The Trojan Marching Band, led by its Trojan warrior in full regalia, led hundreds into the medieval Tuscan village.

You know, the type of medieval village with a Starbucks, Trader Joe’s and lodging for 2,500 students.

“Let’s follow them!” a woman shouted from the crowd.

USC Village, the university’s massive development at the corner of Hoover Street and Jefferson Boulevard, officially opened to the Trojan community Thursday on the same day as the annual new-student convocation.

Not only is it the largest development in the university’s history, it’s also the largest South Los Angeles has ever seen, university President C. L. Max Nikias said.

USC Village has an underground drain system to reduce runoff into the city sewage system. (USC Photo/Gus Ruelas) For the environment, too USC Village was developed with sustainability and the environment in mind: STORMWATER USC Village’s stormwater collection system is designed to catch and clean 198,000 gallons during a downpour, then return the water to the aquifer. TREES Shading USC Village are 390 evergreen and native species trees, including camphor, oak and arbutus (marina strawberry tree). CONSTRUCTION SIGNS The vinyl banners hanging on the fences during construction are being upcycled into limited-edition souvenir wallets and totes.

“This project has been a labor of love for all of us,” Nikias said. “We built this village to show our enduring commitment to our exceptional students and our beloved neighbors.”

Making its mark

With six buildings spread over 15 acres, the $700 million project increases the university’s University Park footprint by nearly a third. Residential college suites are on the upper floors, with retail on the ground level. There’s also an A-framed dining hall, with custom stained-glass windows and gothic-style seating.

“I think it’s truly amazing. It’s brand-new and we’re the first ones to experience that,” said Shane Mitchell, a sophomore studying political science. “We went to Target and lines were out the door.”

Mitchell and his friends were excited about the new retailers. There will be 25 in all, the majority of which are restaurants, such as Greenleaf Gourmet Chopshop, The Baked Bear and a couple with celebrity ties, such as Trejo’s Tacos and Wahlburgers.

“I hope Marky Mark comes for the grand opening [of Wahlburgers],” junior Vrej Hamayam said of the rapper-turned-actor-turned-restaurateur.

The crowd was also in awe of the housing. “It’s like a resort,” Mitchell said.

The residences are in suite style — most come with a kitchen — and feature shared common areas, including outdoor lounges where students can study al fresco or just look down at the Central Piazza below. There’s also a 30,000 square-foot fitness center.

A major commitment

The investment shows USC’s embrace of on-campus living as an integral part of the educational experience. That was also evident last year, with the kickoff of new residential housing crests and the inaugural Residential College Cup, competitions throughout the year that build camaraderie.

“It’s a rare opportunity I think for a university. It’s nice they invest in their students,” said Katia Ellati, a junior, noting how convenient the village is. “It’s cool that the people around us, not just the students, get to use it. It’s bringing the community together.”

Besides being a boon for the Trojan community, it will benefit South Los Angeles as well, said Councilman Curren Price. He represents L.A.’s 9th district, which includes USC.

Many of USC Village’s retailers are touching down in South L.A. for the first time, including Trader Joe’s, Target and trendy Sunset Boulevard eatery The Butcher, The Baker, The Cappuccino Maker.

“Thank you for understanding the key to the future of this university is in its connection to its neighborhood,” said Antonio Villaraigosa, who was Los Angeles mayor when the project was approved.

To support local residents, USC is giving the city $20 million toward affordable housing nearby and built a $16 million firehouse down the street. During construction, more than 20 percent of the workers lived within five miles of the site and the Village will offer about 800 jobs. There’s also a community room that will be open to the public for local programming and events.

Besides the plethora of things to do at the Village, there’s also a new photo opp, which might give Tommy Trojan a run for his money.

A 20-foot-tall bronze statue of Hecuba, Queen of Troy, was revealed to fanfare, with cardinal and gold streamers falling through the air. At her base is a tribute to diversity and the studies of various disciplines.

“I thought it was amazing, especially because she’s a woman,” Ellati said.

Her friend sophomore Lauren Young added, “It’s showing the true diversity of USC.”

More stories about: Campaign for USC, Construction, USC Village, Welcome Week 2017


Thursday is “Heterosexual Pride Day,” and people on social media are celebrating the fact they are attracted to members of the opposite sex.

People on Twitter have been spreading plenty of joy on Twitter, and they’re refusing to give into anybody attempting to silence their pride. (SLIDESHOW: 72 Times Sara Underwood Went Topl ess)

Now, it’s unclear if there will be any straight pride parades in America. However, it’s not time to worry yet because there is plenty of celebration online.

At long last, I can be accepted by society for being straight. #HeterosexualPrideDay — neen (@the_ns) June 29, 2017

Lots of heterophobia on twitter today from #HeterosexualPrideDay being the top trend. Liberals hate everything that’s normal. — Mark Dice (@MarkDice) June 29, 2017

#HeterosexualPrideDay

Homo: I’m proud 2 b gay!

Twitter: love is love. Have pride. Etc

Hetero: I’m proud 2 b straight!

Twitter: Homophobe!! — Some punk (@StratBrat97) June 29, 2017

Look at all the mentally ill people on Twitter hating on #HeterosexualPrideDay being the top trend — Mark Dice (@MarkDice) June 29, 2017

Why are people upset about #HeterosexualPrideDay ? So I’m not allowed to be proud of who I am but you are? Selfish much? — Deplorable Melissa (@sweetatertot2) June 29, 2017

As a gay man, I’m all for #HeterosexualPrideDay It’s about equality, not special treatment. Everyone should have pride in who they are! — Josh (@JoshNoneYaBiz) June 29, 2017

Now everybody can sit back and wait for the inevitable backlash to “HeterosexualPrideDay” trending on Twitter.

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"BELLE AND SEBASTIAN THE ADVENTURE CONTINUES" "SAINT MARTIN, SEPTEMBER 1945" "Victoria, your cookies!" "Straight home after class." "Homework comes first!" "Come on, Octave!" "Hurry!" "Get a move on!" "We can go in now." "In you go!" "That's right, all together." "Hurry." "You can play later." "Young ladies?" " Hello, Mr Mayor!" " Yes, hello!" "Go on in!" "Right away, sir." "The holidays can't come soon enough." "Boys, to your seats!" " Octave?" " Here." " Marguerite?" " Here." " Philippe?" " Here." "Sebastian?" "Has anyone seen Sebastian?" "No." "Come on, Belle!" "You're gonna love this!" "There's plenty of room." "Don't be such a chicken!" "Sit tight and hang on." "OK, Belle?" "3, 2, 1..." "Here we go!" "Come on, Belle!" "Follow me!" " Careful, son!" " Slow down!" " Hey, kid!" " Follow me!" "Come on!" "Belle, hurry!" "It's going too fast!" "Told you you'd love it!" "Thanks, Belle, you saved me." "Where'd I put them?" "Honestly!" "Where on earth are they?" "Will Angelina be wearing her war medal?" "In her letter, she says a general gave it to her." "A general!" "Sure." "How many times do I have to tell you?" "Not a war medal, a Resistance medal." "Same difference." "Help me find my shoes, will you?" "Will she have a machine gun?" "Soldiers do." "They have rifles." "And I told you, Angelina isn't a soldier." "Belle, please!" "Maybe she killed Germans." "Look..." "If she sees the chalet like this, she'll kill us." "I was sure I put them there." "Please, help me." "Hold on, I'm almost done." " Double L in 'welcome'?" " Silly!" "It's double M." "Don't you learn anything at school?" "Thanks, Belle." "In a hurry?" "More than a hurry." "Is that for your son?" "Kind of." "I bet it's a toy car." "A Fiat 500 Topolino." "Red, hand painted." " How did you guess?" " We all bought the same." "I hope he'll like it." "I haven't seen him for two years." "You won't recognise him." "Recognise him, no problem." "But me, that's another issue." "Strap yourselves in!" "One engine down." "I repeat, one engine down." "You have to dress up for Angelina." "Come on, Belle." "Come on!" "Cesar, do you think she will let me wear her military medal?" " Not a chance, it's for me." " Stop it!" "Resistance medal!" "As I keep telling you." "You're so stubborn!" "Here she comes!" "It's Angelina!" "She's here!" "She's not here." "Shut the door, please." "Where is she?" "Go on." "César!" "Wait here." "What do you want?" "The Ministry called." "Which Ministry?" "What are you talking about?" "WELCOMME HOMME" "That's all I know." "The Prefect talked to the fire chief." "The plane crash started a forest fire." "They searched all over." "They did all they could." "There are no survivors." "I'm sorry." "The body?" "The plane went up in smoke." "There are no bodies." "There's always a body." "César..." "It's hopeless." "I'm sure she's not dead." "Have you ever seen a plane crash?" "And you?" "Have you ever seen one?" "The firemen saw burning wreckage." "And turned back." "What else could they do?" "They could search until they find something." "All right, we take twenty men and search the forest." "While it burns?" "We'd have to turn back too." "No, we need to fly over the crash zone." "You'll ask you-know-who?" "No, not that creep." "But he has a plane." "Yes." "Sure, but he's a creep." "Truth is, the thought of telling Sebastian scares you." " He's too young." " He'll be ten soon!" "The kid has a right to know." "You-know-who, too." "Who's you-know-who?" "I'll be going." "Who's you-know-who?" "We're going to find Angelina." "No body means there's hope." "Who's you-know-who?" "Your mother was wearing this when she died." "When you were born," "I put you on her chest to feel her heat." "Your tiny hand grabbed hold of her necklace." "She smiled at you..." "She glanced at me and..." "I never found out where she was from." "Pierre Marceau." "Marceau." "Pierre Marceau." "You-know-who." "Your father." "I planned to tell you, as soon as you could understand." "Understand what?" "A man whose pregnant wife roams the hills in winter can't be a good guy." "Now we need him." "He's a pilot." "Only he can help us find Angelina." "Sebastian Marceau?" "That's a terrible name." "He never even tried to find me." "For sure, a man whose pregnant wife roams the hills in winter can't be a good guy." "Come on, we'll bring her back." "Here goes." "Pierre Marceau?" "No, just his mechanic." " We want Pierre Marceau." " Here he comes." "What's up?" "You won't leave me with him, will you?" "Take a good look at me." "When he finds out, maybe he'll want to keep me." "And what will you say?" "I'll say I need help to repair the roof and shear the sheep." "I won't let my best worker walk out on me." "Look... we don't have to tell him everything, just about Angelina, and see what he's like," "then we decide." "All right?" "You're right." "We don't have to tell him." " We'll tell him, just not yet." " Exactly." "You dozed off?" "I called in 15 times!" "Blame the radio, not me." " The Flathead screws?" " I welded them." "You did?" "I guess I'll re-weld them." "I guess so." "Let's go." "And the carburettor's belching smoke." "What's that thing?" " A dog." " That's a bear." "Get rid of it, I hate dogs." "She doesn't bite." "No kidding?" "Tie her up anyway." "Here, Belle." "I see this isn't a good time." " But we need you." " Who sent you?" " Nobody." " Nobody didn't tell you I'm busy?" "Put this in the barn." "Manu will stop by tonight." "My niece went missing two days ago in a plane crash near the Italian border." "My condolences." "We haven't got all day!" "It was a military plane." "The army has given up." "Look..." "Only you can help us." "Listen, Granddad, I don't think you get it." "It'll take you at most one half-day." "If you get off the ground." "Pardon me?" "French pilot, German machinery." "The best single-engine in Europe." "The Americans have nothing like it." "People pay good money just to sit in it." "I bet." "Is that a yes?" "You pay the fuel." " When do we leave?" " "We" don't." "No passengers." "I'm allergic to dog hairs." "Tie up the grizzly." "Don't trust him!" "He won't let us go with him." "Sebastian..." "He won't look for Angelina." " He just wants your money." " You're angry." "I'm not angry!" "Disappointed, then." "Only he can help us." "Watch out for your dog!" "Hold onto it while he takes off." "Belle?" "Sebastian?" "Sebastian!" "Sebastian!" "Sebastian!" " On the plane with the dog." " What?" "Get on the radio!" "Call him!" "Keep calm." "Keep calm." "We're safe here, it's OK." "Look, we're flying!" "The boy's on the plane!" "This is Louis." "Do you read me?" "Pierre, the boy..." " Louis?" " You read me?" " Yes, Louis." " Pierre..." "I can't hear a thing." " What?" " No reception." " I can't hear you!" " Do you read me?" "I repeat, the boy and dog are aboard." "That's Angelina's plane." "Yikes!" "See that?" "Orange smoke!" "It's not the forest fire." "It must be Angelina!" "What's he doing?" "Where's he going?" "Wait!" "Turn back!" "I saw smoke!" " Are you nuts?" " It's Angelina!" " Sit down!" "Hold the dog!" " Turn back!" "I give the orders here!" "Sit down and hold your dog!" " I saw orange smoke!" " Sit down!" "Please, listen!" " Unbelievable!" " Please!" " It's her!" " Let go!" " Let go!" " Turn back!" " I saw it!" " Stop!" "I saw it!" "She's alive!" " We gotta go back!" " Let go!" "Do as I say!" "Get off!" " Get off me!" " Let go, Belle!" "Let him go!" "MOVE!" "Shit!" "Damn mutt!" "No!" "No way!" "Where's the wheel?" "It's all right." "Look, grass." "We've landed." ""It's all right"?" "Who takes a dog on a plane?" "You didn't look for Angelina." "You whizzed past." "You're kidding me!" "You're a calamity!" "You nearly killed us all!" "How do we get home?" "Look!" "In the middle of nowhere!" "You still didn't look for her." "Louis, this is Pierre." "Can you hear me?" "Louis?" "Can you hear me?" "Listen..." "The kid's with me." "Thanks to him, we've crash-landed..." "Pierre, your coordinates?" "Are you reading me?" "He can't hear us." "After crash... near a lake." "North-north-west of zone." "What did he say?" "North-north-west?" "Best plane in Europe?" "Ask if he saw Angelina's plane!" " Angelina's plane!" " Where..." "I had a bad feeling about today." "Really bad." "It could be here." "He mentioned a lake, maybe that one." "What are you doing?" "Italy is two days' walk." "Three, tops." " You wanna go on foot?" " I won't abandon Sebastian." "What are you waiting for?" " I'm coming too?" " Don't expect me to fix the plane." "What are you waiting for?" "Let's go." "Sure, there's a hotel down the road." "That sells landing gear." "Lucky us!" "Let's go find Angelina." "I saw..." "Orange smoke, I know." "I'm not deaf." "It came from up there." "Why would she be up there?" "Tell me, if you're so smart." "I don't know." "For protection?" "Listen up." "We go nowhere until my plane is fixed." "Can you get that into your head?" "César paid and you did nothing." "You're not a real pilot." "Just a thief." "You're lucky you're a kid!" "I'll pretend I didn't hear that." "Come on, Belle." "Let's go." "Good riddance." "You'll be back in an hour, whining like a girl." "We don't need him anyway." "He's useless." "We did right, not to tell him he's my father." "Damn it!" "In any case, we don't need him." "We don't need him." "We don't need him." "Screw it!" "Sebastian!" "Sebastian!" "OK..." "Smart-ass, aren't you?" "Cep mushrooms." "Honestly, she doesn't bite." "So what's that?" "Well, she doesn't usually bite." "Even so." "I'd rather you tied her up." "She hates being tied up." "Because when she was little, her owner hurt her." "So it scares her now." "How am I supposed to know that?" "Why don't you like dogs?" "They don't like me." "And can you explain that?" "Look... your granddad paid me to fly over the zone." " And I did." " Not long enough." "OK..." "Know what?" "We'll check out your orange smoke." "So you see I'm right." "Then home." "Got it?" "From now on, I give the orders!" "Is that clear?" "I won't tie her up." "Keep cool." "I take it back." "I bet you're a great mutt." "When I say mutt, you know what I mean." "There you go." "Good doggie." "And tighten those Flathead screws or we can't take off." "My plane is the best single-thingy in Europe." "And you the world's best mechanic." "From now on, I give tho orders. is that clear?" "How about I do it?" " That way." " Sure?" "Positive." "If you go getting us lost..." "César says you can survive ten days in the forest." "If César says so." "How long do you think Angelina can survive?" "I don't know." "I was born in the snow and I didn't even die!" " Born in the snow?" " César found me at Grand Baou." " He's not your real granddad?" " No." "Where's your mother?" "She's dead." "And your father?" "I don't have a father." "OK." "So Angelina's kind of your mum?" "No, Angelina's Angelina." "That's why I know she's not dead." "If you say so." "I know what you're thinking, but you don't know her." "César says she's pig-headed!" "I think she killed Krauts in the war." "Killing Krauts changes everything." " What about you?" "During the war?" " I didn't kill Krauts." " I stole their crate." " Their what?" "MY plane." "I was a POW, I escaped with it." " You escaped?" " Yes." "But I didn't kill any Krauts." "Here..." "I bet César's never seen that." " What is it?" " Chewing gum." "Chewing what?" "Chewing gum." "An American gave it to me." "America's way out west." "You get there by boat." "Whatever you do, don't swallow it." "Look..." "And another..." "OK?" "You like chewing gum?" "César says water makes you rust inside." "That's why he doesn't wash very often." "Let's go, Belle." "Let me see that." "Who did you steal it from?" "I didn't steal it." "Don't lie to me!" "Where did you get this?" "I'm not lying." "It's mine!" "You know the name on the medallion?" "Pierre Marceau." "It was my baptism medallion." "I gave it to Lisa." "Where'd you get it?" "It was my mother's." "Your mother's?" "You told me she was dead." "On Saint Sebastian's day." "Ten years ago." "What's that in your legs?" "Marshmallow?" "36 hours we've been walking." "Without a break." "Can't we stop for the night, at least?" "A kid lost out here, with you-know-who..." "We walk until we find him." " No way!" " Waiting for the Flood?" "We need to talk." "What's up, Belle?" "Sebastian, listen!" "She'll come back!" " There's something wrong!" " This is important." " Belle, wait for me!" " Come back here!" " I said, come back!" " Wait, Belle!" "I don't believe this." " Come here!" " Belle!" " Help!" " Belle!" "Wait for me!" " Help!" " Belle, wait!" "Help!" " Belle!" " Quiet!" "Watch out!" " Belle!" " No!" "No!" "Sebastian!" "Bravo, Belle!" "You're the best!" "You scared him to death!" "Never again!" "Never!" "When I say, stay with me, you stay with me!" " You'll get yourself killed." " Stop yelling!" "ls that all you can do?" "And you, besides being a pest?" "What can you do?" " All right?" "Not hurt?" " It's the fire." "It drove the bear crazy." "Thank you." "Thanks a lot." " You're the best." " Her name's Belle." "And mine's Gabriele." "Italian." " I'm Sebastian." " Where are your parents?" "Back there, with the firemen." "Firemen?" "They'll help us find Angelina." "Come on, Belle!" "Hey!" "Our stuff?" "How did you climb up so high?" "It's my job, I'm a lumberjack." " A lumberjack'?" "You?" " Sure, I am." "My father got shot in the leg in the war." "So now, I climb the trees." "I earn more than all the other lumberjacks." "And you're not scared?" "Nothing scares me." "I'm Italian." "César says the Krauts are swine." "But Italians, not so sure." "Know what my father says?" "If he finds the Frenchman who put a bullet in his leg, he'll snap him in two." "You didn't take a pot-shot at my dad, did you?" "You should see your face!" " This way?" " Yes, let's go." "Your aunt's plane crashed near our camp." "Are there any survivors?" "I don't know, the camp's full of refugees." "Did you hear that, Belle?" "Watch out!" "Come on, this way." "Coming?" " All right?" " Yes." "Marcel?" "Marcel, can we talk?" "Marcel..." "We've been sitting here for two days." "My lumberjacks can't wait for it to rain." "You don't understand." "Until the fire is under control..." "I'm sick of hearing the same thing!" " My boys need to work." " That's my father." "Without my tools, we're stuck." "We need to get back to work." "You won't find them." "The fire's closing in." "You stay here." "And you?" "Where did you get to this morning?" "I looked all over." " I got attacked by a bear." " A bear!" "Don't tell tales!" "These guys saved me." " He's telling the truth." " He is?" "She rarely tells the truth." "You're a girl?" "The refugees' tent is this way." "Come on." "Come back!" "Gabriela!" "Are you really a girl?" "How come..." "What's your aunt look like?" "I haven't seen her for two years." "She's tall, blonde..." " Long hair?" " Yes." "There's a Frenchwoman with long blonde hair." "It's her." "I'm sure it's Angelina!" "Follow me." "Hear that?" "She's here!" "I knew it." "I knew it!" "Angelina!" "Angelina!" "My aunt was on that plane." "Let's go find her!" "Don't be silly." "She survived." "I saw orange smoke by the cliffs." "That's off limits." "It's too dangerous." " Sorry about him." "He's a bit..." " We have to rescue her right now!" " Come with me." "Let me explain." " Listen to your dad." "If the wind rises, the fire will trap you." "Come with me." "Sebastian..." "César should have told you..." "Angelina won't come back." "Why do you say that?" "That's horrible!" "She's dead." "Wrong." "You're wrong!" "Gabriela's father saw the plane crash." "He saw it in flames." "I'm sorry." "Liar." "You're all liars." "Look at me." "Look at me, Sebastian." "It's the truth." "You have to accept it." "César will tell you so." "I knew we couldn't trust you." "Just like you did with my mother, you'll abandon her." "We don't need these scaredy-cats." "We'll show him she's not dead." "Look, Angelina's scarf!" "Only you can track her down." "You remember the orange smoke?" "Angelina's over there!" "Go, Belle!" "Find her!" "Go on, Belle, find her!" "This is a restricted area!" " Go, Belle!" " Come back!" "Well played, Belle." "We lost them." " Where are you going?" " Let go!" " Hold still!" " It's too dangerous." "Run, Belle!" "Find Angelina!" "Come here, you!" "Let go of me!" "Let go of me!" "Calm down!" "It's for your own good." "It's hell!" "You'll fry in minutes." "What's this?" " Your son?" " Yes." " You're nuts!" "Keep an eye on him." " Sorry, leave him to me." " Where's your dog?" " What do you care?" "You hate dogs!" "You airhead!" "You have to stop this!" "I'm tired of it, so you obey me, got it?" "You're not my father!" "I hate you!" " Quit yelling!" " I'll yell if I want!" "Come here!" "Let go of me!" "Let go of me!" "Let go of me!" " Go ahead." " Thanks." "Let go of me!" "Let go of me!" "You're using the truck?" "No, we've unloaded it." "In we go!" " Keys, please." " Sure." "Let me out!" "You have no right!" "See, that's where this gets you!" "Open up!" "Just till he calms down." " Is there a problem?" " I didn't say a word." "I didn't know the kid two days ago." "You mean, he's not your son?" "Sure..." "He's my son." "It's complicated." "You were right." "Your dad's way stricter than mine." "He's not strict." "He's stupid!" "He doesn't get it." "I get it." "I'm sorry about your aunt." " Get me out of here!" " You idiot, not now." "Wait till it's dark." "You'll help me?" "Slow down, pipsqueak." "If Dad catches me, he'll kill me." "Why do you do that?" "Do what?" "Pretend to be a boy." "I'm not pretending." "The girls I know don't hide their hair." "Where you're from maybe, not here." "What's the difference?" "Lumberjacks are all men." "If you dress as a boy, you don't get any trouble." "What trouble?" " Later, pipsqueak." " I'm not a pipsqueak." "You're a pig-headed pipsqueak!" "I've never been friends with a girl." "Who says we're friends?" "You're doing it all wrong." "Not like that." "Push it in and turn." "Shut up, Mr Know-it-all." "Belle's been gone hours now." "Why not get the keys off one of the firemen?" "Firemen are as cagey as mice." "Shit!" "Told you so." " Does it hurt?" " What do you think?" "I'll smash the window with a rock." "Belle!" "My Belle!" "What happened?" "Did you find Angelina?" "I bet she did." "She's alive!" "Belle, shush!" "What's up, Belle?" "What is it?" " Let's tell your dad." " He won't believe us." "Hide, both of you!" "Quick!" "Hide!" "The saw!" "Go on, Belle!" "Hungry?" "I didn't abandon your mother." "I looked for her for months." "She lived in a gypsy camp near a farm where I worked." "We met up in secret." "Gypsies don't like guys taking their girls." "We had a plan to elope." "That day, she never came." "I went back to the gypsy camp." "It was deserted." "Everybody had gone." "So I looked for her." "For months." "Then I stopped believing in miracles." "She didn't tell me she was pregnant." "I know Angelina promised she'd be back." "Lisa promised me we'd never be parted." "But you see..." "In life, some promises, you can't keep." "Simple as that." "It's nobody's fault." "Let's get back to the plane." "OK." "But not just yet." "We can't go without Belle." "She'll be back." "I know she will." "Sit tight..." "I'll be right back." "My Belle." "I'm sure you've found Angelina." "Come on, you two." "The river goes to the caves." "It'll lake much longer." "Maybe, but we dodge the fire." "And the firemen." " If Dad catches me..." " He'll kill you." "You already said." "Like César, you think you're always right." "I am always right." "Go on, climb aboard." "My cap!" "Eat." "We set off again in 15 minutes." "It's OK, don't worry..." "Pierre will take good care of your grandson." " He doesn't look it, but..." " Sebastian doesn't worry me." "Same goes for the dog." "He just doesn't like them." "As a POW, guard dogs..." "The dog doesn't worry me." "Your niece then?" " Pierre will find her." " My niece doesn't worry me." "Who then?" "You." "Finish that cheese." "On an empty stomach, you'll slow me down." "Eat up!" "Hear that?" "What?" "That's just it." "No owls, no frogs, no nothing." "Pierre!" "Gabriela's missing." "Sebastian too." "The fire scares them." "Belle!" "She's right." "We have to go on foot." "Let's go!" "Dynamite?" "You're kidding me?" "Pierre!" "Pierre!" "Wait!" "My leg." " What?" " I can't do it." " You can!" " No." "Bring back my daughter." "She acts strong, but she's so young." "OK, I promise." "With the wind, the smoke hides the cliffs." "Go, Belle." "Find Angelina." "Go on, find her!" "She loses the scent in the smoke." "My compass got soaked." "It's busted." "What do we do?" "Over here!" "Climb!" " No way!" " You know where we're headed." "Climb up and look." "I can't climb with this." "Go on, climb!" "Hold onto the creeper." "Whatever you do, don't look down." "What?" "That's the secret." "Go on!" "It's too high for me." "You can make it." "I do it every day." "And I'm a girl!" "A girl?" "You must be joking." "Don't look down." "Never look down!" "Go on, keep going." "You're doing great." "See anything?" "I'm too low to see anything." "Go higher!" "Now do you see anything?" "That way." "It's not far!" "We have to go all the way around the fire." "Belle!" "Belle!" "Wait!" "You OK?" "Yeah." "Let's go." " No way through." " Over here!" "We're trapped!" "We have to turn back." "Through here." "Watch out!" "There's no way out." "It's all my fault." "No, don't worry." "For a boy, you climb trees well." "Sebastian!" "Sebastian!" "Sebastian!" "Your dad!" "This way!" "Over here!" "We're over here!" "Here!" " So stubborn." " Like my dad." "You OK?" "Don't worry, I'll get us out of here." "With dynamite?" "I saw the Yanks do it." "To open up a gap." "You learned how?" "I blew up a few bridges in the war." "It's like riding a bike." "You never forget." "In theory." "Here goes!" "Watch out!" "Hit the deck!" " Did it work?" " Yeah, let's go!" "Quickly!" "Come on!" "Go on, Belle." "Lead the way, we'll follow." "That orange smoke!" "See!" "Angelina!" " Angelina?" " Be careful." "This way." "Belle's found her." "Down there?" "Angelina?" "She must've slipped." "Angelina?" "Too deep to see anything." " What's going on?" " If you go down, who'll haul you up?" "You're right." "Let's rope you up." "Here..." "Angelina, here I come!" "Go on." "Be very careful." " OK?" " Yeah." "Keep the light on him." "OK?" "You see anything?" "She's here." "I can see her." "Angelina?" "Angelina, it's me." "Sebastian?" "It's me." "It is you." "It's really you." " OK down there?" " Pull us up!" "Here goes!" "Let's go!" "OK?" " OK?" " We're good." " OK." " OK." "Who's he?" " My dad." " Your dad?" "You have a dad?" " Later." " Come on, Gabriela!" "Nearly there." "Thanks, Belle." "You OK?" "She guided us here." "You're the best!" "Leave it to me." " We've gotta run!" " Not that way." "The fire will be sucked in." " Find another way out." " It's a dead end." "The smoke goes somewhere." "She's found it." "Never look down." "Move, pipsqueak." "You're really his father?" "Sure." "He even said you were dead." "No." " You're not his father?" " Sure." "But I never said you were dead." "Sebastian, move." "We're wasting time." "He obeys you?" "Yeah, when it suits him." "Faster, Belle." "Hurry, before we suffocate." "This way." "She's found it." "It's that way." "Belle will guide you." "Here..." "Hurry!" "Move it!" "Climb up!" "Come on, Sebastian!" "We're choking." "Faster!" "I can see daylight!" "Faster!" "We're nearly there." " Quickly!" " I'm choking!" "It's burning hot!" "I can't breathe!" "Sebastian, we didn't come all this way to stop now, did we?" "You'll have a story for César." "Go for it!" "Go!" "Hurry!" "Hurry!" "We're nearly there!" "Go, Sebastian." "Look!" "There!" "Sebastian!" "Faster!" "Move it!" "Hurry!" "Hurry!" "Pierre!" "Sebastian, watch out!" "Pierre?" "Where are you?" " Pierre!" " Pierre!" "Where is he?" "Pierre!" "Pierre!" "Dad!" "Over there, kids." "Go on!" " They let you go back to your camp?" " Yeah." "They put the fire out, but too late for us." "We're used to it." "We'll head south, find another spot..." " Other trees." " No Frenchmen." "And no Frenchmen." "On the tip there." " Lend a hand, guys." " Coming." "Angelina, Angelina." "Angelina, no, no, no..." "Let me!" "Do I have to beg you on my knees?" "Thank you, ma'am!" "Colpo di fulmine." " What's that mean?" " Head over hills." "You mean... head over heels?" "That's it." "Head over heels in love." "Don't be silly." "Here..." "This is to thank you." "She hates being tied up." "It's not a rope, stupido!" "It's a scarf." "A girl's scarf." "Sebastian, let's go!" "Well, goodbye then." "See you." "Come on, Belle." "Come on!" "We're nearly there." "Look, there's the lake." "That's Pierre!" "César!" "César!" " We've found Angelina!" " Sebastian!" " Where're they going?" " Back." "They're going back." " Back where?" " Home!" "Come on!" "Walking?" "Miss, I told you, they left four days ago." "What do they say?" "Hello?" "Miss?" "I told you, I won't hang up." "Hello?" "Say, the Italians gave you nothing to eat." "Their cheese isn't a patch on yours." "We'll feed you up, don't worry." "Where's Sebastian?" "You think she can see us?" "I don't know." "I think she's pleased." "I think you're right." "She's pleased." "I also think she doesn't want you to force me to go to school." "Or go to bed early." "Or wear a scarf when it's cold out." "Of course." "All of that, yes." "I have plans." "You have plans?" "Here we go..." "Two years away and she thinks she's Churchill." "If you don't like it, I'll go to the hotel." "Or move to London." "Do me a favour, don't go by plane." "I've better things to do than chase after you." "Head over heels." "What?" "Nothing." "Come on, Belle!" "Head over heels!" "Sebastian!" "I've missed you!"


Kathy Kraninger

Kathleen Laura Kraninger (born December 28, 1974) is a United States government official who is the Director of the Consumer Financial Protection Bureau (CFPB), having been confirmed in December 11, 2018. She previously worked in the White House Office of Management and Budget in the Trump administration.

She is a graduate of Marquette University, where she studied history and political science and earned her certification to teach high school social studies. After graduation from college, she taught as a Peace Corps volunteer in Ukraine, which redirected her professional career to government services. She has served since then in various US government offices.

Early life and education
Kraninger was born in Pittsburgh, Pennsylvania and raised in Chagrin Falls, Ohio. She attended Marquette University from 1993 to 1997. While attending college, she interned in the office of then-United States Representative Sherrod Brown. In 1997, she graduated magna cum laude from Marquette with a B.S. in political science and history. After college, she was a Peace Corps volunteer in Ukraine from September 1997 to November 1999.

After returning from Ukraine, she studied from 2003 to 2007 at Georgetown University Law Center, where she obtained her Juris Doctor attending law school at night while working during the day.

Career
Before being nominated as CFPB director, Kraninger worked in budget and national security matters for legislative and executive branch agencies.

Department of Homeland Security (2003–2009)

Kraninger served as a policy advisor to the United States Secretary of Homeland Security from 2003 to 2005. From 2006 to 2009 she served as a deputy assistant secretary in the office of screening coordination.

Legislative branch staff (2004–2006 and 2011–2017)

Kraninger worked as a legislative staffer for both the United States House of Representatives and the United States Senate. She served on the Senate Committee on Homeland Security and Governmental Affairs as a staffer from 2004 to 2006. She also worked as a staff member on the United States House of Representatives Committee on Appropriations from 2011 to 2013. From 2013 to 2017 she served as the Senate's Clerk on the Senate Appropriations Subcommittee for Homeland Security, which oversees the budget of the Department of Homeland Security.

Office of Management and Budget (2017–2018)

Kraninger served as an associate director in the Office of Management and Budget, overseeing general government. As an associate program director, she oversaw $250 billion in funding for seven cabinet departments and other federal agencies, including the United States Departments of Commerce, Homeland Security, Justice, Housing and Urban Development, and Treasury.

Consumer Financial Protection Bureau (2018–present)
On June 16, 2018, White House Deputy Press Secretary Lindsay Walters announced that President Donald Trump would nominate Kraninger as Director of the Consumer Financial Protection Bureau, a position then held by OMB Director Mick Mulvaney. Consumer groups and Senate conservatives criticized her nomination for her perceived lack of qualifications. Senator Elizabeth Warren threatened to block the nomination over Kraninger's alleged role in the Trump administration's "zero tolerance" policy, which drew criticism for separating migrant children from their parents at the U.S./Mexico border.  Kraninger was confirmed on December 6, 2018, in a 50–49 party-line vote.

Awards
In 2014, Marquette University awarded Kraninger its Young Alumna of the Year Award. In 2009 she was granted the Meritorious Public Service Award by the United States Coast Guard.

References

Category:1974 births
Category:Living people
Category:Marquette University alumni
Category:Peace Corps volunteers
Category:Georgetown University Law Center alumni
Category:Trump administration personnel
Category:People of the Consumer Financial Protection Bureau


A Food Waste Reduction Movement Gathers Steam

Americans today are paying closer attention to food waste, long a European concern. Helping them reduce that waste is an important new opportunity for food and restaurant brands. Like Ikea and EasyJet, who have made the spartan ethic trendy, food firms can make this an integral part of their brand story. It’s a welcome development given that Americans throw away between 30-40 percent of our edible food every year. Mainstream food brands need to rethink policy and get creative to drive both internal and consumer food-saving behaviors.

We all instinctively know that it is senseless to waste a perfectly good meal that could go into the mouths of the hungry. But there is also a hefty price tag for food waste to business and society. It has only recently been quantified: an estimated $165 billion per year. What’s more, every ounce of the estimated 33 million tons of food we don’t eat contributes far more than its weight in waste. According to the NRDC, getting food from the farm to our fork eats up 10 percent of the total U.S. energy budget, uses 50 percent of U.S. land, and soaks up 80 percent of all fresh water used in the United States. Uneaten food also ends up rotting in landfills where it accounts for a considerable portion of methane emissions that cause global warming. The EPA estimates that food waste has increased 50 percent since the 1970s.

The good news is that both corporations and consumers now have access to a growing number of initiatives making it easier to avoid waste—solutions that go from farm to store to fridge, and all the way through to trash. A few examples:

Farm auctions:CropMobster ensures that no farmer has to throw away unsold food. It links communities in need with local farmers, producers, and food purveyors who can quickly sell or donate excess produce.

Clever Food Service:Sodexo food service has begun operating more than 300 “trayless” cafeterias on college campuses, discouraging students from overloading their trays and thus resulting in a 30 percent reduction in food waste. Restaurant companies like Darden (Cheesecake Factory, Red Lobster) have put systems into place to distribute surplus food to soup kitchens throughout the country.

Fresher Fridge: FreshPaper by Fenugreen has launched a simple piece of paper infused with spices that organically keeps fruits and veggies fresh for 2-4 times longer. Designers there like Jihyun David are even looking at ways to create “food symbiosis” in your fridge: for example, putting apples which emit ethylene gas next to potatoes apparently prevents the latter from sprouting. And Google, in recognition of the fact that global queries for the word “leftovers” surged by one-third in comparison to last year, has collaborated with the British supermarket chain Sainsbury’s to launch Food Rescue. It’s a new app that lets people dictate up to nine ingredients into their smartphones and get recipe combinations that can utilize their leftover food.

Trash Power: A growing number of companies are monetizing even rotten food. Harvest Power has 40 plants across the North America that take food waste plus leaves and yard trimmings and through anaerobic digestion and composting transform them into renewable energy to power neighborhood homes. A fringe benefit: natural fertilizer that Harvest Power sells to farmers and landscapers.

While we are slowly making progress in reducing food waste, there remains substantial room for improvement. The food industry still relies too heavily on bundling promotion offers that encourage excess purchases of perishable items. If we’re going to wind up throwing food away, buying lots of it on promo doesn’t work out to be a very good deal. Brands should rethink this policy. More thoughtful portion sizing can be a way to help people avoid opening more than necessary. Re-sealable bags can be helpful in facilitating proper storage. Beyond that, brands can use packaging to educate consumers on how to better store and use perishable ingredients. Even simple messaging can make a big difference, for example “Frozen grapes are delicious.”

The time is ripe for leaders in the food industry to innovate and stake claim to a new space in the consumer mind: responsible eating for our waistbands, our wallets and our planet.

Great article and I’m glad to see that food waste reduction is finally getting the attention it deserves here in the States. I thought I’d add another tool here that can be used to combat food waste. http://www.manjia.org reduces food waste by connecting people and organizations with food waste and surplus to local food banks. It’s completely free and even offers tracking of the value of an organization’s donations so that they can get the write-off on their taxes. Hopefully tools like this will give businesses more incentive to reduce their waste.

Leslie Pascaud

Thanks Michael
manjia is a great idea and seems really simple to use. If we get the word out to our food clients and suppliers – this could really make a dent!

Michael Dickey

It’s definitely easy to use. The biggest difficulty is getting the word out and explaining to people that there are convenient alternatives to throwing out food that provide multiple benefits for not only the recipient, but for the donor as well. It’s why articles like yours are so important.

Andrea

Great article indeed! Check out Food Shift (www.foodshift.net) when you have a moment. They are an Oakland, CA, based non-profit that works with communities, businesses & governments to develop long-term solutions to reduce food waste.


Search Silver Surfer coloring pages you can print and color

Silver Surfer Coloring Pages

The Silver Surfer is a Marvel Comics superhero created by Jack Kirby. The character first appears in Fantastic Four #48 (March 1966), the first of a three-issue arc that fans call "The Galactus Trilogy".

Originally, Norrin Radd, a young astronomer of the planet Zenn-La, made a bargain with the cosmic entity Galactus, pledging to serve as his herald in order to save his homeworld from destruction. Imbued in return with a tiny portion of Galactus's Power Cosmic, Radd acquired vast power and a new version of his original appearance. Galactus also created for Radd a surfboard-like craft — modeled after a childhood fantasy of his — on which he would travel at speeds beyond that of light. Known from then on as the Silver Surfer, Radd began to roam the cosmos searching for new planets for Galactus to consume. When his travels finally took him to Earth, the Surfer came face-to-face with the Fantastic Four, a team of powerful superheroes that helped him to rediscover his nobility of spirit. Betraying Galactus, the Surfer saved Earth but was punished in return by being exiled there.[4] In 2011, IGN ranked Silver Surfer 41st in its "Top 100 Comic Heroes" list.


Parisian brand PIGALLE recently showed their Autumn/Winter 2011 clothing and headwear collection as part of Paris Fashion Week. Taking place at the PIGALLE Boutique and the nearby restaurant “Côté 9e” the crew presented a line featuring an attractive range of both apparel and hats. While the clothing will only be available through the Pigalle Boutique, the headwear will be found at select shops around the world. Have a look.


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In order to address the issue of increasing bandwidth requirements demanded for wireless communication systems, different schemes are being developed to allow multiple user terminals to communicate with a single base station by sharing the same channel (same time and frequency resources) while achieving high data throughputs. Spatial Division Multiple Access (SDMA) represents one such approach that has recently emerged as a popular technique for the next generation communication systems.
In SDMA systems, a base station may transmit or receive different signals to or from a plurality of mobile user terminals at the same time and using the same frequency. In order to achieve reliable data communication, user terminals may need to be located in sufficiently different directions. Independent signals may be simultaneously transmitted from each of multiple space-separated antennas at the base station. Consequently, the combined transmissions may be directional, i.e., the signal that is dedicated for each user terminal may be relatively strong in the direction of that particular user terminal and sufficiently weak in directions of other user terminals. Similarly, the base station may simultaneously receive on the same frequency the combined signals from multiple user terminals through each of multiple antennas separated in space, and the combined received signals from the multiple antennas may be split into independent signals transmitted from each user terminal by applying the appropriate signal processing technique.
A multiple-input multiple-output (MIMO) wireless system employs a number (NT) of transmit antennas and a number (NR) of receive antennas for data transmission. A MIMO channel formed by the NT transmit and NR receive antennas may be decomposed into NS spatial streams, where, for all practical purposes, NS≦min{NT,NR}. The NS spatial streams may be used to transmit NS independent data streams to achieve greater overall throughput.
In a multiple-access MIMO system based on SDMA, an access point can communicate with one or more user terminals at any given moment. If the access point communicates with a single user terminal, then the NT transmit antennas are associated with one transmitting entity (either the access point or the user terminal), and the NR receive antennas are associated with one receiving entity (either the user terminal or the access point). The access point can also communicate with multiple user terminals simultaneously via SDMA. For SDMA, the access point utilizes multiple antennas for data transmission and reception, and each of the user terminals typically utilizes less than the number of access point antennas for data transmission and reception. When SDMA is transmitted from an access point, NS=min{NT, sum(NR)}, where sum(NR) represents the summation of all user terminal receive antennas. When SDMA is transmitted to an access point, NS=min{sum(NT), NR}, where sum(NT) represents the summation of all user terminal transmit antennas.


Risks of repeated miscarriage.
There is a lack of well-designed epidemiological studies of possible risk factors for repeated miscarriage. In this Swedish population-based case-control study, we investigated the association between sociodemographic and anthropometric factors, obstetric history and life-style factors, with respect to the risks of first-trimester repeated miscarriage. Information on maternal characteristics was collected through in-person interviews. Plasma blood samples were analysed for cotinine and folate concentrations. Adjusted odds ratios (OR) with 95% confidence interval [CI] were used to estimate the relative risk of repeated miscarriage. The risks of repeated miscarriage were increased for women aged > or = 35 years (adjusted OR 2.9 [95% CI 1.4, 5.8]), as well as for women aged < or = 24 years (OR 2.8 [95% CI 1.1, 6.8]). Women with a history of at least one preceding miscarriage prior to the two index pregnancies, women reporting prolonged time to conceive, and women with a history of myoma, faced a more than fourfold increased risk of repeated miscarriage. Smokers were at an increased risk of repeated miscarriage (OR 2.1 [95% CI 1.1, 4.1]). Among non-smoking women with high caffeine intake, there was an increased risk of repeated miscarriage, whereas there was no such association among smokers. Low plasma folate levels were not associated with increased risks.


Hygrophorus pudorinus

Hygrophorus pudorinus, commonly known as the blushing waxycap or turpentine waxycap, is a species of fungus in the genus Hygrophorus.

Swedish mycologist Elias Magnus Fries described it as Agaricus pudorinus in his 1821 work Systema Mycologicum. It became Hygrophorus pudorinus with the raising of Hygrophorus to genus rank. The species name is the Latin word pudorinus "blushing".

The species is classified in the subsection Pudorini of genus Hygrophorus, along with the closely related species H. erubescens and H. purpurascens.

The fruit body (mushroom) is a fair size, with a  diameter pink to golden convex cap with a downrolled margin that is lighter in colour. The cap surface is sticky. The pink to yellow-white gills are decurrent. The thick stipe is  tall and  wide. The spore print is white and the oval spores measure 7–10 × 5–6 micrometres. The thick flesh is pale pink or orange to white. The mushroom does not bruise red and has no distinctive odour, though it can taste like turpentine.

Hygrophorus pudorinus is found in coniferous woodlands under fir and spruce trees across western and northeastern North America; it is particularly common in Canada and the Rocky Mountains. The mushrooms appear in groups or fairy rings in late summer and autumn. They often grow in boggy places in sphagnum moss.

Despite its taste, it is edible after cooking. Its variable appearance makes identification difficult and hence raises risk of misidentification.

References

pudorinus
Category:Fungi of Europe
Category:Fungi of North America
Category:Edible fungi
Category:Fungi described in 1821
Category:Taxa named by Elias Magnus Fries


/*
 * This file is part of the phpv8/php-v8 PHP extension.
 *
 * Copyright (c) 2015-2018 Bogdan Padalko <thepinepain@gmail.com>
 *
 * Licensed under the MIT license: http://opensource.org/licenses/MIT
 *
 * For the full copyright and license information, please view the
 * LICENSE file that was distributed with this source or visit
 * http://opensource.org/licenses/MIT
 */

#ifndef PHP_V8_BOOLEAN_OBJECT_H
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#endif //PHP_V8_BOOLEAN_OBJECT_H


A Photographer’s Decision: Take the Freeway or the Road Less Traveled?

Recently there has been some buzz about how to get noticed as a photographer. And more and more I see photographers doing images that look for all the world like some other guy’s images that looks like a woman he really admires’ images. And her work was copied from someone she saw on Flickr who was enamored of this other guy.

I am reminded of a comment Heather Morton made in the book “No Plastic Sleeves” (reviewed here) on page 199 “I think it is important to ask what the fifth portrait of a dower 20-something in studio tells me about your abilities – it’s redundant”

Yeah, and we see so much of the same thing over and over again. Sometimes it isn’t redundant at all. And sometimes it is. Avedon’s portraits, all on white, “In the American West” were most definitely not.

The question I ask is “are you responding to your vision, or responding to your comment count?”

New sites for photographers and the ‘sharing’ of images are popping up every week it seems. And now some of them have added ‘ratings’ to their your image. People can not only see your image, they can ‘rate it’ for the whole world to see. And that is fine for some folks, I just wonder what effect it has on those who are trying to find their own voice.

It may be cool to ‘share’ your image and see how many comments you get on Flickr, but is that comment count what drives you? Since the vast majority of Flickr users are hobbyists at best, what are you really getting from that comment count? I wonder if the crowd could really discern true vision or if they want to see the safe and easy stuff that looks like their heroes?. Do we as photographers want any old criticism or do we need to have valued and studied criticism? Does the person with the most comments have the best photographs?

I don’t think so, and you don’t think so either. There are way too many examples of terrible photos with high hit counts.

EDIT: Rob D reminded me of this little Gem. One of the highest regarded images in the world gets voted “thumbs down” on Flickr. I mean… really? Thanks Rob.

I wonder how many “likes” Stephen Shore would have gotten? Or Eggleston? Would a simple, natural light portrait by Elgort have received as many comments as something shot with 20 speedlights?

Photography is quickly becoming balkanized with amateurs and ‘fun’ photographers on one side, commercial shooters on another side and fine art shooters on another side. All claiming ‘photography’ as theirs.

And it is. It absolutely is. Photography is a wonderful art, a great career, and a blast of a hobby.

However, a serious photographer can lose their way looking for the path that will take them to the top of the splinter genre they have chosen. We even have new terms to contend with. No longer is being a photographer enough, there are factions that define themselves by their gear, their lighting choice, what kind of post-processing software they use and more.

Beware that man behind the curtain, he may have no clue about what he is doing – or saying about your work.

It becomes harder to discern ones work from another’s if we allow ourselves to be driven by what we think will draw visitors instead of searching for that vision that is ours. We see some technique that is all the rage and think – “Hey, I gotta do that now”.

No. You really don’t.

You gotta get your own thing going, your own vision to drive you. A healthy dose of self confidence to allow you to move in the direction you really want to go helps too.

I was reminded of this while reading about Edward Fella, a designer who has done it his own way for an entire career. His work was way outside the mainstream for years, then his work became nearly mainstream itself. The photographer Stephen Shore (images) was maligned for many years, but he stayed true to what he saw as his vision. Today he is regarded as one of our great living art photographers. David Carson (work) went totally his own way, and ended up being one of the most influential designers of our day.

In the workshops I generally use this quote by Clark Terry, a wonderful jazz trumpet player; “Imitate. Assimilate. Innovate.” Terry is telling us to copy the greats to get the techniques down. Then we assimilate those techniques until they become second nature… we get the chops. Now it is incumbent on us to innovate. Take those chops we have mastered and create something that is our own.

And many times that is not only a road less traveled, we may be blazing our own trail. One that is as scary as it is exciting, as fraught with potholes as it is paved with gold.

17 Comments

Amen. I feel the allure of those comments/ratings, but I still love my publicly unappreciated work. Hope Imitate-Assimilate-Innovate isn’t meant to be strictly linear, ’cause I bounce between them frequently. Thanks for the inspiration!

Great Post Don, so true that too many people on flickr and other sites are so enamored with getting their photos on Explore or high ratings on 500Pixels, I am not one of them and never have been thank goodness. Back a few years ago when I first joined Flickr I posted a long exposure of the Phoenix skyline (if you want to call it that) and it hit Explore and I was baffled it was one of the weakest shots in my photostream. I left Flickr for about a year because I was just tired of the same old thing, just like the quote from Clark Terry my friend told me one day after I was just feeling so frustrated with my work, it’s your Art you are the only one that HAS to love it. Hit home and allowed me to forget about trying to keep up with the jonses of Flickr and all the other sites and just try to find myself and my style and stick with it, now to just keep growing.

Love it when you get fired up, your posts are so dead on and when you give criticism or critique on a photo it is more than just “great shot, good job and keep up the good work” you are able to point out those subtle little details that make people become a better photographer.

Thanks again for the post and apologize for the long winded response but this hit home.

To me it illustrates the lack of knowledge on Flickr. If someone doesn’t care for the image, fine. However, to tear it apart without recognizing such an iconic shot. . . well, people need to study history.

Regarding 500px – perhaps I’m missing something, but it seems to be a gathering place for a lot of people with a similar vision. I’m not very enthralled. The quality is higher than Flickr but most of the shots look so similar to me.

If you take photographs primarily as an artist, blazing that amazing trail of your unique vision may be the right thing to do. If few folks appreciate it, you can still claim to be an artist, show in a gallery, and life is good.

If you have 9-5 and this is really just your ego boost and stress relief, by all means chase the comment count, and shoot what drives comments, because that’s what it’s all about.

If on the other side you try to make a living, you have to find that middle ground that gets you noticed by clients and art buyers, makes you the guy to hire, yet your work also has to be commercially relevant. If it’s too eccentric the pool of potential clients may be too small to survive. That’s a tricky balancing act, because most of what is commercially relevant has been done before, but there are always those few exceptional photographers that hit it right on.

In my mind what is a much better measure than a comment on a website, is when you catch up with someone and they tell you that they remembered a certain image of yours. Or you talk to an AD and they recall what is in your portfolio. That’s the type of recall that shows that your work reached a relevant audience.

As comments on photo sharing sites go, unless you’re in for the ego boost, they don’t matter. However, comments on your FB pages do matter, because they control how much of your content shows up in people’s streams (similar to SEO). So having more comments, even if they don’t matter directly, could have an indirect impact on making your work visible to those who may refer you to a real paying client.

Agree that commercial is bit of a middle ground, but it is still important to shoot your own vision. It pays off in the long run… even though we must be aware of the short run.

And as far as Facebook goes, yes.. in agreement. However, I do not see the kind of comments on FB that I see on Twitter and 500P and such. More of a friend complimenting a good shot on FB instead of someone simply commenting with either a good or inane post.

With so many of these sites, things like ratings (and the “mate ratings that go along with it), Explore, the quest for comments tend to create photographers who strive to appeal to the masses, usually taking them down the road of competent mediocrity. It’s so easy to get lost in technique and lose sight of subject. Actually, it’s almost a necessity if you want to play the popularity game.

Give me a straight forward image of an interesting subject and a perspective/compsition that tells me something about the photographer, NOT a photo that’s been processed with the Photoshop action de jour or the overused lighting formula that is more about the lights and forgets the subject.

This probably will make me very unpopular but I’ve seen more than my fair share of over HDRd images. Frankly, if the first thing that pops in my mind when viewing a photo is “HDR”, it’s overdone. I’m on the brink of nausea with them. Please. Somebody make it stop! Of course, this is my personal opinion and should be taken as such. If HDR matches your personal vision, go for it. I will avert my eyes.

“It’s so easy to get lost in technique and lose sight of subject. Actually, it’s almost a necessity if you want to play the popularity game.”

Yes. And that is such a shame. However, it is also the easiest thing to do.
If technique is the defining edge to the image, then learning that technique means that is all that is needed.
All that is needed to ‘feel’ like something is getting done, like progress is being made.

Photography is by its nature one of the hardest art forms to master. That is because it is one of the easiest art forms to ‘sorta’ master.

Taking a well exposed image with a very wide angle lens, running it through a $60 plugin and ending up with stuff that looks just like that other guy who did the same thing… well, that is mimicry.
I am not even sure it rises to the level of ‘imitate’ that Clark Terry was discussing.

The devil of photography is that it is indeed easy to go to the edge of the hocky stick upturn. At that point, it becomes so much harder.

As a keen hobbyist, I like that I can use Flickr as a means to show some of my work. BUT it’s absolutely the last place I would ever consider going to seek out critique because there is no way to know if the person critiquing has any idea what the hell they’re talking about. Odds are good that they don’t.

That does raise an interesting question for me: how does the keen hobbyist get decent critique from people who *do* know what they’re talking about? Best critique I’ve had was when I entered a local photo contest a couple of years ago, I learned more from those 3 photos than I’ve learned from hundreds posted to Flickr. But the value of that might even be doubtful now, whoever judged this year awarded “best of show” to one of the most garishly overdone HDR shots I’ve ever seen. I mean, really?

“That does raise an interesting question for me: how does the keen hobbyist get decent critique from people who *do* know what they’re talking about?”

Well, ahem, there is always Project 52 and the accompanying Flickr Forum where things like that happen every week. Check out the level of work on the assignments. Assignments are given out every Sunday, and due 2 weeks and three days away. We do critiques and record them. The Project 52 site has a lot of the recorded critiques. Just sayin’…

But I am with you on the camera club thing. That can be wonderful or a disaster and one doesn’t know going in.

Ahhh, so true! Your second to last paragraph is exactly what I was gonna say. You copy the work of others until you get so sick of it, you start tweaking it and making it your own. Musicians do it, and there is nothing wrong with photographers doing it. Once we do come up with our own style, those we copied before will become our “influences.”

I stopped posting to Flickr long ago, except silly, fun personal stuff. I learned awhile back that no matter how good your image might be, the masses will not give the photo positive comments, or pay attention to it at all, unless someone important points that image out as being special–the masses can’t think for themselves, they have to be told something is good.

Sadly, I couldn’t find it but there is another post of past master’s photographs where newbs critiqued the shots and made themselves look like fools.

Thanks for another great post when I need it most! I find myself falling into that trap often. I sometimes think that I don’t want to know what everyone thinks because it can jade me and my vision and direction in all this. It is so easy for us to want hear kudos that we can lose sight of where we need to go in our hearts.

Photography is so similar to what music was for me for many years as a guitarist, only it’s silent. I need to always remember that my photos need to voice what is felt within.

Great article! In this age of instant gratification, dramatic images with the most ‘pop’ usually get the highest comment counts. Not enough people are slowing down to savor images with deeper qualities.

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Incisionless revision of post-Roux-en-Y bypass stomal and pouch dilation: multicenter registry results.
Surgical revision for weight regain after Roux-en-Y gastric bypass (RYGB) has been tempered by the high complication rates associated with standard approaches. Endoluminal revision of stoma and pouch dilation should intuitively confer a better risk profile. However, questions of clinical safety, durability, and weight loss need to be answered. We report our multicenter intraoperative experience and postoperative follow-up to date using the Incisionless Operating Platform for this patient subset. The patients who had regained significant weight >or=2 years after RYGB after losing >or=50% of excess body weight after RYGB were endoscopically screened for stomal and/or pouch dilation. Qualified patients underwent incisionless revision using the Incisionless Operating Platform to reduce the stoma and pouch size by placing anchors to create tissue plications. Data on the safety, intraoperative performance, postoperative weight loss, and anchor durability were recorded to date as a part of 2 years of postoperative follow-up. A total of 116 consecutive patients were prospectively studied. Anchors were successfully placed in 112 (97%) of 116 patients, with an average intraoperative stoma diameter and pouch length reduction of 50% and 44%, respectively. The operating room time averaged 87 minutes. No significant complications occurred. At 6 months after the procedure (n = 96), an average of 32% of weight regain that had occurred after RYGB had been lost. The percentage of excess weight loss averaged 18%. The 12-month esophagogastroduodenoscopy results confirmed the presence of the anchors and durable tissue folds. Incisionless revision of stoma and pouch dilation using the Incisionless Operating Platform can be performed safely. The data to date have demonstrated mild-to-moderate weight loss, and the early 12-month endoscopic images have confirmed anchor durability. Patients were actively followed up to document the long-term durability of this intervention in the entire patient subset.


Silom City Hotel, Bangkok

enuine care for your needs and comfort,
respect, and humility are at the heart of our service.

Facilities & Service

Silom City Cuisine

Silom City Cuisine is popular with our guests. We start
the day early at 6.30 am, with a hearty buffet breakfast, including Asian
and European choices. Operating Hours: 6:30 am - 10:00 pm. Enjoy favorite
western dishes, authentic Thai or Chinese cuisine in our friendly restaurant.
The private lounge is an ideal place to relax or entertain friends.

Coffee shop

Whether you're the kind of coffee drinker that slugs
back the swill in the break-room coffee pot at work or savors exotic coffee
on sleepy Sundays, there is always room for enhancing your java. Enjoy
our fantastic coffee drinks during your amazing breakfast and lunch options.
Free wifi hotspot is available.

Other services

With our service-minded staff, warmth and courtesy are
a tradition. To serve you better, we offer exercise room, Thai traditional
massage, reception 24-hour, laundry, currency exchange , high-speed internet
and Meeting room, This room offers meeting and banquet space for up to
40 persons, whether for business or holiday events.


Is there an application deadline?
No. AOSR has a rolling admissions policy throughout the year.

Does AOSR ask for an application fee?
No.

How do I start the application process?
First, review the information in the "how to apply" section above. Then, simply begin your application!

How long will I have to wait before I know if my child has been accepted for admission to AOSR?
Once all required documentation is received, the Admissions Committee reviews the application. A decision is made as soon as possible.

Do you accept students during the school year?
Yes. Students are admitted to AOSR throughout the school year on a case-by-case basis. Students accepted to High School should plan to start at the beginning of an academic quarter or semester. For a detailed schedule, please refer to the 2018-2019 Academic Calendar or the 2019-2020 Academic Calendar.

Will the applicant need to be tested before being admitted?
Admission to Elementary School is based on report cards (if available) and school records. Admission to Middle School and High School is based on transcripts, report cards, school documents, recommendation letters and an interview. Middle and High School students may be requested to take an English language proficiency and/or subject level assessment.

Does AOSR maintain a waiting list?
Yes, when necessary. At the time of application, classes may be full in specific grade levels.

What is the capital assessment fee?
All new families pay a one-time capital assessment fee (per family). This revenue is designated for capital expenditures including renovations and building projects. For more information, visit our Tuition and Fees page.

Classes begin at 9 AM, and finish at 3:20 PM M-F. AOSR offers Sports and After School Activities M-F from 3:30 PM-5:15 PM. During the 2019-2020 academic school year, our Pre-Kindergarten will also be offering a Half day program, and an Extended Day Program.

Is bus service available to and from school?

Yes, bus service is offered at an additional expense. For more information, view our Bus Service page.

A Message from our Admissions Officer

At the American Overseas School of Rome, our students have the opportunity to explore passions, develop expertise both in and outside the classroom, and build lifelong relationships with fellow students, coaches, faculty, and staff. Our close-knit community challenges, encourages, and guides each student so that he or she is well prepared to succeed in the world of higher education and beyond.

We know that choosing a school can be both an exciting and intimidating process and we want you to know that we are here to help guide you during every step! We would love to meet you and schedule a personal tour or communicate over the phone or online to get you all of the information you require about our school. We look forward to talking to you very soon!

Sincerely,

Ms. Sabine Neumann, Admissions Officer

About Ms. Sabine Neumann

A native Austrian who has resided in Rome since 2000, Ms. Neumann is fluent in German and English, and highly proficient in Italian. She has lived for extended periods of time in London, New York and Germany. In 2000 she moved to Rome from Munich with her three children, all AOSR graduates.

As an active parent and the Admissions Officer for the past ten years, Ms. Neumann sees AOSR as much more than a place of employment. She is truly committed to ensuring that all applicants get a real feel for our campus and see what a warm and welcoming school community we have.


NIAGARA FALLS, Ont. — For 999 minutes Zach Hyman was on the ice with Auston Matthews at even-strength last season. It was a fact that drove some observers nuts.

The 25-year-old forward, who signed a four-year deal worth $9 million over the summer, spoke to The Athletic about his slotting on a line with Matthews and William Nylander, trying to score more goals this season and hanging out with former Leafs’ Darcy Tucker and Curtis Joseph earlier this month.

This is an edited transcript of that conversation.

***

New contract. What was going through that process like for you? You’ve obviously been through it before, but not like this where you’ve established yourself as a player.

Zach Hyman: It’s a little different obviously because entry-level deals are pretty standard. (This time) I had rights – I had (arbitration) rights. But it was good. I wanted to be here for a long time. I love playing in Toronto.


Q:

Getting access denied issue after site moving to live server in magento?

I have moved the magento website to my live server.
But When i try to open it gives me error like  "http://prntscr.com/ff3yp2".
Can you please help me to fix this issue?
Thanks

A:

Try creating the MySQL user. I have had this issue in the past with using Magento databases from another server.
Update the password and execute these two commands.
CREATE USER 'inkpri_new'@'localhost' IDENTIFIED BY 'password';

GRANT ALL PRIVILEGES ON * . * TO 'inkpri_new'@'localhost';

https://www.digitalocean.com/community/tutorials/how-to-create-a-new-user-and-grant-permissions-in-mysql


Preventing manifestations of hereditary haemochromatosis through population based screening.
To evaluate the efficacy of identifying presymptomatic hereditary haemochromatosis through population based screening. Review the hereditary pattern, prevalence, and clinical manifestations of haemochromatosis. Estimate the detection and false positive rates associated with available screening and diagnostic tests. Develop examples of screening protocols and other components that would be necessary for proper implementation. Identify potential barriers and objections. Hereditary haemochromatosis, an autosomal recessive disorder with a prevalence of three to five per thousand in the general population, is associated with a wide variety of clinical manifestations, usually beginning in mid to late adult years. Identifying and treating this disorder after symptoms appear can arrest its progress but usually cannot reverse existing damage to joints, liver, pancreas, pituitary gland, and other organs. Measuring transferrin saturation in serum is now known to be a reliable screening test for haemochromatosis when applied to a general population of healthy adults, detecting about 80% of cases, with a 0.3% false positive rate. Liver biopsy with iron staining and total iron concentration is the recommended diagnostic test for subjects with positive screening tests. Treatment with phlebotomy can then prevent manifestations. Effective systematic identification and management of presymptomatic haemochromatosis in the general population is best accomplished within the framework of an organised screening programme. Potential barriers include accessibility of young adult populations and attitudes in the health community that severe clinical manifestations are relatively uncommon. It is recommended that pilot programmes be undertaken to determine the feasibility of introducing screening for haemochromatosis as part of routine health care.


Q:

Understanding de Broglie Wavelengths

I understand the derivation and calculation of de Broglie wavelengths, but what exactly does the wave of a particle represent? What does the wavelength of a particle mean? I'm assuming it's not the wavelength of its probability wave because then there would be no uncertainty in momentum, unless it represents the average wavelength.
The idea of wave-particle duality for EMR makes sense to me in that it can be seen as oscillating changes in energy (a wave), and as photons from the photoelectric effect. But with particles, I don't understand what quantity would be oscillating in their wave.
Thanks!

A:

The "wave" part of the wave-particle duality for particles such as electrons and protons (as opposed to EM radiation) is called their wavefunction. It does not have any classical analogue and any attempt at understanding it using classical intuition can only be a crude analogy. However, if you are happy with the concept of a probability wave then it is exactly that.
Why isn't this a problem with the uncertainty principle, then? Well, there is a corresponding uncertainty principle between the wavelength of any wave (or more precisely its wavenumber $k=2\pi/\lambda$) and its position in space. The wavelength of a wave is only precisely definable, to arbitrary precision, if you have an infinite wave; otherwise, you can only measure a finite number of periods and divide, and that will yield an imprecise measurement of $\lambda$. (Even worse, the amplitude will taper out near the edges, so it will be hard to tell where each peak or trough is.)
To have a better-defined wavelength, then you need a bigger wavepacket, but this means that the position of the wavepacket in space, which only makes sense to a precision of the wavepacket size, has bigger uncertainty. This trade-off game can be expressed as
$$\Delta k\Delta x \gtrsim1,$$
and can be made precise using Fourier analysis of waves.


Toyota locked out the front row with its pair of TS050 Hybrids, the quickest of which was 1.842s up on the best non-hybrid car, the #1 Rebellion R-13.

Stephane Sarrazin, whose #17 SMP Racing entry failed to set a time after stopping on circuit with an engine systems issue, said fighting the Toyotas would be impossible.

“We are in another world,” said Sarrazin. “We are a private team so we fight with [the other] private cars. We cannot dream. The target is to be same level as Rebellion.”

Sarrazin confirmed SMP’s two AER-powered BR Engineering BR1s are running in low downforce trim, with the primary goal of preparing for next month’s Le Mans 24 Hours.

“We have good balance but sliding a bit too much, understeer,” he said. “You hope for a result, but we know there’s not enough grip.”

Rebellion driver Neel Jani said that while the qualifying gap to Toyota was not accurate due to the session being disrupted by two red flags, the race pace difference remains substantial.

He estimated that the deficit between Rebellion and the Toyotas would be more than a second per lap.

“We haven’t brought everything together what we need,” Jani said. “Our gap is for sure bigger than a second on an average lap, which makes it difficult.

“Qualifying was not representative for anyone. Toyota could have gone quicker without the red flags, and we could have gone a little bit quicker. It was not clean for anyone.

“But the formation is correct – Toyota, us and the rest, that is clear. Third is the new first!”

ByKolles qualified sixth with its ENSO CLM P1/01-Nissan, behind the best of the SMP Racing cars, and Oliver Webb said the goal would be to challenge Rebellion rather than Toyota.

“We’re off the Rebellions, but the SMP we were only one tenth off them [in terms of best laptimes],” said Webb. “We’ve got a second to the Rebellion cars.

“I’d like to think we can challenge Rebellion on old tyres rather than new ones, but I still think they have a bit of an edge out of all the privateers.”

Webb added the privateers are capped at 17-lap stints during Saturday’s race, while the Toyotas are expected to run 19 laps between pitstops.

“That is the rule,” he said. “We [all the privateers] will be very obviously pitting [together] and that will make it really exciting in the pitlane!”

The Spa race is likely to feature just seven LMP1 cars, following the withdrawal of both Manor-run Ginettas due to financial issues and DragonSpeed driver Pietro Fittipaldi’s high-speed crash in qualifying.

Fittipaldi sustained suspected fractures in both legs and the DragonSpeed BR1 chassis is believed to be too damaged to race, with no spare tub available.


Q:

Moving documents between two views

I have created a view which contains some documents. I want to be able to click on the check box next to specific documents and move them to another view (or somehow display them on another page) and back again. So basically I want to be able to archive documents, then go to the page where I have sent these documents and remove them from archive back to the view where the documents were originally.
So far I have (this is my view table which is on the xpage with a check box next to my documents)
<xp:viewPanel rows="10" id="viewPanel2" viewStyle="width:700.0px">
    <xp:this.facets>
        <xp:pager partialRefresh="true" layout="Previous Group Next"
            xp:key="headerPager" id="pager2">
        </xp:pager>
    </xp:this.facets>
    <xp:this.data>
        <xp:dominoView var="allDocsView" viewName="profilesAllDocs">
        </xp:dominoView>
    </xp:this.data>
    <xp:viewColumn columnName="LastActivationDate" id="viewColumn6"
        style="font-size:12pt" showCheckbox="true">
        <xp:viewColumnHeader value="Last Activation Date"
            id="viewColumnHeader6" sortable="true" style="font-size:12pt">
        </xp:viewColumnHeader>
    </xp:viewColumn>
    <xp:viewColumn columnName="LoggerID" id="viewColumn7"
        displayAs="link" openDocAsReadonly="true" style="font-size:12pt">
        <xp:this.converter>
            <xp:convertNumber type="number" integerOnly="true">
            </xp:convertNumber>
        </xp:this.converter>
        <xp:viewColumnHeader value="Logger ID" id="viewColumnHeader7"
            style="font-size:12pt">
        </xp:viewColumnHeader>
    </xp:viewColumn>
    <xp:viewColumn columnName="ExpectedArrivalDate" id="viewColumn8"
        style="font-size:12pt">
        <xp:viewColumnHeader value="Expected Arrival Date"
            id="viewColumnHeader8" style="font-size:12pt">
        </xp:viewColumnHeader>
    </xp:viewColumn>
    <xp:viewColumn columnName="Status" id="viewColumn9"
        style="font-size:12pt">
        <xp:viewColumnHeader value="Status" id="viewColumnHeader9"
            style="font-size:12pt">
        </xp:viewColumnHeader>
    </xp:viewColumn>
    <xp:viewColumn columnName="Alert" id="viewColumn10"
        style="font-size:12pt">
        <xp:viewColumnHeader value="Alert" id="viewColumnHeader10"
            style="font-size:12pt">
        </xp:viewColumnHeader>
    </xp:viewColumn>
</xp:viewPanel>

I have also created a button. The idea is to select some documents using the check box, click on this button and it will send the documents to another xpages (archive).
I am not sure what code to assign to the button and the check box and how the button will know where to send the documents. Any suggestions will be appreciated.

A:

If you need to send documents from one view to another then you need to look at that view's selection formula. Then set the values of required field of the document so that it satisfies that selection formula. The same would go if you want to bring back the document to its original view.
In XPages you can get the selected document's notes ID using the below code (shamelessly lifted from here :))
var viewPanel=getComponent("viewPanel2");
var docIDArray = viewPanel.getSelectedIds();
for(i=0; i < docIDArray.length; i++) {
   var doc = database.getDocumentByID(docIDArray[i]);
    // Code to manipulate the 'doc' object
}


Transient high affinity binding of tissue factor pathway inhibitor-factor Xa complexes to negatively charged phospholipid membranes.
The interaction of tissue factor pathway inhibitor (TFPI), factor Xa, and TFPI-factor Xa complexes with negatively charged phospholipid membranes composed of 25 mol % phosphatidylserine and 75 mol % phosphatidylcholine was studied by ellipsometry. The binding of TFPI alone was negligible; factor Xa bound with moderate affinity, with a dissociation constant Kd = 42 nM. Formation of the TFPI-factor Xa complex drastically enhanced the affinity for phospholipid membranes, Kd = 5 nM, compared to that of either protein alone. TFPI1-161, a TFPI variant lacking the third Kunitz domain and the positively charged C-terminus did not enhance binding affinity of the factor Xa. Analysis of the kinetics of adsorption and desorption confirmed the equilibrium binding data, although upon longer residence at the lipid membrane the desorption rate of TFPI-factor Xa complexes became slower, indicating an increase in affinity with longer residence of the TFPI-factor Xa complexes at the membrane. In contrast, binding of TFPI-factor Xa complexes in the presence of an excess factor Xa was transient; maximal binding is followed by a slow desorption of the complex. Immunoblot analysis revealed that this desorption was accompanied with cleavage of TFPI by membrane-bound factor Xa. Collectively, our results show that phosphatidylserine containing membranes will accumulate tightly bound TFPI-factor Xa complexes, and that uncomplexed, phospholipid-bound, factor Xa, will cause limited proteolysis of TFPI accompanied by simultaneous release of these complexes from the phospholipid membrane.


Q:

Create a new column of type date from another column of type date

I'm trying to create a new column of type date from another column of type date in the same table.
My code is like this:
A <- c(1,2)
B <- c(as.POSIXct("2014-04-28 03:01:09"),NA)
C <- c(as.POSIXct(NA), as.POSIXct("2014-05-17 03:17:00"))
df <- data.frame(A,B,C)
df$D <- ifelse(A == 1, B, C)

Then the value of D is 1398668469, 1400311020, instead of date.
How can I make the type of D also date?

A:

Either restore the class after ifelse or use dplyr::if_else()
# using ifelse and restore class
df$D <- ifelse(A == 1, B, C)
class(df$D) <- class(df$B)

# or use dplyr if_else
library(dplyr)
df <- df %>% mutate(D_v1 = if_else(A == 1, B, C))

str(df)
# 'data.frame': 2 obs. of  5 variables:
# $ A   : num  1 2
# $ B   : POSIXct, format: "2014-04-28 03:01:09" NA
# $ C   : POSIXct, format: NA "2014-05-17 03:17:00"
# $ D   : POSIXct, format: "2014-04-28 03:01:09" "2014-05-17 03:17:00"
# $ D_v1: POSIXct, format: "2014-04-28 03:01:09" "2014-05-17 03:17:00"


Backbone resonance assignment for the N-terminal region of bacterial tRNA-(N1G37) methyltransferase.
Bacterial tRNA (guanine37-N1)-methyltransferase (TrmD) is an important antibacterial target due to its essential role in translation. TrmD has two domains connected with a flexible linker. The N-terminal domain (NTD) of TrmD contains the S-adenosyl-L-methionine (SAM) cofactor binding site and the C-terminal domain is critical for tRNA binding. Here we report the backbone NMR resonance assignments for NTD of Pseudomonas aeruginosa TrmD. Its secondary structure was determined based on the assigned resonances. Relaxation analysis revealed that NTD existed as dimers in solution. NTD also exhibited thermal stability in solution. Its interactions with SAM and other compounds suggest it can be used for evaluating SAM competitive inhibitors by NMR.


# SPDX-License-Identifier: Apache-2.0
# Copyright Contributors to the ODPi Egeria project.

server.port=9443
server.ssl.key-store=classpath:keystore.p12
server.ssl.key-store-password=egeria
server.ssl.keyStoreType=PKCS12
server.ssl.keyAlias=tomcat

server.ssl.trust-store=truststore.p12
server.ssl.trust-store-password=egeria

# WARNING! setting 'false' allows java clients to open https connections without checking certificates validity
# Alternate you can import self signed certificates into java truststore or setup an truststore only for this app
# by adding the store into server.ssl.trust-store parameter
strict.ssl=true

################################################
### startup servers configuration
################################################

#userId used to startup the list of configured servers default is 'system'
startup.user=system
# Comma separated names of servers to be started
startup.server.list=

################################################
### Logging
################################################
logging.level.root=OFF
logging.level.org.springframework=ERROR
logging.level.org.springframework.boot.web.embedded.tomcat=INFO

################################################
### Swagger Docs
################################################
springdoc.version='@springdoc.version@'
springdoc.api-docs.enabled=true
springdoc.api-docs.path=/v3/api-docs
springdoc.swagger-ui.path=/swagger-ui.html
springdoc.swagger-ui.displayRequestDuration=true
springdoc.swagger-ui.tagsSorter=alpha
springdoc.swagger-ui.operationsSorter=alpha
springdoc.swagger-ui.docExpansion=none

################################################
### Spring Boot Actuator
################################################
# Endpoints web configuration
#management.endpoints.web.exposure.include=*


Lorand Gaspar

Lorand Gaspar (28 February 1925, Târgu Mureș – 9 October 2019, Paris) was a Hungarian–born French poet.

Life
Gaspar was born in February 1925 in Târgu Mureș, Romania. In 1943, he enrolled at Palatine Joseph University of Technology and Economics (today: Budapest University of Technology and Economics) in Engineering, was mobilized months later, and then imprisoned in a labor camp. He escaped in March 1945, and surrendered to the French in Pfullendorf.

He moved to France, where he studied medicine, becoming later a surgeon in France, then in Jerusalem, where he lived for sixteen years, and in Bethlehem and Tunis. He lived in Paris, where he was involved in medical research dealing with human psychology.

He published his first verse collection in 1966, Le Quatrième État de la matière (Flammarion) and published a number of prose works and travel books as a photographer.

He mastered several languages: to the languages learned as a child, Hungarian, Romanian and German, and later French, English, Latin, Greek and Arabic. He translated (in collaboration with Sarah Clair), Spinoza, Rilke, Seferis, D. H. Lawrence, Peter Riley, and Pilinsky.

Gaspar died in Paris in October 2019 at the age of 94.

Awards
 1998 Prix Goncourt de la Poésie

Works

English Translations
"from Nuits: An evening in front of the fireplace at Saint Rémy du Val", Jacket 14, translated by Peter Riley, July 2001

 Earth Absolute & Other Texts, translated by Mary Ann Caws and Nancy Kline, New York: Contra Mundum Press, 2015.
"Leaving Sidi Bou Said",The Fortnightly Review - New Series, translated by Amine Mouaffak and Sahar Taghdisi Rad, January 2019

French Language Works
 Le Quatrième État de la matière Paris: Flammarion, 1966. Prix Apollinaire, 1967.
 Gisements Paris: Flammarion, 1968.
 Histoire de la Palestine Paris : Maspero, 1968 et 1978.
 Palestine, année zéro Paris : Maspero, 1970.
 Sol absolu, Paris : Gallimard, 1972.

 Approche de la parole, Paris, Gallimard, 1978.
 Corps corrosifs, Fata Morgana, 1978.
 Egée suivi de Judée, Paris, Gallimard, 1980.

 Feuilles d'observation. Paris : Gallimard, 1986.
 Carnets de Patmos. Cognac : Le Temps qu'il fait, 1991.
 Égée, Judée, suivi d’extraits de Feuilles d’observation et de La maison près de la mer. Paris : Gallimard, 1993.
 Apprentissage. Paris : Deyrolle, 1994.
 Carnets de Jérusalem, Cognac, Le temps qu'il fait, 1997.
 Patmos et autres poèmes. Paris : Gallimard, 2001.
 Derrière le dos de Dieu. Paris : Gallimard, 2010.

References

External links

 Lorand Gaspar", Europe, (n°918, octobre 2005)
 "An interview with Lorand Gaspar", Contemporary French and Francophone Studies, Volume 7, Issue 2 Autumn 2003, pages 170 - 177, Elaine DalMolin

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VIII.

1. Now follow (the laws regarding) witnesses.

2. The king cannot be (made a witness); nor a learned Brâhmana; nor an ascetic; nor a gamester; nor a thief; nor a person not his own master; nor a woman; nor a child; nor a perpetrator of the acts called sâhasa[1] (violence); nor one over-aged (or more than eighty years old); nor one intoxicated or insane; nor a man of bad fame; nor an outcast;

2. 1 There are three kinds of sâhasa. (Nand.) They are, in the enumeration of Nârada, 1. spoiling fruits or the like; 2. injuring more valuable, articles; 3. offences directed against the life of a human being, and approaching another man's wife. See Nârada XIV, 4-6.]

nor one tormented by hunger or thirst; nor one oppressed by a (sudden) calamity (such as the death of his father or the like), or wholly absorbed in evil passions;

3. Nor an enemy or a friend; nor one interested in the subject matter; nor one who does forbidden acts; nor one formerly perjured; nor an attendant;

4. Nor one who, without having been appointed, comes and offers his evidence;

5. Nor can one man alone be made a witness.

6. In cases of theft, of violence, of abuse and assault, and of adultery the competence of witnesses must not be examined too strictly.

7. Now (those who are fit to be) witnesses (shall he enumerated):

8. Descendants of a noble race, who are virtuous and wealthy, sacrificers, zealous in the practice of religious austerities, having male issue, well versed in the holy law, studious, veracious, acquainted with the three Vedas, and aged (shall be witnesses).

9. If he is endowed with the qualities just mentioned, one man alone can also be made a witness.

10. In a dispute between two litigants, the witnesses of that party have to be examined from which the plaint has proceeded.

11. Where the claim has been refuted as not agreeing with the facts (as e. g. the sum claimed

[5. According to Nand., who argues from a passage of Nârada (5, 37), the use of the particle ka implies here, that two witnesses are also not sufficient. But the MSS. of Nârada exhibit a different reading of the passage in question, which reading is supported by the Vîramitrodaya.

8. The particle ka is used here, according to Nand., who argues from a passage of Yâgñavalkya (II, 68), in. order to include liberality among the qualities required in a witness.]

having been repaid by the debtor), there the witnesses of the defendant have to be examined as well.

12. An appointed witness having died or gone abroad, those who have heard his deposition may give evidence.

13. (The evidence of) witnesses is (of two kinds): either of what was seen, or of what was heard.

14. Witnesses are free from blame if they give true evidence.

15. Whenever the death of a member of any of the four castes (would be occasioned by true evidence, they are free from blame) if they give false evidence.

16. In order to expiate the sin thus committed, such a witness), if he belongs to a twice-born caste, must pour an oblation in the fire, consecrating it with the texts called Kûshmândî.

17. If he is a Sûdra, he must feed ten cows for one day.

IS. A false witness may be known by his altered looks, by his countenance changing colour, and by his talk wandering from the subject.

19. Let the judge summon the witnesses, at the time of sunrise, and examine them after having bound them by an oath.

20. A Brâhmana he must address thus, 'Declare.'

21. A Kshatriya he must address thus, 'Declare the truth.'

[16. Vâgasan. Samh. XX, 14-16, or Taitt. Ârany. X, 3-5. Nand. considers the term Kûshmândî to be used in a general sense here, so as to include all the other texts mentioned in an analogous passage of Manu (VIII, 106).]

23. A Sûdra he must address thus, 'Thou shalt have to atone for all (possible) heavy crimes (if thou wert to give false evidence).'

24. Let him exhort the witnesses (with the following speeches):

25. 'Whatever places (of torture) await (the killer of a Brâhmana and other) great criminals and (the killer of a cow and other) minor offenders, those places of abode are ordained for a witness who gives false evidence;

26. 'And the fruit of every virtuous apt he has done, from the day of his birth to his dying day, shall be lost to him.

27. 'Truth makes the sun spread his rays.

28. 'Truth makes the moon shine.

29. 'Truth makes the wind blow.

30. 'Truth makes the earth bear (all that is upon it).

31. 'Truth makes waters flow.

32. 'Truth makes the fire burn.

33. 'The atmosphere exists through truth.

34. 'So do the gods.

35. 'And so do the offerings.

36. 'If veracity and a thousand horse-sacrifices

[22, 23. Nand.'s interpretation of these two Sûtras, which has been followed above, does not agree with Kullûka's, of M. VIII, 88. But in another passage of Manu (VIII, 113), where the same terms recur, he interprets them like Nand.

36. This Sloka is also found in the Mahâbhârata I, 3095 &c., in the Mârkandeya-purâña VIII, 42, in the Hitopadesa IV, 129, and, in a somewhat modified form, in the Râmâyana II, 61, 10. See Böhtlinkg, Ind. Sprüche, 731 &c.]

are weighed against each other, (it is found that) truth ranks even higher than a thousand horse-sacrifices.

37. 'Those who, though acquainted with the facts, and appointed to give evidence, stand mute, are equally criminal with, and deserve the same punishment as, false witnesses.' (After having addressed them) thus, let. the king examine the witnesses in the order of their castes.

38. That plaintiff whose statement the witnesses declare to be true, shall win his suit; but he whose statement they declare to be wrong, shall certainly lose it.

39. If there is contradictory evidence, let the king decide by the plurality of witnesses; if equality in number, by superiority in virtue; if parity in virtue, by the evidence of the best among the twice-born.

40. Whenever a perjured witness has given false evidence in a suit, (the king) must reverse the judgment; and whatever has been done, must be considered as undone.


Q:

Java Play! Framework Development

I have started with web development 2 months ago with python/gae. We switched from gae to amazon AWS and Java Play!.

Will I run into problems if I want to deploy my app on AWS? At the moment I can use Elasticbeanstalk and it's a oneclick solution. Is Elasticbeanstalk compatible with Play! ?
I don't know Scala. Because of the well written tutorial I have no problems using Scala for the templating / routing system. But maybe I will run into future problems. Would you recommend me to learn Scala if I want to use Play! ?
I can run my app locally without deploying it, which gives me a really good workflow. Would it be possible to develop for AWS and testing my app locally?

A:

In answer to your questions

Since AWS Elastic Bean Stalk supports deployment of Java Web Apps on it.There wont be any problem deploying your Play! project.

You dont have to be a Scala Pro to use Play!.You'll get used to Scala while using Play! and eventually become proficient in it and then if you want you can learn it.

Of course you can develop your Application for AWS and test it locally.Eclipse IDE has a great plugin for that.
http://aws.amazon.com/eclipse/