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MAMMA MIA! HERE WE GO AGAIN – gör dig redo för att sjunga med
4 september, 2018 Pressreleaser Filmnyheter 0
Get ready to sing and dance all over again with MAMMA MIA! HERE WE GO AGAIN
Universal City, California, September 4, 2018 – Bring family and friends together and have the time of your life with MAMMA MIA! HERE WE GO AGAIN Sing-Along Edition, the all-new smash-hit romantic comedy based on the songs of ABBA, for a one-of-a-kind at home experience. MAMMA MIA! HERE WE GO AGAIN arrives on 4K Ultra HD, Blu-ray & DVD in November, 2018 from Universal Pictures Home Entertainment.Ten years after MAMMA MIA! The Movie, MAMMA MIA! HERE WE GO AGAIN invites you to return to the magical Greek island of Kalokairi to continue the story's emotional journey of family and friendship whilst discovering just how those life-changing relationships were formed and includes hit songs such as When I Kissed The Teacher, Fernando and Dancing Queen.
MAMMA MIA! Here We Go Again, a Littlestar/Playtone production, is produced by Judy Craymer and Gary Goetzman, producers of the original film.Craymer is also the creator and producer of the worldwide smash hit stage musical.Ol Parker, writer of The Best Exotic Marigold Hotel, writes and directs the sequel from a story by Catherine Johnson, Richard Curtis and Ol Parker. Benny Andersson and Björn Ulvaeus return to provide music and lyrics and serve as executive producers. The original cast members multi-award winner Meryl Streep (Florence Foster Jenkins, Into The Woods), Pierce Brosnan (The World is Not Enough), Oscar® winner Colin Firth (The King's Speech), Stellan Skarsgård (Good Will Hunting), Julie Walters (Harry Potter and the Deathly Hallows), Dominic Cooper (Avengers: Infinity Wars), Amanda Seyfried (Les Miserables) and Christine Baranski (The Good Wife) return alongside new additions Lily James (Cinderella, Baby Driver), Oscar® winner Cher (Moonstruck, Burlesque) and Andy Garcia (Ocean's Eleven, The Godfather: Part III).
Both a prequel and a sequel, the film tells two stories: present day as Sophie Sheridan (Seyfried) prepares for the grand reopening of her mother Donna's (Streep) hotel and 1979 when young Donna (James) first arrives on the island. Sophie learns about her mother's exciting, fun-filled adventures with the young Dynamos, Tanya (Jessica Keenan-Wynn) and Rosie (Alexa Davies), and how young Donna first met her three possible dads Harry (Hugh Skinner), Bill (Josh Dylan) and Sam (Jeremy Irvine) all those years ago.Deemed as "a relentlessly sunny musical romp" by Leah Greenblatt, Entertainment Weekly, MAMMA MIA! HERE WE GO AGAIN is filled with summer fun, joy and romance that allows audiences to tap into their inner dancing queens in their own living rooms! Get ready to sing and dance all over again with the entire cast and go behind the scenes with MAMMA MIA! HERE WE GO AGAIN with over an hour of bonus features including one- of-a-kind lyric videos and a never-before-seen performance of "I Wonder."
BONUS FEATURES EXCLUSIVE TO 4K ULTRA HD, BLU-RAY & DIGITAL:
Deleted/Extended Songs and Scenes with Commentary by Director/Screenplay Writer Ol Parker
Extended Song Performance – The Name Of The Game
Extended Song Performance – Knowing Me, Knowing You
Enhanced Sing-Alongs
Cast Meets Cast
Tanya Meets Tanya – Jessica Keenan Wynn interviews Christine Baranski about playing the sassiest Dynamo – Tanya.
Rosie Meets Rosie – Alexa Davies interviews Julie Walters as the two actresses share their experiences playing Rosie.
Cast Chats
Dynamo Chit-Chat – A conversation between the three Young Dynamos reflecting on their favorite song, costumes, scenes to shoot, and funniest moments.
Dad Chat – The young dads come together to share some of their favorite memories from set.
Sophie's Story – Of all the characters, Amanda Seyfried's Sophie has developed the most since the first movie. Here we will chart how Sophie has gone from a vulnerable young girl to a confident young woman following life-changing events.
Choreographing MAMMA MIA! HERE WE GO AGAIN – Choreographer Anthony Van Laast and his team will reveal some of the secrets behind the highly original dance routines.
Dancing Queen: Anatomy of a Scene – The most famous piano roll in musical history opens one of ABBA'S biggest hits, "Dancing Queen." The number is the biggest and most complex sequence. Ol Parker will discuss where and how he wanted to use the song in the story.
Performing for Legends – Here the Young Dynamos will discuss the daunting prospect of stepping into the recording booth at Air Studios to sing ABBA to ABBA.
Class of '79 – The story of the Young Dads and Dynamos is told against the backdrop of Oxford, Paris and the Greek Islands of 1979, when hairstyles were wackier and the fashions were bolder. This featurette will focus on the Young Dads and Dynamos and their experience bringing these characters to life.
BONUS FEATURES ON 4K ULTRA HD, BLU-RAY, DVD & DIGITAL:
Deleted Songs and Scenes with Commentary by Director/Screenplay Writer Ol Parker
Deleted Song Performance – I Wonder
Deleted Scene – Tahini
The Story – Producer Judy Craymer reveals how the MAMMA MIA! legacy began, evolved into the first feature film and how she teamed with executive producer/co-story writer Richard Curtis and director/screenplay writer Ol Parker to develop the perfect sequel.
MAMMA MIA! Reunited – Focusing on the legacy performers and their excitement at reuniting a decade later, the filmmakers discuss the paths they've paved for the characters since we last saw them.
Playing Donna – This piece centers on Meryl Streep's cameo performance and Lily James' preparation for filling this iconic role.
Meeting Cher – The Queen of pop reveals her excitement at joining the MAMMA MIA! family as Ruby Sheridan – Sophie's glamorous grandmother. Fellow cast members will share their delight at meeting and watching a legend on set.
Costumes and The Dynamos – The Young Dynamos have some pretty cool costumes in MAMMA MIA! HERE WE GO AGAIN, and of course so does Cher. And who could forget those trademark dungarees? We will join costume designer Michelle Clapton as she highlights some of her favorite outfits from the movie.
Curtain Call – Who can forget the finale to MAMMA MIA! when the cast danced onto cinema screens in full spandex for one final number? Ol Parker has chosen "Super Trouper" to close his movie and it features all 16 key cast members.
NBC's TODAY Show Interview with Cher & Judy Craymer
Feature Commentary with Director/Screenplay Writer Ol Parker
Feature Commentary with Producer Judy Craymer
FILMMAKERS:
Cast: Christine Baranski, Pierce Brosnan, Dominic Cooper, Colin Firth, Andy Garcia, Lily James, Amanda Seyfried, Stellan Skarsgård, Julie Walters, with Cher and Meryl Streep
Written and Directed By: Ol Parker
Story By: Richard Curtis and Ol Parker and Catherine Johnson
Produced By: Judy Craymer p.g.a., Gary Goetzman p.g.a.
Music and Lyrics By: Benny Andersson and Björn Ulvaeus
Based on the Original Musical 'MAMMA MIA!' By: Catherine Johnson
Originally Conceived By: Judy Craymer
Based on the Songs Of: ABBA
Executive Producers: Björn Ulvaeus, Benny Andersson, Rita Wilson, Tom Hanks, Richard Curtis, Phyllida Lloyd, Nicky Kentish Barnes
Director of Photography: Robert Yeoman ASC
Production Designers: Alan MacDonald, John Frankish
Editor: Peter Lambert
Costume Designer: Michele Clapton
Choreographer: Anthony Van Laast
Musical Director: Martin Koch
Score by: Anne Dudley
Music Supervisor: Becky Bentham
© Universal Sony Pictures Home Entertainment Nordic
MAMMA MIA! HERE WE GO AGAIN inspelningen påbörjas X-MEN: DARK PHOENIX bland Twentieth Century Fox Home Entertainment oktobernyheter ALITA: BATTLE ANGEL – Gör dig redo för strid för i sommar JURASSIC WORLD: FALLEN KINGDOM kommer i en hel del olika format


Only the short sighted individual will regard an ankle injury as being only sports related. It is possible to sustain an ankle injury simply by stepping from concrete onto grass, or stepping down off a curb. You don't have to be participating in a sports activity to be the unfortunate recipient of a sprain, strain or fracture.
Sprains are injuries that occur to the ligaments in the ankle joint when the ankle is twisted or bent beyond its normal range. Strains are similar to sprains in that they are tissue damage related, but a strain occurs to the tendon. Fractures are cracks or breaks in the bones. All ankle injuries should be treated by a doctor because a fracture can easily be disguised in the pain of a sprain. If an ankle fractures and left untreated, it can become a much more serious injury and result in a lengthier healing time.
Other signs of a fracture may be tender to the touch or the ankle may look out of place.
There are different types of fractures. Stress fractures appear as small cracks in the bones, and a simple fracture refers to one break in the bone. There is also a comminuted fracture, which means two or more breaks in the bone resulting in three or more bone fragments. Different types of fractures call for different treatment methods, which will ensure the bones knit properly and are in correct alignment.
Fractures may be treated non-surgically or surgically and depends on your individual case. If the fracture is non-displaced and only involves one bone, Dr. Vargas may treat it by immobilizing the joint using a brace or cast. In more serious injuries, he may have to stabilize the bones by surgically fixing a metal plate and screws into the bone in order to hold things in place. Following surgical repair, Dr. Vargas will place a splint on the ankle until swelling goes down enough to allow for a cast.
Normal healing time for a fracture is about six weeks, after which time you may need to begin a routine of physical therapy in order to regain strength and range of motion. Always listen to Dr. Vargas and trust his judgment. He is aware that you are anxious to get back on your feet and resume normal activities, but he also understands the dangers of trying to hurry the recovery and healing process. For any foot or ankle injury, call Dr. Vargas at (281) 313-0090 or (281) 342-8700.


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Tag Archives: monopoly
protocols > platforms
February 8, 2020 Paul Raven	Leave a comment
I used to read Techdirt, and Mike Masnick in particular, with genuine reverence when Futurismic was still a running concern. He was tech-critical long before it was fashionable to be so, but from a position that challenged my own thinking quite a bit, and still does: in short, Masnick's about as close to First Amendment Fundamentalism as I'll go. (I used to go a fair bit closer than I do these days; insert your own wistful reminiscences of more innocent times on the still-somewhat-utopian internet of the Noughties here.)
These days my greatest and enduring interest in Masnick's work comes from his maintaining the old (and seemingly all-but-forgotten) distinction between protocols and platforms. As presumably foreshadowed by the preceding paragraph, this is largely in service of "free speech" — though Masnick's notion of free speech is notably more thought-through and pre-problematised than the one you encounter most often. I guess we might say he's one of the last intellectually honest techno-libertarians.
Here's Masnick introducing a long piece at Columbia U's Knight First Amendment Institute, where he argues in favour of a return to an internet based on open protocols rather than proprietary platforms:
Moving to a world where protocols and not proprietary platforms dominate would solve many issues currently facing the internet today. Rather than relying on a few giant platforms to police speech online, there could be widespread competition, in which anyone could design their own interfaces, filters, and additional services, allowing whichever ones work best to succeed, without having to resort to outright censorship for certain voices. It would allow end users to determine their own tolerances for different types of speech but make it much easier for most people to avoid the most problematic speech, without silencing anyone entirely or having the platforms themselves make the decisions about who is allowed to speak.
In short, it would push the power and decision making out to the ends of the network, rather than keeping it centralized among a small group of very powerful companies.
Now, regular readers will likely have picked up some hints in recent years that I no longer assume competition between commercial actors will necessarily, or even possibly, result in the emergence of an optimal solution. (YA RLY.)
That said, I think there's an argument to be made that a lot of the sociopolitical issues we've seen in the last decade have been exacerbated by the ubiquitous reach of certain proprietary platforms of communication. A very reductive way of putting it might be to observe that if a platform and the set of rules by which it is used (which we might call its interface) are considered as a game, then two things are likely to happen: a) highly motivated people will find a way to win the game by pushing at the edges of the rule-set, and b) highly motivated people with access to money will lean on the curators of the rule-set to make their pushing at its edges more successful. All of this will happen within a broader ecology where almost all the strong incentives to action tend to be driven by and towards the accumulation of profit and/or power.
(Or, more succinctly: Facebook, and its abuse for political and financial influence, is inevitable in a capitalist context which does not actively mitigate against the existence of Facebooks.)
But Masnick's spot on when it comes to the power of protocols — because both he and my anarchist self recognise that replacing Facebook with a state-run monopoly platform, however well intended, would result in similarly dysfunctional results. (This is another sense in which the big comms/tech companies are infrastructures, and thus very similar to the rapacious railway companies from which they are descended.)
I don't have the time (and you likely don't have the patience) to revisit some of the more woolly implications of my PhD thesis today, and in the end the protocol/platform distinction didn't make as strong a showing in the final work as originally expected — but nonetheless it's a distinction that matters a great deal in my theoretical model of sociotechnical change. To simplify hugely, the reason why a state-run monopoly platform is little better than a privately-owned monopoly platform is not that they are both monopolies; on the contrary, any geographically inelastic distribution system (be it a railway or a communications network) should, nay MUST be a monopoly, because breaking the network up into subnetworks reduces both its functional and its economical efficiency.
Rather, the problem with platforms is that, to use my preferred theoretical nomenclature, they control both the infrastructure layer and the interface layer. A protocol, by contrast, is provided as an open opportunity (or capacity) by an infrastructure layer in order that all comers are able to to develop their own compatible interfaces thereto; those interfaces will work with the clearly delimited capacities and potentialities of the infrastructure layer, and package them in such a way as to fulfill the teleology of a particular practice-as-performance.
(Regrettably, the full elucidation of my theoretical work has yet to make it into any publications, and I've not had the time to write it up for its own sake. I'm hoping that an SI proposed in the aftermath of last year's RGS conference, plus a paper I'm hoping will be accepted for this year's Petrocultures, will give me the chance/reason to get this stuff down in print and out in the world.)
Looping back to Masnick, then: my theory broadly agrees with him on the point about "pushing power out to the ends of the network" — but with the proviso that the network (which cannot be disentangled from the organisation charged with running and maintaining it) must necessarily be a closely regulated and functionally restricted monopoly in order for his proposed freedom of use-cases to be possible; the total organisational separation between the infrastructure layer and the interface layer must be maintained. This is not an ideological position, but an argument from function which can be illustrated with pretty much every infrastructural development in history.
And that's the core thesis one of the handful of books I'd really like someone to pay me to write… but as no one's gonna even think about paying me until it's been written, I guess I'd better find the time to write it while I'm being paid to do other things, eh?
infrastructureMike Masnickmonopolynetworksplatformsprotocols
leveraging their putative goodness / the psychopathology of private infrastructures
You may remember Joel Bakan from such influential Noughties non-fiction books/movies as The Corporation. Well, Bakan's back, and his earlier thesis — that corporations, if considered as people, are basically psychopaths — is no less true than before. In fact, he claims it's worse, because concepts like "corporate social responsibility" have merely encouraged them to become superficially charming psychopaths.
The fact is, despite all the celebratory talk, corporations will not – indeed, cannot – sacrifice their own and their shareholders' interests to the cause of doing good. That presents a profound constraint in terms of what kinds and amounts of good they are likely to do – and effectively licenses them to do 'bad' when there's no business case for doing good.
The further problem – and this is the part about democracy – is that corporations are leveraging their new putative 'goodness' to support claims they no longer need to be regulated by government, because they can now self-regulate; and that they can also do a better job than governments in running public services, such as water, schools, transport, prisons, and so on.
This later point is not original to Bakan, but it deserves to be repeated — and furthermore demands to be appreciated more thoroughly than it is:
For many tech players, monopoly is built into their business models. Facebook, for example, has to be the place everyone goes for social connection. Amazon needs to be the platform for all shoppers and retailers. Google, the search engine everyone uses. The value of these companies is based on being the one place where everyone goes. That gives them a monopoly on the two things that have value in the tech space – attention and data.
It also incentivises them to go beyond their sectors, to invade and dominate other sectors…
These companies are infrastructures. They are also media. (These terms are not contradictory.)
The unstoppable logic of monopoly should be familiar from the hey-day of the rail barons, but we carefully (and, it seems, very deliberately) chose to forget all of that as we slipped into neoliberalism's vampiric embrace during the latter third of the twentieth century. But the analogy is so clear, it's almost absurd: think back to the way in which the railways colonised last-mile delivery, lodgings and hostelries, materials extraction and processing; recall the collusion of rail barons in buying up land alongside the routes their track would follow.
(Heck, recall that the seed of the comms network that we erroneously and reductively call "the internet", namely the telegraph, first emerged as an internal function of the railways themselves, and was subsequently expanded and spun off once the railways themselves had stopped being so exciting to investors and capitalists alike.)
This is not malice, though it might well be greed; the contextual incentives of capitalism produce these effects almost inevitably. It is a Skinner box we collectively built around ourselves, and it's been there so long that for the most part we question it no more than a fish questions its immersion in water.
It's not software that's eating the world; software is merely the interface to the hardware, the functional mask of magical provision draped atop the infrastructures that are eating the world and vomiting the chunks back up in our mailboxes. Long before fibre, it was the railways eating the world — until eventually their miraculous bubble of profit popped against the pin of practicality. It always turns out that you can't make a profit from infrastructure if you want it to be fair and efficient — though you can profit by riding the wave of expansion and making impossible promises.
And when that wave crashes down, and you've long since cashed out, the world will be faced with the necessity of funding the upkeep of what you built — because what you built ate the world that came before it. The disruption you worship, the legacy you crave, the transformation you dream of… it's already achieved.
But just like any other male western hero, you'll walk away and leave everyone else to deal with the aftermath, because maintenance isn't sexy, and there's no way you're going to be the one who carries the cooking kit.
The corporation is a psychopath, because heroes are psychopaths, and we've become accustomed to the entrepreneur as the hero of our age.
Time to turn the page.
communicationsheroicsinfrastructureinternetJoel BakanmediamonopolypsychopathologyThe Corporation
Qui autem temperet moderatores?
May 30, 2019 Paul Raven	Leave a comment
… [UK] consumers have overpaid for the natural monopolies and other networks underpinning many of these markets for at least the past 15 years. Because of patchy reporting from regulators, it's impossible to document the full extent of these overpayments. However, this research finds that regulators have systematically set prices too high, leading to consumers facing unnecessarily high bills – that is, bills well in excess of what is required to deliver the necessary investment in these essential services.
We're able to put concrete figures on these overpayments for water, energy, telephone and broadband infrastructure. Our conservative estimate is that that excess figure is £24.1bn. We find that the errors in energy and water have cost consumers £11bn and £13bn respectively.
… just focusing on the technicalities would neglect a simpler explanation: regulators have been out-resourced and outgunned. If this was just a story of errors in financial modelling, the errors would sometimes fall in consumers' and sometimes in investors' favour. But this is not what we see: instead, the errors are biased. Indeed, as we show below, this has sometimes been a conscious strategy from regulators: fearing under-investment, they have 'aimed up' on capital costs, choosing higher values than their estimates indicated they should.
Monopoly Money report from Citizen's Advice
capitalisminfrastructuremonopolynetworksregulationUK

redpajama_set_name: RedPajamaCommonCrawl


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Fork Lift Safety
Fork lift safety: The practical steps employers should be taking
From driverless cars to machines that read x-rays, automation is quickly improving our lives and our safety. While it offers a fantastic future, we must be mindful of the problems of the present. In the fork lift truck industry, more and more technology is reach the marketplace designed to enhance operations for those operating conventionally, as Peter Harvey MBE, Chief Executive of the Fork Lift Truck Association explains.
With technology moving at lightning speed, we're seeing developments now, which according to some academics were pure theory just a few years ago. In Japan, AI robots are helping to enhance care for the elderly and infirm, while, in Brazil, postmen are using drones to deliver parcels to remote mountainous villages. Of course, we're seeing automation transform businesses, here, too. Industry 4.0 has arrived and it's building up momentum.
Skillshift: Automation and the Future of the Work, a report released by the McKinsey Global Institute in 2018, suggests: "Over the next 10 to 15 years, the adoption of automation and AI-technologies will transform the workplace as people increasingly interact with ever-smarter machines. "These technologies, and that human-machine interaction will bring numerous benefits in the form of higher productivity, GDP growth, improved corporate performance, and new prosperity…"
In practical terms, it means a reduction in wage bills, it slashes energy consumption and optimises space utilisation. Its biggest benefit, however, is how it will transform safety. In recent years, great strides have been made across a wide range of industries through improved equipment, practice and awareness. Despite this, the number of life-changing accidents each year remains too high, with employers reported a staggering 71,062 employee non-fatal injuries in 2017/18 under RIDDOR.
Human failure
Contrary to popular belief, most of these accidents are not caused by a failure of technology, but of humans. Automated systems are designed to get it 'right' every time. And they nearly almost always do.
Last year, there was a case at Uber involving a driverless car colliding with a pedestrian during supervised road tests. Although there was a fault in the system, which can be expected, the car's human driver was too distracted to identify it quickly enough.
You see, we rely on human behaviour to get the job done, but, unlike computers, they get things wrong from time to time. We get distracted. We get tired. After all, we are human. But, this does mean that the biggest threat to your business is your workforce.
Advances in technology may eventually remove humans from the equation. However, we have not achieved that Utopian vision and may not for some time. For most businesses, the practicalities of automating operations demand too big an investment of time and money to be feasible.
In the fork lift truck industry, we are seeing more and more technology reach the marketplace which is designed to enhance operations for those operating conventionally. While sensors, anti-collision systems and cameras can really help safety, their benefits are far outweighed by those of insisting on good, safe practice. It's crucial that your employees don't become too reliant on these aids: it could come at the expense of their own skills and knowledge.
We may have Europe's most stringent health and safety legislation, but the number of serious injuries caused by lift trucks in the UK is on the rise. Every day, five workers in the UK are hospitalised as a result of lift truck accidents, with devastating results for those involved.
These are not simple bumps or scrapes. The characteristic strength of lift trucks, which is valued by industry, means that those involved suffer dislocations, complex fractures, amputations and worse. Operators do get injured in accidents, but the majority (57%) of those affected are workers on foot, such as warehouse operatives.
In an ideal world, humans and lift trucks would never interact. Installing physical barriers and designating walkways can be very effective at keeping your pedestrians safe on site. However, this is not always practical to implement at older sites. But even where it is, the policies surrounding their use isn't being policed.
Accidents are an inevitable consequence of our reliance on human behaviour and they come in at a cost far beyond pain and suffering. Fines and damages alone can run into seven figures and SHP has covered many of these cases. There's also a genuine risk of prosecution for businesses and the individuals accountable for them. Where serious negligence occurs, these individuals may face prison sentences.
Knocks, bumps and scrapes
Most incidents, however, never result in a court appearance, let alone time behind bars. I'm referring to those everyday knocks, bumps and scrapes which are the tell-tale signs of bad practice.
Working in confined spaces with other vehicles and colleagues means that racking – quite literally – takes a big hit. Indeed, I'm aware of one leading UK retailer who readily accepts a multi-million pound annual bill for repair and replacement alone.
But that's just the start. When racking takes a knock, chances are stock is being affected, too. Dropping a pallet, for example, can set you back several thousand and that's before you account for time and money spent cleaning up, restocking and recycling.
Then there's the cost to the truck itself. Damaging a forklift can be an expensive habit. Replacing a seat can cost several hundred pounds, but safety-critical components, such as overhead guards, can cost thousands to fix.
Over the length of a typical contract (around five years), your truck's repair bills can increase your total rental costs by as much as 5%. Across a large fleet, this could mean a bill for as much as £100,000.
Spills and collisions may seem minor as no one was hurt, but collectively they cost British industry billions each year. While automation offers a more cost-efficient tomorrow for business, it's not a practical or affordable option for SMEs, the group most at risk of accidents. For now, they must continue running small fleets in real-world situations.
However, all is not lost as making significant and lasting change is possible through commitment and a far smaller investment. We regularly hear of managers who overcome this clearly untenable situation by taking ownership for safety on site and influencing company culture and behaviour throughout an organisation, from the boardroom to the shop floor.
After all, it is down to each and every one of us to look ourselves in the mirror this morning and ask "How will I make a difference today?"
Fork lift safety: The practical steps employers should be taking In the fork lift truck industry, we are seeing more and more technology reach the marketplace designed to enhance operations for those operating conventionally. While sensors, anti-collision systems and cameras can really help safety, their benefits are far outweighed by those of insisting on good, safe practice.
Manufacturer fined after a worker injured by a forklift truck
Waste treatment company fined after employee fatality
Topics: Fork Lift Truck Association, Forklift Truck, RIDDOR, technology, Uber


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"The Face of Fear"
Physical | Download | Streaming
Indiemerch (US) | EMP (Europe)
iTunes | Amazon MP3
Google Play | Bandcamp
Apple Music | Spotify
Tidal | Napster | Deezer
Michael Bastholm Dahl: Vocals
Michael Stützer: Guitars
Morten Stützer: Guitars
Peter Thorslund: Bass
Josua Madsen: Drums
When Artillery formed in the small Copenhagen suburb of Taastrup in 1982, little did they know they'd be here alive, vibrant, and ready to destroy in 2018. Sure, they've had their share of ups and downs - the group first folded in 1991, returned for a brief one-album stint with B.A.C.K. in 1999, and officially reformed in 2007 after a good multi-year hiatus - but any metal band worth their salt perseveres. And Artillery have survived. They were there when thrash metal took off. They were around to see the emergence of death metal. And they're here today, to make their mark on a whole new generation of metalhead.
"We have some of the most dedicated and diehard fans from the early days of Artillery still supporting the band," says guitarist and co-founding member Michael Stützer. "It's awesome to meet them when we are on tour. The difference is that now they are coming with their sons and daughters and this is amazing. Half of our fans were not even born when we released our first album, Fear of Tomorrow, but our new fans know all the songs!"
Since the release of "Penalty by Perception" (2016), Artillery has taken the road around the world and won several awards for the release. And now the time has come to open the next chapter with their new album "The Face of Fear"!
Once again, the band brings out the big guns with producer Søren Andersen (Glenn Hughes, Marco Mendoza, Mike Tramp etc.) at the helm.
Topics like the crimes of humanity, horrors of religion and personal strife are present, and the band even takes a trip back memory lane with a rerecorded song from 1982!
So, get out and show your horns, face "The Face of Fear" and let's continue keeping metal alive! Artillery is back!
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Le Mégapode de Layard  (Megapodius layardi) est une espèce d'oiseau de la famille Megapodiidae.

Répartition
Il est endémique au Vanuatu.

Habitat
Son habitat naturel est les forêts humides subtropicales ou tropicales en plaine.

Liens externes

Megapodiidae

redpajama_set_name: RedPajamaWikipedia


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@interface CTDetailViewController : UIViewController <UISplitViewControllerDelegate>

@property (strong, nonatomic) NSDictionary *detailItem;

@property (weak, nonatomic) IBOutlet UILabel *detailDescriptionLabel;
@end

redpajama_set_name: RedPajamaGithub


Tag someone and say nothing. #inspiring #memories #me #Itz_arcane zarcane #hardwork #tears #life #harsh #creator #app #aim #goal #time #feel #regret #hard #oneliner #motivational #keepon #hard #firststrike #louder #silence #colourful #black #powerful #strength.
This is a amzing video. Great to see some kids do good. God is good, rest in peace sir. If you dont get the chills watching this you arnt human.


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Mészáros Gábor (1896–1920) húsipari munkás, pártmunkás
 Mészáros Gábor (1958) keramikus
 Mészáros Gábor (1962) úszó, edző
 Mészáros Gábor (1966) újságíró
 Mészáros Gábor (1968) zenész


It's easy to be a little unsure what is totally appropriate for work or not these days with businesses having a more flexible approach to work wear. Unless you are told you have to wear a suit it can be a bit confusing as to what you can and can't get away with. Whatever the dress code you are likely to want to project a fantastic professional impact, to stand out and get noticed by your boss. A great professional impact is when the style of your clothes is appropriate, in good condition, looked after and fit you properly.
Does your jacket fit properly across the back of your shoulders?
Is there 2-3cms of fabric spare at the side of your torso?
Are there any obvious creases or stains?
Is there any puckering or fabric sheen caused by dry cleaning?
Are there any loose buttons or threads?
Does the fabric pull or gape anywhere?
Are your pockets or pleats gaping or pulling?
Does the hem rest on the top of your shoe?
Are your shirt collars and cuffs pristine?
Are you showing too much cleavage?
Does the fabric pull anywhere across your bust or torso?
Are your tops long enough to avoid showing your midriff?
Does your knitwear have any bobbles or pulls?
Are your shoes in immaculate condition?
Are your tights free of snags or runs?
Now count up all your A's and B's. A is the most appropriate wear to create a professional impact so if you have scored lots of A's you are doing well! If B was your higher score then it might be a good time for a wardrobe weed to sift out the clothes that don't work so well anymore and create a key items shopping list to build a fabulous working wardrobe.


The criminal and civil penalties and consequences of a felony drug conviction are severe.
Drugs always have serious ramifications and repercussions for the people who use them and the community. The penalties and consequences of a felony drug conviction under Act 64 are severe. For example, any person who manufactures, delivers or possesses with intent to manufacture or deliver a controlled or counterfeit substance classified in Schedule I or II which is a narcotic drug is guilty of a felony and upon conviction thereof shall be sentenced to imprisonment not exceeding 15 years, or to pay a fine not exceeding $250,000, or both, or such larger amount as is sufficient to exhaust the assets utilized in and the profits obtained from the illegal activity.
In addition to the possibility of a lengthy prison sentence and large fine, a felony drug conviction can negatively impact a person's future employment, since employers can question job applicants if they have been convicted of a crime. Moreover, a number of statutes adversely affect a person convicted of a felony drug offense in areas such as education, public housing, student loans and aid, and foster families and adoption.
(1) Losing the ability to own or possess firearms.
(2) potential loss of a professional license or permit.
(3) losing the right to become an elector and being prohibited from voting, holding public office, or running for office, although these rights can be restored.
(4) being disqualified from jury service for seven years, or while a defendant in a pending felony case.
The Controlled Substance, Drug, Device and Cosmetic Act, 35 P.S. Section 780-101 et. seq., also known as "Act 64," regulates the possession, control, usage, prescription, administration, manufacture and dispensing of drugs in Pennsylvania. Act 64 defines the various schedules of controlled substances and prohibited acts.
What types of illegal drugs does Act 64 regulate?
Act 64 regulates all controlled substances listed in Schedules I through V of the Act. Among the commonly used illegal drugs regulated by Act 64 are (a) Opioids, such as heroin and opium; (b) club drugs, such as Methylenedioxymethamphetamine (MDMA) and Flunitrazepam; (c) stimulants, such as amphetamine, methamphetamine and cocaine; (d) hallucinogens, such as LSD, Psilocybin, and Mescaline; (e) cannaboids, such as marijuana and hashish; (f) dissociative drugs, such as PCP, Dextromethorphan (DXM), Ketamine, Salvia Divinorum, and analogs; and (g) other compounds, such as inhalants, gases, and anabolic steroids.
If you, or a loved one, have been arrested and charged with a felony drug offense, you need to act quickly!
Since the 1970's, Attorneys Fredrick E. Charles and Dennis G. Charles of the Charles Law Offices have successfully defended people charged with felony and misdemeanor drug offenses throughout the Commonwealth of Pennsylvania.
Their excellent legal training, pretrial investigation, preparation, trial and appellate skills have enabled them to uncover and remedy illegal searches and seizures and other unlawful police conduct, resulting in successful outcomes for clients charged with serious felony and misdemeanor drug offenses in our courts. The attorneys at Charles Law Offices also have secured substantially reduced sentences in state and federal courts for clients afflicted with substance abuse addiction.
If you, or a loved one, have been charged with a felony drug offense or a misdemeanor drug offense, rely upon the legal knowledge, training, trial skills and incomparable experience of the attorneys at Charles Law Offices to zealously defend and represent your legal interests at the highest level. When your freedom and reputation are on the line, you can't afford anything less!
Charged with a serious drug offense?


I love treacle toffee, it always reminds me of bonfire nights where we'd go out wrapped up warm in hats and scarves with everything smelling a bit smoky. This treacle toffee recipe is a great way to explore changes of state, as you have to melt the sugar first and then leave it harden.
Place the sugar and water in a pan and heat, stirring gently. The sugar will melt and the two liquids combine.
Add the rest of the ingredients and heat gently for about 10 minutes. You need to get the mixture to 143 C, which is known as the soft crack stage. If you don't have a sugar thermometer, carefully drop a little of the mixture into cold water, when it separates into threads which are hard but not brittle it is ready.
Pour into an oiled tin, and leave to set. You can either mark the mixture with a knife before it sets, or break with a little hammer later on.
As we made the toffee I showed the children the sugar in its solid state and asked them how they thought we could melt it. My 4 year old wanted to leave it out in the sun, but we decided heating on the hob might be faster.
As the sugar melted we could smell a toffee like smell and as it got hotter and hotter we saw more and more bubbles.
This experiment is a great way to demonstrate the process of changing state from solid to liquid and back again.
Everything we know exists in three states: A solid, A liquid or a Gas!
Substances can change from one state to another by different processes.
When the sugar was heated it changed from solid to liquid which is an example of melting and when we move back from a liquid into a solid it is an example of cooling/freezing.
The reason this happens is because when you provide heat the particles that make up the solid are given energy which cause them to vibrate which breaks the bonds holding them together. As they cool they lose this energy and so forms bonds again but not in the same shape.
At the soft crack stage the amount of water left in the mixture is very low. This gives a hard, but still chewy toffee. For harder toffee's and lollipops you need to heat to the hard crack stage when there is almost no water left.
A much simpler way to demonstrate changes of state would be to melt chocolate and make rice krispie cakes!
Please be careful with the hot sugar solution.
It was, but a bit chewy!
Oooh yummy. My kids would ADORE this.


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Bibliographic details for Applied/ACMS/absS19
Page name: Applied/ACMS/absS19
Author: UW-Math Wiki contributors
Publisher: UW-Math Wiki, .
Date of last revision: 28 March 2019 22:00 UTC
Permanent URL: https://wiki.math.wisc.edu/index.php?title=Applied/ACMS/absS19&oldid=17234
Citation styles for Applied/ACMS/absS19
Applied/ACMS/absS19. (2019, March 28). UW-Math Wiki, . Retrieved 04:03, January 28, 2023 from https://wiki.math.wisc.edu/index.php?title=Applied/ACMS/absS19&oldid=17234.
"Applied/ACMS/absS19." UW-Math Wiki, . 28 Mar 2019, 22:00 UTC. 28 Jan 2023, 04:03 <https://wiki.math.wisc.edu/index.php?title=Applied/ACMS/absS19&oldid=17234>.
UW-Math Wiki contributors, 'Applied/ACMS/absS19', UW-Math Wiki, , 28 March 2019, 22:00 UTC, <https://wiki.math.wisc.edu/index.php?title=Applied/ACMS/absS19&oldid=17234> [accessed 28 January 2023]
UW-Math Wiki contributors, "Applied/ACMS/absS19," UW-Math Wiki, , https://wiki.math.wisc.edu/index.php?title=Applied/ACMS/absS19&oldid=17234 (accessed January 28, 2023).
UW-Math Wiki contributors. Applied/ACMS/absS19 [Internet]. UW-Math Wiki, ; 2019 Mar 28, 22:00 UTC [cited 2023 Jan 28]. Available from: https://wiki.math.wisc.edu/index.php?title=Applied/ACMS/absS19&oldid=17234.
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author = "UW-Math Wiki",
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The fourth Level of the NEETLab challenge. If you have not cleared the first three levels, you cannot attempt this level. Please start from Level-1 challenge.
The passing percentage for Level-4 is 75%.
NEETLab guarantees a medical seat for you, if you clear this level. After clearing this level, contact neetlab to reserve your medical seat before counselling.
so i cleared this level / challenge so how can i be sure that i will get admission in medical college through neetlab ?
Congratulations. You will be contacted after the neet exams are over.
Congratulations. You need to wait till the end of this 2019 season for the gift.


In an atmosphere the place data is abundant nonetheless corroborated details are scarce, the necessity for quick and correct enterprise intelligence has by no means been higher. Blackhawk delivers professionally researched and worth environment friendly intelligence opinions that are appropriate, succinct and clear. Armed with reliable information, our shoppers can then make knowledgeable strategic choices.
Our members are the nationwide insurance coverage associations in 35 worldwide areas, representing undertakings that account for round 9516a612519e290134a26e1ea306914a0dfa744c4a298db52becf72747df4e665c of complete European premium income, straight make use of 985 000 people and make investments almost €9 900bn within the financial system. Mortgage-related securities created by non-governmental issuers (comparable insurance to industrial banks, savings and mortgage institutions, private mortgage insurance coverage corporations, mortgage bankers and different secondary market issuers) could also be supported by varied forms of insurance coverage or guarantees, together with particular individual loan, title, pool and hazard insurance coverage and letters of credit, which might be issued by governmental entities, personal insurers or the mortgage poolers.


This is a really good hack if you ask me. Nobody sees it coming, then you just find yourself in a pickle seeing all these visual deals in front of you.
Thank you to http://www.coolcatteacher.com/videos/get-rid-visual-deals-popup-comes-pinterest/ for the straight forward article how to take it off.
And it's simple. Get rid of the Pinterest Extension you have on your Chrome and you're back to normal.
This may go to other browsers as well but I am not sure yet. But good thing to keep in mind, Pinterest = Visual Deals. I say no to Visual Deals and no to the Pinterest plugins.
Matt Cutts recently released statement on how to decide whether to put a meta description tag on all pages or not. Click here for the article.
So for me it really depends. An initial assessment of a specific business website knowing all of its pages can lead to knowing if creating a meta description for all the pages be necessary.
A key process is to identify the potential of the pages that your website has and will have. As you valuate each page, you would then be able to classify the page's part in your business model.
It is but normal to be in the situation where you will need to audit a full functional website already and at some cases implement the optimization for each page to target their keywords. There is no 1 page that can target all the keywords that a website wants or potentially can. So in the process, you will need to do some keyword matching understanding the nature of your pages and the keywords that it can target.
After matching each page with the keywords you want it to target, you should then run through all the pages again with the question of "Would this page qualify as an effective landing page?". Whenever the answer is YES – then you should start creating a unique meta description for that page.
Another method would be working backwards. Look at your Analytics and see which are your most effective landing pages or in other words your entrance pages. How are people coming to see your website and where do they land the most. These are your most effective landing pages which you will need now to make sure that it is optimized well for your business model. These pages surely need unique meta description.
Not sure how to start this post but this is supposed to be my review or reaction to the recent Jobs (or Steve Jobs) movie starring Ashton or I might say Chris Kutcher.
I am coming from a real fan's stand point where #stevejobsismyhero and have probably watched Pirates of Silicon Valley, as well as read his book (biography).
After watching the movie my initial reaction was, is that it? What about NEXT, what about his new wife, what about how he came up with the iPhone? Is there a sequel?
This really isn't intended to put too much heat on the most recent movie but just a reaction, a blog. At any rate, I did expect more from the movie, more from Ashton as well. There were moments that are brilliant, some others just plain "That 70's Show" feel.
I would give the movie a 6/10 rating just because it is a Steve Jobs film. His ways in getting to his dream, and not stopping in pursuing what he deems is his is very brilliant in itself.
Has Skype been giving you problems lately? So you are typing in a multi-language conversation and suddenly words get changed and now it appears wrong. The thought is there but for sure it's auto spelled incoorrectly.
Most likely you tried to turn this off but you couldn't find how so you just gave up. It happened to me, and finally I found the right place to turn this off.
Then un-check all the options you want off.
Easy right?! But who figured it was on the EDIT menu and not on the main preferences!


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package cn.opencil.oa.core.web.test.service;

import cn.opencil.oa.common.page.PageResult;
import cn.opencil.oa.core.base.service.BaseService;
import cn.opencil.oa.core.domain.TrainingPaper;
import cn.opencil.oa.core.query.BaseQuery;

import java.io.File;
import java.util.ArrayList;

/**
 * Project Name:SdutOA
 * File Name:TPService.java
 * Date:2016-4-19下午9:31:43
 * Author : 张树伟
 *
 */
public interface TPService extends BaseService<TrainingPaper> {

	ArrayList<String> getFieldDataNameExcel();

	ArrayList<ArrayList<String>> getFieldDataExcel(BaseQuery baseQuery);

	PageResult<TrainingPaper> getPageResultForTP(BaseQuery baseQuery);

	void uploadExcel(File f, String schoolYear);
}


What Is Drug Treatment Rehab?
People use drugs for various reasons. Some use drugs to cure pains or various illnesses, while others use drugs to obtain the high that is associated with a drug. Drug abuse is a problem that is slowly eating away at our society, which is why drug treatment rehab is so desperately needed. Drug abuse refers to use of drugs for reasons other than those the drug has been prescribed for.
Many people confuse drug abuse with drug addiction. However, the two are very different things. Drug abuse refers to taking drugs for recreational purposes, while drug addiction refers to a physical or psychological dependence on the abused drugs in order for a person to function well in their life. But drug treatment rehab can be used for both of these problems.
It is sometimes not easy to diagnose a person who is abusing drugs; this is especially true with abuse of prescription drugs, partly because the drugs have been prescribed for a legitimate purpose. However, long-term, regular use of these substances can lead to increased physical tolerance, dependency, and eventually abuse and addiction. The abuser will go to great lengths to hide their addiction from friends and family. However, it is imperative that a person who has problems with drug abuse seek treatment from a drug rehab treatment center or specialist. If a friend or family member is suspected of abusing drugs, the following telltale signs may point to this abuse.
Physical signs are the most noticeable indications of an abuse problem. If a person is abusing drugs that require needles, their arms or wrists may exhibit needle marks. Most of the time, the abuser will don long-sleeved clothes to hide the marks. A person may also develop red eyes; this is especially so when a person is high on their drug of choice. The abuser may also develop dilated pupils, may experience itchiness, and may also have an unusual skin color.
Changes in the Physical Appearance of a Person – A person who previously was neat and paid a lot of attention to their appearance may start dressing shabbily and will develop a careless attitude towards grooming. Often they will be preoccupied with their experience of the drug and neglect their outward appearance a big sign drug treatment rehab is needed.
Abuse of drugs can also decrease a person's appetite, and over time they may shed a lot of weight. If you notice a person exhibiting these physical signs, there is a significant chance that they may be abusing drugs. The affected person should then be taken to a drug treatment rehab center as early as possible.
A person who is abusing drugs may also develop a secretive or private behavior, avoiding social contact and preferring to keep to themselves. It may take a lot of convincing to get the addict to talk to their friends or family. They may spend most of their time in their rooms without seeking help of family members. The person may also develop rapid mood swings, especially manifested when the addict is confronted for whatever reason. They may become aggressive or abusive without provocation.
If you find this happening with a loved one, it's highly recommended you check out a drug treatment rehab in your area.
This entry was posted in Drug Treatment Rehab and tagged Drug Rehab Treatment, Drug Treatment Rehab by admin. Bookmark the permalink.


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YA Authors, It's Time To Stop Romanticizing Disability
Tipsy Elves: The Clothing Brand Dedicated To Expressing Yourself And Having Fun
A Growing Yet Controversial Trend: K Pop Reality Shows
Get Ready For MO POP!
Entertainment International
Dear South Asian Movies, Let's Stop Romanticizing Problematic Tropes
Guide to Wong Kar-wai's Films
YA Authors, It's Time To Stop Romanticizing Disability
Alyssa Thomas
Amandla Stenberg in Everything, Everything (Source: IMDb)
Over the course of the past few years, authors of young adult books have decided to turn away from forbidden romances between vampires and teenage girls or gods and mortals, and have instead looked toward a much different kind of star crossed romance. This romance involves two ordinary people in a modern day, realistic setting, such that any pair of lovers could be in, except that one of the lovers is suffering, or even dying, from a fatal disease or life changing disability.
Although it is quite dark, these storylines have made for highly successful novels, films, and franchises, because everyone loves a good tearjerker. But what kind of picture do these novels and films paint of people with diseases and disabilities? Often, it's not an accurate one. (Warning: spoilers for The Fault In Our Stars, Me Before You, and Everything, Everything ahead.)
In 2012, YA author John Green published a novel, which would soon be turned into a film, entitled The Fault In Our Stars. Main character Hazel deals with an unnamed form of cancer that affects her lungs and breathing ability. At a cancer support group, she meets Augustus Waters, who has lost his leg to osteosarcoma. They strike up a friendship, bonding over a book about cancer called An Imperial Affliction, and even travel to meet the author of the book. Almost instantaneously after Augustus professes his love for Hazel, his cancer worsens. The ending of the book involves Augustus holding his own pre-funeral where Hazel speaks about their "little infinity" together, and Hazel reading a letter that Augustus wrote to her before his death about choosing who gets to hurt you in life.
The book and film tend to undermine the harsh reality of living with cancer. For the first part of the book, Hazel doesn't have that great of an outlook on how her disease is going to affect the rest of her life, but somehow that all changes when when she meets a boy. Then, when Hazel and Augustus go on their adventure, the only medical equipment Hazel needed was her oxygen tank. In reality, her parents should've been much more leery about letting their sick daughter travel to a foreign country with a boy she had just met a month ago, and she should've had a nurse with her the entire time. The book also turns Augustus' death into a magical turning point for Hazel's attitude about life, implying that if you are going to die from your disability, it's important to benefit the living before you do.
Another problematic book-turned-film is Me Before You by Jojo Moyes. Main character Louisa is hired to take care of Will Traynor, who was a successful banker and athletic thrill seeker until he was struck by a motorcycle and paralyzed from the neck down. At the time she meets him, he has given his parents six months before he would undergo assisted suicide, being unable to bear the pain and hopelessness of his condition. Louisa attempts to show him things in life to live for, taking him to horse races and vacationing in Mauritius with him. They fall in love, but in the end, (spoiler alert) Will chooses to go through with the suicide. Louisa reads his last letter to her, in which he leaves her a large sum of money and tells her to "live well, or just live."
Many members of the disability rights movement were upset with the movie's clumsy portrayal of a quadriplegic life, especially with the implication of Will's suicide being a burden lifted off of his family and friends. The Twitter hashtag #MeBeforeEuthanasia saw many expressing their distaste with the film and the harmful mental affect it could have on young people with disabilities. Zack Weinstein, an actor who suffered a spinal cord injury in 2005 and is now quadriplegic, said, "The message of this movie is that it's better for this person to die in order to be of service to her than for him to live. Are you using [Will's disability] to be emotionally manipulative? That has its place, but it's very difficult to watch the facts of my life being used as the vehicle for that."
Now, in 2017, Nicola Yoon's novel Everything, Everything is being turned into a film starring Amandla Stenberg and Nick Robinson. The book tells the story of Maddy, a young girl who has severe combined immunodeficiency disorder, and is allergic to everything in the outside world. She has lived her entire life inside of her house being monitored by a nurse, until one day teenage boy Olly Bright moves in next door. They communicate through texting and eventually meet face to face, and Maddy becomes convinced she needs to get out of the house and live her life. Her mother is undoubtedly concerned for her safety, but Maddy wants to experience the world for herself no matter the consequences.
While this could have been an interesting novel with a disabled lead, in the end we find out that (spoiler alert) Maddy is not even disabled at all; after her father and brother had been killed in a motor vehicle accident, her mother had developed PTSD and paranoia and had been lying to Maddy about her illness, in order to keep her from leaving the house. Maddy's negative physical reaction to the outside world is due to her weak immune system from being indoors for 18 years, but she'll eventually be fine. This leads back to the harmful narrative that disabled people don't get to have happy endings.
Is it really that out of reach to give a disabled character a happy ending? And why do disabled characters only matter when they're benefitting their able bodied romantic counterparts?
The most harmful thing about these books and films is the way that they are being marketed and consumed. Young readers and audiences seem to be eating up stories that end in this new form of "half-tragedy" when one lover dies and the other gets to live with them in memory. While it's great to see main characters with disabilities in romantic situations, it's not that great to see them being killed off just for the tearjerker factor. It's especially terrible to see that the only time a disabled character can stay alive and "live life to the fullest" is when they're not even disabled at all. Is it really that out of reach to give a disabled character a happy ending? And why do disabled characters only matter when they're benefitting their able bodied romantic counterparts? When writing a disabled character, at least have some kind of understanding of their situation and the trials and tribulations they face in society and everyday life. And most importantly, don't try to make these struggles seem romantic.
Voted Thanks!
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Written By Alyssa Thomas
Alyssa is a 16 year old freelance writer from Michigan with a passion for dance, music, and film.
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Interview with Metric's James "Jimmy" Shaw
Emily Eveland
Canadian "new wave" rockers, Metric, will join Paramore at the Roy Wilkins Auditorium in Saint Paul Saturday night. A&E caught up with Metric's guitarist James "Jimmy" Shaw a few hours before the band was set to play in New Jersey. But Shaw isn't stressed by time crunches.
"We've been doing this for years," he said. "Honestly, at this point, touring is not even chaos."
When Paramore approached Metric about opening for them on tour, the band was unsure how to feel.
"At the beginning we weren't sure if this was what we wanted to do, but the more we looked at it, it seemed like it was the right thing for us," Shay said. "We'd heard nothing but great things about Paramore, about how sweet they are and how great their crew is and all of that turned out to be true."
Shaw and lead singer Emily Haines started writing songs together in 1997 and put out their first EP under the name Mainstream in 1998, which fits with what Shaw had to say about Metric's musical philosophy.
"We always wanted to be this slightly left field thing within the mainstream," Shaw said. "I think whatever commercial success we've had was totally in line with the kind of music we wanted to make."
The members of Metric are no strangers to the Twin Cities — Shaw said the band has had some of its craziest touring experiences in Minneapolis.
"One of the earliest times we ever played there, we ended up at some crazy house party where we left a bunch of stuff and I had to like find the van at eight the next morning," he said. "There was a time we were there on Thanksgiving … and we were literally wandering around the streets and we ended up walking by First Avenue. Someone who works there actually recognized us from having played there and invited us in because they were having their own staff Thanksgiving dinner. That was really cool."


This property has 2 King(s), 1 Queen(s), 2 Full(s), 5 Twin(s), 2 Futon(s).
Ski chalet was the perfect location for our family vacation. We were received by Lory who was very welcoming and she was there for everything we needed.
The location is perfect since is walking distance from Snow Summit.
The home is clean and WOWrentals is seriously amazing!!!! Best management company we've ever dealt with up in big bear!! Can't wait to rent from them again next year!!!
The house was pretty nice, and has a good-sized living room and a big master bedroom. But the location is what makes it great -- so easy to walk to the slopes, and easy to go back and forth with the kids if you need to.
Stayed at Suite Summit and Serenity Summit. Both homes were better than what the photos have shown. It was roomy/spacious for me and my 15 friends. Check in went smoothly, great communication! Only a few steps to snow summit, which was really amazing! My group and I would definitely like to stay here again!
We rented the cabins for my husbands 43rd birthday to have a ski weekend with friends and family. It was great being so close to Snow Summit and just a short walk to the main road with good food selection. The rooms were large and even with a big group there was plenty of room. I look forward to staying again next year!
I loved this place! It was so close to the mountain and even the bike shops. So easy to get around. The place was clean and so quaint- I can't wait to come back this winter!!!
We traveled with our family and 2 sets of grandparents. Loved being able to have separate spaces. We put the grandparents in one cabin and our family of 6 in the other. With the cabins right next to each other it made us all still feel like we were together... but separate. Cabins are nice and clean. Very close to the ski resort. We are for sure coming back in the winter. Highly recommend. Property Manger was easy to work with and met us at the property on our arrival.
Steps from the base of the mountain, these houses are ideal for both skiing & year-round activities. They are spacious, well-stocked & can fit many people comfortably. Each are private homes which evoke a warm & rustic vibe - perfect for a weekend in the mountains. And the hot tubs are a huge plus! My family stayed at one and liked it so much that we came back with a bigger group and rented both, as they are connected by the back yard with two hot tubs.


Nalpha-Boc-Nµ-(2,2,4,6,7-pentamethyl-2,3-dihydrobenzo[b]furan-5-sulfonyl)-L-arginine is used as a triflating reagent.
Store away from strong oxidizing agents. Keep container tightly closed. Store in cool, dry conditions in well sealed containers.


According to Valve Software's JIRA (a bug tracking software for development) leaked yesterday, both Half-Life 3 and Left 4 Dead 3 are currently in development at the studio, but who are the developers involved? And what did some of the most prominent ones do in the past?
NeoGAF user Angular Graphics compiled a nice list of the developers that appeared in the leaked webpage, and identified some for our perusal.
It's worth mentioning that the list may not be complete, as developers involved in a project may very well not be involved in Q&A testing.
Adam Foster <- creator of the Half-Life 2 mod "Minerva" then hired by Valve. He is a BRILLIANT level designer.
Alex Vlachos <- One of the company's main engine developers. He is responsible for introducing post processing effects in Source with The Orange Box games among other things. It's important to note, 2.5 months ago, he wasn't on the list. Hopefully that means the Half-Life 3 project has left the pre-production stage.
Jess Cliffe <- CounterStrike Co-Creator.
Erik Wolpaw <- Portal 1 & 2 Writer.
Kelly Bailey <- Valve's prominent musician responsible for the music in Half-Life, Half-Life 2 Episode 1 and 2 and Portal. He left the company in 2011. He appears to be back.
Marc Laidlaw <- Lead Half Life writer.
Paul Pepera <- Halo 4 concept artist. He Joined the company in March 2013.
Steve Bond <- Half Life Designer. He left Valve at some point but he appears to be back.
Clint Hocking <- Creative Director of Splinter Cell, Splinter Cell: Chaos Theory, Far Cry 2.
Karen Prell <- Portal 2's Wheatley animator. Also worked on Left 4 Dead and Left 4 Dead 2.
Kelly Bailey <- Valve's prominent musician responsible for the music in Half-Life, Half-Lofe 2 Episode 1 and 2 and Portal.
Left 4 Dead 3 Countdown Clock or Hoax?


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Q: In Eclipse, how to run a java program as if it's the second argument in the command prompt while running another program as the first argument? This is what I am trying to do. I have been running a 'driver' executable file as the first argument and a java executable file called 'agent' as the second argument in the command prompt / terminal like this:
user@ubuntu:~$ ./driver agent

And each time it works perfectly fine. And I cannot reverse them in order if I do they won't work.
Yet each time if I were to test them I have to recompile my agent.java file to make it an executable and then run it from the command prompt, which is a lot of work.
Is there anyway that I can do this in Eclipse, where I can set Eclipse to run the driver executable file (Not a java executable file, but just an external file) as the first argument like in the command prompt and run the agent.java file as the second argument in the IDE itself as I click the 'Run' button in Eclipse?
My OS is Linux Ubuntu 14.04.

A: Use "Run -> External Tools -> External Tools Configurations" to define an external tool of the type "Program", supplying the driver as the program name and your Java class as the argument. You'll probably want to check "Build before launch" under "Build". However, you won't be able to do debugging.

redpajama_set_name: RedPajamaStackExchange


An alumna of the Joe Beef empire, Cardarelli has blazed her own trail, from a serendipitous summer job through to her acclaimed restaurants Nora Gray and Elena.
This is the seventh instalment in the monthly series Beyond the Plate, looking at the motivations and passions of local chefs. This month: Emma Cardarelli.
The 1983 coming-of-age film The Outsiders feels like an ideal backdrop to use in describing the career trajectory of Emma Cardarelli, of the restaurants Nora Gray and Elena.
Cardarelli hails from the house of Fred Morin and David McMillan. These two masterful chefs adopted a mentoring tactic similar to venerable director Francis Ford Coppola, and set their sights back in the early '90s on hiring young, then-unknown, now-revered chefs to hustle and learn in their kitchens.
For The Outsiders, Coppola cast unknowns who went on to have huge careers, including Tom Cruise and Patrick Swayze. But while the film was bursting with testosterone and angst, young Diane Lane instantly lit up the screen with her steely, confident stance when she appeared. I saw a similar uncompromising energy upon meeting Cardarelli.
When she tells of how she joined the ranks of Joe Beef's chefs, and experienced the notoriety that came with it, it becomes clear that she has not only risen through the kitchen scene amid a boys' club, but has blazed her own path.
After attending Sacred Heart and Lower Canada College, Cardarelli ventured to Halifax, where she studied psychology at Dalhousie University.
Even though she had a penchant for cooking, Cardarelli wound up on her path by process of elimination.
While at Lake O'Hara Lodge, Cardarelli met a Québécoise who had completed her studies at Montreal's ITHQ culinary institute. Feeling strongly that a culinary degree would be a logical move for Cardarelli, the woman encouraged her to return to Montreal.
With an undergraduate degree in physiology and a new-found direction, at the age of 23 Cardarelli attended the ITHQ, where French was the language of instruction.
As it turned out, her worries were unfounded.
What happened next kicked things into high gear.
McMillan was about to take the helm in the kitchen of Rosalie, which was the latest outgrowth of the group that owned what felt like all of St-Laurent Blvd., with restaurants that included Buonanotte and Globe.
Her first encounter with Morin sounds much like other recollections from those who started out under the famed chef's tutelage: unexpected and whimsical.
There was an opportunity at Globe, and Cardarelli grabbed it. She honed her skills there for two years under Morin's meticulous eye, and stayed on for another year after he cut ties with Globe to kick-start what became the Joe Beef empire.
After giving her notice, Cardarelli took some much-needed time off. She headed to London, with a British passport afforded to her thanks to her English parents.
Our Montreal summer was beckoning, and Cardarelli returned for a needed rest.
Cardarelli wanted to leave London, but says she didn't want to work for anyone but Morin. The bond and loyalty are fierce, as with so many top chefs who learned from him.
Luckily, he offered her a coveted job cheffing at his new restaurant, Liverpool House.
Morin had already hired his main all-star team, Cardarelli discloses, and they had been working on all the preparations needed for the launch. But in true Morin style, he swiftly set the wheels in motion for her return to his kitchen.
In the fall of 2007, Liverpool House's doors swung open. François Côté was chef de cuisine, leading a promising young cast that included Maksim Morin (later of Le Chien Fumant) and Marc-Olivier Frappier (now chef and co-owner of the Joe Beef-affiliated Mon Lapin). A young Ryan Gray presided over the bar and stellar wine selection.
Within three months, Côté switched over to Joe Beef, and Cardarelli took the spotlight at Liverpool House with her debut as head chef. For four years, she worked steadily and with much praise from her mentors. All the while, she was building her own empire in her mind.
"Dave (McMillan) sat me down one day and was like, 'I can see you are gunning to open your own place, and whenever you are ready, and whatever you need, I will be there to support you in any way that I can. Be it financially, or just with advice, I am behind you 100 per cent,' which was incredible. I had that force and power behind me!
And with that reinforcement, Cardarelli partnered in 2012 with sommelier extraordinaire Gray and co-owner Lisa McConnell, leaving Liverpool House to become chef and co-owner of Nora Gray, on St-Jacques St. in Little Burgundy. That was followed this year by Elena, a heavenly pizza spot on Notre-Dame St. in St-Henri.
For our Beyond the Plate adventure, we took a jaunt over to Jean-Talon Market, where Cardarelli is a regular visitor. We selected lush cherry bomb peppers from Lino Birri, of Birri et frères, and headed back to Nora Gray to prepare red pepper salsa, a crowd favourite served nightly alongside the restaurant's homemade focaccia.
Cardarelli's love for food is surpassed only by her desire to implement in her own restaurants a strong set of values, learned during her rise through Montreal's culinary ranks.
Like Diane Lane outshining her young male counterparts in The Outsiders, this tireless chef — recognized by peers for her talent and steadfastness — has definitively taken centre stage.