text:
ArenaBowl, 2010 Arena Football League season, 2010 in American football, 2010 in American sports
ArenaBowl XXIII
Tampa Bay Storm Spokane Shock
(AC) (NC)
TB 7 21 7 22 57
SPO 6 28 14 21 69
Arena Spokane Veterans Memorial Arena, Spokane, Washington
Attendance 11,017
MVP Kyle Rowley, QB, Spokane
Offensive Player of the Game Markee White, WR, Spokane
Defensive Player of the Game Jeremy Geathers, DL, Spokane
Ironman of the Game Huey Whittaker, WR, Spokane
Winning Coach Rob Keefe
Losing Coach Tim Marcum
Network NFL Network
Announcers Paul Burmeister, Kurt Warner, Anthony Herron, and Ari Wolfe[1]
< XXII ArenaBowl XXIV >
NAPA Auto Parts ArenaBowl XXIII was an arena football game between the National Conference champion, Spokane Shock and the American Conference Champion, Tampa Bay Storm. The Spokane Shock won the game successfully defending ArenaCup X of the former af2 which formed the new Arena Football League (while legally a new entity, the majority of the new league consists of the former af2). The game was played on August 20, 2010, and was held at the Spokane Veterans Memorial Arena in Spokane, Washington, the first non-neutral site since 2004 (ArenaBowl XVIII). The game was shown live on the NFL Network, as well as a tape delay on Eurosport 2. The corporate sponsor was NAPA Auto Parts.
Tampa Bay Storm Edit
See: 2010 Tampa Bay Storm season
Looking for their sixth championship in franchise history, and first since ArenaBowl XVII in 2003, the Tampa Bay Storm succeeded in their first season back since 2008. Led by quarterback Brett Dietz, who threw for 5,054 yards and 106 touchdowns in the regular season (both franchise records), they finished 11–5, 2nd in the South division, and 3rd in the American Conference.
1 April 3 Tulsa Talons Away L 48–54
3 April 16 Dallas Vigilantes Home W 54–41
4 April 25 Milwaukee Iron Away L 61–72
5 May 1 Arizona Rattlers Home W 62–61
6 May 7 Jacksonville Sharks Home L 43–46
7 May 15 Bossier–Shreveport Battle Wings Away W 48–44
8 May 22 Bye
9 May 28 Orlando Predators Away W 62–50
10 June 5 Oklahoma City Yard Dawgz Home W 50–48
11 June 12 Alabama Vipers Away W 61–55
12 June 19 Utah Blaze Away W 65–40
13 June 25 Bossier–Shreveport Battle Wings Home W 78–39
14 July 2 Chicago Rush Home W 68–60
15 July 9 Dallas Vigilantes Away W 56–34
16 July 16 Jacksonville Sharks Away L 47–49
17 July 24 Alabama Vipers Home W 53–49
18 July 30 Orlando Predators Home L 60–75
– August 7 Tulsa Talons Road W 68–38
– August 14 Orlando Predators Home W 63–62
Spokane Shock Edit
See: 2010 Spokane Shock season
The Spokane Shock, fresh off their ArenaCup X victory in what would be the last arenafootball2 season, earned their spot in the postseason by going 13–3 in the regular season, the AFL's best record in 2010, which gave them home field advantage throughout the entire playoffs. It's the Shock's first ArenaBowl in franchise history, having three previous ArenaCup appearances in af2.
1 April 2 Milwaukee Iron Home L 62–74
2 April 9 Utah Blaze Away W 68–34
3 April 17 Bossier–Shreveport Battle Wings Home W 78–70
5 May 1 Cleveland Gladiators Home L 68–72
6 May 7 Arizona Rattlers Away W 63–56
7 May 16 Oklahoma City Yard Dawgz Away W 68-63
8 May 22 Utah Blaze Home W 77–28
9 May 29 Jacksonville Sharks Home W 67–57
11 June 12 Orlando Predators Away W 53–52
12 June 18 Tulsa Talons Home W 63–42
13 June 26 Milwaukee Iron Away W 62–48
14 July 2 Arizona Rattlers Home W 37–36
15 July 10 Cleveland Gladiators Away W 62–56 (OT)
16 July 16 Iowa Barnstormers Away W 62–61
17 July 23 Chicago Rush Home W 63–49
– August 6 Arizona Rattlers Home W 57–49
– August 12 Milwaukee Iron Home W 60–57
Broadcasting Edit
ArenaBowl XXIII was televised on the NFL Network and Eurosport 2. It was available in 48 countries worldwide. Radio broadcasts were available in the local markets of Tampa Bay and Spokane only.
NFL Network Edit
NFL Network delivered live coverage outside of the United States to these countries:
23x15px United Kingdom
Eurosport 2 Edit
The AFL had a taped delayed broadcast available in the following countries:
23x15px France
23x15px Ireland
REDIRECT Template:GRC
23x15px Hungary
23x15px Russia
REDIRECT Template:BGR
23x15px Poland
23x15px Portugal
23x15px Romania
23x15px Serbia
23x15px Turkey
22x20px Denmark
23x15px Ukraine
23x15px Croatia
These were the radio broadcasting groups present:
23x15px Washington State:Spokane- 700am ESPN Radio 700 ESPN The Ticket
23x15px Florida :Tampa Bay- 1250am Impact Radio WHNZ Tampa Bay
This was the 2010 playoff grid to determine ArenaBowl Champion:
Conference Semifinals Conference Championship ArenaBowl XXIII
1 Jacksonville 69
4 Orlando 73
American Conference
3 Tampa Bay 63
2 Tulsa 38
A3 Tampa Bay 57
N1 Spokane 69
1 Spokane 57
4 Arizona 49
2 Milwaukee 57
3 Chicago 54
In the opening round of the playoffs, Spokane defeated the Arizona Rattlers 57–49,[2] while the Storm took care of the Tulsa Talons 68–38.[3] In the National Conference Championship game, Spokane edged out the Milwaukee Iron 60–57.[4] In another close contest, the Storm knocked off rival Orlando 63–62 in the first playoff meeting of The War on I-4 since 2003, winning the American Conference Championship and punching their ticket to ArenaBowl XXIII.[5]
Game Summary Edit
First Half Edit
The Tampa Bay Storm received the opening kickoff, driving 45 yards in 11 plays to take a 7-0 lead on a three-yard run by Eric Ortiz. But this would be the only time in the game the Storm would lead by more than one point.
Spokane scored the next three touchdowns to take a 20-7 lead. Huey Whittaker caught the first one from Kyle Rowley, and Markee White grabbed the next two, both from four yards out.
Tampa Bay finally answered with 5:49 left in the first half, another rushing score by Ortiz to make the score 20-14.
After Markee White's third receiving touchdown gave the Shock a 27-14 lead, Tampa Bay scored consecutive touchdowns to take a 28-27 lead. But Spokane got the last points of the half. White's fourth touchdown from Rowley made it 34-28. Tampa had a chance to add three points as the first half expired, but Garrett Rivas's field goal was blocked.
Second Half Edit
The Storm took its final lead of the game 35-34 to open the third quarter on Ortiz's third rushing touchdown. But Spokane would score the next three touchdowns. The Shock led 48-35 at the end of the third quarter and expanded it to 55-35 at the beginning of the final quarter.
In the fourth quarter, the Shock just wanted to keep the clock running and force the Storm to play catch up. Both teams traded touchdowns through the entire quarter, and Tampa Bay could not make up the deficit. The Storm got the game's last score with 44 seconds left, making it 69-57, the closest it got all quarter.
Game Notes Edit
Spokane Shock quarterback Kyle Rowley was named the games MVP. He went 24 for 32 with 237 yards. He threw nine touchdown passes without an interception and added another touchdown on the run.
Spokane did not have a 100 yard receiver but Markee White caught nine passes for 99 yards and four scores. Huey Whittaker had four touchdown receptions as well to go along with eight catches for 82 yards.
The Shocks' Mervin Brookins and Travis Williams each recorded an interception.
For Tampa Bay, quarterback Brett Dietz threw for 306 yards on 29 of 40 passing. He had four touchdown passes and two interceptions. The Storm's Hank Edwards led the game with 11 catches for 132 yards. He caught two of Dietz's scoring passes. Tyrone Timmons also had eight receptions for 107 yards and a score.
Attendance Edit
The announced attendance for ArenaBowl XXIII was 11,017. The game was a sellout, at 102% capacity given Spokane Arena's 10,771 capacity. However, it was the second lowest attended ArenaBowl in league history, second only to ArenaBowl XIX in 2005. That game between the Georgia Force and Colorado Crush was the AFL's first neutral site ArenaBowl with 10,822 fans at the Thomas & Mack Center in Las Vegas, Nevada.
↑ "Former Super Bowl MVP Kurt Warner Calls Arena Bowl on NFL Network". Spokane Shock. August 12, 2010. http://arenafootball.com/news/index.html?article_id=278. Retrieved August 15, 2010.
↑ "Spokane moves on". Spokane Shock. August 6, 2010. http://www.spokaneshock.com/news/index.html?article_id=834. Retrieved August 15, 2010.
↑ "Storm Earn Second-Round Playoff Berth With 68-38 Rout Of Talons". Tampa Bay Storm. August 7, 2010. http://www.tampabaystorm.com/2010/08/07/storm-earn-second-round-playoff-berth-with-68-38-rout-of-talons. Retrieved August 15, 2010.
↑ "Storm Punch Ticket To ArenaBowl XXIII With 63-62 Win Over Predators". Tampa Bay Storm. August 14, 2010. http://www.tampabaystorm.com/2010/08/14/storm-punch-ticket-to-arenabowl-xxiii-with-63-62-win-over-predators. Retrieved August 15, 2010.
v · d · e2010 Arena Football League
American Conference National Conference
South Division Southwest Division
Alabama Vipers
Jacksonville Sharks
Orlando Predators
Tampa Bay Storm
Bossier–Shreveport Battle Wings
Dallas Vigilantes
Oklahoma City Yard Dawgz
Tulsa Talons
Midwest Division West Division
Chicago Rush
Cleveland Gladiators
Milwaukee Iron
Utah Blaze
Related Articles: 2010 Arena Football League season | ArenaBowl XXIII | Arenas | Rosters
v · d · eArenaBowl
II (1988)
VIII (1994)
IX (1995)
XIII (1999)
XVI (2002)
XVII (2003)
XVIII (2004)
XIX (2005)
XX (2006)
XXI (2007)
XXII (2008)
XXIII (2010)
XXIV (2011)
XXV (2012)
* Arena Football League
Retrieved from "https://americanfootballdatabase.fandom.com/wiki/ArenaBowl_XXIII?oldid=9707"
2010 Arena Football League season
2010 in American football
2010 in American sports


text:
Souled Out Movie Trailer
What happened to the Party of Lincoln? Souled Out examines the unraveling of Lincoln's legacy. It's an eye-opening look at the GOP's history with black voters from an insider's view. Now streaming on Amazon Prime Video.
The Faces of Jaguar
The "Faces of Jaguar" 2020 ad campaign enlisted Princess Tara Productions as its Virginia location scout for this commercial. Watch as Chef, Aakash, shares his background and love for cooking, passion for his Jaguar XF, and enjoys the individuality, power, and style it provides.
Africa In America Season 1 Trailer
From an Ethiopian tech whiz to a visionary Botswanaian entrepreneur and Sierra Leonian-American civil activist Kadija, these millennial, these American University standouts came to the United States in search of the American Dream, but also vowed to make commitments – in IT, government, business and education – to impact their respective homelands on the continent of Africa. Now streaming on Amazon Prime Video.
Africa Today TV
As part of a weekly news show for MHz Networks, Tara Wall conducts interviews like this exclusive interview with the United States Ambassador to South Africa, Mninwa Johannes Mahalangu, following a spate of xenophobic attacks that disrupted the country's economic progress.
Rise Up Music Video
We commissioned Verve Pipe to create an original soundtrack to accompany the Rise Up music video we produced as one of our award-winning media campaigns for a healthcare company messaging solutions to underrepresented communities.
MLK Day PSA
A video message, and opportunity for the Chairman of the Republican National Committee to communicate what MLK Day means for him and what the Party should represent.
Committed To Community Campaign
The #CommittedtoCommunity: Engage, Empower, Uplift social campaign was a first of its kind joint venture and voter mobilization effort between the Republican National Committee and a black media outlet – Radio One networks. The campaign, crafted, directed, produced and coordinated by Princess Tara Productions, included a series of engagement activities, issues forums and events in communities of color where the RNC was engaged and Radio One has a platform to help share its message. The campaign also included digital integration with mobile technology and a significant radio campaign on Radio One stations in targeted cities and states.
Tim Tebow Behind The Scenes
We take you behind the scenes as we direct, produce, shoot and coordinate a large scale event with more than 23,000 Texas churchgoers gathered to hear from football great Tim Tebow.
African Art in the Diaspora
Art and creativity are at the heart of African culture and now those in the U.S. Diaspora who long for a little piece of home can find it with one Washington, DC Eastern Market artist.
"Stop Profiling" Campaign
Truth is the "longest running and most successful national tobacco prevention campaign for youth and young adults." It recently enlisted Princess Tara Productions as location scout for its "Stop Profiling" campaign shoot in Washington, D.C.
The Urban Vote
Detroit may be a model for what's right and wrong with big city politics – from bankruptcy and bailouts to recovery and 'Right To Work.' The 'Urban Summit' film series picks up where the 2012 presidential election left off and examines what red state political candidates can learn from urban voters.
Media Analysis
A respected public voice and trusted national expert, Tara Wall provides regular commentary on issues impacting media, culture and public policy.
© 2021 tarawall.com - All Rights Reserved

redpajama_set_name: RedPajamaCommonCrawl


text:
ECP declares NA-75 Daska by-election null and void, orders re-polling on March 18
03:56 PM, 25 Feb, 2021
Islamabad (Web Desk): The Election Commission of Pakistan (ECP) on Thursday ordered re-pooling in NA-75 Daska on March 18.
According to details, the Chief Election Commissioner (CEC) Sikandar Sultan Raja declared that the by-election in the constituency was not fair and transparent.
A five-member ECP bench heard the case and the decision was announced in presence of the candidates from PTI, PML-N.
The Pakistan Muslim League-Nawaz (PML-N) had requested the ECP to hold polling again in the Daska constituency as the February 19 election was marred by controversies and clashes.
The ECP had withheld the results after 20 presiding officers in the constituency went missing for several hours and top officials of the district administration were unavailable to the commission to answer its queries.
In the short order, the CEC said after the arguments heard and record perused, the ECP has come to the conclusion that "the election in the subject constituency has not been conducted honestly, justly, fairly and in a transparent manner".
"From the perusal of available record produced by the parties, the Returning Officer, as well as collected by the Commission through different sources, we have come to the conclusion that a conducive environment was not available for the candidates and voters of the constituency and the election in the subject constituency has not been conducted honestly, justly, fairly and in a transparent manner," it read.
"Incidents of murders, firing and injuries, bad law and order situation in the subject constituency [created] harassment for voters and other circumstances leading to make the process of results doubtful/unascertainable," the ECP order noted.
"This commission in the exercise of powers under Article 218(3) of the Constitution read with section 9(1) of the Elections Act, 2017, declares the poll held on 19.02.21 in the subject constituency (NA-78, Sialkot-IV) as void and orders fresh poll/re-poll in the entire constituency on 18th March 2021," the order added.
Reacting to the decision PML-N Vice President Maryam Nawaz, in a tweet, said, "the people of Daska have gotten back their right."
Referring to Prime Minister Imran Khan, she wrote that the "fake sadiq and ameen (honest and righteous) has been issued the certificate of vote thief" through the ECP verdict.
"Vote thief Imran Khan also turned out to be a kidnapper," she alleged.
Speaking to media following the verdict, Senior PML-N leader Mohammad Zubair said that a conspiracy had been hatched to rig the elections which was exposed, and added, "The ECP was surprised on the rigging tactics employed."
He accused PM Imran Khan of being involved in the conspiracy to rig the election.
PML-N candidate Nausheen Iftikhar thanked the Almighty, referring to the ECP verdict as a "historic" one. She said she will continue to confront "vote thieves".
Meanwhile, the PTI said that their legal team would review the detailed order and decide the future course of action accordingly.
Speaking to newsmen, Minister for Information Shibli Faraz said the PTI accepts the order.
Special Assistant to the Prime Minister (SAPM) on Youth Affairs Usman Dar said that everyone knew that PML-N wanted re-polling in 20 polling stations.
"Elections were transparent when they won in Wazirabad, but they accuse us of rigging when they lost in Sialkot," the SAPM said, adding that PML-N disputed Daska by-election under an organised conspiracy.
Tagged Pakistan by-election ECP NA-75 neo tv
COVID-19: Over 100m people received at least 1 dose of vaccine, says ...


text:
Eric Emerson Schmidt (Washington, D.C., 27 d'abril de 1955) va ser el director executiu de l'empresa Google des del 2001 fins al 2011, quan va ser reemplaçat per un dels seus fundadors, Larry Page. Actualment n'és el president executiu. L'agost de 2015 fou elegit president d'Alphabet Inc després de la reorganització empresarial de Google. Viu a Atherton, Califòrnia, amb la seva esposa Wendy.

Referències

Persones de Google
Alumnes de la Universitat de Califòrnia a Berkeley
Alumnes de la Universitat de Princeton
Persones de Washington DC
Doctors honoris causa per la Universitat de Boston
Enginyers elèctrics

redpajama_set_name: RedPajamaWikipedia


China's chief negotiator and vice-chair of the National Development and Reform Commission, Xie Zhenhua, told chinadialogue the fund would be set up as an alternative to direct funding in order to provide a longer-lasting and more formal mechanism.
But as the plans for the fund are not finalised, there is still uncertainty over how money will be raised, the assessment criteria, and the timescales involved.
At a special UN climate summit in New York in September, Vice Premier Zhang Gaoli revealed that China is to establish a Climate Change South-South Cooperation Fund, and promised that China would double its current spending on South-South cooperation.
At Lima, China sent positive signals on the South-South Cooperation Fund to more countries, expressing hopes that it would be funded multilaterally. China is starting to show its ambitions to act as a leader on the climate change agenda.
"I am a delegate, but I'm not aware of this fund and would like to know more. Before that I can't say whether Brazil will participate or not," Azerado said.
Yang Fuqiang, Senior Adviser on Climate, Energy and Environment for the NRDC China Program, said that unlike the Green Climate Fund, the South-South Cooperation Fund is independent of the UN climate convention and is entirely voluntary.
He added that several Gulf states, such as Singapore, and BRIC nations such as Brazil, are potential partners.
Xie Zhenhua told chinadialogue the fund would be set up as an alternative to direct funding in order to provide a longer-lasting and more formal mechanism. But as the plans for the fund are not finalised there is still uncertainty over how money will be raised, the assessment criteria, and the timescales involved.
Wang Yi, director of the Chinese Academy of Sciences' Institute of Policy and Management, said that in the past China often favoured island nations and the least-developed nations in distribution of these funds, and therefore this was easily regarded as aimed at building political capital.
In the future the fund will, while being guided by government, need to incorporate varied funding, market-based operations, and professional oversight; as well as using loans to increase the size of funds and avoiding regional political issues.
Wang added that it may be funded both by government and commercially, with government funds used to make donations of funds and materials to developing nations, and commercial funds available through the market and expanded through loans.
Climate funding has always been a sticking point in international talks.
Previously the developed nations have promised to provide financial support for their developing counterparts, with a target of transferring $100 billion to help developing nations cut emissions and adapt to climate change by 2020. But this funding has failed to appear.
One focus of the current talks in Lima is how to scale up the US$10 billion pledged to the Green Climate Fund.
Xie Zhenhua described the Green Climate Fund as a commitment by developed nations to the developing world, and he welcomed contributions already made by developing nations.
"Circumstances are different for each developing nation, and China has its own methods," he said.
"Our support for developing nations was underway before the Green Climate Fund," said Xie.
He added that China would "absolutely not" compete with developing nations – which he referred to as "our poor brothers" – for funds from the Green Climate Fund.


Last week, the Commission on Justice in Wales received evidence from the Welsh Government strongly advocating Welsh Courts, and Judges with expertise in Welsh law, to create a separate jurisdiction from England.
The Commission was formed last year to review justice and policing in Wales. The discussion of whether devolution in Wales should work alongside a wholly separate jurisdiction has long been the subject of fierce debate, which is unlikely to stop anytime soon.
But, First Minister Carwyn Jones described the Commission as an 'important step towards developing a distinctive justice system which is truly representative of Welsh needs'. And, the new document offers some comfort to solicitors who work across the border, following the suggestion that a separate jurisdiction could one day affect practice rights.
While the Wales Act 2017 grants the devolution of powers for environment and housing, policing and justice remain reserved to Westminster. Divergence between English and Welsh laws will be varied across sectors, with its impact on commercial law likely to be nominal.
Drawing comparisons with the Scottish devolution process, the Welsh Government noted how devolution in Wales had been an ad hoc/piecemeal process – and was far from ideal. As far as the Welsh Government is concerned, significant improvements need to be made in what many see as a highly unconventional constitutional arrangement.
Is there reform in store for Welsh planning law?


text:
Maksim Aleksandrovici Galkin (în ; n. 18 iunie 1976, regiunea Moscova) este un umorist, parodist, prezentator TV, actor și cântăreț rus. A devenit cunoscut în prima jumătate a anilor 2000 în calitate de parodist și umorist, dar și ca prezentator al emisiunii "Cine vrea să fie milionar?" de la Pervîi Kanal, pe care a condus-o din 2001 până în 2008. În prezent este căsătorit cu "primadonna Rusiei" Alla Pugaciova, mariajul fiind înregistrat oficial pe 23 decembrie 2011.

Viață timpurie

Familie
S-a născut la 18 iunie 1976 în raionul Naro-Fominski din regiunea Moscova, în familia general-colonelului Aleksandr Aleksandrovici Galkin (1935-2002) și a fizicienei și matematicienei Natalia Galkin (născută Praghin; 1941-2004). Tatăl Aleksandr era de etnie rusă. Din 1987 până în 1997 acesta a condus Direcția blindată principală a Ministerului Apărării din URSS și Federația Rusă. A fost și deputat în cea de-a II-a legislatură a Dumei de Stat a Federației Ruse. Mama Natalia, de origine evreiască, a studiat științele fizice și matematice și a fost cercetător principal la Institutul internațional de seismologie și geofizică matematică al Academiei Ruse de Stiințe.

Maksim are un frate mai mare Dmitri (n. 1964), fost militar, în prezent om de afaceri, producător și unul din fondatorii centrului de producție Centum din Moscova.

Copilărie și studii
Mama lui Maksim a fost prietenă cu mama vedetei de muzică pop Alla Pugaciova, cele două familii locuind în același cartier.

În copilărie a locuit o vreme cu familia în Republica Democrată Germană. Pe când avea șapte ani, tatăl său a primit gradul militar de general-maior în Armata Sovietică. Familia locuia în acea vreme la Odesa, unde Maksim a frecventat primele trei clase ale școlii primare și un studio de artă pentru copii. Apoi familia s-a mutat în Bureatia, iar până în clasa a cincea Maksim a studiat la școala nr. 5 din orașul Ulan-Ude. Locuiau în orașul militar Sosnovîi Bor, la 30 km de Ulan-Ude și la 100 km de Lacul Baikal, unde familia Galkin se ducea adesea. Mai târziu familia  Galkin s-a mutat la Moscova.

În 1993 a absolvit Gimnaziul de sud-vest nr. 1543 din Moscova și a fost admis la Universitatea de Stat de Științe Umaniste din Rusia la Facultatea de Lingvistică, pe care a absolvit-o în 1998. După aceea, a fost admis la doctorat cu o teză pe tema "Corelarea sistemelor stilistice ale textelor originale și traduse", având ca obiect principal de studiu traducerile în limba rusă a tragediei "Faust" de Goethe și analiza stilistică a lor. A renunțat la doctorat în 2009.

Carieră

Estradă
Debutul artistic al lui Galkin a avut loc în aprilie 1994, când a interpretat un rol într-un spectacol la Teatrul de studenți al Universității de Stat din Moscova. Ulterior a făcut parte din distribuția piesei "Cabaret 03". În iunie 1994, la Teatrul de Estradă, a participat la programul "Debuturi, Debuturi, Debuturi" (rus. «Дебюты, дебюты, дебюты» – "Debiutî, Debiutî, Debiutî") unde, printre altele, îi parodia pe Vladimir Jirinovski și Boris Elțîn. La unul dintre concerte, a fost descoperit de directorul de teatre Boris Brunov, care l-a invitat la Teatrul de Stat de Estradă din Moscova. A jucat acolo o perioadă, apoi l-a însoțit în turnee pe umoristul Mihail Zadornov timp de un an și jumătate; acesta din urmă vedea în persoana lui Maksim un "succesor" al său.

În iulie 2001 a avut loc primul concert solo al lui Galkin la festivalul "Slaveanskii Bazar" din Vitebsk. În octombrie 2001, Maksim s-a lansat în muzică, prima sa experiență vocală fiind melodia "Bud' ili ne bud'" (din rus. «Будь или не будь» – "Fii sau nu fi"), interpretată în duet cu Alla Pugaciova. Ulterior, Galkin a participat alături de cântăreață în programele de revelion de la principalul canal de televiziune rusesc Pervîi Kanal.

La 7 octombrie și 27 decembrie 2001 au avut loc concerte solo la Teatrul de Estradă, iar în anul următor un alt concert solo, intitulat "Zâmbiți, domnilor!" (rus. «Улыбайтесь, господа!» – "Ulîbaites', gospoda!"), s-a petrecut în sala de concerte "Rosiia". În 2002 a dat două concerte aniversare intitulate "Uite că am împlinit 26!" (rus. «А мне — 26!» – "A mne – 26!") în Palatul de Stat din Kremlin. Una din înregistrări a fost difuzată la 31 decembrie 2002 pe Pervîi Kanal.

A urmat, în 2003, concertul solo "Neultimul erou" (rus. «Непоследний герой» – "Neposlednii gheroi"; titlul este o parodie a variantei ruse a show-ului televizat "Survivor", cunoscut în Rusia ca "Ultimul erou" / «Последний герой» – "Poslednii gheroi"). Și acest concert a fost difuzat pe undele canalului principal în ajunul revelionului din acel an, urmând să fie pus pe post de mai multe ori în următorii ani.

În 2004 a avut un concert solo intitulat "Crăciunul cu Maksim Galkin" (rus. «Рождество с Максимом Галкиным» – "Rojdestvo s Maksimom Galkinîm"). Între 2005 și 2007 a lansat, anual, trei ediții ale "Benefis de revelion cu Maksim Galkin" (rus. «Новогодний бенефис с Максимом Галкиным» – "Novogodnii benefis s Maksimom Galkinîm"). În 2006 a produs mai multe show-uri aniversare: un program de de 1 aprilie, 2 serate de vară și Revelionul.

În anul următor organizează încă un concert solo, intitulat "Suntem iar împreună" (rus. «Мы снова вместе» – "Mî snova vmeste"). Premiera versiunii televizate a avut loc în 2008 în Ucraina (pe canalul Inter) și în 2009 în Rusia (pe canalul Rossia). În Rusia concertul a fost difuzat într-o versiune mai scurtă, fiind tăiat un număr cu tentă politică, în legătură cu alegerile prezidențiale din Rusia. Abia în 2012 urmează un alt concert solo, difuzat pe canalul Rossia-1 de 8 martie.

Cel mai recent concert solo a avut loc în noiembrie 2016, intitulat "25 de ani pe scenă" (rus. «25 лет на сцене» – "25 let na sțene"). A fost difuzat pe "Pervîi Kanal" la 20 ianuarie 2017.

Televiziune
În decembrie 2000, la ORT, actualmente Pervîi Kanal, a fost difuzat un documentar cu ocazia aniversării de 55 de ani a lui Ghennadi Hazanov, în care Galkin a participat ca prezentator; aceasta a fost prima experiență televizată a sa.

La 19 februarie 2001, Galkin a devenit gazda jocului televizat "Cine vrea să fie milionar?" pe canalul ORT. Emisiunea este adaptarea rusească a concursului televizat britanic "Who Wants to Be a Millionaire?" și a rulat inițial cu titlul "Ah, ce norocos!" («О, счастливчик!» – "O, sceaslivcik!"), fiind prezentat de Dmitri Dibrov la canalul NTV. Galkin a condus această emisiune până la 13 septembrie 2008.

La 24 decembrie 2002 a condus ediția de revelion a jocului televizat "Ruleta rusească", iar șase zile mai târziu a participat la emisiunea aniversară "Câmpul minunilor". Din octombrie 2004 până în decembrie 2007 a fost gazdă permanentă a festivalului de muzică "Novîe pesni o glavnom" (din rus. «Новые песни о главном» – "Cântece noi despre lucruri esențiale"). A avut-o ca co-prezentatoare pe Valeria până în 2006, apoi pe Ingeborga Dapkūnaitė.

În 2007-2008, a fost coprezentator, împreună cu Alla Pugaciova, al sezonului al doilea al proiectului televizat "Două stele" (rus. «Две звезды» – "Două stele"). De asemenea, a fost autor și prezentator al programelor de Revelion de la Pervîi Kanal.

În septembrie 2008, s-a transferat de la Pervîi Kanal la Rossia (ulterior Rossia-1). Aici a condus în 2008 emisiunea "Gheața vedetelor" (rus. «Звёздный лёд» – "Zviozdnîi liod") și în 2009-2015 emisiunea "Dansuri cu vedetele" (rus. «Танцы со звёздами» – "Tanțî so zviozdami").

Galkin este autorul și prezentatorul show-ului de revelion "Parada vedetelor de Anul Nou" (rus. «Новогодний парад звёзд» – "Novogodnii parad zviozd") de pe canalul Rossia. În 2008, l-a avut ca co-prezentator pe Nikolai Baskov, în 2009 pe Alla Pugaciova, în 2010 a prezentat de unul singur, în 2011 și 2014 a prezentat împreună cu Volodîmîr Zelenski, iar în 2012 și 2013 cu Filip Kirkorov. La același canal, din ianuarie până în august 2010 a participat la emisiunea "Cine vrea să devină Maksim Galkin?" (rus. «Кто хочет стать Максимом Галкиным?» – "Kto hocet stat Maksimom Galkinîm?"), urmând să conducă până în iunie 2014 programul "Zece milioane" (rus. «Десять миллионов» – "Deseat millionov"). În 2010 și 2011 a găzduit "Stileagi-show" (în rus. «Стиляги-шоу»), iar în 2011 "Bună seara cu Maksim" (rus. «Добрый вечер с Максимом» – "Dobrîi vecer s Maksimom").

În 2011 a fost coprezentatorul Allei Pugaciova în cadrul emisiunii "Poșta matinală" (rus. «Утренняя почта» – "Utrenneaia pocita") de pe canalul de televiziune ucrainean Inter. În perioada 6 mai – iulie 2012, el a fost, împreună cu Volodîmîr Zelenski, membru al juriului versiunii rusești a concursului televizat "Rassmeși komika" (din rus. «Рассмеши комика» – "Fă un umorist să râdă"). La 2 martie 2014 a devenit membru al juriului show-ului de parodie "Odin v odin!" (din rus. «Один в один!» – "Ca două picături!").

Galkin a fost prezentator al edițiilor 2012-2018 a Premiilor Muz-TV.

A revenit la Pervîi Kanal în septembrie 2015. În perioada 20 septembrie 2015 – 1 ianuarie 2016 a fost unul din participanții show-ului de parodie "Toci-v-toci" (din rus. «Точь-в-точь» – "Leit"), parodiindu-i pe Charles Aznavour, Stas Mihailov, Anna German, Till Lindemann, Mithun Chakraborti, Maria Callas, Boris Grebenșcikov, Aleksandr Vertinski, Garou, Daniel Lavoie și Patrick Fiori, Nikolai Voronov, Alla Pugaciova și Fiodor Șaleapin. El a câștigat acel sezon în colaborare cu Evgheni Deatlov, obținând punctajul maxim și premiul simpatiei spectatorilor.

În perioada 21 mai 2016 – 2 ianuarie 2017 a fost gazda show-ului umoristic "MaksimMaksim" (în rus. «МаксимМаксим»). Începând cu 6 noiembrie 2016, el mai găzduiește și show-ul de talente pentru copii "Cel mai bun" (rus. «Лучше всех» – "Lucișe vseh").

La ediția din 18 februarie 2017 a emisiunii "Cine vrea să devină milionar?" a reapărut în fotoliul de prezentator, schimbându-se cu prezentatorul actual Dmitri Dibrov la fiecare a doua întrebare. Începând cu 2 septembrie 2017 a prezentat "În această seară" (rus. «Сегодня вечером» – "Segodnea vecerom") în locul lui Andrei Malahov. În perioada 29 octombrie 2017 – 22 iulie 2018 a condus show-ul de talente pentru oamenii în vârstă "Cel mai în vârstă!" (rus. «Старше всех!» – "Starșe vseh!"), show inspirat de "Cel mai bun" / "Lucișe vseh!". Între 4 februarie și 19 august 2018 a condus reality show-ul "Vedete sub hipnoză" (rus. «Звёзды под гипнозом» – "Zviozdî pod ghipnozom").

Actorie
Maksim Galkin a interpretat roluri minore în câteva filme și seriale, în mod notabil în jurnalul televizat pentru copii Eralaș în 2001 și 2004. A făcut parte din distribuția dublajului desenului animat Luis & The Aliens (2018).

Internet
De la sfârșitul anului 2019, Galkin conduce show-ul online de muzică "Musicality" (rus. «Музыкалити») pe canalul de YouTube "Gazgolder".

Viață personală
Galkin este căsătorit cu cântăreața sovietică și rusă de muzică pop Alla Borisovna Pugaciova, Artist al Poporului din URSS. Maksim este cu aproape 27 de ani mai tânăr decât Alla. Mariajul lor a fost înregistrat oficial la 23 decembrie 2011. Cei doi locuiesc împreună din 2005, Pugaciova recunoscând că au început să se vadă încă în 2001. Către cea de-a zecea aniversare a relației lor, canalul NTV a pregătit filmele documentare "Alla+Maksim. Mărturisirea dragostei" (rus. Алла+Максим. Исповедь любви» – "Alla+Maksim. Ispoved liubvi") și "Alla și Maxim. Totul merge mai departe!" (rus. «Алла и Максим. Всё продолжается!» – "Alla i Maksim. Vsio prodoljaetsea!"). Cuplul și-a jucat nunta la 24 decembrie 2011 și s-a cununat în noiembrie 2017 într-o biserică din apropierea Moscovei.

Cuplul are doi copii gemeni – fiica Elizaveta și fiul Garri –, născuți la 18 septembrie 2013 de o mamă purtătoare.

Copiii săi au fost implicați într-un scandal în legătură cu rezultatele votului final din cel de-al șaselea sezon al proiectului televizat "Vocea copiilor". Drept consecință, Maksim a declarat că copiii săi nu vor mai participa niciodată la niciun concurs.

Convingeri
Maksim Galkin s-a declarat împotriva adoptării în Rusia a unor legi care interzic așa-numita "propagandă a homosexualității", comparându-le cu o "vânătoare de vrăjitoare" organizată în scopuri politice și de distragere a societății de la probleme mai grave. Cu toate acestea, el nu consideră oportună legalizarea căsătoriilor între persoanele de același sex și a adopțiilor din partea cuplurilor gay, din cauza posibilei reacții negative a societății.

Galkin a numit "monstruoasă" și "cinică" legea care interzice cetățenilor americani să adopte copii orfani ruși, adăugând că în Rusia încă din perioada sovietică autoritățile s-au obișnuit să nu-și admită greșelile, apreciind asta ca o manifestare a slăbiciunii.

În 2012-2014, Maksim Galkin a fost editorialist în redacția ziarului Komsomolskaia pravda, publicând în jur de 35 de articole. În unul dintre acestea, evaluând personalitatea și activitatea lui Iosif Stalin, artistul a scris că "a fost un dictator sângeros, care își extermina sistematic și în masă poporul său multinațional, atrocitățile căruia nu pot fi compensate de niciun merit real".

În 2012, Galkin critica politicienii din opoziție Serghei Udalțov și Aleksei Navalnîi, urmând ca în septembrie 2017, într-un interviu oferit canalului Meduza, să aprecieze pozitiv lupta acestora împotriva corupției. Cu toate acestea, în același interviu, el s-a arătat sceptic de decizia lui Navalnîi de a se asocia cu Ksenia Sobceak.

Critici
Unii critici de televiziune apreciază negativ creația lui Galkin. În 2007, jurnalistul ziarului Trud Serghei Bednov l-a descris ca fiind un showman narcisist, care exploatează mereu unele și aceleași roluri:

Jurnalistul Vladimir Kara-Murza tatăl are o opinie asemănătoare, acesta criticând-l pe umorist pentru caracterul timid și lipsit de coloană vertebrală a numerelor sale:

Premii și recunoaștere
 2004: Medalia "Pentru credință și bunătate" (Kemerovo)
 2006: Ordinul Prieteniei, "pentru contribuția sa la dezvoltarea industriei radio și televizate și o activitate îndelungată și fructuoasă"
 2013: Ordinul de Onoare (Kemerovo), "pentru activitatea artistică îndelungată și contribuția personală la dezvoltarea artei de estradă"
 2017 - Premiul TEFI, categoria "Prezentator al unui program de divertisment, "pentru show-ul de talente pentru copii «Cel mai bun!»"

Note

Legături externe

 Site oficial
 Maksim Galkin pe site-ul iumoristî.ru

Nașteri în 1976
Nașteri pe 18 iunie
Actori ruși
Actori din secolul al XXI-lea
Prezentatori de televiziune din Rusia
Cântăreți ruși
Cântăreți din secolul al XXI-lea
Umoriști ruși
Umoriști evrei
Decorați cu Ordinul Prieteniei al Rusiei
Poligloți
Ruși în viață


There are so many games. Finished games, at that. This is excellent, I'm getting them all and I want to feature them on Spherical more prominently somehow. Having a showcase of especially finished games for this engine is a really good thing.
Also, I never realized just how productive some of the members here have been over the past years.
But it's amazing that you saved my SimCity attempt, that's a real trip back in time.
This is a ginormous collection of stuff; I don't even know where to start. For now I'm just cherry-picking stuff to test that sounds interesting.
Dragon Town errors out under miniSphere apparently due to a race condition, but I don't understand why. What I know so far: The render script depends on a tile cache which is set up in the update script, but the render script gets called first, leading to an error. However, Sphere 1.x calls the render script first too,, so I can't figure out what's different between the two engines.
So I'm just going to throw this out here--miniSphere breaking compatibility with every major release is hardly unprecedented: many of the games in this collection not only won't run in miniSphere, but they don't run on Sphere 1.5 either, due to missing functions, system scripts, or sometimes even both.
Here's an actual compatibility issue I found: Pokemon GS/SS has collision issues under miniSphere. The tile movement engine over- or undershoots, leading the character to collide with walls on the tile above or below. I know I fixed a similar bug in Blackfoot that made some of the block-pushing puzzles unwinnable (this was an interesting case, as it demanded pixel-perfect emulation), but it seems it's still not 100% accurate.
Pokémon GS/SS has collision issues? That's funny - I was actually recently working on that engine a little bit for fun and it seemed fine then. Maybe it's that old included version that has issues. In any case, the tile engine in that was very bad to begin with as I could never *quite* figure out how to make it behave, especially when you start running.
And yeah, there's a LOT of broken stuff in there. Some only likes to work on very specific Sphere versions, and with other stuff I really have no idea why it is the way it is - I haven't moved any files around in projects, myself.
By the way, a lot of Beaker's games refuse to run properly, usually because of one missing function in the map engine. (About layer scaling, I believe.) Worth supporting?
Yeah, he seems to be the only person that ever made use of those. I'd have to look into how difficult it would be to add. I believe the map engine is coded with the assumption that all layers line up, but then again, parallax layers can already have different dimensions as the rest of the map, so maybe it won't be too hard.
m_NextFrame is initialized to the current time when the map engine starts. Which means actual_time is always equal or greater than that and therefore the first frame will always be skipped. This shifts the order of processing such that it goes in practice UpdateWorld -> ProcessInput -> Render. And thus my emulation was imperfect. Easy enough to fix, thankfully.
It checks whether the code for the class constructor contains the word "base" anywhere. If not, then it ends up extending Class directly rather than the specified class. Which causes the base class constructor not to be called and in turn, other weird untraceable bugs. There's literally no way for me to fix it unless Duktape adds function source code tracking. Thankfully, this kind of class library isn't needed nowadays anyway, since you can just use ES6 which has classes as part of the native syntax.
Damn, that sounds incredibly specific. Sounds more like a thing to work around in the game itself.
Speaking of backgrounds being cut off, I have a bug with fullscreen miniSphere where the first image that's displayed/FlipScreened will be cut off. Only the bottom left part of the image will be shown, presumably just the part that matches up with the game's original size before the window is resized into fullscreen.
It happens with literally only the very first image that gets shown on the screen, and looks like the attached image. It's happened for every single game that does this.
If the scaling factor or letterboxing is changed without recalculating the clipping rectangle, it would cause issues like the one you mentioned.
That sounds like it makes sense, especially since it doesn't happen when run in windowed mode with Spherun.
This is pretty awesome. I lost a lot of my code and resources a long time ago (glass of milk + laptop + seizure = spilled milk and dead laptop) which is a shame. I had a lot of Sphere resources as well that unfortunately aren't in your zip file or the repository in general, so they're pretty much lost as far as I know, like that synchronous terminal I posted about in the old forums. Thank goodness for Dropbox now.
I'm still disappointed that I lost my copy of Onigiri Sunshine, one of kamatsu's competition entries. I've been through multiple computers and a hard drive failure since then, so I doubt I'll still find it lingering anywhere.
@mezzo: I think I saw a copy of that in here actually. No idea how old it is, though.
Yeah, the collection is kinda hit and miss, because I lost some of the games or never even downloaded some when I did have the chance. I'm glad it's still useful to you guys. Kinda wish I had preserved more.


Details for HDFC Bank ForexPlus Card. card analysis, ranking and comparisons to other India prepaid. Citibank Europe plc is authorised by the Central Bank of Ireland and by the Prudential.
The ICICI Bank Indian Rupee Travel Card gives you access to special.In India, you can get these prepaid forex cards from banks like Axis Bank, Citibank,.
Citibank World Money Card:,. today announced the launch of the Citibank World Money Visa Platinum Card, the worlds first Visa Platinum Travel Prepaid card,.The Citi Alumni Network is a great way to stay connected to the many people across Canada who have worked for Citi and. applicants of Citibank Canada and.Functioning as per the guidelines set by the Reserve Bank of India, Citibank. citibank dining privileges, Forex Prepaid.
Is it possible to apply for a mainstream prepaid debit card.Citi strives to create the best outcomes for our clients and customers with financial solutions that are simple,.David explains how to save money on your travels using a prepaid travel card,.
Citibank is an international institution with a presence in both India and Australia. And if you find yourself left with a balance in your card after your return back to India,.
Citibank Customer Care Gurgaon. citibank dining privileges, Forex Prepaid.
Prepaid Cards Distribution Officer at Metrobank Card Corporation Past Direct Sales Channel Manager.
Everyone needs an Offshore Re-loadable Prepaid Debit Card for asset.Travel Across the Globe The Axis Bank Travel Currency Card is a prepaid foreign. 2010 FRR Forex.
Capital One Prepaid Credit Card. the needs of their customers across India.But you can get an Indian Rupee prepaid travel Card before you.What is the difference between Citibank Savings debit card, Citibank.
Redeem Reward points as Cash Back on your MoneyBack Credit Card 100 Reward.
Learn more about how easy it is to use a Foreign Currency prepaid travel money card. Reload Your Travel Money.
India and Prepaid Cards companies from Delhi for your sourcing needs. Prepaid Forex Travel Card.
The only difference in prepaid travel or forex cards is that you.Delivery of Citi Prepaid Cards may be made to post office boxes and to shipping addresses in the continental United States,.


text:
photo by Kevork Djansezian / getty images
"Red Wine" Isn't The Biggest Problem In "Girls"
It's about the patriarchy
by Gabrielle Korn
Rita Ora's "Girls" had the singer apologizing to the LGBT community within days of its release. The main issue, as taken up by both the queer masses and well-known musicians like Hayley Kiyoko and Kehlani, has been centered around how the song connects kissing girls to drinking and smoking pot. Still mildly traumatized from coming out during "I Kissed A Girl"-era Katy Perry, I opted out of listening to "Girls." Life is unpleasant enough; I don't really see the need to sign up to consume something offensive.
And yet. As the think pieces and hot takes continued to roll in, I became, in the words of Lesbian Jesus Hayley Kiyoko, curious. So, this morning, I pulled up the official lyric video and settled down to feel some feelings. Nothing I've read about this song prepared me for its actual content.
Let me step back for a minute and provide some personal context. I'm the editor in chief of the publication you're currently reading, and also a lesbian. I didn't have a super-confusing time coming out; once it was women, it was always women. But I vividly recall being 18 and terrified, and my peers also being terrified; for a lot of them, a lot of the time, they couldn't even talk to other girls without at least one drink. I was frequently hit on by women who claimed to be straight but would then start drinking and be positively unable to stop flirting with the girls around them. Most of them are now openly bisexual, if not gay.
To me, the lyrics "red wine, I just want to kiss girls," are specifically referencing that period of time before you come out, when you're maybe so terrified to honor your own desires that you need a little extra push in substance form to do so. That wasn't my experience (I was completely sober the first time I was with another girl, and the next and the next), but it's the experience of a lot of people I know who are now fully formed adults with strong senses of self and proud identities in the LGBTQ spectrum. I don't think this is a bisexual anthem, I think it's more of an ode to pre-queerness, a very real period of time for a lot of people who, as products of a heteronormative society, repress their desires. (Please don't yell at me.)
And while the premise of needing to be intoxicated to want to kiss girls is annoying to many, it pales in comparison to the other problem, which is how deeply misogynistic the rest of the song's lyrics are:
You know I tamed it, and then I named itI put the lion in the cage and then I laid with herAll night (all night)Her all night, yeahI'm the hunter and she the prey, yeahI'm the thriller, I'm the killerI'm the savior, up all night
If a man were to sing these lyrics, I have no doubt that we would be setting his digital house on fire: Putting the lion in the cage?? She's the prey, and you're the hunter? How is this language not being called out for its inherent misogyny?
One of my biggest bones to pick with the queer community is how toxic masculinity gets a pass when it comes from a woman. Behaviors we would never accept from men are overlooked when they occur between women, though they are often just as destructive. The issue with "Girls" is not so much that it reinforces stereotypes about bisexual women but that it upholds the systematic oppression of women: If we're comparing a woman to an animal, bragging about taming her and putting her in a cage and calling her prey, it doesn't matter who is singing the song. Mouthpieces of the patriarchy come in all genders.
And in this case, the women singing this song are quite literally mouthpieces. As many have pointed out in the days since its release, "Girls" was written by a bunch of men. Their interpretation of same-gender desire seems to be that it mirrors an outdated heterosexual model which positions men as hunters and saviors of women. Nothing about that is radical or revolutionary or deserving in any way of an anthem.
This song is disappointing at best and deeply harmful at worst, not simply because it invalidates the legitimacy of bisexual desire by linking it to drugs and alcohol, but because it talks about something inherently radical—desire between women—in the language of the oppressor.
Brendon Urie Officially Disbands Panic! At The Disco


text:
<?php

namespace craft\fields;

use Craft;
use craft\base\ElementInterface;
use craft\base\Field;
use craft\base\PreviewableFieldInterface;
use craft\elements\db\ElementQuery;
use craft\elements\db\ElementQueryInterface;
use craft\helpers\DateTimeHelper;
use craft\helpers\Db;
use craft\i18n\Locale;
use DateTime;
use yii\db\Schema;

/**
 * Date represents a Date/Time field.
 *
 * @author Pixel & Tonic, Inc. <support@pixelandtonic.com>
 * @since 3.0
 */
class Date extends Field implements PreviewableFieldInterface
{
    // Static
    // =========================================================================

    /**
     * @inheritdoc
     */
    public static function displayName(): string
    {
        return Craft::t('app', 'Date/Time');
    }

    // Properties
    // =========================================================================

    /**
     * @var bool Whether a datepicker should be shown as part of the input
     */
    public $showDate = true;

    /**
     * @var bool Whether a timepicker should be shown as part of the input
     */
    public $showTime = false;

    /**
     * @var int The number of minutes that the timepicker options should increment by
     */
    public $minuteIncrement = 30;

    // Public Methods
    // =========================================================================

    /**
     * @inheritdoc
     */
    public function __construct($config = [])
    {
        // dateTime => showDate + showTime
        if (isset($config['dateTime'])) {
            switch ($config['dateTime']) {
                case 'showBoth':
                    $config['showDate'] = true;
                    $config['showTime'] = true;
                    break;
                case 'showDate':
                    $config['showDate'] = true;
                    $config['showTime'] = false;
                    break;
                case 'showTime':
                    $config['showDate'] = false;
                    $config['showTime'] = true;
                    break;
            }

            unset($config['dateTime']);
        }

        parent::__construct($config);
    }

    /**
     * @inheritdoc
     */
    public function init()
    {
        parent::init();

        // In case nothing is selected, default to the date.
        if (!$this->showDate && !$this->showTime) {
            $this->showDate = true;
        }
    }

    /**
     * @inheritdoc
     */
    public function rules()
    {
        $rules = parent::rules();
        $rules[] = [['showDate', 'showTime'], 'boolean'];
        $rules[] = [['minuteIncrement'], 'integer', 'min' => 1, 'max' => 60];

        return $rules;
    }

    /**
     * @inheritdoc
     */
    public function getContentColumnType(): string
    {
        return Schema::TYPE_DATETIME;
    }

    /**
     * @inheritdoc
     */
    public function getSettingsHtml()
    {
        // If they are both selected or nothing is selected, the select showBoth.
        if ($this->showDate && $this->showTime) {
            $dateTimeValue = 'showBoth';
        } else if ($this->showDate) {
            $dateTimeValue = 'showDate';
        } else if ($this->showTime) {
            $dateTimeValue = 'showTime';
        }

        $options = [15, 30, 60];
        $options = array_combine($options, $options);

        /** @noinspection PhpUndefinedVariableInspection */
        return Craft::$app->getView()->renderTemplate('_components/fieldtypes/Date/settings',
            [
                'options' => [
                    [
                        'label' => Craft::t('app', 'Show date'),
                        'value' => 'showDate',
                    ],
                    [
                        'label' => Craft::t('app', 'Show time'),
                        'value' => 'showTime',
                    ],
                    [
                        'label' => Craft::t('app', 'Show date and time'),
                        'value' => 'showBoth',
                    ]
                ],
                'value' => $dateTimeValue,
                'incrementOptions' => $options,
                'field' => $this,
            ]);
    }

    /**
     * @inheritdoc
     */
    public function getInputHtml($value, ElementInterface $element = null): string
    {
        $variables = [
            'id' => Craft::$app->getView()->formatInputId($this->handle),
            'name' => $this->handle,
            'value' => $value,
            'minuteIncrement' => $this->minuteIncrement
        ];

        $input = '';

        if ($this->showDate && $this->showTime) {
            $input .= '
';
        }

        if ($this->showDate) {
            $input .= Craft::$app->getView()->renderTemplate('_includes/forms/date', $variables);
        }

        if ($this->showTime) {
            $input .= ' '.Craft::$app->getView()->renderTemplate('_includes/forms/time', $variables);
        }

        if ($this->showDate && $this->showTime) {
            $input .= '
';
        }

        return $input;
    }

    /**
     * @inheritdoc
     */
    public function getSearchKeywords($value, ElementInterface $element): string
    {
        return '';
    }

    /**
     * @inheritdoc
     */
    public function getTableAttributeHtml($value, ElementInterface $element): string
    {
        if ($value) {
            $formatter = Craft::$app->getFormatter();

            /** @var DateTime $value */
            return 'asDatetime($value, Locale::LENGTH_SHORT).'">'.$formatter->asTimestamp($value, Locale::LENGTH_SHORT).'';
        }

        return '';
    }

    /**
     * @inheritdoc
     */
    public function normalizeValue($value, ElementInterface $element = null)
    {
        if ($value && ($date = DateTimeHelper::toDateTime($value)) !== false) {
            return $date;
        }

        return null;
    }

    /**
     * @inheritdoc
     */
    public function modifyElementsQuery(ElementQueryInterface $query, $value)
    {
        if ($value !== null) {
            $handle = $this->handle;
            /** @var ElementQuery $query */
            $query->subQuery->andWhere(Db::parseDateParam('content.'.Craft::$app->getContent()->fieldColumnPrefix.$handle, $value));
        }
    }
}

redpajama_set_name: RedPajamaGithub


What is FATCA? The Foreign Account Tax Compliance Act - commonly referred to as FATCA - requires foreign financial institutions (FFIs) to report to the IRS information about financial accounts and income held by U.S. citizens on foreign accounts with more than $50,000. It also increases the due diligence and reporting by U.S. banks and financial institutions.
With the majority of FATCA filings containing some sort of error, you need to be informed to be in FATCA compliance! Download our ebook today by completing the form.


text:
David Cicchella redefines the concept of beach partying
September 3, 2020 Bryce Ross
David Cicchella has successfully turned his passion into a job while challenging the status quo in the entertainment industry with his unique format of putting together beach parties. The founding partner of Samsara beach has an eye for revolutionizing the norm and it did not take long for his enthusiasm to be shown in the world of entertainment, especially in the area of organizing beach parties. His passion for excellence and desire to stand out of the pack has helped him to grow as an entrepreneur and individual.
Entertainment practically chose David, as he left Rome at the age of 18 after his hopes of becoming a pilot was dashed due to the circumstances surrounding his visual impairment. David worked as an animator before entering the world of events, after falling in love with singers and their talent. His captivating resume and amazing communication and business management skills helped him to be a part of the 2006 Olympic Games as a vocalist. He later became the singer of the acclaimed "Giro d'Italia," the most crucial race in the competitive cycling scene in Italy.
"I dealt with the public relations of a bar here in Italy, where I developed a relationship with the owner of a bar. From this experience, my passion for public events blossomed. My ardent passion will culminate in "The Tuesday of the Village", one of my most famous events. In these years, I also started collaboration with the owner of the bar which led to the birth of Samsara Beach (In Gallipoli) and of Beach parties. These beach parties also expand to Riccione and Montenegro, which will bring economic and tourist wealth to Riccione and Montenegro," said David Cicchella.
The visionary entrepreneur has developed the Samsara Beach brand to become one of the most popular summer marks in Italy and probably across Europe. He has also been able to make "Il Martedì del Villaggio" a popular arrangement that attracts lovers of adventure during the Italian summer.
David Cicchella is not looking to slow down in delivering the best possible experience to beach lovers as he continues to leverage his understanding of people's desires and their way of being to create innovative ideas to leave unforgettable emotions.


text:
Q: How do I get Hadoop to accept a SAS pass-through query with a compound WHERE clause? I am attempting to narrow-down the resulting SAS dataset of a pass-through query (i.e., using PROC SQL, not LIBNAME) to Hadoop by sending additional conditions in the inner (Hadoop-side) WHERE clause.
For example, the code that works looks like this (the dtpart macro variable is defined earlier in order to down-select to a single partition in the HDFS) :
proc sql;
   connect to hadoop (server="&srvid" port=10000 user="&uid" pw="&passwd" schema=default );
   create table work.creative_lkup as
   select
      advertiser_id,
      creative_id,
      creative,
      rendering_id,
      creative_type,
      input("&dtpart.", yymmdd10.) as last_updt_dt format=mmddyy10.
   from connection to hadoop (
      select
       `advertiser id` as advertiser_id,
       `creative id` as creative_id,
       creative,
       `rendering id` as rendering_id,
       `creative type` as creative_type
      from default.match_table_creatives
      where date_partition = "&dtpart."
   )
   WHERE advertiser_id = '12345';
disconnect from hadoop;
quit;

NOTE: As you can see, the field names in Hadoop are not SAS-standard (hence the back-ticks around the names containing spaces) and for some tables, the field and table names get really lengthy.  This makes it impractical to simply use a LIBNAME statement for my Hadoop connection, and therefore I must use a pass-through query in PROC SQL using the CONNECT TO.
What I'd like to do is move the "WHERE advertiser_id = '12345'" portion inside the pass-through to Hadoop.  Something like this:
proc sql;
   connect to hadoop (server="&srvid" port=10000 user="&uid" pw="&passwd" schema=default );
   create table work.creative_lkup as
   select
      advertiser_id,
      creative_id,
      creative,
      rendering_id,
      creative_type,
      input("&dtpart.", yymmdd10.) as last_updt_dt format=mmddyy10.
   from connection to hadoop (
      select
       `advertiser id` as advertiser_id,
       `creative id` as creative_id,
       creative,
       `rendering id` as rendering_id,
       `creative type` as creative_type
      from default.match_table_creatives
      where date_partition = "&dtpart."
         and `advertiser id` = '12345'
   );
disconnect from hadoop;
quit;

Unfortunately, when I do this, I get a nice vague error from Hadoop passed back to SAS:
ERROR: Prepare error: Error while processing statement: FAILED: Execution Error, return code 1 from
   org.apache.hadoop.hive.ql.exec.mr.MapRedTask

My question is: are there any settings, options, or other items that I could include in my PROC SQL statement in order to allow proper WHERE clause utilization?
It appears that the problem only occurs when there is an AND in the WHERE clause.  I've read a few things about SPDE (the ACCELWHERE= option sounds promising), but I have no idea how to go about using such options in PROC SQL and the reference materials I've found online seem to only point to use in a LIBNAME statement.
Thank you.

A: It appears that the problem is that the user specified in the connect string (held in the SAS macro variable &uid) does not actually exist in Hadoop.
The macro variable &uid is holding the name of a generic userID (different names for the DEV and PROD environments - hence the need for a macro variable).  It was assumed that the user existed in Hadoop, since I was able to use this userID to connect to Hadoop from SAS and retrieve records via simple queries.
Apparently, this is not the case.
Without a user existing in the Hadoop environment, there is no home folder in the HDFS.  Our Hadoop setup will still process "simple" queries (i.e., no transforms on fields; only WHERE condition can be against the partition field; no joins; etc.), because no MapReducer task needs to be built to get that data from the underlying flat files in HDFS.  It is only when there are additional WHERE conditions (i.e., other than the partition field) that a MapReducer task needs to be created.  The task - and any temp files needed by the task - get created in the home folder of the user running the query.  Since the home folder doesn't exist for this user, the MapReducer object throws an error (albeit without generating a log file in Hive, because there is nowhere to generate the log file or even the task that would create such a file).
It's goofy that it would even allow data to be selected without a valid userID, but that is our current setup.
As such, to test this theory, I ran the following code (NOTE: I used my username instead of the macro variable).
proc sql;
connect to hadoop (server="&srvid" port=10000 user="myuserid" pw="unnecessary" schema=default);
  create table work.creative_lkup2 as
  select
     advertiser_id,
     creative_id,
     creative,
     rendering_id,
     creative_type,
     input("&dtpart.", yymmdd10.) as last_updt_dt format=mmddyy10.
  from connection to hadoop (
select
      c.`advertiser id` as advertiser_id,
      c.`creative id` as creative_id,
      c.creative,
      c.`rendering id` as rendering_id,
      c.`creative type` as creative_type
from default.match_table_creatives c
where c.date_partition = "&dtpart." and c.`advertiser id` = "12345"
   );
disconnect from hadoop;
quit;

This returned approx. 80k records (10 seconds of CPU time, but it took almost 10 minutes due to IO from AWS).
As a thank you to all who viewed this issue and responded, I'd like to offer an additional lesson learned from this that may be helpful to you:
Since the fields in Hadoop are all defined as String, SAS has to assume that the fields are the longest possible character length: 32,767.  Therefore, the amount of data (mostly blanks) was excessive, contributing to the slow transfer rate.
The work-around we came up with involved using EXECUTE (...) AS HADOOP statements to create and populate a temp table that has correctly sized VARCHAR fields (already down-selected to the data we desire) before we ingest it into SAS.
proc sql;
   connect to hadoop (server="&srvid" port=10000 user="myuserid" pw="doesnt_matter" schema=default);
   execute (
      create table if not exists default.test_lkup_cre (
               advertiser_id Varchar(10),
               creative_id Varchar(10),
               creative Varchar(200),
               rendering_id Varchar(10),
               creative_type Varchar(16)
   )
) by hadoop;
   execute (
      insert into table default.test_lkup_cre
         select
               c.`advertiser id` as advertiser_id,
               c.`creative id` as creative_id,
               c.creative,
               c.`rendering id` as rendering_id,
               c.`creative type` as creative_type
         from default.match_table_creatives c
         where c.date_partition = "&dtpart." and c.`advertiser id` = "12345"
) by hadoop;
   create table work.creative_lkup3 as
   select
     advertiser_id,
     creative_id,
     creative,
     rendering_id,
     creative_type,
     input("&dtpart.", yymmdd10.) as last_updt_dt format=mmddyy10.
   from connection to hadoop (
      select
        advertiser_id,
        creative_id,
        creative,
        rendering_id,
        creative_type
      from default.test_lkup_cre
   );
   disconnect from hadoop;
quit;

This returned the same ~80k records in just 46 seconds.
Hopefully, this helps someone else out there as well.

redpajama_set_name: RedPajamaStackExchange


text:
Here are the top 3 experimental technologies Adobe showcased at Max Sneaks 2022
Thread starter Cal Jeffrey
Cal Jeffrey
The bleeding edge: Adobe held its annual MAX conference this week and, as usual, closed the event with its Sneaks presentation. Sneaks is a showcase of experimental features that Adobe developers have been working on for Creative Cloud throughout the year. This year's Sneaks theme was the Multiverse referring to the ongoing enthusiasm over metaverse technologies.
Adobe held its annual MAX conference this week and, as usual, closed the event with its Sneaks presentation. Sneaks is a showcase of experimental features that Adobe developers have been working on for Creative Cloud throughout the year. This year's Sneaks theme was the Multiverse referring to the ongoing enthusiasm over metaverse technologies.
Most of the Project Sneaks this year have some application for use in the metaverse, whether it's creating 3D environments from a 2D image or compositing images to use in a metaverse presentation. The features are in various stages of development, so they don't always work as well as you might expect. Most might never see the light of day again.
However, three of the Projects stood out for us this year — Project Clever Composites, Project Vector Edge, and Project All of Me. Each uses Adobe's Sensei AI to make things much easier for content creators and look polished enough that they have a good chance of making it into Creative Cloud at some point.
Project Clever Composites
Clever Composites makes compositing multiple images a breeze. If you've ever tried to place an object or person on the background of a different photo, you know it's a challenge. First, you have to isolate the subject and cut it from one image, then place it on the background, and that's the easy part. Adjusting the lighting, shadows, color saturation, contrast, and many other settings to match the background image can sometimes take hours.
Clever Composites does a few cool things. First, using the Creative Cloud search function to find suitable composite images can be tricky and time-consuming. With Clever Composites selecting an area of the background image acts as a filter and returns only images that make sense for that visual context.
After finding a suitable subject for the composite, fitting it to the background is as simple as dragging and dropping. The AI will automatically adjust the lighting, scale, and all other effects, including creating a drop shadow.
Project Vector Edge
Vector Edge was another feature tailored to creating composites. Placing logos and other visuals on three-dimensional surfaces within a photo can be complex. The perspective tool is your friend with tasks like placing an image on a television screen. However, things get trickier when you start dealing with edges. For example, situating a logo over the edge of a box requires so deft photoshopping magic. Vector Edge does all of this for you.
The Vector Edge tool uses AI to eliminate the need for manually clipping foreground images and adjusting for multiple perspectives. To demonstrate, Adobe started with a background image containing several objects. Sensei analyzes the photo and determines object dimensionality. Then when you place a foreground image, like a logo, on a flat surface, it automatically adjusts for perspective.
Furthermore, it detects when the foreground subject overlaps the edge of a background 3D surface and fixes the perspective for all three dimensional planes. It can also realistically affix content on rounded objects. It does this all in real-time, so you can quickly drag the foreground image to wherever it needs to go, seeing it morph based on where it is set.
Project All of Me
Finally, there was All of Me. You could call All of Me an uncropping tool, and you wouldn't be wrong. While it's easy to crop an image, getting the lost parts back without the original is impossible unless you have Sensei working for you.
Adobe demoed this tech using a picture of a woman in front of a house with a large yard. By examining the existing elements, the AI gets an idea of how the scene should look on a larger canvas. So then, by expanding the picture's outer edges, All of Me will fill in the missing parts with visually accurate material. The example Adobe showed recreated part of the house, yard, and even the woman's legs. Interestingly, the footwear was visually appropriate to the context of her dress.
As previously mentioned, these projects are experimental, and many still need more work. As such, they are unavailable to the public at this time and may or may not make it out of Adobe studios. That said, these three seem to be the best candidates to show up in future versions of Creative Cloud.
If you're interested in the other experimental features Adobe had on show, we've included the entire presentation in the masthead for your convenience.
https://www.techspot.com/news/96409-here-three-best-creative-cloud-technologies-showcased-adobe.html
Arbie
Can it remove clothes too? (Asking for a friend)
Reactions: Cal Jeffrey and VBKing
Morphine Child
Some of Adobe's AI tools are amazing, I really hope these will work on real world examples and not just on few select images.
I also have Luminar AI, and those AI features are average at best. People put AI into names way too often.
10 trailers from The Game Awards that left us wanting more
Hideo Kojima teases Death Stranding 2 at The Game Awards
scavengerspc
The Super Mario Bros. Movie trailer, but with Nintendo 64 graphics


The Equatorial Coordinate System is used to locate the position of star on Celestial Sphere. The Equatorial Coordinate System is similar to the coordinates of longitude and latitude that we use to locate the position of any place on the surface of Earth. Let us first learn how to locate an observer on the surface of Earth.
Author Anil KumarPosted on February 15, 2015 September 2, 2016 Categories Hydrogen, Nebula, Star, Supernova ExplosionLeave a comment on What is a Nebula?


Fishman pickups were invented out of necessity.
Created by Larry Fishman in the 80s as a solution to amplifying his own bass in jazz clubs in Boston, attention (and shortly thereafter a huge order) from C.F. Martin & Co. cemented Fishman as a company devoted to untethering musicians and their instruments from their microphones.
With both pickups (which we install here at House of Musical Traditions) and their off-board counterparts (preamps and DIs) Fishman continues to be an innovative and SOLID amplification solution for acoustic instruments.
Around the world and night after night, you'll see and hear Fishman products played by musicians on stages big and small. Whether you just need a little transducer to get a little extra volume out of your old Airline Kay or you are looking for a complete 180 watt amplifier to faithfully reproduce the tone of your favourite oud, Fishman really has the answer. Our head luthier Steve Carmody can do almost any install and our staff can advise on the best pickup for your instrument, your style and your sound. Email Brennan at the shop for more specific info!


Blonde Ambition: Monday Motivation - Get Out Of Your Comfort Zone!
Monday Motivation - Get Out Of Your Comfort Zone!
One of the biggest ironies i can think of, is when you live life trying to stay comfortable, life will send you more and more discomfort.
Life will keep handing you resistance, struggles, issues.
And because people are so concerned about staying comfortable instead of growing and reaching higher, because people don't want to address their limitations and move beyond them, they keep struggling.
Listen, you are not here on this planet to sip apple martinis on the beach and get yourself a tan.
You are here to grow.
And if you won't make yourself uncomfortable life will give you plenty of reasons to push you out of your comfort zone.
So you have one of two options.
Either you commit to constant growth and feeling discomfort upon your own accord and you become the master of your own destiny, or you hand over the keys and you let life happen to you be default.
One path leads you to success and the other path leads you to constant struggle and pain.
Do you think Steve Jobs started apple feeling comfortable about it?
Do you think top athletes sleep their way to high performance?
Do you think oscar winning actors procrastinated their way to high achievement?
So why you giving in to wasting time with Netflix marathons? And to chronic procrastination?
Why are you running to the bar the second your best friend texts you to come out?
You have got to be willing to make the hard decision. You've got to be willing to feel uncomfortable.
To feel awkward, to face rejection, to fail, to feel pressure.
So is it not possible then, that the life you are living now, you would be living differently, if you began to develop an awareness that you do not currently have?
Well guess what? The only way for you to develop knowledge and awareness is to try things you have not yet tried. To do things you have not yet done, to create things you have not yet created, to go to places you have not yet explored.
This is how you grow!
That is how you become the person who is worthy of sitting on the beach with their favorite drink, life rewards you with those experiences AFTER you do the work.
There is a real price to success, and LIFE collects the payments, and let me tell you something, life does not accept payment plans.
Life does not let you get away with experiencing things you have not yet earned.
Your sacrifice must be paid upfront and in full, and that is the only way you are going to achieve the life you want.
So i strongly suggest that you begin to pay with your discomfort.
I strongly suggest you start making those calls, that you start approaching that person, that you start practising kindness and compassion, over jealousy and greed, that you confront your anxiety, that you hit the gym, that you study harder, that you jump higher, that you begin waking up early, even if you're not a morning person, that you destroy your procrastination.
That you start doing the things, that you KNOW, within your heart, you should have started doing a long time ago, so you can start to build the experiences and the knowledge that you need to succeed.
That is what i suggest to you.
And don't listen to this as a voice on a video over some music.
Listen to this as a direct sign, a direct message that life is giving you, to wake you up, to help you acknowledge your own greatness.
It's time for you to get uncomfortable, it's time for you to start dreaming again, and start going after what was always yours, but what you've ignored for far too long.
And i promise, when you push yourself into discomfort, your friends will take notice, your colleagues will take notice, your family will take notice, LIFE will take notice, and life will begin to back you up. Life will begin to support you, and open doors for you and introduce you to the people who will take you to the next level, but you have got to take the first step!
Take it and watch your life explode into greatness.
Watch you develop into the person who you have always wanted to become.
It's all waiting for you OUTSIDE of your comfort zone. GO FOR IT.
Organax SuperFoods! Tried! Tested! Loved!


text:
(3839) Bogaevskij (1971 OU) – planetoida z grupy pasa głównego asteroid okrążająca Słońce w ciągu 3,84 lat w średniej odległości 2,45 j.a. Odkrył ją Nikołaj Czernych 26 lipca 1971 roku.

Zobacz też
 lista planetoid 3001–4000
 lista planetoid

Linki zewnętrzne

Planetoidy pasa głównego
Nazwane planetoidy
Obiekty astronomiczne odkryte w 1971


The Council shall, acting on a proposal from the Commission, adopt security regulations which, account being taken of the provisions of this Article, lay down the various security gradings to be applied and the security measures appropriate to each grading.
Where the Commission considers that the disclosure of certain information is liable to harm the defence interests of one or more Member States, it shall provisionally apply to that information the security grading required in that case by the security regulations.
The provisions of Articles 12 and 13 shall not apply to information subject to a security grading.
each Member State has, however, the right to require the Commission to grant a licence under Article 12 to meet the needs of that State or those of a person or undertaking operating in its territory.


text:
Tower at the End of Time (The House at the Edge of Magic #2)/ Amy Sparkes
Adventurous, magical and brilliantly funny sequel to The House at the Edge of Magic.
Nine and her friends have broken the curse on their marvellous, magical House, and are free to travel the worlds once more! Their first stop: The Wizarding Hopscotch Championships.
There's only one problem: the House is nervous about travelling - and gets the hiccups! Bouncing from world to world with every "HIC!", they finally land at the championships, only for Flabberghast to have an unfortunate run-in with square number seven, and find himself faced with the terrible Tower at the End of Time.
But maybe here they can find out how to cure the House's hiccups, and Nine might finally discover who left her the beloved music box, and who she really is...
A young middle grade novel full of humour, magic and mischief - and the second in a three book series.
Time of Green Magic, The / Hilary McKay
House at the Edge of Magic, The / Amy Sparkes
Peril at End House P/B / Agatha Christie
Snowglobe / Amy Wilson
The House on the Edge / Alex Cotter


text:
Q: Sublime Text 3 - adding newer CSS properties to the syntax highlighting list as you can see from the picture the newer property aspect-ratio are not recognized, as with a ton of other new properties. Where can I add these new properties?
ryboe made a package to fix this, but it only works on separate css-file, not the <script>-tag.


text:
In linguistica, una pausa è una interruzione nella catena parlata (o fonia). Le ragioni che determinano una pausa sono fondamentalmente tre:
fisiologia del respiro;
esitazione nello sviluppo del discorso e quindi necessità di riprogrammarlo;
segnalazione funzionale dei confini tra costituenti sintattici.
Nell'ultimo caso, ciò che viene percepito come pausa sintattica può corrispondere ad una discontinuità nella linea intonativa, senza che vi sia autentica interruzione nella fonia.

Durata e frequenza della pausa sono collegate alla velocità dell'elocuzione.

Si distinguono pause vuote da pause piene. Queste ultime sono accompagnate da segnali fatici (come mm, eh ecc.) e sono da ricollegare al fenomeno dell'esitazione.

Note

Bibliografia

Voci correlate
Punto fermo
Virgola
Punti di sospensione

Sintassi
Fonetica


text:
play free games online
IGN News
Abcya24
Home / IGN News / IGN Previews / IGN PS4 / IGN Xbox One / Online Games / RPG Games / Final Fantasy XV: Real Time Combat
Final Fantasy XV: Real Time Combat
Food Hương Giang November 23, 2014 0
There's a lot riding on Final Fantasy XV, the long gestating singleplayer follow up to the disappointing FFXIII. Depending on who you ask, it's the game that will save or bury Square Enix's reputation, it's the last great hope for enormo budget JRPGs, a genre currently holed up in various smaller niches to weather the shrinking Japanese games industry, it's a joke, it's out of step, it's the game that birthed the year's second best car meme after the Luigi Death Stare. We don't envy Square, nor director Hajime Tabata.
Every scrap of new information falls under the microscope, from the revelation that there would be no female party members, to the further revelation that we wouldn't be controlling anyone other than the game's sullen hero, Noctis. Forums explode at every new development and now a recent livestream featuring Tabata has appeared in English to set the record straight.
For better or worse, the fate of Final Fantasy now rests on Tabata's shoulders, with former project lead Tetsuya Nomura being shifted full time to the similarly camera shy Kingdom Hearts III. Nomura's fingerprints are still all over XV, but the Crisis Core and Type-0 director might be Square Enix's best hope to steer the series in a more profitable and acclaimed direction, and away from the sublimely incomprehensible mess that was Nomura's FFXIII.
So where does XV stand today, compared to the prototype revealed at last year's E3? You've probably seen the recent videos: the open world, the sports car… the Zoolander esque dudes sitting in the backseat while a giant monster prowls by the side of the road. A later demo detailed the game's crazy good hair physics, impressive weather effects and outfits plucked from Jean Paul Gaultier's 2015 'Spoony Bard' collection.
Noctis one
The key thing to note is that it will be both gorgeous and massive (barring a Watch Dogs style visual downgrade at any rate). Square won't be repeating the mistakes of lush corridor simulator FFXIII, and to that end we can expect the kind of open world roaming seen in XIII threequel Lightning Returns, only this time with a high powered vehicle and a bunch of handsome male models to keep us company. While you'll only control Noctis, you can ask a chum to take the wheel while you chill in the backseat trying to decipher the plot of Kingdom Hearts 2.
We joke, but Final Fantasy's unique mix of fantasy, sci-fi and near future fashion has been leading to this moment, and there's something almost prophecy fulfilling to the cool guy road trip with giant beasties feel of the recent trailer. The combat, too, has finally done away with turn based battling, replacing it with an acrobatic pummelling system reminiscent of what else ? Kingdom Hearts. Noctis can stab, dodge and teleport himself around the environment, while his AI backup will go about its business beside him, carrying out your instructions. It's been confirmed by Tabata, no less that FFXV will be the first mainline Final Fantasy to feature a dedicated jump button, along with a block/evade button that eats up MP when held down. There's even a parry that rewards you a special co-op action if timed correctly Square Enix is going to great pains to reassure fans that battling isn't as simple as it might first appear.
It's going to great pains, full stop. Since Versus XIII was melted down and reworked into Final Fantasy XV, the normally fairly reticent developer has been surprisingly open about its development process. We've been told to expect more regular updates from now on. Frequent communication would be appreciated, as the game still has a long way to go: Square is still in the process of porting elements from last year's prototype into the game proper. And yep, after eight years of development, that is a little startling.
What's been shown this year is promising, however. The battling builds on Kingdom Hearts' dynamic monster thwacking with greater visual fidelity, additional movement options and fewer semi naked, miserly Disney ducks. The story, meanwhile, is said to have fewer non interactive cutscenes so even if it's bobbins, like FFXIII's, we should be able to run and jump around to keep ourselves entertained.
It might be weighed down by expectation, baggage and a tonne of hair gel, but Final Fantasy XV finally seems to be heading down the right path. We'll know for sure with next year's demo, bundled with Type-0 HD.
Prince among men
Who is Noctis, and why's he so mopey ?
There's a reason we saved talk of the game's story for this box out there isn't much to yak about yet. We know that you play as the moody Prince Noctis, caught in a war between his advanced kingdom of Lucis and the more medieval Niflheim. As usual, magic crystals, the goddess Etro (yep, from FFXIII) and giant swords are involved somehow. You'll begin the game in search of Lucis' all important crystal, which is nabbed just as a peace treaty is to be signed.
IGN News IGN Previews IGN PS4 IGN Xbox One Online Games RPG Games
About Food Hương Giang
Total War: Warhammer looks set to be a fantasy fulfilled
We haven't yet seen a single second of in-game footage of Creative Assembly's next project, and it doesn't matter. If you spend your evening...
APK24.ONLINE
Action-adventure (82) Adventure Games (21) Car Games (29) Combat Games (28) cong (1) Digital Foundry (1) Faetures (3) Games (628) Games Xbox 360 (157) Guides (4) Halo (24) Horror Games (52) IGN Arcade (23) IGN Article (66) IGN Gameplay (3) IGN Games PC (841) IGN Movies (13) IGN News (1573) IGN Only Very Hard (180) IGN Previews (722) IGN PS Vita (114) IGN PS3 (221) IGN PS4 (794) IGN Reviews (303) IGN Trailer (14) IGN Video (20) IGN Xbox One (678) Interview (33) Microsoft (24) News (22) Online Games (7) pc (61) PC Only (44) PlaySration 4 (30) PSNOW-PSTV (7) Puzzle Games (8) Reviews (522) RPG Games (59) Rumours (9) Sci-fi Games (30) Sony (34) Sports Game (26) Tech (18) Technology (1) The Order 1886 (9) Update (16) VideoGames (588) Videos (32) Xbox One (26)
Vertiginous Golf: Review
Veterans of other golf games will find something new when stepping up to the green; the game plays more like 3D snooker, emphasising trick s...


text:
Moving Image27
See Other Contributors[remove]27
Nonfiction films.[remove]27
Short films.[remove]27
Educational films.18
Documentary films.5
Sponsored films.5
IUL Moving Image Archive16
IU Audio-Visual Center5
Educational Films4
Agency for Instructional Technology1
National Educational Television1
IUL Moving Image Archive[remove]27
English[remove]27
You searched for: Main contributor See Other Contributors Remove constraint Main contributor: See Other Contributors Genres Nonfiction films. Remove constraint Genres: Nonfiction films. Genres Short films. Remove constraint Genres: Short films. Language English Remove constraint Language: English Unit IUL Moving Image Archive Remove constraint Unit: IUL Moving Image Archive
1. Movement in classical dance : the pelvic area (12:25)
Demonstrates how to position and move the pelvis area during classical dance, following safe and correct principles. Slow-motion and live-action scenes illustrate a variety of body movements in eac...
2. Camping and recreational facilities for the handicapped (20:17)
Examines how the designers of Camp Riley, a residential camp for handicapped youths, made the out-of-doors accessible to everyone, regardless of personal mobility. Shows the camp's cabins, trails, ...
3. Camping and recreational programs for the handicapped (17:34)
Focuses on the programming at Camp Riley, which is designed with the special needs of handicapped youths in mind. Shows the activities one would expect to see at a summer camp--swimming, hiking, cr...
4. Development of the axolotl (08:35)
Studies the early stages of the development of the axolotl, an aquatic salamander, with emphasis upon genetically determined characteristics. Mates two wild-type, dark axolotls, each heterozygous f...
5. The Fourwinds Marina : a case study (25:16)
Details issues and problems of management strategy involved in the operation of a large inland lake marina, based on a written case study. Discusses management problems, such as unplanned involveme...
6. Land use on the flood plain (17:09)
1975 (Creation date: 1975)
Examines the relationship between flooding and land use. Explains that the proximity to transportation, energy, and fertile soil has often outweighed the dangers of flood, and offers dams, levies, ...
7. 1970, start of a new decade of progress (31:29)
An annual review film made by Sohio for its workers who participate in the employee investment plan.
8. Indiana University : 150 years (1820-1970) [fee hike protest footage] (08:39)
Outtakes from a film that celebrated the 1820-1970 sesquicentennial of Indiana University by surveying its history and current programs.
9. Indiana University : 150 years (1820-1970) [outtakes] (17:47)
Celebrates the 1820-1970 sesquicentennial of Indiana University by surveying its history and current programs. Points out the admission of women and students from other countries. Covers the develo...
10. Marlin to the fly (22:37)
Documents the late Dr. Webster "Doc" Robinson's historic fishing trip off the coast of Baja California, Mexico in May of 1963, on which he became the first angler to catch a striped marlin using an...
11. The land along the water (10:22)
Characterizes the land that lies along oceans and large lakes in terms of physical features and uses of the land. Points out that differences in the physical appearance of land near shorelines may ...
12. Germs and what they do (10:54)
Describes common microorganisms that cause disease, shows some of the helpful microorganisms, and demonstrates how good health habits provide a means of keeping germs out of the body.
13. Man enough for the job (25:32)
Tells how a boy, his sister and his family find happiness when they move to a rural area and become interested in the 4-H Club. Shows how the boy progresses from total disinterest to becoming a lea...
14. Challenge of the oceans (29:51)
A scientific study of the physical, chemical and biological aspects of the oceans. Presents current views of the character and dynamics of oceans and explains the scope, objectives, and problems of...
15. Projecting ideas on the overhead projector (17:16)
Outlines the advantages of the overhead projector as a visual aid to learning in classrooms, in business, and in industry. Shows the great variety of uses of the equipment, with opaque, translucent...
16. Community health is up to you (17:47)
The responsibility of the individual citizen for making sure his community's health facilities are adequate and the value of the community health council are shown.
17. The delinquents. Part 1, A boy named Bob (25:59)
Presents a case study of a young boy who has been sent to a correctional center for delinquents. Points out that delinquency can often be traced to lack of interest and care in the life of young pe...
18. The delinquents. Part 2, The Highfields story (25:33)
Describes a new experiment in dealing with juvenile delinquents--the Highfields Project, a small group residence center in New Jersey. Shows how the social pressures of the group are used to break ...
19. Texas star (10:31)
Demonstrates through slow motion and natural photography the positions and movements of the "Texas Star." Opens with a group of eight dancers performing the introduction to the dance. Shows each pa...
20. The Constitution and censorship (28:52)
Shows the relationship of the Constitution to the issue of prior restraint on freedom of expression. Presents the case of Burstyn v. Wilson challenging the constitutionality of New York State's fil...


text:
MDC Home|
MDC Library|
Data Privacy|
Research Team (MDC)
Research Team (ECRC)
Most Cited Papers
High Impact Papers
Variant histone H3.3 marks promoters of transcriptionally active genes during mammalian cell division
Creators Name:
Chow, C.M. and Georgiou, A. and Szutorisz, H. and Maia e Silva, A. and Pombo, A. and Barahona, I. and Dargelos, E. and Canzonetta, C. and Dillon, N.
Variant histone H3.3 is incorporated into nucleosomes by a mechanism that does not require DNA replication and has also been implicated as a potential mediator of epigenetic memory of active transcriptional states. In this study, we have used chromatin immunoprecipitation analysis to show that H3.3 is found mainly at the promoters of transcriptionally active genes. We also show that H3.3 combines with H3 acetylation and K4 methylation to form a stable mark that persists during mitosis. Our results suggest that H3.3 is deposited principally through the action of chromatin-remodelling complexes associated with transcriptional initiation, with deposition mediated by RNA polymerase II elongation having only a minor role.
Transcription, Epigenetic Memory, Pre-B Cell, Animals, Mice
EMBO Reports
Official Publication:
https://doi.org/10.1038/sj.embor.7400366
PubMed:
View item in PubMed
OA at the MDC
OA at Helmholtz
MDC Library
MDC Repository is powered by EPrints 3 which is developed by the School of Electronics and Computer Science at the University of Southampton.


√ Durability & High Quality: Resistance training bands, made of high quality 100% natural latex, eco-friendly, no smell, durable and elastic. TOPLUS Loop Resistance Band increases the effectiveness of your exercises enormously. They are built to last!
√ Body Workout: Shape perfect body curve and improve muscle tone. Perfect for any kind of workouts and designed for both men and women. Training regularly with these will make wonders for your arm, legs, back, buttocks, shoulders, hips and glutes and you don't need to spend time and money in the gym.
√ 5 Set Loop Exercise Bands: Bands are 12" long, 2" wide with 5 levels of tension, useful for a huge variety of exercises. Each band has a different strength, for each exercise you can choose 1 of our 5 color coded Bands for different stretch levels: Extra Light, Light, Medium, Heavy and Extra Heavy. Choose your type according to your current status and needs.
√ Injury Rehabilitation: Resistance Exercise Bands are often used for various types of Sports and Fitness but are also ideal for Physical Therapists as they are great for rehabilitation. TOPLUS Loop Exercise Bands are beneficial for Strength Training, Rehab After Injury, Injury Prevention, Pregnancy, People suffering from Back, Leg and Knee Injuries, Knee Replacements, Patella, Meniscus Rehab and Recovery from Torn MCL and ACL.
√ Worry-free Warranty: Purchase with No-risk ONE YEAR replacement and refund guarantee. If there is an issue with your product for any reason we will refund you and send you a new one absolutely FREE!
5 colors of resistance bands range from X-Light to X-Heavy, you can choose your suitable band or combine multiple bands to increase levels of tension and realize most efficient training.
Convenient for you to exercise anywhere you want, in the gym, at office, at home. Tuck it into your luggage or backpack, optimal travel fitness trainer!
Please tie up your hair before use. What's Included?