text:
A Quietus Interview
Are You Normal? 10cc's Graham Gouldman Interviewed
Joseph Stannard , October 13th, 2010 10:19
With all things smooth currently troubling both charts and blog, Joe Stannard talks to Graham Gouldman of 10cc who, he argues, were always about more than silky, chart-topping hits
Call me a naysayer, but some of the recent talk concerning the resurgence of smoothness in popular music, inspired primarily by the slick stylings of US outfit Gayngs, just doesn't sit right with me. It smacks of a smirky, ironic approach to pop that I simply can't get behind, being mere shorthand for a single aspect of the music under discussion - the ease with which it is digested and absorbed. What of the heartache, the poignancy, the darkness? In other words, the stuff that keeps the listener coming back to these songs, time and time again?
British art-pop pioneers 10cc have been namechecked as 'smooth' operators par excellence, largely due to the influence of their 1975 single 'I'm Not In Love' on the Gayngs aesthetic. But while that single wafted to the top of the charts on a cloud of multitracked vocal bliss, there's grit at its heart, a painful truth that belies its sonic perfection. In addition, I can't help thinking that if 'smooth' is a summertime thang, then 10cc are more autumnal, delineating a liminal space between light and dark, warm and cold, sweet and sour... uh, you get the idea.
What's more, if we delve deeper into the oeuvre of the Manchester group (whose original configuration comprised Graham Gouldman, Eric Stewart, Lol Creme and Kevin Godley) we find that it's way weirder and more diverse than any one adjective can encompass, especially 'smooth'. Bizarre near-dub experiments ('The Worst Band In The World'), interludes of music concrete ('Un Nuit De Paris', '24 Hours'), funk rock songs about common-or-garden ailments ('You've Got A Cold'), sinister confessionals from bombs planted on planes ('Clockwork Creep') and a recurring taboo-busting theme of money and power as the motivating factors in human activity ('The Wall Street Shuffle', 'Art For Art's Sake', 'I Wanna Rule The World') align 10cc not with Michael McDonald and James Taylor - but with perverse polymorphs such as Steely Dan, Todd Rundgren and Sparks.
It's telling that one of 10cc's later albums, 1980's Look Hear, came with the blunt enquiry 'Are You Normal?' emblazoned on its sleeve. This question could serve as an epigram for the group's career, during which they looked upon the human condition with a combination of prurience and bemusement. 10cc alchemised the mundane into the uncanny, as on the gorgeous, Beatles-esque 'I'm Mandy, Fly Me' which used an airline poster as the launchpad for an adventure in a fictional dimension. Their commentary might seem laconic, even cynical, but Strawberry Studios in Stockport, their original HQ, was evidently a space where dreams and nightmares were allowed to run amok before being corralled into exquisitely crafted pop songs with disarmingly odd angles.
Although the group have released albums only fitfully since their '70s heyday, they still tour with sole original member, the congenial but precise Graham Gouldman, at the helm. In addition, they have been sampled by Hip Hop producers such as El-P and the late J Dilla, whose 'Workinonit' from 2006's Donuts plays fast & loose with the elastic brilliance of 'The Worst Band In The World'.
10cc's music endures - outside the confines of the trad canon - not because it epitomises a single aspect of mainstream rock, but because it's damn near impossible to summarise in a single paragraph, let alone a single word.
Graham, tell me about your experience of writing bubblegum pop prior to forming 10cc.
Graham Gouldman: I was writing songs for other people during the '60s, people like The Yardbirds, Herman's Hermits, The Hollies. That was sort of '65, '66, '67. Then in the late '60s I met up with some guys called Kasenetz and Katz, who had a bubblegum record label. They wanted to legitimise their outfit and were talking to all kinds of different writers to work for them. At first I was thinking it wouldn't be right for me, but then I thought, "To hell with it." I was going through a bit of a quiet patch and it was also an opportunity to work in New York, which I wanted to do. Anyway, the upshot of it was that I did it and got fed up with it. I didn't like it. I said to the guys there, "I'd like to take all the songs that I've written and record them, I'm involved in a studio back in the UK and I've got some musician friends who I'd like to work with on these tracks." They said, fine, and that went some way to bringing 10cc together. That was my brief, but actually quite useful, encounter with the bubblegum industry.
You mention that it was a useful experience. Did it feed into 10cc?
GG: I think everything you do seeps into everything else you do. For example, we were lucky enough to do two albums with Neil Sedaka. We did one prior to forming the band and one just after. And there's no doubt about it, that was a good example of learning from one of the masters. Just about general musicianship, the way he played and sang... it was inspirational to be with him, as well as to work with him. I think we learned a bit about songwriting craft as well. But then you learn from everyone you work with.
When you worked with Neil, were you given a brief of some kind?
GG: Well, all that happened was that our manager had met him in New York and told him about the set up we had with our own studio. We were like a kind of self-contained music unit, at that point 10cc were virtually the house band at Strawberry Studios, so we'd play on lots of different sorts of records, do backing vocals, write football records, do loads of stuff, you know. Another thing, which also applies to the bubblegum period, was that it brought business to the studio, we needed to keep working, we were all involved in it and wanted to make good. So that affected what we did as well. We decided, look, you know, "We're not interested in making football records but if we're going to make one, let's make a bloody good one!" So we didn't really refuse anything. I think that attitude was healthy. But Neil at the time was working at Batley Variety Club, a massive luxury working men's club up in Yorkshire, and our manager said, 'The boys are in Stockport, which isn't that far, why not do a trial recording with them and see if you like it?' Well, he did like it, so we did the whole album, then another after that. His aim was simply to do a good album. He had these great songs, and we did everything very simply in those days. I went to Leeds to sit with him, got all the chord charts, then we went in the studio and Eric [Stewart] would engineer, Lol [Crème] and I would play guitar, Kevin [Godley] would play drums, Neil would play piano and sing the lead vocal. Then afterwards, we'd go, "Right, we'll put some bass and backing vocals on, some extra guitar, maybe another keyboard, some of the tracks had strings on..." Whatever it needed.
So Strawberry Studios was the Brill Building of Northern England?
GG: There was a little element of that. I suppose the only difference was that because it was a commercial concern, we couldn't pick and choose what we recorded. We'd have your Auntie Edna coming in, wanting to record all the songs she'd learned as a kid, then we'd have The Sid Lawrence Orchestra coming in and doing a session. It was a real mix, as it was in most studios. It was full of people that just wanted to make records.
The proto-10cc outfit Hotlegs - whose heavily rhythmic hit single 'Neanderthal Man' sounds oddly krautrock-ish in retrospect - featured Creme, Godley and Stewart but not you, at least initially...
GG: Hotlegs started, I think, when I was in New York with Kasenetz and Katz. I got involved with it because the boys had a big hit with 'Neanderthal Man' and they were going to go on the road, and they asked me to join them on tour. That kind of petered out but the four of us were left thinking, 'There's something happening here.' We were involved in the studio and when the studio wasn't working we started writing songs together, just for fun, really, and recording them, until we hit 'Donna' and we thought, "Ooh, we might have something really special here," although that was originally going to be a b-side for a track that Eric and I had written called 'Waterfall'. That song was going to be released on the Apple label. We were waiting to hear whether that was going to happen and while we were waiting we thought we might as well do a b-side for it, and as Eric and I had written the a-side, Kevin and Lol wrote the b-side. As soon as we'd recorded it we knew it was more commercial than the other track.
Did you have any idea of the direction the band would take?
GG: The point of the band was that we didn't have any orientation or plan, we just did what we wanted to do. We didn't think. We just did.
Which resulted in something unique. Take the subject matter of your songs, for example... just taking three songs from the debut, 'Iceberg', 'Clockwork Creep' and 'Ships Don't Disappear In The Night (Do They)' are hardly traditional Top 40 pop/rock fodder.
GG: Well, we always wanted to keep ourselves amused and stimulated by what we did. There didn't seem much point in doing anything that anybody else had done. We had no A&R man breathing down our necks. We were lucky because we were completely self-contained, we had our own studio, we played and sang everything ourselves, Eric engineered as well. It all worked out that there was no outside influence for us at all. That was one of the main elements of the band, that we had complete freedom. We also had an attitude towards each other's work that was always very, very positive.
There was no rivalry between the four talented songwriters in the group?
GG: I think there was unconscious rivalry between the two writing teams, which was always very healthy, I thought.
Did you ever have arguments in the studio?
GG: No. Because the idea was that we would record everything that anybody wrote. The principle being that if you thought it was good enough to record, then I'll go along with that. However... if I can think of a way to make what you've done better, I will tell you what I think should happen. In other words, whoever wrote the song, it was adopted by the four of us, as if it was all our own. Once you're stuck with this song, whether you like it or not, what are you going to do? You can't sit there and say, 'Well, I don't like it.' You've got to say, 'Well, I think we can make it better by doing this.'
So instead of doing each other down, you'd bring each other up?
GG: Correct. Yeah. And it worked brilliantly... for quite a long time.
But it eventually stopped working...
GG: Yes! But the original split when Kevin and Lol left [in 1976] wasn't to do with that, it was to with a certain element... it was a bit of a treadmill, a constant cycle of writing, recording, rehearsing, going on the road, then starting again. Which to me, was everything I'd ever wanted! To me that was not a problem, it was absolutely brilliant. But there was an element of Kevin and Lol feeling that they weren't being stimulated anymore, I think... but the main thing was they'd started recording an album which demonstrated a thing called the Gizmo, that attached to a guitar...
This was the Consequences album? [an ambitious three-disc opus based around a 'revenge of the elements' concept which featured a running commentary from Peter Cook and guest vocals from jazz legend Sarah Vaughn]
GG: It turned out to be a triple album, so you can imagine how long that took to do, and it was cutting into 10cc time. It came to the point where Eric and I had to say to Kevin and Lol, "Look, you're going to have to choose. What's it going to be?" And they said, "We're going to stick with the Gizmo."
Do you think they ever regretted that decision?
GG: Well, Kevin and I have talked a lot about it, he's the only member of the band that I have any contact with, we actually see quite a lot of each other, but what we both thought was that both sides were kind of stupid. 10cc were big enough, we could have taken a year off. Like, "Go away guys, do your album, come back when you're ready." But that didn't happen, unfortunately. Although Eric and I carried and we were quite successful without Kevin and Lol. But it changed.
What was the immediate effect of the split on 10cc?
GG: Well, I suppose we lost our more avant garde element.
The experimental edge.
GG: Yeah, yeah. Lyrically, it didn't have that... although Eric and I are good, we're good, it wasn't the same because Kevin and Lol were brilliant.
I have to say, though, I think the first album you put out following the split, 1977's Deceptive Bends, is my favourite 10cc album...
GG: Well, a lot of people say that, and it's one of mine as well. We were very, very proud of that album, because we felt people would go, "Yeah, right, you've had it now, the creative force has gone," which is ridiculous, but there were things like that going around.
Song-for-song, Deceptive Bends is extremely consistent as well as adventurous. In top three terms, that would be followed by How Dare You [1976], then Sheet Music [1974].
GG: It's always interesting to hear that and kind of gratifying. I think Sheet Music is generally accepted to be the best, the people's favorite album. I think there's a book called 1001 Albums You Must Hear Before You Die, and of all the 10cc albums, that's the one that's in there.
Do you agree with that assessment?
GG: I do. I think we were all very focused. It was great fun too. There was another element to that album as well, in that Paul McCartney was doing an album with his brother Mike McGear in the studio at the same time. They were coming in evenings and working until the wee small hours and we used to come in mornings and work through the day. So his presence was quite an influence, I think.
You think the magic rubbed off on Sheet Music?
GG: I know it did. Absolutely.
You were in the enviable position of being both a albums band and a singles band unlike '70s contemporaries such as, say, Pink Floyd and Led Zeppelin, who were both focused on making their albums monolithic statements and less bothered about having individual hit songs. Did you acknowledge this duality at all? How did you perceive yourselves?
GG: I don't think we perceived ourselves as anything. You know, people said, "Well, what sort of music do you do? Where do you see yourselves?" We were like, "Well... we're us! We just do what we do. You pigeonhole us if you want to – if you can – but really, it's 10cc music."
I tend to think of 10cc as being in a small cadre of very clever groups who emerged around the same time, who were capable of writing in a number of styles and covering a wide variety of lyrical ground, some of which was extremely unorthodox, but who nevertheless had a signature sound. Steely Dan would also be in there, as would Sparks.
GG: Well, I'm very pleased to hear that. That's the joy of having your own band. I do a lot of writing for other people, and while you're writing you go off into these worlds of mad fantasy... stupid or funny, odd, bizarre lyrics, and your writing partner will go, "Wow, what was that? It was amazing!" and you go, "No, forget it... no one's going to record that." But if 10cc were still recording then we'd definitely do it.
What kind of music were you listening to outside of the band? Were you keeping an ear out for what was happening in pop and rock at the time?
GG: We weren't consciously keeping an ear out but we used to listen to a lot of music. We used to listen to a lot of Beach Boys, Beatles, Steely Dan, Motown, Bacharach and David, rock 'n' roll... everything that was good.
I find the reggae element interesting. I guess most people would identify this influence as becoming evident circa Bloody Tourists [which featured the classic 'Dreadlock Holiday', a song this writer assumed, in his youth, to have been performed by a group of black musicians rather than three pasty Mancunians]...
GG: It was there much earlier, I think. I used to listen to bluebeat and ska in the early '60s. Ours was a kind of... cod reggae, I guess. It might also have been due to the fact that we used to go on holiday to the West Indies quite a lot. 'Dreadlock Holiday' was written after I'd been to Jamaica and Eric had been to Barbados, and we just started talking about our experiences.
As early as Sheet Music, the use of sound effects and innovative production techniques recalls the work of dub scientists such as King Tubby and Lee 'Scratch' Perry... I'm thinking of the ear-bending sonics of something like 'The Worst Band In The World' [note: this elasticity is also mirrored in the album's excellent Hipgnosis-designed album sleeve, which depicts the group tugging the yellow border surrounding their photograph into the frame itself].
GG: We weren't aware of that. I think that was because we had a certain amount of instruments at our disposal, we had our own studio, we had the time, and we could experiment. When we wanted a sound, we'd imagine it and try and go after it. These days what you'd do is if you said, "You know what? I think we need a 250 piece choir on this," you'd go straight to your keyboard and there it would be. Of course we didn't have that. That luxury didn't exist in the mid '70s, so we did it ourselves. And of course, we created something unique. Whereas now, you have access a billion sounds... but so does everyone else.
So you were forced to be inventive?
GG: We loved being inventive! We'd go, 'You know what? It sounds like we need a keyboard, a piano, but how can we make it sound different?' So we'd try an echo, or put it through this, or mic it up in this way or that way... but what it boils down to is that you can have the best production in the world, but if the song isn't any good, it'll be crap. Whereas vice versa, you'll have a hit. Or actually what happens is, the song influences everything that happens in the studio. In my experience, if you have a good song, then making the record in the studio is a doddle. A good song stimulates good ideas and everything works, not the other way around.
10cc - Tenology (Box Set) »
LISTEN: Ramases Deluxe Prog Reissue »
Hot Dayte: Sex, Friends & Keeping It 69 Smooth - A Gayngs Interview »
Gayngs - Relayted »
Gayngs Cover George Michael, More Prince Love »
MORE FROM JOSEPH STANNARD
Phase Shift: An Interview With Beck »
Tripping With Good Weirdos: An Interview With Midday Veil »
To The Invisible Lighthouse: Thomas Dolby Interviewed »
A Disease With A Long Incubation: Blue Öyster Cult's Imaginos »
The Human League - Credo »
MORE: A QUIETUS INTERVIEW
Use Your Days: An Interview With Gina Birch »
The Horrors Of Britpop: An Interview With Heavenly »
Maternity Beat: An Interview With Hedvig Mollestad »
Rinse The Energy: An Interview With Ikonika »
Alternate Utopias: An Interview With Sarathy Korwar »


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Unit 42 Threat Intelligence
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Any modern organization requires the Domain Name System (DNS) to run its business, regardless of industry, location, size, or products. DNS is fundamental to every single modern organization, all over the world. It's also a pervasive but easily overlooked attack surface, and bad actors are using this to their advantage.
Our Unit 42 threat research team reports that more than 80 percent of malware uses DNS to identify a command-and-control, or C2, server to steal data and spread malware. On top of that, attackers are using automation to make it even harder to identify and stop these threats. Meanwhile, security teams are under pressure to enforce consistent protections for millions of new malicious domains and stay ahead of advanced tactics like DNS tunneling.
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redpajama_set_name: RedPajamaCommonCrawl


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Windows 10 is almost a month old, privacy and piracy controversy aside it's fair to say the Operating System has had a very successful start, with good reviews and mass downloads the internet is proclaiming that "Microsoft is back". For as big as Windows is now, it's always important to remember just what helped catapult it to the money making machine it is today, and what better excuse to have a walk down memory lane than the celebration of Windows 95's 20th birthday.
It was on August 24th 1995 that Windows 95 was released and changed the face and standard of Operating Systems as we knew them. Paving the way for future Operating Systems it's hard to believe something as small as the start button and accompanying menu was so revolutionary when first introduced with Windows 95. With Internet Explorer released within the same month Microsoft managed to take the world by storm all within the space of two weeks.
It was three years later than Microsoft launched their next Operating System: Windows 98, the most popular Operating System of the 90's. Another three years pass and Windows are still going from strength to strength with the release of XP. Yielding rave reviews and huge demand, XP went on to be the most widely used OS for over a decade, but was the Windows juggernaut about to run out of steam?
2006 saw the release of Windows Vista, essentially seen to many in the computing world as the beginning of Microsoft's fall from grace; having never managed to reach the popularity of its predecessor XP. Slow loading times and higher costs were just a few of the criticisms Vista faced but perhaps the biggest problem with Windows Vista was that it was released in 2007, just as the world plunged into a deep recession. Businesses and consumers alike reigned in their spending, and sales of new PC hardware fell dramatically. When the next version (Windows 7) was released, only 19% of the market were using Vista as opposed to XP's 63%.
Windows 7 saw a return to form with generally positive reviews and breath-taking sales of over 630 million within the first three years of release. It wasn't long however before the pressure of competitors forced Microsoft to change their take on Windows, leading to yet another setback: Windows 8!
Following its release Windows 8 struggled to match the popularity and success of Windows 7. With negative reviews and disappointing sales, Microsoft blamed the decline in the PC market whilst critics and users blamed its unfamiliar and often awkward user interface. Essentially one of the widest reported problems for audiences was the removal of the "Start Button", flash forward to present day, Windows 10 is taking nods from its past and reinstating the Start Button that first seen 20 years ago with Windows 95.
There's no doubt that the success of Windows 10 is due to more than just the reintroduction of a "start button", however its undeniable that changes to make Windows feel familiar to its users again have helped play a key role. Advances in the technology market make it impossible to stay the same for too long, but in this case we think it's fair to say Windows learned not to fix what isn't broken.
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Anyway, October's Prospect magazine has a supplement on pensions, with a very interesting piece by Norma Cohen. She brings together demographic trends, most obviously increased longevity, with analysis of the investment challenges, e.g. bond yields. She has pertinent things to say about how people underestimate their pension needs, and the doubtful merits of increased 'choice' in respect of pension products.
When it comes to the problems of matching investment returns to the reality of longer lives, Cohen says "the solution to what looks like a pensions crisis may be to simply re-think what is meant by retirement." Working longer is, obviously, a major part of this. It is already happening, to some extent: between the 2001 and 2011 censuses the percentage of those at work aged 65-75 roughly doubled, to 16%. But she also brings into the picture the opportunity costs of women choosing to have babies. These costs are, as readers of this blog will know, increasing steadily because of women's increased skills and qualifications. Reducing these costs is necessary if we are to improve the fertility rate, and to boost economic performance sufficiently to cope with the pensions crisis.
This links nicely with the puzzle which the impressive Resolution Foundation is currently grappling with: what is happening to our labour market: why is employment holding up, whilst wages are dropping, Matthew Whitaker showed us at an event today how this is happening in a way that is historically almost without precedent. Investment too has fallen away drastically; and productivity has completed failed to grow. This is all rather weird.
Now here's the specific link to Paula. Matthew showed amongst other things that over the period 2007-13 women's wages have held up better than men's, with women losing on average only 0.4% compared to men's drop of 1%. That may seem to go against my general theme of women being under-rewarded for their competence. But my hypothesis is a) this difference is quite small relative to the way women's skill levels have been growing faster than men's; and b) the fact that wages overall are so depressed may be in some measure the direct result of women now having a greater share of our overall human capital. Apart from anything else (discrimination etc) we know that, individually and collectively, women negotiate less hard, on salaries as well as bonuses.
In other words, an important factor in the productivity puzzle is the following cluster of facts: a) women represent a greater share of our national stock of skills ; b) women tend to claim less in the way of wages, so c) employers get labour cheaper, and d) make lower capital investment, so that e) productivity is lower. Can anyone do the necessary calculations on this?


This fabulous kit puts all your postcard penal necessities in one place so that you can write postcards on the go. I spend a lot of time on the road, chauffeuring my daughter between school, play dates and after school activities. More than once I forgot my pen at home, or the stamps. There is nothing more annoying than having to make an extra stop to buy a pen which I didn't really like because I was too cheap to buy an extra one that I already had at home.


A tangy chicken stir fry with Thai 7 Spices and cashew nuts.
STEP 1: Cook the rice following the packet instructions.
STEP 2: Heat the oils together in a wok and stir fry the chicken for 3 minutes. Add the Garlic and Perfect Shake Thai 7 Spice, nuts, lemon juice, honey and soy sauce. Stir fry for 3 minutes. Mix the cornflour and water together and stir into the pan. Reduce the heat and simmer for 1 minute. Meanwhile, cut the leafy part of the pak choy away from the stems and set aside.
STEP 3: Cut the stems in half lengthways and add to the pan, cook for 2 minutes and then stir in the leafy part of the vegetable. Cook until just wilted. Stir the creamed coconut into the cooked rice and serve with the chicken. Garnish with chillies and spring onions.


Sarukkai, Sundar (2001) Mathematics, Language and Translation. Meta, 46 (4). pp. 664-674.
The mathematical discourse is not possible without a fertile use of natural language. Its symbols, first and foremost, refer to natural language terms. Its texts are a combination of symbols, natural language, diagrams and so on. To coherently read these texts is to be involved in the activity of translation. Applied mathematics, as in physics, constantly shifts from one language (and culture) to another and, therefore, is best understood within the ambit of translation studies.
Copyright belongs to Les Presses de l'Université de Montréal.


Expected Result: We were expecting the resource availability will be one (1) FTE since you do not have any allocations for that resource and they are working all 7 hours as per the resource calendar.
Actual Result: The resource availability is shown as 0.88 (which is 7/8).
This is working as designed. FTE is calculated based on the Standard Calendar not a resource's base calendar. So, if the standard calendar has 8 hour shifts, and a resource's availability is 7, it will divide the 7 hours of availability by the 8 hours on the standard calendar.
We encourage you to vote on this idea and add your comments. The more votes an idea receives, the more likely it will be included.
Reference TEC1112555 : How is full-time equivalent (FTE) allocation calculated?


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text:
/**
 * Created by hevan on 2017/7/3.
 */

import {Component,OnInit} from '@angular/core';
import { NgModule } from '@angular/core';
import {FormGroup, AbstractControl, FormBuilder, Validators} from '@angular/forms';
import { Router,ActivatedRoute } from '@angular/router';
import {Response,Headers, Http,URLSearchParams,RequestOptionsArgs} from "@angular/http";
import {PageDataModel} from "../../../../services/models/page.model";

import { Keys } from '../../../../services/models/env';
import {OrderreportService} from "../../../../services/report/orderreport.service";
import {SplitbillreportService} from "../../../../services/report/splitbillreport.service";

@Component({
  selector: 'la-commsplitDetail-view',
  templateUrl: './commsplitDetail.html'
})
export class CommsplitDetail implements OnInit{

  public rows:Array<any> = [];

  public pageNav = new PageDataModel();

  public curId = '';

  public commercialId='';
  public statisticsDate='';
  public splitBusiType ='';

  public consumOrder:any;

  public constructor(fb:FormBuilder,private acRoute:ActivatedRoute,private router: Router,private splitbillreportService:SplitbillreportService) {

    //直接获取参数
    this.curId = this.acRoute.snapshot.queryParams["paramId"];
    this.commercialId=this.acRoute.snapshot.queryParams["commercialId"];
    this.statisticsDate=this.acRoute.snapshot.queryParams["statisticsDate"];
    this.splitBusiType=this.acRoute.snapshot.queryParams["splitBusiType"];

    console.log(this.curId);
  }

  public ngOnInit():void {
    this.loadData();

  }

  public onChange(value):any {
    console.log(value);
  }

  public toBack():any {
    this.router.navigate(['/pages/lareport/commsplit']);
  }

  public loadData(){
    console.log("csrd");
    console.log(this.commercialId);
    if(this.commercialId){
      let requestParam = new URLSearchParams();
      requestParam.set('commercialId',this.commercialId);
      requestParam.set('statisticsDate',this.statisticsDate);
      requestParam.set('type',this.splitBusiType);

      this.splitbillreportService.pageQueryByCommercialId(requestParam)
        .subscribe(res => {
          if (res.successed === '00') {
            this.rows = res.data;
            this.pageNav.totalElements = res.totalElements;
            this.pageNav.totalPages = res.totalPages;
          } else {
            console.log(res.message);
          }
        });
    }
  }

  setPage(event){
    let requestParam = new URLSearchParams();
    requestParam.set('commercialId',this.commercialId);
    requestParam.set('statisticsDate',this.statisticsDate);
    requestParam.set('type',this.splitBusiType);

    requestParam.set('page', event.offset + 1);
    requestParam.set('itemsPerPage', this.pageNav.itemsPerPage + '');
    console.log(requestParam.toString());

    this.splitbillreportService.pageQueryByCommercialId(requestParam)
      .subscribe(res => {
        if (res.successed === '00') {
          this.rows = res.data;
          this.pageNav.totalElements = res.totalElements;
          this.pageNav.totalPages = res.totalPages;
        } else {
          console.log(res.message);
        }
      });
  }

}

redpajama_set_name: RedPajamaGithub


text:
Q: Heap corruption when shared_ptr is destroyed Considering the following example code:
Uncopyable.h
class Uncopyable {
protected:
    Uncopyable() {}
    ~Uncopyable() {}

private:
    Uncopyable(const Uncopyable&);
        Uncopyable& operator=(const Uncopyable&);
};

Base.h
class Base : private Uncopyable
{
public:
    Base(int a);

    virtual ~Base();

private:
    int mValBase;
};

Base.cpp
Base::Base(int a)
    : mValBase(a)
{
}

Base::~Base()
{
}

Derived.h
class Derived : public Base
{
public:
    Derived(int a, int b);

    ~Derived();

private:
    int mValDerived;
};

Derived.cpp
Derived::Derived(int a, int b)
    : Base(a),
      mValDerived(b)
{
}

Derived::~Derived()
{
}

When I insert the following code block (not all code shown here)
{
    std::shared_ptr<Derived> derived = std::shared_ptr<Derived>(new Derived(1, 2));
}

I get a heap corruption ("CRT detected that the application wrote to memory after end of heap buffer") upon exit of the code block and destruction of the shared_ptr derived. However, if I remove the initialization of mValDerived in the constructor of Derived I get no heap corruption. Also, if I insert the above classes and code in a very short console application I get no heap corruption.
Can anyone help me understand what the problem is and how fix it? I am at a loss.
I am using VS2012.

A: I don't see anything wrong with the code. If it works in a short console program the error is probably in some other part of you program. You will have to systematically check other parts of your program until the error goes away.

redpajama_set_name: RedPajamaStackExchange


Accreditation Outcomes: including Average Point Scores, 5 A*-C grades (inc. Maths & English), etc.
Stake holder Opinion refers to the feedback of learners, parents/carers and multi-agencies (eg Social Workers). It is sampled in a number of ways and at different times throughout the academic year.
Learners completing a range of feedback opportunities via PASS surveys, Growing Up in North Yorkshire survey, lesson feedback, BTEC student surveys, etc.
Stakeholder opinion is not regarded as rigorous in isolation since it includes incomplete statistical sampling and subjective question response.
We believe that 'good progress' is a composite of evidence that uses data, professional judgement over a number of criteria and stakeholder assessment to give a summative view. The rigor and reliability of our judgements depend on the strength of the whole and not on the particular validity of any one single evidence source.


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text:
ns2hjl.domain-resolution.net
Current Domains 13
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xn--rss14p6ygx1t.com (梦想天空.com) Feb 28, 2017 Mar 02, 2020
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text:
Figlio di Junius Brutus Booth e fratello di John Wilkes Booth, esordì a Boston nel 1849 per poi spostarsi a New York nel 1850.

Nel 1862 divenne impresario del Winter Garden Theatre, ma nel 1865, quando suo fratello assassinò Abraham Lincoln e venne a sua volta assassinato, fu costretto ad abbandonare l'impiego.

Solo nel 1868 ottenne il permesso di costruire il Booth's Theatre, che fallì nel 1878. Nel 1880 Booth si trasferì a Londra, ove ottenne discreta fama come interprete di William Shakespeare, ma già nel 1882 si spostò in Germania.

Rimpatriato, nel 1886 formò con Lawrence Barrett una celebre e fortunata compagnia teatrale.

Altri progetti

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


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text:
Q: Send Webrequest via JavaScript to Openproject I hope you can try to help me with my current problem.
My task is to send a webrequest (POST) to an API. The API in question is from Openproject
This is our idea:

*

*User sends an idea through a Sharepoint-Webpage to Openproject, a
work-package will be created automatically (that works)

*The OpenProject-Response gets logged, the ID of the work-package gets
extracted (that works)

*Now that we have the ID, an attachment can be sent to that one, if there was one provided by the   user.  (this doesnt work)
Since the API demands a form-data/multipart, we tried a form like this (Javascript):
var form = new FormData();

form.append("Content-Disposition: form-data; name='metadata' Content-Type: application/json; charset=UTF-8", "{ 'fileName': 'cute-cat.png', 'description': { 'raw': 'A cute kitty, cuddling with its friends!'} })");

form.append("'file'; 'filename'='attachment'Content-Type: image/png", <filedata>);

Thats the best idea we could come up with (i have no experience with anything like that)
When we send the request through the browser (Firefox or Chrome), we get the error
"400 - Bad Request".
urn:openproject-org:api:v3:errors:InvalidRequestBody"
The content of the request we sent through the browser looks like this:
   -----------------------------264232436135129208361200980561

   Content-Disposition: form-data; name="Content-Disposition: form-data; name='metadata' Content-Type: application/json; charset=UTF-8"

{ 'fileName': 'cute-cat.png', 'description': { 'raw': 'A cute kitty, cuddling with its friends!'} }

   -----------------------------264232436135129208361200980561

   Content-Disposition: form-data; name="Content-Disposition: form-data; name='file'; 'filename'='attachment'Content-Type: image/png"

  <data>

  -----------------------------264232436135129208361200980561--

Mind you that the Browser automatically appends the "Content-Disposition: form-data; name="-part, even though we provide it. If we dont include that part in our form-data-variable that we send, we still get the same error, the browser will interpret the multiple values of the variable just as a long string.
If I use exactly the Code i mentioned above, it works perfectly via Postman. But as soon as i put those lines into the Sharepoint-Page and execute the script, it shows the error.
Do you guys have any idea, how to properly create this form-data/multipart-Object (or what the name for that is?
The official documentation of Openproject looks like this:
To add an attachment to a work package, a client needs to issue a request of type multipart/form-data with exactly two parts.

The first part must be called metadata. Its content type is expected to be application/json, the body must be a single JSON object, containing at least the fileName and optionally the attachments description.

The second part must be called file, its content type should match the mime type of the file. The body must be the raw content of the file. Note that a filename must be indicated in the Content-Disposition of this part, however it will be ignored. Instead the fileName inside the JSON of the metadata part will be used.

    Content-Type: multipart/form-data

    Body

    --boundary-delimiter
    Content-Disposition: form-data; name="metadata"
    Content-Type: application/json; charset=UTF-8

    {
      "fileName": "cute-cat.png",
      "description": {
        "raw": "A cute kitty, cuddling with its friends!"
      }
    }

    --boundary-delimiter
    Content-Disposition: form-data; name="file"; filename="attachment"
    Content-Type: image/png

    PNG file data
    --boundary-delimiter--

Sorry if those questions are pretty dumb, but i dont know it any better.
Any help is appreciated.


text:
Andreescu Wins US Open Title
In December of 2015, 15-year-old Bianca Andreescu won her second Orange Bowl, the prestigious junior tournament in Miami. Afterward, she wrote herself a check for $3.3 million, the prize money received in that year by Flavia Pennetta, the first Italian to win the US Open.
Ever since that moment, Andreescu's been visualizing winning here in Flushing Meadows.
On Saturday, she became the first Canadian to win the US Open, defeating Serena Williams 6-3, 7-5. The prize money is $3.85 million.
Now she has her check for real.
"I've been dreaming of this moment for the longest time," Andreescu said, breaking into tears in the interview room after the match.
She lowered her head, placed her hands over her face, and quickly gained composure: "After I won the Orange Bowl, I really believed that I could be at this stage. Since then, honestly, I've been visualizing it almost every single day. For it to become a reality is just so crazy."
She smiled. "I guess these visualizations really, really work."
That quote from her did not surprise me. In 2016, I had my first credential to the US Open. I stayed at the Grand Hyatt in midtown Manhattan, a hotel where a lot of players stay, and I got to ride the shuttle bus with her out to the venue on most days. Even then, Andreescu had that star quality—you know it when you see it.
On our bus rides, her gaze was pensive as we passed the cemetery crowded with graves. Dreamy as we made the curve to where the stadiums first come into view. We were all dreamy then. And energized. We were alive.
I watched her junior matches. She lost in the semifinals.
Bianca Andreescu has said that she did pretty well on the junior circuit. That it helped her. I was also a junior player, not at her level, but it helped me, too.
Andreescu is 5-foot-7 with powerful legs. She's an excellent mover. What separates her from the field, though, is her belief. There is incredible belief inside Bianca. And her demeanor. Her demeanor is fearless.
She also draws confidence from her ability to change pace. She can slice, drop shot, lob, attack the net. She has a good overhead, good serve.
In the final on Saturday, Andreescu won the coin toss but elected to receive.
Serena served an ace on the first point, but she also double-faulted twice in the game. Andreescu broke, then held. 2-love.
At 2-4, Serena held a crucial game, saving five break points, so that she would not go down a double-break. Serena struggled with her backhand, but she still looked like Serena, hitting winners from everywhere to every part of the court.
At 4-3, Andreescu is serving. The crowd is cheering wildly for Serena. Andreescu fights back, hitting heavy-flying groundstrokes, mixing in the slice, finishing at the net. She holds serve for 5-3 with an ace out wide, then a serve plus one, a forehand crosscourt winner.
In the next service game, Serena double-faults on set point.
The second set followed a similar pattern to the first. Serena said to her box, "I can't get my serve in." She quickly got down 5-1.
Then she staged a Serena comeback—that familiar warrior one that all Serena fans know—back to 5-5.
The crowd is roaring. Andreescu puts her fingers in her ears to drown them out. It works. Bianca hits three successful serves down the T, one an ace. Serena nets a couple backhands.
Serena is serving 5-6. She misses a forehand long, makes a forehand crosscourt winner. 15-all. Bianca crushes a forehand down the line off a second serve. 15-30. Serena misses a backhand wide. 15-40. Serena aces out wide. 30-40.
On her second championship point, Bianca hits a forehand winner, drops her racquet in disbelief, kisses the court, falls on her back in her Canadian snow-angel way, has a warm embrace with Serena at the net. She climbs into her box to hug her coaches and parents.
In press, Andreescu was asked about that tactical decision that she and her team made, choosing to receive against the best server in the history of women's tennis. Andreescu shrugged. "I always do that. I just kept to the same routines. I don't know why. It is what it is."
Me, too, I thought. I always choose to receive. A lot of us juniors do.
When asked if there were any specific Canadian athletes that she looks up to, the first one Andreescu listed was Carling Bassett.
I loved Carling Bassett, too. Beautiful, sassy, and she got as high as eight in the world.
But I mostly loved Carling for starring in a movie about junior tennis called Spring Fever. It did not get good reviews, but my teenage-self loved it.
At the end of her press conference, Andreescu summed it all up for all of her fans: "It's been a goal of mine to inspire many people, especially Canadian athletes. I think that this win will hopefully do that. Just what I've accomplished this past year. Because so many Canadian athletes have paved the way for me when I was young and hopefully I can be that person to them."


When you have Voice Mail service and a pager, Voice Mail Paging is an optional feature you can request for an additional monthly fee. All Message Paging and Urgent Paging are the two paging options available. Neither paging option will work unless you send our office an order request to program and activate it.
NOTE: Paging performance depends on the type of paging service and pager you have. In some U.S. locations, paging service may not operate due to the service range of the paging service provider.
parameters set for your voice mailbox. Upon receiving a Voice Mail page notification, you can retrieve and play your message.
You can use the Schedule Paging feature to review or change your pager schedule, change your pager start and stop times, as well as enable or disable all message paging.
When callers leave a message in your voice mailbox, they will be given the option to mark the message urgent by pressing 8. You will receive a page notification of "24141" for each message marked urgent.
You will be paged based on the frequency and interval parameters set for your voice mailbox. Upon receiving a Voice Mail page notification, you can retrieve and play your message.
When using Urgent Paging, you will want to re-record your mailbox greeting to inform callers that you have this feature.
NOTE: The caller must leave a message before pressing 8. Therefore, your greeting should instruct callers that they have the option to dial 8 to mark their message urgent.
You can further customize the All Messages and Urgent Paging options with the Cut Through Paging feature. This feature allows a caller to interrupt your greeting by pressing 4. The system will then prompt the caller to enter a callback phone number, leave a message in your mailbox (optional), and send the page by pressing 9. A page will be sent and the callback number will appear on your pager's display.
NOTE: The maximum number of digits that can be entered for a telephone number is 25.
When using this feature, you should check your voice mailbox for messages, in addition to calling the number received on your pager.
NOTE: You may want to re-record your mailbox greeting to inform callers that you have this feature.
mailbox "24141" to notify you of a new, urgent message.
Fax Messaging allows callers to leave you either a voice or fax message upon reaching your voice mailbox. To receive a faxed message, the caller must be calling you from a fax machine. When the Voice Mail system hears the fax tone, it will automatically switch to fax mode. If the system does not hear a fax tone, the system will record any voice message left by the caller in your mailbox. Voice Mail will notify you of any new fax or voice message received in your mailbox by "activating" the Message Waiting Indicator on your phone.
NOTE: Phones that have a Message Waiting button (MWT) or light will become "lit" or "flash" to indicate there is a new message in your voice mailbox. Stutter dial tone is the Message Waiting Indicator for phones that do not have a Message Waiting button or light.
machine now. To leave me a voice message, please wait for the beep and record your message."
NOTE: In order to play (7) any subsequent messages in your mailbox, you must either press 3 to discard or 5 to keep the fax message.
NOTE: To give (4) a fax message to another Voice Mail user, the user must also have the Voice Mail Fax Messaging feature.
NOTE: Received messages marked "confidential"
cannot be given (4) to another Voice Mail user.
NOTE: Your default fax machine is programmed into the telephone switch by our office when ordering the Voice Mail Fax Messaging feature.
NOTE: Your default fax number must be a campus fax number.
You can also schedule future delivery of a Voice Mail fax message (up to 90 days in advance).


"The Emancipation Of Billy" is hosted by the J.C. Elkins O. Henry Literary Discussion Group, a monthly reading (and discussion) group focused on the short stories of William Sydney Porter (O. Henry) and named after docent emeritus J.C. Elkins.
comes to town, will the opportunity re- present itself?
This event is FREE! Newcomers are welcome!
.To access the museum you have to enter the camp's main gate and show photo identification. There is no fee for the museum.


Fewer teacher candidates are expected to pass the state's revamped assessment of teaching practice, under new cut scores approved by the state board on Tuesday. But the new test will be short-lived: Illinois State Board of Education (ISBE) officials plan to scrap the test altogether when yet another, more comprehensive assessment comes fully online next September. Previously, 97 percent of teacher candidates who took one of the older versions of the Assessment of Professional Teaching (APT) would pass. The rate is expected to drop to 81 percent using the new APT, which was rolled out this fall.
Raising concerns about fairness to teacher candidates, board member Vinni Hall cast the lone vote against the new cut scores for the revamped APT.
"I just thought this was a little disingenuous knowing we were going to eliminate the test eventually," Hall said after voting on Tuesday during a special board meeting.
Jason Helfer, ISBE's assistant superintendent for Teacher and Leader Effectiveness, said there was little anybody could do about the short lifespan of the revamped APT – which is taken by prospective teachers during the student teaching phase of their coursework.
"It's a circumstance of timing," he said in an interview with Catalyst on Tuesday afternoon. In prior years, different versions of the APT were given to prospective educators based on the grade level they were preparing to teach.
ISBE began revising the APT about two years ago to make it the same for everybody and to align the assessment with the state's professional teaching standards, which were updated in 2010. Two years ago "is a pretty long time in terms of thinking about potential overlap and what rules need to be in place," Helfer said.
Meanwhile, the state had approved the implementation of another assessment — an evidence-based review of teacher candidates' performance called the edTPA – and made it a requirement starting next fall.
While there have been conversations between ISBE staff and faculty in the state's teacher preparation programs about whether to phase out the APT, no date had been set. Helfer says he expects to propose a fall 2015 sunset date for the APT at the next regular ISBE meeting in two weeks.
"My reasoning is, well, if the edTPA is assessing many of the same skills and knowledge as the APT, there's absolutely no reason to have any candidate do both, not only because of redundancy of content but because of the cost," he said.
Hall had also raised concerns about the financial burden of so many required tests. Apart from the APT, teacher candidates must also pass the TAP, formerly called the Basic Skills Test; and content-area tests in order to obtain their teaching license. Each assessment costs $135.
The edTPA is even more expensive; it'll cost students $300 have portfolios of their student-teaching performance evaluated as part of that assessment.
ISBE had initially cancelled its November meeting, but called for a special meeting on Tuesday in large part to set cut scores for the APT.
That's because about 1,000 teacher candidates have already taken the new APT, but didn't know whether they passed because ISBE hadn't set the cut scores. The expected 81 percent passing rate is based on the results of the first group of 313 candidates who took the APT in September.
Unlike Hall, some board members expressed satisfaction after knowing the new APT is harder than the previous iterations of the assessment. Board member Curt Bradshaw spoke about the need to "raise the bar" for teachers in Illinois, echoing the rhetoric of the broader national push to improve the quality of teacher candidates and preparation programs.
"We clearly want our students to have the most prepared teachers they can possibly have and I think we're all in favor of the teaching profession being held in the highest esteem possible," he said.
But board Chairman Gery Chico said the state needs to tread with caution when increasing rigor for prospective educators if it comes at the expense of racial diversity. Blacks and Latinos – who are already disproportionately underrepresented as teachers when compared to public school students in Illinois — fare significantly worse than their white counterparts on the TAP.
ISBE data show that just 31 percent of all teacher candidates who took the TAP between July and September 2014 passed all four sections. But only 13 percent of Hispanics and 15 percent of blacks passed, compared to 37 percent of white students.
It's unclear whether the racial gap will persist with the new APT. ISBE officials were unable to immediately provide passing scores broken down by race or ethnicity on the new assessment.
Preschool teachers in Illinois may get two more years to obtain the required qualifications to teach children who don't speak English.


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Trendy Uptown area provides convenience
by Sarah Brownson
Uptown is one of the few places in Minneapolis where you can find University students, professionals and punk rockers all living in the same apartment building.
The area is diverse and attracts those from all walks of life to come together and form a unique community.
Uptown is an area made up of multiple neighborhoods in South Minneapolis.
According to the Uptown business association, the area stretches from Dupont Avenue to Lake Calhoun and Lake and 28th streets, although more of the surrounding area tends to be included.
The hub is the intersection of Lake Street and Hennepin Avenue, which is about a 10-minute trip to the University by bus or car.
The rent rates in Uptown are fairly comparable to the rest of Minneapolis, according to Apartment Search.
One-bedroom apartments in Uptown go for around $640. Two-bedrooms are about $870, which is about $50 cheaper than the Minneapolis average. The biggest difference can be seen with three-bedroom apartments, where rates tend to run about $800 more than the rest of Minneapolis.
Just like the rest of Minneapolis, rent is ever increasing in Uptown. Doris Leonard, who has owned a duplex in the area for 50 years, said rising costs will force her to raise the rent for the first time in ten years.
Even though apartment buildings dominate the area, "many tenants like the area and stay," Leonard said.
Having a car isn't necessary in Uptown — everything is within walking distance.
In fact, parking spaces are premium in the densely populated area. Most buildings that have parking lots can only accommodate a few cars.
Buses are a key form of transportation, said University student Cecilia Sheen.
The area is on the city's 52 route that goes straight to the University during the summer months, Sheen pointed out. There are also many buses passing through that go downtown or out to the suburbs.
Safety is an important issue when finding the right place to live. Uptown resident Amy Williams said she feels safe in the area, even at night.
The exact location makes a difference, some areas being better than others. Only sporadic cases of larceny and burglary have been reported recently in the area.
Nearby Lake Calhoun has special walking and bike paths that travel around the perimeter of the lake. The lake is often used for other activities such as swimming, sailing, canoeing, windsurfing and much more. From Lake Calhoun other lakes that form the "chain of lakes" in Minneapolis are easily accessible.
Uptown is a shopping mecca with over 200 retail stores, many boasting unique items that wouldn't be found anywhere else. The area also has many restaurants, coffee shops and movie theaters to enhance the entertainment experience.
Trendiness attracts many more people to the area. "It makes it harder for people who live in the area to frequent those bars and restaurants," said Bill Margolis, a local resident.
The area is also home to the annual Uptown Art Fair, usually held over a weekend in August. The art fair draws in large crowds of artists and others from the Twin Cities and even from across the nation.
"(Uptown) has all the flavor of the city, just in a nicer package," Williams said.
— This article originally appeared in the July 24 edition of the Daily.


How to schedule a precast plant project?
Would you like to set up a precast plant, but aren't quite sure of the schedule? Are you uncertain of which aspects affect the project and how much time should be reserved for each step? If yes, read about the most important steps while planning and executing a precast factory project.
The precast plant project begins with a project launch meeting. Before equipment manufacturing starts, we need to be sure that it suits for the intended use and all technical details are in place; the production capacity, their feedings and even the equipment size. At this point you should provide the actual drawings of the future precast concrete production hall (in dwg., if available). The drawings should include exact technical details of the building, eg. column size, floor levels, hvac points, overhead-crane working areas etc. – in other words, detailed info about all the existing structures that are in the new equipment working area. Based on the drawings, we will create the most suitable layout – or update one from the quotation phase. A carefully designed layout ensures functionality and cost-efficiency of your precast production. We also create equipment drawings to best serve your production needs. This may mean, for example, that the size of a given machine is changed to better fit the preserved location at your factory.
After this, you will receive the initial drawings from us. The drawings include forces to the foundation and columns as well as electrical, water, sewer, compressed air and network feeding points, and they allow you to finalize the factory design, i.e. make sure the foundations and all other structures are sturdy enough to handle all the loads.
In order to create a functional factory, it's important to have a common understanding of even of the smallest of details Otherwise there's a good chance that things go wrong in one way or the other. To give an example, once we were going through the factory layout with one of our clients. During the meeting we found out that we had planned to put a specific machine to a different hall than where the customer wanted it to go. If we had proceeded with the project without knowing this, the produced machinery could have been unsuitable for the final factory. Sometimes it is also possible that a small change in the layout or in the lifting equipment is the key to further enhance the production flow and thereby add production capacity.
After agreeing on all the details, the equipment design is finalized and the manufacturing can begin. The production schedule is dependable on the size of the factory and the complexity of the equipment, but the average production time for precast plant equipment is 4 months.
Of course, you want to start production as fast as possible, but it's very important not to set an overly optimistic schedule for all the project steps.
First of all, the production equipment is manufactured based on the overall project schedule. If the installations are delayed for any reason, the equipment must be stored carefully while waiting for the installations to begin. The machinery and all other factory components need to be stored in a clean environment and have a roof over their head. For this you have two options, we can store them at our assembly unit or you can arrange the storing at your end, however, both of these come with extra costs.
The schedule for the production line installation depends on the schedule of the whole factory and in particular the foundation work. The equipment installation begins after the foundations have been checked for load-bearing capacity by our mechanical supervisor. It's crucial that the foundations are sturdy and durable enough to bear all the loads from production machinery. It takes a few weeks for the mechanical installations to be completed, after which your electrical engineers can start their work. Naturally, the time needed for this depends on how many workers you have and how skilled the team – engineers, electricians, mechanics, etc. – is.
Note! The foundations have to be in tolerance – inaccuracy may prolong the equipment installation work and in the worst case affect the end product negatively!
The final step in the precast plant project is taking the machinery into use and testing. This is usually conducted by team of Elematic experts. But that's not nearly all – factory operating personnel need to learn how to use the machines. It's advisable that you name a person responsible for each of the machines and reserve enough time for training. Your machines will stay in a better condition, when people know how they are used and what kind of maintenance is required. Hence, we recommend coming up with a maintenance program and a dedicated maintenance team. We can help you too with a preventive maintenance program.
In addition, finding the ideal and most cost-efficient concrete mix that works with the equipment always requires local testing. This phase can be very fast if the concrete mix has been well-thought-through in advance, but it may also be a time-consuming process. Thus, we recommend not taking on too many projects for the time of the factory start-up. This way you won't make any of your future customers angry before the first delivery.
Cooperation and efficient communication is a crucial part of any project, especially when parties locate in different countries, on different continents. The complete precast plant is planned and the machinery is manufactured based on your exact factory measurements – height, length, width and places for columns, to mention a few – hence let us know of even the smallest changes. We are here to help you! With thorough planning, a precast plant can be set-up in a quick time frame.
We offer lifetime commitment. Therefore, the project manager is responsible for your factory until the end of the warranty period. After that, our customer service will start taking care of you, and they will be your first point of contact. They will help you to solve all production related problems and give advice on how to further enhance the processes. Once again, cooperation is the key – let's rock the precast world together!
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Biografia
Nato come Ouyang Benyi (), si iscrisse al Partito Comunista Cinese nel 1925 e fu molto attivo nella propaganda rivoluzionaria scrivendo numerosi drammi e sceneggiature in chiave politica, soprattutto durante il periodo della guerra sino-giapponese a partire dal 1933, quale membro della Shanghai Yihua Film Company. Ricoprì inoltre svariati incarichi politici nel partito e nelle associazioni di categoria legate all'ambiente della sinistra rivoluzionaria.

Con la nascita della Repubblica Popolare Cinese, fu segretario generale e vice-presidente della China Federation of Literary and Art Circles (), lavorando a stretto contatto con il capo di governo Zhou Enlai nell'ambito delle politiche culturali.

Tra i suoi lavori più significativi si ricordano le sceneggiature per i film Wanjia denghuo (), per la regia di Shen Fu (1948), e Un orfano chiamato San Mao (), per la regia di Zhao Ming e Yan Gong (1949).

Nel 1966 subì l'allontanamento forzato a causa della rivoluzione culturale, ritornando a scrivere solamente nel 1977, dopo la morte di Mao Zedong. Negli ultimi anni si dedicò alla scrittura di racconti e libri di memorie. Morì a Pechino nel 1993 all'età di novantuno anni.

Note

Collegamenti esterni


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27 Mar 2016 4:37 PM +00:00 UTC
New Game of Thrones Teaser is Loaded With Fresh Season 6 Footage
By Jake Vyper
HBO has released a new teaser for Game of Thrones, and it shows a lot of new footage and voiceover from Season 6. The new images include Drogon flying above the Dothraki clan that captured Daenerys (now we know why The Mother of Dragons was looking up in the first trailer); Wun Wun bursting through a door; a fierce look at The Night's King; "Are you afraid?" asks Tyrion Lannister (Peter Dinklage). "You should be. You're in the great game now. And the great game is terrifying." This is the same promo that contains the images we previously shared. Watch the teaser below:
Game of Thrones Season 6 will premiere on April 24.
You can check out more Season 6 images here.
Scream 6 Reveals New Image With Potential Spoiler
HBO Showrunner Praises The Last of Us Ahead Its Release: "Greatest Video Game Story Ever"


His House > Blog > Alcohol > Fell off the Wagon after Detox from Alcohol? Here's Why.
Fell off the Wagon after Detox from Alcohol? Here's Why.
You realized you were in trouble. Maybe you yourself didn't see it, but a loved one or friend did and gently pushed you towards getting the help you needed. You decided to detox from alcohol at a rehabilitation facility. Although it was a long and arduous road, you found yourself feeling less controlled by alcohol. You may have even felt like your old self again.
However, it didn't last. As weeks passed since you finished your detox program, you found yourself slipping. Before you knew it, you did what you thought you never would: you drank alcohol again.
You feel so many negative emotions: shame, humiliation, anger. However, on the road to recovery, relapses happen. By recognizing what triggered the relapse, you can make better choices in the future. Here are five such triggers.
Stress — Everyone deals with stress differently. Some like to exercise, some like to veg out with a book or TV marathon. Others internalize their stress, letting it build and build until it comes out unhealthily. In the past, when you had a bad day at work or got in a fight with a loved one, you probably turned to alcohol. Unless you learned healthy means of combatting stress, when you feel the pressure, you're going to want to start drinking again.
Hanging with bad characters — You may have met some unsavory people while drinking heavily. You may have even drank with these people, who also may have also had issues with alcohol. Now that you're abstaining from alcohol, you can't associate with these people anymore. However, you're nostalgic for those times of companionship, so if one if your old friends calls, you can't help but go out.
Spending time in bars, etc. — That probably means going right back to your old haunts, which are likely bars, liquor stores, and other similar establishments. However, research has shown that if you spend time around these places, you'll remember how you used to drink there and then want to drink again.
Being around others who are drinking — It's especially difficult to put a recovering alcoholic in a bar when others are drinking all around them and not expect them to have a drink themselves. Eventually, with time, you'll get to the point where you feel like you can go to a bar and abstain from having any alcohol. However, you may not be ready right after rehab, which can lead to a relapse.
Thinking too much about the past — It's easy to put on rose-colored glasses in regards to the past. You may filter out your bad memories so you focus more on the good times of your alcoholism period. Instead of thinking about debilitating headaches and crippling hangovers, you may instead remember the late nights, the laughter with your buddies, and hanging around until last call at your favorite bar. Those thoughts may make you want to drink again.
It's okay if you fell off the wagon. It happens to a lot of people on the road to recovery. What matters now is getting back on. Now that you know what may have triggered you to drink again, it's time to try alcohol detox once more. At His Houses, we prefer a more natural alcohol detox program. We understand that withdrawing from alcohol can be as taxing on the body as withdrawing from many drugs. We also know all the physical side effects you may go through and can prepare for these accordingly.
To learn more about our alcohol detoxing programs and how to enroll, contact His Houses today.


Major Mahama, an officer of the 5th Infantry Battalion of the Ghana Armed Forces (GAF), was lynched by a mob at Denkyira Obuasi on May 29, 2017, while on detachment duties.
He was in the area as part of an operation to clamp down on illegal mining known as 'galamsey'.
Major Mahama was murdered with the rank of a Captain and was posthumously promoted to the rank of Major. He died at the age of 32.
Some of the suspected murderers are facing trial in the courts. The town has been renamed New Obuasi to give it a new brand.
Subsequent to the sad death, President Nana Addo Dankwa Akufo-Addo, pledged to establish a Memorial Trust Fund with a seed money of GH¢500,000 in honour of the deceased officer.
"…it has become necessary to draft this bill considering the circumstances under which the officer died while on a national duty," the Memoradum said.
The memorandum accompanying the Bill said the fund would cater adequately for the widow until she remarried and also cater adequately for the children.
Therefore, it said, the bill would ensure that all money intended for the welfare and upkeep generally, and particularly the education of the children were properly administered by a Board of Trustees who had a fiduciary relationship with the beneficiaries of the fund and the country.
The fund would have trustees to be headed by the Minister of Defence and four other members, including the Chairman and the Ranking Member of the Defence and Interior Committee of Parliament, the Ranking Member on the Defence and Interior Committee of Parliament, a former Government Statistician, Madam Grace Bediako and a representative from his family.
Speaking with journalists after the passage of the Bill, the Minster of Defence, Mr Dominic Nitiwul, said the establishment of the fund sent a signal that if people sacrificed for the country, their contributions would be acknowledged by the sate.
He said with the passage of the Bill into an Act, the President would, within a short while, accent to the Act to become a law.
Mr Nitiwul said the government would redeem its pledge to the fund, and indicated that the trustees would go out to source private money into the fund.
He denied the suggestion that the establishment of the fund was discriminatory, and indicated that the military had provisions for supporting families of soldiers who got killed in the line of duty.


Accommodations for night shelterless destitutes were inaugurated in Bommanahalli by M. Krishnappa, Vidhana Sabha leader.
As per the directions of Supreme Court and Karnataka government, BBMP came forward and along with the help of some NGOs, created the first of its kind of night accommodations for the Homeless in the two Samudaya Bhavans of Kotanuru and Vasantapura areas of Bommanahalli. Around 108 homeless families and individuals can be accommodated and would also be provided dinner and blankets for the night.
During this program, youth and students from backward communities (SC/ST, Minorities) were distributed vehicles and college fee money was given for higher education.
BBMP Press Release dtd 21-10-2011.
The renewal of Life Certificates for the year 2011-12 of Bruhat Bangalore Mahanagara Palike Pensioners including Family Pensioners and Minor Pensioners will be renewed from 01.11.2011 to 31.01.2012 at the concerned banks where the pensioners are drawing their pension.
BBMP Press Release dtd 24-10-2011.


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The Broadcast / A Journey in Surf Therapy
A Journey in Surf Therapy
We first met Jamie Marshall (Stoked Research) when we opened the doors to our Edinburgh store in Scotland. A local surfer who headed up the most northerly chapter of the UK's surf therapy charity, The Wave Project, Jamie has spent his whole adult working life in such an environment. And now, the surfer, researcher and practitioner finds himself in the middle of the world first Surf Therapy Phd at Edinburgh Napier University.
Providing the science and validation necessary to further the good work of South Africa's, Waves For Change NPO charity, Jamie's work crosses borders and offers first-hand insight into the cultural differences and shared practice solutions that can harness the power of people and oceans.
Jamie joined us on the road with W4C to shed light on his studies and reinforce how 'data is king'!
Written by Jamie Marshall
I met Tim and Apish back in 2009 when Waves for Change was still in its infancy on a surf trip round South Africa and it was evident from even that first experience, they were on to something special. I had no idea I would end up working so closely with them in the future but certainly the power of what they were doing had a lasting impact on me and the surf therapy path I eventually took.
If we fast forward from 2009, I have since spent the entirety of my professional life involved in what we call surf therapy. I founded and ran the Wave Project in Scotland for 5 years, supporting young people facing a range of mental health challenges. I undertook a part time MSc in my last few years at the Wave Project due to curiosity as to what was having such a positive effect on beaches in Scotland, even when the snow was falling! I didn't find the answers I was looking for in said studies which led to my current role as a full-time researcher undertaking the world's first PhD exclusively focused on surf therapy. It was this role that led me back to Waves for Change and the privilege of working alongside Tim and Apish.
I think in the UK we really take the relationship we can have with the ocean for granted and it is easy to be unaware of the barriers other people may face in developing such a relationship. Easkey Britton's recent systematic review has highlighted the evidence-based positive impact that a relationship to 'blue space' can have for our health and wellbeing. The barriers that people can face in accessing these positive impacts are varied.
I recently spent 3 months conducting research alongside the Waves for Change team in Liberia and one particular story highlighted the barriers that the amazing team in Harper had to overcome to establish their surf therapy program. One of the first sessions the team were running they had 4 or 5 mentors supporting 20 children in a line, holding hands and wading into the water. The activity is called Immersion and aims to teach participants about peer support and empathy in listening to each other when they start to feel uncomfortable in the water.
As the team take the first few steps into the water a local policeman comes running down the beach shouting "STOP!!! What are you doing?" The team answer and describe the session and the ideas behind surf therapy. The policeman seems unconvinced and asks the team to show him. So, the Waves for Change team carry on with the session and by the end the policeman has lost his shirt and is joining in the fun and the learning.
The reason the policeman stopped the session is that the logical reason he could think of for taking these young people into the water is they were being sacrificed as part of a traditional practice to influence an election. That was the reality of a relationship with the sea in Harper before Waves for Change and highlights the kind of barriers people face globally. The relationship in Harper has changed dramatically since Waves for Change have arrived, suspicion similar to the above anecdote is much less prevalent, the beach itself has turned from a dumping ground and public toilet to a thriving community space and surfing itself has become associated with positive mental health and community values.
My favourite quote from my recent research is below where a young Harper surfer ties his identity as a surfer not to his skill on a board, but to his values and the way he acts within the community:
"If I am a surfer, I would learn how to shelter each other, I would learn how to communicate with each other and how to protect each other. Once I am on top of the water, I will be able to surf better because everything is fine to me."
Waves for Change Participant, Harper, Liberia
Through working alongside Waves for Change we are also really starting to understand how surf therapy is having such a positive effect on participants. Waves for Change on the surface are providing some relatively simple things but in scientific terms are engaging with both established and novel psychological theory. The safe space Tim and Apish speak of aligns with recognised positive psychology and access to such a space is something many of us take for granted. Somewhere where we feel physically and emotionally safe and where we can openly share our feelings may come from a loving family or partner, stable friendships or in the UK our universal access to social and healthcare.
In contrast, in Cape Town there is one social worker for every 30,000 young people. Recent research has highlighted how post conflict zones such as Liberia are characterised by the breakdown of social support at every level, from national infrastructure to basic family units. By providing these safe spaces Waves for Change is providing access to something incredible fundamental to mental health and day to day positive functioning in locations where access is extremely limited. This is married to their effective coping skills delivery which fits within and supports established sport/life skills frameworks. Finally, the surfing itself seems to be inducing intense psychological states called 'flow.' Mostly studied in performance psychology they are also known as being in the zone with characteristics including senses of ecstasy, intense focus and temporal distortion (characteristics that any surfer might recognise).
What seems novel is the complete sense of respite that young people are getting through these states from negative emotions, freedom from the stressors they are facing in day to day life. While temporary this escape works like a powerful medication providing relief and hope in the knowledge that such stressors can be overcome. This science is very new, exciting and need ongoing work, but is the reason around the world practitioners are now speaking of evidence-based surf therapy with increasing confidence.
The Wave Alliance is undoubtably one of the best projects I have ever had the privilege to work alongside. The willingness that Waves for Change have shown to open source the work they are doing, including the mistakes, is sector disruption at its best and is empowering local change-makers to deliver surf therapy around the world in some of the most challenging environments that exist. A powerful part of this is sharing the most up to date research and using it to best support new organisations, but this is not the end of that data exchange. We also train all Wave Alliance partners to evaluate their own projects to support sustainability and demonstrate the impact they are having within their local communities. These evaluations also contribute to the global surf therapy paradigm. As the global impact of surf therapy continues to grow and importantly continues to be measured, we are able to start to look at data sets which can influence policy makers and global health organisations.
Keep any eye on the Broadcast as we hope to feature some of these evaluations on here in the near future. So the cycle of open sourcing and collaboration goes on, and we make sure we can reach as many people who need support as possible, especially in the challenging locations that the Wave Alliance supports. The combination of collaboration, open sharing and data seem to be providing an effective and evidence-based pathway from Tim and Apish's surf club in 2009 to a truly global impact.
Support Physical Distancing Without Emotional Isolation
For many of us, our home is our safe space. For many vulnerable children, safety is often found in spaces outside of their homes.
During a time in which children do not have access to schools or surf therapy and are requested to self-isolate, Waves for Change recognises its duty of care to continue reaching those children with child-friendly mental health services.
If you are in a position to do so, please join us in delivering remote child-friendly mental health services during a time of increased risk.


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By Tim Hunt
E-mail Tim Hunt
About this blog: I am a native of Alameda County, grew up in Pleasanton and currently live in the house I grew up in that is more than 100 years old. I spent 39 years in the daily newspaper business and wrote a column for more than 25 years in add... (More)
About this blog: I am a native of Alameda County, grew up in Pleasanton and currently live in the house I grew up in that is more than 100 years old. I spent 39 years in the daily newspaper business and wrote a column for more than 25 years in addition to writing editorials for more than 15 years. I have served as a director of many non-profits in the Valley and the broader Bay Area and currently serve as chair of Teen Esteem and on the advisory board of Shepherd?s Gate. I also served as founding chair of Heart for Africa and have travelled to Africa seven times to serve on mission trips. My wife, Betty Gail, has taught at Amador Valley High (from where we both graduated) since 1981. She and I both graduated from the University of California, Berkeley, as did both of my parents and my three siblings. Given that Cal tradition, our daughter went south to the University of Southern California and graduated with a degree in international relations. Since graduation, she has taken three mission trips and will be serving in the Philippines for nine months starting in September. (Hide)
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Miracle Friends partners with Goodness Village
For nearly a year, I have been volunteering with Miracle Friends, a pandemic-driven initiative of San Francisco-based Miracle Messages.
The organization is led by Kevin Adler, who grew up in Livermore. Miracle Friends paired a person living in a hotel or similar housing with a volunteer who calls or texts them weekly and is simply a friend. The program was developed to help residents avoid being isolated during the lockdowns.
Now, as San Francisco is reopening and my friend can get out and see people again, we still are routinely in touch. To bring this full circle, earlier this year I wrote about Goodness Village, a 28-tiny home community on Crosswinds Church property in Livermore. It's a community designed for permanent housing for local residents who have been experiencing homelessness. Kevin is seeking to grow the Miracle Friends volunteers so each resident is paired with a friend when they move in.
If you are interested, please see MiracleFriends.org . You can sign up online to volunteer.
The Innovation Tri-Valley Leadership Group and the Bay Area Council Economic Institute will roll out their 2040 Vision Plan on June 10 in a virtual event. The organizations have been working together for more than a year to develop the plan that they hope will guide decisions by local leaders. It is anchored in the Tri-Valley's strengths as a unique sub-region.
It builds on the key assets of quality k-14 education, the best educated workforce in the Bay Area (the most advanced degrees of any area), as well as fast-growing industry clusters in information technology, life sciences and advanced manufacturing to say nothing of two national labs eager to partner with the private sector to commercialize their inventions.
Having been part of the leadership team that the Tri-Valley Business Council pulled together to develop the Golden Valley plan for 2010, I will be quite interested to see what goals and initiatives are recommended. When I think of the Tri-Valley we envisioned and see what it's become I cannot help but be impressed. It's also notable for some of the mistakes that have been made—particularly the failure to have an adequate housing supply—particularly affordable housing as well as the broader failure to improve our water supply options (locally and statewide).
I suspect the plan will celebrate Valley Link, which will connect the terminal Dublin/Pleasanton BART station with San Joaquin County using the abandoned railroad right-of-way that Alameda County owns to traverse the Altamont Pass. It will connect with the ACE trains at a Greenville Road station in Livermore. It is planned for 42 miles and seven stations.
The good news there is that board overseeing that project approved the environmental impact report last week. The plan is far less expensive than extending BART to Greenville Road and is an agency controlled by local officials in both counties instead of the BART board with the valley having just one representative. The authority was established in 2018, completed the feasibility study in 2019 and now has approved the environmental impact report in 2021. It's moving rapidly.
For the 2040 Vision rollout, there is a fee to attend the virtual session. Tickets can be reserved at InnovationTriValley.org.
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