text:
J. Marshall Shepherd
J. Marshall Shepherd, Ph.D
University of Georgia, Athens, GA, USA
Dr. J. Marshall Shepherd is a leading international expert in weather and climate. Dr. Shepherd was the 2013 President of American Meteorological Society (AMS), the nation's largest and oldest professional/science society in the atmospheric and related sciences. He is only the 2nd African American to hold this post. Dr. Shepherd is Director of the University of Georgia's (UGA) Atmospheric Sciences Program and Full Professor in the Department of Geography. He is the Georgia Athletic Association Distinguished Professor of Geography and Atmospheric Sciences. Dr. Shepherd is also the host of The Weather Channel's Sunday talk show Weather Geeks, a pioneering Sunday talk show on national television dedicated to science. He also is a Contributor to Forbes Magazine Online. In 2014, Ted Turner and his Captain Planet Foundation honored Dr. Shepherd with its Protector of the Earth Award. Prior recipients include Erin Brockovich and former EPA Administrator Lisa Jackson. He is also the 2015 Recipient of the Florida State University's Grad Made Good, Association of American Geographers (AAG) Media Achievement award and the UGA Franklin College of Arts and Sciences Sandy Beaver Award for Excellence in Teaching. In 2015, Dr. Shepherd was invited to moderate the White House Champions for Change event. Prior to UGA, Dr. Shepherd spent 12 years as a Research Meteorologist at NASA-Goddard Space Flight Center and was Deputy Project Scientist for the Global Precipitation Measurement (GPM) mission, a multi-national space mission that launched in 2014. President Bush honored him on May 4th 2004 at the White House with the Presidential Early Career Award for pioneering scientific research in weather and climate science. Dr. Shepherd is a Fellow of the American Meteorological Society, and in 2014, he was asked to join the Board for Climate Central, a leading science and media non-profit organization. In 2014, Dr. Shepherd was invited to join the Partnership Council for Mothers and Others for Clean Air. Two national magazines, the AMS, and Florida State University have also recognized Dr. Shepherd for his significant contributions.
Dr. Shepherd is frequently sought as an expert on weather, climate, and remote sensing. He routinely appears on CBS Face The Nation, NOVA, The Today Show, CNN, Fox News, The Weather Channel and several others. His TedX Atlanta Talk on "Slaying Climate Zombies" is highly regarded and cited. Dr. Shepherd is also frequently asked to advise key leaders at NASA, the White House, Congress, Department of Defense, and officials from foreign countries. In February 2013, Dr. Shepherd briefed the U.S. Senate on climate change and extreme weather. He has also written several editorials for CNN, Washington Post, Atlanta Journal Constitution, and numerous other outlets and has been featured in Time Magazine, Popular Mechanics, and NPR Science Friday. He is also a contributing author to Ebony Magazine, and his essay on climate and jobs was featured in the 2014 National Urban League State of Black America Report. He has over 100 peer-reviewed or scholarly publications. NASA, National Science Foundation, Department of Energy, Defense Threat Reduction Agency, and U.S. Forest Service have funded his scholarly research. Dr. Shepherd was also instrumental in leading the effort for UGA to become the 78th member of the University Corporation for Atmospheric Research (UCAR), a significant milestone for UGA.
Research Interests/Expertise: atmospheric sciences; climatology; water cycle processes and urban climate systems
Schroeder, A., Basara, J., Shepherd, J.M., & Nelson, S. (2016). Insights into Atmospheric Contributors to Urban Flash Flooding across the United States using an Analysis of Rawinsonde Data and Associated Calculated Parameters. Journal of Applied Meteorology and Climatology, 55(2), pp. 313 – 323. doi: 10.1175/JAMC-D-14-0232.1
Binita, K.C., Shepherd, J.M., & Gaither, C.J. (2015). Climate change vulnerability assessment in Georgia. (2015). Applied Geography, 62, pp. 62 – 74. doi: 10.1016/j.apgeog.2015.04.007
Debbage, N. & Shepherd, J.M. (2015). The urban heat island effect and city contiguity. Computers, Environment and Urban Systems, 54, pp. 181 – 194. doi: 10.1016/j.compenvurbsys.2015.08.002
Maier, G., Grundstein, A., Jang, W., Li, C., Naeher, L.P., & Shepherd, M. (2014). Assessing the Performance of a Vulnerability Index during Oppressive Heat across Georgia, United States. Weather Climate and Society, 6(2), pp. 253 – 263. doi: 10.1175/WCAS-D-13-00037.1
Andersen, T., & Shepherd, J.M. (2013). Floods in a changing climate. Geography Compass, 7(I), pp. 95–115.DOI: 10.1111/gec3.12025


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Q: image array and .src - image not changing I have created an array which is being used to store a series of .gif images and I'm just trying to test everything out by using document.getElementById to change the .src value but when I change it and load the page the image stays the same as it was before.
    function setImage()
    {
    var images = new Array();
    images[0] = anemone.gif;
    images[1] = ball.gif;
    images[2] = crab.gif;
    images[3] = fish2.gif;
    images[4] = gull.gif;
    images[5] = jellyfish.gif;
    images[6] = moon.gif;
    images[7] = sail.gif;
    images[8] = shell.gif;
    images[9] = snail.gif;
    images[10] = sun.gif;
    images[11] = sunnies.gif;
    images[12] = whale.gif;

    var slots = new Array();
    slots[0] = document.getElementById("slot" + 0);
    slots[1] = document.getElementById("slot" + 1);
    slots[2] = document.getElementById("slot" + 2);
    slots[0].src = "snail.gif";
    document.getElementById('slot0').src = images[0];
    alert(images.length);
    }

I can't understand why the image wont change, but I know it has to be something very simple. I've been wasting hours trying to get this one thing to change but nothing works. can anyone please point out the error of my ways?

A: There are a couple of issues with your code:
Your filenames need to be Strings, so they'll have to be quoted (also you can simplify the Array creation):
var images = ['anemone.gif', 'ball.gif', 'crab.gif', 'fish2.gif', 'gull.gif', 'jellyfish.gif', 'moon.gif', 'sail.gif', 'shell.gif', 'snail.gif', 'sun.gif', 'sunnies.gif', 'whale.gif'];

Also make sure you are getting your slot-elements right, quote all the attributes like:
<img id="slot0" class="slot" src="crab.gif" width="120" height="80">

When you create the slots-Array you can do it like this (no need to concat the ID string):
var slots = [document.getElementById('slot0'), document.getElementById('slot1'), document.getElementById('slot2')];

Finally make sure you call your function when the document has loaded / the DOM is ready. If you don't want to use a framework like jQuery your easiest bet is probably still using window.onload:
window.onload = setImage; //note that the parens are missing as you want to refer to the function instead of executing it

Further reading on Arrays, window.onload and DOMReady:

*

*https://developer.mozilla.org/de/docs/DOM/window.onload

*https://developer.mozilla.org/en-US/docs/JavaScript/Reference/Global_Objects/Array

*javascript domready?

redpajama_set_name: RedPajamaStackExchange


Write a C program to print all prime numbers between 1 to N using for loop.
Wap in C to print prime numbers between 1 to 100.
Let, N be a positive number.
For every number i, between 2 to N/2(2<= i <= N/2) check whether i divides N completely(check If i is a factor of N).
if (N % i == 0), then N cannot be a Prime number.
If none of the number between 2 to N/2 divides N completely then N is a prime number.


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Dit is de lijst van leden van de Akademie van Kunsten. De Akademie van Kunsten telde bij de start in 2014 veertien leden. Tot 2017 werd het ledenaantal jaarlijks aangevuld met nieuwe leden tot het vastgestelde maximum van vijftig werd bereikt. Drie jaar later, in 2020, besloot de Akademie dit maximum los te laten. Gekozen werd voor een permanent lidmaatschap in plaats van een lidmaatschap van vijf jaar. Oud-leden werd met terugwerkende kracht een permanent lidmaatschap aangeboden. Het percentage vrouwelijke leden was in 2020 op 42%.

De leden van de Akademie van Kunsten worden gekozen op grond van nominaties. Iedereen kan jaarlijks vooraanstaande kunstenaars uit alle disciplines die zich op basis van aantoonbare artistieke prestaties hebben onderscheiden, nomineren voor het lidmaatschap. De selectiecommissie bestaat uit leden van de Akademie van Kunsten, de Koninklijke Nederlandse Akademie van Wetenschappen en De Jonge Akademie.

De leden van de Akademie worden vermeld op alfabetische volgorde op achternaam.

Zie ook
 Akademie van Kunsten

Akademie van Kunsten
Kunst in Nederland

redpajama_set_name: RedPajamaWikipedia


Soluble fibers eaten in high amounts can decrease blood cholesterol. If oat bran is used, the amount required would be approximately 80 to 100 grams per day which is about 3/4 cup of uncooked oats. With cooked beans, about 1 1/2 cups is needed, which is about 150 grams.
A diet high in soluble fiber is beneficial for several reasons. Soluble fiber ingested in large amounts can decrease blood cholesterol. The mechanism is due, in part, to the ability of soluble fiber to inhibit bile recycling in the intestinal tract. Bile, which is formed from cholesterol, is pulled into the feces for elimination, rather than eventually accumulating in the blood.
Soluble fiber is also beneficial in moderating levels of blood glucose. When consumed in large amounts, soluble fiber slows glucose absorption from the small intestine. The fiber, such as oatmeal, is processed slowly and produces a slow increase in blood glucose after eating. This effect may be helpful in the management of diabetes because it is part of a diet that helps to regulate blood glucose.
Additionally, study results suggest that soluble fiber can help delay gastric emptying, which may be useful in preventing overeating because it causes a feeling of satiety.


text:
/ FTI Journal
And We're Live! Leading Practices for Conducting Interviews in a Remote Investigation
This is the fourth article in a series on planning and managing remote investigations. The first article provided a general overview on the state of remote investigations today. The second article covered leading practices for planning and managing remote investigations. The third article looked at data collection.
In recent months, the use of video platform tools has become commonplace, all but obviating the need for in-person meetings. Indeed, it is remarkable how quickly the world has adapted to this remote reality for all kinds of interactions. By way of example, the U.S. Senate conducted more than half of its 30 committee hearings earlier this year either completely or partially remotely.
In the context of conducting investigations into allegations of organizational fraud or misconduct, the use of video platforms has also be come commonplace. And as this technique becomes the rule rather than the exception, it is important to understand the limitations of the medium and to optimize its advantages in order to achieve the best possible outcomes.
Consider, for instance, that some interviewees become nervous during in-person interviews and may be reluctant to provide information. Conversely, in remote interviews originating from their own homes, subjects may feel less intimidated and talk more openly.
As in all investigations, conducting a remote interview requires a great deal of preparation. To that end, leading practices for conducting remote interviews fall into two primary areas: preparing for the onscreen meeting and mitigating the myriad technological issues that can arise. Here are important considerations in both areas:
Prepping for the Onscreen Meeting
Build time into your plan. In advance of the interview, the team should create an extensive, logically organized and well-constructed interview plan that includes the relevant topics of interest. Because the use of video tools disrupts the random flow and natural breaks of an in-person interview, the interviewer should also build in pauses and breaks to allow the investigative team enough flexibility to follow up on information and details learned during the remote sit-down. This also allows the team to reconnect and refresh on topics and issues still to be covered. Additional time should also be allocated since sharing documents on a video platform is not as efficient as in person.
Clearly establish team roles. Every team member should have a preassigned designated role (e.g., the lead interviewer, someone to share documents during the interview, the note taker). In an interview conducted using a video platform tool, the need for efficiency is paramount. If the interviewer is continuously looking down to take notes or shuffling through papers trying to find documents, valuable time can be lost, along with the ability to follow up on critical avenues of inquiry. The investigative team may choose to rehearse ahead of time and agree on the respective roles to reduce the chance of ineffective results.
Utilize traditional training. Even though an interview is conducted utilizing nontraditional tools and means, some of the "old rules" still apply. Establishing a rapport with the interviewee is still important, as are being able to sit back and avoid filling silences, asking open-ended questions, and making sure the subject does most of the talking. Other practices, from active listening to perceiving deception and responding to evasiveness, remain the same.
Watch for any "funny business". An interview conducted remotely utilizing a video platform tool makes it more difficult to ensure that the subject isn't being actively coached while a question is pending. Be aware that those on the other side of the screen could be using a separate means of communication, like emails or text messaging. The investigative team should request that there be no other means of communication available during the interview (though if the subject is represented by counsel during the interview, all the rights and privileges that the representation affords must be respected). At the outset, the team should confirm with the interviewee whether there are others present and that they are not recording the session.
Inspect the premises. The use of a video platform tool is superior to a simple audio tool as it permits the investigative team to monitor body language and other nonverbal cues visually. Know what the room set-up for the interviewee will be ahead of time: It's important to be able to see the subject's hands (and feet if possible) since people often fidget when nervous or being evasive. It's important to do a test run with everyone in their respective locations beforehand to check lighting, sound, etc.
Employ global partners as needed. During the performance of an international investigation, it's often possible to partner with a trusted local professional to help facilitate the interview and get other needed support. As always, be aware of and sensitive to cultural differences. There should also be agreement about language capabilities and the inclusion of a translator if necessary; language barriers can be exacerbated on video conference.
Technology Considerations
The technical issues that can arise during a video interview are numerous and are familiar to anyone who uses live video. A few examples include the screen freezing, spotty or dropped connections, and disruptions from other parties in the room.
Preview the connections. Establish beforehand that the interviewee has the best internet connection available to him or her. In some cross-border investigations involving countries that are not as developed as others, for example, establishing a stable connection may be an issue.
Consider the subject. Not all interview subjects have the same level of technology familiarity. Some interviewees may need additional on-site assistance to join a video conference. Though a video interview is always preferable, be prepared to continue over the phone if a connection is unstable or ceases to operate.
Know the video tool platform. Always be completely familiar with the various video conference platforms (e.g., WebEx, Zoom, Microsoft Teams, Skype) to be able to manage the respective tools, such as screen sharing or group muting. Try to accommodate the interviewee as best as possible but remember that some platforms handle multiple users better than others.
Set the background. Discuss the background screens to be used (or not used) to ensure that there are no impediments to fully viewing the subject.
Avoid the chat feature. To protect privacy when "passing notes" among the interviewing team, do not use the platform's chat feature as the sessions might be recorded. Texting separately is a safer option.
Peel the "onion". The order of interviews, particularly when seeking an admission (or confession), remains the same as the in-person version: The interviewer gradually works his or her way from ancillary subjects to those closest to the subject, and finally to the subject him- or herself. Think of the process as akin to peeling away layers of an onion to get to the core.
Obviously, the prospect of conducting a successful interview in any setting starts with the skills and talents that the investigators bring to the table. As we continue to embrace video tools, transferring those skills and talents to the digital realm effectively will be key to developing the remote version to its fullest.
© Copyright 2020. The views expressed herein are those of the authors and do not necessarily represent the views of FTI Consulting, Inc. or its other professionals.
The FTI Journal publication offers deep and engaging insights to contextualize the issues that matter, and explores topics that will impact the risks your business faces and its reputation.
The Challenges (And Surprising Benefits) of Conducting Remote Investigations Read FTI Journal
Extending Your Reach: Best Practices for Collecting Data in a Remote Investigation Read FTI Journal
Fraud Waits for No One: Best Practices for Managing a Remote Investigation Today Read FTI Journal
Edith Wong

redpajama_set_name: RedPajamaCommonCrawl


en:Darwin Core location terms can be grouped into three subcategories - geographic terms, verbatim coordinate terms, and georeference terms. ===Geographic Terms=== Geographic terms include * [[dwc:higherGeography]] * [[dwc:continent]] * [[dwc:countryCode]] * [[dwc:stateProvince]] * [[dwc:county]] * [[dwc:municipality]] A good reference for place names is the Getty Thesaurus of Geographic Names (TGN), which can be found at http://www.getty.edu/research/conducting_research/vocabularies/tgn/. Administrative boundary files can be obtained from the Global Administrative Areas (GADM) data set at http://biogeo.berkeley.edu/gadm/. MARC records for geographic names, including URIs, can be found at http://id.loc.gov/vocabulary/geographicAreas.html. ===Verbatim Coordinate Terms=== Verbatim coordinate terms include: * [[dwc:verbatimLatitude]] * [[dwc:verbatimLongitude]] * [[dwc:verbatimCoordinateSystem]] * [[dwc:verbatimSRS]] The terms beginning with verbatim are meant to capture the original record of the coordinates of the Location. verbatimCoordinates is meant to capture coordinates that have not or cannot be separated into the verbatimLatitude and verbatimLongitude. If the coordinates can be separated, they should be, since there is less chance to misinterpret the content. The verbatimCoordinateSystem and the verbatimSRS both refer to the values in verbatimLatitude and verbatimLongitude, or to the value in verbatimCoordinates. ===Georeference Terms=== * [[dwc:decimalLatitude]] * [[dwc:decimalLongitude]] * [[dwc:geodeticDatum]] * [[dwc:georeferenceProtocol]] * [[dwc:georeferenceVerificationStatus]] * [[dwc:footprintSRS]] Further detailed explanations of the terms associated with georeferences (spatial descriptions of place using points, circles, lines, polygons, etc.) can be found in the Guide to Best Practices for Georeferencing http://www.gbif.org/prog/digit/Georeferencing.
Darwin Core location terms can be grouped into three subcategories - geographic terms, verbatim coordinate terms, and georeference terms. ===Geographic Terms=== Geographic terms include * [[dwc:higherGeography]] * [[dwc:continent]] * [[dwc:countryCode]] * [[dwc:stateProvince]] * [[dwc:county]] * [[dwc:municipality]] A good reference for place names is the Getty Thesaurus of Geographic Names (TGN), which can be found at http://www.getty.edu/research/conducting_research/vocabularies/tgn/. Administrative boundary files can be obtained from the Global Administrative Areas (GADM) data set at http://biogeo.berkeley.edu/gadm/. MARC records for geographic names, including URIs, can be found at http://id.loc.gov/vocabulary/geographicAreas.html. ===Verbatim Coordinate Terms=== Verbatim coordinate terms include: * [[dwc:verbatimLatitude]] * [[dwc:verbatimLongitude]] * [[dwc:verbatimCoordinateSystem]] * [[dwc:verbatimSRS]] The terms beginning with verbatim are meant to capture the original record of the coordinates of the Location. verbatimCoordinates is meant to capture coordinates that have not or cannot be separated into the verbatimLatitude and verbatimLongitude. If the coordinates can be separated, they should be, since there is less chance to misinterpret the content. The verbatimCoordinateSystem and the verbatimSRS both refer to the values in verbatimLatitude and verbatimLongitude, or to the value in verbatimCoordinates. ===Georeference Terms=== * [[dwc:decimalLatitude]] * [[dwc:decimalLongitude]] * [[dwc:geodeticDatum]] * [[dwc:georeferenceProtocol]] * [[dwc:georeferenceVerificationStatus]] * [[dwc:footprintSRS]] Further detailed explanations of the terms associated with georeferences (spatial descriptions of place using points, circles, lines, polygons, etc.) can be found in the Guide to Best Practices for Georeferencing http://www.gbif.org/prog/digit/Georeferencing.


text:
Inside the Making of the Britney Spears Musical
After a year of seismic developments in the pop star's real-life soap opera, a Broadway show set to her music—with a rise-up tale about a posse of princesses who become feminists—is set to debut. And it premieres in Washington.
Written by Rosa Cartagena
| Published on November 19, 2021
Photograph by Jeff Elkins
Beginning November 30, audiences at Washington's Shakespeare Theatre Company—home to Ophelia, Cleopatra, and Desdemona—will hear from an entirely different sort of heroine: Britney Jean Spears.
More than six years in the making, the musical featuring her songs, Once Upon a One More Time—yes, that's a nod to her breakout hit, "Baby One More Time"—began gestating at a moment when the teen-icon-turned-paparazzi-catastrophe was largely remembered as a bit of nostalgia from the early aughts. But as the show prepares for a global premiere in Washington, Spears is news once again, the subject of documentaries and court proceedings and at least two rallies at the Capitol. Even Bard-loving traditionalists might see a Spears-inspired tale as something that the theater's Elizabethan namesake could have recognized as the stuff of great drama.
For the uninitiated: A 16-year-old when she debuted in pigtails and a skimpy school uniform, Britney fixated a generation of teen girls with her bubblegum pop and sexual confidence. But as her personal life spiraled, courts eventually subjected her to a conservatorship, a legal apparatus that put her father and others in charge of all her affairs, from her right to remove her own IUD to decisions about her $60-million estate. Spears's pop-culture presence faded somewhat, right along with her contact with the outside world. Then, over the past year, bombshell reports from the courthouse revealed a much more disturbing reality than the public imagined—a story of a thirtysomething mother begging to be freed from a 13-year legal confinement.
Choreographer/directors Keone and Mari Madrid (standing) preside over Once rehearsals in October. Photograph courtesy of Once Upon a One More Time.
In other words, it's an unexpectedly perfect time for a husband/wife power-duo choreography team to open a down-with-the-patriarchy musical featuring the Britney songbook. The show is headed to Broadway, and if its producers' hopes of landing a blockbuster pan out—Sony Pictures has already bought the film rights—Washingtonians who attended the DC premiere may have a more personal take: I SAW THE WORLD'S BUZZIEST SHOW BEFORE EVERYONE ELSE.
The production has survived one postponement, one cancellation, and the ups and downs of key personnel changes. But the legal drama of the last few years—the court ended Spears's conservatorship on November 12, two weeks before opening night—also presents a significant marketing challenge: a newly enlarged universe of Britneyphiles who are attacking the play's very existence, worrying that it's just another profiteering venture by those she says exploited her.
If there's one thing that hardcore Britneyologists recognize about their subject, it's that she's usually been the driving creative force of her work. That was true even of tours that took place during the conservatorship. As Spears sang in a 2008 number, the same year the court intervened, "I'm a put-on-a-show kind of girl . . . . I'm like the ringleader, I call the shots." Given what we know now, though, the Britney fandom isn't quite sure what to believe about the musical.
One day a few years ago, before the production was announced publicly, its playwright, Jon Hartmere, was fluttering around a theater in Midtown Manhattan, hyper-anxious to hear his lines spoken aloud. The band was warmed up, the actors seated in two semicircular rows onstage. Everybody was ready for the day's big read-through, but a little nervous, too.
The audience was invitation-only and small—mostly family and friends. The lights dimmed, and then, like a silent-movie star, Britney Spears sauntered down the aisle to her seat, flanked by an entourage. Showtime.
"Britney was laughing and clapping along and singing."
It was the spring of 2018, and the pop star had come to see the musical's progress. Hartmere–who's slender, blond, and partial to blue-rimmed glasses–was in a row behind her, "literally vibrating in my seat," he recalls. He was trying to keep his attention on the actors, but his eyes kept turning to Spears, searching for her reaction. "She was laughing and clapping along and singing" throughout, says Hartmere. She approved.
Once playwright Jon Hartmere, top, and Shakespeare Theatre's Simon Godwin. Photograph of Hartmere by Calla Kessler. Photograph of Godwin by KK Ottesen/Shakespeare Theatre.
The musical had been Britney's idea from the start, says James Nederlander, president of the second-largest theater owner on Broadway, which produced Chicago, The Color Purple, and Kinky Boots. Three years earlier, he says, he got a call from Spears's then-agent, Rob Light. Was there any chance Nederlander was interested in producing a musical with Britney Spears songs? "I almost went through the phone to LA and said, 'Yes, sign me up,' " Nederlander recalls.
According to Nederlander—an exuberant, blunt-talking producer who took over the company from his father—Spears really wanted to see her hits paired with a story about princesses. The company that owns her music rights licensed her catalog, and Nederlander's team got to work on the vision, ultimately choosing Hartmere's proposal for its humor and sophistication. A stage and screen writer, Hartmere had made a splash with the rock musical Bare: A Pop Opera, about gay teens in Catholic school, but he also had another, less glamorous credit to lean on: He'd once taught elementary school and read fairy tales to his students. "Her catalog slotted into this [princess] idea kind of magically," Hartmere says, adding: "It didn't feel like we were really having to force anything—and that includes her biggest hits."
Cinderella became the main character, and Hartmere's guiding star. When he heard Britney's "Work B-tch" ("You want a hot body? / You want a Bugatti? / You want a Maserati? / You better work, b-tch"), he could instantly see Cinderella's "stepmother and stepsister singing to her." He began pulling in princesses from other tales, threading together a feminist anthem ripe for the post-MeToo era—an era, it must be noted, very different from the one that first embraced Spears's brand of pop.
From left to right, Cinderella's work look, Cinderella's evening wear, Snow White, Rapunzel, Sleeping Beauty, Belle (from Beauty and the Beast), The Little Mermaid, The Princess and the Pea, Gretel (of Hansel and Gretel). Wardrobe sketches by Loren Elstein.
The story is ingenious and improbably funny, one part fantasy, one part metaphor for the real Britney's life, or that of any other woman victimized by a controlling man. Cinderella and her royal friends have grown up on Grimm stories, regularly revisiting each classic in their book club. Every time a child in the real world wants to hear one of the stories—Snow White, Rapunzel, Sleeping Beauty—the royal has to act out her tale. (Onstage, a child actor sits to the side watching, Princess Bride–style.) These are working-girl princesses, that is. And they are burned out.
When Cinderella begins questioning her lot in life, the Original Fairy Godmother (they call her the O.F.G.) appears and hands the princess—what else?—The Feminine Mystique by Betty Friedan. The shell-shocked damsels realize, happy endings be damned, that it's someone else who's been scripting the story of their lives. Oh, baby, baby—cue the existential crises. A strike ensues, demonstrating that the entire male-led enterprise depends on . . . the second sex. Ultimately, Cinderella and her newborn posse of feminists defy a clueless Prince Charming, a conniving stepmother, and the show's own furious narrator to seize the right—or in this case, the prop quill—to write their own stories from then on. Sound familiar?
Aisha Jackson plays Snow White; Briga Heelan is Cinderella; Justin Guarini is Prince Charming. Photograph by Calla Kessler.
The show contains 23 Spears hits. Among them are the must-have classics ("Toxic," "Lucky"), the obvious show tunes ("Cinderella," "Circus"), the deep cuts ("Passenger," "From the Bottom of My Broken Heart"), and the mid-career sass tracks ("Piece of Me," "Womanizer"). Hartmere did have to rewrite some lyrics to jibe with his story line, a process called relyricization and one he says he undertook with extra care. Earlier versions of the script leaned more on sultry Spears than kid-friendly Spears, but Hartmere made tweaks to strike a tone that might resonate with a broader age range (and sell more tickets). Songs have gone in and out. He slotted the playful "Clumsy," then cut it, but kept a character by the same name. (Clumsy is Snow White's eighth dwarf; he falls for a prince, a nod from Hartmere, who's gay, to Britney's huge gay fan base.) Spears's team—including her manager at the time, Larry Rudolph—was involved along the way, attending developmental workshops and other readings and sharing feedback with the producers.
But as with all things Britney, it's the dancing that's as crucial as the music, right down to an unlikely twist for Broadway: hiring a pair of dancers to direct the entire show. Keone and Mari Madrid have never directed a musical before. Still, they have worked with Billie Eilish, BTS, and Kendrick Lamar and have assembled numbers for all the major dance-competition shows that have overtaken prime-time TV in the last decade. Nederlander initially enlisted them as Once's choreographers. But in 2019, when he and his partners split with the show's original director, they decided to promote the pair. "Talented as hell," Nederlander says of the couple. "You gotta gamble a little bit in this business, too."
The Madrids have choreographed for BTS, Billie Eilish, and Kendrick Lamar. Photograph by Calla Kessler.
Mari, who was very pregnant at the time, jokes that she was surprised she didn't go into labor when she answered the call. "Everyone was reassuring and saying, like, 'Hey, you know, Broadway wants something fresh, something new,' " Keone remembers, adding, " 'Don't worry about being whatever you think Broadway is—we want you guys to be who you are.' "
Of course, the change meant significant revisions, and that meant a delay. The premiere date was now April 2020. Nederlander had wanted to open outside Manhattan—a common playbook for big-budget musicals; his company chose one of its Chicago stages. If all went well, the show was expected to land in New York soon after.
You know what happened next. Two weeks after rehearsals began in March 2020, Covid shut everything down. The cast sang one final song together, crying and embracing before scrambling to get home. They wouldn't rehearse Once again for 19 months. By the time the Spears musical would be ready, the real-life Spears drama would reach peak intrigue.
But before we get to that, here's something you may be wondering: Of all the cities in the country to open in, how did it come to be Washington? And of all the theaters in Washington, how did it come to be one dedicated to the Bard?
DC is something of an incubator for buzzy new musicals—Dear Evan Hansen, Mean Girls, and Beetlejuice opened here, too. The city has a reputation in drama circles as a good testing ground, in part for its smart audiences and proximity to New York. Yet Shakespeare Theatre has never hosted a pre-Broadway tryout of a new commercial musical, for reasons you'd expect: It's best known for modern retellings of its namesake, or fresh takes on Greek epics. Classics are the core of its mission.
In 2019, though, the 35-year-old organization brought on a new artistic director for the first time since its founding: Simon Godwin, a brainy, provocative Brit who had become known for mounting invigorating productions of Shakespeare at the Bristol Old Vic, Britain's National Theatre, and beyond. Shakespeare Theatre had been in the mix for Once before Godwin started, but schedules made it tricky and Chicago won out. Last winter, the theater reached out again. After the brutal economics of the pandemic, reopening with a Spears musical would be like jet-rocket fuel.
This time, Nederlander was all in—it didn't matter that Godwin, the effusive, Cambridge-educated director, had never overseen a brand-new musical headed to Broadway. "I just trusted him," Nederlander says, adding, "I thought that this could be a good match."
In a way, the show is a coming-out for Godwin, too. Covid forced him to shutter the theater only seven months into his new role. At the time, he was overseeing James Baldwin's lesser-known gospel musical, The Amen Corner—only the second show by a Black dramatist in the theater's history. (The first was earlier in the same season—i.e., also under Godwin.) And at Christmastime before Covid, he had tried something new with Lauren Gunderson's feminist reimagining of Peter Pan, which places Wendy at the center of the tale. A father of twin four-year-old girls, Godwin says he's passionate about producing family-oriented shows during the holidays. At the time, some stalwarts bristled, questioning how a Disney story related to the Bard. Godwin understands the skepticism, but a "classic," in his view, "doesn't mean something that's old—it means something that's excellent."
He's getting a similar quizzical response now as people try to square the curious combo of Shakespeare and Spears. The way he sees it, a play that mashes up timeworn fairy tales with a she-hero of contemporary culture syncs completely with his institution's mission. "We as a theater are interested, very concretely and very specifically, in retelling stories from the past in a present way," Godwin says. "When I got to see the [Once] script, I thought, 'Yeah, there's something bold and audacious and irreverent and cheeky and larger than life about this material, which for me sits really easily with Shakespeare.' "
The musical runs November 30 through January 2 at Shakespeare Theatre. Photograph by Evy Mages
The money would be nice, too. Godwin had to lay off 38 staffers during Covid. Even before that, the theater, like many stages, was worrying about ways to reel in younger, more diverse audiences. Once could be a game-changer: The theater stands to pocket a percentage of the musical's future box-office profits on Broadway. The arrangement is much like the Hamilton agreement that, six years after that musical's debut, is still flooding money into the Public Theater, the off-Broadway spot where it opened before moving to the Richard Rodgers Theatre. Once could likewise ensure the organization's livelihood for years to come. Ticket subscriptions to Shakespeare's 2021–22 season are filled with newcomers compared with 2019–20; early sales of Once were so strong that the theater is considering an extension. The box office upped its top price: Typically, tickets run less than $120, but a Once seat can cost $190.
Over a five-week run in a house with a 755-seat capacity, those Washington audiences will add up. They'll also be instrumental in the show's development. Live theater is malleable, so if one laugh line meets awkward silence, for instance, it might be cut. Tryouts are "absolutely a study of the science of the audience," says Godwin, adding, "Our world is changing so quickly, a script or a joke or a comment that would have meant one thing a year ago could mean something slightly different today." Are people singing along, on the edge of their seats awaiting the next number, or are they distracted, bored?
Godwin told me recently he's optimistic the show does justice to what he calls Spears's "provocation"—her idea. "I'm hoping that she'll come and see the show in Washington," he said. "Wouldn't that be wonderful?"
One Saturday in late October, I took the elevator to the ninth floor of New 42 Studios in Times Square to see, at last, how Once was coming together. It was six weeks until showtime, and rehearsals had just begun. (The popular New York studio building hosts dozens of productions in development. The Once team would travel to DC in mid-November.)
By the time I arrived, 22 actors—all in sweats, tights, and various versions of athleisure—had been at it for hours, hitting moves and hustling to find the next mark. Start, stop, again.
Justin Guarini, of American Idol fame, who plays the vapid, pretty-boy Prince Charming, was working on a scene, script pages in hand, in which Cinderella (played by Great News star Briga Heelan) and Snow White (Broadway darling Aisha Jackson) have just discovered that their "one" true loves are actually the same person: Charming's been playing them. Caught and flustered, Guarini struck a dramatic pose to start "Oops . . . I Did It Again." (Later, the princesses will find him climbing down Rapunzel's tower, sing "Womanizer," and throw him into a well LOL.)
In the show, Guarini's Prince Charming woos Snow White and Cinderella both . . . which does not go well for him. Photograph by Calla Kessler.
The room had a corner for the drum kit and piano, props, and colorful tulle skirts, in place of the elaborate costumes to come. The cast faced a mirror wall and a line of tables littered with binders, sodas, and face masks: the Madrids, Hartmere, and creative consultant David Leveaux at their command center. In one sense, it was all pretty familiar: This was the same building where they'd rehearsed in 2020. But that's not to say it felt the same. A block away, an LED billboard was flashing Britney Spears's face: an ad for Netflix's Britney vs. Spears documentary about the conservatorship.
Over the previous four months, Spears had finally been allowed to speak to the court in a public hearing. She'd delivered damning testimony that painted her father, Jamie, as a cruel egomaniac who overworked and overmedicated her. Public outrage swelled. Jamie resigned as her conservator and asked to end the 13-year arrangement completely.
"The show is about starting over, writing your own stories."
I had wondered if the turn of events would mean a few more changes to the show, but Hartmere told me they didn't have to tinker with anything. "I don't know whether that's just because we're so far away from what's going on or if it's just happenstance, but there really hasn't been an 'Oh, we gotta pull that' moment," he says. The musical-makers have followed the Britney news, but in interviews with me, they also distanced themselves from it. When I'd ask people if they felt conflicted about being part of the production, they'd point out Spears's connection to the show—that she was in it from the very beginning. It was her idea. She adores princesses. She saw a read-through and loved it. "The show showcases how brilliant her music is and what a real superstar she is. . . . It's about starting over, and writing your own stories," Hartmere told me.
"Look," Guarini says, "I just want Britney to have the outcome that she desires for her life from this situation, period."
But as with all Britneyana in the year 2021, it gets complicated. How should we—the folks who might spend $190 on a ticket—feel about everything?
Some facts are not good: The idea surfaced in 2015, seven years into the conservatorship. The deal materialized during a time when Spears had no say in her business dealings. But other details would seem to offer a green light: Over the years, Spears has gushed about fairy tales on Instagram, posting princess memes and naming her favorite (it's the main character of "The Princess and the Pea," who happens to be in Once, too). In 2019, when the play was announced, this is what she said: "I'm so excited to have a musical with my songs—especially one that takes place in such a magical world filled with characters I grew up on. This is a dream come true for me!"
And yet: The comment came not on her Instagram but in the form of a statement provided to the press. Was it truly how she felt? Can we feel secure in believing this was all part of her plan, given what we've learned about trusting those who said they spoke for Spears?
And who stands to benefit if the play is a wild success? Deadline Hollywood reported in 2019 that Spears's then-manager Larry Rudolph would executive-produce the musical's eventual film with her. In her testimony to the court, she described feeling intimidated and punished by "my management" during the time she alleged she was overworked; she did not name Rudolph, and has had several managers. Britney stans have been grappling with whether the price of admission to Once would fill the pockets of people Britney has alleged oppressed her. The particulars of the contract and the royalties are not public.
A July 2021 #FreeBritney rally in DC, one of a couple held here. Photograph by Mike Maguire/Flickr.
If you're a Spears defender, there's a lot you don't know. So it's inevitable that, for some, it might just feel too soon, too . . . icky.
"Come on, it's entertainment, please—we've been locked up for a year and a half. Enjoy yourself," James Nederlander told me in September when I asked if he was ruffled by this vein of critiques. What did he think of those who are concerned that her conservators might profit? "I never heard any of that," he said. "Hopefully, there will be a lot of profits for everybody."
Maybe none of these questions have easy answers, but they do expose an uncomfortable truth. One way or the other, we've been buying tickets to The Britney Show for the last 15 years. We watched as the conservatorship began and trusted that Daddy knew best—she was out of control, she needed help, didn't you see her shave her head? Then Jamie organized a world tour and a Vegas residency, and the old Britney showed up, the megawatt performer whose clapback lyrics and chest pops we worshipped. She was back.
We watched and cheered as she released bangers, sold out venues, worked harder than ever. Yet today we see the sinister clues we ignored. In a 2008 MTV documentary, Spears said of her team, "They hear me, but they're not really listening." That's a tragically universal feeling, confirmed by the ensuing years of frustrating news for women—from Access Hollywood to #MeToo to Christine Blasey Ford, all of which transpired while Britney was silenced.
But it also sums up our own complicity in Spears's tragedy. You want a Bugatti? You better work, b-tch. Rereading her 'Gram captions, her lyrics, even her carefully worded public statements, it's like you can see now how Britney tried to speak her truth—we just weren't listening.
Released from the conservatorship, Spears is now taking back her quill on the cusp of 40 years old. She has reportedly said she'd like to hang up her mike and retire. Marry her fiancé. Have another baby. Live a quieter life. One of those nights, she might find herself at a Nederlander theater on Broadway, surrounded by her faithful, free to sit back, enjoy a show celebrating her legacy, and maybe even sing along.
This article appears in the December 2021 issue of Washingtonian.
More: FeaturesAisha JacksonBriga HeelanBritney SpearsBroadwayFeaturesFree BritneyJames NederlanderJon HartmereJustin GuariniKeone MadridMari MadridMusicalOnce Upon a One More TimeShakespeare TheatreSimon Godwin
Rosa Cartagena
Rosa is a senior editor at Bitch Magazine. She's written for Washingtonian and Smithsonian magazine.
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JCCV President's Year-End Message
Dear JCCV Members and Friends:
I believe that 2022, my 9th year as President, has been a good year for the Centre, one in which we saw a progression towards normalcy whilst still living with Covid. The board continued to meet virtually via Zoom and were able to move ahead successfully throughout the year with Centre activities and programs.
Over the years, over 300 volunteers have contributed their time and energy to the creation and running of the Jewish Community Centre of Victoria. In January, we launched a Volunteer Recognition page on the JCCV website listing in alphabetical order all the volunteers at the Centre from its founding in June 1988 to the present day. Peruse the list at https://jccvictoria.ca/volunteer-recognition/ and if we missed anyone or entered any information incorrectly, please let us know by email at jccv@telus.net.
Throughout the year, we operated the Deli for both dining-in and take-out. We continued to use the entire back hall for seating to allow for generous distancing between tables. Also, our customers comment that the ambiance is much better with the dividing wall left open. We opened the Deli over the summer for take-out only with some delicious weekly specials. We were very disappointed to cancel Latke Mania this year, however the Deli and Chanukah Gift Shop were very busy in December.
We sold the Food Kiosk to JCCV volunteers Yaaqov Ittah and Rosalind Majorki. They made several upgrades to the kiosk. Julicious, with some JCCV menu favourites and others, will be open for business in the Langford Station in mid-January. The JCCV will get a percentage of sales.
Our librarian created an online catalogue for the Centre's library collection on the JCCV website at https://jccvictoria.ca/library/library-catalog/.
The 8th annual Victoria International Jewish Film Festival ran over 6 days in early November with a combination of virtual and in-theatre screenings and was well attended.
We returned to in-person luncheons in October with a Vintage Fashion Showcase that was well attended. We also offered several live webinars throughout the year as well as our virtual havurah for Jewish study and discussion, virtual book club, social walking group and Tuesday afternoon drop-in mahj.
We maintained an up-to-date website, and we kept our members and friends informed of Centre events and activities through our MailChimp email blasts. Our mailing list has grown to over 425 members and friends.
We introduced a new monthly MailChimp blast "Spotlight on Canadian Jewish Culture" authored by JCCV member Jennie Preuss.
We provided use of the Centre's parking lot on Sundays in the summer and fall to JFSVI for their Saanich Green Market, the Centre's hall to Bema Productions for their rehearsals and use of the Centre's hall on Monday afternoons to a charitable sewing group.
Importantly, with the recent rise in antisemitism, we established a Security Committee to develop a plan for enhancing security at the Centre.
I would like to thank my fellow board directors who provided wise counsel and were a pleasure to work with over this past year. I would like to extend special thanks to Ethel Chochinov, who stepped down from the board after more than 25 years, for her very valuable contributions and service as Treasurer, President and volunteer at almost every Centre program and event.
I would like to thank Edie Reckon for running the office, Tim Humphreys for his accounting and IT expertise, Nanci Secter for running the gift shop, and Leah Freedman for looking after our library, including creating an online catalogue.
I would like to thank Deborah Bricks and Farley Cates for co-directing the 8th annual VIJFF. I would like to thank Phyllis Arron for coordinating our luncheons and virtual webinars, Juliet Simon for leading the social walking group, Cyril Kesten for leading the monthly virtual book club and Jennie Preuss for leading the virtual Jewish Havurah and writing the monthly "Spotlight on Canadian Jewish Culture".
I would especially like to thank Rose Carr for her dedication and many hours of hard work running the Deli and delighting our customers.
I would like to thank our many volunteers who help in the Deli and Front Desk.
Deli Volunteers: Bernie Moss, Karen Savell, Yaaqov Ittah, Rosalind Majorki, Mel Macara, Janis Silver, Willie Markson, Ricki Buckwold, Barbara Humphreys and Ralph Neuman.
Front Desk Volunteers: Andrea Fill, Sandie and David Bornstein, Irv Brody, Rosalind Majorki, Earl Chochinov, Tim Humphreys and Sandra Glass.
We are very fortunate to have such a wonderful and dedicated group of volunteers. We could not run the Centre without them and they are greatly appreciated.
The JCCV continues to be an important gathering place for Jewish life in Victoria and home to several Jewish organizations and groups. It is a place in Victoria where any and all Jews can come together to celebrate and enjoy their Jewish heritage whatever their affiliation or level of religious observance.
The Centre is now closed and will re-open in the new year on Tuesday, January 3rd.
I look forward to another good year for the Centre in 2023 and to your continued support.
Larry Gontovnick, President


Pixel and his sister, Skyla, came to us from a local rescue group. Not much is known about this beautiful pair of blind kitties other than they were given to someone at a PetSmart in Arkansas. From there, they passed hands until they landed with the rescue where they were fostered until permanent homes could be found. Unfortunately, placing special needs kitties is especially difficult in this part of the country. The rescue reached out to us for assistance and we accepted them into our sanctuary. Both kitties were born blind with underdeveloped eyeballs, which were removed to prevent infection.
Pixel is a fearless, adventurous boy and always in a great mood. We have never heard him growl or swat at another cat or even be the least bit annoyed. If you call his name, he comes running or will start twisting his head like he wants his belly rubbed. It is absolutely precious! Pixel and his sister still remain very close and you can often find them sleeping together in an adorable, fluffy pile.
I was drawn to Pixel because of his adorable face. I sponsor him in honor of Muffin, my daughter's blind kitty who has taught me just how capable and clever a totally blind kitty can be. Long and happy life, sweet Pixel!
Want to be another Sponsor for Pixel? Our kitties can certainly use more than one Sponsor. Click here to become another Sponsor.


Direct Ophthalmoscopy is essential for routine eye examinations in general and specialized clinics internationally. The use of an ophthalmoscope enables health professionals to examine structures of an undilated eye using high-end optics in a small handheld device.
The EZ-OPH-2600 uses a combination of 28 focusing lenses with single-diopter steps to provide the operator with precise resolution and premium quality during examination. The OPH-2600 enables easy view in undilated pupils for a more thorough exam, while two filter options provide optimum light levels for all eyes, including those with cataracts.
Coaxial optics directs the axis of the light to coincide with the axis of the vision into the retina thus eliminating possible shadows. This optical system facilitates easy entry into undilated pupils and vitreous disorders through high-precision lamp filament and optical alignment. This enables for more accurate examinations and diagnoses.
This high-end device also contains an extraordinary 18 unique aperture and filter combinations, for greater versatility. Having a diverse amount of filters provides optimum light levels for entering healthy eyes and those with cataracts. This device has essential diagnostic filters including: Cobalt Blue, Cross-linear Polarizing, and Red-free.
Micro-Spot Aperture: allows quick entry into small, undilated pupils.
Small Aperture: provides excellent view of fundus through an undilated pupil.
Large Aperture: standard aperture for a dilated pupil and general examination of the eye.
Fixation Aperture: has graduated cross-hairs for measuring eccentric fixation or locating lesions.
Red-free Filter: excludes red rays from examination field for easy identification of veins, arteries and nerve fibers.
The EZ-OPH-2600's incredible 3.5V Halogen lamp provides light output for true tissue color and consistent, long-lasting illumination. The lamp type of the device is a selected option between Halogen and LED depending on the preference of the operator.
Aperture Large aperture, small aperture, Micro aperture, Slit aperture, Cobalt blue aperture & Fixation aperture.
Operation Mode Intermittent, On-time should not exceed 2 mins with Off-time not less than 5 mins.
I would like to tell you how impressed I am with the optics of the EZER hand instruments that I just purchased.Initially, I was a skeptical Optometrist having used Welch Allyn and hand instruments during my 40 year career in optometry.You reassured me that these EZER instruments had terrific optics, despite the affordable pricing for EZER ophthalmoscope, retinoscope, transilluminater, handles and charger.No that I have had the experience of using them in my office, all I can say is that you are so correct! I have enjoyed the lightness of the handles in my grip and the ease of altering the axis of the streak retinoscope as well.I appreciate your confidence in "opening" up my eyes to the possibility of a lesser cost alternative to Welch Allyn hand instruments.


Vijay Shanthi has now announced its second major affordable option named Infiniti on NH-4 (Bangalore Highway), following the major project at Thaiyur (on OMR) - Vijay Shanthi Lotus Pond.
Vijay Shanthi Infiniti is to come up at Chettipedu (near Sriperumbudur), right next to Queensland Theme Park and Saveetha Engineering College (as shown in this location map) and targets the working class employeed in the nearby MNC manufacturing units like Dell, Hyundai Motors, Motorola, Saint Gobain and Samsung.
The project will consist of 9 blocks (or towers) and will have 1, 2 and 3 bed room apartments in the sizes ranging from 365 to 1058 SQFT. The rate as mentioned in their website is Rs.2600/SQFT, making an apartment as affordable as Rs.9.5 lakhs (all inclusive).


text:
function nR = getNRealization( obj )
% GETNREALIZATIONS  Get number of realizations of an nlsaPairwiseDistance object
%
% Modified  2014/01/06

nR = numel( obj.partition );

redpajama_set_name: RedPajamaGithub


Picture of the Cinereous Tinamou has been licensed under a Creative Commons Attribution-Share Alike.
The Cinereous Tinamou is classified as Least Concern. Does not qualify for a more at risk category. Widespread and abundant taxa are included in this category.


In this mode, the mic picks up audio from your surroundings. You can hear sound from around you mixed in with your music.
What are the best high-end, wireless headphones for running?
What are the best high-end in-ear headphones for working out?
What are the best earphones around $300?
What are the best high-end headphones for running?
There is an integrated heart rate monitor which can connect to Jabra's fitness companion app. This combination should make it very easy for you to see fitness related data.
The Elite Sport sounds quite balanced with no harshness or muddiness. The highs are clear and deliver good detail. Mids sound natural and rich, while the bass is tight and controlled instead of bloated. With these headphones, you will get decent punch from the usually bass-centric workout tracks, yet you will still be able to enjoy a refined sound when listening to more mellow or instrument focused music.
These resist sweat and other liquids as they are IP67 rated. They can be submerged in water without getting damaged as long as the water is not too deep and they are not submerged for a long time.
You can attach wing tips to the earpieces, which allow for better in-ear fit for reduced chances of the earpieces falling off. The tips are quite soft so they will not have too much of a negative impact on comfort.
Each earpiece has two buttons which you can use to control playback or to answer/end calls.
The charging case has an internal battery that can add up to 6 hours to the Elite Sport's battery life.
There are microphones integrated in the ear pieces so hands free calls are possible. Voice quality from the mic is actually pretty good.
You get a charging case, 3 pairs of silicone ear tips in different sizes, 3 pairs of premium Comply ear tips in different sizes, 3 wing tips in different sizes as well as a charging cable.
On average, you'll only be able to get around 3 hours of playback time from a full charge.


text:
Шкільник Михайло (1891–1972) — правник родом з Галичини. Вивчав право у Львові, Кракові й Києві. 1918–1920 працював у міністерстві торгівлі і промислу уряду УНР, згодом був начальником консульського відділу в міністерстві закордонних справ. З 1921 був суддею і громадським діячем у Перемишлянах (Галичина). На еміграції з 1945 в Німеччині й Канаді. Автор книги "Як міг, боронив справедливість". У 1960-их pp. голова Товариства українських правників Канади. Помер у Торонто.

Література

Українські правники


The roots of the Valerian plant are used for medicine. The herb was held in such high esteem throughout the Middle Ages that it was given the name "all heal". Historical writings on Valerian suggest that it has been used for calming and soothing from at least the time of Hippocrates (460-377 BC). Gardeners know this herb as garden heliotrope.
The active constituents in Valerian appear to be valerenic acid and valerenal. These compounds have sedative (calming and relaxing) effects because they interact with the neurotransmitter GABA. As mentioned previously, GABA seems to produce an upbeat mood, positive self-image, sense of calm/contentment, and sound sleep. Valerian allows GABA to exert its effects on the nervous system for a longer period of time before being broken down. In addition, valerenic acid and valerenal have central myorelaxant effects (muscle relaxant), and anticonvulsant properties (reduces muscle spasms).
Valerian has demonstrated mixed results in research studies. Clinical trials have supported its use as a sedative and a sleep aid. However, the only well-designed study in humans failed to demonstrate that Valerian was more effective for treating anxiety than a placebo (a non-active substance) or the prescription anti-anxiety medication diazepam. Based on these research findings and historical uses of the herb, Valerian is recommended for people who get nervous or have trouble falling asleep because of thoughts running through their head.
Valerian is considered safe when taken as directed. However, the herb has more side-effects (see box) than Chamomile or Passion Flower, because of its stronger sedating properties, the chief of which is morning drowsiness (also called a "hangover effect"). There is also a small sub-set of people who, when taking Valerian, experience the opposite effects. Instead of feeling relaxed and calm after taking the herb, they feel awake and agitated, as if they have used caffeine.
Valerian can interfere with other anti-anxiety medications, and should not be taken with these types of prescriptions. For example, valerenic acid prolongs the effects of pentobarbitone (a common anti-anxiety prescription medication). It is also assumed that Valerian can prolong the effects of barbiturates (sleep aids or sedatives), benzodiazepines (another class of anti-anxiety medicines) and alcohol. You should never drive or operate heavy machinery when taking Valerian.
There is always a potential for an allergic reaction to any medication, if you experience any itching, swelling, difficulty breathing, increased heart rate or any other symptom that worries you, stop using Valerian immediately.


text:
Time for mine gone long ago
In today's coal market, Compliance Coal could never attract the investment to build a mine, says letter writer.
To the Editor,
In 2009 Compliance Energy Corp. included a timeline for the Raven Underground Coal Project in its promotional materials. The timeline showed milestones for the months that followed, ending with the mine in operation by the middle of 2012.
Anyone following the Raven project knows how that turned out: every milestone was missed. The mine is no closer to being in operation today than it was in 2009.
In the last seven years the only things Compliance Energy has delivered on reliably are meaningless dates and missed deadlines. A regular source of misinformation, one might say.
Speaking of timelines, how's this: Compliance delivered its first application to the Environmental Assessment Office in early 2013—three years late. Weeks later, the EAO rejected it. Two years after that, early this year, the company submitted a second application. This time, not even waiting for it to be rejected, Compliance withdrew that application from the screening process.
Today, coal companies are in despair. Coal prices have seldom been lower. Mines are closing everywhere, including B.C. These grim conditions, as well as Compliance's unique style, are reflected in the company's share price: it closed last week at 1.5 cents.
The company's auditors included a rare, and serious, "Emphasis of Matter" in last year's financial statements, warning shareholders that there is "significant doubt about [the company's] ability to continue as a going concern." Among the concerns was a $9 million deficit—six times the deemed market value" of the company.
This may not be the final deliverable. Compliance may be able to pull itself together enough to get an acceptable application into the EAO for a full environmental assessment. But in today's coal market it could never attract the investment to build a mine.
Coal prices may increase again, and the Raven mine or something like it may come back again. It will be as unpopular then, as it is now, for all the same reasons.
Arthur Caldicott,
Lost dog means broken hearts at home
Negativity not appreciated


text:
Toll from shootings vexes city
March 4, 2020 8:08 pm by Bleu Bell | Managing Editor
Hiz & Herz Hair Studio owner Ike Wilson cuts hair when he's not renovating the shop. Photo by Bleu Bell
It's only two months into the new decade and Tallahassee has already seen five shootings, one of which was fatal. As gun violence continues to become a growing concern, residents and officials alike are relying on each other for a solution.
Last year, according to data collected by the Tallahassee Democrat, 19 of the 73 reported shootings in Leon County were fatal and 54 people were injured. Although the shootings were not unique to one side of town, there were hotbeds for gun violence in the Northwest region of Tallahassee and on the south side corridor that includes East Magnolia Drive and South Adams Street.
"The shootings happen over a large part of town. A lot of the times when we get an uncooperative victim at the hospital we don't know where it occurred," said Tallahassee Police Department Public Information Officer Kevin Bradshaw. "Our shootings in Tallahassee generally revolve around the criminal drug trade."
While none of the fatal shootings in Tallahassee last year were suicides, an average of 1,626 people in Florida die by gun suicide every year. According to data collected by Everytown for Gun Safety, Florida has the 26th highest rate of gun deaths in the United States, with 63% of them being suicides and 35% being homicides.
According to Officer Bradshaw, victims that show up at the hospital are frequently uncooperative. TPD is focused on building rapport with the community and relying on witnesses and residents feeling comfortable reporting these incidents.
Tallahassee Police Department Public Information Officer Kevin Bradshaw. Photo by Bleu Bell
"As far as what we're doing moving forward, Chief Lawrence Revell, who just took office at the first of the year, has a lot of programs in place to increase community involvement," said Bradshaw. "Community involvement is one of the biggest things Chief Revell wants. We can't be there standing in everybody's yard in the city to make sure nothing bad happens to them. So when people start seeing things that concern them, they feel comfortable calling us."
Bradshaw also noted that on average, victims and suspects alike are almost unanimously African-American males between the ages of 23 and 25. This average may be influenced by outliers such as the recent three teenage arrests made on Feb. 11 following a drive-by shooting on Blair Stone Road, and the guns are typically stolen during auto-burglaries.
On a micro-level, Bradshaw suggests that people take their firearms inside with them, as it isn't safe to leave any valuables in the car. The big picture, however, is that Tallahassee as a community has a lot of healing to do as it tries to engage young man who feel disenfranchised.
For Isaiah "Ike" Wilson, the owner of Hiz & Herz Hair Studio that occupies the former storefront of Clippers Barbershop on South Adams, dealing with the stigma attached to areas riddled with gun violence has been frustrating for business yet inspirational and humbling.
"When I first inquired about this place people were saying, 'Wow, you want to take a chance on that place? That's a gangster spot…that place is cursed.' But it's incidental," Wilson said. "A lot of people, even the lady next door, suffered."
Wilson's business, Hiz & Herz Hair Studio, currently occupies the former storefront of Clippers Barbershop, which saw two fatal shootings last summer. In June, barber Tyras "T.J." McKinney was gunned down in front of his son by a fellow barber and Alex Harvey was found dead behind the barbershop in August.
"In order [for the community to heal], first you have to accept that it happened. Then you have to make sure it doesn't happen again. And you can't screen people to know what kind of person they are but when your energy attracts that type of stuff, that's what you get," Wilson said.
Wilson, who recently returned from Bermuda, has been multitasking, renovating the shop with his own two hands in between clients. One of his friends and longtime supporters, Tiffany Belvin, was present during the first fatal shooting at Clippers.
"The atmosphere over here was very nerve racking and the poverty went up because so much was going on that made people not want to come over here to do business. The atmosphere was very scary, let alone with the university across the street. I can only imagine being a student going to school and you've got gunshots coming, flying everywhere," Belvin said.
Hiz & Herz Hair Studio is currently undergoing renovations before it's grand opening. This storefront was formerly Clippers Barbershop, which saw two fatal shootings last summer. Photo by Bleu Bell
Until their grand opening in April, the Hiz & Herz team remains optimistic and believes positive energy, good vibes and a complete makeover can turn business and the neighborhood around. Wilson plans on painting a mural on the inside of the shop dedicated to victims of gun violence, such as his son, McKinney, and others whose lives were cut short.
Senior information technology student Cedric Tisdale is also still in recovery mode after a shooting last April where he was struck in the back of the leg outside a house party near Florida A&M University's campus.
"Mentally it didn't really affect me, but growing up in Miami that happens all the time," Tisdale said. "I don't let it bother me, even though it was a major thing that happened to me. I still dance, I still play football, but at the same time, it does still hurt [physically] and feels weird knowing that I had two holes in my leg."
Tisdale believes that gun violence is a cultural thing that "depends on the mindset of the people."
Adner Marcelin, president of the NAACP's Tallahassee branch, believes that gun violence comes from a lack of economic opportunity and is something the city needs to address.
"One of the things I have advocated for as president of the Tallahassee NAACP branch is that you have to take a holistic view as to why people are committing crimes. People don't wake up and say, 'I wanted to commit a crime today.' People commit crimes when they see opportunity," Marcelin said.
Marcelin noted that one thing the NAACP has been asking for is more opportunity, growth and the creation of jobs. Specifically, a convention center on the south side of Frenchtown.
"When looking at south side, you have to build economic opportunity," Marcelin said. "When there's more productive things to do, people won't resort to a life of crime."
Overall, there's a consensus that the community as a whole needs to be more proactive and hands-on with battling gun violence in Tallahassee.
The Blueprint group, which consists of faith and community leaders, officers and lawyers started meeting this year to discuss a game plan for tackling gun violence. Their overall goal is to get out into the community and reduce crime while working with at-risk youth.
The last meeting before they report their findings to city commissioners and state leaders is scheduled for Thursday, March 26 at 2 p.m. at the Jerusalem Missionary Baptist Church, at 2015 Lake Bradford Road.


Black skimmer with three chicks. Expect black skimmer chicks around mid-June.
Audubon of the Western Everglades (AWE) recently presented the last lecture of its series on Marco Island's amazing wildlife, at Mackle Park.
Adam DiNuovo of Audubon Florida was the guest speaker on the beach nesting shorebirds of Marco. He has been working with shorebirds and seabirds on the East, West and Gulf Coasts for 20 years. For the last four years, Adam has been a biologist with Audubon Florida (AF) and also the Collier Shorebird Monitoring and Stewardship Program Manager for AF.
Wilson's plover are year-round residents of Marco and they are starting to get into their breeding mode. Expect eggs in the next 7-10 days and chicks by early May.
Least tern with chick. Expect least tern chicks around mid-May.
The Wilson's plover, least terns and black skimmers are starting their breeding behavior on Sand Dollar Island. These birds make small indentations in the sand called scrapes and lay their eggs out in the open. Sometimes there is a bit of vegetation for camouflage and shelter.
The Wilson's plover is a year-round resident and they are starting to get into their breeding mode. They are solitary nesters, which means they don't like to be near each other. They are now actively defending their territories and will most likely be laying eggs in the next 7-10 days.
Things to look for on Sand Dollar Island: If you just sit, watch and wait, you will be able to observe the Wilson's plover dance, 15-20 feet from you. The male (with dark neck band) flattens its back and prances around on its tippy toes. He will repeat this dance multiple times for the female.
Within 15 days of the dancing routine, usually the female will start to lay eggs. The male will make indentations in the soft sand and the female will lay an egg every day till a third one is laid. They start to sit on the three eggs. Once the chicks hatched and feathers are dry, they are self-sufficient and begin to feed mostly on fiddler crab. Expect Wilson's plover chicks in early May.
The least terns are starting to arrive from South America with hundreds sighted on Sand Dollar Island. Sounding like a chorus of squeaky toys, they circle, figuring out where they are going to nest. A lot of times, they will pair off with a bird they nested with from the previous year.
Least terns and black skimmers are colonial nesters, which means that they nest in large groups. They use "safety in numbers" to defend themselves against predators. Expect least Ttrn chicks around mid-May and black skimmers chicks around mid-June.
Save the Date: Sunday, May 5, 2019 from 9-11 AM at the Tigertail Beach kiosk. A beach nesting bird steward and training is scheduled. To RSVP and for more information, email: Colliershorebirdstewards@gmail.com.


text:
Ranbaxy CEO to ride out transformation under DOJ oversight
by Eric Palmer |
Arun Sawhney has signed a 5-year contract extension to bat cleanup for Ranbaxy Laboratories ($RANBXY.NS).
For those not versed in baseball parlance, the Ranbaxy CEO has agreed to stick around during the 5 years the Indian generics maker will labor under a U.S. Department of Justice settlement and perhaps restore some of the $13 billion in valuation lost by its parent Daiichi Sankyo since buying Ranbaxy.
Daiichi Sankyo ($D4S.BE) senior executive and Ranbaxy Chairman Tsutomu Une, in a conference call reported by Bloomberg on Wednesday, said Sawhney will stay until 2017. The commitment offers a strong element of stability in an investment that has been nothing short of a nightmare for the Tokyo-based company since buying controlling interest in 2008. Several months after the acquisition, regulators barred 30 Ranbaxy drugs from being sold in the U.S., the world's largest market, and then announced that the company had committed the ultimate sin, it had falsified data.
In January, the FDA, DoJ and Ranbaxy disclosed the settlement under which the company must continue sweeping changes to quality control at plants in the U.S. and India. Ranbaxy also has relinquished the coveted 180-day exclusivity for three unidentified drugs. The threat of losing the rights to three more drugs hangs over Ranbaxy as incentive to hit improvement milestones.
In his call, Daiichi Sankyo's Une laid much of the blame for the problems at the feet of the Singh family that once ran Ranbaxy, saying as a family-run company, communication was poor and resources often scarce.
"In a family-owned business, the company's direction can go left or right anytime depending on the decision of top family members, and that's not unique to Ranbaxy," Une said. "The point I have focused on the most since 2008 was how to weaken the legacy of the Singh family."
To break that link, in 2010 Daiichi made Sawhney a managing director and named Dale Adkisson from its U.S. operations to oversee product quality. Sawhney moved to CEO in 2011. The company also has infused Ranbaxy divisions with managers from the Japanese company, and has brought in consultants to oversee the establishment of quality controls.
Bloomberg reports that Une had this to say about the remaking of Ranbaxy: "Sawhney and I are leading the transformation of Ranbaxy into a professional company and we'll accelerate improvements at the company even further."
- here's the Bloomberg story


If your young athlete complains of heel pain at the start of the winter sports season, there are a number of potential reasons for it. The most common cause of heel pain is plantar fasciitis, which occurs when the tough band of tissue on the sole of the foot becomes irritated and inflamed.
However, plantar fasciitis is not particularly common in children. There could be a different reason for your child's heel pain. Ever heard of growing pains? They're real, and Sever's disease is one manifestation.
Sever's disease, also known as calcaneus apophysitis, is a condition that causes heel pain. Growing children and adolescents have areas on many of their bones called growth plates. Growth plates are made of cartilage but are replaced by bones as children get older and develop.
In a young person's heel, the growth plate is where the Achilles tendon attaches to the heel bone (also called the calcaneus). Since the growth plate is made of cartilage and is softer than bone, it is at greater risk of damage than a normal bone. Sever's disease is an irritation or inflammation of this growth plate on the calcaneus bone.
Sever's disease is usually the result of overuse, such as the kind that's common in sports that require running and jumping. The risk of Sever's disease is increased when the Achilles tendon is tight, which pulls on the heel. Because the growth plate is softer than bone, it is more easily damaged.
Heel pain and tenderness is the hallmark of Sever's disease. The pain is often worse with activity. Sometimes there will be mild swelling.
How Is Sever's Disease Diagnosed?
I always start with a physical exam and medical history when a young patient comes to me with heel pain. It can be tricky to tell the difference between calcaneal apophysitis and plantar fasciitis, but plantar fasciitis is most common in people aged 45 to 64. If the patient is under 18 and has heel pain, it's likely to be Sever's disease.
During the physical exam, I'll examine the child's foot and press on the heel to see if he or she has pain. I may also want to watch the child walk to see if any symptoms present themselves. When taking a medical history, I'd like to know if the child plays sports, how often and if activity level has increased recently.
Imaging studies such as X-rays and magnetic resonance imaging are rarely necessary for diagnosing calcaneal apophysitis.
In my experience, Sever's disease does not need surgery to be treated. Conservative, nonoperative treatments are almost always enough to decrease pain and its effects on a young person's life.
I have found that a dedicated program of stretching the calves is one of the best treatments for calcaneal apophysitis. Try some of these calf stretches, in sets of three, holding the stretch for 15 to 30 seconds each time. Stretching can be done every day—multiple times per day, if necessary.
If your child is complaining of heel pain, I can help. Request an appointment with me or another foot and ankle specialist at Summit Medical Group Orthopedics. We can diagnose your child's problem and take steps to solve it.


text:
Q: xargs: git : Bad file number Anyone know what could cause this error?
I am trying to create a package on git using this command:
git diff -z --name-only --diff-filter=MAR 5e2a4b4 5261fe1 | xargs -s1000000 -0 git archive develop -o 'package.zip'

A: Apart from getting the error on ssh, which you've already ruled out, it could also be that git archive can handle a limited number of argument on the command line.
You are already (suspiciously) limiting the total running length of the arguments with -s, and you indicated your command is working for some commits but not the others. You could investigate the difference further by setting GIT_TRACE=1.
Generally it is common to limit the number of arguments with xargs -n in addition to -s but beware as this will execute the command passed to xargs multiple times, when the number of arguments exceeds the -n threshold, and git archive doesn't support appending to an archive. You will have to call a script instead, that can increment a running number for the zip archive suffix, rotate the zip filenames in some acceptable fashion, or explicitly merge the output zip files into a master zip file.
And if you are running on cygwin, EBADF can also imply that the permission to one of the files to be archived was denied by the underlying OS.


text:
Q: Adaptive card id collision when using same card for second time I have a dialog (bot framework dialog) which works great the first time user enters it. Dialog displays user with an adaptive card containing Input.ChoiceSet which has a id property set to "substitution". When user enters the same dialog for the second time ChoiseSet gets displayed properly but on Action.Submit I get an id collision for id "substitution".
My issue is similar to issue of this user: https://github.com/microsoft/AdaptiveCards/issues/3225#issuecomment-710626684. But his solution to the problem has no effect for my case. I keep getting the same error.
I get that id should be unique but I shouldn't be forced to dynamically set id of the same ChoiceSet card.
My adaptive card:
{
  "$schema": "http://adaptivecards.io/schemas/adaptive-card.json",
  "type": "AdaptiveCard",
  "version": "1.3",
  "body": [
    {
      "type": "TextBlock",
      "text": "<to-be-set-with-code>"
    },
    {
      "type": "Input.ChoiceSet",
      "id": "substitution",
      "style": "compact",
      "isMultiSelect": false,
      "value": "1",
      "choices": []
    }
  ],
  "actions": [
    {
      "type": "Action.Submit",
      "title": "OK",
      "data": {
        "msteams": {
          "type": "messageBack",
          "text": "back"
        }
      }
    }
  ]
}

My code (inside dialog step):
private async Task<DialogTurnResult> SubstitutionStepAsync(WaterfallStepContext stepContext, CancellationToken cancellationToken)
{
    var adaptiveCardJson = await File.ReadAllTextAsync(Cards.TextWithChoiceSetCard, cancellationToken);

    var card = AdaptiveCard.FromJson(adaptiveCardJson).Card;

    var textBlock = card.Body[0] as AdaptiveTextBlock;
    textBlock.Text = "Who will be your substitution?";

    // get current teams user info
    var userStateAccessors = UserState.CreateProperty<UserProfile>(nameof(UserProfile));
    var userProfile = await userStateAccessors.GetAsync(stepContext.Context, () => new UserProfile(), cancellationToken);

    // generate choices
    var adaptiveChoices = new List<AdaptiveChoice>();
    foreach (var user in ApiWrapper.RetrieveInstanceUsers())
    {
        // do not include current user and bot user
        if (user.UserName == ClientData.Username || string.Equals(user.Email, userProfile.UserPrincipalName, StringComparison.CurrentCultureIgnoreCase)) continue;
        adaptiveChoices.Add(new AdaptiveChoice
        {
            Title = $"{user.UserName} ({user.Email})",
            Value = user.ToJson()
        });
    }

    var choiceSet = card.Body[1] as AdaptiveChoiceSetInput;
    choiceSet.Choices = adaptiveChoices;

    var attachment = new Attachment
    {
        ContentType = "application/vnd.microsoft.card.adaptive",
        Content = card
    };
    var reply = stepContext.Context.Activity.CreateReply();
    reply.Attachments = new List<Attachment> {attachment};

    return await stepContext.PromptAsync(nameof(TextPrompt), new PromptOptions {Prompt = reply}, cancellationToken);
}

A: I found a workaround to fix the exception:
AdaptiveCards: Collision detected for id 'cardFieldId'.
Let's say we have these WaterfallSteps:

*

*InitialStepAsync

*CardStepAsync

*FinalStepAsync

And let's say that we have this card:
{
    "$schema": "http://adaptivecards.io/schemas/adaptive-card.json",
    "type": "AdaptiveCard",
    "version": "1.3",
    "body":
    [
        {
            "type": "ColumnSet",
            "columns": [
              {
                "type": "Column",
                "width": 2,
                "items": [
                  {
                    "type": "TextBlock",
                    "wrap": true,
                    "text": "Select an assistance."
                  },
                  {
                    "type": "Input.ChoiceSet",
                    "choices": [],
                    "placeholder": "---",
                    "id": "assistanceId"
                  }
                ]
              }
            ]
        },
        {
            "type": "ColumnSet",
            "columns": [
              {
                "type": "Column",
                "width": "stretch",
                "items": [
                  {
                    "type": "ActionSet",
                    "actions": [
                      {
                        "type": "Action.Submit",
                        "title": "CANCEL",
                        "id": "bnCancel"
                      }
                    ]
                  }
                ]
              },
              {
                "type": "Column",
                "width": "stretch",
                "items": [
                  {
                    "type": "ActionSet",
                    "actions": [
                      {
                        "type": "Action.Submit",
                        "title": "CONFIRM",
                        "style": "positive",
                        "id": "bnConfirm"
                      }
                    ]
                  }
                ]
              }
            ]
        }
    ]
}

The source code of steps:
private async Task<DialogTurnResult> InizialStepAsync(WaterfallStepContext stepContext, CancellationToken cancellationToken)
{
    var message = "Insert YES or NO.";
    var promptMessage = MessageFactory.Text(message, message, InputHints.ExpectingInput);
    return await stepContext.PromptAsync(nameof(TextPrompt), new PromptOptions { Prompt = promptMessage }, cancellationToken);
}

private async Task<DialogTurnResult> CardStepAsync(WaterfallStepContext stepContext, CancellationToken cancellationToken)
{
    var actionTypes = (List<ActionTypeFullItem>)stepContext.Options;

    var txt = (string)stepContext.Result;
    if (txt.Equals("YES", StringComparison.OrdinalIgnoreCase))
    {
        // If user say 'YES', show card.

        // Retrieve JSON of our card from EmbeddedResource
        var jCard = await Utils.GetCardJsonAsync("assistanceType");

        // Workaround BUG: https://stackoverflow.com/questions/69358336/adaptive-card-id-collision-when-using-same-card-for-second-time
        // Replace 'FIELDID' with 'FIELDID_RANDOMGUID'.

        var chooseFieldId = $"assistanceId_{Guid.NewGuid()}";
        var bnCancelFieldId = $"bnCancel_{Guid.NewGuid()}";
        var bnConfirmFieldId = $"bnConfirm_{Guid.NewGuid()}";

        jCard = jCard.Replace("assistanceId", chooseFieldId);
        jCard = jCard.Replace("bnCancel", bnCancelFieldId);
        jCard = jCard.Replace("bnConfirm", bnConfirmFieldId);

        // Create the Adaptive Card from JSON
        var card = AdaptiveCard.FromJson(jCard).Card;

        // Popolate our choose field (extensions method created by me)
        var chooses = new List<AdaptiveChoice>();
        foreach (var actionType in actionTypes)
        {
            chooses.Add(new AdaptiveChoice
            {
                Title = actionType.Title,
                Value = actionType.Id.ToString()
            });
        }
        card.SetChoiseField(chooseFieldId, chooses);

        // Popolate cancel button submit data (extensions method created by me)
        // We need 'assistanceFieldId' to retrieve the value of choose filed in the next step.
        card.AddSubmitData(bnCancelFieldId, new Dictionary<string, object>
        {
            { "confirm", false },
            { "assistanceFieldId", chooseFieldId }
        });

        // Popolate confirm button submit data (extensions method created by me)
        // We need 'assistanceFieldId' to retrieve the value of choose filed in the next step.
        card.AddSubmitData(bnConfirmFieldId, new Dictionary<string, object>
        {
            { "confirm", true },
            { "assistanceFieldId", chooseFieldId }
        });

        // Prompt card
        return await stepContext.PromptCardAsync(card, cancellationToken);
    }

    return await stepContext.NextAsync(new { confirm = false }, cancellationToken);
}

private async Task<DialogTurnResult> FinalStepAsync(WaterfallStepContext stepContext, CancellationToken cancellationToken)
{
    var actionTypes = (List<ActionTypeFullItem>)stepContext.Options;

    var selectedActionType = default(ActionTypeFullItem);

    // Example JSON result
    // { "confirm":true, "assistanceFieldId": "assistanceId_d68fbc77-d96e-4d1c-b3eb-4d4c31ccf2af", "assistanceId_d68fbc77-d96e-4d1c-b3eb-4d4c31ccf2af":"19" }

    var jObject = Newtonsoft.Json.Linq.JObject.Parse((string)stepContext.Result);
    if (jObject.ContainsKey("confirm") && !(bool)jObject["confirm"])
    {
        // User has clicked the 'cancel' button -> go back to the first step.
        return await stepContext.ReplaceDialogAsync(InitialDialogId, actionTypes, cancellationToken);
    }

    var assistanceFieldId = (string)jObject["assistanceFieldId"];
    if (selectedActionType == null)
    {
        selectedActionType = actionTypes.SingleOrDefault(a => a.Id.ToString().Equals((string)jObject[assistanceFieldId], StringComparison.OrdinalIgnoreCase));
    }

    return await stepContext.EndDialogAsync(selectedActionType, cancellationToken);
}

The idea is very simple, instead of always keeping the same ID for each field, we add a random guid to always have a different ID.


"simply the best" and for good reason. Taste Catering and Event Planning is a leader in the catering industry providing restaurant caliber cuisine to their guests both at home and in many unique Bay Area venues. Guided by seasonality and working closely with local farmers, many which grow specialty items specifically for our chefs menu creation.
Taste is community minded and supports many philanthropic causes that help to sustain the San Francisco community and its people. We believe that giving back is the best way to share success.
TO DOWNLOAD PHOTOS: Select desired image (this will open a new window), right click and select "Save Image As"
Margaret Teskey, President of Taste Catering and Event Planning announced today that Steven Tevere has been brought on board as Taste Catering's new Executive Chef. Steven directs the culinary operations for Taste Catering's clients and is inspired by Taste's progressive passion for excellence and by the bounty of ingredients that the Bay Area has to offer. Additionally, Steven will oversee the culinary partnerships with Press Club and Walt Disney Family Museum, creating the menus for all daily operations and special events.


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