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The Rubio, Ryan makeovers
Behind the Curtain: About this weekly feature
Behind the Curtain is a reported column, Web show and online conversation about the behind-the-scenes intrigue that shapes politics and policy. It will unfold every Tuesday (and beyond, when news dictates). See all editions of Behind the Curtain here.
Marco Rubio doesn't want to be the "Hispanic candidate." Paul Ryan doesn't want to be the "austerity guy."
Story Continued Below
Both want to run for president, or keep the option wide open. So each is trying to change his own image — and with it, the Republican Party's — starting Tuesday night with dueling speeches at the Jack Kemp Foundation's awards dinner.
( PHOTOS: Republicans, 2016 contenders)
While Congress dawdled this summer, Rubio, 41, assigned his policy experts to figure out ways to help make the middle class wealthier — and add a dose of substance to the charismatic presidential hopeful's résumé. Reaching out to academics and think tanks to build Rubio's network, the senator and his staff developed a two-year reinvention project and an "upward mobility agenda," including programs like early childhood education, school choice and incentives for entrepreneurs. Those are some of the proposals he'll test-drive at the Kemp Foundation dinner, where he'll receive the group's second leadership award. The first winner: Paul Ryan.
Rubio also plans new ideas on immigration, aimed not at broad citizenship but at creating a bigger Hispanic middle class. "The answer," Rubio will say in his after-dinner remarks, "is not to make rich people poorer. The answer is to make poor people richer." If he makes the sale in countless such appearances over the next two years, he'll begin a formal presidential campaign shortly after the midterm elections of November 2014, Rubio sources tell us.
Ryan, 42, will kick off his own drive to redefine the party — and himself — as the pre-dinner keynote speaker before 300-plus conservative faithful on the same stage, detailing his thinking on how people of all classes can rise up economically and improve socially. Top Republicans tell us Ryan tried to push his ideas for a more creative "war on poverty" during the presidential campaign but was muzzled by nervous Nellies at Mitt Romney's Boston headquarters who didn't see an immediate political payoff. So Ryan seethed when the "47 percent" tape emerged, convinced that the impact was worse because the campaign had no record on issues relating to inclusion or poverty, exacerbating the out-of-touch image that the hidden camera cemented.
(Also on POLITICO: What happens to @PaulRyanVP?)
Republicans are eager for both men to perform an image makeover on a party dominated by older, straight, white men. Ironically, Romney's double debacle of getting caught on tape lampooning the "47 percent" of voters who get government benefits, then blaming those "gift"-getters for his defeat, has created an enormous opening for Rubio, Ryan and other 2016 hopefuls. Suddenly, even Sean Hannity seems hungry for some change.
Louisiana Gov. Bobby Jindal — the new chairman of the Republican Governors Association and himself a possibility for 2016 — told us that the need for fresh policies is urgent. "The rich can defend themselves," Jindal said. "It's not about betraying our principles or becoming a second Democratic Party but, rather, showing how our principles work to help real families, and connecting that to the American dream."
By our count, upward of 20 Republicans are giving strong consideration to running for president to set the new GOP direction. Rubio and Ryan sit atop the list. But Jindal, New Jersey Gov. Chris Christie and Jeb Bush have serious ambitions — and serious GOP cred.
( Also on POLITICO: Poll: Christie rating sets record)
In the next year, though, no two men in American politics will get more attention, have more power and speak more prominently about the direction of the post-Romney GOP than Rubio and Ryan. Rubio is now the party's biggest draw. And Ryan's post as House Budget Committee chairman keeps him front and center in the fiscal fights dominating Congress. He is the policy pope for many, if not most, House Republicans.
So Tuesday's dinner at Washington's Mayflower Renaissance has become an unofficial kickoff to 2016.


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Betty�s Rockin� Revival is a new tattoo parlor that opened last month in downtown Burlington. Located at 138 W. Front St., the shop features three tattoo artists, including one who specializes in portraits and another who does piercings. The tattoo parlor also sells clothing, and accepts walk-ins, though appointments are suggested for custom work.
Closed Sundays and Mondays, Betty�s Rockin� Revival is open from 11 a.m. to 9 p.m. Tuesday through Thursday and from 12 p.m. to 12 a.m. on Fridays and Saturdays. Until a local phone number is established, call Janet at 702-496-1352 or check out �Betty�s Rockin� Revival� on Facebook. A website is in the works.
BURLINGTON HAS lost a restaurant.
Panda Express was located at 3117 Garden Road, in the shopping center with Walmart has closed.
The restaurant, which serves Chinese food, also has locations in Greensboro, High Point, Durham and Apex.
Open & Shut runs on Mondays and covers news about local restaurants, retailers and other businesses opening, closing, moving or changing hands. Got something for Open & Shut? Contact Brent Lancaster at firstname.lastname@example.com or 336-506-3040. Our fax number is 336-229-2463.

subset: commoncrawl


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New Gator Resources
New to the University of Florida? Check out these new student computing resources.
Welcome to the UF Computing Help Desk! We understand that computer problems can be frustrating. We are here to help you resolve computing issues by directly answering your question or by routing it to the appropriate technical help. You will find a wide variety of resources on this site for most of your basic computing needs.
New to the University of Florida? Check out these new student computing resources.
Recently changed your password? Click here to find instructions on how to update your password for UF's wireless and your email.
View the GatorLink E-Mail Setup Instruction Guides for a variety of email clients and computing platforms.
Visit our connectivity instructions to learn how to connect to wireless, DHNet & VPN.
To avoid website display issues, ensure you are using a supported browser. Here you will find a listing of supported and/or recommended browsers by individual UF websites.
View a variety of helpful how-to videos to help you get connected!


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Mention the arts in Charlotte and many people immediately think of events at the Blumenthal Performing Arts Center or exhibits at the newly opened museums at the Levine Center for the Arts.
These institutions are cultural gems, and our region is much richer for having them. But they only begin to define a broad and diverse arts scene that also plays out in neighborhood theaters, universities, coffee houses, galleries and churches.
Less familiar with those venues? Well, that begins to change this week.
On Thursday, the Observer debuts Arts Alive, a full-color package in print and online designed to introduce you to the full range of opportunities to experience the arts. That includes emerging art trends, artist profiles and news of upcoming events.
Our first installment introduces you to Charlotte's own aerial dance troupe, Caroline Calouche & Co. The Observer's Lawrence Toppman describes its namesake this way: "Like a New York developer, this choreographer owns both the ground she inhabits and all the space above."
The group rehearses in Charlotte's NoDa community and will perform Saturday in a production at Central Piedmont Community College.
"I don't think we've ever done a full-blown feature on this troupe," says the Observer's features editor, Michael Weinstein. "We can now write about groups like this in addition to those that are already very well known to the community."
This adds to our Sunday arts coverage and frequent reviews of organizations like the Charlotte Symphony, Opera Carolina and the N.C. Dance Theatre.
How can we expand coverage in an era of media cutbacks? By using a relatively new funding model. It relies on a specific underwriter to support the added cost.
This model is new to newspapers. But it is quite familiar to you through other media, including public radio and public television.
The underwriter for the Observer's Arts Alive content is Carolinas HealthCare System (CHS). As the region's largest employer, CHS corporately supports a wide range of arts initiatives. In 2011, its employees contributed more than $600,000 to local arts organizations in Mecklenburg and surrounding counties. CHS also uses art and music therapy in its rehabilitation programs.
"This region is truly exceptional when it comes to artistic and cultural enterprises," says CHS CEO Michael Tarwater. "(Underwriting) is one means by which we can encourage everyone to enjoy all of the benefits that accrue from a healthy and growing arts community."
Underwritten content is produced independently through the Observer's newsroom. Underwriters play no role in the selection of stories or direction of coverage. Carolinas HealthCare joins two other underwriters now working with the Observer in this way:
Underwriters choose to invest in quality content, recognizing that this helps build stronger communities. We're pleased that such a moment has now arrived in Charlotte for the arts.
The Observer hopes to shine still more light on the arts, beginning this week, through a new partnership with a variety of other local media.
The Charlotte Arts Journalism Alliance (CAJA) includes the Observer, public radio station WFAE, television station WCNC and two publications that are solely web-based, Qcitymetro.com and CharlotteViewpoint.org.
For its launch, this group is being assisted by a grant it won in the Community Arts Journalism Challenge, a national competition sponsored by the John S. and James L. Knight Foundation and the National Endowment for the Arts.
Our alliance is one of five groups nationally that submitted winning proposals to reinvigorate coverage of the arts in their communities. Each member of the Charlotte alliance will enlist freelance journalists to cover the arts, and then share that content freely with other member organizations.
UNC Charlotte also is a member of this alliance. Its College of Arts and Architecture will develop seminars and courses that could help equip journalists who are new to covering the arts.
The initial grant of $20,000 is being used to pay journalists in an experiment at content-sharing, as well as to plan curriculum. The grant is being administered locally through the nonprofit Arts & Science Council (which played no role in the selection of the proposal or its details).
Later this month, the alliance will submit a final proposal to the Knight Foundation and the NEA that could lead to another $80,000 in funding.
Our goal is to elevate both the volume and the quality of local arts coverage. By collaborating, we also expect to reach wider audiences, which will only benefit both our community and the arts organizations that aspire to enrich it.
Reach Rick Thames at firstname.lastname@example.com, twitter.com/rthames and www.facebook.com/rthames.obs. Phone: 704-358-5001.
Saturday, November 19, 2011
We're expanding arts coverage
Mention the arts in Charlotte and many people immediately think of events at the Blumenthal Performing Arts Center or exhibits at the newly opened museums at the Levine Center for the Arts.


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Dec 28, 2010
To view game notes click here
COOKEVILLE, Tenn. - Looking for its fifth road win of the season, the Golden Eagle women's basketball team takes on the Central Florida Knights Thursday.
Tech (8-2, 3-0 OVC) is coming off a pair of Ohio Valley Conference victories against Eastern Illinois and Southeast Missouri. In their most recent game against SEMO, junior guard Tacarra Hayes and junior center Brittany Darling each tallied 13 points and nine rebounds.
Central Florida enters the game the owner of a 5-5 record which includes a 77-73 loss to Middle Tennessee. This will be the first meeting between the Golden Eagles and the Knights.
Opening tip against the Knights is set for 3 p.m.


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The American University in Spain
Saint Louis University's Madrid Campus delivers a world-class education and will expand your cultural horizons, whether you study with us for four years or just a few months. We welcome students from the United States, Spain and more than 65 other countries to pursue degrees and study abroad.
In addition to 14 undergraduate and two graduate degree programs that can be pursued entirely in Spain, our Madrid Campus enables students to complete requirements for all of Saint Louis University's nearly 100 degree programs. Students pursuing degrees in select programs can also begin their studies in Madrid, then transfer to St. Louis to complete their degrees.
Benefits of Studying at SLU-Madrid
- Accredited in the U.S., SLU-Madrid is registered with Spain's Ministry of Higher Education and Research to offer U.S. degree programs.
- Our faculty are fully committed to you as a student.
- Our exceptionally low student-professor ratio means that they know you personally.
- More than half our students receive financial aid.
- You'll find that you will quickly feel at home in our newly renovated, landmark buildings, within minutes of the city center.
- Students live with Spanish families, in student residences or find their own apartments all over the city.
- Whether on your own or with the University, you will be able to experience Spain, the rest of Europe and beyond with the Madrid campus as your home base.
- Studying with people from cultures other than your own prepares you to meet the challenges of an increasingly globalized world.


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When a movie has little dialogue and even fewer sound effects, what keeps the audience tethered emotionally to the story? And how can a film seamlessly blend the idea of death and a child's wide-eyed wonderment? Through its music, of course. Here are four composers whose work covers all of the above as well as a solemn spirituality and a playful pizazz.
JOHN WILLIAMS, 'The Book Thief'
After nearly a decade of composing exclusively for Steven Spielberg's often-epic films, five-time Oscar winner John Williams took on the gentle Holocaust-era drama "The Book Thief."
"It was not a hard decision for me at all because I'd never confronted this combination of ideas in a book or play in my lifetime," says the 81-year-old Williams. "There's a double track: Literature, words and writing offer solace and immortality; the other side of the track is the Voice of Death, which I call 'Providence,' and that track also offers solace and immortality. These are two powerful notions that are highly original and poetic subjects for music to deal with."
The second-most nominated person in Oscar history with 48 nods, Williams is known for some of cinema's most iconic music, from the dark majesty of the Imperial March of the "Star Wars" series and the dread-generating double bass in "Jaws," to his fanfares for the "Superman" and "Indiana Jones" movies. His task on "The Book Thief," the story of a young girl who discovers a love of reading in World War II Germany, was relatively delicate.
Williams says he and director Brian Percival ("Downton Abbey") agreed "the film should be reflective of beautiful things. I think it is that."
The composer dotted scenes with fragile piano notes and bolstered the film's ideas with recurring motifs.
"The first one is a theme that accompanies the Voice — of Providence, if we're to call it that. We hear it three or four times, when he speaks. So that's what you hear at the end but it's been resolved musically."
One of the others, he says, was "the result of conversations with Brian about magic or magnetism — a motif, if not a melody — that is presented most importantly when [the girl] goes to Elsa's library and sees all the books. It's a magical moment for her."
Percival says, "Some of us are lucky enough in our lives that somebody has an effect on us — the world opens up to you and anything is possible. To convey that in just a few notes, I don't understand it. It did everything I'd hoped for."
—Michael Ordona
STEVEN PRICE, 'Gravity'
"Every cue was a big experiment," says composer Steven Price of his gigantic, aurally astonishing score for "Gravity," director Alfonso Cuarón's 3-D outer space disaster film. The galaxy offered an enormous, soundless black canvas — his task was to be equal to it as he guided the viewer emotionally.
"My role was to be very much with [astronaut] Ryan Stone from the start — expressing her state of mind, whether she's panicked, desperate, lonely, overwhelmed," says Price, who also recently scored the Earth-bound British comedy "The World's End." Given the absence of sound waves in space, Cuarón had ruled out percussion instruments, so Price achieved menace and muscle with "Jaws"-like pulsing, percussive bowing and other unnerving effects, and ethereal wonder via glass harmonica and choir. "Every element was manipulated through a synthesizer so that you're never sure what's organic and what's electronic," says Price. "We were very keen to avoid the conventions of a typical action score."
The recording method was innovative too. "We mixed it to be immersive, as if things were moving and transforming around you in an untethered way," Price explains. A creative breakthrough came on the cue titled "Don't Let Go," which plays as Stone (Sandra Bullock) gets separated from Matt (George Clooney), the other astronaut who survived the debris storm.
"I was trying to write emotional music but none of the conventional instruments were cutting it," says Price. "I spent a full day throwing ideas at it — then I got a cello and played it through a guitar tremolo pedal. It had a fluttering effect, which really got the melody going. It was the start of what became Ryan's theme, which you experience in its fullest version at the end of the film."
Another striking effect: the loud, intense "zzzzzip!," followed by silence, that occurs near the beginning and again at the end of the score. "You don't realize how silent something is," says Price, "unless there's a big noise before it. This was the most extreme example of that idea we could create."
— Amy Dawes
HANS ZIMMER, '12 Years a Slave'
Hans Zimmer says he was so moved by "12 Years a Slave" that when director Steve McQueen asked him to score it, he wasn't sure he was the right choice. "It was the questions that tumble through a neurotic German mind," he confesses. "Am I up to it? Am I worthy? Do I have anything to say?"
In the end, he approached it in the humblest possible way, assembling an intimate group of four string players from among his friends, and recording at his home studio with McQueen present. "It was just friends talking about the story and trying out ideas," says Zimmer. "And Steve was conducting us with his body language, or a smile, or the glint in his eye."
The cello-led theme for the kidnapped Solomon Northup that recurs throughout the score has a somber spiritual grandeur that serves to elevate scenes while scarcely intruding. "The job of the music is to open the door and invite you in," says Zimmer, "not to tell you what to feel. When I saw the performances these actors are giving I wanted to leave enough space to experience that."
The movie's traditional songs and spirituals were laid in before he began — violinist Tim Fain ("Black Swan") performs the music of fiddle-player Solomon (Chiwetel Ejiofor) — freeing Zimmer from period constraints. "My music could be a bridge to the present, and this was important because for years I've been obsessed about how much slavery still exists in the world."
Stripped-down sounds evoked the plantation's natural world: the high-pitched singing of insects, done with violins and synthesizer; the tension of an escape, via a wood block beaten harshly with a stick. Zimmer's instinct was to be experimental, to "create situations where anything could occur." One example: When Solomon tries to write the letter that could lead to his freedom, cellist Tristan Schulze began to hum deeply, adding a moving, spiritual element to his playing that Zimmer preserved in the recording.
"Because Solomon is a musician, Steve asked us what we as musicians would do in a difficult circumstance. That was easy — I got into music because it was a refuge for me," says Zimmer. "Music for a musician is salvation."
—Amy Dawes
THOMAS NEWMAN, 'Saving Mr. Banks'
Music plays a big role in "Saving Mr. Banks." The scenes that show brothers Richard and Robert Sherman working out their iconic tunes for Disney's movie musical "Mary Poppins" are among its most delightful. As much as he loves songs like "Chim Chim Cheree" and "Feed the Birds," composer Thomas Newman says his original score contains almost no quotations.
"The movie takes place in two periods — 1961 in Los Angeles and 1906 in rural Australia. The majority of my contribution is toward telling the back story — who ['Poppins' author] P.L. Travers was as a child, her relationship with her father, and the emotional themes and issues that carry over to the time when she visits L.A."
Some of his most spirited and slyly funny music accompanies the author's arrival in America — she's chauffeured around Beverly Hills in a limousine to the sounds of a pizazz-laden jazz combo of piano, drums and trombone. "It's a little ridiculous, because I'm poking fun," says Newman. "Here's this very proper Englishwoman who's appalled at what she's seeing in L.A." Another cue, introducing Walt Disney himself, is all brio and brassy, upbeat excitement, meant, says Newman, to express "a very archetypal American character."
The chance to spend time with fellow composer and Disney veteran Richard Sherman, now 85, when he attended a recording session on the Fox lot was a highlight for Newman. "Sherman was a master of three-quarter waltz time, so in tribute, I used a waltz theme that I brought up when things in the back story hinted at 'Mary Poppins,' like when the aunt who looks so much like her arrives for a visit."
Despite his many accomplishments — his previous scores have landed 11 Academy Award nominations —Newman, the youngest son of the late film composer Alfred Newman, says he strives to create in a relatively ego-free way.
"The fun for me musically is that you never quite know what works and why. So why pretend you do? Why not just put things together and discover, in the creative process, if and why they work? That approach has served me well."
—Amy Dawes


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As snow descended, so did the quiet
Under a clear, bright sky that belied the wintry mess below, the streets of downtown New London echoed with the muffled sounds of shovels scraping and little else Saturday afternoon.
Gary Brostek, 48, of the Griswold-based property management and snow removal company GAB Services, was hard at work around 3 p.m. with one of those shovels on the steps of Union Plaza offices. He quit at 3 a.m. Saturday after eight hours of clearing pathways in the area; by Saturday afternoon, he'd been on the job since 6 a.m., moving 8-foot-high piles from the sidewalks that crews had plowed from the roads.
His snow blower was useless, he said; his ATV didn't have enough power to shift the snowdrifts and the several inches of packed-solid ice below.
"Thank god for the loader," Brostek said, which idled on the sidewalk beside him.
Another couple of hours, Brostek said, and he'd move on to Mystic, Ledyard, Norwich and Voluntown.
"I'm having fun," he said.
Across the way on State Street, Tommy MacDougall, who manages a few properties downtown, had a shovel over one shoulder and a paper cup of coffee from Zambala Grocery Store in his hand. He'd been shoveling for an hour, he said, struggling with a stubborn mixture of snow and ice - and taking a lot of breaks.
"Another four hours to go," he said.
On Bank Street, a few brave, bored souls populated Kelly's on the Bank, the Y-Knot Café and Captain's Pizza, which seemed to be the only businesses on the block with open doors.
Tina Elert, 27, and Nick Gillette, 23, were snowed in from their jobs as a waitress and as a gas station employee, respectively. Their cars were buried around the corner, they said, and they'd ventured out from their apartment above Captain's for provisions: pizza and cheese fries.
"We got a whole bunch, because this is going to be it for the day," she said. "We're probably not moving again."
Inside Captain's, three Connecticut College seniors were nursing beers at the counter, keeping company with six other patrons.
"We're treating ourselves after a long morning of shoveling," Andrew Freedman said.
Behind the counter, Judy Sadosky said business has been as steady as a typical Saturday.
"We always open for the storms," she said. "We always get here because everybody needs us around here."
A small sign hanging on the door of Kelly's declared in black marker, "WE ARE OPEN." Owner Kelly Hulse - who also owns the Y-Knot across the street - said she had a monopoly on the after-bar crowd Friday night, serving food until around 1 a.m., after other downtown restaurants had closed.
Hulse said she'd been welcoming a fairly steady stream of caffeine-seekers since 10 a.m., more traffic than usual.
"People go out when there's a storm. No matter if it's a hurricane or if it's a blizzard," she said Saturday afternoon. "People just like to be out in it."
Hulse said she would be manning the restaurant alone for the rest of the day. She lives downtown, she said, making it easy for her to come and go.
"I'm gonna stay here as long as people wanna eat," she said.
A quiet start
It would be hard to say the last time downtown New London looked so empty.
Could it have been the blizzard of 1978?
The blizzard of 2013, in any case, cast an eerie stillness over the place Saturday morning.
The main roads into the downtown - Eugene O'Neill Drive, State Street and Bank Street - were all well plowed. But at dawn, there were no cars anywhere in sight, not parked, not traveling.
The sidewalks were gone, too, buried under big drifts. A few pedestrians made their along the streets, which they had to themselves.
They needed to pay no attention to the blinking traffic lights, still swaying overhead in the wind and blowing snow.
The few downtown bars that remained open Friday night during the storm were dark and abandoned Saturday morning, their doorways covered by drifts.
At New London fire headquarters on Bank Street, Deputy Chief Henry Kydd was organizing department manpower to transition from the long night behind him to the busy day ahead.
Twenty-two firefighters were on duty overnight, responding to all kinds of calls, from ambulance runs, many for heart attacks, to reports of limbs and wires down. Firetrucks twice had to be pulled out of the snow.
By Saturday morning, Kydd said, about 20 percent of the city was without power and they were considering evacuating some elderly from cold apartments to a regional shelter in East Lyme.
Indeed, it was already looking like the loss of power would be the focus of emergency responders and public works in the hours and even days ahead.
The firehouse seemed to be the only place Saturday morning downtown where coffee was on.
In fact, a full breakfast was under way in the firehouse kitchen, which fed city public works and emergency teams through the night.
Stories that may interest you
Model train club to hold open house Saturday
The Mohegan-Pequot Model Railroad Club will hold an open house from noon to 4 p.m. Saturday at its clubhouse in the Tally Ho Mall at 73 Route 2, Preston.
Hands-on: At this art park, you can touch the sculptures
Gilbert Boro is the owner of Studio 80 + Sculpture Grounds in Old Lyme, a spot that's free and child-friendly.
'Fearless' grads leap into future while reflecting on life at Ledyard
Almost 200 Ledyard High School seniors celebrated their graduation on Saturday morning.
Jewish Federation director, a community pillar, to retire
When Jerome 'Jerry' Fischer first came to New London to serve as executive director of the Jewish Federation of Eastern Connecticut in 1984, he brought an energy backed by life-changing experiences gained while living in Israel in 1966 through 1967.
Trump warns of huge stock market crash if he's not re-elected
Trump says he'd 'of course' tell FBI if he gets foreign dirt


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How to Succeed in Social Media Marketing?
If you want to add more comments to the article or you see any thing incorrect please write a comment below and we will surely get back to you.
Trending Articles
Incorrect table definition there can be only one TIMESTAMP column with CURRENT_TIMESTAMP in DEFAULT or ON UPDATE clause


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- Home
- Mark Roberts Fairies BLOW OUT LIQUIDATION
- Mark Roberts Pirate Fairy - medium
Product Description
Height: 14 inches
This Mark Roberts Fairy is perfect for adding more sparkle to your home or makes a wonderful, whimsical gift for friends and family.
Mark Roberts fairies are true collector pieces and many are limited editions. Each Mark Roberts Fairy comes in its own gift box.


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- Parent Category: News
Aspen Ridge Golf Course victimized by vandals
$3,000 in damages
Kankakee County CrimeStoppers needs help in finding who's responsible for $3,000 worth of damage at the Aspen Ridge Golf Course in Bradley.
Vandals inflicted the damage between 8 pm Monday and early Tuesday. The vandals destroyed miniature golf obstacles, golf ball washers and benches at the property site at 1763 E and 4000 N Road.


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Dart: dart:builtin
January 17, 2012 Leave a comment
dart:builtin are the runtime libraries available to the DartVM. They provide some of the more system level API you would expect such as streams I/O, filesystem I/O, basic TCP socket I/O, platform information, native process invocation. Most of these class implementations do call "native", which from the point of view of the DartVM means invoking native VM code. "native" tells the VM to look up in a list for the entry that maps to the following argument after "native".
While Dart is still Alpha these builtin may not be written in stone, so try not to depend on them too much. They can and do provide you with some neat access to native functionality you would commonly need when written shell/system applications.
By including #import('dart:builtin'); you can view the builtin dart files from DartEditor. Currently the DartEditor might show warnings when including this module but runtime should not be affected. The truth of the matter is, if you explicitly include 'dart:builtin' or not, it is still available to you from implicit inclusion in the DartVM.
The following should give an idea of what built in objects are accessible and how they may be used. The examples should not be considered best practices, just an idea of how you could use them and that they exist. The code is taken from a sample that can be found on Github
Directory d; if (l.length >= 2) { d = new Directory(l[1]); } else { d = new Directory("."); } d.dirHandler = (var dir) { print("${dir}"); }; d.fileHandler = (var file) { print("${file}"); }; d.list(true);
File f = new File(l[0]); if (!f.existsSync()) { print("Error: file does not exist"); return; } RandomAccessFile r = f.openSync(FileMode.READ); int length = r.lengthSync(); List buffer = new List(length); int readLength = r.readListSync(buffer, 0, length); r.close(); String s = new String.fromCharCodes(buffer); print(s);
ChunkedInputStream chunkedInputStream = new ChunkedInputStream(f.openInputStream(), 16); List c = chunkedInputStream.read(); while(c!=null) { StringBuffer sb = new StringBuffer(); c.forEach((int b) { sb.add("0x"); if (b.toRadixString(16).length == 1) { sb.add("0"); } sb.add(b.toRadixString(16)); sb.add(" "); }); print(sb.toString()); c = chunkedInputStream.read(); }
File src = new File(arg[1]); File dest = new File(arg[2]); var srcStream = src.openInputStream(); var destStream = dest.openOutputStream(); destStream.write(srcStream.read()); srcStream.close(); destStream.close();
Platform p = new Platform(); print('{"operatingSystem":${p.operatingSystem()},"numberOfProcessors":${p.numberOfProcessors()},"pathSeparator":${p.pathSeparator()}}');
Process ps = new Process.start('ps', []); StringBuffer messages = new StringBuffer(); ps.exitHandler = (int status) { ps.close(); print(messages.toString()); }; ps.stdout.dataHandler = () => _readAll(ps.stdout, messages); ps.stderr.dataHandler = () => _readAll(ps.stderr, messages);
// initialize the server serverSocket = new ServerSocket(host, 0, 5); if (serverSocket == null) { throw "can't get server socket"; } serverSocket.connectionHandler = onConnect; print("accepting connections on ${host}:${serverSocket.port}");
sendSocket = new Socket(host, serverSocket.port); if (sendSocket == null) { throw "can't get send socket"; } // send first 4 bytes immediately for (int i = 0; i < 4; i++) { sendByte(); } // send next 4 bytes slowly new Timer.repeating((Timer t) { sendByte(); if (bytesSent == bytesTotal) { sendSocket.close(); t.cancel(); print("finished sending"); } }, 500);
<pre> if (l.length >= 2) { try { milliSeconds = (Math.parseInt(l[1]).abs()*milliSeconds); } catch (BadNumberFormatException ex) {} } timer = new Timer((var t) { print("\nTime elapsed on Timer"); }, milliSeconds);


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Salvage Therapy
- What Is Salvage Therapy?
- How Can You Avoid Salvage Therapy?
- When Does Someone Need Salvage Therapy?
- What Is a "Holding Regimen"?
- Getting Access to New Drugs
- The Bottom Line
What Is Salvage Therapy?
Antiretroviral therapy (ART) sometimes needs to be changed if the treatment is not working. This usually happens when the HIV viral load (see Fact Sheet 125) rises instead of staying very low. A rise in viral load in someone taking ART almost always means that HIV has developed resistance (see Fact Sheet 126) to the antiretroviral drugs (ARVs). When HIV begins to increase even when someone is taking ART, this is known as treatment failure. Resistance and treatment failure are often caused by missing doses of ARVs (poor adherence, see Fact Sheet 405).
When treatment failure is caused by drug resistance, it is important for the health care provider to change the ARVs to a new combination that can reduce the HIV viral load despite the resistance. Changing only one ARV may not be enough because HIV can quickly become resistant to a single new drug. It takes a combination of effective ARVs to stop HIV from growing and have treatment success.
As a patient's virus becomes more and more resistant, it becomes harder to choose ARVs that can control it. When a person has very few treatment options available, then the patient needs "salvage therapy." The number of people with HIV in the US who need salvage therapy is unknown, but is estimated to be between 1,000 and 5,000.
How Can You Avoid Salvage Therapy?
The best way to avoid salvage therapy is to make ART last as long as you can. Be sure to stick to taking doses on a regular schedule and avoid missing doses. Ask your health care provider how to avoid treatment failure and ensure treatment success (see Fact Sheet 405 on tips for adherence).
If possible, you should always have two or more active ARVs in your ART regimen. An active ARV is one that is expected to work against your own HIV based on its particular resistance. If you have a rising viral load, find out if your HIV has resistance to any ARVs. Your health care provider will need to review the results of a resistance test (see Fact Sheet 126) to tell which ARVs are active against your HIV. This can be a genotypic test or a phenotypic test.
When Does Someone Need Salvage Therapy?
When treatment failure continues for too long, the chances of serious HIV disease are higher. This is especially true for patients with low CD4 counts (see Fact Sheet 124). You may need to make an immediate change in ART if:
- you are losing weight
- your CD4 count is dropping
- you have serious side effects
- you have increasing symptoms
When resistant HIV cannot be controlled because there are not enough active ARVs available, then a patient needs salvage therapy.
However, if your health and CD4 count are stable, you can go onto a "holding regimen" while you wait for new ARVs to be developed. Do not stop taking medications to prevent opportunistic infections (OIs, see Fact Sheet 500). The drugs you need to take to prevent OIs are based on your CD4 count.
What Is a "Holding Regimen"?
If you don't have at least two active ARVs to use, you need to preserve your CD4 count and keep your viral load as low as possible. You also want to preserve your treatment options. This normally means stopping any ARVs that are only partly effective so that your virus doesn't develop more resistance to them. This would make them totally ineffective. However, stopping all ARVs can be harmful.
Managing salvage therapy is not easy. Your doctor must evaluate up-to-date treatment information to balance between getting the most out of available ARVs and avoiding disease, while keeping options open for the future when new ARVs become available.
Getting Access to New Drugs
You may not have to wait until new ARVs are approved before you can use them. It may be possible to join a clinical trial (see Fact Sheet 105) of a new ARV in development. Some new ARVs become available through an expanded access program long before they are approved.
Remember that you want to be able to combine a new ARV with at least one other active ARVs. You should review clinical trials carefully with your health care provider so that you will be sure to get at least two active ARVs in the trial. In some trials it is possible to get assigned to a "placebo" arm and not receive the new ARV. More information on clinical trials is available at the following web sites:
http://trialsearch.org/clinical_trials/index.html or
The best option for people who need salvage therapy is to use an ARV in a new class along with one or more other active ARVs. Your virus will almost certainly not have any resistance to an ARV from a new class of drugs. Recent new classes of ARVs include integrase inhibitors (see Fact Sheet 470), fusion inhibitors (see Fact Sheet 461), and attachment inhibitors (see Fact Sheet 460).
The Bottom Line
There are more options today for people with advanced HIV disease than at any time in the past. Treatment can have excellent results, even for people whose virus is resistant to most existing ARVs. An experienced health care provider is very important in helping you decide when to change treatment and when to wait.


text:
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Gaston County is back to double-digit unemployment, according to June�s unemployment figures.
Gaston County is back to double-digit unemployment, according to June�s unemployment figures.
Gaston joblessness rose from 9.5 percent of its residents in May to 10 percent in June.
The last time the county saw double digits was back in February, when the unemployment rate was 10.2 percent.
Still, this year�s June report looks better than it did in 2012. It�s also lower unemployment than was recorded for the month of June in 2009, 2010 and 2011. Gaston County is ranked 58 th in the state for our unemployment rate.
We�re not alone in seeing unemployment rise. Rates increased in 81 of the state�s counties in June.
Our neighbors to the north and west saw rates increase, too.
Cleveland County went from 10 percent unemployment in May to 10.5 percent unemployment in June.
Lincoln County�s unemployment also rose slightly, from 9.5 percent in May to 9.8 percent in June. Cleveland County is ranked 61 st in the state for unemployment. Lincoln County is ranked 53 rd .
Statewide unemployment is 9.3 percent for June.
Notice anything new on the business landscape lately? Business reporter Amanda Memrick wants to hear from you. Call me at 704-869-1839, send an email to firstname.lastname@example.com or send a tweet shout out to @AmandaMemrick on Twitter.
Gaston County
Labor force: 101,007
Unemployed: 10,142
Unemployment rate: 10 percent
Cleveland County
Labor force: 49,778
Unemployed: 5,224
Unemployment rate: 10.5 percent
Lincoln County
Labor force: 39,810
Unemployed: 3,918
Unemployment rate: 9.8 percent
Source: Labor & Economic Analysis Division of the N.C. Department of Commerce


text:
Drug information provided by: IBM Micromedex
Clofarabine injection is used to treat acute lymphoblastic leukemia (ALL), a cancer of the white blood cells, in patients who have already used at least 2 other cancer medicines.
Clofarabine is an antineoplastic (cancer) medicine. It interferes with the growth of cancer cells, which are eventually destroyed by the body. Since the growth of normal cells may also be affected by clofarabine, other unwanted effects can occur. Before you begin treatment, talk to your doctor about the benefits of this medicine as well as the possible risks of using it.
This medicine is to be given only by or under the immediate supervision of your doctor.
This product is available in the following dosage forms:
In deciding to use a medicine, the risks of taking the medicine must be weighed against the good it will do. This is a decision you and your doctor will make. For this medicine, the following should be considered:
Tell your doctor if you have ever had any unusual or allergic reaction to this medicine or any other medicines. Also tell your health care professional if you have any other types of allergies, such as to foods, dyes, preservatives, or animals. For non-prescription products, read the label or package ingredients carefully.
Appropriate studies performed to date have not demonstrated pediatric-specific problems that would limit the usefulness of clofarabine injection in children 1 year of age and older.
Appropriate studies on the relationship of age to the effects of clofarabine injection have not been performed in the geriatric population. Safety and efficacy have not been established in elderly patients 65 years of age.
There are no adequate studies in women for determining infant risk when using this medication during breastfeeding. Weigh the potential benefits against the potential risks before taking this medication while breastfeeding.
Although certain medicines should not be used together at all, in other cases two different medicines may be used together even if an interaction might occur. In these cases, your doctor may want to change the dose, or other precautions may be necessary. When you are receiving this medicine, it is especially important that your healthcare professional know if you are taking any of the medicines listed below. The following interactions have been selected on the basis of their potential significance and are not necessarily all-inclusive.
Using this medicine with any of the following medicines is not recommended. Your doctor may decide not to treat you with this medication or change some of the other medicines you take.
Using this medicine with any of the following medicines is usually not recommended, but may be required in some cases. If both medicines are prescribed together, your doctor may change the dose or how often you use one or both of the medicines.
Certain medicines should not be used at or around the time of eating food or eating certain types of food since interactions may occur. Using alcohol or tobacco with certain medicines may also cause interactions to occur. Discuss with your healthcare professional the use of your medicine with food, alcohol, or tobacco.
The presence of other medical problems may affect the use of this medicine. Make sure you tell your doctor if you have any other medical problems, especially:
You will receive this medicine while you or your child are in a hospital or cancer treatment center. A doctor or other trained health professional will give you this medicine. This medicine is given through a needle placed in one of your veins.
While you are receiving clofarabine, it is important that you drink extra fluids so you will pass more urine. This will help prevent unwanted effects on the kidney.
It is very important that your doctor check the progress of you or your child at regular visits to make sure that this medicine is working properly. Blood and urine tests may be needed to check for unwanted effects.
Using this medicine while you are pregnant can harm your unborn baby. Use an effective form of birth control to keep from getting pregnant. If you think you have become pregnant while using the medicine, tell your doctor right away.
Clofarabine can temporarily lower the number of white blood cells in your blood, increasing the chance of getting an infection. It can also lower the number of platelets, which are necessary for proper blood clotting. If this occurs, there are certain precautions you can take, especially when your blood count is low, to reduce the risk of infection or bleeding:
This medicine may cause a serious type of reaction called the tumor lysis syndrome. This syndrome may cause you to have high amounts of uric acid in the blood (hyperuricemia). Your doctor may give you a medicine to help prevent this. Call your doctor right away if you have a decrease or change in urine amount, joint pain, stiffness, or swelling, lower back, side, or stomach pain, rapid weight gain, swelling of the feet or lower legs, or unusual tiredness or weakness.
Call your doctor right away if you have dizziness, faintness, or lightheadedness when getting up suddenly from a lying or sitting position, a fast or irregular heartbeat, trouble breathing, or swelling of the hands, ankles, feet, or lower legs. These may be symptoms of rare but serious conditions called capillary leak syndrome or systemic inflammatory response syndrome (SIRS).
Check with your doctor right away if you have stomach pain, pale stools, or dark urine, a loss of appetite, or yellow eyes or skin. These could be symptoms of a serious liver problem.
This medicine may cause acute kidney failure. Tell your doctor right away if you have decrease in how much or how often you urinate, confusion, dizziness, headache, rapid weight gain, seizures, or swelling of your hands, ankles, or feet after receiving this medicine.
Do not take other medicines unless they have been discussed with your doctor. This includes prescription or nonprescription (over-the-counter [OTC]) medicines and herbal or vitamin supplements.
Along with its needed effects, a medicine may cause some unwanted effects. Although not all of these side effects may occur, if they do occur they may need medical attention.
Check with your doctor or nurse immediately if any of the following side effects occur:
Some side effects may occur that usually do not need medical attention. These side effects may go away during treatment as your body adjusts to the medicine. Also, your health care professional may be able to tell you about ways to prevent or reduce some of these side effects. Check with your health care professional if any of the following side effects continue or are bothersome or if you have any questions about them:
Other side effects not listed may also occur in some patients. If you notice any other effects, check with your healthcare professional.
Call your doctor for medical advice about side effects. You may report side effects to the FDA at 1-800-FDA-1088.
Portions of this document last updated: June 01, 2019
Original article: https://www.mayoclinic.org/drugs-supplements/clofarabine-intravenous-route/description/drg-20063034
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This is the TED RADIO HOUR from NPR. I'm Alison Stewart.
UNIDENTIFIED MAN #1: So TED is many things. TED stands for technology, entertainment, design.
UNIDENTIFIED WOMAN #1: That's the T-E-D in TED.
UNIDENTIFIED MAN #2: TED all starts with the conference.
UNIDENTIFIED WOMAN #1: Where we bring in scientists, thinkers, philosophers, artists.
UNIDENTIFIED MAN #1: Politicians, musicians.
UNIDENTIFIED WOMAN #2: We collect them all, all of these really diverse speakers, at TED and we give them 18 minutes on stage to give the talk of their lives.
UNIDENTIFIED MAN #2: Big ideas that they're passionate about.
UNIDENTIFIED WOMAN #2: Then we film them, we edit them, and we post them on the web...
UNIDENTIFIED WOMAN #1: To share with the world.
UNIDENTIFIED MAN #1: The whole world.
STEWART: Here on the TED RADIO HOUR, we'll hear some of those TED Talks, and discuss some big ideas, with TED speakers and other guests. On today's show:
UNIDENTIFIED MAN #3: Behold! The marvel of the human brain.
STEWART: Our amazing brain, a 3-pound mass that is responsible for virtually everything we do.
UNIDENTIFIED MAN #3: The brain is your center of logic and reason. It's your brain's job to carefully weigh your options and make the most logical choice.
STEWART: So why do we lie or cheat when we know on some level it isn't an OK option? What leads us to act irrationally, and how do our brains systematically misjudge what will make us truly happy?
UNIDENTIFIED MAN #3: Scientists...
STEWART: We've asked three TED speakers to help us explore our buggy brain and find some answers.
DAN ARIELY: I want to talk to you today a little bit about predictable irrationality.
My name is Dan Ariely. I'm the James B. Duke professor of psychology and behavioral economics at Duke University. And my TED Talk was about how we all have the capacity to cheat just a little bit and at the same time, feel quite good about ourselves and our own morality.
STEWART: We'll speak with Dan Ariely in just a moment. Right now, let's listen to more of his 2009 TED Talk.
ARIELY: So my interest in cheating started when Enron came on the scene, exploded all of a sudden, and I started thinking about what is happening here? Is it the case that there's kind of a few apples who are capable of doing these things? Or are we talking a more endemic situation; that many people are actually capable of behaving this way?
So, like we usually do, I decide to do a simple experiment. And here's how it went: If you were in the experiment, I would pass you a sheet of paper with 20 simple math problems that everybody could solve, but I wouldn't give you enough time. When the five minutes were over, I would say: Pass me the sheets of paper, and I'll pay you a dollar per question. People did this; I would pay people $4 for their task; on average, people would solve four problems.
Other people, I would tempt to cheat. I would pass the sheet of paper. When the five minutes were over, I would say, please shred the piece of paper. Put the little pieces in your pocket, or in your backpack, and tell me how many questions you got correctly. People now solved seven questions, on average.
ARIELY: Now, it wasn't as if there was a few bad apples, a few people who cheated a lot. Instead, what we saw is a lot of people who cheat a little bit.
STEWART: A lot of people who cheated a little bit. I don't know why that was funny. Everybody in the audience giggled a little bit; so did I. Did this experiment live up to your expectations, Dan?
ARIELY: Well, you know, it's kind of a disappointing result on one hand, right? The amount of people who are willing to cheat a little bit is just incredible. On the other hand, people cheat just a little bit, so the amount of people who cheat a lot is incredibly small. This is kind of trying to put the good spin on dishonesty. We've run almost 30,000 people in many of those tasks and we found basically, about 12 people who cheat a lot. And we lost maybe $150.
On the other hand, we had about 18,000 people who cheated a little bit and we lost - you know - 30, $40,000 to those little cheaters who cheat just a little bit, but there are many of them. And I think that's actually a good reflection of what's happening in society.
You know, from time to time we have big cheaters, and they create some damage to society financially. But I think that more damage is created by people who think of themselves as good people, and cheat just a little bit here and there. But because it's so prevalent, it basically creates much larger financial devastation.
STEWART: How does the ease of the cheat affect the numbers who will cheat?
ARIELY: So not that much. You know, the standard economic theory of cheating is that basically, there are three forces that determine cheating - is, how much money is in the till, right; how much can you take? What's the probability of being caught? And if you're getting caught, what kind of punishment would you get, how much time would you get in prison?
And you're supposed to do the cost benefit analysis and therefore, figure out whether you should cheat or not. But when we try to manipulate these three forces, we don't actually see much sensitivity to those things.
Instead, what we see is that it's much more debate within ourselves; that we have kind of an angel voice in our head that tells us, I don't feel so good about this, let's stop. The interesting thing, though, that this angel voice allows us to get away with a little bit of cheating.
STEWART: Let's go back to your TED Talk, where you discuss the idea of the personal fudge factor.
ARIELY: At one hand, we all want to look at ourself in the mirror and feel good about ourselves, so we don't want to cheat. On the other hand, we can cheat a little bit and still feel good about ourselves. So maybe what is happening is that there's a level of cheating we can't go over, but we can still benefit from cheating at a low degree as long as it doesn't change our impressions about ourselves. We call this, like, a personal fudge factor.
Now, how would you test a personal fudge factor? Initially, we said: What can we do to shrink the fudge factor? So we got people to the lab and we said, we have two tasks for you today. First, we asked half the people to recall either 10 books they read in high school, or to recall the Ten Commandments. And then we tempted them with cheating. Turns out, the people who tried to recall the Ten Commandments - and in our sample, nobody could recall the Ten Commandments - but those people who tried to recall the Ten Commandments, given the opportunity to cheat, did not cheat at all.
It wasn't that the more religious people - the people who remembered more of the commandments - cheated less, and the less religious people - the people who couldn't remember almost any commandment - cheated more. The moment people thought about trying to to recall the Ten Commandments, they stopped cheating. In fact, even when we gave self-declared atheists the task of swearing on the Bible, and we give them a chance to cheat, they don't cheat at all.
Now, Ten Commandments is something that is hard to bring into the education system so we said, why don't we get people to sign the honor code? So we got people to sign - I understand that this short survey falls under the MIT honor code. Then they shredded it. No cheating whatsover. And this is particularly interesting because MIT doesn't have an honor code.
STEWART: So Dan, what outside factors can help shape someone's fudge factor?
ARIELY: Yeah, so there's factors that make a fudge factor higher, and there are factors that make it lower. And if you think about it, it's basically about the ability to justify what we're doing, right? We have this incentive to be bad or to be dishonest, and the question is can we tell ourselves a story that would make it more OK?
So the things that make it go up, make the fudge factor become larger and make us more - make it easier for us to be dishonest is, for example, the fact that we see other people around us doing the same thing. Or when we're doing it for a good cause, right? It would be a bit like Robin Hood, right? We're doing it; it's immoral, yes; but we're doing it for something good.
Another thing that helps a lot to be modest, honest and feel good about it is that - when we deal with stuff that is distant from money. And this, by the way, is one of the thoughts that worries me the most, because we are moving into a cashless society, right? If you think about it, what keeps us honest is being close to cash.
What happens when we move to things like stocks or stock options or mortgage backed securities or electronic wallets? Would those mediums of storage of value allow people to be more dishonest and at the same time justify it to themselves?
STEWART: Dan, let's get back to your TED Talk.
ARIELY: I did the same experiment as I described to you before. A third of the people, we passed the sheet, they gave it back to us. A third of the people, we passed it, they shredded it, they came to us and said, Mr. Experimenter, I solved X problems, give me X dollars. A third of the people, when they finished shredding the piece of paper, they came to us and said, Mr. Experimenter, I solved X problems, give me X tokens. We did not pay them with dollars. We paid them with something else, and then they took this something else; they walked 12 feet to the side and exchange it for dollars.
Think about the following intuition: How bad would you feel about taking a pencil from work home, compared to how bad would you feel about taking 10 cents from a petty cash box? These things feel very differently. Would being a step removed from cash for a few seconds, by being paid by token, make a difference? Our subjects doubled their cheating.
So what have we learned from this, about cheating? We've learned that a lot of people can cheat; they cheat just by a little bit. When we remind people about their morality, they cheat less. When we get bigger distance from cheating - from the object of money, for example - people cheat more. And when we see things of cheating around us, particularly if it's a part of our in- group, cheating goes up.
Now, if we think about this in terms of the stock market, think about what happens. What happens in a situation when you create something where you pay people a lot of money to see reality in a slightly distorted way? Would they not be able to see it this way? Of course, they would. What happened when you do other things - like, you remove things from money? You call them stock or stock option, derivatives, mortgage-backed securities. Could it be that with those more-distant things - it's not a token for one second; it's something that is many steps removed from money, for much longer time - could it be that people would cheat even more? And what happened to the social environment when people see other people behave around them? I think all of those forces worked in a very bad way in the stock market.
STEWART: The big theme of your talk is that we should challenge our intuitions; that we should think differently about cheating because the way we originally think about it, it may not be the case. You suggest that we will all do better if we test our intuitions. Why?
ARIELY: So we have very naive intuitions about our own operations and I think in cheating, as one example for this, we think very much in economic model. We think that why people cheat? Well, they cheat because they want something else. What's stopping them? The fear of getting to prison and getting punished and getting caught.
So we have this very mechanistic view of the reasons why people are doing it. And not only do we have this view, that's the view that we implement. So you say, what are the punishing policies? What are they based on? What is the educational system based on? What is the legal system based on? What are the policies that companies create? How do parents teach their kids?
All of those things are based on assumptions about what's causing misbehavior. And they're based on very, very simple assumptions. And if we have an incredibly simplistic view of human nature - which is not correct - we're not going to get to the behavior that we want. So I think in all of those cases, it behooves us to have a bit more humility, to question our assumption of human beings, and to basically try to experiment a bit more before we implement all kinds of policies.
STEWART: Dan Ariely, thanks so much for talking with us on the TED RADIO HOUR.
ARIELY: My pleasure.
STEWART: Dan Ariely's new book is called "The Honest Truth About Dishonesty: How We Lie To Everyone - Especially Ourselves". You can read more about Ariely's research, and you can watch more TED Talks about how our mind works. Go to ted.npr.org.
Copyright © 2012 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.
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text:
Reindeer Ceramic Jar
Reindeer Ceramic Jar 200g (1406)
An ideal Christmas gift this delightful ceramic reindeer jar, filled with our delicious bitesize Chocolate Chip Biscuits
A delightful gift or treat for anyone of any age.
All our biscuits are made to the highest standards in our modern bakery, using the methods handed down through four generations of the Grandma Wild's family. Baked with the finest quality ingredients.
Ingredients: Fortified wheat flour (Calcium Carbonate, Iron, Niacin – Vitamin B 3 , Thiamine – Vitamin B 1 ), sugar, vegetable oils (non-hydrogenated palm oil and palm kernel oil, rapeseed oil, water, salt, natural flavourings), rolled oats, plain chocolate chips (7%) (sugar, cocoa mass, cocoa butter, emulsifier: soya lecithin; natural vanilla flavouring), partially inverted refiners syrup, raising agents: sodium bicarbonate, disodium diphosphate; butterscotch crumb (soft dark brown sugar, glucose (wheat), butter (milk), non-hydrogenated palm oil, natural flavour).
Plain chocolate chips contain: cocoa solids 39% minimum..
For allergens, including cereals containing gluten, see ingredients in bold. Not suitable for nut allergy sufferers due to manufacturing methods, may also contain traces of sesame.
*From time to time it may be necessary to change the varieties listed.
Suitable for vegetarians
Nutritional Information: Typical Values Per 100g
|Energy (kJ/kcal):
|2100 / 501
|Fat (g):
|Of which saturates
|Carbohydrate (g):
|Of which sugars
|Protein (g)
|Salt (g)


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Girly Bits Cosmic Ocean & China Glaze Blue Year's Eve
Oh hi Mark.
I honestly don't know where an entire quarter of the year has gone since my last post, but regardless, hey, hi, let's jump out of the time warp and bust down some of this polish addict's paraphernalia like the AFP once again.
Without further preamble, this is what I've dipped my tips in this week:
Be still, my beating heart!
This dazzling duochrome mani is absolutely bewitching and you'd be forgiven for having your jaw drop lower than Bieber's…er, voice.
Before I delve further into this two-part review, this is what you need for this enchantingly ethereal look: two coats of China Glaze Blue Year's Eve under one coat of Girly Bits Cosmic Ocean, with one coat each of Orly Bonder Base Coat and Dare to Wear Top Coat.
The "undies" of this mani, if you will, is Blue Year's Eve from the China Glaze 2011 Let It Snow! Holiday collection, and it is one of those signature glass fleck polishes that CG mix to perfection. Glass fleck finishes are typically semi-sheer jelly-base polishes with highly reflective micro shimmer flecks evenly mixed throughout that resemble tiny particles of glass and give great depth and dimension to the overall look. Blue Year's Eve is a stunning deep-sea blue with electric blue, silver and violet shimmer and a very subtle purple duochrome shift that only appears at certain angles, and is therefore very difficult to capture on camera. It is gorgeously saturated, inky and intense and packs a royal punch as a statement mani alone. One coat is thin and streaky, but two will build the jelly-base to acceptable opacity and meet the shimmah tick of approval; the no-fuss application inherent to CG polishes makes it easy to manipulate and the finish is extremely sparkly, smooth and shiny (the above photo is without top coat) especially under direct sunlight, that I wouldn't reserve this bold beauty for just the holiday season. I may have mentioned this before, but I am not particularly fond of cool blue nail polish as they usually don't complement the yellow undertones in my skin, but this is exceptional and definitely my favourite blue to date! Take a bow, China Glaze!
I could have worn Blue Year's Eve alone, but curiosity got the better of the feline in me, and I gleefully layered on one coat of a highly anticipated polish from my most recent Llarowe haul: Girly Bits' colour-shifting layering polish – Cosmic Ocean!
A lovely lady by the name of Pam is the one-woman force behind Girly Bits, an ever-coveted indie nail polish brand that is becoming more and more popular among the blogosphere. Cosmic Ocean is a universal favourite, and I finally have the great pleasure of presenting it here in my humble blip of the internet.
From Pam herself, Cosmic Ocean is "a blue/green/purple duo-chrome, which is completely stunning and whose true beauty can not be captured by the camera. It looks amazing over dark blues and greens," and this, like the gyroscopic hips of Shakira, is No Lie (and equally as, if not more, mesmerizing).
Cosmic Ocean looks quite unassuming, sheer and delicate in its Swarovski crystal-embellished bottle, yet this is but a CLEVER PLOY. It comes to life and induces transient ischaemic attacks with just one coat when layered atop a suitable pair of fundies (IMHO, Blue Year's Eve is the perfect base), where it gives off a spectacular duochrome shift that actually makes wearing a flannel shirt and flip-flops completely acceptable (guilty as charged). Duochrome polishes are the chameleons of the lacquer family; they are shimmering polishes that reflect two or more different colours depending on the light and angle, and the colour shifts are often very strong and obvious. Here, I can see flashes of deep blue, bright blue, green, teal, and a strong purple that is further enhanced by the ever-so-slight purple shift intrinsic to Blue Year's Eve. The best photo I could muster of this duochrome is the first photo in this post, so scroll up to ogle this baby some more!
I adore this combo and am so amazed that the enthralling depth in Blue Year's Eve is heightened with just one coat of this magical polish that I'm certain I could experience vertigo lying face-down (shh, let me have this joke). The application is even and excellent, and one coat is all you need for impressive full coverage.
This mani conjures tropical images of lush lagoons, expansive mineral lakes and pristine beaches in my mind's eye. So, I'd like to leave you with a few photos of Mother Nature's organic artistry at work as a visual epilogue to this rambling post. Enjoy and have a fantastic weekend!
Five Flower Lake in Autumn (五花海, Wǔhuā Hǎi), China
Five Colour Pond (五彩池, Wǔcǎi Chí), China


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Budget funds running out
Summit County officials are projecting the county will run out of money in the Service Area #6 fund by the end of the year.
Service Area #6 pays for road maintenance and plowing in specific unincorporated neighborhoods throughout the county.
"We've done most of the road maintenance, so most of the cost until the end of the year will be staff plowing roads and putting down salt," Summit County Manager Bob Jasper said during Wednesday's Summit County Council budget work session. "So I guess one option is to quit doing that until the end of the year since we won't have any money left."
Jasper added that he didn't think that was a great option, however. Instead, he suggested they borrow money from next year's gas tax fund to get through the rest of this year.
"I don't think it's fair to punish Summit Park. If we're not out there plowing the roads, they aren't going to get to work and we're not going to be able to get emergency vehicles up there," he said.
Councilmember Sally Elliott argued against the idea of borrowing from the gas tax.
"Can we talk for a minute about borrowing from the future and about us being willing to pass off to the next council problems caused in our council by the referendums?" Elliott asked. "I'm not sure that's the responsible thing to do."
Opponents of the Service Area #6 and Municipal Fund tax increases adopted by the County Council in August circulated successful petitions to put the two measures on a future ballot.
"I want to ask them, on Service Area #6, because none of them live, pay or benefit from it, 'Was this more philosophical, that the government spends too much and so you shouldn't have tax increases?" Jasper said.
Councilmember Chris Robinson said he was more upset the Service Area #6 fund has been steadily decreasing for years without it being brought to their attention.
In 2008, the fund balance was $800,000. Since then, the county has been deficit spending until the County Council decided last December to increase the tax to balance the fund's budget.
"It's been bleeding for four years," Robinson said. "And all of a sudden, we wake up today, or whenever you guys suggested we needed a tax increase, and said, 'Wow, we're in the hole.' I just don't know how we get to that."
To balance the budget without the tax increase, Robinson suggested a combination approach to Jasper's options: minimize expenditures for the remainder of the year and borrow the difference from another fund, such as the gas tax, and repay the money next year from the Service Area #6 fund.
In addition, Robinson suggested the council revoke the two petitioned taxes and consider new tax increases on both funds for the 2013 budget, with a caveat that nothing be spent until they are sure petitions won't again put the increases on hold.
Jasper cautioned that the only way to minimize costs in the winter is to reduce staff, equipment and salt.
"So we have to get the word out to the neighborhoods, particularly in our higher neighborhoods like Pinebrook and Summit Park, that very soon we're not going to be out there as fast to plow," Jasper said. "People are used to having salt on the roads. You run the risk of people expecting salt, and the roads are going to be much icier without it. They're not going to have the same level of service they've grown accustomed to."
County loses employees with half-century of experience, ties to East Side
Anita Lewis, Brent Ovard and Travis English were influential in shaping how residents interact with the county.


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What does two billion gallons mean? Click here to find out.
Scott Hedderich
Executive Director, Corporate Affairs
Food THEN Fuel White Paper
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Renewable Energy Group, Inc. | 416 S. Bell Ave. | PO Box 888 | Ames IA 50010
Phone: +1(515) 239-8000 | (888) REG-8686 | Fax: +1(515) 239-8009
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Nesbits necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 90 diseños de 29 diseñadores freelance.
We are a maker of flash memory components that use solid state technology. Solid State Drives (SSD) have no moving parts, which makes them different from traditional hard drives that have a stylus and a spinning disk. This allows SSDs to be more robust and to work well in a broader range of environmental conditions (higher elevations, colder/warmer temperatures). We manufacture a broad range of products (more than 70 different types in different shapes and sizes, with varying read/write speeds, and storage capacities. The "em" in emphase refers to "embedded", as the name for this industry sector is the "embedded" market (where the storage/memory device is embedded into a larger product).
Our products are purchased by engineers who, in turn, place them into the products that they manufacture. This may be a tablet computer, a kiosk at an airport, or a mobile metering device placed in a city taxi; there are many different manners in which the product may be used. Engineers are very interested in the technical specifications and the reliability of the product.
We need your help in designing a logo for our firm. It will be used on our website, our marketing materials (trifold brochures, product data sheets, et cetera), and on our products' labels.
A successful logo will:
- help us communicate that we are a technologically-advanced firm making reliable, high-quality, durable products
- be compact in size; some of our products which must be labeled are 1 inch by 3/4 of an inch in size. Therefore, a simpler logo treatment will be preferred.
- suggest that our products are premium in nature.
See the attached pdf file for a more detailed discussion. We have no preferences in terms of color.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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Each bike tells a story through color, shape, graphics, and details. Once you peel back the mechanical vehicle and break it down into flat color and form, the character starts to surface.
Made in the United States.
Details: Black Frame is a contemporary classic matte black wood sized 1.25 inches (H) x 0.75 inches (W). White Frame is a contemporary classic matte white wood sized 1.25 inches (H) x 0.75 inches (W). Art Block is a glassless, handmade, wood grain finish, and the wood is a green sourced product and is made in the USA. Art Blocks arrive ready to mount with a user-friendly hanging kit. Printed as a archival digital ink jet print on Epson's 260g Lustre paper. Print is a 250gsm Epson Ultra smooth fine art paper with a natural white matte finish.
AHAlife is committed to help you live a conscious and inspired life.
Many of the items you discover here are exclusive to AHAlife, which is what makes our community of designers and artisans so special.
If you find one of our products anywhere else for less than it's being sold on our site, we will match it.
Our dedicated Support Team is here to help. Reach out any time at:


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Hi Kent, would you want to have a hit today in the north suburbs? Let me know. I'm guessing my rating is 3, but haven't played since last summer.
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Zippin' Revolution ??? No need to drill a starter hole when cutting with a new spiral saw from RotoZip; it uses a high-speed revolving bit instead of a jagged-tooth blade to cut almost any shape you can imagine.
A computer program is the brain of the Revolution. It responds to tiny, magnetic sensors embedded in the body of the saw, which speed it up or slow it down based on the control of the user and the friction of the blade. It saws through most 1-in.-thick materials with a 41/2-amp electric motor. The Zip-Mate, a quick-attach gear head, converts the tool into a right-angle grinder, disc sander or a saw for cutting metal, masonry, ceramic and stone. Suggested retail price: $199 for a combo kit. Contact RotoZip Tool Corp., Dept. FIN, 1861 Ludden Dr., Cross Plains, WI 53528, 608/798-3737.