text:
Xiaomi Poco M3 will launch in Indonesia on 21 January
Galaxy M62 certified by FCC with 7000mAh battery
Oppo A94 will launch soon; certified by IMDA
Samsung Galaxy S21 series is in global pre-orders
Xiaomi's MIUI 12.5 pushing schedule released
Vivo X60 Pro+ launch confirmed on 21 January
Samsung Galaxy S21 series announcement and specs
Added on: 28th, Oct, 2020
Last updated: 7th, Jan, 2021
Released: 2021, January 04
OS: Android 10.0
Display: 6.5" 720x1520 pixels
RAM: 3/4GB RAM Snapdragon 450
Battery: 5000mAh Li-Po
Samsung Galaxy A02s - Full Specifications and Price in Bangladesh
Announced 2020, November 24
Status Available. Released 2021, January 04
2G bands It's the 2nd generation mobile data communication technology.	 GSM 850 / 900 / 1800 / 1900 - SIM 1 & SIM 2 (dual-SIM model only)
3G bands It is the 3rd generation mobile data communication technology.	 HSDPA 850 / 900 / 2100
4G bands It is the 4th generation mobile data communication technology.	 1, 3, 5, 8, 38, 40, 41
Dimensions It's the size of the phone in format (H x L x W) and the volume of the phone where available.	 164.2 x 75.9 x 9.1 mm (6.46 x 2.99 x 0.36 in)
Build Describes the construction materials, methods and finishes used by the manufacturer when building a phone.	 Glass front, plastic back, plastic frame
SIM SIM (Subscriber Identity Module) is a small card that contains a mobile network subscriber's account information. This allows the phone to use the card to attach to a mobile network. The SIM card is most commonly associated with GSM and UMTS mobile networks. Moving a SIM card from one phone to another allows a subscriber to switch mobile phones without having to contact their mobile network carrier. SIM cards can also be used by a phone to store limited amounts of data, such as phone numbers and text messages.	 Single SIM (Nano-SIM) or Dual SIM (Nano-SIM, dual stand-by)
Type A number of display technologies and types used in mobile phones TFT (Thin Film Transistor), IPS (In-Place Switching), OLED (Organic Light Emitting Diode), AMOLED (Active-Matrix Organic Light-Emitting Diode), Super AMOLED (an even advanced version of AMOLED), Resistive Touchscreen (Resistive touchscreens contain two-layer of conductive material with a very small gap between them which acts as a resistance), Capacitive Touchscreen (Capacitive touchscreen technology consists of a layer of glass coated with a transparent conductor)	 PLS IPS capacitive touchscreen, 16M colors
Size The industry-standard way of representing display sizes is publishing their length in inches. The screen-to-body ratio is a measure that relates to the size of the screen bezels. The bigger the ratio, the smaller the bezels are, meaning the display takes up a larger area on the device's front.	 6.5 inches, 102.0 cm2 (~81.8% screen-to-body ratio)
Resolution Display Resolution is the measuring way of how much pixels does a display contains. A higher resolution means more pixels and more pixels provide the ability to display more visual information (resulting in greater clarity and more detail).	 720 x 1520 pixels, 19:9 ratio (~259 ppi density)
OS Every Mobile Phone system runs on a base software called Operating System (OS). Operating System controls all basic operations of the Mobile (such as smartphones, PDAs, tablet computers, and other handheld devices). The Operating System allows the user to install and run third party applications (apps), apps are used to add new functionality to the device.	 Android 10
Chipset It is a group of integrated circuits designed to perform one or more dedicated functions, often with real-time computing constraints, Popular smartphones are equipped with more advanced embedded chipsets that can do many different tasks depending on their programming.	 Qualcomm SM4250 Snapdragon 450 (11 nm)
CPU CPU (Central Processing Unit) mostly known as processors, CPU processes instructions in order to carry out certain functions that make your device operate properly. Processors are often described as the brain of computers, smartphones and tablets, Smartphones and tablets rely on processors to carry out their every task, Processors are an incredibly important factor in selecting any type of computing device, including your smartphone.	 Octa-core 1.8 GHz Cortex-A53
GPU GPU (Graphics Processing Unit) is a single-chip processor designed to rapidly manipulate and alter memory to accelerate the creation of images in a frame buffer intended for output to a display, This includes things such as lighting effects, object transformations, and 3D motion.	 Andreno 506
Internal Internal memory is the memory available onboard (chip or motherboard) which is given while manufacturing at the factory. is a data storage space (flash memory) mostly used in smartphones, tablets, and other electronic devices where operating system, apps, music, photos, videos, files, and other user data Is stored.	 32/64 GB eMMC 5.1
RAM RAM (Random Access Memory) is a type of mobile, computer memory that can be accessed randomly, any byte of memory can be accessed without touching the preceding bytes that allow information to be stored and accessed quickly from random locations. RAM is the most common type of memory found in computer systems, smartphones, tablets, and other electronic devices.	 3/4 GB
Primary camera This term refers to the size of an image, usually in reference to a photo from a camera mobile phone. A megapixel means one million pixels. The resolution of camera phones is often measured in megapixels. For example, a 12-megapixel camera can produce images with 12 million total pixels.	 13 MP, (wide), AF
Secondary camera 5 MP, f/2.2
GPS GPS (Global Positioning System) originally Navstar GPS, is a satellite-based radio navigation system. It is a satellite-based radio navigation system, GPS permits users to determine their position, velocity, and the time 24 hours a day, in all weather, anywhere in the world, In order to locate your position, your device or GPS receiver must have a clear view of the sky.	 Yes, with A-GPS, GLONASS, GALILEO, BDS
USB USB is a standard for a wired connection between two electronic devices, including a mobile phone and a desktop computer.	 USB Type-C 2.0
Sensors A sensor is a device, module, or subsystem whose purpose is to detect events or changes in its environment and send the information to other electronics. The specific input could be light, heat, motion, moisture, pressure, and location, The output is generally a signal that is converted to use in computing systems, a location sensor, such as a GPS receiver is able to detect the current location of your electronic device.	 Accelerometer, proximity
Made by Korea
Color Black, White, Blue
Models SM-A025F, SM-A025F/DS, SM-A025G, SM-A025G/DS, SM-A025M, SM-A025M/DS
Samsung Galaxy A02s - Reviews/Comments
Samsung Galaxy A02s Price in Bangladesh / BD Price January, 2021
The Samsung Galaxy A02s smartphone was available. Now, the Galaxy A02s basic variant (34GB/32/64GB) is the expected price available at BDT 15,000 in Bangladesh. The smartphone phone is available in Bangladesh in Black, White, Blue colors variant.
Model Samsung Galaxy A02s
Price BDT. 15,000
Display 6.5″ 720 x 1520 pixels
RAM 3/4 GB
ROM 32/64 GB
Samsung Galaxy A02s highlights
The Galaxy A02s phone body dimensions are 159.8 x 72.9 x 7.5 mm. It is powered by the Android 10 platform with Qualcomm SM4250 Snapdragon 450 (11 nm) chipset. The primary camera is 13 MP, 2 MP, 2 MP, 2 MP (main) that supports autofocus. And the secondary camera is 5 MP (secondary).
More Phones from Samsung
Realme C15 Qualcomm Edition ৳12,990.00


MARKHAM, ONTARIO and STOCKHOLM, SWEDEN--(Marketwire - Nov. 1, 2012) - Enghouse Systems Limited (TSX:ESL) announced today that it has acquired Visionutveckling AB (Vision) for a purchase price of approximately $10.9 million, subject to certain price adjustments. Vision's annual revenues for fiscal 2012 were approximately $11.5 million.
Headquartered in Stockholm, Sweden, Vision's leading Attendant and Contact Center software solutions have been installed in over 1,300 customer sites ranging from small to large enterprises in both the public and private sectors. The Vision 80/20 Contact Center product is a full multi-media product offering a cloud or on-premise solution. Founded in 2002, Vision has 88 employees and offices in Sweden, Norway and Denmark.
"The acquisition is a great fit as both Enghouse and Vision have deep industry expertise and are committed to building long-term customer relationships, offering complementary solutions on-premise or in the cloud," stated Stephen Sadler, Chairman and CEO of Enghouse. "Visionutveckling strengthens our existing foot print in Scandinavia, enhances our product offering to the SME sector (with the Vision 80/20 packaged solutions) and to telecom Network Operators (with the Saas based high-availability product)."
"We are excited to be joining Enghouse - a recognized leader in the contact center space in Scandinavia and elsewhere," stated Tomas Andre, CEO of Visionutveckling. "Collectively we will have a significant presence to create even greater benefits to our existing and new customers."
Enghouse Systems Limited is a leading global provider of enterprise software solutions serving a variety of vertical markets. Its strategy is to build a large diverse enterprise software company through strategic acquisitions and managed growth. Enghouse shares are listed on the Toronto Stock Exchange (TSX:ESL). Further information about Enghouse may be obtained from its web site at www.enghouse.com.


Architect Samuel Hurst Seager was born in London in 1855 and emigrated to Christchurch, New Zealand, in 1870. After working as a builder, he worked in the office of Benjamin W. Mountfort as a draftsman while studying at Canterbury College. Seager also studied in London at University College, the National Art Training School, the Architectural Association, and the Royal Academy of Arts between 1882 and 1883. In 1891, he and his wife Hester (née Connon) moved to Sydney where he practiced architecture. They relocated to Christchurch in 1894 and Seager took up a lecturing position at the Canterbury College School of Art.
Among Seager's more notable designs are the Christchurch Municipal Chambers (1885), the John Macmillan Brown cottage (Cashmere, 1899), the three Summit Road rest houses on the Christchurch Port Hills (1914–1917), and the completion of the Canterbury College campus (1913, now the Arts Centre of Christchurch). From the mid-1890s, he also began offering public lantern lectures on a range of art and architectural topics, a practice he would continue throughout his career.
Seager was interested in many architectural issues, particularly those that he felt could improve standards of design. He incorporated Arts and Crafts principles into his domestic designs, advocated for city beautifying and town planning measures, created a scientific method of lighting for art galleries, and worked to promote the development of the architectural profession in Australia and New Zealand. In 1926 he was awarded a C.B.E. for his commitment to town planning. His top-side lighting method was adopted at the Sarjeant Gallery, Wanganui (1916), and the Robert McDougall Gallery, Christchurch (1928), and was also used in several European art galleries, including the Tate Gallery (Tate Britain) and the Louvre.
Seager's designs for the five battlefield memorials were completed at the zenith of his career and demonstrate his prowess as a memorial architect. He was a vocal participant in many issues relating to war memorials and wrote a memorandum outlining the aesthetic approaches emerging in British designs. These ideas he unified with town planning principles in his 1919 suggestion of a national war memorial highway, stretching across the country from Auckland to Bluff to link the regional memorials together on a single route.
After completing work on the battle exploit memorials, Seager continued to give public lantern lectures on architectural subjects. He also worked on projects such as the memorial to Prime Minister William Massey (in conjunction with Gummer and Ford) and the Citizens' War Memorial in Wellington (1926–1930). With his health beginning to decline, the Seagers moved to Sydney, where Samuel passed away in 1933.


text:
John J. Wood (born January 29, 1964) is the Founder of two global education charities: Room to Read and U-Go.  Wood started Room to Read in 2000 after quitting his executive position as Microsoft's Director of Business Development for the Greater China Region.  Along with his co-founders Erin Ganju and Dinesh Shrestha, he built out a global team that has raised over $750 million in funding commitments and has brought education programs to over 26 million children in 20 low income countries.

In late 2021, he announced in the Financial Times his decision to start a new non-profit, U-Go, with the aim of helping tens of thousands of young women in low income countries to pursue higher education through targeted scholarships, life skills training and job placement.  U-Go launched via a live Bloomberg interview on February 7, 2021 and is now working in Bangladesh, Cambodia, India, Indonesia, Pakistan and Vietnam with plans to add on Nepal and the Philippines.

At the invitation of former President Bill Clinton, Wood served four terms on the Advisory Board of the Clinton Global Initiative and was a frequent speaker at their annual event.  He currently serves on the Boards of the Singapore-based private equity firm Asia Partners and Hong Kong-based plant-based protein innovator Green Monday Holdings.  He is also on the Advisory Boards of Global Citizen Year and New Story.

Early life
John Wood was born in January 1964, in Hartford, Connecticut, where he spent his early childhood. His family later settled in Athens, Pennsylvania, where he attended high school. He holds a bachelor's degree from the University of Colorado, and a master's degree in business administration from the Kellogg Graduate School of Management at Northwestern University.   He has received honorary PhD's from McGill University, the University of San Francisco, Westminster University, and Wofford College.

From 1991-1999, Wood worked as an executive for Microsoft.  His positions included Director of Marketing for Australia, Director of Marketing for the Asia-Pacific region and Director of Business Development for Greater China.

Leaving Microsoft to Change the World
Wood took a vacation from his work at Microsoft in 1998 to trek through the Himalayas. While trekking, he met a "resource director" for the schools in the Annapurna Circuit of Nepal, with whom he visited a primary school with over 300 students but only a handful of books—none of which were age-appropriate.  Upon seeing Wood's reaction to the lack of books, the school's headmaster suggested, "Perhaps, sir, you will someday come back with books," which inspired Wood to solicit book donations from family and friends via an appeal email sent from an Internet cafe in Kathmandu.

A year later, Wood returned to the school with 3,000 books on the back of six donkeys—all donated in response to his email appeal to friends and family. Soon thereafter, he left his job at Microsoft entirely to devote himself full-time to Books for Nepal, a side project that would eventually form the foundation for Room to Read.

Leaving Microsoft was launched in North America by HarperCollins in August 2006, and was subsequently published in 21 languages.  It was featured on The Oprah Winfrey Show in 2007, with "Oprah's Book Drive" for Room to Read raising over $3 million.    The memoir was selected by the American Booksellers Association for its BookSense Notable Books List.   It was also named one of the Top Ten non-fiction books of 2006 by Hudson's Booksellers and a Top Ten business narrative of 2006 by Amazon.com.   The sequel—titled Creating Room to Read:  A Story of Hope in the Battle for Global Literacy was published by Penguin in February, 2013.

Room to Read
Wood co-founded Room to Read in 2001 with Dinesh Shrestha and Erin Ganju. Operating in 20 low-income countries, the organization focuses on increasing literacy and gender equality in education. Its programs develop literacy skills and a habit of reading among primary school children, and support girls to complete secondary school with the relevant life skills to succeed in school and beyond.  Over 25 million children have benefitted from the organization's programs.

U-Go
Wood launched U-Go after meeting many Room to Read Girl Scholars whose parents were grateful that their daughters would finish secondary school, but frustrated that they would not be able to continue on to university.  For many years he and a small group of friends had personally bankrolled a few dozen scholarships, but he felt this was "too little and too random" and that a more strategic and scalable model was needed to "hand out sledgehammers to shatter this remaining glass ceiling".  U-Go's Founding Board is composed of business leaders in five countries and includes Tim Caflisch, Benjamin (Ben) Happ, Patricia Horgan, Nick Nash, Archana Parekh, Anne Patricia Sutanto and Mariana Zobel de Ayala.

Zak the Yak with Books on his Back
Wood authored his first children's book, Zak the Yak with Books on His Back, in 2010. The book, written in rhyme and illustrated by Nepali artist Abin Shrestha, tells the story of Room to Read in a manner accessible to school children.  Wood has said that with the book he aims to inspire children to take action. Self-published by Room to Read with costs underwritten by The Republic of Tea, all revenue from Zak the Yak goes directly to the organization's programs.

Television and Radio

Wood appears frequently on television and radio, with multiple appearances on the Australian Broadcasting Corporation, BBC, Bloomberg, CNBC's Squawk Box, Channel News Asia, CNN, CNN Headline News, MSNBC, PBS and Tavis Smiley.    He has also been profiled or interviewed on Charlie Rose, CBS Evening News, CTV (Canada), France24, Globo (Brazil), the Katie Couric Show, KQED, the Oprah Winfrey Show, Radio France International, WAMU (Kojo Nnamdi) WNYC (Leonard Lopate Show) and numerous others.

Published works
 'Hong Kong Helps Nepal - A Report from the Quake Zone" - South China Morning Post, July 2015, series of four daily posts from the field.
 Creating Room to Read: A Story of Hope in the Battle for Global Literacy (Viking Penguin, 2013)
It Began with Books—Newsweek, 2008
 Leaving Microsoft to Change the World: An Entrepreneur's Odyssey to Educate the World's Children. (HarperCollins, 2006)*
 "You Say You Want a Revolution?", GOOD Magazine. (January 26, 2009)
 "The Ultimate Second Act," Stanford Social Innovation Review. (Summer 2009)
 Zak the Yak with Books on His Back. (Publishing cost underwritten by The Republic of Tea, 2010)
 "Memo to Billionaires--We're Ready for You." (with Matt Flannery of Kiva) CNBC.com (September 27, 2010)

Awards
Wood has received the following honours:

 Northwestern University Alumni Association Service to Society Award, 2015
 World Children's Prize, for a "15 year fight for children's right to education", awarded by Queen Silvia of Sweden
 Goldman Sachs "100 Most Intriguing Entrepreneurs", 2013
 Tribeca Film Festival Lifetime Achievement Award for "Disruptive Innovation", 2012
 Sandor Teszler Award for Moral Courage and Service to Humankind, 2012
 Forbes Impact30 List of the top social entrepreneurs
 Barron's list of the "25 Best Givers", 2009 and 2010
 Inaugural winner of Microsoft Alumni of the Year award, presented by Bill and Melinda Gates
 2009 Asia Society Award For public service to Asia
 Three-time speaker at the Clinton Global Initiative
 Five-time winner of the Fast Company magazine and Monitor Group's Social Capitalist Award
 Recipient of Time Magazine's "Asian Heroes" Award, recognizing "20 People under 40 who have done something brave, bold, or remarkable" (the only non-Asian ever chosen for this honor)
 Selected for the inaugural class of "Young Global Leaders" by the World Economic Forum
 Henry Crown Fellow at the Aspen Institute
 Four-time winner of the Skoll Foundation Award for Social Innovation
 Second recipient of the Draper Richards Fellowship
 Profiled by the Public Broadcasting Service (PBS) as one of "America's Great Leaders"
 Honorary doctorate in Education from McGill University, Honorary Doctorate in Humane Letters from the University of San Francisco, with honorary PhD's also from Westminster College (2009) and Wofford College (2012).

Personal life
Wood lived with his wife Amy Powell in Hong Kong for 8 years but now resides in Solana Beach, California. He travels roughly 200 days per year for media, public speaking and fund-raising opportunities.   His hobbies include running, skiing, hiking, travel, reading, and wine.  He has run 16 marathons, traveled to over 50 countries, appeared as an extra in Law and Order and is an investor in over 25 growth companies.

References

External links

 U-Go web site
 John Wood's personal website

1964 births
University of Colorado alumni
Kellogg School of Management alumni
American humanitarians
American memoirists
American nonprofit executives
Living people
Henry Crown Fellows

redpajama_set_name: RedPajamaWikipedia


text:
namespace boost::math::ccmath {

namespace detail {

template <typename ReturnType, typename T1, typename T2>
inline constexpr ReturnType fmod_impl(T1 x, T2 y) noexcept
{
    if(x == y)
    {
        return ReturnType(0);
    }
    else
    {
        while(x >= y)
        {
            x -= y;
        }

        return static_cast<ReturnType>(x);
    }
}

} // Namespace detail

template <typename Real, std::enable_if_t<!std::is_integral_v<Real>, bool> = true>
inline constexpr Real fmod(Real x, Real y) noexcept
{
    if(BOOST_MATH_IS_CONSTANT_EVALUATED(x))
    {
        return boost::math::ccmath::abs(x) == Real(0) && y != Real(0) ? x :
               boost::math::ccmath::isinf(x) && !boost::math::ccmath::isnan(y) ? std::numeric_limits<Real>::quiet_NaN() :
               boost::math::ccmath::abs(y) == Real(0) && !boost::math::ccmath::isnan(x) ? std::numeric_limits<Real>::quiet_NaN() :
               boost::math::ccmath::isinf(y) && boost::math::ccmath::isfinite(x) ? x :
               boost::math::ccmath::isnan(x) ? std::numeric_limits<Real>::quiet_NaN() :
               boost::math::ccmath::isnan(y) ? std::numeric_limits<Real>::quiet_NaN() :
               boost::math::ccmath::detail::fmod_impl<Real>(x, y);
    }
    else
    {
        using std::fmod;
        return fmod(x, y);
    }
}

template <typename T1, typename T2>
inline constexpr auto fmod(T1 x, T2 y) noexcept
{
    if(BOOST_MATH_IS_CONSTANT_EVALUATED(x))
    {
        // If the type is an integer (e.g. epsilon == 0) then set the epsilon value to 1 so that type is at a minimum
        // cast to double
        constexpr auto T1p = std::numeric_limits<T1>::epsilon() > 0 ? std::numeric_limits<T1>::epsilon() : 1;
        constexpr auto T2p = std::numeric_limits<T2>::epsilon() > 0 ? std::numeric_limits<T2>::epsilon() : 1;

        using promoted_type =
                              #ifndef BOOST_MATH_NO_LONG_DOUBLE_MATH_FUNCTIONS
                              std::conditional_t<T1p <= LDBL_EPSILON && T1p <= T2p, T1,
                              std::conditional_t<T2p <= LDBL_EPSILON && T2p <= T1p, T2,
                              #endif
                              std::conditional_t<T1p <= DBL_EPSILON && T1p <= T2p, T1,
                              std::conditional_t<T2p <= DBL_EPSILON && T2p <= T1p, T2, double
                              #ifndef BOOST_MATH_NO_LONG_DOUBLE_MATH_FUNCTIONS
                              >>>>;
                              #else
                              >>;
                              #endif

        return boost::math::ccmath::fmod(promoted_type(x), promoted_type(y));
    }
    else
    {
        using std::fmod;
        return fmod(x, y);
    }
}

inline constexpr float fmodf(float x, float y) noexcept
{
    return boost::math::ccmath::fmod(x, y);
}

#ifndef BOOST_MATH_NO_LONG_DOUBLE_MATH_FUNCTIONS
inline constexpr long double fmodl(long double x, long double y) noexcept
{
    return boost::math::ccmath::fmod(x, y);
}
#endif

} // Namespaces

#endif // BOOST_MATH_CCMATH_FMOD_HPP

redpajama_set_name: RedPajamaGithub


In what ways do you see your work aligned with one (or more) of the four propositions?
To some extent, the work I do both in Israel and the US aligns with all four propositions, but with some more inherently than the others. The first, and most inherent one, would obviously be the third proposition which states the importance of community, kehilla. The movement of mission-driven communities in Israel, and the emerging parallel one in America, is first and foremost about living in a community, and about small, intimate and network-like communities as the most relevant response to the human existential predicament. However, we deal not merely with communities, but rather with communities with a purpose: mission-driven, or intentional, communities.
Group life based on learning are in fact an incubator for chochmah, for sharing Jewish learning in a deep and relevant way to our time.
The life-long aspect of intentional community life corresponds to the proposition of kedushah, although not necessarily in the religious sense in all cases, as it promotes purposefulness as a way of life.
The social mission and action component is obviously a manifestation of the tzedek proposition, as mission-driven communities promote social, economic and environmental justice in their immediate surrounding and beyond on a daily basis and in very efficient manners.
I think there is one specific area in Jewish life and practice that my work aspires to advance, which lies outside the aforementioned four propositions and deserves its own unique place: the connection to Israel. I applaud Schwarz's analysis of "the new American Jews", who – for the most part – do not derive their sense of Jewish identity and belonging from the persecution phobia of previous generations, or the Holocaust, hence their relation to the State of Israel is also dramatically different. If Jews are not persecuted as they used to be, and even if they are this shouldn't be the basis of Jewish identity, why would someone feel affiliated with the State of Israel as a safe haven for Jews, who apparently don't need one anymore? In addition, Israel's complex geo-political situation for decades make it a much more complex issue to deal with in general for Millennials.
However, I believe Israel should, and still could, stay a cornerstone of Jewish identity in the 21st century, and in fact it is a crucial component of it. Besides the historic Jewish layers contained within its borders, however one defines them, Israel is slowly but steadily becoming the largest Jewish concentration on the planet and the major hub for Jewish learning, creativity, entrepreneurship and culture. Together with the American Jewish community, these are the two focal points of the Jewish people, pretty much setting its agenda. Keeping people and leaders, especially emerging community leaders, connected and synchronized across these two sides of the ocean is a vital piece in maintaining Jewish peoplehood over the long run.
Shockingly, or not, there is a lot more going on in Israel beyond its geo-political complexities. The huge movement of mission-driven communities, now counting more than 250 groups in 14 different networks with 10,000 members who reach half a million beneficiaries, is the largest one in the world and can serve as a key example to the social entrepreneurship of the Israelis, beyond Hi-Tech. As we have seen with Hakhel's Israel trip, exposing young American Jews to this movement can dramatically change their point of view on Israel, inspire their personal Jewish voyage and inform their communal work back home. I think this is a key proposition the New Paradigm Spiritual Communities Initiative that should also be taken into account.
Aharon Ariel Lavi is the founder of Garin Shuva, a mission-driven community bordering Gaza and of the Nettiot Network which reengages ba'alei teshuva into Israeli society. He is the co-founder of the National Council of Mission-Driven Communities and is a consultant to Hazon's Intentional Communities Initiative.


Brass automotive components are in flexible sizes, dimensions and shapes. These customized solutions make sure that our components suit perfectly to your complex project requirements. That can be used freely for different industrial applications. With approved quality standards. We make sure that our brass automotive components are tested and checked in every stage of production process and to give high standard product.


Today at its "Future of Shopping" event in New York, eBay has announced a redesigned site and a new Pinterest-like product Feed, as well as the public debut of eBay Now in San Francisco with NY coming soon.
eBay's newly refreshed site certainly feels cleaner than ever before, with refinements to the company's search, product and checkout pages, but the overall experience should not be different enough to confuse users. eBay's new Pinterest-like feed, however, is a completely different animal, and despite being downplayed, reflects an interesting bet on Pinterest's discovery model, with the hopes of merging discovery with actual purchase intent.
The new Feed is rolling out in the US over the next 100 days, but you can activate it now by visiting www.eBay.com/feed. Users of the Feed can make their own feeds and follow other feeds — and if that doesn't sound suspiciously like a Pinterest Board, I don't know what does.
As for the site redesign, it's live, but certain aspects, including the new product pages, should become available over the following 24 hours. Noteworthy site improvements include the new one page checkout process, much deeper PayPal integration (which may not be an improvement for some users) and a generally clearer visual hierarchy.
eBay Now, the experimental service that connects customers with local partners like Walgreens and delivers goods to them within the hour, has officially arrived in the iTunes store today and is now available in NY and San Francisco (NYC coming soon). You can get the app here.
The once quirky Web 1.0 hub of used and rare goods is moving into a very different direction. With more than 25M sellers of "mostly new products" that feature free shipping, eBay's famous auction site is looking more and more like Amazon every day — without all the warehouses.
Here's some stats for you to put this all into perspective: we already knew that eBay's mobile app has been downloaded more than 100 million times, leading to millions of dollars in mobile-based revenues. Additionally, according to CEO John Donahoe, eBay has as many as 400 employees working on mobile solutions right now.
Today's announcements complete eBay's shift into a direct competitor of powerhouses like Amazon, and from what we can see, the new eBay has been executed quite well thus far. One thing that is troubling, however, is the new eBay Feed. Countless sites have adopted the Pinterest look over the past year, but it's naive to assume that Pinterest's success can be transferred to many different use-cases. The classic "time will tell" line applies well here, but hopefully eBay has at least prepared itself to explore alternatives should its Pinterest copycat not catch on.


text:
Welcome to the high-tech world of family law
On Behalf of Cipriano Law Offices, P.C. | May 29, 2014 | Family Law
They've been around since the beginning of time. Divorces, child custody battles and fights about who gets what when a couple splits are some of the oldest conflicts known to man. As such, we don't generally think of the area of family law as a very tech-savvy field. It's one that sticks to the tried and true methods that have worked for ages, right?
Not so much. With the arrival of the information age, the resolution of family law issues has taken a step into the future. More and more attorneys are adopting this new form of evidence gathering as a way to bolster their cases in alimony negotiations. Say, for instance that a spouse is paying alimony to an ex, but has suspicions that he or she is in a situation of cohabitation. If that's the case, it could be cause for termination of the alimony, but a court would need solid proof.
Attorneys would normally hire a private investigator to tail the person and determine if they were living with someone. Now, with access to cell tower location data, the lawyer has compelling evidence of their living arrangements. Various cases have also used social media and other Internet data in the discovery process to solidify their case.
Of course, not all courts are as keen on the idea as others, so even the most technologically advanced firm would do well to marry both traditional methods and new ones to build a strong case.
Whether you're seeking alimony or contesting it, a New Jersey attorney may be able to help you work out a fair deal via mediation or through the court system.
Source: huffingtonpost.com, "How to Identify the Trend-Setting Professionals Paving New Ways to Support Termination of Alimony Claims," Diane L. Danois, May 18, 2014

redpajama_set_name: RedPajamaCommonCrawl


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The News of the World Championship was one of the first major    organised darts competitions, which began in 1927. It became England's first national darts competition from 1947, as the years went by it gradually became international essentially becoming the first world darts Championship and was the hardest darts tournament to win until its demise in 1990. There was also a brief revival of the event in 1996/97, but it is now discontinued. It was organised by the National Darts Association of Great Britain (NDAGB).

Before the tournament was established, darts competitions were held in various forms around England – often as friendly matches between pubs. After World War I, pub breweries began arranging darts leagues which began to sow the seeds for the establishment of a national darts competition. The tournament was noted for using an 8 ft oche rather than the regulation 7 ft 9 ¼ inches. One of these competitions was held in Hythe Street, Dartford, Kent in 1927. The competition was sponsored by a local Brewery, C.N Kidd & Sons Ltd.

Origins
The tournament was first organised in the 1927/28 season thanks to the help of the staff on the News of the World newspaper and other volunteers, who helped set up the competition. William Jewiss won the 1927 darts challenge cup sponsored by News of the World and C.N Kidd & Sons brewery in Dartford.

There were around 1,000 entries in the first event, which was held in the Metropolitan area of London. The tournament then began to expand around the different counties in England. By 1938/39 there were six different regional events – London & South England, Wales, Lancashire & Cheshire, Yorkshire, the North of England and the Midland Counties.

The total entrants in the competition in 1938/39 were in excess of 280,000. Enormous interest was created that year by the London and South of England championship. A record crowd of 14,534 spectators filled the Royal Agricultural Hall, London in May to witness the final between Jim Pike (representing the Windmill Club, Southwark) and Marmaduke Brecon (Jolly Sailor, Hanworth, Middlesex). Brecon ran out the winner by two games to one. The tournament continued to attract 250,000 entries during the post war years.

There was, however no national champion of the event until after World War II. It was revived as a national competition in 1947/48, and continued to be described as "the championship every dart player wants to win" until its demise in the 1990s. It can also be classed as the first world darts championships as it went international and players from different countries entered and even won the tournament.

In 1979, Bobby George became the only player to win the championship without losing a leg. Stefan Lord was the only player from outside the United Kingdom to win the event.

Demise
The News of the World was the first nationally televised darts event as ITV broadcast the latter stages of the championship from 1972 to 1985, and again in 1987 and 1988. The 1986 event wasn't broadcast due to a technicians' strike.

As quickly as darts tournaments began to appear on television throughout the 1970s and into the early and mid 1980s, the bubble burst and all darts competitions except the World Championship disappeared from TV screens in 1989.

This big sudden slump in televised darts coverage meant that it came as no surprise that the News of the World Championship also ended after the 1990 event, with the last two events having been untelevised. As it happened, 1990 was also the first year that separate competitions were held for men and women.

The lack of televised darts coverage left some players frustrated by the lack of opportunity to make a living from darts, and in January 1992 they formed their own organisation to start up their own tournaments (see main article: Professional Darts Corporation, and Split in darts).

1997 revival

The News of the World Championship made a one-year reappearance in the 1996/97 season, when Sky Sports and the News of the World resurrected the competition.

In his autobiography, Phil Taylor says that his mentor, Eric Bristow always mocked him for never having won the competition and that it was the tournament that everyone wanted to win. Bristow himself recalled his father telling him: "You're not a proper world champion until you've won the News of the World".

Taylor put the record straight by beating Ian White 2–0 in the final in June 1997, collecting the News of the World Big D Trophy, a cheque for £42,000 and a set of Unicorn golden darts. Following his victory, which also saw him take out the then England captain Martin Adams 2–1 in the semi finals, Taylor was quoted as saying "I've won five world titles – but this one means everything".

However, the overall response to the competition was disappointing and the News of the World decided against running it again. The tournament remains discontinued.

Tournament winners

Men
The tournament was arranged on a regional basis from 1927 until 1939. The National Championship began in 1947–48 winners and runners-up included:

Women

Multiple winners
No player has ever won the international title three times, seven players managed two wins each.
 Tommy Gibbons (1951–52, 1957–58)
 Tom Reddington (1954–55, 1959–60)
 Tom Barrett (1963–64, 1964–65)
 Stefan Lord (1977–78, 1979–80)
 Eric Bristow (1982–83, 1983–84)
 Bobby George (1978–79, 1985–86)
 Mike Gregory (1986–87, 1987–88)

Venues
 1948–49: Empire Pool (Wembley Arena), Wembley, London
 1950–58: Empress Hall, Earls Court, London
 1959–62: Empire Pool (Wembley Arena), Wembley, London
 1963–77: Alexandra Palace, London
 1978–88: Wembley Arena, Wembley, London
 1989–90: Docklands Arena, London
 1997: Villa Park, Birmingham

References

Sources

External links
 History of tournament including historical pictures

1927 establishments in England
1990 disestablishments in England
1996 establishments in England
1997 disestablishments in England
Darts tournaments
News of the World
Alexandra Palace


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Home » Comics, Supergirl Saturday	» Supergirl Saturday: Action Comics #255, "Supergirl Visits the 21st Century!" and Action Comics #259, "The Cave-Girl of Steel!"
Supergirl Saturday: Action Comics #255, "Supergirl Visits the 21st Century!" and Action Comics #259, "The Cave-Girl of Steel!"
August 24, 2013 Posted by Jess under Comics, Supergirl Saturday
We've got a double-header today, foks: two stories in which Supergirl travels through time. Since, uh, neither is very interesting, I'm combining them into one post.
First up, Supergirl visits the 21st century! I am pretty stoked to see what things are gonna look like in 46 years.
It all begins when Superman sends Supergirl a message in what seems like an unnecessary complicated fashion, considering they both have super-ventriloquism and super-hearing and could probably just carry on a normal conversation from anywhere on Earth:
Linda flies through the time barrier, which was just a thing Kryptonians could do because why not, and arrives in 2059, where humans have populated other planets and asteroids under giant plastic domes. But uh oh! The dome over the space orphanage has been holed by a falling piece of space debris from 1959! Linda patches the hole with her heat vision, but:
Linda decides to hide herself and watch the proceedings, but she accidentally flies past a kryptonite meteor and falls to the ground. Luckily:
Tommy may be smart, but considering that he spotted the tiny missile but not the flying girl, and now a green rock against green grass but not shapely gams in red boots, I'm gonna go out on a limb and say he's not very observant.
Linda starts flying after Tommy and Jik, hoping to save Tommy's life somehow and repay him, but for every peril the boys run across – giant alien monster, space quicksand – Tommy has an invention to save them. Side note: maybe orphanage grounds shouldn't have carnivorous monsters and quicksand beds.
Bummed, Linda does what Els do best and gets to spying:
"A scientist and his wife asked to adopt the boy with the best scientific mind! Naturally, you win!" So, uh, I guess the adoption process is even more fucked up in 2059 than in 1959. Adopting teenagers sight unseen because of their engineering prowess? "Winning" parents like it's a game? The future is bleak, y'all.
This would be really exciting if anyone cared about Tommy Tomorrow! But they don't, so it's not. No, seriously, I actually love the way shared universes like DC's are interwoven like this, but I hope we get to the 60s soon, because the crossover possibilities of the 50s were slim pickings.
Also, note to self: the language is "Kryptonese," not "Kryptonian."
So yeah, this issue is actually really a Tommy Tomorrow story and not a Supergirl one, which is annoying, and it's also basically just a space version of the story where Linda helps Timmy get adopted from Action Comics #253. But it does give us an unsettling moment of realizing that we are closer to this weird future than the year this comic was written, and that's the greatest gift of all. I guess.
Skipping forward a few issues, we come to Action Comics #259:
After using her powers to save a baby that's about to be suffocated by a plastic bag, Linda mopes that she doesn't ever get to do anything particularly exciting with her powers. But wait! Why not journey to the past? It won't matter if cave-people see her! And so:
Linda saves the baby and then finds a new way to get her kicks:
Finally, she fights an extremely historically accurate opponent:
That done, she teaches the cavemen how to stoke up fires and cook food before journeying back to her home time. But she's changed history a little…
…but not enough to be a problem. Phew!
Finally, have the letter column from #255, responding to Supergirl's first appearance:
Of note: David Mitchell, I like your style. Herbert Linsey, you can shut right up. Neal Flomenbaum, you make an excellent point that Weisinger is willfully ignoring, and also, BROOKLYN REPRESENT. Also, Weisinger making up shit on the spot in response to Russell Kridel is hilarious.
2 Responses to Supergirl Saturday: Action Comics #255, "Supergirl Visits the 21st Century!" and Action Comics #259, "The Cave-Girl of Steel!"
tavellaAugust 26, 2013 at 2:40 pm
A message by javelin? Guess Supes better hope there weren't any helicopters or planes in the way. Or unfortunate birds.
JessAugust 27, 2013 at 1:46 am
I assume he used some combination of super-aim and super-trigonometry to ensure that it wouldn't hit anything. Oh, Silver Age.
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UK Writers' Guild Noms: Go Go Gillen & Stern
News by Alec Meer Contributor
Published on 19 Sep, 2011
The Writers' Guild of Great Britain - a rather different entity to the US Writers' Guild - last week announced its nominees for assorted mediums' most lauded writers. Included are the obscure likes of 'television', 'theatre', 'books' and 'radio', but fortunately Best Videogame keeps things relevant to our little corner of the internet. This is a prize given only to UK writers, so who do we think got a nod? Some clever people, that's who.
Brink - Ed Stern
Enslaved: Odyssey to the West - Alex Garland and Tameem Antoniades
The Curfew - Kieron Gillen
I know two of those men! Well, who can truly be said to know The Gillen? Hearty congratulations and all the best of terribly British luck to both him and the lovely Mr Stern from Splash Damage. And to the other two, of course, though I don't know them personally and their reportedly splendid game didn't come out on PC, so I shall remain proudly biased (if conflicted) in this matter.
We'll find out who won on November 16.
The Curfew
Alec Meer
Ancient co-founder of RPS. Long gone. Now mostly writes for rather than about videogames.


We all know the feeling, you stick on the TV and just hope and wait for the perfect movie for your mood to stick right out. But, by the time we've decided on a film to entertain ourselves with, it's pretty much bedtime. Grr!
Well, to help you save a little bit of time, we've put our best detective gear on and unearthed some of the best LGBTQ+ films and documentaries available to watch RIGHT THIS SECOND over on CHILI.
Whether you're after classics, biopics, documentaries, or even a few recent flicks, we've got you covered. Here's our thirteen top picks for you to watch tonight over on CHILI.
Directed by Matthew Warchus, Pride is based on the true story of a group of LGBTQ+ activists who join together to help support those affected by the British miners' strike in 1984.
At first apprehensive, the alliance saw two sides come together for the greater good and helped form the Lesbians and Gays Support the Miners campaign. Pride stars Imelda Staunton, Dominic West, Paddy Considine, and Bill Nighy.
A middle-aged man hires a male prostitute to help him recreate a road trip he remembers fondly from his past to the Grand Canyon. As they venture out together, we discover how the lives of both men have been affected by heartbreak and how this encounter could help them find themselves.
With hand-held camera action, Retake is an intimate display of depth and humanity.
In an Oscar-winning performance by Hilary Swank, Boys Don't Cry follows female-born Teena Brandon coming to terms with their male identity of Brandon Teena.
With a supporting cast including Chloë Sevigny and Peter Sarsgaard, it's a groundbreaking and powerful film that's still looked upon as one of Swank's best roles today.
This documentary of designer Alexander McQueen is both heartbreaking yet inspiring.
While he was known to many for his mesmerising genius and the beauty he created, McQueen also held onto deep demons behind the catwalk. This film celebrates his influence and tells the story of how McQueen came to be one of the most prolific names on the runway.
Nominated for six Oscars, including Actress in a Leading Role for Cate Blanchett and Actress in a Supporting Role for Rooney Mara, Carol tells the tale of a clerk working in a Manhattan department store who comes across an older woman, trapped in a loveless marriage.
Based on Patricia Highsmith's seminal novel 'The Price of Salt', Carol sees the relationship between the two women blossom as they venture through a journey of self-discovery.
Starring River Phoenix as Mike Waters and Keanu Reeves as Scott Favor, My Own Private Idaho sees the pair join forces for a road trip from Portland to Idaho and then to Italy in a bid to find Mike's mother.
The pair turns tricks as a way of funding their road trip, and they begin to learn more about each other – and themselves – along the way.
Matt Bomer plays the troubled transgender neighbour to John Carroll Lynch's Early Landry. Deeply depressed after his wife's death, Landry moves from Mississippi to Los Angeles where he forms a complicated relationship with his neighbour.
Desperate to find a reason to keep living, both characters find unexpected strength in one another.
Not long after breaking up with her girlfriend, Lily Tomlin's Elle Reid is greeted by an unexpected visit from her granddaughter Sage. Temporarily broke, Sage needs money quick.
Grandma is a road trip through Elle's past, as she digs up secrets and rattles a few skeletons as the pair spend the day trying to get their hands on the cash Sage desperately needs. The film also features supporting roles from Judy Greer, Laverne Cox, and Marcia Gay Harden.
Told over the course of two days, Weekend shines through in its simplistic setting. As many of us will be familiar with, the film follows Russell as he heads out on the town on the pull.
Picking up Glen during his quest for fun, the pair spends the weekend with one another as they get to know one other and share intimate moments together.
The winner of the Palme d'Or at the Cannes Film Festival, Abdellatif Kechiche's portrayal of a relationship is a beauty to behold. Adèle Exarchopoulos and Léa Seydoux's intimate and powerful performances stem a relatable relationship of physical, emotional, and sexual attraction. It's an achievement through and through.
Harvey Milk, played here by Sean Penn, was elected to the San Francisco Board of Supervisors in 1977. This position made Milk the first openly gay man to be voted into public office in America.
Milk became an unlikely hero for Americans, championing the rights of union workers, senior citizens, and, of course, the gay community. The film depicts the last eight years of his life, making for a remarkable and dramatic insight into one of America's biggest political figures.
Based on the novel of the same name by Christopher Isherwood, A Single Man features an award-winning performance from Colin Firth as a British college professor struggling to find himself after the death of his partner.
Also starring Julianne Moore and Matthew Goode, the 1962-set film is a romantic tale showing the importance in appreciating the smaller moments in life.
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You can go home again
Twenty years after its first release, "E.T." remains the most wondrous of all Hollywood fantasies -- and the apex of Steven Spielberg's misunderstood career.
Check out this article! https://www.salon.com/2002/03/22/et/
March 23, 2002 2:00AM (UTC)
Returning to a movie that delighted you when you were younger can be a dicey proposition. We've all re-viewed some once-beloved picture only to find that we no longer connect to it, that our previous affection was based on who we were and where we were in life when we first saw it, that experience has shaped our outlook in a different way. Watching "E.T." 20 years after it was first released (half my life ago), I can't say that the movie holds the same sense of discovery it did in 1982. (Narrative discovery is a casualty of knowing what's going to happen in a story, for one thing.) But for people who saw "E.T." on its first go-round, particularly moviegoers who were kids back then, the pleasure of seeing it now is the joy of feeling your responses deepen. It's no news to anyone that "E.T." is one of the loveliest and happiest of American movie entertainments. It's also a greater picture than we could have known.
Introducing a screening of Steven Spielberg's first feature, "The Sugarland Express," at the Brooklyn Academy of Music last week, my friend and Slate colleague David Edelstein remarked that it might strike some people as strange to be showing a Steven Spielberg movie at a nonprofit repertory house. I know the people he was talking about, those who are convinced that popular American movies (even American culture) are beneath the serious consideration of anyone interested in the art of movies. For some critics and upscale viewers, Spielberg is a convenient symbol of Hollywood dreck and the triumph of commerce over art, even a stand-in for American cultural imperialism.
This reaction against Spielberg is based at least partly on his optimism, and the false assumption that tortured and tormented artists are more profound than happy ones (try applying that notion to Mozart or "A Midsummer Night's Dream" or "I Want to Hold Your Hand"). Part of the problem is simply timing. Nobody really objects to the serious consideration of commercial directors like Howard Hawks, Alfred Hitchcock, Ernst Lubitsch, George Cukor or John Ford. But these filmmakers belong to Hollywood's "golden age," a time far enough away and different enough from our own that critics and moviegoers can mythologize it (and sometimes, in the process, falsify it).
Spielberg began his commercial career late in the second Hollywood golden age of the '70s, and his contemporaries were Francis Ford Coppola, Brian De Palma and Martin Scorsese, directors whose relationship to classic Hollywood genres was more complex, ironic and tragic than Spielberg's. These filmmakers were updating the conventions of westerns and gangster pictures and horror films to see what they still had to tell us about American life. Spielberg simply wasn't interested in that kind of sociological study. He loved the old genres for their sheer pleasure, and he wanted to be the best entertainer he could be.
Deciding to give pleasure to an audience is one of the most honorable ambitions any artist can choose. Only the greatest are able to achieve that ambition and respect the emotions of their audience, to bring laughter or tears or thrills without cheapening themselves or their material. That's the tradition that Spielberg belongs to. From "The Sugarland Express" in 1974 to "E.T." in 1982, he had what may be the greatest run of any entertainer-director. (No, I'm not forgetting "1941." Spielberg's cut, available on DVD, is a wildly ambitious funhouse slapstick, the work of a director constantly upping the ante, testing himself to see if he can make the laughs as big as the movie's gargantuan scale. It's a roadshow-size version of a Preston Sturges picture, and the fact that Spielberg succeeds so much of the time is a marvel.)
Every one of those movies -- "The Sugarland Express," "Jaws," "Close Encounters of the Third Kind," "1941," "Raiders of the Lost Ark," "E.T." -- is, at heart, a comedy. Sometimes, as in "Close Encounters" or "E.T.," the comedy comes from the way the movies act as wish fulfillments, validating the moonstruck dreams of their protagonists, the very dreams we in the audience have been made to share. (Think of the big goofy grin on Richard Dreyfuss' face as he boards the mothership in "Close Encounters.") And sometimes the comedy lies in the way Spielberg makes us aware of how susceptible we are to the manipulations of movies. I've never heard anyone talk about the experience of seeing "Jaws" without relating how, after every jump scene, the audience broke into laughter at its own fright. When Indiana Jones smiled at a Nazi before sending him spilling out of a speeding Jeep, the audience grinned with him. The sadistic pleasure we took in seeing the bad guys get it was right out in the open, a shared dirty joke.
Spielberg is often spoken of as a heartless manipulator. But in these movies, his sense of comedy defuses any impulses toward jerking tears. Toward the climax of "The Sugarland Express," essentially a chase movie, he allows a feeling of inevitability to take over the movie's constant sense of forward motion, like a slow leak in the tire of a souped-up Chevy. In "E.T.," the scenes other directors would milk for tears are the most dry-eyed -- it's in the happy moments that the tears come.
I understand that there are people who don't respond to Spielberg's movies. Much as I dislike dogmatic statements, though, I think that if you look at his work from this period and don't realize you're seeing a master of framing, timing and rhythm, a born moviemaker, then in some essential way you don't understand movies. Gently satirical and loving, and often set in middle-class or working-class households and towns, Spielberg's work reminded you of what was good about America -- the optimism, the oddball enthusiasms of ordinary folks and the way people stake out their own space in the noisy, free-for-all bumptiousness of family life. (People talk at the same time in Spielberg's movies, the way they do in Howard Hawks' work, and Robert Altman's.)
Spielberg's movies, despite the way they're often characterized, are not Hollywood idealizations of families and the suburbs. The homes here bear what the cultural critic Karal Ann Marling called "the marks of hard use." The furniture is functional and beat-up, and might have a few unmade payments left to go. The garages carry the detritus of a hundred forgotten projects. Toys and laundry never seem to get picked up. The TV jabbers in the background. The phone keeps ringing. Kids and their friends are always underfoot. Controlled chaos carries the day.
Nobody just sits down to dinner in Spielberg households and talks about what they did that day. The kids (and sometimes the adults) play with their food, keep jumping up to attend to other things, talk over one another and in general create such a hubbub that eating becomes the last thing on anybody's mind. Spielberg also reminded you of what could be good about popular American movies: their capacity for reflecting and celebrating that native casualness, and the way the best of them become communal experiences, modern versions of passed-down tall tales and legends that become part of our common popular heritage.
The disappointment of watching the "serious" Steven Spielberg, the Spielberg of "The Color Purple" and "Amistad" and "Saving Private Ryan" and "A.I.," reminds me of Woody Allen's ridiculous remark about comics not sitting at the grown-ups' table. It's the sad spectacle of a director rejecting what made him good in the first place. You can't blame Spielberg for wanting to move beyond the increasingly closed-off movie world of the "Indiana Jones" and "Jurassic Park" series. But -- with the exception of "Schindler's List," a more ambiguous and thorny movie than is generally understood -- Spielberg's adult dramas have less connection to the real world than his fantasies do. Like those fantasies, they also belong to a Hollywood tradition, but it's the tired, inflated tradition of worthy, impressively mounted prestige pictures. He's the good student in these movies, working less for his own joy in moviemaking than for the approval of those he perceives to be his betters.
There is always a danger that a director's inferior work will be used against him to prove that even his good work was a sham. So it is that a clanking, impersonal thriller like "Jurassic Park" has been used by his critics as if it were indistinguishable from the wit and invention of "Jaws." Or the square self-importance of "Amistad" and "Saving Private Ryan" is used to prove that there was never any real content in Spielberg's movies.
For me, the real drama lies somewhere else in his movies. The single most despairing moment in any Spielberg picture may be at the end of "The Sugarland Express," when Goldie Hawn realizes she's not going to be reunited with the child authorities have taken away from her and, in a frenzy, throws a copy of "The Wizard of Oz" out a car window. That's the act of someone who has reached a point where life has become too painful to accommodate even the possibility of fantasy. But fantasy can be a way back to life rather than an escape from it.
All great fantasies, from "The Wizard of Oz" to the Harry Potter books to "The Lord of the Rings" to "Buffy the Vampire Slayer" to "E.T.," the greatest of all American fantasy movies, are grounded in emotional reality. They provide ways of talking about elemental things that might be considered banal were they treated in a straightforward, naturalistic manner. In the context of fantasy, the emotions associated with basic experiences and rites of passage are heightened and intensified.
The crushing sadness of a teenage girl who sleeps with her boyfriend only to find him turned into a strutting bastard the next morning is a familiar tale. When the girl is Buffy, a vampire slayer, and her boyfriend, Angel, is a vampire with a soul who (thanks to a gypsy curse) loses that soul after achieving a moment of perfect happiness, banality is transcended the way it is in grand opera. Which is not to say that all fantasy takes place at the highest emotional pitch, or on a superhuman scale.
"E.T." is often mentioned in the same breath as the big special-effects extravaganzas that took over Hollywood in the '80s and have never left. What's startling about seeing it again is rediscovering how small a film it is, how intimate and personal. The first shot tells the story. Opening on the starriest night sky you've ever seen, the camera pans down until the stars begin to fade and we reach the pinkish dusk above a scrubby, suburban forest. It's Spielberg's way of saying that we are watching a story about this world. Cinematographer Allen Daviau envelops the movie in supple, warm light, making that world seem both familiar and strange. When Elliott (Henry Thomas) ventures bravely into his backyard to investigate the strange noises coming from the shed where E.T. has holed up, a crescent moon hangs in a foggy sky, and the effect is as if Maxfield Parrish had designed the nighttime scenes of F.W. Murnau's "Sunrise."
The movie is that simple and that lovely. Spielberg doesn't use the effects to wow us. When we first see E.T.'s spaceship in the opening, there's no big buildup, no swell of music on the soundtrack. Spielberg simply cuts to the ship sitting in a clearing. And even in this rerelease, promising new footage and "enhanced" effects, the special effects are matter-of-fact, subordinate to the story. Some of E.T.'s movements have been digitized, but Spielberg has wisely left alone the slight jerkiness of the models designed by Carlo Rambaldi, that endearing side-to-side shuffle that makes E.T. look like nothing so much as an old man, still spry despite his pot belly. (Apart from one added scene where E.T. luxuriates happily in the bathtub, I can't detect what was added, and that's a good thing. Spielberg doesn't deface our memories the way he did with the "Special Edition" of "Close Encounters," the New Coke of movie rereleases.)
One reason Spielberg was able to maintain the intimate scale is the spareness of Melissa Mathison's screenplay. As in her screenplays for Carroll Ballard's "The Black Stallion" and Martin Scorsese's "Kundun" (perhaps the director's best film) -- both of which, like "E.T.," are stories of boys who find wonders in the real world equal to their fantasy lives -- Mathison gets into the heads of little boys with peerless sweetness. She bypasses all the "snakes and snails and puppy-dog tails" clichés of how boys are presumed to act, allowing for their vulnerability and tenderness. Mathison builds good, solid foundations that can support the visions directors bring to her stories. She lays the groundwork, and the directors ascend into the stratosphere. Except that Spielberg, like a boy soprano hitting a clear, sustained note, never takes his feet off the ground.
For Spielberg, who thought he was making a movie that would have limited audience appeal, the impulse behind "E.T." lay in his own memories of his parents' divorce. He wanted to make a film about a 10-year-old boy who feels abandoned and, in classic storybook fashion, finds a friend who understands him. Elliott and E.T. (the second name a shorthand version of the first) understand each other so well they're telepathic, feeling each other's feelings. (When E.T. gets into the beer, Elliott gets drunk, too.) "He's a boy," Elliott announces definitively to his little sister Gertie (Drew Barrymore) when he introduces her to E.T. (Of course, to a little girl, E.T. would have been unquestionably female. We never learn what gender he is, or whether the concept is even relevant.)
We've all seen and read stories of children dreaming about journeying to faraway places. "E.T." offers a charming reversal on those fantasies: Lonely Elliott invites E.T. to share his world, that familiar Spielberg world of lived-in suburban houses. For most of the movie, E.T.'s view of earth is confined to Elliott's bedroom, the center of every kid's universe. And Elliott's explanation of the world is just as self-contained. Trying to explain this strange planet to a stranded visitor, Elliott is less a tutor than a kid eager to share his enthusiasms with a new friend. The look of puzzlement on E.T.'s face as he's told about Coke, pet fish, action figures and Pez is the perfect punch line to Elliott's breathless delivery. For her part, Gertie dresses E.T. up as if he were one of her dolls, and inadvertently teaches him English by watching "Sesame Street."
Spielberg isn't sentimental about these kids. He repeatedly uses the gooey way people treat kids to get laughs. When Elliott tries to keep Gertie from telling their mom (Dee Wallace) about E.T., he tells her, "Only little kids can see him." In the wised-up voice of a child who hates being talked to as if she were Cindy Brady, she responds, "Give me a break!" Spielberg's most daring joke comes after Elliott finds that E.T. has come back to life. In order to buy time from the government scientists who want to cart E.T. away for study, Elliott pretends to be a wailing little boy in floods of tears. Of course they fall for it and the audience howls, the parents in the audience laughing at the times they've fallen for the same routine from their own kids.
Nor is Spielberg sentimental about the way families work. Elliott and Gertie love their mom, Mary, whom they address by her first name. But that doesn't stop their lives from seeming like one ongoing rumpus, with jokes and wisecracks tossed in among the disciplining and task-mastering. As in the family scenes of "Close Encounters," you feel, watching "E.T.," that you're seeing family life as it is: affectionate but perpetually harried, the bonds that hold people together (and make people nuts) more taken for granted than expressed.
There isn't a mugger among the young leads. Twenty years have done nothing to diminish the comic weirdness of 6-year-old Drew Barrymore's timing. Her face is almost as gnomic as E.T.'s; she plays Gertie as alternately a sharp little cookie and a blissed-out oddball. When she blabs something to Mary that she knows she shouldn't -- and she does it frequently -- she's like a midget Gracie Allen, rapt in her own obliviousness. As Elliott, Henry Thomas carries the spirit of the movie's delicacy. (He's a good little comic, too, as in the classroom scene when, drunk, he lets loose the frogs awaiting dissection and enfolds the class beauty, Erika Eleniak, later of "Baywatch," into a kiss.) It's a remarkably intuitive performance. Elliott is as much of a dreamer as a kid can be while still being grounded in the world, and Thomas plays his gentleness without ever getting icky or forced.
There's another amazing performance here: E.T.'s, or, I should say, his realization by Rambaldi and his team of technicians. I can't pay them a greater compliment than to say that we accept E.T. as a real creature, not some techno-wizard's trickery. Leathery and bumpy, with a child's wide-eyed stare and the rolls of a middle-aged man's gut, E.T. himself is one long grace note. The details of the creature are often sublime, from that gargling coo of a voice (supplied, among others -- human, animal and electronic -- by the amateur photographer Pat Welsh) and the joyous comedy of the slide-whistle way he says "E.T. phone ho-oh-ohm" when he comes back to life, to the unexpected delicacy of his giraffe's neck and long, knobby fingers and the heartbreaking gentleness of his gestures, as when E.T. embraces Elliott and we see those digits gaining a purchase on the boy's back.
"E.T." remains the most fluid movie Spielberg has ever made. It moves forward not on the pop propulsion that powered his previous films but on the waves of its own enchantment. In both tone and execution it's about as pure as a commercial movie can be. When a movie is as of-a-piece as this one is, the snags in tone are more apparent. Spielberg pushes things once, in the sequence where the government scientists (needlessly made to seem like scary bad guys) invade Elliott's home and try to save E.T. from death. The whole rhythm and mood of the movie changes; the tempo speeds up and you feel jolted out of its tone of sustained wonder.
Spielberg gets right back on track in the sequence that follows, and that can stand for the decency of his work here. A hack might have squeezed tears out of the scene where Elliott, believing E.T. is dead, says goodbye to his friend. Spielberg shoots it dry-eyed and that's how Thomas plays it. "I must be dead," he says, "because I don't know how to feel." Spielberg lets the line, and Thomas' unfussy delivery, speak for itself, for the confusion of a little boy first encountering adult feelings.
In the midst of the scene where the doctors are working on E.T., there's a shot of Elliott's older brother, Mike (Robert MacNaughton), withdrawing in tears to the closet of his bedroom. Surrounded by the toys he's outgrown, he's a teenage boy trying to retreat into the emotional safety of childhood. Mike, a teenager going through his cool phase, has fallen under E.T.'s spell as surely as his younger siblings.
What's perhaps most amazing about "E.T.," what distinguishes it from many of the other fantasy films of its era, is its ability to put an audience under a spell of childlike wonderment without infantilizing it. This comforting fantasy, made by a man who could still remember what it was like to feel like a hurt child, is really about leaving the reassurance of childhood behind. It's about Elliott learning to accept loss and parting. Perhaps the most emotional moment in a movie full of them is the one, during Elliott and E.T.'s goodbye scene, when the alien beckons his friend by saying, simply, "Come." Elliott responds: "Stay." E.T. closes his eyes and leans his head back, a look of exquisite agony on his face that wouldn't be out of place in the most rhapsodic passage of Puccini or Verdi.
When we've been caught in the spell of a book or movie, we often talk of the disappointment of turning the last page or having the lights come up and having to return to the real world. "E.T." ushers us gently back into the world. It takes the most basic of longings, the longing for home, and tells us that at some point the very idea of home, no matter how it calls to us, will change. The miracle of "E.T." is that it unites the audience in that elusive and communal dream of moviegoing that can make us feel we've found home, and been greeted with open arms.
Charles Taylor is a columnist for the Newark Star-Ledger.
MORE FROM Charles Taylor
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Avengers: Endgame: Fans will go apesh*t
Going inside "The Place of No Words"
"Captive State" failed, but may endure
The politics of "Avengers: Endgame"


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Five Pounds 2012 Summer Olympics Countdown
Five Pounds 2012 Summer Olympics Countdown, Coin from United Kingdom - detailed information
Five Pounds 2012 Summer Olympics Countdown, Coin from United Kingdom
This commemorative £5 Crown-sized coin is the fourth and last of a series of four coins issued by the Royal Mint for the London 2012 Summer Olympics Countdown - part of the 3, 2, 1 countdown to London 2012.
The 2012 Summer Olympics, formally the Games of the XXX Olympiad and commonly known as London 2012, took place in London and to a lesser extent across the United Kingdom from 25 July to 12 August 2012. During the Games, Michael Phelps became the most decorated Olympic athlete of all time, winning his 22nd medal. Saudi Arabia, Qatar, and Brunei entered female athletes for the first time, so that every currently eligible country has sent a female competitor to at least one of the Olympic Games. Women's boxing was included for the first time, thus the Games became the first at which every sport had female competitors. The final medal tally was led by the United States, followed by China and host Great Britain.
The obverse of the coins shows the crowned mature head of Queen Elizabeth II facing right (her effigy known as the "Fourth Portrait"). The Queen wears the "Girls of Great Britain and Ireland" diamond tiara, a wedding gift from Queen Mary (Her Majesty's grandmother) in 1947 - which she also has on the Machin and the Gottwald portraits.
In small letters below the head, the artist's initials IRB (for Ian Rank-Broadley).
Around the effigy is the monarch's legend: ELIZABETH · II D · G · REG · F · D FIVE POUNDS. Translated from Latin: Elizabeth the Second, by the Grace of God, Queen, Defender of the Faith, followed by the value and denomination in English.
ELIZABETH · II D · G · REG · F · D FIVE POUNDS
The reverse of the coin depicts three athletes as faceted figures standing on a victory podium. Around left, above, and right - a section of a clock-face.
To the right, the logo of the London 2012 Olympic Games; it is coloured on the silver and gold versions. The London 2012 Summer Olympics logo is four abstract shapes placed in a quadrant formation spelling out "2012". The word "London" is written in the shape representing the "2", while the Olympic rings are placed in the shape representing the "0".
The whole design is surrounded by a plan view of the main Olympic Stadium, incorporating the date 2012 above. Around above, the inscription COUNTDOWN; around below, XXX OLYMPIAD.
The artist's signature CA (for Claire Aldridge) is in the lower left.
COUNTDOWN 2012 XXX OLYMPIAD
The Royal Mint lists sales of 52,261 base metal coins, plus 13,014 in PNC. Presumably, the 52,261 figure is the sum of coins in presentation folder plus those in a card.
London Olympic and Paralympic Games 2012 £5 Brilliant Uncirculated Set, mintage unknown
6 coins: £5 Olympic Games, £5 Paralympic Games, £5 Countdown 2009, £5 Countdown 2010, £5 Countdown 2011, £5 Countdown 2012
Countdown to London 2012 £5 Brilliant Uncirculated Coins, mintage unknown
4 coins: £5 Countdown 2009, £5 Countdown 2010, £5 Countdown 2011, £5 Countdown 2012
There were four Olympic Countdown coins: in 2009, 2010, 2011 and 2012.
Five Pounds 2012 Summer Olympics Countdown: Known varieties
Specimen in presentation card
Issued: unknown. Mintage limit: 250,000
Specimen in presentation folder
Specimen in PNC
Countdown to London 2012 Olympic Games £5 Philatelic Numismatic Cover.
Issued: 12,670
28.28 g of Sterling Silver.
Silver Proof Piedfort
Issued: 2,324
Gold Proof FDC
39.94 g of 22-carat gold.
London 2012 Olympic Games Countdown £5 Five Pound Gold Proof 4 Coin Set, mintage unknown
4 coins: £5 Countdown 2009 - Gold, £5 Countdown 2010 - Gold, £5 Countdown 2011 - Gold, £5 Countdown 2012 - Gold
Five Pounds 2012 Summer Olympics Countdown: References to Information Used
Five Pounds 2012 Summer Olympics Countdown: Details
Mintage Limit
Claire Aldridge
BYNK-ODDC-GGBA-OPQM
Search for United Kingdom: Five Pounds 2012 Summer Olympics Countdown on eBay
Five Pounds 2012 Summer Olympics Countdown: Photos
Five Pounds 2012 Summer Olympics Countdown - Gold Proof
Notes: Gold proof.
Five Pounds 2012 Summer Olympics Countdown - Silver Proof
Notes: Silver proof.
Five Pounds 2012 Summer Olympics Countdown: Catalogue Reference IDs


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Find Your Next New Customer
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Dr. Pepper Finds The Perfect Partner
By AffinityAnswers	February 27, 2017 June 27th, 2019 Case Study
Movie tie-ins help Dr Pepper gain consideration with movie audience.
With the massive popularity of the super hero movie genre, Batman v. Superman: Dawn of Justice was one of the most anticipated movies of 2016. Not only did Ben Affleck take over as the new Batman, but it also setup the foundation for future Justice League films and introduced other popular characters such as Wonder Woman, Aquaman, and the Flash to the DC movie universe.
The Dr Pepper Snapple Group looked to gain traction within this audience segment by teaming up with Warner Bros. to sponsor the film. The partnership had multiple components: Dr Pepper bottles and cans with Batman v Super logos and characters, a $5 off ticket promotion, and even product placement in the film. The investment was a major one for the soft drink brand, but also one that can be difficult to quantify. Overall sales lift can provide some indication of the performance of the partnership, but this could be contributed to many different campaigns in market.
An additional KPI for measuring campaign success is TrueAffinity™ by AffinityAnswers. TrueAffinity is the first brand interaction metric that indicates the strength of active, social engagement between brands' audiences over time. The higher the score, the more receptive one brand's audience is to the messaging and content from another brand.
The below chart shows the TrueAffinity score of Batman v Superman with four top carbonated sodas: Coca-Cola, Pepsi, Mountain Dew and Dr Pepper.
The higher the TrueAffinity score, the higher the mutual affinity, and as mentioned, the better an audience segment will respond to messages from the other brand. At the start of 2016, Mountain Dew had the highest mutual affinity with the movie with a TrueAffinity score of 8.02, and Dr Pepper's was the lowest at 7.43 (note: a 7.5 is still a fantastic TrueAffinity score; we generally consider any score above 7 to be high mutual affinity). The in late February / early March as the Dr Pepper campaign went into market, Dr. Pepper shifted to the highest position with a TrueAffinity score as high as 9. It is worth noting that TrueAffinity is measured on an exponential scale. So the 20% change in TrueAffinity score is actually more like a 4 to5x increase in affinity. And not only did the shift to higher affinity occur, but Dr Pepper's TrueAffinity score has stayed high even though the campaign ended, proving that the Batman v Superman audience was indeed a great marketing investment for the Dr Pepper Snapple Group.
Social affinities represent the consumer's receptivity to brands, TV shows, celebrities, and more, based on their entire experience, and not just their interactions on social media. By using TrueAffinity, what happens between awareness and purchase can be measured at scale with specific audiences. TrueAffinity provides a way to measure both the conscious and unconscious influence brand advertising has on consumers (i.e. consideration).
Contact us at audiences@affinityanswers.com to find out how affinity-based audiences can enhance your Buyer-Driven Brand strategies.
audience segmentconsumer datadata enhancementdata modelingsocial affinitysocial engagement datasocial media engagement
'Likes' aren't the value of social
© 2019. Affinity Answers Corporation.
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The PopoverController class, available exclusively for the iPad, is a nice way to present information to the user. The popover content is layered on top of your existing content in a special type of window. In this tutorial, we'll show a popover containing a table view when the user touches a button.
Open Xcode and create a new Single View Application. For product name, use PopoverDemo and then fill out the Organization Name, Company Identifier and Class Prefix fields with your customary values. Make sure only iPad is selected in Devices, and that the Use Storyboards checkbox is deselected and Use Automatic Reference Counting checkbox is selected.
Go back to ViewController.xib. Select the Assistant Editor. On the right side select ViewController.m. Ctrl-click and drag from the button to the showPopover method in ViewController.m.
We initialize our created view controller and load it in our popover property. The permitted arrow direction is down which means the popover will show up above our button.
Build and Run, and click the button to display the popover.
Rotate the device to portrait view.
You can download the source code of the PopoverDemo at the ioscreator repository on github.


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Q: Rancher Cluster Flapping - Increase API Read Body Timeout? We are using Rancher 2.2.13 and Kubernetes 1.13.12 in GKE. Our instance keeps flapping while being connected in Rancher. The agent logs show:
E0804 00:50:08.384154       6 request.go:853] Unexpected error when reading response body: context.deadlineExceededError{}
E0804 00:50:08.384223       6 reflector.go:134] github.com/rancher/norman/controller/generic_controller.go:175: Failed to list *v1.Secret: Unexpected error context.deadlineExceededError{} when reading response body. Please retry.
E0804 00:50:08.385380       6 request.go:853] Unexpected error when reading response body: &http.httpError{err:"context deadline exceeded (Client.Timeout exceeded while reading body)", timeout:true}
E0804 00:50:08.385431       6 reflector.go:134] github.com/rancher/norman/controller/generic_controller.go:175: Failed to list *v1.ConfigMap: Unexpected error &http.httpError{err:"context deadline exceeded (Client.Timeout exceeded while reading body)", timeout:true} when reading response body. Please retry.

The underlying issue seems to be that there are roughly ~24K ConfigMaps for this particular Cluster and ~17K secrets. So obviously the return is going to be immense for both.
Is there any way to increase the read timeout for the body? Is there a paging feature, or is there anyway to implement one if there isn't?

redpajama_set_name: RedPajamaStackExchange


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Kapamilya shows for 2019
Angel Locsin, Jodi Sta. Maria, Cristine Reyes to stage teleserye comeback in 2019
Angel Locsin, Jodi Sta. Maria, and Cristine Reyes are set to top-bill ABS-CBN's first three teleserye offerings for 2019.
These three actresses are all staging comebacks: Angel assumes the lead role after five years, Jodi returns to the prime-time slot, and Cristine makes her TV comeback after three years.
The trailers of their teleseryes, along with other upcoming reality and game shows, were shown during ABS-CBN's Family Is Love trade launch. It was held yesterday, November 27, at the Philippine International Convention Center in Manila.
Here are the Kapamilya shows that viewers can look forward to in 2019:
THE GENERAL'S DAUGHTER
Although Angel Locsin appeared in a special role in the 2017 fantaserye La Luna Sangre, The General's Daughter will serve as her full-length comeback in doing teleseryes. She previously starred in her 2014 series, The Legal Wife.
This is also Angel's first time to do a teleserye under Dreamscape Entertainment, because her previous teleseryes were produced by Star Creatives.
In The General's Daughter, Angel plays 2nd Lt. Rhian Bonifacio. While growing up, she is trained to kill her own father, played by Albert Martinez.
Regine Velasquez was tapped to sing the show's theme song, which is an original composition of her husband Ogie Alcasid.
Angel will be joined by co-stars Paulo Avelino, Maricel Soriano, Eula Valdes, Janice de Belen, JC de Vera, Loisa Andalio, Ronnie Alonte, and former Kapuso Ryza Cenon.
Tirso Cruz III and Arjo Atayde, who both have major roles in the teleserye, were not present at the trade event.
The General's Daughter is directed by Manny Palo (The Good Son, Doble Kara) and Mervyn Brondial (The Greatest Love, Hanggang Saan).
MEA CULPA: SINO ANG MAY SALA?
After the success of Jodi Sta. Maria's daytime series Sana Dalawa Ang Puso, she is set to return to doing heavy roles via Mea Culpa: Sino Ang May Sala?
In the trailer shown at the trade launch, it was announced that Mea Culpa will serve as Jodi's comeback in ABS-CBN's prime-time block.
In the show, Jodi plays a mother who is searching for her missing baby.
A group of friends will be blamed for the baby's loss. The characters of Bela Padilla, Kit Thompson, Ivana Alawi, Sandino Martin, Ketchup Eusebio, and Tony Labrusca are all accused of kidnapping Jodi's daughter.
Tony recently top-billed the trending digital movie, Glorious, where he was paired with Angel Aquino.
John Arcilla, Ayen Munji-Laurel, and Janice de Belen are also part of this new teleserye.
The Dreamscape Entertainment production Mea Culpa is directed by Dan Villegas.
NANG NGUMITI ANG LANGIT
Nang Ngumiti Ang Langit is Cristine Reyes's television comeback after starring in the afternoon series Tubig at Langis in 2016.
During the trade launch, she was joined by co-stars RK Bagatsing, Enzo Pineda, Matet de Leon, and returning Kapamilya Keempee de Leon.
Aside from its director FM Reyes, no details have been revealed yet about this upcoming series produced by RSB Drama Unit. (JP Anarcon, pep)
Miss Universe 2015 Pia Wurtzbach and Luis Manzano will host World of Dance Philippines, a franchise of the international dance competition.
The judges for the competition are Maja Salvador, Billy Crawford, and Gary Valenciano.
The winner of the competition will have a chance to compete in the U.S. version of World of Dance.
Minute To Win It: Last Man Standing
is also set to return on television in 2019. Its last edition aired from July 2016 to May 2017.
Lastly, ABS-CBN has started the auditions for the Search for the Idol Philippines. As of this writing, only Regine Velasquez is confirmed as one of the judges.
UP Maroons sustain title dreams
ICBC CHANGES – MEDIA SUMMARY


Given Combilift's reputation for multidirectional technology it will come as no surprise that the company developed the Combi-WR4 as an addition to its Combi-WR Walkie Reach range. It is the rst purpose built pedestrian reach stacker to combine multidirectional travel with a host of innovative features to o er an even higher level of manoeuvrability when there is a requirement to handle long loads – as well as pallets - in tight confines.
an operator's screen and electronic power steering and ngertip controls ensure precise and smooth travel.
range, and 2-speed operation is controlled by a rabbit/turtle switch, with a further bene t being the ability to adjust or customise travel speeds to suit the level of the operator's experience.