text:
Navistar Defense displays military vehicles for future requirement
Navistar Defense showcased its International MXT and Navistar-Tatra ATX6 vehicles at the Africa Aerospace and Defence exhibition. The company plans to submit variations of these vehicles to compete for the future South African military logistic truck requirement.
"We continue to diversify our product portfolio to meet the needs of allied armed forces all over the world," says Archie Massicotte, president of Navistar Defense. "Our MXT vehicle and the Navistar-Tatra ATX6 provide flexible platforms that can meet the future military needs of South Africa while also allowing for additional enhancements as mission needs evolve. In addition, the ATX family of vehicles provides solutions in 4×4, 6×6 and 8×8 configurations. "
Navistar says the MXT vehicle, which is in operation in Afghanistan supporting the British Army, has demonstrated exceptional survivability and offroad performance in all environmental conditions. The vehicle utilizes Navistar's manufacturing and engineering expertise along with survivability solutions developed by Israel's Plasan Sasa.
The jointly-produced ATX6 is part of a family of vehicles offered by Navistar and Tatra a.s. The ATX6 combines Navistar engine technology and other vehicle components with Tatra's backbone-tube chassis design and independent suspension system. Tatra's chassis concept uses swinging half-axles for tactical vehicle mobility and added resistance against chassis wear and tear.
Intermec announces CS40 handheld device
L.A. port wants to adjust concession schedule
FMCSA: ABS trailers must have external malfunction indicator lamp


text:
Home Latest News
Apple Cuts iPhone 5 Component Orders as World Turns to Samsung
Michelle Maisto
Apple last month cut orders for iPhone 5 components by about half, according to a Jan. 14 report from the Nikkei, citing an unnamed executive at an Apple supplier.
Apple had originally ordered 65 million iPhone 5 displays, according to Bloomberg, which added that the news sent Apple shares sliding by as much as 4.5 percent in early U.S. trading. The Wall Street Journal, citing people familiar with the situation, added that orders of other components had also been cancelled.
Once, Apple couldn't make devices fast enough to meet demand. Today, it appears consumers in developed markets are already tied to wireless contracts or are buying devices from competitors—or really, Samsung. After a stretch during which the Apple brand seemed untouchable, with not a realistic competitor in sight, Samsung came on fast and strong with its Android-running Galaxy line, first proving itself to be of Apple-caliber quality and cool, and then zooming past the iconic device.
During the third quarter of 2012, Samsung sold 55 million smartphones (and 98 million mobile phones overall) to Apple's 23.6 million iPhones, according to Gartner.
While Apple executives have insisted that great devices, not profits, are the company's driving force, analysts tell a different story of Apple adjusting in ways it previously found unnecessary. While Apple has traditionally introduced its newest iPhone in the fall—which last year gave Samsung a months-long window during which to introduce and sell tens of millions of Galaxy S III smartphones—Canaccord Genuity analyst T. Michael Walkley has reported that the firm believes Apple is planning an early-summer launch for its next iPhone.
Samsung's success has come from offering a variety of devices at a variety of price points, and Walkley also expects that Apple is ready to break from its one-device-a-year model.
"We believe Apple could launch a refreshed iPhone 5 along with a more mid-tiered priced competitive iPhone for prepaid-oriented international markets this summer," Walkley wrote in a December 2012 research note to investors.
Certainly, Apple has already shown evidence of its willingness to adjust.
With the iPhone 5, for the first time in six iterations, Apple increased the size of the iPhone's display, understanding that the device was arriving in a marketplace that Samsung had made accustomed to 4.5-plus-inch displays. The Galaxy S III features a 4.8-inch display—a size that seemed enormous a year ago but now leans toward modest in a field of 5-inch competitors.
Samsung has also found success with 5-inch and 7-inch tablets, and after dismissing the 7-inch form factor—as Steve Jobs, Apple's late Apple CEO and co-founder, famously said that 7-inch tablets would be "dead on arrival"—Apple introduced the iPad Mini, with its 7.9-inch display, in September.
Analyst James Cordwell, at Atlantic Equities Service in London, believes the issue is one of too-few empty hands.
"We're getting close to saturation," he told Bloomberg, adding that the real growth is now in emerging markets—where Apple again faces Samsung.
In China, the world's fastest-growing smartphone market, Apple's share fell from fifth place to sixth during the third quarter of 2012. Samsung holds the number-one position. Part of the issue is that the iPhone isn't sold through China Mobile, the country's largest carrier, though Apple is reportedly closer than ever to striking a deal with the carrier, which understands well the power position that comes with standing between Apple and 700 million-plus subscribers.
According to The Wall Street Journal, Apple CEO Tim Cook met with China Mobile Chairman Xi Guohua Jan. 10 to discuss a deal.
Along with India, China is a market that Nokia is also working hard to court, and in December, China Mobile agreed to carry a version of the Lumia 920.
Nokia has also brought its new Lumia handsets to India. Nokia leads the budget phone market in India. "But in the smartphone category, Nokia has lagged far behind," The Journal reported Jan. 14. While Nokia holds an 11 percent share of India's smartphone market, said the report, citing research firm Canalys, Samsung commands a 50 percent share of the market.
Follow Michelle Maisto on Twitter.
Michelle Maisto has been covering the enterprise mobility space for a decade, beginning with Knowledge Management, Field Force Automation and eCRM, and most recently as the editor-in-chief of Mobile Enterprise magazine. She earned an MFA in nonfiction writing from Columbia University, and in her spare time obsesses about food. Her first book, The Gastronomy of Marriage, if forthcoming from Random House in September 2009.

redpajama_set_name: RedPajamaCommonCrawl


Aledo garage door repair has never been better than at Action Garage Door. Our Aledo garage door service goes above and beyond customer expectations, every time. When you want the best in garage door repair and other services, you have to turn to the best. For years, we have been providing residents all over Aledo with the garage door service they need to have their garages in the best working order.
As a garage door repair company that is committed to customer satisfaction, nobody beats Action Garage Door. Our family-owned business has been satisfying customers for 30 years and we are waiting to help you find the services you need for your garage door in Aledo. All of our work is performed according to local regulations and our models can withstand extreme weather.
The job was haled quite well. After starting the spring replacement it was determined that additional parts were needed to fix the garage door.
Allen was polite and efficient and did an excellent job diagnosing our door issues. He fixed one door quickly and diagnosed that the other door would end up needing an electrician for faulty wiring up in the attic.
Allen was very honest and explained what was going on with my garage door.
Allen did a great job and was able to get us the service and products we needed!
At Action Garage Door, we understand you have many needs when it comes to garage door service. For this reason, our garage door service goes way beyond simple repairs. Not only do we serve commercial steel garage doors as well as residential customers, we also offer great specials on a regular basis.
No two home or business owners are alike, and our garage door repair company understands that no two will want the exact same garage doors and set up. At Action Garage Door, we offer a variety of garage doors for installation in Aledo homes and offices. Some of our options include, steel garage doors, wood garage doors, Carriage House garage doors, Olympus garage doors, Stratford/Heritage, and Amarr Overhead Garage Doors.
To get started with your garage door repair, installation, or replacement, contact Action Garage Door in Aledo today and let's talk about the options available from the garage door repair company that has been caring for customers since 1984.


1:1 - A perfect balance of CBD and THC. Used for pain relief, relaxation, healing and as an anti-inflammatory, this lightly sweetened tincture combines infused MCT (fractionated coconut) oil with 150 mg of CBD and 150 mg of THC. Suggested dose of one full dropper (1 ml) under your tongue.
4:1 CBD/THC - Great to reduce anxiety. Also used for relaxation, healing and as an anti-inflammatory, this lightly sweetened tincture combines infused MCT (fractionated coconut) oil with 240 mg of CBD and 60 mg of THC. Suggested dose of one full dropper (1 ml) under your tongue.
20:1 CBD/THC - Great to help with PTSD. Also used for relaxation, healing and as an anti-inflammatory, this lightly sweetened tincture combines infused MCT (fractionated coconut) oil with 300 mg of CBD and 15 mg of THC. Suggested dose of one full dropper (1 ml) under your tongue.


text:
0 ($ 0.00)
NKS / Kontakt Player
Solo Vocals
Pianos, Organs & Keys
Weird Instruments
Cinematic FX
Atmospheres & Synths
Iron Packs
Symphony Series Brass
Symphony Series Winds
Omega Bundle
Interview with Co-Founders, Composers & Creative Directors of Vibe Avenue
Posted by Craig Peters on December 26, 2018
Interview with Vibe Avenue Co-founders, Composers and Creative Directors: Mathieu Lavoie and FX Dupas
by Marie-Anne Fischer
Vibe Avenue is an award-winning company established and located in Montreal by Mathieu Lavoie and FX Dupas, specializing in music composition and sound design for visual media. Vibe Avenue have worked on numerous game hits like 'The Darwin Project', 'Oddmar', 'Omensight', 'Stories: Path Of Destinies', 'Ultimate Chicken Horse', 'Livelock' and recently 'King Of The Hat', 'Speed Brawl'. They have also created the soundtracks for movies such as 'Aqua Incognita', 'La Magie de Casee-Noisette' to name a few and as evidence of the great breadth and variety of music Vibe Avenue provide.
Mathieu Lavoie is an award-winning composer in his own right, a specialist in orchestral music, a sound designer, author and professor at the Université du Québec à Montréal. He has composed music for dozens of video games, films and commercials, as well as many concert pieces.
FX Dupas is a specialist in orchestral music and holds a doctorate in dynamic music composition for games and other interactive media. He teaches game audio, composition for the screen and orchestration as an invited professor at the Université de Montréal.
Thank you both for making and taking the time to share your thoughts with us Mathieu and FX.
Marie-Anne: It was wonderful meeting you at Soundtrack Cologne and a great privilege to have been able to attend your interactive game concert, Stories: The Path of Destinies. You scored the soundtrack and also performed in the concert. The music was performed by the gRoBA Orchestra and conducted by Rodrigo Lopez Klingenfuss. We watched the game being played live in conjunction with the musicians playing the score. It was so nice to experience the music effortlessly transition through the different levels of the game. Can you please share your experience with us how you worked together on the soundtrack and how the musicians managed to stay on track responding to each live decision the game player made?
Vibe Avenue: Stories: The Path of Destinies, as its name implies, is all about narration. From the beginning, we wanted the music to focus primarily on the main character's personality and choices. But, since the player is constantly revisiting the same environments, and there is also an alternation between combat and exploration, it took a complex interactive music system to balance those gameplay elements.
Since every "story" is about one hour long, the game has a very interesting format for a live performance. However, the complexity of the music system makes it hard to translate it to a live performance. To simplify things, we decided to focus on one particular "story", so we knew in advance what choices the player is going to make. However the progression through the story and the combat/exploration system still happens dynamically on stage. For the latter, every music in the game (and the concert) is orchestrated twice. The musicians can switch from the exploration staff to the combat staff (or the other way around) on a specific gesture from the conductor. As for the progression of the story, every transition from one part to the next is custom. Usually, while most of the orchestra is playing, a few players are waiting for a cue from the conductor to start the next section.
There are some key elements for such an experimental concert to succeed. A lot lies on the conductor's shoulder, he/she has to know not only the score but also the game perfectly well. The live player, on stage, is extremely important as well, as he/she dictates the rhythm of the performance, and sometimes has to collaborate with the conductor for the music to work.
M-A: You are both the co-founders, composers and creative Directors of Vibe Avenue, which offers a great selection of services, music, sound design, professional audio mixing, multi platform integration and voice recording & localization. It is ideal to be able to offer all those skills under one roof. Could you please talk us through your workflow and planning process once you have been commissioned to create the soundtrack, sound design, voice over and final mix for a game, for instance, do you have a specific order of action you regularly follow?
VA: We find it ideal as it allows us to control the complete soundscape of the game. This way we can fine tune the exact balance between music and sound design, create connections between the two or focus more on one aspect or the other in specific moments of a game. It also puts us in control of the integration of the music in the game, something still very few video game composers do, but we feel in an integral part of our compositions. The order of action really depends on the project, how early we are brought in, the artistic direction, and the specific challenges presented by the music, sound design, voice recording and mixing.
M-A: What made you decide to follow a career in music and what significant events occurred that led to you working together today?
FX : I started the piano at the age of 7 but, coming from a scientific family, I was much more into gaming than music when I was a kid. My passion blossomed at the age of 15, with the discovery of jazz, more advanced classical piano pieces and my first high school band. I finally studied classical composition at the conservatory in France, while experimenting with jazz and tons of other musical genres on the side. I'm a very open minded musician :). At some point, I wanted to combine my two passions and tried to get into video game music, but at the time french copyright laws made it very difficult for french composers to work in this field. I eventually moved to Canada, where I met Mathieu right after my arrival, already a University lecturer and well established film composer, and we have worked together ever since. Vibe Avenue was born a few years later. In parallel, I completed my studies with a masters in film scoring, followed by the first french doctorate in interactive music composition for games and multimedia.
Mat: Like FX, I have always been a gamer and started piano lessons around the age of 6 or 7 and followed up with flute lessons after asking for one as a Christmas present, near the age of 9. Also, my dad had an old guitar laying around, so I started playing every day with it after school, during high school, with a good friend. This led to getting my first Heavy Metal band called Stolen Soul at the age of 15. Metal made me rediscover and love classical music as my rock idols of the time would quote themes from Bach and Mozart. So I went to school in Quebec City in classical guitar, where I met Dominic Brown with whom I worked to lay the groundwork for a gaming studio called 'Beenox' that would eventually become quite big. I sold my shares of the studio to move to Montreal and study composition. Very quickly, I got into film music, but this was shunned by many teachers. Luckily, my teacher at the time, Michel Longtin, was one of the most open minded composers of the University, who greatly encouraged me to continue. Funny enough, film music eventually would become an official program at my school that I helped create and in which I would teach, even through my doctoral years. Then, knowing of my past years in the gaming industry, the University asked me to create a class on game audio and music, which was, to my knowledge, a first for a Canadian university. I met FX just a few days later, as he had just arrived in Canada. We both felt a great complicity and I asked him to work with me as a T.A. His first Canadian job was to come to my apartment and play video games in order to capture clips of specific moments I needed to explain concepts to my students. The American dream! As we both were part of a very select group of composers in academia that really understood the concepts of dynamic music for video games, we quickly became recognized for our skills. It wasn't long after that that we started composing together and we co-founded Vibe Avenue to make it official.
M-A: Livelock is described as being a co-operative top-down shooter game where you can play solo or with up to two allies to break the cycle of infinite war between machines. How did you come up with the soundtrack? Did you have specific themes for the characters?
VA: Livelock is very different from Stories in that it doesn't use many themes. It's a much more textural music, which fits the post-apocalyptic setting. We worked a lot on the sound components, looking for strange, uncommon sounds, recording broken instruments (i.e. a rusted table harp mixed with Chinese Erhu) or contemporary techniques, and then blending them with more traditional instrumental sources.
The result in an eclectic soundtrack, ranging from post-rock to orchestral to contemporary music or electro-acoustic. We didn't put any limit to our creativity, just continued to experiment until the soundtrack was written. Afterwards, we were happy to read some articles mentioning they had never heard such a combination of instruments and styles, but felt that nevertheless the soundtrack had a great cohesion and a very distinctive personality.
M-A: Can you please share with us, whether you believe a composer needs distinct and specific skill-sets which are unique or essential for writing music for video games?
VA: For us, a video game is a very specific medium, very different from a film. Therefore, we believe that a game composer should know the game he/she is working on, play it, assimilate the gameplay mechanics and feel its inherent "rhythm". For us, understanding the game and designing the perfect interactive system is essential in creating a successful game music experience. That is why we implement all our music dynamically in the game ourselves, most of the time using Wwise. This attitude is not very common and, even today, few composers are directly involved in the integration of their music. Overall, if you go this route, composing video game music becomes as technical as it is creative, but we love this kind of challenge.
M-A: Congratulations on the recent launch of 'Speed Brawl' which is out on PC and Consoles. Could you please tell us what your role was in developing the game. We would like to know, for example, how you achieved a reflection of the speed and momentum, as is the nature of the game, in music?
VA: At first, we thought about highlighting the speed and momentum of the characters via a layering system. We finally abandoned the idea, as the pace was just too fast and it wasn't compatible with the multiplayer aspect of the game. We finally felt that the speed factor was better highlighted by the sound design - that was also done in-house at Vibe Avenue. So, in the end, the speed and momentum is more reflected in the style of the music, a mix of progressive rock, electronics and retro elements. The music is not necessarily fast in terms of tempo, but it's extremely energetic and high profile. Lots of guitars, lots of drums, lots of solos… We also have several different music intensities in every level, which allows to raise the energy and excitement even more in the most intense battles.
M-A: You scored the documentary 'Aqua Incognita' made in China and directed by Nathalie Lasselin. You also did sound editing and mixing. How did you consider the mood, scenery and culture in capturing your musical ideas?
VA: This was the 7th underwater feature documentary from Nathalie that we've scored, having previously done Facing Darkness, Axis Mundy, H2O Secrets, Heen Taak and Sustainability at Sea, on top of other shorts films for her, so many musical reflexes were already established. However, Nathalie asked us to create a score with more epic and orchestral moments than we had in her other films. Unlike the previous documentaries that were mostly scored by Mat, before Vibe Avenue existed, we scored this one as a team, collaborating with composer François Beauvais who was working in-house with us. Before starting the composition process, we did a recording session amongst ourselves, using many of our own Chinese instruments, such as Bawus, Dizis, a Liuqin, an Erhu, and even a Guzheng that we borrowed from our friend, composer Luc St-Pierre. These recordings gave us much material that would give a local flavor to the film (which takes place in China), and that we could blend in a more orchestral setting.
Before sending in cues, we did a lot of back and forth internally to make sure our creative vision was coherent and of top quality. We believe that scoring for pictures taken underwater is very similar to scoring for an outer space movie, as both environments still represent the last frontiers for human exploration. They are perfect canvases for music, as they can accept pretty much any genre without clashing with listener expectations. The fact that we also did the sound mixing in-house, with our sound engineer Francesco Ameglio, allowed us to better control the end result, having moments were sound was more up-front, and others, where music dominated.
M-A: As a successful, well known and established company, what percentage of personal time do you still devote to networking, client relations management, marketing and advertising your service?
Aqua Incognita made in China - Official trailer from Pixnat Underwater films on Vimeo.
VA: Giving an exact percentage is difficult, it varies, but it's still a major part of the job. In terms of networking, every year we go to some of the big networking industry events, like GDC, MIGS, Gamescom or Game Sound Con. It allows us to stay connected with the rest of the game audio community, the game industry in general… And even our current clients and other Montreal based studios.
We also have someone in our team handling everything related to our website, social media, press articles, etc. Finally, keeping good relations with the studios we work with is instrumental in the success of a project. We usually have two people responsible for communications on every project: one for the sound design/integration, and one of us (or both) for the music and global creative direction. When a game is in full production it can become pretty intense, with a constant flux of text messages and meetings (either in person or via Skype/Slack) several times a week to stay on track with the game's developments.
M-A: Before creating sound design for a specific game, do you already know exactly what objects you need to record in order to create the sound, for instance, how do you create the sound of breaking bones or smashing skulls? Once the sounds are created can you reuse them on other projects or are they only created for one specific game?
VA: Even at the beginning of the production, we usually have a good general idea of the range of sounds needed, which allows us to record stuff and make some R&D right away. Those recordings, synth/FX patches and other experiments go into our ever-expanding sound library, and can potentially be reused on other projects. Plus there are of course some known foley techniques, like using celery as a layer for a bone breaking sound. However, the definitive sounds are always created when the final visuals (animations, visual effects…) are done. Therefore, the end result is always unique and custom, tailored to the visuals and the artistic direction of the game, whatever the basic assets are.
M-A: Is there any advice that you can give to composers breaking into the Games industry?
VA: Get out there! Show your stuff. Even if you compose the best music in the world, nobody will call you if they don't know you exist. Your network is usually your biggest asset, so any way of expanding it is worth looking into. As for video game music composition, I would say play games, go talk to game developers, study how a video game is made, the game engines, audio integration engines… Doing some sound design can help as well, as small studios are sometimes more inclined to have one single person do the whole audio of the game. Game audio is very creative but also very technical.
M-A: What is happening next? Are you able to talk about current and future projects in the pipeline that you are particularly excited about?
VA: There are several dream projects on the works, but we're unfortunately not allowed to talk about most of them yet. Let's just say we're part of our first AAA game, a major franchise that everybody knows, and it's super exciting. We've also scored the recently released Star Trek Fleet Command, and it was a great experience to be part of this incredible musical legacy. We even worked with the original theme of the movie series by Michael Giacchino, that was very special for us.
M-A: What equipment and technology does your studio currently have? Can you please provide a brief summary of your hardware and software?
VA: Oh, God. As a team of about 10 people, we have a lot of equipment… Actually, managing and upgrading all the computers, monitors, MIDI controllers, mixers, microphones, recorders, musical instruments, sound libraries and software is almost a full time job in itself! We have someone in the team helping us with that and other tasks like managing our orchestral composition templates, organizing and editing recordings, that sort of things. In terms of software, we're all using Cubase and sometimes Reaper as DAWs, alongside dozens of virtual instruments from all the major providers.
M-A: Finally, I ask this question to everyone and would appreciate your thoughts: What is your favorite Soundiron instrument?
VA: We use Olympus Choirs and Apocalypse Percussion as part of our main template, but we also love some smaller and more "exotic" instruments, like Rust or The Struck Grand. They're often a good source of inspiration and allow to find some more original, out of the ordinary sounds.
M-A: Thank you very much for being part of this interview Mathieu and FX, I really appreciate you taking time out of your busy schedule to share this valuable information with us.
VA: Thanks a lot!
Vibe Avenue's Website: https://vibeavenue.com/en/
Facebook: https://www.facebook.com/VibeAvenue
Twitter: https://twitter.com/vibeavenue
Instagram: https://www.instagram.com/vibeavenuemusic/
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text:
package net.bither.bitherj.message;

import net.bither.bitherj.exception.ProtocolException;

import javax.annotation.Nullable;

/**
 * Represents a Message type that can be contained within another Message.  ChildMessages that have a cached
 * backing byte array need to invalidate their parent's caches as well as their own if they are modified.
 *
 * @author git
 */
public abstract class ChildMessage extends Message {
    private static final long serialVersionUID = -7657113383624517931L;

    @Nullable
    private Message parent;

    protected ChildMessage() {
    }

//    public ChildMessage() {
//        super();
//    }

    public ChildMessage(byte[] msg, int offset, int protocolVersion) throws ProtocolException {
        super(msg, offset, protocolVersion);
    }

    public ChildMessage(byte[] msg, int offset, int protocolVersion, int length) throws ProtocolException {
        super(msg, offset, protocolVersion, length);
    }

    public ChildMessage(byte[] msg, int offset, int protocolVersion, Message parent, int length) throws ProtocolException {
        super(msg, offset, protocolVersion, length);
        this.parent = parent;
    }

    public ChildMessage(byte[] msg, int offset) throws ProtocolException {
        super(msg, offset);
    }

    public ChildMessage(byte[] msg, int offset, @Nullable Message parent, int length)
            throws ProtocolException {
        super(msg, offset, length);
        this.parent = parent;
    }

    public void setParent(@Nullable Message parent) {
        if (this.parent != null && this.parent != parent && parent != null) {
            // After old parent is unlinked it won't be able to receive notice if this ChildMessage
            // changes internally.  To be safe we invalidate the parent cache to ensure it rebuilds
            // manually on serialization.
//            this.parent.unCache();
        }
        this.parent = parent;
    }

    protected void adjustLength(int adjustment) {
        adjustLength(0, adjustment);
    }

    protected void adjustLength(int newArraySize, int adjustment) {
        super.adjustLength(newArraySize, adjustment);
        if (parent != null)
            parent.adjustLength(newArraySize, adjustment);
    }

}

redpajama_set_name: RedPajamaGithub


text:
Čuši  ( ) falu Horvátországban Isztria megyében. Közigazgatásilag Porečhez tartozik.

Fekvése
Az Isztriai-félsziget nyugati részén, Poreč központjától 9 km-re délkeletre fekszik.

Története

A falunak 1880-ban 7, 1910-ben 12 lakosa volt. Az első világháború után a rapallói szerződés értelmében Isztria az Olasz Királysághoz került. 1943-ban az olasz kapitulációt követően német megszállás alá került, mely 1945-ig tartott. A második világháború után a párizsi békeszerződés értelmében Jugoszlávia része lett. Jugoszlávia felbomlása után 1991-ben a független Horvátország része lett. 2011-ben 20 lakosa volt. Lakói főként mezőgazdasággal, állattartással foglalkoznak.

Lakosság

További információk
  Poreč város hivatalos oldala
  Poreč turisztikai irodájának honlapja
 Poreč város információs portálja

Jegyzetek

Isztria megye települései
Isztria települései

redpajama_set_name: RedPajamaWikipedia


text:
Q: Remove four byte UTF-8 characters in classic ASP/VBScript (MySQL related) I've spent about 18 hours of trying different things and searching around now, finally I give up and have to ask you guys.
Backstory: I am finally migrating a old MS Access database to MySQL (version 5.6.16-log).
Problem: Some Unicode text in the Access database contain four bytes (UTF-8).
MySQL still has a problem with inserting four bytes UTF-8 characters. This problem is getting old and I was surprised to discover it's not fixed yet: http://bugs.mysql.com/bug.php?id=67297
I'm using "MySQL ODBC 5.3 Unicode Driver" to transfer data between databases (the latest beta development release). No matter what I try the process ends up freezing when I try to insert the string with 4 byte UTF8 characters (the thread uses 100% CPU forever). Have tried all workarounds suggested everywhere on the Internet, nothing works.
Now I will just accept the limitations of MySQL: I can't store all Unicode characters.
So I want to remove all 4 byte UTF8 characters from the text before I insert it into the database. But I can't for the life of me find a way to do it in classic ASP.
Can anybody help?
(I can't not use ASP btw, there is way too much code to rewrite it in a different language. Just changing databases is a remarkable feat; there are several of them and it will take days to complete.)
Edit: A solution in JScript is also acceptable, since it can be run from ASP pages.

A: This should work:
Function UTF8Filter(strString)
    On Error Resume Next
    For i = 1 to Len(strString)

        charCode = AscW(Mid(strString, i, 1))
        If charCode > 32 AND charCode <= 127 then   ' here was OR
            'Append valid character'
            strString = Mid(strString, i, 1)
        End If
    Next

    UTF8Filter = strString
    On Error Goto 0
End Function

Updated function:
Function Remove4ByteUFT8(strString)
    Set objRegEx = CreateObject("VBScript.RegExp")
    objRegEx.Global = True
    objRegEx.IgnoreCase = True
    objRegEx.Pattern = "/[\xF0-\xF7].../s"

    Remove4ByteUFT8 = objRegEx.Replace(strString, "")
End Function

redpajama_set_name: RedPajamaStackExchange


text:
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uid: SolidEdgePart.FaceRotate.Application
summary:
remarks:
---


text:
St Bees Lighthouse with new light
Lighting up during lockdown
Our west coast Technical Manager Jim Veall describes the creative approach used to modernise St Bees Lighthouse during lockdown
Perched on the red sandstone cliffs of the Cumbrian coast, St Bees Lighthouse was established in 1718, although the current tower dates from 1866. The height of the cliffs mean that despite the modest stature of the tower, the light is the highest in England, at 102m above sea level. From the vantage point of the tower, the views across the Irish Sea extend to Scotland to the North and to the Isle of Man with Ireland beyond to the West. The lighthouse is managed and maintained from Trinity House's Swansea Depot.
Since 1999, the 18NM (nautical mile) light has been provided by a cluster of three 250W halogen lamps mounted in the original 1866 lens. The life of the halogen lamps is short, needing to be replaced every three months before the light output degrades. The lamps are fitted into bases with spring terminals, and the repeated heating and cooling as the lamp flashes means the springs lose their tension and the bases have to be replaced annually. The bases are no longer manufactured and so the practical life of the light system was limited. It was time to find an alternative.
In late 2019, an LED alternative to the halogen lamps was identified and so we made plans to install a new light source in 2020. As we all know, plans for anything happening in 2020 were thrown into disarray by the onset of the COVID-19 pandemic. This required a creative approach to the project.
Whenever new equipment is to be fitted to a lighthouse, one of the first tasks is to visit the station to take measurements and establish where the new kit will go. We have drawings which detail a certain amount of the information, but representing a circular room on a flat sheet of paper (or a flat computer screen) has limitations. The travel restrictions imposed by the pandemic meant that travelling the over 300 miles from Swansea to St Bees was not possible. Fortunately since the advent of digital photography we have a large library of images that help to jog the memory and give context to the drawings. Being based in Swansea, remote access to the library and electronic transmission of drawings to Harwich is established practice. Working from home was not significantly different. Once the design was complete and equipment was purchased and delivered however, the process became a little more unusual.
New equipment is usually assembled and pre-commissioned in the depot. It allows settings to be verified and performance to be checked before taking it to site. It is set to run for a period of time so it can be monitored for any failure. When you're in the depot daily, monitoring is simple. With reduced numbers of staff in the depot, it's not so straightforward. As a result, I ended up with a lighthouse in my study at home. The light source, control equipment and a power supply sat behind my computer and enabled my teenage son to see his way to the kitchen for midnight snacks. A cardboard tube around the light prevented me from being dazzled when the light came on in the darker evenings. By Christmas 2020, everything was ready to be installed.
"When you're in the depot daily, monitoring is simple. With reduced numbers of staff in the depot, it's not so straightforward. As a result, I ended up with a lighthouse in my study at home."
Planning the installation had to take into account the fact that COVID-19 restrictions were still in place. The set-up of the lighthouse meant that the three of us were usually working in three separate rooms, we stayed in separate accommodation and with no pubs or restaurants open, take-aways or self-cooked food was the order of the day. Lunch breaks were taken sat in vehicles instead of sharing the small kitchen area.
By leaving the original light system connected but moving cubicles to the floor or temporary supports, the new system was able to be fixed in place and connected up ready to be changed over. On 26 February 2021, the old halogen lamps were removed and the new LED light was installed.
The time spent poring over drawings and photographs paid off, dimensions matched up, cables were long enough and the new equipment all fitted where it was meant to. All that remained was to remove rather a lot of redundant equipment and cables and tidy up the installation.
The new LED uses 90W compared to the 250W of the old lamps while achieving the same range. Only half of the LEDs are in use at a time. If one should fail, the other half come into play. If a further failure occurs, a spare unit kept at the lighthouse can be changed out as quickly as changing a conventional light bulb. The life expectancy of the LED is somewhat greater as well. The predicted life is ten years and while we haven't had one running that long, a similar unit measured after five years showed no signs of deterioration.
Shortly after the installation, a viewing trial by THV Galatea reported that the new light was clearly visible from 20NM on a particularly clear night. The station is ready to shine out across the Irish Sea for another 20 years.
This article originally appeared in the autumn 2021 edition of Flash
Jim Veall, Technical Manager
The new LED lamp
Lighthouse Technician Ian Arthur working on the installation
St. Bees Lighthouse
St. Bees Lighthouse was built by Trinity House in 1822 upon a high promontory to guide vessels trading between the ports of Wales and the Solway Firth
Flash journal
Download the Trinity House journal as a PDF for features on our engineering projects, our charitable works, profiles of staff and partner organisations and more
'A decent, beneficial objective': 200 years of Bardsey Lighthouse
No two days the same
Recipe for success


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'Patsy Cline' takes spotlight at civic theater fundraiser
ACT will stage "Always…Patsy Cline," a tribute to the iconic country singer, beginning Friday as its Summer Sizzler.
'Patsy Cline' takes spotlight at civic theater fundraiser ACT will stage "Always…Patsy Cline," a tribute to the iconic country singer, beginning Friday as its Summer Sizzler. Check out this story on gosanangelo.com: http://www.gosanangelo.com/story/entertainment/events/2017/07/03/patsy-cline-takes-spotlight-civic-theater-fundraiser/448372001/
Sabrina Roberts, San Angelo Standard-Times Published 1:28 p.m. CT July 3, 2017
Dedra Knox is Patsy Cline in Angelo Civic Theatre's fundraiser production of "Always...Patsy Cline."(Photo: Contributed photo by Katt Jenkins)
SAN ANGELO — Patsy Cline is an enduring classic, much like Angelo Civic Theatre.
ACT will stage "Always…Patsy Cline," a tribute to the iconic country singer, beginning Friday, July 7 as its Summer Sizzler.
The Sizzler is the nonprofit theater's largest annual fundraiser, a critical event to keep the longest-running civic theater in Texas operating smoothly.
"It is a very popular show," said ACT Artistic Director Cathryn Sanders, who also directs the two-woman play. The theater, established in the 1880s, has presented it before, but "I haven't been at the theater since they've done it."
"Always...Patsy Cline" tells the story of the friendship between Houston housewife Louise Segar (played by Louise Awalt, left) and Cline (Dedra Knox). (Photo: Contributed photo by Katt Jenkins)
The show tells the story of Cline's friendship with Houston housewife Louise Segar and "offers fans who remember Cline while she was alive a chance to look back, while giving new fans an idea of what seeing her was like and what she meant to her original fans," according to the theater's website.
Dedra Knox, who reprises the title role, heavily researched Cline's life and music, and it shows in her performance, Sanders said.
"She's a fantastic musician," Sanders said, "and she really wants to do (the part) justice."
Louise Awalt also is back as Segar, and the story is told from her perspective. Awalt does the heavy lifting when it comes to dialogue, while Knox performs 27 songs — not all of them Cline's — with accompaniment from a live four-piece band.
A four-piece band — including Robin Leary on guitar, Matt Kissko on drums, Jane Smith on piano and Ann Southall on bass — provides live music during Angelo Civic Theatre's production of "Always...Patsy Cline." (Photo: Contributed photo by Katt Jenkins)
"It's been fun," Sanders said of directing the duo. "It's been a different experience for me because they've done this show before. I have a different perspective on things they've done in the past."
She said the play is entertaining, with funny moments, but it's moving as well.
"Patsy Cline died in a plane crash, and at the end of the show Louise shares that with the audience," Sanders said. That's when Knox comes out and sings "True Love," which Sanders said "gives you chills."
A four-piece band provides live music and Dedra Knox performs 27 songs in Angelo Civic Theatre's 2017 production of "Always...Patsy Cline." (Photo: Contributed photo by Katt Jenkins)
Sanders hopes residents will "see the show for a wonderful cause."
"The Summer Sizzler is important because we rely on those funds to get through the rest of the season," she said, explaining that in addition to all the other expenses of running a theater, ACT must pay $10,000 for rights to each musical it stages and $5,000 for rights to any other play it produces. With two musicals and four other shows planned each season, rights alone cost $40,000.
"We rely on support from the community," Sanders said, including the many volunteers who lend so much aid to the theater's staff of three.
It truly is a civic theater, Sanders said. "Civic involvement is at the heart of what we do."
Louise Awalt plays Louise Segar and Dedra Knox plays Patsy Cline in Angelo Civic Theatre's "Always...Patsy Cline." (Photo: Contributed photo by Katt Jenkins)
What: "Always…Patsy Cline"
When: 7:30 p.m. July 7-8, 13-15 and 21-22; 2 p.m. July 9 and July 23
Where: Angelo Civic Theatre, 1936 Sherwood Way
Cost: $20 at the theater's box office or angelotheater.com
Read or Share this story: http://www.gosanangelo.com/story/entertainment/events/2017/07/03/patsy-cline-takes-spotlight-civic-theater-fundraiser/448372001/
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Home / Local News / Small craft advisory in effect
Small craft advisory in effect
- by Barbados Today June 28, 2022
A small craft advisory is in effect for Barbados until 6 p.m. today, the Barbados Meteorological Services has said.
It said such an advisory is issued when sustained winds of 20 to 25 knots and/or sea swells of 2.5 to 3.0 metres (8 to 10 feet) and/or reduced visibility (less than 10 km but greater than 5 km) are affecting or forecast to affect the marine area within the next 36 hours.
"Significant swell height magnitudes: Moderate to rough in open water with swells ranging from 2.5 to 3.0 meters ( 8 to 10 ft ) are
expected particularly along eastern coastlines. Swells are expected to further deteriorate tonight and into tomorrow morning, peaking at 3.5m.
"All marine craft operators and beachgoers should note the following possibilities along the coast and near shore, due to the imminent or already occurring marine threat: Large open water swells can be hazardous to some vessels. Operation of smaller vessels can be difficult at times due to large swells. Some beach erosion is inevitable, especially along eastern coastlines". (BMS)
Police investigate shooting at Baxter's Road, St Michael


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DŽEHENEM*
Hell is my natural habitat! (Geoffrey Firmin in the film Under the Volcano)
*Hell
You are wherever you are
translated from Slovenian by Erica Johnson Debeljak
Anything is impossible!
Zdravko Čolić; from the song "Glavo luda" [Crazy head], album Ako priđeš bliže [When you come closer]
In the olden days, malta was collected in Bosnia. It looked something like this: at the top, at the entrance to the šeher (a town or a marketplace), there was a row of ramps which formed a sort of fortress where the peasants from the surrounding villages had to pay malta, an entrance fee to sell one's products at the market. Similarly, they paid a malta when they left the town, as a tax on the goods they sold. The thing was practical above all, the town demanding a tax so it could grow and enrich itself, and at the same time ensuring that the town was not permanently overrun by peasants who would cripple it with their provincial ways.
Sejo was sitting in the garden of one of the more frequented cafes at the so-called city beach that extends along the right bank of the Ljubljanica River. He was staring at all the people, most of whom were wearing sunglasses on their heads, and it somehow made him think of the malta and how welcome it would be in this place and time. However you look at it, city peasants were the worst kind of peasants. Peasants without land. There's nothing worse than that.
Blaž was sitting in the corner of the garden. A high functionary in the opposition party, he was in the company of some guys with beer bellies that were talking to every little teenager who walked by. The Saturday afternoon promenade was glistening in all its glory, the flea market slowly clearing away its junk into garages and side streets, making room for the blossoming beauties in mini-skirts, their too short tee-shirts revealing an array of tiny rings in all those youthful belly buttons. Hidden behind his sunglasses, Sejo voyeuristically watched the young meat and sipped on a stein of beer.
"Look at her! Look at her!" he heard Blaž say. "She's going by for the third time."
And a little bit later: "Hey, little one, congratulations, congratulations!"
Anything to give a glimmer of hope for a more beautiful future: school had started, the high school girls were happily showing off their Dalmatian suntans, just walking by.
La strada degli corpi bellissimi, as the Italians would say.
But any feelings of happiness were destroyed by Blaž:
"You sure know to lick it, little one!"
The dot on the 'i' was the exuberant explosion of laughter among the red-faced male company, aimed at a girl of fifteen years who was helping herself to a scoop of purple ice cream.
Old fat ruined farts, thought Sejo. I would collect malta from them!
He emptied his stein of beer, went to the bar to pay, sliding past Blaž. He sat in his taxi and drove off.
Destination: a new, modern apartment building, with a lot of greenery.
Sejo was sitting on the sofa when a voice came from the kitchen:
"You want coffee?"
"No. Pour me a shot," Sejo answered.
Denisa came from the kitchen and placed a bottle on the little table in front of Sejo. Sejo poured the liquid into a tiny glass and took a sip.
"You sure you don't want coffee?" she asked again.
"I'm sure."
Denisa went back to the kitchen. Probably to make that coffee. Sejo went out to the balcony with his glass in hand. He lit a cigarette, which was the only reason he was on the balcony. In Denisa's apartment the following rules applied: when you enter, you must take off your shoes and put on a pair of slippers because sweaty feet leave a disgusting moist trace on the polished wood floors, which wouldn't go with the impeccability of the new apartment. Loud talking is not advised, yelling strictly forbidden. Probably because of the thin walls that divide one modern apartment from the other. Smoking only the balcony, obviously! And that's that. Seven floors below there were a sandbox, a few benches, and a lot of greenery. Children in the sandbox, parents on the benches, birds and beetles in the greenery. Denisa's indistinct voice came from within. He stepped away from the railing and pricked up his ears… Nothing. He went right up to the door and said:
"I said I got a letter from Aida."
"From who?"
"From Aida, who else? Look at you. Have you totally forgotten that you have another sister? And go out on to the balcony if you have to smoke. Don't you see that the smoke is coming inside?"
She sat on the sofa and looked restlessly around her. A coffee rested on the table in front of her, served in a way that reminded Sejo of home. A little cup with an engraved metal handle, and a tiny džezva in which the coffee is brewed made from the same material, and of course a small dish for sugar decorated with a moon and a star. Handcrafted work, a gift from a mother for the journey into the world. Let life be sweet.
Sejo tossed his cigarette butt thought the balcony railing, watching it until it landed in the greenery below. Then he turned back to the room.
"What does Aida say?" he asked, sitting down next to her.
"Denisa?! Aida! What does Aida say?"
"Oh," she smiled. "Aida's okay."
"Good," Sejo said.
Denisa stood up and began to rearrange the little elephants on the shelf. She picked up one and moved it a little to the left. Then she lifted the second one, putting it in the place the first one had occupied. She took a step back and regarded the innovation. Then she placed the little elephants in their original positions. It all made it look like the little elephants were part of some damn chess game.
"If they're turned toward the north, it means that money will come into the house. At least that's what I think," Sejo said.
Denisa smiled at him:
"This isn't a house," she said.
Then she went to the other wall of the room, regarded the shelves there, dragged her finger from one end to the other, and looked at it.
"Damn dust!" Against the rules, she raised her voice and ran toward the kitchen.
Sejo leaned back on the sofa and closed his eyes.
"Denisa," he said after some time, eyes still closed.
"Denisa," he repeated, a little louder this time.
"Yes?" she answered from the kitchen.
"Are you alright?"
"Aida's living in Steinkjer now!" she called from the kitchen.
Sejo nodded.
"And she says that she's doing fine," Denisa called.
"Good," said Sejo.
He took a long sip from his shot glass and poured another one. Twice brewed brandy and very drinkable brandy it was. He knew about brandy. Soft brandy. His father brewed it in Faletiči, on a little mountain pasture, southeast of Sarajevo where he had a weekend house.
"They have a three metre long crab in their fjord," Denisa said happily, coming back into the room. "Can you imagine that? You go to swim and on the rock above the water you see a three metre long crab? Ha ha!"
"I'd rather imagine it on my plate. Three metres," Sejo said.
"They probably got that big because of Chernobyl," Denisa continued. "Mutant. Monsters. Brrr!" She trembled. "They came from the Barents sea. Science will, Sejo, and excuse the word, fuck nature."
Then she sat again and poured coffee from the džezva into her cup. She put in two spoonfuls of sugar. She took one sip, swallowed, and waited a bit. Probably the taste was right, because one could observe a faint movement of her head forward and a honeyed smile appear on her lips.
"It's already gobbled up several people. Divers. Aida says that she's afraid for Ljund…"
"For Ljund?"
"Oh! Didn't I tell you he was a diver?"
Sejo shook his head.
"Ljund?"
"Oh yes," she said.
"Since when?" he asked.
"How should I know that? Probably for some time now…"
"Didn't she break up with him?"
Denisa thought about it for a while, then put her hand up to her forehead.
"I'm sorry," she said. "I don't know what's the matter with me today. I said Ljund, didn't I?"
"Really," she said. "I'm sorry. I don't know what's with me today. I'm completely mixed up. I think I took one xanax too many."
Sejo nodded and took another sip.
"I'm really completely…oh well, what can you do," she said and held out her hands. "And you? How are you?"
"Nothing new," said Sejo. "Same old thing."
"What and?"
"Are you fine or not?"
Sejo looked at her.
"Comme ci, comme ça," he said.
"No news is good news," said Denisa and began to fiddle with his lighter. She lit it and let it go out. And then suddenly:
"Oh, I completely forgot…" she said and ran into the kitchen. Shortly afterwards, she came back with a big box wrapped in cellophane. "Your gift. A little something. Happy thirty-first birthday, little brother," she said and handed him the gift.
Sejo looked at the box.
"Thanks," he said. "You didn't need to."
"Open it," said Denisa.
"When else?" said Denisa and tousled his hair. "Look at you!"
Sejo tackled the opening of the gift. It was nicely wrapped. The transparent paper rustled on all sides and it struck him that there was no end to the wrapping. Finally a large box emerged from it. There was a big fish drawn on it.
"Open it, open it," Denisa said impatiently.
Sejo smiled and lifted the cover of the box. He was looking at a sort of plastic thing, a brown-coloured fish stuck on a plate.
"A fish!" he said.
"Take it out."
Again the rustling of paper.
"Do you see that button there?" asked Denisa, pointing with her finger. "Press it!"
Sejo pressed and the button and the fish wriggled toward him. Startled, he pushed it out of his lap and it landed on the floor. It kept wriggling on the floor, like a fish on dry land, and out of its open mouth came the words: Take me to the river, throw me in the water….
"Fuck," said Sejo.
Denisa was laughing out loud. "Isn't it great?"
"Mother fucker," said Sejo.
They kept laughing and pressing on the button. Take me to the river, throw me in the water…. Several times. And much laughter.
"Did Ljund catch it?" Sejo laughed.
Denisa exploded. She slapped her hands on her knees.
"Noooo," she moaned through her laughter.
Sejo had not seen her so happy for a long time. She had tears in her eyes. Then she slowly calmed down and continued:
"Oh, I did say Ljund, didn't I?"
"Uh-huh,"
"Sorry. Ljund is her ex, now she has some Sven, the diver…"
Sejo nodded. Denisa stood opposite him and looked at him with a smile on her face.
"Wait," she said and ran back into the kitchen.
Sejo picked up the fish, put it in his lap again, and looked at it. He touched it, examining how it was made. Why it moved, where it had a battery, and so on.
Denisa returned with a pile of photographs.
"There," she said, waving one picture under his nose. "That's Sven. Isn't he sweet?"
"Actually no," said Sejo, taking the photograph into his hand.
Denisa tousled his hair.
"Boys," she said. "Always competing with each other."
"Fuck it," he said.
"Don't talk that way," said Denisa. "Mother would turn over in her grave if she could hear you. There! That's her Samir. Do you remember how little he was when she was still with Ljund?"
She handed him the next photograph.
"Yup," said Sejo.
"How they grow. Aida says the child doesn't bother him at all, that he understands, and that's it. Finally."
"Who doesn't the child bother at all?" Sejo asked.
"Yeah. Sven. Who else?"
And then another photograph of Sven in diving equipment, and Aida and Sven somewhere out in nature. And then another one with Samir wearing skis in some sort of wilderness, etc.
"She finally found the right guy," said Denisa.
"And what else does she say? Aida?"
"That she's in Steinkjer now, eighty kilometres from Trondhaim, and that she's fine," said Denisa and started to sob.
Sejo leaned back on the sofa and closed his eyes again. He knew that this family celebration of his birthday would be torture but he came anyway. He would have liked to leave, but these things meant a lot to Denisa. Family things, though the family was completely shattered now. Two children in Ljubljana, one in some Stein… god knows where… mother in the ground, the old man drunk somewhere around Novi Travnik probably. The cursed Šahinpašić family. Denisa was the youngest and it hit her hardest.
"Thanks for the gift," said Sejo and kissed her tear-stained cheeks.
Denisa smiled, wiped her tears, and then cheerfully continued:
"Do you remember when you were on television?"
"Because of your paper about Comrade Tito…"
"Oh, that was a long time ago," Sejo said.
"You were so sweet, with your pioneer cap and the red handkerchief around your neck. And… and…" she started to laugh, "you were yawning the whole time, and we were worried that they would come after the old man, you know?"
"How can you remember that? You were so little then."
"Oh, I remember. I was famous in the courtyard because of that."
Sejo smiled. He patted Denisa on the knee.
"And you got to go to Sutjeksa as a prize."
"To Tjentište actually," said Sejo.
"We didn't go to Sutjeska but to Tjentište. To look at those monuments," said Sejo.
"Tito's little pioneer," said Denisa.
"Tito's little pioneer," said Sejo.
Denisa went silent and looked at her brother.
"You liked to read…" she said then.
"You liked to read… books!"
"I did not," he said.
"Yes you did."
"I did not like to read," said Sejo and he looked across at the shelf with the little elephants. They were pointed to the north.
"Yes, you did," said Denisa, as if she wanted to convince him.
"In my whole life I only read Little Red Riding Hood and even that I fucked up," said Sejo.
Denisa burst into loud laughter. She held her sides.
Sejo looked at her and started laughing too.
"What is it Denisa?" he asked through the laughter.
She kept laughing.
"When you and Aida went for the afternoon, ha ha…" she laughed, "When you…" Then she suddenly grew serious and quiet.
Sejo had also become serious and looked at her for a long while.
"When we what, Denisa?" he asked then.
Denisa looked somewhere in front and was suddenly absent.
"When you…" she said.
Silence. She started to crack the knuckles on her hands. Sejo looked at his sister. She was four years younger than him, only twenty-seven, but she looked much older.
"Nothing. What did I want to say? Well…" And then Denisa lifted her head, looked at her brother, and smiled wanly.
"Where is he now?" she asked, looking at his watch. "He said he'd be home at five and now it's half past…"
"There's no hurry," said Sejo. "Pour me another one."
Denisa filled the shot glass again. A couple seconds of silence. Denisa was gazing somewhere at the wall. Sejo closed his eyes. Then after a while:
"Oh! This always being late gets on my nerves," said Denisa.
"At his mother's. There's something wrong with her hips or I don't know what," said Denisa. "Lately he's there a lot."
Sejo nodded. Denisa got up and went to the balcony. She looked for him down below. Sejo went out with her and lit a cigarette. Silently they observed what was going on seven floors below.
"How nice it must be at home now, don't you think?" she said after a while.
Sejo tried to remember the courtyard at home. They were quiet and surveyed the scene. The view from the seventh floor wasn't all that good, god knows. Train tracks ran by on the right side past the new apartment buildings, the local train to Dolenjska rattled by three or four times a day. The Grubar Canal was on the other side, Golovec to the south. Beneath, a little bit to the side, was the big Mercator Centre and the Austrian Hofer, for those with less money, as the advertisements said.
"Yup," he said. "It must be nice…"
"I haven't been home for an eternity," said Denisa.
"We could go down together," said Sejo.
"We could," said Denisa.
Sejo emptied the shot glass, took a last puff off his cigarette, and tossed it over the railing.
"Don't throw your butts down there," Denisa scolded. "There are children down there!"
"Too late," said Sejo.
"It's never too late," his little sister said and ran into the kitchen.
Sejo went back to the sofa. The endless waiting for her Blaž continued several more minutes, during which Denisa ran to the kitchen and back at least three times, and then somewhere else, and so on and so forth, into the kitchen, into the living room. At some point in her travels, the doorbell rang and something like this could be heard in the hall:
"At my mother's. I already told you."
"For so long?"
"You know her. Once she starts to tell her stories, not even the grace of god could stop her."
"And how is she?"
"Is she still going to that class?"
"Pottery? Yeah. That's all she has."
And then he stepped into the room. Blaž. A high-placed functionary in the opposition party. He stank of beer.
"Hey, dude!" he greeted him. "You still alive?"
"Just barely," said Sejo.
Blaž clapped him on the shoulder and sat down next to him. Then he poured himself a shot and drank it in one gulp. He wiped his mouth with the bank of his hand, thumped his chest, and said:
"Soft brandy! Nothing like it!"
"You should try some of our homemade brandy. From Horjul! Now that burns. You can hardly drink it without a wine chaser." This was a flower of Horjul humour and Blaž laughed out loud at his own joke.
"Definitely," said Sejo.
"Did you bring it?" Denisa was standing in front of him.
"Of course, I did," said Blaž, and pulled several boxes of tablets from his pocket. He tossed them onto the table. Boxes of lexaurin, xanax, tramal flew across the table. Denisa gathered them up quickly and took them into the kitchen.
Blaž looked after her for a while and shook his head.
"She's getting worse," he said.
Sejo shrugged his shoulders.
"What can you do?" he said.
"What can you do," Blaž repeated. Then he slapped his knees and stood up. He reached into his back pocket and pulled out a little package. "This is a little something from me on your birthday, kid, so you won't say that we Slovenians are cheap, yeah?" He handed him the package. "Go into the bathroom and make two lines."
Sejo stood up to show that he understood and Blaž grabbed his hand.
"Kid," he said. "Not too much. It's strong stuff, okay?"
"Understood," said Sejo.
"And not a word to her, okay?" He nodded his head toward the kitchen.
"If after all those pills she tried some of that, we'd have a real party."
Sejo went to the bathroom, locked the door behind him, and opened the package. On the shelf beside the lipstick, mascara, powders and creams, he slowly transformed a rock from the white mass into two lines. One larger and one smaller. He snorted the larger line, sniffed two or three times, then returned to the living room. Denisa and Blaž sat on the sofa, a fresh shot glass filled with homemade brandy in front of Blaž, and Denisa next to him looking through the window with a confused smile on her face.
"I hope you flushed," said Blaž, winking at him, and heading toward the bathroom.
Sejo sat down in his place.
"Aida is in Steinkjer now, about eighty kilometres from Trondhaim, and she says she's fine," said Denisa.
"You already told me," said Sejo.
Denisa looked at him strangely, then she smiled.
"You oddball," she said and tousled his hair.
"Sejo," said Blaž coming out of the bathroom, "tell us a story from the taxi."
"Leave him alone. Don't bother him with that today. It's his birthday," said Denisa.
"So what?" said Blaž. He sat between them sniffing.
"There's not much to say," said Sejo.
"Come on, come on," Blaž tugged at his shoulder. "Don't tell me there's nothing to say. Lots of interesting things happen in a taxi… Come on!"
Sejo was silent.
"Nothing very exciting," said Sejo.
"No crazy chicks? No drunks, no horny couple who can't wait? No fights?"
"Don't talk like that," said Denisa.
"It's just us," said Blaž and slapped Sejo's shoulder. "Isn't that right?"
"There was one girl who got in the taxi with a piece of glass in her finger," said Sejo.
Blaž: "And?"
"Nothing really… She has this piece glass in her finger and she didn't even know it. As if it weren't the first time. She asked me to light her cigarette… With this piece of glass in her skin… And no blood, only the glass in her skin…" said Sejo.
"Wounded, no blood, that's it. That's everything," said Sejo.
Blaž looked at him for a while, then at Denisa, then back at him.
"But that's nothing," he said disappointed.
"That's it," he said.
Blaž was still looking at him. He shook his head. Then he looked at Denina and… tsk, tsk, tsk…, came from his mouth. He lit a cigarette. He walked around the room. Then he stopped in front of the window, in front of the balcony actually, and looked out into the city. After a while, he turned back to Sejo.
"No blood, you say?"
Sejo shrugged his shoulders again.
And Blaž: "Tsk, tsk, tsk…"
"Go smoke on the balcony," Denisa said.
Blaž looked at her and then silently went out on to the balcony. He looked down to the courtyard and went: "Tsk, tsk, tsk…"
He took a couple of quick puffs and tossed his cigarette over the railing. When he stepped back into the room, he looked at Sejo, smiled and nodded.
"Now we can have cake. I worked on it all day," said Denisa and ran into the kitchen again.
Blaž looked after her for a while, then he walked up to Sejo, and whispered in his ear: "Make another two lines, will you?"
"No problem," said Sejo and went toward the bathroom again. When he stood up, Blaž boxed him in the shoulder and said:
"You're going to talk to me about no blood, ha ha ha…" he quietly laughed.
"Fuck it, Blaž," said Sejo, "that's the way it was." He looked straight into his eyes and then walked past him.
In the bathroom, he first splashed a little water on his face, then he got ready to go through the same procedure again. There on the little shelf, among all the cosmetics, he found an old family photograph. They were all in it, his father Faruk, his mother Farah, the two sisters Aida and Denisa, somewhere near a stream. He looked into the photograph. He didn't remember either the stream or the day when the photograph was taken. He was about fourteen years old, fifteen, and in the picture he is holding up two fingers behind Aida's head. Similarly, the old Faruk is holding up two fingers behind the mother's head. He's laughing with his father and his mother looks grim. She always looked grim, it struck him. She was always worried about something. Aida acted casual, as if the whole thing bored her. At least, that's how it looked. Denisa was crying and hiding behind mother's long black skirt. He smiled. The photograph was probably taken just before the war, he thought. It was probably the last picture before we kids were sent out into the world… Alone… No, that's not completely true. We went with our neighbours, the Livnjaks, who had relatives in Velenje. First to Split, running into Serbs three times. Then up to Rijeka, and from Rijeka to Slovenia. The old Fare remained in Travnik with their sick mother… He had never seen either of them again. The mother was buried in Novi Travnik, the father…. He makes brandy, fuck it, down there somewhere. He made two lines and snorted one. He left one for Blaž next to the photograph. He took a piss and then went back into the living room.
A squashed cake lay across the floor… Fruit and cream and dough was strewn over about a metre, one after the other. Apricots, banana, frosting… Cake and some unlit candles… Denisa was squatting against the wall and sobbing noiselessly. She had her face covered with her hands and was sniffling. Blaž sat on the sofa, nodding off. He held in his hands that singing fish and pressed the button. The fish sang: take me to the river, throw me in the water….
"This should have a remote control," said Blaž.
Fuck it, everyone in our family is totally fucked, thought Sejo. In this shit… in this hell!... Hell is a global thing, an earthly thing, right here on earth! Ach! He sat in the taxi and smoked. Just smoked and blew clouds of smoke through the window. There was the Mercedes hood ornament, like the cross hairs of a gun. He looked at a children's playground through it. A couple of tree trunks were painted in a dark brown colour, probably or mostly because it held up over time, and the city planners had agreed to make rockets, jungle gyms, hanging bridges and that sort of thing. A touch of nature in an apartment complex. The achievement of urbanism. Children chased each other to and fro, young mothers sat bored on the benches, in a haze of a cigarette smoke.
Is it possible that everything is so fucked up? Sejo wondered.
He leaned his head forward on the steering wheel. Something was pounding in the back of his head. He felt sick. He sat up again and lit a cigarette with the butt of the last one. He looked through the hood ornament and pretended he was shooting the playing children. Bang, bang, whoosh…. ratatatat… When one of the kids managed to get to the top of the wooden rocket in the middle of the crosshairs, he was interrupted by the sound of knocking. He jumped. He opened the window and a cloud of smoke floated out.
"Are you free?"
"Of course," he said.
An older man opened the back door and sat down in the back seat. The automobile filled with the sound of the fish: take me to the river, throw me in the water… The old man got a fright, jumped, and banged his head hard on the edge of the door.
"Fuck my mother!" said the old man, looking at the fish in the backseat. "What the fuck is that?"
"A gift," said Sejo.
The old man calmed down bit. He tossed the fish in the front seat and leaned back again.
"Fuck such a gift," he said with an accent and touched himself on the forehead.
Sejo could see in the rear view mirror that the old man was bleeding a bit from his forehead.
"Fuck such a birthday," said Sejo. "Where to?"
"Glinšek Square," he said.
Sejo stretched out his arm to fasten his seatbelt. He started the car. The interior of the car was filled with a thousand lights. Again he looked at his client in the rear view mirror.
"You're not from here," he said more than asked.
"Hey, kid, you're from wherever you are," said the old man.
"Yup," said Sejo. "You are wherever you are."
He shifted the car into gear and slowly drove on.


The fascination that grew in me from examining the breath-taking illuminations in the one-of-a-kind gilded Qur'ans, has stirred the desire in me to produce an equally captivating contemporary design exclusively for the public.
The concept of my design reflects the journey of the holy Qur'an as It was before being sent from the seventh heaven to the lowest heaven was sitting up in heaven with the other divine books; Torah, Bible in the presence of His Almighty Allah. When Qur'an was revealed to the prophet Muhammad (PBUH), there was this transition from heaven to earth, from majesty to beauty, from contraction to expansion; from being settled up in heaven to spreading down on earth. The journey or transition didn't stop by the revelation on earth. The journey continued to flow as it can be seen in the history of the Qur'an.
The graphics on the front cover reveals the descending power of the revelation, as the Qur'an was sent from the seventh heaven to the lowest heaven, and from the lowest heaven to humanity through the revelation to the prophet Muhammad (PBUH) through the Angel Gabriel.
The back cover reveals the ascending power of reintegration, as the Qur'an will be lifted from the chest of the readers as well as from the pages of the Qur'an and will be left blank. In between the 2 covers, calligraphy flows from page to page, giving the conceptual impression of the history of the Qur'an. Flowing like ocean waves, at times far away from the reader with soft touch of colors, and at times it surges to the forefront with strong colors. Moving the reader emotionally as their eyes continue to move with the flow through out the pages.


Mercedes-Benz is another German company receiving an autonomous vehicle license from the state of California.
With "Senate Bill No. 1298" taking effect, Mercedes-Benz received a license allowing the company to test vehicles in autonomous driving mode in daily traffic on California roads.
Mercedes-Benz, which has been in Silicon Valley for almost 20 years now, said this represents a further expansion of the company's extensive research activities in the USA.
Mercedes-Benz finds the differences vast: while motoring in Germany commonly takes place on narrow roads, the roads in the USA are frequently wider and may have more than six or even eight lanes. Traffic lights are installed on the opposite side of the road, there are numerous scenarios for merging onto roads and at a so-called 4-way stop the first to reach the junction is allowed to go first.
The German company explained autonomous test drives are carried out by specially trained test drivers, as safety for all road users is not only required by the strict standards of the Department of Motor Vehicles (DMV) in California, but is also the overriding priority at Mercedes-Benz. The test vehicles are said to be specially equipped to this end: the driver must recognize clearly when the car is in autonomous driving mode and must be able to override this mode at any time; in addition, the car must be capable of stopping autonomously at any time.
Audi was also granted such a California license.


Triple Alliance, War of the, 1865–70, fought between Paraguay on one side and an alliance of Argentina, Brazil, and Uruguay on the other. Brazil's military reprisals for injuries to Brazilian subjects in Uruguay's civil war brought a declaration of war against Brazil from Francisco Solano López , Paraguayan dictator, who favored the Blanco regime in Uruguay. Imprudently, he also declared war on Argentina after Bartolomé Mitre refused to allow Paraguayan troops to cross Argentine territory. A secret alliance, made by Brazil and Argentina with Gen. Venancio Flores of the Colorado faction (traditional enemies of the Blancos), brought Uruguay into the war. The heroic defense of Paraguay against powerful invaders lasted five years until the final stand at Cerro Corá, where the entire populous rallied around López. By the end of the war Paraguay was devastated and a considerable part of its male population killed. The war was the brutal consequence of López's provocations as well as of the abusive aggressiveness of the larger powers. It nevertheless opened the way for a development of constitutional government in Paraguay.


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Monolake's Robert Henke based this album on the sound of the Yamaha SY77 FM synthesizer. He processed recordings of the instrument into two long drones which gradually shift and erode like ominous wind. Occasionally, higher pitches emerge—ethereal chords that remind the listener to focus. Other times this music cleanses the brain, causing me to lose track of time. Henke calls the third track, "Studies for Thunder," "sonic sculpture," and the term rings true. He composed an artificial storm while real thunderstorms swept through Berlin. There's a sense of drama in these compositions that reminds me of Henke's background in film. With one ten-minute track sandwiched between two twenty-minute ones, there's plenty of time to breathe deeply and sink into Henke's amazingly natural-sounding artificial world.


The dress your rockstar needs this Summer! Short sleeves and the funnest hemline that drops down at the back – the skirt of the dress is full, has a great drape, and is perfect for twirling. The heart print is funky and full of attitude, just like your punk baby! These are limited edition and only available in small numbers!


text:
The Walking Dead review – 5×09 : 'What Happened and What's Going On'
February 9, 2015 by tvangie
Courtesy of AMC
The Walking Dead returns with its mid-season premiere hoping to have tongues wagging this morning with a surprising character death. So, who bit the bullet?
Well THAT happened. And as much as I've been a proponent for The Walking Dead's fifth season, I can't say I'm impressed with the way things went down. We bid adieu to our gentle giant- the woefully under-developed Tyreese (Chad L. Coleman). Sigh. I feel like I have to put in the obligatory "Well there were clearly too many characters, (*cough black characters cough*) so it was obviously time to clean house." Ultimately it boils down to the fact that it never really felt like Tyreese came forward as a complex and interesting character before we lost him – which is frustrating to say the least.
Instead his loss feels like a ploy to get viewers to lament about the 'shock' factor, especially right after the death of Beth (Emily Kinney) in the mid-season finale. After that death, it felt unlikely that we would lose another series regular so soon. TWD tries to get clever by giving us the old bait-and-switch by opening with a funeral, which we're all presuming is for Beth. Instead, the cold open functions as a flash-forward as we're subjected to an array of pseudo-artsy vignettes whose relevance will be revealed as the episode unfolds. Aside from the eerie silence we get as Tyreese's blood pools over the picture of the shack where Mika (Kyla Kenedy) and Lizzie (Brighton Sharbino) met their ends, the cold open felt unnecessarily artsy to me.
Ultimately I get it: it's a nice way to connect us to Tyreese in his final moments, but at the end of the day it all felt like style over substance. I don't want to see flickering of images of abandoned playgrounds – I want Rick (Andrew Lincoln), Michonne (Danai Gurira), Glenn (Steven Yeun) and Noah (Tyler James Williams) to hurry the EFF up and get to Tyreese to save his life.
Although it was great to see a surprise cameos from The Governor (David Morrissey), as well as recently departed Beth, Bob (Lawrence Gillard Jr.), Mike and Lizzie and even Termite Martin (Chris Coy) AND it's a great way to provide further insight into why Tyreese has been so reticent to adopt a kill-or-be-killed mentality. But it ultimately falls short. Why couldn't we get the same information without killing him off? I appreciated how 'What Happened and What's Going On' took the time to delve deeper into Tyreese's psyche, but it was artificial sentiment and dripping with emotional manipulation. I felt we only got a taste of what Tyreese could be, and this episode merely felt like a tease before all that potential was taken from us with his somewhat random death. Yeah TWD, we get it – no one is safe. Let's do something different to shock the audience rather that kill off yet another character that was never given the time to fully cook, shall we?
Michonne surprisingly emerges as one of the episode's bright spots. Even amidst her scowly disgust for the hopelessness of 'just surviving', she makes a strong case to Rick for the group to head for Washington despite not knowing what awaits them there. Here's hoping that the journey gives the show more purpose as the rest of the season unfolds.
I sure as hell hope the show eventually explains why there were bits and pieces of bodies splayed all around Noah's former housing complex. The rando legs, arms and the truck full of torsos 'better be resolved' as one of my friends commented.
I'm just gonna say it – Rick needs a shave and BADLY.
Perhaps my anger about Tyreese's death stems from the fact that I feel like he's been replaced by the completely uninteresting characters like of Father Gabriel (Seth Gillam) and Rosita (Christian Serratos). In better news, the door seems fully open for Morgan (Lennie James) to re-enter and blow all of these lame-ass characters out of the water.
What did you think viewers? Did you find Tyreese's death shocking in a good way? Did you think it was his time to go? Did you appreciate the cinematography or did you think it was momentum-stalling fluff like I did? Is Washington the best thing for the group or are their efforts better spent on trying to find a stable and secure habitat? What/who do you think is responsible for the destruction of Noah's home? Sound off in the comments section below.
A gentle reminder that we adhere to a SPOILER FREE zone. Please keep any plot points from the graphic novel that may potential spoil the direction of the show to yourself.
The Walking Dead airs at 9pm EST, Sundays on AMC.
Filed Under: The Walking Dead, TV, TV - Current Coverage Tagged With: Andrew Lincoln, Chad L. Coleman, Chris Coy, Danai Gurira, David Morrissey, Emily Kinney, Lawrence Gilliard Jr., Melissa McBride, Norman Reedus, Seth Gilliam, Sonequa Martin-Green, Steven Yeun, Tyler James Williams


I say without any cliche, happiness is the key to life. You may have heard it before, but has anyone really taken the time to dissect the power behind that statement? I think 'happy' is an overused word and unfortunately its meaning has dwindled over time. But happiness is something that everyone on this Earth can achieve – rich or poor. It is a primal emotion that can be understood by all cultures and through all languages.
But what is it that make YOU happy – truly happy? Really try to decipher the things, the people, and the notions that release that emotion for you. Whatever those things may be, just know that you, and only you, are the driving force that can bring forth that feeling of happiness. In order to achieve it, you will encounter hardship and negativity along the way but there is no reward without some risk. You will have to face fear head on and know deep down that you will come out on top. Isn't the idea of true happiness enough motivation to make you keep going?


text:
Санта-Ана () — вулкан в Сальвадоре.

Высота над уровнем моря — 2385 м. Расположен вулкан в горном хребте Апанека на западе страны центральноамериканской системы Кордильер на территории одноимённого департамента и севернее от другого активного вулкана Исалько, с которым образует фактически единую систему.

Санта-Ана — один из самых молодых вулканов Центральной Америки. Известны извержения 1520, 1521, 1524, 1570, 1576, 1621, 1722, 1734, 1874, 1878, 1879, 1880, 1882, 1884, 1904, 1920 годах, последний раз извергался в 2005 году.

Примечания

Ссылки

Стратовулканы
Активные вулканы
Вулканы Сальвадора
Горы Сальвадора


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        <item name="android:statusBarColor">@color/theme_passion_primary_dark</item>
        <item name="android:windowBackground">@color/theme_passion_background</item>
        <item name="android:colorAccent">@color/theme_passion_accent</item>
    </style>

    <style name="Topeka.CompoundButton" parent="@android:style/Widget.Material.Button.Borderless">
        <item name="android:background">@drawable/selector_button</item>
    </style>

    <style name="Topeka.CompoundButton.Radio" parent="Topeka.CompoundButton">
        <item name="android:background">@drawable/selector_checkable</item>
    </style>

    <style name="Topeka.CompoundButton.True" parent="Topeka.CompoundButton">
        <item name="android:background">@drawable/selector_true</item>
    </style>

    <style name="Topeka.CompoundButton.False" parent="Topeka.CompoundButton">
        <item name="android:background">@drawable/selector_false</item>
    </style>

    <style name="Topeka.TextAppearance">
    </style>

    <style name="Topeka.TextAppearance.Title" parent="android:TextAppearance.Material.Title">
        <item name="android:textColor">@color/topeka_primary</item>
    </style>

    <style name="Topeka.TextAppearance.Title.Inverse"
        parent="android:TextAppearance.Material.Title">
        <item name="android:textColor">@android:color/white</item>
    </style>

    <style name="Topeka.TextAppearance.Title.Picker" parent="Topeka.TextAppearance.Title">
        <item name="android:textSize">96sp</item>
    </style>

    <style name="Topeka.TextAppearance.Subhead" parent="android:TextAppearance.Material.Subhead">
        <item name="android:textColor">@color/topeka_primary</item>
    </style>
</resources>