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Slide 2 Slide 1 A Little Change Makes a Big Difference Our Mission is to alleviate animal suffering caused by neglect, cruelty and ignorance and to promote the humane treatment of companion animals through prevention, intervention, placement, education and example. Homepage We are a 501(c)3 non profit animal foster/rescue organization located in Franklin, Pennsylvania. Founded in 2001, Precious Paws is dedicated to educating the public about proper pet care, preventing cruelty to animals, managing feral cat populations, offering low cost spay neuter services, and placing adoptable animals in forever homes. Our pet selection changes frequently and we maintain a list of available dogs from owners looking to rehome their pets as well as network with other rescues. Together, we can help you find the right pet for your family. Please do not purchase pets from a pet store or a breeder without first taking a moment to do some research (backyard breeders can be just as bad as puppy mills). We always need foster homes and volunteers for a variety of activities: grant writing, feral cat trapping, adoption counseling, post adoption follow-up, etc. Latest News See Whats going On at PPAR PetFest 2018 Bridge Builders Community Foundations Week of Giving 2018 To All of Our Amazing Supporters: You understand the important work we do at Precious Paws Animal Rescue, through our low cost Spay Neuter Your Pet (SNYP) program, the Oscar Fund and our adoption programs. And because you have a relationship with our organization and have been a supporter, we need your influence to help us reach an important goal. On March 19th-23rd we will be participating in the Week of Giving, which is a collective philanthropy effort across the rural areas of Clarion, Forest, Punxsutawney and Venango counties. Please follow along with us as we raise awareness for this important initiative, and raise awareness for our mission and needs. We have a goal of raising $5,000 during this week. We need your help to get us there. Here’s what you can do: 1. Follow our social media pages on Facebook and Twitter. Comment on our posts and share our posts on your social channels. 2. Use your influence in person, via email or social media to encourage your network to consider a donation to our organization during this week. Let them know that you support us and why. 3. Make a donation to our organization during the Week of Giving on March 19-23 at www.bbcfgives.org. Your donation will be prorated through Bridge Builders Community Foundations match fund. If we are successful in meeting our goal we might also win additional cash and prize packages beneficial to our mission for the most individual donations and the largest grand total raised. Shoes Upcoming Events Check out our upcoming Events You understand the important work we do at Precious Paws Animal Rescue, through our low cost Spay Neuter Your Pet (SNYP) program, the Oscar Fund and our adoption programs. And because you have a relationship with our organization and have been a supporter, we need your influence to help us reach an important goal. On March 19th-23rd we will be participating in the Week of Giving, which is a collective philanthropy effort across the rural areas of Clarion, Forest, Punxsutawney and Venango counties. Please follow along with us as we raise awareness for this important initiative, and raise awareness for our mission and needs. We have a goal of raising $5,000 during this week. We need your help to get us there. Here’s what you can do: 1. Follow our social media pages on Facebook and Twitter. Comment on our posts and share our posts on your social channels. 2. Use your influence in person, via email or social media to encourage your network to consider a donation to our organization during this week. Let them know that you support us and why. 3. Make a donation to our organization during the Week of Giving on March 19-23 at www.bbcfgives.org. Your donation will be prorated through Bridge Builders Community Foundations match fund. If we are successful in meeting our goal we might also win additional cash and prize packages beneficial to our mission for the most individual donations and the largest grand total raised.

--- abstract: 'We report on a simple and robust technique to generate a dispersive signal which serves as an error signal to electronically stabilize a monomode cw laser emitting around an atomic resonance. We explore nonlinear effects in the laser beam propagation through a resonant vapor by way of spatial filtering. The performance of this technique is validated by locking semiconductor lasers to the cesium and rubidium $D_2$ line and observing long-term reduction of the emission frequency drifts, making the laser well adapted for many atomic physics applications.' author: - 'Fabiano Queiroga, Weliton Soares Martins, Valdeci Mestre, Itamar Vidal, Thierry Passerat de Silans, Marcos Oriá, and Martine Chevrollier' title: | Laser stabilization to an atomic transition\ using an optically generated dispersive lineshape --- Introduction ============ The use of lasers in atomic physics often demands long term stability of the central frequency of the light emission. For metrological applications the stabilization technique [@Hall1999; @Salomon1988] should be very carefully chosen and applied, frequently controlling the laser linewidth and avoiding to introduce any artificial shift in the laser emission frequency. Moreover, locking to the center of an atomic or molecular transition usually requires modulation techniques and lock-in detection. On the other hand, for many scientific and technical applications one only needs to avoid frequency drifts and, sometimes, the desired laser frequency does not lay at the maximum of an atomic lineshape, but rather at a displaced frequency, as for instance, when operating an optical cooler [@Lett1989]. For such applications a few simple and reliable techniques were developed [@Cheron1994; @Corwin1998; @Pearman2002; @Debs2008; @Robins2002; @Gazazyan2007; @Martins2010] and allow on e to deal with lasers in various long run experiments. The main idea behind many of these techniques is to generate a dispersive lineshape that will produce an error signal. In particular, for the dichroic atomic vapor laser lock (DAVLL) [@Cheron1994] and its variants [@Corwin1998; @Martins2010], the stabilization frequency may easily be chosen around the center of the Doppler-broadened line. However, a relatively uniform external magnetic field is needed to generate the Zeeman split of the probed hyperfine transition and a double detection with well balanced photodetectors is also necessary.\ In this work we report on a simple method to generate a dispersive signal in a very direct way, and therefore of easy implementation. Our technique explores the dispersive signal obtained when a Gaussian-profile light beam is sent through an atomic vapor cell and is detected after spatial filtering by an aperture (Fig. \[setup\]). We call this method ANGELLS, an acronym for Atomic Non-linearly GEnerated Laser Locking Signal.\ ![(Color online) (a) Experimental setup. Part of the laser beam is used to generate a dispersive like curve that is fed to an electronic circuit used to control the laser frequency. DL, Diode laser. OI, Optical isolator. BS, Beam splitter. (b) Detail of the beam configuration for ANGELLS[]{data-label="setup"}](Figure1.eps){width="7.5cm"} Origin of the dispersive lineshape ================================== The third order susceptibility term of an induced atomic vapor polarization by a laser beam results on a non-linear refractive index term, proportional to the laser intensity. The total refractive index of the vapor can thus be written as $n(I)=n_0+n_2I$ and the radial intensity gradient of a Gaussian-profile beam will induce a radial refractive index gradient in the medium. This index gradient will in turn act as a lens for the gaussian beam, which will therefore suffer (self)-focusing or (self)-defocusing, depending on the sign of the nonlinear refractive index [@selffocus]. The nonlinear index changes sign across a sharp resonance of the nonlinear medium. If on one side of the resonance frequency the index increment is positive (maximum on the beam axis), the medium behaves as a converging lens and the power of a initially collimated beam transmitted through an aperture will increase (peak of the dispersive lineshape). On the other side of the resonance frequency the laser-induced increment is negative (minimum on the axis), the medium behaves as a divergent lens and the transmission through an aperture yields a correspondingly diminished signal (valley of the dispersive lineshape). In other words, the nonlinear medium acts as a lens which focal length depends on the laser frequency. For a hot atomic vapor, for instance, the non-linear refractive index can be written as [@n2]: $$n_2\propto\delta e^{-\delta^2/\delta_D^2},$$ where $\delta_D=\frac{k}{2\pi}\sqrt{2k_BT/M}$ is the Doppler width, $T$ is the vapor temperature, $k_B$ is the Boltzmann constant, $k$ is the light wavenumber, $M$ is the atomic mass and $\delta$ is the laser frequency detuning relative to the atomic transition. For red detuning frequencies ($\delta<0$), $n_2$ is negative while for blue detuning ($\delta>0$), $n_2$ is positive. The power transmitted through the aperture is thus modulated when the frequency is scanned around [*an atomic transition*]{}, resulting in a dispersive-like lineshape with [*Doppler width*]{}.\ Experiment ========== In our technique, the nonlinear medium is a resonant atomic vapor, placed in the laser beam path past a converging lens to enhance nonlinear effects with higher light intensity radial gradients. Our experimental setup is sketched in Fig. \[setup\]. A 852 nm cw tunable semiconductor laser beam is splitted by a 90/10 beam splitter. The lower-intensity beam ($\sim50 \mu W$), of approximately Gaussian spatial profile (no spatial filter needed) and of slightly saturating intensity, is focused by a 150 mm-focal-length lens. A warm (40 to $\approx$ 60$^\circ$C, corresponding to densities of $2\times10^{11} at/cm^3$ - $10^{12} at/cm^3$) atomic cesium vapor [@cesium] contained in a 1-mm-long optical cell [@cell] is placed close ($\approx$ 20 mm) to the focus of the laser beam. We detect the transmission of the laser beam through an aperture adjusted so as to capture $\sim20\%$ of the beam power (typically 2-mm aperture for a beam of diameter 6 mm). When the frequency is scanned around the Cs $6 S_{1/2}, F=4 \longrightarrow 6 P_{3/2},F'=3,4,5$ Doppler transition, the nonlinear refraction turns from self-focusing to self-defocusing. This gives rise to a dispersive-like lineshape superimposed to a non-zero offset corresponding to the out-of-resonance aperture transmission (no vapor-induced modifications). Very small structures on these spectra are attributed to non-linear effects due to the beam reflection on the cell windows. The comparable dimensions of the beam diameter and the cell thickness makes the prevention of this high-order interaction difficult. However, this does not pose any additional problem to lock the laser at any position in the broad range inside the Doppler width.\ The error signal is the subtraction of a reference voltage (corresponding to a frequency within the Doppler line) from the photodetector amplifier voltage. Such an error signal is amplified and sent to the control of the laser frequency to correct for laser frequency drifts. In semiconductor lasers, the frequency is changed mostly through the injection current, the junction temperature or, in the case of extended cavity configuration, the external diffraction grating angle. We worked with a DFB laser diode resonant with the Cs D$_2$ line and a Fabry-Pérot semiconductor laser with extended cavity, emitting around the Rb D$_2$ line. The electronic correction signal is fed back in the junction current in the DFB or in the piezoelectric actuator in the extended-cavity laser [@DF]. For the sake of simplicity, we have operated both systems with a home-made electronic circuit having only proportional and integral gains.\ ![Schematics of the circuit to choose and lock the laser to an atomic frequency.[]{data-label="circuit"}](Figure2.eps){width="7.5cm"} A scheme of the locking circuit is shown in Figure \[circuit\]. A voltage ramp generator allows one to scan the laser frequency (through current or cavity PZT modulation) around the atomic resonance. We choose a locking frequency with the help of a reference saturated absorption (SA) spectrum carried out in an extra vapor cell and exhibiting characteristic sub-Doppler features (see Fig. \[locked\]a). We use the SA signal obtained in this additional cell as frequency reference (Fig. \[locked\]a) as well as to monitor the locking performance (Fig. \[locked\]c). The locking procedure follows some basic steps: the ramp is turned off and the offset finely tuned until the laser frequency is at the desired locking point [**($\omega_L$)**]{}, marked by dots in Figs. \[locked\]a and \[locked\]b. The error signal is then brought to zero by adjusting the reference voltage (Fig. \[locked\]b) and a switch closes the loop, ultimately locking the laser at the desired frequency (Fig. \[locked\]c). Modifying the reference voltage allows one to lock the laser at any point within the Doppler width and thus to explore the different hyperfine transitions shown in the SA spectrum. Notice that the reference voltage brings the error signal around zero and so compensates for the non-resonant background signal.\ ![(Color online) (a) Cs saturated absorption (SA) spectrum from an extra reference cell (not shown in Fig. \[setup\]), (b) dispersion curve for the error signal as a function of frequency detuning relative to the atomic resonance, and (c) the ANGELLS-frequency-locked as well as an unlocked SA signal. The chosen frequency of stabilization ($\omega_L$) is marked by a red dot in spectra (a) and (b)[]{data-label="locked"}](Figure3.eps){width="8.0cm"} Results ======= Figure \[locked\]c exhibits the SA signal with the laser locked at the selected frequency, over a period of a few minutes, as well as the SA signal for an unlocked laser. The system remains locked for hours even after we have strongly and repeatedly hit our home-made optical table. The short-term rms frequency width is the same for the locked and the unlocked laser, i.e. of the order of 2 MHz or less, as measured using the saturated absorption line flank as a frequency discriminator. The long-term frequency fluctuations of the locked laser remains limited to less than 2 MHz rms, while the frequency of the laser unlocked for a few minutes fluctuates in excess of 20 MHz.\ ![(Color online) Error signal as a function of frequency detuning relative to atomic resonance (a) for different temperatures of the atomic vapor and (b) when the cell (Cs vapor) is placed a few millimeters before ($z<0$, dashed line) and after ($z>0$, solid line) the beam minimum waist.[]{data-label="dispersion"}](Figure4.eps){width="8.0cm"} We checked the stabilization sensitivity to vapor density and cell alignment along the beam. Although the vapor temperature has been varied between 45 and 63 $^\circ$C, the lineshape of the generated signal is stable against temperature changes as shown in Fig. \[dispersion\]a. The Doppler-profile center position changes very little ($\approx 2$MHz/$^\circ$C) over this 20 $^\circ$C temperature variation. Each lineshape in Fig. \[dispersion\]a has been recorded at a given temperature (values indicated in the figure frame), fluctuating less than 1 $^\circ$C from its reference value. Thus, the laser frequency locking, particularly at the Doppler center, is not affected by small temperatures fluctuations of the vapor which lead to frequency drifts of the order of magnitude or less than the rms frequency width, as evidenced in Fig.\[locked\]c. Even to lock the laser at frequencies other than at the line center, we have only monitored the cell temperatur e, without active control. More noticeable modifications appear on the profile wings, that do not play a role in the stabilization process inside the Doppler width. Similarly, the error signal remains approximately unchanged over $\approx$ 2-mm displacements along the beam, around the optimal position of the cell ($\approx$ 20 mm on either side from focal point). Another characteristic of using the ANGELLS technique is the possibility of choosing the sign of the error signal slope by purely optical means, as shown in Figure \[dispersion\]b. The dispersive curve gets inverted when the vapor is displaced *across the focal position* (see Fig.\[setup\]). We also emphasize here the fact that semiconductor lasers are well known to exhibit very stable amplitude [@AmpNoise], allowing us to disregard amplitude noise in the detected signal. For lasers with higher intensity fluctuations a second photodetector may be used to ’normalize’ the frequency error signal.\ Conclusion ========== In summary, we have presented an opto-electronic stabilization method based on the direct generation of an optical dispersive-like signal. The ANGELLS technique has proved to be an easy and robust locking method against diode laser frequency drifts. For similar performance, the set-up is simpler than traditional locking techniques, not requiring magnetic fields or beam modulation. The set-up is flexible: different combinations of laser power, beam diameter, focalization, cell length and vapor density have been used, the values given in the article corresponding to those used for the presented results. ACKNOWLEDGMENT: This work was partially funded by Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq, contract 472353/2009-8) and Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). F.Q., W.S.M., I.V. and M.C. acknowledge grants by CNPq. [99]{} See, for instance, J.L. Hall, L.-S. Ma, M. Taubman, B. Tiemann, F.-L. Hong, O. Pfister, J. Ye, IEEE Trans. on Instr. and Meas. **48**, 583 (1999) C. Salomon, D. Hils, J. Hall, J. Opt. Soc. Am. B **5**, 1576 (1988) The dispersive force in an optical molasses is maximized at a frequency red shifted half a linewidth from the cyclic cooling transition frequency. See, for instance, P.D. Lett, W.D. Phillips, S.L. Rolston, C.E. Tanner, R.N. Watts, C.I. Westbrook, J. Opt. Soc. Am. B **6**, 2084 (1989) B. Chéron, H. Gilles, J. Havel, O. Moreau, H. Sorel, J. Phys. III **4**, 401 (1994) K.L. Corwin, Z.-T. Lu, C.F. Hand, R.J. Epstein, C.E. Wieman, Appl. Opt. **37**, 3295 (1998) C.P. Pearman, C.S. Adams, S.G. Cox, P.F. Griffin, D.A. Smith, I.G. Hughes, J. Phys. B: At. Mol. Opt. Phys. **35**, 5141 (2002) J. E. Debs, N.P. Robins, A. Lance, M.B. Kruger, J.D. Close, Appl. Opt. **47**, 5163 (2008) N.P. Robins, B.J.J. Slagmolen, D.A. Shaddock, J.D. Close, M. B. Gray, Opt. Lett. **27**, 1905 (2002) E.A. Gazazyan, A.V. Papoyan, D. Sarkisyan, A. Weis, Laser Phys. Lett. **4**, 801 (2007) W. S. Martins, M. Grilo, M. Brasileiro, O. di Lorenzo, M. Oriá, M. Chevrollier, Appl. Opt. **49**, 871 (2010) See, e. g., T. Ackemann, T. Scholz, Ch. Vorgerd, J. Nalik, L.M. Hoffer, G.L. Lippi, Opt. Commun. **147**, 411 (1998) C.F. McCormick, D.R. Solli, R.Y. Chiao, J.M. Hickmann, Phys. Rev. A **69**, 023804 (2004) We have performed similar experiments of laser stabilization using an atomic Rb vapor to lock a 780 nm diode laser to different transitions of the two rubidium isotopes. The cell length was chosen to have a thickness small compared to the lens focal length. Stabilization was also observed with longer cells (10 mm and 20 mm), however thin cells help enhance dispersive effects over absorptive ones. Our home-made external cavity is tuned thanks to a low-voltage piezoelectric actuator (displacement of about 6$\mu$m/volt). K. Peterman, *Laser diode modulation and noise* (Kluwer Ac., Dordrecht,1991)

It was one heck of a long trip home from Sweden for Jonathan Drouin and Canada’s world junior squad that year. The team got stuck for more than 12 hours at Heathrow Airport after a cancelled flight in January of 2014 before finally getting to Toronto. Drouin then flew to Montreal, and his parents picked him up for the 90-minute drive home to Mont-Tremblant, Que. Upon arrival, as the story goes, Drouin promptly grabbed his skates and headed directly to the outdoor rink across the street for three hours. “Yeah, going to that rink every time is like going to the spa for me,” Drouin said with a smile, recalling the memory. “It’s so relaxing. It’s a small city. Not many people around. I went there just to relax. Just wanted to get a little time to myself.” Now there will be nowhere to hide as he heads to the league’s most passionate market. Drouin, 22, is poised to make his Montreal Canadiens debut...

Business Apr 24, 2013 | 02:44 Co-operatives cash in on austerity April 24 - As much of western Europe still grapples with austerity and weak economic growth, the co-operative economy is proving remarkably resilient sparking a revival of employee owned businesses. Hayley Platt visits UK-based Delta T whose turnover has doubled in the last five years. TRANSCRIPT + Workers at Delta T discuss the latest sales figures. They have a vested interest in them - they all own the British company. The scientific instrument maker is one of a growing number of co-operatives in Europe. Austerity is fuelling their popularity and helping them grow despite a weak economy. Delta T's soil moisture reading devices have helped double its turnover in the last five years. Chris Nicholl is Chairman of its management committee. SOUNDBITE: Chris Nicholl, chair of management committee, Delta T, saying (English): "We have made very good investment decisions together and that we have been continually reinvesting the profits we've made rather than those being paid out to shareholders or to a CEO." In 2010 there were 160,000 co-operatives in Europe - employing 5.4 million people. And Britain has seen a 20 percent increase in the past five years. Many well known products are made by co-operatives. Nearly all French champagne is produced by them, as is Danish bacon, exported to over 100 countries. And 90% of Italy's Parmesan cheese. A quarter of Germany's banking sector is also co-operatively run. As is Barcelona Football Club. Ed Mayo, from Co-operatives UK, says Europe's economies would be more productive if more companies adopted the model. SOUNDBITE: Ed Mayo, Secretary General, Co-operatives UK, saying (English): "There is no greater power to motivate people to a business end then having a share in the benefits that come from creating that value. We are a country and an economy for example with very high levels of staff disengagement, people are really not motivated to work there. We know that engaging staff through giving them an ownership stake, a say in the enterprise is a fabulous way of motivating staff." That's certainly the case at Delta T. SOUNDBITE: Stephen Williams, Head of Technical support, Delta T, saying (English): "Everyone's listened to, everyone's respected and you feel like an equal, it doesn't feel like a typical, you know boss at the top telling everyone what to do." SOUNDBITE: Lynnette Caicco, Manufacturing Co-ordinator, Delta T, saying (English): "In the past when I worked in restaurants, I worked very hard but the bottom line was so money, money money money and I was of course exploited. The owners were all living better than I was." John Lewis is one of the best known co-operatives. It's also one of the few major homewear and fashion retailers in Britain doing well - staff recently got a 17% bonus. Finding growth like that is key to Europe's recovery. SPONSOREDSTORIES Reuters is the news and media division of Thomson Reuters. Thomson Reuters is the world's largest international multimedia news agency, providing investing news, world news, business news, technology news, headline news, small business news, news alerts, personal finance, stock market, and mutual funds information available on Reuters.com, video, mobile, and interactive television platforms. *All quotes delayed a minimum of 15 minutes. See here for a complete list of exchanges and delays.

Alexis Curvers Alexis Curvers (24 February 1906, Liège – 7 February 1992) was a French-speaking Belgian writer. He was married to hellenist Marie Delcourt. Biography Alexis Curvers' mother died when he was three years old and his father when he was nineteen. He followed the courses of Marie Delcourt at the University of Liège. Appointed a professor of rhetoric at Alexandria, he returned to Liege where he married Marie Delcourt. In 1933 he published an article entitled De l'objection de conscience which led him to be excluded from teaching. In 1940, he took refuge in the south of France, where he met other writers at Mme Mayrisch, before he returned to Liège. In 1957, his novel Tempo di Roma, rejected by Éditions Gallimard but published by Éditions Robert Laffont thanks to Marie de Vivier (pen name of Marie Jacquart, writer from Belgium) achieved great success. Tempo di Roma obtained the Prix Sainte-Beuve in 1957 and was adapted to the cinema by Denys de La Patellière in 1963 under the same title: . In 1960, Alexis Curvers received the prix littéraire Prince-Pierre-de-Monaco for all his work. Works Novels 1937: Bourg-le-Rond, Paris, Gallimard, (with Jean Sarrazin, Jean Hubaux's pen name) 1939: Printemps chez des ombres, Paris, Gallimard, (prix Auguste-Beernaert) 1957: Tempo di Roma, Paris, Robert Laffont Short stories 1942: La Famille Passager, études et contes, Brussels, Libris, 1942. (Coll. Le balancier, 8). 1958: Mercredi des cendres, in Vingt nouvelles belges, Verviers, Marabout, 1958. (Coll. Melio) p. 66 sqq. 1955: Entre deux anges, chroniques et nouvelles, Brussels, Audace et le Rond-Point, 1955. 1967: Jean ou le monastère des deux saints Jean, in Prénoms (Paris, Plon, 1967) 1937: Le Ruban chinois in Reflets, Brussels, Noël 1954: Le Massacre des innocents et Le ruban chinois, Paris, Les belles lectures Poetry Cahier de poésie (1922-1949), typography François Bernouard, Paris, 1949. La Flûte enchantée, Cahiers d'art poétique, published in Liège from 1953 to 1962. Theatre Ce vieil Œdipe, four-act satirical drama, prose and verse, after Sophocles, Brussels, De Visscher, 1947. (Coll. du Rideau de Bruxelles). Essais and critics De l'objection de conscience, état de la question, le Flambeau, June 1933 and Brussels, Finacom, 1933. Sur la réforme de l'orthographe et la pédagogie nouvelle, réflexions d'un observateur, in "Bulletin de l'Académie Royale de Langue et de Littérature Françaises de Belgique", 1954. Reproduit dans le Bulletin de l'Association des Classiques de l'Université de Liège, nE2, 1954, p. 8-22. Pie XII, le pape outragé, Paris, Laffont, 1964. (Second edition revised and expanded: Pie XII, le pape outragé; Bonne nuit très saint Père; petite histoire anecdotique de ce livre, s.l., Dominique Martin Morin, 1988.) La théologie secrète de la prétendue Adoration de l'Agneau, in "Approches de l'Art", mélanges d'esthétique et de sciences de l'Art presented to Arsène Soreil, Brussels, Renaissance du Livre, 1973. Une clef architecturale de l'Agneau mystique des frères Van Eyck, in "Il était douze fois Liège", Liège, Mardaga, 1980. , by Alexis Curvers and Marie Curvers-Delcourt, Antwerp, De Sikkel, s.d. (monographs on Belgian art, 5th série, nE7). Entretien Georges Moucheron - Alexis Curvers, Mons, R.T.B.F., centre de production du Hainaut, s.d. Collaborations Alexis Curvers collabiorated with the magazines Les cahiers mosans, Le courrier des poètes, La gaillarde, Revue Générale Belge, Marginales, Raf, Savoir et beauté, Le flambeau, Synthèses, Empreintes, Cahiers du Nord, Itinéraires, Lecture et tradition... Participation to the anthology Il était douze fois Liège, Liège, 1980 considered as a response to La Belgique malgré tout by published the same year prior to the (1983) which Curvers didn't sign. References Bibliography Alexis Curvers, l'homme et l'œuvre, n° spécial de la revue Ouvertures, 1981 S. et N. De Winter, "Alexis Curvers", in André Malraux, Alexis Curvers, Francis Ponge, Brussels, Hatier, Auteurs contemporains, 1986, p. 45-67. "Alexis Curvers, pour son 80ème anniversaire", Itinéraires, n° 306, sept.-oct. 1986. Marie de Vivier, "Alexis Curvers", Le Thyrse, n°59, 1957. External links Alexis Curvers on Babelio “Tempo di Roma”, d’Alexis Curvers, présenté par Christian Libens (video) Alexis Curvers on Culture, Université de Liège Catherine Gravet, Alexis Curvers, Journal (1924-1961) on OpenEdition Cent Wallons du siècle Category:University of Liège alumni Category:Belgian writers in French Category:Walloon people Category:Prix Sainte-Beuve winners Category:1906 births Category:1992 deaths Category:People from Liège Category:Members of the Académie royale de langue et de littérature françaises de Belgique

Police said the suspects, identified as Rizwan and Irfan, sexually abused and killed the minor in a Sabzazar neighborhood of the provincial capital. The suspects’ father was also involved in the heinous crime, but he was still on the run, the police official KARACHI: Muttahida Qaumi Movement-Pakistan (MQM-P) Chief Dr Farooq Sattar is to chair a key party meeting today (Monday) after a senior party leader announced joining the rival Pak Sarzameen Party (PSP). The meeting is to be held just a day after the MQM-P suf ISLAMABAD: Ousted prime minister Nawaz Sharif’s lawyer requested the top court to fix his appeal against the Registrar Office’s objections over his petition for hearing at the earliest. Sharif through his lawyer has filed an application, asking the court t ISLAMABAD: The Election Commission of Pakistan (ECP) has decided on Monday to examine the financial records submitted by the Pakistan Tehreek-e-Insaf (PTI) during the ‘foreign funding case’ proceedings. Hearing a petition filed by one of the PTI founding m KARACHI: Pakistan Tehreek-e-Insaf (PTI) Karachi President Ali Zaidi on Saturday said that the PTI has submitted a request to Chief Secretary Sindh in writing over the release of probing reports in cases concerning Baldia Factory fire, notorious Lyari gang-war RAWALPINDI: Chief of Army Staff (COAS) on Wednesday endorsed death sentences of another four hardcore terrorists for being involved in various heinous crimes related to terrorism including abduction and killing of Law Enforcement Agencies’ (LEAs) personnel. PTI, PML-N in focus as polling for NA-120 by-election underway NA-120 at a glance: PTI, PML-N in a fierce showdown Tehsildar among seven killed in Bajaur Agency blast Oil tanker fire kills four in Punjab 300 MW Bahawalpur Solar Power Project to be completed in PAKISTANAsif says Pakistan wants good ties with all its neighboursWeb Desk ByWeb DeskPosted on September 5, 2017 Khawaja Asif ADVERTISEMENT ISLAMABAD: A three-day conference of Pakistani diplomats has begun in Islamabad on Tuesday to review Pakistan’s foreig KARACHI: Eid-ul-Azha celebrations continued on Sunday for second day across the country as many people are sacrificing animals today, ARY News reported. The faithful are slaughtering their sacrificial animals in remembrance of Sunnat-e Ibrahimi which will cont

Monday, February 29, 2016 Recording sessions involving musicians who do not regularly work together can be notoriously unproductive, the shelves of second hand record shops are littered with dusty remnants of what might have been a great session. Happily 'Tramp' is a very fine exception to this rule, perhaps because although there is plenty of creative and spontaneous playing on these tracks, the songs themselves, written by Bob Hall and Dennis Cotton, are economical, witty and tightly constructed; there are no twelve minute guitar solos on this record. Every musician contributed hugely to the overall strength of performance that is obvious throughout the set. Dave and Jo-Anne Kelly are renowned for their ability as blues singers, and they tackled each song whole-heartedly, often adding new ideas whilst actually recording. Bob Hall is surely the finest boogie pianist in Britain, and has never played better than on these sessions. Bob Brunning is also a highly experienced bass player who has worked and recorded with many blues giants, forming a unit with Bob Hall which has become much in demand by impressed visiting American performers, many of whom have invited them back to the States to form a permanent band! Mick Fleetwood has been the mainstay of Fleetwood Mac for a long time, and when one listens to this exciting playing on this album, one can see why - listen to his inspired and absolutely spontaneous drum lead in during the entirely unrehearsed piano break in 'Too Late For That Now' which leads incidentally to one of the most exciting solos heard in a long while. Danny Kirwan plays crisply and economically, showing his ability, unusual among rock guitarists - to know when not to play, nevertheless turning in some pleasing solos. Dave Brooks proves just how easily he recently stole the show on some of the '73 American Blues Legends performances, and last but not least, percussionist Ian Morton adds a lot of excitement to the proceedings. Here then is a fresh and exciting album representing of more than worthwhile gathering together of some well known musical 'Tramps'. Saturday, February 27, 2016 Not to be confused with the “My Sharona” guys on Capitol, the mid-‘60s California band that also recorded for Capitol, or even the ‘60s Argentinean beat combo known as the Knacks, this Knack hailed from Britain and started life as the Londoners in 1965, debuting with a rather ordinary single pairing covers of Elvis Presley’s “That’s My Desire” and Sam Cooke’s “Bring It on Home to Me” while playing an extended engagement at the legendary Star Club in Hamburg, Germany. Renaming themselves the Knack after a Richard Lester movie upon returning to the UK the same year marked a turning point for the band, who went on to record six mostly solid singles over the next two years. The a-side of the first was a gritty cover of the Kinks’ “Who’ll Be the Next in Line”, but the real excitement was on the flip, a stellar cover of the Clique’s “She Ain’t No Good” with strong Beatlesque harmonies. The Clique, incidentally, were not the US band who had hits later in the decade, but an obscure British beat band—though that obscurity didn’t prevent the Knack from covering yet another Clique song on their next single, “Time Time Time”, which was done as adeptly as the previous outing. The a-side, a beat remake of Hank Ballard and the Midnighters’ “It’s Love Baby (24 Hours a Day)”, was almost as good, featuring a brief-but-nifty guitar solo (presumably by Gurvitz). Their commercial desperation manifested in passable but ordinary covers of two Lovin’ Spoonful hits, “Did You Ever Have to Make Up Your Mind?” and “Younger Girl”, and a lament of unknown origin called “Red Hearts”, but their quest also produced a first-rate harmony pop tune in “Save All My Love for Joey” (Joey being a girl). The buoyant beat of “Stop!” was also worthy, if perhaps out of date in the changing musical environment of 1966, a description that also fits their final single from 1967, “(Man from the) Marriage Guidance and Advice Bureau” backed with the band’s only released original, Gurvitz’s “Dolly Catcher Man”. Both the acoustic Rubber Soul-like pop of the a-side and the dreamy pop of the flip showed maturity, but with the rest of the UK dropping acid and/or plugging into fuzzboxes, it was hopelessly anachronistic, and being on a faltering label didn’t help. The Knack, however, did branch into psychedelia on Gurvitz’s excellent (and previously unreleased) “Lights on the Wall”, a huge step forward from 1967 that signaled a new direction for the band. But with membership shuffling that ultimately brought in Adrian Gurvitz on guitar and Louis Farrell on drums as Paul switched to bass, that direction would be taken up by the rechristened Gun, not the Knack. Gun were indeed the better of the two bands, but the Knack’s Time Time Time compilation is worth a listen for anyone seeking to dig deeper into British beat. Friday, February 26, 2016 This is the first long-player from '60s blues keyboardist Barry Goldberg (organ/piano/vocals). His early association as Bob Dylan's organist during Dylan's electric debut at the 1965 Newport Folk Festival garnered Goldberg ample exposure. Within a few months he had teamed up with Steve Miller to create the Goldberg-Miller Blues Band. Although the combo were signed by Epic Records and cut a pair of 45s, Miller headed for the flourishing San Francisco psychedelic music scene and left Goldberg and the remnants of the short-lived Goldberg-Miller union to their own devices. In addition to the 10 tracks on the album Blowing My Mind (1966), the Goldberg-Miller Blues Band also recorded "The Mother Song," and "More Soul, Than Soulful," which appear on the 2003 release Goldberg-Miller Blues Band 1965-66. Goldberg is then joined by the likes of Roy Ruby (bass), who contributed to some early Michael Bloomfield recordings, and Maurice McKinley (drums), whose musical rap sheet included a previous stint with Rahsaan Roland Kirk. The combo also featured the respective talents of Harvey Mandel (guitar) and Charlie Musselwhite (harmonica). One of the most evident factors in the success of the Barry Goldberg Blues Band is the impeccable ensemble work as they propel through a blend of effective originals as well as an atypical combination of cover material. The title track is a mid-tempo Goldberg/Ruby tune that features a slightly edgy feel, reminiscent of Dylan's "Positively Fourth Street." "Whole Lotta Shakin' Goin' On" and "That'll Be The Day," are both recommended reworkings that perhaps best exemplify the bluesy synthesis that defined the Barry Goldberg Blues Band, at least on this initial effort. Rather than attempting a note-for-note recreation, they fuse their own blend of electric blues into the well-known and already established melodies. The same holds for the cover versions of Jimmy Reed's "Can't Stand To See You Go" and Jimmy McCracklin's seminal side "Think." One non-LP outtake is also included, a strong rendering of Geoff Muldaur's "Ginger Man." Wednesday, February 24, 2016 After leaving The Electric Flag, pianist and organist Barry Goldberg formed his own briefly lived group and continued to play the blues, albeit spicing it up with unusual psychedelic rock songs and a fabulous cover of the Beatles’ Fool on the Hill (misspelled as Fool on a Hill on the album). There’s No Hole In My Soul is the record output for the group, a dense piece of varying styles that has something for everyone. Following Goldberg from the Electric Flag to the Barry Goldberg Reunion is Harvey Mandel on guitar. The album’s cover is a hint to what’s inside: the cover is a jumbled mess of photographs of faces, blending into one another. The album’s songs are a mixed bag as well, often at odds with one another, representing a variety of styles.s Goldberg’s instrument of choice, the organ, plays heavily on all tracks, occasionally dwarfing the overall sound, but on songs like the lead off track it remains a tasteful accompanier. Sitting In Circles is a masterful, booming number that brings multiple elements to the table. Echo graces the track, filling up the spaces where the organ, strings, guitars, and drums aren’t playing with excess sound. Goldberg moans the lyrics in a rather contemporary fashion, sort of an older John Mayer cum Leonard Cohen. The lyrics are suitably basic, placing the emphasis on the music, which is excellent and just a bit complex. Fool on a Hill sounds like a Velvet Underground outtake, though not a word is spoken. Two or three organs come together (Beatle pun unintended) to make a drone that is otherworldly, while drums keep time by soloing faintly in the background. On occasion the drums will serve a more central role to the song, but it’s really all about the organ and guitar duet that functions as the main melody. The song is a Blue Jay Way interpretation of a classic, fuzzy and hazy, barely holding together rhythmically and absolutely delightful. The organ captures the spiral into the clouds that Paul’s vocals carry on the original as he improvises around “round\round\round\oh oh oh”. While slight homage is paid to the original, the Barry Goldberg Reunion is not afraid to push the limit, psychedelic-izing an already trippy song. While the lyrics on other tracks deal with liberation of the mind and riding on rainbows, Fool on a Hill takes credit for being the most psychedelic song on the record. It’s followed by a goofy blues number that hammers shut side one called Capricorn Blues. It’s a bit of astrology rock\blues, as the protagonist struggles to get a date with the proper astrological sign, something Goldberg laments. Side two is fairly basic blues and rock, but the final track, a live number called The Answer’s In Your Head is a stirring utopian vision along the lines of We Love You. by the Rolling Stones (“lost within our minds\cos we love you!”) The mind is the best place to method the stresses of social change and of being led and being imprisoned by American corporate society. The band presents a convincing argument for the hippie school of thought, that through experimentation with drugs and less hang ups one can make a revolution, though the radical leftists of the sixties chose to carry out more concrete actions. A rousing Doctor John style piano boogie is attached at the beginning of the track, building up to the introduction of the actual song. The noise of a concert jam fades into a country and western track, Goldberg’s voice soaring over the song, backed up by what sounds like a live audience on joyous cries of “the answer’s in your head!”. The song deals with Goldberg recognizing the potential of mindfulness and liberation just around the corner, while describing the loss of his ego. It’s a joyful celebration of the counterculture, complete with whoops and handclaps, inviting the audience into the musical painting. Tuesday, February 23, 2016 Holland's Brainbox were founded by Jan Akkerman in the mid-'60s. While H.P. Lovecraft kept changing members around the drummer, this band would release a record with totally new people in 1972, entitled Parts. Yet the original Brainbox do have qualities somewhat resembling the earlier H.P. Lovecraft, and their eponymous album is a worthwhile collection of musically diverse and eclectic performances. The decent liner notes call this "progressive pop," and in some respects it is, though they shift gears from the Simon & Garfunkel classic "Scarborough Fair/Canticle" to the 17-minute plus original "Sea of Delight," and take lots of other directions in between. The Damned had a song called "New Rose," which is where the French record label got its name, and there was the aforementioned Savage Rose, but Brainbox start the album with "Dark Rose," a blend of Jethro Tull meets the Mothers of Invention. Brainbox ups the ante by sliding into Tim Hardin and a very credible cover of "Reason to Believe" a full two years before Rod Stewart would get a B-side hit with it (the original A-side of the "Maggie Mae" single), they pull off a chameleon-like change on this to become folk rockers. Casimirz Lux has a very appealing voice with a bit of Stewart's rasp, making "Reason to Believe" a highlight of the album. The liner notes credit Jimmy Smith for writing "Baby, What You Want Me to Do," but the tracking properly gives it to Jimmy Reed, and his Top 40 1960 hit is as bluesy as you can get here, the band changing styles yet again and showing their grasp and appreciation of American music. From progressive rock to folk-rock to blues-rock to the folk-pop of Simon & Garfunkel, who is to say they weren't rewriting Blind Faith's lengthy "Do What You Like" by way of "Sea of Joy" for their epic "Sea of Delight"? The album is a dense amalgam of sounds and themes from England and America, but is reverent in its borrowing and presentation. Brainbox's rendition of "Summertime" sounds like Deep Purple adding heavy keyboard sounds and slowing up the Billy Stewart 1966 hit reinvention of the Gershwin tune from Porgy & Bess. Of course, Janis Joplin did it two years earlier than Brainbox and psychedelicized it with an immortal performance -- but a good song is a good song, and this is Jan Akkerman before he would give us "Hocus Pocus" from Focus, and that fact makes the album more than just a curiosity. Since these gents were so enamoured of American music, it seems credible that they took the Vanilla Fudge sound -- famous in Europe a year before it hit in America -- and put it on a Janis Joplin favorite. Released with five bonus tracks on CD, including additional versions of "Sea of Delight," this is much more than the "bargain bin" item many American record buyers passed it off as. It's a real diamond in the rough. Monday, February 22, 2016 By 1968 guitarist Lonnie Mack had been playing professionally for a decade. Ironically, it took a lengthy article in Rolling Stone magazine to finally capture the attention of major record labels. Signed by Jac Holzman's Elektra Records, Mack finally seemed poised for the big time. Produced by Russ Miller, 1969's "Whatever's Right" is the resulting mix of blues, gospel and country genres was clearly souped up to appeal to a rock audience. While the spotlight was clearly on Mack's Gibson Flying V (and his speed of light whammy bar), to my ears the biggest surprise here was Mack's singing. As exemplified by tracks like 'My Babe, 'What Kind of World Is This?' and his cover of Bobby Womack's 'I Found a Love' the guy actually had a great voice. Interestingly, the two best songs here are also the only two Mack originals. 'Mr. Healthy Blues' was a killer instrumental that showcases how fast this guy could play, while Elektra marketing executives should have been fired for not having pulled 'Gotta Be An Answer' as a single. Saturday, February 20, 2016 Best known for his work with a band that bridged the gap between R&B and garage rock, Ray Stinnett was also an unsung hero of the Memphis music scene whose most personal music would wait over 40 years to find an audience. Stinnett was born in Memphis, Tennessee in 1944, and like so many kids growing up in Memphis, he developed a love for music early on, getting his first guitar when he was 12 years old. Stinnett claims he bought the instrument at the same pawn shop where Elvis Presley was said to have gotten his first guitar, and as Stinnett was walking home, he spotted Presley driving by in a Cadillac, who called out to the youngster, "Hey, cat." Suitably encouraged, Stinnett set about learning the guitar, and by his mid-teens, he was playing around town in a duo act with drummer Jerry Patterson, as well as working with a teen rock band called Johnny and the Electros and doing occasional session work. In mid-1963, a Texas-based group called the Nightriders, led by keyboard man Domingo "Sam" Samudio, were booked into a standing gig at a Memphis nightspot called the Diplomat Club when their guitar player and drummer both quit; Stinnett and Patterson signed on to replace them, and when the Nightriders' engagement ended, the Memphis boys hit the road with the band. A few months later, the Nightriders changed their name to Sam the Sham and the Pharaohs, and after they cut a single for a small Memphis label, MGM Records picked up the disc for national distribution. "Wooly Bully" became the top-selling single of 1965, spending 14 weeks in Billboard's Top 40, and a pair of minor hits followed ("Ju Ju Hand" and "Ring Dang Do"), but Stinnett's tenure with the group was short-lived; within a year of "Wooly Bully" hitting the charts, the Pharaohs had a falling out with Samudio over business matters, and they found themselves replaced with a new set of Pharaohs, who scored a hit of their own with "Li'l Red Riding Hood." Stinnett, Patterson, and their fellow ex-Pharaohs cut a single for Dot Records as the Violations, "The Hanging" b/w "You Sure Have Changed," which dealt metaphorically with their anger and disappointment, but the record went nowhere commercially and the group split up. In 1967, as Americans became aware of the growing counterculture, Stinnett headed to Northern California and embraced the hippie lifestyle while living at a celebrated commune, the Morning Star Ranch; a year later, back in Memphis, he formed a psychedelic band called 1st Century, who lasted long enough to release one single for Capitol Records, "Looking Down" b/w "Dancing Girl." While 1st Century quickly dissolved, Stinnett struck up a friendship with legendary producer and instrumentalist Booker T. Jones, and as Stinnett began putting a greater focus on his songwriting, Jones encouraged him and gave him occasional gigs. By the dawn of the 1970s, Stinnett and his wife were living on a commune in California and searching for spiritual enlightenment. Stinnett's life path reflects the shifting cultural Zeitgeist of the 1960s with commendable accuracy, but thankfully he never stopped playing guitar like a Memphis boy who dug the blues, as evidenced by A Fire Somewhere, an album Stinnett recorded in 1971 that finally earned a long-overdue release in 2012. When Booker T. Jones produced an album for his then-wife Priscilla Coolidge-Jones, 1970's Gypsy Queen, Stinnett played guitar on the sessions and wrote two songs that appeared on the LP. Stinnett was a protégé of Booker T. Jones, and when Jones signed a deal with A&M Records, he persuaded them to sign Stinnett as well, and if what Stinnett was writing was a long way from classic Memphis R&B, Stinnett's sharp, emphatic guitar work and easygoing sense of timing suggest he learned more than a little from the cats at Stax Records, though his vocals weren't always on a par with his picking. As a songwriter, Stinnett conjures up a fine, swampy fusion of soul, country, blues, and rock, with occasional side trips into psychedelia and gospel, and though it's true Stinnett's spiritual and philosophical conceits sometimes sound a bit clumsy after 40 years of gathering dust, Stinnett never sounds less than entirely sincere, and when he deals with the nuts and bolts of love and relationships, he strikes a bull's-eye. And Stinnett was blessed with a rhythm section as idiosyncratically gifted as he was in bassist Mike Plunk and drummer Jerry Patterson. Differences with A&M over marketing and management caused Stinnett to walk away from his record deal, and A Fire Somewhere got left by the wayside, buried in the label's vaults. This re-release of the album doesn't quite resurrect a lost classic, but this is an entertaining, often fascinating set of well-crafted swamp rock that showcases a talent that deserved a hearing it didn't get in 1971. The album was remastered from the original session tapes, Friday, February 19, 2016 Released in 1972, the Rowan Brothers' eponymous debut arrived with a great deal of hype, including an ad featuring a quote from Jerry Garcia in which he stated that Chris and Lorin Rowan "could be like the Beatles. They're that good." Produced by Bill Wolf and David Grisman (credited as David Diadem), the first effort from the Stinson Beach, CA, duo never even came close to living up to such lofty praise. Though it can give a young artist a boost, this sort of hype can quite often be devastating, and probably hurt the pair in the long run. The Rowan Brothers is a mix of country-rock, folk, and pop tunes with cosmic ("the universe is nothing but a fantasy/of life's illusions throughout eternity") and hippie ("we'll put on our costumes, bring the music along/come on friends we'll sing a happy song") underpinnings, which are often trite and very much artifacts of the time. Although they may lack lyrical muscle, Chris and Lorin are capable of pleasant, catchy tunes that can be light and spirited or lush and pretty. Ignored at the time and somewhat dated today, The Rowan Brothers is another forgotten relic from the late-'60s and early-'70s San Francisco music scene. Wednesday, February 17, 2016 Lonnie Mack was born in Ohio and raised in nearby southern Indiana, he was raised on blues, country and roadhouse rock. His singing incorporated all three styles. To him, they were all part of the same fabric of Southern music that carpeted the area around his home base in Cincinnati. Mack didn’t get much of a chance to showcase his vocal talent, however, until he signed at the end of the 1960s with Elektra Records, a folk label that was trying to branch out into rock. His Elektra albums didn’t make much of a dent when they were issued; Mack’s bluesy roots music was out to style. Today they sound like long-lost gems. At times, they invite comparison to the recordings of the late Eddie Hinton, the blue-eyed soul man from Tuscaloosa. Mack’s 1969 release, “Glad I’m in the Band," showed him to be a formidable vocalist, especially on blues and r&b. Mack’s remake of Huey “Piano" Smith’s New Orleans rocker “Roberta" was a particularly fine welding of his skills as a player and a singer, and he turns in a very credible performance on Little Willie John’s 1959 blues ballad, “Let The Talk." From his stash of early 1960s recordings, he resurrects “Why," a tough, slow blues, and “Memphis," which loses little of its bite in a more contemporary setting. Tuesday, February 16, 2016 Wild Butter was started in 1970 by drummer/lead singer Rick Garen and keyboard player Jerry Buckner. Garen had previously been in the Collection and recorded a demo called "Little Man". Former Rogues member Jerry was impressed and got Eric Stevens, WIXY program director and manager of Damnation of Adam Blessing, interested as well. Stevens took it to New York and after a week or two Buckner got a call saying the band had a LP recording deal with United Artists - only there was no band, yet, although UA didn't know that. "Put a band together" was the request and Rick and Jerry talked to their Akron peers and found Jon Senne' (guitar) and Steve Price (bass) willing to get on board. Wild Butter played a month or so before recording the LP at Cleveland Recording. "Little Man" was not done, but a whole LP was, including excellent songwriting contributions from everyone. Considering the short time the band had to work up the songs, the high level of writing, musicianship, and vocals are amazing, and the LP is certainly a lost treasure of 1970 contemporary unpretentious melodic rock. The recordings included some guitar parts from Mark Price (Steve's high school aged brother and future Tin Huey member), Jim Quinn and Bob Kalamasz (both from Damnation). The Senne' penned "Roxanna (Thank You for Getting Me High) was chosen as a 45 track backed with "Terribly Blind". The cover photos were taken in a Akron industrial area at Stevens' suggestion. A few shots were taken before some hardhats objected to the 'longhairs' and chased them out! Wild Butter played the NE Ohio club scene including places like Admiral Bilbos in Westlake where they had to use a fan to cool down their primitive Heathkit PA amp. If the amp overheated, it was instant 15 minute break time. "Roxanna" got some local airplay on stations like WIXY and the band got an appearance on Upbeat, sharing the show with Blues Image who were riding the top of the charts with "Ride Captain Ride" at the time, summer of '70. During the Friday afternoon taping the band got the offical thumbs down stare from Cleveland's 1st lady of establishment telejournalism, Dorothy Fuldheim, as she walked past them in the WEWS TV station hallway! Friday, February 12, 2016 Born in Sayre, Pennsylvania on February 11, 1917. As a child, his father Antonio (Tony) played an Enrico Caruso disc for young Johnny and from that time on Johnny knew what he wanted to do with his life. As a result he became a child prodigy singing whenever possible in public or private in the Sayre, Athens and Towanda area of Pennsylvania, as well as Waverly, New York, and as far as Scranton, Pennsylvania and Elmira, New York. He turned professional as a child after winning a talent show/contest that was produced in Sayre at the Sayre Theatre by the great 'Blackstone the Magician' in c.1926. Young Johnny sang for every club or organization in the area that needed or wanted talent to perform for their various causes,i.e. The Elks, Lions, The D.A.R. et,al. In 1932 after a fire almost destroyed the family home, young Johnny, with his father's blessing, decided to travel alone to NYC to become a band vocalist. His childhood idols and inspirations were Bing Crosby, Russ Columbo, Red McKenzie, as well as Caruso. The album was released in a private edition of 300 copies and most of them were given away to family and friends. In the late 80s, one of those copies was unearthed by rare record dealer Paul Major, who was one of the first persons to appreciate the singularities of “Reachin’ Arcesia”. Since then, the album, which mixes over the top crooner vocals with late 60s acid-rock / pop arrangements is now considered a lounge-psych / real people masterpiece. Thursday, February 11, 2016 Tales of Justine only had one single, 1967's "Albert (A Pet Sunflower)"/"Monday Morning," both sides of which are included on this release. But with the addition of 13 tracks recorded between August 1967 and January 1969 that were unreleased at the time, there's enough for a full album with this LP, pressed in a limited edition of 1000 copies. Entirely written by David Daltrey (except one song he co-wrote with Paul Myerson), it's very much in the school of flowery British pop that, ahem, flowered in the period just post-Sgt. Pepper's Even by the gaudy standards of the style, it's inclined toward storybookish lyrics and precious melodies, quite possibly taken to excess on "Obsolete Incident," which manages to fit in references to whitewashed coal, chocolate flowers, a clock that runs backwards, and sunburned toast just in the first 40 seconds. Orchestration gets loaded into the mix on the five tracks recorded in December 1968, perhaps looking forward to the kind of musicals on which producer Tim Rice and arranger Andrew Lloyd Webber would collaborate in the near future. If you're the kind of listener who just loves, say, the Hollies in their most psychedelic period around the time of Butterfly, you may well find this to your liking, though it's on the candy-coated side even in comparison with the Hollies' sweetest pop-psychedelia. A harder side surfaces on "Evil Woman," with its pungent psychedelic organ. basic mod rock, and freak-out instrumental break, but that's an atypical effort in the context of this collection. Though Tales of Justine were yet more precious in their approach. Bandmember and singer/songwriter David Daltrey was featured in the early Rice-Webber musical Joseph and the Amazing Technicolor Dreamcoat, and later formed the group Carillion, a support act in a tour during David Bowie's Ziggy Stardust phase. The group's single, and numerous unreleased tracks from 1967-1969, were compiled on the 1,000-copy limited-edition Tenth Planet LP Petals from a Sunflower in 1997. Wednesday, February 10, 2016 You Well-Meaning Brought Me Here is generally considered Ralph McTell's finest album; it is also one of the best albums of the singer/songwriter movement of the early 1970s. Gus Dudgeon (Elton John) was enlisted as producer, and he brought in guitarist Caleb Quaye, as well as Roger Pope and, on mandolin, Davey Johnston. The sessions also featured soon-to-be-famous keyboardist Rick Wakeman and arranger/conductor (and future David Bowie producer) Tony Visconti, among others. Like Dudgeon's early Elton John records, You Well-Meaning Brought Me Here had a restrained production in which the added instrumentation and string arrangements were only used to support McTell's vocals and acoustic guitar. The songs made for a loose concept album that began with creation ("Genesis I Verse 20"); continued with primitive man ("First and Last Man"); and, while taking in love ("In Some Way I Loved You"), drinking, and celebration ("Lay Your Money Down"), man's best friend ("Old Brown Dog"), and war ("Pick Up a Gun"), merged into the singer's own autobiography. The second half of the album revolves around character and story songs, but the whole album reflects McTell's broad experience, especially of some of the seamier sides of life. In that sense, the substitution on the American version of the album of his most famous song, "Streets of London," for "Chalkdust," which appeared on the British version, was an appropriate one, since it fit with the sympathetic depictions of other poor people on the record. McTell's calm singing and the discreet touches of Dudgeon's production gave these portraits even greater depth, making this a singularly impressive work. Monday, February 8, 2016 This unique and fascinating album has belatedly garnered a considerable following in recent years as a result of the new interest in what is nowadays referred to as Acid Folk. In reality it’s finely-structured acoustic folk-rock, but with strong elements of psychedelic studio treatment and twentieth-century avant-garde classical and choral music. Until now it’s only rated a couple of oblique references in these pages; now it’s time to give it the full exposure it deserves. The album was the product of a chance conversation between Los Angeles periodontist Linda Perhacs and one of her patients, film score composer Leonard Roseman. Perhacs had written the songs as a hobby sideline, composing with just modally-tuned acoustic guitar and her own beautifully clear voice. Stimulated by Perhacs’s own graphic visualisation of her composition “Parallelograms” as “visual music sculpture” encompassing light, form and colour as well as sound, Roseman offered to develop her songs into an album, arranging and enhancing them in George Martin fashion and utilising the services of his studio’s state-of-the-art technology plus session musicians including guitarist Steve Cohn and percussionists Milt Holland and Shelley Manne. The stunning results found a release on Kapp records, but there the interest stalled; the label pressed the songs out of sequence with dull AM-friendly equalisation on poor quality vinyl, and then proffered no publicity for it, and the brashly commercial Los Angeles AM radio stations refused to play it. When what would become her first and only album in almost four decades tanked, Perhacs went back to the day job. Over thirty years later she was alerted to the fact that the new generation of Acid Folk musicians such as Devendra Banhart were drawing inspiration from her long-lost work. Reissued by Wild Places in 1996 and by Sunbeam in 2008, the currently-available CD is correctly sequenced, beautifully remastered and comes with eight bonus demos, alternative versions and unreleased songs plus a superb booklet history by Perhacs herself. Perhaps best of all, its belated success has induced Perhacs to start creating music again and she’s issued two albums of new music in partnership with musician/producer Ben Watt of Everything But The Girl since 2007. The quirky acoustic guitar tunings of Parallelograms may suggest early Joni Mitchell and the clear, crystalline vocals similar-period Joan Baez, but on this album Linda Perhacs utterly transcends both with her dazzling originality. The gently-rippling guitar arpeggios and cascading multi-tracked harmonies of the opening “Chimacum Rain” set out the collection’s predominant motifs, but the following “Paper Mountain Man” is surprisingly funky and blues-inflected with its jazzy percussion and distant, ethereal harmonica, and the wonderfully ironic critique of South Californian society marital celebrations, “Porcelain Baked-Over Cast-Iron Wedding”, rocks along similarly on oriental percussion and delightfully atonal 12-string. Head and shoulders above the rest, the title track even eschews proper lyrics, the singer’s tongue playing mischievously with the syllables of the title and the names of other geometric forms in a sinuous flow of sound, broken by a Gyorgy Ligeti-like musique concrete interlude, all being the product of Roseman’s realisation of Perhacs’s original scroll-like pictorial depiction of the song. “Moons And Cattails” and “Morning Colours” are similarly, though slightly less, experimental, the former again utilising superbly melismatic vocals and the latter glorious electronically-processed flute obbligati. The rest is more conventional, but still well to the left of the field. As with the avant-garde music that largely inspired it, this is an album to be listened to, not merely heard. Sunday, February 7, 2016 In its original vinyl form, Dr. Z's Three Parts to My Soul rates among the most valuable British prog albums of all time. But it is a rarity among such rarities in that it is also as good as a high three-figure value leaves you hoping it would be. Dr. Z was discovered by Nirvana UK frontman Patrick Campbell-Lyons, who is also credited as executive producer on the album. But Three Parts could not be further from its mentor's taste for eclectic airiness. The dominant mood is of percussive keyboards, alternately majestic and militaristic, the sound, if you like, of a Keith Emerson harpsichord concerto if Carl Palmer matched him note for note on a kettle drum. The vocals, meanwhile, have that kind of bellowed edge of conviction which makes every lyric resonate like a profoundly meaningful motto. The first half of the near-singalong "Spiritus Manes et Umbra" moves like a battalion of tanks, with the LP's title itself rendered as compulsive a chant as any "gabba gabba hey" could be. There are moments of less-than-scintillating activity: the four-minute drum solo which punctuates that same song flags long before the chorus careens back into view, while "Summer for the Rose" is a ponderous snarling in desperate need of melody. At its most inventive and textured, however, Three Parts is an excellent example of early-'70s prog at its deepest and darkest, as inventive as it is occasionally magpie-like. "Burn in Anger," the most commercial song in sight, is a dead-ringer for a classic rock hit which will forever float just beyond your ability to name it, while the closing "In a Token of Despair" is a tour de force of Floydian winds, Crimson-ish signatures, and electifyingly symphonic structure. The Si Wan reissue concludes with two bonus tracks drawn from a similarly rare Dr. Z single released a year or so before the LP. Produced by the Pretty Things' Dick Taylor, "Lady Ladybird" and "People in the Street" have little in common with the main attraction beyond a similar taste for crashing drums and keyboards; the world's first orchestral garage band. by Dave Thompson Dr. Z's first and only album is the most rare record released on the Vertigo-swirl label. It sold only about 70 copies (!!) when it was released, and the rest of the pressings were trashed. Wednesday, February 3, 2016 Redbone's story is interesting from more then one point of view. The band itself of course, who had a great career, with ups and downs. The fact that the musicians were all native americans from different origins (Cherokee, Yaquis, Apaches and Shoshones...). Their political implication and the fact their were censored that shows a very interesting political and social background of the US nation. All this plus the fact that they produced a unique, powerfull and soulfull music ! Lolly and Pat Vegas were well-known musicians in the rock and jazz "milieu"in Los Angeles during the sixties. Candido Albelando Vasquez (Lolly Vegas) and Patrick Morales Vasquez (Pat Vegas) were born in Fresno, California. The brothers were of mixed Yaqui/Shoshone and mexican descent. Very early the singing/guitar playing brothers began their musical careers backing and touring with Jimmy Clanton of "Just A Dream" fame. In 1961 the brothers relocated to Los Angeles. The brothers played with Canadian jazz pianist Oscar Peterson at the Monterey Jazz and Pop Festival before relocating to Los Angeles in 1963. Calling themselves the Avantis, the brothers attempted to cash in on the surf craze popularized by Jan and Dean and the Beach Boys, with such songs as "Gypsy Surfer" and "Wax 'em Down" on the Chancellor label, and "The Phantom Surfer" on the Regency label. The Avantis featured future Beach Boy drummer Mike Kowalski, and their recordings earned them an opening slot on a Beach Boys' tour. The Vasquez brothers also recorded the singles "Let's Go" as the Routers, "Surf Stomp" and "Batman" as the Mar-kets, and "Hotrodders' Choice," "Dawn Patrol," "Double A Fueller," and "Satan's Chariot" as the Deuce Coupes. The 1963 Deuce Coupes' sessions featured impressive session help from Glen Campbell, David Gates, and Leon Russell. They then meet manager/producer Bumps Blackwell who suggest they change their names to Pat & Lolly Vegas. In 1963, Pat & Volly Vegas recorded "Boom, Boom, Boom" and "Two Figures" for the Reprise label (Reprise 20199). Bumps Blackwell helped the brothers become the house band at Los Angeles' The Haunted House. In 1966, produced by Leon Russell and Snuff Garrett they would record an album for Mercury entitled "Pat & Lolly Vegas At the Haunted House" While fulfilling a residency at a Los Angeles nightclub named Gazzarri's, the Vegas brothers met guitarist Tony Bellamy. A Yaqui Indian who had performed with Dobie Gray, and a member of Peter and the Wolves (a San Francisco band that evolved into the psychedelic band Moby Grape), Bellamy had grown up in a family of dancers and musicians. He had learned to play flamenco guitar as part of his musical education as well, and he was recruited by the Vegas brothers to accompany them on session work with Odetta, John Lee Hooker, and the Everly Brothers. According to Pat, it was Jimi Hendrix who talked the musicians into forming an all-Native American rock group. Vegas told Record Collector writer Jeremy Isaac, "Hendrix was a friend of ours.... and he was half Indian. Once he knew that we were Indian too he used to come and hang with us because of that. Jimi made me aware of my roots: He'd say 'Native American is beautiful, man, be proud of that.'" Signed to CBS's Epic subsidiary in 1969, the band took its name from the Cajun epithet "Rehbon", meaning half-breed, and its self-titled debut album Redbone, released in 1970, was an extraordinary affair. Think of it: an unknown band producing its first record and releasing a double album. Redbone played primarily rock music with R&B, Cajun, Jazz, tribal, and Latin roots. This first album was released as a double album in North America. In Europe it was released both as a double (EPC 67242) and as a single album (BN 26280) on the Epic label. Lolly was one of the first guitarists to make extensive use of the distinctive Leslie rotating speaker effect in his electric guitar amplification set-up. Vegas played improvised, jazz-influenced guitar. Drummer Peter DePoe (born 1943, Neah Bay, Washington) is credited with pioneering the "King Kong" style of drumming, which features sharply accented polyrhythms involving the bass and snare drums and is similar to funk styles of drumming. The band referred to DePoe's "King Kong Beat" in their lyrics to the song "Prehistoric Rhythm" on their debut album. Pat Vegas' style of bass playing is still coveted by bass players in the world, even taught in college courses of music. The level of creativity each member held on his own instrument added to the power of the band. Tuesday, February 2, 2016 Wake Up! was originally recorded and released in 1970 by a band that seemingly lacked the wherewithal to manage such a thing. A practised and experienced live outfit that had made a name for itself in and around Munich, the members of Out Of Focus hit the studio for the first time having procured label support from Eckart Rahn’s Kuckuck which had established itself the year before. However, the band was usually stoned and their live set featured prolonged jams that could see them playing for 3 hours. The discipline and rigour of the studio presented a challenge to the band who had to be made aware of the need for accuracy, tuning and brevity. “It took them a bit of adjustment,” remembers Rahn. Nevertheless, there was a genuine desire to allow the band their artistic freedom and capture something of the socially conscious, psychedelic, and slightly surreal live experience that had made them a popular act in the first place. So they had two long weekends to track the album and, on listening to it, it has that cohesive, driven quality that often comes from the exquisite pressure of time. Opening with See How A White Negro Flies, we get an immediate sense of the musical direction this album is going to take. A heavy, plodding, psychedelic groove supported by a spectacular ‘walking’ bass motif combines tightly with Klaus Spφri’s energetic and busy drumming while Remigius Drechsler pulls off a riff that would turn Ennio Morricone green. Drechsler’s guitar work is a highlight of the album and the band’s overall sound. He combines spastic thrashing rhythm work with electrifying, fuzzed and distorted lead work as well as dealing in clean picked box-riffs and gently strummed atmospherics. You get a real sense of this range in God Save The Queen Cried Jesus which cycles through vivid shades and phases led as much by Moran Neumόller’s wonderfully dynamic flute work as his off-the-wall, impassioned and theatrical vocal delivery. Neumόller’s declamatory squawking is something of an acquired taste however, often sounding too much like a hangover from ‘60s American protest music, although occasionally, he sounds passingly like Jim Morrison. Hey John is an extended jam on a rising and descending chord pattern held dramatically and melodically in tow by Neumόller’s flute. Again Spφri’s athletic drumming is powerfully supported at every turn with fluid and intuitive bass runs while Hennes Hering (organs, piano) and Neumόller interject lengthy improvisational solos over the shifting weight and changing light of the band’s delicately calculated soft/loud dynamic. No Name has a similar feel in its brief, shouty moment and is perhaps remarkable in that it predates by some 7 or 8 years the raucous, New Wave aggro of early Ian Dury And The Blockheads. Out Of Focus’ strength lies firmly in their instrumental endeavours. With the two closing tracks being longer than ten minutes each, there’s plenty of scope for the improvisatory excursions that have served them well throughout the album. There’s little development of the formula, just energetic, occasionally frenetic shaping of the dynamics. It’s raw and vivid, but I’m not getting much out of it by the end, just roach burn. This is a fairly convincing debut that mashes several strands of the underground scene from the late ‘60s into a blend of Traffic, The Doors, early (Saucerful Of Secrets) Floyd with the hard rock of The Edgar Broughton Band and Atomic Rooster. Having said that, Out Of Focus are resolutely their own band with their own sound and their own take on the underground music scene of their day. It has an immediate appeal, made all the more attractive by Ben Wiseman’s excellent remaster.

Q: Why is my Crosstab being cut off in Excel? I'm attempting to create an excel spreadsheet using BIRT. The spreadsheet is a crosstab mapping two objects together. The number of rows and columns are dynamic based on values in a MySQL database. Currently I have a working implementation of the report for PDF output. Now, I am trying to create a second version of the report for Excel. I have copied the report design and begun adjusting it to work with Excel. Everything looks good, but only the first 3 columns are displayed after the header. All rows appear correctly. I have tried the following: I tried setting Overflow to Visible on every element on the page. This had no effect. I tried setting the master page's height and width to ridiculously large values. All of the information displayed correctly, but I am hoping for a solution without hard coded values. In the future the data width might exceed my arbitrary value again and be cut off. I am constrained in the following ways: I am not able to switch reporting engines (I have to use BIRT). I am not able to switch Excel emitters. This blog entry mentions my problem: http://www.spudsoft.co.uk/2011/10/the-spudsoft-birt-excel-emitters/ but it does not offer a solution other than an emitter switch. The specific quote is "The files also have problems with page layout that I could not work around (specifically wide reports would be cut off)." Beyond the one blog entry my googlefu has failed me. Any help is appreciated! Thank you! A: There are two questions here. The first one is relatively easy, the second is complex. 1.Why is my Cross tab being cut off in Excel? 2.How do I dynamically adjust the master page width based on the number of columns in the report at runtime? A1: The Cross tab is being cut off because column widths have been manually set, where the number of columns will expand past the set width of the Master page. Anytime you grab report design element and adjust, BIRT assumes you know what your doing and does not override your setting. The solution is to recreate the report element (Table or Cross Tab) and not manually adjust any sizes. When run in HTML or Excel all the columns will be automatically set to display in the available master page width. Screen shot of a BIRT 4.2 Cross Tab, Report Item with a 2 inch master page width and 30 columns A2: This is not easy, and I will not be providing the answer at this time. I will point toward the solution and identify a couple of the road blocks. A valid solution to this question must include a functioning solution using the Sample Database. (as of BIRT 4.2.1) Challenge1 - The Master Page Width is set BIRT Report Scripting in events prior to report Table or Cross Tab item being completed. You can not simply count how many columns are in the report; If you wanted to count, columns -- Report Design intialize columnCount = 0; Cross Tab, onCreate columnCount ++; In my research there are two paths suggested for counting columns prior to the Cross Tab item being created. Either Run the data set in the beforeFactory (this means two queries to the data base, one to count and one for the report), then get a count and use it. Calculate the value in your intial query and harvest it in the Data Set, onFetch. I followed the Data Set, onFetch, option using a computed column but did not get it working. Challenge2 - The Width Property of the Master Page must be set on or before the Report Design, beforeRender. With the beforeFactory being the most often recommended. Additionally the Width Property of the Master Page is only available when the Master Page "Type" is set to "Custom", in my attempts I set this manually in the Property Editor General. Passing Values from the onFetch to beforeFactory must be done using a PersistentGlobalVariable which can only pass strings, not integers. I found all kinds of way for this to not work. Even passing "12in" in PersistentGlobalVariable failed to adjust the master page Width Either of these codes in beforeFactory will adjust the Master Page Width (when Type = Custom) Pass the Value reportContext.getReportRunnable().designHandle.getDesignHandle().findMasterPage("Simple MasterPage").setProperty("width","12in"); Calculate a value and pass it increaseWidth = 20; reportContext.getReportRunnable().designHandle.getDesignHandle().findMasterPage( "Simple MasterPage").setProperty("width",((2+increaseWidth)+"in")); In the end I have been unable to find or create a functional report that adjusts the Master Page Width passed on the number columns generated at report run time. I think it is possible, but doing so is beyond my current skills.

Zach Davies Zachary Ryan Davies (born February 7, 1993) is an American professional baseball pitcher for the San Diego Padres of Major League Baseball (MLB). The Baltimore Orioles selected him in the 2011 MLB draft. Davies appeared in the All-Star Futures Game in 2015, and later that year was traded to the Milwaukee Brewers. He made his MLB debut for Milwaukee in 2015, and was traded to San Diego after the 2019 season. Career Davies attended Mesquite High School in Gilbert, Arizona. He played for the school's baseball team as a middle infielder, becoming a pitcher in his junior year. The Baltimore Orioles selected Davies in the 26th round of the 2011 MLB draft. Davies signed with the Orioles, forgoing his commitment to Arizona State University for a $575,000 signing bonus. Davies made his professional debut with the Delmarva Shorebirds of the Class A South Atlantic League in 2012, where he pitched to a 3.86 earned run average (ERA). He had a 3.69 ERA for the Frederick Keys of the Class A-Advanced Carolina League in 2013. In 2014, he pitched for the Bowie Baysox of the Class AA Eastern League. For Bowie, Davies pitched to a 3.35 ERA. He represented the Orioles in the Arizona Fall League after the regular season. Davies began the 2015 season with the Norfolk Tides of the Class AAA International League, and was chosen to represent the Orioles at the 2015 All-Star Futures Game. With Norfolk, Davies pitched to a 2.84 ERA in 19 games. On July 31, 2015, the Orioles traded Davies to the Milwaukee Brewers for Gerardo Parra. The Brewers assigned Davies to the Colorado Springs Sky Sox of the Class AAA Pacific Coast League, and promoted him to make his major league debut on September 2. On November 27, 2019, the Brewers traded Davies, Trent Grisham, and cash considerations or a player to be named later to the San Diego Padres in exchange for Luis Urías and Eric Lauer. Scouting report Davies has a three pitch repertoire featuring a two-seam fastball, a curveball, and a changeup. His fastball typically is around with great sinking movement. His changeup is widely considered his best pitch, as it is thrown deceptively and has a very sharp downward break as it approaches the batter. His pinpoint control is also a strength and should become more consistent with experience. Personal life Davies married longtime girlfriend Megan White on December 3, 2016. References External links Category:1993 births Category:Living people Category:Sportspeople from Puyallup, Washington Category:Sportspeople from Chandler, Arizona Category:Baseball players from Arizona Category:Major League Baseball pitchers Category:Milwaukee Brewers players Category:Delmarva Shorebirds players Category:Frederick Keys players Category:Bowie Baysox players Category:Glendale Desert Dogs players Category:Norfolk Tides players Category:All-Star Futures Game players Category:Colorado Springs Sky Sox players

Beer Fed Steaks Beer Fed Fillet Steak For our most tender of steaks choose our 28 days dry aged beer fed beef fillet steak, its almost described as being butter soft. You could literally cut it with a spoon. We only use Shorthorn … Read More Beer Fed Rib on the Bone It really doesn’t get any better than a slow roasted Beer Fed Rib on the Bone. It’s delicious beyond words. If you’re having a family occasion or a get together with friends then this … Read More Beer Fed Silverside/Topside Silverside or Topside, that is the question!? There’s not a lot of difference really. The Beer Fed Silverside is a nice lean roast and perfect if you’re not keen on fat subsequently there’s a little fat in … Read More

/* 20020611-1.c from the execute part of the gcc torture suite. */ #include <testfwk.h> #ifdef __SDCC #pragma std_c99 #endif /* PR target/6997. Missing (set_attr "cc" "none") in sleu pattern in cris.md. Testcase from [email protected]. */ int p; int k; unsigned int n; void x () { unsigned int h; h = n <= 30; if (h) p = 1; else p = 0; if (h) k = 1; else k = 0; } unsigned int n = 30; void testTortureExecute (void) { x (); if (p != 1 || k != 1) ASSERT (0); return; }

15 Worst Finishers in WWE Today From the boring to the ineffective, these are some of the worst finishers in the WWE I don’t think the problem with Seth Rollins’ King’s Landing finisher is the move itself: a high-knee to the face of his opponent. This could convincingly knock out many unsuspecting people. Despite this, there are many factors at work outside the maneuver that make it a little lame. First is the name: King’s Landing, which is a move that is used by a man who calls himself the “King Slayer”. We get it, Seth, you like Game of Thrones. It doesn’t make the move seem cooler, it just makes the wrestler in question seem like a giant nerd. It would be like a Final Fantasy fan naming his finisher the “One-Winged Angel”. (Oh, wait… that is a thing). But the second thing that works against Seth here with the King’s Landing is that it is a bit lack-luster compared to his other two finishers. Compared to two moves in the Curb Stomp and Pedigree that drives the opponents head into the mat, a knee strike to the face just seems kind of… meh. Maybe I’m just being a little nit-picky here though.

Festival season is upon us, and where else do we go to for our festival wardrobe but overpriced vintage shops such as "What Goes Around Comes Around," thrift shops on St. Marks, and - if we're not feeling like falling down the Etsy rabbit hole - Free people? Well, Coachella is now suing Free People and Urban Outfitters (who happens to own Free People) for copyright infringement. *Record scratch on a limited edition vinyl record of the "Dazed and Confused" soundtrack on an artisanal record player you bought in a vintage shop in a back alley all the way in Camden when you were over there for Glastonbury* Wait, what? That's right, Coachella, which is infamous for capitalizing off of cultural appropriation such as ripping off Indian bindis and making sacrosanct Native American headdresses into some sort of fashion statement is suing FREE PEOPLE for copyright infringement. So, Pot, meet Kettle. You're both black. Coachella alleges that Free People is monetizing their "distinctive" brand by selling festival swag geared towards Coachella attendees even though Coachella already made a deal with H&M that they alone have the rights to design and sell attire specialized for Coachella. Free People is notorious for selling hippy dippy, bohemian clothing that is perfect for a day of sand and surf, a yoga retreat, or a festival with friends. So Coachella suing Free People for this is tantamount to the Kentucky Derby suing Lilly Pulitzer and Ralph Lauren for copyright infringement. This whole lawsuit is making Coachella look litigious, and lest we say it, tacky. We already knew it was becoming mainstream, but this is a bit ridiculous.We'd rather be buying molly off of shady dealers, getting weird tan lines from crochet tank tops, and waiting in ridiculously long lines for a port-a-potty at a festival that is a little less contentious and a lot more "power to the people"...think Nativa, Bonnaroo, or somewhere more luxe like #C2CMLN (however you pronounce that one). [Photo via @coachella]

Five Types Of Pool Cleaners To Choose From! If you have a pool at home, it is extremely important that you keep an eye on maintenance and upkeep, especially when the use extends beyond the summer months. There is a wide range of ways to clean the pool. You can choose to hire professional services for monthly cleaning, or else, you can invest in a pool cleaner. The designs and signs of pool cleaners are extremely varied, and you have to decide the option based on what you can afford. Make sure that you check websites like poolurchin.com, where you can find a lot of reviews, but before that, check these common types of cleaners. The first one is a manual one, which works like a vacuum and pulls out the dirt and debris from the floor, walls and steps. If you don’t mind in spending time on cleaning the pool, this is a great option that works extremely well for any budget. Manual cleaners are good for small in-ground pools. If you want something better, the next option is a suction side automatic cleaner. There are various options in suction cleaners, and the prices are considerably in budget. For pools that get large debris like falling leaves and flowers, this is the best choice by all means. The costs are higher than manual cleaner. The third choice is pressure-side pool cleaner, which have a motor and uses the pump of the pool for cleaning. Ideally, pressure-side pool cleaners last for decade or even more, as long as one takes proper care. Such cleaners are expensive as compared to suction cleaners, but perform better. One of the costly but amazing options is robotic cleaner. These cleaners work automatically and don’t have to be monitored. Right from the scrubbing of floors to cleaning of the debris, these cleaners work perfectly without any supervision. The costs are usually very much higher than other options, but the performance and convenience is surely worth considering. The final choice is a solar powered pool cleaner, which is a new option on the block and harnesses the energy from the sun for cleaning. However, these cleaners don’t clean the bottom of the pool, which is an aspect to consider. Author Bio:Silke Gebauer is the founder of poolurchin.com. Silke loved holding her breath under water and jumping from diving boards before she could swim properly, which is how she got her nickname Poolurchin. She still loves exploring and blogging about anything water and pool relate

Birth Clubs Groups by topic Vacation without baby I’m leaving Tuesday to Bahamas without our 16 month old and I’m getting such bad guilt. We are gone for 8 days, hubby had to go for work and I decided it would be fun to make it into a trip for us both without baby. Has anyone else gone for that long and that far? Scares me so much that it will be like minimum 13 hours to get home in an emergency. I’m really questioning my decision to go 😫 I haven’t done it yet, but I think what you are feeling is totally normal and nothing to feel guilty about. I don’t think anyone will ever feel comfortable being so far away from their kids no matter how old they get. However, this vacation will be so nice for you and hubby and if your LO is anything like mine...he/she will have a fantastic time with whoever is babysitting. My husband & I went to Cuba for a week when our kids were 4 & 1 AND we went to Vegas this past summer when our kids were 17, 11, 8 and 11 months. We also got snowed in at our cottage recently and missed our now 9 year olds birthday! We FaceTimed her 4 times throughout the day and she didn’t even really care lol I went to ireland without my husband and son this past July. I understand how you’re feeling being soooo far away if anything was to happen. But once you get to the Bahamas (jealous!) you’ll feel so much better. Trust me. I felt better once I was in Ireland it’s just getting there that was difficult and saying goodbye to my husband and son. but your time will fly by and your baby will do great without you! And before you know it you’ll be back home. Enjoy :) OTHER SITES This Internet site provides information of a general nature and is designed for educational purposes only. If you have any concerns about your own health or the health of your child, you should always consult with a doctor or other healthcare professional. Please review the Terms of Use before using this site. Your use of the site indicates your agreement to be bound by the Terms of Use. This site is published by BabyCenter, L.L.C., which is responsible for its contents as further described and qualified in the Terms of Use.

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd"> <!--NewPage--> <HTML> <HEAD> <!-- Generated by javadoc (build 1.6.0_65) on Fri Nov 07 08:22:20 PST 2014 --> <TITLE> MediaStoreStreamLoader (glide 3.4.0 API) </TITLE> <META NAME="date" CONTENT="2014-11-07"> <LINK REL ="stylesheet" TYPE="text/css" HREF="../../../../../../stylesheet.css" TITLE="Style"> <SCRIPT type="text/javascript"> function windowTitle() { if (location.href.indexOf('is-external=true') == -1) { parent.document.title="MediaStoreStreamLoader (glide 3.4.0 API)"; } } </SCRIPT> <NOSCRIPT> </NOSCRIPT> </HEAD> <BODY BGCOLOR="white" onload="windowTitle();"> <HR> <!-- ========= START OF TOP NAVBAR ======= --> <A NAME="navbar_top"><!-- --></A> <A HREF="#skip-navbar_top" title="Skip navigation links"></A> <TABLE BORDER="0" WIDTH="100%" CELLPADDING="1" CELLSPACING="0" SUMMARY=""> <TR> <TD COLSPAN=2 BGCOLOR="#EEEEFF" CLASS="NavBarCell1"> <A NAME="navbar_top_firstrow"><!-- --></A> <TABLE BORDER="0" CELLPADDING="0" CELLSPACING="3" SUMMARY=""> <TR ALIGN="center" VALIGN="top"> <TD BGCOLOR="#EEEEFF" CLASS="NavBarCell1"> <A HREF="../../../../../../overview-summary.html"><FONT CLASS="NavBarFont1"><B>Overview</B></FONT></A>&nbsp;</TD> <TD BGCOLOR="#EEEEFF" CLASS="NavBarCell1"> <A HREF="package-summary.html"><FONT CLASS="NavBarFont1"><B>Package</B></FONT></A>&nbsp;</TD> <TD BGCOLOR="#FFFFFF" CLASS="NavBarCell1Rev"> &nbsp;<FONT CLASS="NavBarFont1Rev"><B>Class</B></FONT>&nbsp;</TD> <TD BGCOLOR="#EEEEFF" CLASS="NavBarCell1"> <A HREF="package-tree.html"><FONT CLASS="NavBarFont1"><B>Tree</B></FONT></A>&nbsp;</TD> <TD BGCOLOR="#EEEEFF" CLASS="NavBarCell1"> <A HREF="../../../../../../deprecated-list.html"><FONT CLASS="NavBarFont1"><B>Deprecated</B></FONT></A>&nbsp;</TD> <TD BGCOLOR="#EEEEFF" CLASS="NavBarCell1"> <A HREF="../../../../../../index-all.html"><FONT CLASS="NavBarFont1"><B>Index</B></FONT></A>&nbsp;</TD> <TD BGCOLOR="#EEEEFF" CLASS="NavBarCell1"> <A HREF="../../../../../../help-doc.html"><FONT CLASS="NavBarFont1"><B>Help</B></FONT></A>&nbsp;</TD> </TR> </TABLE> </TD> <TD ALIGN="right" VALIGN="top" ROWSPAN=3><EM> </EM> </TD> </TR> <TR> <TD BGCOLOR="white" CLASS="NavBarCell2"><FONT SIZE="-2"> &nbsp;<A HREF="../../../../../../com/bumptech/glide/load/model/stream/HttpUrlGlideUrlLoader.Factory.html" title="class in com.bumptech.glide.load.model.stream"><B>PREV CLASS</B></A>&nbsp; &nbsp;<A HREF="../../../../../../com/bumptech/glide/load/model/stream/StreamByteArrayLoader.html" title="class in com.bumptech.glide.load.model.stream"><B>NEXT CLASS</B></A></FONT></TD> <TD BGCOLOR="white" CLASS="NavBarCell2"><FONT SIZE="-2"> <A HREF="../../../../../../index.html?com/bumptech/glide/load/model/stream/MediaStoreStreamLoader.html" target="_top"><B>FRAMES</B></A> &nbsp; &nbsp;<A HREF="MediaStoreStreamLoader.html" target="_top"><B>NO FRAMES</B></A> &nbsp; &nbsp;<SCRIPT type="text/javascript"> <!-- if(window==top) { document.writeln('<A HREF="../../../../../../allclasses-noframe.html"><B>All Classes</B></A>'); } //--> </SCRIPT> <NOSCRIPT> <A HREF="../../../../../../allclasses-noframe.html"><B>All Classes</B></A> </NOSCRIPT> </FONT></TD> </TR> <TR> <TD VALIGN="top" CLASS="NavBarCell3"><FONT SIZE="-2"> SUMMARY:&nbsp;NESTED&nbsp;|&nbsp;FIELD&nbsp;|&nbsp;<A HREF="#constructor_summary">CONSTR</A>&nbsp;|&nbsp;<A HREF="#method_summary">METHOD</A></FONT></TD> <TD VALIGN="top" CLASS="NavBarCell3"><FONT SIZE="-2"> DETAIL:&nbsp;FIELD&nbsp;|&nbsp;<A HREF="#constructor_detail">CONSTR</A>&nbsp;|&nbsp;<A HREF="#method_detail">METHOD</A></FONT></TD> </TR> </TABLE> <A NAME="skip-navbar_top"></A> <!-- ========= END OF TOP NAVBAR ========= --> <HR> <!-- ======== START OF CLASS DATA ======== --> <H2> <FONT SIZE="-1"> com.bumptech.glide.load.model.stream</FONT> <BR> Class MediaStoreStreamLoader</H2> <PRE> <A HREF="http://docs.oracle.com/javase/7/docs/api/java/lang/Object.html?is-external=true" title="class or interface in java.lang">java.lang.Object</A> <IMG SRC="../../../../../../resources/inherit.gif" ALT="extended by "><B>com.bumptech.glide.load.model.stream.MediaStoreStreamLoader</B> </PRE> <DL> <DT><B>All Implemented Interfaces:</B> <DD><A HREF="../../../../../../com/bumptech/glide/load/model/ModelLoader.html" title="interface in com.bumptech.glide.load.model">ModelLoader</A>&lt;<A HREF="http://d.android.com/reference/android/net/Uri.html?is-external=true" title="class or interface in android.net">Uri</A>,<A HREF="http://docs.oracle.com/javase/7/docs/api/java/io/InputStream.html?is-external=true" title="class or interface in java.io">InputStream</A>&gt;</DD> </DL> <HR> <DL> <DT><PRE>public class <B>MediaStoreStreamLoader</B><DT>extends <A HREF="http://docs.oracle.com/javase/7/docs/api/java/lang/Object.html?is-external=true" title="class or interface in java.lang">Object</A><DT>implements <A HREF="../../../../../../com/bumptech/glide/load/model/ModelLoader.html" title="interface in com.bumptech.glide.load.model">ModelLoader</A>&lt;<A HREF="http://d.android.com/reference/android/net/Uri.html?is-external=true" title="class or interface in android.net">Uri</A>,<A HREF="http://docs.oracle.com/javase/7/docs/api/java/io/InputStream.html?is-external=true" title="class or interface in java.io">InputStream</A>&gt;</DL> </PRE> <P> An <A HREF="../../../../../../com/bumptech/glide/load/model/ModelLoader.html" title="interface in com.bumptech.glide.load.model"><CODE>ModelLoader</CODE></A> that can use media store uris to open pre-generated thumbnails from the media store using <A HREF="http://d.android.com/reference/android/provider/MediaStore.Images.Thumbnails.html?is-external=true" title="class or interface in android.provider"><CODE>MediaStore.Images.Thumbnails</CODE></A> and <A HREF="http://d.android.com/reference/android/provider/MediaStore.Video.Thumbnails.html?is-external=true" title="class or interface in android.provider"><CODE>MediaStore.Video.Thumbnails</CODE></A> if the requested size is less than or equal to the media store thumbnail size. If the given uri is not a media store uri or if the desired dimensions are too large, it falls back to the wrapped <A HREF="../../../../../../com/bumptech/glide/load/model/ModelLoader.html" title="interface in com.bumptech.glide.load.model"><CODE>ModelLoader</CODE></A> to load the <A HREF="http://docs.oracle.com/javase/7/docs/api/java/io/InputStream.html?is-external=true" title="class or interface in java.io"><CODE>InputStream</CODE></A> data. <P> <P> <HR> <P> <!-- ======== CONSTRUCTOR SUMMARY ======== --> <A NAME="constructor_summary"><!-- --></A> <TABLE BORDER="1" WIDTH="100%" CELLPADDING="3" CELLSPACING="0" SUMMARY=""> <TR BGCOLOR="#CCCCFF" CLASS="TableHeadingColor"> <TH ALIGN="left" COLSPAN="2"><FONT SIZE="+2"> <B>Constructor Summary</B></FONT></TH> </TR> <TR BGCOLOR="white" CLASS="TableRowColor"> <TD><CODE><B><A HREF="../../../../../../com/bumptech/glide/load/model/stream/MediaStoreStreamLoader.html#MediaStoreStreamLoader(android.content.Context, com.bumptech.glide.load.model.ModelLoader)">MediaStoreStreamLoader</A></B>(<A HREF="http://d.android.com/reference/android/content/Context.html?is-external=true" title="class or interface in android.content">Context</A>&nbsp;context, <A HREF="../../../../../../com/bumptech/glide/load/model/ModelLoader.html" title="interface in com.bumptech.glide.load.model">ModelLoader</A>&lt;<A HREF="http://d.android.com/reference/android/net/Uri.html?is-external=true" title="class or interface in android.net">Uri</A>,<A HREF="http://docs.oracle.com/javase/7/docs/api/java/io/InputStream.html?is-external=true" title="class or interface in java.io">InputStream</A>&gt;&nbsp;uriLoader)</CODE> <BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</TD> </TR> </TABLE> &nbsp; <!-- ========== METHOD SUMMARY =========== --> <A NAME="method_summary"><!-- --></A> <TABLE BORDER="1" WIDTH="100%" CELLPADDING="3" CELLSPACING="0" SUMMARY=""> <TR BGCOLOR="#CCCCFF" CLASS="TableHeadingColor"> <TH ALIGN="left" COLSPAN="2"><FONT SIZE="+2"> <B>Method Summary</B></FONT></TH> </TR> <TR BGCOLOR="white" CLASS="TableRowColor"> <TD ALIGN="right" VALIGN="top" WIDTH="1%"><FONT SIZE="-1"> <CODE>&nbsp;<A HREF="../../../../../../com/bumptech/glide/load/data/DataFetcher.html" title="interface in com.bumptech.glide.load.data">DataFetcher</A>&lt;<A HREF="http://docs.oracle.com/javase/7/docs/api/java/io/InputStream.html?is-external=true" title="class or interface in java.io">InputStream</A>&gt;</CODE></FONT></TD> <TD><CODE><B><A HREF="../../../../../../com/bumptech/glide/load/model/stream/MediaStoreStreamLoader.html#getResourceFetcher(android.net.Uri, int, int)">getResourceFetcher</A></B>(<A HREF="http://d.android.com/reference/android/net/Uri.html?is-external=true" title="class or interface in android.net">Uri</A>&nbsp;model, int&nbsp;width, int&nbsp;height)</CODE> <BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Obtains an <A HREF="../../../../../../com/bumptech/glide/load/data/DataFetcher.html" title="interface in com.bumptech.glide.load.data"><CODE>DataFetcher</CODE></A> that can fetch the data required to decode the resource represented by this model.</TD> </TR> </TABLE> &nbsp;<A NAME="methods_inherited_from_class_java.lang.Object"><!-- --></A> <TABLE BORDER="1" WIDTH="100%" CELLPADDING="3" CELLSPACING="0" SUMMARY=""> <TR BGCOLOR="#EEEEFF" CLASS="TableSubHeadingColor"> <TH ALIGN="left"><B>Methods inherited from class java.lang.<A HREF="http://docs.oracle.com/javase/7/docs/api/java/lang/Object.html?is-external=true" title="class or interface in java.lang">Object</A></B></TH> </TR> <TR BGCOLOR="white" CLASS="TableRowColor"> <TD><CODE><A HREF="http://docs.oracle.com/javase/7/docs/api/java/lang/Object.html?is-external=true#clone()" title="class or interface in java.lang">clone</A>, <A HREF="http://docs.oracle.com/javase/7/docs/api/java/lang/Object.html?is-external=true#equals(java.lang.Object)" title="class or interface in java.lang">equals</A>, <A HREF="http://docs.oracle.com/javase/7/docs/api/java/lang/Object.html?is-external=true#finalize()" title="class or interface in java.lang">finalize</A>, <A HREF="http://docs.oracle.com/javase/7/docs/api/java/lang/Object.html?is-external=true#getClass()" title="class or interface in java.lang">getClass</A>, <A HREF="http://docs.oracle.com/javase/7/docs/api/java/lang/Object.html?is-external=true#hashCode()" title="class or interface in java.lang">hashCode</A>, <A HREF="http://docs.oracle.com/javase/7/docs/api/java/lang/Object.html?is-external=true#notify()" title="class or interface in java.lang">notify</A>, <A HREF="http://docs.oracle.com/javase/7/docs/api/java/lang/Object.html?is-external=true#notifyAll()" title="class or interface in java.lang">notifyAll</A>, <A HREF="http://docs.oracle.com/javase/7/docs/api/java/lang/Object.html?is-external=true#toString()" title="class or interface in java.lang">toString</A>, <A HREF="http://docs.oracle.com/javase/7/docs/api/java/lang/Object.html?is-external=true#wait()" title="class or interface in java.lang">wait</A>, <A HREF="http://docs.oracle.com/javase/7/docs/api/java/lang/Object.html?is-external=true#wait(long)" title="class or interface in java.lang">wait</A>, <A HREF="http://docs.oracle.com/javase/7/docs/api/java/lang/Object.html?is-external=true#wait(long, int)" title="class or interface in java.lang">wait</A></CODE></TD> </TR> </TABLE> &nbsp; <P> <!-- ========= CONSTRUCTOR DETAIL ======== --> <A NAME="constructor_detail"><!-- --></A> <TABLE BORDER="1" WIDTH="100%" CELLPADDING="3" CELLSPACING="0" SUMMARY=""> <TR BGCOLOR="#CCCCFF" CLASS="TableHeadingColor"> <TH ALIGN="left" COLSPAN="1"><FONT SIZE="+2"> <B>Constructor Detail</B></FONT></TH> </TR> </TABLE> <A NAME="MediaStoreStreamLoader(android.content.Context, com.bumptech.glide.load.model.ModelLoader)"><!-- --></A><H3> MediaStoreStreamLoader</H3> <PRE> public <B>MediaStoreStreamLoader</B>(<A HREF="http://d.android.com/reference/android/content/Context.html?is-external=true" title="class or interface in android.content">Context</A>&nbsp;context, <A HREF="../../../../../../com/bumptech/glide/load/model/ModelLoader.html" title="interface in com.bumptech.glide.load.model">ModelLoader</A>&lt;<A HREF="http://d.android.com/reference/android/net/Uri.html?is-external=true" title="class or interface in android.net">Uri</A>,<A HREF="http://docs.oracle.com/javase/7/docs/api/java/io/InputStream.html?is-external=true" title="class or interface in java.io">InputStream</A>&gt;&nbsp;uriLoader)</PRE> <DL> </DL> <!-- ============ METHOD DETAIL ========== --> <A NAME="method_detail"><!-- --></A> <TABLE BORDER="1" WIDTH="100%" CELLPADDING="3" CELLSPACING="0" SUMMARY=""> <TR BGCOLOR="#CCCCFF" CLASS="TableHeadingColor"> <TH ALIGN="left" COLSPAN="1"><FONT SIZE="+2"> <B>Method Detail</B></FONT></TH> </TR> </TABLE> <A NAME="getResourceFetcher(android.net.Uri, int, int)"><!-- --></A><H3> getResourceFetcher</H3> <PRE> public <A HREF="../../../../../../com/bumptech/glide/load/data/DataFetcher.html" title="interface in com.bumptech.glide.load.data">DataFetcher</A>&lt;<A HREF="http://docs.oracle.com/javase/7/docs/api/java/io/InputStream.html?is-external=true" title="class or interface in java.io">InputStream</A>&gt; <B>getResourceFetcher</B>(<A HREF="http://d.android.com/reference/android/net/Uri.html?is-external=true" title="class or interface in android.net">Uri</A>&nbsp;model, int&nbsp;width, int&nbsp;height)</PRE> <DL> <DD><B>Description copied from interface: <CODE><A HREF="../../../../../../com/bumptech/glide/load/model/ModelLoader.html#getResourceFetcher(T, int, int)">ModelLoader</A></CODE></B></DD> <DD>Obtains an <A HREF="../../../../../../com/bumptech/glide/load/data/DataFetcher.html" title="interface in com.bumptech.glide.load.data"><CODE>DataFetcher</CODE></A> that can fetch the data required to decode the resource represented by this model. The <A HREF="../../../../../../com/bumptech/glide/load/data/DataFetcher.html" title="interface in com.bumptech.glide.load.data"><CODE>DataFetcher</CODE></A> will not be used if the resource is already cached. <p> Note - If no valid data fetcher can be returned (for example if a model has a null URL), then it is acceptable to return a null data fetcher from this method. Doing so will be treated any other failure or exception during the load process. </p> <P> <DD><DL> <DT><B>Specified by:</B><DD><CODE><A HREF="../../../../../../com/bumptech/glide/load/model/ModelLoader.html#getResourceFetcher(T, int, int)">getResourceFetcher</A></CODE> in interface <CODE><A HREF="../../../../../../com/bumptech/glide/load/model/ModelLoader.html" title="interface in com.bumptech.glide.load.model">ModelLoader</A>&lt;<A HREF="http://d.android.com/reference/android/net/Uri.html?is-external=true" title="class or interface in android.net">Uri</A>,<A HREF="http://docs.oracle.com/javase/7/docs/api/java/io/InputStream.html?is-external=true" title="class or interface in java.io">InputStream</A>&gt;</CODE></DL> </DD> <DD><DL> <DT><B>Parameters:</B><DD><CODE>model</CODE> - The model representing the resource.<DD><CODE>width</CODE> - The width in pixels of the view or target the resource will be loaded into<DD><CODE>height</CODE> - The height in pixels of the view or target the resource will be loaded into <DT><B>Returns:</B><DD>A <A HREF="../../../../../../com/bumptech/glide/load/data/DataFetcher.html" title="interface in com.bumptech.glide.load.data"><CODE>DataFetcher</CODE></A> that can obtain the data the resource can be decoded from if the resource is not cached, or null if no valid <A HREF="../../../../../../com/bumptech/glide/load/data/DataFetcher.html" title="interface in com.bumptech.glide.load.data"><CODE>DataFetcher</CODE></A> could be constructed.</DL> </DD> </DL> <!-- ========= END OF CLASS DATA ========= --> <HR> <!-- ======= START OF BOTTOM NAVBAR ====== --> <A NAME="navbar_bottom"><!-- --></A> <A HREF="#skip-navbar_bottom" title="Skip navigation links"></A> <TABLE BORDER="0" WIDTH="100%" CELLPADDING="1" CELLSPACING="0" SUMMARY=""> <TR> <TD COLSPAN=2 BGCOLOR="#EEEEFF" CLASS="NavBarCell1"> <A NAME="navbar_bottom_firstrow"><!-- --></A> <TABLE BORDER="0" CELLPADDING="0" CELLSPACING="3" SUMMARY=""> <TR ALIGN="center" VALIGN="top"> <TD BGCOLOR="#EEEEFF" CLASS="NavBarCell1"> <A HREF="../../../../../../overview-summary.html"><FONT CLASS="NavBarFont1"><B>Overview</B></FONT></A>&nbsp;</TD> <TD BGCOLOR="#EEEEFF" CLASS="NavBarCell1"> <A HREF="package-summary.html"><FONT CLASS="NavBarFont1"><B>Package</B></FONT></A>&nbsp;</TD> <TD BGCOLOR="#FFFFFF" CLASS="NavBarCell1Rev"> &nbsp;<FONT CLASS="NavBarFont1Rev"><B>Class</B></FONT>&nbsp;</TD> <TD BGCOLOR="#EEEEFF" CLASS="NavBarCell1"> <A HREF="package-tree.html"><FONT CLASS="NavBarFont1"><B>Tree</B></FONT></A>&nbsp;</TD> <TD BGCOLOR="#EEEEFF" CLASS="NavBarCell1"> <A HREF="../../../../../../deprecated-list.html"><FONT CLASS="NavBarFont1"><B>Deprecated</B></FONT></A>&nbsp;</TD> <TD BGCOLOR="#EEEEFF" CLASS="NavBarCell1"> <A HREF="../../../../../../index-all.html"><FONT CLASS="NavBarFont1"><B>Index</B></FONT></A>&nbsp;</TD> <TD BGCOLOR="#EEEEFF" CLASS="NavBarCell1"> <A HREF="../../../../../../help-doc.html"><FONT CLASS="NavBarFont1"><B>Help</B></FONT></A>&nbsp;</TD> </TR> </TABLE> </TD> <TD ALIGN="right" VALIGN="top" ROWSPAN=3><EM> </EM> </TD> </TR> <TR> <TD BGCOLOR="white" CLASS="NavBarCell2"><FONT SIZE="-2"> &nbsp;<A HREF="../../../../../../com/bumptech/glide/load/model/stream/HttpUrlGlideUrlLoader.Factory.html" title="class in com.bumptech.glide.load.model.stream"><B>PREV CLASS</B></A>&nbsp; &nbsp;<A HREF="../../../../../../com/bumptech/glide/load/model/stream/StreamByteArrayLoader.html" title="class in com.bumptech.glide.load.model.stream"><B>NEXT CLASS</B></A></FONT></TD> <TD BGCOLOR="white" CLASS="NavBarCell2"><FONT SIZE="-2"> <A HREF="../../../../../../index.html?com/bumptech/glide/load/model/stream/MediaStoreStreamLoader.html" target="_top"><B>FRAMES</B></A> &nbsp; &nbsp;<A HREF="MediaStoreStreamLoader.html" target="_top"><B>NO FRAMES</B></A> &nbsp; &nbsp;<SCRIPT type="text/javascript"> <!-- if(window==top) { document.writeln('<A HREF="../../../../../../allclasses-noframe.html"><B>All Classes</B></A>'); } //--> </SCRIPT> <NOSCRIPT> <A HREF="../../../../../../allclasses-noframe.html"><B>All Classes</B></A> </NOSCRIPT> </FONT></TD> </TR> <TR> <TD VALIGN="top" CLASS="NavBarCell3"><FONT SIZE="-2"> SUMMARY:&nbsp;NESTED&nbsp;|&nbsp;FIELD&nbsp;|&nbsp;<A HREF="#constructor_summary">CONSTR</A>&nbsp;|&nbsp;<A HREF="#method_summary">METHOD</A></FONT></TD> <TD VALIGN="top" CLASS="NavBarCell3"><FONT SIZE="-2"> DETAIL:&nbsp;FIELD&nbsp;|&nbsp;<A HREF="#constructor_detail">CONSTR</A>&nbsp;|&nbsp;<A HREF="#method_detail">METHOD</A></FONT></TD> </TR> </TABLE> <A NAME="skip-navbar_bottom"></A> <!-- ======== END OF BOTTOM NAVBAR ======= --> <HR> </BODY> </HTML>

# -*- Mode: python; tab-width: 4; indent-tabs-mode:nil; coding:utf-8 -*- # vim: tabstop=4 expandtab shiftwidth=4 softtabstop=4 # # MDAnalysis --- https://www.mdanalysis.org # Copyright (c) 2006-2017 The MDAnalysis Development Team and contributors # (see the file AUTHORS for the full list of names) # # Released under the GNU Public Licence, v2 or any higher version # # Please cite your use of MDAnalysis in published work: # # R. J. Gowers, M. Linke, J. Barnoud, T. J. E. Reddy, M. N. Melo, S. L. Seyler, # D. L. Dotson, J. Domanski, S. Buchoux, I. M. Kenney, and O. Beckstein. # MDAnalysis: A Python package for the rapid analysis of molecular dynamics # simulations. In S. Benthall and S. Rostrup editors, Proceedings of the 15th # Python in Science Conference, pages 102-109, Austin, TX, 2016. SciPy. # doi: 10.25080/majora-629e541a-00e # # N. Michaud-Agrawal, E. J. Denning, T. B. Woolf, and O. Beckstein. # MDAnalysis: A Toolkit for the Analysis of Molecular Dynamics Simulations. # J. Comput. Chem. 32 (2011), 2319--2327, doi:10.1002/jcc.21787 # """ PQR topology parser =================== Read atoms with charges from a PQR_ file (as written by PDB2PQR_). No connectivity is deduced. Note ---- The file format is described in :mod:`MDAnalysis.coordinates.PQR`. Classes ------- .. autoclass:: PQRParser :members: :inherited-members: .. _PQR: https://apbs-pdb2pqr.readthedocs.io/en/latest/formats/pqr.html .. _APBS: https://apbs-pdb2pqr.readthedocs.io/en/latest/apbs/index.html .. _PDB2PQR: https://apbs-pdb2pqr.readthedocs.io/en/latest/pdb2pqr/index.html .. _PDB: http://www.wwpdb.org/documentation/file-format """ import numpy as np from . import guessers from ..lib.util import openany from ..core.topologyattrs import ( Atomids, Atomnames, Atomtypes, Charges, ICodes, Masses, Radii, RecordTypes, Resids, Resnums, Resnames, Segids, ) from ..core.topology import Topology from .base import TopologyReaderBase, squash_by, change_squash class PQRParser(TopologyReaderBase): """Parse atom information from PQR file *filename*. Creates a MDAnalysis Topology with the following attributes - Atomids - Atomnames - Charges - Radii - RecordTypes (ATOM/HETATM) - Resids - Resnames - Segids Guesses the following: - atomtypes (if not present, Gromacs generated PQR files have these) - masses .. versionchanged:: 0.9.0 Read chainID from a PQR file and use it as segid (before we always used 'SYSTEM' as the new segid). .. versionchanged:: 0.16.1 Now reads insertion codes and splits into new residues around these .. versionchanged:: 0.18.0 Added parsing of Record types Can now read PQR files from Gromacs, these provide atom type as last column but don't have segids """ format = 'PQR' @staticmethod def guess_flavour(line): """Guess which variant of PQR format this line is Parameters ---------- line : str entire line of PQR file starting with ATOM/HETATM Returns ------- flavour : str ORIGINAL / GROMACS / NO_CHAINID .. versionadded:: 0.18.0 """ fields = line.split() if len(fields) == 11: try: float(fields[-1]) except ValueError: flavour = 'GROMACS' else: flavour = 'ORIGINAL' else: flavour = 'NO_CHAINID' return flavour def parse(self, **kwargs): """Parse atom information from PQR file *filename*. Returns ------- A MDAnalysis Topology object """ record_types = [] serials = [] names = [] resnames = [] chainIDs = [] resids = [] icodes = [] charges = [] radii = [] elements = [] flavour = None with openany(self.filename) as f: for line in f: if not line.startswith(("ATOM", "HETATM")): continue fields = line.split() if flavour is None: flavour = self.guess_flavour(line) if flavour == 'ORIGINAL': (recordName, serial, name, resName, chainID, resSeq, x, y, z, charge, radius) = fields elif flavour == 'GROMACS': (recordName, serial, name, resName, resSeq, x, y, z, charge, radius, element) = fields chainID = "SYSTEM" elements.append(element) elif flavour == 'NO_CHAINID': # files without the chainID (recordName, serial, name, resName, resSeq, x, y, z, charge, radius) = fields chainID = "SYSTEM" try: resid = int(resSeq) except ValueError: # has icode present resid = int(resSeq[:-1]) icode = resSeq[-1] else: icode = '' record_types.append(recordName) serials.append(serial) names.append(name) resnames.append(resName) resids.append(resid) icodes.append(icode) charges.append(charge) radii.append(radius) chainIDs.append(chainID) n_atoms = len(serials) if not elements: atomtypes = guessers.guess_types(names) guessed_types = True else: atomtypes = elements guessed_types = False masses = guessers.guess_masses(atomtypes) attrs = [] attrs.append(Atomids(np.array(serials, dtype=np.int32))) attrs.append(Atomnames(np.array(names, dtype=object))) attrs.append(Charges(np.array(charges, dtype=np.float32))) attrs.append(Atomtypes(atomtypes, guessed=guessed_types)) attrs.append(Masses(masses, guessed=True)) attrs.append(RecordTypes(np.array(record_types, dtype=object))) attrs.append(Radii(np.array(radii, dtype=np.float32))) resids = np.array(resids, dtype=np.int32) icodes = np.array(icodes, dtype=object) resnames = np.array(resnames, dtype=object) chainIDs = np.array(chainIDs, dtype=object) residx, (resids, resnames, icodes, chainIDs) = change_squash( (resids, resnames, icodes, chainIDs), (resids, resnames, icodes, chainIDs)) n_residues = len(resids) attrs.append(Resids(resids)) attrs.append(Resnums(resids.copy())) attrs.append(Resnames(resnames)) attrs.append(ICodes(icodes)) segidx, chainIDs = squash_by(chainIDs)[:2] n_segments = len(chainIDs) attrs.append(Segids(chainIDs)) top = Topology(n_atoms, n_residues, n_segments, attrs=attrs, atom_resindex=residx, residue_segindex=segidx) return top

The Iraqi Communist Party (ICP) commemorates its 83rd anniversary of foundation. ICP, 01 April 2017 The editorial of “Tareeq Al-Shaab” (People’s Path), the daily newspaper of the Iraqi Communist Party, commemorated the 83rd anniversary of foundation of the Party. The editorial also referred to Party's demand to end the sectarian-ethnic quota system that is voiced in mass demonstrations since last summer. The 83rd anniversary of the founding of our Iraqi Communist Party on 31st March 2017 was celebrated throughout the country and abroad by its members and sympathizers, according to the editorial. It was said that 'The emergence of an organized political force at the turn of the last century, based on an ideological approach that is committed to justice, equality and freedom from all forms of exploitation, marked the early maturity of the Iraqi national movement.' The Communist Party, built by 'the enlightened figures of our people’s revolutionary movement' had placed at the core of its main tasks 'defending the immediate class interests of the toilers' and 'their future social aspirations for salvation from the exploitation of man by his fellow man.' This objective was formulated as “a Free Homeland and a Prosperous People”. The Communist Party, challenged by despotic and dictatorial regimes throughout the country's history, had remained faithful to its principles which formed the basis for its 10th National Congress that was held four months ago. The editorial went as follows: 'Today, in the face of the many challenges facing our country, which include defeating terrorism, resolving the all-encompassing crisis, rebuilding what has been destroyed by wars and devastated by corruption, the Communists and sincere citizens, in all arenas of mass protest, are confronting the system of sectarian and ethnic quotas that is responsible for the crises.They have raised the banner of change, to build a democratic civil state, on the basis of citizenship and social justice, fully determined to achieve it.' At the beginning of March, the ICP, in an interview in “Nameh Mardom”, the central organ of the Tudeh Party of Iran, had evaluated the attack in 11 February on the mass demonstration in Tahrir (Liberation) Square in central Baghdad as an attack towards the people's opposition against corruption and the sectarian-ethnic quota system. Such demonstrations had been taking place also in other provinces since late July 2015 which called for urgent political reforms and judicial reforms, as well as the provision of basic services. According The Baghdad Post, the ICP had also met with the delegation of the Sadrist Movement to discuss the enhancing cooperation and coordination of peaceful protests.

NATO Is Winning in Afghanistan Like the United States Was in Vietnam The Pentagon released a sobering report on December 10, 2012 on the war in Afghanistan. The report was ready before the United States presidential election in early November but not made available to “respect” the election cycle. The delay from the Pentagon can only be viewed as an attempt by the Obama administration to keep the bleak findings of the report from the American public before they went to the polls. During the election charade, the 11-year war in Afghanistan, like any other meaningful US foreign-policy topic, was conveniently ignored by both candidates. The war is unpopular, and it has slowly but surely become the forgotten war, even though 68,000 US troops are still involved in Afghanistan’s quagmire. Endless war or transition to a Taliban takeover The raw numbers are grim, as the prospect of a real withdrawal by the US in 2014 seems increasingly unlikely, unless the Obama administration declares victory and shortly afterwards just lets the Taliban take over. According to the Pentagon, only one of the 23 brigades of the Afghan National Army would be able to operate without NATO support. According to official data from the Department of Defense, since 2001, the conflict has cost US taxpayers more than $500 billion, and 2,146 American troops have died. In this war of attrition, thousands of NATO troops have already died and will keep dying in vain. The Pentagon report spans from April 1 to September 30, 2012. “During the reporting period, enemy initiated attacks (EIAs) were up one percent compared to the same period last year. The campaign continued to face challenges including a rise of insider attacks. The insurgency’s safe havens in Pakistan, the limited institutional capacity of the Afghan government, and endemic corruption remain the greatest risks to long-term stability and sustainable security in Afghanistan. The Taliban-led insurgency and its al-Qaeda affiliates operate from sanctuaries in Pakistan. Although the insurgency’s kinetic capabilities have declined from their peak in 2010, the insurgents remain resilient and determined, and will likely attempt to regain lost ground and influence through continued assassinations, intimidation, high-profile attacks, and the emplacement of IEDs ( improvised explosive devices). Widespread corruption continues to limit the effectiveness and legitimacy of the Afghan government,” says the 172 page Pentagon report. US taxpayers should know that, according to the Pentagon, the estimated cost of the report or study for the Department of Defense was around $161,000 for the 2012 fiscal year. This included $23,000 in “expenses” and $138,000 in “DOD labor.” Lesson from Vietnam: Defeating a skilled and determined guerrilla army is militarily impossible History is not America’s forte. The United States of America suffers from amnesia when it comes to the valuable lessons that the country should have learned from Vietnam. If people had done their research in Washington before impulsively invading Afghanistan in 2001, they would have reconsidered their actions after learning that nobody has ever defeated recent history’s best guerrilla force: the Pashtuns. The Taliban are mostly Pashtuns, and this fearless tribe has won the well-deserved reputation of providing a “burial ground” for empires. They did this with the British empire and, in the 1980s, with the Soviet Union. The Reagan administration played a pivotal role in arming and funding what he called Afghanistan’s “freedom fighters” when they were taking on the “evil empire” of the Soviet Union. A few decades later, Reagan’s freedom-fighter friends became the Taliban. Washington never made an effort to understand the Taliban and the reasons why they are such a tough and resilient enemy. The late French President General Charles de Gaulle once said: “You may be sure that the Americans will commit all the stupidities they can think of, plus some that are beyond imagination.” De Gaulle was correct in his assessment of America’s geopolitical IQ. More than 50,000 US troops died in vain in Vietnam to maintain an illegitimate and corrupt government, all in the name of countering the danger of communism’s “domino effect.” Three million Vietnamese were killed in that conflict. The same cold-war rationale was at play when Reagan was a crucial ally of Osama Bin Laden and his friends. This absurdly short-sighted, one-train-behind, US foreign policy is now being applied to Afghanistan, Pakistan — with the drone attacks — and of course Syria, where the US is de facto supporting a Talibanization of the country.

On October 21, 12 Australian news outlets joined forces in an effort to bring awareness to the government secrecy laws wreaking havoc on the country’s press freedoms. Australia has a history of creating crude laws to trap and control journalists. Sixty new laws have been reinforced and added to the Australian government over the past twenty years to create limitations for journalists. The “Rights to Know Coalition” is a result of the tension between the media and the Australian Federal Police (AFP) after June raids were performed on News Corp journalist Annika Smethurst at her home and ABC Sydney headquarters. The “Rights to Know Coalition” is fighting to reform laws on freedom of information, the right to contest search warrants, restrict what the government deems secret and further protections for whistleblowers. Statement from the committee of the Federal Parliamentary Press Gallery on the police raid on @annikasmethurst today: pic.twitter.com/Oo6vHTfDzx — David Crowe (@CroweDM) June 4, 2019 This past June, AFP officers raided a variety of journalists’ homes and offices to find a connection to various “leaked” articles. Seven AFP officers spent hours searching Smethurst’s home, mobile phone and computer trying to find a connection between Smethurst and “alleged publishing of information classified as an official secret.” Smethurst has been considered a high-profile journalist since first exposing government secrets in 2018. Her article contained a “top secret” memo, revealing that senior government officials were considering moves to empower the Australian Signals Directorate to monitor Australian citizens. In the following days, the ABC Sydney was raided due to its 2017 “Afghan fillies” report based on hundreds of pages of leaked secret defense force documents. The documents showcased the allegation of misconduct by the Australian special forces. In 2018, the government introduced a new espionage, foreign interference and secrecy offense law that carries up to seven years of imprisonment for anyone found guilty of violating the law. In reaction to the recent raids, lawyers and the media have expressed their fears and claimed that the introduction of the “new espionage, foreign interference and secrecy offense” was inappropriate. Whistleblowers in Australia have taken a multitude of hits in the past years for the stories they have uncovered. Whistleblower Richard Boyles was charged in February 2018 with 66 offenses and faces 161 years in jail for revealing that the Australian Taxation Office can seize funds from bank accounts of taxpayers regardless of their personal circumstances. Boyles’ case could be the first major one testing whistleblower protection laws for federal public servants. In Australia, the United States, and elsewhere, journalists are being targeted for reporting on secret government info. The public’s right to know would be severely inhibited if the press could only publish news the government decides is not “secret.” https://t.co/rHf00Z1lFO — Freedom of the Press (@FreedomofPress) June 7, 2019 Unfortunately, Boyles is not a unique case. Australia has no current law in its government protecting or explicitly allowing free speech even though the country is considered one of the most stable democratic nations in the world. Reports Without Borders ranked Australia in the 2019 World Press Freedom Index at 21 out of 180, two rankings down from last year, mainly due to the tough defamation laws imposed in 2018. According to Reporters Without Borders, Australia is in the running to become the world’s ‘defamation capital’ with its strict and various laws limiting speech. The Australian Constitution lacks the real meaning of free speech but, “implied freedom” is listed, demonstrating the country’s weak press freedom protections. Radio journalist Ben Fordham was targeted after Smethurst’s raid due to his story on six asylum-seeker boats that were intercepted in the Indian Ocean trying to reach Australia. An employee in the Department of Home Affairs explained to Fordham that only a limited number of people knew about the information at hand. The state wanted Fordham to name his source. HAPPENING NOW: AFP raid ABC headquarters in Sydney over a 2017 story on 7.30. @annikasmethurst yesterday, then @BenFordham asked by Home Affairs for a source, now the ABC. Is this the new normal? — John Lyons (@TheLyonsDen) June 5, 2019 The Conversationalist quoted Fordham on the matter: “The chances of me revealing my sources is zero. Not today, not tomorrow, next week or next month. There is not a hope in hell of that happening.” The media has been unable to report on a variety of issues due to the government’s opinion of “lacking public interest.” Attorney-General Christian Porter launched a new order preventing the prosecution of journalists without his approval. However, other members of the council disagree with this goal of increasing protections for journalists. Law Council President Arthur Moses told ABC News that he does not view the Attorney-General’s efforts as long-term solutions. He also spoke to The Age and The Sydney Morning Herald, stating, “This puts the Attorney-General—a politician—in the position of authorizing prosecutions of journalists who may have written stories critical of his or her government.” The push for a change in legislation is happening now. Multiple groups such as the Media Entertainment and Arts Alliance have drafted an open letter to Prime Minister Scott Morrison and Parliament. Citizens are able to read the letter and send a copy with their signature to the prime minister and others to show their support. Advocates are pushing for six main proposals for “necessary and urgent” reform: The right to contest search warrants Protections for whistleblowers Restrictions on secrecy Freedom of information reform Journalist exemptions Defamation law reform The inquiry into new laws, conducted by the intelligence and security committee, is examining the impact of national security laws on press freedom. Home Affairs Minister Peter Dutton has issued a directive to the federal police stating they should consider the “importance of a free and open press” and broader public-interest implications before involving media outlets in investigations.

Automotive Market With 150 speakers, 200 booths and 3000 attendees it really is the world’s biggest conference & exhibition dedicated to automotive tech. It will assist the allied well being care practitioner in understanding and advocating for people looking for automotive automobile modification solutions, whilst also teaching practitioners about the unique process involved in evaluating, selecting and purchasing appropriate automotive possibilities. Mentor is hosting a series of events aligned to the key automotive mega-trends in its new Mentor Automotive Lab in Novi, Michigan. This could take place due to the fact there is a particular person, for the sake of less costly rates than the competition in between sellers of new cars per unit of some components replaced with high quality No. 2, and the original is stored to be sold again. As a major supplier to the automotive market place, Microsemi solutions a broad variety of applications such as sophisticated driver assist (ADAS), collision avoidance and infotainment systems, power management, motion sensing, motor handle, telematics and far more. Due to the increase in the number of applications, MICHSON AUTOMOTIVE will NOT be in the position to contact applicants who fails to meet all requirements of the application. The client, an Automotive Tier 1 wanted to generate auto codes from the models in the shortest possible time to validate their new CVT’s architecture for a production program. The mechanic works on the automobile, but ends up finishing the repair in six hours, alternatively of 8. And then you nonetheless get charged the complete eight hours of labor expense. Hi, i am so delighted more than the write-up of yours on net regarding on how to begin up an auto repair tat 1 day i will unfailingly my own function shop.I have no concept on auto mobile repairs but i so significantly have passion on automobile repairs that i want to start up my own,but i know i will make it large when i start.I am from Nigeria,south-east of Nigeria e-mail is [email protected] write to me a lot more on how to start off up my Biz. A” names: As an auto repair shop, you’re up against a lot of competitors so it actually helps to get your name at the top of any listings that may be offered to shoppers such as telephone books or online listings. Consequently you can rest assured that you can get the service you require when you come to RS Automotive in Kumeu, West Auckland. What are the likely gear can one particular commence an auto repair shop with, been going to function on any brand of modern cars. The distributed automotive computing architecture has evolved more than many product generations as new characteristics and innovations have been added even though new hardware modules. Automotive Repair Pasadena H&R is conveniently situated at 2655 E Colorado Blvd, Pasadena, CA 91107 in PASADENA area. A keen young mechanic at times has the typical sense and potential to be an exceptional workshop owner, but may possibly lack the cash to get began in their personal automotive business, so I am going to show how it can be carried out on a shoestring. I was asked to drive a friend’s car to Hartford CT from Baltimore MD, so that the folks at my destination Sports Car Restoration”, could execute an estimate on some minor touch up function.

Q: How can I test the background scan and launch the application in background with iBeacon-Android? I am using the pro library. But I just found doc for free library I cannot find any doc for pro version. Also, I don't know how to implement the background mode even using the pro sample. Here are the steps: Build the pro sample project start the iBeacon source(using iPad) and it can be detected start the application and then press home button the make it in background Turn off the iBeacon source Turn on the iBeacon source However, more than 5 minutes, the application does not launch So, can anyone verify the step I did? How can I test the background mode more easily? Also, for the BootstrapNotifier, is it just work only first time when the device reboot? After that, even I put application in background, the application will not launch when it detect iBeacon? A: Your testing method sounds fine. I think the issue is that the reference app for the pro library only auto launches the app on the first detection after boot. After that, it sends a notification instead, and tapping on that notification launches the app. This is purely for demonstration purposes. You can change it to auto launch on every detection if you wish. Simply alter the haveDetectedIBeaconsSinceBoot logic in this code: @Override public void didEnterRegion(Region arg0) { // In this example, this class sends a notification to the user whenever an iBeacon // matching a Region (defined above) are first seen. Log.d(TAG, "did enter region."); if (!haveDetectedIBeaconsSinceBoot) { Log.d(TAG, "auto launching MainActivity"); // The very first time since boot that we detect an iBeacon, we launch the // MainActivity Intent intent = new Intent(this, MainActivity.class); intent.setFlags(Intent.FLAG_ACTIVITY_NEW_TASK); // Important: make sure to add android:launchMode="singleInstance" in the manifest // to keep multiple copies of this activity from getting created if the user has // already manually launched the app. this.startActivity(intent); haveDetectedIBeaconsSinceBoot = true; } else { // If we have already seen iBeacons and launched the MainActivity before, we simply // send a notification to the user on subsequent detections. Log.d(TAG, "Sending notification."); sendNotification(); } } The javadoc link was missing from the main documentation page when you posted this question. That is fixed now.

Illustration: Chen Xia/GT Mithila Phadke, an Indian woman living in Beijing, recently published an article on Scroll.in about her experiences in the local dating scene. "There's a part of me that takes unconscious pleasure in being exotic, and another part that cringes at being scrutinized for my race," Phadke wrote. Her article was met with across-the-board derision by netizens of all nationalities, including Caucasian expats on Reddit's r/China ("Indian girl goes to China, only f*cks white guys, goes on rant about white privilege"), Indian nationals on r/India ("Doesn't seem like she even bothered to see if there were any non-white men available and interested in her, in Beijing of all places!") and Eurasian offspring on r/Hapas ("Why is it that unattractive women have to lash out at everyone?"). As an ethnic Indian "fempat" (what foreign males in China call female expatriates) residing in Shanghai, I agree that the Indian dating pool is tragically limited in China, forcing women of color like me and Phadke to date other races or risk staying single. In fact, just three weeks before her article was published, I penned my own rant ("Brown girls like me get no love in pale-crazed Shanghai" Global Times Metro Shanghai 2017/3/22) with very similar views. Coincidence? With few female or male Indian friends here, this can naturally isolate us in a country where having darker skin and more hair definitely stands out. But as much as I agree with most of Phadke's points, we must remember that it's not only China that behaves this way. The UK, the US and Scandinavia are also known for their racialism when it comes to people of brown color. I am a British Indian, so by no means can our experiences be completely the same, however, in the eyes of the Chinese I'm sure that Phadke and I look similar. I have experienced some doubt when I tell locals that I am an England national. I can also relate to her comments about being the "only brown female face" and being "racialized." I mentioned in my own article that a young local student who I tutor often comments on my physical appearance. But as I have been in China longer than Phadke, I have learned to understand that the Chinese are very matter-of-fact when it comes to expressing their opinions. Ironically enough - and Phadke dropped the ball in this regard - should her or I openly comment about a Chinese person with tan skin (a mark of shame among urban Chinese), we would probably be screamed at and accused of hurting the feelings of the Chinese people. Unlike Phadke, who seems genuinely unhappy in China, my experiences here have been quite positive. Also, I take pleasure in being unique, different and "exotic," and I think this can be attributed to Shanghai itself, which historically is a much more diverse, cosmopolitan and open-minded metropolis than Beijing. Perhaps this is the perfect case study to contrast and compare a tale of two cities. Apart from my adolescent student, I have never experienced any racism here. What Phadke forgets is that whiter, paler skin is a popular desire all across Asia among those who don't have it. The Chinese abhor tan skin and the sun itself, taking every measure - from bleaching creams to parasols to keeping the curtains closed - to avoid turning brownish. But another craze for "less-brown" skin is taking place in Phadke's own Mumbai, where Bollywood often casts the whitest, least-Indian-looking starlets in leading roles, which in turn gets them commercials to advertise skin-whitening products pitched at dark Indians, perpetuating the shame echoed in Phadke's article ("I tell myself I am hairier, I am smellier, I am bumpier and lumpier. Sometimes before a date, I find myself wishing I could climb into new skin"). Nevertheless, with China advancing so far forward economically, perhaps it could also take this milestone of acceptance and surge forward in embracing a fully diversified society, perhaps someday even more than England or New York. Shanghai's economy is in fact largely dependent on international companies and foreign talent - including the English teachers that Phadke admits to looking down on as "something that requires little skill" - who are the driving force behind all the global communication and deal-making coming out of this city. On a global scale, then, it makes sense to accept all people from every country, ethnic group, skin color, language, accent, appearance and religion. The opinions expressed in this article are the author's own and do not necessarily reflect the views of the Global Times.

--- abstract: 'By proceeding from a simple non-polarized formalism, we consider in detail the polarization procedure as applied to the generating equations of the quantum antibracket algebra, in terms of the parametrized generating operator.' --- [**Quantum antibrackets: polarization and parametrization**]{} [Igor A. Batalin$^{(a,b)}\footnote{E-mail: [email protected]}$, Peter M. Lavrov$^{(b, c)}\footnote{E-mail: [email protected]}$ ]{} ${{}^{(a)}}$ [*P.N. Lebedev Physical Institute,\ Leninsky Prospect  53, 119 991 Moscow, Russia*]{} ${{}^{(b)}} $[*Tomsk State Pedagogical University,\ Kievskaya St. 60, 634061 Tomsk, Russia*]{} ${{}^{(c)}} $[*National Research Tomsk State University,\ Lenin Av. 36, 634050 Tomsk, Russia*]{} [*Keywords:*]{} quantum/derived antibrackets\ PACS numbers: 11.10.Ef, 11.15.Bt Introduction ============ Given a fermionic nilpotent operator $Q$, one can define, for any two operators $X$ and $Y$, their quantum 2-antibracket [@BM; @BM1], \[i1\] ( X, Y )\_[Q]{} =: ( \[ X, \[ Q, Y \] \] - \[ Y, \[ Q, X \] \] (-1)\^[ ( \_[X]{} + 1 ) ( \_[Y]{} + 1 ) ]{} ), or the derived bracket in mathematical terminology [@K-S; @Vo; @CSch]. These objects have very nice algebraic properties such as the anti-symmetry, the Jacobi relations, and the Leibnitz rule. It appears remarkably that the quantum 2-antibracket (\[i1\]) arises naturally when studying BRST - invariant constraint algebra [@BT; @BB] as well as in formulating quantum dynamical equations [@BL] and in the general representation of the gauge fields [@BL1]. The quantum 2-antibracket (\[i1\]) generalizes the usual antibracket of the field-antifield BV formalism [@BV; @BV1] (see also [@SZ; @ND; @GST]). Indeed, when being operators $X$ and $Y$ in (\[i1\]) functions of the field-antifield variables only, one identifies $Q = - \Delta$, where $\Delta$ is the odd Laplacian, and then uses $[ \Delta, Y ] = ( \Delta Y ) + {\rm ad}( Y ) (-1)^{ \varepsilon_{Y} }$, to get $( X, Y )_{Q}= ( X, Y )^{ (BV) }$. In the present paper, we proceed from the non-polarized version of the (\[i1\]) as defined at $X = Y = B$, with any bosonic operator $B$, \[i2\] ( B, B ) \_[Q]{} =: - \[ B, \[ B, Q \] \]. So, we call the (\[i1\]) as the polarized quantum 2-antibracket. In fact, that is just being $X \neq Y$ we mean as the polarization, in the general sense. Given the (\[i2\]), one can polarize that by considering formally $B = \alpha X + \beta Y$, with $\alpha$ and $\beta$ being the respective parameters, and then taking the $\alpha\beta$ derivative of the (\[i2\]), \[i3\] ( X, Y )\_[Q]{} = \_ \_ ( B, B )\_[Q]{} (-1)\^[ \_[Y]{} ]{}. It appears that the basic definitions and the general analysis look simpler essentially in the non-polarized formalism. On the other hand, the generating equations of the quantum antibracket algebra can be formulated naturally in terms of the parametrized generating operator, \[i4\] =: { \^[a]{} f\_[a]{} } Q { - \^[a]{} f\_[a]{} }, being $\{ f_{a} \} $ a chain of operators, and being $\{ \lambda^{\alpha} \}$ the respective parameters. In this way, the generating equations of the quantum antibracket algebra do acquire their geometrically-covariant status. We call the representation (\[i4\]) as the parametrization. All higher quantum antibrackets are defined in terms of derivatives of the generating operator (\[i4\]) with respect to the parameters. Complete set of the structure relations of the quantum antibracket algebra is generated by the nilpotence of the operator (\[i4\]). Basics on quantum antibrackets ============================== Let $Q$ be a fermionic nilpotent operator, \[r1\] Q: (Q) = 1, Q\^[2]{} = 0, and let $B$ be an arbitrary bosonic operator, \[r2\] B: (B) = 0. Introduce a quantum 2-antibracket, \[r3\] ( B, B )\_[Q]{} =: - \[ B, \[ B, Q \] \], then we have the main property \[r4\] \[ Q, ( B, B )\_[Q]{} \] = \[ \[ Q, B \], \[ Q, B \] \]. Let $A$ be the associator multiplied with a parameter $\beta$, \[r5\] A =: ( B, ( B, B )\_[Q]{} )\_[Q]{}. It follows then \[r6\] \[ Q, A \] = = 0 A = \[, Q\]. By choosing the operator $\mathcal{A}$ as \[r7\] = \[ B, (B, B)\_[Q]{} \] = ( B, B, B )\_[Q]{} =: - \[ B, \[ B, \[ B, Q \] \] \] = 6, we arrive at the non - polarized form of the Jacobi relation \[r8\] 6 ( B, ( B, B )\_[Q]{} )\_[Q]{} = \[ ( B, B, B )\_[Q]{}, Q \], as an identity with respect to $B$. Indeed, denote the operators \[r9\] X =: \[ B, \[ \[ B, Q \], \[ B, Q \] \] \], Y =: \[ \[ B, Q \], \[ B, \[ Q, B \] \] \], such that \[r10\] X = - 2 Y. Then, we have \[r11\] ( B, ( B, B )\_[Q]{} )\_[Q]{} = ( X + Y ) = - Y, \[r12\] \[ ( B, B, B )\_[Q]{}, Q \] = X - Y = - 3 Y, which is equivalent to (\[r8\]). Polarization ============ In the definition (\[r3\]), consider the Boson $B$ of the form \[p1\] B = X + Y + Z, with $\alpha, \beta $ and $\gamma$ being parameters. It follows then the polarized quantum 2-antibracket \[p2\] \_ \_ ( B, B )\_[Q]{} (-1)\^[ \_[Y]{} ]{} = ( X, Y )\_[Q]{} =: ( \[ X, \[ Q, Y \] \] - \[ Y, \[ Q, X \] \] (-1)\^[ ( \_[X]{} + 1 ) ( \_[Y]{} + 1 ) ]{} ). In analogy with the main property (\[r4\]) we have its counterpart for polarized quantum\ 2-antibracket (\[p2\]) \[p2a\] \[Q,(X,Y)\_Q\]=\[\[Q,X\],\[Q,Y\]\]. In turn, by using (\[p2\]), we have the polarized version of the Jacobi relation (\[r8\]) &&( X, ( Y, Z )\_[Q]{} )\_[Q]{} (-1)\^[ ( \_[X]{} + 1 ) ( \_[Z]{} + 1 ) ]{} + [cyclic permutations]{} ( X, Y, Z ) =\ &&= \_ \_ \_ ( B, ( B, B )\_[Q]{} )\_[Q]{} (-1)\^[ ( \_[X]{} + 1 ) ( \_[Z]{} + 1 ) + \_[Y]{} ]{} =\ &&= \_ \_ \_ (-1)\^[ ( \_[X]{} + 1 ) ( \_[Z]{} + 1 ) + \_[Y]{} ]{} =\ &&= \[ ( X, Y, Z )\_[Q]{}, Q \] (-1)\^[ ( \_[X]{} + 1 ) ( \_[Z]{} + 1 ) ]{}. \[p3\] Thus, we identify the polarized quantum 3-antibracket, \[p4\] &&( X, Y, Z )\_[Q]{} =: \_ \_ \_ ( B, B, B )\_[Q]{} (-1)\^[ \_[Y]{} ]{}=\ &&= - (-1)\^[ ( \_[X]{} + 1 ) ( \_[Z]{} + 1 ) ]{} ( \[ X, ( Y, Z )\_[Q]{} \] (-1)\^[ \[ \_[X]{} ( \_[Z]{} + 1 ) + + \_[Y]{} \] ]{} + [cyclic permutations]{} ( X, Y, Z ) ). The modified Leibnitz rule for quantum 2-antibracket (\[p2\]) reads &&( XY, Z )\_[Q]{} - X ( Y, Z )\_[Q]{} - ( X, Z )\_[Q]{} Y (-1)\^[ \_[Y]{} ( \_[Z]{} + 1 ) ]{} =\ \[j217\] &&= ( \[ X, Z\] \[ Y, Q \] (-1)\^[ \_[Z]{} ( \_[Y]{} + 1 ) ]{} + \[ X, Q \] \[ Y, Z \] (-1)\^[ \_[Y]{} ]{} ). Parametrization =============== Here we include in short the generating equations for the quantum antibracket algebra [@BM1]. Let us introduce an operator valued exponential \[A1\] U = { \^[a]{} f\_[a]{} }, U|\_[= 0]{} = 1, where $\{ f_{a}, a = 1, 2, ... \}$, is a chain of operators, $\varepsilon( f_{a} ) = \varepsilon_{a}$, and $\lambda^{a}$ are parameters, $\varepsilon( \lambda^{a} ) = \varepsilon_{a}$. Introduce the $U$-transformed $Q$-operator, \[A2\] = U Q U\^[-1]{}, \^[2]{} = 0. The latter equation (\[A2\]) does generate the complete set of the higher Jacobi relations following (\[p4\]). Further, we have the generating equations \[A3\] \_[a]{} = \[ R\_[a]{}, \], R\_[a]{} = ( \_[a]{} U ) U\^[-1]{}, \_[a]{} = , |\_[= 0]{} = Q, \[A4\] \_[a]{} R\_[b]{} - \_[b]{} R\_[a]{} (-1)\^[ \_[a]{} \_[b]{} ]{} = \[ R\_[a]{}, R\_[b]{}\] . It follows from (\[A4\]) that the equation holds with the Euler operator, $N=: \lambda^{a} \partial_{a} $, \[A4a\] ( N + 1 ) R\_[b]{} = \_[b]{} - \[ R\_[b]{}, \], where \[A4b\] = \^[a]{} R\_[a]{}, is an operator describing the arbitrariness in a choice of $\lambda$ parametrization. By making the rescaling \[A4c\] &&\^[a]{} t \^[a]{},\ \[A4d\] && R\_[a]{} \_[a]{} =: t R\_[a]{}( t ),\ \[A4e\] && =: \^[a]{}R\_[a]{}(t ), we convert the equation (\[A4a\]) to the form \[A4f\] = \_[b]{} - \[ \_[b]{}, \], with the boundary condition \[A4g\] \_[b]{} |\_[ t = 0 ]{} = 0. The Cauchy problem (\[A4f\]), (\[A4g\]) resolves in the form \[A4h\] \_[b]{}( t ) = \_[0]{}\^[t]{} dt’ U( t, t’ ) ( \_[b]{} ( t’ ) ) U\^[-1]{}( t, t’ ), where $U( t, t' )$ resolves the Cauchy problem \[A4j\] = ( t ) U( t, t’ ), \[A4k\] U( t, t’ ) |\_[ t = t’ ]{} = 1. In parallel to the above geometric formulae (\[A4f\]) - (\[A4k\]), we suggest a simpler derivation for the “current” $R_{a}$ (\[A3\]), R\_[a]{} &=& \_[0]{}\^[1]{} dt { t } ( \_[a]{} ) { - t } = \_[0]{}\^[1]{} dt { t ( ) } ( \_[a]{} ) =\ \[A4l\] &=& ( \_[a]{} ), where \[A4z\] =\^a f\_a, and we have used the identity \[A4z1\] \[A, {B}\]=\_0\^1 dt {t B}\[A,B\]{(1-t)B}, for $A=\partial_a$, $B=\psi$. Notice that the following relation holds between the $\Psi$, (\[A4b\]), and the $\psi$, (\[A4z\]), \[A4v\] = ( N ). By multiplying the equation (\[A4f\]) with $\lambda^{b}$ from the left we get an identity, as expected, which implies that the $\tilde{\Psi}$, (\[A4e\]), is an arbitrary operator. Then, by choosing in (\[A4h\]) - (\[A4k\]) $\tilde{\Psi} = \psi$, with $\psi$ being given in (\[A4z\]), we arrive at the representation (\[A4l\]). Indeed, it follows from (\[A4f\]) that the equation \[A4t\] \_[t]{} t = N holds, which implies in turn \[A4u\] t \_[t]{} = \^[a]{} N R\_[a]{}( t ). That is just an identity expected. Due to (\[A4e\]), the left-hand side of (\[A4u\]) rewrites in the form \[A4o\] \^[a]{} t \^[b]{} R\_[a]{}( t ) = \^[a]{} N R\_[a]{}( t ). Thus, the $\tilde{\Psi}$, (\[A4e\]), remains arbitrary. The Lie equation (\[A3\]) and the Maurer-Cartan equation (\[A4\]) do serve as the generating equations for quantum antibrackets. Here we present explicitly only the case of quantum 2-antibracket. It follows from (\[A3\]) by $\lambda$ differentiating, that &&- \_[a]{} \_[b]{} (-1)\^[\_[b]{}]{} + \[ ( \_[a]{} R\_[b]{} + \_[b]{} R\_[a]{} (-1)\^[ \_[a]{} \_[b]{} ]{} ) (-1)\^[\_[b]{}]{} , \] =\ \[A5\] &&= ( \[ R\_[a]{}, \[ , R\_[b]{} \] \] - ( a b ) (-1)\^[ ( \_[a]{} + 1 ) ( \_[b]{} + 1 ) ]{} ) = ( R\_[a]{}, R\_[b]{} ) \_[ ]{}. In turn, it follows from (\[p4\]) and (\[A5\]) that the next equation holds, &&- (-1)\^[ ( \_[a]{} + 1 ) ( \_[c]{} + 1 ) ]{} ( \[ R\_[a]{}, \_[bc]{} \] (-1)\^[ ( \_[a]{} ( \_[c]{} + 1 ) + \_[b]{}) ]{} +\ \[A5a\] &&+ ( a, b, c ) ) = ( R\_[a]{}, R\_[b]{}, R\_[c]{} )\_[ ]{}, where we have denoted \[A5b\] \_[ab]{} =: - \_[a]{} \_[b]{} (-1)\^[ \_[b]{} ]{} + \[ Y\_[ab]{}, ( ) \], \[A5c\] Y\_[ab]{} =: ( \_[a]{} R\_[b]{} + \_[b]{} R\_[a]{} (-1)\^[ \_[a]{} \_[b]{} ]{} ) (-1)\^[ \_[b]{} ]{}. In the latter notation, the equation (\[A5\]) takes the form \[A5d\] \_[ab]{} = ( R\_[a]{}, R\_[b]{} )\_[ ]{}. It follows from (\[A5\]) at $\lambda = 0$, \[A6\] - ( \_[a]{}\_[b]{} ) (-1)\^[ \_[b]{} ]{} |\_[= 0]{} = ( f\_[a]{}, f\_[b]{} )\_[Q]{}, where we have used \[A7\] ( \_[a]{} R\_[b]{} ) |\_[= 0]{} = \[ f\_[a]{}, f\_[b]{} \]. The next equation (\[A5a\]) takes the form \[A7z\] \_[abc]{} = ( R\_[a]{}, R\_[b]{}, R\_[c]{} )\_[ ]{}, where \[A7x\] \_[abc]{} = - \_[a]{} \_[b]{} \_[c]{} (-1)\^[ \_[b]{} ]{} + = 0. In its more explicit form, the second term in right-hand side in (\[A7x\]) reads \[A7y\] &=:& (-1)\^[ ( \_[a]{} + 1 ) (\_[c ]{} + 1 ) ]{} { ( \_[b]{} \[ \_[c]{} R\_[a]{}, ( ) \] (-1)\^[ \_[a]{} ( \_[b]{} + \_[c]{} ) ]{} + \[ \_[b]{} R\_[a]{}, \_[c]{} ( ) \] (-1)\^[ \_[a]{}\_[b]{} ]{} +\ &&+ \[ R\_[a]{}, \[ ( \_[b]{} R\_[c]{} + \_[c]{} R\_[b]{} (-1)\^[ \_[b]{} \_[c]{} ]{} ), ( ) \] \] )(-1)\^[ ( \_[a]{} + 1 )( \_[c]{} + 1 ) + \_[b]{} ]{} +\ \[A7y\] && + (a, b, c ) }. It follows in a similar way that higher $\lambda$ derivatives of $\tilde{Q}$ do yield all higher quantum antibrackets, - ( \_[a\_1]{}\_[a\_n]{} ) (-1)\^[ E\_n]{} |\_[= 0]{} = ( f\_[ a\_[1]{} ]{} , ... , f\_[ a\_[n]{} ]{} )\_[Q]{} = - [Sym]{}( \[ f\_[ a\_[1]{} ]{}, ... , \[ f\_[ a\_[n]{} ]{}, Q \] ... \] ) (-1)\^[ E\_[n]{} ]{}, where we have denoted E\_[n]{} = \_[ k = 1 ]{}\^[ \[ n/2 \] ]{} \_[ a\_[2k]{} ]{}, ( X\_[ a\_[1]{} ... a\_[n]{} ]{} ) = S\_[ a\_[1]{} ... a\_[n]{} ]{}\^[ b\_[n]{} ... b\_[1]{} ]{} X\_[ b\_[1]{} ... b\_[n]{} ]{}, n! S\_[ a\_[1]{} ... a\_[n]{} ]{}\^[ b\_[n]{} ... b\_[1]{} ]{} = \_[ a\_[1]{} ]{} ... \_[ a\_[n]{} ]{} \^[ b\_[n]{} ]{} ... \^[ b\_[1]{} ]{}. It has also been shown in [@BM1; @Ber], how these equations enable one to derive the modified Jacobi relations for subsequent higher quantum antibrackets. Summary ======= In the present article we have considered a simple non-polarized form of the quantum antibracket algebra (Section 2), and then derived its polarized form (Section 3). Also, we have introduced a natural parametrization (\[A2\]), and then derived the respective generating equations (\[A5d\]), (\[A7z\]) (Section 4). In an obvious way the construction can be extended to cover all higher quantum antibrackets. Acknowledgments {#acknowledgments .unnumbered} =============== The authors would like to thank Klaus Bering for useful discussions. The work of I. A. Batalin is supported in part by the RFBR grant 17-02-00317. The work of P. M. Lavrov is supported by the Ministry of Education and Science of Russian Federation, grant 3.1386.2017 and by the RFBR grant 18-02-00153. [99]{} I. Batalin, R. Marnelius, [*Quantum antibrackets*]{}, Phys. Lett. B [**434**]{} (1998) 312. I. Batalin, R. Marnelius, [*General quantum antibrackets*]{}, Theor. Math. Phys. [**120**]{} (1999) 1115. Yv. Kosmann-Schwarzbach, [*Derived brackets*]{}, Lett. Math. Phys. [**69**]{} (2004) 61. Th. Voronov, [*Higher derived brackets and homotopy algebras*]{}, J. Pure Appl. Algebra [**202**]{} (2005) 133. A. S. Cattaneo, F. Schatz, [*Equivalence of higher derived brackets*]{}, J. Pure Appl. Algebra [**212**]{} (2008) 2450. I. A. Batalin, I. V. Tyutin, [*BRST-invariant constraint algebra in terms of commutators and quatum antibrackets*]{}, Theor. Math. Phys. [**138**]{} (2004) 1. I. A. Batalin, K. Bering, [*Reducible gauge algebra of BRST-invariant constraints*]{}, Nucl. Phys. B [**771**]{} (2007) 190. I. A. Batalin, P. M. Lavrov, [*Superfield Hamiltonian quantization in terms of quantum antibrackets*]{}, Int. J. Mod. Phys. A [**31**]{} (2016) 1650054. I. A. Batalin, P. M. Lavrov, [*Representation of a gauge field via intrinsic “BRST” operator*]{}, Phys. Lett. B [**750**]{} (2015) 325. I. A. Batalin, G. A. Vilkovisky, [*Gauge algebra and quantization*]{}, Phys. Lett. B [**102**]{} (1981) 27. I. A. Batalin, G. A. Vilkovisky, [*Quantization of gauge theories with linearly dependent generators*]{}, Phys. Rev. D [**28**]{} (1983) 2567. A. Sen, B. Zwiebach, [*A note on gauge transformations in Batalin-Vilkovisky theory*]{}, Phys. Lett. B [**320**]{} (1994) 29. A. Nersessian, P.H. Damgaard, [*Comments on the covariant Sp(2)-symmetric Lagrangian BRST formalism*]{}, Phys. Lett. B [**355**]{} (1995) 150. M. A. Grigoriev, A. M. Semikhatov, I. Yu. Tipunin, [*Gauge symmetries of the master action*]{}, J. Math. Phys. [**40**]{} (1999) 1792. K. Bering, [*Non-commutative Batalin -Vilkovisky algebras, strongly homotopy Lie algebras, and the Courant bracket*]{}, Comm. Math. Phys. [**274**]{} (2007) 297.

Q: NoSuchMethodException when instantiating a generic class I have a class as follows: public class StreamEventSuccess<T> { private final T event; public StreamEventSuccess(final T event) { this.event = event; } public T getEvent() { return event; } } I try to instiate it: StreamEventSuccess<BusinessEvent> success = new StreamEventSuccess<BusinessEvent>(event); and I get: java.lang.NoSuchMethodError: com.ryan.protocol.StreamEventSuccess.<init>(Lcom/ryan/domain/event/BusinessEvent;)V Any idea why? the event parameter is of type BusinessEvent A: The problem you are describing would happen if: your-library-version-1 had a constructor StreamEventSuccess(BusinessEvent event) you have a project (or class) project-x that was compiled with your-library-version-1. your-library-version-2 was made generic StreamEventSuccess(T event). And you are running project-x with your-library-version-2. If that's the case, just recompile the class that calls your new constructor. That happens because the actual type of that constructor in the generic form is <init>(Ljava/lang/Object;)V so you must recompile the dependencies after generifying that class, because their bytecode is pointing to the old (non generic) version of the constructor <init>(Lcom/ryan/domain/event/BusinessEvent;)V

Riven Rock Riven Rock is a 1998 novel by American author T. Coraghessan Boyle. It concerns the life of Stanley McCormick, a son of Cyrus McCormick, inventor of the reaper, and Stanley's devoted wife, Katherine McCormick, daughter of Wirt Dexter, a prominent Chicago lawyer. The locale of most of the story is Riven Rock, an estate located near Montecito, Santa Barbara County, California, and owned by the McCormick family. Stanley, having developed severe mental problems, is confined to the estate for the rest of his life, during which repeated attempts to cure him by various medical experts are to no avail. Stanley and Katharine live largely separate lives. The reader comes to know Katharine slightly better than her husband, if only because she is a functioning member of society (albeit sexually deprived) whereas he is either catatonic or in a violent rage for much of the time. (He has been diagnosed as suffering from dementia praecox, among other conditions, his deepest fears—and hatreds—reserved for women.) A third protagonist, Eddie O’Kane, is Stanley’s chief nurse throughout his stay at Riven Rock. O’Kane and his tumultuous relationships with women are described in numerous sections in the novel, forming a third storyline interwoven with those of Katharine and Stanley. Boyle thus ranges between accounts of high society (and its madnesses) and the alcoholism and romantic desperation of O’Kane, the Irish-American stiff. The three parts of the novel parallel those times during which three different psychiatrists preside over Stanley’s care, a unique though essentially arbitrary division (because the main story continues virtually unchanged throughout). The first caretaker is Dr. Hamilton, someone more interested in studying the apes and monkeys he has brought to the estate than in helping Stanley to improve. The second is Dr. Brush, something of a nonentity who quickly gives up on any prospect of saving the patient. The third is Dr. Kempf, a psychoanalyst who achieves some success in bringing Stanley around to being able to interact with women, including, after nearly twenty years, his wife Katharine. In the end, though, the patient reverts to abnormal behavior, and Katharine sues (unsuccessfully) in court to obtain full control over Stanley’s care (where for the duration she has shared it with the McCormicks). Riven Rock probes male-female relationships, the nature of psychiatric care (as it existed in the early twentieth century), and the crazy mix of classes and ethnicities that is modern America. It also shows, above all, how much is to be gained by giving literary treatment to historical characters and events—an exercise that Boyle repeats in The Women and other of his works. References in popular culture In Season 1, Episode 6 of The Sopranos, Tony Soprano's therapist, Dr. Melfi, is shown reading the novel. Book information Riven Rock by T. C. Boyle Hardcover - (First edition, February 1, 1998) published by Viking Press Paperback - (January 1, 1999) published by Penguin Books External links T.C. Boyle official web site Category:1998 American novels Category:Novels by T. C. Boyle Category:Montecito, California Category:Novels set in California Category:Viking Press books

The Neurotoxicology program aims to develop sensitive markers of human toxic exposures that would be particularly hazardous to the nervous system. Both behavioral and biochemical markers are being developed. One promising approach employs brief, objective tests of neurobehavioral function that can be used both in field studies with humans, including children, and with laboratory animals. The test is noninvasive and thus can be administered repeatedly to humans at their homes or workplace for health surveillance. The ability to apply these neurobehavioral tests to both humans and animals improves confidence in extrapolating results from experiments that can only be done with animals, e.g., the examination of histopathological and neurochemical changes in the brain which are the criteria for neurotoxicity. These behavioral markers can document the role of environmental toxins in developmental disabilities such as lead-related deficits in learning of children. A promising biomarker is glial fibrillary acidic protein (GFAP), which increased in the monkey brain during exposure to trimethyl lead and in the rat brain soon after exposure to methylmercury. We detected GFAP in brain and CSF of rats, and in brains of pigeons, fish and nonhuman primates. Thus, GFAP is a very promising marker because it is present in most species of animals of interest as laboratory models or environmental sentinels. In rats and pigeons, GFAP is an early indicator of exposure to neurotoxicants (cadmium, methylmercury, acrylamide) but not to chromium, which appears to lack specific neurotoxicity. GFAP and related proteins of neuronal tissue origin will be examined in CSF and in peripheral blood as markers of cellular and functional changes in the nervous system. These neurotoxicologic assays are being integrated with the ecological projects, where proteins in the brains of wild fish and birds can serve as markers for biological impact of ecological pollution. Finally, this project continues to provide the entire program with detailed evaluations of the oral exposures used with rats so as to identify potential confounding factors such as reduced water consumption or body weight.

BOSTON—Because both criminal violence and gun rights have become contentious political topics, research on the health and safety aspects of gun ownership in the US is barely funded. In fact, many have questioned whether it should be studied at all. But Northeastern University's Matthew Miller used a talk at the meeting of the American Association for the Advancement of Science to argue that there's an area where the data shows a clear link between gun access and public health and that this topic reveals some hints as to how to better manage safety. The issue in focus is suicide. While the focus on gun safety has been in terms of violent crimes, suicide is actually a larger problem. In 2015, it was the 10th leading cause of death, and half of the suicides occurred through the use of firearms. That's roughly 22,000 of them—4,000 more than were killed in all forms of homicide. This large difference has held steady for several decades. While surveys indicate the mental distress that triggers suicide is similar in all states, the suicide rates vary dramatically. The primary driver of this? The state's gun ownership rate. States with high rates of gun ownership average nearly seven times the suicide rate as those with low gun ownership, while non-gun suicides show no real pattern among the states. This trend has been identified in 20 different independent studies. Overall, the risk of death through suicide is estimated to be three times higher if there's a gun in the house. While the data is correlative, the strength of the correlation makes any other explanation unlikely, Miller argued. For some other factor to explain the data, it would have to be present in 80 percent of the houses where guns are present and only within 10 percent of the houses without guns. So far, alternative explanations have come up short. It isn't that gun owners are especially prone to suicide—studies have indicated that gun owners are no more likely to experience the sort of mental distress that triggers suicide attempts. Instead, Miller suggested two things contributed to these findings. The first is that suicide is an impulsive act, and access to a means of suicide makes a big difference. In support of this, he showed statistics from survivors that indicate that 70 percent of them took less than an hour between making the decision to try their attempts. The second is that using a gun is highly effective. Suicide attempt rates don't vary by state, but attempts using firearms are fatal 90 percent of the time. Those using pills or cutting only result in death about five percent of the time. If the data is so persuasive, why isn't anyone treating it as the public health issue it is? Miller detailed misconceptions about the issue at nearly every level. To begin with, the public doesn't realize the extent of the problem. Polling data indicates that the public thinks that the homicide rate is much larger than the suicide rate rather than the converse. Rather than viewing it as an impulsive act, the public views suicide as a commitment: as if once someone decides to do it, they'll find a way. Miller illustrated this with a polling question about putting an effective, well-designed suicide barrier on the Golden Gate Bridge. Most respondents didn't think the barrier would make much difference, since people would just find alternative ways to kill themselves. Surprisingly, about half the physicians answered the same way—and they're the ones treating suicidal patients. So, it's not surprising that only about 20 percent of the physicians who have suicidal patients have ever talked about gun ownership with them. All of that's unfortunate, because this is where public health data can actually help us target interventions. It turns out that 90 percent of the guns used in suicides were purchased more than two weeks before they were used, many much earlier than that. So, trying to intervene at the level of gun sales probably won't do much good. Hand guns and long guns are used with equal frequency, so targeting a class of weapons won't be effective, either. Instead, in keeping with the impulsive nature of the act, the way the gun is stored makes a big difference: Miller indicated there's data that either keeping the gun in locked storage or storing it unloaded can cut suicide risk by about two-thirds. With more research, it might be possible to identify other factors that can influence access to guns by the most vulnerable. But Miller thinks it's going to take a cultural change to have these make a difference. The example he used was drunk driving; it didn't used to be common to set a designated driver or take people's keys away, but they're both now part of social norms. It might be time, he suggested, to start shifting the social norms on things like how guns are stored. Given that the number of drunk driving fatalities is now much lower than the number of suicides, it doesn't seem to be an unreasonable hope. If you or someone you know is struggling with suicidal thoughts or ideation, please take advantage of the National Suicide Prevention Hotline at 1-800-273-8255 in the US, or the Samaritans at 08457 90 90 90 in the UK.

et k(w) = w**2 + 2*w. Let m be k(-2). Suppose 0 = -4*v + 4*p + p + 89, m = 4*p + 4. What is the units digit of v? 1 Suppose -4*b + 0 = -3*y - 1, -2*y - 4*b + 26 = 0. What is the units digit of y? 5 Suppose -12 = -9*f + 6. Let d = 41 + f. What is the units digit of d? 3 Let c(f) = f**3 - 8*f**2 + 5. Let p be c(8). Let i = -2 + p. What is the units digit of i? 3 Suppose 0*i - 7 = 3*i - 2*w, i = -4*w + 7. Let r be -1 - -1*(5 - 1). Let u = i + r. What is the units digit of u? 2 Suppose 3*u - 2710 + 8935 = 3*o, 5*o = -u + 10351. What is the hundreds digit of o? 0 Let n = 1208 + -676. What is the hundreds digit of (-1 - 16/(-10)) + n/5? 1 Suppose 0 = -w - 2*o + 847, 5*o - 232 = w - 1114. What is the hundreds digit of w? 8 Let q be 22*1/(-2 - -1). Let o = 349 + -307. Let k = q + o. What is the units digit of k? 0 Suppose 3*t - u = -4, 0*t - 3*u + 12 = -t. Suppose t*r - 160 = -r. What is the hundreds digit of r? 1 Let d(n) = -n**3 - 15*n + 26. What is the units digit of d(-4)? 0 What is the units digit of (2/5)/((-74)/(-52910))? 6 Suppose -3*y = -o - 10070, -9*y + 5*y + 5*o = -13412. What is the thousands digit of y? 3 Let m be 1/(-1 - 0/2). What is the tens digit of -9*10/3*m? 3 Suppose 0 = -5*s + b + 447, -4*b + 3*b + 3 = 0. Let j = s - 54. Suppose 5*m = 3*a + j, 2*m + 3*a - 4 = -a. What is the units digit of m? 6 Let x = 7 - 3. Suppose 0 = x*w + 3*n - 5*n - 14, 4*n = 12. Let d = w + 11. What is the tens digit of d? 1 Suppose -5*a = a + 36. Let j(i) = -6*i + 18. What is the tens digit of j(a)? 5 Let m be 66/4*4/(-3). Let i = -18 - m. What is the units digit of i + 0 + 0 - -44? 8 Suppose -8*d - 3*o - 7 = -6*d, 3*o = 3*d - 27. What is the hundreds digit of ((-6)/d)/(36/(-5088))? 2 Suppose -2*k + 4*k = 5*m + 1, k - 5*m = 3. Let z(w) = 19*w**2 - 2*w. Let t be z(k). Suppose -3*x - x + t = 0. What is the tens digit of x? 2 Let z = 171 - -32. What is the hundreds digit of z? 2 Suppose 2*l - 4*l + 244 = 5*g, 2*g = -8. Suppose v - l = -5*v. What is the tens digit of v? 2 Suppose 0*a + 3*g = -2*a + 19, -3*a = -2*g - 9. Suppose 19 + 6 = 3*r + 2*f, a*r - 2*f = 63. Suppose 2*k - r = 39. What is the units digit of k? 5 Let k(q) = 379*q + 82. What is the hundreds digit of k(1)? 4 Let i(p) = -4*p**2 + p + 4. Let g be i(0). Suppose -237 = -2*h - 5*v, -g*h - 2*v = -79 - 371. What is the tens digit of h? 1 Let u(w) = 7 - 3 - 4 - 9*w**2. Let y be u(-1). Let r = 26 + y. What is the units digit of r? 7 Suppose 7*h - 2259 = 1038. What is the units digit of h? 1 Suppose c - 5*w - 510 = 287, -4*c = 5*w - 3113. What is the tens digit of c? 8 Let r(i) = -28*i**2. Let y be r(-1). Let t = y - -44. Suppose -b - 2*z + t = 0, b - 5*z - 4 = 5. What is the units digit of b? 4 Let r = 68 - 63. Suppose 60 = 15*n - r*n. What is the units digit of n? 6 Let l = -1053 + 1708. What is the hundreds digit of l? 6 Let m be (-36)/(-24)*(3*2 + 0). What is the units digit of 446/6 + (-12)/m? 3 Let i = 121 - -74. What is the tens digit of i? 9 Let h(r) = 1 + 9*r**2 + 2*r**2 - 5 + 5. Let c be h(1). What is the units digit of c/(-9) - (-39)/9? 3 Let q be -5*48/(-42) - 2/(-7). What is the units digit of 734/q - (-1)/((-3)/(-2))? 3 Let c(y) = -1. Let a(m) = -2. Let x(o) = -a(o) + c(o). Let r(f) = 4*f + 17. Let b(v) = -r(v) + 6*x(v). What is the tens digit of b(-8)? 2 Let k(i) = -2*i**2 + 6*i - 1. Let y be k(5). Let s = -20 - y. What is the units digit of s? 1 Let d(h) = 433*h + 25. What is the tens digit of d(2)? 9 Suppose 43*k - 37191 = 10*k. What is the tens digit of k? 2 Let o = 2 - 4. Suppose -4*f + 24 = -0*f. What is the units digit of (-2)/3*f*o? 8 Let x be (112/(-24) - -7) + (-2)/(-3). What is the units digit of x/(1145/(-290) + 4)? 8 Let t be 1248/20 - (2 - (-16)/(-10)). Let r = t + -33. What is the tens digit of r? 2 Let p(s) = 2646*s**3 + s**2 - 1. Let r be p(1). Suppose 15*k - r = 444. What is the hundreds digit of k? 2 Suppose -6*r + 9*r - 9 = 0. Suppose -r*a - 16 = -4*a. Suppose 10*f - a = 9*f. What is the tens digit of f? 1 Let d(l) = 2*l**3 - 9*l**2 - 3*l + 24. What is the tens digit of d(7)? 4 Let m = 7 - -56. Suppose 8*w = 33 + m. What is the tens digit of w? 1 Suppose 5*o - 10 = -2*z, 6*z - o - 49 = 3*z. Let v = z - 19. What is the tens digit of 9/((-12)/v) + 44? 4 Let k(a) = 10*a + 6. Suppose -5*h + 4*v + 4 = -26, 0 = 2*v. What is the units digit of k(h)? 6 Let z be ((-45)/(-12))/(-4 - 83/(-20)). What is the units digit of z/(8 + -3) + 0 + -1? 4 Let f = 2235 - 1559. What is the tens digit of f? 7 Let m(x) = -12*x - 27. Let c be m(-24). Suppose -6*s + c = -3*s. What is the tens digit of s? 8 Let w(c) = -c**3 - 18*c**2 - 17*c - 15. Let t(p) = 3*p**3 + 53*p**2 + 50*p + 44. Let x(l) = 4*t(l) + 11*w(l). Let s = 76 - 89. What is the tens digit of x(s)? 1 What is the tens digit of ((-11)/1)/((-13)/5499)? 5 Let o = 15 + -13. Let y be (9/6)/((-1)/o). What is the tens digit of y/((-9)/60 + 0)? 2 Let w = 505 - 251. What is the tens digit of w? 5 Let a(g) = -g + 15. Let t = 22 - 11. Let r be a(t). Suppose -r*m = 3*l - 122, 5*l + 2*m - 166 = l. What is the tens digit of l? 4 Let t(g) = 4*g + 7. Let r be (-4)/(-1) + (-10 - -9). Suppose 35 = 2*p + r*p. What is the tens digit of t(p)? 3 Let r(t) = -t**2 + 7*t + 2. Let l be r(7). Let n = 9 - l. Suppose n*y - 2 - 5 = 0. What is the units digit of y? 1 Suppose 0 = 2*s + 4*z + 1572, 5*s - 4*z = -2*z - 3942. What is the units digit of (-3)/(24/s) + 1/2? 9 Let x = 618 - -1094. What is the tens digit of x? 1 Suppose -7*h = -12*h + 25. Let o = -18 - h. Let z = 59 + o. What is the units digit of z? 6 Suppose 2*r = 18 - 8. Suppose 0 = -h + 4*o + 94, 0 = r*h + 5*o - 3*o - 470. What is the tens digit of h? 9 Let w(c) be the second derivative of -3*c**3 + 3*c**2/2 - 4*c. Let h be w(-5). Let t = h - 59. What is the tens digit of t? 3 Let c(s) be the second derivative of s**4/6 - s**3/6 + s**2 + 10*s. What is the units digit of c(5)? 7 Let v(m) = 5*m + 1. Let u(b) = -9*b - 3. Let l(n) = -3*u(n) - 5*v(n). Let p be l(8). Suppose 3*x - 7*x + p = 0. What is the units digit of x? 5 Suppose -2*p + 2*s - 4*s = -10, -2*s - 2 = 0. Let c be 9*-1*p/9. Let g = 21 + c. What is the units digit of g? 5 Suppose 4 - 13 = -3*s. Suppose v = 5*i + 51, 0 = -s*v - v - 5*i + 229. What is the tens digit of v? 5 Let y = -12 - -17. Suppose -225 = -2*l - 0*l - y*w, l - 5*w - 150 = 0. Suppose 5*p - 150 = 6*m - m, 3*m = 4*p - l. What is the tens digit of p? 3 Suppose 0 = -2*k - 0*k - 18. Let j(s) = 13*s + 23. Let z(h) = 7*h + 11. Let r(l) = -4*j(l) + 7*z(l). What is the tens digit of r(k)? 1 Suppose -2 = 3*f - 14. Suppose 504 = f*j - 700. What is the hundreds digit of j? 3 Let m(y) = -y**2 - 10*y + 3. Let f be m(-10). Suppose r - 8 = -f*r. Suppose -c + 42 = r*c. What is the units digit of c? 4 Let s be 24/(-9)*(-15)/2. Suppose 4*d + 4 - s = 0. Suppose 0*z + 4*z = p, 4*z + 12 = d*p. What is the units digit of z? 1 Suppose 1800 = -9*a + 12141. What is the units digit of a? 9 Let f = 376 - 264. Let t = f + -73. What is the units digit of t? 9 Suppose -208 = -2*i + 1058. What is the tens digit of i? 3 Let o = -1 + -129. Let v = 49 + o. What is the units digit of (-2)/(1 - v/(-75))? 5 Let q be 4 + 4/(-4)*1. What is the units digit of ((-28)/q)/((-4)/6) - -1? 5 Suppose -5*h + 49 = -16. Let m = h + -17. Let b(z) = 3*z**2 + 4*z + 10. What is the units digit of b(m)? 2 Suppose -109*i + 105*i + 3036 = 0. What is the units digit of i? 9 Let n = -30 - -32. Suppose 4*z - n*g + 7*g = 11, 0 = z - 5*g - 9. Suppose 6 = 2*r - z*r, -m + 2*r + 50 = 0. What is the tens digit of m? 4 Suppose -1 = -w + o, 1 = -w - 3*o + 2. Let b = 7 + w. Suppose -3*f - f + b = 0. What is the units digit of f? 2 Let c(f) = -f**3 - 2*f**2 - f - 3. Let m be 6*(3 - 4/12). Let j = m + -19. What is the units digit of c(j)? 9 Suppose 8*x + 335 - 2119 = 0. What is the tens digit of x? 2 Let z(g) = g**2 + 3*g + 9. Suppose -2*y = -5*y - 5*c - 23, -4*y - 23 = -c. What is the units digit of z(y)? 7 What is the hundreds digit of ((-215754)/378 + (-2)/9)*-7? 9 Let u(x) = -x**3 + 6*x**2 + 25*x - 10. Let g be (38 + -24)*((-6)/(-4) + -1). What is the units digit of u(g)? 6 Let v be 0/(2/(-4)*4). Suppose u - 6*u = v. Suppose -68 = -4*g - a, -2*g = -u*g - a - 34. What is the tens digit of g? 1 Let f(y) = y**2 + 3*y - 6. Let r be f(5). Let p(a)

Wednesday Poem: A Trenta-Sei of Mixed Feelings at the Early Onset of Winter~ Maryann Corbett As the first flakes are caught in streetlight-glimmer, you gasp: Lovely! Your gasping throat still raw, the truth grips like catarrh: a Midwest winter beautiful? Like a left hook to the jaw, the knuckled, scraping wait for spring’s mud-brown. You bend your mind to months of hunkering down. You gasp. Lovely? Your gasping throat still raw, outward you bound to boisterous winter sports! Thrill to the wind chill! (When will the fingers thaw?) Joy! when the frozen stiffs stagger indoors! (And what in this routine vaguely recalls old saws that feature banging, and heads, and walls?) The truth grips like catarrh: a Midwest winter makes short work of its fairy tale. Snow-white soils itself on plows. Ice-daggers splinter, murder-minding the pavement. Ice-dams blight cold attics. Traffic slogs and spins awry. The bus slings up a wad of slush at an eye. Unbeautiful. Like a left hook to the jaw— except those fugitive seconds of pure peace: Silence of evening shoveling, when you saw that famous moonlight. Snow sculpting the trees. Benches, fences slathered like wedding cakes. Streetlights. Indigo dark, and the clean flakes. The knuckled, scraping wait for spring’s mud-brown craves every beauty bagged in the tangled mind for cold-comfort. Sucks the marrowbone of song. Tongues at old poems jarred and brined like olives. Hears the orchard, shiver-thinned, keen to itself: the sweep of easy wind…. You bend your mind to months of hunkering down: You load the chafing dish. You light the sterno. You heat the buttered rum. You cannot drown your memory of those stanzas from the Inferno at the tale-end of the terza rima spell where Hell is cold. Where cold is the heart of Hell. Welcome everyone to my blog! My name is Cate and I recently decided that, rather than keep my reviews of books I’ve read limited to one medium, I would create a blog for every book lover to access on the internet. Why? Well, because I love to read and also because I want to help out authors by giving their books a spotlight on my blog, and possibly help them reach a wider audience. So take a look around and enjoy yourself!

There is a famous song about the man who has just scorched Manchester City’s hopes of a quadruple. And in the closing moments here it is doubtful if “Will Grigg’s on fire” has ever reverberated around this stadium with greater noise and fervour. City were on their way out of the FA Cup and once again it was Wigan – little, patronised Wigan – who had left the most expensively assembled group of players in English football history on their knees. Wigan’s shock win over Manchester City sparks angry scenes at DW Stadium Read more They will cherish Will Grigg’s breakaway, 79th-minute winner here with almost as much fondness as that never-forgotten moment when Ben Watson’s header in the 2013 final gave Wigan the greatest victory of their history. Grigg is now the leading scorer in the competition with seven goals and Wigan, having already beaten Bournemouth and West Ham, have become only the second team from outside the top two divisions to knock out three top-flight clubs in one FA Cup campaign since the second world war. Southampton are next in the quarter-finals. That made it a wretched night of humiliation for City and Pep Guardiola, one imagines, will not take any consolation from the fact he had repeatedly warned everyone he did not think it possible to win four trophies in one season. City have a 16-point lead at the top of the Premier League and are virtually guaranteed a place in the Champions League quarter-finals, with the Carabao Cup final against Arsenal on Sunday. Yet their manager looked almost as frazzled at the end as Roberto Mancini had at Wembley five years ago. The only downside of a glorious night for the third-placed team in League One came after the final whistle when Sergio Agüero, swapping shirts with Chey Dunkley, was goaded and attacked by a Wigan fan before losing the plot and trying to go after the aggressor. Agüero had to be chaperoned away, with Dunkley trying to stop it getting out of hand, and when hundreds of pitch invaders started goading the away fans it was almost inevitable there would be a reaction. Police reinforcements had to be called as things quickly escalated. Missiles were thrown by both sets of fans and City’s supporters could also be seen pulling down the advertising boards to hurl them on the pitch. The Football Association is bound to investigate and it is also possible City will face disciplinary action because of the way their players crowded round the referee, Anthony Taylor, to remonstrate after Fabian Delph’s red card late in the first half. As Paul Cook, the Wigan manager, pointed out afterwards, Delph’s dismissal made a considerable difference and Taylor did not help himself by initially pulling out a yellow card. Pep Guardiola’s gamble backfires and Wigan complete unlikely FA Cup hat-trick | Paul Wilson Read more Something clearly changed his mind about the severity of Delph’s flying challenge on Max Power. It was a strange set of events, to say the least, and Delph’s team-mates were probably entitled to suspect the referee had been influenced by the reaction of the Wigan players. Guardiola insisted afterwards that he agreed with the sending-off although his reaction at half-time, when he confronted Taylor in the tunnel, and another angry outburst afterwards indicated those might not have been his true feelings. Neither he nor Cook wanted to discuss the argy-bargy in the tunnel at half-time. Yet Cook, his voice hoarse with emotion, had a nice line when he was asked to describe the nerve-shredding moments when City poured forward in search of a late equaliser. “Shut your eyes and pray,” the victorious manager explained. Play Video 1:14 Pep Guardiola backs his Manchester City players despite FA Cup loss at Wigan – video In many ways this was actually a greater shock than 2013 bearing in mind Wigan, now two divisions lower, had also lost their most creative player, Nick Powell, to a first-half injury. Yet even when the two sides had equal numbers City had looked strangely out of sorts inside a ground where the advertising boards promote Uncle Joe’s mint balls and Ribble Farm fruit and vegetables. City always look more vulnerable when Claudio Bravo is in goal. Danilo, selected ahead of Kyle Walker at right-back, was particularly accident-prone and Wigan must have been encouraged by the space when they did venture forward. Wigan Athletic v Manchester City: FA Cup fifth round – as it happened Read more Guardiola had given Ederson, Raheem Sterling and Nicolás Otamendi the night off, with Kevin De Bruyne restricted to a substitute’s appearance, but City still had enough mega-money signings on the pitch to have done much better. Their two centre-backs alone cost well in excess of £100m and it was noticeable that Guardiola did not defend Delph for what was a silly and risky challenge. For his troubles Delph will be suspended from Sunday’s trip to Wembley. Cook had joked beforehand that he was applying for special permission to field 14 players. As it turned out, his side had the numerical advantage through unforeseen circumstances. Wigan still had to defend for their lives and for long spells City’s 10 men still dictated the pace and tempo in the second half, with Danilo and Walker often playing as auxiliary wingers. But then the ball was aimed through the inside-left channel and Walker, a half-time substitute, did not react quickly enough. Grigg still had a lot of ground to cover before he was inside the penalty area but he took his shot early, Bravo never likes having to dive and Wigan, incredibly, had done it again.

Q: Object position (line, column) in XML after deserialization .NET How can I get position in the original xml file of an xml tag after deserialization into a .NET object using XmlSerializer ? Here is an example XML <ArrayOfAddressDetails> <AddressDetails> <Number>4</Number> <Street>ABC</Street> <CityName>Bern</CityName> </AddressDetails> <AddressDetails> <Number>3</Number> <Street>ABCD</Street> <CityName>Prague</CityName> </AddressDetails> </ArrayOfAddressDetails> XMLto C# object mapping [XmlRoot("Root")] public class AddressDetails { [XmlElement("Number")] public int HouseNo; [XmlElement("Street")] public string StreetName; [XmlElement("CityName")] public string City; } Desired result XmlSerializer serializer = new XmlSerializer(typeof(List<AddressDetails>)); var list = serializer.Deserialize(@"C:\Xml.txt") as List<AddressDetails>; // this is what I would like to do // getting information to origin of the property City of the 2nd object in the list var position = XmlSerializerHelper.GetPosition(o => list[1].City, @"C:\Xml.txt"); // should print "starts line=10, column=8" Console.WriteLine("starts line={0}, column={1}", position.Start.Line, position.Start.Column); // should print "ends line=10, column=35" Console.WriteLine("ends line={0}, column={1}", position.End.Line, position.Start.Column); // should print "type=XmlElement, name=CityName, value=Prague" Console.WriteLine("xml info type={0}, name={1}, value={2}", position.Type, position.Name, position.Value); A: Another, more simple approach: Let the deserializer do the work. Add LineInfo and LinePosition properties to all classes for which you would like to have position information: [XmlRoot("Root")] public class AddressDetails { [XmlAttribute] public int LineNumber { get; set; } [XmlAttribute] public int LinePosition { get; set; } ... } This of course can be done by subclassing. Load an XDocument with LoadOptions.SetLineInfo. Add LineInfo and LinePosition attributes to all elements: foreach (var element in xdoc.Descendants()) { var li = (IXmlLineInfo) element; element.SetAttributeValue("LineNumber", li.LineNumber); element.SetAttributeValue("LinePosition", li.LinePosition); } Deserializing will populate LineInfo and LinePosition. Cons: Line information only for elements that are deserialized as class, not for simple elements, not for attributes. Need to add attributes to all classes.