle Gallery LLC purchased the 142,000-square-foot center in November from Greenville Center 676 LLC for $13 million.
The center located near Haywood Mall includes retailers Gabe's and Conn's and Cici's Pizza. A separately owned Chick-fil-A operates at the entrance.
David Weinstein, partner at DNA Property Management of Long Neck, N.Y., said 15% of the center's space is vacant.
"We've been looking at this property for three years," Weinstein said of the purchase decision by DNA Partners, which also has also acquired shopping centers in Charlotte, Durham and Raleigh, N.C.; Memphis, Tenn.; and Houston and San Antonio in Texas.
"We really believe in Greenville," Weinstein said. He said the company is looking to add properties.
Weinstein said the side building, a former restaurant, is being gutted, and the renovation includes an exterior "elevation plan" to visually enhance the space for retailers such as running stores or bicycle stores. He said city approval is being sought for that project, which will start first.
The courtyard will follow in the area outside of Cici's, Weinstein said.
Weinstein said trees will be planted as part of the landscaping and the parking lot will be resurfaced.
The Greenville office of Charlotte-based Collett is handling leasing at The Gallery, and broker Lance Byars said there is strong demand for commercial space along the Haywood Corridor.
Greenville County records show the seller, Greenville Center 676 LLC, in 2013 changed its name over from Kimco Greenville 676 Inc.


3-Hydroxyphenazepam is a benzodiazepine with hypnotic, sedative, anxiolytic, and anticonvulsant properties. It is an active metabolite of phenazepam, as well as the active metabolite of the benzodiazepine prodrug cinazepam. Relative to phenazepam, 3-hydroxyphenazepam has diminished myorelaxant properties, but is about equivalent in most other regards. Like other benzodiazepines, 3-hydroxyphenazepam behaves as a positive allosteric modulator of the benzodiazepine site of the GABAA receptor.
^ Schukin SI, Zinkovsky VG, Zhuk OV (2011). "Elimination kinetics of the novel prodrug cinazepam possessing psychotropic activity in mice" (PDF). Pharmacol Rep 63 (5): 1093–100. PMID 22180351.
^ Kopanitsa, M. V.; Zbarska, S. M.; Boychuk, Ya. A.; Krishtal, O. A. (2000). "Modulation of GABA-activated currents by phenazepam and its metabolites in isolated rat purkinje neurons". Neurophysiology 32 (3): 192–192. ISSN 0090-2977. doi:10.1007/BF02506568.
^ Golovenko, N. Ya; Larionov, V. B. (2014). "Pharmacodynamical and Neuroreceptor Analysis of the Permeability of the Blood-Brain Barrier for Derivatives of 1,4-Benzodiazepine". Neurophysiology 46 (3): 199–205. ISSN 0090-2977. doi:10.1007/s11062-014-9429-2.


Quality is the life of a company, Tiandy keep working hard on the QC process, up to now, the qualify product rate reaches 99.998%.
With the leading technology and trustful quality, Tiandy product sold to more than 60 countries. "Customer-oriented" is the value Tiandy insist for 24 years and will definitely continue, Tiandy will keep on bringing breakthroughs to improve security level for the whole world!


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Q: Strong parameters with JSON request I thought that Rails automatically identifies/parses JSON params if the request is recognized as JSON. But the request below:
Processing by Api::V1::LinksController#create as JSON
Parameters: {"link"=>"{\"title\":\"My first title\"}"}

And the following params method:
def link_params
  params.require(:link).permit(:title)
end

Results in this error:

NoMethodError (undefined method `permit' for "{\"title\":\"My first title\"}":String):

Any ideas what the convention here is to get strong params + json working would be much appreciated.
Update
Here's the code that makes the request (with the http client axios):
axios({
  method: 'post',
  url: '/api/v1/links.json',
  responseType: 'json',
  params: {
    link: {
      title: "My first title"
    }
  },
})
.then( (response) => {
});

A: As per the docs here
axios({
  method: 'post',
  url: '/user/12345',
  data: {
    firstName: 'Fred',
    lastName: 'Flintstone'
  }
});

Replace params: with data:.


Any timber fencing, panels, picket, closeboard etc, is always subject to the elements. Any timber fence post installed into the ground is always likely to rot and break at some point in time. Regular fencing maintenance can help prolong the life of your garden fence and is worth the modest investment of time and material. Not only will the fence look better, maintaining an aesthetic appeal but the timber will survive longer.
Often the best repair for a broken fence post is fitting a concrete spur post. If the attached fence panels are still connected and themselves in salvageable condition then fitting spur posts is usually the best and most economic solution. The process is achieved by excavating down the side of the post, breaking away the concrete foundation and fitting the new spur post. This post is either coach screwed or bolted to the solid timber above ground level and is then itself re-concreted.
It essential that the spur post is installed correctly to the depth of at least the existing timber post, an absolute minimum is 45cm (18" in old money!) but usually 60cm (2') is the correct depth. The repair spur must also sit hard against the post you are repairing so that the fixings install correctly. Once the repair spur has been fitted you can then pour new concrete into the void. In most cases the amount of concrete required is approximately two thirds or three quarters of the depth of the hole. And it needs to be at the bottom of the hole not as a collar around the top.
The major structural integrity of any fence is the depth in the ground of the supporting fence posts, if these are not in far enough to support the height of the fence it will fall over!
Often the result of high winds and occasionally accidents when several sections of closeboard or fence panels have come down, fitting repair spurs may not offer the best option. Replacing 'like for like' fencing will often be the easiest and most economic option in this situation. At this point it is worth considering the state of the remaining upright fencing.
As unpleasant as it may be, if part of the fence has failed due to rotten fence posts and the rest of the fencing was installed at the same time, the remaining posts may be in poor condition. There is a very simple method to check this, go and give them a reasonable shove, if the posts crack or fall over then they are no good! Solid and un-moving they should be OK.
Like many other components of your property (windows, fascias, etc) fencing will get old and ultimately will need to be replaced. The problems are obvious in some cases; it is simply falling over or falling apart in other cases the problems are not always apparent on first viewing and sometimes maintenance work to the fence can prolong it's life. This can involve replacing all the post caps and panel caps if they are present. This often helps prevent water ingress into the grain of the timber and protects the post and panel from rot and decay.
It is also worth not underestimating the effects of the damage caused by UV – sunlight to the fence. Certainly for timber fencing this can be offset by a routine of applying wood preservative treatment if not on an annual basis certainly every couple of years. This can be time consuming but is a relatively easy job and well within the realms of most 'DIY capable' folk. My personal experience suggests that oil or spirit based products offer the best protection though these are less common now than they used to be for ecological reasons. I have used brands such as Cuprinol and Sadolin and been happy with both. There are others to consider as well and don't forget you can obtain Creocote a solution similar to the old fashioned Creosote that was inexpensive and very effective for treating outdoor timber and fencing.
You need to weigh up the value to yourselves as to whether or not some repair and maintenance to an old fence or replacement with new fencing will offer the best option. Consider what the fencing does for you, privacy or security? Maybe both, other factors maybe how long you plan to stay in the house, are you selling up for example within the next 12 months or are you planning to get a large dog that will roam the grounds? It is also worth considering the needs of your neighbours and of course you may have to comply with local planning regulations regarding the replacement and alignment of new fences.


This week a year two teacher approached me to discuss her concerns about a 7 year old girl in her class who will never admit that she has made a mistake and denies she has done things if she feels she may get in to trouble. She blames the other children for her behaviour and even said "He made me talk" about a child sat next to her in assembly in the morning. I have worked with this child's parents to support them with the behaviour of her older brother who is eleven. I have met with them together several times and have been impressed by their commitment to do this as they sometimes rearrange their work schedules to do this. However, one of the things that I noticed during our first meeting was that they both blamed each other for things, saying things like "you're too soft" or "you always give in to him". It struck me how difficult it must be for the children in their family to learn to take responsibility for their own behaviour, when the opposite is being modelled for them. I was therefore not surprised to learn that this was evident at school. How can we expect children to take responsibility for their own behaviour and admit they have made a mistake when the adults in their family are not demonstrating this?
This entry was posted in Uncategorized and tagged behaviour, children, mistakes. Bookmark the permalink.


In the following section I am going to explain a variety of whitetail deer calls that are used in today's modern hunting world. When deer calls are used correctly it can improve your hunting experience. Research has shown when you are able to speak the deer language they may react and move in for a closer look. However a deer call will not be your solution if you have bad hunting skills. They are simply an aid to help increase your chances when other tactics fail. Be very careful in blind calling (when no deer are visible). Deer will approach from a downwind position to increase their chances of catching the scent of the noise maker. I also included a deer decoy with the descriptions of the deer calls. Though technically speaking a decoy is not a call, I think it works best when used as a combination tactic with a grunt tube or rattling techniques.
When using a grunt tube you are trying to reproduce a communication sound all deer make. Usually the deer makes soft contact grunt to tell another deer "Hey come check this out". A heavier, louder grunt can be made by bucks when fighting over an estrus doe, or when fighting over their territorial rights. Most hunters use a grunt tube to try and bring in a dominant buck in the area. Be careful. The deer will move in looking and scent checking for the source of the noise. If he doesn't spot you or smell you, your chance at a buck just increased. You can also use the buck grunt to try and stop a buck that is moving through your shooting lanes, or to bring one in a little closer so that you can get a shot.
A doe bleat is also a communication call for the whitetail deer. Short bleats are used by mothers to keep their young close by. A louder and longer bleat is used by does that are very close to coming into heat. Sometimes you can get a buck to answer your doe bleat with a soft grunt. That is his version of saying "Stop, I will be right there". If you choose to blind call I would recommend doing so with the bleat first. It is a very simple call to make and leaves less room for error when a young hunter is trying to reproduce the deer language.
Rattling is the term used for when you are trying to reproduce the sound of bucks fighting. You can buy rattle bags or use an old set of horns to reproduce this sound. Buck fights heat up in times of the rut. They may be fighting over a hot estrus doe or battling with each other over their home turf. When a hunter uses a rattle call it can bring in other deer in the area. Bucks will sometimes respond to it out of just plain curiosity or dominance.
A deer decoy is a real life sized plastic deer. You can get mature bucks, small bucks or does. Put a little extra money in it and you can purchase a fully animated deer that will do life like actions such as tail and head movements. For safety reasons cover your deer in blaze orange when carrying your decoy to and from your hunting area. The decoy is used to distract the incoming deer to focus on the fake deer instead of you. You can also place various scents on the deer. For example doe-in-heat or a dominant buck scent to further entice the deer to move closer to the decoy. If you're a blind caller that rattles and grunts it will possibly increase your chances because the incoming deer can relate to where the deer language was coming from.
Most electronic calls come standard with all common deer sounds. They are small hand held devices that transmit the sound you want through a speaker system. Be sure and check your regulations of the state you will be hunting in. Some states do not allow electronic calls to be used when hunting big game like the whitetail deer.


I love this perspective on blogging from the Daily Post. The first para of Andrew Sullivan's words in particular. When reading the second para I can't quite relate as I do find time to read long form writing and be with my own thoughts too. Not being a writer as such, I don't worry that I don't write much in the way of long form myself.
Blogging hasn't been around for that long, historically speaking, but it's already transformed the way writers seek and find their audience and become members of larger communities.


Ashley joined MidWest Center's Administrative Team in 2017. Prior to joining us, she was working as an Administrative Assistant at Advanced Dermatology. Ashley brings experience in a medical setting, as well as, working in guest services. She is a proud mom to three awesome boys. She does a lot of activities that involve her kids. They enjoy going to parks, exploring new hiking trails, and water parks. Duluth is one of their favorite places to visit! Ashley also enjoys spending time with friends and going out for a fun night of karaoke or seeing live music.


text:
Bard College at Simon's Rock: the Early College
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Aaron Williams
Fisher Science & Academic Center
Office: Fisher 129
awilliams@simons-rock.edu
Additional contact information: (c) 413-717-7326; (h) 413-528-7230
Academic Program Affiliation(s)
Science, Mathematics, and Computing, Computer Science
Research Interest: Algorithms, gray codes, de Bruijn sequences, computational complexity of video games, graph theory, combinatorics
Teaching Interest: Algorithms and data structures, discrete mathematics, artificial intelligences, programming languages, history of video games
Other Interests: Bicycling, travel, retro video games, jenga, Chromebooks
PhD in Computer Science, University of Victoria
MMath in Combinatorics, University of Waterloo
BMath in Computer Science & BMath in Combinatorics, University of Waterloo
Dr. Williams has completed a series of postdocs including one in Computer Science at the University of Guelph with Joe Sawada in 2009, another in Mathematics at Carleton University with Brett Stevens in 2010-2011, and another in Mathematics at McGill University with Bruce Shepherd in 2012-2013. He has been teaching at Simon's Rock since 2014.
Research with Students
Buttons & Scissors is a popular puzzle app for both Android and iOS devices. The study of its difficulty (or "computational complexity") was initiated at Simon's Rock by students Harrison Gregg, Jody Leonard, and Aaron Santiago. This work eventually led to a joint publication with a dozen researchers from around the world.
De Bruijn Sequences are classic objects in combinatorial mathematics with applications to computer science. Summer research with the student Oscar Hernandez led to a simple new algorithm for constructing de Bruijn sequences. This work was published and became the basis for Oscar's senior thesis.
In 2009 Dr. Williams discovered a shortcoming in the FIFA World Cup tiebreaker rules. The flaw can lead to situations in which three different countries can argue that they logically deserve a top-2 position after the initial group stage. The story was picked up by the American Mathematical Society and was featured in various television and newspaper reports. The issue has not been resolved by FIFA (see FIFA 2018 rules Article 20.6 ) even though two soccer officials gave contradictory interpretations of the scenarios he had constructed.
Dr. Williams helped prove that a simple generalized version of Super Mario Bros. is NP-complete. This result was published along with a new result establishing its PSPACE-completeness. Media attention included cursory coverage by Wired and Popular Science, and more in-depth coverage by MIT and other sources.
See ResearchGate for a full list of publications.
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Accredited by the Middle States Commission on Higher Education


While some new acts are all about blending different genres together in the search of a new sound, artists like our next premiere act of the day is trying to bring back the pure days of folk music with its melodic and harmonious music reminiscent of acts such as Leonard Cohen, Simon & Garfunkel with some Beach Boys hints – Mike Rufo is teaming up with VENTS for the premiere of his newest single "In My Heart, Dear (Through The Wall)" off his upcoming album Nothin But Now.
Co-produced with renowned East Bay producer Gawain Mathews, Nothin' But Now sees Rufo showcasing his continued growth as an artist while crafting a fresh modern sound that is entirely his own. Mike is also a highly passionate social activist who preaches love and positivity and has spoken out against war and government surveillance. In March he ran in the Oakland Marathon to raise money for the Bill of Rights Defense Committee.


text:
Q: Hibernate session mode is getting set by default to Manual I have simple Spring MVC - Hibernate application, that worked fine (inserts & reads data) when connected to MySQL 5.5 database. On connecting the same application to Oracle 10g, it read records from database, but was not able to insert the records.
On debugging, I found that flushMode of the session was MANUAL. I explicitly wrote session.flush() after saving the record, and the code started to work correctly in both the databases.
My problem -
As I understand from the documentation of Hibernate, the default flush mode is AUTO. I have not set it to manual in my code, but somehow it is getting set. How to control this?
I am using Spring 3.1.1 and Hibernate 3.5.6. Below are my root-context.xml and servlet-context.xml files.
servlet-context.xml:
<bean class="org.springframework.web.servlet.view.InternalResourceViewResolver">
    <property name="viewClass" value="org.springframework.web.servlet.view.JstlView"/>
    <property name="prefix" value="/WEB-INF/views/"/>
    <property name="suffix" value=".jsp"/>
</bean>

<context:component-scan base-package="com.home.cfs"/>

<mvc:annotation-driven/>

root-context.xml:
<bean id="databaseDataSource" class="org.springframework.jdbc.datasource.DriverManagerDataSource">
    <!--
    <property name="driverClassName" value="oracle.jdbc.driver.OracleDriver"/>
    <property name="url" value="jdbc:oracle:thin:@localhost:1521:testdb"/>
    <property name="username" value="test_usr"/>
    <property name="password" value="test_usr"/>
     -->

    <property name="driverClassName" value="com.mysql.jdbc.Driver"/>
    <property name="url" value="jdbc:mysql://localhost:3306/person"/>
    <property name="username" value="root"/>
    <property name="password" value="admin"/>

</bean>

<bean id="sessionFactory" class="org.springframework.orm.hibernate3.annotation.AnnotationSessionFactoryBean">
    <property name="dataSource" ref="databaseDataSource"/>
    <property name="packagesToScan" value="com.home.cfs"/>
    <property name="configurationClass" value="org.hibernate.cfg.AnnotationConfiguration"/>
    <property name="hibernateProperties">
        <props>
            <!-- <prop key="hibernate.dialect">org.hibernate.dialect.OracleDialect</prop> -->
            <prop key="hibernate.dialect">org.hibernate.dialect.MySQL5InnoDBDialect</prop>
            <prop key="hibernate.show_sql">true</prop>
            <prop key="hibernate.format_sql">true</prop>
            <prop key="hibernate.use_sql_comments">true</prop>
            <prop key="hibernate.hbm2ddl.auto">update</prop>
        </props>
    </property>
</bean>

<tx:annotation-driven/>
<bean id="transactionManager" class="org.springframework.orm.hibernate3.HibernateTransactionManager">
    <property name="sessionFactory" ref="sessionFactory"/>
</bean>

Please let me know if more details are needed.
Thanks.

A: check whether you have turned on OpenSessionInViewFilter filter. That seems to be a likely culprit for this.


Carpenter ants (Camponotus sp.) are mainly found in forests and are known to build nests inside the wood. They do not eat wood – they only carve it out of their way as they make a nest. Carpenter ants are common household pests that can wreck furniture and other wooden items. The Black carpenter ant is the most well-known species of carpenter ant in the US. The genus they belong to has over 1000 species scattered across the world.
Carpenter ants can enter your home if it has a damp environment and lots of moist wood. Kitchens, washrooms and basements thus become common places for these ants to nest. If there are trees nearby that are touching the building, the ants can use them to enter your house. If you have leaky pipes your house will be susceptible to moisture damage, which is ideal for the carpenter ants. Pipeline and wire openings are other entry points for these wood-diggers.
Areas around windows and doors are especially susceptible to moisture damage and can attract these ants. Carpenter ants can cause extreme structural damage if left unchecked, not to mention ruin the appearance of your house. They have been known to build massive tunneling systems within the foundations of homes!
It is nearly impossible to remove a carpenter ant infestation from your home as its source might be unidentifiable. If the source is discovered, chemical treatment can be used to eliminate it. You can also use sugar and boric acid as bait. The sugar will attract the ants while the boric acid will kill them.


The notification for MBBS admissions in the All India Institutes of Medical Sciences (AIIMS) was released on 1 February, 2018, by AIIMS New Delhi, the conducting authority of the entrance exam. This year's notification comes with some important changes in terms of the exam schedule as well as in the number of available seats and campuses. MBBS aspirants who wish to take admission at AIIMS are required to register themselves online for the entrance test, for which the application deadline is 5 March, 2018.
From this year onwards, two new AIIMS campuses offering 50 seats each will also be open for admissions. The other significant change is in terms of the exam schedule. Until 2017, the exam was conducted in two shifts on a single day. From this year onwards, however, AIIMS MBBS 2018 will be conducted in a total of four shifts spread across two days, ie 26 and 27 May. This increase in the number of exam slots is indicative of an expected increase in the number of candidates and the higher competition likely to characterise this year's exam.
Established by an Act of Parliament in 1956, AIIMS is an autonomous institution of national importance, highly regarded for the quality of education it offers. AIIMS New Delhi is among the only two institutions – the other being JIPMER Puducherry – which has the authority to conduct its own MBBS entrance exam. Besides these two institutions, the admissions to MBBS courses in all other medical colleges in India are done through NEET.
What's new in AIIMS MBBS 2018?
Two new AIIMS campuses: Two new AIIMS campuses, namely AIIMS Guntur (Andhra Pradesh) and AIIMS Nagpur (Maharashtra), have been added to the existing list of institutions. The two new AIIMS campuses will operate from temporary campuses until their final construction is completed. Siddharta Medical College in Vijayawada, Andhra Pradesh and Government Medical College in Nagpur, Maharashtra, will act as the host campuses for AIIMS Guntur and AIIMS Nagpur respectively.With the addition of the two new AIIMS, the total number of AIIMS institutions in the country now rises to nine. The other seven are AIIMS New Delhi, AIIMS Bhopal, AIIMS Bhubaneshwar, AIIMS Jodhpur, AIIMS Patna, AIIMS Raipur and AIIMS Rishikesh.
Increase in the number of seats: The establishment of the two new AIIMS has increased the total number of MBBS seats offered through the exam. From this year onwards, AIIMS will offer admissions to a total of 807 MBBS seats with the two new AIIMS admitting a batch of 50 MBBS students each. AIIMS New Delhi will offer 107 MBBS seats (out of which seven will be for foreign nationals) while the campuses in Bhopal, Bhubaneshwar, Jodhpur, Patna and Raipur will offer 100 MBBS seats each.
Exam to be held on two days: For the first time ever, AIIMS MBBS entrance exam will be held across two days with two shifts conducted on each day, ie a morning shift (from 9 am to 12:30 pm) and an evening shift (from 3 pm to 6:30 pm). Until last year, the exam was conducted in two shifts held on a single day.
Online Counselling: For the first time, AIIMS New Delhi will conduct the counselling online. Till 2017, the counselling was conducted in an offline mode wherein qualified candidates were required to be physically present at the AIIMS New Delhi campus.
Age: The candidates must have completed 17 years of age, on or before 31 December, 2018.
Qualifying Examination: Candidates must have passed Class 12 with Physics, Chemistry, Biology/Biotechnology and English scoring at least 60 percent (50 percent for SC/ST/OPH) aggregate marks.
How to apply for AIIMS MBBS 2018?
Go to the official exam website of AIIMS, click on 'Academic Course' and then select 'MBBS' to fill the application form.
The first step is to register. Start the registration process by clicking on 'Click Here' button given under the 'New Registration' box. Read the instructions and provide basic details like category, ID proof, mobile number, Email ID and more. Upon registration, the candidate ID and password will be sent to the registered mobile number and Email ID of the candidate.
Log in using your candidate ID and password details and change your password as and when prompted by the system.
Candidates will then be required to pay the requisite application fee. Before making the payment, candidates can check the cities available for the conduct of exam. The payment can be made online through credit/debit/net banking methods. General and OBC category candidates will have to pay INR 1,500 and those belonging to SC/ST will have to pay INR 1,200. OPH category candidates are exempted from paying the application fee. After the payment is made, candidates need to take a printout of the payment receipt for future reference.
Next, choose the choice of exam city from the 155 cities available. For each state, city options will be displayed indicating total available/occupied seats.
Proceed to fill the application form by giving academic and residential details.
Candidates will be required to upload the digital copies of their scanned photograph (50 Kb to 100 Kb), signature (20 Kb to 100 Kb) and left-thumb impression (20 Kb to 100 Kb).
Finally, print the duly filled application form and click on 'Final Submit' to submit the application.
On final submission, candidates will receive an acknowledgement email on their registered Email ID.
The admit card of AIIMS MBBS 2018 will be posted on the official website by 10 May. No candidate will be allowed to enter the exam hall without a valid admit card. Along with the admit card, candidates should take with them an original ID proof whose details match with those entered at the time of filing the application form.
Candidates will be required to score a certain stipulated percentage to qualify the exam. Candidates belonging to General Category will be required to score at least 50 percent marks, while those belonging to OBC category will be required to get a minimum of 45 percent marks. SC/ST category candidates will need to score at least 40 percent marks to be considered eligible for further AIIMS MBBS counselling and admission rounds.
Given that the questions will vary for each shift, a normalisation procedure will be used to determine the qualification of candidates. As per this, the lowest of the four percentiles corresponding to the qualification percentage will be considered as the final qualification cut off. For example, if candidates in the first shift qualify at the 85th percentile and those in the other shifts qualify in the 82nd, 83rd and 84th percentiles respectively, then the 82nd percentile will become the overall qualifying percentile for AIIMS MBBS.
There is a difference in qualifying the exam and being placed in the merit list. Upto four times the number of candidates will be called for counselling, as per the number of seats on offer in their respective categories. The percentile score of the last candidate invited for counselling as per this will therefore be the merit cutoff percentile of AIIMS MBBS.
How to Prepare for AIIMS MBBS?
With about three months remaining for the exam, candidates should first get familiar with the AIIMS MBBS exam pattern. The exam will consist of a total of 200 questions, with 60 questions asked from Physics, Chemistry and Biology each, and 10 questions each from General Knowledge and Aptitude & Logical Thinking.
Although no official syllabus for the exam has been provided, candidates are recommended to cover Class 12 syllabus of NCERT thoroughly. Besides that, to clear their theoretical concepts, they can use other reference material if required. It is of immense importance that candidates practice MCQs based on the exam pattern.
Regular practice of mock tests and previous year papers will help candidates get into examination mode, help them assess their preparation levels and pinpoint their weak and strong areas. Every wrong answer in AIIMS MBBS 2018 will attract a negative marking of one-third, while one mark will be awarded for correct responses.
The result of AIIMS MBBS 2018 will be declared on 18 June online. Along with the scorecard, the result will be declared in the form of roll number wise and rank wise lists of qualified candidates shortlisted for the counselling process.
After the declaration of the result, AIIMS New Delhi will conduct counselling online. During the counselling, candidates will be allotted MBBS seats in the different AIIMS institutions on the basis of their rank and category. Depending upon the vacancies, three to four rounds of counselling might be conducted. After the counselling is over, AIIMS New Delhi will release the final allotment list of candidates admitted to the 807 MBBS seats in the nine AIIMS institutions.


text:
package com.github.jinahya.bit.io;

import lombok.extern.slf4j.Slf4j;

import javax.enterprise.inject.Disposes;
import javax.enterprise.inject.Produces;
import javax.enterprise.inject.spi.InjectionPoint;

/**
 * A class for producing instances of {@link BitInput} interface.
 *
 * @author Jin Kwon <onacit_at_gmail.com>
 * @see BitOutputProducer
 */
@Slf4j
class BitInputProducer {

    // -----------------------------------------------------------------------------------------------------------------
    @Produces
    DefaultBitInput produceDefaultBitInput(final InjectionPoint injectionPoint) {
        return new DefaultBitInput(() -> 0);
    }

    void disposeDefaultBitInput(@Disposes final DefaultBitInput defaultBitInput) {
        // does nothing.
    }
}

redpajama_set_name: RedPajamaGithub


With its 10th anniversary in 2017, Revere Bank chose to create an advertising campaign showcasing its growth and accomplishments since its inception. As the lead designer for financial industry accounts, I was in charge of the design for their 10th anniversary campaign.
A timeline was the best way to convey Revere's growth and provided the opportunity to inject more creativity. With two successful mergers in the previous year, it was a perfect opportunity to spread the Bank's name in the D.C. and Baltimore areas. The full timeline was featured in Washington Business Journal, with modified formats for smaller ads.


text:
Is Julie Andrews Still Alive: What Was the Cause of Her Falling Career?
By Mohit Kamboj Last updated Dec 21, 2022
The most recognisable figure in the history of popular culture is Julie Andrews. During her nine-decade career, she has been honoured with a number of prestigious prizes, including the Academy Award, the British Academy Film Award, two Primetime Emmy Awards, three Grammy Awards, and six Golden Globe Awards, among others.
She was presented with the AFI Life Achievement Award as well as an Honorary Golden Lion and in the year 1991, she was given the title of Disney Legend. In recognition of Julie's significant achievements in the performing arts, Her Majesty Queen Elizabeth II bestowed the title of Dame upon her in the year 2000.
People are still interested in finding out if Andrews is still alive despite the fact that she has remade her career in the entertainment industry in recent years. Continue reading in order to obtain all of the information.
Is Julie Andrews Still Alive?
Julie Andrews is one of the most recognisable figures in pop culture, both from the past and the present, and she is still alive. Andrews established herself as one of the entertainment industry's leading stars despite the fact that she first rose to recognition as a child actress in stage shows.
In the beginning of her career, she was known for her work in stage productions. She played the title part in "Mary Poppins," which is widely considered to be one of her most iconic performances. In addition to that, the Academy Award for Best Actress was bestowed upon her as a result of her performance.
Julie has established herself as a brilliant voice actress in recent years and continues to book roles well into the contemporary period. Julie also continues to book roles well into the modern day. Andrews is recognised as one of the most outstanding actresses of this generation, and she has been honoured with a number of accolades.
In addition to receiving accolades for her work as an actress, she is also lauded for the excellent singing ability that she has put to good use in a number of musicals.
Also Read: Is Bob Seger Still Alive: What is His Net Worth?
Julie Andrews Net Worth
The English film and stage actress, singer, and dancer Julie Andrews has a net worth of $30 million according to Celebrity Net Worth at this point in her career. Her birthdate is October 1st, 1935, and she was born in Walton-on-Thames, Surrey, England.
Both Julie's stepfather and stepmother were emerging stars in the regional theatre scene, and they supported Julie's participation in acting training financially. Andrews began his vocal instruction with a well-known British soprano vocalist while he was a student at an arts educational institution that was privately run. It was obvious that Julie was destined for a very successful future.
The stage was where Julie Andrews made her debut as an actress, performing with her parents in a number of performances.
She then spent the last few years establishing her career in radio and television before participating in different theatre performances on London's West End. Her first role as a voice actress was in the 1952 Italian animated picture "The Singing Princess," in which she provided the voice of Princess Zeila.
Must Read: Is John Lennon Wife Yoko Ono Still Alive?
Julie Andrews Role in Top Movies
After making appearances on a number of talk programmes and variety shows during the 50s and early 60s, Andrews finally achieved mainstream success when she was cast as the title character in the film "Mary Poppins" in 1963. It was Walt Disney himself who insisted that Dana Andrews play the part, and the film went on to become his most commercially successful production up to that point. As a result of her outstanding performance, Julie was awarded the Academy Award for Best Actress.
After that, in 1965, Andrews directed "The Sound of Music," which was another movie that was a great hit and brought in a lot of money at the box office. Even after taking into account the effects of inflation, it still ranks as the third biggest grossing picture in the history of the United States. As a direct consequence of her leading role, Julie was nominated for other accolades, including the Golden Globe Award and the Academy Award.
In 1982, Julie featured as the title character in the film "Victor/Victoria," which went on to become a financial success, more than doubling its $15 million budget with $30 million in box office receipts. As a result of her performance in the role, she was awarded the Golden Globe for Best Actress in a Motion Picture or Musical. She was also considered for an Academy Award nomination.
What Was the Cause of Her Falling Career?
The hoarseness in Julie's throat made it impossible for her to continue performing on stage. She underwent surgery to remove the non-cancerous throat nodules in order to relieve the hoarseness she was experiencing. Because of the lasting damage that the surgery caused to her singing voice, it was impossible for her to continue with the production or sing on stage again after she had undergone the procedure.
Recommended: Is Police Woman Actress Angie Dickinson Still Alive?
Julie's singing voice was not able to be restored despite undergoing a total of four follow-up surgeries at a different hospital, which helped restore her speaking voice. Because of this, Julie ultimately decided to file a lawsuit against the physicians who performed the operation on her neck. The litigation was resolved by a confidential settlement agreement for an amount that was likely quite high.
Andrews underwent surgery after being told by her physicians that she needed to have "cancerous nodules" removed from her body. The procedure caused irreversible damage to her vocal chords, and Julie later discovered that her loss of voice was due to a relatively straightforward strain from a prior part.
However, the surgery had already caused the damage. She launched a malpractice complaint against the doctors who performed her operation in 1999, and she reached a settlement with them in 2000 for an amount that has been kept confidential. The damage to Julie's voice has never been repaired.
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How do you feel about incorporating patterns into your small apartment decor? Afraid that the result will be tacky or busy? It can be intimidating, mixing different patterns in the home. But as long as you know how to choose the right patterned decors that complement the rest of your interiors, it should be a cinch!
Choose up to four different patterns in three different sizes. The patterns must be different from each other but all of these prints must have a similar look and feel. For instance, you can use a large wool large with a geometric pattern as the base for the setup. Complement the rug with an accent pillow that features the second largest pattern.
Finally, use smaller patterned throw pillows to support the base and secondary patterns then add a collection of small apartment decors to make the design stand out even more.
Love the monochromatic look? You can incorporate patterns into the design by choosing patterned pieces in the same color family. You can incorporate patterns in a monochromatic room by hanging a geometric artwork or two on the wall.
Complement these patterned decors by adding two accent chairs in the arrangement then finishing up with a printed rug. Make sure the rug's patterns are much smaller than the accent chairs' prints so they do not compete with each other.
It is possible to mix different patterns and create an elegant, unified look. All you have to do is to find different sized patterns that come in the same shades and then setting the elements up to create a look of uniformity.
Set the tone of the room by anchoring the entire look on patterned curtains. Complement your patterned curtains with side chairs that feature the same or similar patterns. Layer up your arrangement with accent pieces (throw pillows, ceramic garden stool, ottoman) that feature similar patterns in the same shade.
If you'd like to add a touch of Bohemian chic to your interiors but afraid that you might go overboard, try this trick: use your wall color to bring all the design elements together.
As you can see from the image above, the juxtaposed loud patterns and colorful textiles do not look chaotic or tacky because the plain walls keep the look grounded and put together. The textured selection of small apartment decor adds depth and character to the design.
When it comes to incorporating patterns in a room, the more dominant design should be used to cover the floor. An oversized patterned rug can be used to anchor the look of the room. You are free to mix and match accent pillows in fun designs to lend visual interest to the space.
Not into oversized rugs? Try this alternative: layer two patterned area rugs to create fun, funky floor coverings.
Texture and color are two of the most important elements of interior design. These elements lend visual interest in a room. Let texture and color play a central role in a room by pairing an oversized, patterned rug with curtains that feature subtle prints.
Finish up by adding accent pillows in different designs for contrast as well as a curated collection of small apartment decor that complement the patterns. The result is a striking room design that's truly unique and eye-catching.
The easiest way of combining two distinct patterns is to keep the color coordinated for a cohesive look. As you can see from the image below, two bold patterns looked as if they belong with each other because they are in the same color family.
The metallic accents and patterned pillows add plenty of drama without making the room appear stuffy, busy or overly accessorized.


For more than a decade, JAMinc has brought musical artists "deserving a wider audience" to Richmond venues and schools – connecting musical artists to the RVA community is what we do!
JAMinc's directors are open to overtures from artists/bands who'd like to play our concert series. We schedule only one concert a month except during June, July and August.
Advance seats are sold @ $20, with a door price of $25, although we typically sell out our 80-seat space in advance. Artists retains 80% of gross after a minimal PayPal fee and retains all merch proceeds.
We expect each artist to play at least one or more school outreach performance of 30 to 40 minutes either day of show or the next morning subject to scheduling. Those pay an additional $300 for a solo act, $400 for two or more.
We offer no guarantees or green room riders. Artists are welcome to partake of our generous pot luck before the show which consists of two 45-50 minute sets. Doors at 6:30pm/performance at 7:30pm. In Your Ear has a full complement of quality microphones and backline. Inquiries welcome via info@jaminc.org.


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Farrier, Mirman School, Los Angeles, Calif.
From theme to photography, judges were full of praise when discussing the Pacemaker-winning Farrier.
Theme development is strong from start to finish and graphics help establish the yearbook's visual identity.
A KC and the Sunshine Band song from the 1970s made a contemporary yearbook concept in 2016. The theme inspired three sections – we see it, we own it and we live it.
"This fantastic yearbook features many examples of storytelling action photos, supported by complete captions," the judges noted when discussing the Pacemaker-winning Prowl. They also noted the good continuity of design from the cover through the 144 inside pages.
A strong theme set the stage for the Vespa to look forward and back as the school celebrated its 30th anniversary. Exemplary coverage defined this Pacemaker-winning yearbook.
"Strong theme development pushes the concept through the yearbook," observed the judges who agreed the Sentry was definitely a Pacemaker winner.
A whole-book link runs along the bottom of each spread greatly expanding coverage in this 124-page yearbook.
Judges also praised the use of typography and color.
"Classic design with contemporary touches" is how the judges described the Pacemaker-winning Wings. They also noted the strong verbal and visual voice the concept gives the yearbook citing the interesting conversational approach to writing engaging theme copy.
Strong dominant images combined with carefully crafted headlines are a hallmark of Wings. Designs are clutter free and emphasis is placed on traditional feature story presentations to tell the story of the school's 375 students. While consistency is established from spread to spread, each design takes on its own dynamic look.
Structurally, content flows freely throughout Wings, without traditional sections. Occasional theme spreads interrupt the coverage, serving as "connector" rather than "divider" spreads.
"The Paragon is marked by a nice balance of classic design with modern touches such as well-designed infographics," the judges said. They also noted a "less is more" approach to color with the majority of the spreads appearing in black and white, with a mint green accent color used throughout the book as a visual unifier.
Great examples of headlines, stories and captions are evident throughout the book.
At the onset, the Fentonian staff set out to highlight the individuality of students and the collective accomplishments of clubs, organizations and teams. The staff succeeded while earning Pacemaker recognition.
Judges praised the strong storytelling photography and noted the graphic elements introduced on the cover helped pull readers through the book.
The Fentonian reduced the amount of traditional stories used in the book, but placed greater emphasis on direct quotes. "Wow" spreads presented interesting feature topics in a creative design. The staff strategically placed these feature spreads between the lifestyle and sports sections to create separation within the chronological yearbook.
Bold photography and typography combine to make a powerful theme statement. A blurred image on the cover transitions to a clear image on the front endsheet. And typographically, contrasting thin and heavy italic weights symbolize big, bold memories and small details that are easy to miss with a blink. The result is a yearbook with a strong visual voice.
Judges referenced "exceptional action photography combined with effective use of planned white space" to give designs strong impact. Color, pulled from the dominant images, echoes across the spreads in the main headline and module headlines for visual unity.
Interesting story presentations and strong use of quotes foster strong storytelling throughout this Pacemaker winner.
Nestled in the Blue Ridge Mountains, the concept of the Westwind captures pride in their surroundings and pride in their school, which features blue as one of its colors. The story of the year is divided into four sections – finding your Pride, Voice, Passion and Way.
The judges noted how the concept touched all parts of the Pacemaker yearbook, pointing out how the sophisticated typography treatments supported the theme while unifying the entire book.
A magazine insert, printed on smaller pages, profiles interesting student personalities. A continuous quote presentation expands coverage as it repeats on spread after spread. And, "scatter spreads" break up the routine while presenting interesting features.
While it was the school's 60th anniversary, the Hoofbeats staff wisely kept its coverage focused on the current year, but did feature a few photos from the past on the dividers along with historical facts in the people section and the index.
"Storytelling reporting highlights this book with a variety of formats adding to content," said the judges who also cited "super" photos as noteworthy in this Pacemaker-winning yearbook.
Designers employed stripes, shaded bars and blocking to visually unify the book. Polarized black-and-white cutout photos of athletes were used on every sports spread.
A strong concept set the stage for the Tribute to cover not only big events, but to also focus on the little moments that define the year and make up the high school experience for the every student.
"The staff has paid attention to details to make it an outstanding publication – design and typography shine," noted the judges.
Also, strong verbal theme connections, bold contemporary design and typography and creative content modules further set the Tribute apart.
Aquila, Freedom HS, South Riding, Va.
Wait. You're Gonna Need This.
Exemplary color and typographic choices set the Aquila apart. The judges said that strong coverage throughout the Aquila features comprehensive verbal storytelling – in captions, stories and headlines.
The Aqulia features an umbrella approach to coverage with each spread defining the "THIS" of the theme. In the bottom-right corner, the topics covered are itemized. There aren't any traditional sports, student life or reference spreads.
The "Wait What?" quote presentation unifies the yearbook by presenting a theme-related, storytelling quote on each spread trademarked by the theme colors.
Strong theme development – both verbally and visually – helped Rampages earn Pacemaker honors. The concept becomes the platform for covering the year from a fresh perspective. Storytelling is organized chronologically by day.
A "What Did You Learn Today?" quote presentation expands coverage and runs continuously throughout the book featuring insightful student quotes from each of the 180 days.
Bold spreads with black backgrounds and oversized numbers highlight eight key days and dramatically reinforce the daily format.
A "You Can Learn A Lot in 50 Years" specialty magazine provides appropriate concept-driven coverage of the school anniversary.
Details didn't just feature more coverage, it delivered innovative journalistic approaches to storytelling.
An eight-page in-depth section called "Music is the Thing" showcased traditional long-form feature profiles as centerpiece modules.
Another in-depth section, called "More or Less," provides an antidotal and statistical look at news and trends with content gathered by engaging 359 readers with online polls. This great example of data journalism is reported with professional quality infographics.
A four-page "Things To Consider" section uses opinion writing to localize and personalize current events with reader-submitted content.
A concept-related vertical folio bar runs continuously on edge of each spread, adding at least 1,380 student voices. And, two mini tip-ins engage readers with fun foldouts presented as part of the life and sport dividers.
Jabberwokk, Darlington School, Rome, Ga.
When creating a yearbook, details matter. And this attention to detail resulted in a Pacemaker for the Jabberwokk.
The concept drives all the verbal and visual details. The bold theme is conversational and works as either a question or statement. It also drives the yearbook's three sections — You, Know, What.
Because details matter, there are three opening spreads. And, the subtle use of a triangle becomes a visual unifier because not only does it have three sides, a triangle appears in the center of the school crest and represents the school's three divisions.
Invictus, Ward Melville HS, East Setauket, N.Y.
A creative theme engages teen readers with its playful approach while impressing the judges with how the concept accents the design of every spread. The theme is presented on both the front and the back covers and forces the reader to decide which way to open the book. Choices are sprinkled throughout the book, with a game hidden within some of the folios. Only one path leads the reader to the end.
A bold, handwritten font, often accented with color, is a critical visual unifier echoed throughout the book for headline treatments, module headlines and quote presentations.
A strong variety of content modules are not only well designed, they offer a wide variety of storytelling formats.
The strong coverage packages featured on the pages of the Lonestar wowed the judges who noted that student-focused coverage started on the front endsheet and continued all the way through the index. As a result, the book is packed with lots of student voices.
While the spreads are packed with content, the use of white space, typography and color give the yearbook a contemporary look without being cluttered or busy.
A quote presentation, running along the bottom of every spread, serves as a stylish graphic unifier while delivering meaningful quotes and mug shots of approximately 240 students.
The Hawk does more than report the obvious by digging for details and presenting secondary coverage packages featuring the little stories that often go unreported. This approach to reporting and coverage teamed nicely with the yearbook's concept, resulting in many layers of rich storytelling.
Judges also praised the well-designed reference spreads featuring group shots supplemented interesting story packages.
Exceptionally strong photography, capturing storytelling moments, is a trademark of a Pacemaker-winning yearbook. And according to the judges, the Tiger sets the pace.
A clean, contemporary design employs white space to let the images breathe and to command the attention they deserve. Dominance is clearly established for the centerpiece image on each spread.
Creative and unique content modules result in visually interesting spreads with strong coverage. Color accents the content rather than randomly painting the pages.
Storytelling quotes, in both stories and captions, contribute interesting verbal stories without repeating what is obvious in the images.
Legend, Brookfield Central HS, Brookfield, Wis.
A fresh visual approach to yearbook design set the Legend apart and caught the eye of the Pacemaker judges.
A unique cover design and dynamic opening spread, featuring a full-bleed photo with interesting typography, visually supports the "Changing Perspectives" theme.
Judges referenced the yearbook's graphic presentation and noted the sophisticated color and typographic choices of the student designers as well as strong photography. The headlines not only looked good, they were clever in their verbal messaging.
Inspired by the Apple "Think Different" campaign, the Wingspan used its concept to embrace the differences at their school by pointing out that being different is really what unified their students.
The judges noted the theme, with its powerful images and expressive copy, gives the Wingspan "an authentic student voice." And on virtually every spread, a powerful visual-verbal connection is established.
A "whole book look" visually unifies all 332 pages. Headlines throughout the book are designed using a bold, all-cap sans serif font paired with a handwritten font used sparingly for contrast. Color bars and modules are accented with yellow and pop off the page.
The Black and Gold, Rock Canyon HS, Highlands Ranch, Colo.
A unique concept provided a storytelling platform that resulted in the storytelling quotes presented in the "U" modules, a continuous element appearing on every spread. "Viewpoint" modules appear when appropriate to allow students voices on issues.
Like many Pacemaker winners, the concept also shaped the yearbook's coverage. The staff created a 16-page profile section featuring interesting students and their stories.
To further expand coverage, each section opens with a trends spread providing student insights on contemporary topics ranging from Snapchat filters to the election debates to music. The bold design features interesting approaches to storytelling.
The judges repeatedly used the word "wow" when discussing this yearbook. The word was first used to describe the opening section where powerful full-bleed images and a few carefully crafted words launched the theme.
"Extreme economy of words teamed with wow photography in the opening creates an impressive impact," the judges said.
On page after page, powerful verbal and visual storytelling wow the readers with sidebars offering precise detail. A content-driven approach to design avoids the visual redundancy that results when yearbooks rely heavily on templates. And while the designs vary significantly from spread to spread, they are visually unified.
The Arena staff set a goal to go beyond surface of the school with their coverage, placing an emphasis on individuals and their unique stories while focusing on details. This emphasis on coverage paid off.
Small, square mini-magazines were attached to each divider offering readers an "Insider" view of the school, clubs and teams.
A dramatic cover and endsheet presentation makes the theme statement in a bold way. The die-cut cover previews portions of photographs on the endsheet. A dramatic endsheet foldout literally spells out the theme in three parts, displaying the word "HEARD" so it is huge and supported by storytelling quotes.
"Contemporary typography and clean design actuate the verbal-visual development," the judges noted. They also noted the expansive and varied coverage throughout the Dragon.
Using a seasonal approach to presenting the content, the staff successfully moved sports coverage into the chronological presentation for the first time, abandoning a traditional sports section and expanding coverage.
Lair, Lake Braddock HS, Burke, Va.
"Fabulous candid photography that captures peak moments," caught the eyes of the judges as they studied The Lair. Not only is the photography strong, designers were not shy about making the dominant photos significantly larger, creating spreads with a clear center of visual impact.
The powerful photo arrangements are enhanced by extensive use of content modules that are noteworthy both in terms of design and storytelling approaches.
Exceptional storytelling captions take the place of traditional feature stories on most spreads. And, headlines are exceptional. Clever primary headlines, featuring a key emphasis word, pair with secondary headlines to provide catchy verbal packages that delivers specific information.
The Clan, McLean HS, McLean, Va.
Innovative and contemporary theme development impressed the judges who commented on how the concept touches every aspect of The Clan in a detailed and thoughtful way.
The concept drives the format of the theme copy and captions. It also touches every spread with an "all coverage device" which asks a question that links the content of the spread to the concept.
Rather than traditional yearbook divisions, the theme inspired four unique and blended sections. Within theses sections, innovative "interrupter" spreads change the pace and provide more theme-driven coverage.
In addition to the innovative concept development, clever coverage and great photography were also specifically noted by the judges.
Saga, Loudoun Valley HS, Purcellville, Va.
The Saga editors surveyed the school community and learned that family, learning, social media, creativity and community were important to their readers. And as a result, coverage focused on these areas with each given an icon and a spread in the opening section. A whole-book coverage bar featured storytelling quotes focusing on each of these areas.
As a special reader surprise, the Saga is wrapped in a dust jacket that unfolds into a dramatic poster providing so many stories.
The judges cited "impressive coverage from detail modules to awesome special features" as trademarks of this Pacemaker winner. "Clean design lets the content pop off the page," they noted.
The Apollo, Colonial Forge HS, Stafford, Va.
The staff was inspired by the Humans of New York and National Geographic magazine in creating their unique journalistic voice.
"Coverage dictates design as modules change per topic, yet they remain consistent in overall look," noted the judges.
Trendsetting coverage results from six unique, in-depth sections presented in the first half of the book followed by traditional sports, people and clubs sections.
A bold concept that gave the Ursus a strong personality, while greatly expanding student coverage, earned rave reviews from the Pacemaker judges.
Starting on the cover and continuing on every spread, statements were edited in bold, red handwriting to make them more personal. This combined with a traditional approach to typography, appropriate for a classic, 20th anniversary volume.
Judges also referenced a variety of story formats with strong leads and great photography.
Everyone has a story to tell and the Legend used its theme as a platform to dig deeper and go beyond the school's identity to capture rich individual experiences. As a result, the judges were impressed with the yearbook's depth of coverage. "Super photos, strong reporting and engaging writing is unified with a strong theme, making this yearbook a Pacemaker," the judges noted.
Without using traditional sections, content flows naturally through the Legend with "You Need to Know" profile spreads weaving personal stories throughout the collective coverage. As a reader service, the table of contents outlines the content by traditional content areas – student life, people, community, sports, clubs and academics.
Panther, H.B. Plant HS, Tampa, Fla.
Comprehensive reporting definitely got real when the Panther implemented a chronological approach to coverage by dividing the book into monthly sections with most weeks receiving three spreads. And, the Pacemaker judges noticed.
The concept also gives the Panther a strong voice and introduces visual elements that are skillfully repeated throughout this yearbook's 522 pages.
The Stampede, J.W. Mitchell HS, Trinity, Fla.
In a year without major changes happening on campus, The Stampede staff opted to focus on all the things that students may already know. Beginning on the cover, text wrapped from the front to the back, highlighting all the big and little things that define the school.
The text bars across the cover and dividers make a powerful verbal/visual connection for the readers.
In addition to the text bars, the vertical photo design introduced on the front endsheet and on several theme spreads throughout the book add quotes above the photos to increase coverage.
Judges noted the content of The Stampede "offered something for everyone" and praised the yearbook's clean, classic design, strong coverage and dynamic headline presentations.
From lighter topics like fashion and social media to sensitive stories like sexual assault and drinking, the Pacemaker-winning Hauberk defines 21st century yearbook journalism with its spectacular photography and reporting.
"A great photographic cover, with captions on the inside, instantly creates reader interest for the 532 pages of quality journalism that follows," noted the judges.
The Hauberk is organized with monthly sections followed by the portraits and group shots. In-depth features appear throughout the monthly chronology and 10 fascinating in-depth profile spreads break-up the portrait pages.
Lair, Shawnee Mission Northwest HS, Shawnee, Kan.
Content throughout the 400 pages is presented in a free-flowing arrangement without traditional sections or dividers. A detailed contents listing, with content outlined by traditional yearbook categories, helps readers locate specific topics.
The Lair makes trendsetting use of depth design in which some topics are presented in packages of two or three spreads.
Divider spreads, featuring stunning full-spread bleed photos, make a powerful statement throughout the book, focusing on small things, but in a large dramatic way.
Judges noted the yearbook's "clean uncluttered" design, placing emphasis on powerful dominant photos as a center of visual impact on each spread with secondary images and content modules as supporting content. Expanded and tight spacing are used effectively for packaging the content.
"Sophisticated" is a word the judges used frequently when discussing the Pacemaker-winning Marksmen. Sophisticated typography, graphics and color usage set this book apart.
"Layers of coverage on uncluttered spreads give this sophisticated yearbook a clean 'look at me' vibe," noted the judging team. "Exemplary" thematic development was also cited.
Trendsetting, in-depth magazine packages appear five times throughout the Marksmen. Each in-depth package features four pages, visually unified by similar design elements, color and the use of black-and-white images.
A change in the school schedule, involving taking two minutes from each class and one minute from each passing period, inspired a contemporary theme that uniquely fit the Reata. The concept shaped the book's organization with two major sections – life and people and also inspired a quote presentation on the left corner of each spread.
The two major sections were physically separated by a dazzling "From Day One" mini-magazine calendar insert in which the staff reported something significant for each of the 285 days of the academic year. While many of the daily reports were school focused, news and pop culture was also featured.
In addition to the concept, judges observed noted that typographic selections gave the yearbook a strong visual voice.
"A great cover leads the reader inside to a well-designed, well-written and photographically pleasing yearbook," the judges said in praising the Pacemaker-winning Odyssey.
The Odyssey editors wanted their yearbook to be inclusive, but took their coverage goal a step further. Rather than just being in the book, the editors set out to feature students in stories that mattered using "We All Matter" as continuing coverage device that appears vertically or horizontally.
Judges also noted the yearbook's outstanding headlines with size and color used to emphasize a key "pop-out word." Headlines for secondary modules echo the design of the spread's main headline, only in miniature.
Click here for a list of 2016 NSPA Yearbook Pacemaker finalists.


Joseline Hernandez Doesn't Disappoint In 'L&HHATL' Super Trailer!
#TeamBeautiful has never been more excited about the return of VH1's super hit series "Love & Hip Hop Atlanta." Or should we say, the return of Joseline Hernandez, baby! Yesterday we posted a 30-sec teaser vid of the forthcoming season two premiere and today, we are lucky enough to share with you all, the super trailer! Cue dramatic Superman music.
Mimi has found love in a new man. So she says. But, her mate looks like he's more interested in dudes and poetry than her.
Stevie and Joseline are officially an item, it appears. This time around when Joseline asked the famous line "Do you lub me Stebbie?" His response was more to her liking!
You know that saying, "bros before ho*s?" Well Stevie J. doesn't! His friendship with Benzino will come into question when Benzino and Joseline get into an altercation.
Joseline and Karlie Redd almost come to blows and it loos like Zino may be the reason why.
Joseline doesn't talk to "the help." And, her famous wig is back for the ride!
K. Michelle grew tired of Mimi and used her flowers like a bat and hit her with it.
Momma Dee looks like her dog.
Shay "Buckee" Johnson wants Lil Scrappy to know how hurt she is. A.K.A she's still trying to get those paws!
Rasheeda is pregnant and her husband Kirk doesn't think the baby is his! Scandalous! His demand for a blood test should make for great TV!
Joseline is still disrespecting Mimi and Stevie is still doing NOTHING!
And last but not least…Stevie J faces are back!


Funding for the research was provided by the Conquer Cancer Foundation; the Lauri Strauss Leukemia Foundation; the Leukemia & Lymphoma Society; the Alex Lemonade Stand Foundation; the U.S. Department of Defense; the Israel Science Foundation; the U.S. Israel Binational Foundation; the Stellato Fund; and the National Institutes of Health awards CA15198-01 and CA172387-A01.
The senior author of the study is David Weinstock, MD, of Dana-Farber and the Broad Institute of Harvard and MIT. Co-authors are Bjoern Chapuy, MD, PhD, Charles Lin, PhD, Trevor Tivey, Hubo Li, Elizabeth Townsend, PhD, Diederik van Bodegom, PhD, Tovah Day, PhD, Shuo-Chieh Wu, Huiyun Liu, Akinori Yoda, PhD, Gabriela Alexe, PhD, Anna Schinzel, PhD, Timothy Sullivan, Kristen Stevenson, Donna Neuberg, ScD, Lewis Silverman, MD, Stephen Sallan, MD, and James Bradner, MD, of Dana-Farber; Kimberly Stegmaier, MD, and William Hahn, MD, PhD, of Dana-Farber and the Broad Institute; David Pellman, MD, of Dana-Farber and the Howard Hughes Medical Institute; Jordan Taylor, and Jacob Jaffe, PhD, of the Broad Institute; Sébastien Malinge, PhD, of Institut Gustave Roussy, Villejuif, France; Michael Bustin, PhD, of the National Institutes of Health; Geertruy te Kronnie, PhD, of the University of Padova, Padova, Italy; Shai Izraeli, MD, of Sheba Medical Center, Tel Aviv, Israel; Marian Harris, MD, of Boston Children's Hospital; and John Crispino, PhD, of Northwestern University.