text:
Posted by Danielle Berrin
In a twisted tale that could be called Confessions of a Nazi Scholar comes a shocking revelation that Hollywood's association with Hitler's Third Reich may have been much closer and more collaborative than previously known.
According to a new book by historian Ben Urwand, a member of Harvard University's Society of Fellows, Hollywood actively collaborated with Nazi Germany and Adolf Hitler in order to assure their stronghold in the German film market.
According to the New York Times:
In "The Collaboration: Hollywood's Pact With Hitler," Ben Urwand draws on a wealth of previously uncited documents to argue that Hollywood studios, in an effort to protect the German market for their movies, not only acquiesced to Nazi censorship but also actively and enthusiastically cooperated with that regime's global propaganda effort.
The disturbingly cozy relationship, which included a postwar Rhine cruise for Jack Warner on Hitler's yacht, was mutually beneficial: Hollywood sustained its overseas profit and Hitler exploited the film industry's international influence.
In the 1930s, "Hollywood is not just collaborating with Nazi Germany," Urwand told the Times. "It's also collaborating with Adolf Hitler, the person and human being."
First reported by University of Houston professor David Mimics in Tablet, the notion that the Hollywood studio heads of the WWII era -- most of whom were Jewish -- were secretly ingratiating themselves with Hitler's regime is an alarming disclosure that threatens to upend Hollywood's Jewish legacy.
According to the Times:
On page after page, [Urwand] shows studio bosses, many of them Jewish immigrants, cutting films scene by scene to suit Nazi officials; producing material that could be seamlessly repurposed in Nazi propaganda films; and, according to one document, helping to finance the manufacture of German armaments.
Even Jack Warner, praised by Groucho Marx for running "the only studio with any guts" after greenlighting the 1939 film "Confessions of a Nazi Spy," comes in for some revisionist whacks. It was Warner who personally ordered that the word "Jew" be removed from all dialogue in the 1937 film "The Life of Emile Zola," Mr. Urwand writes, and his studio was the first to invite Nazi officials to its Los Angeles headquarters to screen films and suggest cuts.
"There's a whole myth that Warner Brothers were crusaders against fascism," Mr. Urwand said. "But they were the first to try to appease the Nazis in 1933."
Urwand reportedly stumbled into this research while in graduate school at the University of California, Berkeley. His first clue was finding an interview with the screenwriter Budd Schulberg that mentioned a meeting between Louis B. Mayer and a German consul in Los Angeles. Soon after that, he was researching his dissertation topic in the German state archives in Berlin, where he found "a January 1938 letter from the German branch of 20th-Century Fox asking whether Hitler would share his opinions on American movies..."
It was signed "Heil Hitler!"
12.5.13 at 10:57 am | Never underestimate the miraculous confluence of. . .
11.27.13 at 2:54 pm | Rabbis Adam Kligfeld and Ari Lucas answer probing. . .
11.24.13 at 12:15 pm | Meet the woman who turned Suzanne Collins' young. . .
11.21.13 at 11:48 am | What I found transcendent about Handler's. . .
11.9.13 at 12:57 pm |
10.29.13 at 6:31 pm | Zusak talks about choosing "Death" as a. . .
12.5.13 at 10:57 am | Never underestimate the miraculous confluence of. . . (547)
5.18.12 at 2:38 pm | Now in it's fifth season, Jewishness on "Mad Men". . . (325)
3.17.09 at 8:21 pm | Hot, hot, hot (261)
June 25, 2013 | 3:13 pm
Posted by Danielle Berrin
Benjamin Millepied wasn't as daring as Miriam with her timbrels when he accompanied L.A. Dance Project, the experimental dance troupe of his creation, to a performance at American Jewish University on June 16.
Following the unique double-bill with another local company, BodyTraffic, the choreographer and dancer -- also known as actress Natalie Portman's husband -- appeared on a panel with BodyTraffic co-founders Tina Berkett and Lillian Barbeito for a dialogue advertised as a discussion of Judaism's impact on their work.
It promised to be a revealing moment.
Instead, according to several people who were present, Millepied said nothing concrete either about converting to Judaism or if he considers himself Jewish. "He said he has a Jewish family," said one source who attended the performance.
Millepied was recently appointed director of dance at the Paris Opera Ballet and agreed to return to Los Angeles from France for this special performance; Millepied's first public appearance with L.A. Dance Project since their Disney Hall debut last fall. In conjunction with AJU's Geller Festival of the Arts, the performance was promoted within a Jewish context: BodyTraffic performed the piece "Transfigured Night" by Israeli choreographers Roni Haver and Guy Weizman which was set to an Arnold Schoenberg score that was suppressed during the Holocaust.
But Millepied remained mum on his experience of Judaism.
Interesting how communal identity can be such a private matter.
June 12, 2013 | 4:30 pm
Posted by Danielle Berrin
Of the many upbeat ways to describe the dance culture in Los Angeles — "hungry," "pioneering," "innovative," "risk taking" — it is probably best characterized as striving. Even the most enthused of local enthusiasts admit there is something unrealized about the dance scene here, which is really a polite way of saying that it is lacking.
Enter Benjamin Millepied, a prodigy principal dancer and choreographer from the New York City Ballet whose star-making turn choreographing the 2010 Oscar-nominated film "Black Swan" helped crown him the new darling of L.A. dance. Last September, aided by a $250,000 grant from Center Dance Arts, the fundraising arm of the Music Center, Millepied debuted his L.A. Dance Project, an experimental repertory company merging dance, design, film and visual arts in exploratory venues.
Replete with red carpets, couture dresses and international attention, helped, of course, by Millepied's recent marriage to actress Natalie Portman, the group's debut at Walt Disney Concert Hall was a highly anticipated affair. Supporters hoped the performance would establish L.A. Dance Project — and the city that birthed it — as the epicenter for world-class dance. "Giant Steps for Dance in Los Angeles," declared The New York Times. To set tongues wagging, Millepied created a challenging and provocative program, featuring visually and aurally evocative works from renowned choreographers William Forsythe and Merce Cunningham, in addition to his own material.
The response was impassioned and polarized: "Very, very ordinary choreography," Los Angeles Times' critic Lewis Segal declared of Millepied's "Moving Parts." In a review of the same show during a tour stop in New Jersey, The New York Times' Alastair Macaulay described Millepied as "gifted, ambitious, intelligent," but added, "his gifts so far have looked nebulous and self-contradictory, like this opening program of his company."
Less than four months later, Millepied announced news that shocked the L.A. dance world: He would accept the position of director of dance for the Paris Opera Ballet. Within weeks, he and his wife and their infant son, Aleph, had absconded from the City of Angels, to which he had promised so much, and made their way to the City of Lights, where he would have much to prove.
This Sunday evening, Millepied returns to Los Angeles for L.A. Dance Project's first local performance since its Disney Hall debut. It will perform in a double-bill with the homegrown company BodyTraffic (founded by two local Jewish female dancers) at American Jewish University (AJU). Following the performance, Millepied will join BodyTraffic co-founders Tina Berkett and Lillian Barbeito to discuss something he has never before talked about publicly: how Judaism has impacted his work. The conversation is sure to be full of surprises, as Millepied has never confirmed whether he has converted to Judaism, or plans to (Portman, of course, was born in Jerusalem). It's been much reported, however, that the couple was married by a rabbi and Millepied wore a yarmulke for the nuptials.
Choreographer Benjamin Millepied
Five years ago, no one would have cared. But the combination of Millepied's Hollywood foray with "Swan" and his subsequent marriage to Portman has heightened his celebrity to the point where it's hard to discuss his career trajectory without acknowledging those factors. Fame changes things, even if his supporters resist that notion: "There's this assumption that [the creation of L.A. Dance Project] was all about the celebrity of the moment, and that's just not true," said Jane Jelenko, president of Center Dance Arts (CDA) for nearly a decade, and one of the instrumental players in the decision to launch L.A. Dance Project. "The feedback loop of celebrity takes too prominent a place in this story arc; Benjamin had commissions with Paris Opera Ballet, American Ballet Theatre and the Metropolitan Opera before anybody ever heard of Natalie Portman."
It helped, of course, that Millepied's first big meeting with local dance patrons took place the night after the 2012 Academy Awards, when Portman won best actress. At a private gathering at Soho House, Millepied was invited to sell his idea for a cutting-edge artist collective. "That moment came together with the Oscars, and everybody knew about it," Jelenko said. "So it was luck, frankly."
Discussing Millepied with the town's dance brass is a loaded subject. To some, he is seen as a big-name talent with illustrious credentials and impeccable taste who could only be a boon to L.A.'s dance culture. "Benjamin Millepied definitely contributed to the visibility of dance in Los Angeles," said Susan Josephs, an L.A.-based dance writer who profiled Millepied for the L.A. Times. "In places like New York and other dance meccas, L.A. has been perceived as dance backwater — like, does dance even happen in Los Angeles? His coming here definitely alerted people to the fact that it does."
For others, he is the consummate outsider who smartly leveraged his spotlight into a splashy new role, but barely got his pointed toes wet before dashing hopes and dipping out. "I think the sense was like, 'Oh. Well, that was fast. He came and he went," Josephs said.
For local dance artists, however, Millepied's chosenness was tough to take. That he became the recipient of the Music Center's most significant investment in a local company to date — not to mention, its first-ever full commission for new work — was seen by some as outright indifference to the local dance scene or, worse, neglect. In a town where funding for the arts is already frightfully scarce, the abundance provided to Millepied reminded local dancers of their lesser status.
"It was kind of a smack in the face to all of us," said Kate Hutter, artistic director and co-founder of L.A. Contemporary Dance Company. "Local dance companies saw this thrust of funding suddenly appear, but it was all thrown at one person to create a company anew. [Local patrons] would rather bring in a shiny, new toy than help sustain the things that were here."
For his part, Millepied seemed to add insult to injury when he held open auditions for his L.A.-based company but hired only dancers from New York. Some wondered, as Josephs put it, "Where is the L.A. in L.A. dance project?"
Some, however, found the criticism ludicrous. "This whole thing that he's a carpetbagger is stupid," said dance critic Laura Bleiberg, a regular contributor to the Los Angeles Times and an editor at Orange Coast Magazine. "What makes New York's scene so vibrant? Everybody wants to be there. Most of them are transplants."
Despite some hurt feelings, almost no one denies that Millepied selected an exemplary group of dancers for L.A. Dance Project and that their presence here is strengthening the local talent pool. In the past, although young dancers have been attracted to L.A.'s many dance academies — CalArts, UCLA and USC's Glorya Kaufman School of Dance, among them — graduation is usually followed by a swift exodus. By hiring New York dancers, Millepied was aiming for sea change.
Nevertheless, many felt his Disney Hall debut was too avant-garde for L.A. audiences and cast aspersions on his bold artistic choices. Renae Williams Niles, vice president of programming at the Music Center, said she was "absolutely blown away" by Millepied's debut, but conceded that it probably wasn't what the entertainment capital audiences were expecting. "I'll admit, when I've taken projects to Disney Hall, they tend to be a bit more intellectual, more contemporary, maybe some people would define them as edgy," she said. "Benjamin wasn't doing fluffy work. We really appreciated that he was bringing in significant artists and uneasy experiences."
Elizabeth Levitt Hirsch, a Beverly Hills philanthropist and arts patron, called the performance "onerous." "It was an act of dance snobbery and dance conceit," she said. "As a significant funder of the company" — Levitt said she committed $15,000 to Center Dance Arts' fundraising effort — "I'm one of the people who is disappointed with [L.A. Dance Project's] expression at the Music Center. Nothing that night personally spoke to me."
Still, enough supporters continue to believe that Millepied is an exciting and provocative tastemaker whose audacious displays and interest in pushing the envelope could grant Los Angeles the artistic sophistication it craves. As for his critics: "There's a lot of jealousy," said Stephan Koplowitz, dean of dance at CalArts. A longtime, formerly New York-based choreographer, Koplowitz knows well the competitive sniping that can coincide with success in the arts world. "A lot of people would love to have the opportunities that have come his way."
A few years ago, Millepied was a rising star in the insular dance world, and little-known outside of it. Today, in addition to his dual directorships located an ocean apart — one of which is arguably the most prestigious dance post in the world — he is also the face of an Yves Saint Laurent cologne, frequent fodder for paparazzi and enjoying his new role as husband and father.
As one New York Times piece put it, back in 2011: "The ballet star has it all: Looks, talent, a film career and Natalie Portman […]. How can you not hate him?"
For his fans and supporters in Los Angeles, however, his jumping ship for the Paris Opera Ballet was more disappointing than distasteful. "I'll be honest with you. My first reaction, frankly, was almost like a mother's; I was so proud and so happy for him," Jelenko said. "Two clicks later, my reaction was, 'Oh, s---.' "
Both Jelenko and Williams Niles worried that Millepied's move to Paris might spell the demise of L.A. Dance Project. "What's going to happen to the baby that was just birthed?" Williams Niles wondered. But she also knew Paris Opera Ballet was an "incredible opportunity" for Millepied — and maybe also for Los Angeles. "It took me a couple of conversations to see that the future could be promising."
Jelenko and Williams Niles insist Millepied is still committed to the company: He has promised to stay on as founding artistic director, although the group will likely have a series of roving choreographers come in and set work. Music Center patrons are also hoping that Millepied will leverage some of his Paris Opera contacts into connections for Los Angeles. "We think he's going to be able to create an enormous magnet that will benefit us," Jelenko said.
Laboring under the burden of such high expectations has its cost, however, and the furious flutter of activity that has characterized Millepied's last year has left some wondering whether he may be in over his head. At a press conference at the Palais Garnier last January, where he first announced his move to the Paris Opera, New York Times reporter Roslyn Sulcas noted he seemed "slightly nervous."
"I worry he has so much on his plate and so much pressure," Jelenko said.
Bleiberg, who interviewed Millepied when he first launched L.A. Dance Project, recalled: "I got the sense that he was very tired of being a choreographer for hire and really wanted to find his voice working with a stable group of dancers," she said. "I almost feel sad he isn't sticking with that. On the other hand, Paris Opera Ballet is perhaps something you can't turn down. But maybe he should have."
Berkett, co-founder and co-artistic director of BodyTraffic, with whom L.A. Dance Project will share Sunday night's bill at AJU, has known Millepied since the two toured together with Mikhail Baryshnikov's Hell's Kitchen Dance company. "What Benjamin did was tremendous for L.A.," Berkett said, citing his attraction of world-class talent to L.A.'s under-the-radar scene. "Regardless of whatever his mission was — people can question his commitment to L.A., they can question whether or not he loves L.A. — it really doesn't matter. Because he's already done so much."
BodyTraffic and L.A. Dance Project are described as comparable companies, if not equals. Like Millepied, Berkett and partner Barbeito are committed to commissioning new work from leading choreographers, a tactic that will be on display Sunday night: Their opening number is "Transfigured Night," choreographed by Israelis Guy Weizman and Roni Haver and set to an Arnold Schoenberg score that was suppressed during the Holocaust. It is precisely the kind of original work both companies wish to produce more of.
"A lot of people in our community don't understand how significant Los Angeles is in terms of dance history," Williams Niles said. "They don't realize that Balanchine lived here. Stravinsky lived here — longer than he lived anywhere else in his life. And how many times do we have to tell our audiences that it was here that Alvin Ailey began his dance career?"
Could Millepied be next on that list? Some have already drawn comparisons with Baryshnikov, who was able to parlay his dance success into pop-culture stardom. Fame, it turns out, can be an asset.
"Misha was on 'Sex and the City' and quite great," Williams Niles said. "And I'll admit, it would be absolutely tremendous if we were able to have two or three of those artists that really do seep into popular culture. Hopefully they don't lose their integrity in the process."
For tickets and more information about the June 16 performance, visit aju.edu. Tickets will also be available at the door.
May 29, 2013 | 3:24 pm
Posted by Danielle Berrin
The most telling anecdote in Andy Kroll's prolific piece on Jeffrey Katzenberg's "Kingmaker" status in Democratic politics actually comes from Kim Masters's book on Michael Eisner, "The Keys to the Kingdom" and took place long, long ago when Katzenberg was just 26.
Back then he was working as an assistant to the then-president of Paramount Pictures, Barry Diller.
One day, Diller gave the young and green Katzenberg a verbal beating for some offense he committed (though it is never made clear what it was) when Katzenberg instantly retaliated.
According to Kroll: Katzenberg... stormed into Diller's office, slammed his hands on the desk, and said, "This is the first time and the last time that you will ever talk to me that way while I work for you. If you do not want me here, I will leave. If you ever do this again, either start with 'You're fired' or end with 'You're fired.'"
Obviously, Katzenberg did not take well to being bullied (perhaps residual resentment at being nicknamed "Squirt" as a teen). Though Kroll did not interview Katzenberg, he later includes an unattributed quote in which Katzenberg apparently explains his mode of attack: "If someone poked me in the chest, I would hit them with a baseball bat. And if they hit me with a bat, I would blast them with a bazooka."
A friend reminded me that this logic echoes that of the 1987 gangster film "The Untouchables," where the rule of law "eye for an eye" is considered generous.
If you want to win the gangster war, Irish-American officer Jimmy Malone (Sean Connery) explains, you have to fight disproportionately: "You wanna get Capone? Here's how you get him. He pulls a knife, you pull a gun. He sends one of yours to the hospital, you send one of his to the morgue! That's the Chicago way, and that's how you get Capone!"
So Katzenberg, life imitating art -- or the other way around?
May 29, 2013 | 12:30 pm
Posted by Danielle Berrin
Producer/director Brett Ratner has made amends with the Academy of Motion Picture Arts and Sciences with a $1 million commitment to their Oscar museum capital campaign.
"Brett has a sincere love of movies and film history, and we are excited to welcome him to our group of supporters," Bill Kramer, the museum's managing director of development said in a statement.
Ratner's contribution is especially significant, since it appears that the rift between Ratner and the Academy has been healed.
"I feel blessed to be part of such a magnificent museum. I was blown away by the recent Kubrick exhibit at LACMA, which the Academy co-sponsored. I couldn't be more excited that our Academy will finally have its own museum that will preserve and exhibit cinema's greatest work," Ratner said, according to the press release.
Things weren't always so amiable.
In November 2011, Ratner was forced to resign as producer of the Oscar telecast when a series of crass public comments he made about gays and women caused a stir (first, there was the gay slur he uttered on the set of "Tower Heist," which he was directing, followed by a lewd interview on the Howard Stern show in which he tastelessly revealed details of his sexual habits).
Ratner's bad-boy image and bathroom mouth proved too vulgar for the prim Academy who encouraged him to step down. Ratner eventually repented, calling the Oscar gig "the proudest moment of my career" but admitted, "as painful as this may be for me, it would be worse if my association with the show were to be a distraction from the Academy and the high ideals it represents."
Ratner's million dollar penance is an expensive apology, but the Academy appears ready to forgive.
"Thanks to the generosity of founding supporters like Brett, we are now able to realize the long-held dream of the Academy and that of the global film community to build a museum dedicated to the history and future of the movies," said capital campaign chair Bob Iger.
Designed by architects Renzo Piano and Zoltan Pali, the Academy Museum will be located next to the Los Angeles County Museum of Art (LACMA) in the historic Wilshire May Company building. According to the press release, the Academy's 2012 capital campaign, chaired by Iger, Annette Bening and Tom Hanks, has already secured more than half of its $300 million goal.
May 23, 2013 | 5:48 pm
Posted by Danielle Berrin
F. Scott Fitzgerald proclaimed his distaste for Jews with his clichéd portrait of gangster Meyer Wolfsheim in his Jazz Age opus "The Great Gatsby." The crucial but peripheral character is never described in detail, save for an upfront declaration that he is "a small, flat-nosed Jew" with "tiny eyes" and "two fine growths of hair" luxuriating in his deeply enchanting nostrils (which apparently either intrigued or repelled Fitzgerald since he mentions them several times). Indeed, for Fitzgerald, the Jew's most salient and significant feature is his protean nose, at once "expressive" and "tragic" and which possesses the artful ability to "flash ... indignantly."
Fitzgerald's 1925 novel has long been criticized for its portrayal of Wolfsheim as more Jewish caricature than character. In the book "AntiSemitism: A Historical Encyclopedia of Prejudice and Persecution," Richard Levy notes that Fitzgerald's Wolfsheim memorably and "pointedly connected Jewishness and crookedness" (this one, not of the nose variety). In 1947, Milton Hindus, an assistant humanities professor at the University of Chicago, published an article about "Gatsby" in Commentary that declared, "The novel reads very much like an anti-Semitic document." Hindus argued that although on the whole he considers "Gatsby" to be an "excellent" novel, he found the story and the characters "general and representative rather than particular and confined." "The Jew who appears in 'The Great Gatsby,' " he wrote, "is easily its most obnoxious character."
Hindus attributed this to the prevailing anti-Semitism of the age. Fitzgerald was, after all, part of the American avant-garde of the 1920s, an era in which a rapidly rising middle class was radically redefining notions of privilege and access. The power shift in social classes was destabilizing, and as the uncultured masses began to mix with the wealthy elite (consider Gatsby, as well as the legions attending his legendary parties), the old guard who disapproved sought comfort in "an allegiance to tradition and hatred of the contemporary bourgeoisie." All of which, Hindus argued, lent itself nicely to a general cultural wariness of the Jew.
And as if party crashing wasn't distasteful enough, other prevailing traditions of the time — religious and literary — also found ways to scapegoat the Jew as the cause of contemporary ills. Melding both, Hindus observed that "the New Testament can be regarded as a drama in which the Jews play the role of villain," a narrative trope that greatly influenced the avant-garde writers of Fitzgerald's time — Ezra Pound and T.S. Eliot, among others. Equally incensed by the ascendance of the middle class, whose social and economic gains effectively denied the literary class — with its superior education and cultural erudition — its rightful place in the American social strata, the Jew became a stand-in for the despised bourgeoisie. And in circles whose standards for social decorum did not permit open anti-Semitism, the writers were thus given license to "flaunt" in their work the anti-Semitic seething that was otherwise "concealed by the rest of polite society."
But this was not your grandmother's European anti-Semitism. Hindus eventually concluded that Fitzgerald's dislike of the Jews "was a superficial, merely 'fashionable' thing" — by which he meant, that as an observer and chronicler of culture, Fitzgerald's understanding of Jews would have been of the "habitual, customary, 'harmless,' unpolitical variety" and not the insidious kind that resulted in the pogroms, expulsions and inquisitions of Jewish history.
This brand of temperate anti-Semitism has been tempered even further by the latest film incarnation of Fitzgerald's classic. Director Baz Luhrmann has said he quite purposively cast the non-Jewish, Indian actor Amitabh Bachchan in the role of Meyer Wolfsheim. In an interview with Yahoo's Wide Screen blogger Will Perkins, Luhrmann admitted to a noncontroversial casting strategy. "I was trying to solve the issue of Meyer Wolfsheim because there's a big question there," Luhrmann said. "Fitzgerald draws the character in what some might say is a very broad, anti-Semitic manner."
Indeed, in his New York Times review of Luhrmann's "Gatsby," film critic A.O. Scott noted, "The gangster Meyer Wolfsheim is a bit less of a cringe-worthy anti-Semitic caricature than he was in 1925." But the New Yorker's David Denby found the choice misguided: "[T]he director, perhaps not wishing to be accused of anti-Semitism, cast the distinguished Indian actor Amitabh Bachchan as the Jewish gangster. This makes no sense, since the gangster's name remains Wolfsheim and Tom [Buchanan] later refers to him as 'that kike.' "
Which leads one to wonder: Was there no way to portray Fitzgerald's Jew as a Jew without the seamy stereotyping? In casting an Indian, Luhrmann effectively usurps the Jewishness of the character and manages to avoid the question altogether. Save for his name, Luhrmann's Wolfsheim is not identifiable as a Jew in any meaningful way.
On some level, this constitutes a denial of historical truth by the director, even as he ethnically (and perhaps creatively) reimagines the role. Is Luhrmann trying to tell us ethnicities are interchangeable? That because Fitzgerald's character was sketched in anti-Semitic strokes there's no credible way to still portray him as a Jew? Some may see in this betrayal of the character's essence a triumph against stereotype. But it more convincingly illustrates the director's ample confusion and lack of imagination on the matter (which is stunning, considering how fresh the rest of the film feels).
Rather than truly explore what could make Wolfsheim a "less cringe-worthy anti-Semitic caricature" as Scott put it, Luhrmann cowered in the face of potential controversy, determined to avoid that, too. In 1989, when Sir Peter Hall cast Dustin Hoffman as Shakespeare's surly Semitic Shylock in "The Merchant of Venice," his West End performance inspired the compliment: terrible, but no monster. What would have happened if, say, Luhrmann had cast the very talented and very conspicuously Jewish actor Adrien Brody as Wolfsheim?
I'm willing to bet Brody would have played the role perfectly — I mean, pointedly crooked — without pandering.
May 21, 2013 | 9:43 am
Posted by Danielle Berrin
They were just two Jewish boys kidding around.
"Not since Passover have there been so many people here," writer/director/producer Judd Apatow announced to a full house at the Saban Theatre last week, there to see Apatow foist his comedy colleague Marc Maron into the hot seat for the popular Writers Bloc salon series.
Tribal affiliation notwithstanding, Apatow, 45, and Maron, 49, couldn't be more different. Apatow is an uber-wealthy Hollywood hotshot, whose movies "The 40 Year Old Virgin," "Knocked Up" and, recently, "This Is 40" have made him one of American comedy's household names. Maron, on the other hand, struggled as a gypsy stand-up comic for nearly three decades before coming into his own as the host of the popular podcast, "WTF With Marc Maron," which he has been recording in his garage since 2009 and has recently parlayed into a book, "Attempting Normal" and a TV series on IFC, "Maron."
Although the comedy gurus spent time admiring one another onstage, demonstrating an easy, funny, flowing rapport, their temperaments and comic sensibilities proved wildly divergent. Apatow identified himself as having the "classic Jewish neurotic people-pleasing personality," while Maron described himself as a longtime "cynical, bitter -f---." But for these two wielders of wit, hot-blooded though bearded and graying, having similar backgrounds propelled them into a shared profession, as each aimed to realize comic gifts sprung from alienation.
The first topic they tackled was fathers, the most primary of influences on their life and work. Maron is candid about his complicated feelings for his father, who is often the subject of raw and even brutal scrutiny on his podcast. Apatow's parents divorced when he was 12, and he was subsequently split from his two siblings, who each lived with different guardians. The experience clearly wounded him, to the point where even after achieving uncommon success, Apatow said he is always on guard for something disruptive to happen. "I always feel like someone's gonna punch me in the face," he said. "I can't shake that feeling."
"Well, I get into bed and think someone's gonna hit me with a bat in my sleep," Maron countered, followed by an anecdote depicting a sort of clueless, rageful father. "You never knew whether or not we'd spend a weekend looking for a hat." The unpredictability sparked in Maron a kind of rueful, anxious comedy through which his sadness and self-effacement became a creative asset. "When you have a charismatic, completely self-centered, erratic parent, and you work to adapt to that your whole life, it's like, 'You're perfect for interviewing celebrities!' "
"Maybe with erratic parents, you feel unsafe," Apatow said, offering a reason for artistic diligence as a stabilizing force.
"I got into comedy to be OK with myself," Maron said. "I have to explore who I am on stage."
Sexual swagger (Maron) — or lack thereof (Apatow) — was another subject in which the comics were at odds. In his book, Maron boastfully declares his skill and virility in the bedroom, whereas on stage Apatow admitted to "awkward" experiences, in which casual sex proved empty and unwieldy and climaxes came prematurely. Apatow has, of course, long been married to the actress Leslie Mann and is the father of two daughters, Maude, 15, and Iris, 10. Maron is twice divorced and, according to his memoir, currently in a committed relationship with a woman who is eager to have children.
Apatow seized on the opportunity to nudge Maron toward fatherhood: "Don't be a p---y," he said. "Have a kid! You don't want to be that guy."
"I'm almost 50!" Maron exclaimed.
"So?" Apatow answered.
Maron explained that since publishing the book, the conversation about having children with his girlfriend had "leveled off."
"How can it level off?" Apatow wondered. "It has to resolve …"
"I was a given a deadline," Maron said.
"July. I have to put a baby in her by July."
"That's what you should tell your child," Apatow quipped. "You were the result of a lost argument."
For all their mutual mishegoss, they have both led wildly colorful lives. But whereas Maron regaled the crowd with tales from his early stand-up career apprenticing at The Comedy Store with stars like Sam Kinison whom he called "mad men" who liked to drink and dope, Apatow said he considers himself of a cleaner comic breed. "I was more of a Seinfeld guy. I wanted to have roast-beef sandwiches with Jerry Seinfeld. I didn't want to stay up all night doing coke."
"You did the right thing, Judd," Maron said, alluding to Apatow's first-class career, but admonished, "I have better stories."
As Apatow pointed out, Maron's desperation led him to a "pure-of-heart creativity" that reflects his self-doubt and self-loathing, his anger and cynicism, but also offers a raw, real honesty that the public has found endearing. What happens, though, Apatow wondered, when a person who has staked his comic career on the bitterness of life eventually achieves many of its pleasures — fame, money, maybe even love?
"I don't know if I can completely identify with happiness," Maron said. The feat, he said, is that "I don't feel bitter anymore."
Apatow said that several years ago he realized he had reached the pinnacle of his personal experience of happiness; because of his personal and professional successes, he'd gotten the chance to be "as happy as I can get." Eventually though, he confessed, it goes away, dissolving into a kind of homeostatic contentedness. "You can't make your life about chasing peak joy experiences," he told Maron, this time sounding a bit like a parent.
"I didn't think any of this was going to happen," Maron said. "Three years ago, I thought, 'I just have to make this podcast work so I can get health insurance.' " He said his podcast enabled him to work through his disappointment and anger by "talking to guys who made me laugh." The garage as confessional — or even therapist's couch — proved psychologically salutary.
"I got my heart back," Maron said. "I was in search of being myself; that was my journey."
May 20, 2013 | 12:02 pm
Posted by Danielle Berrin
Babs is heading to the Holy Land next month for two major events in her long and legendary career: On June 17, she will receive an honorary doctorate from Hebrew University and, during the same visit, she is expected to perform publicly in Israel for the very first time.
According to a press release, the university will present Streisand with the award in recognition of her humanitarianism and dedication to Israel and the Jewish people. In a statement, Hebrew University president Menahem Ben-Sasson commended Streisand's "transcendent talent," "passionate concern for equality" and "love of Israel and her Jewish heritage."
Streisand has had a longstanding relationship with the university. In 1984, she created the Emanuel Streisand Building for Jewish Studies on Hebrew U's Mount Scopus campus, in honor of her father. During the dedication, she described her father as "a teacher, scholar and religious man who devoted himself to education." He died of complications from an epileptic seizure when Streisand was barely a year old.
But perhaps even bigger news is that Streisand finally plans to perform for the Israeli public for the first time -- twice during her visit. It's stunning to think that the 71-year-old songstress who has staked so much of her identity on her Jewish heritage is so late in a line of illustrious entertainers -- including Madonna, Elton John and Rihanna -- to perform in Israel, though she has performed in Los Angeles at the fundraising gala for Friends of the Israel Defense Forces Western Region.
In addition, according to the Associated Press, Streisand is also expected to perform for a private group at a June conference honoring Israeli President Shimon Peres on the occasion of his 90th birthday. This will not be the first time that Streisand has performed before Israel's leaders; at the December 2011 FIDF gala, she told the audience that in 1978 she had performed at a 30th anniversary celebration for the State and had the opportunity to speak ("via satellite of course") with then-Prime Minister Golda Meir, which she said was "very special" to her.
Streisand closed her performance before the star-studded FIDF crowd by singing the High Holy Days prayer Avinu Malkeinu.
"I know we all hope and pray we will one day have a world where there is peace and security for Israel and all its neighbors," she said.
December 2013
November 2013
October 2013
September 2013
August 2013
July 2013
June 2013
May 2013
April 2013
March 2013
February 2013
January 2013
December 2012
November 2012
October 2012
September 2012
August 2012
July 2012
June 2012
May 2012
April 2012
March 2012
February 2012
January 2012
December 2011
November 2011
October 2011
September 2011
August 2011
July 2011
June 2011
May 2011
April 2011
March 2011
February 2011
January 2011
December 2010
November 2010
October 2010
September 2010
August 2010
July 2010
June 2010
May 2010
April 2010
March 2010
February 2010
January 2010
December 2009
November 2009
October 2009
September 2009
August 2009
July 2009
June 2009
May 2009
April 2009
March 2009
February 2009
January 2009
December 2008
November 2008
October 2008
September 2008
August 2008


text:
Home ⋅ Photo Birth Announcements & Baby Announcements ⋅ Baby Girl Birth Announcements ⋅ 3-5 Photos ⋅ Flat Card ⋅ 5.00x7.00
"The pink is a perfect and lovely shade...not too pastel, and not too bright. I did photos in black & white, and they turned out gorgeous against the color. Also, I loved each of the fonts. The cards are amazing!"

subset: commoncrawl


text:
Browse Products
- See our shipping schedule to make sure you get it by Christmas See delivery dates >
- Learn about NEW Hallmark Card Rewards Details >
Product Results
Featured Items
- Featured Items
- Newest
- Price Low to High
- Price High to Low
U.S. billing and mailing addresses only. Shipping & Delivery
Variable Photo Layout
Variable Photo Layout
Rating 4 of 5 stars
Red & Black Holly
- 5x7 Folded Photo Card
- Premium Paper
- Change Photo Layout
$3.79, as low as $3.49Variable Photo Layout -
Variable Photo Layout
Variable Photo Layout
Rating 5 of 5 stars
Tailored Red & Green
- 5x7 Flat Photo Card
- Change Photo Layout
$1.99, as low as $1.69Variable Photo Layout
Need Help?
Sound, motion, light, interactive Key


text:
SYRACUSE -- Domestic violence is an issue that blurs all boundaries, and is an unfortunate, common thread among women all over the world.
Thursday is also Valentine's Day, a day set apart to express your love and appreciation to those who you care about the most; the people who are a special and integral part of your life.
This Valentine's Day, communities and people from across the globe celebrate this day of love by bringing awareness to the global problem that is domestic violence, and openly take a stand against it. If you notice people in the community wearing white ribbons, think of it as neighbors and friends raising a standard against domestic and sexual violence against women.
In Central New York, Vera House, Inc. and Manlius Pebble Hill School partnered to host a news conference in conjunction with One Billion Rising, an organization that aims to raise awareness of domestic and sexual violence against women.
The "Silent Witness" exhibit, developed by the Junior League of Syracuse as a joint initiative with Vera House, has family members standing next to a panel of silhouettes, each one representing a local victim whose life was claimed by domestic violence.
Joining the Vera House, Manlius Pebble Hill and One Billion Rising are the 2013 White Ribbon Honorary Chairs; George Kilpatrick, Vera House's Men's Outreach Program Coordinator, CNY Central's Michael Benny and Matt Mulcahy, and NewsChannel 9's Dan Cummings. The honorary chairs all spoke at the event.
Designworks Advertising premiered a video of 17 local men reading Eve Ensler's "Man Prayer," which is a call for men of all backgrounds and creeds to break the cycle of violence by recognizing stereotypes of manhood and choosing a different path. The original video released by One Billion Rising and showcases men of all ages and backgrounds choosing to deny what society expects them to do and be.
One in three women on the planet will be beaten or raped in her lifetime. That's one billion victims of violence, and One Billion Rising seeks to counter that number with one of their own; one billion women dancing, singing and standing up to demand an end to domestic violence.
There were also two events at Syracuse University today, referred to as SU Rising, that brought awareness to the same issue of violence, but through the scope of an open dialogue. The community talk featured remarks from several professors and professionals on the issue of violence and how to combat it. The event will culminate with everyone joining in the One Billion Rising dance, signifying solidarity.
Tonight, the campus and community will hold a candlelight vigil on the steps of the chapel to remember and honor victims and survivors of violence. The vigil will be preceded by performances in the chapel by SU Zinda and Grammy Award-winning singer and songwriter Joanne Shenandoah.


text:
Pdaxrom: Create An Ipk Howto
From OESF
m (Make sure the line starts Depends, not a variant thereof) |
m (→Stripping the binaries) |
Line 86: |
Line 86: | ||

arm-linux-strip myexecutable |
arm-linux-strip myexecutable | ||

 |
 | ||
- | this will reduce the size of | + | this will reduce the size of your binaries. |
Revision as of 14:57, 6 April 2006
Contents |
To create an ipk the first thing we have to do is to create a directory tree that contains the files that will be installed (and only these files).
For instance if we have one exectuable foo that should go in /usr/bin and a file foo.conf in /etc. We want to have the following structure:
ipkg-temp/ |-- etc | `-- foo.conf `-- usr `-- bin `-- foo
NB: You should use a Linux partition to hold ipkg-temp. If you use an msdos/fat/vfat partition then the permissions in the resulting package will be completely messed up - this has no detrimental effect right now but may cause problems if and when pdaXrom supports multiple users.
Installing the application after a compilation
Take care when you do a make install. If you are compiling on your zaurus you might easily fill the / root partition. If you are cross compiling you might install the application on your desktop pc (and possibly break something).
It's a good idea to redirect the output of the installation to a log
file just to be sure you can find what files has been placed where:
make install 2>&1 > installation.log.
Makefiles created by the classic "./configure" script often take into account the variable DESTDIR. If set "make install" will install the application under the directory pointed by DESTDIR rather than in /. To set it you can for instance type (prefer the full path to a relative one):
make DESTDIR=/home/ubuntu/links-2.1pre20/ipkg-temp/ install
But not all makefiles take DESTDIR into account, to check this I usually do:
grep DESTDIR Makefile
If it returns something, then there is a good chance that DESTDIR is valid.
Another possible trick
A trick I use on the zaurus is to mount a partition over /usr/local (in the case where I know that my application will go into /usr/local using the --prefix= argument for example):
mkdir -p /mnt/card/ipkg-tmp/usr/local mount -bind /mnt/card/ipkg-tmp/usr/local /usr/local make install 2>&1 > installation.log umount /usr/local
Now my application is now installed in /mnt/card/ipkg-tmp and the content of /usr/local is not modified.
Stripping the binaries
Before releasing an ipk it's better to strip the binaries. That is the executables under /bin but also the shared libraries .so. Just run:
arm-linux-strip myexecutable
this will reduce the size of your binaries.
Stripping is an important step as the space saved by this operation
can be significant.
Sometimes the Makefile provides an install-strip target, that will strip the binaries for you. You might want to try to use make install-strip instead of the classic install.
Removing the documentation
Generally your application comes with its documentation. You might want to remove the man pages, info pages from your ipk. It's up to you to choose to remove the documentation or not.
Try to remove what you think is not important. Not all the zaurus
owners have a 4G micro drive.
You can also create 2 separate packages, one with the application, one with the documentation. Leaving the decision to install or not the documentation to your users.
When you compile a library, in general you can put in your ipk the stripped .so.x.x files and remove the rest. (.h .a .la ....). This is in most cases enough for the applications that uses the library.
However it is a good thing if you take the time to
make a second ipk that contains all the files (header files .h, static
libraries ..).
Name this second ipk by adding a "-devel" suffix to the package
This ipk will be useful to someone who wants to compile an application
that depends on your library.
Create a shortcut in the menu
If you want to add a shortcut in the menu and on the desktop you should add a file foo.desktop (foo being the name of our application). The .desktop file look like this:
[Desktop Entry] Exec=emacs -fn 8x13 Icon=emacs.png Terminal=false Type=Application Categories=Application;Office;WordProcessor;X-Red-Hat-Base; StartupNotify=false Encoding=UTF-8 Name=Gnu Emacs
The 3 most important fields are:
- Exec which specify the command that will be executed,
- Name which specify the label that will appear next to the icon,
- Icon which specify the icon file for the icon. If no path is specify you should put the icon in /usr/share/pixmaps
For our foo package our directory tree will look like this:
ipkg-temp/ |-- etc | `-- foo.conf `-- usr |-- bin | `-- foo `-- share |-- applications | `-- foo.desktop `-- pixmaps `-- foo.png
If you want to add a shortcut for rox, look in /usr/apps/.
The control file
Next we need to write a file named control. This file will describe our applications. Each line of this file contains entries of the form:
field : value
You should place this file in a directory CONTROL together with the other files. Like this:
ipkg-temp/ |-- CONTROL | `-- control |-- etc | `-- foo.conf `-- usr |-- bin | `-- foo `-- share |-- applications | `-- foo.desktop `-- pixmaps `-- foo.png
A pretty minimal control file will look like this:
Package: lighttpd Version: 1.4.8 Architecture: armv5tel Maintainer: firstname.lastname@example.com Description: fast and light http server
This field is the name of your package, typically the name of your application. It should only contain alphanumeric characters or '-'.
Don't put an underscore in the package name, the underscore is used
to separate the different parts of the filename of the ipk. For
instance if you want to make a doc package use a name like foo-doc and
not foo_doc
Version of your package. Generally reflects the version of the application. Don't put a _ in it.
Use armvtel for xscale, arm otherwise. Maybe something like armvetil if you compiled for pxa270, though no convention seems to exist at this time...
Put your e-mail address rather than the one of the creator of the application. Your address is perhaps more interesting because if someone wants to compile a newer version of the application you might be more helpful than the original developer.
Some words that describe the application. Remember that the description should stay on the line starting with "Description:". It can be a long line but it must be one line. Don't press press Enter while writing it.
This field should be a list separated by whitespace of package names. ipkg will check that the packages listed here are installed before installing your application, and automatically install the missing ones.
One way to check the dependencies is to use "ldd" to see the list of
shared libraries that are used by your application. You can then use
"ipkg search libfile.so" to find the packge that cotains libfile.so.
For instance if I want to find the dependencies of mc I can do:
# ldd /usr/bin/mc libglib-2.0.so.0 => /usr/lib/libglib-2.0.so.0 (0x40020000) libiconv.so.2 => /usr/lib/libiconv.so.2 (0x40091000) libSM.so.6 => /usr/X11R6/lib/libSM.so.6 (0x40172000) libICE.so.6 => /usr/X11R6/lib/libICE.so.6 (0x40182000) libX11.so.6 => /usr/X11R6/lib/libX11.so.6 (0x4019f000) libnsl.so.1 => /lib/libnsl.so.1 (0x40265000) libc.so.6 => /lib/libc.so.6 (0x40278000) libdl.so.2 => /lib/libdl.so.2 (0x40398000) /lib/ld-linux.so.2 => /lib/ld-linux.so.2 (0x40000000) # ipkg search libICE.so.6 xfree: //usr/X11R6/lib/libICE.so.6.3 xfree: //usr/X11R6/lib/libICE.so.6 # ipkg search libglib-2.0.so.0 glib2: //usr/lib/libglib-2.0.so.0 glib2: //usr/lib/libglib-2.0.so.0.800.1 # ....
and I will add :
Depends: xfree glib2
And so on.
Please note that you no longer have to do this by hand! Please see the Automatically Determining Dependancies forum post. [Please be sure that the line in your control file starts with Depends:, and not some variant of that.]
Other fields
You can add other fields to your control file, for instance a "Source: http://foo.org"
preinst, postinst, prerm, postrm
You can add are four scripts to your package:
- preinst: this script will be executed before the installation, ie before the files are copied over.
- postinst: this one will be executed after the installation but before ipkg-link ie the files will be present in the destination directory but not the symbolic links in /
- prerm: this one will be executed before the files are removed but after ipkg-link ie the files will be present in the destination directory but the symbolic links in / won't exists anymore
- postrm: this one is executed after the files are removed
Place these scripts in the CONTROL directory, together with the control
You can use the PKG_ROOT variable in these scripts to get the destination directory where the package is/was/will be installed.
Finally: the ipk
Creating the package
Don't try to make the ipk by hand. Use the mkipkg provided here. The script is also provided in both the cross and native sdk but it is not compatible some recent versions of tar.
mkipkg will uncover the possible errors in your control file or
elsewhere. If mkipkg fails double-check your control file.
When you have a tree structure like:
ipkg-temp/ |-- CONTROL | `-- control |-- etc | `-- foo.conf `-- usr |-- bin | `-- foo `-- share |-- applications | `-- foo.desktop `-- pixmaps `-- foo.png
just do:
mkipkg ipkg-temp
and the ipk will be created for you.
The package
An ipk package is tar.gz a file named:
it contains three files:
- control.tar.gz which contains the control file and the pre post scripts
- data.tar.gz which contains the files of the application
- debian-binary is a text file with 2.0 inside


text:
* Sponsored Results
Write a Review
Proudly Serving the New York Metro Area. Proudly Serving the New York Metro Area. Affordable Self Storage
Phone Website Map it
Refer-A-Friend When you refer a friend who le...
HyperLocal search for Moving Storage
Data provided by one or more of the following: SuperMedia, Acxiom, Infogroup


text:
REALLY cool event coming up this weekend. The LA Grand Prix November 22-24. It's a three day international cycling event featuring the national cycling teams from USA, Mexico, France, Canada, Trinidad and Tobago, Chile, South Africa, Suriname, Venezuela, Slovakia and Columbia.
Watch this...
Let's be honest though...I don't see any woman NOT wanting to see this movie...I mean look at Chris Hemsworth, he's super dreamy...or at least that's what I've been told!
Photo Credit - Getty Images
So a record label named TufAmerica is suing Jay because they believe his song "Run this Town" with Rihanna and Kanye uses a sample of "Hook & Sling" and Jay never got permission. TufAmerica has the rights to the Eddie Bo song and now they want to get paid. Listen to the tracks here...I'm having a hard time recongizing it, but hey that's just me!
Dance moves and all!!! The next time I get to talk to JT I'm totally gonig to bring this up!!! And maybeeee do the dance moves with him!
So, there's mixed reviews of the new song, "Story Of My Life", by One Directioners, since it's a bit of a different style for their boys. I dig the song. They'll get some new fans with this song for sure. Check out the video here !!!


text:
Tavis Smiley - Screenwriter David Magee
Singer-songwriter-actress Mary J. Blige
The multifaceted Grammy winner discusses her first-ever holiday CD and her new film, "Black Nativity."
Air date: 11/14/2013
Director Oliver Stone
As the U.S. marks the 50th anniversary of President Kennedy's assassination, Stone looks back at his 1991 blockbuster film, "JFK," and forward to new projects
Air date: 11/13/2013
Actors LisaGay Hamilton & Edward James Olmos
The two stars reflect on their experiences working with the multicultural cast of their indie film thriller, "Go For Sisters."
Air date: 11/11/2013
Singer-songwriter Graham Nash
The British rocker reflects on his prolific career that's spanned five decades and two continents.
Air date: 11/08/2013


text:
January 4, 2012 | 10:58 am
A recent HUJI survey had quite optimistic results regarding Israelis' and Palestinians' views of the prospects of peace - only trouble is, the questions were simply too difficult to answer
January 4, 2012 | 2:36 am
Even if Tamir Pardo and Gabi Ashkenazi oppose a military attack on Iran's nuclear facilities, what they oppose is an Israeli attack – and would probably have a different view if asked about the possibility of an American attack
January 3, 2012 | 4:57 am
Among Paul's supporters there are also bigots and anti-Semites, no doubt, but all of the ones I had a chance to meet were patient, cooperative and, well, quite friendly toward the visiting, nagging, Israeli.
January 2, 2012 | 8:21 am
When I saw Speaker Newt Gingrich six or seven weeks ago in New Hampshire, he looked fresh and combative. On Sunday morning in Iowa, he looked tired, almost exhausted.
January 1, 2012 | 7:23 am
In Iowa, it seems blaming Europe (and tying its financial woes to the incumbent) has become GOP candidates' favorite pastime
December 31, 2011 | 8:48 am
Winner of Moment Magazine's Elephant in the Room contest is interviewed following his winning essay on the topic "Can there be Judaism without belief in God"
December 30, 2011 | 9:03 am
The Republican race isn't over, but from what I see and hear it is hard not to suspect that the game is pretty much close to being over, with Mitt Romney the ultimate nominee, no matter how well Ron Paul might do here
December 29, 2011 | 12:07 pm
Exactly 4 years ago, I interviewed Ron Paul under similar circumstances
December 28, 2011 | 1:50 pm
Balancing tradition and modernity is not easy, but crying wolf about Haredi power, true or imagined, is not too hard.
December 28, 2011 | 2:45 am
Israel is now struggling with dilemmas of "modernity" versus "tradition" not dissimilar to ones faced by Johannesburg
December 27, 2011 | 3:38 am
The Maccabee graves may not bring about rain, help women conceive or heal the incurable. But they can be a place in which Jewish pride, independence and triumph are celebrated
December 26, 2011 | 4:01 am
Israel's Public Diplomacy and Diaspora minister says visiting Israel should be a top priority for every Jew
December 24, 2011 | 3:02 pm
Our surveys are not public opinion surveys, they're expert opinion surveys; we would gladly add a female panelist if we found an Israeli academic or former diplomat who was an expert on the matters at hand
December 23, 2011 | 9:18 am
December 23, 2011 | 9:11 am
December 2013
November 2013
October 2013
September 2013
August 2013
July 2013
June 2013
May 2013
April 2013
March 2013
February 2013
January 2013
December 2012
November 2012
October 2012
September 2012
August 2012
July 2012
June 2012
May 2012
April 2012
March 2012
February 2012
January 2012
December 2011
November 2011
February 2011
israel shmuel rosner rosner iran nuclear us israel us iran israel iran obama israel benjamin netanyahu american jewry
Ben Smith
Capital J
Cross Currents
Eli Lake
Elliott Abrams
Jerusalem Post
Jewish Ideas Daily
Martin Peretz
Mixed Multitudes
NY Jewish Week
Political Wire
Public Policy Polling
Right Turn
Rob Danin
Sabato's Crystal Ball
Secrecy News
The Cable
The Cook Report
The Fix
The Jewish Channel
The Jewish Forward
The Monkey Cage
The Note
The Sun
The Washington Institute for NE Policy
Walter Russell Mead
Washington Wire


text:
Smartphone filming at Winter Olympics? Could be 'nyet'
Journalists who use their iPhone or Galaxy S4 to take video during the 2014 Sochi Winter Olympics in Russia could promptly lose their rights to cover the games.
According to Radio Free Europe (translation), Vasily Konov, head of the state-run R-Sport news agency, said: "Journalists using mobile phones to film athletes or spectators will be considered a serious violation and will result in cancellation of accreditation." Konov was speaking Friday to sports journalists attending a training seminar on covering the upcoming Olympic games, according to the report.… Read more


text:
Marc by Marc Jacobs
Belinda Check Scarf
Fashion legend Marc Jacobs introduced his diffusion line, Marc by Marc Jacobs, with a spring 2001 runway show. He has gone on to win seven CFDA awards including Womenswear Designer of the Year, Accessories Designer of the Year and Menswear designer of the year.
- 99% linen 1% other fiber
- Measures approx 76" W x 40" H
- Frayed edges
- Styled with MONROW Tissue V Neck Tee in White.
- Styled with Free People Dolphin Hem Cut Offs in True Blue.
- Styled with gorjana Delaney Square Ring in Gold.
- Styled with gorjana Infinity II Ring in Gold.
- Styled with gorjana Star Ring Small in Gold.
- Styled with Marc by Marc Jacobs Bolt Tiny Bangle in Rose Gold.
- Modeled in size all. See fit guide for model's dimensions.
- Revolve Style No. MARC-WV56
- Manufacturer Style No. M8131003
- Can't find your size? Place a special order inquiry for this item.


text:
More than 6000 commencing students will hit the University of Newcastle's Callaghan campus next week to take part in the University's annual orientation program.
Orientation Week (O Week) is a program of activities designed to introduce new students to the social, cultural and academic aspects of the University.
Information sessions and workshops will be held across the campus to assist new students with program and course options, enrolments and registrations, faculty and library locations and study survival skills.
Student mentors will be on hand at all sessions to welcome new students, answer questions, show them around and help them settle in to University life.
Many of the first-year students mentored last year are returning to mentor this year's incoming students, with special sessions for recent school leavers and mature-age students returning to study.
University of Newcastle Deputy Academic Registrar Student Support Services, Ms Cathy Stone, said highlights of the week for many would be the Commencement Ceremony celebrating the start of the academic year and the 'Get Uni Ready' sessions.
"The Commencement Ceremony is one of the most important events of the University calendar," Ms Stone said.
"It is a formal welcome to students joining the University community for the first time, while the 'Get Uni Ready' sessions introduce students to the many sources of information, help and support on campus."
Orientation Week will run from Monday 23 February - Friday 27 February 2009. Details of O Week events and activities are available from http://www.newcastle.edu.au/students/new/orientation-2009/
Photo opportunity: The Commencement Ceremony will be held at 10am on Tuesday 24 February 2009 in the Great Hall, Newcastle campus (at Callaghan). For more photo opportunities, contact Media and Public Relations on 02 4921 5351.


text:
Group Abstract
Graphics and Visualization
Data and function visualization, charting, statistical visualizations, financial visualizations, drawing tools, dynamic visualization, options and styling...
Content with tag graphics and visualization.
plot a circle at seperate points
Hello Everyone, I am trying to plot a circle, I wrote a code like this:x1[\[Psi]_] := Cos[\[Psi]] y1[\[Psi]_] := Sin[\[Psi]] When I want to plot a circle, I am using parametric plot ParametricPlot[{x1[\[Psi]], y1[\[Psi]]}, {\[Psi], 0, 2 Pi}]However I don't want all...
Better globes with RevolutionPlot3D
I decided that my project for tomorrow would be to start the Earth package for Wikicode with some simple 3D models. I was doing some preliminary investigations tonight, and I noticed an example in the help page for...
Simplifying visualization of VectorPlot3D
I'm trying to visualize a vector field, but it's very crowded. VectorPlot3D[{0, 0, Cos[x] Cos[y]}, {x, -\[Pi]/2, \[Pi]/2}, {y, -\[Pi]/2, \[Pi]/2}, {z, 0, 1}][img=width: 495px; height:...
ListLinePlot options to show whole plot?
Hi Everyone I got list :[mcode]lupok7={{0.1, 1}, {0.2, 1000}, {1.1, 200}, {1.2, 200}, {1.3, 200}, {1.4, 200}, {1.5, 200}, {1.6, 200}, {1.7, 100}, {1.8, 100}, {1.9, 100}, {2., 100}, {2.1, 100}, {2.2, 100}, {2.85, 280}, {4.3, 1000}, {4.4, 1000}, {4.5, 6350}, {4.9, 500}, {4.91, 64}, {4.95, ...
Exporting graphics from the Mathematica Language on Raspberry Pi
The only way I can figure out to see graphics generated in the Mathematica language is to export them and then view them using ImageViewer. Is there another way?
Empty ListPolarPlot
Hi, Who could help me to use ListPolarPlot? I made ListPolarPlot[{Pi/5,4}] and Mathematica did not show me one point in polar coordinates as I hoped. Thank you, Ana
Highlight the Intersection of Two Surfaces
Dear friends: Why the solution below does not work ? My OS is Windows 8.1, but this is my first problem. This is the link of the above code: [b]Highlight The Intersection Of Two Surfaces[/b] ...
All Epilog options
Dear friends: How could I find all the options for Epilog. I have used it with PolarPlot. When Should I use it? Thanks, Ana
How do you plot a list of lists, such that all entries of list[i] have x=i?
Hey, as in despcription: I have a List of Lists { {List1}, {List2}, ... } each list, has the form {y1,y2,...}. I want to create a plot such that, all the points in list1 have the x-coordinate 1, all points in list2 have the x-coordinate 2 and so on. Could you please tell me how to do this? Thank...
Plots return only axes but no curves
Hello, i got a huge problem with the Plotfunctions in Mathematica 9. When i try to plot a defined function it shows just a coordinate system with a white background. When this happens i try to Evaluate[..] the function. A few times this works actually. I'm really frustrated about this issue and...
What's wrong with my using of RegionFunction
This simple code is working fine: x =.; y =.; z =.; syst = {Abs[x - y] Function[{x,y,z},z==0]]returns [code]RegionPlot3D::optx: "Unknown option RegionFunction->Function[{x,y,z},z==0] in...
Older enrollments in Exchanges could cost insurers about 10%
I would like to share with Wolfram Community an article I wrote recently. The original can be found at my blog [url=http://acadeathspiral.org/2013/11/20/older-enrollments-in-exchanges-could-cost-insurers-about-10]ACA Death Spiral[/url] with Mathemtica notebook available for...
Help needed with code optimization in Manipulate
I'm trying to build an interactive dynamic presentation with Manipulate about the electric field lines generated by an electric dipole (couple of charges). In my plan the user should be able to move the two charges generating the field (through a locator) and there would be a third locator...
Dancing with friends and enemies: boids' swarm intelligence
The latest way I have found to use my expensive math software for frivolous entertainment is this. Here's is a way to describe it. [list] [*]1000 dancers assume random positions on the dance-floor. [*]Each randomly chooses one "friend" and one "enemy". [*]At each step every dancer [list]...
Possible bug or I am blind about something??
Just wanted to plot a circle to solve an analytic geometry problem: The equation of the circle is (x-2)^2 + (y+1)^2 == 6^2 I had mathematica solve for y so I could plot both sides of the circle. Solve[(x-2)^2+(y+1)^2==6^2,y] Mathematica returned the following results:...
Combine "three-leaf rose" and two lines
Dear friends: I would like to put 2 crossing [b]45 degree lines[/b] in this below command in order to have the "three-leaf rose" and those lines together. PolarPlot[{0, 1, Sin[3 \]}, {\, 0, 2 \[Pi]}] What would be the easiest way to do this? Could you help me...
PDF Export gives a much bigger file in Mathematica 9
Okay. I am pretty convinced that exporting PDFs via export command is horribly broken in Mathematica 9.[code]Show[Plot[x^(1/2), {x, 0, 10}, PlotRange -> {{-0.4, 10}, {-0.35, 4}}, PlotStyle -> {Thick}, Ticks -> {{0}, {0}}, AxesLabel -> {Style["l", FontSize -> 14], ...
How do you graph an arc with an arrow in the end ?
Graphics[Arrow[Circle[{0, 0}, 1, {Pi/4, 3 Pi/4}]]]
Can you find an invisible cow with Wolfram Language?
First things first - don't forget to have your sound on for this game. From time to time the Wolfram Language cow wanders the pages of Internet. Just very recently it visited our Community pages too – [url=http://community.wolfram.com/groups/-/m/t/138400]scroll down this discussion[/url]....
Plotting points from Root inside For-loop
[mcode]For[x = 0.1, x
Group Count
156 Discussions
Active Members |
Teoman Ozturk 9 Hours ago |
Frank Kampas 14 Hours ago |
Bill Simpson 15 Hours ago |
Michael Hale 1 Day ago |
maryam fathi.s 2 Days ago |
Marek Paciarski 4 Days ago |
David Vasholz 4 Days ago |
Items per Page 7


text:
03 - 06 May 07
Categories:WRC, PWRC
Based:Cordoba-Villa Carlos Paz
Most Recent Winner:Sebastien Loeb (2009)
The trip to Argentina may be long for European fans, but, when you combine a land of spectacular scenery with a nation of people always up for a party, you have the ideal location for a World Rally Championship event. It's always a highlight of the season.
The rally will be based in Villa Carlos Paz - a small town near the stately city of Cordoba. New this year, will be a new superspecial held at the River Plate Soccer Stadium in the capital city of Buenos Aires on Thursday. The two superspecials from 2006 at the Soccer Stadium in Cordoba are back again, one taking place on Friday and the other one on Sunday.
The high altitude of the stages, just as in Mexico, can sap the cars of power as they struggle for breath in the thin air. The blend of high speeds and bumpy terrain place extra stresses on the suspension, and the bodywork can take a pounding. More hazards are provided by the numerous watersplashes, but the sight of a World Rally Car plunging through a water-filled ford is one of the highlights of the season. The weather can also be highly unpredictable. In the wet, the loose gravel surface can become greasy, catching out the unwary.
Recent Winners
2007 Sebastien Loeb (Citroen C4)
2006 Sebastien Loeb (Citroen Xsara)
2005 Sebastien Loeb (Citroen Xsara)
2004 Carlos Sainz (Citroen Xsara)
2003 Marcus Gronholm (Peugeot 206)
2002 Carlos Sainz (Ford Focus)
2001 Colin McRae (Ford Focus)
2000 Richard Burns (Subaru Impreza)
1999 Juha Kankkunen (Subaru Impreza)
1998 Tommi Makinen (Mitsubishi Lancer)
1997 Tommi Makinen (Mitsubishi Lancer)
1996 Tommi Makinen (Mitsubishi Lancer)


text:
Add as many rounds of Golf as you intend to play to your package!
Disney Resort Guests and Walt Disney World Swan and Dolphin Hotel Guests may add as many rounds of golf as they intend to play to their package that includes greens fees, electric cart and pre-round practice balls. Ask about special Twilight rates available for play after 2:00 p.m. and the Resort Guest Two Rounds of Golf.
Resort Guests may book up to 120 days in advance by calling (407)-WDW-GOLF (939-4653).
Rental equipment available for an additional charge.
Dress code: Shoes without spikes, Shirt with collar, Bermuda length shorts.
Pro Shop Discount Offer
Guests booked on a package with a Golf Add-on will receive $10 (USD) off the total purchase price when purchasing $50 (USD) or more (after tax) in merchandise in a single retail sales transaction at Disney's PGA Tour Event merchandise locations or at the Pro Shop at Disney's Magnolia Golf Course, Disney's Palm Golf Course or Disney's Lake Buena Vista Golf Course.
Limited to one single retail sales transaction per day during your package stay. To redeem, you must present your voucher and a current photo ID at the check-out counter at the time of purchase.
Pro Shop discount offer not available on certain services and merchandise including, but not limited to, special orders, Disney ticket media, Disney Dollars, Disney Gift Cards, tobacco products, alcohol, golf lessons, greens fees, range balls, golf equipment rentals, disposable cameras, consumer electronics, personalization, on sale-clearance items, specialty discounts, Pro Shop drinks and food items, clubhouse restaurants, snack bar and on-course beverage carts. Credit applies only to merchandise in stock. Voucher is required for redemption and is non-transferable. Lost or stolen vouchers will not be replaced. Not valid with any other vouchers, certificates, coupons or offers and may not be redeemed for cash, in whole or in part. Not valid for admission to any theme park. No photocopies or reproductions will be accepted. Voucher expires at midnight on the day of checkout and IS VOID IF SOLD.
La Nouba™ by Cirque du Soleil®
You can live it up at this spellbinding show created exclusively for the Walt Disney World® Resort - a must-see for anyone who wants a truly dazzling evening of spectacular entertainment. Experience this avant-garde blend of circus, art, theater, and absolute whimsy to know the color of imagination.
La Nouba tickets can be added to select vacation packages. La Nouba tickets are included in the Magic Your Way Premium and Platinum packages.
Richard Petty® Driving Experience
Start your engines and blast off at speeds up to 145 MPH around the Walt Disney World Speedway in a NASCAR stock car. The Richard Petting Driving Experience can be added to any Magic Your Way Package to the Walt Disney World Resort. Options include:
Guests must be 6-13 years old and maximum height of 48 inches tall to participate in the Junior Ride-Along Experience, 14 or older to participate in the Ride-Along Experience, and 18 or older with a valid driver's license to participate in all other experiences. Reservations required. Operating hours subject to change due to inclement weather.
Exotic Driving Experience
You can drive your dream - driving the world's fastest and most exotic high performance cars on a real racetrack…no traffic…no stoplights…no law enforcement…just your dreams, your adrenaline and the wide-open asphalt!
Based at Walt Disney World Speedway, Exotic Driving Experiences start at six laps around the course with a professional driving instructor in the passenger seat providing coaching and feedback. Eight lap and 10 lap driving experiences are also available. Designed for Exotic Driving Experience, a one-mile track runs clockwise and combines the speed sensation of an oval with the challenges of a street-style course. The goal…to improve performance with every thrilling lap!
If you prefer, you can buckle up and hold on as you experience the speed and performance of a world-class supercar for two thrilling laps around the track as a professional instructor takes you for a supercar Thrill Ride!
The Exotic Driving Experience can be added to any Magic Your Way Package. Options include:
Drive An Exotic Car - 6, 8 or 10 Laps
Ride With a Pro - 2 Laps
Guests must be 14 or older to participate in the Thrill Ride Experience, and 18 or older with a valid driver's license to participate in all other experiences. All participants under 18 must be accompanied by a parent or legal guardian.
All participants are provided with a regulation helmet. Participants need to wear socks, closed-toe shoes and long pants.


text:
FOL August Booksale | |
Event Type: Book Sale Age Group(s): All Ages Date: 8/1/2012 Start Time: All Day Description: Friends of the Library Booksale. Friday, August 3rd Members Only Sale 6-8pm; Saturday, August 4th Open to the Public 9am-4:30pm; Sunday, August 5th 1-4:30pm $5.00 Bag Sale.
Library: Noble
Driving Directions
Presenter: FOL |


text:
Free Shipping! Get Free Shipping on any order of $75 or more.
"I just wanted to thank you again for all you did, above and beyond, to obtain the Meghann O'Hara artwork for me. I cannot begin to tell you how excited my "kids" are and they owe this excitement to YOU!!! Thank-you, thank-you, thank-you! Anything my daughter-in-law (or our new grandson) needs, I will be sure to visit Euphoria." Bonnie - Williamsport, PA More testimonials |


text:
Katie has been a wedding planner and a floral designer, so she knows a thing or two about romance. But when Ian, an illustrator she'd met only briefly, called her up at her San Francisco studio as she was meeting with a bride, she was all business. "I gotta make this quick," she said. "Are you calling to ask me out on a date?" He was, and if Katie wasn't charmed when she picked up the phone, her feelings bloomed once she had the chance to spend the day with Ian, cruising down Highway 1.
Resting on scalloped tags, boutonnieres were laid out in a moss-lined basket for the groom, two of his groomsmen, and his father and grandfather. The adornments for the groom and best man were distinguished by golden bittersweet -- the clusters also combine blackberries, fuzzy bunny tails, and variegated dogwood, all tied with apricot-colored ribbon.
A custom-ordered faux bois tablecloth brought the woods inside the reception tent, which was set right on the grass and decorated with Eastern motifs. The centerpieces were designed by the bride from garden roses that included 'Golden Celebration,' 'Evelyn,' 'Pieter B,' 'Charles Austin,' and 'Mojave,' along with sea oats and blackberry brambles. Continuing the enchanted-forest theme, the flowers were arranged in vases wrapped in stained birch bark. Letterpress scalloped tags hanging on chair backs helped guests find their seats.
From left: A pillar of caramel macaroons entices guests. Green-tinted white-chocolate leaves top a tower of delicacies that include walnut bonbons and "La Femme" chocolates with a ganache filling of passion fruit and chocolate. The marzipan-covered cake features a faux bois pattern that was pressed onto the coating with a custom rubber stamp. A two-tiered cake stand holds pistachio chocolates and champignons caramel. Fluted French canneles, assorted macaroons, and green candied bonbons complete the sweet tableau.
Wedding Planner: Pamela Fishman Cianci for Outlined Productions
Event Design and Stationery: Bell'occhio
Event Production: Wendy Cook for Trademark Event Productions
Cake: Sam Godfrey for Perfect Endings
Flowers: Green Valley Growers, Brannan Street, Garden Valley Ranch
Wedding Gown: "Zelda" gown by Vera Wang Luxe, from Vera Wang Bridal
Groom's Attire: Custom suit by Seize sur Vingt, 212-343-0476. Shirt, tie, and shoes from Saks Fifth Avenue
Groomsmen's Attire: Suits by Brooks Brothers. Shirts and ties from Saks Fifth Avenue
Hair: Tina Kwak, Addison Salon, 415-931-9513
Makeup: Maria Lee, and Nan Webb for Nanskin
Silhouettes: Karl Johnson
Band: Gaucho
Place Settings, Tables, and Chairs: Classic Party Rentals
Tents: Raj Tents
Get inspiration for crafting your wedding details.
Get the IdeasCustomize our clip art and templates for your suite.
Download for FreeVisit other Martha Stewart Living Omnimedia sites:
© 2011 Martha Stewart Living Omnimedia, Inc. All rights reserved.


text:
Under immigration law, amnesty is a governmental pardon for person violating policies related to immigration. Immigration amnesty would include the government forgiving individuals for using false documentation to gain employment in the U.S. and to remain in the country, and would allow illegal immigrants or undocumented aliens to gain permanent residency in the United States.
Definition from Nolo's Plain-English Law Dictionary
A pardon extended to a group or class of individuals by the government, usually before any trial or conviction. Amnesties often follow wars -- for example, the amnesty granted to Confederate officials and soldiers after the Civil War or to those who violated the Selective Service Act by evading the draft during the Vietnam War.
Definition provided by Nolo's Plain-English Law Dictionary.
August 19, 2010, 5:11 pm


text:
November 3, 2011
Sam Estes OrangeandBlueNews.com
CB Mohammed Seisay from Eastern Arizona Junior College is taking visits and narrowing his list. Find out what he has to say about Illinois in this report from OrangeandBlueNews. ...More... To continue reading this article you must be a member. Sign Up Now for a FREE Trial
Already a member? Click here to sign in


text:
10:04 AM EST, Thu December 12, 2013
There doesn't seem to be any recent rumors or news. Please check back again later.
NCAA Player News
- 4
Roddy Peters
Mark Turgeon moving increasingly to Roddy Peters at point guard
- 4
Jameis Winston
Three for the Show: Winston, McCarron, Manziel Are Up for Multiple College Awards
- 3
Alfonzo Dennard
Michigan State's Darqueze Dennard emerges as an elite defensive back
- 2
Mike Minter
Meet Mike Minter, Maryland football walk-on and guitarist
- 2
Kris Dunn
Friars' Kris Dunn done for season; father questions PC's handling of injury


text:
Use this form to get a username and password!
This week on Money Talks we kick off the new year with some hot new stunts. First we go for a ride around town on the magic bus with our 3 sexy Flower Girls. Then we bring you some money talks magic with our exclusive Naked Mermaid. Finally its back to the shop for some group sex with Jmac and Roxanne. Do not miss this one!
Please visit WTS | Epoch | CCbill | GXB our authorized sales agents. Please visit Vendo our authorized reseller. |


text:
Frequently Asked Questions:
This document provides answers to common diagnostic questions and issues.
If you don't find the answer you're looking for, check the complete list of FAQs or post your question to the MongoDB User Mailing List.
If mongod shuts down unexpectedly on a UNIX or UNIX-based platform, and if mongod fails to log a shutdown or error message, then check your system logs for messages pertaining to MongoDB. For example, for logs located in /var/log/messages, use the following commands:
sudo grep mongod /var/log/messages
sudo grep score /var/log/messages
If you experience socket errors between members of a sharded cluster or replica set, that do not have other reasonable causes, check the TCP keep alive value, which Linux systems store as the tcp_keepalive_time value. A common keep alive period is 7200 seconds (2 hours); however, different distributions and OS X may have different settings. For MongoDB, you will have better experiences with shorter keepalive periods, on the order of 300 seconds (five minutes).
On Linux systems you can use the following operation to check the value of tcp_keepalive_time:
cat /proc/sys/net/ipv4/tcp_keepalive_time
You can change the tcp_keepalive_time value with the following operation:
echo 300 > /proc/sys/net/ipv4/tcp_keepalive_time
The new tcp_keepalive_time value takes effect without requiring you to restart the mongod or mongos servers. When you reboot or restart your system you will need to set the new tcp_keepalive_time value, or see your operating system's documentation for setting the TCP keepalive value persistently.
For OS X systems, issue the following command to view the keep alive setting:
sysctl net.inet.tcp.keepinit
To set a shorter keep alive period use the following invocation:
sysctl -w net.inet.tcp.keepinit=300
If your replica set or sharded cluster experiences keepalive-related issues, you must alter the tcp_keepalive_time value on all machines hosting MongoDB processes. This includes all machines hosting mongos or mongod servers.
Windows users should consider the Windows Server Technet Article on KeepAliveTime configuration for more information on setting keep alive for MongoDB deployments on Windows systems.
The MongoDB Management Services <http://mms.mongodb.com> includes monitoring. MMS Monitoring is a free, hosted services for monitoring MongoDB deployments. A full list of third-party tools is available as part of the Monitoring for MongoDB documentation. Also consider the MMS Documentation.
Always configure systems to have swap space. Without swap, your system may not be reliant in some situations with extreme memory constraints, memory leaks, or multiple programs using the same memory. Think of the swap space as something like a steam release valve that allows the system to release extra pressure without affecting the overall functioning of the system.
Nevertheless, systems running MongoDB do not need swap for routine operation. Database files are memory-mapped and should constitute most of your MongoDB memory use. Therefore, it is unlikely that mongod will ever use any swap space in normal operation. The operating system will release memory from the memory mapped files without needing swap and MongoDB can write data to the data files without needing the swap system.
The working set for a MongoDB database is the portion of your data that clients access most often. You can estimate size of the working set, using the workingSet document in the output of serverStatus. To return serverStatus with the workingSet document, issue a command in the following form:
db.runCommand( { serverStatus: 1, workingSet: 1 } )
Your working set should stay in memory to achieve good performance. Otherwise many random disk IO's will occur, and unless you are using SSD, this can be quite slow.
One area to watch specifically in managing the size of your working set is index access patterns. If you are inserting into indexes at random locations (as would happen with id's that are randomly generated by hashes), you will continually be updating the whole index. If instead you are able to create your id's in approximately ascending order (for example, day concatenated with a random id), all the updates will occur at the right side of the b-tree and the working set size for index pages will be much smaller.
It is fine if databases and thus virtual size are much larger than RAM.
The amount of RAM you need depends on several factors, including but not limited to:
MongoDB defers to the operating system when loading data into memory from disk. It simply memory maps all its data files and relies on the operating system to cache data. The OS typically evicts the least-recently-used data from RAM when it runs low on memory. For example if clients access indexes more frequently than documents, then indexes will more likely stay in RAM, but it depends on your particular usage.
To calculate how much RAM you need, you must calculate your working set size, or the portion of your data that clients use most often. This depends on your access patterns, what indexes you have, and the size of your documents.
If page faults are infrequent, your working set fits in RAM. If fault rates rise higher than that, you risk performance degradation. This is less critical with SSD drives than with spinning disks.
Because mongod uses memory-mapped files, the memory statistics in top require interpretation in a special way. On a large database, VSIZE (virtual bytes) tends to be the size of the entire database. If the mongod doesn't have other processes running, RSIZE (resident bytes) is the total memory of the machine, as this counts file system cache contents.
For Linux systems, use the vmstat command to help determine how the system uses memory. On OS X systems use vm_stat.
The two most important factors in maintaining a successful sharded cluster are:
You can prevent most issues encountered with sharding by ensuring that you choose the best possible shard key for your deployment and ensure that you are always adding additional capacity to your cluster well before the current resources become saturated. Continue reading for specific issues you may encounter in a production environment.
Your cluster must have sufficient data for sharding to make sense. Sharding works by migrating chunks between the shards until each shard has roughly the same number of chunks.
The default chunk size is 64 megabytes. MongoDB will not begin migrations until the imbalance of chunks in the cluster exceeds the migration threshold. While the default chunk size is configurable with the chunkSize setting, these behaviors help prevent unnecessary chunk migrations, which can degrade the performance of your cluster as a whole.
If you have just deployed a sharded cluster, make sure that you have enough data to make sharding effective. If you do not have sufficient data to create more than eight 64 megabyte chunks, then all data will remain on one shard. Either lower the chunk size setting, or add more data to the cluster.
As a related problem, the system will split chunks only on inserts or updates, which means that if you configure sharding and do not continue to issue insert and update operations, the database will not create any chunks. You can either wait until your application inserts data or split chunks manually.
Finally, if your shard key has a low cardinality, MongoDB may not be able to create sufficient splits among the data.
In some situations, a single shard or a subset of the cluster will receive a disproportionate portion of the traffic and workload. In almost all cases this is the result of a shard key that does not effectively allow write scaling.
It's also possible that you have "hot chunks." In this case, you may be able to solve the problem by splitting and then migrating parts of these chunks.
In the worst case, you may have to consider re-sharding your data and choosing a different shard key to correct this pattern.
If you have just deployed your sharded cluster, you may want to consider the troubleshooting suggestions for a new cluster where data remains on a single shard.
If the cluster was initially balanced, but later developed an uneven distribution of data, consider the following possible causes:
If migrations impact your cluster or application's performance, consider the following options, depending on the nature of the impact:
It's also possible that your shard key causes your application to direct all writes to a single shard. This kind of activity pattern can require the balancer to migrate most data soon after writing it. Consider redeploying your cluster with a shard key that provides better write scaling.


text:
To share this article: Enter the email address you want to send this article to in the field and click "Send"
By Jaclyn Shambaugh Staff writer
Following Seventy-First's 52-37 win at Jack Britt on Tuesday, the players demanded coach Tracie Taylor ask them the question she's challenged them with all season long.
"What have you won?" Taylor said. "Tonight, when I went into the locker room after the game, they were like, 'Ask us, coach. Ask us.' "
The Falcons can now say they've won the Mid-South 4-A Conference regular-season title, marking the first time Seventy-First has clinched a conference title since 2004.
The Falcons went on to win their second of two consecutive state championships that year.
The Falcons remain undefeated at 22-0 overall and 11-0 in the Mid-South with one regular season game left.
They will host South View on Friday.
Britt (15-5, 8-3 Mid-South) entered Tuesday's contest tied for second place with South View, but the Buccaneers slipped to third place after the loss.
The Falcons hovered just ahead of the Bucs through the first half as Seventy-First struggled to find its offensive rhythm.
Guard Ashley McCray was the leader for the Falcons, scoring nine of her game-high 19 points in the first quarter.
But the Falcons struggled to control the pace, and the Britt defense forced the Falcons to commit 11 first-half turnovers. Seventy-First finished the night with 15.
"We started off slow," McCray said. "We knew they were going to come out aggressive, but we picked our offense up and figured out their defense."
Britt coach Nattlie McArthur said an aggressive start was part of the Bucs' game plan.
"We tried to play a little bit more man," the coach said. "We didn't want to pressure them too far out, because we know they're good at cutting and finding each other. But we wanted to be a little more aggressive with some man."
The Falcons gained steam in the third quarter, outscoring the Bucs 17-11 in the frame, including five points in the the final minute of the period to hold a 42-28 lead at the start of the fourth.
Guard Marcianna Munn credited the Falcons' front court with helping to secure the win.
"We started playing our game in the second half, and our big girls started boxing out," said Munn, who scored 11 points. "That helped a lot."
The Falcons grabbed 40 rebounds on the night. Kelsey Bradley led with nine. Substitute Jhemini King had seven rebounds, despite playing only in the fourth quarter.
SEVENTY-FIRST- Marcianna Munn 11, Ashley McCray 19, Loyd 2, Davis 4, Bradley 7, Foster 3, Ross 4
jACK BRITT- Ccoriea Foy 10, Franzoni 5, McKoy 2, Johnson 6, Nixon 4, Brookshire 4, Taylor 4
Fouled out: JB - Foy
Technical fouls: none
3-point goals: SF - Munn 2, McCray 3; JB - Foy, Brookshire
Records: Seventy-First 22-0, 11-0; Jack Britt 15-5, 8-3
Fayobserver.com is using Facebook Comments. You must have a Facebook account and be logged in to Facebook to post your comment below. Your comment is subject to Facebook's Privacy Policy and Terms of Service on data usage. Your comment will appear on our site and on your Facebook page unless you uncheck the "Post to Facebook" box. We expect users to maintain a civil discourse. If you believe a comment is inappropriate, you may click the X in the upper right corner to send an abuse report to Facebook. To report an objectionable comment directly to Fayobserver.com, email email@example.com. Want to know more? Check out our FAQ.


text:
The tutorial is designed to:
- Make the University community aware of its responsibilities when conducting research with human subjects;
- Educate the University community in the ethical bases of the Federal and University regulations that govern these research activities;
- Help the University community carry out its responsibilities and obligations under these regulations
Q: Who Needs to Take the Tutorial?
A: Anyone submitting an application to the NYU University Committee on Activities Involving Human Subjects (referred to as UCAIHS or the Committee) must complete this tutorial and pass the certification exam prior to review of the application. Applicants need to pass the exam once; subsequent applications to the UCAIHS do not require retesting.
Tutorial Overview
Each of the 18 chapters can be completed independently. To get the most out of a chapter, you should:
- Complete the case study (for certain chapters) to test your current understanding.
- Work through the content of the section, paying particular attention to the areas that address the gaps in your knowledge.
- Answer the chapter review questions to test your knowledge. Immediate feedback will be given to each answer — use this as an opportunity to review the content, especially if you were not sure of the answer.
Once you have completed all the chapters and feel comfortable with the material, take the exam. The certification exam consists of 20 primary questions and 20 secondary questions. The primary questions (worth 3 points) are always on the exam while the secondary questions (worth 2 points) are randomly selected each time you take the exam. You must receive a score of 80 (out of 100) to be certified.


text:
PIMCO 1-5 Year U.S. TIPS Index Exchange-Traded Fund (STPZ)
- Fixed Income | Treasury Inflation Protected Securities
- Loading...
Home > Best Funds > Best ETFs > Fund Category: Treasury Inflation Protected Securities > PIMCO 1-5 Year U.S. TIPS Index Exchange-Traded Fund
1 |
Schwab U.S. TIPs ETF (SCHP) |
2 |
SPDR Barclays TIPS ETF (IPE) |
3 |
iShares TIPS Bond ETF (TIP) |
4 |
See full rankings for Treasury Inflation Protected Securities
From picking a school to buying a car, our rankings help make hard decisions easier.
Get all the latest news, politics, opinion, and analysis U.S. News has to offer.
Copyright © 2013 U.S. News & World Report LP. Use of this website constitutes acceptance of our Terms and Conditions of Use / Privacy Policy.
Quotes delayed at least 15 minutes. Market data provided by Interactive Data and powered by Interactive Data Managed Solutions. Fund data provided by Interactive Data and Morningstar.
Contact U.S. News Best Funds. Use of this website constitutes acceptance of the Best Funds Terms and Conditions of Use.


text:
I have an issue with a Duo,
I've activated the FTP service without any problem.
I can connect via a client (Filezilla) but I have a folder with a lot of files (pictures) and when I move in and I the client sends the MLSD command I receive the answer:
150 Opening ASCII mode data connection for MLSD
but then it goes in timeout.
I tried to increment the timeout without any results.
I tried with another client (Smart Ftp), the same.
I installed an ftp server in a pc client in the same network of the Nas and by that server I can list every folder.
Perhaps there some memory limit in my Readynas duo ?


text:
New York City Midtown East Hotels + 4 Star + UTELL INTERNATIONAL
Know When You're Going?
More Search OptionsStar Rating
- 4 Stars
"Let me start with this... I travel a lot, for business and pleasure. I used to work i... Read more"
"I recently took my honey to NYC as a surprise for his New Years Eve birthday. It was ... Read more"
"I travel for business and pleasure and have stayed at 2-star inns to 5-star Four Seas... Read more"
Note: The nightly rates shown above do not yet include Tax Recovery Charge & Service Fees or (if applicable) Extra Person Fees, Child Fees, Additional Mandatory Hotel Charges or optional incidentals, such as parking, room service or movies.


text:
September 20, 2012
Mike Scarborough TigerBait.com
TigerBaitTV exclusive high definition video of Rivals100 linebacker Kendell Beckwith of East Feliciana in action versus Zachary last Friday night. ...More... To continue reading this article you must be a member. Sign Up Now for a FREE Trial
Already a member? Click here to sign in


text:
The MD2 is a versatile midrange by Discmania. Stable, accurate, and reliable, this disc will hold whatever angle it is put on. Try this disc for tight drives and long approach shots. The MD2 feels great with a rim that helps ensure smooth and controlled release every time. It is of the larger-diameter class of midranges, and has greater glide than the MD1 for a touch more distance and hang time. All Discmania discs are made by Innova. Flight Rating |4|5|0|2|
Disc Golf World
509 E. 18th Street
Kansas City, Missouri 64108
Phone: 888-237-6884
Map to Store
© Copyright 2013. Disc Golf World. All rights reserved. |


text: AIDS COMMUNITY RESOURCES Syracuse, NY | EIN: 16-1359060 Central New York- AIDS Community Resources (ACR) is a not-for-profit, community-based organization providing prevention, education and support services to those infected with and affected by HIV/AIDS. Created in 1983, the agency is financially supported by both public and private funds. Through its staff and volunteers, AIDS Community Resources responds to the AIDS epidemic by working to: •To prevent the spread of HIV and other sexually transmitted diseases; •To provide support services to those who are living with HIV/AIDS; and •To promote sexual literacy and improved medical outcomes. Learn More


text:
Close Recently added item(s)
You have no items in your shopping cart.
1.714.526.1300 |
Our costume head piece and band includes the various styles of head clip, crown, tiara bands, headband, clips, wand, halo for adult and youth for halloween and special event.
There are no products matching the selection.
Currently Shopping by
Shopping Options