Skif then gets ambushed by a Bloodsucker, showing off the new textures even more. In it, Skif can be seen asking Bolshak, presumably a new technician in the Zone, how to get into the "Basement." The trailer then shows Skif exploring an abandoned lab, presumably Lab X-18. The trailer then cuts to the interior of a building in the city of Chernobyl. Skif pulls out a new detector called " Gilka" and finds an artifact called " Jelly", which recovers stamina in-game. The trailer then shows a Flesh getting ripped apart by an anomaly. The trailer cuts to one of Clear Sky's old lookout towers, which is now surrounded by an anomaly field. The trailer then cuts to Skif taking out a base full of bandit-like enemies, showing off the new gun play in S.T.A.L.K.E.R. During the event, they showed a trailer which starts off with a character nicknamed Skif sitting around a campfire with 4 stalkers named Curly Vitya, Liolik, Mitay, and an unknown stalker. On June 13th 2021, the day of the Xbox and Microsoft game reveals at E3 2021, GSC Game World gave a release date of April 28th, 2022. It makes variety of the same model more diverse. Zakhar Bocharov told information about the game and showed several renders of three factions: Duty, Freedom and Bandits. On March 26th 2021, the YouTube channel showed a diary of the Said trailer was prominently displayed on the page, along with new music and concept art available to download, and an FAQ section giving further details about the game. 2 site was updated again, coinciding with the first trailer for the game being released on GSC Game World's YouTube channel. New social media links, some music and download links for said music and the concept art were also included, as well as images of previous games in the STALKER franchise alongside links to buy them from GOG and Steam, and finally an option to sign up for news. 2 site was updated with a font change for the title and animated concept art featuring an unknown man wearing a gas mask. Some time later, between March 21st and March 29th 2019, the S.T.A.L.K.E.R. 2 written in a large font, a year of presumed release and an e-mail address, has been also revealed. The official teaser site, consisting of only a front page featuring the acronym S.T.A.L.K.E.R. He made the announcement on his Facebook page and news has spread around various gaming sites. 2 was announced by Sergiy Grygorovych, owner of GSC Game World, the developer behind S.T.A.L.K.E.R. 2 was announced for a 2021 release by GSC Game World's Twitter account. On May 15th 2018, six years after the cancellation, S.T.A.L.K.E.R. In 2018, it was announced that the development has been restarted. The game was originally announced in 2010, less than a year after the release of S.T.A.L.K.E.R.: Call of Pripyat, but the development stopped in 2012 and the game was subsequently canceled.
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Deja Vu Services, Inc., is the undisputed worldwide leader in live adult entertainment and adult retail stores with nearly 200 affiliated locations scattered among 40 states and 6 countries. The Déjà Vu of Springfield…”Where The Party Never Ends. Revenue: 100 to 500 million (USD) Competitors: Unknown. You may enjoy plenty of free parking in a well lit lot and a relaxed dress code for those casual encounters of the best kind. 8. Watch popular content from the following creators: user3627332908640 (djjaimeo), Christina (stripperhippie), user3627332908640 (djjaimeo), dejavuchicago (dejavuchicago), (.fangs). Exit Stevenson Road to Lake Plaza Drive and you are there. Hotel in Louisville (1.7 miles from Deja Vu Showgirls) Offering a free transfer service to and from Louisville International Airport and a heated indoor pool, this Kentucky hotel is 6 minutes’ drive from Six Flags amusement park. And after a recent interior makeover to the tune of over a cool million plus, the perks just keep on coming!Īdd all of this up, with a cozy club capacity for over 350 screaming poon-prospectors, 5 Champagne rooms, 20 private dance caves, peeps and a full service Love Boutique, there is just no reason to ever go home! First class service and the white glove treatment is always assured for an exciting afternoon, evening or both at a sultry location that takes the party into another dimension. Just off the Airport/Oildale exit on California 99 is the enticing Dj Vu Showgirls, a totally nude, party establishment. Only 5 minutes from downtown and 15 minutes from the Abraham Lincoln airport, this carnal cavalcade rocks the house off the foundation with over 50 high-stepping, fully nude entertainers, seven fun-filled days a week.No new kid on the block, this sultry sin-bin has been dishing out the dolls since June of 1988, in an extremely captivating environment. We are of course talking about the stunning Déjà Vu of Springfield. The capital city of Springfield, Illinois is home to one of the Déjà Vu chain’s brightest and most established gem’s. Defendants like Boyer are often surprised to learn that the government has a nearly limitless ability to deceive. They can result in longer sentences than real crimes of a similar nature. In the past four decades, sting operations of all types have become a major part of law enforcement in the United States, and stash-house stings are perhaps the most extreme example of this trend, because of the harsh penalties they carry. Boyer threw himself to the ground, where he was cuffed and dragged face down to a law-enforcement vehicle, his jaw scraping against the asphalt. A helicopter circled overhead, and the air cracked with flash-bang grenades. All at once, snipers in tactical gear emerged from under a tarp on the roof, and the roll-up doors of the storage units rose, displaying dozens of federal agents holding machine guns, like the prize reveal on an old game show. While they waited for Richie to give them the location of the stash house, Boyer paced the rows of storage units, nervously smoking Newports, wondering if he should back out. He had never done anything like this before.īoyer and the others drove to an outdoor storage facility, where Richie wanted them to deposit his share of the drugs after the raid. One of the men sent him inside to buy zip ties, and he grabbed every kind he saw, because he had no idea what they’d need. Boyer assumed that there were guns in the trunk. He joined some other men Richie had recruited in the parking lot of a Home Depot, near a car that Mike had rented for the robbery. The next morning, after cooking up a shot of heroin, Boyer put on camouflage cargo pants and a black T-shirt with the word “ police” across the front. His cut of the money-tens of thousands of dollars-would allow him to fix his car, pay for rehab, and, he hoped, put his life in order. Heroin was turning Boyer’s stomach, and he hadn’t eaten in days. “With the amount we’re talking about, you ain’t going to have to work no more, you understand?” Richie’s partner, Mike, told Boyer. During pickups, Richie had counted at least eighteen kilograms of cocaine, worth close to two million dollars. He said that he was being cheated by his bosses, and he was assembling a crew to help him rob their stash house, which was lightly guarded. Richie told them that he worked as a courier for a Colombian drug cartel, driving shipments of cocaine to New York City. Some guys Boyer partied with said that Richie had a plan to “hit the jackpot,” and one of them took Boyer to an empty warehouse to meet him. He was a wiry Cuban American named Richie, who wore tight jeans and had long curly hair. That winter, Boyer met a man who promised to change his life. He wanted to go to rehab, but the program cost nearly two thousand dollars-far more than he could afford. He did deliveries for an electronics-repair business, but the job depended on his car, which was threatening to give out. By 2001, when Boyer was twenty-four, he was living in Tampa, Florida, doing heroin six or seven times a day. He didn’t say no when a cousin proposed that they run away from home, or when a friend at a rave handed him a small dose of powder heroin. “Are you coming?” they would ask him, and Boyer had trouble saying no. They would sneak out at night to drink and smoke they would drive through town in a pickup truck, knocking down neighbors’ mailboxes with a baseball bat. But he was drawn to charismatic boys who broke the rules. Growing up in rural Illinois, Boyer was quiet and well mannered, a shy white kid who spent his afternoons fishing for strawberry bass in farm ponds and the creeks that feed the Mississippi. Joshua Boyer’s mother often had to remind him to think for himself. The “Slow Burn” approach is well-established at this point: Take a well-known event in recent American history (Watergate, the Clinton impeachment, Ku Klux Klan leader David Duke’s 1991 campaign for Louisiana governor) and explore, in exacting detail, the surrounding political, cultural and social detritus - the better to understand how Americans experienced them at the time, and, therefore, how they fit into our national narrative. The two series serve together as a convenient case study in how we might approach them and where they might lead us. With still-inflammatory characters like Rumsfeld, Chalabi, and Miller to draw on, the Iraq War is a potent basis for such stories. It matters how we write them, what we include, and what we leave out. In the spirit of this weekend’s holiday, you can almost think of it as a new founding myth: America was reborn in the Middle East’s crucible, not as the leader of a rules-based, liberal international order, but a multi-tendrilled, ever-expanding and unaccountable corporate hegemon.įounding myths are powerful. But it doesn’t map neatly along ideological lines - influential thinkers and activists from the far left to the far right share the “Blowback”-ian conception of the March 2003 invasion of Iraq as a Year Zero for the post-Cold War era. It might seem at first like a typical intra-left difference in temperament. “Blowback” is didactic, its hosts bombarding the listener with their sturm-und-drang argument about the Iraq War as a portal to hell that directly caused our modern-day political ills. “Slow Burn” allows space for figures like the late anti-Saddam Iraqi politician Ahmed Chalabi, former New York Times reporter Judith Miller, and, yes, Donald Rumsfeld, to speak for themselves, either in the present or through the historical record, and invites the listener to draw their own conclusions. But history is storytelling, and in the world of storytelling, style matters. To an extent, it is: Both shows are painstakingly researched, and tell the same cautionary tale. The difference might seem stylistic, not substantial. Team “Slow Burn” wisely declined to take the bait, but after just a single episode, the battle lines were clearly drawn: the mealy-mouthed, ambivalent, lamestream media against the pirate truth-tellers who laced their own account of the war with Howard Stern-like audio drops and profane tirades against Rumsfeld and his cronies. When Slate launched “Slow Burn” in April, the loyal, rabid “Blowback” fanbase attacked, egged on by influential lefty-world media figures. One might imagine that they would feel a certain solidarity, a shared mission to provide their generation with a clear-eyed, heavily researched and reported view of a conflict that shaped the world in which they came of age and are now inheriting. A little less than a year before that, the left-wing journalists and respective Vice and “Chapo Trap House” alums Noah Kulwin and Brendan James released “ Blowback,” an unapologetically left-wing re-examination of the war’s many causes and ongoing effects.Īll three hosts are millennials whose respective series gave listeners a detailed - and, speaking as a listener, sometimes too detailed - account of the folly, hubris and collective mania that led to the Iraq War. In the fifth season of Slate’s “ Slow Burn,” which concluded just weeks before Rumsfeld’s death, host Noreen Malone delivered listeners one of the series’ signature deep dives on an event that looms so large over American history we’ve almost forgotten the details of what actually happened. But if you were paying attention recently, a revealing skirmish over their place in it was waged in a very modern medium: the serialized podcast. Visit megaphone.Both Rumsfeld and our Iraqi experiment in nation-building have now passed into history. The season’s reporting was supported by a grant from the International Women’s Media Foundation’s Howard G. Artwork by Derreck Johnson based on a photo provided by Robert Wheeler. Our theme music is composed by Alexis Cuadrado. Supervising Producer of Narrative Podcasts.Įditorial direction by Josh Levin, Derek John and Johanna Zorn. Season 7 of Slow Burn is produced by Susan Matthews, Samira Tazari, Sophie Summergrad, and Sol Werthan.ĭerek John is Sr. To see the cover of the Handbook on Abortion, some of the photos the Willkes used, and the brochure “Life or Death,” go to /handbook The Willkes’ Handbook on Abortion, and the photographs they distributed along with it, would help kickstart the right-to-life movement. Their daughter would convince them to shift their focus to another hot-button issue. Jack and Barbara Willke got their start on the Catholic speaking circuit talking about the pleasure of sex within marriage. The building almost sunk into itself under the weight of old age. I don’t think anybody really knew where she was.”Ī week later when Walker and Hunt pulled up to the Lee-Peek mortuary in Fort Pierce, the sight was ghastly. “She was buried down in South Florida somewhere. “The reason she doesn’t have a stone is because she wasn’t buried here,” Moseley said. She asked Moseley, “Why is it that 13 years after Zora’s death, no marker has been put on her grave?” Once Walker mentioned Moseley’s hibiscus bushes, along the edge of the drive, Moseley softened, and a wealth of story followed. Walker knew the name from Hurston’s books, but to learn that the character was not only real but alive became the first meaningful line of inquiry in her own search for Hurston.Īfter the two tracked Moseley down in her driveway, Walker set to gaining her trust and uncovering any morsel about Hurston and the Eatonville of her lifetime. The woman thought Walker and Hunt might like to see about Mathilda Moseley - a lady in town old enough to have known Hurston. “I am Miss Hurston’s niece,” she told the young woman sitting behind a desk strewn with letters. Twenty minutes out from baggage claim, the two walked into Eatonville’s City Hall armed with what Walker deemed a “simple, but I feel profoundly useful lie.” Her first biographer, Robert Hemenway, wrote in 1977, “Why did her body lie in wait for subscriptions to pay for a funeral? The answers are as simple and as complicated as her art, as paradoxical as her person, as simple as the fact that she lived in a country that fails to honor its black artists.” Beneath the tall grass and span of time, Hurston’s legacy grew dim a catalog of myths grew like weeds all around her. The bluestem and muhly grass grew thick, and because the grave bore no marker and the cemetery was left unattended, Hurston’s grave disappeared. Spring turned to summer, and the rains came. The Lincoln Park Academy choir sang “Just a Closer Walk with Thee” as the light softened.Īfter everyone left that evening, the sun fell away over the Gulf of Mexico. “The Miami paper said she died poor, but she died rich. “They said she couldn’t become a writer recognized by the world, but she did it,” he said in his eulogy. Paul AME explained how the newspapers described her as poor when she died, but he believed the hundred-plus people standing there suggested otherwise. Two pastors spoke that evening, one Baptist, one Methodist. He pointed to her tenacity, her ability to deliver. He noted how she didn’t care for anyone’s perception of her. In total, $661.87 came to the fore, the equivalent of nearly $6,000 today.Īs the crowd hemmed in the grave, her editor at the Fort Pierce Chronicle, C.E. Margaret Paige, an administrative assistant, made the arrangements. The principal, Leroy Floyd Sr., was a pallbearer. The students of Lincoln Park Academy, where Hurston was a substitute teacher, held a benefit concert. The funeral home donated the casket, and the cemetery waived the burial fee. Her friends Fannie Hurst and Carl Van Vechten did, too. Lippincott and Scribner’s, sent $100 each. Her friend, Marjorie Silver, wrote a piece in the Miami Herald, explaining the need to raise money for the funeral, and in turn, a slow drip of donations arrived piece by piece from all over America. While Hurston died without much to her name and with debts unpaid, her friends raised the money to lay her to rest. The hearse turned west out of the drive, pushed down Avenue D nine blocks before hooking north onto 17th Street and following it to where it fell off into Taylor Creek, passing columns of mango and guava trees, hedges of ixora and bundles of palmetto.Īt the end of the road, nine flower girls led the way into the Genesee Memorial Gardens Cemetery, where Hurston was interred that evening. It was Sunday afternoon, February 7, when six pallbearers carried Hurston’s body out of the Peek Funeral Chapel. A look under the hood, however, revealed it was not so pretty. He imagined something wondrous – self-reproducing computer programs should be elegant, fruits of some esoteric black art. When he analysed Vienna, Bontchev was disappointed. Bontchev eventually figured out that he had resurrected the virus commonly known as Vienna. He took it home and entered it – byte by byte – into his computer, careful not to make any mistakes. He found a printout of the virus’s code in the garbage. Bontchev raced to their place of business looking for any remnants. Horror turned to panic when the men told him that they had purged the virus from their firm’s computers as well. The laptop had a virus on it, and when they ran their antivirus program, the virus disappeared.īontchev was both fascinated and horrified: fascinated because he had never seen a virus before (or a laptop, for that matter), horrified because the men had just killed it. The men not only reported that they had a virus they also claimed to have written an antivirus program that eliminated it. They had read the articles about these strange new creatures in the magazine and wanted to show Bontchev the virus they had discovered in their small software company. He was very surprised when two men walked into Computer for You’s office, where he used to hang out, and claimed to have a virus. When Bontchev wrote this dismissive article, he had not yet seen a virus. Moreover, most users in Bulgaria did not have their own personal computers they shared them. He had not appreciated that what may be an obvious virus to him may not be obvious to the secretary using a computer as a typewriter. It was hard to miss a virus! Prevention through basic cyber hygiene was simple: “Do not allow other people to use your computer do not use suspicious software products do not use software products acquired illegally.”īontchev would come to regret this article. They do strange things, such as play tunes, draw Christmas trees on the screen and reboot computers. Infected files are bigger than uninfected files. Any competent programmer, Bontchev claimed, could tell when files are corrupted by a virus. Wobjm <- mono(Wobj, "left" ) # extract the left channel # and downsample to 11025 samples/sec. # reading it in again: Wobj2 <- readWave(tmpfile) # write the Wave object into a Wave file (can be played with any player): writeWave(Wobj, tmpfile) Given a global context in its final state, process it and return the Musicoutput object in its final state. Get a hash table with all LilyPond Scheme extension functions. Tmpfile <- file.path(tempdir(), "testfile.wav" ) LilyPond specific format, supporting a and 0-9f. Function: add-stroke-glyph stencil grob dir stroke-style flag-style. Plot(Wobj) # it does not make sense to plot the whole stuff plot(extractWave(Wobj, from = 1, to = 500 )) Library( "tuneR" ) # in a regular session, we are loading tuneR # constructing a mono Wave object (2 sec.) containing sinus # sound with 440Hz and folled by 220Hz: Wobj <- bind(sine( 440 ), sine( 220 )) Of course, print (show), plot and summary methods are available for most classes. Postprocessing with the music typesetting software LilyPond. (and a data-preprocessing function quantMerge)Ĭan prepare a data frame to be presented as sheet music by ( quantplot) showing the note values for binned data. Now, the melody and corresponding energy values can be plotted using the functionĪ next step is the quantization ( quantize) and a corresponding plot If strict-checking is set to t and key is not in alist, a programming error is output. When the parts cross (first/upper part has the lower notes), this will be shown as two different voices so that the stem directions show the non-standard order of voices. As long as the first/upper part has the higher notes, LilyPond will print simple chords. To derive the corresponding notes ( noteFromFF), part in a score, like flute 1 & flute 2 or soprano & alto. To estimate the corresponding fundamental frequencies ( FF, FFpure), Other functions and classes are available toĬalculate several periodograms of a signal ( periodogram, Wspec), If strict-checkingis set to tand keyis not in alist, a programming error is output. A pond filter is essentially a filter (duh) whose function is to remove. To transform Wave objects ( bind, channel, LilyPond procedure: ly:assoc-get (SCM key, SCM alist, SCM defaultvalue, SCM strictchecking) Return value if keyin alist, else default-value(or fif not specified). a separate marsh or bog pond (see LILY POND and MARSH POND for examples). LilyPond is cross-platform, and is available for several common operating systems released under the terms of the GNU General Public License, LilyPond is free softwareand part of the GNU Project. To represent or construct (multi channel) Wave files ( Wave, WaveMC), One of LilyPond's major goals is to produce scores that are engraved with traditional layout rules, reflecting the era when scores were engraved by hand. To read and write Wave files ( readWave, writeWave), In the following examples, some of the functions TuneR consists of several functions to work with and to analyze Wave files. It is important for people with asthma to prioritize their health and wellbeing by seeking out affordable options and ensuring they always have an inhaler on hand. Having access to a timely purchased inhaler can make all the difference in preventing asthma attacks and managing symptoms. In conclusion, inhalers are a crucial tool for managing asthma and saving lives. This may require seeking out affordable options, such as generic versions of the medication or assistance programs offered by pharmaceutical companies or non-profits. It is important for people with asthma to prioritize their health and wellbeing by ensuring they have a timely purchased inhaler on hand. As a result, some people may delay purchasing their inhaler or rationing their medication, putting their health at risk. Inhalers can be expensive, and not all insurance plans cover them. Unfortunately, many people with asthma struggle to afford their medication. Delaying or avoiding the purchase of an inhaler can be dangerous, as it can lead to worsening symptoms and a higher risk of complications. When symptoms start to flare up, having an inhaler on hand can make all the difference in preventing a potentially life-threatening asthma attack. One of the key factors in managing asthma is having access to a timely purchased inhaler. Inhalers are available in different types, including quick-relief inhalers for acute symptoms and long-term control inhalers for daily use. Ventolin HFA Inhalation Aerosol, the active ingredient, albuterol sulfate, is a bronchodilator that opens the airways quickly and relieves the symptoms of. It can also prevent exercise-induced bronchospasm in adults and children four years and older. They work by delivering medication directly to the lungs, which helps to open up the airways and ease breathing. Albuterol HFA is a rescue inhaler used to prevent or treat bronchospasm in adults and children four years and older with asthma (also known as reversible obstructive airway disease). Inhalers are a lifesaving device for people with asthma. While there is no cure for asthma, the symptoms can be managed with the help of medication, including inhalers. It is characterized by inflammation of the airways, which can lead to coughing, wheezing, chest tightness, and difficulty breathing. Asthma is a chronic respiratory condition that affects millions of people around the world. 3.4 Student Affairs Professionals Resource Guide.3.3.6 Core Mathematic Course Substitutions.3.3.2 CIDI Center for Inclusive Design and Innovation.3.3.1 Regents' Centers for Learning Disorders.
But what is a "common" symbol? I decided to refer to Wikipedia on this matter, with their excellent Glossary of Mathematical Symbols.įrom this article and based on my own experience, I decided on the following groups of symbols (with a few examples in paranthesis): The goal of the math keyboard is to be as useful as possible to as many people as possible, which means that the symbols that go on the keyboard must be the most commonly used ones. It can also be used to negate symbols (∈∉, ∃∄), or to access uppercase-versions of letters (δΔ, θΘ, σΣ). This is useful for certain symbols like roots (√, ∛, ∜) and integrals (∫, ∬, ∭). We can push this approach even further by allowing certain symbols to have multiple different versions accessible by double-tapping, triple-tapping, or even quadruble-tapping the same button. And by a lucky coincidence we can exactly fit the 26 greek letters by placing two on each button! Perfect. Therefore, by giving up only 3 buttons for Shift, Alt, and Opt, we can fit 6 times as many symbols on the remaining 13 buttons. The same is true for the cyan B-coloumn, which is accessed by holding down Opt. If you hold Shift while pressing the button, you get A. If you hold Alt while pressing the button, you get α, the front-facing symbol. The button is separated into two columns of symbols: A blue A-column, and a cyan B-column. f you simply press the button, you get a. A single keycap showing the locations of the 6 symbols that it can fit. I take advtantage of the fact that the keycaps have a sloped front so one can see symbols printed on the front face. This may sound like it will get confusing very quickly, but I think it'll work fine. They all have numbers and symbols on each button.įor the mathematical keyboard, I decided to fit 6 symbols per button. Just look at the number row, for example. Everyone is already used to the concept of keyboard buttons having more than one symbol. The second solution is a bit more tricky because it requires us to make a decision about which symbols common enough to be granted a spot on the math keyboard. Fit more than one symbol on each button.We have two ways of approaching this problem: Consider that the keyboard only has 16 buttons, while Wikipedia lists hundreds of mathematical Unicode symbols:Ĭlearly, it will not be possible to fit every mathematical symbol on the math keyboard. The apparently simple task of deciding which symbols go where on the math keyboard has been more challenging than I had anticipated. Even after months of daily use, they are looking like just came out of the printer. For now, it tells me that UV printing is not feasible for the colored keycaps, but that it appears to work very well on the white keycaps. If anyone knows why UV prints applied to the keycaps made from colored plastic seems to adhere worse, let me know. The white keycaps were in perfect condition. I spaced them out evenly so that they would get roughly the same amount of use:Īfter only one week of normal use, the colored keycaps had nearly completely lost their decals. I placed four Mathboard keycaps on my regular keyboard. It would be a shame if the keycaps lose their decals from normal use. The process works well, but I did not know if the prints are durable. I wanted to know if UV printing is a feasible method for creating the custom keycaps for the Mathboard. I investigated the durability of the UV-printed keycaps of the Mathboard. I will be making it all open source, and hope to create something that is actually useful for many people. As I refine the behaviour of the keyboard, I can begin considering changing key layouts and overall design. The current design uses an off-the-shelf macro pad because this allows for rapid development. I want to eventually come up with a design that works seamlessly on Windows, Mac, and Linux, and which can switch between plaintext mode, LaTeX mode, and Math ML mode. It is a 4x4 macro keyboard from 1UP Keyboards with custom firmware. I feel like I would save time if I had a keyboard that could insert the correct symbols, operators, and LaTeX codes automatically. I often write equations, and I have long been frustrated by the amount of time spent looking up special Unicode symbols on Google, clicking around in the Equations Editor in Word and Powerpoint, and looking up LaTeX math codes. The ultimate goal of the Mathboard is to make my life easier. |