text:
import os

import numpy as np

from qtpy import QtWidgets, QtGui
from qtpy.QtCore import Qt

from glue.external.echo.qt import autoconnect_callbacks_to_qt, connect_value
from glue.utils.qt import load_ui, fix_tab_widget_fontsize

class ScatterLayerStyleEditor(QtWidgets.QWidget):

    def __init__(self, layer, parent=None):

        super(ScatterLayerStyleEditor, self).__init__(parent=parent)

        self.ui = load_ui('layer_style_editor.ui', self,
                          directory=os.path.dirname(__file__))

        connect_kwargs = {'alpha': dict(value_range=(0, 1)),
                          'size_scaling': dict(value_range=(0.1, 10), log=True),
                          'density_contrast': dict(value_range=(0, 1)),
                          'vector_scaling': dict(value_range=(0.1, 10), log=True)}
        autoconnect_callbacks_to_qt(layer.state, self.ui, connect_kwargs)

        connect_value(layer.state.viewer_state, 'dpi', self.ui.value_dpi,
                      value_range=(12, 144), log=True)

        fix_tab_widget_fontsize(self.ui.tab_widget)

        self.layer_state = layer.state

        self.layer_state.add_callback('markers_visible', self._update_markers_visible)
        self.layer_state.add_callback('line_visible', self._update_line_visible)
        self.layer_state.add_callback('xerr_visible', self._update_xerr_visible)
        self.layer_state.add_callback('yerr_visible', self._update_yerr_visible)
        self.layer_state.add_callback('vector_visible', self._update_vectors_visible)

        self.layer_state.add_callback('cmap_mode', self._update_cmap_mode)
        self.layer_state.add_callback('size_mode', self._update_size_mode)
        self.layer_state.add_callback('vector_mode', self._update_vector_mode)

        self.layer_state.add_callback('density_map', self._update_size_mode)
        self.layer_state.add_callback('density_map', self._update_warnings)

        self.layer_state.add_callback('layer', self._update_warnings)

        self._update_markers_visible()
        self._update_line_visible()
        self._update_xerr_visible()
        self._update_yerr_visible()
        self._update_vectors_visible()

        self._update_size_mode()
        self._update_vector_mode()
        self._update_cmap_mode()

        self._update_warnings()

    def _update_warnings(self, *args):

        if self.layer_state.layer is None:
            n_points = 0
        else:
            n_points = np.product(self.layer_state.layer.shape)

        warning = " (may be slow given data size)"

        for combo, threshold in [(self.ui.combosel_size_mode, 10000),
                                 (self.ui.combosel_cmap_mode, 50000)]:

            if n_points > threshold and not self.layer_state.density_map:
                for item in range(combo.count()):
                    text = combo.itemText(item)
                    if text != 'Fixed':
                        combo.setItemText(item, text + warning)
                        combo.setItemData(item, QtGui.QBrush(Qt.red), Qt.TextColorRole)
            else:
                for item in range(combo.count()):
                    text = combo.itemText(item)
                    if text != 'Fixed':
                        if warning in text:
                            combo.setItemText(item, text.replace(warning, ''))
                            combo.setItemData(item, QtGui.QBrush(), Qt.TextColorRole)

        if n_points > 10000:
            self.ui.label_warning_errorbar.show()
        else:
            self.ui.label_warning_errorbar.hide()

        if n_points > 10000:
            self.ui.label_warning_vector.show()
        else:
            self.ui.label_warning_vector.hide()

    def _update_size_mode(self, size_mode=None):

        visible = not self.layer_state.density_map and not self.layer_state.size_mode == 'Fixed'
        self.ui.label_size_attribute.setVisible(visible)
        self.ui.combosel_size_att.setVisible(visible)
        self.ui.label_size_limits.setVisible(visible)
        self.ui.valuetext_size_vmin.setVisible(visible)
        self.ui.valuetext_size_vmax.setVisible(visible)
        self.ui.button_flip_size.setVisible(visible)

        visible = not self.layer_state.density_map and self.layer_state.size_mode == 'Fixed'
        self.ui.value_size.setVisible(visible)

        density = self.layer_state.density_map
        self.ui.value_dpi.setVisible(density)
        self.ui.label_dpi.setVisible(density)
        self.ui.label_stretch.setVisible(density)
        self.ui.combosel_stretch.setVisible(density)
        self.ui.value_density_contrast.setVisible(density)
        self.ui.label_contrast.setVisible(density)
        self.ui.combosel_size_mode.setVisible(not density)
        self.ui.value_size_scaling.setVisible(not density)
        self.ui.label_size_mode.setVisible(not density)
        self.ui.label_size_scaling.setVisible(not density)

    def _update_markers_visible(self, *args):
        self.ui.combosel_size_mode.setEnabled(self.layer_state.markers_visible)
        self.ui.value_size.setEnabled(self.layer_state.markers_visible)
        self.ui.combosel_size_att.setEnabled(self.layer_state.markers_visible)
        self.ui.valuetext_size_vmin.setEnabled(self.layer_state.markers_visible)
        self.ui.valuetext_size_vmax.setEnabled(self.layer_state.markers_visible)
        self.ui.button_flip_size.setEnabled(self.layer_state.markers_visible)
        self.ui.value_size_scaling.setEnabled(self.layer_state.markers_visible)
        self.ui.value_dpi.setEnabled(self.layer_state.markers_visible)
        self.ui.combosel_stretch.setEnabled(self.layer_state.markers_visible)
        self.ui.label_size_scaling.setEnabled(self.layer_state.markers_visible)
        self.ui.combosel_points_mode.setEnabled(self.layer_state.markers_visible)
        self.ui.value_density_contrast.setEnabled(self.layer_state.markers_visible)

    def _update_line_visible(self, *args):
        self.ui.value_linewidth.setEnabled(self.layer_state.line_visible)
        self.ui.combosel_linestyle.setEnabled(self.layer_state.line_visible)

    def _update_xerr_visible(self, *args):
        self.ui.combosel_xerr_att.setEnabled(self.layer_state.xerr_visible)

    def _update_yerr_visible(self, *args):
        self.ui.combosel_yerr_att.setEnabled(self.layer_state.yerr_visible)

    def _update_vectors_visible(self, *args):
        self.ui.combosel_vector_mode.setEnabled(self.layer_state.vector_visible)
        self.ui.combosel_vx_att.setEnabled(self.layer_state.vector_visible)
        self.ui.combosel_vy_att.setEnabled(self.layer_state.vector_visible)
        self.ui.value_vector_scaling.setEnabled(self.layer_state.vector_visible)
        self.ui.combosel_vector_origin.setEnabled(self.layer_state.vector_visible)
        self.ui.bool_vector_arrowhead.setEnabled(self.layer_state.vector_visible)

    def _update_vector_mode(self, vector_mode=None):
        if self.layer_state.vector_mode == 'Cartesian':
            self.ui.label_vector_x.setText('vx')
            self.ui.label_vector_y.setText('vy')
        elif self.layer_state.vector_mode == 'Polar':
            self.ui.label_vector_x.setText('angle (deg)')
            self.ui.label_vector_y.setText('length')

    def _update_cmap_mode(self, cmap_mode=None):

        if self.layer_state.cmap_mode == 'Fixed':
            self.ui.label_cmap_attribute.hide()
            self.ui.combosel_cmap_att.hide()
            self.ui.label_cmap_limits.hide()
            self.ui.valuetext_cmap_vmin.hide()
            self.ui.valuetext_cmap_vmax.hide()
            self.ui.button_flip_cmap.hide()
            self.ui.combodata_cmap.hide()
            self.ui.label_colormap.hide()
            self.ui.color_color.show()
        else:
            self.ui.label_cmap_attribute.show()
            self.ui.combosel_cmap_att.show()
            self.ui.label_cmap_limits.show()
            self.ui.valuetext_cmap_vmin.show()
            self.ui.valuetext_cmap_vmax.show()
            self.ui.button_flip_cmap.show()
            self.ui.combodata_cmap.show()
            self.ui.label_colormap.show()
            self.ui.color_color.hide()


text:
Lockheed Martin Team Launches U.S. Navy Littoral Combat Ship Future USS Cooperstown
NASA, SpaceX Complete In-Flight Abort Demonstration of Crew Dragon Spacecraft
U.S. Navy to Name Fourth Gerald R. Ford-Class Aircraft Carrier, CVN-81, As USS Doris Miller
India Test-Fires K-4 Submarine-Launched Ballistic Missile: Reports
U.S. Marine Corps Testing Capabilities of New Amphibious Combat Vehicle
DefPost
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Russian Navy warships conduct firing exercises at Caspian sea
July 13, 2017 Arun Mathew	0 Comments Buyan-M-class corvette, Caspian Sea, Military exercise, Russia, Russian Navy
Russian Navy warships had conducted firing exercises in the Caspian Sea, TASS news agency reported citing Russia's Southern Military District's press service.
Three fast attack craft deployed in the Navy's Caspian Sea Fleet, the Grad Sviyazhsk, the Uglich and the Veliky Ustyug ( all are Project 21631 Buyan-M class corvettes) have completed training exercises to neutralize sea and air targets with missiles and artillery in naval drills, said the announcement.
"The crews have trained to carry out missile strikes against "enemy" ships from the Kalibr missile system. The missile strikes were carried out electronically, that is without actual missile takeoffs," the report says.
The sea units also hammered out anti-ship defense, during which seamen shelled from artillery mounts on sea and invisible shore targets. Besides, the ship strike group, together with the servicemen from the anti-submarine commando worked out anti-sabotage ship defense while anchoring at unsafe roadstead.
The crews fired from the ships on a floating target and trained to throw grenades from hand-held grenade launchers, whereas the anti-submarine commando studied the underwater bodies of ships with the use of the Obzor and Osmotr undersea surveillance tools.
About Buyan-M class corvette:
Buyan-M class (Project 21631) corvettes are modified missile version of Buyan-class (Project 21630) corvettes. They are designed by by Zelenodolsk Design. This is one of the newest corvette designs of the Russian Navy.
The lead ship of the class, Grad Sviyazhsk, was laid down on 27 August 2010 and commissioned to the Caspian Sea Fleet in July 2014.
The Project 21631 ships are dedicated to the defense of Russia's economic zones and its main purpose is engagement of surface warships. The ship is armed with missile and artillery weapons, and equipped with electronic countermeasure equipment.
The Buyan-M class corvettes are said to be armed with nuclear-capable Kalibr cruise missiles (NATO code name Sizzler) with a claimed range of at least 1,500 km. The ships' small size and displacement enable them to operate within inland river systems, including traversing the Moscow Canal which allows them to deploy to various seas around western Russia.
This is a particular advantage for the Buyan-M series, because while the Intermediate-Range Nuclear Forces Treaty prohibits long-range cruise missiles from operating on land they can operate from ships, so a river-based corvette can deploy missiles without being subject to restrictions.
← Turkey's FNSS delivers Pars III 8×8 IFVs to Oman
France and Germany to develop new European fighter jet →
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redpajama_set_name: RedPajamaCommonCrawl


Starting on a bespoke coaching journey with one of our qualified, experienced coaches will help you gain a deeper understanding of your skills, priorities, achievements, values and motivators. Together, we draw on these personal insights to address career related issues, identify resources and gain clarity around possible future career paths.
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I started career counselling with [reesmarx] when I was considering my return to work after an 8 year career break. My coach fully took into consideration my objectives for the sessions and guided me to make informed decisions about my career direction. They supported me through self reflection exercises which helped me to understand the type of environment where I work at my best. The sessions increased my confidence and encouraged me to look outside the limited career prospects I had initially considered. I found the sessions incredibly useful and I would thoroughly recommend anyone looking for career counselling to contact reesmarx.
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Get updates and insights on global business expansion news.


text:
Students get class-wide As by boycotting test, solving Prisoner's Dilemma
Cory Doctorow 7:11 am Tue Feb 19, 2013
Johns Hopkins computer science prof Peter Fröhlich grades his students' tests on a curve — the top-scoring student gets an A, and the rest of the students are graded relative to that brainiac. But last term, his students came up with an ingenious, cooperative solution to this system: they all boycotted the test, meaning that they all scored zero, and that zero was the top score, and so they all got As. The prof was surprisingly cool about it:
Fröhlich took a surprisingly philosophical view of his students' machinations, crediting their collaborative spirit. "The students learned that by coming together, they can achieve something that individually they could never have done," he said via e-mail. "At a school that is known (perhaps unjustly) for competitiveness I didn't expect that reaching such an agreement was possible."
The story of the boycott is a sterling example of how computer networks solve collective action problems — the students solved a prisoner's dilemma in a mutually optimal way without having to iterate, which is impressive:
"The students refused to come into the room and take the exam, so we sat there for a while: me on the inside, they on the outside," Fröhlich said. "After about 20-30 minutes I would give up…. Then we all left." The students waited outside the rooms to make sure that others honored the boycott, and were poised to go in if someone had. No one did, though.
Andrew Kelly, a student in Fröhlich's Introduction to Programming class who was one of the boycott's key organizers, explained the logic of the students' decision via e-mail: "Handing out 0's to your classmates will not improve your performance in this course," Kelly said.
"So if you can walk in with 100 percent confidence of answering every question correctly, then your payoff would be the same for either decision. Just consider the impact on your other exam performances if you studied for [the final] at the level required to guarantee yourself 100. Otherwise, it's best to work with your colleagues to ensure a 100 for all and a very pleasant start to the holidays."
Fröhlich's changed the grading system — but he's also now offering the students a final project instead of a final exam, should they choose.
Dangerous Curves
[Zack Budryk/Inside Higher Ed]
Thousands bought bogus diplomas and fake transcripts from Florida nursing school owners and employees
The US Department of Justice busted 25 people in South Florida who were selling fake diplomas and bogus college transcripts from nursing schools in the state. Apparently the crooks had… READ THE REST
Florida Governor DeSantis blocks African American Studies AP class in high schools
Republican Governor Ron DeSantis of Florida put the kibosh on an Advanced Placement high school class on African American history and culture. The College Board introduced the course last year… READ THE REST
Book series inspired by Howard Zinn's "People's History"
In 1980, the historian Howard Zinn published A People's History of the United States, a narrative that centers on everyday people's lives. It is a history from the bottom up,… READ THE REST


text:
Q: Prefill text fields with text in users language We are currently using text fields with default text to create a form for users when they create a new record, e.g.
custom_field_1 is not editable by any profiles and has default text that appears on creation saying "please rate your training:" and below is a picklist field.
Now we want to translate the text in custom_field_1 so that it matches that language of the user.
We can't continue to use the default text option because it exceeds the char limit. We can't use translation workbench because it isn't the field name itself but the text that would usually be entered by the user. If this requires a trigger, could you point me towards similar ones?

redpajama_set_name: RedPajamaStackExchange


text:
Kim Do Wan Enjoyed Reading Comments with Kang Han Na
by EK Cho July 27, 2021, 4:49 PM
Credit: Awesome.ent
In an interview with E-daily, Kim Do Wan shared his thoughts on finishing My Roommate is a Gumiho. Kim played the role of Do Jae Jin and received much love for his romance with Yang Hye Sun (Kang Han Na) and his chemistry with Lee Dam (Hyeri).
Kim Do Wan shared his feelings after finishing the drama, "It wasn't an easy decision to star in My Roommate is a Gumiho, but seeing how much the viewers like it, I thought to myself, 'I did it!' Thanks to that, I was able to happily say goodbye to the role."
Regarding Do Jae Jin's character, he said, "What's most charming about him is that he is honest and straightforward. I think the viewers also appreciated such aspect of him."
"I wanted to render his pure soul as much as I can. So I spent a lot of time discussing the details with the director on the set," he said while explaining how much he wanted to focus on portraying the pure heart of his character.
When he was asked what he learned from shooting the project, he answered, "I learned a lot from Hyeri. She tirelessly took such great care of the people on the set.'" He went on, "She is very caring and warm, and we talked a lot outside work. We were like Jae Jin and Dam even when the camera wasn't around. It felt natural having her around."
Credit: tvN
When the interviewer asked if Jae Jin and Han Na's pictorial would be sweeter than Hyeri and Jang Ki Yong's, he answered that he's confident about it. He then added, "Ki Yong and Hyeri's couple pictorials came out very good. I want to do a photoshoot like that if I can work with Han Na in the future".
After tvN Startup, Kim co-starred with Kang Han Na for the second time. They played rivals in the previous work, but this time, they drew a fresh romance. Regarding their chemistry, he said, "It was so nice to work with her again, and I don't feel pressured anymore. She's a good actress and has a nice personality, so it's always nice to work with her."
Regarding Yang Hye Sun, played by Kang Han Na, Kim Do Wan said, "She looked adorable. From Jae Jin's perspective, Hyesun was always lovely. She did a fantastic job of delivering the lines and playing such an adorable character."
He shared that he and Han Na liked reading the comments under the articles about their drama. He explained, "I asked myself, do I deserve all this love? We had a lot of fun reading the comments."
Kim Do Wan is currently in the midst of filming I Haven't Done My Best Yet.
Sources (1, 2, 3)
Translator Cho EK: I'm a big fan of Korean dramas and movies.
DramainterviewKang Han NaKim Do WanMy Roommate is a Gumihoromance
Kang Ha Neul Talks About His New Looks in 'The Pirates: The Last Royal Treasure,' How He Relieves Stress, and More
Lee Da Hae Shares Very Special Stories About Her Relationship With Se7en
by Esther Lee January 18, 2022, 1:31 PM
by krishkim January 17, 2022, 12:58 PM
[Weekly TV Top 10] 'Our Beloved Summer' Tops the Chart for the First Time
by krishkim January 15, 2022, 7:00 AM
Park Seo Joon Gives His Fans an Update on 'The Marvels' and His Life in London
in PICK
[PICK] Highly Anticipated Korean Movies Set to Premiere in 2022


text:
KISSopolis
Tweets by KISSopolis
Sunday, November 17, 2013 - 11:49 AM
Paul Stanley - The Starchild Santa
www.musiciansfriend.com
During his tenure in KISS, Paul Stanley has played more guitars than any of us can imagine, and gleaned from each what makes an instrument truly exceptional. Combine that with his keen sense of visual design and you get the Paul Stanley Signature Series from Washburn. We sat down with this knight in Santa's service to discuss these stellar instruments, and how gear has evolved over 40 years of being in the hottest band in the world.
Musician's Friend: Tell us about your longstanding relationship with Washburn, and how the line of Paul Stanley Signature guitars came to be.
Paul Stanley: The idea of being able to create my own guitar has always been a dream. I think it's everybody's dream, especially when you're growing up and you draw the ultimate guitar. Unfortunately, when you're a kid and you draw a guitar, it looks like a ray gun. Given the opportunity to really design something, I found myself leaning on the past. The past is what got us here. Tradition is at the core of everything I try to design. I went through a couple of different companies, but ultimately I found my way to Washburn. The thing I love there is that they're really great craftsmen, but you don't have the red tape of a company where someone has to call someone else who has to clear what you did, and five months later you get a prototype that's completely wrong. I went through that. When I started working with Washburn, I sketched something out and within six weeks I had a finished guitar to look at. We've had a great relationship.
I'm really proud of the guitars we do because they hearken back to the golden age. There's a reason why people have always wanted vintage guitars. They were well crafted, the combination of woods and pickups was right, and that's at the core of what I try to do. I'm not trying to reinvent the wheel, just put my own spin on it.
MF: You're a visual artist as well as a musician. How does your sense of visual style find its way into your guitar designs?
PS: The idea with this guitar was to create something classic, something that echoes things that were here before, but improves on them. Whatever guitars this may remind you of, quite honestly, this kills 'em. It's better balanced, the tone is tremendous, the neck, the radius, the action, the playability, everything about it. It's great because you can have it around your neck and let go, and it stays horizontal, whereas other guitars, because of heavy tuning pegs and other things, just dip and hit the ground. The abalone and mother-of-pearl inlays are something that I've done over the years. Classic big frets. This is the guitar I always wanted, that never was.
MF: Some of the models in the series are equipped with mini humbuckers. What is it about the tone of the minis that earned them a spot on these guitars?
PS: Mini humbuckers are something tried-and-true, and I try to keep that in the equation when I'm designing a guitar. Something that's been around for a while has been around because it works. The great thing about my relationship with Washburn is that they pretty much give me the freedom to run amok, and I hold their hand to the fire to make sure that we stay true to tradition. I'm a big believer that the greatest guitars were made already, and all we can do now is emulate them. There's no secret to making a great guitar; anyone can do it. All you need is great components and great woods, and the rest is just about craftsmanship.
MF: Does that philosophy also extend to other pieces of gear, like amps and effects?
PS: When we were recording Sonic Boom and when we did Monster, our last album, the idea was to remain true to the roots of all the stuff we loved most. A lot of times in the studio, you can go for perfection, but what you give up is passion. You can get something perfect, but what you get is sterile. All the music that we grew up loving, whether it was Motown or James Brown or Zeppelin or the Beatles or Elvis Presley, was made by live people and there were all kinds of imperfections. That's part of what gave it that excitement, that feeling that every once in a while it's going to go off the rails. Listen to that first Zeppelin album—what made it so great was that these guys were careening together. The beauty of a great band is that it moves and breathes as one beast. So we recorded analog, because all the greatest albums were recorded on tape. You can't change something that works that well and expect the same results. So it was recorded on tape and we used a lot of vintage gear: Fender Bassman amps, Marshall Plexis… anything we could get our hands on.
MF: What advancements in music gear technology have enhanced KISS performances most over the years?
PS: One of the strangest things to happen to us was that we were the first band to go wireless. When we first started using them, they were tremendous for us because we no longer had to dance around each other to untangle wires. But the other side of it was that people thought we weren't really playing. But that was a great step forward, to go wireless. PA systems obviously get better and better, which is a great thing. But in terms of gear, in all my years, I took a good guitar and plugged it into a great Marshall or some other kind of tube amp. Maybe there was some compression, or a power boost, but outside of that, it didn't take a pedalboard on the floor that looks like it makes cappuccino. I don't understand that kind of stuff because my heroes didn't use that kind of stuff. Most times, that stuff sounds pretty fake. What they're trying to emulate can be had just by plugging your guitar into a good amp and figuring out the settings. If technology becomes a barrier between the guitar and the amplifier, then what's the point?
MF: KISS has thrived for the past 40 years by rolling with radical shifts in the musical landscape. Do you have a favorite era of the band in particular?
PS: There is no denying that when you're first starting out, you have this incredible passion and hunger. You're aspiring to be recognized. Whether you know it or not, you're aspiring to make some money, whether it's just to pay the rent or buy a Rolls Royce—it's all the same thing. You want recognition and validation. So those days were very special for four guys who were told that something wasn't possible, and went against the grain and said, if you stand in front of us, we'll walk all over you. So those early years were magical. But I sure wouldn't want to go back there! It's like a picture of an old girlfriend you look at. If you were to get back with her for one day, you'd remember why you broke up in the first place.
MF: What are the fundamentals you've adhered to in order to succeed and have such a long career?
PS: The basic tenet for longevity is passion. You have to love what you're doing. If you're doing it for any other reason, you'll ultimately fail. You do something not because you want to, you do something because you have to, because there's an obsession within you. If someone comes to me and says, "I'm thinking about staying in music or…" I say, "Stop. Do the other thing." If you have to ask yourself if you should be doing this, the answer is no. You have to find something you totally believe in. That's what will get you through the tough times. Passion will not only help you succeed, it will get you through the failures.
Read the original story HERE.
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text:
Alexander Ferdinand Grychtolik (born 6 September 1980 in Berlin) is a German harpsichordist, improviser, musicologist and academic.

Grychtolik is married to the harpsichordist Aleksandra Magdalena Grychtolik, with whom he has appeared in concert.

Career

Grychtolik graduated from the Hochschule für Musik "Franz Liszt", Weimar, where he began research and work on his idea that it would be possible to digitally reconstruct selected works from Bach's Weimar period, creating a historical concert in a virtual church. Grychtolik received the school's Franz Liszt Prize in 2005. He studied the harpsichord with  and with Frédérick Haas at the Royal Conservatory of Brussels. He also studied architecture at Bauhaus-University Weimar, where he published an article about the concert halls of the GDR.

Grychtolik has played at several European early music festivals. He has lectured at various conservatories such as Frankfurt and taught Baroque improvisation at the Hochschule für Musik "Franz Liszt", Weimar, the first such teaching position in Germany.

He specializes in the field of early music, Baroque improvisation and composition. He has reconstructed various vocal works of Johann Sebastian Bach which have received much attention.

Bach reconstructions
He edited the St. Mark Passion (performed in 1744) as a stylistically consistent reconstruction, published by Edition Peters. This work was lost, the last known copy having burned in 1945. It was completely reconstructed by Grychtolik.

The reconstruction of the St. Mark Passion was first performed on 1 April 2007 as part of the festival Thüringer Bachwochen (Thuringia's Weeks of Bach) in Weimar's town church St. Peter und Paul, where several of Bach's children were baptized.  conducted; Grychtolik played the harpsichord. It was again performed in the St. Jakob's church in Köthen, where Bach once lived and worked, as part of its 23rd Bach Festival (Köthener Bachfesttage). The day before the concert, Grychtolik participated in a panel discussion and had to answer questions about his Bach "parody" from Bach experts who are critical of his efforts.

He edited the first full reconstruction of the funeral cantata Klagt, Kinder, klagt es aller Welt, BWV 244a, also called Köthener Trauermusik, which Bach used as the base for his St Matthew Passion. The Köthener Trauermusik was performed in March 2010 by the Lautten Compagney in the Sophienkirche Berlin and the Kammermusiksaal of the Deutschlandfunk in Cologne and later broadcast on radio. A performance on 11 May 2010 was aired by Austrian broadcaster ORF.

At the Köthener Bachfesttage 2012 Grychtolik conducted the Mitteldeutsche Hofmusik ensemble in performances of the reconstructions of birthday cantatas Steigt freudig in die Luft, BWV 36a and Der Himmel dacht auf Anhalts Ruhm und Glück, BWV 66a.

Bach's O angenehme Melodei, BWV 210a, only survives as a fragment. However, because Bach used it for his wedding cantata O holder Tag, erwünschte Zeit, BWV 210, it was possible to reconstruct the piece. Grychtolik's work makes it possible to perform the cantata in concert. Together with a reconstruction of Erwählte Pleißenstadt, BWV 216a it was recorded and released by Grychtolik in 2017.

References

External links

 Bach Bibliography – Publications by Alexander Grychtolik

1980 births
German harpsichordists
German classical organists
German male organists
Clavichordists
German performers of early music
Academic staff of the Hochschule für Musik Franz Liszt, Weimar
Musicians from Berlin
Living people
21st-century organists
21st-century German male musicians
Male classical organists

redpajama_set_name: RedPajamaWikipedia


Canoes have been used all over the world for approximately 10,000 years as man took to the water to discover new lands. The word canoe comes from the Carib kenu, meaning dugout. The oldest known canoe is the Pesse canoe, which was found in the Netherlands and constructed around 8200 and 7600 BC. There have been excavation digs in Denmark that have revealed canoes and paddles constructed circa 5300 and 3950 BC. People indigenous to the Americas built canoes from bark. These canoes were typically constructed from a light wooden frame that was skinned with birch bark. The canoes of these times only weighed approximately 23 kilograms despite being up to 14 feet in length, which meant they could carry plenty of cargo, even in the shallowest of waters, yet still be portable enough to carry. Although these canoes, and even modern day variants, are easily damaged by rocks, they are easy to repair thanks to their simplistic design.
European immigrants saw how fantastic canoes were for traversing spans of water and they quickly gained a key role in the exploration of North America. Records show that in 1615, Samuel de Champlain canoed as far as the Georgian Bay while Rene de Brehant de Galinee explored the Great Lakes 54 years later in 1669.Native Americans were huge fans of canoes and they built many different types depending on the job required. For example, they built canoes that were suitable for the coean, some for whale hunting and some for salmon fishing. Washington State's Quinault tribe even created a shovel-nose canoe with double bows that could slide over logjams, making t perfect for river travel.Canoes started to be made from wood and canvas instead of birch on wood by the 19th century. These canoes were made by first building a body f planks and ribs and fastening to it an external waterproofed canvas shell. Boat builders Chestnut Canoe Company, E.M. White Canoe, Old Town Canoe, and Peterborough Canoe Compan in New Brunswick were the pioneers of this new build.
John MacGregor was a travel writer and philanthropist and he is credited with creating the first sailing canoes. Canoes were traditionally used as a method of transport, but MacGregor had other ideas and he helped them gain popularity as recreational and sporting watercraft.MacGregor founded the Royal Canoe Club in London in 1866 and became its Captain and then he founded the American Canoe Association in 1880. MacGregor increased the canoe's popularity in his books, including his 1866 musings "A Thousand Miles in the Rob Roy Canoe" and and is seen as a pioneer in the canoeing world. The 1924 Paris Olympics saw canoeing take place for the first time. Sprint canoe was a demonstration sport and 12 years later, at the 1936 Berlin Olympics, sprint canoe become an Olympic discipline.
Ten years later, the International Canoe Federation was formed and to this date is the umbrella organization of all the world's national canoe organizations.


The NEKTON tonic products are characterized in particular by the fact that all 60 components are contained in fully digested form and therefore immediately after the administration of the organism available without any burden on the digestive organs. To help with illnesses, stress, moulting, rearing, getting used to new arrivals or moving. If necessary, NEKTON Tonic can also be administered as a complete diet for some time. Often, NEKTON-TONIC is the only way to provide ill and weakened animals with the necessary nutrients and thus to bring about a speedy recovery.


The integration will enable Bede Gaming's operator partners to access one of the leading end-to-end sportsbook services, further strengthening Bede's comprehensive digital platform proposition.
Ross Haselhurst, Commercial Director, Bede Gaming, added: "We are committed to providing a compelling product mix to our operators, and sports is no exception. Our ethos is to be supplier agnostic and being able to offer unlimited optionality is at the heart of what we do. I am therefore delighted to welcome SBTech onto our platform and what that gives us going forward. As Bede continue to grow and support some of the biggest and best in our industry it is important that we are able to meet the exacting needs of our operators and SBTech and Bede are perfectly aligned in that regard.
Here we go, another document / note / word on the most talked about piece of legislation for decades I hear you say.
Well, sort of yes and no.
Yes, this is another note on GDPR and yes there has been a lot of commentary and sales pitches about it, a lot of emails, details and prompts to keep in contact but, and crucially there is a but, it's actually a very good thing.
GDPR is a massive overhaul of European data protection legislation and will have an impact on everyone. Whether you're a business and having to have a greater understanding of exactly what happens with the data you're responsible for or a consumer who'll be given the greatest level of data transparency we've ever seen.
The General Data Protection Regulation (GDPR) is the biggest shake-up of both UK and EU data privacy legislation for 20 years. It creates a single set of rules designed to better protect personal information for people across the EU. All organisations must review how they manage all personal data, such as customer addresses and staff details, to ensure they meet GDPR requirements.
It comes into force tomorrow, 25th May 2018 and everyone must be ready.
GDPR is forcing businesses to be more open with their customers and is increasing business accountability. It puts shared responsibility on both the data controller and the data processor, meaning both are now liable.
There is a two tier fine system for a breach of GDPR regulations. The first is up to 2% of global annual turnover or €10 million. The second is up to 4% of global annual turnover or €20 million, whichever is higher.
If you're still not sure, have a look here at the hundreds of third parties Paypal share data (your data) with. GDPR is driving this transparency.
So what is Bede doing to ensure compliance?
Well, true to Bede form, we are going above and beyond the requirements to ensure the highest quality data protection and security.
In May last year we certified to ISO 27001:2013 and this has given us the framework to build on in support of our GDPR work. We have also have expanded our Information Security, Compliance and Legal functions to ensure we have dedicated people in roles which are entirely responsible for these particular areas.
We have been undertaking a number of key tasks, such as reviewing the key suppliers we use, e.g. Microsoft Azure, to make sure they are fit for the purposes of GDPR and to make sure the services we offer customers are of the highest quality. Microsoft Azure as as committed to security and privacy requirements as we are and it's this commitment to which we hold all our suppliers.
GDPR brings into force several new rights for data subjects, such as the Right to Be Forgotten. When it comes to clients' customer data it is our clients, as the controller to our processor, who will make the decision on acceptance of this type of request. However, once a decision has been made we have the processes in place to erase personal data. An operation that is immediate and irreversible.
In short, Bede puts privacy and security at the heart of our thinking in order to assure operators that our technology, and particularly our role as data processor are equipped with the most stringent measures to ensure compliance at the highest level. We are ready, are you?.
If you have any questions or would like further information on how we are Supporting Operator GDPR Compliance' we have created a document of the same name which has been shared with our existing customers, please get in touch using hello@bedegaming.com.
Bede Gaming, an award-winning supplier of software to the online gaming industry, continues to prove its commercial credentials by adding Rocket X to its growing list of prestigious clients.
Following the acquisition of intellectual and Property Software (IPS) Ltd in January in January 2018, LeoVegas Mobile Gaming Group (STO:LEO), chose to keep its sites, including top brands 21.co.uk, Slotboss, Bet UK and UK Casino on the Bede Platform. The multi-year agreement between the platform specialists and the leading Swedish gametech company, sees the operator join the likes of The Rank Group (LSE:RNK) and Sun International (JSE: SUI) on Bede's award winning gaming platform.
Rocket X, will take full advantage of Bede's suite of industry-leading marketing tools and premium content from first class gaming suppliers, such as Yggdrasil, NETENT, Evolution and IGT.
Ross Haselhurst, Commercial Director of Bede Gaming, said: "LeoVegas is an innovative, mobile-focused operator at the cutting edge of the online sector. They now have the market's most effective customer acquisition models through Rocket X and a culture that aligns well with Bede and we are thrilled to be supplying them with our unparalleled platform services.
Mark Good, CEO of Rocket X, said: "We are committed to building the industry's most intuitive and comprehensive online gaming experience, and have started 2018 strongly with a series of important agreements.
Platform specialists, Bede Gaming, offers completely flexible gaming solutions with robust security measures, and is fast establishing itself as the first-choice option for innovative operators globally.
Founded in 2012, Bede employs the latest in modern technology to provide operators with high performing software used to create world class gaming experiences.


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Godzilla vs. Kong Gives Us a First-Look Tease of the Brawl We've Been Waiting For
Screenshot: Legendary
Hot off the news that Godzilla vs. Kong would be arriving two months earlier than expected, we now have a first look at the monsters going mano-a-mano. "Change is nature," the teaser informs us, but we're certain to never change our stance on the fact that Godzilla and King Kong fighting each other is cool as hell.
It's brief, but we'll take it. Check it out!
Adam Wingard (You're Next, The Guest, Death Note) directs this installment of Legendary's MonsterVerse, which stars a bunch of humans we usually enjoy (Alexander Skarsgård, Millie Bobbie Brown, Rebecca Hall, Brian Tyree Henry, etc.)—but sorry guys, it's hard to care when there are MONSTERS FIGHTING ONSCREEN.
Godzilla vs. Kong hits theaters and HBO Max on March 26.
Godzilla vs. Kong Is Hitting Streaming a Bit Earlier Than Expected
These big friends are ready to fight. They can't wait.


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EXPANDED THE HUB AT GUYRA COMES TOGETHER WITH DELIVERY OF MODULES
Watching the new The Hub at Guyra take shape last Friday, Board Chair Dot Vickery OAM, Armidale Regional Council Interim Administrator Viv May PSM, Uniplan Managing Director Ben Scott, Northern Tablelands MP Adam Marshall, The Hub at Guyra Co-ordinator Chris Hietbrink and Uniplan Operations Manager Glen Snow.
THE $400,000 redevelopment and expansion of the 'The Hub at Guyra' reached a significant milestone last week with the three modules, which will make up the main building, craned onto the site of the former community outreach centre.
Northern Tablelands MP Adam Marshall and Armidale Regional Council Interim Administrator Viv May today inspected the State Government-funded project last Friday, along with staff from Armidale based modular building company Uniplan, and The Hub's staff and board.
"It's very pleasing to see sections of the old, cramped building demolished last month and the new modules delivered and ready to be put together," Mr Marshall said.
"Like a giant jigsaw, over the next month the pieces of The Hub will literally be connected in front of the community's very eyes, to create a new modern functional community space.
"Once this part of the build is complete the external finishes will be applied and tradies will come in to connect the modules, and more importantly new kitchen, up to water, power and sewerage.
"A separate contractors will then be engaged to construct the new entry foyer and access ramp and all lay carpet.
"All works are on schedule and fingers crossed they will be finished, and the building commissioned, by the end of September."
Mr Marshall said once complete The Hub would be better equipped to provide outreach services to the Guyra community.
"With new office space, community meeting rooms and public amenities with disabled access, this development will give The Hub's staff a more private and empathetic workspace in which to support residents in need," he said.
"It's very exciting the Department of Communities and Justice has also come on board and provided the funding needed to install an accessible adult change facility – the only one of its kind between Newcastle and Brisbane, on the New England Highway.
"That means efforts can now be turned to securing grants to purchase window coverings, furniture and a new telephone system to make The Hub the welcoming place it deserves to be."
The project has been funded by the State Government through the Stronger Country Communities Fund.


George Lucas, shown recently at the AMPAS Governors Awards, has hit a bump in his quest to build an art museum at the Presidio in San Francisco.
George Lucas wants to build his new art museum featuring works from his personal collection at the Presidio in San Francisco. But officials at the famous site are pushing back, having asked the "Star Wars" creator and other competing projects to rethink their designs before a decision is made.
On Thursday, the board of directors of the Presidio Trust met to decide on proposals for developing an eight-acre site across from Crissy Field. Among the proposals vying for physical space is Lucas' art museum as well as a proposed science-themed center and a mixed-use complex from the Golden Gate National Parks Conservancy.
"In the interest of having the best project possible for the Presidio, we want to provide one more opportunity for teams to adjust their proposals before we make a selection," said the board in an announcement released on Thursday. It said revised proposals are due Jan. 3.
The board didn't specifically mention Lucas' proposed art museum, which would be called the Lucas Cultural Arts Museum. But the San Francisco Chronicle reported that Presidio board Chairwoman Nancy Bechtle recently met with the newspaper's editorial board during which she expressed reservations about the museum's design.
Bechtle described the design for the museum as "too big" and having an "inappropriate configuration," according to the Chronicle. The design has a faux Beaux Arts style and carries an estimated $700-million price tag.
Lucas made waves in September when he told the New York Times that the Presidio Trust board has been antagonistic to his planned museum and that he would take the museum to Chicago if it were to be rejected in San Francisco.
The director has been an avid collector of art by Norman Rockwell and Maxfield Parrish. The official website for the planned museum features design renderings of the building.
Last year Lucas sold his company, Lucasfilm, to Disney for a little more than $4 billion. Disney is planning a series of "Star Wars" sequels, with the first in the series expected to be released in 2015.


You might be familiar with snow babies figurines many department stores and gift shops have carried for years now. They even show up at flea markets and estate sales these days. Lots of collectors love them. But the story behind the real snow baby and collectibles made more than 100 years ago to go along with that true tale, isn't often retold today.
Author Patsy Moyer once published an online article about a book written in 1901, The Snow Baby by Josephine Debitsch Peary, wife of the famous North Pole explorer Rear Admiral Robert E. Peary. In this interesting feature, Moyer detailed how the Peary's daughter, Marie Ahnighito, was "the first white child born that far north." She also notes that her middle name honored the Inuit woman who made the child her first fur clothing.
Moyer's feature on baby Peary depicted two German snow baby figures as well. Little porcelain figurines like these were usually one to three inches tall, although some can be larger, and covered with bits of ground white porcelain to give them a snowy look, just like those shown here.
These collectibles gained popularity in their day as news of Admiral Peary's trek to the North Pole made its way around the world in 1909. Snow baby figurines were revived again in the late 1920s when adventurer Richard E. Byrd flew over the South Pole and excitement of that news spread far and wide.
Moyer also noted that snow babies were called "Alaska Tots" in a Marshall Field's catalog dated to 1914. Those adorable one-and-three-quarter inch figures sold for 90 cents a dozen back then. They often bring $50-100 each now, depending on their pose, and collectors have noted that they're getting harder and harder to find.
The oldest and most desirable snow babies from a collecting standpoint were made in Germany with great care and thoughtful detailing. They were also made in limited quantities. Like Heubach's figurines, the faces on these pieces generally have a more realistic look to them when compared to those made later in Japan and other points of origin. Older snow babies featuring blue snow can also be very desirable and even harder to find.
Pieces depicting animals, Santa Claus and other themes decorated with crumbled porcelain "snow" can be found as well. While these go-with collectibles don't actually feature the same baby characters, they are often advertised as snow babies and grouped together in displays due to their similar appearance. And these can be even costlier than the baby-shaped figures in some cases.
Of course, where you find expensive collectibles, you'll also find reproductions. They show up in online auctions on a regular basis, and you'll find them at flea markets from time to time as well. The really bad part about these reproductions, like so many other antiques, is that the new ones are being made from old molds, according to Morrison. Some look so much like the originals that it's hard to distinguish between old and new.
One sign of new "snow," however, is the presence of little black specks among the white. Older pieces might be a little dirty when you find them due to handling over the years, dust, and shelf wear, but you can tell the difference when you compare old and new figurines side by side.
Some dubious sellers, in an effort to transform ordinary collectible figurines into more desirable pieces, are adding porcelain snow specks to plain figures produced in Germany during the same era. Many of these are marked correctly on the foot so unless you inspect them closely, you may not know they've been altered.
To spot the fakes, look for new snow that is too white compared with the rest of the colors on the figure. And, keep an eye out for snow that has been applied haphazardly to clothing on figurines as another clue that a piece may not be all original.
While many purists seek only older snow baby figures for collections, others don't care for the expense of hunting down these rare items. They still like the sweet features and adorable poses though, and opt for new collectibles such as those produced by Dept. 56 and a host of other modern manufacturers. Since the new Dept. 56 figures are marked on the base and have a distinctive look when compared with the older snow babies, there's no problem confusing old with new.
You might be wondering though, will new snow babies be worth more than their original price tag in the future? In most instances, these mass-produced figurines have been sold specifically as collectibles so they won't rise greatly in value over time. The exception to this rule is with limited editions made in lower production runs and special character editions that could have crossover collecting appeal. The short answer: if you like them, buy them and enjoy them. Don't be disappointed, however, if those newer figurines don't increase in value.
Can You Make a Collection of Old Tin Cans?


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By Jeremy Lee / Dec 31, 2020 at 12:57 am 29 0
Credit: Wikimedia Commons (Image Link)
The No.6 Oklahoma Sooners dominantly defeated No.7 Florida Gators in the Cotton Bowl, 55-20.
Fitzpartick's Magic Leaves Dolphins In the Playoff Hunt, Defeat the Raiders, 26-25
A little bit over 17,000 lucky fans able to watch this matchup at AT&T Stadium in Texas, saw one-sided domination of Lincoln Riley's team. They used the fact that Gators have problems and are short of 17 players for various reasons, winning the Cotton Bowl, to end a season that started rough for them.
The Sooners had a jump start, reaching a 17-0 lead until the middle of the first period. They would score on the opening drive of the night, before Tren Norwood's pick-six some half a minute later.
Patrick Mahomes and the Kansas City Chiefs Strike a 10-Year Extension
The shorthanded Gators, who were without TE Kyle Pittis, WR Jacob Copeland, and several other valuable players, tried to come back, scoring 13 consecutive points, but after that lost pace and fell before the roaring Sooners who were already up 31-13 at the halftime.
It needs to be said that this isn't the realistic picture of Florida's team due to the above-mentioned absences. Some players, like Pittis, opt-out from playing to prepare for the NFL draft, while others had COVID-19 infections. It is something that severely decreased the Gators' quality.
Yet that didn't slow down the Sooners, who relentlessly continued to pound and punish the Gators, adding three more touchdowns in the second half.
Oklahoma's QB Spencer Rattler threw 247 yards for three touchdowns, rushing for one as well. Rhamondre Stevenson had one rushing TD, too, with 186 yards, while Marcus Major added 110 yards on the ground for one score as well. Overall, the Sooners ended the night with 435 yards on 40 carries, an astonishing figure.
After throwing only five INTs all season, Kyle Trask has now thrown three INTs in the first quarter tonight. pic.twitter.com/iJURRbvZmV
— ESPN (@espn) December 31, 2020
Three players had a receiving touchdown, Charleston Rambo, Theo Wease, and Marvin Mims.
Florida's QB Kyle Trask didn't record a single TD pass, having three of his tosses intercepted. He ended the night with 158 passing and 0 rushing yards. The Heisman Trophy finalist didn't have a nice farewell from college, experiencing one of the worst nights of his career so far. He is expected to be in the first round of the upcoming draft, despite this lousy performance.
Tennessee Titans Snatch a Big Road Victory, Break Baltimore Ravens After OT, 30-24
In other Bowl matches this Wednesday, No.20 Texas Longhorns defeated Colorado Buffaloes, 55-23, to win the Valero Alamo Bowl, while Wisconsin Badgers outplayed Wake Forest 42-28, in the Duke's Mayo Bowl.
Kyle Trask
Spence Rattler
DON'T MISS IT LA Clippers Routinely Defeat Portland Trail Blazers in Kawhi's Comeback, 128-105 DON'T MISS IT UP NEXT Phoenix Suns Show Resilience, Better than Utah Jazz in Salt Lake, 106-95 UP NEXT
NCAAF / Dec 31, 2020 at 12:57 am
The No.6 Oklahoma Sooners dominantly defeated No.7 Florida Gators in the Cotton Bowl, 55-20. A...


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This Pretty World: The Films of Val Lewton
By Alexander Nemerov
On Film / Features — Oct 4, 2019
When I met Ann Carter in 2007 during the filming of a documentary about Hollywood producer Val Lewton, she was seventy years old, more than six decades removed from her starring role in Lewton's The Curse of the Cat People. The experience was beyond my dreams: meeting a person who knew Lewton, a filmmaker I love, and meeting this person above all—the star of a movie that touches me every time I see it. Despite its lurid title (assigned by the studio), The Curse of the Cat People is a dreamy and poetic tale about Amy, an imaginative young child played by Carter, who is punished for the beauty, delicacy, and poignancy of her melancholy reveries. Lewton, who produced the film, was like her.
Born Vladimir Hofschneider in Yalta, Russia, in 1904, he emigrated to the United States with his mother and sister when he was five years old. Growing up in Port Chester, New York, he claimed he saw lions in the woods and indulged in other vivid fantasies right from the start. He mailed the invitations to his sister's birthday party by placing them in the hollow of a tree, imagining that the hollow really was a mailbox, just as Amy places invitations to her own party in such a hollow in the movie. As a teenager, he worked as a newspaper reporter in Connecticut and soon got himself fired for making up a news story about a truckload of chickens dying in a heat wave. Undaunted, he went into pulp fiction in his twenties and wrote a series of trashy but erudite novels in the early 1930s—among them, The Fateful Star Murder, No Bed of Her Own, Yearly Lease, 4 Wives, Where the Cobra Sings, and This Fool, Passion. Using a variety of pen names including Carlos Keith, Herbert Kerkow, and Cosmo Forbes, as well as Val Lewton, he came to the attention of David O. Selznick, the most powerful producer in Hollywood, who hired him in 1936 to be his story editor. Six years later, RKO Studios hired Lewton to produce B horror films. No stranger to doing things quickly (he wrote his pulp novels by checking into cheap hotel rooms for a weekend), Lewton produced nine such films for RKO (eleven overall) in a four-year period that began in 1942, starting with Cat People, followed by I Walked with a Zombie and The Leopard Man, and culminating in Bedlam. The Curse of the Cat People, released in spring 1944, was the sixth.
In the first scene of Cat People, a character points to a don't-litter sign—"Let no one say, and say it to your shame, that all was beauty here, until you came." The placard is like a note from Lewton to himself as he embarked on his movie-making career: don't make a lot of garbage. But his idea was that trash is beauty, that what we throw away as ugly and misshapen and forgettable actually radiates with a sad loveliness. The fashion designer Irena, in that first scene in Cat People, tears up one of her drawings after another, dissatisfied with her work, before finally leaving a last ripped and failed picture littered on the ground. The camera dwells on this torn and discarded drawing—a weird image of a leopard-like cat impaled by a saber—because it is a sign of Lewton's own art, the pictures he himself made, the stuff of a special and disposable grace that even the artist himself threw away as not good enough. Yet in this trash Lewton knew an unlikely beauty blooms.
"Haunting images appear for only a few seconds, stamping themselves indelibly on our memories, our waking perceptions, our dreams."
His movies are dreamy to watch even today. It is not their plots or acting or themes that give off this gorgeous feeling. And it is not the directors, though Jacques Tourneur, who directed the first three films, was so gifted, and though Robert Wise, the future maker of The Sound of Music, made his directorial debut with The Curse of the Cat People. Producers played all-important creative roles in those years—Selznick's huge presence in the making of Gone with the Wind is a famous example—and Lewton was no different. Tourneur's images are gorgeous, to be sure—the night walk of Betsy and Jessica through the sugarcane fields in I Walked with a Zombie is the most visually stunning sequence in all the films—but Lewton ran the show. He came up with the story ideas, cast actors and actresses, and described settings and costumes, paying finicky attention to historical accuracy in the case of period dramas such as The Body Snatcher, Isle of the Dead, and Bedlam. He wrote some of the scripts (as "Carlos Keith") and drew upon his literary taste and intelligence to create plots—I Walked with a Zombie is an adaptation of Charlotte Brontë's Jane Eyre; The Body Snatcher is based on a Robert Louis Stevenson short story; and the melodrama Mademoiselle Fifi combines two Guy de Maupassant stories. But what really stands out in his movies are the pathos-filled moments that he had such a gift for. Haunting images appear for only a few seconds, stamping themselves indelibly on our memories, our waking perceptions, our dreams.
Often these moments center on an actor posed still as a statue. The zombie Carrefour in I Walked with a Zombie guards the path through the sugarcane fields, a towering silhouette. The tragic street-singer in The Body Snatcher stands on the Edinburgh streets, singing a haunting ballad of lost love. The Gilded Boy in Bedlam impersonates a statue of Reason, slathered in gold skin paint that slowly asphyxiates him as he recites lines of poetry from memory before an amused party of debauched aristocrats. The white-robed Irena, standing in Amy's snowy backyard in The Curse of the Cat People, is wintry as a pretty icicle and visible only to Amy, who believes in her absolutely. Like all Lewton's frozen figures, Irena resists the flow of moving images, creating an enduring moment of lonely stillness.
I Walked with a Zombie
To make this static array, Lewton drew upon the religious icon painting he knew from his native country. The madonnas and saints of old Russian icons impart a grave solemnity to his ensembles of outcasts, suggesting a nameless and permanent sadness beyond all plots. Often played by minor actors, in minor and sometimes wordless and uncredited roles, Lewton's lonely figures possess a special insight that captains and commanders lack—an insight born of their isolation and affliction. The deaf-mute sailor played by Skelton Knaggs in The Ghost Ship puts it hauntingly: "I am cut off from other men, but in my own silence I can hear things they cannot hear, know things they can never know."
What Lewton knew had something to do with the Second World War. He made all eleven of his RKO films during the war. Cat People, the first, was released at the end of 1942, when things looked bleak for the Allies on both fronts. The last, Bedlam, was filmed in summer 1945, with the Gilded Boy scene shot on August 1, 1945, five days before the atomic bomb fell on Hiroshima. Superficially, Lewton's movies were part of a wartime craze for horror, a counterintuitive taste that Edmund Wilson, writing in the New Yorker in 1944, thought was a way American audiences inoculated themselves against "panic at the real horrors loose on the earth." But on a deeper level Lewton's films explore some other wartime feeling. Although they contain a few jump-scares (a bus screeching to a halt in Cat People made audiences scream), the energy of his movies is mainly tragic, eerie, and mournful: an ode to the dead.
"His pathos of stillness portrays a grief that most other wartime American movies conspire to forget."
Against the official optimism of home-front culture—its wish to "Accentuate the Positive," in Bing Crosby's words—Lewton's films bring the war's sorrow down out of the air and give it an aesthetic shape. His pathos of stillness portrays a grief that most other wartime American movies conspire to forget. The stillness is so profound that even movement in Lewton's films can be gravely slow and immobile. Manny Farber, who wrote brilliant film reviews for the New Republic, singled out the eerie slowness of one moment in The Curse of the Cat People: a close-up of Amy's hand as she sways it in a pool of water while wishing for a friend. Such images gave off the "unheralded ripple of physical experience," Farber felt, "the tiny morbidly life-worn detail" that rang true when so much else in all the movies he watched seemed false.
James Agee, Farber's counterpart at the Nation and an even more enthusiastic admirer of Lewton, wrote that movies at their best "give you things to look at, clear of urging or comment, and so ordered that they are radiant with illimitable suggestions of meaning and mystery." Although he referred to a moment in a movie by another filmmaker—the director William Wellman's The Story of G. I. Joe—Agee's words suggest what enthralled him about Lewton's films. He thought that The Curse of the Cat People was one of the two best movies of 1944.
Lewton's success did not last. With the end of the war, RKO let him go, labeling him a specialist in a genre whose day was done. He made only three more films before he died of a heart attack in 1951 at the age of forty-six. At his funeral his friend Alan Napier, a tall and distinguished actor who appears in several of the movies, bitterly blamed the film industry for his early death. Lewton in Hollywood was like the Gilded Boy in eighteenth-century London: forced to recite his poetry for the entertainment of cruel and glib audiences and suffocating in the effort. But his gleaming portrayal of affliction and pain fixed indelible pictures in the minds of even the frivolous, the distracted, and the shallow; and occasionally it awakened the feeling of solitary souls who recognized the lonely beauty he portrayed.
I am one such soul. That is why it was such a thrill for me to meet Ann Carter that day in 2007. So many years removed from her part, a grandmother by then, she did not look at all like Amy. I could have passed her on the street and never had a clue that she was the same person as the actress in the movie. But it hardly mattered. We had a nice conversation and I was blessed to sing her praises in person. A few weeks later she wrote a letter to me. For many years I thought I lost that letter, but just the other day I found it wedged between two books on a bookshelf. "Hopefully, the near future will find you visiting our beautiful part of the country," Carter wrote. "It would be wonderful for us if we had the opportunity to visit with you again."
Alas, that did not happen. When I phoned her home four years later, prior to making a trip near to where she lived, her husband said that she was very ill and that it was not a good time to visit. She died in 2014 before I ever saw her again. But I still have the letter I thought I lost, and like Lewton's films themselves, it remains a personal invitation, sent from a faraway place.
A series of Lewton's films are available to stream on the Criterion Channel through December 31, 2019.
Jacques Tourneur on Val Lewton and Cinematic Escapism
In this 1979 French television interview, the Cat People director discusses Lewton's creative idealism and the impact it had on his own pragmatic sensibility.
Inside Criterion / Sneak Peeks — Sep 22, 2016
Cat People: Darkness Betrayed
Cloaked in chiaroscuro and innuendo, this stylistically innovative creature feature leaves its greatest horrors to the imagination.
By Geoffrey O'Brien
On Film / Essays — Sep 20, 2016
Alexander Nemerov is the author of Icons of Grief: Val Lewton's Home Front Pictures (2005), Soulmaker: The Times of Lewis Hine (2016), and Summoning Pearl Harbor (2017), among other books. He is the chair of the Art and Art History Department and Carl and Marilyn Thoma Provostial Professor in the Arts and Humanities at Stanford University.
The Labyrinth and the Plague
The chaos of a rapidly changing world and a politically turbulent decade come into focus in a series of science-fiction films made in the 1970s, now playing on the Criterion Channel.
By Ed Park
On Film / Features — Jan 17, 2020
Harold Lloyd Has Something to Say: The Silent Master's Funniest Talkie
The arrival of sound proved an enormous challenge for the geniuses of silent comedy. But Harold Lloyd, with his unflappable determination, finally made a successful transition.
By Stephen Winer
Luis Buñuel: Eternal Surrealist
With a mixture of intuition, craft, and an endless curiosity about how cinema can be used to shock and provoke, the Spanish master left us with a rich body of work that stands as a testament to the power of surrealism.
By Adrian Martin
Depth of Vision: The Grounded Cinema of William Wyler
The director of Margaret and Manchester by the Sea celebrates Hollywood's greatest humanist, whose films are featured in a series now playing on the Criterion Channel.
By Kenneth Lonergan
On Film / Features — Jan 3, 2020


text:
Wry observations about RPI hockey, the ECAC in general, and the college hockey world as a whole.
Women's Hockey - Clarkson & St. Lawrence (6/7 Feb)
RPI may have played two of their best games of the season against Clarkson and St. Lawrence, but it wasn't enough in either game as they dropped a pair of 2-1 decisions at the Field House.
With the two losses, coupled with a Yale win over Dartmouth, RPI falls nine points shy of 8th place with just eight points up for grabs. They will miss the playoffs for the second year in a row and third time in four seasons.
Wash/Mankey/Raspa
Horwood/Gruschow/Tomlinson
Rooney/Mahoney/Svoboda
Renn/Hylwa/Walsh
Kimmerle/Godin
Schilter/Banks
Middlebrook/Behounek
Despite Alexa Gruschow scoring a shorthanded goal early in a 5-minute major penalty, the penalty ended up costing the Engineers as Clarkson's power play goal gave them a 2-1 win over RPI on Friday night.
The goals came late in the second and early in the third, after Taylor Mahoney was sent off with a major and game misconduct for contact to the head. Only about 20 seconds into the Clarkson power play, Gruschow poked a puck free on the Clarkson blue line to spring herself on a breakaway which she put past Shea Tiley.
That goal tied the game 1-1, as earier in the period Cayley Mercer had capitalized on a failed clearing attempt by the Engineers to get her own mini breakaway on O'Brien which gave the Golden Knights an early lead.
With Mahoney's penalty still being served early in the third period, Clarkson picked up the go-ahead goal with a shot through traffic from the slot that O'Brien didn't appear to get a good look at.
RPI put up 28 shots, including 10 in the third period where they had a 5-on-3 power play opportunity, but couldn't solve Tiley again after Gruschow's tally.
Another fairly good performance from RPI, another 2-1 loss to show for it as the Engineers were defeated by St. Lawrence on Saturday afternoon, ending the Engineers' slim hopes of a playoff bid.
Again it was a power play tally that stood up as the game winner, as Kayla Raniwsky's goal early in the third put the Saints up 2-0.
Taylor Mahoney cut that lead in half at 10:52 of the third, taking a nice feed from Marisa Raspa in the corner and rifling a shot into the top corner to beat Carmen MacDonald for the only time on the afternoon.
SLU opened the scoring at 10:18 of the first with a weak wrister by Brooke Webster that trickled through O'Brien and into the net.
RPI finished with 25 shots, and O'Brien with 33 saves (56 on the weekend) in a strong performance.
While there are 4 games left on the schedule, the Engineers are officially eliminated from playoff contention and will just be playing for position in the bottom four over the final two weekends of the season.
RPI vs. Clarkson
ECAC Hockey Game - Houston Field House (Troy, NY)
2/6/15 - 7:00pm
Clarkson 2, RPI 1
BOX SCORES:
College Hockey Stats: http://collegehockeystats.net/1415/boxes/wclkren1.f06
RPI: http://rpiathletics.com/boxscore.aspx?path=whock&id=4451
RECAPS:
RPI: http://rpiathletics.com/news/2015/2/6/WICE_0206151834.aspx
Clarkson: http://www.clarksonathletics.com/news/2015/2/6/WHOCK_0206152221.aspx
Video Highlights: https://www.youtube.com/watch?v=m9-qC6l8CiA
Complete Game Video: http://rpitv.org/productions/897-womens-hockey-vs-clarkson-
RECORD: 5-29-4 (3-13-1 ECAC)
RPI vs. St. Lawrence
St. Lawrence 2, RPI 1
College Hockey Stats: http://collegehockeystats.net/1415/boxes/wrenstl1.f07
St. Lawrence: http://www.saintsathletics.com/news/2015/2/7/WHOCKEY_0207155904.aspx
Video Highlights: https://www.youtube.com/watch?v=w43SJVEm04U
Complete Game Video: http://rpitv.org/productions/898-womens-hockey-vs-st-lawrence-
Feb. 13 - at Yale (7pm)
Feb. 14 - at Brown (4pm)
Feb. 20 - Cornell (7pm)
Feb. 21 - Colgate
ECAC Standings
1. Harvard - 29 pts. (14-3-1) (.806)
2t. Quinnipiac - 28 pts. (13-3-2) (.778)
2t. Clarkson - 28 pts. (13-3-2) (.778)
4. Cornell - 26 pts. (12-4-2) (.722)
5. St. Lawrence - 25 pts. (11-4-3) (.694)
6. Princeton - 23 pts. (11-6-1) (.639)
7t. Dartmouth - 16 pts. (7-9-2) (.444)
7t. Yale - 16 pts. (8-10-0) (.444)
9. Colgate - 9 pts. (4-13-1) (.250)
10. RPI - 7 pts. (3-14-1) (.194)
11. Union - 5 pts (1-14-3) (.139)
12. Brown - 4 pts. (2-16-0) (.111)
Posted by Gary Russinko at 8:30 AM
keywords: clarkson, recap, st. lawrence, women's hockey
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Mid-Weekend Season Resets
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Statistic of the Year
Men's Tiebreakers (Three Weeks Out)
Women's Tiebreakers (Two Weeks Out)
Men's Hockey - at St. Lawrence & Clarkson (6/7 Feb...
Women's Hockey - Clarkson & St. Lawrence (6/7 Feb)...
And Down the Stretch They Come
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text:
Tigers vs. Blue Jays Preview: The search for offense continues in season-opening series
The Tigers' future will be on display as Spencer Turnbull makes an earlier-than-expected season debut.
By Rob Rogacki@BYBRob Mar 30, 2019, 9:00am EDT
Share All sharing options for: Tigers vs. Blue Jays Preview: The search for offense continues in season-opening series
We are two games into the 2019 season, and the Tigers have yet to score a run in a regular nine-inning game. Christin Stewart's game-winning jack on Thursday is all of the offense they have mustered so far. Nicholas Castellanos has half of the team's six hits on the year. Luckily, this has been enough for the Tigers to come away with a split in the first two games of the year.
This won't continue going forward, obviously. The Tigers will start to score more runs, especially as the middle of their lineup wakes up. After Castellanos, the Tigers' No. 3-5 hitters are a combined 2-for-21 with two walks. Jeimer Candelario quietly finished Friday's game with a golden sombrero, and has struck out five times in his eight plate appearances this season. Miguel Cabrera walked on Friday, but otherwise has not looked sharp after a strong spring.
So why are we so concerned about this after just two games? Selfish reasons, naturally. Spencer Turnbull will make his season debut on Saturday, marking another small step towards the next era of Tigers baseball. He looked solid at times in his brief September call-up last year, with 15 strikeouts in 16 1⁄3 innings, and he made his case for a rotation spot with an excellent spring.
There's no telling whether Turnbull really would have made the rotation if Michael Fulmer stayed healthy. Manager Ron Gardenhire says he considered a six-man unit, but he likes jokes sometimes. Either way, Fulmer's injury has created an opportunity for someone to step up, and Turnbull is the first candidate. Here's hoping he shows us more of this in 2019.
From last night: Turnbull with some heat past Francisco Lindor pic.twitter.com/azcqwKH5gc
— Tigers GIFs (@TigersGIFs) September 15, 2018
Detroit Tigers (1-1) at Toronto Blue Jays (1-1)
Time/Place: 3:07 p.m., Rogers Centre
SB Nation site: Bluebird Banter
Pitching Matchup: RHP Spencer Turnbull (0-2, 6.06 ERA) vs. RHP Aaron Sanchez (4-6, 4.89 ERA)
Game 3 Pitching Matchup
Turnbull 16.1 21.7 5.8 2.85 0.5
Sanchez 105.0 18.1 12.2 4.74 0.6
Michael Fulmer isn't the only young starter who has seen his career derailed by injuries recently. Aaron Sanchez, who beat out Fulmer* for the ERA title in 2016, has only been healthy enough to throw 141 innings at the major league level over the past two seasons. Sanchez's issues have been almost entirely due to finger injuries, including blisters that have plagued him for a few years now. He appears healthy now after 17 2⁄3 drama-free innings this spring, but it remains to be seen if he can handle a full starter's workload again.
Assuming no issues pop up on Saturday, Sanchez could prove to be a real problem for the Tigers offense. His two-seam fastball sat in the 94-95 mile-per-hour range last season, and reports from Jays camp in Dunedin were consistent with that velocity. He also likes to mix in a slow curveball that spins like crazy, yet barely scrapes 80 mph on the radar gun. In between is a mid-80s changeup that Sanchez threw a lot more often last year, especially when he got ahead against right-handed hitters. He still has yet to figure out lefties — they hit .288/.407/.470 against him last year — but righties haven't had much of a chance over the course of his career.
*Fulmer didn't log enough innings to qualify, but Sanchez had a lower ERA nonetheless.
Key matchup: Tigers hitters vs. strikeouts
Earlier this year, we downplayed the idea that the Tigers' biggest problem offensively was their propensity for striking out a lot. While the claims in that article still ring true, strikeouts have been an issue so far in 2019. Tigers hitters have struck out 24 times in their first two games, the third-highest total for any team that has only played two games. In fact, they are just three strikeouts shy of the Oakland Athletics, who already have four regular season games under their belt.
We already mentioned Candelario's whiff issues, but Mikie Mahtook, Grayson Greiner, and even Game 1 hero Christin Stewart are all sporting early strikeout rates north of 40 percent. Sanchez isn't much of a strikeout artist, but he has the stuff to generate swings and misses, especially against right-handed hitters. How the Tigers adapt to their early contact issues — they have the second-lowest contact rate in baseball right now, and the other team had to face Jacob deGrom — could help determine where this game goes.
The Tigers offense wakes up and Turnbull earns his first major league win.


In order to start a, perhaps lively, discussion, here is the text of a letter that I recently sent to EBED.
This past year we, at Beckenham Bridge Club, have been running a beginners course using the revised EBED Beginning Bridge Book 1. Two years ago, we ran a similar course using the previous version of the book. We found the older version an excellent basis for our course but, I am sorry to say, I am very disappointed with the new edition and find that nearly all the changes have made the book poorer.
Above all else, beginners to bridge need clarity and consistency. Furthermore, they need a body of examples that conform accurately to the system they are learning. Unfortunately, the changes have spoiled the book in these respects.
Opening 1NT with a 5 card major. The new version instructs opening 1NT with ALL balanced hands, including those with a 5 card major (p.26). Yet the examples contradict this (see p.45, Hand 1; p. 51, Hand 1; p. 52 Hand 7 – in this last the contradiction is explicit). It is also explicitly contradicted by the advice on p. 116 and the reference to 5 card minors on p.153 is wrong. A similar problem arises with changing the requirement for a 1NT overcall to 15-17 from 16-18. Now East's hand in Example 4 on p. 110 is no longer a "minimum" 1NT overcall. I am not just complaining about the lack of revision of some of the examples. There is a vast store of hands and articles (including Sally Brock's), on the EBED site and elsewhere and also the excellent No Fear Bridge, all using the previous scheme. Even if this small tinkering with the system had some advantages (though on the whole we think the opposite) it cannot be worth the disadvantage of sowing doubt and uncertainty when learners access the available body of examples.
The new Chapter 7 is now very confusing for learners. To try to teach both strong and weak 2 bids to beginners is a total fiasco. The book has to get off the fence and teach one or the other. If there is a demand for both to be included, they should be in quite separate independent alternative sections. To tell beginners learning weak 2's to use strong 2's in fourth position is a disaster.
The altering of the order of topics without making appropriate changes in the text is unfortunate. This is mainly the case with Stayman. Telling learners to use Stayman over an opening 2NT and even including examples (pp.115, 122 and 125) cannot come before the chapter on Stayman. Also, logically, pre-emptive bidding should come just after competitive bidding when the learners can see how effective it can be in hands where otherwise good contracts are easily reached. Certainly, if the weak 2 option is taught, it does not help to be told that a weak 2 is a "mini pre-empt" (p. 120) if this comes before the chapter on pre-empts.
I feel that the revision has not been properly thought out and certainly the changes have not been followed through. Tarting it up with graphics of post-it notes does not compensate.
Yep you are right JohnE. It doesn't help that there are these "uncertaincies". However, It is a start and with a bit on input from us we can all benefit from this. Perhaps we need to know how you (and others) are planning to deal with these points in your lessons so that there might be some consistancy in "our" bridge teaching world. Perhaps the organisers of the books could add their input as to how they expect us to get around these points without overly affecting our students. I would say that there may be other points that need discussion and I don't think we should let that detract from what seems to be to be a very good start and something that was needed to be done. After all we all want more people playing and enjoying bridge around the Country.
P.S. would be nice to see more "names" adding comments and suggestions. Can I suggest that you are having difficulty getting clearance to this forum that you contact the EBU.
Hand16 includes a Splinter Bid which is not covered until the end of book2!
Whilst these anomalies may be easy to handle with a small number of students, in classes of 30-40 and 10 mentors, I experience no end of questions and the students certainly suffer from "disadvantage of sowing doubt and uncertainty" early in their bridge life.
Some of these anomalies are noted in various parts the Teacher Notes but it would be useful, if they are to remain, to have them collated. It would be helpful to have them on a single lookup page. On this forum?
On a similar point. I advise my students to absorb themselves in Bridge and direct them to the EBU Magazine, However, the beginners article, Acolytes, whilst informative reading to me, students find it confusing and even the EBU includes a disclaimer for the authors "personal teaching style. For style read variation from the BforA books.
Come on EBED help the teachers.
3 Opening one of a suit 2016 46,51,52 Opening 1NT With 1NT including 5 card majors some of these hands now out of step with text.
Sorry about the formatting I had problems dropping in an image, does anyone know what image this software allows?
How I dealt with the hands on Book 1 P45 (which open 1H or 1S) was I just let my beginners open 1NT and then later we had a discussion about a "good" major and a "poor major". This discussion didn't used to happen until book 2 but I agree it would be simpler to have a hand which didn't look so much like a 12-14 1NT hand.
Thank you for all of the above comments. There is a list of errata and corrections can be made when we need the next reprint.


22 July 2008, at 1:00a.m.
SCOTLAND - The Scottish Fishermen's Federation has hit out at the House of Lords for failing to back them over action in the fuel crisis.
The SFF said it welcomed much of the content of a comprehensive House of Lords committee report on the Common Fisheries Policy.
However the federation reacted angrily to the report's contention that no aid should be given to help fishermen survive the fuel crisis.
SFF chief executive Bertie Armstrong said: "The report draws the general conclusion that EU Member States have been slow to reduce fleet capacity to match the available quota; the solution recommended is to leave the price of fuel to do its own decommissioning of the fleet through bankruptcy and also to direct any aid on additional decommissioning schemes.
"Neither the conclusion nor the solution makes any sense for Scotland - which has actually addressed overcapacity – a fact noted in the body of the report. Our salvation will lie in a mix of short, medium and long term measures.
"We must make a transition to a sustainable future, but do so in a way that retains an industry capable of accessing our wonderful natural resource.
"Being left to the wolves will certainly achieve a reduction in capacity, but it will be in the form of a collapse of areas of the industry plus the infrastructure and communities which support it."


text:
is a train station located in Asahikawa, Hokkaidō, Japan. It is operated by the Hokkaido Railway Company. Only local trains stop. The station is assigned the station number F33.

Lines serviced
Furano Line

External links
Station information by JR Hokkaido Asahikawa Branch

Railway stations in Hokkaido Prefecture
Railway stations in Japan opened in 1899
Buildings and structures in Asahikawa


text:
Letters to the editor for Feb. 5, 2020
The Gainesville Sun
Life-saving legislation
Mayor Lauren Poe will declare Feb. 1-8 National Gun Violence Survivors Week. By early February, the United States will have incurred more deaths from gun violence than our peer countries do in a year.
This shocking statistic suggests how unthinkable it is that Congress has done little to address the epidemic of gun violence in America, and how unthinkable it is that violent criminals and convicted domestic abusers can buy guns from unlicensed sellers on the internet and at gun shows, no questions asked.
But some states have implemented background check laws that save lives, yielding measurably fewer gun homicides and suicides. Now we're hearing good news in Florida. A Senate bill requires background checks for sales by unlicensed gun sellers on public land.
I want to thank Sen. Keith Perry for voting for this bill in the Infrastructure Committee. Supporting life-saving legislation honors the survivors of gun violence.
Helen Kirklin, Gainesville
Censure the president
If acquitted by the U.S. Senate, the president will falsely claim that he had been exonerated, that it was, after all, a "hoax" and a "witch hunt." An "acquittal" implies a person is not guilty of the offense.
Sen. Lamar Alexander (R-TN) states that while the House has proved its case (in other words, he is guilty), removing the president from office nine months before an election would be too disruptive and would not be accepted by the country. This is a reasonable concern.
Yet if a simple majority should at least pass a resolution for censure, the president would stand rebuked for his wrongdoing, but left to serve out his term and face the ultimate judgment of the voters in November regarding his fitness to remain in office.
The Senate should say: "Mr. President, an 'acquittal' under these circumstances does not excuse your misconduct, nor does it exonerate you."
Robert Mounts, Gainesville
An excuse to impugn Trump
The Democrats are screaming bloody murder about the impeachment process. They are calling it a cover-up, an unfair trial and a disgrace to the Constitution.
They knew all along that President Trump could not be removed from office. To do this they would need a two-thirds majority, but have less than 50% of the Senate.
So why start this charade? We all know why! They wanted to drag out this process as long as they could, to impugn and disgrace the president and Republicans.
This, they hoped, would help unseat President Trump next November. Republicans are running the impeachment the same way the Democrats would if the situation were reversed.
Read the Constitution: Article 1 Section 3. I quote: "The Senate shall have the sole power to try all Impeachment." Note: It says nothing about witnesses or non-partisanship. It says nothing about fairness but says senators shall be on an oath of affirmation.
Jonathan Berger, Gainesville
Lost purpose
Every day since the inauguration of Donald Trump we have seen the prestige of the nation sink lower and lower, until we were convinced we had hit the bottom of the pit. With the vote of senatorial Republicans, to refuse to hear relevant witnesses and view pertinent documents, we are horrified to discover there is a trap door at the bottom of that pit that we have fallen through.
We have lost our purpose as a nation. We are no longer the shining city on the hill.
Tom Tisdale, Gainesville
Cancer on the presidency
John Dean once said, "There is a cancer growing on the presidency." Donald Trump is such a cancer. If you do not remove this cancer, it will destroy you and the Republican Party, and ultimately seriously diminish the United States of America.
Nancy Parkinson, Gainesville
Letters to the editor should be emailed to letters@gainesville.com. Letters should be 150 words or less and include the writer's full name, city of residence and contact information.


text:
A Python 3 library and command line tool to control LG Smart TV running NetCast 3.0 (LG Smart TV models released in 2012) and NetCast 4.0 (LG Smart TV models released in 2013) via TCP/IP.

## Dependencies

pylgnetcast requires:
 * Python 3
 * [requests](https://pypi.python.org/pypi/requests) package.

## API Usage

```python
from xml.etree import ElementTree
from pylgnetcast import LgNetCastClient, LG_COMMAND, LG_QUERY

with LgNetCastClient('192.168.1.5', '889955') as client:
    client.send_command(LG_COMMAND.MUTE_TOGGLE)
    data = client.query_data(LG_QUERY.VOLUME_INFO)
    if data:
        print(ElementTree.tostring(data[0], encoding='unicode'))
```

## Command Line Tool
PyLgNetCast also provides a simple command line tool to remote control a TV.

The tool needs a pairing key to be allowed to send commands to your TV.
To get the pairing key just start the tool while your TV is on:
```sh
python -m pylgnetcast --host <IP of your TV>
```
This will display the pairing key on your TV.

To retrieve status information from your TV start the tool like:
```sh
python -m pylgnetcast --host <IP of your TV>  --pairing_key <pairing key of your TV>
```
This will display information about the current channel, volume, 3D mode, etc. retrieved from your TV.

If you want to send a command to your TV, for instance to turn the volume up, check the list of available commands in the pylgnetcast.py file.
The class LG_COMMAND defines all supported commands and volume up would be defined as 24.
```sh
python -m pylgnetcast --host <IP of your TV>  --pairing_key <pairing key of your TV> --command 24
```

redpajama_set_name: RedPajamaGithub


Antioxidant and photoprotective effects of blanch water, a byproduct of the almond processing industry.
The aim of the present work was to evaluate the antioxidant and photoprotective effect of blanch water (BW), a byproduct of the almond processing industry. The polyphenolic content of a BW extract, the level of proanthocyanidins and the vanillin index determination were determined. The antioxidant activity and the radical scavenging activity of the BW were evaluated by a range of in vitro tests. The in vivo photoprotective effect was investigated using a formulation containing 2% of the BW extract on skin erythema induced by acute UV-B exposure in twelve volunteers. Results confirmed the presence of added-value antioxidant compounds in the industrial BW extract, and the most representative compounds were naringenin-7-O-glucoside and kaempferol-7-O-rutinoside. The proanthocyanidin content was 71.84 ± 5.21 cyanidin equivalents/g of BW extract. The good antiradical activity of the BW extract was demonstrated in both the DPPH• test and in the Reducing Power test. The percentage inhibition of erythema obtained using a formulation of BW was 50.48, value clearly demonstrating an effect against photooxidative damage in vivo.
Titolo: Antioxidant and photoprotective effects of blanch water, a byproduct of the almond processing industry.
Citazione: Antioxidant and photoprotective effects of blanch water, a byproduct of the almond processing industry. / Mandalari G; Arcoraci T; Martorana M; Bisignano C; Rizza L; Bonina F; Trombetta D; Tomaino A.. - 18:10(2013), pp. 12426-12440.


The Nissan Kicks XL 1.5 D is the base variant of the Kicks Dieselrange and is priced at ₹ 10.85 Lakh (ex-showroom, New Delhi). Kicks XL 1.5 D is powered by a 4, Inline cylinders and 1461 cc engine that develops 109 bhp @ 3850 rpm and 240 Nm @ 1750 rpm of max power and max torque respectively. A 6 - speed Manual gearbox comes standard in this variant. Furthermore, the ARAI certified fuel economy of Kicks XL 1.5 D is 20.45 kmpl.


Even Sachin Tendulkar's impending 100th international century failed to generate interest among the cricket lovers of the city as on the first day of sale less than 100 tickets were booked for the second Test between India and the West Indies beginning here on November 14.
According to figures available from the Cricket Association of Bengal, 98 tickets were sold from the counters marking a poor response for the Test. "66 tickets of INR 500 denomination, 21 of INR 1,000 and the rest of INR 1,500 were sold," said a CAB official.
CAB treasurer Subir Ganguly blamed it on the timing of the five-day match which falls on the weekdays.
"There is no weekend during the match. So there will be low turnout and the ticket sales were below standard," Ganguly told PTI.
But he hoped that sales would pick up on the eve of the match when daily tickets would be available.
"These are season tickets. But the response for the daily tickets will be better as and when people get to know about India batting with Tendulkar's record in mind."
The daily tickets prices would be five times lower than the usual season tickets beginning with INR 100.
Meanwhile, both the teams are scheduled to land at 11am tomorrow morning while cynosure of all eyes, Tendulkar is likely to arrive the next day, said team sources.
This will be Eden Gardens third international match in less than a month's time as the venue hosted England in an ODI (October 25) and Twenty20 (October 29) which also had witnessed poor crowd turnout.
In fact in the one-dayer, the Eden, known for its crowd frenzy, recorded its lowest ever turn out in a match involving India with only 27,000 filling in the 65,000 capacity stadium.
The Kolkata Police would have an inspection tomorrow morning.


text:
Jim Witter: Fire and Rain (feat. the music of James Taylor and Carol King)
Jim Witter: Fire and Rain
Saturday, October 30, 2021 7pm
$25/Adults, $10/Students
at the Sauk Prairie River Arts Center (105-9th Street, Prairie du Sac)
Prolific singer-songwriters James Taylor and Carole King dominated the '70s airwaves with their singular vocals and lyrical brilliance. Now, award-winning, Juno-nominated artist Jim Witter returns to the River Arts Center stage for a 3rd time, joined by his incredible band and the talented Giselle Sanderson. Together they will celebrate the timeless influence of Taylor and King, whose songs earned them induction into the Songwriters Hall of Fame, the Rock and Roll Hall of Fame, and innumerable Grammy Awards. Get ready to ride a wave of emotion as Witter and Sanderson take concertgoers on a nostalgic musical journey with such unsurpassed tunes as "You've Got A Friend," "It's Too Late," "Shower The People," and "Tapestry."
Jim Witter: Fire and Rain (feat. the ...
Sat Oct 30, 7pm
Sauk Prairie River Arts Center
105 9th St, Prairie du Sac, WI 53578
105 9th St Prairie du Sac Wisconsin 53578
$25 adults, $10 students
http://www.riverartsinc.org
info@riverartsinc.org, 608-643-5215