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Everaldo Stum

Everaldo Stum, or known as Everaldo, is a Brazilian professional footballer who plays for Kashima Antlers as a forward. Born in Garibaldi, Rio Grande do Sul, Everaldo graduated from Grêmio's academy, made his first team debut on 5 November 2011, coming on as a second-half substitute in a 2-0 away loss against Atlético Mineiro, for the Campeonato Brasileiro Série A. In 2012, Everaldo was loaned to Caxias. In 2013, after returning to Grêmio, he was loaned to CSA. However, he returned again to Grêmio in the same year. On 17 April 2014 Everaldo was loaned to Figueirense until the end of the season. On 29 April 2015, he returned to Figueira until the end of the 2015 season; as of 30 October 2019. Everaldo Stum at Liga MX Everaldo at Soccerway

Grade of service

In telecommunication engineering, in particular teletraffic engineering, the quality of voice service is specified by two measures: the grade of service and the quality of service. Grade of service is the probability of a call in a circuit group being blocked or delayed for more than a specified interval, expressed as a vulgar fraction or decimal fraction; this is always with reference to the busy hour. Grade of service may be viewed independently from the perspective of incoming versus outgoing calls, is not equal in each direction or between different source-destination pairs. "Grade of Service" sometimes means a measure of inbound call center traffic to verify adherence to conditions to measure the success of customers served. On the other hand, the quality of service which a single circuit is designed or conditioned to provide, e.g. voice grade or program grade is called the quality of service. Quality criteria for such circuits may include equalization for amplitude over a specified band of frequencies, or in the case of digital data transported via analogue circuits, may include equalization for phase.

Criteria for mobile quality of service in cellular telephone circuits include the probability of abnormal termination of the call. When a user attempts to make a telephone call, the routing equipment handling the call has to determine whether to accept the call, reroute the call to alternative equipment, or reject the call entirely. Rejected calls occur as a result of heavy traffic loads on the system and can result in the call either being delayed or lost. If a call is delayed, the user has to wait for the traffic to decrease, however if a call is lost it is removed from the system; the Grade of Service is one aspect of the quality a customer can expect to experience when making a telephone call. In a Loss System, the Grade of Service is described as that proportion of calls that are lost due to congestion in the busy hour. For a Lost Call system, the Grade of Service can be measured using Equation 1. Grade of Service = number of blocked calls total offered calls For a delayed call system, the Grade of Service is measured using three separate terms: The mean delay t d – Describes the average time a user spends waiting for a connection if their call is delayed.

The mean delay t o – Describes the average time a user spends waiting for a connection whether or not their call is delayed. The probability that a user may be delayed longer than time t. Time t is chosen by the telecommunications service provider so that they can measure whether their services conform to a set Grade of Service; the Grade of Service can be measured using different sections of a network. When a call is routed from one end to another, it will pass through several exchanges. If the Grade of Service is calculated based on the number of calls rejected by the final circuit group the Grade of Service is determined by the final circuit group blocking criteria. If the Grade of Service is calculated based on the number of rejected calls between exchanges the Grade of Service is determined by the exchange-to-exchange blocking criteria; the Grade of Service should be calculated using both the access networks and the core networks as it is these networks that allow a user to complete an end-to-end connection.

Furthermore, the Grade of Service should be calculated from the average of the busy hour traffic intensities of the 30 busiest traffic days of the year. This will cater for most scenarios as the traffic intensity will exceed the reference level; the grade of service is a measure of the ability of a user to access a trunk system during the busiest hour. The busy is based upon customer demand at the busiest hour during a week year. Different telecommunications applications require different Qualities of Service. For example, if a telecommunications service provider decides to offer different qualities of voice connection a premium voice connection will require a better connection quality compared to an ordinary voice connection, thus different Qualities of Service are appropriate, depending on the intended use. To help telecommunications service providers to market their different services, each service is placed into a specific class; each Class of Service determines the level of service required.

To identify the Class of Service for a specific service, the network’s switches and routers examine the call based on several factors. Such factors can include: The type of service and priority due to precedence The identity of the initiating party The identity of the recipient party In broadband networks, the Quality of Service is measured using two criteria; the first criterion is the probability of packet losses or delays in accepted calls. The second criterion refers to the probability that a new incoming call will be blocked. To avoid the former, broadband networks limit the number of active calls so that packets from established calls will not be lost due to new calls arriving; as in circuit-switched networks, the Grade of Service can be calculated for individual switches or for the whole network. The telecommunications provider is aware of the required Grade of Service for a particular product. To achieve and maintain a given Grade of Service, the operator must ensure that sufficient telecommunications circuits or routes are available to meet a specific level of demand.

It should be kept in mind that too many circuits will

Lost Cause of the Confederacy

The Lost Cause of the Confederacy, or the Lost Cause, is an American pseudo-historical, negationist ideology that holds that the cause of the Confederacy during the American Civil War was a just and heroic one. The ideology endorses the supposed virtues of the antebellum South, viewing the war as a struggle to save the Southern way of life, or to defend "states' rights", in the face of overwhelming "Northern aggression." At the same time, the Lost Cause minimizes or denies outright the central role of slavery in the buildup to and outbreak of the war. Intense periods of Lost Cause activity came around the time of World War I, as the last Confederate veterans began to die and a push was made to preserve their memories, during the Civil Rights Movement of the 1950s and 1960s, in reaction to growing public support for racial equality. Through activities such as building prominent Confederate monuments and writing school history textbooks, they sought to ensure future generations of Southern whites would know of the South's "true" reasons for fighting the war, therefore would continue to support white supremacist policies, such as Jim Crow.

In this manner, white supremacy is a characteristic of the Lost Cause narrative. The Lost Cause narratives portray the Confederacy's cause as noble and its leadership as exemplars of old-fashioned chivalry, who were defeated by the Union armies through numerical and industrial force that overwhelmed the South's superior military skill and courage. Proponents of the Lost Cause movement condemned the Reconstruction that followed the Civil War, claiming that it had been a deliberate attempt by Northern politicians and speculators to keep the South down; the Lost Cause theme has evolved into a major element in defining gender roles in the white South, in terms of preserving family honor and chivalrous traditions. The Lost Cause has inspired religious attitudes. In recent decades, Lost Cause themes have been promoted by the Neo-Confederate movement in books and op-eds, in one of the movement's leading magazines, the Southern Partisan. Though the idea has more than one origin, its proponents argue in the main that slavery was not the primary cause of the Civil War.

In order to reach this conclusion, they directly ignore the declarations of secession by the seceding states, the declarations of congressmen who left Congress to join the Confederacy, the treatment of slavery in the Confederate Constitution. They deny or minimize the wartime writings and speeches of Confederate leaders in favor of their postwar views. Supporters stress the idea of secession as a defense against a Northern threat to their way of life and say that the threat violated the states' rights guaranteed by the Constitution, they believe that any state had the right to secede, a point denied by the North. The Lost Cause portrayed the South as more adherent to Christian values than the greedy North, it portrayed slavery as more benevolent than cruel, alleging that it taught Christianity and "civilization." Stories of happy slaves were used as propaganda in an effort to defend slavery. These stories would be used to explain slavery to Northerners. Many times they portrayed slave owners being kind to their slaves.

In explaining Confederate defeat, the Lost Cause says that the main factor was not qualitative inferiority in leadership or fighting ability but the massive quantitative superiority of the Yankee industrial machine. At the peak of troop strength in 1863, Union soldiers outnumbered Confederate soldiers by over two to one, financially the Union had three times the bank deposits of the Confederacy; the Lost Cause is based of states' rights. The defeat of the Confederacy devastated many Southerners — economically and psychologically. Before the war, many white Southerners proudly felt that their rich military tradition would enable them to prevail in the forthcoming conflict; when this did not happen, white Southerners sought consolation in attributing their loss to factors beyond their control, such as physical size and overwhelming brute force. University of Virginia professor Gary W. Gallagher wrote: The architects of the Lost Cause acted from various motives, they collectively sought to justify their own actions and allow themselves and other former Confederates to find something positive in all-encompassing failure.

They wanted to provide their children and future generations of white Southerners with a'correct' narrative of the war. The Lost Cause became a key part of the reconciliation process between North and South around 1900, formed the basis of many white Southerners' postbellum war commemorations; the United Daughters of the Confederacy, a major organization, has been associated with the Lost Cause for over a century. Yale University history professor Rollin G. Osterweis summarizes the content that pervaded "Lost Cause" writings: The Legend of the Lost Cause began as a literary expression of the despair of a bitter, defeated people over a lost identity, it was a landscape dotted with figures drawn out of the past: the chivalric planter. All these, while enveloped in a golden haze, became real to the people of the South, who found the symbols useful in the reconstituting of their shattered civilization, they perpetuated the ideals of the Old South and brought a sense of comfort

The House Behind the Cedars

The House Behind the Cedars is a 1927 silent race film directed, written and distributed by the noted director Oscar Micheaux. It was loosely adapted from the 1900 novel of the same name by the African-American writer Charles W. Chesnutt, who explored issues of race and identity in the post-Civil War South. No print of the film is known to exist, it is considered lost. Micheaux remade the film in 1932 under the title Veiled Aristocrats; the Virginia Censorship Board, an arm of white supremacy, at first banned the film from being shown in the state, saying it would threaten race relations. In 1924, the state had passed the Racial Integrity Act incorporating the one-drop rule into law for the first time, it classified as black for state record keeping any person with any known African ancestry, regardless of their self-identification or community. Although Micheaux made some cuts to get the film distributed, he wrote to the board: "There has been but one picture that incited the colored people to riot and that still does.

Hat picture is Birth of a Nation." Rena is a young woman of mixed race. Although she is romantically pursued by an upwardly mobile African American named Frank, Rena does not decide in his favor, her appearance allows her to pass for white, as she is of majority European ancestry, although she has grown up in the black community. She falls in love with George Tryon, a young white aristocrat, but as their relationship deepens, Rena believes. She leaves John and returns to Frank; as she accepts Frank as her life partner, she confesses: "Frank, I am miserable." The House Behind the Cedars was adapted from the 1900 novel by the American writer Charles W. Chesnutt. Chesnutt was with a portion of African, he grew up in the "black" community. He explored issues of race among those of similar mixed-race descent in the postwar South; this is the second of two Oscar Micheaux films based on Chesnutt's books. His 1926 production of The Conjure Woman was the first, based on a story in Chesnutt's collection by that name published in 1899.

Micheaux promoted The House Behind the Cedars by calling attention to the current scandal in New York scandal related to the legal proceedings of Leonard Rhinelander, a wealthy socialite who sought to have his marriage to Alice Jones annulled after he discovered her mixed-race parentage. This took place. Although the plot of The House Behind the Cedars differed from the Rhinelander case, the film's advertising campaign noted its similarities to the contemporary legal case. Advertising included statements such as, "An Amazing Parallel to the Famous Rhinelander Case!", "Rhinelander Case at the Regent". A longer account said, "The House Behind the Cedars is a remarkable parallel to the famous Rhinelander Case... It tells the story of a beautiful mulatto girl who poses as white, is wooed and won by a young white millionaire. Although worried, she does not betray her secret. Comes the discovery as in the Rhinelander case."Lawrence Chenault, who played the white aristocrat, was a light-skinned, mixed-race actor.

Shingzie Howard, who played Rena, was of mixed race. She had starred in Micheaux's films The Virgin of the Seminole and Uncle Jasper's Will. Micheaux shot The House Behind the Cedars in Virginia; when he returned to the state to secure exhibition locales, he found that the three-man Virginia Board of Censors banned the film from theaters because the Board found it "so objectionable, in fact, as to necessitate its total rejection". This was only a few years after the white Democratic legislature, which had disfranchised most black voters earlier in the century, had passed its Racial Integrity Act of 1924; this instituted the one-drop rule, by which any person with any African heritage was classified as black for state record-keeping. The board called in other state officials to help them review the film, including Walter Plecker, a supporter of eugenics who implemented the new act, other known supporters of white supremacy. All were white. Officials found the film's story too threatening to its Jim Crow social order, despite the well-documented history of miscegenation and mixed-race slaves in colonial and antebellum Virginia.

They suggested. Micheaux agreed to make some cuts in the film, while remarking that no other state or censorship board had objected or required changes, he said it had been screened in many areas "without incident." He noted that when the Chesnutt novel had been published 30 years earlier, it was "read by over a thousand white people to every colored person." He said, "There has been but one picture that incited the colored people to riot and that still does. Hat picture is Birth of a Nation." After his cuts, the film was shown in Virginia. Afterward, the board used its review of the film into "a litmus test for the proper allegiance of white civil servants to the Racial Integrity Act." Finding some of board member Arthur James' comments insufficiently critical of the film, they released them to John Powell, leader of the Anglo-Saxon Clubs, an organization devoted to white supremacy. Powell initiated threats to James' position and generated letters of strong criticism by the members of the Anglo-Saxon Clubs.

James survived the attacks and was appointed as commissioner of Public Welfare. Micheaux remade The House Behind the Cedars in 1932 under the title Veiled Aristocrats. No print of The House Behind the Cedars is known to exist, it is presumed to be a lost film. Film censorship in th

Wan Chai Heritage Trail

The Wan Chai Heritage Trail is a walking trail in Hong Kong. It is two hours in duration, it was formed by the Old Wan Chai Revitalisation Initiatives Special Committee established by the Development Bureau to promote the local culture and architectural style of Wan Chai District. At present the trail features 15 sites, including the Blue House, Wan Chai Market, Nam Koo Terrace and the Starstreet Precinct. In 2009, at the trail's launch, nine of these properties were undergoing restoration through projects organised by the Urban Renewal Authority and the Development Bureau, it was expected that the buildings would once again be operational in 2013–16. The Trail is divided into two parts: Cultural Heritage Trail. Green House, tong-lau, at Nos. 1–11, Mallory Street and Nos. 4–12 Burrows Street Hong Kong Tuberculosis and Heart Diseases Association, part of the Ruttonjee Hospital, No. 266 Queen's Road East, Bauhaus architectural style Wan Chai Market, at No. 264 Queen's Road East and Stone Nullah Lane, Streamline Moderne architectural style Blue House, Nos. 72-74A Stone Nullah Lane Yellow House, Nos. 2–4 Hing Wan Street Nos. 186–190 Queen's Road East, tong-laus "The Pawn", Nos. 60–66 Johnston Road, tong-laus OVOlogue, Nos. 66 Johnston Road, tong-lau No. 18 Ship Street, tong-lau Nam Koo Terrace, No. 55 Ship Street Starstreet Precinct, including No. 31 Wing Fung Street Pak Tai Temple, No. 2 Lung on Street, near the upper end of Stone Nullah Lane Old Wan Chai Post Office, No. 221 Queen's Road East Open Market in Tai Yuen Street and Cross Street Hung Shing Temple, Nos. 129–131 Queen's Road East Open Market in Gresson Street Heritage Trails in Hong Kong OWCRISC Wan Chai Heritage Trail Official Website Old Wan Chai Revitalisation Initiatives Special Committee website