EMC VNXe DC POWERED. UNIFIED STORAGE SYSTEMS. EMC® VNXe® series unified storage systems deliver exceptional flexibility for the small-. EMC VNXe – NAS server – TB overview and full product specs on CNET. Easily expand your VNXe, VNXe, VNXe, or VNXe storage infrastructure; Add new disks to expand existing storage pools or create new.
Make no mistake, though, the VNXe is not really an enterprise solution. If there is no DHCP on that subnet, you will need to manually configure your network adapter with the proper IP and subnet mask. The VNXe will automatically create storage pools according to the disks you have or you can choose to create them manually.
Do not ignore this guide. Some of the terms are different as well. You can put the DPE on top if you prefer, but doing it in the EMC recommended fashion with the Vnze s on top should allow you to add more shelves in the future should you need to. SinceScott Lowe has been providing technology solutions to a variety of organizations. If everything is working properly you will see the SP power LEDs blink blue slowly, then speed up, and eventually turn green.
EMC also makes available a number of optional software suites, allowing customers to pick and choose what they vnxee.
A single VNXe chassis supports up to 15 drives. I want to make sure to share the experience — the good and the bad — with TechRepublic readers. The Connection Utility will either be on the CDs you received with the system or available for download via support. These systems are not capable of using Fibre Channel.
This could take 15 to 20 minutes. So, it will tell you if you can only create a RAID 6 storage pool with your current hardware configuration for instance.
Inside the Raspberry Pi: You can also check this by going to support. How IoT, robotics, and AI are tackling one of the biggest problems of the century. TechGenix reaches millions of IT Professionals every month, and has set the standard for providing free technical content through its growing family of websites, empowering them with the answers and tools that are needed to set up, configure, maintain and enhance their networks.
However you can have up to LUNs. It will ask you to change this when you mec login. That's plenty of space and certainly plenty of IOPS. It will also take you vnse creating storage pools if you so choose at this time.
The gnxe will take you through pretty much every configuration step you need to get your VNXe up and running. My Profile Log Out. You should plug in the DPE power cables first. The upgrade could take an hour or so. Scott is available for consulting, writing, and speaking engagements and can be reached at slowe email.
Vnxs Posted On October 24, It contains a flash drive inside that come loaded with the OS leaving all the drives to be completely usable. Figure B shows the entire back of the device and both management modules and 10 GbE uplink modules. One big difference is that 300 the VNX still uses vault drives to contain the operating system, five drives that are basically unusable for anything else, the VNXe has no such thing.
There are no configuration or installation issues if you put the DPE on top. This also applies to the VNX.
If you follow the wizard you should be set. When you unbox the VNXe DPE and optionally the DAE, which is an extra shelf if you needed more drives it comes with a small guide as well as poster that tells you exactly how to rack and install it. In my next column about the VNXeI'll go into detail about setting up the device and making it run.
You can choose to install additional 1 Gb ports via a 4 port moduleor you can opt to move to the fast lane by installing 10 GbE modules. The base VNXe unit includes the following suites:. Your email address will not be published. Then just follow the Connection Utility wizard to assign an IP address and host name. As far as cabling goes, please follow the guide here as well. One thing to note is that by block they mean iSCSI. TECHGENIX TechGenix reaches millions of IT Professionals every month, and has set the standard for providing free technical content through its growing family of websites, empowering them with the answers and tools that are needed to set up, configure, maintain and enhance their networks.
Over 1, fellow IT Pros are already on-board, don't be left out!
In this system you get up to possible drives with the same amount of shelves as the Single. Notify me of new posts by email.
To say that I'm excited about my shiny new storage array would be an understatement, and it's through sheer force of will that I have yet to fire up the unit.
This worksheet will tell you all the information you need to have prepared to get through the Unisphere Configuration wizard.


they should really be called Registered Member instead.
"Registered member" is OK for voting.
Being contributor and real person, is enough for that.
above workers, and has some commanding capability.
Uh, "to lead" can also just mean "to be in front".


HHCU is a not-for-profit financial cooperative. Your $5 savings opening deposit buys you one share in the credit union - that makes you an equal owner of this financial institution. The money we earn goes back to our members (people like you), not into the pockets of stockholders like a bank. The traditions of credit unions are near and dear to our hearts; not for profit, but for people.


text:
package tasks

import (
	"fmt"
	"image/png"
	"log"
	"os"

	"github.com/nfnt/resize"
)

type ImageResizeTask struct {
	BaseImageName      string
	ImageFileExtension string
}

func NewImageResizeTask(baseImageName string, imageFileExtension string) *ImageResizeTask {
	return &ImageResizeTask{BaseImageName: baseImageName, ImageFileExtension: imageFileExtension}
}

func (t *ImageResizeTask) Perform() {

	thumbImageFilePath := t.BaseImageName + "_thumb.png"
	fmt.Println("Creating new thumbnail at ", thumbImageFilePath)

	originalimagefile, err := os.Open(t.BaseImageName + t.ImageFileExtension)

	if err != nil {
		log.Println(err)
		return
	}

	img, err := png.Decode(originalimagefile)

	if err != nil {
		log.Println("Encountered Error while decoding image file: ", err)
	}

	thumbImage := resize.Resize(270, 0, img, resize.Lanczos3)
	thumbImageFile, err := os.Create(thumbImageFilePath)

	if err != nil {
		log.Println("Encountered error while resizing image:", err)
	}

	png.Encode(thumbImageFile, thumbImage)

}

redpajama_set_name: RedPajamaGithub


text:
Q: Magnet moving between $2$ separate coils, connected to a circuit I was thinking about a question regarding a magnet entering a coil when the following thought came: what if we unravelled the middle of the coil such that it splits into $2$ equal parts, and connected the middle unravelled part to the top of the circuit?
Below shows the magnet as it first enters the circuit. Assume all both galvanometers, coils and all resistors are identical.

As the magnet goes into the coil, an EMF will be induced and current will flow ACW (viewed from the left side of coil), and the parts of the coil closest to the viewer will have an upwards current. So both galvanometers will point right.

When the magnet is in the middle of the first coil, no current will be induced by the first coil, because a tiny motion of the magnet will cause an increase in magnetic flux to the right of the coil, but this is offset by an equal decrease in flux to the left of the coil. So magnetic flux linkage through the coil is constant and EMF induced = 0.
However, EMF will be induced in the 2nd coil, so both galvanometers will point right. However, I'm confused about the following:

If I removed the middle resistor and replaced it with a galvanometer, which direction will it deflect in? Would it be zero?

Lastly, when the magnet is in the middle of the both coils, the south pole is moving away from the first coil, so an EMF will be induced such that the current will flow CW (viewed from the left), and the parts of the coil closest to the viewer will have an downwards current . This means that the both galvanometers will deflect away from each other.

If at this point, I removed the middle part of the circuit, it would be exactly the same scenario as when the magnet was in the middle of the coil in picture 2, so no current will be induced and the galvanometers will not deflect.
Am I correct in saying all of the above?

A: As far as I can tell, you are correct in your description of what happens in each case.

If I removed the middle resistor and replaced it with a galvanometer, which direction will it deflect in? Would it be zero?

The current through the galvanometer would be in the upward direction. You can see this by writing Kirchhoff's voltage law for the loop on the left. Since there is no voltage drop on coil 1, KVL can only hold if the current through the galvanometer is upward, i.e. the voltage of the upper node is lower than the voltage of the lower node.

redpajama_set_name: RedPajamaStackExchange


The HVAC system is one of the most expensive systems in your home. Therefore, you probably do everything that you can to keep it running efficiently and properly. Although you may be comfortable checking your thermostats and changing your filters, you probably seek out reliable, professional HVAC/heating and air specialists for other routine maintenance. For example, who diagnosis or repairs your HVAC system when an emergency arises? Most of all, do you rely on a trusted HVAC professional? For many homeowners, the problem remains knowing which HVAC company is the best in your area and how to hire the best HVAC company.
However, if you're not sure how to hire the best heating and air company, you're not alone. Lots of homeowners are unsure how to go about identifying, comparing, evaluating, and eventually dealing with contractors and HVAC companies. As a result, we've rounded up the best tips and quotes from HVAC/heating and air experts. Additionally, the tips help guide you through the process of finding top-notch local professionals who can expertly diagnose, repair, or replace your HVAC unit. Finally, we've divided our tips and quotes into the following four categories. Therefore, we hope this makes it easy to find exactly the information you want. And ultimately find and hire the right HVAC company that ensures the comfort of your family in your home.
1. First, use your resources to identify a reliable, local heating and air company.
2. Professional standards are a sign of a reliable HVAC company.
3. Also, call references to determine if you have chosen a quality heating and air company.
4. Always find an HVAC company known for its honesty.
5. Choose the heating and air company that takes the time to accurately assess your home.
6. Do your homework and know what to look for in a contractor for your area.
"Most states require that HVAC contractors obtain a certification or license to practice, so be sure to ask potential contractors for verification before securing them to work in your home. Technicians also need to complete specialized training in order to repair, maintain and set up the advanced systems found in today's homes.
7. Check for complaints against the HVAC company you are considering hiring.
8. Beware of HVAC and heating and air companies that sound too good to be true.
"HVAC companies are always running deals and seasonal specials throughout the year. But the companies that advertise service calls that are far cheaper than all the others or even offer FREE service calls are the ones you want to avoid. These companies may bury those charges in other repair or replacement fees.
9. Get all of the information you need about the heating and air company's staff, guarantees, and maintenance service agreement ahead of time.
10. Ask for specific information about the installation technicians for the HVAC company.
11. Determine exactly who is covered by the company's licenses and insurance.
12. Know exactly how and when the company wants to be paid.
13. Determine whether the company has liability insurance.
14. Additionally, determine if your HVAC company offers rebates and other incentives.
15. Ensure the heating and air company you're doing business with offers twenty-four hour service.
16. Choose the HVAC company that truly values your business.
17. Understand what to expect from a qualified HVAC company.
18. Only hire an HVAC or heating and air company that has licensed, experienced technicians.
19. Narrow your choices to heating and air companies that are available 24/7.
20. Hire the company that requires NATE certification.
21. Always choose an HVAC company that employs the best technicians with customer service and safety in mind.
22. Determine if the HVAC companies under consideration belong to any professional or trade organizations.
23. Check with the Air Conditioning Contractors of America (ACCA) about the company's reputation.
24. Check to see whether the company is a NADCA Member.
"Trade associations are a common way for members of an industry to band together in support of higher standards and performance. NADCA is a trade association comprised of about 1,000 companies in the HVAC inspection, maintenance, and restoration industry who have signed the NDACA Code of Ethics, and they have also invested time and resources into industry-related training and education.
25. Be sure your HVAC company has two of the most important credentials.
26. Know which questions to ask a heating and air company.
27. Always be sure you know exactly who will be doing the work at your home.
28. Also, rely on industry resources to check an HVAC company's credentials.
29. Know all of the heating and air company's credentials ahead of time.
30. Find out about warranties when choosing a heating and air company.
31. Always remember to check into the company's background with reputable sources before you hire them.
32. Plus, determine whether the HVAC company has completed background checks on their technicians.
33. Also, ensure the technicians who come to work on your heating and air systems are NATE certified.
"To become certified installation and/or service technicians, these technicians must pass both core and specialty parts of either an installation or service test with a score of 70 or better. Specialties include heat pump, air conditioning, air distribution, oil heat and gas heat.
First, the NATE test is not easy, and not all technicians pass it the first time. NATE certification verifies that the technicians who pass are the best in the trade when it comes to knowledge and experience installing or servicing your home heating or cooling system.
34. Understand how the company determines the size of your replacement HVAC system.
"To determine the right size for your home, reputable companies and contractors use the Manual J load analysis when installing a new system. Manual J is a calculation that takes into account your home's age, number and condition of its windows, insulation, number of floors, square footage, local energy rates and other factors.
35. Don't settle for an HVAC or heating and air company that does not have NATE-certified technicians.
36. Find an HVAC or heating and air company who will work with you before something goes wrong with your system.
37. Most of all, ask about the company's staff and service plans.
38. Choose the HVAC company that will put everything in writing.
39. Also, remember to schedule routine service during slow times of the year.
40. Know that you are getting full service from your HVAC company.
41. Furthermore, get as much information from the heating and air company as possible when dealing with service and repairs.
42. Have a good working relationship with your HVAC company.
43. In addition, expect an HVAC contractor to evaluate your home's system and provide information to you in writing.
"The contractor should thoroughly inspect your current system and home to assess your needs. A contractor should size the heating and cooling system based on the size of your house, level of insulation, and windows.
44. Plus, know what to expect from a full-service HVAC or heating and air company.
45. Also, be aware of what a maintenance check-up should include.
"Maintain your equipment to prevent future problems and unwanted costs. Also, keep your cooling and heating system at peak performance by having a contractor do annual pre-season check-ups. Plus, contractors get busy once summer and winter come, so it's best to check the cooling system in the spring and the heating system in the fall. To remember, you might plan the check-ups around the time changes in the spring and fall.
46. Furthermore, know what a professional service technician should do when inspecting your air conditioning system.
47. Ensure that the heating and air company has been in business locally for at least five years.
"A contractor who's been plying his trade locally for five or 10 years has an established network of subcontractors and suppliers in the area and a local reputation to uphold. That makes them a safer bet than a contractor who's either new to the business or planning to commute to your job from 50 miles away.
48. Additionally, review the contract carefully before you sign on the dotted line.
49. Almost always use the same technician (or at least the same HVAC company) once you've found the right one.
50. Finally, know the recommendations for HVAC cleaning.


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SALT LAKE CITY — Incumbent Democrat Sim Gill appeared headed to another term as district attorney as he held a 57 percent to 43 ahead of Republican challenger Nathan Evershed.
In the sheriff's race, Democrat Rosie Rivera led her challenger, Republican Justin Hoyal by 20 percentage points.
Gill expressed cautious optimism about his lead as votes continued to be counted.
Evershed was holding on to hope that additional results would narrow the margin.
"We are grateful for the support we have had on this campaign," Evershed said. "We are anxiously waiting for more results to come in. We are blessed to live in a country where citizens can exercise their right to vote."
Rivera was confident her lead would hold up as further results came in.
"This has been great for Salt Lake County and law enforcement," Rivera said. "Now that the election is behind us I can redouble my efforts and the efforts of my team to increase public safety in Salt Lake County. I would like to thank the voters of Salt Lake County. I am honored to continue as the sheriff of Salt Lake County."
Hoyal called the race a humbling experience.
"The most rewarding part has been the support we have received," Hoyal said. "It's been a big night."
With Salt Lake County's top two law enforcement positions in front of voters, and both incumbents facing challengers from within their own agencies, all four worked to draw distinctions in their collective quest for voters' consideration.
In his re-election campaign, Democratic incumbent Gill highlighted his work on therapeutic justice reforms, such as mental health court, and said he has a longterm plan for the office to keep pace with population growth in Utah's largest county.
Evershed, a Republican and a homicide prosecutor in Gill's office, underscored what he called "a toxic environment" stemming from Gill's leadership which has led to a drain of talent in the office. Evershed had also called out Gill for the public corruption charges the D.A. filed against two former Republican Utah attorneys general, John Swallow and Mark Shurtleff, in 2014 that failed to result in convictions. Evershed claimed the loses eroded confidence in the county's top cop.
Like Gill and Evershed, Rivera and Hoyal work out of the same shop. And, the incumbent and challenger have career paths that lay out like mirror images of one another.
Both were the faces of the department for many years, acting as the sheriff's public information officer. Hoyal was chief deputy under former Sheriff Jim Winder. Rivera became the Unified Police Department's first female chief when she became head of the department's Riverton precinct while Winder was in office.
Both candidates agree one of the biggest issues the next sheriff will face is the ongoing crisis over jail beds and a Salt Lake County Jail that is almost always at capacity.
One area on which the two diverge, in some respects, is the Unified Police Department's governing board and cities that are mulling whether to leave Unified and create their own departments.


text:
Valerie Mizrahi (Harare, 1958) es una bióloga molecular sudafricana.

Biografía
Hija de Morris y Etty Mizrahi, nació en Salisbury, Rodesia (hoy Harare, Zimbabue) y fue educada en esta ciudad. Su familia es de origen sefardí, proveniente de la isla griega de Rodas.

Carrera
Mizrahi obtuvo un BSc en química y matemática y luego un PhD en química en la Universidad de Ciudad del Cabo. De 1983 a 1986, realizó estudios post-doctorales en Penn State University. Mizrahi luego trabajó en desarrollo e investigación para la compañía farmacéutica Smith, Kline & French, hoy parte de GlaxoSmithKline. En 1989, estableció una unidad de investigación en el Instituto Sudafricano para Investigación Médica y en la Universidad del Witwatersrand, trabajando allí hasta 2010. Su investigación se ha centrado en el tratamiento de la tuberculosis, y la resistencia del Mycobacterium tuberculosis a los fármacos. En 2011,se convierte en la directora del Instituto de Enfermedad Contagiosas y Medicina Molecular de la Universidad de Ciudad del Cabo. Mizrahi es la directora de la unidad de investigación del Consejo Sudafricano de Investigación Médica y dirige la oficina de la Universidad de Ciudad del Cabo del Centro de Excelencia en Investigación Biomédica de la Tuberculosis.

Recibió el Premio L'Oréal-UNESCO para Mujeres en Ciencia en el año 2000. En 2006, la Medalla de Oro de la Sociedad Sudafricana de Bioquímica y Biología Molecular por sus contribuciones en este campo, y el Premio de Científica Distinguida del Departamento de Ciencia y Tecnología de Sudáfrica.

Es una integrante de la Royal Society of South Africa,  de la Academia de Ciencias de Sudáfrica y un de la Academia Americana de Microbiología desde 2009. Recibió la Orden de Mapungubwe, el más alto honor civil sudafricano, en 2007. De 2000 a 2010, fue una becaria de investigación del Instituto Médico Howard Hughes; en 2012, fue nombrada Investigadora Internacional Senior del Instituto hasta 2017. En 2013, le fue otorgado el Premio Christophe Mérieux del Institut de France por su trabajo en búsqueda de tuberculosis.

Premios y reconocimientos
 Premios L'Oréal-UNESCO a Mujeres en Ciencia, 2000
 Orden de Mapungubwe - Plata. 2007
 Premio Christophe Mérieux, 2013

Vida personal
Valerie tiene dos hijas, y su padre es el presidente honorario del la sinagoga sefardí Johannesburg Sephardic Hebrew Congregation. Creció hablando judeo-español en casa

Algunas publicaciones
 Effects of Pyrazinamide on Fatty Acid Synthesis by Whole Mycobacterial Cells and Purified Fatty Acid Synthase I. Helena I. Boshoff, Valerie Mizrahi, Clifton E. Barry. Journal of Bacteriology, 2002

 The impact of drug resistance on Mycobacterium tuberculosis physiology: what can we learn from rifampicin?. Anastasia Koch, Valerie Mizrahi, Digby F Warner. Emerging Microbes & Infections, 2014

Referencias

Científicas de Sudáfrica
Bioquímicas
Judíos de Sudáfrica
Judíos de Zimbabue
Profesores de la Universidad de Ciudad del Cabo
Alumnado de la Universidad de Ciudad del Cabo
Premio L'Oréal-UNESCO a mujeres científicas
Judíos sefardíes
Nacidos en Harare

redpajama_set_name: RedPajamaWikipedia


text:
This article was published on May 14, 2012
Vintage Leica sold for $2.79m, breaking the world record for the most expensive camera
Nancy Messieh
Lesotho-born and raised, Nancy Messieh, The Next Web's Middle East Editor, is an Egyptian writer and photographer based in Cairo, Egypt. Fol (show all) Lesotho-born and raised, Nancy Messieh, The Next Web's Middle East Editor, is an Egyptian writer and photographer based in Cairo, Egypt. Follow her on Twitter, her site or Google+ or get in touch at [email protected]
As we're impatiently waiting for more details on the latest Leica cameras to hit the market, a slightly older version of a Leica camera is making headlines too. A rare 0-Series Leica officially (and once again) has become the most expensive camera sold to date, as Leica Rumors reports.
Forget the $42,000 Hasselblad digital camera, the 0-Series Leica fetched a hefty $2.79 million (€2.16 million), beating last year's record of $1.9 million, set by the same model camera, at the very same auction in Vienna.
This will be the future of fintech
6 trends that will dominate fintech in 2022
In less than a minute, the bid shot up to €1 million, and closed after a mere 4 minutes.
So why does this 1923 camera command such a high price? For starters, about only 25 of them were produced. The 0-series (or null-series) cameras were developed as prototypes, testing the market a couple of years before the Leica A was introduced. Only 12 of these cameras as known to still exist.
The recording breaking camera in question is in fully working condition, with the bidding for it starting at around $386,000.
Last year's record is said to have been set by a "private Asian collector", while this year's bidder has chosen to remain completely anonymous.
Want to see the record breaking moment? Check out the video below:
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Subscribe to our snarky newsletter all about consumer tech.
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Published May 14, 2012 - 9:29 am UTC

redpajama_set_name: RedPajamaCommonCrawl


Keep up the search for Wally, his friends and more in Where's Wally? Fantastic Journey 3!
Based on the hit publishing series, Where's Wally? Fantastic Journey 3 provides the ultimate SEARCH & FIND fun inside the magical worlds of The Unfriendly Giants, The Underground Hunters, The Land of Waldos and many more! Challenge friends or go solo as you search for hidden items, and be ready for surprises and sabotage to fuel the fun!
The graph below charts the compatibility with Where's Wally? Fantastic Journey 3 since Dolphin's 2.0 release, listing revisions only where a compatibility change occurred.
This page was last edited on 15 January 2018, at 02:03.


This is an exciting opportunity for a visionary and inspirational sportsperson to play a key role in Uppingham's growing national reputation for providing the best sports development programmes in the country.
Uppingham's sport is undergoing something of a renaissance. We have some of the best sports facilities in the country and we want all our pupils to continue to enjoy sport. As Deputy Director of Sport, you will be at the heart of this as you support the Director of Sport and the specialist directors of sport to achieve our vision and mission.
You will assist with running and implementing the school's sports programme and provision, ensuring a cohesive and broad-minded approach to school sport. There will be the opportunity for management and mentoring, incorporating whole school policies and working with other necessary school departments. You will also teach both core Physical Education and Games throughout the school and contribute to the teaching of GCSE and/or BTEC Physical Education.
We are open to applications from candidates with a variety of transferable skills and experience, be it experience of playing sport at elite level, coaching and developing emerging athletes, or having worked at a strategic level within one of sport's National Governing Bodies. Conversely, you may have a background in sports development and education at school or university level.
If you have unimpeachable knowledge of at least one sport, the ability to inspire others, communicate well, think flexibly, and to lead and work as part of a team we would be delighted to hear from you.
Interviews: Tuesday 29th January 2019.


text:
Right-Wing Outfits Oppose Pune Event Marking Bicentennial of Bhima Koregaon Battle
While the organisers believe the battle was a victory over caste-based oppression, right-wing groups say it is wrong to give a caste colour to the war between the British and Indian rulers.
Varsha Torgalkar
Activists at press conference informing about the event. Credit: Varsha Torgalkar
Pune: Two centuries ago, on January 1, 1818, a few hundred Mahar soldiers fighting as part of the British Indian army defeated over 20,000 Peshwa soldiers in the battle of Bhima Koregaon near Pune in Maharashtra. To commemorate this victory, thousands of Dalits, Muslims, Christians and Bahujans will gather at Shaniwar Wada here on December 31, and then march toward Bhima Koregaon, 40 km from Pune, the next day. However, many right-wing organisations have opposed this celebration, calling it 'anti-national' and casteist.
Jignesh Mewani, the newly-elected MLA in Gujarat who is also a Dalit, the late Rohith Vemula's mother, Radhika Vemula and JNU student leader Umar Khalid are among those who will address the crowd comprising over 200 organisations across the state at Shaniwar Wada. The organisations include Kabir Kala Manch, Sambhaji Brigade, Muslim Mulnivasi Sangh, Rashtra Seva Dal and so on.
Jyoti Jagtap, a member of the Bhima Koregaon Shaurya Din Prerna Abhiyan, said, "We have received permission from the Pune Municipal Corporation (PMC) to hold the programme and the Shaniwar Wada police has also given its nod for organising it. The commemoration is a call to all Indians to rise against the rising Peshwai, meaning the forces that are promoting hatred and violence on the lines of castes. We have seen the lynching of Muslims and Dalits over allegedly carrying beef. Rohith Vemula committed suicide… The battle is not against anybody but against a particular ideology."
She further added, "The march has already begun from Yeola, Nashik, where Dr Ambedkar announced his decision to convert to Buddhism. Activists will travel through the nine districts of Maharashtra and would reach Pune on December 31."
The Bhima Koregaon battle
Sudhir Dhawale, a Dalit activist, explained the history of the battle. "In 1818, the first regiment of the second battalion of the British empire consisted of the Bombay Native Infantry with 500 soldiers, the 17 Poona Horse and the Madras Cannon. The Bombay Native Infantry had 500 soldiers who were mostly Mahar (Scheduled Castes), Maratha and Christians and other Bahujans. And 17 Poona Horse had 250 soldiers on horse and there were 25 soldiers with the Madras Cannon."
"They, under the leadership of Strontan, a British Army officer, fought against the Peshwas, who were heading the Maratha empire, having over 20,000 horsemen and 8,000 soldiers. By 9 pm on January 1 on that year, these 600 soldiers of the British Army killed 600 soldiers of the Peshwa forces. The remaining Peshwa soldiers then ran away. Over 200 soldiers from the British side including 22 Mahar, 16 Maratha, eight Rajput and two Muslims and two Christians also died."
Bhima Koregaon victory pillar. Credit: Wikimedia Commons
He added, "Dr Babasaheb Ambedkar visited the war memorial built at Koregaon on the banks of Bhima river on January 1, 1918, and since then, Dalits and all other Bahujans have started to celebrate this day. The Mahars fought with the British against the Peshwas but that was not an anti-national act. The Peshwas were the oppressors of the lowers castes like Dalits. Despite Dalits serving and wining battles for the Peshwas earlier, they had to sleep and eat differently – away from other soldiers. Common Dalits had to tie a broom behind them when they entered the city limits so that the broom would clean the area that had allegedly been polluted due to them having walked there. However, the British offered equality to the Dalits to a great extent. Unlike the Peshwas, they offered the Dalits jobs with good salaries and education. Dalits were exploited so badly by the Peshwas that they felt that the British were better than them and hence they fought for the British."
"So the victory and battle is significant for Dalits or all Bahujans as that was the victory over caste-based oppression against the Peshwa. And now this march to commemorate 200 years of the Bhima Koregaon battle is against the rising Peshwai, that means the BJP rule backed by right-wing organisations in Maharashtra that has allowing right-wing groups to create an environment against lower castes and Dalits."
Right-wing groups oppose
Several right-wing groups like the Akhil Bhartiya Brahman Mahasabha, Rashtriya Ekatmata Rashtra Abhiyan, Hindu Aghadi and also the descendants of the Peshwas have, however, opposed the celebration, calling it anti-national and casteist. They say that such an event can create differences between castes.
Anand Dave, the president of Akhil Bhartiya Brahman Mahasabha, said, "We need to understand that the British in their effort to gain control of India had started to wage wars against kings in all states including Maharashtra. They fought against the Peshwas who were heading thr Maratha state to win the Maratha empire. The British Army had people from all castes including Mahar, Maratha and even Brahmins. And the Peshwa army too had people from all castes including Maratha and Mahar. This was a war was between the British and Indian rulers and not between Mahar and Peshwa as is being told. So what are they celebrating? Victory of British over the Marathas?"
He further added, "Through this, a few organisations are trying to defame the Peshwas, calling them oppressors of Dalits and lower castes. They have intentionally organised a programme at Shaniwar Wada that was the palace of the Peshwa. We are disappointed that the BJP government gave permission to hold this programme at Shaniwar Wada. We have given a letter to the police commissioner of Pune saying that at least make sure that organisers would not talk against a particular caste to avoid further tensions in the society".
Uday Singh Peshwa, a descendant of the Peshwas, expressed his disappointment with the authorities for giving permission for the event. Uday, who is against holding the programme, lamented the fact that nobody from Pune is protesting against it and he cannot do anything alone.
Meanwhile Mukta Tilak, the mayor of Pune, has said that the PMC has given permission to a cultural programme but if the organisers are converting it into a political one by inviting political figures like Mewani, then the PMC would rethink the permission granted .
Varsha Torgalkar is an independent journalist based in Pune.


text:
namespace FileClassifier {
    class FileSystemDirectory : public IDirectory {
    public:
        FileSystemDirectory(std::string path);
        virtual ~FileSystemDirectory();

        bool reOpen(const std::string &path) override;

        std::vector< std::string > getFilesInDirectory() const override;
        std::vector< std::string > getSubDirectories() const override;

        bool isAvailable() const override { return directoryHandle != nullptr; };

        bool fileExistsInDirectory(const std::string &filename) const override;

        std::string getDirectory() const override { return directory; }

        static std::string getHomeDirectory();
        static std::string getCurrentWorkingDirectory();
        static bool directoryExists(std::string absolutePath);
        static bool fileExists(std::string absolutePathToFile);
        static bool validPath(std::string path);

    protected:
        std::string directory;
        DIR *directoryHandle;

    private:
        void close();
    };
}

#endif //FILECLASSIFIER_FILESYSTEMABSTRACTION_H


text:
Fu soldato e uomo di corte, fervente sostenitore della causa monarchica che in quei tempi si sviluppò in tutta l'Inghilterra. Per questa sua fede fu anche imprigionato e torturato. È uno dei maggiori rappresentanti dei poeti cavalieri. La sua opera usa temi e immagini della poesia metafisica profana senza, però, dispensare lo spirito cavalleresco, chiaro retaggio della tradizione cortese rinascimentale. Fu inoltre anche un prolifico autore di elegie, raccolte in un volume, Lucasta, pubblicato postumo nel 1659. Volume tra l'altro che fu pubblicato dieci anni prima privo delle elegie, ma contenente tutte le sue opere.

Le sue opere più note
 Ad Altea dalla prigione (To Althea from prision)
 A Lucasta, partendo per la guerra (To Lucasta, going to the wars)
 La cavalletta (The grasshopper)

Altri progetti

Collegamenti esterni


Having a sick animal can be just as nerve-racking for the owner as it is for the pet. The first signs of illness can be frustrating because it isn't like you can just ask your pet what hurts or how they feel. Even after they have been diagnosed by the vet and put on a medication regiment, administering that medication can be stressful for both the pet and the owner.
It can get even more complicated when you start to consider all the different types of pet medications and all the different ways they can be given. Luckily, there are a few tricks of the trade so that you can get your pets the medicine they need as quickly and painlessly as possible.
If your pet is on a medication that can be taken with food then you are in luck. In most cases, sneaking your pet's medication in with a little treat is the easiest way to get them to take it.
Say, for example, your dog is on a separation anxiety medication like clomipramine. This medication can be administered with food, but not with cheese, which is usually a really easy food to hide a pill in. In the case of clomipramine you might just coat it with some peanut butter and wrap it in a little bit of bread. Most dogs will just think it is a treat and gobble it right up.
Make sure that they don't just eat the good stuff and spit the pill back out though. Sometimes this may take a few attempts.
Or maybe your cat has bad allergies and has been prescribed an allergy medication like clemastine. Try wrapping this up in a little bit of cheese and feeding it to your cat. You don't want to use a cheese that is too hard or too soft. It should preferably be something that you can wrap around the pill and make it into a bite size morsel. Since cats are a lot smaller than dogs, the pills usually correspond size-wise. This makes things a lot easier.
Sometimes either a medication isn't supposed to be taken with food, or your pet just keeps spitting it out. They don't realize that this is medication that they need and unfortunately, you can't explain it to them.
Let's say your cat is on an anti-seizure medication like gabapentin, and it just refuses to take it down voluntarily. Start off by calmly approaching your cat. It can sense when you are nervous so just start out by picking it up and petting it calmly like there's nothing out of the ordinary. It is often a good idea to wrap your cat up in a blanket so that just its little head is sticking out. This way they can't claw at you or fight you.
Once you have your cat calm and wrapped up, you should get that pill in them as quickly as possible. Hold the pill with your thumb and index finger and use your other hand to gently place your thumb and index finger on the sides of its jaw hinge. Tilt its head back so that the jaw drops, and then quickly push down between the bottom canine teeth. Toss the pill in toward the back of the mouth and close its mouth. You will also want to gently rub or blow on your cat's nose at this point. Believe it or not, this should stimulate the swallowing impulse.
Dogs are a little different of course. Let's say you have to administer your dog's dosage of an antibiotic like amoxicillin. First you are going to want to make sure that your dog's hindquarters are backed up against a wall. That way they can't try to squirm away from you.
Again, hold the pill between one thumb and index finger and use your other hand to grab around the top of their snout behind their upper canines. Tilt your dog's head back and push down between the lower canines with a finger. Get the pill in there and then hold your pet's mouth closed. Again, you can use the trick where you rub or blow on your dog's nose to induce swallowing.
The most important thing to remember about administering medication to your pet is not how you do it, but what you do afterwards. Whether your pet immediately gobbles up their medication with a little slice of liverwurst or whether it takes twenty minutes of repeated attempts, it is imperative that you remember to reward them afterward.
Positive reinforcement is the most important way to get your pet to continue to take their medicine in the future. After they have taken their medication you should hug them, tell them what a good job they did, and even give them another treat. Give your pet as much love and affection as you can after they take their medication and they will eventually start to associate med time with happy things.
However you get your pet your medication, just remember that it is important to keep them on the prescribed schedule. You will both be happier and your pet will be healthier in the long run.


text:
Good Neighbor- John Parent
by Pat Saik
When you meet John Parent—everybody calls him Mr. John—you would never guess he is only two years short of reaching 90 years old. Spry, agile and energetic, Mr. John likes to volunteer. "It's what keeps me going," he says with pride.
A veteran of World War II, Mr. John is a committed member and active volunteer with the American Legion Post 139 and the Veterans of Foreign Wars Post 3253.
Most recently, American Legion Post 139 hosted a Legion breakfast, offering pancakes, omelets and steaks at very reasonable prices. Mr. John can and does take on whatever needs to be done in preparation, from setting up and decorating the tables to cooking and serving the food.
Post 139 also serves breakfast once a week to two busloads of veterans who come over to Bay Saint Louis from the VA hospital in Gulfport. "It's good for those guys to get out of the hospital for a change of scene. We feed them, play bingo and put them back on the bus."
Mr. John also helps out at the Friday night seafood dinners put on at the Veterans of Foreign Wars Post 3253. Fried catfish or oysters or shrimp along with french fries or potato salad at the bargain price of six bucks a plate, usually is a sellout. What better way than this to help support the VFW and to avoid cooking yourself or eating fast food. Mr. John would be delighted to see you on Friday evening, starting at 5pm, at the Post facilities, on Third Street between Washington and Citizen Streets.
Mr. John is the kind of independent guy who knows how to take care of himself. He learned to cook by watching his mother, Mary Eva Stevens Parent, prepare jambalaya, gumbo and red beans and rice. Mr. John is not bashful about his cooking skills. "My mother taught me how to cook. I can cook anything."
One of Mr. John's favorite dishes is turkey wings. He boils them first, puts them in a baking pan, slathers the wings with Zatarain seasoning and lets them bake.
Mr. John added to his cooking repertoire during the three decades he worked as a Merchant Marine. He learned to cook Chinese and Filipino dishes by watching the Chinese and Filipino cooks that worked in the galley. He can cook a mean fish soup but does not, as the Chinese do, eat the fishes' eyes.
During his 30-year career in the Merchant Marines, Mr. John often worked in the engine room. With his experience in keeping engines running, it's a cinch he could repair just about anything mechanical that presented itself.
Of the myriad of world-wide ports that Mr. John visited as a Merchant Marine, his favorite destination was the Panama Canal. He loved to go back and forth by bus or boat between the Atlantic and Pacific sides. He loved shopping in Panama City where he would buy a large bunch of bananas that he then hung in the machine shop. As the bananas slowly ripened from the heat, he would snack on them if he got hungry. He also bought big avocadoes that he stowed under his bed and took to dinner when it pleased him. When crew members questioned why Mr. John had an avocado for dinner and they did not, "I'd tell 'em that when you were out drinking and carrying on, I went to the fruit and vegetable vendors in the market."
Mr. John served on a number of vessels as a Merchant Marine. One of his favorites was a U.S. Army Hospital ship named "St. Mihiel." That ship called at ports in New Orleans, Charleston, South Carolina and Norfolk and Portsmouth, Virginia. He also hired out on the SS Cuba, and made runs from Tampa to Havana, San Juan, Trinidad and Panama. The SS Cuba sported two 1800 horsepower engines and could do 18 to 20 knots.
Before Mr. John joined the Merchant Marines, he served in the Army during World War II, in Germany. In service in 1943, he received his basic training at Fort Bragg, North Carolina. The Army assigned him to the 20th Armored Division, a mechanized artillery unit using powerful Sherman tanks that followed the infantry. Of the many duties, men in the tanks took care of casualties and rendered first aid. Administration of pain medication helped the injured until they could see a doctor.
Mr. John has recorded the entire story of his military career with the World War II Museum in New Orleans. Not surprisingly, he loves the "D-Day Museum" and wants others to visit what has become one of the most popular tourist spots in the city. On April 22, Mr. John will be accompanying a group of Bay High students on a field trip to the museum.
Born November 24, 1923, in New Orleans, Mr. John also grew up in New Orleans, one of three brothers. Their mother, Mary Eva Stevens, came from Tangipahoa Parish and their father, John Victor Parent, Sr., was born in St. John Parish. Mr. John graduated from Brother Martin High School in New Orleans.
Mr. John moved to Bay St. Louis from Gentilly, Louisiana some ten years ago. When Hurricane Katrina hit, Mr. John and his brother, Charles Allen, stayed in their home on Citizen Street, where the water level reached nearly two feet in the back yard but happily, did not reach inside their home. Mr. John had a generator, and even some gas to run it. His place served as a hot spot for the folks in the neighborhood who rode out the storm. Thanks to his generator and his generosity, people could charge up a cell phone or get some power for operating a saw or drill. Needless to say, he got to know his neighbors as people stood in line and waited their turn to charge up. Mr. John is pleased that six years after Katrina, people pass his house to say "thank you" for providing a tiny oasis after the storm.
Don't necessarily look for Mr. John to be home should you happen to pass by his house. More than likely, he has taken off to visit friends at the Diamondhead Club House, Keesler Field or the National Guard in Kiln.
Echoing his earlier explanation of his insistence on volunteering where he's needed: "It's what keeps me going."
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text:
Russia's First National Circus
By Dominique Jando
On November 22, 1845, the Italian equestrian Alessandro Guerra and his troupe gave their first performance in the circus they had just built on the old Place des Manèges—the "merry-go-round square", today's Theatre Square—in St. Petersburg, in the shadow of the stately Kamennyi Theatre (the "stone theatre"). The Kamennyi was also known as the Bolshoi Theatre (the "grand" theatre), and like its homonym in Moscow, it housed the Imperial Ballet and Opera companies. For a long time, the vast Place des Manèges had welcomed visiting fairs and their merry-go-rounds, but the presence of the theater had since redeemed the square's prestige, and Guerra found himself in ideal surroundings.
1 Guerra's Cirque Olympique
2 The Cuzent-Lejarses' Cirque de Paris
3 The Cirque de Paris in St. Petersburg
4 The Cirque de la Direction des Théâtres Impériaux
5 Russia's First Circus School
6 The Imperial Circus
7 The Cirque-Théâtre Impérial
8 Epilogue
9 Image Gallery
Guerra's Cirque Olympique
Alessandro Guerra (1838)
Born in Rome, Italy, Guerra (1790-1856) had started his career at Vienna's Circus Gymnasticus, under the management of the Latvian equestrian Christoph de Bach, whose daughter, Elisa, Alessandro had seduced and married. Then, in 1826, he had created his own company, which toured under the name (fashionable at the time) of Cirque Olympique. After the death of his father-in-law, Guerra engaged into a bitter rivalry with de Bach's widow, the beautiful Laura de Bach, and then went on to compete against Ernst Renz in Berlin before settling in the Capital of All Russias. Guerra was a remarkable trickAny specific exercise in a circus act.-rider, famous for his aggressive manner in the ring (which he also displayed in private life), and which got him a nickname: Il Furioso.
The circus that Guerra built in St. Petersburg was a large, rectangular wooden building that looked a little like a hangar, but with a Grecian-style pediment adorned with equestrian scenes, and, above the public entrance, a little portico supported by six pillars. It was not very luxurious, but it was comfortable and well heated (an important detail in St. Petersburg, which the press duly reported) and was well lighted (another aspect vital to the citizens of St. Petersburg, berated as they were by endless winter nights). The stables housed fifty horses, and Guerra also built a coffeehouse adjacent to the circus itself.
The richness of its costumes (in the Parisian fashion), the talent of its equestrians and, no less importantly, the beauty of its equestriennes guaranteed Guerra's enterprise an immediate success. Furthermore, his company, forty-strong, was particularly brilliant. It included Giuseppe Chiarini, then twenty-two, who would create his own company ten years later and embark into amazing tours around the world; Chiarini, along with Joseph Verdier, performed equestrian scenes in the manner of Andrew Ducrow. There was also the very talented and celebrated clown acrobat Ludovico (Louis) Viool, who was not unknown to St. Petersburg since he had already been there with the Tourniaire Company in 1837. Viool was on his way to become an important figure of the Russian circus.
Rodolfo Guerra, Alessandro's brother, played opera arias on the flute while standing on the back of a galloping horse. Finally, the great German high-school rider, Julius Walter Hager, rounded this attractive group. Yet the male Russian aristocracy came principally to see the Circus' beautiful Amazons, who were in large supply in Guerra's company: First, the panneau(French) A flat, padded saddle used by ballerinas on horseback. ballerinas—Mesdemoiselles Slapashinskaya; Louise Letard, who danced the zabadauda on her trotting horse; Josefina Guerra, who excelled at jumping over ribbons; and Lezenskaya, who added trickAny specific exercise in a circus act. riding to her exhibition. Then there was the exquisite high-school rider Ellen Kremzow, a favorite of the European equestrian set, who later married the Austrian Count Mensdorff-Pouilly, and was the crown jewel of this bouquet of pretty equestriennes. Maria Leb, Mathilde Baviera, Rosa Nellie, Marietta Orsanigo, and Angelika Hager completed the list.
Beside the libidinous dreams and amorous adventures that have always lingered in the wake of the equestriennes of the Romantic era, Guerra offered something much more significant to the aristocrats and officers who patronized his circus: There they were exposed for the first time to the subtleties of High School dressage, until then little known in Russia, and which were not only gracefully demonstrated to them by the likes of Ellen Kremsow, but also taught by Guerra himself and his old accomplice, Julius Hager.
As a result Guerra developed a patronage of regulars who met in the morning and afternoon in his stables and around his manège, and at the circus's coffeehouse. Rich and sometimes prone to startling liberality (as only aristocrats of Imperial Russia could be) they lavished Guerra—and his equestriennes—with their uninhibited largess.
Thus everything was well in the best of possible worlds. Or so was it until the rumor of the imminent arrival of another equestrian company spread over the gilded halls of St. Petersburg. To his consternation, Guerra discovered that it was the company that reigned supreme all over Europe, the Cirque de Paris of Paul Cuzent, Jean Lejars and Baptiste Loisset.
The Cuzent-Lejarses' Cirque de Paris
Paul Cuzent
An equestrian family of considerable talent, the Cuzents (Paul and his sisters, Antoinette, Armantine and Pauline) joined the company of Paris' Cirque Olympique, on the Boulevard du Temple, when Louis Dejean took over the Franconis' circus in 1835. Paul Cuzent (1812-1856) was then twenty-three, and his sisters Antoinette and Armantine were already famous for their work on the panneau(French) A flat, padded saddle used by ballerinas on horseback. in an equestrian act they performed as Les Sœurs Jolibois, using their father's stage name.
Pauline, on the other hand, was afflicted with a slight limp that prevented her from following into her sisters' footsteps. Her brother initially relegated her to the role of musician, and then sent her to a theater company. But Pauline didn't see it that way: She took riding lessons with the "god" of High School dressage, François Baucher, and eventually became the rival of the most celebrated equestrienneA female equestrian, or horse trainer, horse presenter, or acrobat on horseback. of her time, Caroline Loyo.
Armantine was married to the German equestrian Karl Berg, and the ravishing Antoinette to Jean Lejars, another equestrian in Dejean's company, who had won her heart during her first season at the Cirque Olympique. The charms of the "beautiful Madame Lejars," as Antoinette would become known, didn't leave anyone indifferent; the sculptor Pradier immortalized her as a bare-breasted Amazon in two versions of the same equestrian sculpture—one that adorned the pediment of the Cirque des Champs-Elysées until its demolition at the turn of the twentieth century, the other which can still be seen framing the façade of Paris's Cirque d'Hiver.
The Cuzents were the trump cards of Dejean's company; therefore the Parisian director was not particularly thrilled when Paul and his brother-in-law, Jean Lejars, announced their intention of creating their own company with the celebrated equestrian and director Baptiste Loisset. Dejean tried to sue them, but without effect, and the Cirque de Paris, as the new troupe was named, had a triumphant debut in Prague in 1844—and acquired instantly a reputation unparalleled in Europe.
Baptiste Loisset (1797-1863), a former pupil of Jacques Tourniaire, Christoph de Bach and Laurent Franconi, had created his own company in 1824. He was educated, flawlessly elegant, and had the reputation of composing his shows with infinite care and excellent taste. François Loisset (1826-1878), his son, who had worked with his father for many years, would soon succeed him at the helm of the company. Baptiste brought a solid experience to the triumvirate, and was probably the catalyst that triggered the creation of the new company. Baptiste Loisset's influence on Cuzent's later productions is manifest.
As for Paul Cuzent, he had become, since his debut with Dejean, one of Europe's premier horsemen. He had created the equestrian display known as "Roman Games," and performed La Poste Royale (an avatar of Andrew Ducrow's The CourierAn equestrian presentation created by Andrew Ducrow in 1827 as ''The Courier of St. Petersburg'', in which a rider stands on two galloping horses, one foot on each, and allows other horses to pass between his mounts, catching their reins as they pass, eventually holding the reins a group of galloping horses in front of him. (Also known in French as ''La Poste''.)), which he presented with six horses. A consummate circus man, he was a good acrobat, an excellent director, and an able musician; he composed most of the tunes that accompanied his family's acts, and sometimes conducted the orchestra himself. (He even composed a one-act opera, L'Habit de Noce.) Cuzent was a leader and, obviously, the soul of the company. His sole presence in the ring, like that of his sisters Pauline and Antoinette, was enough to ensure the company's success.
The Cirque de Paris in St. Petersburg
Pauline Cuzent
In the fall of 1846, the Cirque de Paris arrived in St. Petersburg. The Cuzent-Lejarses built a wooden circus near the Alexandrinsky Theatre, a few yards from the Perspective Newsky, which they opened on October 8. The press noted that it was well heated and lighted (which, as we saw, was imperative) but that its narrowness rendered it uncomfortable, especially compared to Guerra's "vast" (in contrast) Cirque Olympique. Yet the comparison was not entirely to Guerra's advantage: the Cirque de Paris, it was said, gave a sensation of luxury, with its carpeted corridors, its warm colors, its fragrance burners which perfumed the house, and the flamboyant uniforms of its barrière(French) The line of uniformed artists and assistants who, in the old equestrian circus, stood at attention at the ring entrance to assist their fellow performers if needed. When seen today, the Barrière is usually made of the Ring Crew. .
Word was in St. Petersburg that, compared to his rival, Guerra's circus looked like a gymnasium, whereas the Cirque de Paris was a parlor. Guerra's supporters stressed that the Cirque de Paris did not have as many equestriennes as the Cirque Olympique, and that they were not as beautiful—with the notable exceptions, perhaps, of Pauline Cuzent, who had just celebrated her sweet sixteen, and whose "distinction was so perfect that the grandest ladies of the aristocracy asked her to teach them," and, of course, of the beautiful Madame Lejars.
Nonetheless the public soon realized that Mrs. Lejars and Cuzent-Berg were doing tricks that only men could achieve at Guerra's. And there was Paul Cuzent, at his peak at thirty-three, athletic and handsome with his dark looks and bellicose moustache, and his incomparable talent. If that was not enough for Guerra's regulars to swing toward the Cirque de Paris, they could also laugh at the antics of their favorite clownGeneric term for all clowns and augustes. '''Specific:''' In Europe, the elegant, whiteface character who plays the role of the straight man to the Auguste in a clown team., Louis Viool, who, sensing the change of wind, quickly deserted Guerra and joined the competition. At the Cirque de Paris, Guerra's regulars could also cheer on the juggler on horseback Jean Chancelet, the acrobatic feats of the brothers René and Jacques Dauvergne, and the young equestrian Jules Lejars—who was a mere four-year-old.
Guerra, however, didn't stay hands-tied. One of his sponsors, the Count Orlov, had presented him with 200,000 rubles, no less, to fight the invader, and Guerra used that money to beef-up his company. He hired Gaetano Ciniselli (1815-1881), a pupil of Adolphe Franconi and François Baucher, who had learned his trade in Dejean's company (and would later become a seminal figure in the history of the Russian circus); the aerial gymnast Charles Price, a future British emulator of Léotard (and who worked, as Léotard would, with his father in tow); and, first and foremost, the Diva de la Cravache, the most illustrious Caroline Loyo.
Caroline Loyo
Loyo was the first High School equestrienneA female equestrian, or horse trainer, horse presenter, or acrobat on horseback. to ride on a sidesaddle. Born in 1816, she had made her debut in 1833 at Paris' Cirque Olympique, then owned by Laurent Franconi. She had an immense talent, deep dark eyes, and looked rather athletic for her time—a little heavy, some critics said. But she had been endowed with an extraordinary energy, and also a temper as petrifying in private as it was in the ring: "She says the horse is to her as a rhyme to the poet, a slave that has only to obey" (Jules Janin in Le Journal des Débats, August 9, 1941).
Caroline Loyo was one of the few equestriennes to train her horses herself, and she was not especially tender; she once told Dejean, "I'll kill any horse that resists me!" Needless to say, her horses worked faultlessly and with remarkable precision: they did not have much choice! (In 1852, Loyo would marry François Loisset, and then teach High School riding to her nieces, the daughters of Antoinette Loisset (François's sister), the superb equestriennes Clotilde and Emilie Loisset.)
In spite of her talent, the volcanic Caroline failed to cast a shadow over her young rival, Pauline Cuzent, who was favorably compared to her (Pauline was more refined, critics said), nor over the beautiful Madame Lejars, who ravaged the ranks of the local male aristocracy. As for the clowns who remained with Guerra, Luchino and Wenzel, they were far from nearing the popular Louis Viool's vis comica. The Cuzent-Lejarses also showed lavish pantomimes, in the Parisian fashion, and Guerra had to follow suit—but his dwindling success was exhausting his funds.
This "equestrian war" fascinated St. Petersburg, including Czar Nikolai I, who visited the circuses several times with his family. (Prince Konstantin Nikolaevich took this opportunity to succumb to the beautiful Madame Lejars' considerable charms, and they experienced together, so it has been said, the joys and pains of adulterous escapades.) Unfortunately for him, Alessandro Guerra had to pay the price of the war. After three months of struggle, which only confirmed the Parisian company's artistic advantage, he threw the towel, packed his bags, and went back to Vienna.
The Cirque de la Direction des Théâtres Impériaux
Nikolai I had become Czar of Russia in 1825. A distinct taste for order and discipline—in the Prussian manner that he much admired—won him a lovely nickname, "the Iron Czar." As can be expected, he established a highly centralized and policed state, which allowed him to minutely oversee all aspects of life in his vast Empire. However, in spite of his petty Puritanism and his being a staunch partisan of artistic censorship, he was a protector of the arts, the champion (and sometimes the tormentor) of such literary figures as Alksandr Pushkin, and a ballet enthusiast.
A. M. Guedeonov
The "circus war" gave circus arts in Russia an unprecedented vogue. Nikolai, well aware of it, called for Aleksandr Mikhailovich Guedeonov (1791-1867), the Director of the Direction des Théâtres Impériaux (as such in French, St. Petersburg being a bilingual city and French the language of the Court) and asked him to put the circus on the roll of the performing arts supported (and controlled) by the State. These already included Drama, Opera and Ballet. The Direction des Théâtres Impériaux (Management of Imperial Theaters) acquired St. Petersburg's two circus buildings, leaving Paul Cuzent at the helm of his, which was pompously renamed Cirque de la Direction des Théâtres Impériaux.
Cuzent, who still taught horsemanship in the morning, staged his productions in the afternoon, performed in the evening, and wrote music in the interval, was forced to re-organize the management of his circus in a way that suited the importance of his new title, and that of the Russian bureaucracy: he acquired the services of Jean Chancelet, the juggler on horseback, who was promoted to the rank of General Manager, and of the acrobat Jacques Dauvergne, who became Cuzent's assistant—an occupation that was probably not a sinecure.
Now officially settled in the Russian capital, Cuzent reorganized his company, hiring new performers to refresh his programs. Among the newcomers were George Buckley, a hot-tempered American who turned somersaults on horseback; the clown Victor Chabre, better known as L'éclair—a good tumbler who was (or so has it been said) the first clown to ornate his costumes with sequins; and the panneau(French) A flat, padded saddle used by ballerinas on horseback. ballerinas Amelia Genée and Camille Leroux. They and some others were added to the company's stalwarts, Paul and Pauline Cuzent, the Lejarses, Chancelet, and Louis and Agrippina Viool.
Cuzent also hired Séraphine-Françoise Bassin, née Massucatti, and her family. Mrs. Bassin was a terrifying stage-mother and a plague to directors, but her progeny excelled in the ring. Her son was a barrel jumper who had worked for Guerra and de Bach, and whose name, it seems, posterity only recorded as Bassin Fils (probably because his first name was Antoine, like his father, who had been a famous equestrian). She had also two beautiful daughters, Victorienne and, above all, Laura, whom the beautiful Madame Lejars probably didn't regard amiably: Not only did Laura quickly fell into the arms of a rich aristocrat, Colonel Novosiltsev, and married him, but the Czar presented her, in appreciation of her many talents, with a diamond broach.
As for Baptiste Loisset, he left the company. He was now fifty-two, not young for an equestrian, and the prospect of a quiet situation as Inspector of the Royal Stables and Director of the Equestrian Academy offered to him by King William of Holland was more appealing than exhausting international circus tours.
Russia's First Circus School
In that year 1847, another Frenchman, Marius Petipa (originally Petitpas), joined the Imperial Ballet in St. Petersburg, of which he would later become the brilliant Ballet-Master—and with it redefine classical ballet. French influence was strong indeed in St. Petersburg, but the Cirque de la Direction des Théâtres Impériaux was not only managed by a Frenchman: Its stars came from everywhere safe Russia. As Lenin would do sixty years later, the Czar thought it was due time for the Imperial Circus to have Russian performers within its ranks; and like Lenin, he thought the best way to bring this wish to fruition was to have a school, modeled after these already in existence at the Direction des Théâtres Impériaux for ballet, drama, and music.
Hence Nikolai ordered the creation of the world's very first circus school, which was originally housed in the building of the Imperial Theatre. Acrobatic classes were entrusted to the brothers René and Charles Dauvergne, who at once put into practice the methods that had presided over their own artistic education, and which consisted mainly in using raw force whenever they had trouble providing intelligent answers to their student's problems—a method that, sadly, has long been favored in traditional circus families.
Instead of acrobats, the Dauvergnes generated mostly crippled bodies. Paul Cuzent was in charge of teaching horsemanship, the results of which were not that encouraging either; yet he must be credited for producing two talented artists, Ekaterina Fedorova, a High School rider whose untimely death occurred at age thirty-eight in 1868, and the trickAny specific exercise in a circus act.-rider Anna Natorova (1835-1917).
Meanwhile, Nikolai ordered the demolition of Guerra's Cirque Olympique, and the construction(French) A temporary circus building, originally made of wood and canvas, and later, of steel elements supporting a canvas top and wooden wall. Also known as a "semi-construction." of an Imperial Circus that could deserve such appellation. The task fell upon Alberto Cavos (Kavos in Russian), the Italian architect-in-chief of the Imperial theaters, who would rebuild Moscow's Bolshoi Theatre in 1856 after its destruction by a fire—and as it stands to this day. (For his part, Alessandro Guerra performed in 1848 at the brand-new circus at the Djurgården in Stockholm and then at Copenhagen's Tivoli, and reclaimed his former glory in Scandinavia.)
The Imperial Circus
Colonel Novosiltsev now decided to present his young spouse, Laura Bassin, with a circus. (One would not be surprised to learn that Laura's mother suggested such an idea…) So he inquired about the future of the Cuzent-Lejars's circus, which was to be vacated at the opening of the new Imperial Circus. The Czar, certainly remembering the recent circus war and the fate of the unfortunate Guerra, responded through Guedeonov that the circus was not for sale, but slated for demolition. (In 1853, Novosiltsev built for Laura a circus in Moscow, near the Bolshoi Theatre, and later another one in St. Petersburg—but this is another story.)
Inside the Cirque Impérial
The Imperial Circus opened to the public on January 29, 1849. Its cost had reached a whooping 216,000 rubles (at the time an enormous sum) but it was worth every kopek. It was a large and majestic building with an infrastructure of stone and an impressive frontage with a classic colonnade. Stables, dressing rooms and the many annexes were located in two wings that extended from each side of the central structure. The latter included a sumptuous foyer, adorned with chandeliers, gilded moldings, frescoes, and red drapes, and the house itself, designed after those of Astley's in London, and Paris' Cirque Olympique: It had a semi-circular shape, with a regular ring for equestrian displays and a vast, fully equipped stage for the presentation of pantomimes—which remained Paul Cuzent's weapon of choice.
The audience was distributed between orchestra benches placed right around the ring (whose fence was white and topped with red velour), two tiers of Italian boxes, running along the entire semi-circle, each tier holding twenty boxes for the aristocracy of St. Petersburg, and, above, a vast gallery. Four boxes for the Imperial family framed the stage, two on each side.
Cream paint, gilded ornaments and red velour formed the over-all color scheme, and the house was illuminated by a large chandelier hanging from the ceiling, and gaslight candelabra on pedestals surrounding the ring at regular intervals—thus giving it excellent lighting. From that ensemble emanated the feeling of comfort and luxury that was found in other imperial theaters. The only noted criticism pertained to the circus' outer appearance: It was not only an imposing structure built too close to another heavy one (the Kamennyi Theatre), but it also obstructed the perspective of the Place des Manèges.
Filled with renewed enthusiasm Paul Cuzent threw himself into the production of colossal pantomimes, in the style with which he had become familiar at Paris's Cirque Olympique. The Alta Blockade involved, beside the usual company, a choir, a twenty-two-strong Cossack troupe, and one hundred twenty enlisted men from the Imperial Army. In spite of a Russian historical theme and a plethora of music, sets, costumes, battles and wild riding, it was a flop of imposing proportions.
Critics found the play incomprehensible, its characters void of substance, its dialogue indigent, and its actors incompetent; only the business in the ring (the actual equestrian acts and presentations) received some praise. Worse, they reproached Cuzent his ignorance of Russian history: "How can you ask a Frenchman to tell the history of Russia? Can he even understand the Russian soul?" The Czar could not miss the oblique attack that comment contained.
Other attempts, such as The Amazons' Island, whose theme seemed less dangerous and offered the prospect, if nothing else, of more arousing visions, did not meet with more success. It seems that Cuzent had reached the limits of his competence at the Imperial Circus; his contract with the Direction des Théâtres Impériaux expired May 20, 1850, and was not renewed. Paul Cuzent and his family left St. Petersburg, but a large fraction of his troupe (among which Ekaterina Fedorova, the Dauvergnes, the Viools and Victor Chabre) chose to stay in the Imperial Circus' company, where they had the assurance of a steady paycheck and unworried employment.
The Cirque-Théâtre Impérial
Eventually, Paul Cuzent's departure proved catastrophic for the Imperial Circus: Nobody of comparable stature was there to replace him, and the circus passed under the management of Guedeonov, who was essentially a bureaucrat and also took care of the other Imperial theaters, and under the direct supervision of Nikolai I, Autocrat of all Russias, whose attention was evidently held by more consequential matters.
Yet it was the Czar himself who decreed the personnel's vacations and salaries, and signed all administrative authorizations, while Guedeonov hired the performers and must have vaguely supervised the productions, perhaps with some help from Jacques Dauvergne, Cuzent's former assistant. For the most part, the success of his shows could only qualify as mediocre. Guedeonov also took advantage of the circus's vast stage to present dramatic productions between circus programs—a genre much more familiar to him—and the Imperial Circus quickly became known as the Cirque-Théâtre Impérial (Imperial Circus-Theatre).
Palmyre Annato
The public complained that the troupe did not do enough to renew its repertory. So, in 1851, Guedeonov hired the Annato family: François and his sisters, Catherine, Maria, and the superb Palmyre. Palmyre Annato, who was the undisputed star of the family, left in Russia and elsewhere the memory of the prettiest and most elegant panneau(French) A flat, padded saddle used by ballerinas on horseback. equestrienneA female equestrian, or horse trainer, horse presenter, or acrobat on horseback. that ever was. Her sister Maria was also quite successful, but Palmyre belonged in a different league—the level of which, unfortunately, was far from the reach of François and Catherine. The French equestrian Théodore Rancy and his troupe also came to reinforce the company in 1852.
Rancy was yet another disciple of Baucher, but he had had some difficulty mastering the great Riding Master's technique; he eventually caught the spotlight with The Desert Horses, an act in which he rode bareback and without reins. In St. Petersburg, Rancy presented equestrian pantomimes such as The Baden-Baden Hunt, with a troupe that included Palmyre and Maria Annato, Louis Viool, Victor Chabre and Charles Dauvergne. Théodore Rancy could have restored, perhaps, the status of the Imperial Circus: although he was no Paul Cuzent, he had at least talent, ambition, and directorship qualities. But the Balkan crisis was in full bloom and it was not an ideal time to hire a new French director. Rancy returned to France, where he started a famous dynasty of circus directors and equestrians.
Eventually, in 1853, Palmyre Annato married the Russian tenor Ivan Setov, became pregnant, and was forced to leave the company. Without a star, the Imperial Circus continued to decline, until the Czar decided to close it at the end of the season. Workers were called in to elevate the stage and transform the ring into a parterre. The building was re-opened in June 1854 as a full-fledged theater.
Novosiltsev took his cue and at last built a circus in St. Petersburg for his wife, Laura Bassin. The Colonel, who was neither a circus-man nor a businessman, hired half of Cuzent's old company, which was not such a good move since it certainly did not emphasize the novelty and imagination the public was longing for. Largely for this reason, the new circus met with mediocre success.
The building survived nonetheless, and was rented to various touring companies. Léotard, the inventor of the flying trapezeAerial act in which an acrobat is propelled from a trapeze to a catcher, or to another trapeze. (See also: Short-distance Flying Trapeze), performed there in February 1861; he had to wear black pants and a white shirt, since his infamous full-body tights, which he created and still bears his name, had been declared indecent by the Imperial censors. Antoinette Lejars rented the circus from Laura Bassin in 1862, and the Austro-Hungarian director Carl Magnus Hinné took it over in 1864, embarking on a brilliant Russian career, which would later involve his brother-in-law, Gaetano Ciniselli. As for Laura Bassin, she turned to the stage, and performed for many years with the troupe of the Mikhailovsky Theatre, the famous French-speaking theater of St. Petersburg. She died in the Imperial capital in 1896.
Nikolai I died in 1855. His son, Alexandre II, became Czar, and Paul Cuzent returned to St. Petersburg to see the coronation. He died there, from cholera, the following year. His sister Pauline, who was poitrinaire, as the French said then (like Camille, Dumas's heroine, she suffered from tuberculosis), had passed away in 1855, the same year as Czar Nikolai. Pauline was just twenty-five; "the humid climate of St. Petersburg was fatal to her; [she] came back to Paris, but to die" wrote Henry Frichet (Le Cirque et les Forains, Tours, A. Mame et Fils, 1898). Alessandro Guerra died in Italy in 1862.
On January 22, 1859, the old Imperial Circus-Theater was ablaze. When the fire was over, only the stone infrastructure was left: Foundations, walls, some staircases and the façade. Alberto Cavos rebuilt it, increasing its size, especially its height (notably for the house and the stage), but kept the façade and the key architectural elements. Of course, anything that could have recalled the original circus activity of the building went up in smoke. It re-opened that same year as the Maryinski Theatre; for many years under the Soviet rule it would be known as the Kirov Theatre, renamed after a revolutionary "hero" who had nothing to do whatsoever with circus, theatre, opera or ballet.
The Maryinski's neighbor, the Kamennyi Theatre, which had been rebuilt in 1818 after a fire, was now in a state of disrepair, its condition steadily deteriorating. Its last performance on February 23, 1886, was of Bizet's Carmen. The carpentry was on the verge of collapsing, and the stage machinery practically dead. The Ballet and Opera companies were transferred to the Mariinskyi: the Kamennyi's condition was so bad that considering its restoration as a theater had become ludicrous. In 1889, work started on the building to allow the Russian Music Society to occupy it. In 1896 it became the Music Conservatory, which it has remained ever since.
At the same time, the Russian circus was entering its first Golden Age with Hinné and Ciniselli, and a vast majority of foreign artists. However, some genuinely Russian stars emerged, such as Vladimir and Anatoly Durov—and even directors like the Nikitin brothers—but speaking of a "Russian circus" was stretching a little. It is Lenin, with the enthusiastic support of intellectuals such as the Minister of Education Anatoly Lumarchesky, Vsevolod Meyerhold, Maxim Gorky, Konstantin Stanislavsky, Vladimir Maiakowsky, and the poet Vadim Shershenevich, who will eventually give life to the vision of Nikolai I by creating a Russian national circus, and a school to ensure its constant renewal. And the Soviet circus artists took care of putting the circus back on the pedestal a Czar had dreamed for them a century before.
Alessandro Guerra
Julius W. Hager
Marietta Orsanigo
Baptiste Loisset
The Cirque Impérial (1850)
"La Belle Madame Lejars" by James Pradier (1852)
Gaetano Ciniselli
Retrieved from "http://www.circopedia.org/index.php?title=Russia%27s_First_National_Circus&oldid=29627"
Content is available under a Creative Commons Attrib.-Noncom-No Deriv. Works 3.0 US License unless otherwise noted.


I have many fond memories of summer from my childhood, but one in particular comes to mind right now. I grew up in the same neighborhood as two of my classmates and friends, so we spent a lot of time together during the summers. We created secret clubs, had meetings in my tree house and of course we set up lemonade and Kool-aid stands on hot days. Sometimes, we even equipped my wagon with lemonade and cups and tried our luck at a mobile stand. What entrepreneurs we were. Just kidding.
Anyways, sometimes we'd get creative with Kool-Aid and make homemade popsicles using my mom's popsicle molds. They were never as good as I hoped they would be, but I still enjoyed making them!
My husband and I got into a frozen fruit bar kick last summer, so I decided to buy a set of popsicle molds and try making my own; don't worry I wasn't planning on recreating the Kool-Aid ones. I actually intended on making frozen fruit and yogurt bars, but I just realized I still haven't tried any yet.
I did, however, stumble across a fudge popsicle recipe with Nutella that I tried right away and loved. I've modified it slightly and have made these several times now. They are super quick to prepare and are ready to eat the next day. I hope you enjoy them as much as I do!
Begin by making a double batch (2 cups) of homemade whipped cream. You can use Cool Whip, but homemade whipped cream is so much better!
In a blender, add the whipped cream, 1 cup milk, and 4 tablespoons Nutella. I tend to go a little heavy on the Nutella. It's just so good!
Blend for 1 to 2 minutes, until thoroughly mixed.
Carefully divide the mixture between popsicle molds.
Add the lids to the molds and secure.
Place in the freezer and freeze overnight or for at least 12 hours before enjoying. When serving, I find that running the plastic mold under hot water for about 15 seconds helps release the creamsicle from the mold.
Have you ever tried making your own creamsicles or popsicles? Share a favorite recipe below; I'd love to hear about a great fruit and yogurt bar recipe!
Prepare whipped cream, then combine with combine with milk and Nutella in a blender. Blend until thoroughly mixed, about 1-2 minutes. Carefully divide mixture between 6 popsicle molds.
Running hot water over the plastic mold for about 15 seconds helps release the creamsicle from the mold.


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SLLC Files Supreme Court Amicus Brief in Employment Discrimination Case
Lisa Soronen
Tuesday, March 5, 2019 at 03:56 PM
Before an employee alleging employment discrimination under Title VII (on the basis of race, color, religion, sex, or national origin) may bring a lawsuit in federal court he or she must exhaust administrative remedies by bringing formal charges with the Equal Employment Opportunity Commission (EEOC) (or equivalent state agency).
The question the Supreme Court will decide in Fort Bend County v. Davis is if an employee fails to exhaust administrative remedies with the EEOC before filing a lawsuit is the lawsuit barred. The State and Local Legal Center amicus brief argues the answer to this question is yes.
Supreme Court Agrees to Decide Important Procedural Employment Discrimination Case
Wednesday, January 23, 2019 at 09:21 AM
The question the Supreme Court will decide in Fort Bend County v. Davis is if an employee fails to exhaust administrative remedies with the EEOC before filing a lawsuit is the lawsuit barred.
BNSF Railway Denied Summary Judgment in Obesity Bias Case
Ashley Daily
Tuesday, March 20, 2018 at 12:36 PM
BNSF Railway, one of the largest freight railroad networks in North America, is facing a claim that it violated the Americans with Disabilities Act when it refused to hire an obese applicant. BNSF's motion for a summary judgment—a request for the court to rule that the other party has no case—was denied by Judge Sharon Johnson Coleman in...
Will EEOC Face Financial Consequences for Failing to Meet Pre-lawsuit Obligations?
Title VII allows prevailing employers in frivolous Title VII employment discrimination lawsuits to collect a reasonable attorney's fee. The Equal Employment Opportunity Commission (EEOC) brings lawsuits on behalf of aggrieved employees. But before doing so it has a statutory obligation to investigate, find reasonable cause the employer violated Title VII, and conciliate the dispute.
On Monday the Supreme Court heard oral argument in CRST Van Expedited v. EEOC where it will decide whether an employer is a prevailing party where a court dismissed a Title VII case because the EEOC failed to meet its pre-lawsuit obligations.
Supreme Court Rules Courts May Determine Whether EEOC Conciliated Discrimination Cases
Friday, May 1, 2015 at 12:03 PM
In Mach Mining v. EEOC the Supreme Court held unanimously that a court may review whether the Equal Employment Opportunity Commission (EEOC) satisfied its statutory obligation to attempt to conciliate employment discrimination claims before filing a lawsuit.
The Court's decision is favorable to employers, including state and local governments, who benefit from the EEOC's statutory mandate to try to resolve employment discrimination cases before suing employers. If the EEOC fails to try to conciliate employers may sue the EEOC.
SLLC Files Supreme Court Amicus Brief in Case Supporting Partisan Balance
SCOTUS Allows Public Charge Rules to Go into Effect Temporarily
For Now, SCOTUS Won't Review Flint Water Crisis Case
Supreme Court to Hear States' Challenge to the Birth Control Mandate Exemption
Supreme Court to Decide What States May do about "Faithless Electors"
© 2016 The Council of State Governments. All Rights Reserved.


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      </error>
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4/01/2011 · generally 'a' would be increaseing and 'b' and 'c' would be decreasing if you are opperating on the general principle that the x axis would be time and y axis is amount of whatever. as time goes by, # of whatever goes up ^ increase.... If a is negative, the graph of f will be concave down on the interval (-∞ , + ∞) since f ''(x) = 2 a is negative. An interactive applet on the concavity of graphs quadratic functions is in this site and you can verify the results of this example.
31/08/2009 · How to read graphs to determine the intervals where the function is increasing, decreasing, and constant. How to read graphs to determine the intervals where the function is increasing, decreasing... After completing this tutorial, you should be able to: Determine the domain and range of a function given a graph. Use the vertical line test to determine if a graph is the graph of a function or not.
We will use the tangent line slope to ascertain the increasing / decreasing of f(x). To this end, let us begin by taking the first derivative of f(x): To find when a function is increasing, you must first take the derivative, then set it equal to 0, and then find between which zero values the how to know if compound Speed is the absolute value of velocity: speed = . This is the definition of speed, but hardly enough to be sure students know about speed and its relationship to velocity and acceleration.
You can apply what you know about translations (from section 1.5) to help you sketch the graph of the exponential functions. A horizontal translation may affect the increasing / decreasing (if multiplied by a negative), the left hand / right hand behavior of the graph, and the y-intercept, but it won't change the location of the horizontal asymptote.
9/02/2015 · From a graph find the x values where the function is increasing, decreasing, and constant. This is presented at a college algebra level and no calculus is involved.


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Q: Advantages and/or disadvantages of lazy Racket I understand that Racket has strict i.e. eager evaluation, but one can chose lazy evaluation. The limited reading I have done on functional languages suggests that lazy evaluated languages can be more expressive in general, so is there any 'technical' disadvantage in choosing the lazy evaluation option for all Racket programs (in terms of speed, robustness of code, existence of libraries etc...)?
If not, is there a clear philosophical reason for preferring strict evaluation (references accepted)?

A: If you are interested in the expressiveness of different languages, then I can recommend "On the Expressive Power of Programming Languages" by Matthias Felleisen. The abstract:

The literature on programming languages contains an abundance of informal
  claims on the relative expressive power of
  programming languages, but there is no framework for formalizing such
  statements nor for deriving interesting consequences. As a first step
  in this direction, we develop a formal notion of expressiveness and
  investigate its properties. To validate the theory, we analyze some
  widely held beliefs about the expressive power of several
  extensions of functional languages. Based on these results, we believe
  that our system correctly captures many of the informal ideas
  on expressiveness, and that it constitutes a foundation for further
  research in this direction.

http://www.ccs.neu.edu/racket/pubs/scp91-felleisen.ps.gz

A: A lazy-by-default language is impractical without some sort of accompanying strictness analysis, because lazy evaluation incurs resource overheads that often negates its benefits. You can see this for yourself by playing around in #lang lazy, which is a proof-of-concept lazy language that ships with Racket. For all but the smallest toy programs, #lang lazy is too slow to be useful.
Ideally, we would have some sort of hybrid lazy-strict language that uses laziness when beneficial but is otherwise strict to avoid wasting resources, but figuring out the optimal balance of lazy or strict is still an open problem. It's not a stretch to say that a significant amount of research produced by the Haskell community over the past few decades has been to combat laziness, trying to find this balance. On the Haskell mailing list or SO topic, you'll frequently find a programmer trying to add strictness to their program that is "too lazy".
Racket has delay and force, which you can use to leverage laziness when you want, and not pay the overhead when you don't need it. However, there may be some idioms that are easier to reason about in lazy languages, like "tying the knot".
A point in favor of the strict-first approach is that much of the research on hybrid lazy-strict approaches has discovered that most of the time, you only need a small amount of laziness. For example see this paper on Optimistic Evaluation.


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HomeBlog VA Disability RatingsTemporary 100 Percent VA Disability Ratings
VA Disability Ratings
Temporary 100 Percent VA Disability Ratings
Heather Staskiel, Attorney Updated: June 12, 2017
Many veterans have the goal of being awarded 100 percent disability rating due to the severity of their disabilities. Sometimes, a veteran may be incapacitated by his or her disability to a level that warrants a 100 percent disability rating, but, fortunately, may be able to recover enough to where the 100 percent rating no longer accurately reflects his or her current level of disability. In such case, the VA will award temporary 100 percent disability for the time period in which the veteran was totally incapacitated. There are three types of temporary 100 percent disability ratings that a veteran may be eligible for: pre-stabilization ratings; Convalescent ratings; and hospitalization ratings. We will discuss each of these in turn.
A 100 percent pre-stabilization rating may be assigned to a veteran who suffers from an unstabilized condition that was incurred in service if the unstabilized condition results in a severe disability that makes substantially gainful employment unfeasible (note: a 50 percent pre-stabilization rating may be assigned under certain circumstances as well). An example of an unstabilized condition would be residuals from a car accident or gunshot wound. The VA cannot assign a temporary 100 percent pre-stabilization rating where the veteran is immediately eligible for a 100 percent schedular rating or a 100 percent rating due to total disability based on individual unemployability (TDIU). Pre-stabilization ratings are in effect for the 1-year period immediately after discharge, and the VA is not able to change a pre-stabilization rating if it would reduce benefits to the veteran during the 1-year period. However, the VA is able to change the veteran's pre-stabilization rating to a 100 percent schedular rating or 100 percent TDIU rating if so warranted. It's important to remember that the VA must conduct a C&P examination for the veteran's un-stabilized condition between 6 and 12 months after the veteran is discharged, but even if the examination shows that the veteran's disability warrants a lower rating, a reduction cannot occur until the end of the 1-year period.
A veteran may also be entitled to a temporary 100 percent rating for periods of hospitalization for treatment or observation which are greater than 21 days. Note, the hospital treatment or observation must be related to the veteran's service-connected disability, but if the veteran is initially admitted to the hospital due to a non-service-connected disability and receives treatment for his or her service-connected disability for more than 21 days during the hospital stay, he or she is still eligible for a temporary 100 percent rating for the period he or she was receiving treatment for the service-connected disability. This temporary 100 percent rating is effective from the first day of continuous hospitalization and ends the last day of the month of discharge from the hospital.
The third type of temporary 100 percent rating is available where a medical report establishes that a veteran needs time to convalesce following hospital discharge or outpatient release. In VA law, the term "convalesce" means "the act of regaining or returning to a normal or healthy state after a surgical operation, or an injury." There are three circumstances under which a 100 percent convalescent rating will be issued: the veteran has undergone surgery that requires at least 1-month convalescence; the veteran has undergone surgery that has resulted in severe postoperative residuals, or one of the veteran's major joints immobilized by a cast. Such benefits are effective from the date of hospital admission or outpatient treatment and may continue for a period of 1 to 3 months from the first day of the month following hospital discharge or outpatient release. Veterans are able to obtain extensions of convalescing ratings for up to 3 months, or 6 months in certain circumstances, if postoperative residuals are particularly severe. It is important to remember that medical evidence is necessary to establish entitlement to a convalescent rating, specifically a note from the veteran's doctor stating how long he or she requires to recover.
Extraschedular Ratings for VA Disability Claims
For some veterans, the objective criteria in the disability rating schedule may not accurately reflect their true level of disability. In such cases, the VA is able to consider certain…
The 3 Types of Temporary 100% Disability Ratings
We know veterans can be awarded a 100% va disability rating for their service-connected disabilities. But the VA can also award a veteran a temporary 100% rating. Let's take a…
Heather Staskiel, Attorney
Prior Employment: Florida Senate, Office of Bill Drafting Services Area of Practice: Veterans Law Bar Admissions: Florida Bar Bar Association Memberships: Florida Bar Association Education: University of Denver, B.A. Florida State University College of Law, J.D. cum laude, Florida State University Law Review, Distinguished Pro Bono Service Award Personal Note: Heather grew up in the suburbs of St. Louis, Missouri, before moving to Denver, Colorado to attend the University of Denver. At the University of Denver she majored in English, with minors in history and French, and had an active leadership role in her sorority, Alpha Gamma Delta. She then moved to Tallahassee to attend the Florida State University College of Law. She was a Notes and Comments Editor of the Florida State University Law Review and was awarded the Distinguished Pro Bono Service Award for exceeding pro bono graduation requirements. Heather joined our firm after working two legislative sessions with the Florida Senate where she drafted legislation relating to criminal law and child welfare. She enjoyed being part of the legislative process, but she has always wanted to use her law degree to help people and has welcomed the opportunity to make a difference in the lives of veterans with her colleagues at Hill & Ponton.


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The Shady History of the Blarney Stone
Travelers to Ireland often stop at the Blarney Stone, lie backwards, and give Blarney a smooch. Who is this movie star of a stone, anyway? Like all good stars, it's surrounded by myths, legends, and plenty of tall tales. Authentic Vacations, right here and now, is going to give you the true story.
The rock itself is the same sort that forms the megaliths of Stonehenge. How did it get to the west coast of Ireland? Some people say the stone was presented to Cormac McCarthy by Robert the Bruce in 1314—it was his gift to the Irish for supporting the Scots in the Battle of Bannockburn.
Reaching back in time, and here's where we get into the territory of 'blarney,' we discover that the Stone was used by Jacob for his pillow and brought to Ireland by the prophet Jeremiah. We also learn that David hid behind the Stone while running from King Saul—the Stone was returned to Ireland during the Crusades. And, did you know, it's the very rock that Moses struck, bringing forth water for the Israelites as they fled Egypt? Ahem.
We do know this: Queen Elizabeth I asked Cormac McCarthy, Lord of Blarney, to title his land over to England. With charm and wit, he responded to her many requests, keeping her happy without giving in. Exasperated, she finally tossed down a letter from him. "Oh! He's just giving me a lot more blarney!" Go to Blarney, wander the castle grounds, and give the stone a kiss as you explore Ireland. Perhaps you'll come away with the gift of gab and sweet persuasion. Pure fun! Explore Ireland vacations here.
Your Wedding in Ireland—Pure Joy
10 Glories of Northern Ireland
Irish Music—the Language of Community
Travel and Giving Back