If you have been reading this blog for any length of time you will have gathered that I'm a little rigid about Thanksgiving. I've cooked an Indian feast for Easter and I love to see what new thing I can flambé for Christmas dinner, but there is One True Thanksgiving Meal, and I will not depart from the Path. My husband suggested that perhaps there might be a little white bread in the stuffing this year (cornbread stuffing FTW, baby), and I snorted, "That's how you'll know when the pod people have taken over, dear, when there's white bread in your stuffing."
I think the reason I got a late start this year was that one of my boys asked if I would please please pretty please use one of the decorative copper molds to make a molded cranberry sauce. I was willing to prepare an alternative to the One True Cranberry Sauce because I'm flexible and gracious like that, but I kept tripping over the decision. I needed to do something new, right at the beginning, even though I never do anything new for Thanksgiving. I always start with the cranberry sauce, see: I boil up the cranberries with apple cider and a pinch of cloves and another of salt, and then at the end I add the merest drop of maple syrup. Cranberry sauce is meant to be astringent, in my view. It should make you pucker. So I squinched up my face at the Joy of Cooking recipe, which called for 2 cups of sugar. "That," I told my 13yo, "is more sweetener than I have used in total across all of the batches of cranberry sauce I have made in your whole existence."
I went with it, because I thought the syrup might be important for stability. Joe liked the way it looked, but he and everybody else said they preferred the old cranberry sauce. Candor compels me to tell you that this might be Stockholm syndrome induced by all those years of wince-worthy cranberry sauce, cranberry sauce to put hair on your chest. It's kind of cool, though, that cranberries have so much pectin (or something?) that they can stand up tall like that -- no gelatin, just natural cranberry uprightness.
As you might imagine, I had a bunch of stuff to do today. I made myself a List. To my amusement, someone edited it.
Are you familiar with Schichttorte? It's that 20-layer German cake that everybody eats on the fourth Thursday in...oh, wait. No. It's exactly the sort of thing you'd want to whip up if you hadn't done any of your Thanksgiving prep in advance...and you were a raving lunatic in possession of a time machine and six hands.
We made do with pies instead.
It was a lovely day, filled with board games and good conversation and plenty of yummy food. I hope that you had a great day too, and that somebody else washed the dishes for you.
WOW!!!! I had never ever heard of that German cake and it sounds SOOOOO scrumptious! just to clarify, "Grill" in British English would be our broiler?
It sounds complicated, but I feel like I want to try to make this. Is it easy to ruin? I'm glad you had such a great day! (in spite of no Schichttorte). Our day was good, food yummy and I didn't have to wash the dishes!
This year I sadly made a gluten free and dairy free version of the One True Meal. I'm happy to say that the gluten free/dairy free stuffing was edible. As was the gravy. We skipped the mashed potatoes because why bother. I sacrificially made a pecan pie that I ate not a bite of and I cried tears as biting as the vinegar that makes that pie oh so perfect. And I gritted my teeth and declared that next year the allergic toddler Will Be WEANED. So that I can have my Thanksgiving back.


"Of Benjamin he [Moses] said: 'The beloved of the Lord shall... dwell between His shoulders,'" reads Deuteronomy 33:12. Final words from an Old Testament patriarch are an odd source for understanding a 21st century rock band. But Moses's words speak all too directly of South Africa-born The Benjamin Gate, who cling to their Father's knees like children, always wanting to be held. Not to dismiss the "attitude" present here.


This is a really nice effect that I picked up in this PolishLinux blog post. However, I have to admit that I just couldn't follow this guide. In step 1 he says to duplicate the background layer. Well, I could see how to duplicate "a" layer but not specifically the background layer.
Also, the dialog box that he shows in this step I just could not find.
Nevertheless, I did very much like the effect and went about it in my own amateur way. As you can see from the pictures, however, it actually turned out very well.
3. This is the hard part; use the mouse to outline as carefully as you can the object (or selection of objects) that you want to stay coloured. Note that it's very important that the tool line completes a loop. In other words, it's got to finish exactly at the point from where it started. This ensures that you have created a fully enclosed space. Therefore make sure you remember wher you started from as failure to do so can lead to some frustration.
Select>>Invert to focus on the part of the image you want in monochrome.
I always chose Lightness and then OK.
7. Next save your file.
Almost certainly you won't be able to do this in just one shot, so save this first attempt under a different name and open this new photo in Gimp.
Now use exactly the same procedure to continue touching up the shot.
Possibly this sounds over-complicated but to put some perspective on this, the changes seen the shots I appended here took no more than 10 minutes in total.


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Note, the API spec is not completely and correctly implemented yet. 注意,目前尚未
完全实现这些接口。

CommentManager (弹幕管理器)
----
The `CommentManager` is initalized by passing in a single parameter that assigns
the HTML DOM object to write comments on. This object should have a class type
of `container` and be a descendant of another wrapper under the class `abp`.
This DOM object is internally referenced as the comment's "stage".

If you have not initialized this object and wish to do so, you should use the
`CommentCore` object to initialize the entire set.

弹幕管理器通过提供一个用于渲染的HTML元件来初始化。这个HTML元件应该属于"container"这个css 类
并是 'abp' 类的一个包裹元素的子元素

	var cm = new CommentManager ( HtmlDomElement stage )

Example of the DOM substructure (HTML结构体的示例)

The `CommentManager` expose a simple API for manipulating comments. The
functions along with their usage will be defined below. `CommentManager` 会暴露出
一套简单的API来供开发者控制弹幕。

* `load ( CommentData[] timeline )`
	This method loads in an array of unsorted comment data. Comment data is
	directly obtained by parsing the input file. The method will re-sort this
	data by timeline-time then by id then by send-time. It will overwrite the
	current timeline instantly. 这个方法会载入一个新的弹幕列表到弹幕管理器中弹幕列表将会被
	排序后存储。调用后方法会覆盖任何可能已经存在的时间轴(弹幕信息列表)。

* `start ()`
	This method starts the internal clock that scrolls comments. Comments will
	not move if the comment manager has not been started. 这个方法会启动弹幕管理器的
	内部计时器。弹幕在未启动计时器的状态下是不会移动的。

* `stop ()`
	This method does the opposite of start and pauses the internal clock.
	Comments currently scrolling and effects in progress will be stopped
	immediately. 这个方法于 start 方法作用相反,正在进行的效果和正在滚动的弹幕会被强制停止。

* `insert ( CommentData comment )`
	This method allows for insertion of new comment data into the timeline. It
	keeps the timeline sorted even after insertion. 这个方法会往弹幕管理器中插入一条
	弹幕,并保持时间轴顺序。注意:当插入弹幕的时间小于已经播放的时间,有可能看不到的。

* `send ( CommentData comment )`
	This method **sends a comment to display on the stage**. It does not add the
	comment into the timeline. The effects are instant, and the comment will
	start if the CommentManager's internal timer is running (see `start`, `stop`
	methods). Please note: This does NOT send the comment data to the remote
	server, for that you will need to send to the provider instead.这个方法会把一条
	弹幕显示到屏幕上。它不会把弹幕发送到服务器,也不会把弹幕插入时间轴。只要弹幕管理器处于运行状态
	弹幕就会立刻显示(参考`start`,`stop`控制弹幕管理器状态)。

* `clear ()`
	This method clears the stage. It removes all running comments, but keeps the
	timeline intact. 这个方法会强制清空显示界面,但是会保留时间轴。

* `time ( integer time )`
	This method sets the playhead time of the comment manager. Time is provided
	in miliseconds. All the comments from the last time() to the current time()
	will be output if the difference in time is positive and falls below a
	threshold. 这个方法设置了CommentManager的播放时间,单位是毫秒(0.001s),所有在上一个
	time 调用到现在的弹幕都会被输出,前提是两次时间差是正数且低于一个限度。

CommentFilter (弹幕过滤器)
----
The comment filter is an object that determines if a comment should be displayed
or not depending on its initializing data. It can also control how running
comments are displayed. 弹幕过滤器会根据弹幕信息判对一个弹幕是否显示,当然也可以控制弹幕运行的
方式。

* `doValidate ( CommentData comment )`
	This method validates the comment data against a list of filters. It returns
	true if the comment is displayed, false if it should be hidden.

* `addRule ( Rule filterRule )`
	This method adds a rule into the filter engine.

	Rule Definitions:

	Rule {
		"mode": int/string comment_mode,
		"operator": string <comment_filter_operator>,
		"subject": string <comment_property>,
		"value": primitive <value>
	}

	For modes, it can be any of [these modes](CommentTypes.md) or 'all'.
	Operators can be any of:
	* Equality operators : = , ==, eq, equals
	* Comparison operators : < , >
	* Inequality operators : !=, ineq
	* Regular expression match : matches, regex, ~ (or inversly) notmatch, iregex, !~
	* Range operators : range

* `addModifier ( function modifier ( CommentData cd ) )`
	This method adds a modifier that given comment data returns a modified version
	of the comment data.

* `setRuntimeFilter ( function filter ( Comment c ) )`
	This method is run every time any element is moved animated. It has access
	to the comment's state. You can only set ONE runtime filter for the comments
	as setting this greatly influences speed.

redpajama_set_name: RedPajamaGithub


Grab a hold of our Lucky In Love horseshoe and go fall in love. Lucky In Love is our all hand printed silkscreen art print.
- Inks: 7 from 4 screens with hand-mixed Robin's Egg Blue, True Orange, Cherry Red and Dark Indigo Blue non-toxic water based silkscreen inks.
- Edition: We hand pulled and printed 200. Each print is hand signed and numbered by strawberryluna.
- Size: 16 x22 inches (40.64 cm x 55.88 cm).


Ruben is an Argentinian born actor, who travelled to the USA aged 19 to follow his dream of becoming an actor. He has certainly led that dream, working hard and with credits such as Torchwood, General Hospital and Law and Order against his name. He and his wife Lynne Alana Delaney have recently expanded and combined their acting experiences by making their own film "The Remake" which is a love story in the style of the romcoms of the 50s. A truly lovely film in a world ruled by super heroes, war films and disaster movies! Sit back and enjoy Ruben's tales of his singing days, acting, memories of John Barrowman and much more.
All content © 2019 Hellblazerbiz.


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Brown Creeper by Callan Rogers-Grazado - 7.125" x 10.000"
Brown Creeper framed print by Callan Rogers-Grazado. Bring your print to life with hundreds of different frame and mat combinations. Our framed prints are assembled, packaged, and shipped by our expert framing staff and delivered "ready to hang" with pre-attached hanging wire, mounting hooks, and nails.
There are no comments for Brown Creeper. Click here to post the first comment.
This bird is called a "Brown Creeper." Nothing creepy about it far as I can tell!


Inspections with dimensional checks and environmental context with phonometric survey.
Viability analysis, choice products, study of the layout, cost analysis.
Writing up the working drawings.
To complement, ZEMAC is supplying extractor and ventialation systems, automatic locks, security systems and lighting systems.
Assistance and/or installation realized by qualified personnel, which has been hand-picked over years of experience.
Integrations, changes, modifications and interventions.
ZEMAC is also supplying spare parts for the single damaged elements, during the entire life cycle of the structure; a dabase system is allowing us to the product that has been supplied to the customer.


text:
Q: Positivity result from the strong maximum principle In Evans PDE textbook(page 27), it said if $U$ is connected and $u \in C^2(U)\cap C(\bar U)$ satisfies:$\Delta u = 0$ in $U$ and $u=g$ on $\partial U$, where $g \geq 0$. Then, $u$ is positive everywhere in $U$ if $g$ is positive somewhere on $\partial U$. I don't see why. I know the maximum is always achived on the boundary unless it's constant within $U$, but I don't see how they are related here.

A: If $g(x)>0$  for some $x \in \partial U$,then since $u\in C(\bar U)$ we know $u$ must be positive at interior points sufficiently close to $x$. Now apply the strong maximum principle to $-u$, which tells us we must be in one of two cases: either

*

*$u$ is constant, and thus positive everywhere since we know it's positive near $x$; or

*$u$ does not achieve its minimum anywhere in (the interior of) $U$. Since $u \ge 0$ on the boundary this implies $\min_{\bar U} u \ge0$, and thus $u>0$ in the interior.

redpajama_set_name: RedPajamaStackExchange


text:
Police Arrests Two Armed Robbers In Lekki
A team of police detectives has apprehended two suspected members of an armed robbery gang said to be terrorising residents of the Lekki area of Lagos State.
The suspects, Adebayo Ayomide and Isaac David, were arrested after they had allegedly robbed two residents of the area at gunpoint.
The team, which was led by the Divisional Police Officer, Maroko Police Station, CSP Isah Abdulmajid, was said to have embarked on a crime prevention patrol along the Lekki-Ikoyi Link Bridge around 9pm on Saturday.
The team was said to have come in contact with two young women, Gbemi and Hannah, who were visibly disturbed as they alleged that they had just been robbed by the suspects.
The Police Public Relations Officer for Lagos State, Bala Elkana, said in a statement on Sunday that upon questioning, the women told the police personnel that they had just been dispossessed of their smartphones by the suspects at gunpoint.
Elkana added that the women pointed in the direction in which the bandits had escaped on a motorcycle and the police gave them a hot chase.
He said, "The team tracked down the suspects and upon searching them, their operational single-barrelled gun, a cutlass and the phones were found on them. The items were recovered and the criminals taken into custody.
"In their confessional statements, they owned up to belonging to a syndicate terrorising Lekki and its environs."
According to him, the Commissioner of Police in the state, Zubairu Mu'azu, commended the team for the swift response to the crime and the eventual arrest of the perpetrators.
The PPRO added that the CP had directed that the case be transferred to the Special Anti-Robbery Squad of the command for further investigation.
Elkana said the CP assured residents of the state of the command's commitment to securing lives and property in every nook and cranny of Lagos.
Mu'azu was also quoted to have warned criminally-minded persons in the state to either change their ways or face the full weight of the law.
Categories: Crime

redpajama_set_name: RedPajamaCommonCrawl


text:
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Tag: BounceBack PH
SME Featured Southeast Asia
Non-profit data protection org to host scholarship training program for Filipino MSMEs
Post author By Shaina Teope
NADPOP_BounceBack PH
Manila, Philippines – The National Association of Data Protection Officers of the Philippines, or NADPOP, an organization in the country for data privacy and protection, has announced a training and certification program for Filipino micro-, small-, and medium-sized enterprises (MSMEs) on data privacy and protection fundamentals to help them manage the privacy of their customers online and offline.
The program, which equates to ₱3.8M in total value, is specifically targeted to members of BounceBack PH (BBPH), a movement that started on Facebook and was created during the onset of the pandemic to help entrepreneurs, front-liners, and disadvantaged communities in their recovery from the crisis. Currently, it has more than 70,000 members with industry verticals communities and regional and city-based groups.
NADPOP, which is a non-profit organization that serves and protects Data Protection Officers (DPO) in the Philippines, will work together with BBPH to identify a total of 100 recipients of the program and will make the announcement in the coming weeks. Each of the scholarships is worth at least ₱38,000 based on commercial rates.
NADPOP together with BBPH partner, Bluepoint Foundation, a non-profit open-source education & development center, will be providing the eLearning infrastructure for the program.
According to Sam Jacoba, NADPOP's founding president, most MSMEs have less than five full-time employees, making the training program a top necessity for businesses' online transformation journey.
"The shift of businesses online has exponentially increased the reach of MSMEs which brought a lot of opportunities, but at the same time, this increased the risk of their customer databases being breached by hackers," said Jacoba.
NADPOP will be conducting four classes with 25 participants each. Primarily, the scholarships will be given to active members of BBPH and its communities. Those that are deemed qualified for the program are those that have an ongoing business, are currently financially-challenged, are diligent with their business requirements, and are ultimately those that are seen to implement what they will learn from the course.
Once participants have finished the course, they will have to take a certification exam, and once passed, will gain a Data Privacy Specialist certification valid for two years.
"We welcome this generous support to our MSME members from NADPOP as now more than ever, protecting the personal information of customers should be top of mind of all entrepreneurs going online," commented Jason Dela Rosa, founder of BBPH.
"We also welcome the scholarships that NADPOP is going to provide to our members who will not be able to afford the training especially during this time of the pandemic. We thank NADPOP for responding to the call of the Digital Bayanihan Initiative of BBPH, which aims to help our members be better than ever and shine through the pandemic," added Dela Rosa.
BBPH members who won't be selected for the 100 scholarship grants can still avail of NADPOP's Data Privacy training and certification program which will be afforded on a competitive rate exclusive to active members of the community. All participants of the program will then be part of a 'Community of Practice' of data privacy and protection practitioners, whom they can consult with as they continue with their online transformation efforts.
Tags SME, Philippines, MSME, NADPOP, BBPH, BounceBack PH, Data privacy, Data protection
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Deer Hunting is considered the outdoor passion of America. It is not only a great source of outdoor activity but is also a cultural phenomenon where storytelling hunters share their successes and failures.
Deer hunting can be exciting and challenging due to the fact that deer can be found in different settings. You may find them in hilly or flat areas, land which is relatively plain or of agricultural nature. As such deer hunting is a complicated game and requires serious know-how of not only the terrain but also hunting techniques.
Among deer, whitetail hunting is considered more exciting and ubiquitous in nature. Whitetail deer hunting is also popular due to the fact that it is a widely distributed animal across the US. To have an exciting and successful whitetail deer hunt you need to learn some skills.
A strategy for hunting deer during the rutting season may be different from the usual strategy for hunting before the rutting season begins. There are several methods that apply across the board. Learn about the terrain first before you plan for the expedition and learn from the people who have experience. It is also a fact that deer roam different terrain under different seasons. In the US especially, States like Flordia, Kentucky, Illinois, and Kansas have different deer hunting seasons. You need to plan according to the terrain or place where you are going to hunt.
Great hunters always prepare in advance and plan ahead. Always get local information about the terrain ahead of time. Once you identify your hunting fields, its time to start preparing.
Hunting guns, caps, jackets, ammunition, water and of course your best hunting boots all need to be with you. Without proper gear and hunting boots, you are not going to sit for the long period of time it takes to wait for the kill. Make sure you always have the right equipment with you before you embark on your hunting journey.
Deer are found in funnels, ridges, creeks and swamps. You can walk specific deer routes too. Finding the waterholes in the deer routes can be one of the easiest ways to find them. Walking along agriculture tracts is another simple way to locate them. When they go into fields to find food, they normally take a route which runs between two fields or connects them.
While navigating the terrain make sure you have a smartphone; or you can use any of the best survival watches for quick and easy navigation of the area. Having GPS enabled devices or watches are critical for safety, especially in an unknown terrain.
It is a fact that deer do not like human odor and can easily be spooked by it. Good hunters always take a bath before going out in the field and also use deodorants and perfumes. You should make sure that you are clean and smell good otherwise you may fail to find a single deer. Also, try not to contaminate your hunting clothes or gear along the way.
Deer hunting is challenging and it is not for everyone. If you want some thrill, excitement and you love to go out and connect with nature, you can follow above tips for a more successful hunt. Make sure you don't overhunt and do not disturb the ecosystem of nature. Just go for enjoyment and use this as an opportunity to connect with nature and understand how animals live.


Gateway Community Industries, Inc., founded in 1957, is a leader in providing vocational, therapeutic, residential and business services in the Hudson Valley for individuals with mental/physical disabilities and/or economic disadvantages.
We are looking for an energetic professional to partner across the agency as a generalist. The Manager must be effective at formulating strong partnerships across the agency to deliver value-added service to management and employees that reflect the business objectives of the organization.
Responsibilities include implementing and coordinating activities related to policies and programs covering several of the following: employment, wage and salary information, training, placement, recruiting, and benefits. Support employee relation activities, provide assistance, advice, assistance and follow up on company policies, procedures, and documentation. Coordinate the resolution of specific policy-related and procedural problems and inquires. Identifies trends issues and recommends course of action. Other areas include performance management, benefits, leaves, disability, recognition, training, organizational development, communication and coaching.
•	Minimum 3+ years human resources experience, with at least 1 year of generalist experience preferred.
•	Proven ability to effectively influence, build trust, communicate and connect with all employees at all levels of the organization.
•	Ability to demonstrate complete confidentiality and discretion.
•	Excellent organizational, multi-tasking and prioritization skills.
•	Demonstrates flexibility and the ability to quickly adapt to change in the work environment.
•	Strong conflict management skills.
•	Working knowledge of multiple human resources disciplines including benefit and compensation practices, organization diagnosis, employee relations, diversity, performance management and federal & state employment laws.


There is a saying among Slovenian locals that one is not true Slovenian until he or she visits Triglav. It is the most famous ascent, jet not the easiest, therefore it is strongly recommended to hire a qualified guide.
This is the most popular option to reach the top of Triglav. You will experience how it is to sleep in a mountain hut. The tour takes two days with 8h walking. This is right for you if you like to take it easy and enjoy in every step you take.
What to bring: Hiking boots, comfortable clothes, backpack, water aand snack. Trekking poles, sunscreen, sunglasses are recommended.
Additional info: Minimal age 8 years. We understand that you are on vacation and probably do not carry all the needed equipment with you. Therefore you can rent every piece of gear and clothes you need under the same roof with a special price.
Every Sunday and Wednesday there are group tours to Triglav. If you are flexible in time and don't bother sharing your guide with other people, this is the best offer for you.
This hike is suitable for those who are physically well prepared. If you are in good shape and would like to spend only half of your day on vacation reaching the top of Triglav, this is the best option for you.
This trip is recommended for those who would like to save some money and already have experience in mountaineering. You will hike to the last hut by yourself. Mountain guide will pick you up and take you safely to the summit and back.


We are ready to help you in any area of estate planning and probate law.
Discuss your legal options with a dedicated attorney today.
Hannah Sargent is a homegrown local attorney, ready to thoughtfully, vigorously protect your interests by meeting all of your probate and estate planning needs, as well as business law and intellectual property matters. She is a former military officer, company commander, two-time Iraq war veteran, and AH-64D Apache Helicopter pilot. While at UC Berkeley, School of Law, she held the editor-in-chief position at the Berkeley Journal of Criminal Law.
Hannah continues to serve the East Bay area through her top-rated legal practice and volunteer work, eager to help clients cut through the legalese and clearly understand their rights. When you need legal guidance, she offers professional and personable counsel to help you prepare for the future.


Felt Succulent Make & Take - Craft Warehouse Vancouver Wa.
Join us at the Vancouver Craft Warehouse location and create a quick and easy felt succulent, complete with it's own adorable terra cotta pot. A plant that won't die on you!


text:
Failing Together
A sneak peek of Care Enough from playwright and company member Carl Atiya Swanson. Also, shout out to Unit Collective. They have a November Madness performance tonight (Wednesday, November 30th) at the Playwrights' Center at 7:00pm. We like new plays.
If you're going to have a role model, you could do a lot worse than Kermit the Frog. At the end of the new Muppets movie (which you should totally go see) Kermit says something that speaks to just about any artist daring to make new work, like Savage Umbrella does as company, like I am doing right now wrestling with the script for Care Enough, slated to open on June 1, 2012 at the new Nimbus space in Northeast. "We tried," that oh-so-human felt frog says, "If we failed, then we failed together, and to me, that's not failing at all." Then his face scrunches, and I can't help, there in the theater, from wanting to cry and clap all at once.
It's a beautiful thing to hear coming from a childhood symbol of hope and joy, but it is one of those terrible lessons of growing up that failing together sometimes just may not be enough.
If Care Enough has any genesis, it comes from laying on a mattress on the floor of a coldwater flat in Rome in 2003, after 3 million people marched in those streets and didn't stop an invasion of Iraq, laying there with a beautiful woman I barely understood and couldn't help but lose, listening to Cat Power's "Maybe Not" and being totally lost in the world. There, that's a place to start. It starts with failing personally and not knowing where to go. It starts with questions.
These are questions that have been growing, lingering and alternately tormenting and delighting me for the last ten years, questions around failure and hope. Very fundamentally: "Where is power?" It goes on from there. "How do we have power, and where does it come from?" "What obligations do we have with and to power?" "How do we love each other without hurting each other?" "Where is joy in grief?" "What do we owe our dead?" "When is failure not failure?" "What can we do to be free?" There, that's a question worth asking, as the world is remembering now with the Occupations of public space across the world.
If that sounds heavy, it is. But these are also necessarily joyful questions, if you look at them the right way. It's like Mel Brooks said, "Tragedy is when I cut my finger. Comedy is when you walk into an open sewer and die." Power is as ridiculous as it seems, if only we will to see it that way. Beauty is there in damage, energy in stuck situations, care in difficult moments. Enough probably isn't enough, especially when it comes to love.
And then there's music. Always and all the time music. Wait, they don't love you like I love you. Wait, I don't love me like you love me. That's a question there.
Questions linger, moments are fleeting and tender, we work to make care last. If you come to see Care Enough, I hope you see all that in there. I do not yet know how. I do know that the Savage Umbrella way is to cherish the individual and idea, to nurture it along with the support of the group and then to build it, expand it, and make everyone involved equally a part of it. We did that with The Ravagers and we will do it again with Care Enough. In that way, our politics are personal, our moments are shared and even if there aren't any Muppets on stage, we incite one another to the heights we can only achieve together.
Together is better.
Get under the umbrella.
Umbrella Collective


text:
"use strict";

const isObject = require( `../isObject` );

const rArrowFunction = /.*?=>.*?/;
const rNative = /\{\s*\[native code\]\s*\}/g;
const rPureFunction = /function.*?\(/;
const rUnsafeChars = /[<>/\u2028\u2029]/g;

// mapping of unsafe HTML and invalid JavaScript line terminator chars to their
// unicode char counterparts which are safe to use in JavaScript strings.
const ESCAPED_CHARS = {
    "<": `\\u003C`,
    ">": `\\u003E`,
    "/": `\\u002F`,
    "\u2028": `\\u2028`,
    "\u2029": `\\u2029`,
};

const RESERVED_SYMBOLS = [ `*`, `async` ];

const deleteFunctions = object => (
    isObject( object ) ?
        Object.fromEntries( Object.entries( object ).filter( ( [ , value ] ) => ( typeof value !== `function` ) ) ) :
        object
);

const escapeUnsafeChars = str => str.replace( rUnsafeChars, unsafeChar => ESCAPED_CHARS[ unsafeChar ] );

const identity = x => x;

const serializeFunction = fn => {
    const serializedFn = fn.toString();
    if ( rNative.test( serializedFn ) ) {
        throw new TypeError( `Serializing native function: { fn.name }` );
    }

    // pure functions, example: {key: function() {}}
    if ( rPureFunction.test( serializedFn ) ) {
        return serializedFn;
    }

    // arrow functions, example: arg1 => arg1+5
    if ( rArrowFunction.test( serializedFn ) ) {
        return serializedFn;
    }

    const argsStartsAt = serializedFn.indexOf( `(` );
    const def = serializedFn.substr( 0, argsStartsAt )
        .trim()
        .split( ` ` )
        .filter( val => ( val.length > 0 ) );

    const nonReservedSymbols = def.filter( val => RESERVED_SYMBOLS.indexOf( val ) === -1 );

    // enhanced literal objects, example: {key() {}}
    if ( nonReservedSymbols.length > 0 ) {
        return `${ def.indexOf( `async` ) > -1 ? `async ` : `` }function${
            def.join( `` ).indexOf( `*` ) > -1 ? `*` : ``
        }${
            serializedFn.substr( argsStartsAt )
        }`;
    }

    // arrow functions
    return serializedFn;
};

module.exports = {
    deleteFunctions,
    escapeUnsafeChars,
    identity,
    serializeFunction,
};


Gamasutra: Pascal Langlois's Blog - Who Owns The Pixel? Digital Rights And Performance.
Who Owns The Pixel? Digital Rights And Performance.
I've been following the news from GDC, and of course Tameem Antoniades (Ninja Theory) and David Cage (Quantic Dream) are bound to attract my attention. I'm not surprised by what they are saying. The general drift is, that narrative and game can work together either to deliver an immersive emotional experience that adds to the game experience and informs it, or to deliver entirely new experiences. Their talks speak of the convergence of talents and skills that I admire, in an environment that is often hostile to new and convergent approaches.
These are two great developers, who, in their position, are similar to powerful film directors - head of all departments with the right to the final cut. Something that is less common than you would expect in the film industry. However, their power over what an audience perceives as the actor's performance will only increase. Capture is approaching film in its ability to capture a performance, and cutting edge animation tools can now work with this material to invisibly alter every moment.
Tameem once said at a conference (Develop 2010) that Andy Serkis (playing Monkey in "Enslaved") delivered a performance in one scene that Tameem thought wasn't right. Serkis was his own director in the capture studio, but when the data came through the pipeline, Tameem decided he wanted to change the tone of Monkey's/Serkis' reactions and therefore the scene. There was no budget, or perhaps time, to re-capture the scene. So Tameem pulled an old editor's trick (rarely possible in 2d) by using the contextual freedom available in animation. He pulled expressions from other scenes, or "off-cuts", and edited them into the scene.
In the movie, "Paul", Arne Kaupang and his team at Double Negative often performed their own versions of the body behaviours of Paul, whilst Seth Rogan's facial and vocal performance was kept (From Arne's Oslo - "Digital Story telling" presentation). I've seen footage of animators, acting to video, for reference to animate those movements, and join them to an Actor's head and facial behaviour. Pushing this further, Actor's facial performances are sometimes blended with the animator's "reference" performance. This is not all that rare.
In Heavy Rain, I've seen moments where I remember a performing a sequence of emotionally driven actions that made truthful sense to me, but (I hope for gameplay reasons) , these were re-ordered - changing my performance and, in my opinion, the truth of the scene.
I love acting. I believe the actors craft, executed at its best, proves itself the most transformative art-forms of interpretation. However, the moment that acting became 'captured' rather than 'live', the power and success of a performance became shared with talents beyond the moment of capture. The highly collaborative process of Film, for example, can be as transformative and meaningful as the best live theatre, and on some levels, even more so. I hold that it is best to consider the actor's final performance as inviolate, but in this new era, believing this to be the only perspective is to be damagingly 'anti-convergent'.
Capture and animation is already pushing this balance between control of the source performance and the end 'cut' even further. Capture-based animation means that not only does the developer, and sometimes the player, choose the visual focus of a scene as a director might in film, but now the developer can alter the very fabric of the performance itself. Ownership of that final product is already becoming a point of argument and debate, and more and more people and organizations are even now being required to define their position, or risk losing their voice.
Imagine this: a famous actor is chosen to play a part in a capture based, CG heavy film. This requires his face be animated into that of a gorilla/fox/reptile, but his facial performance will be key-framed to be as identical as possible to the original performance.
As it stands, the moment that an image is turned into data, the image of the performance no longer 'belongs' to the actor in the way it would in film. It's an important point to the actor that his performance is respected, considered inviolate - as it is his/her name that is "attached" to the movie, and they will be judged and criticized for the end performance and possibly even the success of the movie.
Where source performance and final performance can be considered identical, on what basis can it be said that the performance no longer belongs to the performer? It's a bit like saying that because an image creates a chemical reaction on celluloid that mirrors the image coming in through the lens, that the image now belongs to Fuji or Kodak.
My collaboration with Dynamixyz (See MiM Press Release) has made it possible to create a "fingerprint" of an individual's facial expressive behaviour. Even with their default version ("director"), this can be used to eliminate keyframing almost entirely, enabling the animator to move smoothly from one expression to the next. This same system forms the basis of a realtime capture system, that can achieve a very high quality result, using the "fingerprint" for reference.
The fusion between actor and animation has now become that much deeper. And whilst capture contracts are made 'per-project", the ownership issue remains relatively quiet. However, the questions that this imminent shift of control poses to my role as an actor, and as the director of my company, and as an advocate of convergence, are at the very cutting edge of the future that will face traditional and 'new' media alike.
How will Actors retain/share rights over their "expressive behaviour"?
If the software uses an actor's fingerprint once, it can do so across multiple projects and platforms. The material from one capture based movie/game could be re-used by the owning studio for other movies/games - reducing the actor's involvement - one day, maybe entirely. However, the prize is the democratisation of quality performances in dramatic content, more professional actors being involved in convergent media, and greater convergence between the industries as a whole.
Perhaps it's worth considering that one day actors and animators will share credits according to the balance between free animation and capture-faithful performance animation?
Animators, and animation teams are often the last to be praised or awarded. This should change as animation will allow another pool of talent to manipulate a performance, requiring discretion and an understanding of acting. Body doubles already exist in film, and Seth Rogan may or may not know who played his Paul's body (It seems to be easier to successfully mix different bodies to heads). But what if his facial and vocal performance were 20% animator created. How about 50%? I can anticipate that there will be actors who will consider this a corruption of their craft - and animators too for that matter. However, I think that this approach is one of burying your head in the sand. Besides, what's to say that one form of collaborative performance is better than another - as long as it's credited as such?
There is a company in France that is already attempting to draw the lines of engagement - or rather provide a basis upon which to engage. Agence de Doublures Numériques. (Digital Doubles Agency).
Digital Doubles Agency provides a service that can assess just how much of the actor's performance remains in the final animation - the idea being that within a certain threshold, the actor can be re-assured that they can still put their name on the tin.
This also suggests that there will be scope to blend an actor's performance with the animators art, whilst being able to apportion just credit, and pay, where it's due.
Actors, Unions, software developers, animators, film and game studios will all have to hammer out agreements with each other to protect their interests and integrity, whilst also paving the way for new art-forms that will have convergence at their heart. If not, then valuable talent will be excluded or wasted. No industry should believe their worth will be accepted as a given fact, instead it may be more useful to concentrate on the worth of the possible future that can be shared, and prove the worth of each contributors place within it.


The Annual Nga Puna Wai Training Fee allows you to train at the track & field facility all year round, provided the venue has not be booked by another party, such as a school. Booking information will be posted on the Athletics Canterbury website and Christchurch City Council website.
We also have options for Summer and Winter training only.
Monday - 4:00 p.m. to 7:00 p.m.
Tuesday - 4:00 p.m. to 7:00 p.m.
Wednesday - 4:00 p.m. to 7:00 p.m.
Please note if an event is booked at any of the above times you will not be able to use the venue.
NEW SINGLE USE FEE: If you are a casual user and the above training fee options do not suit you, you can now purchase a single use fee for only $5.00. Valid for ONE day only.
You must ensure that you have your membership card on you when training at Nga Puna Wai, otherwise you risk being asked to pay an extra fee.
Currently sections of Nga Puna Wai are construction zones, therefore keep to the safe areas. No throws training is allowed on the infield until further notice.
Selected Athletics Canterbury equipment will be made available in the near future and can be obtained via your coach. Until then, please contact Ian Thomas to discuss you needs.
Whilst training, if your hear 3 large blasts of the siren, please all meet in front of the control building, then go up the stairs down the path and turn left onto the road and walk towards the site office, where you will then be instructed to return to the track once it is safe to do so.
The Nga Puna Wai Sports Hub is a community venue. Please respect the venue and your fellow training members.


Answer: As we've seen before, and I'm sure we'll see again, street-legal and safe are often related, but not always equivalent. Some of those jacked up trucks may be legal, but many of them are not.
You're right about the potential for damage and injury from mismatched bumper heights.
And raising (or lowering) a vehicle causes more problems than just bumper issues. We'll look at the risks and the rules related to modified vehicle heights.
Before a manufacturer can sell a vehicle in the United States, that car or truck has to conform to federal safety standards. Skilled engineers design these vehicles to meet steering, roll-over and crash requirements.
It seems presumptuous to take a vehicle that will be used primarily for street driving and make significant modifications to ride height. Just because I can go buy a lift kit and install it on my truck doesn't mean I'm smarter or know better than the engineer who designed it.
Handling: Raising a vehicle changes its center of gravity. Full-size SUVs and trucks already suffer from an increased propensity to roll over, and making them taller just exacerbates the problem. Raising or lowering a vehicle changes the geometry of the suspension and can negatively affect traction and steering.
The common assumption is that lowering a car increases traction, but when a lowered car has extreme camber (that's when the wheels look like they're not on straight) traction is reduced, especially during braking.
Braking: Part of jacking up a truck includes adding bigger tires. It's pretty much a requirement, because a tall truck with factory-size tires just looks silly. But those big tires add a lot of rotating mass, and if the truck owner doesn't upgrade the brakes at the same time, stopping distances will increase.
Visibility: Sure, you can see farther when you're jacked up above the other cars, but what you won't see is the kid crossing the street in front of your bumper. Or if you're way up there, a small car.
Now for the rules. The Washington Administrative Code (WAC) sets the maximum bumper height of a vehicle based on vehicle type and, in the case of trucks, gross vehicle weight rating (GVWR). For passenger vehicles (including SUVs), that's 22 inches, measured from the ground to the center of the bumper. For trucks, it ranges from 24 to 28 inches for the front bumper and 26 to 30 inches for the back bumper.
There are rules about lowering cars too, but the limits are almost self-enforced. No part of a car can be lower than the lowest part of the rim of the wheel (the metal part, not the rubber part – that's the tire). Make your car lower than your rims, and there's a good chance you'll end up grinding it on the pavement until it reaches a legal ride height.
The custom bumpers mentioned in the question are probably illegal. On my grandpa's old Ford F250 the factory bumper was just a chunk of steel bolted to the frame. Today's bumpers are engineered to protect occupants in a crash.
The law requires bumpers to meet the crash absorption standards for the model year of the vehicle. If you're an engineer familiar with federal crash standards and you do all the math, I suppose you could build a legal homemade bumper. But I suspect that doesn't fit the description of most home-made bumper builders.
Trucks are a useful, and sometimes necessary tool. But truck owners should realize that there is additional risk and drive accordingly.
I'll leave you with a little crash data. A study by American Association of Motor Vehicle Administrators found that while light trucks make up about one third of the vehicles on the road, they're involved in about half of the two vehicle fatal crashes. The same study found that lifting a truck to the maximum legal limit nearly quadrupled the likelihood of a rollover.
We're all in this together. Let's travel with care.


When did you first start training at Rebel Strength and Fitness? About 5 months ago.
Favorite movement: clean and jerks.
Lease favorite movement: does running count? J The most challenging would be box jumps and double unders.
Workout time: I work out whenever it fits my schedule, 5-6 times a week.
How has training at Rebel Strength and Fitness impacted your life?
Prior to rebel I was healing from a back injury. I felt down, depressed and I thought I would never get back to weightlifting. Little did I know in 5 short months I would be surpassing my max weightlifts!
Hobbies: Working out, spending time with my dogs and family.
What advice do you have for people just getting started? Consistency is key. Come to class each day, do your best and you will see results but stay humble and have fun!
Biggest fitness accomplishment this far: Anytime I compete. Whether it is CrossFit, jiu-jitsu or 5k's, competitions give you a sense of pride but also goals to continue to work towards!
Future fitness goals: To compete more, encourage other people on their fitness journeys and keep improving my PR's.
Future personal goals: Currently I'm working on my BSN-RN and Bachelors of Business Administration.
What is something we don't know about you? In my spare time I help teach self-defense classes.
Best workout song or music: Rap and Hip-Hop for my workouts and country music to cool down.
Go to junk food: I love fig newtons!
Favorite movie or TV show: I don't watch much TV but one of my favorite movies is Primal fear.


Chicago took center stage in a day of world-wide celebration honoring the life and ideals of Nelson Mandela, on the occasion of his 90th birthday.
Orbert Davis, artistic director, composer, performer and conductor of Chicago Jazz Philharmonic, premiered a new composition to honor the global message, struggle, perseverance, and triumph of this humanitarian icon. The orchestra delivered the composition, entitled "Hope In Action," which artistically represents Nelson Mandela's ideals of diversity, inclusiveness, and change.
The composition seamlessly wove jazz and classical, African rhythms, interspersed with moments of inspirational narration, and culminated with a grand chorus of a children's choir. In conjunction with the event, Chicago Jazz Philharmonic hosted and featured prominent South African jazz saxophonist and educator Zim Ngqawana, as its first "Artist-In-Residence."


Buddhist looking for someone to share my journey with.
By finding the dharma I got over my mom's death and through that I will learn to be compassionate and kind to others no matter who they are or what they did. I'm on this journey to help others find the dharma in their lives and end their suffering.
Family oriented, honest, ambitious and positive about life.
Artist, loves nature, movies , food , biking and kayaking.
Hey, everyone. I'm 33 years old and a single father with joint custody of my daughter. I'm looking to wade back into the sea and see what's out there. Been a long time, over 6 years, since I was single.
Kind, smart, funny, down to earth. Just seeing what this site has to offer.


MISS PHABLET PRIDE THEMSELVES WITH THEIR UNIQUE PRODUCTS AND CUSTOM MADE SERVICES.
You can even use your personal photographs to create your unique mobile phone cover. The store also specialises in providing mobile repairs and a huge range of high-quality accessories for mobile phones and electronic devices. Whether you're looking for a stylish skin for your latest iPhone or an elegant cover for your iPad, Miss Phablet will provide you with an extensive range of accessories to match your taste and style. Visit Miss Phablet on the Lower Ground Level to see their full range of mobile accessories and services.


text:
Hudson Darling European Tour 2010
Ireland, London, Paris, Switzerland and more… in 61 days
Towards Normandy
We got up early on 18 April and had an early breakfast at the Hotel Ibis while we waited for our 7:45 taxi. The previous evening we'd gone for a walk through the suburbs around the hotel. It seems to be a popular thing in Zurich to go for an evening walk. We met several people out and about with their children or their dogs. We found ourselves at the local Co-op and spent some time wandering the shelves just checking out all the different food s available. We left with a small variety of nibbles including, of course, some chocolate.
Our cab came early and we found ourselves at the Zurich main station well before 8:00 AM. This gave us time to visit the pharmacy for some lozenges for my throat which had slowly been getting worse. We then found our train and settled into our second class seats which were very nice and far better than economy on the plane. The train left dead on time thanks to Swiss railway efficiency. The journey to Basel was uneventful and we soon found ourselves at Basel bahnhof drinking a coffee while waiting for our Paris connection.
The train to Paris travelling first class was very nice. The seats reclined and had fold down tables, armrests and footrests and were very comfortable. All up a very civilised way to travel. The journey to Paris was again uneventful and we passed the time watching the countryside change. The only indication of how fast we were travelling was the occassional jump from Glenda as we passed a train travelling in the other direction.
We arrived in Paris at Gare D'Est without incident and then had to find our way to the Metro. This was a little more challenging as the French don't seem to have many escalators in the older stations and we had to lug our cases up and down stairs to get to the Metro station. A little confusion over buying our tickets was our only real problem and we soon found ourselves on the Number 7 metro with a number of others with suitcases. A quick change of trains at Opera with more stairs to negotiate soon found us on the number 5 Metro to Gare Le'zare.
Once there we spent a little time getting our bearings (ie we got lost) until we worked out we had to follow the Le Grande Lines signs. Doing so we soon found ourselves on the streets of Paris which were a little assault on the senses after the relative quiet of Zurich. More steps awaited us as the escalator was not operating. Glenda waited while I went looking for where we were supposed to go. The information kiosk was closed so I resorted to reading the signs and worked out we had to follow the Pink line. This was harder to achieve as it appeared as there was a lot of construction going on at the station installing new escalators.
We found ourselves negotiating our way around the construction zone and had to pass by several homeless people, one of whom was busily plucking and apparently eating raw a pigeon he had just caught. While this was confronting, What impressed me least about this was the number of tourists who had stopped and were taking photographs.
We found our way to the platform without indicent, via yet more stairs. Once there Glenda grabbed us a couple of seats while I went looking for an ATM so we could grab some lunch The only ATM at the station appeared to be back where we had left the Metro, so I found myself effectively retracing our steps back to the ATM. Grabbed a couple of baguettes and some drinks and returned to Glenda who had had some trouble keeping a seat for me.
When our train finally arrived, there was a mad dash of people for the train and we felt glad that we had booked seats. That was until we found out that we had seats on Wagon 7 and the first wagon was wagon 8. The conductor told us to get onto wagon 8 and we fought our way down the corridor and found seats 61 and 62 and were about to settle in when another couple said that they were their seats. Confusion reigned until I decided to get off the train 5 mins before it was due to leave (and giving Glenda a scare by doing so) and talk to the conductor again. This time a lady translated for me and I was told again that there was no wagon 7 and we were supposed to be on wagon 8.
As I got back on the train, there was an announcement in French that got everyone laughing. Or at least everyone that understood French. The man who had taken seat 61 translated for us and told us that because of the rail strike there was no wagon 7 and the reserved seats for wagon 7 had been reallocated`to wagon 8 and we had to look for a ticket above the seats. I did this and found our seats about 4 seats down the carriage. This then involved persuading those sitting in those seats that we had them reserved. All up we finally found ourselves sitting in our seats about 15 minutes after the train was supposed to have left.
This confusion was taking place all through the carriage as people were looking for their seats and asking others to leave seats once found. It also turns out that there were people on the train without reserved`seats who were basically told to sit in seats that were unoccupied. The train left well after it was supposed to and with people who couldn't get a seat sitting in the corridors. BTW The first class seats on this train were of a much lower standard than the second class seats on the Zurich-Basel leg. but we were glad just to be sitting down.
Sitting opposite us was a very nice French man and his Japanese wife who was visiting his father in Bayeux. He gave us a running commentary about some of the places we were passing through and gave us a potted history of the D-Day landings which happened nearby.
Eventually we arrived at Cherbourg and after a very long walk down the platform, we found ourselves at the station forecourt with no idea what to do next. We were not alone. We had people asking us where the ferry left from. All I could do was point them at the sign that said "Car Ferries" and hope I was sending them in the right direction. We on the other hand were looking for a hotel, so we headed in the other direction looking for some indication of where they might be. Eventually we found a bus stop map which we used to gain our bearings and then used Glenda's iPhone to locate the tourist info office. So we set off to find it.
After a while we came across the Maison de Tourisme which was of course closed. But it did have a map of the some of the hotels available outside which gave us an idea where to start looking. We walked into one hotel which didn't impress us but did give us a map of the town including a list of the hotels by rating. At this stage we were so buggered that we decided that we would go for the Hotel Mercure which was the only 3 star hotel in the town. The map said it was in map reference B11 and I am sure we walked every street within that square without finding it. Eventually we asked someone in the street who wasn't a local but was able to ask a local. He pointed out that the hotel was on the other side of the harbour in the very tip of B11 that we hadn't walked. We considered a taxi but then decided that a little more walking wouldn't hurt. But first we rang to confirm that they had rooms which they did, so we then hoofed it around the harbour and down to the hotel.
The Hotel Marine (formerly Mercure) was in the middle of renovations, but we didn't really care at this point, so we grabbed our room key and found our way to our room (with a harbour view). We spent about ten minutes trying to open the door until finally on the verge of going back to the reception, the door finally opened and we could collapse in our room.
Given the time [it was about 9:00pm] we decided to quickly freshen up and head down to the hotel restuarant. I ordered the Grilled Beef Steak and French Fries and Glenda ordered the Mixed Grill. These both were very delicious but it was the Double Chocolate Pudding with Mint Icecream that stole the show. After dinner, we decided that we'd well and truly had enough and hit the sack.
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Posted by Chris Hudson
You are currently browsing the Hudson Darling European Tour 2010 blog archives for the day Monday, April 26th, 2010.
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Home » Prevalence of HIV Infection in Tajikistan, 2011
Prevalence of HIV Infection in Tajikistan, 2011
"As of December 31, 2011, a cumulative total of 3,846 HIV infections had been diagnosed in the country, with HIV infections among males comprising 77.7% and among females 22.3%. The incidence of HIV (diagnosed infections) is 43.4 per 100,000 members of the population. HIV infections were registered in 66 out of 68 districts of the country. The total number of AIDS-related deaths is 552 (14.4.% of diagnosed HIV cases). The estimated number of people infected with HIV has been put between 6,800 and 10,000. Furthermore, in recent years, the number of new HIV infections diagnosed among women has increased almost 2 to 3 times. Thus, in 2005, newly diagnosed HIV infections among women made up 8.5%, whereas they made up 20.2% in 2011.
"By the end of 2011, in terms of the cumulative total of HIV infections diagnosed in the country, 52.6% were transmitted intravenously; 29.8% were transmitted through unprotected sexual contact; 1.5% were transmitted from mother to child, and for 15.7% the transmission mode was unknown. The prevalence of HIV infection is over 5% among some of the most-at-risk population groups, such as IDUs, indicating that Tajikistan has a concentrated HIV epidemic."
Hasanov Kh.B., Muhabatov M.S., Makhsutov M.N., Chikalov Y.P., Murodova F.R., and Nurlyaminova Z.A. "2012 National Report on the Drug Situation in the Republic of Tajikistan (Drug situation in 2011)" (Dushanbe: National Centre for Monitoring and Prevention of Drug Addiction, Ministry of Health of the Republic of Tajikistan/Central Asia Drug Action Programme (CADAP)), p. 27.
http://www.cadap.eu/filedepot/...


I'm still on a high from one of the best nights of my life! This was my first Mac concert, and it was an event I had been looking forward to for a long time. I'm pleased to say it was definitely worth the wait. Everything about this show was amazing. I've seen and heard many recordings of Fleetwood Mac's live performances from the past thirty years, and none of them came close to Saturday night's concert. There was a great mix of young and old in the crowd, eagerly awaiting the Mac's first UK gig in thirteen years (not to mention the first with Lindsey since 1980!). As Mick's drums kicked in for the stomping introduction to The Chain, I knew it was going to be a memorable evening. Every song was performed perfectly... I haven't heard Stevie sound this good in a long time. She didn't miss a note all night, and her performance was strong and confident throughout, (her little dance routine to Say You Will was very cute). I also have to say that she looked better than ever! Her performance was matched all the way by Lindsey's. He had the crowd in the palm of his hand all night, especially with his amazing guitar solo on 'Come', which was definitely one of the highlights of the evening. It's hard to pick favourites from the night... but Landslide, Silver Springs, Big Love and Gold Dust Woman definitely seemed to please the sell out crowd. I was especially pleased that everybody seemed to love 'Stand Back', as Stevie's solo career hasn't really been as big in the UK as it was in the US. What really made the show so special was the amazing interaction between Stevie and Lindsey. They seemed like they were thirty years younger... and were it not for the fact that Lindsey is now happily married, you could quite easily believe they were falling in love again! Hopefully this will be the first of many tours to come. I can't wait to see them again!