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Matthew Toffolo WILDsound
HomePosts tagged 'wildsound feedback film festival'
wildsound feedback film festival
Interview with Filmmaker Alex Sangha (MY NAME WAS JANUARY)
March 10, 2020 matthewtoffolo directing a film, feedback film festival, film director, short film, short film festival, toronto film festival, Uncategorized, wildsound film festival	Alex Sangha (MY NAME WAS JANUARY), feedback film festival, wildsound feedback film festival
MY NAME WAS JANUARY played to rave reviews at the February 2020 FEMALE Feedback Film Festival in Toronto.
Matthew Toffolo: What motivated you to make this film?
Alex Sangha: The social coordinator of the non-profit that I founded for LGBTQ South Asians and their friends was brutally stabbed 18 times in her own home. She was a transgender Filipina woman. She was a much loved member of our organization and we wanted to create a tribute for her to showcase her light, legacy, and love in the minds of people she left behind. We wanted to share her story as we knew her and what she meant to us and to provide a platform for other transgender woman of colour.
2. From the idea to the finished product, how long did it take for you to make this short?
Three years. We hired two journalism students from Kwantlen Polytechnic University in Surrey BC Canada. Elina Gress and Lenee Son were both women of colour and this was their first film.
3. How would you describe your short film in two words!?
Authentic and real
4. What was the biggest obstacle you faced in completing this film?
It was difficult to obtain funding at first because this was our first film and we did not have a track record.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
Feeling a bit nervous and anxious. I was pleased with the feedback overall. I am confident in the end product. My Name Was January has won 14 international awards, and garnered 59 official selections at film festivals around the world. It also landed three distribution deals through Moving Images Distribution of Vancouver, OUTtv and OUTtvGo in Canada, and Revry of California, which is a queer streaming platform. The reception to the film has been positive overall and it has also sparked critical discussion and debate on various issues such as the sex trade, transgender rights, human rights, and violence.
Watch the Audience FEEDBACK Video:
6. How did you come up with the idea for this short film?
We wanted to eulogize and create a memorial or tribute to our dear departed friend, January Marie Lapuz
7. What film have you seen the most in your life?
I am a big fan of the entire Star Wars series. I feel Star Wars has a theme of good vs. evil and the light being a force for good and defeating darkness. I feel society as a whole deal with this similar battle at an individual and even broader societal level.
8. You submitted to the festival via FilmFreeway, what are you feelings of the submission platform from a filmmaker's perspective?
I really love Film Freeway but I wish it was cheaper to submit films. Cost can be a barrier to get your films to film festivals.
9. What song have you listened to the most times in your life?
I am a big fan of I dreamed a dream which is on the Les Miserables soundtrack.
10. What is next for you? A new film?
Emergence: Out of the Shadows which is about the coming out journey of gay and lesbian South Asians and the reactions of their parents. For more details check out https://emergencefilm.net/
Interview with Filmmaker/Actor Hannah Bonecutter (MINSTREL VS PUPPET)
March 10, 2020 matthewtoffolo directing a film, feedback film festival, film director, short film, short film festival, toronto film festival, Uncategorized, wildsound film festival	Experimental FEEDBACK Film Festival, feedback film festival, Hannah Bonecutter (MINSTRELL VS PUPPET), wildsound feedback film festival
MINSTRELL VS PUPPET was the winner of BEST FILM at the January 2020 Experimental FEEDBACK Film Festival in Toronto.
Hannah Bonecutter: The trials, tribulations, and conflicts (internal and external) that I, as well as many others, endure as a woman of color today motivated me to make this film. Upon careful observance and personal experience of the various stigmatization, stereotypes, and limitations society places upon women of color, and with the current wave of women empowerment here in America, I was compelled to make a statement on these important issues; a statement that force people to face, discuss, and hopefully work to improve these issues facing women of color today. This film is that statement.
It took about 3 months from the idea to the finished product. I remember having the idea in December during holiday break, then immediately reaching out to people I wanted a part of it, including the Director Marcus Aubin for his thoughts on his abilities to make my vision come to fruition. We got the team together and it was shot in early February over two 8-hour long days. Final product was ready by March.
The biggest obstacle in completing this film was deciding on final dialogue between the two characters – a significant amount was cut from the initial script – and finalizing the last 20 seconds of film during the editing process in post-production. I always knew we would end the film with the split face image, but right leading up to that was carefully contemplated over and discussed between the Director and I for some time.
I was extremely excited and happy while listening to the audience feedback in film! I think many of them understood the duality in the film quite well, and the women's responses were extremely satisfying to hear, especially the comments on how Minstrel vs. Puppet was "refreshing" and how it calls for us to "pull together."
Reflecting on my own life and the roles I have to play at various times, in particular contexts in order to achieve specific goals was the foundation of this film vision. From this, I knew two characters would need to represent one person, and these characters needed to be quite opposing.
I think FilmFreeway is a great, extremely efficient submission platform to use for any filmmaker, especially independent filmmakers.
Intentional by Travis Greene
Often referred to as a Renaissance woman, I keep my hands busy in a few things. My latest endeavor is obtaining a Masters of Public Health (MPH) with a division in Health Policy and Administration as well as a Global Health Concentration and Health Disparities Certificate at the University of Illinois at Chicago (UIC). In addition to being a graduate student, which takes up much of my time and energy, I am also a licensed eductor, currently privately tutoring students. Further, I presently balance professional organizing for clients with my business BoneClutter. While I am not acting as much right now while pursing my MPH, I am still writing, performing spoken word poetry live, and public speaking at various events.
In terms of Minstrel vs. Puppet, it is still on the film festival circuit worldwide and may even be screened at a city near you soon! There is a lot of planning and organizing going behind Minstrel vs. Puppet right now, as it is far more than a film. It is an educational tool that must be used for exposure, awareness, and learning purposes. Indeed, it has begun its journey in this direction with its first private screening, presentation, and facilitated activity (given by me) held on February 21, 2020 at the University of Illinois at Chicago (UIC). I plan to do many more similar events across the nation at universities, colleges, high schools, and various organizations in the near future. Further, I and other professional educator peers of mine are creating curriculum around Minstrel vs. Puppet to be used in courses at higher education institutions across America and beyond, so be on the lookout for that in the future too!
I will indeed make future films while serving in multiple roles on these films, such as actress, writer, executive producer, director, and more. I have several visions for these films and even scripts written already! However, I believe these films, as well as other related projects and endeavors, will be within a brand new industry that I aim to trailblaze in years to come. This industry will provide informative content to the mass public on important societal issues that they need to understand, but in a highly engaging, creative, and entertaining way that demands their attention. My goal is to utilize my knowledge, skills, and networks within my careers of education, professional organizing, public health, and film entertainment to create and grow this new industry.
Interview with Filmmaker Sarah Baptist (STARTING LINEUP)
February 28, 2020 matthewtoffolo directing a film, feedback film festival, film director, short film, short film festival, toronto film festival, Uncategorized, wildsound film festival	feedback film festival, Sarah Baptist (STARTING LINEUP), wildsound feedback film festival
STARTING LINEUP played to rave reviews at the February 2020 Documentary Film Festival in Toronto.
Sarah Baptist: I went to the overflow area of Jurassic Park for Game 1 of the Raptors playoff. I instantly became friends with the two men behind me in line. There was something really unique about the community. Strangers were friends. The next time I went back, I brought a camera and I tried to capture it.
It took two months.
Basketball community!
The lineup was right beside a highway. The audio really needed to be
It was great. I just want to keep getting better at the craft of short documentary films and hearing the audience reactions helped me learn what I should do for the next film.
I came up with the idea for the film when I was the Jurassic Park viewing area.
The Wizard of Oz.
It is a convenient way to submit films.
Sturgill Simpson – Breakers Roar
I would love to make another film. I'm really interested in telling stories from people we don't hear from and who may be misunderstood.
Interview with Filmmaker Shantel Hansen (HER TURF)
February 28, 2020 March 2, 2020 matthewtoffolo directing a film, feedback film festival, film director, short film, short film festival, toronto film festival, Uncategorized, wildsound film festival	documentary short film, feedback film festival, Shantel Hansen (HER TURF), short film, wildsound feedback film festival
HER TURF played to rave reviews at the February 2020 Documentary Festival in Toronto.
Shantel Hansen: This started back in 2014 when I conceived of the idea of filming women in male dominated sports. Here in the United States, this wasn't a topic talked about or filmed that often until recently there are more conversations over all about women in male dominated spaces in sports, professionally, and workplace. When I discovered women in football officiating, I knew that there had to be stories to uncover, document, and share. What I didn't know was how I was going to do it. As a first time director and producer, it took over four years to make this documentary come alive. There have been a lot of ups and downs. A lot of highs and low moments. Looking back, I can't express how grateful I am to see it all come together in a way that I could have never imagined in a million years. These three incredible women that I filmed along with an amazing film crew (Annice Canday, Tangela Mitchell and Mary Podesta) took a HUGE chance on me, as a rookie. I knew what I lacked in experience (I didn't go to film school) I could make up with heart, passion and dedication.
Real and Inspiring
Honeslty, it wasn't having a limited budget. It was getting access to film these incredible women. And when I did get access it was sometimes limited.
BLOWN AWAY. The audience feedback is priceless. I love how this documentary has a diverse audience. Anyone can watch it.
I knew that I wanted to film something/someone/topic focusing on subculture(s) that impact the larger culture(s) unknownly. Officials and refeeres do that. They are a subculture that is marginalized in that they are in-between the game, players, coaches and fans. You see them (typically when it's a call that you don't like or agree with) but you don't know who they are, why they are there on the line of scrimmage or why they do it.
I'm a mix bag. Big time. I watch crazy pointless series to serious stuff that is at Sunday and Hot Docs.
This was an overall a great experience to have FilmFreeway as a portal to submit my documentary and keep track of everything.
I listen to everything!
I have several projects in pre-production and one heading into production in the summer of 2020. I'm going to build out the concept of fiming more women in male domianted sports including a bull rider, sky diver, jockey, smoke jumper, and drag car sisters. I'm also working on another series filming women that are attempting to do online dating in their 50's, 60's, and 70's.
Interview with Filmmaker Eric Rusch (PICTURES OF LEO)
January 21, 2020 matthewtoffolo feedback film festival, film director, short film, short film festival, toronto film festival, Uncategorized, wildsound film festival	Eric Rusch (PICTURES OF LEO), feedback film festival, wildsound feedback film festival
PICTURES OF LEO was the winner of BEST CINEMATOGRAPHY and BEST PERFORMANCES at the January 2020 LGBT Film Festival in Toronto.
Eric Rusch : I had had this idea for a feature length film for many years. I'm not really a filmmaker, so I never thought it would actually get made.
Then in 2017 I studied film acting at the Stockholm University of Dramatic Arts. As a part of the course we were encouraged to make our own short films, just to better understand the whole process of film making. So I dusted off this old idea, started to write the script and worked with preproduction at the same time. It was supposed to be a small and simple project but it kept growing and I had a lot of fun making it.
I started writing in August 2018. We shot the whole film for six days in the end of November. I did all the editing and sound mixing during the holidays. Did some pickups and had a first screening in mid January. The film premiered at Wicked Queer: The Boston LGBT Film Festival on March 31st 2019. At that time I knew nothing about color correction, so the first color corrected version was actually screened in Toronto on January 13th 2020.
Warm, contemplative.
It had to be a zero budget film. So I really depended on the kindness of strangers, as well as of friends and colleagues. Everyone was so helpful and I'm so grateful for that.
While writing the script I realized I needed someone to play the young Nicholas. So I had to find an 18-year-old, who looked like a young version of myself, who could act and who would be willing to kiss another guy on screen. Without pay. I was so happy when I found Oscar through a casting company. If he hadn't turned up I would have rewritten those scenes completely.
I wanted to shoot a scene in a hospital. I looked everywhere, and a week before shooting it was the only location I still hadn't found. Then suddenly the manager of a psychiatric ward called and told me they were temporarily closing one whole floor off to paint the walls. It would be empty for a few weeks. We only needed an afternoon. They let us use it for free!
I was determined to do as much work as I could myself. I wrote the script, played the lead, directed and produced the film. I did the casting, location scouting and planning. I also did the cinematography, editing and sound mixing. I watched hundreds of tutorials on YouTube. Not kidding. I had a lot of fun. I certainly learned that good planning is essential. But I will never make a film this way again.
This is my first short film so I'm still blown away by the fact that people I don't even know have seen my film.
I was very happy to see that the film raised some interesting questions, like "who lived the true life and who didn't" and how Leo's choices are no less valid given his situation. And "even a country as progressive as Sweden still has those stories" was also something I really wanted to tell.
And who wouldn't be ridiculously happy when someone likes your film?
Pictures of Leo is very loosely based on actual events which at the time raised a lot of questions about making life changing choices. To me the film is a love story first of all. And the story about a man rejecting love out of fear for what other people might think has always stayed with me. Also I wanted to try to tell a story where one of the main characters (Leo) is not really in the film.
Probably The Big Lebowski (1998). Or Victor/Victoria (1982).
Seeing that this is my first film, I was very happy to find FilmFreeway. I thought I would be googling myself to death. But FilmFreeway made it so much easier to find and choose festivals and submit my film. Quick and simple.
Enjoy The Silence by Depeche Mode. Without a doubt.
I work as an actor, mostly with children theatre. I am on tour right now with a stage musical for really small kids. This summer I will be in a production of Ronia, The Robber's Daughter at Astrid Lindgren's World in Vimmerby, Sweden.
My husband Christian Arnold is also an actor and a filmmaker. We love working together. He has written a script that we are planning to make into a short film in the near future.
(Christian made the short film Chricke which was screened at your festival two years ago: https://lgbttorontofilmfestival.com/2018/02/25/short-film-chrickle-7min-sweden-lgbt-experimental/)
Interview with Filmmaker Julio J. Irizarry (ELPIDA)
June 24, 2019 matthewtoffolo directing a film, feedback film festival, film director, short film, short film festival, toronto film festival, Uncategorized, wildsound film festival	ELPIDA short film, feedback film festival, Julio J. Irizarry, wildsound feedback film festival
ELPIDA was the winner of BEST CINEMATOGRAPHY at the June 2019 LA Feedback Film Festival.
Julio J. Irizarry: The motivation came from wanting to create a passion project in collaboration with my friend and co director Charlie from San Francisco. Also, being from Chicago and planning to travel to the West Coast and the Pacific Northwest to film was very motivating in knowing we would get the best production value from our locations.
3 long years.
Universal Hope
The biggest obstacle I faced was matching the post production value with the production value of the amazing locations we captured that helped tell the story. Being my first short film, I felt I owed it to the story to make sure it had great visual effects and that it was colored and sound designed the best.
Another obstacle for me was wanting the film to be perfect. This was a bit of a downfall for me which severely delayed the film due to wanting the top post production experts which we did not have a budget for. I almost gave up and never released it. In the end, through a lot of adversity and learning on my own, I ended up editing, coloring and sound designing the film. We were also able to budget just enough to license the right visual effects that helped propel the story. It was a huge challenge overall, but I believe it made me a better filmmaker and gave me the confidence to direct bigger films in the future.
I was excited and a bit nervous not knowing what people would think. And hoping they got something out of it whether it was an emotion or were inspired after watching.
The main idea of the story was inspired by my friend Julia from Portland who is the woman explorer in the film. She is a wanderlust who travels the world so it was fitting to have her in the film. The deeper meanings of the film from what the voice over is saying, to hope, and the sci fi angle is inspired by my personal experiences and wanting to create unique stories that have not been seen before. A huge inspiration for me as a filmmaker is Christopher Nolan so I like to incorporate hidden meanings, multi layered substance, and non linear story telling into my work as well.
It's a tie between The Dark Knight and Inception. And surprisingly, I actually only really see a film once, and revisit it years later unless it's for a film study. I like to be surprised again just like a first time viewing.
8. You submitted to the festival via FilmFreeway, what are your feelings of the submission platform from a filmmaker's perspective?
I think it's amazing! I feel it really is an open freeway to know about so many great festivals like yours, and having the chance for my work to even be noticed is everything I could ask for as a filmmaker.
Time – Hans Zimmer
Just recently finished directing a short film for an iPhone challenge. Other than that, what's next is to continue studying and developing in my craft. I am leaning towards commercial directing at the moment. I believe bringing my experiences and passion of narrative storytelling into that field will only help me grow as a director.
This will also give me the ability to produce frequent content in between bigger film projects. I aspire to direct a feature some day, or even a longer short film before then. I am huge on creating something unique, so It may take a bit more time for me in between films. I look at Director's like Tarantino and Nolan who only have a handful of films, and I am in that same mindset of creating quality over quantity.
Interview with Filmmaker Susanne Serres (ZAYA)
November 24, 2018 matthewtoffolo directing a film, feedback film festival, film director, short film, short film festival, toronto film festival, Uncategorized, wildsound film festival	feedback film festival, LGBT Feedback Short Film Festival, Susanne Serres, wildsound feedback film festival, Zaya short film
ZAYA was the winner of BEST CINEMATOGRAPHY at the November 2018 LGBT Feedback Film Festival in Toronto.
Susanne Serres: What motivates me to do this movie is my own experience as a queer black woman who has to do her coming out to her family.
Ssince the very beginning of the idea, it took me 1 year and a half. The shooting was made in three full days. The post prod in 2 months.
The dance scenes were hard to pick because we had so many choices of good materials. It was hard to choose sometimes.
I was very moved by them. It was heartwarming to watch. I want to thank everyone who watch the short film and commented on it.
I wanted to combine contemporary dance and a coming out story because I felt the need to be represented into a movie and because I am a big fan of dancing even though I'm not a dancer mysel.
C.R.A.Z.Y. by Jean-Marc Vallée
It's an amazing platform to showcase movies because it's user friendly.
Cocorosie – Werewolf
I am currently in the process of submiting ZAYA the full length version of this movie.
Interview with Filmmaker Ange-Régis HOUNKPATIN (VINDICTE)
July 20, 2018 matthewtoffolo directing a film, feedback film festival, film director, interview, short film, short film festival, toronto film festival, Uncategorized, wildsound film festival	Ange-Régis HOUNKPATIN, director, feedback film festival, filmmaker, interview, VINDICTE short film, wildsound feedback film festival
VINDICTE was the winner of BEST CINEMATOGRAPHY at the June 2018 European FEEDBACK Film Festival in Toronto.
Ange-Régis HOUNKPATIN: My motivation was to make a film that would be different from usual African movies, in terms of style, rhythm and aesthetics. But still an African subject.
2. From the idea to the finished product, how long did it take for you
to make this short?
I think it took almost one year and a half.
Relentless chase.
Honestly, the biggest obstacle was myself. I didn't want to give a bad image of my country, so at first I restricted myself a lot. Then I thought about how South Korean directors don't back up from the most creepy aspects of their societies, and I decided to go on.
5. What were your initial reactions when watching the audience talking
about your film in the feedback video?
It felt weird to see strangers talking about my movie without me in the room ! It's the first time I got to witness this. I was really happy about the last intervention, the last viewer really understood the subtext about control. It is the first time I hear someone clearly explain it; I was moved. I felt my voice had a meaning.
The idea came from scenes I witnessed when I was younger, living in Benin. Growing up, I discovered these kind of behavior were also detailed in the classic movie "Fury" by Fritz Lang, and realised it could be a universal subject, a cinematic one.
i wanted to shoot a movie in my hometown, so I decided to make a movie about it. I spoke to my producers (who were then my classmates) about it, and they were really very excited.
Blade Runner, by Ridley Scott.
But the one I truly know by heart, by soul and by spirit, is "Hyenas" from Djibril Diop Mambety.
If I only say one song it wouldn't be a honest answer, there are too many. But since I'm a child I've listened a lot of Michael Jackson's songs, so let's say "Beat it", to stay in the theme.
I've completed a short movie just after this one: "Pantheon" and it is in the festival circuit right now.
Next is a new short film, and then a feature one.
Wish me luck ! Thank you !
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every single month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 3 times a month. Go to http://www.wildsoundfestival.com for more information and to submit your work to the festival.
Interview with Animator/Filmmaker Tim Ballard (OH MY…)
July 9, 2018 matthewtoffolo directing a film, feedback film festival, film director, interview, Uncategorized	director, feedback film festival, interview, Oh My short film, Tim Ballard, wildsound feedback film festival
OH MY… played to rave reviews at the June 2018 Animation FEEDBACK Film Festival.
Tim Ballard: My friend Michael is a San Francisco area musician who asked me to make an animated music video for one of his songs. The song made me think of a sort of dream journey, and I wanted to depict themes and images that had been in my mind for awhile – environmental apocalypse, indigenous cultures, the desert toad.
I worked on this in pieces over the course of a year – much longer than I anticipated. It was a sort of learn as you go process with the technical aspects of the various adobe software platforms.
Imaginative resurrection.
Mostly as I said above, the technical aspects of getting the watercolor effect to coloring, learning the ins and outs of a larger scale project than I was used to in the past. Also – time and money were tight, of course.
I felt disappointed that it seemed to have only elicited a bad acid flashback for most people and didn't resonate or make sense in a dream logic sort of way as I had hoped. Many of the images were from sort of personal imagery, but I'd hoped it would make some symbolic sense to some people. If not, I hoped people enjoyed the combination of image and mousic.
Believe it or not there were no drugs involved in the conception or execution of this animation (besides coffee and whiskey).
I'll do my best to answer below, forgive me if it is a little long!
It was a combination of the feel I got from the song itself and vignettes or motifs I'd had swirling in my mind for a long time before.
The song, for me, conjured up a sense of flying and floating and a sort of journey that climaxes in awe, but also speaks of some sadness or difficulties being transcended. I added to that the themes I've mentioned above: apocalypse, wastelands, the writings of Zhuangzi, an interest in indigenous cultures and ethnobotany, an interest in what I guess I'll call "the ontology of imagination" and, (as someone in the audience correctly pointed out) the Sonoran desert toad.
Because it seemed to not translate well to the audience, I'll summarize the narrative here: basically, the main character starts off in a post-apocalyptic desert wasteland, looking exhausted and alone. Then he finds a cave entrance with mysterious petroglyphs that leads to a subterranean lake where there is water and spirit guides in the form of three animal headed beings waiting to greet him. An elixir is given and he sinks into a dream journey/ sinks into the lake. He's brought up from the depth to the lake surface which becomes the same wasteland desert surface. He awakens after passing over the dormant, dreaming frog in the soil. He rises and flies towards a distant city that is populated with creatures having a ceremony of some sort. I turns out it was a ceremony to coax water and life from the dead dry land. Raindrops begin to fall. Then he awakens on the lake's edge at the same time the frog awakens under the earth. The story is bookended by the moment the water hits the soil, awakening life from the dead land.
The Sonoran desert toad fascinated me when I heard them in the desert after a rain and someone told me they are hibernating under the dry desert soil most of the year and suddenly arise when the rain comes to mate and sing in the rainwater ponds. Also in this time of year, flowers and plants you never assumed were there, burst through dry, cracked soil with a vigor that is as inspiring as it is beautiful. Obviously it seems like a sort of Lazarus-esque resurrection. In my imagination I liked to think that the toads spend more of their life in a dreaming state down under the soil than in a waking state and that the dream state was more real for them than the waking state. Then a few years later I heard that they have a hallucinogenic mucus which only added to their mystique for me. So, in my mind, the world represented in the animation is like a manifestation of the toad's dream, and the completion of the ceremony reawakens life in the dead land in the way imagination can reawaken vitality in our personal lives.
So there are a few layers of dreams – I was inspired by Zhuangzi's story of the butterfly dream on this part – and for better or worse I wanted it to be a little ambiguous.
Anyhow, the basic theme is in the hope that even in desperate times we can still find life and potential beneath the surface with which we might be able to manifest a rebirth or resurrection of sorts.
So, yeah, basically an acid trip.
Hmmm. Probably Milo and Otis or The Road Warrior.
It certainly makes it a lot easier and very streamlined. I appreciate it.
I'd like to choose one of my favorite songs but in reality it is probably the "Happy Birthday Song" or a Christmas carol like "Santa Claus is Coming to Town"
I am hoping to start a series of short, 3min or less, animated documentaries about food and cultural history – how a single ingredient or dish can tell the history of a culture.
Interview with Filmmaker Andy Koeger (ROSIE, OH)
June 7, 2018 matthewtoffolo directing a film, feedback film festival, interview, short film, short film festival, toronto film festival, Uncategorized, wildsound film festival	Andy Koeger, feedback film festival, interview, los angeles film festival, ROSIE OH short film, wildsound feedback film festival
ROSIE, OH was the winner of BEST FILM at the May 2018 FEEDBACK Film Festival in Los Angeles.
Andy Koeger: My co-creator Apple Xenos originally had the idea for the film. I was so drawn to her idea that I was inspired to create it with her as my Senior Thesis Film at SCAD, the Savannah College of Art and Design. We became obsessed with creating a story that took place all in one singular moment in a person's life.
We had the idea the summer before our last year of art school. I made the film as a thesis project, where students were given 10 week for development, 10 weeks of preproduction and production, and 10 weeks of postproduction. All in all, it took us a year to create the film from start to finish.
Experiential moment.
There were so many obstacles in creating a one-shot short film. We troubleshooted the technical aspects so thoroughly that they became significantly less of a challenge as we figured out the best way to make the film feel seamless. My biggest fear however was in finding the right actress for the lead role, as that performance would basically become the entire film. We got really lucky when we found Maddie Dixon-Poirier, the lead actress.
It was cool to hear from the audience without me having to be involved in the discussion! I heard a couple new things from audience members, which was cool. The film has been circulating film festivals for about a year and a half, so I had heard lots and lots of opinions, concerns, questions, and praise throughout it's distribution process. The film generally garners extreme opinions, and this audience was no different in that.
Watch the Audience FEEDBACK of the Short Film:
Apple came up with the idea, then together we decided to create the film in one single shot, which really transformed the way we told the story.
Pulp Fiction is my favorite film. I'm drawn to it's iconography, vibes, and how it gets you to think outside the box about what film is and what it can be.
I love it! FilmFreeway makes learning about and submitting to festivals super easy. I appreciate how the contact info is readily available for the festivals so I can reach out to them directly.
Super unrelated to my filmmaking but probably Xtal by Aphex Twin. That kinda early 90's electronic music relates more to my next film I guess : )
Yes! I've made two other shorts since Rosie, Oh, and I also direct lots of commercials and music videos. I live in LA but travel frequently for my shoots. I'm currently writing a feature screenplay with my film school dream-team Dan Frantz and Clayton McCracken, which we aim to bring to the big screen in the next couple years. I'm not going to give away too many deets about the film, but it's an aggressive and drug-fueled journey of a group of rag-tag kids who run a pirate-radio station in the early 90's. It's going to be super weird, vibey, and a lot of fun.
Interview with Filmmaker Svetlana Cemin (SAINT CLAIR CEMIN, PSYCHE)
Interview with Filmmaker Braden Joe (ALIVE)
Interview with Filmmaker Rachel Trudeau (ANGELE)
Interview with Filmmaker Daniel Riser (THE ASSASSINATION OF A MAN)
Interview with Filmmaker Apollonia Xylouris (FATHER)
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Sturdy steel construction. Double deck rear step. Chrome handlebars and fender. Controlled turning radius for stability. Ringing chrome bell. Adjustable seat. Steel spoked wheels with real rubber tires. For ages 2 - 5 years. Aluminum stockpot with lid. Perforated poultry rack and lift hook. Comes with 12 in. stainless thermometer and 1 oz seasoning injector. Pressure regulator maintains proper cooking temperature automatically. Cover lock indicator shows when there is pressure inside. Durable, polished aluminum for easy cleaning, long life, and quick, even heating. Includes ergonomic handles, cooking rack and instruction/recipe book. UL Listed. Replacement parts including Orgill Nos.680.3282 Sealing Ring, 699.2028 Over Pressure Plug, and 625.5236 Pressure Regulator sold separately.
Lightweight, orange, high strength case fits easily into most tape holsters. Bright yellow blade has clear easy-to-read numerals. Toggle lock is positioned for convenient operation; holds the blade securely in any position. Virtually unbreakable Quad Hook; four rivets for extra strength. Cushioned blade return. Removable belt clip. Easy to set and conceal, lay flat and lock up quickly for maximum success in dirt-hole sets. Compact and lightweight. Round jaws have smooth edges, but there's still plenty of flat surface to hold catch securely. Lever openings are large to prevent ground cover from being thrown into jaws. Adjustable pan let trappers custom-set pan tensions to their targets. Short, center-mounted chain with double swivel. Jaw spread 5-1/2". For badger, bobcat, coyote, fisher, fox, lynx, nutria and otter. 3 settings: 1300/1500W with fan only setting. Quick set thermostat controls room temperature. Easy adjustment control knobs. Power indicator light. Warning indicator light illuminates if overheating occurs. Internal safety tip over switch automatically turns off heater if tipped over. Thermal shut-off sensor automatically turns heater off if overheating occurs. Built-in handle for easy carrying. Convenient carry handle. Cord length: 6 feet. ETL/CETL listed. Three-prong grounded plug. 15-5/8"H x 9-5/8"W x 7-1/2"D.
Platform features an adjustable seat and easy to reach pedals. Fully operational steering wheel. Some assembly required. Recommended for ages 3 and over. Unit Dimensions: 39.0'' x 13.0'' x 19.25". Easily sharpened blades made with high (1095) carbon steel, fully heat-treated and tempered for razor-sharp cutting edges. Hardwood handle branded 'Old Hickory', and secured with brass compression rivets. Sturdy steel construction with chrome handlebars and fender. Retro-styling design. Double deck rear step and real ringing, chrome bell. Adjustable seat. Durable steel-spoked wheels with real rubber tires. For ages 2-1/2 to 5. 31-5/8" x 24-1/2" x 21-5/8" body; 12" x 1-1/4" front wheel, 7" x 1-1/2" rear.
All steel machine construction with hardwood base and soft plastic handle. Unique design cracks soft shell nuts. Pecans, English walnuts, almonds, filberts and Brazil nuts. Prepares nut meats as you need them. All steel construction with smooth, safe edges. Exclusive Ball Joint prevents pinches. Semi-pneumatic rubber tires. Fit-Grip handle. Easy assembly. Body 36" x 17-1/2" x 4-1/2"; steel wheels 10" x 1-1/2". Ages 2 and older. Infrared heat locks in flavor and keeps food moist, never dry. The heat circles the cooker to penetrate the meat evenly and seal in the juices. The result is a turkey that's moist inside and crispy outside without added fat and calories of oil. No hot oil burn, splatter or spill to worry about. Prepare your turkey with the same injectable marinade you already use, or seasoned rubs on the outside, which is not an option with traditional fryers. Cook healthy turkey from start to finish just as quickly as oil-frying without the messy clean-up. Cooks up to 16 lb. turkey, but also good for chicken and ribs. Includes a cooking basket, basket lifting handle and meat thermometer. Features an enclosed burner design with 16,000 BTU's, rotary ignition, soft-touch handles, pull-out grease tray and stainless steel cooking chamber. Uses standard propane tank (NOT INCLUDED). Dimensions Assembles: 15.75'' x 15.75'' x 22''.


text:
UNESCO world heritages of Korea
UNESCO World Heritage refers to sites registered on the World Heritage List. In November 1972, UNESCO adopted the "Convention Concerning the Protection of the World Cultural and Natural Heritage" in the General Conference during its seventeenth session. Under the Convention, the World Heritage committee established a World Heritage List that includes cultural and natural heritages with outstanding value whose conservation is recognized to be in the interest of all humanity.
As of January 2021, Korea has thirteen cultural heritage sites and two natural heritage site.
Cultural Heritage Sites
Janggyeongpanjeon Depositories of Haeinsa Temple (Designated 1995)
【 Photo: Inside view of Haeinsa Temple Janggyeongpanjeon Depositories 】
Haeinsa Temple's Janggyeongpanjeon Depositories is an official archive built to safely store the 13th-century Printing Woodblocks of the Tripitaka Koreana and Miscellaneous Buddhist Scriptures, a UNESCO Memory of the World Register item. The hall is believed to have been built in the 15th century, which makes it all the more amazing for its scientifically advanced construction. The hall was built in such a way as to perfectly preserve and protect the fragile woodblocks from changes in the temperature and humidity levels.
Jongmyo Shrine (Designated 1995)
【 Photo: Jeongjeon Hall in Jongmyo Shrine 】
Jongmyo Shrine in Jongno-gu, Seoul is the royal shrine interred with the ancestral tablets of Joseon dynasty's royal family. Memorial services for the kings and queens were held here to pray for the safety of the country and its people; the rites also served to enforce the legitimacy of the royal family. The building itself has the greatest religious implications from a Confucian perspective, showing reverence and respect in every aspect of its construction.
First built around the end of the 14th century, the current Jongmyo Shrine is a reconstruction built in the 17th century after the Imjin War (1592-1598). The main building is Jeongjeon Hall, an impressively long, wooden structure that stands in good harmony with the courtyard and auxiliary buildings. The unique atmosphere is one-of-a-kind, found nowhere else in Asia, let alone Western nations.
Seokguram Grotto and Bulguksa Temple (Designated 1995)
【 Photo: Bulguksa Temple 】
【 Photo: Seokguram Grotto 】
Seokguram Grotto and Bulguksa Temple are ancient Buddhist temples of Korea, which were established in the mid-8th century during the golden era of the Unified Silla dynasty. These two heritages represent the highly developed architectural skills and creative craftsmanship of the Silla people. In particular, the magnificent and sublime beauty of Seokguram's carvings and Bulguksa Temple's stylobate and its two stone pagodas are considered masterpieces of Buddhist architecture, unparalleled in all of Northeast Asia.
Seokguram Grotto is an artificial cave made of granite. Inside the round-shaped main hall is the statue of Bonjon Buddha, surrounded by disciples on the walls. The majority of the stone statues, including the Bonjon Buddha statue, have high value in cultural heritage for having survived the passage of time with the original structure still intact since the 8th century.
Bulguksa Temple, literally translating to "Temple of the Land of Buddha," was built with the aspiration for Buddha's utopia. The temple was damaged in 1592 during the Imjin War, when all the wooden structures of the temple completely burned down. The stone altars, bridges, pagodas, lanterns and bronze statues of Buddha escaped the fire, and have been well preserved. A partial restoration was conducted from 1969 to 1973, which resulted in the current temple state.
Changdeokgung Palace Complex (Designated 1997)
【 Photo: Injeongjeon Hall of Changdeokgung Palace 】
Changdeokgung Palace is from the Joseon dynasty (1392-1910), built in harmony with the natural environment around it. The palace is famous for its rear garden, also called Huwon. The vast garden was a resting place for the royal family and is beautifully landscaped in a way that held on to the original nature of the space. Of all the royal palaces, Changdeokgung Palace is the most well-preserved to this day, showcasing the creativity of Korean palace construction through the combination of buildings and nature.
Hwaseong Fortress (Designated 1997)
【 Photo: Hwaseong Fortress 】
Hwaseong Fortress, located in Suwon, Gyeonggi-do, is a living remnant of the nation's proud history, representing the Joseon dynasty of the 18th century. The fortress was built by King Jeongjo, Joseon's 22nd king, whose aim was to create a new city honoring his father, Crown Prince Jangheon, after relocating his father's tomb to the area.
Suwon Hwaseong Fortress was built with an entirely new method, making it unlike any other fortress in Korea. The construction methods encompassed the strong points of both Asian and Western elements together. In addition, the fortress was built in good harmony with the surrounding nature, implementing its geological advantage wisely for strategic defense rather than destroying it. The fortress is a symbol of both the ingenuity and technological advancements of the period. Thanks to this, in addition to the beautiful layout and dynamic defense facilities, UNESCO enlisted Hwaseong Fortress on the World's Cultural Heritage List in 1997.
Gochang, Hwasun and Ganghwa Dolmen Sites (Designated 2000)
【 Photo: Dolmen in Bugeun-ri, Ganghwa 】
【 Photo: Gochang Dolmen Site 】
【 Photo: Hwasun Dolmen Site 】
Dolmens, stone graves that were built in the prehistoric era, dot the areas of Gochang Dolmen Site, Hwasun Dolmen Site and Ganghwa Dolmen Site. These three regions are unparalleled in the world, given the degree of concentration and diversity in the forms and scales of dolmens discovered here. Most of the dolmens were built in 1000 BC, providing modern people with a glimpse into the society and technological advancement of the period.
Recognized by UNESCO in 2000, dolmens in Gochang, Hwasun, and Ganghwa are considered the finest artifacts for studying the social structure of Korea in the Bronze Age and cultural exchanges with people in Northeastern Asia during the Prehistoric Era. In particular, the remaining quarries are considered valuable materials for understanding the construction process as well as history and transformation of dolmens.
Gyeongju Historic Areas (Designated 2000)
【 Photo: Aerial of Daereungwon Tomb Complex 】
Gyeongju Historic Area is a historical attraction where the achievements and culture of the Silla dynasty (57 BC – AD 935) have remained well-preserved through pagodas, tombs, fortresses, and more. Serving as the capital city of Silla for nearly 1,000 years, Gyeongju perfectly showcases Korean architecture and Buddhist culture. The area is divided into 5 zones based on their characteristics: the Namsan Mountain area, a center of Buddhist culture; the Wolseong Fortress area, the royal grounds of the Silla dynasty; the Daereungwon Ancient Tomb area, the tombs of high-ranking officials including the kings of the Silla dynasty; the Hwangnyongsa Temple area, showing the essence of Silla Buddhism; and the Sanseong Fortress area, focusing on the defense system of the royal capital.
Royal Tombs of the Joseon Dynasty (Designated 2009)
【 Photo: Yeoju Yeongneung Royal Tomb 】
Royal tombs of the Joseon dynasty are heritage sites from the fifth century that are invaluable to Korea's history. Because Korea is a nation founded on the traditional values of Confucianism and harmony with nature, the royal tombs have been well preserved. UNESCO has appointed the areas and ancestral rites held on the sites as World Cultural Heritages so they can be remembered and cherished for their unique beauty and cultural importance.
Because of a law stating that royal tombs could not be located far from Seoul, called Hanyang at the time, most of the royal tombs from the Joseon dynasty are located around the city.
Historic Villages of Korea: Hahoe and Yangdong (Designated 2010)
Andong Hahoe Village and Gyeongju Yangdong Village are historical villages that were developed during the 14th to 15th century in Gyeongsangbuk-do. These two villages are well-preserved examples of typical Korean clan villages based on descents whose members carry the same family name derived from common ancestors. Even today, these families live in the village and continue their meaningful legacy, making the whole village a living and active cultural heritage.
The villages clearly exhibit the typical Confucian culture of the Joseon period, where there was a distinct line between the aristocratic yangban class and commoners. The arrangement of the dwellings shows how village life was regulated and strictly enforced. The head of the clan in addition to the yangban class resided in wooden housing with their own pavilions, lecture halls and shrines while the commoners lived in houses made of soil with straw roofs.
Namhansanseong Fortress (Designated 2014)
Namhansanseong Provincial Park was originally a unique fortress city of the Joseon period which functioned as an emergency capital. Built in the early 7th century, the well-preserved castellation techniques, which were influenced by the styles of China and Japan, greatly raise the historical and cultural value of the fortress.
Baekje Historic Areas (Designated 2015)
【 Photo: Five-story Stone Pagoda at Jeongnimsa Temple Site 】
Tracing the relics of Baekje from Iksan in Jeollabuk-do, and Buyeo and Gongju in Chungcheongnam-do, one can catch a glimpse of the ancient kingdom. The palaces and temple sites of Baekje Historic Areas bring to life the most flourishing times of Baekje.
Baekje Historic Areas have garnered international recognition for their value in showing the trade and cultural exchange with other countries such as China and Japan. The area constitutes eight important cultural heritage sites that spread across the cities of Gongju, Buyeo and Iksan. Gongsanseong Fortress and Ancient Tombs in Songsan-ri are located in Gongju, while the four sites of Archaeological Site in Gwanbuk-ri and Busosanseong Fortress, Ancient Tombs in Neungsan-ri, Jeongnimsa Temple Site, and Buyeo Outer City Wall are found in Buyeo. Archaeological Site in Wanggung-ri and Mireuksa Temple Site are located in Iksan.
Sansa, Buddhist Mountain Monasteries in Korea (Designated 2018)
【 Photo: Buseoksa Temple in Yeongju, Gyeongsangbuk-do 】
Sansa are Buddhist mountain monasteries located throughout Korea. Seven temples – Tongdosa Temple, Buseoksa Temple, Bongjeonsa Temple, Beopjusa Temple, Magoksa Temple, Seonamsa Temple and Daeheungsa Temple - were recognized by UNESCO.
In the past, Korean temples consisted of both flatland temple sites and mountain temple sites. However, during the Joseon dynasty, most of the flatland temples were removed, leaving only the mountain monasteries remaining today. UNESCO rated the temples as having outstanding universal value thanks to their preservation of the traditional aspects of Korean Buddhist temples, serving as living centers of faith and daily practice. These seven temples include many individual characteristics as well as notable features that can only be seen in Korea's monasteries. The temples are praised for their authentic value in aspects of durability, historical significance, location and setting, and purpose.
Seowon, Korean Neo-Confucian Academies (Designated 2019)
【 Photo: Dosanseowon Confucian Academy 】
Korea's Confucian Academies, called seowon in Korean, were built throughout the 16th and 17th centuries. They served as schools for scholars to study and improve by following Confucian principles. There are many of these centers of education throughout Korea, with UNESCO recognizing Sosuseowon Confucian Academy, Namgyeseowon Confucian Academy, Oksanseowon Confucian Academy, Dosanseowon Confucian Academy, Piramseowon Confucian Academy, Dodongseowon Confucian Academy, Byeongsanseowon Confucian Academy, Museongseowon Confucian Academy, and Donamseowon Confucian Academy in 2019. These nine sites are exemplary in their universal value, promoting and continuing traditional culture.
Natural Heritage Site
Jeju Volcanic Island and Lava Tubes (Designated 2007)
【 Photo: Baengnokdam Crater Lake on Hallasan Mountain 】
Location: Jeju Island
Jeju Island was formed through volcanic activity over 1.8 million years ago. As such, the island is a valuable asset in research of geological features and topography of volcanic landforms such as volcanic cones and lava tubes. Jeju's lava tubes are some of the most beautiful in the world, featuring dark walls and various colors of carbonation on the ceilings and ground. Among the many natural formations, Hallasan National Park, Seongsan Ilchulbong Tuff Cone, and the Geomunoreum Volcanic Cone lava tube system have jointly been designated as a World Natural Heritage Site by UNESCO.
【 Photo: Hallasan Mountain 】
Reaching to a height of 1,950 meters, Hallasan Mountain is the tallest mountain in Korea with gentle slopes formed by eons of volcanic activity. There are around 40 parasitic volcanoes which formed in the surrounding area. A variety of animals and plants inhabit the slopes, including the largest forest of Korean fir trees (Abies Koreana) in the world.
In addition, the top of Hallasan Mountain offers a view of the magnificent vista over the entire Jeju Island. The peak also holds Baengnokdam, a vast crater lake that is both beautiful and highly valued in academic research.
【 Photo: Baengnokdam Crater Lake 】
【 Photo: Manjanggul Lava Tube 】
【 Photo: Seongsan Ilchulbong Tuff Cone 】
In the Geomunoreum Volcanic Cone region, there are about 20 lava tubes formed some 100,000 to 300,000 years ago by huge amounts of basalt lava that spewed from Hallasan volcano. The most famous of these lava tubes are Gimnyeonggul Lava Tube, Dangcheomuldonggul Lava Tube, Manjanggul Lava Tube, Bengdwigul Lava Tube, and Yongcheondonggul Lava Tube.
Getbol, Korean Tidal Flats (Designated 2021)
【 Photo: Suncheonman Bay Wetland Reserve 】
Korean tidal flats, called getbol (gaetbeol), are home to more than 2,000 living organisms including 27 types of migratory birds. The tidal flats are an important stopover point for migratory birds from South Asia and Oceania. Four tidals flats - Seocheon, Gochang, Shinan, and Boseong-Suncheon - spread across five city jurisdictons and were designated as a Wetlands Protection Area for showing high levels of biodiversity. These tidal flats were also designated as World Natural Heritage in 2021.
【 Photo: Shinan Tidal Flat 】
One of the five largest tidals flats in the world, Shinan Tidal Flat takes up 15% of Korea's tidal flats. Shinan Tidal Flat was formed due to cosistent low and high tides among various nearby islands. The mudflats are especially deep with layers of sand above, making the tidal flat unique from other tidal flats around the world. Shinan Getbol Center, the largest tidal flat education center in Korea, provides detailed information about various living organisms that live in Korea's tidal flats.
Source: Official Korea Tourism Website

redpajama_set_name: RedPajamaCommonCrawl


Thank you so much and I hope his brothers and sisters found homes where they are loved just as much as he is!
Beth x x back links .
This entry was posted in Feedback, Male, Pug, Puppy, Shih Tzu on June 15, 2013 by Tessa Marchand.


The ability to create a connection between the different cultures in the world, is one of the pioneering key features for a more prosperous world.
PACIFIC (PID) International Development GmbH has set a priority to meet the individual needs of its customers and to participate in the further development of the society, by taking the socio-political values into account. Focused on this principal and 40 years of valuable experience in the international market, PID is able to offer in addition of cross trading and appropriate Corporate Management also individual consulting and engineeringservices for small to medium sized enterprises as well.
It all starts with the goal. - Let us do the thinking!


text:
Q: Meteor angular template function call I have been having problems rendering a template function call from a meteor/angular template. I am trying to use the Moment.js package to format my time stamp. I have seen examples of this done with Blaze however, I can't replicate it in Meteor with Angular. My issue is with the formatTimestamp() function call. It isn't rendering anything and there are no errors in my console. Where am I going wrong?
My template

  {{task.administration.inventoryNumber}}

Adminstration

          created at: 	{{formatTimestamp(task.administration.createdAt)}}

My controller
class TodosListCtrl {
constructor($scope) {
$scope.viewModel(this);

this.subscribe('tasks');

this.helpers({
  tasks() {
    const selector = {};

    return Artefacts.find(selector, {
      sort: {
        createdAt: -1
      }
    });
  },
  currentUser() {
    return Meteor.user();
  },
  formatTimestamp: function (timestamp) {
    alert("timestamp");
    console.log(timestamp);
    return moment(timestamp).calendar();
  }
 })
}

Insert Mongo function
Artefacts.insert({
  administration: {
    inventoryNumber: invNum,
    boxNumber: boxNum,
    createdAt: new Date(),

A: Your custom function goes outside of the constructor, like this
class TodosListCtrl {
  constructor($scope) {
    $scope.viewModel(this);

    this.subscribe('tasks');
    this.helpers({
      tasks() {
        const selector = {};

        return Artefacts.find(selector, {
          sort: {
            createdAt: -1
          }
        });
      },
      currentUser() {
        return Meteor.user();
      }
    })
  }

  formatTimestamp(timestamp) {
    alert("timestamp");
    console.log(timestamp);
    return moment(timestamp).calendar();
  }
}

But also, remember in the view to call formatTimeStamp with $ctrl as prefix because it looks like you are using the ControllerAs syntax.
Your code:

    {{task.administration.inventoryNumber}}

Adminstration

            created at: 	{{formatTimestamp(task.administration.createdAt)}}

How it should be:

    {{task.administration.inventoryNumber}}

Adminstration

            created at: 	{{$ctrl.formatTimestamp(task.administration.createdAt)}}

A: don't need to create a function for date format. It is bad practice to call a function with angular expressions {{}}. You can format your date in Meteor helper.
this.helpers({
  tasks() {
    const selector = {};

    this.value =  Artefacts.find(selector, {
      sort: {
        createdAt: -1
      }
  // add filter here on createdAt
       $filter('filter')(this.value.cretedAt);
     });
  },

redpajama_set_name: RedPajamaStackExchange


text:
Q: Python - How to check PEP8 errors in a chunk of code with no specific file I'm currently working in an eLearning platform, and I'm trying to add some PEP8 validation to the assignment solutions students are submitting to the system in order to give then some extra feedback about how good or bad the solution they proposed is.
I found that using the python pep8 package it's not that simple to check PEP8 errors just in a chunk of code (in my case, it would be the posted solution to the assignment), without specifying any path to a specific file in the filesystem.
Is it actually possible or the pep8 library doesn't allow it? Of course I could save the posted solution in a tmp file and run the validation from there, but I would like to avoid this extra step.
Did anyone have the same issue?

A: I finally found the way to validate PEP8 errors using an in-memory file
import pep8
import StringIO

code_to_be_checked = """
import random
import string

class SimplePasswordGenerator(object):

    list_of_chars = [string.letters, string.digits, string.punctuation]
    union_of_chars = list(set().union(*list_of_chars))

    def __init__(self, available_chars=union_of_chars, length=8):
        self.available_chars = available_chars
        self.length = length

    def __iter__(self):
        return self

    def next(self):  # use __next__ in Python 3.x
        password = ''.join([random.choice(self.available_chars) for i in range(self.length)])
        return password
"""

myfile = StringIO.StringIO(code_to_be_checked)
fchecker = pep8.Checker(lines=myfile.readlines(), show_source=True)
errors = fchecker.check_all()

print("PEP8 error count: {}".format(errors))

NOTE: If your are using Python 3.x, you will need to use io.StringIO instead.

A: It looks like it can be done without StringIO; just use str.splitlines, like so:
import pep8

code_to_be_checked = """
import random
import string

class SimplePasswordGenerator(object):

    list_of_chars = [string.letters, string.digits, string.punctuation]
    union_of_chars = list(set().union(*list_of_chars))

    def __init__(self, available_chars=union_of_chars, length=8):
        self.available_chars = available_chars
        self.length = length

    def __iter__(self):
        return self

    def next(self):  # use __next__ in Python 3.x
        password = ''.join([random.choice(self.available_chars) for i in range(self.length)])
        return password
"""

fchecker = pep8.Checker(lines=code_to_be_checked.splitlines(True), show_source=True)
errors = fchecker.check_all()

print("PEP8 error count: {}".format(errors))

The only trick is that the input lines need to end in newlines; str.splitlines(keepends=True) does that.
Edit: after further checking, it looks like the problem is simpler - the first line cannot be length==0 or it causes an error in UTF-8 checking. Your test code just happens to start with an empty line ;-)


St. George, UT (PRWEB) September 04, 2013 - LearnKey Inc., a leading global provider of information technology (IT) and career ready self-paced video based training, today announced a strategic distributor partnership with Delhi, India-based CyberLearning Pvt. Ltd. Under the terms of this agreement, CyberLearning will be the exclusive distributor of LearnKey's video-based training courseware throughout India.
"We are very pleased and excited to partner with CyberLearning," says Jeff Coruccini, CEO of LearnKey. "They have a great reputation and the synergies of our companies are very strong. CyberLearning is one of India's best-in-class providers of eLearning and IT training solutions that map to globally-recognized industry certification programs for Adobe, Microsoft, CompTIA, STRATA, IC3 and many more."
Both companies see the growth and demand for quality eLearning solutions, as evidenced by recent studies. Indian Distance Learning Market Analysis, a report released in August by RNCOS, an India-based research firm, projects distance education market growth in India at 24 percent through 2016. According to the report, key factors driving the growth of eLearning solutions in Indian education include the projected increase in the population of young Indians (from 243 million in 2008 to 293 million by 2022); increasing awareness about education; a huge demand-supply gap; a shortage of teaching faculty coupled with a lack of infrastructure; and lack of skills for the jobs in various market segments.
In addition, studies show that IT certifications are emerging as a critical component HR managers use for filtering candidates, and those candidates tend to earn 10 percent to 20 percent more and receive higher raises than employees without certifications.
"LearnKey's long-standing history of producing quality video courseware through teaching by real-life industry experts that map to the objectives covered in globally-recognized IT certification exams provides us with the right solutions to meet our customer needs," says Pankaj Rai, Founder Director & CEO of CyberLearning.
The two companies plan to leverage their shared experience and strong support of education, business-to-business, and government customers, as well as a commitment to a high-quality learning experience. CyberLearning, along with its network of strategic partners, will be selling LearnKey's video training courses for IT Certifications including Adobe Certified Associate, CompTIA, Microsoft Technology Associate and others.
LearnKey, a Better Learning Systems Company, provides IT and Career Ready video courseware for corporate, education, government, and personal users. Established in 1987, LearnKey offers decades of experience with engaging, interactive, and flexible training that is accessible anytime, anywhere. With over 500 online and mobile courses that map to hundreds of IT certifications, LearnKey continues to lead the industry with quality video courseware. For more information, visit https://www.learnkey.com.
CyberLearning facilitates delivery of globally-recognized certifications in digital literacy and desktop productivity tools and is part of the worldwide network of organizations working with HP, Adobe, and Microsoft's global partner Certiport Inc. (USA). As the company who brought these certifications to India through Certiport, and as Certiport's oldest Solution Provider in India having its network of 800+ test centers covering 350+ cities across India, CyberLearning works with Academia, Governments, Organizations, and Individuals through its network of partners to encourage academic achievement, workforce development, improve business productivity, enhance career opportunities, and provide innovative and engaging learning opportunities. CyberLearning's solutions include textbooks, Learning and Skills Assessment Software, and Certification Exams for Microsoft Office Specialist (MOS), Microsoft Technology Associate (MTA), Adobe Certified Associate (ACA), HP Accredited Technology Associate (HP ATA), Internet & Computing Core Certification (IC3) and other I.T. certifications. This range includes products from partners such as Certiport and Measure Up among others. For more information, visit the website at http://www.cyberlearningindia.com.


text:
#ifndef LIZARD_DECOMPRESS_H_2983
#define LIZARD_DECOMPRESS_H_2983

#if defined (__cplusplus)
extern "C" {
#endif

/*^***************************************************************
*  Export parameters
*****************************************************************/
/*
*  LIZARD_DLL_EXPORT :
*  Enable exporting of functions when building a Windows DLL
*/
#if defined(LIZARD_DLL_EXPORT) && (LIZARD_DLL_EXPORT==1)
#  define LIZARDDLIB_API __declspec(dllexport)
#elif defined(LIZARD_DLL_IMPORT) && (LIZARD_DLL_IMPORT==1)
#  define LIZARDDLIB_API __declspec(dllimport) /* It isn't required but allows to generate better code, saving a function pointer load from the IAT and an indirect jump.*/
#else
#  define LIZARDDLIB_API
#endif

/*-************************************
*  Simple Functions
**************************************/

/*
Lizard_decompress_safe() :
    compressedSize : is the precise full size of the compressed block.
    maxDecompressedSize : is the size of destination buffer, which must be already allocated.
    return : the number of bytes decompressed into destination buffer (necessarily <= maxDecompressedSize)
             If destination buffer is not large enough, decoding will stop and output an error code (<0).
             If the source stream is detected malformed, the function will stop decoding and return a negative result.
             This function is protected against buffer overflow exploits, including malicious data packets.
             It never writes outside output buffer, nor reads outside input buffer.
*/
LIZARDDLIB_API int Lizard_decompress_safe (const char* source, char* dest, int compressedSize, int maxDecompressedSize);

/*!
Lizard_decompress_safe_partial() :
    This function decompress a compressed block of size 'compressedSize' at position 'source'
    into destination buffer 'dest' of size 'maxDecompressedSize'.
    The function tries to stop decompressing operation as soon as 'targetOutputSize' has been reached,
    reducing decompression time.
    return : the number of bytes decoded in the destination buffer (necessarily <= maxDecompressedSize)
       Note : this number can be < 'targetOutputSize' should the compressed block to decode be smaller.
             Always control how many bytes were decoded.
             If the source stream is detected malformed, the function will stop decoding and return a negative result.
             This function never writes outside of output buffer, and never reads outside of input buffer. It is therefore protected against malicious data packets
*/
LIZARDDLIB_API int Lizard_decompress_safe_partial (const char* source, char* dest, int compressedSize, int targetOutputSize, int maxDecompressedSize);

/*-**********************************************
*  Streaming Decompression Functions
************************************************/
typedef struct Lizard_streamDecode_s Lizard_streamDecode_t;

/*
 * Lizard_streamDecode_t
 * information structure to track an Lizard stream.
 * init this structure content using Lizard_setStreamDecode or memset() before first use !
 *
 * In the context of a DLL (liblizard) please prefer usage of construction methods below.
 * They are more future proof, in case of a change of Lizard_streamDecode_t size in the future.
 * Lizard_createStreamDecode will allocate and initialize an Lizard_streamDecode_t structure
 * Lizard_freeStreamDecode releases its memory.
 */
LIZARDDLIB_API Lizard_streamDecode_t* Lizard_createStreamDecode(void);
LIZARDDLIB_API int                 Lizard_freeStreamDecode (Lizard_streamDecode_t* Lizard_stream);

/*! Lizard_setStreamDecode() :
 *  Use this function to instruct where to find the dictionary.
 *  Setting a size of 0 is allowed (same effect as reset).
 *  @return : 1 if OK, 0 if error
 */
LIZARDDLIB_API int Lizard_setStreamDecode (Lizard_streamDecode_t* Lizard_streamDecode, const char* dictionary, int dictSize);

/*
*_continue() :
    These decoding functions allow decompression of multiple blocks in "streaming" mode.
    Previously decoded blocks *must* remain available at the memory position where they were decoded (up to LIZARD_DICT_SIZE)
    In the case of a ring buffers, decoding buffer must be either :
    - Exactly same size as encoding buffer, with same update rule (block boundaries at same positions)
      In which case, the decoding & encoding ring buffer can have any size, including small ones ( < LIZARD_DICT_SIZE).
    - Larger than encoding buffer, by a minimum of maxBlockSize more bytes.
      maxBlockSize is implementation dependent. It's the maximum size you intend to compress into a single block.
      In which case, encoding and decoding buffers do not need to be synchronized,
      and encoding ring buffer can have any size, including small ones ( < LIZARD_DICT_SIZE).
    - _At least_ LIZARD_DICT_SIZE + 8 bytes + maxBlockSize.
      In which case, encoding and decoding buffers do not need to be synchronized,
      and encoding ring buffer can have any size, including larger than decoding buffer.
    Whenever these conditions are not possible, save the last LIZARD_DICT_SIZE of decoded data into a safe buffer,
    and indicate where it is saved using Lizard_setStreamDecode()
*/
LIZARDDLIB_API int Lizard_decompress_safe_continue (Lizard_streamDecode_t* Lizard_streamDecode, const char* source, char* dest, int compressedSize, int maxDecompressedSize);

/*
Advanced decoding functions :
*_usingDict() :
    These decoding functions work the same as
    a combination of Lizard_setStreamDecode() followed by Lizard_decompress_x_continue()
    They are stand-alone. They don't need nor update an Lizard_streamDecode_t structure.
*/
LIZARDDLIB_API int Lizard_decompress_safe_usingDict (const char* source, char* dest, int compressedSize, int maxDecompressedSize, const char* dictStart, int dictSize);

#if defined (__cplusplus)
}
#endif

#endif /* LIZARD_DECOMPRESS_H_2983827168210 */

redpajama_set_name: RedPajamaGithub


"Age defying" is the opt repeated adjective that comes into play when discussing Brigitte Macron's singular style. We'd like to replace that with "consistently tremendous" because since her husband won the presidential election in France, in May, it's become increasingly clear that the First Lady does not bow to convention with her wardrobe choices. Leather leggings, mini skirts, 18th Century Louis Vuitton frock coats; all are par for the course for the 63 year old former teacher with the reassuringly high maintenance hair.
high quality replica handbags Muslims make up a small minority (less than 5%) of the population. 'There isn't a single shop owned by a white guy' presumably means in a very small pocket of Leeds, not Leeds itself, which promotes itself as Britains second retail area after London: it is literally impossible to think of a major retailer that is not in Leeds, from the usual high street shops to luxury boutiques like Louis Vuitton and Vivienne Westwood. So you are basically moaning that a city of three quarters of a million people is not like your posh little town in Kent high quality replica handbags.


wanna know what happens when 2 worlds collide?
like my nursing job and blogging?
a story kinda copied from that little mouse who is given a cookie.
he's bound to want to play.
so he'll need a glass of milk.
spilling some milk on the floor.
he will most likely pretend he never knew he did it.
he will want his mommy or daddy.
and grab that all important item.
but the child will still continue to cry.
mommy or daddy will have to calm him down.
they will have to say something.
and when they say something, it will be coated with a lot of sugar.
1. take 1 box of brownie mix and pour enough to cover a loaf pan and an 8x8 pan covered first with parchment paper for easy removal. bake as directed.
2. once the brownies are cool, cut the square pan brownies with a Q-shaped cookie cutter. it's enough to make 3 cartoon bubbles. of course you can eat your scraps.
3. then slice your cooled loaf pan brownies into rectangles. set all the cut brownies aside.
4. grab some sprinkles for the faces.
5. melt some candy bark and color it pink.
6. dip your cooled brownies in the candy. plop a large amount on top of the brownie as well.
7. shake the brownie til the candy falls over it evenly then score the bottom with a toothpick.
8. add the face quickly with a tweezers before the candy dries.
9. poke the bandaid holes with a toothpick. if the candy is already dried, just brush the shaved crumbs off the top of the brownie.
10. next take the cartoon bubble and plop melted white candy over it, shake til evenly covered, and score the bottom again.
12. you can brush some corn syrup on the edge of the cartoon bubble and add some sprinkles for more color and of course, more sugar.
now eat up and tell that kid to clean up that spilled milk already!
but first give him a big smooch on the cheek.
OMG, so fun! I can see your most used phrases at work coming into play here! I love it and your brownies look sooo moist and fudgy, yummo. I saw you got featured today at Kitchen Fun with My Three Sons. That is so cool, I knew you were awesome! I've never wanted to eat a band aid until today!
Thanks Lisa for visiting me and for your sweet words. Very creative work!
YOU ARE AMAZINGLY HILARIOUS!!!!! LOVE these brownies!!!
This is too cute and funny:-) Love the story line along with the yummy brownies!!!
Oh and THANK YOUUUU for becoming a follower! I just saw that-YAHOOOO!
How totally cute are these?!?! I love them!!!
I like the way you think, lady.


text:
Q: How can I move an entire worksheet from one book to another workbook by sheet name I'm trying to move multiple worksheets from multiple workbooks to one workbook. I want each worksheet (i.e. their data, everything is hard coded) to be moved to predetermined worksheets (e.g. worksheet 'temp' from workbook1 to be moved to worksheet 'temp' in workbook2). Currently I am able to move a worksheet to a new workbook but it creates a new sheet each time.
So far I have been using openpyxl but I can't figure out how to reference the worksheets by name instead of position
import openpyxl as xl
path1 = 'workbook 1'
path2 = 'workbook 2'
wb1 = xl.load_workbook(filename = path1)
ws1 = wb1.worksheets[0]
wb2 = xl.load_workbook(filename = path2)
ws2 = wb2.get_sheet_name["NAME"]
for row in ws1:
    for cell in row:
        ws2[cell.coordinate].value=cell.value
wb2.save(path2)

When I try reference the sheet name in wb2 is where the code breaks down. I'm sure there's an easy fix to this but I can't seem to work it out


text:
import inspect
from typing import Text, Any, Union, Callable

from httprunner.models import (
    TConfig,
    TStep,
    TRequest,
    MethodEnum,
    TestCase,
)

class Config(object):
    def __init__(self, name: Text):
        self.__name = name
        self.__variables = {}
        self.__base_url = ""
        self.__verify = False
        self.__export = []
        self.__weight = 1

        caller_frame = inspect.stack()[1]
        self.__path = caller_frame.filename

    @property
    def name(self) -> Text:
        return self.__name

    @property
    def path(self) -> Text:
        return self.__path

    @property
    def weight(self) -> int:
        return self.__weight

    def variables(self, **variables) -> "Config":
        self.__variables.update(variables)
        return self

    def base_url(self, base_url: Text) -> "Config":
        self.__base_url = base_url
        return self

    def verify(self, verify: bool) -> "Config":
        self.__verify = verify
        return self

    def export(self, *export_var_name: Text) -> "Config":
        self.__export.extend(export_var_name)
        return self

    def locust_weight(self, weight: int) -> "Config":
        self.__weight = weight
        return self

    def perform(self) -> TConfig:
        return TConfig(
            name=self.__name,
            base_url=self.__base_url,
            verify=self.__verify,
            variables=self.__variables,
            export=list(set(self.__export)),
            path=self.__path,
            weight=self.__weight,
        )

class StepRequestValidation(object):
    def __init__(self, step_context: TStep):
        self.__step_context = step_context

    def assert_equal(
        self, jmes_path: Text, expected_value: Any, message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"equal": [jmes_path, expected_value, message]}
        )
        return self

    def assert_not_equal(
        self, jmes_path: Text, expected_value: Any, message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"not_equal": [jmes_path, expected_value, message]}
        )
        return self

    def assert_greater_than(
        self, jmes_path: Text, expected_value: Union[int, float], message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"greater_than": [jmes_path, expected_value, message]}
        )
        return self

    def assert_less_than(
        self, jmes_path: Text, expected_value: Union[int, float], message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"less_than": [jmes_path, expected_value, message]}
        )
        return self

    def assert_greater_or_equals(
        self, jmes_path: Text, expected_value: Union[int, float], message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"greater_or_equals": [jmes_path, expected_value, message]}
        )
        return self

    def assert_less_or_equals(
        self, jmes_path: Text, expected_value: Union[int, float], message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"less_or_equals": [jmes_path, expected_value, message]}
        )
        return self

    def assert_length_equal(
        self, jmes_path: Text, expected_value: int, message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"length_equal": [jmes_path, expected_value, message]}
        )
        return self

    def assert_length_greater_than(
        self, jmes_path: Text, expected_value: int, message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"length_greater_than": [jmes_path, expected_value, message]}
        )
        return self

    def assert_length_less_than(
        self, jmes_path: Text, expected_value: int, message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"length_less_than": [jmes_path, expected_value, message]}
        )
        return self

    def assert_length_greater_or_equals(
        self, jmes_path: Text, expected_value: int, message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"length_greater_or_equals": [jmes_path, expected_value, message]}
        )
        return self

    def assert_length_less_or_equals(
        self, jmes_path: Text, expected_value: int, message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"length_less_or_equals": [jmes_path, expected_value, message]}
        )
        return self

    def assert_string_equals(
        self, jmes_path: Text, expected_value: Any, message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"string_equals": [jmes_path, expected_value, message]}
        )
        return self

    def assert_startswith(
        self, jmes_path: Text, expected_value: Text, message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"startswith": [jmes_path, expected_value, message]}
        )
        return self

    def assert_endswith(
        self, jmes_path: Text, expected_value: Text, message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"endswith": [jmes_path, expected_value, message]}
        )
        return self

    def assert_regex_match(
        self, jmes_path: Text, expected_value: Text, message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"regex_match": [jmes_path, expected_value, message]}
        )
        return self

    def assert_contains(
        self, jmes_path: Text, expected_value: Any, message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"contains": [jmes_path, expected_value, message]}
        )
        return self

    def assert_contained_by(
        self, jmes_path: Text, expected_value: Any, message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"contained_by": [jmes_path, expected_value, message]}
        )
        return self

    def assert_type_match(
        self, jmes_path: Text, expected_value: Any, message: Text = ""
    ) -> "StepRequestValidation":
        self.__step_context.validators.append(
            {"type_match": [jmes_path, expected_value, message]}
        )
        return self

    def perform(self) -> TStep:
        return self.__step_context

class StepRequestExtraction(object):
    def __init__(self, step_context: TStep):
        self.__step_context = step_context

    def with_jmespath(self, jmes_path: Text, var_name: Text) -> "StepRequestExtraction":
        self.__step_context.extract[var_name] = jmes_path
        return self

    # def with_regex(self):
    #     # TODO: extract response html with regex
    #     pass
    #
    # def with_jsonpath(self):
    #     # TODO: extract response json with jsonpath
    #     pass

    def validate(self) -> StepRequestValidation:
        return StepRequestValidation(self.__step_context)

    def perform(self) -> TStep:
        return self.__step_context

class RequestWithOptionalArgs(object):
    def __init__(self, step_context: TStep):
        self.__step_context = step_context

    def with_params(self, **params) -> "RequestWithOptionalArgs":
        self.__step_context.request.params.update(params)
        return self

    def with_headers(self, **headers) -> "RequestWithOptionalArgs":
        self.__step_context.request.headers.update(headers)
        return self

    def with_cookies(self, **cookies) -> "RequestWithOptionalArgs":
        self.__step_context.request.cookies.update(cookies)
        return self

    def with_data(self, data) -> "RequestWithOptionalArgs":
        self.__step_context.request.data = data
        return self

    def with_json(self, req_json) -> "RequestWithOptionalArgs":
        self.__step_context.request.req_json = req_json
        return self

    def set_timeout(self, timeout: float) -> "RequestWithOptionalArgs":
        self.__step_context.request.timeout = timeout
        return self

    def set_verify(self, verify: bool) -> "RequestWithOptionalArgs":
        self.__step_context.request.verify = verify
        return self

    def set_allow_redirects(self, allow_redirects: bool) -> "RequestWithOptionalArgs":
        self.__step_context.request.allow_redirects = allow_redirects
        return self

    def upload(self, **file_info) -> "RequestWithOptionalArgs":
        self.__step_context.request.upload.update(file_info)
        return self

    def teardown_hook(
        self, hook: Text, assign_var_name: Text = None
    ) -> "RequestWithOptionalArgs":
        if assign_var_name:
            self.__step_context.teardown_hooks.append({assign_var_name: hook})
        else:
            self.__step_context.teardown_hooks.append(hook)

        return self

    def extract(self) -> StepRequestExtraction:
        return StepRequestExtraction(self.__step_context)

    def validate(self) -> StepRequestValidation:
        return StepRequestValidation(self.__step_context)

    def perform(self) -> TStep:
        return self.__step_context

class RunRequest(object):
    def __init__(self, name: Text):
        self.__step_context = TStep(name=name)

    def with_variables(self, **variables) -> "RunRequest":
        self.__step_context.variables.update(variables)
        return self

    def setup_hook(self, hook: Text, assign_var_name: Text = None) -> "RunRequest":
        if assign_var_name:
            self.__step_context.setup_hooks.append({assign_var_name: hook})
        else:
            self.__step_context.setup_hooks.append(hook)

        return self

    def get(self, url: Text) -> RequestWithOptionalArgs:
        self.__step_context.request = TRequest(method=MethodEnum.GET, url=url)
        return RequestWithOptionalArgs(self.__step_context)

    def post(self, url: Text) -> RequestWithOptionalArgs:
        self.__step_context.request = TRequest(method=MethodEnum.POST, url=url)
        return RequestWithOptionalArgs(self.__step_context)

    def put(self, url: Text) -> RequestWithOptionalArgs:
        self.__step_context.request = TRequest(method=MethodEnum.PUT, url=url)
        return RequestWithOptionalArgs(self.__step_context)

    def head(self, url: Text) -> RequestWithOptionalArgs:
        self.__step_context.request = TRequest(method=MethodEnum.HEAD, url=url)
        return RequestWithOptionalArgs(self.__step_context)

    def delete(self, url: Text) -> RequestWithOptionalArgs:
        self.__step_context.request = TRequest(method=MethodEnum.DELETE, url=url)
        return RequestWithOptionalArgs(self.__step_context)

    def options(self, url: Text) -> RequestWithOptionalArgs:
        self.__step_context.request = TRequest(method=MethodEnum.OPTIONS, url=url)
        return RequestWithOptionalArgs(self.__step_context)

    def patch(self, url: Text) -> RequestWithOptionalArgs:
        self.__step_context.request = TRequest(method=MethodEnum.PATCH, url=url)
        return RequestWithOptionalArgs(self.__step_context)

class StepRefCase(object):
    def __init__(self, step_context: TStep):
        self.__step_context = step_context

    def teardown_hook(self, hook: Text, assign_var_name: Text = None) -> "StepRefCase":
        if assign_var_name:
            self.__step_context.teardown_hooks.append({assign_var_name: hook})
        else:
            self.__step_context.teardown_hooks.append(hook)

        return self

    def export(self, *var_name: Text) -> "StepRefCase":
        self.__step_context.export.extend(var_name)
        return self

    def perform(self) -> TStep:
        return self.__step_context

class RunTestCase(object):
    def __init__(self, name: Text):
        self.__step_context = TStep(name=name)

    def with_variables(self, **variables) -> "RunTestCase":
        self.__step_context.variables.update(variables)
        return self

    def setup_hook(self, hook: Text, assign_var_name: Text = None) -> "RunTestCase":
        if assign_var_name:
            self.__step_context.setup_hooks.append({assign_var_name: hook})
        else:
            self.__step_context.setup_hooks.append(hook)

        return self

    def call(self, testcase: Callable) -> StepRefCase:
        self.__step_context.testcase = testcase
        return StepRefCase(self.__step_context)

    def perform(self) -> TStep:
        return self.__step_context

class Step(object):
    def __init__(
        self,
        step_context: Union[
            StepRequestValidation,
            StepRequestExtraction,
            RequestWithOptionalArgs,
            RunTestCase,
            StepRefCase,
        ],
    ):
        self.__step_context = step_context.perform()

    @property
    def request(self) -> TRequest:
        return self.__step_context.request

    @property
    def testcase(self) -> TestCase:
        return self.__step_context.testcase

    def perform(self) -> TStep:
        return self.__step_context


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Quality service, professional attitudes, and a high work ethic are what we value here at Saia Plumbing. Since our plumbing repair company started years ago, we have made that our mission for every one of our New Orleans and Metairie LA customers; both residential and commercial customers alike. That business mission has allowed us to be one of the most trusted plumbers in the area, and we are very thankful for that.
In order for us to always be here for our customers, we are available 24 hours a day! No matter the plumbing emergency or dilemma, give us a call and we will come assist at your home or office. We also feel it is important to charge a fair rate for our work, no matter the time of day too. So don't worry about inflated prices if you need to call us in the middle of the night!
We take great care in selecting our employees, for we know much of our company reputation is in their hands. Everyone is well screened, drug tested, and trained to offer the level of customer service we except all our customers to receive.
We love to make sure we have all the latest plumbing tools at our disposal. Just like our children, we enjoy new things and feel we are a local leader in the hydro jet drain and sewer cleaning, as well as video camera pipe inspection fields. These high tech tools allow us to save a lot of time locating plumbing leaks and pipe breaks, and with cleaning sewer and drain lines. This plumbing equipment helps reduce the costs of our plumbing repairs too, which all our New Orleans and Metairie customers love!
We really enjoy our jobs as plumbers and enjoy explaining what we do to our customers also. If for some reason we have not explained well enough the course of action with the plumbing service at your home or office, please ask! We want to make sure our customers fully understand what we do and how the plumbing situation began to help prevent it in the future.
Our staff will not make a mess, and will leave ones home cleaner than when they arrived. Your personal property will be treated with high regard, as will you be with any questions or concerns that may arise over the work we are performing.
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My Dad says that I actually saw The Beatles when we living in Belfast, Northern Ireland.
It was just before the global phenomenon which would become Beatlemania. They were performing or maybe conducting an autograph session in the parking lot of a supermarket called Supermac near the town of Newtownbreda - a small village just Southeast of Belfast. This is where we did our grocery shopping because it was the only real supermarket in the Belfast region back then.
The Beatles performed in Belfast twice, once in 1963 (with a show in Dublin) and then again in 1964. I was a wee thing at the age of 7. So I can barely recall this. But I did have a very cool exclusive Supersize Beatles badge and I always wondered where it came from. You could tell the winds of pop culture were about to blow in a very exciting direction. I watched BBC music institution Top of the Pops every week. The following year, on Feb 9 1964, allowed to stay up past my bedtime, I also saw The Beatles on The Ed Sullivan Show and now I actually possess a recording of this historic performance on vinyl.
Over the years, I became a huge fan of John Lennon because I loved everything about him especially the way he wrote in tomes Spaniard in the Works, In His Own Write, and Skywriting by Word of Mouth.
His inventive prose reminded me of a cross between the whimsical words of Spike Milligan from The Goons and the surrealism of Alice in Wonderland's Lewis Carroll.
And of course, to me, every phase of The Beats music was mega fab. The night I heard Sgt. Peppers was an aural revelation and The White Album occupied my turntable for days on end.
In the 80's I deejayed in a club called The Cavern (one of the music phases in the infamous little basement club nestled beneath Kitchener's Metro Tavern). The underground cave like bar (which had served numerous times as a punk haunt, and was a formerly a 70's disco nook!) was now adorned Yellow Submarine animation along its walled mirrors. It was a quirky shrine to the music of The Fab Four and their British cohorts. Thanks to vinyl retail experts Records on Wheels, Sam the Record Man, Record World, and Encore Records, (then at the crossroads of King and Cedar Streets) I was able to collect many Beatle platters from very early works to some rare bootlegs.
Monday Dec 8 1980, just after 11pm, I was deejaying. I always had some John Lennon with me in my vinyl filled plastic milk crates. I put the needle on Dream #9 from 1974's Walls and Bridges and left the chicken-wire deejay cage for the night.
In 1994, in another of my many surreal life moments I met The Beatles Outside Circle - Cynthia Powell Lennon, (John Lennon's first wife) Pauline Sutcliffe (the late artist Stuart Sutcliffe's sister), Pete Best (The First Beatles Drummer), Louise Harrison (George Harrison's sister) and Allan Williams – The Beatles first manager. They were here in Canada for a Toronto Beatles convention called Beatlerama and my pal music promoter Peter Jacobs asked me (and photographer Lorne Eillott) if we would like to come down and cover the event.
So, summoning all of my nerve, and keeping my Inner Fan in check. I led an hour long wide ranging panel discussion with this Fab Five from Early Liverpool Days to the 1994 musical bio-drama Backbeat.
I also chatted a little more with Allan Williams. I had a hard copy of his book The Man Who Gave The Beatles Away. He asked me if I could trade my copy of the book for HIS paperback copy. Of course, he autographed it. AND.. I discovered that upon giving Allan Williams BACK his hard cover copy that in the soft cover edition that he gave me (with William's scribble) there's an inscription from someone else in Dartmouth, Canada who did the SAME thing.
less!) of my music hero wryly walking on the water. It is called Nothing is Impossible and it has a Japanese stamp on it. It is one of my most proud possessions. So congrats on 50 years lads! May future generations continue to think of your musical legacy as The Toppermost of the Poppermost.